L'Orthographe française au temps de la Réforme

In his writings between 1941 and 1951, Michael Polanyi developed a distinctive view of liberal social and political life. Planned organizations are a part of all modern societies, according to Polanyi, but in liberal modernity he highlighted dynamic social orders whose agents freely adjust their efforts in light of the initiatives and accomplishments of their peers. Liberal society itself is the most extensive of dynamic orders, with the market economy, and cultural orders of scientific research, Protestant religious inquiry, and common law among its constituents. Liberal society and its dynamic orders of culture are, Polanyi explained, directed at transcendent ideals (truth, beauty, and justice). He saw knowledge, rules of practice, and standards of value in these orders as being preserved in traditions that inform and constrain the initiatives of their members. Investing faith in a cultural enterprise, Polanyi's agents choose to act responsibly, dedicating their freedom to an ideal end. They are custodians and cultivators of the heritage of their dynamic order.     

Les représentations de l'Allemagne dans la presse sportive française: l'exemple des rencontres de football France-Allemagne dans les années trente

ARP (la Société Civile des Auteurs, Réalisateurs et Producteurs) is one of the most significant cinema lobby groups in France today. Among its most important manifestations are the annual Rencontres de Beaune, a series of debates that attract some of the most influential figures in both the cultural and political domains internationally. This article aims to document the political successes and impact of ARP through a presentation and analysis of the 2000–2004 Rencontres Cinématographiques de Beaune.     

‘Les routes entrecroisées’: trajectoires et engagements des antiquisants français au XXe siècle

A key trend in post-1995 French cinema has been the return of the social. Analysing this trend, this article seeks to evaluate its politic impact. Using Herve´ Le Roux's Reprise (1997) and Agne ¤ s Varda's Les Glaneurs et la glaneuse (2000) as key meta-texts, it suggests that the current wave of politically engaged cinema needs to be approached in new ways that recognise how films trace the impact of a politically unmediated, 'raw' real on groups or individuals. It further suggests that the withdrawal of political mediation gives the films an essential ambiguity and a melodramatic quality that, rather than mere cliche´, may be a privileged way to engage with the violence of the real. Film is now not so much in the van but dans le bain of a diverse socio-political stirring.     

Les élites parlementaires françaises et la parité: Sur l'evolution d'une idée

This article analyses French parliamentary elites' perceptions of gender parity in politics. In particular, it examines the debates that took place in the National Assembly and the Senate between 17 June 1998 and 28 June 1999 with regard to the constitutional bill on women and men's equal access to elected office. These debates, which primarily sought to determine whether to modify article 3 or 4 of the Constitution, highlight the main preoccupations of proponents and opponents of parity, notably: popular sovereignty, republican universalism versus communitarianism , the modernisation of political life, equality between female and male citizens, and, finally, the role of parties in representation and the selection of elites. In the conclusion, questions are raised about representative democracy and, above all, women's role in political representation.