The perception of Jerzy Kukuczka among the French alpine community through the press media (1979-1989)

In order to understand the perception of Jerzy Kukuczka by the mountaineering community, this study focuses on the receptivity of his exploits in the French culture during his period of activity (1979-1989). As an emblematic actor of international alpinism during the 1980’s, J. Kukuczka contributed with the Polish climbers of the golden generation to establishing new standards of diffi culty in the Himalayas. While his achievements remain internationally known, no study has looked at the way his expeditions have been portrayed in the media. It emerges that the image left by the character is that of an ice warrior resistant to pain. J. Kukuczka embodies the man of the people who, thanks to his willpower, managed to emancipate himself from his condition as a miner to reach the summits. The spectacle of his competition with Reinhold Messner contributed to his fame: his innovative itineraries underline a performative aim where the mountain becomes a place of sporting confrontation.

LES NABIS AND MAX VOLOSHIN: GAME MODELS

The article draws parallels between the variants of the play-drama and the forms of self-representation of the Les Nabis and the «Parisian» Maximilian Voloshin. All of them tested the concepts of play, performance, and artistic transformation of reality, which are organic in the aesthetics of symbolism, based on the tradition of French culture from T. Gauthier, J. Barbey d’Aurevilly to J. Péladan, F. Khnopff. In the stream of theatrical utopia of the late XIX – early XX centuries Les Nabis and Voloshin used the style of symbolism in everyday life and creativity. They were united by an understanding of art as an emanation of the absolute, a perception of phenomena as a «door to eternity», an invisible reality, a specific «sense of the mystery of things pregnant with an event» (Edouard Vuillard). The thesaurus of forms they possessed included signs of self-manifestation. But, although all of them have an increased attention to the synthesis of religions, mysticism, transchronological excursions, their models of life creation, as well as self-realization, have a number of differences in the ways of objectification of the spiritual. The sublime drama of the Nabis – «Language of Nabis», created by P. Sérusier, paraphernalia, clothes in the form of a felony, weekly ritualsin the Temple of Nabis on Boulevard Montparnasse, 25 – shows their commitment to the spiritualist model of thegame. And the semi-humorous atmosphere of the «Order of the Spins» in the house of Voloshin in Koktebel, jokes andhoaxes of the owner tend to laugh culture. Voloshin claimed: «Everything that is not a game is not art». He relied on the reception of art as a game and life as art – the newly created world en variante locale by the artist, the conjurer of things. Together with the fraternity, which arose spontaneously every summer and spontaneously formed its own laws and rituals, the poet realized an improvisational model of the game, close to children’s games. In contrast to the pathos of the Les Nabis, Voloshin’s game was a frontier against society and the then (1905-1924) Russian reality. If the theater of nabis in the manifestations of Art nouveau realized their goal to aestheticize space, then Voloshin’s game, which became his lifestyle, led to the creation of a new person and new relationships. It contributed not only to the creative development of its members, but also to saving lives during the Bolshevik terror and famine. Late Voloshin, with his analysis of the Сainite civilization and the historiosophical conception of Russia, consistent with modern assessments of geopolitical realities, can be positioned as a seer who predicted the course of events for centuries to come.

THE CONSTRUCTION OF MONSTROUS WOMEN THÉRÈSE DESQUEYROUX BY FRANÇOIS MAURIAC

Issues of domestication, minority, and discrimination have frequently put women in inferior position in society. When women seek equality, they are often framed as embracing monstrous attitudes. This study focuses on François Mauriac’s novel titled Thérèse Desqueyroux (1927) with the intention of exploring the meanings and the significations in its construction of women as monsters. It has been observed that women are depicted as monsters because their struggle for freedom is seen as a challenge to the patriarchal system. The aims of this study are to find out and to describe the influential aspects in the construction of women as monsters and how such construction creates meanings. The study relies on content analysis method and follows three steps of analysis: collecting data relevant to monstrosity, classifying data based on the themes and problems related to the topic, and analyzing the data using Barbara Creed’s theory of the monstrous feminine (2007). The study results in the finding that the construction of women as monsters is strongly correlated with the deep institutionalization of patriarchy in French culture. Penempatan perempuan pada posisi inferior dalam banyak narasi disebabkan oleh faktor-faktor domestifikasi, minoritas, dan diskriminasi. Ketika perempuan memperjuangkan kesetaraan, mereka dianggap membangkang dan disimbolkan sebagai monster. Konstruksi monster terhadap perempuan ini terlihat pada novel François Mauriac berjudul Thérèse Desqueyroux (1927). Tulisan ini mencoba memahami makna dan pemaknaan konstruksi perempuan sebagai monster dalam novel tersebut. Studi ini menemukan bahwa perempuan digambarkan sebagai monster karena perjuangan mereka untuk mencapai kebebasan dianggap menentang struktur patriarki. Tujuan dari studi ini adalah menemukan dan mendeskripsikan aspek-aspek yang berkaitan dengan proses pemonsteran perempuan dan bagaimana proses tersebut dimaknai. Penelitian ini menggunakan metode analisis isi cerita dan dilakukan dalam beberapa tahap. Tahap pertama adalah pengambilan data yang relevan dengan pemonsteran. Tahap kedua adalah pengklasifikasian data sesuai dengan tema dan permasalahan tentang pemonsteran perempuan. Tahap terakhir adalah analisis data temuan dengan teori Barbara Creed (2007) tentang the monstrous feminine. Studi ini menyimpulkan bahwa konstruksi perempuan sebagai monster berhubungan erat dengan kultur patriarki yang sudah terinstitusionalisasi di dalam budaya Prancis pada masa ketika novel tersebut ditulis.

