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Intro -- Acknowledgements -- Contents -- Chapter 1: Introduction -- 1.1 Using National Memory -- 1.2 The Four Royal Women -- 1.3 Publications and Biographies -- 1.4 Structure of the Volume -- Chapter 2: The Return of the Bourbon Family (1814-1819) -- 2.1 Marie-Thérèse de France, Acting Queen of France -- 2.2 Marie-Caroline, Young Mother and a Wife -- Chapter 3: The Last Bourbon Moment (1820-1830) -- 3.1 Duchesse de Berry, Mother of the Bourbon Hope -- 3.2 Duchesse d'Angoulême, the Dauphine -- 3.3 The Rising Star of the Orléans Family -- Chapter 4: New Dynasty, Old History (1830-1839) -- 4.1 Saintly Queen Marie-Amélie -- 4.2 Adélaïde d'Orléans, Power Behind the Throne -- 4.3 Duchesse de Berry and the Crisis of the Bourbons -- 4.4 Exiled Madame Royale -- Chapter 5: Dying Royal Power (1840-1848) -- 5.1 Marie-Amélie and the Catholic Revival -- 5.2 No More Revolutions for Adélaïde d'Orléans -- 5.3 Remembering the Exiled Bourbon Women -- Chapter 6: Conclusion -- Annex 1 -- Bibliography -- Primary Sources -- Newspapers -- Images -- Secondary Sources -- Index.

An Overly Powerful Younger Brother -- The Evolution of Fraternal Relations and the Institution of the Apanage -- Parentage, Birth, Education -- Getting Established: Apanage, Marriage and Family -- Expressions of Authority and Rebellion, at Home and Abroad -- Beyond Politics: The Household and Princely Patronage -- The Last Monsieur.

Ces dernières années, la cuisine traditionnelle du Sud des États-Unis a été à la fois stigmatisée pour sa contribution à l'épidémie d'obésité et de plus en plus adoptée par la culture populaire américaine. En tant que fusion d'influences africaines, européennes et amérindiennes, la cuisine du Sud est véritablement américaine, mais sa propriété est contestée entre les communautés blanches et noires. À partir d'une ethnographie des pratiques de consommation d'une famille noire de classe moyenne de La Nouvelle-Orléans, cet article vise à dépasser les présupposés culturalistes réduisant la soul food à une tradition du passé et les Africains-Américains à un groupe monolithique. En revisitant la théorie de la « distinction » de Bourdieu pour prendre en compte l'intersection des catégories de race et de classe, nous verrons comment les pratiques de consommation de cette famille permettent à ses membres de revendiquer les valeurs de respectabilité des classes moyennes sans trahir leur identité noire, en se distinguant à la fois des Noirs pauvres et des blancs de classe moyenne qui menacent leur position sociale.

International audience ; Scholars studying Carmontelle in recent years have concentrated in particular on his "garden of illusions". But what did its visitors hear? How did they enjoy the garden for their musical entertainment? Carmontelle himself supplies us with clues. His portraits of musicians—some sixty in all—help us to envision the soundscape of the Jardin de Monceau (and those of other Parisian gardens). A good half of the musicians he portrayed are depicted near an arcade opening onto a park; approximately ten are placed on a terrace giving onto trees; and another ten or so are found at the edge or in the middle of gardens or, far less often, in forests. Only three are shown in interiors. Four of these musicians were composers (Jean-Philippe Rameau ; Egidio Duni, Pierre-Alexandre Monsigny, Josef Kohaut), three were professional performers shown in isolation (Sophie Arnould, Marie-Jeanne Fesch called Mlle Chevalier, Regina Valentini Mingotti), eleven were professionals portrayed in groups of various sizes (Mozart family, the three daughters of Jean-Nicolas Pancrace Royer, Jean-Pierre Duport with Ignace Prover, Pierre Vachon and Jean-Aimé Vernier), and the remainder—the vast majority—were amateurs playing first of all harpsichord, pedal harp, violin, guitar, but also cittern, quinton, hurdy-gurdy, musette, hunting horn, pipe and tambourine of Provence. Also, many instruments are absent in Carmontelle's portraits of musicians: chamber organ, clarinet, bassoon, and serpent; trumpet, trombone, and double bass; timpani and military drums; triangle and cymbals. These lacunae reflect the fact that music was exclusively an amusement among high society; Carmontelle displayed an undeniable bias towards the favorite instruments of the aristocracy. As his portraits suggest, the extent to which music and musicians contributed to the activities in the Orléans family residences cannot be doubted. To the magic of the garden scenes he drew, a fourth dimension should be added— the sonorous music that filled them. ; Les ...

