Journal articles: 'French noir'

1

Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).

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Papadopoulos, Leonidas, Anna Poupou, and Eva Stefani. "The reception of American and French film noir in post-war Greece, 1945‐58." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 59–82. http://dx.doi.org/10.1386/jgmc_00047_1.

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The aim of this article is to examine the distribution, promotion and critical reception of American and French film noir in Greece from 1944 to 1958 and to shed light to the reasons of the belated appearance of Greek noir examples. It is based on archival research that was made in the framework of the project ‘Film noir in Greece: Reception, assimilation, and imitation of a US film genre, from the post-war period until today’ (National & Kapodistrian University of Athens), financed by the Operational Programme Human Resources Development, Education and Lifelong Learning, P.A. 2014‐20. Crime thrillers that were retrospectively labelled as film noirs, were not only known and enjoyed by the Greek public from 1945 onwards, but also their conventions and imagery were used in the journalistic discourse, showing a wider diffusion to society that was not only limited to communities of cinephiles. From this perspective, we examine the vocabulary and terminology invented and established by Greek reviewers and distributors, in order to describe the key features of the films that today we classify as film noir. We discuss how emblematic films that today form the canon of film noir were received at that time, as well as the negative discourses that appear at the same time in the public sphere, especially around issues of ‘moral panic’, violence and delinquency. Furthermore, the distinction in the reception of French vs. American films enables us to apprehend the different ideological stances towards these films and to understand why French crime films were more influential in Greece than their American counterparts.

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Wygoda, Tsivia Frank. "(Un)Mapping the “Pied-Noir Jew”: Indeterminacy and the Representation of Pied-Noirs and Algerian Jews in Contemporary French Cinema." MLN 138, no. 4 (September 2023): 1337–60. http://dx.doi.org/10.1353/mln.2023.a920094.

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Abstract: This article offers new reflections on the articulation of Pied-Noir and Algerian Jewish memory through the figure of the “Pied-Noir Jew” in French culture. The analysis of cinematographic materials and their literary sources shows how Algerian Jewish screen and stage artists participated in the creation in France of a nostalgic cultural community of Algerian Jews and French-European ex-settlers while also navigating the tensions and differences between Pied-Noir and Jewish memory of Algeria. The aporetic figure of the “Pied-Noir Jew” as a cultural and affective concept encapsulates the afterlife of Algerian Jews’ entangled identities.

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Talarmin, Antoine, Bruno Vion, Abel Ureta-Vidal, Guénola Du Fou, Christian Marty, and Mirdad Kazanji. "First seroepidemiological study and phylogenetic characterization of human T-cell lymphotropic virus type I and II infection among Amerindians in French Guiana." Journal of General Virology 80, no. 12 (December 1, 1999): 3083–88. http://dx.doi.org/10.1099/0022-1317-80-12-3083.

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We investigated the serological, epidemiological and molecular aspects of human T-cell lymphotropic virus type I and II (HTLV-I/II) infection in the Amerindian populations of French Guiana by testing 847 sera. No HTLV-II antibodies were detected, but five individuals (0·59%) were seropositive for HTLV-I. Analysis of the nucleotide sequences of 522 bp of the env gene and the compete LTR showed that all of the strains from French Guiana belonged to the cosmopolitan subtype A. The similarities were greater between Amerindian and Creole strains than between Amerindian and Noir-Marron strains or than between Creole and Noir-Marron strains. Phylogenetic analysis showed two clusters: one of strains from Amerindians and Creoles, which belong to the transcontinental subgroup, and the other of strains from Noirs-Marrons, belonging to the West African subgroup. Our results suggest that the Amerindian HTLV-I strains are of African origin.

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Gorrara, C. "French and American Noir: Dark Crossings." French Studies 65, no. 2 (March 25, 2011): 274–75. http://dx.doi.org/10.1093/fs/knr038.

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Hollister, Lucas. "The Green and the Black: Ecological Awareness and the Darkness of Noir." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1012–27. http://dx.doi.org/10.1632/pmla.2019.134.5.1012.

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Ecocritical thought presents serious challenges for political readings of crime fiction and noir, notably in French and American cultural contexts, and these challenges merit a broad examination. How does the Anthropocene change our relation to the frames of intelligibility and the definitions of violence found in crime fictions? The scalar problems introduced by the cosmological perspectives of ecological awareness suggest the need to redraw the frontiers of noir, to imagine new green-black readings that transform our understanding of what counts in and as a noir novel.

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Slyomovics, Susan. "A Settler Colonial Memorial Book: The Agricultural School and Museum of Sidi-Bel-Abbès, Algeria." Diaspora: A Journal of Transnational Studies 23, no. 2 (September 1, 2023): 241–60. http://dx.doi.org/10.3138/diaspora.23.2.2023.07.30.

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In French colonial Algeria (1830–1962), a European settler community was made from both displacement and the encounter with Indigenous Algerian collectives. After Algeria's independence from France in 1962, this community was remade by a second displacement and the encounter in France with the metropolitan community. Known as Pieds-Noirs, this community has organized associative life, books, and newsletter publications, and sometimes return visits to Algeria. This article looks at Pieds-Noir settler associations devoted to Algeria's colonial agricultural schools, model farms, and nurseries, and how they reconstitute metropole-colony and colony-metropole through memory and a memorial book. This case study of the agricultural school in the town of Sidi-Bel-Abbès, former headquarters of the French Foreign Legion, discusses post-independent Algerian responses to return visits, claims, and writings by settlers.

