Water in Hispano-arabic Food and Cooking during the Middle-Ages
For Hispano-arabic physicians of the Middle-Ages, water was not only a natural element but the essential condition of health and civilization. The ancient philosophical doctrine regarding the function of water was further amplified : from hydraulics developed a theory of taste to be found in the agronomical literature ('Awwārn), cooking-books (Kitāb al-tābikh), as well as in Beyṭār's considerable pharmacopoeia. As a liquid, water is also capable of effecting decompositions and new mixings ; cooking thus becomes an alchimie process involving dessication (couscous), fermentation (bread) and the determination of suitable tastes for health and pleasure.
ABSTRACT- Cuba, specially through its narrative literature, demostrates always a very keen interest in the «guajiro». Glorified by the the creóle writers during the 19 th century as an ideal Cuban, the figure of this little white peasant has never ceased to arouse many a writer's fad ever since. Beyond the convergence of aesthetic tastes, the recurrence of this image actually reveals identitary intentions meant to maintain, even today, a national identity built around the representative of the creóle community.
John Keep, Emancipation by the axe? Peasant revolts in Russian thought and literature. Contrary to widespread opinion, a continuous thread runs from the 17th- and 18th-century Russian peasant revolts to the agrarian revolutions of 1905 and 1917, manifested in the survival of social Utopian myths. The Razin legendary cycle, distorting Christian teaching, presents the "liberator" as an avenging apostle. Russian writers from Pushkin onward, and later social theorists, took up the theme of agrarian violence but were shocked by the brutal events of 1917-1918. Early Soviet writers (e.g. L. Leonov) offered a critical portrait of the peasant revolutionaries, but subsequently this theme has been neglected. A comparison of two novels on the Razin revolt (A. P. Chapygin, 1927; S. Zlobin, 1951) illustrates changes in the official ideology and Soviet literary taste; popular mythology is today manipulated for mundane political ends.
How did the conquistadores and their followers view the Indian civilizations when they came into contact with them ? Such is the aim pursued in this study based on several contemporary chronicles and tales. Two directive themes, which appear more frequently than others, have been given a privileged place : homosexuality and anthropophagy. What form did the latter take, what was their social and ritual role etc. ? Were they understood by Europeans as realities or through a magnifying vision ? How is one to read the sources and to interpret them in the light of historical and anthropological criticism ? Such is the issue raised here through carefully-read documents, which will require for a full investigation a systematic study of 16th Century writings. Thus one should reach the image Europeans held of a world different from theirs, as well as their need and their taste for a literature which was both terrifying and colourful.
This article explores the possibility of renewing the comparative study of Canadian and Australian literatures through an alertness to parallel developments in mid-range magazines and middlebrow print cultures in Canada and Australia in the early- to mid-twentieth century. While scoping the possibilities of full-fledged comparative studies, its focus is a case study of the Australian magazine BP: a well-capitalized, plush upmarket publication published by the Australian steamship company Burns Philp. The BP Magazine promoted travel between 1928 and 1942 as the nation underwent a transition from settler colonialism to vernacular modernity. The magazine lays bare tensions between literary aspiration and commodity culture, sophistication and escapism, edification and entertainment, and modernity and primitiveness. The aim of this case study is to raise questions that might be asked of both national literary cultures about the role of travel, modern consumer culture, magazines, and nationhood as the scales of literary values changed during the development of local middlebrow values and tastes.
Nurit Schleifman, A Russian daily newspaper and its new readership: Severnaia pchela, 1825 -1840. Severnaia pchela, the first privately owned Russian newspaper, was published in St. Petersburg for almost forty years. The time of its appearance was marked by a growing participation of the urban middle strata in the consumption of literature, which consequently turned them into the newspaper's chief target audience. The educated elite viewed Severnaia pchela' s success with this new readership as a regrettable result of both the existing political circumstances and the paper's policy of catering to the lowest possible tastes. Whereas contemporary historiography tends towards the same view, a closer examination reveals the paper's persistent attempt to use a restricted thematic framework. for conveying messages that would correspond to the social needs and life experiences of its new readers. This endeavour should be considered as a contributary factor in Severnaia pchela's success in maintaining its position as the most widely read daily until the early forties.
