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Journal articles on the topic 'Parisian evolution'
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Cachaud, Céline. "A Detail in the artistic Parisian world? The status of illuminators in Modern Period (review)." Palíndromo 14, no. 33 (2022): 280–95. http://dx.doi.org/10.5965/2175234614332022280.
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This article reviews the recent publication of Richard and Mary Rouse’s investigation of the French illuminators between 1500 and 1715 and the new information brought to light regarding the evolution of their profession, their daily life and their integration into the Parisian artistic community. In doing so, further elements and reflexions are added, regarding the semantic evolution of the word enlumineur compared with the new word miniaturiste appearing in the early 17th century vocabulary and Parisian cultural world.
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de Staël, Joséphine. "Training models in Parisian fine jewellery education." Craft Research 14, no. 1 (2023): 9–30. http://dx.doi.org/10.1386/crre_00092_1.
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The Haute Ecole de Joaillerie (HEJ) is the oldest jewellery school in France and lies at the heart of the institution of Parisian fine jewellery. This article examines the use of training models at the HEJ for transmitting technical and spatial expertise, resulting in fine jewellery knowledge that is standardized, evaluated and differentiated on a national and local scale. It reveals how these models connect students with the historic roots of the jewellery industry in Paris, namely the pre-modern craft guilds of goldsmiths, and also with the jewellery houses of the Place Vendôme, which emerged in the nineteenth century and are today the defining feature of Parisian fine jewellery. It is argued that the training models act as a lynchpin, linking Parisian fine jewellery across and within generations. This article contributes to literature on the growth and evolution of Parisian craft and design industries that remain recognizably identifiable with the city and their history in the face of the incursion of global markets.
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Lemonsu, Aude, Raphaëlle Kounkou-Arnaud, Julien Desplat, Jean-Luc Salagnac, and Valéry Masson. "Evolution of the Parisian urban climate under a global changing climate." Climatic Change 116, no. 3-4 (2012): 679–92. http://dx.doi.org/10.1007/s10584-012-0521-6.
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Fassler, Margot E. "The Role of the Parisian Sequence in the Evolution of Notre-Dame Polyphony." Speculum 62, no. 2 (1987): 345–74. http://dx.doi.org/10.2307/2855230.
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Levidou, Katerina. "Arthur Lourié and his conception of revolution." Muzikologija, no. 13 (2012): 79–100. http://dx.doi.org/10.2298/muz120229013l.
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Arthur Louri??s conception of revolution (political as well as cultural) is explored through his writings, with particular emphasis on its evolution from his Russian period to his Parisian and American exiles. Analyzing Louri??s Eurasianist views specifically I argue that through his association with Eurasianism and his engagement with Neoclassicism Louri? did not abandon his revolutionary disposition; the means through which his revolutionism was pursued as well as the ideals that shaped it were merely redefined, while remaining firmly grounded in the Silver Age.
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Pauplin, Olivier, Jean Louchet, Evelyne Lutton, and Arnaud de La Fortelle. "Evolutionary Optimisation for Obstacle Detection and Avoidance in Mobile Robotics." Journal of Advanced Computational Intelligence and Intelligent Informatics 9, no. 6 (2005): 622–29. http://dx.doi.org/10.20965/jaciii.2005.p0622.
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This paper presents an artificial evolution-based method for stereo image analysis and its application to real-time obstacle detection and avoidance for a mobile robot. It uses the Parisian approach, which consists here in splitting the representation of the robot's environment into a large number of simple primitives, the "flies", which are evolved according to a biologically inspired scheme. Results obtained on real scene with different fitness functions are presented and discussed, and an exploitation for obstacle avoidance in mobile robotics is proposed.
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Flonneau, Mathieu. "The Transfers/T²M Duo and the Evolution of the Reflection on Mobilities." Transfers 10, no. 1 (2020): 112–21. http://dx.doi.org/10.3167/trans.2020.100112.
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Transfers and T2M have carved out a space for free thought. Using the itinerary of the Boulevard Périphérique (beltway) of Paris as an example, I demonstrate how debates and controversies have been integral to the advancement of the way we conceptualize and problematize mobilities. Frictions with political and ideological projects only reinforce our commitment. Nowadays, we have to face a permanent wishful thinking and I express my concern regarding the instrumentalization and the uses of knowledge to promote a “sense of History” disconnected from Parisian tradition, which itself has been neglected as an inglorious relic of the past. The bright path to a smart/world city will probably take longer than expected by its own self-promoters.
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CLARK, MARK J. "Hereford and Lincoln Cathedral Libraries during the High Middle Ages." Journal of Ecclesiastical History 71, no. 3 (2020): 502–26. http://dx.doi.org/10.1017/s0022046919002380.
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In this study evidence is brought forth from large treasuries of scholastic manuscripts at Hereford and Lincoln that challenges R. M. Thomson's assessment of the importance of those collections during the High Middle Ages. As it turns out, as early as the twelfth century those libraries contained copies of the most important works in the developing Parisian theological curriculum, and the earliest copies of those works may reside in these and other English cathedral libraries. Manuscripts preserving early versions of the Sentences are especially interesting, since they make it possible to study the evolution of Peter Lombard's thought during his lifetime.
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Cho, Sung Moon. "Jean Luce et l’atelier Vivinis et Lobjoy d’Auteuil, les acteurs du renouveau du service de table en France entre 1923 et 1962." Sèvres. Revue de la Société des Amis du musée national de Céramique 30, no. 1 (2021): 144–55. http://dx.doi.org/10.3406/sevre.2021.1575.
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The close union between artist and manufacturer constitutes the heart of the Design which aims at diffusing a singular conception of artist by means of serial production, so that to introduce art into everyday objects. The collaboration of Jean Luce, a Parisian designer in the field of tableware, with Vivinis et Lobjoy d’Auteuil workshop, specializing in ceramic decoration, represents one of the first successful examples of the establishment of this link. The content of their work and the pieces they produced shed light on the artistic, material and technical evolution of tableware in France before and after the Second World War.
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MEWS, CONSTANT J. "Jerome of Moray: a Scottish Dominican and the evolution of Parisian music theory 1220–1280." Plainsong and Medieval Music 31, no. 2 (2022): 123–42. http://dx.doi.org/10.1017/s0961137122000092.
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ABSTRACTThis article examines the Tractatus de musica of Jerome of Moray (‘de Moravia’), affirming his Scottish identity, as proposed by Michel Huglo in 1994. It argues that the Tractatus de musica presents an important overview of Parisian music theory in the thirteenth century, relating to both chant and mensurable music in that century, because it combines the views of several generations: the Positio discantus vulgaris, which he says was used ‘among the nations’; the De mensurabili musica of John of Garland, who corrected its deficiencies; and the treatises of Franco of Cologne and Petrus Picardus. It considers Jerome's career in three phases: his exposure to music and music theory in Scotland; his studies in Paris, most likely under John of Garland, perhaps at the cathedral school of Notre-Dame; and his involvement in the liturgical reforms within the Dominican Order, implemented by its Master, Humbert of Romans in 1256. Rather than assigning Franco's Ars cantus mensurabilis to 1280 (as proposed by Wolf Frobenius) and Jerome's Tractatus to sometime after this, I suggest that Jerome was exposed to John of Garland's teaching in the 1240s and that the Franconian system may have started to gain ground in the 1250s. Jerome compiled his Tractatus over a period of time, adding an excerpt about cosmic music from the commentary of Thomas Aquinas on Aristotle's De caelo perhaps as early as 1271 or 1272, in response to the criticisms of John of Garland and his followers being made by Johannes de Grocheio.
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Karácsony, Noémi, and Mădălina Dana Rucsanda. "The Evolution of the French Chanson During the Renaissance: From the Parisian Chanson to the Pléiade Chansons, and the Air du Cour." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 1 (2024): 83–100. http://dx.doi.org/10.24193/subbmusica.2024.spiss1.05.