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Panuntun, Ari Bagus, and Lysa Osmani. "Romantic Primitivism and Literary Neocolonialism in Camara Laye’s Novel L’Enfant Noir." Poetika 11, no. 2 (October 31, 2023): 61. http://dx.doi.org/10.22146/poetika.v11i2.87730.

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The article examines the depiction of romantic primitivism in Camara Laye’s novel L’Enfant noir (The Dark Child) and the phenomenon of literary neocolonialism behind its publication. L’Enfant noir is a novel published when Guinea was still under French colonization in the 1950s. It tells the story of a happy black child growing up in the middle of a beautiful Guinean countryside, that was completely untouched by the atrocities of colonialism. Upon its publication by Plon, a French publishing house, the novel received different responses from African and European readers. In Africa, it was perceived as turning a blind eye to the cruelty of colonialism. However, in Europe, it was showered with praise and it even received a prestigious literary award. To examine this phenomenon, this article analyzes the novel both intrinsically and extrinsically. Intrinsically, it uses the theory of romantic primitivism to analyze how the novel romanticizes the lives of African indigenous people constrained by colonialism. Extrinsically, it discusses the phenomenon of literary neocolonialism behind the publication of L’Enfant noir. The discussion about literary neocolonialism is divided into two parts. Firstly, it addresses the historical analysis of Plon’s publishing house, its relations with the French power, and the political interests underpinning the novel’s publication. Secondly, it highlights the strategy the publisher uses to accentuate exoticism in the novel’s peritext to market the book in Europe. The novelty of this article lies in its discovery of the elements of romantic primitivism found in the novel while it also proves that literary neocolonialism towards L’Enfant noir persists to this day.

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Alba, Richard, and Roxane Silberman. "Decolonization Immigrations and the Social Origins of the Second Generation: The Case of North Africans in France." International Migration Review 36, no. 4 (December 2002): 1169–93. http://dx.doi.org/10.1111/j.1747-7379.2002.tb00122.x.

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Immigrations resulting from decolonization challenge the ability of researchers to track accurately the incorporation of the second generation through classifications based on country of origin. This article considers a classic example of such an immigration - from North Africa to France at the time of and after the independence of Algeria, Morocco, and Tunisia. This immigration was ethnically complex, composed - to take a rough cut - of the former colonists of European background (the pieds noirs) and low-wage laborers belonging to the indigenous population (the Maghrebins). A historical review indicates that the key to distinguishing these two groups lies in the exact citizenship status of the immigrants, for the former colonists were French by birth and the others generally were not. Analyzing micro-level data from the censuses of 1968, 1975, 1982, and 1990, we apply this distinction to the family origins of the second generation, born in France in the period 1958–1990. We show that the pied-noir population exhibits signs of rapid integration with the native French, while the Maghrebin population remains apart. A logistic regression analysis reveals that, based on a few characteristics of their parents, one can distinguish the Maghrebin from the pied-noir second generations with a high degree of accuracy. This finding demonstrates the sharp social distinction between the two groups and suggests a method for future research on their incorporation.

10

Smith, Steven G. "The Filter and the Viewer: On Audience Discretion in Film Noir." Film-Philosophy 28, no. 2 (June 2024): 375–94. http://dx.doi.org/10.3366/film.2024.0273.

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To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir's quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience.

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Conley, Tom. "The Roman noir in Post-War French Culture." French Studies 60, no. 4 (January 1, 2006): 542–43. http://dx.doi.org/10.1093/fs/knl151.

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Winnington, G. Peter, and Stuart Olesker. "News Roundup." Peake Studies 14, no. 2 (April 1, 2015): 33–41. http://dx.doi.org/10.1515/peakest-2015-0003.

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Kazanji, Mirdad, and Antoine Gessain. "Human T-cell Lymphotropic Virus types I and II (HTLV-I/II) in French Guiana: clinical and molecular epidemiology." Cadernos de Saúde Pública 19, no. 5 (October 2003): 1227–40. http://dx.doi.org/10.1590/s0102-311x2003000500002.

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We review here the epidemiological studies performed by our group on human retrovirus HTLV-I and HTLV-II infections and the associated diseases in French Guiana since 1984. French Guiana is an overseas French administrative district located between Brazil and Surinam. Its population is characterized by a large variety of ethnic groups, including several populations of African origin and various populations of Amerindian origin. Several epidemiological studies of large samples of pregnant women and in remote villages showed that HTLV-I is highly endemic in this area but is restricted to groups of African origin, especially the Noir-Marrons. In this endemic population, the results of segregation analysis in a genetic epidemiological study were consistent with the presence of a dominant major gene predisposing to HTLV-I infection, especially in children. In contrast, HTLV-II infection appears to be rare in French Guiana, having been found in only a few individuals of Brazilian origin. From a molecular point of view, the HTLV-I strains present in the Noir-Marrons, Creoles and Amerindians appear to originate from Africa, as they belong to the large cosmopolitan molecular subtype A.

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Miller, Christopher L. "The (Revised) Birth of Negritude: Communist Revolution and “the Immanent Negro” in 1935." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 743–49. http://dx.doi.org/10.1632/pmla.2010.125.3.743.

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For Several Decades, Scholars have Believed, for Lack of Evidence to the Contrary, That Négritude—One of the Key Terms of identity formation in the twentieth century—appeared in print for the first time in Aimé Césaire's Cahier d'un retour au pays natal (Notebook of a Return to the Native Land), in 1939. This consensus reflects a revision of what the cofounders (with Césaire) of the negritude movement, Léopold Sédar Senghor and Léon Damas, had remembered and stated. Senghor said in 1959 that “the word [négritude] was invented by Césaire in an article in the newspaper that bore the title L'Etudiant noir” (qtd. in Ako 347). In an interview published in 1980, Damas said, “Césaire coined this word in L'Etudiant noir” (qtd. in Ako 348). But L‘étudiant noir was a phantom. Lilyan Kesteloot, in her groundbreaking study Black Writers in French, attempted to summarize the content of L‘étudiant noir without seeing a single issue of it; none was available to her (84n2).