The aim of this thesis is to study the literary fortune of Saadi in French literature from 17th century up to present. For the first time in 1634 Saadi was introduced in France through an incomplete translation of Gulistan by André du Ryer.This translation paved the way for Saadi to be introduced to other European countries. With the first confrontation with his works French literary scholars found Saadi's works agreeable and attractive. Different writers according to their tastes and the atmosphere of their period either imitate him or get inspired by him. In classic time some of the writers like La Fontaine take the material of their stories from Gulistan stories. In the Enlightenment period the number of writers who have been inspired by Saadi increased. The writers of this period are mostly inspired by Saadis political or moral aspects of his works and they consider him as the critic of rituals and traditions. The philosophers and authors of encyclopaedia think of Saadi as one of them and introduce him as their political anti-church speaker. They use Saadi's name as a weapon in their satiric writing. It was in 19th century that the first translation of Boustan and one of the most outstanding translation of Gulistan enabled the French to taste Saadi's poetry. The Romantics were attracted by the aesthetics and the sentimental aspects of his works. They found the new themes such as love, nature, and time. The 20 century writers continue to enjoy the concept of love as manifested in the images of 'nightingale and flower' and are fascinated by the mystic features of Boustan. ; Cette thèse à pour objectif d'étudier la fortune littéraire de Saadi en France du XVIIe siècle à l'époque contemporaine. Saadi est présenté pour la première fois aux Français en 1634 dans une traduction fragmentaire de son Gulistan par André du Ryer. Cette traduction ouvre la voie à la connaissance de Saadi dans d'autres pays d'Europe. Dès les premiers contacts avec son œuvre, les lettrés français la trouvent agréable et utile. Les ...
In the seventeenth century, France established plantation colonies in the islands of the Caribbean and Indian Ocean. Within fifty years these had become important sites of commerce that supplied valuable raw materials and agricultural commodities. But despite their economic and strategic importance the colonial world was sparsely represented in public discourses and debates. Sustained representation of the colonies would have entailed depiction of the regime of slavery and meant taking a position for or against an institution that was considered economically advantageous but which was also morally suspect. Only the closing decades of the eighteenth century when an abolitionist discourse supported by economic arguments gained momentum, did the colonies and slavery became subjects of representation in domains such as literature, philosophy and material culture. The silence that enveloped the colonial world had several dimensions. Besides silence in the strict sense of the term we can identify processes of shifting toward subjects related to colonialism yet far more visible, notably oriental exoticism and the theme of the 'noble savage'. These transfers took place, not only in literature and political debates but also in visual and material culture. They occurred, for example, in the sphere of furniture. In the seventeenth and eighteenth centuries French furniture underwent radical transformations as a result of the import of precious hardwoods and other tropical commodities from the Caribbean and the Indian Ocean. But these transformations did not give rise to a tropical or colonial brand of exoticism. Rather, it is possible to trace patterns of substitution by which colonial raw materials – mahogany and ebony, tortoiseshell and rosewood – were transformed into merchandise that appealed to the orientalist tastes of the period: sofas and ottomans, chests decorated with Asian lacquer, chairs with Egyptian motifs. In the eighteenth century, as today, consumers' attention was drawn to the cultural origins of merchandise rather than to the geography of production or the conditions of labor in "offshore" centers of production.
In 1934, when Aragon began writing the 'Cloches de Basel' and then the 'Monde Real', expressing his willingness to offer socialist realism a French version, and aimed at a wider readership, he had popular models which he would not hesitate to grasp. Aimed at as many people as possible, Belle's popular literature, which he knows through his childhood readings, then by his own mother's writer, and journalistic writing, which he practises between 1933 and 1934, appear to be possible sources of regeneration of Roman art. Articles dealing with various bloody faitts, whether or not written by Aragon in these years ('L'Humanité'), predict a trend towards spectacular dramatisation of the Roman intrigue, and reveal a taste of bloody and passional murder. Aragon uses the various facts to induce narrative bifurcations or uses them as parenthesis for the purpose of political denunciation. 'The Beaux quarters' is the novel most marked by the leaf aesthetic: short chapters, theatre cups and outstanding effects located at the end of chapters, alternating between intrigues, amalgam and recognition scenes, melodramatic figures. The story of Jeanne Cartuywels appears to be a variant of the 'novel of the victim' of the Belle Époque, where Jeanne herself enrolled in a long parentage of attractive, deceptive or raped women, while colombin, his aggressor and his tyran revived the type of red, malicious and sensuel character, praised by popular literature. Aragon thus walks in the traces of the great popular romanciers, themselves heirs of the mellodrame. But it does so with ostentation: comments from the author in his/her text show that the string used is not duplicated. The novels of the last period (after 'The Holy Week', 1958) will still sometimes refer to the folio and various facts, but always critically, preventing the reader from (re) plating into the referential illusion. ; En 1934, lorsqu'Aragon entreprend l'écriture des "Cloches de Bâle", puis du "Monde réel", exprimant sa volonté d'offrir au réalisme socialiste une version ...
