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The French Communist Party and the Algerian
THE FRENCH COMMUNIST PARTY AND THE ALGERIAN WAR Also by Daniele Joly IMMIGRANT ASSOCIATIONS IN EUROPE (editor with John Rex and Czarina Witpert) RELUCTANT HOSTS: EUROPE AND ITS REFUGEES (editor with Rnbin Cohen) The French COlDlDunist Party and the Algerian War Daniele J oly Senior Research Fellow University of Warwick Palgrave Macmillan ISBN 978-1-349-21289-7 ISBN 978-1-349-21287-3 (eBook) DOI 10.1007/978-1-349-21287-3 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 Softcover reprint of the hardcover 1st edition 1991 First published in the United States of America in 1991 Phototypeset by Input Typesetting Ltd, London Library of Congress Cataloging-in-Publication Data Joly, Daniele The French Communist Party and the Algerian War/Daniele Joly. p. em. Includes bibliographical references. ISBN 978-0-312-04211-0 I. Algeria-History-Revolution, 1954--1962-Public opinion. 2. Parti communiste fran<;;ais. 3. Communists-France-Attitudes. 4. Public opinion-France. I. Title. DT295.J63 1991 90-34612 965' .04-dc20 CIP Contents Glossary vi Preface IX Acknowledgements xiv Introduction xv Algeria under French Colonisation 1 2 The PCF and the Colonial Question: A Historical Perspective 20 3 The PCF, the International Situation and the Algerian War 42 4 The French Nation 55 5 The PCF and the Algerian Nation 68 6 France's Military Involvement in Algeria: The PCF and the Oppositionnels 100 7 Synthesis on the Opposition 130 Conclusion Notes and References 149 Bibliography 165 Index 176 v Glossary VOCABULARY Appeles The French army is composed of conscripts and professionals. -
Century 100 Years of Type in Design
Bauhaus Linotype Charlotte News 702 Bookman Gilgamesh Revival 555 Latin Extra Bodoni Busorama Americana Heavy Zapfino Four Bold Italic Bold Book Italic Condensed Twelve Extra Bold Plain Plain News 701 News 706 Swiss 721 Newspaper Pi Bodoni Humana Revue Libra Century 751 Boberia Arriba Italic Bold Black No.2 Bold Italic Sans No. 2 Bold Semibold Geometric Charlotte Humanist Modern Century Golden Ribbon 131 Kallos Claude Sans Latin 725 Aurora 212 Sans Bold 531 Ultra No. 20 Expanded Cockerel Bold Italic Italic Black Italic Univers 45 Swiss 721 Tannarin Spirit Helvetica Futura Black Robotik Weidemann Tannarin Life Italic Bailey Sans Oblique Heavy Italic SC Bold Olbique Univers Black Swiss 721 Symbol Swiss 924 Charlotte DIN Next Pro Romana Tiffany Flemish Edwardian Balloon Extended Bold Monospaced Book Italic Condensed Script Script Light Plain Medium News 701 Swiss 721 Binary Symbol Charlotte Sans Green Plain Romic Isbell Figural Lapidary 333 Bank Gothic Bold Medium Proportional Book Plain Light Plain Book Bauhaus Freeform 721 Charlotte Sans Tropica Script Cheltenham Humana Sans Script 12 Pitch Century 731 Fenice Empire Baskerville Bold Bold Medium Plain Bold Bold Italic Bold No.2 Bauhaus Charlotte Sans Swiss 721 Typados Claude Sans Humanist 531 Seagull Courier 10 Lucia Humana Sans Bauer Bodoni Demi Bold Black Bold Italic Pitch Light Lydian Claude Sans Italian Universal Figural Bold Hadriano Shotgun Crillee Italic Pioneer Fry’s Bell Centennial Garamond Math 1 Baskerville Bauhaus Demian Zapf Modern 735 Humanist 970 Impuls Skylark Davida Mister -
Cloud Fonts in Microsoft Office
APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ -
Typography One Typeface Classification Why Classify?