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The present article traces the evolution and development of the French chanson, focusing on the Parisian chanson and the changes underwent by the genre under the influence of the group La Pléiade. One of the most important contributions France has made to the music of the Renaissance, the chanson embodies the endeavors that guided French artists of the Renaissance to prove that the French language possessed all the necessary qualities for becoming a poetic language. Relinquishing the sobriety of the Franco-Flemish school, Renaissance composers turned to a simpler, more melodious expression in their works, striving to place the text at the forefront. The 1520’s witnessed the emergence of a new type of chanson, generally known as the Parisian chanson, with its lyrical and narrative versions, exemplified by the works of such composers as Claudin de Sermisy or Clément Janequin. From the complex polyphonic works, composers turned to more transparent textures, characterized by homorhythm and homophony. The chanson was also influenced by the ideals proposed by the Pléiade group, which placed poetry at the forefront, the music following the metric and rhythmic patterns of the declamation – a practice that became known as musique mesurée and was represented by the works of Claude Le Jeune. Finally, the end of the 16th century brought about the gradual replacement of the genre with the air du cour, which would gain popularity in the 17th century. Nonetheless, the particularities of the musique mesurée would have a great influence on declamation and the importance of the accents in song – concepts that lies at the core of French vocal music of the following centuries. The analysis proposed by the authors presents pieces that are representative for the evolution of the genre, striving to reveal the particularities of each period in the development of the chanson. Keywords: chanson, French, Renaissance, La Pléiade, musique mesurée
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Jeong, Dong-Jun. "Historical Research on the Parisian Café Procope." Korea Association of World History and Culture 64 (September 30, 2022): 179–206. http://dx.doi.org/10.32961/jwhc.2022.09.64.179.
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The visit of Soliman Aga(1669) is the starting-point of the development of coffee culture in Paris. As the ambassador of Ottoman Empire, he was granted an audience with Louis XIV in Versailles. His task was to read the king’s thoughts : If my empire attacks Vienna, Louis will intervene in the war? But Soliman Aga did not accomplish his mission. He went and stayed in Paris for 10 months with more than two dozen attendants. During that time, in a Turkish room he served Turkish coffees very carefully to the ladies of Paris high society. Soliman Aga could infer information about Louis’s mind from their ongoing conversation in the room. Not long after that he left the city, Parisians fell deep into coffee drinking. One of the attendants of Soliman Aga, a person named Pascal, remained in Paris. With a large amount of coffee beans that his superior left, he started up coffee peddling in the Saint-Germain market and at the Quai de l’École. Pascal is a historical figure because of the relationship between Soliman Aga and the owner of Café Procope (Procopio), but innumerable and unidentified coffee peddlers of Levantine origins worked in the streets of European cities like London, Oxford, Paris etc. Pascal did not succeed in coffee business. He thought he could benefit from conducting his business in a market as people gathered there. But the temporary function of Saint-Germain market, like every market throughout France, was Pascal’s Achilles heel. His other business at Quai de l’École finally ended up getting no attention from Parisians. Nonetheless, Francesco Procopio dei Coltelli, an ex-employee of Pascal, returned to the Saint-Germain Market in order to sell coffee. He made money in that place and also obtained several licenses from the French government relevant to sale of coffee, tea, lemonade and alcoholic beverages. And he was planning new-concept coffeehouse that would far surpass Pascal’s peddling. Wide spaces, tapestried walls, chandeliers hanging from the ceiling, marble tables... he tried to make his Café Procope a center of brilliant social life. This coffeehouse was well located on the rue des Fossés-Saint-Germain, very close to the Théâtre-Français. The effect of people flocking to the theater was wonderful. Wealthy theater-goers, many famous actors, play writers became regular frequenters of that coffeehouse. It was critical factor directly connected to the success of Café Procope. If I may add one more thing, there is an extensive menu including tea, hot chocolate, wine, l’eau de cédrat, ices, sorbets, barvaroise etc. So, Café Procope was to be the first modern coffeehouse in Paris and would serve as a model to the Parisian coffeehouses that would follow in the years to come.(Daejin University)
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Van Assche, Astrid. "L’hybridité de la lettre galante, ou la transgression innovante." Quêtes littéraires, no. 6 (December 30, 2016): 9–17. http://dx.doi.org/10.31743/ql.206.
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This essay concentrates on early modern expressions of literary hybridity in the 17th-century gallant letters of Vincent Voiture (1597-1648), Charles Cotin (1604-1681) and Antoine Godeau (1605 -1672), circulating in the Parisian salon L’Hôtel de Rambouillet. Firstly, we look at the hybridity of the letter form an sich, within the context of salon sociability and early gallantry. Secondly, we study the multiplicity of both the authorial voice and the audience of the gallant letter. Thirdly, we highlight the intriguing exchange between genres within the gallant letter, as well as their confrontation and, finally, cross-fertilisation. This tripartite case study substantiates our conviction that literary hybridity functions as an intriguing indicator and catalyst of literary evolution and creation.
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Nevin, Barry. "Jacques Feyder’s Paris, 1923–35: Cartographies of gender, class and empire." Journal of European Popular Culture 14, no. 1 (2023): 5–33. http://dx.doi.org/10.1386/jepc_00052_1.
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Jacques Feyder ranked among France’s most critically acclaimed directors during the 1920s and 1930s. Over the course of these decades, he repeatedly illustrated tensions pertaining to class, gender and empire in Paris. Drawing on close textual analysis, historical contextualization and archival research, this article traces two developments in Feyder’s vision of the capital and its shifting economic, political and cultural climate: first, the evolution of Paris from a locus clearly signposted by recognizable locations to a studio-built milieu that is heavily reliant on generic Parisian tropes; second, the city’s transition from a site where the post-war national psyche and associated family structures can be optimistically redefined to a politically volatile environment replete with criminality and sexually disruptive women.
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Clementi, Charlotte. "The Adaptation of French Comedy Before Italian Unification: A Study and Observations on the Italian Transposition of Eugène Scribe." Translationes 16, no. 1 (2024): 89–103. https://doi.org/10.2478/tran-2024-0007.
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Abstract In terms of theatrical experience, the Italian nineteenth century is a special case on the European scene. The activity of dramatic writing and the scenic realization of the peninsula depend on French dramaturgy and Parisian repertoires. With this contribution, and thanks to a small corpus of fifteen unpublished texts from the 1830s, I propose to analyse the manuscripts of the Italian translations of Eugène Scribe’s work. We will examine the linguistic, cultural and structural interventions practised by the actress-adaptor Gaetana Rosa in her Italian translation for the Compagnia Reale Sarda. We will discover that the constraints imposed by the geopolitical context and the economic constraints of the theatre strongly influence the translation process and the evolution of prose in Italy.
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Blettery, E., P. Lecat, A. Devaux, et al. "A SPATIO-TEMPORAL WEB APPLICATION FOR THE UNDERSTANDING OF THE FORMATION OF THE PARISIAN METROPOLIS." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences VI-4/W1-2020 (September 3, 2020): 45–52. http://dx.doi.org/10.5194/isprs-annals-vi-4-w1-2020-45-2020.
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Abstract. This article presents a spatio-temporal web application dedicated to the co-exploitation of heterogeneous data spatialized in a common 3D environment, providing several paradigms for supporting their co-visualization and interactions within the 3D environment and across time. The relevance of this tool is demonstrated here with two use cases involving historians and sociologists with the common objective of better understanding the formation of the Parisian metropolis. The study focuses on the evolution of the city of Nanterre (Paris area), which underwent many changes in the 1950s, and in particular on shantytown areas. Through census as statistical data and aerial imagery as visual data, a group of historians and sociologists experimented the relevance of the joint exploitation of those heterogeneous data within the proposed spatio-temporal web application.
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Zainab, A. Abbood, S. Alshawi Imad, A. Alhijaj Asaad, and P. Vidal Franck. "Automatic sound synthesis using the fly algorithm." TELKOMNIKA Telecommunication, Computing, Electronics and Control 18, no. 5 (2020): 2439~2446. https://doi.org/10.12928/TELKOMNIKA.v18i5.15665.
