The 9th Lawrence R. Schehr Memorial Award Winning Essay

In the nineteenth century, France was no nation of modern language learners. This was not by any means because France was isolated from other nations: on the contrary, its increasing desire to expand its colonies, its international links through diplomacy, trade, and culture, and significant levels of immigration into France, all positioned it at the heart of a multicultural, multilingual global network. However, for much of the century, modern languages were widely considered to be a rather decorative accomplishment; it was only with France’s devastating defeat by Prussia in 1871 that the dearth of language skills among the French population began to cause widespread concern and to be seen as a worrying national weakness. Although lengthy texts and speeches mediated and scrutinized this dramatic shift for the upper classes, for the popular audiences of workers, artisans, and lower-middle class clerks and shopkeepers it was often café-concert song that confronted its novelty and its strangeness. Dozens of songs were written between 1870 and 1914 about teachers, pupils, dubious accents, and mediocre exam results. This article explores these songs - about Spanish, German, and English - to question how they reflect upon attitudes to language learning, upon popular perceptions of France’s neighboring nations, and upon the audience’s own sense of identity as Parisians and as French citizens.

Science popularization in nineteenth century France: Nérée Boubée (1806–1862) and the journal L'Écho du Monde Savant

Simon-Suzanne-Nérée Boubée was born in Toulouse (France) in May 1806 and died in August 1862 in Luchon (France). This paper discusses Boubée's activities as a science popularizer exemplified through the journal L'Écho du Monde Savant , published in Paris from 1834 to 1846. L'Écho intended to ‘present a summary of the most important news taking place within the savant world’ to the public. In this journal Boubée published a broad range of topics, for example, advocating the crucial role and extent of geology, and the utmost value of industry and agriculture. The working hypothesis is that Boubée's convictions and profile, intertwined with some relevant trends within the French intellectual context—as manifested in science and technology matters—constituted the propelling force for his project to popularize science. Boubée's commitments to popular education, together with other aspects such as valuing the knowledge of workers, and praise for women's education and their scientific activity, were aligned with contemporary political and social movements. Like many practitioners of science hitherto unknown to historians, his work deserves deeper appreciation.

Theatre Photography in Nineteenth Century France: Document, Archive or Pure Fiction?

"Indoor performance photography, which was born in France on the occasion of the Paris World Exhibition in 1889, remains a problematic theatrical and media object to this day. But at the Belle Epoque and until the Second World War at least, it requires to be approached with all the more caution because it is always the fruit of multiple manipulations, either at the time of the making of the shots (mandatory posing of actors, specific lighting, etc.), or at the time of their “post-production” (printing, but especially edition in review or volume). A complex and particularly rich object that must be studied in its context (publications or archives), stage photography is then offered as much as a document to be deciphered as a fiction to be deconstructed. Keywords: theatre photography, France, Belle Epoque, document, photographic archives. "

The Light of the Word

Chapter 1 introduces the context in which Doré’s biblical imagery emerged by focusing on the status of the Bible in the visual culture of nineteenth-century France, with particular emphasis on book illustration. Relying on photographic documentation of Doré’s original drawings, this chapter begins the process of articulating Doré’s visual language and its relationship to preceding attempts at comprehensive Bible illustration projects. The distinction between “biblical” and “religious” imagery is significant in setting the stage for the Doré Bible, as it was initially produced for French Catholic audiences, a contingent for whom direct engagement with the Bible was historically discouraged or even forbidden. Yet, as this chapter demonstrates, biblical illustration in the first half of the nineteenth century reveals the continued centrality of the Bible to artistic and public life in the wake of religious and intellectual upheavals.