On Will and Reason in L'astrée

This article sheds light on the technique of amplificatio by which Boccaccio expands the stories of famous women he finds in Valerius Maximus's De fide uxorium. Boccaccio's work on famous women situates itself between the genres of fiction and the historical treatise. It analyzes in philological detail Boccaccio's citation technique and his elaboration of the ancient model, showing how the greatest narrator of the Italian Middle Ages revitalizes and actualizes it and crafts an original literary product.     

Histoire embrouillée: Making material histories in Southern Africa

This article examines how historical knowledge about Southern African chiefdoms was produced in D.F. Ellenberger's research archive (c. 1860–1913) and archaeology drawing on his scholarship. I describe a historiographic approach detailing how Ellenberger's work co-opted the material world to create historical facts, obscuring diverse meanings of home, movement, and authority.     

La Pensée Comme Expérience Vécue

The core of our essay is the “psychology of thought” (Denkpsychologie), which was elaborated by the Würzburg School at the beginning of the 20^th century. We will show how this School synthesized two contemporary trends: Brentano’s project of a psychology from an empirical point of view and the use of experiments beyond the limits of perception. Through the works of Karl Bühler, we will criticize the legitimacy of the psychologistic approach, which was applied to all psychological schools of thought participating in the debate on the nature of thought. We will also discuss the Bühlerian idea of a present knowledge, which aims to avoid the consequence of mind localization, a very tempting issue for the psychology of thought.     

L'arrivée des premiers métallurgistes sur l'Ogooué, Gabon

Résumé Au Gabonca 2400–2300 BP, les dernières cultures néolithiques des savanes de la moyenne vallée de l'Ogooué, succombent face à une rapide expansion de populations porteuses de fer. Cet événement, identifié sur des critères céramologiques et des mesures radiométriques, paraît situer l'arrivée des premiers métallurgistes — probablement Bantu — sur les berges de l'Ogooué.

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In the savannas of the middle stretches of the Ogooué valley in Gabon,ca 2400–2300 bp, the last neolithic cultures succombed to the rapid expansion of ironworking populations. This event, identified on ceramic criteria and radiocarbon dates, may represent the arrival of the first Bantu ironworkers on the banks of the Ogooué.

     

Teaching “notre littérature”: The Place of la littérature québécoise in the Curriculum in Quebec

Recent calls for a greater emphasis on the teaching of Quebec literature from primary school to cégep once more link the teaching of Quebec literature with the survival of a language and a culture. The current debate echoes those which have taken place over the last 100 years, both under the denominational system of education and since the Révolution tranquille. Different pedagogical and ideological factors have influenced not only whether Francophone Canadian literature has been taught, but also what has been taught and how it has been taught. Anxieties about the status, history and definition of “notre littérature” have recurred throughout the century, as have concerns about the relationship between the literature of Quebec and the literature of metropolitan France. This article will discuss the teaching of literature in Quebec since 1900 to conclude with a consideration of the teaching of Francophone Canadian literature in Quebec today.     

Paul Valéry on Photography: A Poetic Writing of Light and Time

This article studies Paul Valéry's personal reflection on photography, as it appears in his essay “Le Discours du Centenaire de la Photographie,” based on a speech given at the Sorbonne in 1939 to members of the French Academy. It stresses the relationship between this essay and the French poet's writings on painting and aesthetics, in particular his work on Corot. Moreover, it analyzes the synthetic character of Valéry's critical approach, which attempts to bring together the language of poetry, philosophy and science when dealing with this utterly modern visual language. Photography is celebrated here as a unique art form that can at the same time imitate and reproduce nature perfectly, while allowing mankind to create a cosmological vision of life and the universe. In other words, the poet underlines in this text the utmost modernity of photography, at a time when many in France were still reluctant to acknowledge its artistic identity.     

Droit et Théologie Dans la Pensée Scolastique

What place is made for the right of men in a christian society? We will first study the entry of right in exegesis, with Hugues de Saint-Cher, than the case, privileged, of the oath and lie, analyzed here in the work of Jean Olivi (ca 1280). We will see emerging the notions of engagement and obligation — toward our neighbor and toward God. The obligation is realized through the pronunciation of words which take precedence over all other circumstance of the act. It rests upon the recognition of a norm which refers back not only to expressed propositions, but also to implications implicit in a community.     

Jean Lemaire de Belges's Rhetorical Masks in L’Amant Vert and “Les Regretz de la Dame Infortunée”

A prominent feature of the poetry of Franco-Burgundian poet and rhetorician Jean Lemaire de Belges (1473–1524) is his use of a rhetorical mask—a persona—through which to proffer his utterances and assert his identity. Because the early sixteenth-century court poet's financially and politically subservient position vis-à-vis powerful aristocratic patrons demands an encomiastic rhetoric that leaves little room for the poet's self-assertion within the body of the poetic text, Lemaire must employ the indirect means of a narrative mask to assert his own existence and concerns. This article examines first the narrative mask of the parrot-lover in the 1505 Epîtres de l’Amant Vert, through which Lemaire is able to voice concerns about his precarious position as a writer almost entirely at the mercy of his patron's good health and good will. A discussion of “Les Regretz de la Dame Infortunée” (1506) follows, in which Lemaire takes an intriguing narratological stance that unites his voice to that of his patroness, Margaret of Austria (1480–1530), ultimately forging an authorial je that speaks for both poet and patron. This nearly mystical union of narrative voices allows Lemaire to express his own concerns about the volatility of the patronage system while concomitantly giving voice to Margaret's mourning at the death of her brother, Philip the Handsome (1478–1506).     

War and peace in the contemporary French film ecosystem: Valérie Donzelli’s La Guerre est déclarée

This article analyses Valérie Donzelli’s film Declaration of War (La Guerre est déclarée, 2011), in the context of the contemporary French film ecosystem. The article argues that Donzelli’s film exemplifies the French miniaturist mode of production; demonstrates the modern conceptual notion of applied cinephilia; highlights the idiosyncratic uses possible for French popular genres, particularly the comedy and the musical; and embodies the French film industry’s export mission by representing on-screen the French national healthcare system.     

Between Regionalization and Centralization: The Creation of the Musée Léopold II in Elisabethville (Musée national de Lubumbashi), Belgian Congo (1931–1961)

Since “museumland” was revisited in the 1980s, different authors have studied the history of colonial museums in Europe within a broader discussion on colonial bias, the creation of traditions and the theory of representation. It has become clear, for example, how African utensils were exported to Europe, where they were exhibited as curiosa, ethnographical objects or art. But what happened when the very notion of the museum was exported back to Africa? Who created these institutes and in what context? Was the relationship between colonizers and colonized altered? Did the “social life” of the objects on show change? And what was the relationship between the “old” museums in Europe and the “new” ones created in the colony? These questions have rarely been studied. In this article, the creation of the Musée Léopold II will be used as a basis to offer insight into the links between colonial “science” and “policy”, which proved not to be as monolithic as often portrayed, but rather were complex amalgamations of different opinions and even conflicting interests.