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Our study is demonstrated a new type of evolutionary sound synthesis method. This work based on the fly algorithm, a cooperative co-evolution algorithm; it is derived from the Parisian evolution approach. The algorithm has relatively amended the position of individuals (the Flies) represented by 3-D points. The fly algorithm has successfully investigated in different applications, starting with a real-time stereo vision for robotics. Also, the algorithm shows promising results in tomography to reconstruct 3-D images. The final application of the fly algorithm was generating artistic images, such as digital mosaics. In all these applications, the flies’ representation started for simple, 3-D points, to complex one, the structure of 9-elements. Our method follows evolutionary digital art with the fly algorithm in representing the pattern of the flies. They represented in a way of having their structure. This structure includes position, colour, rotation angle, and size. Our algorithm has the benefit of graphics processing units (GPUs) to generate the sound waveform using the modern OpenGL shading language.
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Mrozowicki, Michał Piotr. "Tannhäuser rehabilitated (III) – Eugène d’Harcourt’s concert." Cahiers ERTA, no. 25 (2021): 81–104. http://dx.doi.org/10.4467/23538953ce.20.024.13548.
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In November and December 1894, a few months before the work’s reappearance on the Parisian stage, its very important selection (including especially the entire first and third acts) was presented by the count Eugène d’Harcourt, – by the way member of the elitist Jockey’s Club – during his “eclectic concerts” at the rue Rochechouart’s Salle de Concerts. The author of the article recalls juridical and artistic controversies provoked by these executions of Wagner’s opera. Tannhäuser’s fourth performance at Paris Opera’s stage was preceded, in the spring of 1895, by many publications, books and articles devoted to Wagner’s masterpiece. The most important, Étude sur « Tannhäuser » de Richard Wagner. Analyse et guide thématique, was written by Alfred Ernst and Élie Poirée who tried to show the value of Tannhäuser, considered already as a musical drama and an important stage of the composer’s evolution.
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Brennan, Thomas. "Taverns in the Public Sphere in 18th-Century Paris." Contemporary Drug Problems 32, no. 1 (2005): 29–43. http://dx.doi.org/10.1177/009145090503200104.
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The 18th-century Parisian tavern was public space that lay beyond the private spheres of home, family, or corporate identity. Taverns, like markets or roads, were without inherent order, so they required the ordering of public authority. For much of the old regime, taverns illustrate the public sphere in its subjection to public control. A second public sphere, found in the coffeehouses of Britain and the cafés of France, was a place of intellectual and social exchange that gradually challenged the royal monopoly on public issues. Yet taverns demonstrated the evolution of a third public sphere from a space monopolized by royal control to one in which the populace constituted a public with its own discursive practices and norms. In their increasingly autonomous use of taverns, the people of Paris were developing a model of behavior that extended to the political life of the city during the French Revolution.
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Hawthorn, Ainsley. "Middle Eastern Dance and What We Call It." Dance Research 37, no. 1 (2019): 1–17. http://dx.doi.org/10.3366/drs.2019.0250.
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This article traces the historical background of the term ‘belly dance’, the English-language name for a complex of solo, improvised dance styles of Middle Eastern and North African origin whose movements are based on articulations of the torso. The expression danse du ventre – literally, ‘dance of the belly’ – was initially popularised in France as an alternate title for Orientalist artist Jean-Léon Gérôme's 1863 painting of an Egyptian dancer and ultimately became the standard designation for solo, and especially women's, dances from the Middle East and North Africa. The translation ‘belly dance’ was introduced into English in 1889 in international media coverage of the Rue du Caire exhibit at the Parisian Exposition Universelle. A close examination of the historical sources demonstrates that the evolution of this terminology was influenced by contemporary art, commercial considerations, and popular stereotypes about Eastern societies. The paper concludes with an examination of dancers' attitudes to the various English-language names for the dance in the present day.
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Kara-Murza, Alexei A. "Eastern theocracy in Northern Eurasia: “The Ways of Russia” in the historiosophy of I. I. Bunakov-Fondaminsky." Philosophy Journal 14, no. 2 (2021): 5–20. http://dx.doi.org/10.21146/2072-0726-2021-14-2-5-20.
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The article examines the question of the evolution of the philosophical and historical views of the Russian intellectual and politician Ilya Isidorovich Fondaminsky (1880–1942; literary and political pseudonym “Bunakov”). A native of a Jewish merchant family who studied philosophy in Berlin and Heidelberg and an active socialist-revolutionary, I.I. Bunakov-Fondaminsky became one of the key figures of the Russian emigration. During the German occupation of France, he received Orthodox baptism and ended his life in a Nazi concentration camp (in 2004, he was canonized by the Patriarchate of Constantinople). The author focuses on the historiosophical concept of “Ways of Russia”, set forth by I.I. Bunakov-Fondaminsky in the articles of the 1920s and 1940s in the Parisian emigrant magazines “Modern Notes” and “Novy Grad”. According to Bunakov-Fondaminsky, historical Russia is “The East in the North”, and its fate is the history of the “eastern theocracy in the north of Eurasia”, for several centuries “irradiated” by the western waves.
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Haine, W. Scott. "The Development of Leisure and the Transformation of Working-Class Adolescence, Paris 1830–1940." Journal of Family History 17, no. 4 (1992): 451–76. http://dx.doi.org/10.1177/036319909201700407.
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The evolution of the pastimes of Parisian working-class youth between 1830 and 1940 reveals the interconnection between the rise of modern leisure and the development of modern adolesence. Two striking images halfway between literature and sociology, the gamin and the apache, illuminate the transformation of working-class adolescence from social and spatial exclusion during the 1830s to exclusivity by the 1900s. By the Belle Epoque, working-class adolescents had articulated their own subculture through the abundant and varied diversions of “the city of light”: dance halls, cafés, cinemas, sports, and newspapers. The growing sense of exclusivity among working-class adolescents, however, undermined a wider sense of class consciousness. Working-class youth, especially after 1900, increasingly identified more with leisure and youth than with work and class. In general, the workplace ceased to be a site where expression and creativity could be exercised and instead became an instrument, a means to an end: the wage.
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JATTIOT, ROMAIN, BENJAMIN LATUTRIE, and ANDRÉ NEL. "The first damselfly (Odonata, Lestidae) from the upper Eocene of Monteils (Gard, France)." Zootaxa 4750, no. 3 (2020): 432–36. http://dx.doi.org/10.11646/zootaxa.4750.3.9.
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The discovery of the first damselfly Lestes regina Théobald, 1937 from Monteils (Gard, France) supports the identity of late Eocene age of this outcrop with the historical outcrop of Célas, type locality for the type series of this species. Lestes regina is also documented from the late Eocene Isle of Wight basin, confirming the presence of significant contacts between this southern area and the anglo-Parisian lacustrine basin at that time. Nearly all the Eocene and Oligocene fossil Lestes from Western Europe have a particular character, viz. the presence of a supplementary row of cells between the veins MP and CuA. This character is much less frequent in extant Lestes and is still unknown among Neogene representatives of the genus.
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Zaman, Mustafeed, Laurent Botti, and Tan Vo Thanh. "Does managerial efficiency relate to customer satisfaction? The case of Parisian boutique hotels." International Journal of Culture, Tourism and Hospitality Research 10, no. 4 (2016): 455–70. http://dx.doi.org/10.1108/ijcthr-08-2015-0095.
