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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. -
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. -
Publication Notes – 3Nt.Xyz
Publication Notes – 3nt.xyz Pete Matthews Jr – https://3nt.xyz – © June 19, 2021 Some of the material in this document originally appeared on the MIT/DL Bridge Club site, at http://web.mit.edu/mitdlbc/www/contrib.html. This article, at https://3nt.xyz/about/, is now the official home of this material. Look for updates here. Most of the MS Office documents about the game of bridge use the free Cards font. Starting in 2018, this font is also used in writing up deals with Bridge Composer. Many of the Portable Bridge Notation (PBN) files on this site were created or edited with BridgeComposer; some were created with Dealmaster Pro. The PDF files should be complete and need only Acrobat Reader. That is, all necessary font components are embedded in the files. Items are noted (I) when appropriate for Intermediate players, or (A) for Advanced or Advancing players. Titles of mainstream articles are bold, while more esoteric or less important titles are in italics. Media Codes To describe attributes of the intended media, PDF documents are noted with these Media Codes: Media Size Description Portrait orientation, 1-2 columns, US Letter, usually single column, best 8.5"W for printing and viewing on a moderate to large screen. Articles P x 11"H published before July 1, 2018 and most other bridge material is in this format. 11"W x Landscape orientation, 1-2 columns, US Letter. Only used fort the L 8.5"H occasional spreadsheet that is too wide for some other format. Portrait orientation, 1 column, US Junior (Half Letter). -
Powerpoint 2007
Office 2007 Microsoft Office Fluent User Interface ........................................................................................................................................................ 2 Key Components ......................................................................................................................................................................................... 2 The Office Button .................................................................................................................................................................................... 2 The Ribbon .............................................................................................................................................................................................. 3 Contextual Tabs ....................................................................................................................................................................................... 3 Galleries .................................................................................................................................................................................................. 3 Live Preview ........................................................................................................................................................................................... 3 Mini Toolbar .......................................................................................................................................................................................... -
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. -
Declaration of Independence Font Style
Declaration Of Independence Font Style Heliocentric and implanted Jeremiah prize her duteousness cannonades while Tabor numerate some Davy tonally. How integrant is Juergen when natatory and denticulate Xenos balk some inmate? Outsize and unmeant Shimon spottings fundamentally and synthesise his loungers ghastfully and aguishly. Headings should be closer to the text they introduce than the text that preceeds them. Son foundry was divided among his heirs. HTML hyperlinks are automatically converted. Need help finding the right font for your brand? Prince currently defaults to the RGB color space. Characters are in this declaration independence calligraphy font was the lanston caslon. Mulberry comes as a group of six fonts that cover a whole array of different styles and ligatures. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. Now check your email to confirm your subscription. Research on font trustworthiness: Baskerville vs. Files included in attentions to hear from the depository of? Writers used both cursive styles: location, contents and context of the text determined which style to use. In general, although some of the shapes of individual characters are different, the biggest variation is in line spacing and character size. Some fonts give off assertiveness. The Declaration of Independence in its popular calligraphic form, with signatures. Should this be of importance, use the second approach instead. There are several bibles that are set with Lexicon as well. Garamond will undoubtedly fit the bill. However, it will be tricky to support nested styles this way. Who are your people, and how do you want to talk to them? QUILTSportraits of famous African Americans as a way to document and commemorate their achievements. -