International audience ; Scholars studying Carmontelle in recent years have concentrated in particular on his "garden of illusions". But what did its visitors hear? How did they enjoy the garden for their musical entertainment? Carmontelle himself supplies us with clues. His portraits of musicians—some sixty in all—help us to envision the soundscape of the Jardin de Monceau (and those of other Parisian gardens). A good half of the musicians he portrayed are depicted near an arcade opening onto a park; approximately ten are placed on a terrace giving onto trees; and another ten or so are found at the edge or in the middle of gardens or, far less often, in forests. Only three are shown in interiors. Four of these musicians were composers (Jean-Philippe Rameau ; Egidio Duni, Pierre-Alexandre Monsigny, Josef Kohaut), three were professional performers shown in isolation (Sophie Arnould, Marie-Jeanne Fesch called Mlle Chevalier, Regina Valentini Mingotti), eleven were professionals portrayed in groups of various sizes (Mozart family, the three daughters of Jean-Nicolas Pancrace Royer, Jean-Pierre Duport with Ignace Prover, Pierre Vachon and Jean-Aimé Vernier), and the remainder—the vast majority—were amateurs playing first of all harpsichord, pedal harp, violin, guitar, but also cittern, quinton, hurdy-gurdy, musette, hunting horn, pipe and tambourine of Provence. Also, many instruments are absent in Carmontelle's portraits of musicians: chamber organ, clarinet, bassoon, and serpent; trumpet, trombone, and double bass; timpani and military drums; triangle and cymbals. These lacunae reflect the fact that music was exclusively an amusement among high society; Carmontelle displayed an undeniable bias towards the favorite instruments of the aristocracy. As his portraits suggest, the extent to which music and musicians contributed to the activities in the Orléans family residences cannot be doubted. To the magic of the garden scenes he drew, a fourth dimension should be added— the sonorous music that filled them. ; Les ...

International audience ; Scholars studying Carmontelle in recent years have concentrated in particular on his "garden of illusions". But what did its visitors hear? How did they enjoy the garden for their musical entertainment? Carmontelle himself supplies us with clues. His portraits of musicians—some sixty in all—help us to envision the soundscape of the Jardin de Monceau (and those of other Parisian gardens). A good half of the musicians he portrayed are depicted near an arcade opening onto a park; approximately ten are placed on a terrace giving onto trees; and another ten or so are found at the edge or in the middle of gardens or, far less often, in forests. Only three are shown in interiors. Four of these musicians were composers (Jean-Philippe Rameau ; Egidio Duni, Pierre-Alexandre Monsigny, Josef Kohaut), three were professional performers shown in isolation (Sophie Arnould, Marie-Jeanne Fesch called Mlle Chevalier, Regina Valentini Mingotti), eleven were professionals portrayed in groups of various sizes (Mozart family, the three daughters of Jean-Nicolas Pancrace Royer, Jean-Pierre Duport with Ignace Prover, Pierre Vachon and Jean-Aimé Vernier), and the remainder—the vast majority—were amateurs playing first of all harpsichord, pedal harp, violin, guitar, but also cittern, quinton, hurdy-gurdy, musette, hunting horn, pipe and tambourine of Provence. Also, many instruments are absent in Carmontelle's portraits of musicians: chamber organ, clarinet, bassoon, and serpent; trumpet, trombone, and double bass; timpani and military drums; triangle and cymbals. These lacunae reflect the fact that music was exclusively an amusement among high society; Carmontelle displayed an undeniable bias towards the favorite instruments of the aristocracy. As his portraits suggest, the extent to which music and musicians contributed to the activities in the Orléans family residences cannot be doubted. To the magic of the garden scenes he drew, a fourth dimension should be added— the sonorous music that filled them. ; Les ...