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Purpose The purpose of this study is to examine the relationship between the managerial efficiency and the customer satisfaction of Parisian boutique hotels by using the multi-criteria decision analysis (MCDA) methods. Design/methodology/approach In the first stage, hotels’ managerial efficiency is assessed by data envelopment analysis to establish which hotel has the most efficient performance. In the second stage, the customer satisfaction of these hotels is estimated by the ELECTRE (ELimination et Choix Traduisant la RÉalité) method to assess the hotel’s ability to satisfy their customers. Findings Empirical results show that there is an inverse relation between customer satisfaction and ability to maximise the Revenue per Available Room (RevPAR). In other words, trying to improve efficiency implies a reduction in guests’ satisfaction (and vice versa). Research limitations/implications Therefore, through this research the authors can realise that hotel managers should give more attention to customer service because it has a more direct and important impact on customer satisfaction. It also positively impacts on resource management. However, there are some limitations to this study. First, this study only focuses on 12 hotels. Because the data set is very confidential, it is very difficult to have a bigger sample. Then, the evaluation is based on 2014 figures only. It could be interesting to know their performance for previous years to understand their evolution. Finally, it is necessary to know the percentage of direct reservations for each hotel. For instance, if a hotel is relying too much on online travel agents (i.e. Booking.com, Expedia, etc.), it needs to pay a significant amount of commission to these companies. As a result, it could have a good RevPAR but might pay a huge commission (for example, 20 per cent for most of sites) at the end. In terms of perspectives, it is necessary to conduct a more extensive research to test the hypothesis in a different context. Additionally, the data were taken for a single period of time. It will be very interesting to create a panel of hotels and collect data over a period of time (Barros, 2005; Barros and Santos, 2006; Barros and Deike, 2008). This would enable to better understand the relationship between managerial efficiency and customer satisfaction in a long-term prospective. Originality/value This paper presents the relationship between the managerial efficiency and customer satisfaction in Parisian boutique hotels context. Study suggests that in service industry, increase of firm’s efficiency could negatively impact the guest satisfaction. Therefore, through studying the authors can realise that why hotel managers should focus on customer satisfaction, which attributes play the vital role in customer satisfaction and how to optimize their resources. One of the originalities of this paper is that the authors use the customers’ feedback from the UGC websites (Trip Advisor and Booking.com) as the performance evaluation indicators for customer satisfaction. The data are very confidential and hard to get.
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Jangal, Candy, Mathieu Lovera, Sayon Dambélé, and Marie Jauffret-Roustide. "Sociological and spatial dynamics of an evolving Parisian open drug scene: the case of the “Colline du Crack”." Drugs and Alcohol Today 21, no. 3 (2021): 213–24. http://dx.doi.org/10.1108/dat-02-2021-0010.
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Purpose In November 2019, an open drug scene, commonly called “Colline du crack” and located in Paris was forcibly closed after 10 years of existence. This paper aims to understand how that space has evolved over the years to become a major hub for drug use. Design/methodology/approach The authors used a qualitative approach that included interviews with 52 people who use drugs (PWUD) and 54 field professionals and ethnographic observations. The authors asked questions about the evolution of the major sites of crack visibility in Paris and about social representations related to these spaces. They compared their datas with datas drawn from gray literature. Findings La Colline emerged on an isolated slope, away from police repression and local anti-crack organizations. In the beginning, it was a discrete, communal space regulated by PWUD. Starting in 2015, social transformations in the neighborhood turned la Colline into a central hub for dealing and using crack. La Colline became an open scene which led to its evacuation in 2019. Originality/value This paper contributes to literature on community building of drug consumers. The authors are also using a wide variety of methodological tools.
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Hartogsohn, Ido. "Constructing drug effects: A history of set and setting." Drug Science, Policy and Law 3 (January 2017): 205032451668332. http://dx.doi.org/10.1177/2050324516683325.
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Set and setting is a term which refers to the psychological, social, and cultural parameters which shape the response to psychedelic drugs. The concept is considered fundamental to psychedelic research and has also been used to describe nonpharmacological factors which shape the effects of other agents such as alcohol, heroin, amphetamines, or cocaine. This paper reviews the history and evolution of the concept of set and setting from the 19th-century Parisian Club des Hashischins, through to 1950s psychotomimetic research on nondrug determinants of psychopharmacology, the use of extra-drug techniques by psychedelic therapists of the 1950s, and the invention of the concept of set and setting by Leary. Later developments and expansions on the concept of set and setting are discussed, and the term of collective set and setting is suggested as a theoretical tool to describe the social forces which shape individual set and setting situations. The concept of set and setting, it is argued, is crucial not only for psychedelic research but also for advancing drug research and developing more effective drug policy.
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Chalaby, Jean K. "Twenty years of contrast: the French and British press during the inter-war period." European Journal of Sociology 37, no. 1 (1996): 143–59. http://dx.doi.org/10.1017/s0003975600008006.
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The purpose of this paper is to explain the causes of the contrast between the evolution of the French and British press presse franaise et britannique pendant l'entre-deux-guerres. during the inter-war period. The most visible sign of this difference was the commercial success of the British press and the stagnation of the French press. From a historical perspective, the most general factor was that market mechanism has a much more determining influence on the British rather than on the French press. While these decades were marked in Great Britain by a circulation war, competition was neutralised in France by the anti-competitive agreement reached among the leading Parisian newspapers. Market mechanisms also influenced the development of different patterns of newspaper ownership in the two nations. Stiff competition and a rational mode of newspaper ownership forced British journalists to develop journalistic practices and discursive strategies more commercially oriented than those of their French counterparts. These strategies, which constitute the primary cause of the commercial success of the British press, are illustrated by the phenomenon of depoliticisation.
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Федотов, Дмитрий Александрович. "История изучения Ватиканского и Парижского списков рукописей Гомилий Иакова Коккиновафского". Вестник церковного искусства и археологии, № 2(8) (15 жовтня 2023): 95–103. https://doi.org/10.31802/bcaa.2023.8.2.004.
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Статья посвящена истории изучения Ватиканского (Vat. gr. 1162) и Парижского (Paris gr. 1208) списков лицевых рукописей Гомилий Иакова Коккиновафского. Рассматриваются работы отечественных и зарубежных исследователей рукописей Гомилий и показывается специфика их изучения. Особое внимание уделено диссертации К. Линарду. В статье прослежена эволюция интереса к рукописям и оценки их как явления византийской культуры. В заключении говорится о большом потенциале дальнейшего изучения рукописей на основе комплексного анализа текста и изображений. The article is devoted to the history of studying the Vatican (Vat. gr. 1162) and Parisian (Paris gr. 1208) lists of obverse manuscripts of the Homilies by Iakovos of Kokkinobaphos. The works of domestic and foreign researchers of the manuscripts of Homilies are considered as well as the specifics of their studies. Special attention is paid to K. Linardu’s dissertation. The article traces the evolution of interest in manuscripts and their evaluation as a phenomenon of the Byzantine culture. In conclusion, it is said about the great potential for further study of manuscripts based on a comprehensive analysis of text and images.
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Bischin, Maria-Roxana. "Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes." Sæculum 47, no. 1 (2019): 153–67. http://dx.doi.org/10.2478/saec-2019-0015.
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AbstractThe purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.
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Fernandez, Virginie. "Gaboriau, Reviewer of the Manners in L’argent Des Autres." Studia Litterarum 5, no. 4 (2020): 126–45. http://dx.doi.org/10.22455/2500-4247-2020-5-4-126-145.
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L’Argent des autres (1873) is not a “true” detective novel like Monsieur Lecoq (1868) written by the same author, Émile Gaboriau. The novel appeared in print eight years after the publication of L’Affaire Lerouge, the first French detective novel; however, there is no police investigation; the culprit is known from the first pages. Like his previous novels, La Dégringolade (1871–1872) and La Corde au cou (1872–1873), L’Argent des autres shows an evolution towards the novel of manners in which Gaboriau reveals the failures of the society of his time. Thus, the novel depicts a dark picture of Parisian finance. Furthermore, if there is a criminal in this serial novel, it is a woman! Gaboriau takes his reader into the viscera of the world of money and discloses the social mechanics of those who live off the money of others. Gaboriau denounces the appetites of the morally corrupt society through the description of fictional spaces, such as the Comptoir de crédit mutuel, the office of the newspaper Le Pilote financier, the office of the speculator Lattermann, on the one hand, and of actual emblematic places such as the Bourse, the large boulevards or the Bois de Boulogne on the other
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Zhang, Jingyuan, Jusheng Song, and Zouyang Fan. "The Study of Historical Progression in the Distribution of Urban Commercial Space Locations—Example of Paris." Sustainability 15, no. 19 (2023): 14499. http://dx.doi.org/10.3390/su151914499.
