WORLD NUMISMATICS NEWSLETTER in MEMORY of RARE DATE/ASSAYER INITIALS RICHARD STUART COMBINATIONS 1783FM by Carlos Jara
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OPMS-History-Profile.Pdf
A Year in ReviewThe Daily 1878 Picayune New Orleans, Louisiana Edgar Degas remains in city Yellow Jack Claims 4,000 Lives of Mother’s birth to continue Another major out break of Yellow Fever August 27 - Published Account of started this year with the docking of the Emily Impact on Area Physicians artistry B. Souder, a steamer from the tropics. Four “This is a trying time for our physicians. The thousand four hundred and forty-six died and cases of prevailing fever reported from day more than 27,000 contracted the disease. A to day show how much more than their usual quarantine on New Orleans was enforced in labor has devolved upon them. When called Shreveport, Memphis, even Galveston, as the to a case of the fever, they are looked for every city became known as the wet grave. minute with intense anxiety. They know that Mississippi and Texas officials had their mere presence always allays this awful threatened to tear up railroad tracks and fire anxiety which is injurious to the sufferer. upon boats calling on their ports which had After going for hours and hours from house come from New Orleans. to house, the doctor returns to his office or In the Crescent City, carbolic acid and residence to change his saturated clothes and sulfur were burned to keep away the fever. A recent oil on canvas painting: A Cotton get a few minutes’ sleep, only to find some Office in New Orleans; 1872-73 Charity Hospital patients were given salt new and pressing demand for his immediate (See Degas on page 12) shakers filled with calomel and urged to take attention. -
The French Revolution and the Origins of Human Rights
2/11/2016 The French Revolution and the Origins of Human Rights So many revolutions, so little time … • The Greek War of Independence, 1821‐1829 • Irish Rebellion of 1641 • Decembrist Revolt (Russia, 1825) • First Russian Revolution, 1905 • English Revolution, 1642‐1660 • Albanian Revolution (Ottoman, 1910) • The Naples Revolt, 1647 • July Revolution (France, 1830) • Easter Rising In Dublin, 1916 • The Khmelnytsky Uprising, 1648 • Belgian Revolution, 1830 • Irish War of Independence (1916‐1923) • February Revolution (Russia, 1917) • The Fronde (France, 1648‐1653) • November Uprising (Poland, 1830‐1831) • October Revolution (a.k.a. Bolshevik) , • Moscow Uprising of Streltsy Regiments, 1688 • The Bosnian Uprising (Ottoman, 1831‐1832) 1917 • The Glorious Revolution (England, 1688) • Ukrainian Revolution, 1917‐1921 • June Rebellion (France, 1832) • Finnish Civil War, 1918 • The Streltsy Uprising (Russia, 1698) • Revolutions of 1848‐1849 (Italian, German, Danish • German Revolution, 1918 • The Camisard Rebellion (France, 1702‐1715) States; Hungarian; Ireland; Wallachia; Moldavia • The Rakoczi Uprising (Habsburg Empire, 1703‐1711) • Herzegovinia Uprising (Ottoman, 1852‐1862) • The First Jacobite Rebellion (England, 1715) • • The Fourth Dalecarlian Rebellion (Sweden, 1743) Second Italian War for Independence (1859) • Jacobite Rising (Scotland, 1745‐1746) • January Uprising/Polish Uprising (Russia, 1863‐ 1865) • Pugachev Rebellion (Russia, 1773‐1775) • • The French Revolution, 1789‐1799 The Fenian Rising (Ireland, 1867) • Saxon Peasants’ Revolut, -
Prolegomena to Pastels & Pastellists
Prolegomena to Pastels & pastellists NEIL JEFFARES Prolegomena to Pastels & pastellists Published online from 2016 Citation: http://www.pastellists.com/misc/prolegomena.pdf, updated 10 August 2021 www.pastellists.com – © Neil Jeffares – all rights reserved 1 updated 10 August 2021 Prolegomena to Pastels & pastellists www.pastellists.com – © Neil Jeffares – all rights reserved 2 updated 10 August 2021 Prolegomena to Pastels & pastellists CONTENTS I. FOREWORD 5 II. THE WORD 7 III. TREATISES 11 IV. THE OBJECT 14 V. CONSERVATION AND TRANSPORT TODAY 51 VI. PASTELLISTS AT WORK 71 VII. THE INSTITUTIONS 80 VIII. EARLY EXHIBITIONS, PATRONAGE AND