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Eaton, Amanda J. "The Roman Noir in Post-War French Culture (review)." MLN 119, no. 4 (2004): 897–900. http://dx.doi.org/10.1353/mln.2004.0129.

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Cooper, Barbara T. "Le Docteur noir : A French Romantic Drama in Blackface." French Forum 28, no. 1 (2003): 77–90. http://dx.doi.org/10.1353/frf.2003.0030.

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Szilágyi, Ildikó. "Questions de forme et de genre en traduction poétique." Translationes 5, no. 1 (January 1, 2013): 62–74. http://dx.doi.org/10.2478/tran-2014-0090.

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Abstract The present study examines modern and contemporary French poetry from the point of view of its translation into Hungarian. Firstly, the French and Hungarian traditions of poetic translation are summarized briefly. Then the possibility of translation of “verset” (long verse), not recognized in Hungarian poetry as a modern poetic genre, is discussed. Particular attention is called to the return of several contemporary French poets to traditional versification, and to the difficulties of Hungarian translators to suggest the importance of this return. Finally, the Hungarian translation of Roubaud’s volume of poetry (Quelque chose noir) invites reflection on the constraints of Oulipo

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Aleksandrova, G. "TRADITIONS OF FRENCH NOIR IN DANNIEL PENNAC’S NOVEL “THE SCAPEGOAT”." International Humanitarian University Herald. Philology 3, no. 46 (2020): 12–15. http://dx.doi.org/10.32841/2409-1154.2020.46-3.3.

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Astourian, Laure. "Jean Rouch’s Moi, un Noir in the French New Wave." Studies in French Cinema 18, no. 3 (November 16, 2017): 252–66. http://dx.doi.org/10.1080/14715880.2017.1385324.

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Manditch-Prottas, Zachary. "Never Die Alone: Donald Goines, Black Iconicity, and Série Noire." MELUS: Multi-Ethnic Literature of the United States 48, no. 4 (November 22, 2023): 1–26. http://dx.doi.org/10.1093/melus/mlad073.

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Abstract Depending on who you ask, Donald Goines is a pioneer of Black popular fiction or a purveyor of shoddy pulp. This duality is illustrative of an impasse between American intelligentsia and Goines’s folk readership. Goines wrote sixteen novels between 1971-74 that have remained in print for sixty years with sales in the millions. Yet Goines remains an understudied American author and unacknowledged in the transnational reach of his writing. This essay offers the first scholarly consideration of Donald Goines’s status as a transnational author. Specifically, I analyze Goines’s promotion and reception in America and France. I will focus on Goines’s two prime distributors: Holloway House Publishing, which debuted Goines’s novels as the premier works of its Black Experience Books imprint in the early 1970s, and Gallimard Publishing, which translated Goines’s work into French as part of its famed crime fiction imprint, Série Noire, in the 1990s and early 2000s. This transnational comparative approach draws on three archives: Holloway House’s promotional materials that endorse Goines as the unprecedented authentic authorial voice of American Blackness, an unexamined element of the Holloway House archive that promotes Goines as an internationally revered author, and the nearly unacknowledged materials of Goines’s French publisher Gallimard that situate Goines as an author of American noir. Holloway House’s shift in promotional tactics and Série Noire’s prioritization of Goines as an author of American noir has two telling implications. First, it exposes how the racially essentialist logic of Holloway House linked authorial experience and literary fiction to promote the “authentic” Black experience as tethered to criminality. Second, it situates Goines in an internationally recognized US tradition of crime fiction in a way still largely unacknowledged in the United States.

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Petković, Rajko. "Claustrophobic Spaces and the Atmosphere of Fatalism in Robert Siodmak’s The Killers." CLOSED SPACES XIII, no. 43 (December 2022): 109–26. http://dx.doi.org/10.31902/fll.43.2022.6.

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Film noir is one of American cinema’s most renowned and well-studied phenomena. It is a cycle of films made during the 1940s and 1950s, mostly produced as B-movies, i.e., cheaper films presented as part of a double feature. This is one of the most important reasons why it took such a long time for American film scholars to address the importance of film noir. The first monograph on film noir, Panorama du film noir américain, was published in France in 1955, and this work by Borde and Chaumeton remains one of the most valuable studies covering this important cycle. Generally speaking, French film scholars are those most responsible for highlighting the value of American, and especially Hollywood, film while significant American contributions to the study of film noir only began in the 1970s. Like few American films that preceded it, The Killers presented a completely dark world filled with hapless protagonists, where the only location that evokes even a glimmer of happiness is a terrace on the edge of the city. All other locations are a vivid reflection of the state of mind of the film’s main characters, lost in the dark labyrinths of the metropolis, victims of the unfathable threads that fate uses to play with their lives. Utilizing a combination of extremely claustrophobic locations and flashbacks that further fragment an already very complex narrative, Siodmak created a work that is one of the most faithful evocations of fatalism in American film.

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Ranjitha, K., B. N. S. Murthy, and E. R. Suresh. "Evaluation of New Grape Hybrids and French Cultivars for Wine Production." Journal of Horticultural Sciences 9, no. 1 (June 30, 2014): 74–77. http://dx.doi.org/10.24154/jhs.v9i1.227.