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Commercial space locations are a long-term investment for developers, and they are crucial for sustainable profitability. The distribution of commercial spaces in Paris has undergone a constant evolutionary process over the past few centuries, influenced by various socioeconomic factors. This study investigates the evolution of commercial space locations in Paris over three historical stages—1690, 1860, and 2023, using Space Syntax and Cluster Analysis. By examining the historical progression of Parisian commercial spaces from an urban planning perspective, this article aims to provide insights for urban developers to strategically plan for commercial spaces. The first part of the study is an analysis of the centrality and accessibility of commercial space locations within the urban street network using Space Syntax. Next, Cluster Analysis is employed to further examine the distribution patterns of commercial spaces with high centrality. By comparing the results from three different historical stages, the study reveals two major patterns. One is a full-scale optimization of commercial space centrality within the historical core of Paris. Another one is the fission and consolidation of commercial spaces into multi-centric clusters and a geographical dispersal from central Paris. Finally, a multi-disciplinary discussion is conducted to decode the socioeconomic motivations behind these patterns and provide guidance for future commercial planning.
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Hibberd, Sarah. "Le Naufrage de la Méduse and Operatic Spectacle in 1830s Paris." 19th-Century Music 36, no. 3 (2013): 248–63. http://dx.doi.org/10.1525/ncm.2013.36.3.248.
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Abstract Grand opera's love of all-consuming spectacle is evident in its cataclysmic eruptions, explosions, and shipwrecks, its magnificent processions and ceremonies, and its breathtaking reconstructions of sublime landscapes, from Auber's La Muette de Portici (1828), through Halévy's La Juive (1835), to Meyerbeer's Le Prophète (1849), and beyond. An understanding of the Parisian public's visual experiences and expectations outside the opera house can help in theorizing grand opera's distinctive aesthetic. Contemporary spectacles d'optique, including the tableau vivant, panorama, diorama, and nocturnorama, attest to the higher powers of sensory attentiveness demanded of audiences. Some offered a sensory overload that encouraged complete absorption in the spectacle; others encouraged critical reflection as music and image drew attention to themselves through a disjunction of narrative or mood. Auguste Pilati and Friedrich von Flotow's opera Le Naufrage de la Méduse (Théâtre de la Renaissance, 1839) incorporated an ambitious animated representation of Théodore Géricault's celebrated painting on the subject and generated critical discussion about the relationship between sound and vision. Le Naufrage and the spectacles d'optique of the period offer a prism through which to view opera's evolution from a contemplative to a more involving form of drama in the second quarter of the nineteenth century, and to contextualize French grand opera's distinctive fascination with the interplay of music and spectacle, narrative and display, and the engagement of audiences in constructing meanings.
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Garofalo, Damiano. "Deicides, sacrifices and other crucifixions: for a critical reinterpretation of Italian Holocaust cinema." Modern Italy 22, no. 2 (2017): 143–53. http://dx.doi.org/10.1017/mit.2017.15.
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This essay analyses the evolution of the Holocaust film genre in Italy through the paradigm of sacrifice, understood both as a process of martyrisation and Christianisation of the Holocaust, and from the point of view of the instrumental use of the figure of the national hero. Using the examples of the opening sequence of the deicide and the metaphorical crucifixion of Matteo Blumenthal at the end ofL’ebreo errante(The Wandering Jew, Goffredo Alessandrini, 1948); the sacrifice of Giulia inL’oro di Roma(The Gold of Rome, Carlo Lizzani, 1961), who follows her Jewish nature faced with the round-up of 16 October 1943 – the same fate suffered by Edith, the Parisian Jew inKapò(Gillo Pontecorvo, 1959); and the self-inflicted death of Guido, the narrative device used to justify the survival of the son inLa vita è bella(Life Is Beautiful, Roberto Benigni, 1997), this contribution will focus on the definition of the Christianised topos of sacrifice, connected to the conception and general use of the term ‘Holocaust’. The overall thesis, running through the analysis of these four films, is that the paradigm has contributed significantly to the creation of a context of conflicting memories, influencing therefore the formation of the religious, cultural, political or national identities that have been involved historically in the public and private memory of the Holocaust.
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Sobiecka, Anna. "Paryż Zapolskiej." Porównania 36, no. 2 (2024): 99–114. https://doi.org/10.14746/por.2024.2.5.
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This article aims to reflect on the literary representations of Paris in Gabriela Zapolska's correspondance and published works. Her six year stay in Paris (from 1889 to 1895), described as a ‘Parisian university’ by Zbigniew Raszewski, was a period of development of the writer's acting and dramatic sensibilities (largely thanks to her collaboration with André Antoine in the Théâtre Libre), as well as the formation of her literary and artistic views, along with her budding conceptions of the city during this period. Analysing Zapolska's perception poetry and her shifting narrative perspective, we can observe the evolution of the topographic conception of the city in her descriptions of the nooks and crannies of urban space, which strongly metaphorise her experience of the city. Furthermore, in Zapolska's literary representations Paris becomes a seperate work of art, due to her fascination with modernity and with realising the new prospects that the modern city brings to the observer. The city of Paris, which is viewed as a living organism, is likened to a literary text, which is in turn likened to a cultural palimpsest. The process of aestheticising of urban space found in Zapolska's descriptions is proof of the literary shifts in viewing and experiencing the city at the turn of the 20th century – a passive observer becomes an active participant.
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Van, Lan-Anh, Kim-Dan Nguyen, François Le Marrec, and Aïcha Jairy. "Development of a Tool for Modeling the Fecal Contamination in Rivers with Turbulent Flows—Application to the Seine et Marne Rivers (Parisian Region, France)." Water 14, no. 8 (2022): 1191. http://dx.doi.org/10.3390/w14081191.
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Bacterial pollution in the water comes in particular from Escherichia coli and fecal coliforms, responsible for gastroenteritis and diarrhea, intestinal streptococci or enterococci (urinary tract infections and peritonitis), salmonella which can cause serious gastroenteritis, shigella (dysen-teritis, gastroenteritis), cholera vibrio (cholera). As 23 sites on the Seine and Marne Rivers (Parisian Region) would be identified as the natation competition sites for the Paris-2024 Olympic and Paralympic Games, the water quality at these sites should be seriously monitored. Numerical modeling can be considered one powerful tool to watch the water quality parameters. However, measurements show that the water quality is not homogeneous in a river cross-section, and one-dimensional (1D) models are not enough to accurately calculate the bacteriological concentration dispersion in the aquatic environments. Therefore, a two-dimensional model has been developed by coupling the TELEMAC-2D model and its water quality module WAQTEL for simulating bathing water quality in the Seine and Marne Rivers. The model was validated against in situ measurements and was compared against a 1D model. Results show that this model can simulate not only the longitudinal evolution but also the transverse dispersion of bacteriological pollutants. Then, a 3D multi-layer model has been developed around a bathing site using the TELEMAC-3D model. The result of the 3D model is promising and allows us to get a finer representation of the bacteriological concentration in three dimensions.
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Schweitzer, Claudia. "Study on French Baroque singing by accent and intonation segmentation." Journal of Speech Sciences 7, no. 2 (2019): 09–30. http://dx.doi.org/10.20396/joss.v7i2.15003.