COLLECTIONS 94 IX. THE SOCIAL FUNCTION OF PASTEL PORTRAITS 101 X. NON-PORTRAIT SUBJECTS 109 XI. PRICES AND PAYMENT 110 XII. COLLECTING AND CRITICAL FORTUNE POST 1800 114 XIII. PRICES POST 1800 125 XIV. HISTORICO-GEOGRAPHICAL SURVEY 128 www.pastellists.com – © Neil Jeffares – all rights reserved 3 updated 10 August 2021 Prolegomena to Pastels & pastellists I. FOREWORD ASTEL IS IN ESSENCE powdered colour rubbed into paper without a liquid vehicle – a process succinctly described in 1760 by the French amateur engraver Claude-Henri Watelet (himself the subject of a portrait by La Tour): P Les crayons mis en poudre imitent les couleurs, Que dans un teint parfait offre l’éclat des fleurs. Sans pinceau le doigt seul place et fond chaque teinte; Le duvet du papier en conserve l’empreinte; Un crystal la défend; ainsi, de la beauté Le Pastel a l’éclat et la fragilité.1 It is at once line and colour – a sort of synthesis of the traditional opposition that had been debated vigorously by theoreticians such as Roger de Piles in the previous century. -
Bastille Day
1 BASTILLE DAY Bastille Day is the name given in English-speaking countries to the French National Day, which is celebrated on 14 July each year. In France, it is formally called La Fête nationale (French pronunciation: [fɛːt nasjɔˈnal]; The National Celebration) and commonly Le quatorze juillet (French pronunciation: [lə.ka.tɔʁz.ʒɥiˈjɛ]; the fourteenth of July). The French National Day commemorates the beginning of the French Revolution with the Storming of the Bastille on 14 July 1789, as well as the Fête de la Fédération which celebrated the unity of the French people on 14 July 1790. Celebrations are held throughout France. The oldest and largest regular military parade in Europe is held on the morning of 14 July, on the Champs-Élysées in Paris in front of the President of the Republic, French officials and foreign guests. Events and traditions of the day 2 Nationally The Bastille Day Military Parade opens with cadets from the École polytechnique, Saint-Cyr, École Navale, and so forth, then other infantry troops, then motorized troops; aircraft of the Patrouille de France aerobatics team fly above. In recent times, it has become custom to invite units from France's allies to the parade. In 2004 during the centenary of the Entente Cordiale, British troops (the band of the Royal Marines, the Household Cavalry Mounted Regiment, Grenadier Guards and King's Troop, Royal Horse Artillery) led the Bastille Day parade in Paris for the first time, with the Red Arrows flying overhead. In 2007 the German 26th Airborne Brigade led the march followed by British Royal Marines. -
The Political and Popular Reception of Victor Hugo’S Les Misérables in Civil War America
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 “Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America Emily S. Turner Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Part of the French and Francophone Literature Commons, and the Literature in English, North America Commons Recommended Citation Turner, Emily S., "“Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/711 TRINITY COLLEGE Senior Thesis “Books Like This Cannot Be Useless”: The Political and Popular Reception of Victor Hugo’s Les Misérables in Civil War America submitted by EMILY TURNER ‘18 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts 2018 Director: Christopher Hager Reader: Diana Paulin Reader: Dan Mrozowski Turner ii Table of Contents Acknowledgements…………………………………………………………………..…………iii Note About Translations……………………………………………………………………......iv Introduction……………………………………………………………………………………...v Chapter 1: “The Brutalities of Progress Are Called Revolutions”: Hugo’s Philosophy of Revolution……………………………………………………………………………….1 Chapter 2: “John Brown is Greater than Washington”: Hugo’s Philosophy and the American Political Divide……………………..……………………………………….………….32 Chapter 3: “Lee’s Miserables”: Critical Expectations and Popular Responses to Les Misérables ……………………………………………………………………………..59 Conclusion……………………………………………………………………………………...82 Bibliography………………………………………………………………………………...….91 Turner iii Acknowledgements There are many people who have made this thesis possible to whom I owe a word of thanks. Firstly, I would like to thank the Trinity College English Department, especially Professor Sarah Bilston for advising our thesis colloquium. -