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This study aimed at evaluating newly developed hybrids and recently introduced cultivars of French grapes grown in mild tropics of South India for quality wine production. Wines produced from French grapes, viz., Cabernet Sauvignon, Shiraz, Pinot Noir, Sauvignon Blanc, Chenin Blanc and Ugni Blanc scored 15.0 -16.8 in the Davis Score Card for organoleptic analysis. Wines from red Hybrid 18/10 possessed phenolic content of 2097mg/l, had a brilliant colour and sensory score of 13.1. Hybrid 23/2 gave good quality white, dry table wines with a sensory score of 13.4.

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Pierrot, Grégory. "Nègre (Noir, Black, Renoi, Négro)." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (July 1, 2022): 100–107. http://dx.doi.org/10.1215/07990537-9901668.

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This essay presents and studies five different words used in French to express the notion of Blackness. The five words analyzed—nègre, noir, black, renoi, and négro—entered the French language between the beginning of the Atlantic slave trade in the sixteenth century and the 1980s and were often borrowed from other languages. The way the terms have been and continue to be used illustrates France’s complicated and shifting relation to people of African descent, notably within its own population. In the context of culture wars that have been shaking the country in the past decades and have seen the rise of organized Black political groups on the French public stage, how one speaks Blackness in France has become especially fraught.

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EXARCHOS, DIMITRIS. "The Skin of Spectral Time in Grisey's Le Noir de l’Étoile." Twentieth-Century Music 15, no. 1 (February 2018): 31–55. http://dx.doi.org/10.1017/s1478572218000051.

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AbstractFollowing the aesthetics of pure continuity in the late 1970s, Grisey moved on to compose for unpitched percussion in Tempus ex Machina, focusing on pure rhythm. Shortly afterwards he elaborated on his theory of temporality in a talk and article of the same title; one decade later, he included Tempus as the first movement of Le Noir de l’Étoile. Grisey insisted on the significance of the perception of musical time, of the skin of time – as opposed to its skeleton or flesh. This article puts forward an interpretation of Grisey's thinking of temporality, drawing on concepts from French philosophy. It further provides an analysis of two sections of Le Noir, tracing these concepts in the structuring of musical time, with a view to providing a possible direction towards a re-definition of spectral time.

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Breen. "Neither Algerian, nor French: Albert Camus’s Pied-Noir Identity." Mediterranean Studies 27, no. 2 (2019): 210. http://dx.doi.org/10.5325/mediterraneanstu.27.2.0210.

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Cafiero, Deborah. "‘Hard-Boiled’ Detectives in Spain and Mexico: The Ethical Reorientation of a Genre." Crime Fiction Studies 2, no. 2 (September 2021): 154–70. http://dx.doi.org/10.3366/cfs.2021.0044.

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Hard-boiled’ fiction arose in the early decades of the twentieth century, uncovering connections among crime, wealth and power, and exposing moral fissures within U.S. capitalism. After French publisher Gallimard marketed translations of American crime fiction as noir, international writers started adjusting the ethical framework of the original authors as part of their ‘glocal’ adaptation of a global genre to local circumstances. The present article pushes past ‘glocal’ analysis of noir to propose a ‘transnational’ relationship, adapting Paul Giles’ definition of ‘transnational’ practice in which international authors reflect the genre back upon its American roots in order to illuminate the ‘silences, absences and blindspots’ in the original ethical stance. The ‘misreading’ of noir also permits a ‘misrecognition’ of local circumstances, exposing moral fissures throughout different societies. This article shows how series by Manuel Vázquez Montalbán and Paco Ignacio Taibo II reveal ethical blindspots in American models by situating the detective within an emotional history of place (Barcelona for Vázquez Montalbán, Mexico City for Taibo II). Although these detectives ultimately cannot determine or perform the role of ethical citizen, their emotional-geographical bonds open up a critique of American ideals and pave the way for a reimagining of the ethical in the twenty-first century.

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Auger, J., M. Esterio, I. Pérez, W. D. Gubler, and A. Eskalen. "First Report of Phaeomoniella chlamydospora on Vitis vinifera and French American Hybrids in Chile." Plant Disease 88, no. 11 (November 2004): 1285. http://dx.doi.org/10.1094/pdis.2004.88.11.1285c.

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Phaeomoniella chlamydospora (W. Gams, Crous. M.J. Wingfield & L. Mugnai) Crous & Gams (= Phaeoacremonium chlamydosporum) was isolated during the growing seasons of 2003-2004 from roots, trunks, and cordons of grapevines, including cvs. Cabernet Sauvignon, Merlot, Pinot noir, Thompson seedless, Ruby seedless and root stock 3309C, and Kober 5BB, from 10 locations in V, VI, VII, and metropolitan regions of Chile. P. chlamydospora was isolated from 82% of samples from vines 2 to 18 years old that showed decline symptoms in the field. Isolates were identified on the basis of a previous description (1) and internal transcribed spacer (ITS1-5.8S-ITS2) rDNA sequences identical to those of P. chlamydospora isolated from Vitis vinifera (culture CBS 22995, GenBank Accession No. AF 197973). P. chlamydospora is established as a member of the petri and esca disease complex and as a pathogen of grapevines (2,3). Pathogenicity tests were completed by injecting into the pith of 50 single-node, rooted cuttings of Pinot noir and 3309C, approximately 20 μl of a 106 conidia per ml suspension, obtained from four isolates from Chile and one from California. Ten control cuttings of Pinot noir and 3309C were injected with an equal volume of sterile distilled water. Twenty-four weeks after inoculations, all P. chlamydospora-inoculated cuttings exhibited dark streaking of the vascular tissue extending 40 to 45 mm from the point of inoculation. The vascular streaking observed in inoculated plants was identical to symptoms observed in declining vines in the vineyard. No symptoms were observed in the controls. P. chlamydospora was isolated from the region of vascular streaking in 85% of inoculated cuttings. P. chlamydospora was not isolated from the water-treated controls. The reisolated P. chlamydospora was verified with means of morphological characters and polymerase chain reaction amplification with the species-specific primers (3). P. chlamydospora is widespread and readily isolated from declining grapevines in Chile and other grape growing regions of the world. To our knowledge, this is the first report of P. chlamydospora from the cultivars cited above in Chile. References: (1) M. Groenewald et al. Mycol. Res. 105:651, 2001. (2) L. sparapano et al. Phytopathol. Mediterr. (Suppl.)40:376, 2001. (3) S. Tegli et al. Phytopathol. Mediterr. 39:134, 2000.