The cultural interaction in the manuals of French as a foreign language

Cultural reflection is the mirror to improve international relations as well as to develop social culture. Our research seeks the meaning of intercultural interaction through the authentic manuals of French Langue Etrange in Iraqi universities. The receiver/transmitter obtains through these manuals a detailed view of the French world such as mores and traditions and the way of life in French. The content of authentic FLE manuals is a reflection of French culture and civilization; through them, the student gets knowledge of the history of France. The authentic FLE manuals that we used in this research show us the progress of France from the old centuries till today. We find in Le Nouveau Sans Frontières a glance of the events from the beginning of the centuries before the Christian Jesus, and the contemporary life of the French families as a mirror of the French culture in detail is the first thing arrives at the head by the title of La France en Direct, also, in G. Mauger we observe the cultural variation reflected by the individuals traveling to another place where the culture is very different from that of his country. The person will know other cultures so he is capable to announce his own culture. This shows us the interculturality is the essential point in the content of authentic FLE manuals in our universities which allow the student a chance to discover and know another culture which is different. Keyword: Cultural interaction, education, authentic manual, social context, sender/ receiver

Intertextuality in rococo culture: parody, pastiche and sequel in French literature pf XVIII century

The purpose of this article is a study of the phenomenon of cultural intertextuality in French rococo on the ground of French prose literature of XVIII century. Methodology. In our research, we employ a method of cultural analysis developed by Annales school. The scientific novelty is determined by the research of non-translated work of Frenche literary rococo "The Adventures of Telemachus" by François de Salignac de La Motte Fénélon of 1699 as phenomenon of French culture of XVIII century, and the study of cultural phenomenon of intertextuality, which is displayed in numerous suites (sequels) and pastiches-parodies of this novel. Conclusions: novel "Adeventures of Telemachus" makes a suite sequel to Homer‘s poem "Odyssey", play "Idoménée" by Prosper Jolyot de Crébillon makes a pastiche to novel "Adeventures of Telemachus", and P. Marivaux‘ novel "Télémaque travesti" makes a parody on François Fénélonùs novel. At the same time, F. Fénélon‘s novel and pastiches and parodies written on it create a metatext of French XVIII century rococo novel of journey.

EDUCATION IN LEBANON UNDER THE EUROPEAN CAMPAIGNS FROM 1912 TO 1921

The aim of the study was to learn about the situation of education in Lebanon during the French campaign in Syria in the period prior to 1921, to learn about developments at the educational level in Lebanon in order to reach its current status. To achieve the objectives of the study, the descriptive curriculum based on reference and extrapolation of previous studies has been followed. The study found that the education in Lebanon based on that of the French, who modified the education system in the line with their system and French became an official language. France took care of education in Syria and Lebanon because it recognized the important role of education in building an educated generation influenced by French culture to serve its political interests and orientations. The Maronite Church had also been instrumental in the emergence of education in Lebanon. Documents from the mandatory period indicated that many schools that had been closed of the war had not been re-established until after the end of hostilities. It has been subjected to some culture pressures and is therefore an interesting case study of the political role of education and the politicization of education.

Traces of French Culture in Palanga: The Historical Context of Palanga Botanical Park, Personalities, and Memory

The article focuses on the origins of French culture in Palanga, a Lithuanian seaside resort, that go back to the years of the rule of the Tyszkiewicz family. The emphasis is put on Palanga Botanical Park (created before the end of the nineteenth century) as the most significant trace of French culture present in the resort and the seaside region until now. The specific symbols in the park created according to the will of the Counts Tyszkiewicz reflect the actualities of French culture. The importance of this space in the city is revealed, and Édouard François André’s principles of park creation are discussed in a new context. They are related to the dialogue that has been established between the residents of Palanga, the park, its creator, and his granddaughter Florence André since the first years of the independence of Lithuania. In order to give a meaning to Édouard André’s creation and to the relationship between the two countries, the correspondence between the great-granddaughter of the famous French landscape designer and the former director of the park, Antanas Sebeckas, is disclosed. It reflects the endeavour of these two personalities and its value for the international relations in representing French culture to the public. Florence André’s letters to the author of this article are also an important resource as she explains the reasons why the park plays an essential role in Palanga. It is shown how certain personal life events (Florence André’s wedding ceremony in Palanga, the park created by her great-grandfather) have become an inclusive part of the history of the town and represent intercultural relations and exchanges. The article is also based on some memories and narratives of the members of the local community in which the park features as a symbol and tradition of the city.