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The baroque music is modelled on the language, so the claim of the composers of the time and the report of the musicians and musicologists of today. It is thus national because it always refers to a specific language. Typically, we consider as a proof the work of the composer Jean-Baptiste Lully who, as the saying goes, would have formed his recitatives according to the declamation of the actress Champmeslé. Starting from a specific linguistic material, Baroque music is national: it is French, Italian, German, English ... Numerous studies, in particular musicological, have shown the treatment of language rhythm among composers. In this article we will discuss the subject from a wider angle and try to show by an accentuated and intonational segmentation of the text and the melody composed by the musicians, to what extent the prosody of French and the French Baroque music correspond.We use the prosodic segmentation model proposed by Piet Mertens for French, and we base our study on a body of recitatives, because this genre is considered extremely close to declamation, and therefore to the spoken language. Despite the differences between the language used in the compositions and the standard Parisian French of the 21st century, due to the style and evolution of French, Mertens' approach proves to be convincing in describing the compositional setting of the text by composers French Baroque. The research thus confirms the close proximity between textual and musical prosody for the French Baroque recitative.
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Maksimyuk, T. M. "Spanish Themes in the Work of Natalia Goncharova." Cuadernos Iberoamericanos 12, no. 4 (2025): 35–49. https://doi.org/10.46272/2409-3416-2024-12-4-35-49.
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Many research papers examine the artistic heritage of the Russian painter Natalia Goncharova, yet relatively few analyze the Spanish themes in her work that she first explored in her sketches for ballets inspired by Spain and then in a series of paintings known as «The Spaniards» («Las españolas»). Nonetheless, in 1939, in the artist’s lifetime, an exhibition «Natalia Goncharova: Spaniards and magnolias» was held at the French gallery «Le Cadran». Marina Tsvetayeva, Russian poet and prose writer, described «The Spaniards» in her essay «Natalia Goncharova: Life and Work», highlighting the distinctive features of this series of paintings. These include the musical rhythm of contours and colour combinations, ethnographic elements, repetitive motifs, at the same time the variety of their interpretation, since the painter’s style evolved from decorative cubism to Art Deco and neoclassicism. Works with Spanish themes play an important role in Natalia Goncharova’s art because the images she created from 1916 to the early 1940s, during her Parisian period, reminded her of the homeland she had left. Thus, the study of the evolution of style, technique and function of Spanish themes helps to not only evaluate the influence of the theatre and flamenco on this series of works, but also to identify its two key components, namely the folkloric and the aristocratic. Combining the Western form of Spanish images with their Eastern spirit, Natalia Goncharova underlined the similarities between Russian and Spanish culture.
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Brandely, Maxime, Samuel Coussy, Denise Blanc-Biscarat, Remy Gourdon, and Gaëtan Blanck. "Chemical Stabilization Used to Reduce Geogenic Selenium, Molybdenum, Sulfates and Fluorides Mobility in Rocks and Soils from the Parisian Basin." Environments 9, no. 7 (2022): 78. http://dx.doi.org/10.3390/environments9070078.
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Rocks and soils excavated from civil works frequently present high concentrations of naturally occurring leachable (oxy-)anions. This situation raises concerns regarding the potential transfer of contaminants to groundwater in a storage scenario. This study was carried out to give practical insights on the ability of various stabilizing agents to reduce molybdenum (Mo), selenium (Se), fluorides and sulfates mobility in four types of naturally contaminated excavated materials. Based on standardized leaching tests results, Mo and Se were effectively immobilized after zero valent iron or iron salts additions. Although alkaline materials were found to effectively reduce fluorides and sulfates mobility, their addition occasionally caused a subsequent increase in Mo and Se leaching due to pH increase. None of the reagents tested allowed a simultaneous immobilization of all (oxy-)anions sufficient to reach regulatory threshold values. The remaining difficulties were related to: (i) sulfates leaching from gypsum-rich samples, (ii) fluorides leaching from clayey samples and (iii) Mo and sulfates mobility from tunnel muck. Altogether, the study revealed that the choice of stabilizing agents should be made depending on the speciation of the contaminant or else an opposite impact (i.e., increase in contaminant mobility) might be triggered.
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BOTTIN, Lorraine, Solenn LE CADRE, Angélique QUILICHINI, Philippe BARDIN, Jacques MORET, and Nathalie MACHON. "Re-establishment trials in endangered plants: A review and the example of Arenaria grandiflora, a species on the brink of extinction in the Parisian region (France)." Ecoscience 14, no. 4 (2007): 410–19. http://dx.doi.org/10.2980/1195-6860(2007)14[410:rtiepa]2.0.co;2.
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Mead, Christopher. "Urban Contingency and the Problem of Representation in Second Empire Paris." Journal of the Society of Architectural Historians 54, no. 2 (1995): 138–74. http://dx.doi.org/10.2307/990965.
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Charles Garnier's Paris Opéra (1861-75) and Baron Haussmann's contemporary replanning of Paris (1853-70) supposedly represent the Second Empire of Napoléon III. But this case study of the Opéra within the context of its quarter of Paris contradicts the usual assumptions that the monument and the city were either the inevitable products or the characteristic political expressions of the state. First, a chain of events dating back to the seventeenth century is reconstructed in order to demonstrate that the decision reached in 1860 to site the Opéra on the Grands Boulevards at the end of a projected new avenue was less the consequence of an imperial plan than the pragmatic result of the often contingent urban history of Paris. Second, the parallel and equally pragmatic evolution of the characteristic Parisian façade of a giant order on an arcuated base is traced from the seventeenth to the nineteenth centuries in order to explain why Garnier's Opéra and Haussmann's surrounding buildings came to have the same form of elevation. Interpreted in light of both the Opéra's own ambiguous status as a state institution and the ambiguous nature of nineteenth-century bourgeois civil society, this evidence suggests that neither urban nor architectural forms are fixed in their meaning, but tend rather to adjust their meaning to the changing circumstances of their use. This article concludes that a city and its monuments find their meaning in the continuous process by which a city's inhabitants shape and experience their surroundings, rather than in the episodic political programs of the state.
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Frățilă, Lioara. "An Analysis of the Piano Sonata in C Minor, Op. 4 by Frédéric Chopin." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 245–72. http://dx.doi.org/10.24193/subbmusica.2021.1.16.
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"The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to the fact that ”Chopin’s compositions have opened a new era in the piano’s history”. Being present in the Parisian salon with Rossini and Liszt, the great Pole achieved an organic interweaving between the tradition of Austro-German and French music. The analysis of the sonata No. 1 in C-minor op. 4 builds the core of the present study and relevantly denotes the connection of its architecture together with the set of conventions belonging to the format of the sonata-genre coming from Beethoven. As we know, the Sonata-pattern designed by Beethoven was expanded throughout the Romantic period as well as the conditions under which the aesthetics of Romanticism found a specific corridor reaching its maximum of expression. In a way of an idiomatic, natural model of transmission, the Chopin’s style of conceiving music played its predominant role. Taking into account in this approach theories belonging to the aesthetics field and some theoretical applications with significance for understanding the levers of construction concerning this sonata, op. 4 (composed when the composer was only eighteen (1828)) and Chopin’s approach of the other stages of emancipation within the genre, I will highlight its rules which emphasize implicitly the dialogue with the ”Sonata-Fantasy” genre, as this construct appears (for instance) in sonata op. 58. Keywords: language, two themes sonata, polyphony, form, evolution "
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Uvarov, Pavel. "Lessons of the Cabochiens’ revolt in 1413." Annual of French Studies 57 (2024): 35–69. http://dx.doi.org/10.32608/0235-4349-2024-1-57-35-69.
