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Author: Grafiati

Published: 7 July 2024

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1

1886-1940, Martet Jean, ed. Regards français sur le Togo des années 1930: Jean Martet, Claude Lestrade, Laurent Péchoux, Jacques Massu. Lomé: Editions HAHO, 1994.

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2

Colloque international sur J.C.N. Forestier (1990 Paris, France). Jean Claude Nicolas Forestier, 1861-1930: Du jardin au paysage urbain : actes du Colloque international sur J.C.N. Forestier, Paris, 1990. Paris: Picard, 1994.

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3

Mattogno, Carlo. Auschwitz: The end of a legend : critique of Jean-Claude Pressac. Newport Beach, CA: Institute for Historical Review, 1994.

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4

Meyer, Claude. Etre juif, à Saint-Jean de Luz, pendant les années noires 1939-1945: Claude Meyer se souvient--. [Urrugne]: M. Mottay, 2004.

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5

Jean Claude Nicolas Forestier, 1861-1930: Du jardin au paysage urbain : Actes du Colloque international sur J.C.N. Forestier, Paris, 1990. Picard, 1994.

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6

Regards francais sur le Togo des annees 1930: Jean Martet, Claude Lestrade, Laurent Pechoux, Jacques Massu (Les Chroniques anciennes du Togo). Karthala, 1995.

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7

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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8

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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9

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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10

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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11

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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12

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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13

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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14

Baal-Teshuva, Jacob. Christo and Jean-Claude. TASCHEN, 2005.

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15

Knickerbocker, Dale, ed. Lingua Cosmica. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.001.0001.

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Lingua Cosmica: Science Fiction from around the World consists of eleven scholarly essays on contemporary authors (born 1950 or later) of science fiction who publish in languages other than English, or who publish from the English-speaking “periphery”: i.e., outside the United States, the United Kingdom, and Anglophone Canada. Each essay examines one author, making a case for their importance internationally and contextualizing their work within the science-fictional traditions of their own culture and those of the genre globally (themes, tropes, tendencies, subgenres, etc.). Each also offers an in-depth analysis of a major work or works. The book thus identifies major contemporary authors of science fiction outside the “center” of the English-speaking world and presents them to students and scholars in the Anglophone world. The scholars respond to questions such as: Who are these authors, and why are they important? What innovative thematic material or formal elements do they offer? What unique elements from their culture do they bring to the genre? How do they dialogue with the history of the genre, and how do they fit into the contemporary SF scene? The authors studied are Angélica Gorodischer from Argentina, Yves Meynard and Jean-Louis Trudel writing collaboratively as Laurent McAllister (Francophone Canada), Liu Cixin (China), Daína Chaviano (Cuba), Johanna Sinisalo (Finland), Jean-Claude Dunyach (France), Andreas Eschbach (Germany), Sakyo Komatsu (Japan), Olatunde Osunsanmi (Nigerian American), Jacek Dukaj (Poland), and Arkady Strugatsky and Boris Strugatsky (Russia/USSR).

16

Fraiture, Pierre-Philippe. Past Imperfect. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800348400.001.0001.

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This book examines French and Francophone intellectual history in the period leading to the decolonization of sub-Saharan Africa (1945-1960). The analysis favours the epistemological links between ethnology, museology, sociology, and (art) history. In this discussion, a specific focus is placed on temporality and the role ascribed by these different disciplines to African pasts, presents, and futures. It is argued here that the post-war context, characterized, inter alia, by the creation of UNESCO, the birth of Présence Africaine and the prevalence of existentialism, bore witness to the development of new regimes of historicity and to the partial refutation of a progress-based modernity. This investigation is predicated on case studies from West and Central Africa (AOF, AEF and Belgian Congo) and, whilst adopting a postcolonial methodology, it explores African and French authors such as Georges Balandier, Cheikh Anta Diop, Frantz Fanon, Chris Marker, Joseph Ki-Zerbo, Claude Lévi-Strauss, Alain Resnais, Jean-Paul Sartre and Placide Tempels. Past Imperfect analyses the legacies of the ‘long nineteenth century’ and the difficulty encountered by these authors to articulate their anti-colonial agenda away from the modern methodologies of the ‘colonial library’. By focussing on issues of intellectual alienation, this book also demonstrates that the post-WW2 period foreshadowed twenty-first century debates on extroversion, racial inequalities, the decolonization of history, and cultural (mis)appropriation.

17

Kieffer, Alexandra. Debussy's Critics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190847241.001.0001.

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Around the turn of the twentieth century, the work of Claude Debussy spurred a reimagining of music and musical listening in which Parisian musicians and intellectuals, informed by recent scientific discourse on affect, perception, and cognition, attempted to articulate a music aesthetics appropriate to the fully embodied, material self of psychological modernism. Important themes in debussyste music criticism are prefigured in the Symbolist wagnérisme of the late 1880s, which elaborated a model of affect and cognition drawn from the empirical psychology of Théodule Ribot. Following the premiere of Debussy’s opera Pelléas et Mélisande in 1902, Debussy’s supporters, attempting to explain the opera’s novelty, turned away from a music aesthetics that gave primacy to inner emotion and toward an aesthetics oriented instead toward listening, sensation, and the materiality of sound. Over the following decade, critics Jean Marnold and Louis Laloy, drawing from a wide swath of early-twentieth-century intellectual culture that included empirical psychology and post-Helmholtzian acoustics, were particularly influential as defenders of the ostensibly scientifically valid nature of Debussy’s innovations as well as his historical importance. After 1910, however, the cultural relevance of debussysme quickly declined as standards of aesthetic value shifted toward the abstract and universal (as opposed to the fleeting ephemerality of sensation) and as the deepening divide between scientific methods and humanistic ones made the intellectual culture of debussysme untenable.