International audience ; This paper deals with a survey corpus. We present information retrieval about the speaker. We used finite state transducer cascades and we present here detailed results with an evaluation. This work is part of a French project to enhance the corpus ESLO (sociolinguistic survey taken in the city of Orléans). This survey has been realized in 1968 and the project is to save records in computer format, to transcribe them and to increase the transcription with annotations in XML format. This work was supported by a French ANR contract (ANR-06-CORP-023) and by European fund from Région Centre (FEDER). The corpus represent a collection of 200 interviews with the questions about the life in the city of Orléans: How long have you lived in Orléans for?, What led you to live in Orléans?, Do you like living in Orléans?, etc. and questions about the occupation or the family of the speaker, completed by recordings within a professional or private context. The recording situations are different: interviews, discussions between friends, recordings in microphone hidden, interviews with the political, academic and religious personalities, conversations between a social worker and parents in Psycho Medical Center of Orleans. In total, we have 300 hours of speech estimated to 4,500,000 words. More precisely, we worked on almost 120 transcribed hours representing 112 Transcriber XML files and 32 577 Kb. We worked on 105 files (31 004 Kb) and we evaluated the results on 7 files (1 573 Kb-5.1%). The transcription files have no punctuation marks, but the first letter of proper names is capitalized and acronyms are fully capitalized. We used the CasSys system (Friburger, Maurel, 2004) that computes texts with transducer cascades (Abney, 1996). The cascades we used are hand built: each transducer describes a local grammar for the recognition of some entities. Some times this recognition needs the succession of two or more transducers, in a specific order. More precisely, we used two cascades; the first one, for ...

International audience ; This paper deals with a survey corpus. We present information retrieval about the speaker. We used finite state transducer cascades and we present here detailed results with an evaluation. This work is part of a French project to enhance the corpus ESLO (sociolinguistic survey taken in the city of Orléans). This survey has been realized in 1968 and the project is to save records in computer format, to transcribe them and to increase the transcription with annotations in XML format. This work was supported by a French ANR contract (ANR-06-CORP-023) and by European fund from Région Centre (FEDER). The corpus represent a collection of 200 interviews with the questions about the life in the city of Orléans: How long have you lived in Orléans for?, What led you to live in Orléans?, Do you like living in Orléans?, etc. and questions about the occupation or the family of the speaker, completed by recordings within a professional or private context. The recording situations are different: interviews, discussions between friends, recordings in microphone hidden, interviews with the political, academic and religious personalities, conversations between a social worker and parents in Psycho Medical Center of Orleans. In total, we have 300 hours of speech estimated to 4,500,000 words. More precisely, we worked on almost 120 transcribed hours representing 112 Transcriber XML files and 32 577 Kb. We worked on 105 files (31 004 Kb) and we evaluated the results on 7 files (1 573 Kb-5.1%). The transcription files have no punctuation marks, but the first letter of proper names is capitalized and acronyms are fully capitalized. We used the CasSys system (Friburger, Maurel, 2004) that computes texts with transducer cascades (Abney, 1996). The cascades we used are hand built: each transducer describes a local grammar for the recognition of some entities. Some times this recognition needs the succession of two or more transducers, in a specific order. More precisely, we used two cascades; the first one, for ...

International audience ; This paper deals with a survey corpus. We present information retrieval about the speaker. We used finite state transducer cascades and we present here detailed results with an evaluation. This work is part of a French project to enhance the corpus ESLO (sociolinguistic survey taken in the city of Orléans). This survey has been realized in 1968 and the project is to save records in computer format, to transcribe them and to increase the transcription with annotations in XML format. This work was supported by a French ANR contract (ANR-06-CORP-023) and by European fund from Région Centre (FEDER). The corpus represent a collection of 200 interviews with the questions about the life in the city of Orléans: How long have you lived in Orléans for?, What led you to live in Orléans?, Do you like living in Orléans?, etc. and questions about the occupation or the family of the speaker, completed by recordings within a professional or private context. The recording situations are different: interviews, discussions between friends, recordings in microphone hidden, interviews with the political, academic and religious personalities, conversations between a social worker and parents in Psycho Medical Center of Orleans. In total, we have 300 hours of speech estimated to 4,500,000 words. More precisely, we worked on almost 120 transcribed hours representing 112 Transcriber XML files and 32 577 Kb. We worked on 105 files (31 004 Kb) and we evaluated the results on 7 files (1 573 Kb-5.1%). The transcription files have no punctuation marks, but the first letter of proper names is capitalized and acronyms are fully capitalized. We used the CasSys system (Friburger, Maurel, 2004) that computes texts with transducer cascades (Abney, 1996). The cascades we used are hand built: each transducer describes a local grammar for the recognition of some entities. Some times this recognition needs the succession of two or more transducers, in a specific order. More precisely, we used two cascades; the first one, for ...