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers), 2. reference type (educators, students, designers, scholars) Approximately 250,000 digital typefaces are available today— Even with excellent search engines, a common system of description is a big help! classification systems Many systems have been proposed Francis Thibaudeau, 1921 Maximillian Vox, 1952 Vox-ATypI, 1962 Aldo Novarese, 1964 Alexander Lawson, 1966 Blackletter Venetian French Dutch-English Transitional Modern Sans Serif Square Serif Script-Cursive Decorative J. Ben Lieberman, 1967 Marcel Janco, 1978 Ellen Lupton, 2004 The classification system you will learn is a combination of Lawson’s and Lupton’s systems Black Letter Old Style serif Transitional serif Modern Style serif Script Cursive Slab Serif Geometric Sans Grotesque Sans Humanist Sans Display & Decorative basic characteristics + stress + serifs (or lack thereof) + shape stress: where the thinnest parts of a letter fall diagonal stress vertical stress no stress horizontal stress Old Style serif Transitional serif or Slab Serif or or reverse stress (Centaur) Modern Style serif Sans Serif Display & Decorative (Baskerville) (Helvetica) (Edmunds) serif types bracketed serifs unbracketed serifs slab serifs no serif Old Style Serif and Modern Style Serif Slab Serif or Square Serif Sans Serif Transitional Serif (Bodoni) or Egyptian (Helvetica) (Baskerville) (Rockwell/Clarendon) shape Geometric Sans Serif Grotesk Sans Serif Humanist Sans Serif (Futura) (Helvetica) (Gill Sans) Geometric sans are based on basic Grotesk sans look precisely drawn. Humanist sans are based on shapes like circles, triangles, and They have have uniform, human writing. -
Ubuntu Kung Fu
Prepared exclusively for Alison Tyler Download at Boykma.Com What readers are saying about Ubuntu Kung Fu Ubuntu Kung Fu is excellent. The tips are fun and the hope of discov- ering hidden gems makes it a worthwhile task. John Southern Former editor of Linux Magazine I enjoyed Ubuntu Kung Fu and learned some new things. I would rec- ommend this book—nice tips and a lot of fun to be had. Carthik Sharma Creator of the Ubuntu Blog (http://ubuntu.wordpress.com) Wow! There are some great tips here! I have used Ubuntu since April 2005, starting with version 5.04. I found much in this book to inspire me and to teach me, and it answered lingering questions I didn’t know I had. The book is a good resource that I will gladly recommend to both newcomers and veteran users. Matthew Helmke Administrator, Ubuntu Forums Ubuntu Kung Fu is a fantastic compendium of useful, uncommon Ubuntu knowledge. Eric Hewitt Consultant, LiveLogic, LLC Prepared exclusively for Alison Tyler Download at Boykma.Com Ubuntu Kung Fu Tips, Tricks, Hints, and Hacks Keir Thomas The Pragmatic Bookshelf Raleigh, North Carolina Dallas, Texas Prepared exclusively for Alison Tyler Download at Boykma.Com Many of the designations used by manufacturers and sellers to distinguish their prod- ucts are claimed as trademarks. Where those designations appear in this book, and The Pragmatic Programmers, LLC was aware of a trademark claim, the designations have been printed in initial capital letters or in all capitals. The Pragmatic Starter Kit, The Pragmatic Programmer, Pragmatic Programming, Pragmatic Bookshelf and the linking g device are trademarks of The Pragmatic Programmers, LLC. -
Bitstream Fonts in May 2005 at Totaling 350 Font Families with a Total of 1357 Font Styles
Bitstream Fonts in May 2005 at http://www.myfonts.com/fonts/bitstream totaling 350 font families with a total of 1357 font styles The former Bitstream typeface libraries consisted mainly of forgeries of Linotype fonts and of ITC fonts. See the list below on the pages 24–29 about the old Bitstream Typeface Library of 1992. The 2005 Bitstream typeface library contains the same forgeries of Linotype fonts as formerly and also the same ITC fonts, but it also includes a lot of new mediocre „rubbish fonts“ (e.g. „Alphabet Soup“, „Arkeo“, „Big Limbo“), but also a few new quality fonts (e.g. „Drescher Grotesk“, „Prima Serif“ etc.). On the other hand, a few old fonts (e.g. „Caxton“) were removed. See the list below on pages 1–23. The typeface collection of CorelDraw comprises almost the entire former old Bitstream typeface library (see the list below on pages 24–29) with the following exceptions: 1. A few (ca. 3) forgeries of Linotype fonts are missing in the CorelDraw font collections, e.g. the fonts „Baskerville No. 2“ (= Linotype Baskerville No. 2), „Italian Garamond“ (= Linotype Garamond Simoncini), and „Revival 555“ (= Linotype Horley Old Style). 2. A lot (ca. 11) of ITC fonts are not contained in the CorelDraw font collections, e.g. „ITC Berkeley Oldstyle“, „ITC Century“, „ITC Clearface“, „ITC Isbell“, „ITC Italia“, „ITC Modern No. 216“, „ITC Ronda“, „ITC Serif Gothic“, „ITC Tom’s Roman“, „ITC Zapf Book“, and „ITC Zapf International“. Ulrich Stiehl, Heidelberg 3-May 2005 Aachen – 2 styles Ad Lib™ – 1 styles Aerospace Pi – 1 styles Aldine -