"Bounded rationality" is coming back: what matters for policy analysis? In the 2000s « Bounded rationality » is coming back in the social sciences literature, notably in the American policy analysis. 50 years after Herbert Simon proposed this concept what can explain such an enthusiasm? Bounded rationality originally means that people's skills in learning and thinking are limited by psychological and biological human nature. Scholars' attraction to this conception of human behavior is obviously connected with their interest in cognitive science. More precisely the use of this concept aims at combining a classical rationalist perspective with the cognitive science results. During the 80s cognitive psychologists' findings, such as Tversky and Kahneman's, undermined the bases of rational choice theory. Bounded rationality models try to make a synthesis between these two opposite perspectives. In spite of their taste for what they call "cognitive" approaches, French policy analysts seem to stand aside from these developments. We assume that a bounded rationality model of social human behavior could provide their research with a more solid and scientific ground. So doing many "cognitive" studies would avoid the dangers of a too abstract constructivism. ; Les années 2000 marquent le retour en force dans les sciences sociales, et notamment dans l'analyse des politiques publiques américaine, de la « bounded rationality ». Un demi-siècle après la création de ce concept par Herbert Simon, qu'est-ce qui explique un tel enthousiasme ? À l'origine, la rationalité limitée est une conception de l'acteur rationnel limité par sa nature psychique et cérébrale dans ses prétentions à apprendre et à raisonner. L'engouement actuel des chercheurs pour ce concept est alors à rapprocher de celui dont bénéficient dans certains milieux les sciences cognitives. Plus exactement, le recours au concept de rationalité limitée vise aujourd'hui à combiner une approche rationaliste classique et les découvertes des sciences cognitives. Tout au ...
Why are James A. Michener 's historical sagas so successful? Is it because the general public is fond of their thrilling taste or because the books successfully mix facts and fiction? An analysis of Michener's novel on the history of South Africa, The Covenant, can help answer this question. For Western readers, South Africa is a faraway land which, in a few years, has switched from political struggle against apartheid to sanitary struggle against AIDS. But when the book was published in 1980, the Afrikaner's nationalist power, which relied on the gold and diamond landowners, was locked in segregation and repression policies. In The Covenant, James A; Michener gives his own interpretation of the relations between Blacks and Whites, Bushmen and Dutchmen, Boers and Xhosa, Voortrekkers and Zulus, and finally between Afrikaners and Englishmen, throughout history. To study The Covenant is to observe what the American author has selected from a mass of historical facts in order to explain the evolution of South African society. In pursuing our analysis, we will realize that his choices are intimately linked to his political and philosophical ideas. But we will also see that the well-known specialist of historical sagas stretching through hundreds and even thousands of years, could rely on a whole team whose job was to help bring the South African project to a successful end. Discovering the religious and nationalist significations of The Covenant, we will also understand how this good example of contemporary literature was written thanks to a combination of money and skills. ; Quelles sont les raisons du succès des sagas historiques de James A. Michener ? Plaisent-elles au grand public pour leur goût du sensationnel ou pour leur esprit didactique ?L'analyse de L'Alliance, son roman sur l'Afrique du Sud, peut en partie servir à répondre à cette question. Pour un lecteur occidental, l'Afrique du Sud est une terre lointaine qui est passée en quelques années de la lutte politique contre l'apartheid à la lutte sanitaire ...