“I Should Like to Say a Word Or Two About Your Empire”: Victor Hugo Le Grand, Napoléon III Le Petit, and the Historiographi
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2019 May 1st, 9:00 AM - 10:15 AM “I Should Like to Say a Word or Two About Your Empire”: Victor Hugo le Grand, Napoléon III le Petit, and the Historiographical Battlefield of the rF ench Second Empire Madeleine Adriance St. Mary's Academy Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the European History Commons Let us know how access to this document benefits ou.y Adriance, Madeleine, "“I Should Like to Say a Word or Two About Your Empire”: Victor Hugo le Grand, Napoléon III le Petit, and the Historiographical Battlefield of the rF ench Second Empire" (2019). Young Historians Conference. 22. https://pdxscholar.library.pdx.edu/younghistorians/2019/oralpres/22 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. 1 “I Should Like to Say a Word or Two About Your Empire”1: Victor Hugo le Grand, Napoléon III le Petit, and the Historiographical Battlefield of the French Second Empire Madeleine Adriance Mr. Vannelli PSU Honors History of Modern Europe, Block 2 17 March, 2019 1 Said by Victor Hugo at the National Assembly in 1851. Quoted in D’Ambès, Baron, Intimate Memoirs of Napoleon III: Personal Reminiscences of the Man and the Emperor, ed. and trans. A. R. Allinson (London: Stanley Paul & Co., 1912), 259. 2 The lapping of waves, the soft calls of seabirds, and the cool breeze buffeting patches of wildflowers are sounds typically uncommon to the battlefield. -
Xviiième Siècle
TVP Nouveaux programmes HGEMC BAC PRO- CAP 20-21 février 2020 – lycée Jacques de Flesselles Bibliographie, sitographie et filmographie Thème 1 – Histoire L’expansion du monde connu XVIème – XVIIIème siècle GRD- LP- HISTOIRE GEOGRAPHIE EMC Monique BOUVIER, IEN de l’Académie de Lyon Véronique BARDAY, LP Marie Curie, Villeurbanne Benjamin BOUFFAY, LP Jacques de Flesselles, Lyon HISTOIRE Classe de Seconde, voie professionnelle Circulations , colonisations et révolutions XVème – XVIIIème siècle Thème 1 – L’expansion du monde connu XVIème – XVIIIème siècle, Thème 1 : L’expansion du monde connu XVème – XVIIIème siècle Thème 1 : L’expansion du monde connu XVème – XVIIIème siècle Exergue : « Ce ne serait pas trop de l’histoire du monde pour expliquer la France. » Jules Michelet, Introduction à l’histoire universelle, 1831. Propos introductifs – extraits : - Livre polyphonique, 122 auteurs - Une histoire mondiale de la France et non, « une histoire de la France mondiale, nulle intention de suivre l’expansion , au long cours d’une France mondialisée. » - Une entrée par les dates s’imposait comme la manière la plus efficace « pour déjouer les continuités illusoires du récit traditionnel .» 2017, Seuil, 800 pages. Directeur d’ouvrage : Patrick Boucheron est professeur au Collège de - Soient 146 dates , les dates dessinent des séquences France. qui ne valent pas des périodisations : Coordination : Nicolas Delalande est professeur associé au Centre d'histoire de Sciences Po ; Florian Mazel est professeur à l’université de 34 000 av JC à 2015. Rennes 2 ; Yann Potin est chargé d'études documentaires aux Archives nationales ; Pierre Singaravélou est professeur à l’université Paris I Panthéon-Sorbonne. - Lien Éduscol - la Documentation photographique consacre un numéro à l’histoire connectée des territoires colonisés du XVe au XXe siècle. -
Do You Hear the People Sing?: Musical Aesthetics and French Nationalism in Alain Boubil and Claude-Michel Schonberg’S Adaptation of Victor Hugo’S Les Misérables