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The uprising that took place in Paris in 1413 and traditionally referred to as the Cabochiens’ revolt has long been the subject of monographic research. Its story is presented only in the context of large narratives about the civil wars of the Bourguignons and Armagnacs, that is quite justified, but does not imply an increase in scientific knowledge. Moreover, all available sources have been studied well already. In this article, it is proposed to approach this event using the so-called "out-of-the-way effect", which Mikhail Bakhtin wrote about and which Aron Gurevich liked to recall. In this case, the events in Paris in 1413 may be associated with much larger processes, which were previously defined as the "crisis of feudalism", which formerly caused considerable controversy. One of the manifestations of this crisis was considered as "bastard feudalism", though this term was although disputed in historiography. The formation of a modern state (État moderne) was an equally debated process. It is also important to include the Cabochiens’ revolt in the series of urban movements of the second half of the 14th – 15th centuries. Such a combination does not interfere, but rather helps to identify the specifics of the events of 1413, which firmly occupied a place in the chain of Parisian "revolutions" that stretched for six centuries or even more. In 1413, several processes temporarily merged in Paris, each of which had its own logic and its own history. These are the political activity of the University of Paris, and the movement for the reform of the Church and the kingdom, and the logic of the struggle of feudal rulers, and the evolution of the image of royal power, and the balance of forces within the Paris municipality, and the traditions of urban riots, and much more. In addition to the effect of "non-occurrence", the technique of defamiliarisation, developed at the beginning of the last century by Victor Shklovsky, a Russian formalist philologist, may also be useful. It allows you to look at a familiar thing from an unexpected side, breaking stereotypes of perception. Regarding the Cabochiens, this allows us to draw attention to how immediately after the uprising work began to remove all references to the participation in the events of the University, the municipality, "moderate reformers", some aristocrats and to construct a negative image of butchers and knackers, hungry for blood and money, who managed to lead the Parisian rabble. This image made it possible to contaminate the Paris events of 1413 and 1418. As always, the power of stereotypes turned out to be so powerful that phenomena of fundamentally different nature were combined here: in one case, it was about a movement based on municipal structures and amenable to socio-political interpretation, in the other – about a surge of wild violence comparable to St. Bartholomew's Night and the September murders of 1792.
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Galam, Eric, Camille Vauloup Soupault, Lucie Bunge, Céline Buffel du Vaure, Emilie Boujut, and Philippe Jaury. "‘Intern life’: a longitudinal study of burnout, empathy, and coping strategies used by French GPs in training." BJGP Open 1, no. 2 (2017): bjgpopen17X100773. http://dx.doi.org/10.3399/bjgpopen17x100773.
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BackgroundMore than half of French medical GP trainees (GPTs) suffer from burnout.AimTo define and follow the evolution of risk factors, such as empathy and coping strategies, associated with burnout in this population.Design & settingProspective longitudinal study involving volunteers of 577 Parisian university GPTs in 2012.MethodSelf-reported anonymous online questionnaires were sent three times every 6 months to all participants. Stress was measured using the Intern-Life scale and burnout using the Maslach Inventory, and anxiety and depression measured using the Hospital Anxiety and Depression Scale (HADS). Sociodemographic, professional, and personal data, including coping strategies and measures of empathy were also collected.ResultsIn total 343 questionnaires were fully completed at baseline (T0): 304 were usable at baseline, 169 were usable at 6 months (T1) and 174 at 1 year (T2). Stress rates decreased sharply between T1 (scores 42.96) and T2 (17.08), while scores for burnout remained relatively stable: more than 13% of GPTs had high scores in all three dimensions of burnout. Depersonalisation increased from 61% (T1) to 66% (T2). One hundred and four paired samples were analysed between T0 and T1, and between T1 and T2. Emotion-centred coping was associated with emotional exhaustion (P<0.05), while professional support reduced it. Experiences of aggression increased depersonalisation (P<0.05). Social support, problem-centred coping, perspective-taking empathy, and professional support improved the sense of personal accomplishment (P<0.05).ConclusionTools to help GPTs are available but are underused. More training in doctor–patient relationships and understanding of medical hidden curricula are necessary to decrease burnout among GPTs and improve their wellbeing and patient care.
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Morin, Eymeric, Jean-Jacques Macaire, Florent Hinschberger, et al. "Spatio-temporal evolution of the Choisille River (southern Parisian Basin, France) during the Weichselian and the Holocene as a record of climate trend and human activity in north-western Europe." Quaternary Science Reviews 30, no. 3-4 (2011): 347–63. http://dx.doi.org/10.1016/j.quascirev.2010.11.015.
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Barles, S. "Urban metabolism and river systems: an historical perspective – Paris and the Seine, 1790–1970." Hydrology and Earth System Sciences Discussions 4, no. 3 (2007): 1845–78. http://dx.doi.org/10.5194/hessd-4-1845-2007.
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Abstract. The aim of this paper is to analyse interaction between Paris and the Seine during the industrial era, 1790–1970, a period marked by strong population growth, changes in techniques, and the absence of specific legislation on environmental issues. The viewpoint focuses on exchanges of waters and wastes between city and river, quantifying them and tracing evolution in the light of the strategies implemented by the stakeholders in charge. The study combines industrial ecology, local history and the history of technology. From 1790 to 1850, waste matters, and especially excreta, were considered as raw materials, not refuse: they generated real profits. The removal of human excreta aimed not only at improving urban hygiene, but at producing the fertilizers needed in rural areas. Discharging them into the river was out of the question. But after the 1860s, several factors upset this exploitation, notably domestic water supply. Even so, Parisian engineers continued to process sewage using techniques that would not only ensure hygiene but also conciliate economic and agricultural interests. Both of these early periods are thus noteworthy for a relative limitation of the river's deterioration by urban wastes. Not until the 1920s, when domestic water supply had become the rule and excreta came to be considered as worthless waste, was the principle of valorisation abandoned. This led to important and long-lasting pollution of the Seine, aggravating the industrial pollution that had been in evidence since the 1840s. Analysing the priorities that led to the adoption of one principle or another in matters of urban hygiene and techniques, with the causes and consequences of such changes, enables us to understand the complex relations between Paris and the Seine. From raw material to waste matter, from river to drain, the concept of quality in environment remains the underlying theme.
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Balandina, N. P. "Ettore Scola. Historical and Family Chronicles of the 1980s." Art & Culture Studies, no. 3 (September 2023): 124–57. http://dx.doi.org/10.51678/2226-0072-2023-3-124-157.
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The article explores the language and themes of the films made by Italian film director Ettore Scola in the 1980s. The author of the article considers this period of Ettore Scola’s career in the context of the general evolution of his cinematography and the development of Italian cinema — movement from early Italian-style comedies to historical frescoes and parables of elusive time. Scola’s films not only reflect the social, political and cultural changes in the Apennine Peninsula in the last three decades of the 20th century, but also address universal, philosophical themes. These melancholic stories often contain a warning of danger and a reminder of responsibility for our actions which can lead to irreparable consequences. In 1983, the director made one of his best and most famous films, Ballando, ballando, in which the characters do not speak a word. Presenting a Parisian ballroom as a model of history, Scola argues that the value of a person’s private life is undeniable, and that it is he, the hero emerging from the elements of everyday life — funny, absurd, and contradictory, but able to hope in spite of unbearable circumstances — who is its main protagonist. In The Family (1986), this model is a flat in Rome, where the protagonist’s family has lived for decades. Finally, Skola’s What Time Is It? (1989) develops the findings from his previous films, but unlike them, it does not present a group portrait in an interior setting against the backdrop of the 20th century but a dialogue between two characters — father and son — taking place during a city walk on a single day. However, this chamber family chronicle is also imbued with reflections on the relationship between an “ordinary” man and the time of big history.
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SAWAI, ETSURO, and MARIANNE NYEGAARD. "Response to Britz (2022) regarding the validity of the giant sunfish Mola alexandrini (Ranzani, 1834) (Teleostei: Molidae)." Zootaxa 5383, no. 4 (2023): 561–74. http://dx.doi.org/10.11646/zootaxa.5383.4.7.