https://journals.openedition.org/lbl/348 International audience The publication of Brizeux's Marie at the end of 1831 marked a turning point in the representation of Brittany. By setting his elegies recounting his amorous childhood encounters with a mischievous peasant girl in Arzano, a rural village in Finistère, the poet was showcasing a uniquely Breton scene and largely unknown bucolic spaces. He seems to have been keen to paint scenes that would allow the reader to discover the beauty of the landscapes and village life. In short, he was presenting an aesthetic and already social vision. In the early 19th century, this 'homeland' theme made a hitherto unspecified contribution to Breton literature.The article begins by identifying the most significant moments in Brizeux's intellectual, literary and artistic life and then focuses on his rootedness in his native soil through an examination of the Bretonness of his sensibility and his desire to familiarise the reader with his homeland. His innovative yet primordial approach from his very first poetic work onwards made a powerful contribution to putting Brittany on the map. ; En publiant Marie, fin 1831, Brizeux marquait un tournant dans la représentation de la Bretagne. En situant ses élégies évoquant les rencontres amoureuses de son enfance avec une espiègle paysanne de son âge, à Arzano, bourg rural du Finistère, le poète mettait en valeur un décor naturel spécifiquement breton, des espaces bucoliques ignorés, et se montrait soucieux de composer des tableaux dans lesquels se découvraient la beauté des paysages et la vie au village : une vision esthétique et déjà sociale. Cette thématique du « pays » était un apport jusqu'alors impensé dans la production bretonne de ce début de siècle.Après avoir repéré les temps les plus marquants du parcours intellectuel, littéraire et artistique de Brizeux, l'article choisit de mettre particulièrement en exergue son enracinement réel dans sa terre natale – bretonnité de sa sensibilité, volonté de « re-paysement ». Sa démarche ...
The aim of this thesis is to study the literary fortune of Saadi in French literature from 17th century up to present. For the first time in 1634 Saadi was introduced in France through an incomplete translation of Gulistan by André du Ryer.This translation paved the way for Saadi to be introduced to other European countries. With the first confrontation with his works French literary scholars found Saadi's works agreeable and attractive. Different writers according to their tastes and the atmosphere of their period either imitate him or get inspired by him. In classic time some of the writers like La Fontaine take the material of their stories from Gulistan stories. In the Enlightenment period the number of writers who have been inspired by Saadi increased. The writers of this period are mostly inspired by Saadis political or moral aspects of his works and they consider him as the critic of rituals and traditions. The philosophers and authors of encyclopaedia think of Saadi as one of them and introduce him as their political anti-church speaker. They use Saadi's name as a weapon in their satiric writing. It was in 19th century that the first translation of Boustan and one of the most outstanding translation of Gulistan enabled the French to taste Saadi's poetry. The Romantics were attracted by the aesthetics and the sentimental aspects of his works. They found the new themes such as love, nature, and time. The 20 century writers continue to enjoy the concept of love as manifested in the images of 'nightingale and flower' and are fascinated by the mystic features of Boustan. ; Cette thèse à pour objectif d'étudier la fortune littéraire de Saadi en France du XVIIe siècle à l'époque contemporaine. Saadi est présenté pour la première fois aux Français en 1634 dans une traduction fragmentaire de son Gulistan par André du Ryer. Cette traduction ouvre la voie à la connaissance de Saadi dans d'autres pays d'Europe. Dès les premiers contacts avec son œuvre, les lettrés français la trouvent agréable et utile. Les différents écrivains, selon leurs goûts et la tendance de leur époque, adaptent ou imitent les historiettes de Saadi ou s'inspirent de ses idées. Au siècle classique, quelques fabulistes dont La Fontaine, tirent la matière de certaines de leurs fables des historiettes du Gulistan. Au siècle des Lumières, les écrivains empruntant des idées à l'œuvre de Saadi sont beaucoup plus nombreux. Les conteurs et fabulistes de cette époque s'inspirent des leçons morales et politiques des écrits de Saadi et voient en lui le critique des mœurs. Les philosophes, les encyclopédistes, l'accueillent comme un des leurs et en font leur porte-parole politique et anticlérical. Son nom devient alors une arme d'attaque dans leur plume satirique. Avec le XIXe siècle et la publication de la première traduction du Boustan et celle la plus crédible du Gulistan, les Français pouvaient goûter pleinement la poésie de Saadi. Le regard des romantiques s'oriente vers son aspect esthétique et sentimental. De nouveaux thèmes sont exploités chez lui : l'amour, la nature, la fuite du temps. Enfin, les écrivains du XXe siècle continuant à goûter les amours de la rose et du rossignol racontés par Saadi, suivent les élans mystiques du Boustan pour se délasser un moment.
