Themes in French Culture: A Preface to a Study of French Community.Rhoda Métraux , Margaret Mead

1954 ◽  
Vol 60 (2) ◽  
pp. 193-194
Author(s):  
Arnold M. Rose
Keyword(s):  
1984 ◽  
Vol 69 (1) ◽  
pp. 129-139
Author(s):  
Michel Panoff
Keyword(s):  

Author(s):  
Nataliya Yu. Nelyubova ◽  

This paper presents a linguo-axiological analysis of French and Russian proverbs based on identifying value orientations and creating their hierarchy by studying the names and quantitative dominance of various thematic groups in authentic paroemiological dictionaries. Identification of value orientations allows us to reveal both common features of ethnic groups, which are of interest in the era of globalization and mutual influence of languages and cultures, and specific ones, contributing to the preservation of national identity. The novelty of this research compared to the author’s previous studies lies in the use of two additional lexicographic sources (one French and one Russian). The examined material of the four dictionaries includes more than 30,000 proverbial units. The analysis revealed the presence of a large number of common topics (which can occupy different positions in the value hierarchy of the ethnic groups under study) not only in dictionaries of the same language, but in all four sources. The names of the categories and their quantitative composition allow us to define French culture as individualist, while Russian culture, as collectivist. When constructing a hierarchy, it is important to turn to a larger number of dictionaries and identify common proverbial units in them to avoid the influence of the subjective factor, which is the case when naming and forming categories, as well as of the researcher’s individual approach to the proportion of category names to their corresponding values. The expanding vocabulary and studies on evaluativity in proverbs aiming to identify value and anti-value components within various topics can be used for further research.


2000 ◽  
Vol 41 (4) ◽  
pp. 609 ◽  
Author(s):  
Freeman
Keyword(s):  

2018 ◽  
Author(s):  
NANCY C. LUTKEHAUS
Keyword(s):  

Author(s):  
Jane F. Fulcher

The Introduction examines the changing historiography of Vichy and Occupied France, particularly since the 1970s, when historians challenged postwar French myths as they discovered newly accessible archival sources and exposed the reality behind Pétain’s claim that Vichy merely acted as a shield. In fact the regime’s nationalism differed from that of many Frenchmen in stressing the soil as opposed to political principle and hence the imperative for the administration to remain on it. This, however, was at the price of collaboration with an occupying power, which not only made increasing demands but also served as an umbrella for the regime’s desired political changes. Researchers still need to examine the results for French culture and particularly music, an art of special interest to the Germans, as Vichy moved toward greater collaboration. And they must examine how composers confronted the Vichy model of French culture as opposed to that now defined by the Resistance.


Author(s):  
Elinor Olin

Édouard Lalo’s opera Le Roi d’Ys was one of the earliest manifestations of French musical regionalism to find success on a major Parisian stage. Subtitled légende bretonne, Lalo’s work was set in medieval Brittany, using Breton folk melodies and a conflation of Christian and Celtic legends, intentionally sidestepping the conformist portfolio of fairy tales and grand-operatic French history at the Opéra and the Opéra Comique. Concordant with goals of contemporary regionalist associations such as the Société Celtique and the Félibres promoting the decentralization of French culture, Le Roi d’Ys represents an intentional and nostalgic re-creation of an ancient lineage, geographically and artistically independent from the culture of Paris. Most intriguing are musical links between Regionalist publications of early Provençal noëls and Lalo’s references to medieval ceremonies and rituals in Le Roi d’Ys. As such, the opera is much more than its detractors’ accusations that it was derivative, simply an echo of wagnérisme. Le Roi d’Ys set an important precedent for later regionalist works by Chausson, Ropartz, Widor and others, and was significant to the transformation of musico-dramatic repertory in fin-de-siècle France.


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