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Nettelbeck, Colin. "Journey to the End of French noir: the Case of Claude Chabrol." Australian Journal of French Studies 43, no. 1 (January 2006): 59–69. http://dx.doi.org/10.3828/ajfs.43.1.59.

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Lardeux, Pierre, Neil Glasser, Tom Holt, and Bryn Hubbard. "Glaciological and geomorphological map of Glacier Noir and Glacier Blanc, French Alps." Journal of Maps 12, no. 3 (June 17, 2015): 582–96. http://dx.doi.org/10.1080/17445647.2015.1054905.

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Barlow, Jill. "London, Royal Academy of Music: Philippe Hersant." Tempo 58, no. 228 (April 2004): 76. http://dx.doi.org/10.1017/s0040298204350151.

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Philippe Hersant (b. 1948 in Rome, graduated Paris Conservatoire, studied with André Jolivet), has been working with the French national radio station France-Musique since 1973 and has received many honours as composer in France. In February 2004 Radio France presented a ‘retrospective’ of his prolific output as well as the première of his Violin Concerto, a Radio France commission. His new opera, Le Maine Noir, based on Anton Chekov's story, will be premièred in May 2005.

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Hubbell, Amy L. "The Past is Present: Pied-Noir Returns to Algeria." Nottingham French Studies 51, no. 1 (March 2012): 66–77. http://dx.doi.org/10.3366/nfs.2012.0007.

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While Algeria has long been a popular subject for travel writers, since its decolonization in 1962, the travelogues documenting journeys to Algeria have predominantly become returns and reunions with the homeland. Immediately after their exile from Algeria during and after the war for independence, the Pieds-Noirs, or former French citizens of Algeria, began returning to their homeland in their memories, literature, and recently, their films. Early return narratives were almost always filled with nostalgic descriptions of familiar places and sensations in an effort to bridge over the ruptures with the past. By transposing the colonial past onto the present, the travelogues effectively stop time in the homeland. However, more recent returns often demonstrate the instability of the past. Through a study of Marie Cardinal's Au pays de mes racines and Hélène Cixous's Si près, this article investigates how Algerian return narratives have begun to deconstruct themselves, and yet the past is ever present within them.

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Muresan, Maria Rusanda. "Wittgenstein in Recent French Poetics: Henri Meschonnic and Jacques Roubaud." Paragraph 34, no. 3 (November 2011): 423–40. http://dx.doi.org/10.3366/para.2011.0034.

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Two recent French poets, Henri Meschonnic and Jacques Roubaud, have found in Wittgenstein's philosophy an alternative to post-structuralist poetics. Meschonnic's poetry and his theoretical writings show a sustained critical engagement with Wittgenstein, whom he reads in conjunction with Emile Benveniste. The writers inform his theory of poetic rhythm and his practice of biblical translation. Roubaud's use of Wittgenstein, by contrast, here examined in the collection Quelque chose noir (1984), is linked partly with the poet's grief following the death of his wife Alix Cléo Roubaud, a photographer and an avid reader of Wittgenstein. In Roubaud, Wittgenstein opens up the space for a meditation on disappearance and absence. Roubaud reformulates passages from Wittgenstein's On Certainty (Wittgenstein's last philosophical text written when he was already seriously ill) in poems evoking Alix's memory.

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Shuman, Emily Q. "‘Tout de noir vêtu’: Skin and surface in the rap of Abd al Malik." French Cultural Studies 29, no. 3 (July 5, 2018): 209–17. http://dx.doi.org/10.1177/0957155818773976.

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This paper investigates the visual aesthetics of French rap with regard to questions of race and subjectivity through an analysis of both the lyrics and music videos of the rapper Abd al Malik. Abd al Malik addresses the central question of corporeal visibility in a ‘colour-blind’ French society. His performance depicts the skin as a surface, rooting his corporeal subjectivity in a tactile experience. Through the use of light, oversaturated colour and constantly shifting forms, Abd al Malik’s videos test the limits of vision to create a sensorial experience that incorporates, yet transcends, the visibility of epidermalised blackness. The consciousness of self and others is therefore not achieved by an unmasking or a shedding of blackness, but through the recognition of skin as a material surface that both challenges the presumption that an individual’s interiority is legible on the body’s exterior and invites the more complex, sensorial contact of universal, human relationality.

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JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (July 1, 2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.

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The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchoring the novels in familiar territory, the authors blur topographical references, create a polyphonic narrative structure and set a horrific tone to provide symbolic and political commentary. The novels thus borrow from magic realism to depict a declining rural and working-class world.

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Bhat, Rifat, Sharbat Hussain, Muzaffara Akhter, F. A. Banday, and M. K. Sharma. "Influence of Intercrops on Cropping, Quality and Relative Economic Yield of Sweet Cherry cv. Bigarreau Noir Grossa (Misri)." Journal of Applied Biotechnology 4, no. 2 (May 8, 2016): 10. http://dx.doi.org/10.5296/jab.v4i2.9432.