Do You Hear the People Sing?: Musical Aesthetics and French Nationalism in Alain Boubil and Claude-Michel Schonberg’s Adaptation of Victor Hugo’s Les Misérables Suvarna Variyar Introduction In 1936, Walter Benjamin argued that the processes of copying, reproduction, and adaptation strip authenticity from any original work.1 I seek here to apply this principle to the reformation of French author Victor Hugo’s 1862 literary opus Les Misérables, as it transforms from novel to Alain Boubil and Claude-Michel Schonberg’s 1980 French rock opera adaptation, and again to the highly successful 1985 English production by Cameron Mackintosh. Hugo’s original work was in effect a thesis novel,2 with its key premise being that post-revolutionary France was intrinsically sacred, thereby elevating the State as a formless ideal towards godhead. I will argue in this article that the extremely popular Anglophone musical adaptation of Les Misérables illustrates a number of translation and adaptation choices which minimise and sideline the sacral-national core of Hugo’s novel. These changes in turn highlight how the French state is conceived of as a sacral force in the original work - one framed by the unique European French linguistic and socio-historical context that defies transposition to a popular Anglophone discourse such as that of the Broadway musical - by examining the ways in which the contrasting aesthetics of language and narrative form serve to shape and alter meaning. This article addresses the following key questions: how does this theme fare when processed into a different form - the French rock opera of 1980 - Suvarna Variyar is a postgraduate student in the Studies in Religion department at The University of Sydney. -
CRSO Working 'Paper No. (261 1 CONFLICT and CHANGE IN
............................................... CONFLICT AND CHANGE IN FRANCE SINCE 1600, AS SEEN FROM A VERY SMALL PLACE by Charles Tilly University of Michigan April 1982 ................................................ CRSO Working 'paper No. (261 1 Copies available through: Center for Research on Social Organization University of Michigan 330 Packard Street Ann Arbor, Michigan 48109 CONFLICT AND CHANCE IN FRANCE SINCE ..1600, AS SEEN FROM A VERY SMALL PLACE Charles i ill^ University .of Michigan March 1982 A Place in Paris A subway rider elbows his way out of the blue, rubber-tired train at the Hotel de Ville station. He climbs. the littered stairs, blinks his way into the sunshine and exhaust fumes of a summer noon, and stands at the edge of a square half again as large as a football field. Taxis, buses, trucks, and motorcycles swirl around the oblong flower beds in mid-square, turning in from the Quai de Gesvres, which borders the Seine just to the south of the square, speeding west along the rue de Rivoli at the top of the square, or heading down toward the river from the rue du Renard. Many of the vehicles are tour buses -- German, English, Belgian, Dutch, Italian, sometimes French -- which stop momentarily while their occupants gawk out the windows. They have plenty of sights to- see. Our lonely pedestrian stations himself on the curb of the rue de Rivoli, facing south toward the river. There, an unceasing stream of shoppers, salespeople, and lunchtime strollers threatens to bump him off .the sidewalk into the path of the fast- moving traffic. The strollers- are passing between our observer and a large' block of dafes and shops. -
Les Misérables As a Spiritual Practice the Rev
Listening to Les Misérables as a Spiritual Practice The Rev. Dr. J. Carl Gregg 13 March 2016 frederickuu.org Les Misérables premiered on Broadway in 1987, after earlier versions in France and London. I first encountered Les Mis in the early ‘90s. My church youth group took at trip to New York City that included seeing Les Mis. I had never paid attention to the musical before—other than seeing the ubiquitous t-shirts with the image of Cosette on the front. But after seeing the musical live in New York City, suddenly all of my peers were listening not only to the 1987 Original Broadway Cast recording, but also — if you were really cool — the 1989 3-CD Complete Symphonic Recording, featuring the entire score. The musical