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The small family of ocean sunfishes has a long and complicated taxonomic and nomenclatorial history dating back several centuries. Most recently, Britz (2022) questioned the validity of Mola alexandrini (Ranzani, 1839) as the valid name for Mola sp. A sensu Yoshita et al. (2009). Specifically, he questioned the authenticity of the purported Orthragoriscus alexandrini holotype rediscovered by Sawai et al. (2018) due to uncertainties regarding the original units of measurement, along with discrepancies between the original illustration and the purported holotype. He also questioned the reliability of the illustration to reflect the fresh morphology, and the adequacy of the species description (sans illustration and holotype) to link it to any of the currently recognized Mola species. In summary, Britz (2022) opined that M. alexandrini is a species inquirenda. Here we respond to Britz’s concerns with the findings from an additional literature review. Firstly, the original species description appears to give measurements in ‘Parisian units’, yielding a discrepancy in length with the purported holotype within human error. However, due to various uncertainties, length does not appear to be a robust piece of evidence to neither confirm nor refute the specimen’s authenticity. Secondly, the morphological differences between the original illustration and the purported holotype were found to be within the expected level of accuracy for Mola illustrations at the time, by both Ranzani and others. Thirdly, a contemporaneous publication describes how Ranzani himself bought the specimen which became the Or. alexandrini holotype, suggesting he would likely have seen it in its fresh state, rendering it unlikely he would have produced a species description and illustration incongruent with this. Fourthly, re-examining the original species description suggests this provides adequate and sufficient information to link Or. alexandrini to Mola sp. A, even in the absence of a holotype. Finally, during this review, we came upon an even older paper describing Or. alexandrini, and we conclude that the currently valid name for Mola sp. A sensu Yoshita et al. (2009) is Mola alexandrini (Ranzani, 1834).
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Heiko, Тetiana. "LEXICAL BORROWING IN NEOLOGY DIMENSION OF CONTEMPORARY FRENCH." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 42 (2022): 31–48. http://dx.doi.org/10.17721/2663-6530.2022.42.05.
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The article deals with the state of neologism processes and the dynamics of borrowing in the modern French language for the period 2015-2018, examines the theoretical foundations of the above-mentioned linguistic phenomena and a justified method of researching various aspects of neologisms and the results of the analysis of borrowings. The use of the Néoveille platform made it possible to semi-automatically detect, describe linguistically, and trace the temporal evolution of neologisms from three complementary points of view: temporal, linguistic, and socio-pragmatic. In the temporal aspect, it is important to distinguish three moments in the life of neologisms: appearance, possible distribution and possible lexicalization. Linguistic approach allows to describe formation mechanisms, as well as combinatorial and distributive properties of loanwords. A socio-pragmatic point of view makes it possible to identify the places where neologisms are used. By applying these points of view, a system capable of semi-automatically detecting lexical innovation and tracing its evolution on a large dynamic corpus was modeled. Borrowings make up about 6 % (or 1,429 tokens) of innovations in modern French [3]. About a thousand xenisms should be added to this number, as well as a significant number of other formations from borrowed bases. Over 90 % of these loanwords are of Anglo-American origin, while xenisms show more linguistic diversity. The spheres of human activity that are most open to borrowing are fashion, sports, technology, and the economy, and among the resources, the women's press, Parisian magazines, and the yellow press are the most fruitful. Borrowings, like all neologisms, are more than 75 % hapax or quasi-hapax, or rather neologisms with low or very low diffusion. The appearance of Anglo-American borrowings is explained both by the needs of the nomination and motivated by the prestige of the English language, which in recent decades,especially with the advent of digital communication, has acquired the status of a second integrated language used by the French in private and professional life. English plays the same role for most modern languages. This global lingua franca is an instantly accessible resource for lexical innovation and a provider of productive morphosyntactic patterns, usually of a synthetic nature, actively implemented in French. The study of neologisms of higher frequency shows that the popularity of social networks and some social practices contributed to the emergence of borrowings in many fields. The described parameters made it possible to present cases of diffusion of borrowings, not only through stabilized repetitions, but also to state certain linguistic phenomena, in particular, integration into the morphogrammatic subsystem of the French language.
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Gravari-Barbas, Maria, and Sébastien Jacquot. "Mechanisms, actors and impacts of the touristification of a tourism periphery: the Saint-Ouen flea market, Paris." International Journal of Tourism Cities 5, no. 3 (2019): 370–91. http://dx.doi.org/10.1108/ijtc-11-2018-0093.
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Purpose The purpose of this paper is to analyze the mechanisms involved in the progressive integration of marginal and peripheral urban areas, located close to established tourist destinations, into the visited tourism perimeter, and the interplay of the supporting public and private actors. It focusses on the intertwining processes of commercial gentrification, heritagization and aestheticization of former “ordinary” or marginal areas as tools for and indications of their tourism development. It explores how the metropolitan tourism geography is progressively redesigned. Design/methodology/approach Following a comprehensive literature analysis, the Saint-Ouen flea market was selected as the object of study. The methodology is based on extensive in situ observations, a systematic analysis of the press and a corpus of tourist guides and several in-depth interviews with local public and private stakeholders. Findings This paper shows that combined public (Parisian urban and tourism stakeholders) and private interests led to the integration in the tourism perimeter of a space that was once on the margins of the tourism and metropolitan area. It highlights the mechanisms of this integration and the link between touristification, gentrification, aestheticization and artification. It was found that private investors and political decision makers regard Saint-Ouen flea market as a major opportunity for tourism and real estate development, which leads to some contradictions regarding heritage protection. Finally, it shows that market traders opposed the evolution of a commercial place into a place of symbolic consumption. At another level, it shows the stakes of tourism diversification in a metropolitan tourism destination that is characterized by overtourism. Research limitations/implications More studies are needed to identify not only the potential of flea markets to diversify tourist areas and practices, but also any potential resistance. The consequences on metropolitan tourism can be the subject of additional investigations: can this tourism diversification reduce overtourism in the centre, or is it only a diversification that functions as an additional driver of attractiveness? This research opens new perspectives on the modes of diversification (spatial and experiential) of metropolitan tourism as well as on the role that commercial changes play in these evolutions. It also makes it possible to question the modes of engagement of investors and traders in tourism. Originality/value This is an in-depth analysis of the case of Saint-Ouen flea market. The issues raised herein are applicable to similar peripheral urban areas, flea markets especially, that are rarely studied on the tourism-aestheticization-gentrification nexus. The analysis also shows the diversification of places and imaginaries of metropolitan tourism.
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Barles, S. "Urban metabolism and river systems: an historical perspective – Paris and the Seine, 1790–1970." Hydrology and Earth System Sciences 11, no. 6 (2007): 1757–69. http://dx.doi.org/10.5194/hess-11-1757-2007.
Full textAbstract:
Abstract. The aim of this paper is to analyse metabolic interaction between Paris and the Seine during the industrial era, 1790–1970, a period marked by strong population growth, technological changes, and the absence of specific legislation on environmental issues. The viewpoint focuses on exchanges of waters and wastes between city and river, quantifying them and tracing their evolution in the light of the strategies implemented by the stakeholders in charge. The study combines industrial ecology, local history and the history of technology. From 1790 to 1850, waste matters, and especially excreta, were considered as raw materials, not refuse: they generated real profits. The removal of human excreta aimed not only at improving urban hygiene, but at producing the fertilizers needed in rural areas. Discharging them into the river was out of the question. But after the 1860s, several factors upset this exploitation, notably domestic water supply: night soil became more and more liquid, difficult to handle and to turn into fertilizer; once utilised, the water had to be removed from the house; at the same time, the sewerage system developed and had negative impacts on the river. Even so, Parisian engineers continued to process sewage using techniques that would not only ensure hygiene but also conciliate economic and agricultural interests: combined sewerage system and sewage farms. Both of these early periods are thus noteworthy for a relative limitation of the river's deterioration by urban wastes. Not until the 1920s, when domestic water supply had become the standard and excreta came to be considered as worthless waste, was the principle of valorisation abandoned. This led to important and long-lasting pollution of the Seine (despite the construction of a treatment plant), aggravating the industrial pollution that had been in evidence since the 1840s. Analysing the priorities that led to the adoption of one principle or another in matters of urban hygiene and techniques, with the causes and consequences of such changes, enables us to understand the complex relations between Paris and the Seine. From raw material to waste matter, from river to drain, the concept of quality in environment remains the underlying theme.