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An experiment was conducted to assess the impact of different intercrops like maize, pea, strawberry, cabbage, red clover, french bean, oats and maize on cropping, quality and relative economic yield of cherry cv. Misri under Kashmir conditions. The results obtained revealed significant improvement in cherry trees intercropped with leguminous crops like pea, red clover and french bean than clean cultivation and heavy feeder crops (requiring high level of soil nutrients) like strawberry, cabbage, oats and maize. Highest per cent fruit set, fruit maturity, fruit yield and fruit physico-chemical characteristics were recorded maximum in cherry trees with leguminous type of crops. The impact of intercrops on relative economic yield of cherry (system equivalent yield) revealed that the cherry plants intercropped with pea had better benefit: cost ratio (1.71) followed by cabbage (1.41), red clover (1.40) and French bean (1.39) than clean cultivation (1.34).

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Tarnowski, Andrea. "Le temps signifiant et le Moyen Âge français." Studia Romanica Posnaniensia 48, no. 1 (March 15, 2021): 5–15. http://dx.doi.org/10.14746/strop.2021.481.001.

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An analysis of “weather events” and their meaning in works of French medieval literature – La Chanson de Roland, Le Chevalier au lion, Le Roman de la rose, Le Livre du Cuer d’amours espris and Le Debat d’entre le gris et le noir – finds different forms of interaction between the outside world and human beings. Whether a connection between man and nature is mediated by God, set by the human arrangement of or incursion into a natural setting, or left so loose as to suggest nature’s indifference to human witness, weather contributes to the picture.

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Gorrara, Claire. "Cultural Intersections: The American Hard-Boiled Detective Novel and Early French roman noir." Modern Language Review 98, no. 3 (July 2003): 590. http://dx.doi.org/10.2307/3738287.

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Chugunova, Olga, Aleksandr Arisov, Vladislav Tiunov, and Anton Vyatkin. "Terroir Influence on the Antioxidant Activity of Grape Wines." Food Industry 7, no. 3 (September 22, 2022): 84–94. http://dx.doi.org/10.29141/2500-1922-2022-7-3-9.

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The article analyzes the global wines production and consumption in the period from 2000 to 2020. The authors studied the total antioxidant activity of 19 samples of red wine from the Old and New World. They found that in the studied red wine samples, the total antioxidant activity value was in the range from 8,408 to 19,249 mmol-eq/dm3 . In red Old-World wines samples, the total antioxidant activity values were in the range from 10.056 to 19.249 mmol-eq/dm3 , while the highest were in red wines produced in Italy from the grape varieties Nero di Troia, Corvina and Rondinella, as well as in French wines from the varieties Merlot and Cabernet Franc; the smallest antioxidant activity values were in Italian wines produced from varieties Cabernet Sauvignon and Spanish wines from the varieties Tinta Roriz, Turiga Nacional, Turiga Franca. In the studied samples of red New-World wines, the total antioxidant activity values accounted for the range from 8.408 to 16.456 mmol-eq/dm3 , while the highest values were for Australian wines produced from the Shiraz grape variety and American wines from the Merlot variety; the lowest indexes were for American wine produced from the grape variety Pinot Noir. In the red Russian wines samples, the total antioxidant activity values were in the range from 5.903 to 15.566 mmol-eq/dm3 , while the highest indicators were in the wine from the varieties Merlot and Cabernet Sauvignon produced by the manufacturer “Usadba Divnomorskoe”; the lowest figures were for the wine produced from the “Pinot Noir” variety of the same producer. The antioxidant activity of wines varied from 26.3 to 60.1 % of the recommended daily intake in terms of ascorbic acid (ascorbic acid AOA – (32.024 ± 0.350) mmol-eq/dm3 ). The researchers revealed that the antioxidant activity as an identification marker for French wines must be at least (15.0 ± 0.5) mg-eq/dm3 , for Italian wines – at least 16.5 mg-eq/dm3 , for wines from Cabernet Sauvignon grapes, possible deviation was 5 mg-eq/dm3 . For New-World wines and Russian wines, the antioxidant activity must be at least (10.0 ± 0.5) mg-eq/dm3 , for wines from Pinot Noir grapes, possible deviation was 2 mg-eq/dm3 .

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Anderson, Samuel D. "The French Médersa in West Africa: Modernizing Islamic Education and Institutionalizing Colonial Racism, 1890s–1920s." Islamic Africa 11, no. 1 (December 24, 2020): 42–70. http://dx.doi.org/10.1163/21540993-01101002.

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Abstract This article examines the origins and development of colonial Franco-Muslim education, with specific reference to the Médersa of Saint-Louis in Senegal. Often described as a failed experiment on the part of the French administration, the médersa nevertheless marked the first effort to “modernize” Islamic education in West Africa. This article argues that the médersa evolved, and eventually closed, in tandem with local engagement and the establishment of the racist idea of islam noir. It also highlights the role of Algerians and the Algerian médersa system in West Africa to argue for the importance of a trans-Saharan approach to Islamic education in the colonial period.

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Segurel, Marie A., Raymond L. Baumes, Dominique Langlois, Christine Riou, and Alain Razungles. "Role of Glycosidic Aroma Precursors on the odorant profiles of Grenache noir and Syrah Wines from the Rhone valley. Part 2: characterisation of derived compounds." OENO One 43, no. 4 (December 31, 2009): 213. http://dx.doi.org/10.20870/oeno-one.2009.43.4.794.