This article attempts to define the disease in the Prior of Contes de Canterbury de Chaucer as opposed to the irony in the portrait of the Prior of Prologary in order to clarify their differences. Pathology and irony are seen as literary 'modes' which, as opposed to gender, function independently of narrative forms or even independently of the thematic motives envisaged. These modes are designed to create pity or detachment from the receiver of the work and therefore depend closely on the relationship the narrator draws with his reader. The purpose of the comparison between the two Chausan texts envisaged in the two modes is to reconstruct the literary and social codes to which the author implicitly referred in order to illuminate the reader initially diverted by an aesthetic perceived as insolvent or naïve. ; International audience This article attempts to contrast Chaucer's use of pathos in the Prioress's Tale with the irony of the Prioress's portrait in the Canterbury Tales. Irony and pathos are seen as two literary modes, which, unlike genres, function independently of narrative forms or thematic motifs. These modes work to provoke the reader's pity or detachment and thus depend on the relationship that the narrator establishes with the implied reader. For modern readers who may be disoriented by an aesthetic perceived as odd or naïve, this comparison of these two Chaucerian texts in terms of these contrasting modes aims at reconstructing the literary and social codes to which the writer implicitly refers. ; This article attempts to define the disease in the Prior of Contes de Canterbury de Chaucer as opposed to the irony in the portrait of the Prior of Prologary in order to clarify their differences. Pathology and irony are seen as literary 'modes' which, as opposed to gender, function independently of narrative forms or even independently of the thematic motives envisaged. These modes are designed to create pity or detachment from the receiver of the work and therefore depend closely on the relationship ...
Pages 21 à 81 du livre. ; National audience ; One of best known orders in Western countries is the Mawlawiyya (Arabic) or Mevleviye (Turkish), better known under the name of " Whirling Dervishes ". There was not in Western languages any scientific work dedicated to this topic and accessible to a large audience. We tried to conceive a small piece of work which offers a general overview of Mawlaviyya, whilst remaining as diverse and accurate as possible.It quickly occurred to us that it would be impossible to talk about this brotherhood without evoking its famous inspirator Jalâl al-Dîn Rûmî (1207-1273). Known in western countries under his nom de plume "Mawlanâ" (Persian and Arabic) or Mevlânâ (Turkish), he was at the same time a religious man and a well-liked preacher, a great mystic, a talented and prolific poet, and a well known spiritual master. Widely admired in the Orient, especially in the Persian and Turkish cultural areas, he has been a source of interest and passion in Western Countries from his discovery two centuries ago. Since the last quarter of the 20th century, he has become a fashionable phenomenon in Europe and the United States but remains relatively unrecognised since his biographies tend to sacrifice historical truth for his taste for the wonderful, and his thoughts has sometimes been used in "dodgy" or obviously inaccurate works. Therefore it was obvious that an abstract reconstituting the personality and authentic work of this extraordinary man was missing, but not omitting the share of legend that allows us to understand how he was perceived by his contemporaries and disciples. We gave a special care to the presentation of his mystical thinking and his poetry, deeply rooted in Sufism and classical Persian literature, which deeply influenced the order's spirituality as well as the sensitivity of its peers. The historical evolution of the brotherhood, the anthropological dimension and the doctrinal aspects and rituals are studied by Thierry Zarcone, while Alberto Ambrozio tackles Mevlevis' famous "dance". ; L'ouvrage s'intéresse à l'ordre soufi Mawlawiyya (arabe) ou Mevleviye (turc), mieux connu sous la dénomination de " Derviches Tourneurs ". Le premier chapitre, rédigé par E. Feuillebois, est consacré à la présentation de son inspirateur Jalâl al-Dîn Rûmî (1207-1273), dont la pensée et la poésie mystiques ont inspiré la spiritualité de l'ordre. Le second chapitre, de la plume de Thierry Zarcone, retrace l'évolution historique de la confrérie, son ascension sociale, économique et politique jusqu'à sa dissolution en 1925 par le gouvernement d'Atatürk, et les étapes de la systématisation de son rituel, étudiées dans une perspective anthropologique. Le troisième chapitre, écrit par A. Ambrosio, décrit la danse qui a fait le plus grand succès de cette confrérie.