Basic Styles of Lettering for Monuments and Markers.Indd
BASIC STYLES OF LETTERING FOR MONUMENTS AND MARKERS Monument Builders of North America, Inc. AA GuideGuide ToTo TheThe SelectionSelection ofof LETTERINGLETTERING From primitive times, man has sought to crude or garish or awkward letters, but in communicate with his fellow men through letters of harmonized alphabets which have symbols and graphics which conveyed dignity, balance and legibility. At the same meaning. Slowly he evolved signs and time, they are letters which are designed to hieroglyphics which became the visual engrave or incise cleanly and clearly into expression of his language. monumental stone, and to resist change or obliteration through year after year of Ultimately, this process evolved into the exposure. writing and the alphabets of the various tongues and civilizations. The early scribes The purpose of this book is to illustrate the and artists refi ned these alphabets, and the basic styles or types of alphabets which have development of printing led to the design been proved in memorial art, and which are of alphabets of related character and ready both appropriate and practical in the lettering readability. of monuments and markers. Memorial art--one of the oldest of the arts- Lettering or engraving of family memorials -was among the fi rst to use symbols and or individual markers is done today with “letters” to inscribe lasting records and history superb fi delity through the use of lasers or the into stone. The sculptors and carvers of each sandblast process, which employs a powerful generation infl uenced the form of letters and stream or jet of abrasive “sand” to cut into the numerals and used them to add both meaning granite or marble. -
CSS Font Stacks by Classification
CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed. -
Dynamic and Interactive R Graphics for the Web: the Gridsvg Package
JSS Journal of Statistical Software MMMMMM YYYY, Volume VV, Issue II. http://www.jstatsoft.org/ Dynamic and Interactive R Graphics for the Web: The gridSVG Package Paul Murrell Simon Potter The Unversity of Auckland The Unversity of Auckland Abstract This article describes the gridSVG package, which provides functions to convert grid- based R graphics to an SVG format. The package also provides a function to associate hyperlinks with components of a plot, a function to animate components of a plot, a function to associate any SVG attribute with a component of a plot, and a function to add JavaScript code to a plot. The last two of these provides a basis for adding interactivity to the SVG version of the plot. Together these tools provide a way to generate dynamic and interactive R graphics for use in web pages. Keywords: world-wide web, graphics, R, SVG. 1. Introduction Interactive and dynamic plots within web pages are becomingly increasingly popular, as part of a general trend towards making data sets more open and accessible on the web, for example, GapMinder (Rosling 2008) and ManyEyes (Viegas, Wattenberg, van Ham, Kriss, and McKeon 2007). The R language and environment for statistical computing and graphics (R Development Core Team 2011) has many facilities for producing plots, and it can produce graphics formats that are suitable for including in web pages, but the core graphics facilities in R are largely focused on static plots. This article describes an R extension package, gridSVG, that is designed to embellish and transform a standard, static R plot and turn it into a dynamic and interactive plot that can be embedded in a web page. -
Regional Rail Service the Vermont Way