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Aims: Grenache noir and Syrah are the predominant grape varieties in the French Rhone valley vineyard. This study aimed at identifying the odorants generated from glycoconjugates extracted from wines made with Grenache noir and Syrah.Methods and results: Synthetic model wines enriched with glycoconjugates, treated or not with enzymes, were stored at 45 °C for 3 weeks, or at 13 °C for 18 months. Aromas generated were extracted and analyzed by GC-Olfactometry (only samples from accelerated aging) and were further quantitatively determined by GC-MS. Analysis of the extracts allowed to identify 49 odorants, including 27 that could be aglycons, or related compounds, of glycoconjugates from the grapes. In addition, the active compounds were quantified in similar experiments led in conditions of natural aging for 18 months.Conclusion: The two varieties, Grenache noir and Syrah, were distinguishable by 14 odorant zones. Multivariate analyses (PCA) performed with the amounts of aroma compounds formed during both model and natural aging confirmed the effect of the glycosidase treatment on the acceleration of the aroma compounds formation and on the increase of the varietal differences of the wines.Significance and impact of study: GC-Olfactometry coupled with GCMS were good techniques to indentify and apreciate the odorants generated from glycoconjugates in the wines of Syrah and Grenache Noir, but in the context of a blend of odors, these techniques showed their limits and did not permit to determine the real impact of a molecule in the global aroma of the wine perceived by the taster. Other methods as additive techniques should be used to complete this study.

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Pacifico, D., A. Alma, B. Bagnoli, X. Foissac, G. Pasquini, M. Tessitori, and C. Marzachì. "Characterization of Bois Noir Isolates by Restriction Fragment Length Polymorphism of a Stolbur-Specific Putative Membrane Protein Gene." Phytopathology® 99, no. 6 (June 2009): 711–15. http://dx.doi.org/10.1094/phyto-99-6-0711.

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Bois noir phytoplasma (BNp), widespread in wine-producing areas of Europe and endemic in France and Italy, is classified in the 16SrXII-A subgroup, whose members are referred to as Stolbur phytoplasmas. The 16S rDNA gene of Stolbur phytoplasma shows low variability, and few non-ribosomal genes are available as markers to assess variation among isolates. We used the Stolbur-specific stol-1H10 gene, encoding a putative membrane-exposed protein, to investigate genetic diversity of French and Italian BNp isolates from plants and insects. Amplification of stol-1H10 from infected grapevines, weeds, and Hyalesthes obsoletus produced fragments of three sizes, and restriction fragment length polymorphism analysis divided these amplicons further into 12 profiles (V1 to V12). French BNp isolates were more variable than Italian ones, and different profiles were present in infected grapevines from France and Italy. Isolate V3, most abundant among Italian affected grapes but present among French ones, was found in one Urtica dioica sample and in all H. obsoletus collected on this species. Four Italian-specific profiles were represented among infected Convolvulus arvensis, the most frequent of which (V12) was also detected in H. obsoletus collected on this species. Most of the variability in the stol-1H10 sequence was associated with type II on the tuf gene.

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O'Beirne, Emer. "The 'Roman Noir' in Post-War French Culture: Dark Fictions by Claire Gorrara (review)." Modern Language Review 100, no. 1 (January 2005): 221–22. http://dx.doi.org/10.1353/mlr.2005.0060.

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Ediani, Arwatrisi, and Sajarwa. "DEIXES OF MEMORY IN STENDHAL'S NOVEL 'LE ROUGE ET LE NOIR'." Leksema: Jurnal Bahasa dan Sastra 7, no. 2 (November 4, 2022): 109–20. http://dx.doi.org/10.22515/ljbs.v7i2.5499.

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Contexts in the identification of referents can be developed from external reality to cognitive reality or memory marked by the French demonstrative determinants ce, cet, cette, and ces as deixes of memory. Information in memory deixis referents can be categorized into the different statuses of information for the hearer, i.e. new information and old information. This study employed the qualitative-descriptive method with the data obtained from the novel Le Rouge et le Noir (1830) written by Stendhal. The study’s findings show that memory deixis referents can be identified through the way they evoke the readers’ old memories or (2) evoke the speakers’ memories and provide new information to the reader. In addition, deixes of memory can be demonstrative and performative. They may be used to describe the social life in 19th century France, to show the speakers’ emotional states, or to introduce a new topic in the text.

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Ghenim, Neema. "HYBRIDITY AND OTHERNESS IN ALGERIAN POSTCOLONIAL LITERATURE." Social Sciences, Humanities and Education Journal (SHE Journal) 1, no. 3 (September 14, 2020): 103. http://dx.doi.org/10.25273/she.v1i3.7615.

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The paper considers the dualistic existence between the Self and the Other during the Great War. Algerian participation in the war was compulsory and many authors wrote about the event.: Albert Camus, a Frenchman who belonged to a pied-noir family, Mohamed Ben Chérif, an Arab from Djelfa, and Elissa Rhaïs, a Jewish writer from Blida. The First Man (1994), Camus’s book, deals with the French who were reluctant participants in war. Mohamed Ben Chérif also published his first book, Ahmed Ben Mostapha Goumier (1997) that represents those Algerians who sought friendship with the French. In Le Café Chantant (1920), Elissa Rhaïs gives another picture of an Algerian who participated in the Great War. This paper examines the meeting with the Other that left indelible marks on the protagonists’ identities.

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Okamoto, Monica Setuyo. "O Realismo-Naturalismo de Stendhal e Shimazaki Tôson. Uma análise psicológica das personagens centrais: Julien e Ushimatsu." Estudos Japoneses, no. 33 (November 25, 2013): 45–61. http://dx.doi.org/10.11606/issn.2447-7125.v0i33p45-61.