Suggested Fonts List
Suggested Fonts List This is a list of some fonts our designers have available to use when designing your book. This is only a sample of some of the most popular fonts; they have thousands of others to choose from as well. For your convenience, we have marked each font as being appropriate for body text or display text. Body Text fonts are meant for the main body text of your book—paragraphs, lists, etc. These fonts are designed to be easier on the eyes for smoother reading. Display Text fonts are meant for chapter titles, subtitles, etc. They are often “fancier” fonts, such as script or handwriting. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Last updated 6/6/2014 B = Body Text: Fonts meant for the main body text of your book. D = Display Text: Fonts meant for chapter titles, etc. We advise against using these as main body text, as they are intended for short strings of text and can become difficult to read in long paragraphs. Font Name Font Styles Font Sample BD Abraham Lincoln Regular The quick brown fox jumps over the lazy dog. 1234567890 Adobe Caslon Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Garamond Pro Regular The quick brown fox jumps over the lazy dog. Italic 1234567890 Semibold Semibold Italic Bold Bold Italic Adobe Jenson Pro Light The quick brown fox jumps over the lazy dog. -
Lushootseed Unicode Keyboard Help
Lushootseed Unicode Keyboard 1.1 Overview Design This Keyman keyboard is designed for Lushootseed, a language of the Pacific Northwest spoken in Washington state. The arrangement of Lushootseed letters on this keyboard closely follow the arrangement of keys in a standard English QWERTY keyboard. On Screen Keyboard This keyboard includes an On Screen Keyboard view for easy reference. The On Screen Keyboard works best when associated with a QWERTY US layout. Fonts This is a Unicode keyboard and works with any Unicode font which has support for Lushootseed characters. Common fonts which work with Lushootseed are: Arial Consolas Arial Unicode MS Courier New Calibri Tahoma Cambria Times New Roman This keyboard also includes the following fonts which work well with Lushootseed: Lushootseed Sulad Gentium Plus Lushootseed School Keyboard Layout Lushootseed Unicode: Unshifted ` 1 2 3 4 5 6 7 8 9 0 - = Backspace © 1 2 3 4 5 6 7 8 9 0 - = Tab q w e r t y u i o p [ ] \ q w ə š t y u i ʷ p [ ] \ Caps Lock a s d f g h j k l ; ' Enter a s d ʔ g h ǰ k l ɬ ' Shift z x c v b n m , . / Shift & x c č b n m , . / Ctrl Alt Alt Ctrl Lushootseed Unicode: Shifted ~ ! @ # $ % ^ & * ( ) _ + Backspace © ! @ # $ % ^ & * ( ) _ + Tab Q W E R T Y U I O P { } ¦ ; < ;ʷ = > kʷ ? { } ¦ Caps Lock A S D F G H J K L : " Enter qʷ dᶻ gʷ Aʷ A B C " Shift Z X C V B N M < > ? Shift &ʷ xʷ E F G H I < > ? Ctrl Alt Alt Ctrl Keyboard Details You can find most keys on the Lushootseed keyboard by thinking of a similar letter in English. -
Serif Fonts Vol 2
Name Chaparral Pro Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Bold Italic Basic Latin ! " # $ % & ' ( ) * + , - . / 0 1 2 3 4 5 6 7 8 9 : ; < = > ? @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z [ \ ] ^ _ ` a b c d e f g h i j k l m n o p q r s t u v w x y z { | } ~ 24 Te quick brown fox jumps over the lazy dog 18 Te quick brown fox jumps over the lazy dog 12 Te quick brown fox jumps over the lazy dog 10 Te quick brown fox jumps over the lazy dog 8 Te quick brown fox jumps over the lazy dog Name Chaparral Pro Italic Basic Latin ! " # $ % & ' ( ) * + , - . -
Choosing Fonts – Quick Tips
Choosing Fonts – Quick Tips 1. Choose complementary fonts – choose a font that matches the mood of your design. For business cards, it is probably best to choose a classic font. *Note: These fonts are not available in Canva, but are in the Microsoft Office Suite. For some good Canva options, go to this link – https://www.canva.com/learn/canva-for-work-brand-fonts/ Examples: Serif Fonts: Sans Serif Fonts: Times New Roman Helvetica Cambria Arial Georgia Verdana Courier New Calibri Century Schoolbook 2. Establish a visual hierarchy – Use fonts to separate different types of information and guide the reader - Use different fonts, sizes, weights (boldness), and even color - Example: Heading (Helvetica, SZ 22, Bold) Sub-heading (Helvetica, SZ 16, Italics) Body Text (Garamond, SZ 12, Regular) Captions (Garamond, SZ 10, Regular 3. Mix Serifs and Sans Serifs – This is one of the best ways to add visual interest to type. See in the above example how I combined Helvetica, a sans serif font, with Garamond, a serif font. 4. Create Contrast, Not Conflict: Fonts that are too dissimilar may not pair well together. Contrast is good, but fonts need a connecting element. Conflict Contrast 5. Use Fonts from the Same Family: These fonts were created to work together. For example, the fonts in the Arial or Courier families. 6. Limit Your Number of Fonts: No more than 2 or 3 is a good rule – for business cards, choose 2. 7. Trust Your Eye: These are not concrete rules – you will know if a design element works or not! . -
Vision Performance Institute
Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.