Influence of France on the formation of ballroom choreography in the context of Western Europe culture development in the XVI — early XXI centuries

The purpose of this paper to analyze the transformations in the French ballroom and choreographic practice, in the context of the development of culture of Western European countries of the XVI — early XXI centuries. The methodology is an organic set of basic principles of research: objectivity, historicism, multifactority, systemicity, complexity, development and pluralism, and to achieve the goal, the following methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical and analytical. The results. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries. The analysis of trends in the development of ballroom dance in France and the influence of French culture on the formation of ballroom choreography in the XVI — early XXI centuries took place. The processes of transformation and democratization of ballroom choreography in the XVIII century, which already in the XIX century turned from salon art into a leisure object for various social strata throughout Europe, were investigated. In the XX century it was France that discovered non-European types of ballroom dancing for Europe, which subsequently acquired standardization in the English professional environment. In the XX century France became the country where foreign art forms appeared and adapted to the conditions of European realities. France attracted artists from all over the world because of the special national culture formed in it. During the XX century the art of ballroom choreography in France developed rapidly. French performers and teachers continued long-standing national traditions. This factor had a positive effect on the training level of dancers in the field of professional and amateur ballroom dancing. Since 2010, France has been an active member of the World Dance Sports Federation (WDSF). The French Dance Federation (Fédération Française de Danse) is one of the largest organizations that develops ballroom choreography in the country. Over the past decades, dozens of open national and world ballroom dancing championships have been held in French cities (Paris, Marseille, Lyon, Nice, etc.). The scientific topicality is to identify the processes of the influence of French culture on the development of ballroom choreography in the XVI — early XXI centuries. The practical significance. The research may be used in developing lectures by specialists in choreography.

Challenging representations of Muslims and cultural métissage in the ethnic comedies L’Italien (2010) and Mohamed Dubois (2013)

In this article, I am looking at two popular ‘ethnic’ comedies, L’Italien (2010) and Mohamed Dubois (2013), that promote dialogue and conviviality between Franco-Maghrebi and Franco-French people in France while questioning the societal feasibility of legislative measures of inclusiveness, visibility and equality of chances promoted by the government in the late 1990s and early 2000s. Considering some challenges in the representations, the comedies offer, at times, a social critique of certain stereotypical views on Islam and the destiny of Muslims on French soil, but they conclude in an optimistic tone supporting the idea that there is cultural métissage in France and that Muslims and Christians do mix in today’s diverse France. The popularity of these comedies attests to the fact that there is a need to bring up the issues of Islam in France and of the cohabitation between Muslims and Christian French citizens in the public sphere. I suggest however that while the Franco-Maghrebi’s ‘essentialist identity’ is challenged in the films, there are still neo-colonialist tensions in the artistic productions that entail ambivalence towards the Muslim characters. In a Franco-French dominated film-consuming culture, the Franco-Maghrebi characters are still subject to mimicry, which consistently maintains their subordinate position in the French culture.

Villainy in France (1463-1610)

This is a book about the outward manifestation of inner malice—that is to say, villainy—in French culture (1463–1610). In pre-modern France, villainous offences were countered, if never fully contained, by intersecting legal and literary responses. Combining insights from legal anthropology with literary and historical analysis, this study examines villainy across juridical documents, criminal records, and literary texts (broadly conceived). While few people obtained justice through the law, many pursued out-of-court settlements of one kind or another. Literary texts commemorated villainies both fictitious and historical; literature sometimes instantiated the process of redress, and enabled the transmission of conflicts from one context to another. Villainy in France follows this overflowing current of pre-modern French culture, examining its impact within France and across the English Channel. Scholars and cultural critics of the Anglophone world have long been fascinated by villainy and villains. This book reveals the subject’s significant ‘Frenchness’ and establishes a transcultural approach to it in law and literature. Villainy’s particular significance emerges through its representation in authors remembered for their less-than respectable, even criminal, activities: François Villon, Clément Marot, François Rabelais, Pierre de L’Estoile, Christopher Marlowe, Ben Jonson, John Marston, and George Chapman. Villainy in France affords comparison of these authors alongside many of their lesser-known contemporaries; in so doing, it reinterprets French conflicts within a wider European context, from the mid-fifteenth century to the early seventeenth century.