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This article focuses, comparatively, the central characters of books Hakai (The Broken Commandment, 1906) Japanese writer Shimazaki Tōson and Le Rouge et le Noir (The Red and the Black, 1830) of the French realist Stendhal. Although the Japanese Realism-Naturalism received greater influence of Guy de Maupassant and German authors, noted many similarities between the works of Stendhal and Tōson which will be exposed in this article. We emphasize, however, that the comparative study here will be restricted to the analysis of social role and psychological profile of the two characters, Ushimatsu and Julien, within their respective historical contexts, without the intention, therefore, to address other aspects of the two works.

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Hubbell, Amy L. "Discomforting bodies: French survivor testimony from the Algerian War." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 351–63. http://dx.doi.org/10.3828/cfc.2020.21.

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From 2012 to 2016, three French women published autobiographies about surviving bombings as children during the Algerian War (1954-1962). Danielle Michel-Chich who survived the Milk Bar bombing in Algiers in 1956 published an open letter to Zohra Drif, the woman who placed the bomb in the restaurant (Lettre à Zohra D., 2012), and Pied-Noir artist Nicole Guiraud who survived the same event published her diary Algérie 1962: Journal de l’Apocalypse in 2013. Nicole Simon who survived a bombing at a concert in Mostaganem, Algeria published her autobiography, La Bombe: Mostaganem, j’avais quinze ans, in 2016. In these works, the women relate in different ways how they negotiated their injured bodies at home in Algeria as well as in a tense political climate in France during and after the war. In this article I analyze survivor autobiographies to elucidate how transformed bodies impact the individual who survived the trauma but also how and why these women alternately hide their wounds to accommodate the people around them or accept and respond to the stares upon their bodies. By engaging with disability studies, I examine how the discomfort of the transformed body, for both the victims and the people who see them, exemplifies the much larger tensions surrounding the painful memory of the Algerian War.

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Hill, Edwin. "Making claims on echoes: Dranem, Cole Porter and the biguine between the Antilles, France and the US." Popular Music 33, no. 3 (August 28, 2014): 492–508. http://dx.doi.org/10.1017/s0261143014000610.

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AbstractThis paper considers the ways in which the biguine (or ‘beguine’) circulated as a French West Indian musical genre and as a signifier for colonial and island exoticism in non-biguine musical genres during the early to mid-20th century. I begin by suggesting the ways in which the colonial and transnational conditions of its performance have left a history of ideological tensions within popular and academic discussions about the biguine. I then suggest some of the specific ways in which the biguine's circulation functioned in the context of the interwar years and resonated with the discourse and dynamics of ‘Jazz Age Paris’, negrophilia and le tumulte noir. Finally, I offer a close reading of the ways in which French comedian-singer Dranem's ‘La Biguine’ and Cole Porter's ‘Begin the Beguine’ playfully represent the genre in French chanson coloniale and popular song. Rather than viewing the biguine's conditions of performance, or the re-appropriation of the biguine in name only, as the equivalent of the complete musical colonisation and erasure of the genre, I propose that we extend biguine discussion beyond its empirical musicological elements, and lay claim on the echoes of biguine discourse as they resonate through other genres.

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Mrozewicz, Anna. "Rendering slow ecological crisis in a popular medium: Hyperobjects and Sámi resistance in the Swedish-French TV series Midnight Sun." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 31, no. 40 (January 17, 2023): 37–59. http://dx.doi.org/10.14746/i.2022.40.02.

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The article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden.

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Rutto, Laban K., Zelalem Mersha, and Mizuho Nita. "Evaluation of Cultivars and Spray Programs for Organic Grape Production in Virginia." HortTechnology 31, no. 2 (April 2021): 166–73. http://dx.doi.org/10.21273/horttech04726-20.

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The French American hybrid grape cultivars Corot noir and Arandell (Vitis sp.), and Vidal blanc and Petit Manseng (Vitis vinifera), along with different spray programs, were evaluated for potential organic production in Virginia from 2013 to 2014. Results obtained in the study demonstrate that organic wine grape production in Virginia can be achieved by using select grape cultivars and spray programs. With the exception of Vidal blanc, disease severity and disease incidence were below the threshold for maintaining healthy vines in all organically managed grape cultivars. ‘Vidal blanc’ was not sufficiently resistant to downy mildew (Plasmopara viticola), precluding it from potential organic management in Virginia. The study also demonstrated significant disease resistance in Virginia of the cultivar Arandell, released by Cornell University (Ithaca, NY) in 2013. The results suggest that the organically registered fungicide Bacillus subtilis is effective in reducing the severity and incidence of black rot (Guignardia bidwellii) and phomopsis cane and leaf spot (Phomopsis viticola). The chemistry of organically managed berries harvested in 2014 met minimum requirements for wine production with soluble solids, titratable acidity, and pH ranging from 18.7% to 20.2%, 7.6 to 8.0 g·L−1, and 3.3 to 3.4, respectively, in ‘Arandell’ and ‘Corot noir’; and 21.0% to 24.4%, 7.8 to 9.6 g·L−1, and 2.7 to 2.9, respectively, in ‘Petit Manseng’ and ‘Vidal blanc’ juice.

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Lopez Saez, Jérôme, Christophe Corona, Markus Stoffel, Laurent Astrade, Frédéric Berger, and Jean-Philippe Malet. "Dendrogeomorphic reconstruction of past landslide reactivation with seasonal precision: the Bois Noir landslide, southeast French Alps." Landslides 9, no. 2 (July 31, 2011): 189–203. http://dx.doi.org/10.1007/s10346-011-0284-6.

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Journal articles on the topic 'French noir'

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