is based on the Victor Hugo’s massive 1862 novel of the same name, that weighs in at around 1,500 pages. Perhaps the biggest misconception about the musical is that it is set during the French Revolution. La grande revolution started in 1789 and includes all those famous moments such as attacking the Bastille and Marie-Antoinette facing the guillotine. But the insurrection featured in the musical is the 1832 June Rebellion in Paris, more than three decades after the end of the French Revolution. Victor Hugo witnessed that 1832 insurrection personally: “He walked the streets of Paris, saw the barricades blocking his way at points, and had to take shelter from gunfire” (Robb 173-4). So, !1 of !8 in the world of our play, it is the eve of the Paris Uprising. -
Bowl Round 6
2017-2018 IHBB Beta Bowl 2017-2018 Bowl Round 6 Bowl Round 6 – Middle School First Quarter (1) In 2003, the Rose Revolution forced this country’s President Eduard Shevardnadze to resign. This country was invaded in 2008 by Russia, who backed its breakaway republics of South Ossetia and Abkhazia, ruining Mikhail Saakashvili’s aspirations to join NATO. For ten points, name this westernmost country of the Caucasus, whose capital is Tbilisi and which is not to be confused with a US state. ANSWER: Georgia (2) This composer celebrated Romanov imperialism with the polonaise that ends his Symphony no. 3, “Polish.” This composer of the Marche Slave used “La Marseillaise” to represent Napoleon’s invading army and also wrote the music to the ballet Swan Lake. For ten points, name this Russian composer who included cannons in his 1812 Overture. ANSWER: Pyotr Ilyich Tchaikovsky (3) In an essay titled The Way of Wealth, this man claimed that “There are no gains without pains,” one of many maxims collected in an annual series that ran from 1732 to 1758 under the name Poor Richard’s Almanac. This man also founded a fire department in Philadelphia and the University of Pennsylvania. For ten points, name this US Founding Father on the $100 bill. ANSWER: Benjamin Franklin (4) Amantani Island is located on this lake and is currently home to thousands of Quechua-speaking peoples. This lake was viewed as sacred by the Incans, and is described as the highest navigable lake in the world. For ten points, name this lake that straddles the Bolivia-Peru border and is the largest lake in South America. -
Silk Fabrics in Eighteenth-Century Lyon
P1: JZP 9780521887175c08 CUUS091/Prak 978 0 521 88717 5 November 22, 2007 17:20 8 Inventing in a World of Guilds: Silk Fabrics in Eighteenth-century Lyon Liliane P´erez This chapter examines the production of silk brocades in Lyon in the eigh- teenth century through the technical possibilities and skills that under- pinned inventiveness, the social status of inventive artisans, and the policy of innovation that the powerful silk guild known as the Grande Fabrique developed in tune with the municipality.1 Thanks to Lesley E. Miller and Carlo Poni, we know about the practices and the context of artistic cre- ation in Lyon, especially the part played by design.2 The success of the Lyon silk fabrics relied on design creativity and on the management of stocks of patterns owned by local firms. Their protection, application, and fraudulent circulation were the basis of the new Lyon fashions launched yearly across Europe. The utility of design was based upon technical inge- nuity. Inventing a new fabric relied on a combination of new patterns as well as new devices and commercial projects, calculations, and plans. No refined patterns could have been realised without the multiplication of warp threads and of numerous tiny shuttles for weft threads, new devices for quickly changing patterns on looms, and new stitches giving the illu- sion of relief, shades, and half-tones in portraits. New flowered silks were 1 I am very grateful to Alain Cottereau, Paul A. David, Dominique Foray, Daryl M. Hafter, Christine MacLeod, Lesley E. Miller, Jacques Mairesse, Giorgio Riello, Kate Scott, and Joan Unwin for their helpful comments on this chapter.