Art,Transformation, Liberation: Balzac's Eugénie Grandet

Balzac's works about actual artists like Le Chef d’oeuvre inconnu have long been studied to derive the author's ideas about the artistic creative process. Eugénie Grandet also deals with art, however, even though there is not a real artist in it. In telling the story of Eugénie and her cousin Charles, Balzac suggests his views on the effects of beauty created by artful arrangement as opposed to the beauty in nature uncrafted by human art.     

Présidente: le grand défi. Femmes,politique et médias

Mathieu, J.‐L., La Défense de l'environnement en France (Presses Universitaires de France, 1994), 128pp., 45F., ISBN 2 1304 5939 0

Prendiville, B., Environmental Politics in France (Westview, 1994), xiii‐190pp., $27.00, ISBN 0 8133 8822 8. Translated from L'Ecologie, la politique autrement? Culture, sociologie et histoire des écologistes (L'Harmattan, 1993), 200pp., 110F., ISBN 2 7384 1864 3     

Changelings: transformative perceptions of San José's street children, 1965-1981

Between 1965 and 1981, Costa Ricans changed their perceptions of which characteristics they thought defined appropriate urban childhoods. By 1981, the model of a modern, urban Costa Rican child was that of a child who attended school, did not work on the streets, and played in specifically designated places. Children who did not fit this mold began, in the late 1970s and early 1980s, to be viewed as dangerous to society and as evidencing social pathology. Whereas children who worked on the streets during the 1960s were considered part of the urban landscape, and their childhoods, though difficult, were not perceived as deviant, these same children, two decades later, were viewed as marginal and problematic. To trace this change, this article focuses on the changing perceptions about children on the streets that writers for and public contributors to La Nación, one of the preeminent Costa Rican newspapers, show during the sixteen-year period under analysis.     

Résistance,moralité, identité nationale

Claudio PAVONE, Una guerra civile. Saggio storico sulla moralità nella Resistenza, Torino, Bollati Boringhieri, 1991, xiv + 825 p., ISBN 8833906299.     

Déni,connaissance, responsabilité: le régime stalinien et la grande famine ukrainienne de 1932–3

The great 1932–3 famine in Ukraine and Kuban, considered a major disaster in twentieth-century European history, is starting to be recognised as the opening act of a terrible cycle of violence against the populations of a vast area in the heart of Europe, perpetrated by the two great totalitarian regimes that were Nazism and Stalinism. As James Mace, the pioneer in studying this famine, has written, the Ukrainian famine was a ‘man-made famine’. It was the consequence of an extreme political violence – the forced collectivisation of rural areas. The Stalinist regime exhibited a total indifference to human suffering. Famine was just ‘collateral damage’ of modernisation introduced by collectivisation. Beyond the total denial of famine by Stalinist authorities, this article raises the double question of its knowledge and its responsibility, using new sources. How far can the chain of decision-making that led to the famine and its aggravation be reconstructed? What did the executives of the Party know about what was happening in starving rural areas? Which argumentation and which explanatory strategy were they developing in their correspondence to deal with the reality they were denying?     

“Jérémie rejoint Guedalias: deux récits,combien de fabulae?”1

Après le récit de la chute de Jérusalem devant l’armée de Nabuchodonosor, le lecteur du livre de Jérémie découvre aux chapitres 39 et 40 deux récits dans lesquels Nebouzaradân libère Jérémie et lui permet de rejoindre Guedalias; le prophète choisit alors de demeurer au milieu du peuple. La lecture suivie de ces deux récits présente une solution de continuité narrative. Même si cela interdit certaines lectures synchroniques, la remise en cause d’une hypothèse implicite sur la linéarité de la fabula permet de penser l’effet du texte en sa forme finale sur son lecteur. Contrairement aux romans classiques du XIXe siècle, on peut découvrir ici un effet similaire au Verfremdungseffekt du théâtre de Bertolt Brecht.