International audience ; This paper deals with a survey corpus. We present information retrieval about the speaker. We used finite state transducer cascades and we present here detailed results with an evaluation. This work is part of a French project to enhance the corpus ESLO (sociolinguistic survey taken in the city of Orléans). This survey has been realized in 1968 and the project is to save records in computer format, to transcribe them and to increase the transcription with annotations in XML format. This work was supported by a French ANR contract (ANR-06-CORP-023) and by European fund from Région Centre (FEDER). The corpus represent a collection of 200 interviews with the questions about the life in the city of Orléans: How long have you lived in Orléans for?, What led you to live in Orléans?, Do you like living in Orléans?, etc. and questions about the occupation or the family of the speaker, completed by recordings within a professional or private context. The recording situations are different: interviews, discussions between friends, recordings in microphone hidden, interviews with the political, academic and religious personalities, conversations between a social worker and parents in Psycho Medical Center of Orleans. In total, we have 300 hours of speech estimated to 4,500,000 words. More precisely, we worked on almost 120 transcribed hours representing 112 Transcriber XML files and 32 577 Kb. We worked on 105 files (31 004 Kb) and we evaluated the results on 7 files (1 573 Kb-5.1%). The transcription files have no punctuation marks, but the first letter of proper names is capitalized and acronyms are fully capitalized. We used the CasSys system (Friburger, Maurel, 2004) that computes texts with transducer cascades (Abney, 1996). The cascades we used are hand built: each transducer describes a local grammar for the recognition of some entities. Some times this recognition needs the succession of two or more transducers, in a specific order. More precisely, we used two cascades; the first one, for ...

Exotic, seductive, and doomed: the antebellum mixed-race free woman of color has long operated as a metaphor for New Orleans. Commonly known as a "quadroon," she and the city she represents rest irretrievably condemned in the popular historical imagination by the linked sins of slavery and interracial sex. However, as Emily Clark shows, the rich archives of New Orleans tell a different story. Free women of color with ancestral roots in New Orleans were as likely to marry in the 1820s as white women. And marriage, not concubinage, was the basis of their family structure. In The Strange History of the American Quadroon, Clark investigates how the narrative of the erotic colored mistress became an elaborate literary and commercial trope, persisting as a symbol that long outlived the political and cultural purposes for which it had been created. Untangling myth and memory, she presents a dramatically new and nuanced understanding of the myths and realities of New Orleans's free women of color.

International audience ; This paper tracks the people from Champagne who crossed paths with Jean de La Fontaine. The point is to question the influence the Champagne region may have exerted on the poet's career. La Fontaine first acted as a bourgeois from the provinces—linked to the Parliament thanks to his family, he played his part of go-between involved in his network's business in Paris and Château-Thierry. Presented to the court of Superintendent Nicolas Fouquet and to the family of the Dukes of Bouillon, lords of Château-Thierry, La Fontaine succeeded in taking advantage of the aristocratic social networks and winning the favour of the royal princes, thus getting closer to the heart of power. Once his maîtrise des eaux et forêts—a kind of deputy-ranger—settled in 1671, and once his office in the House of the Dowager Duchess of Orléans lost in 1674, La Fontaine was accommodated in Parisian houses and mainly lived on pensions granted by French grandees—he possessed no charges and was not attached to any aristocratic houses—he failed to become a royal courtier. After the 1670s, the weight of the Champagne region in his career seems insignificant, despite his friendship with François Maucroix in Rheims and a coterie of wits in Troyes. At that time, his link to his provinces, which was never broken, was inseparable from his social and poetic persona. ; Cet article traque les Champenois qui ont croisé la route de Jean de La Fontaine afin d'interroger l'existence d'une logique régionale dans la carrière du poète. La Fontaine a d'abord agi en bourgeois de province : lié au parlement par sa famille, il a joué son rôle d'intermédiaire entre les affaires de Paris et de Château-Thierry. Introduit auprès du surintendant Nicolas Fouquet puis dans la famille des ducs de Bouillons, seigneurs de Château-Thierry, La Fontaine a su faire jouer les réseaux de clientèle aristocratiques et s'attirer les bonnes grâces des familles du sang, se rapprochant ainsi des centres du pouvoir. Une fois soldée sa charge de maître des eaux ...