DRAFT Regional Rail Service The Vermont Way Authored by Christopher Parker and Carl Fowler November 30, 2017 Contents Contents 2 Executive Summary 4 The Budd Car RDC Advantage 5 Project System Description 6 Routes 6 Schedule 7 Major Employers and Markets 8 Commuter vs. Intercity Designation 10 Project Developer 10 Stakeholders 10 Transportation organizations 10 Town and City Governments 11 Colleges and Universities 11 Resorts 11 Host Railroads 11 Vermont Rail Systems 11 New England Central Railroad 12 Amtrak 12 Possible contract operators 12 Dispatching 13 Liability Insurance 13 Tracks and Right-of-Way 15 Upgraded Track 15 Safety: Grade Crossing Upgrades 15 Proposed Standard 16 Upgrades by segment 16 Cost of Upgrades 17 Safety 19 Platforms and Stations 20 Proposed Stations 20 Existing Stations 22 Construction Methods of New Stations 22 Current and Historical Precedents 25 Rail in Vermont 25 Regional Rail Service in the United States 27 New Mexico 27 Maine 27 Oregon 28 Arizona and Rural New York 28 Rural Massachusetts 28 Executive Summary For more than twenty years various studies have responded to a yearning in Vermont for a regional passenger rail service which would connect Vermont towns and cities. This White Paper, commissioned by Champ P3, LLC reviews the opportunities for and obstacles to delivering rail service at a rural scale appropriate for a rural state. Champ P3 is a mission driven public-private partnership modeled on the Eagle P3 which built Denver’s new commuter rail network. Vermont’s two railroads, Vermont Rail System and Genesee & Wyoming, have experience hosting and operating commuter rail service utilizing Budd cars. -
Guide Des Polices
Guide des polices NPD4628-00 FR Epson Guide des polices Table des matières Droits d’auteur et marques Chapitre 1 Utilisation des polices Epson BarCode Fonts (Windows uniquement)............................................... 5 Configuration requise................................................................ 6 Installation des Epson BarCode Fonts.................................................. 6 Impression à l’aide des Epson BarCode Fonts............................................ 7 Caractéristiques des polices BarCode.................................................. 11 Polices disponibles..................................................................... 21 Mode PCL5....................................................................... 21 Modes ESC/P2 et FX................................................................ 23 Mode I239X....................................................................... 24 Mode PS 3........................................................................ 24 Mode PCL6....................................................................... 26 Impression d’échantillons de polices. .............................................. 28 Ajout de polices........................................................................ 29 Sélection des polices. ........................................................... 29 Chapitre 2 Jeux de symboles Présentation des jeux de symboles......................................................... 30 Mode PCL5.......................................................................... -
CSS Contenu / Mise En Forme 3 Séparer Contenu, Site Mise En Forme, Web Document Object Et Actions
Langages du Web 1 Langages du Web CSS Contenu / Mise en forme 3 Séparer contenu, Site mise en forme, Web Document Object et actions. DOM Model Cascading Style JS JavaScript Sheet CSS HyperText Markup Language HTML francois.piat@univ‐fcomte.fr CSS Cascading Style Sheet 4 Feuille de style en cascade : séparer contenu et forme. Pas d'attributs de mise en forme dans le code HTML CSS ≠ HTML. Un "mécanisme" avec sa propre syntaxe Contrôle précis de la mise en page et de la mise en forme Code HTML plus simple et plus court CCS 1 : décembre 1996 Propriétés de mise en forme et de rendu typographique CSS 2 : mai 1998 70 nouvelles propriétés (ex : positionnement à l'écran) Cascade : plusieurs de feuilles de styles mises en oeuvre CSS 2.1 : septembre 2009 ‐ Recommandation : 7 juin 2011 Supprime des parties de CSS 2 / corrections suivant les implémentations CSS 3 : en développement http://www.w3.org/Style/CSS/current‐work#roadmap francois.piat@univ‐fcomte.fr 2 Langages du Web CSS Contenu / Mise en forme 5 1994 1997 1999 2005 Maintenant JS JS HTML HTML CSS JS CSS HTML HTML JS HTML HTML "The Web technology stack is a complete mess." Ian Hickson – 08/01/2013 - http://html5doctor.com/interview-with-ian-hickson-html-editor/ francois.piat@univ‐fcomte.fr CSS Code CSS 6 h1 { background: url(images/trait.png) no‐repeat; color: #be7e11; font‐size: 28px; font‐weight: bold; width: 590px; } #bcContenu li .avatar { font: 16px/1.8 Arial, Verdana, sans‐serif; height: 50px; margin‐left: ‐60px; width: 50px; } francois.piat@univ‐fcomte.fr 3 Langages du