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Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes the development and early years of the Maison du Brésil project at the Cité Internationale Universitaire de Paris, founded in 1959. The study builds on the assumptions that the project, envisioned by Itamaraty since the 1920s, was only able to proceed due to national development policies of the 1950s from the Brazilian government; at the time, the country sought to strengthen cultural diplomatic relations with France and also encourage international diplomacy between universities. Amidst the authoritarian context arising from the civil-military coup of 1964, this plan faced obstacles. The article uses a wide range of primary and secondary sources from Brazilian and French archives. [ABSTRACT FROM AUTHOR]

Copyright of Lendemains is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lendemains is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Slavica Occitania is the property of Association Slavica Occitania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article looks at the cooperation between France and Romania through the lens of the association Franche-Sylvanie. It especially focuses on the impacts of the activities to tackle xenophobia and stereotypes. Based on archives and interviews, the research presents how the actions of Franche-Sylvanie have since the beginning of the 1990s contributed to a better understanding between the two countries in general and more specifically between the inhabitants of Besançon and Bistrița. It gives an overview on the various initiatives undertaken in thirty years. In the last part of the article, the authors try to delineate how the association and cooperation have evolved over time and what are the important criterion to be taken into account. [ABSTRACT FROM AUTHOR]

Copyright of Alternative Francophone is the property of Alternative Francophone and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Italie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The recent turn to substantial theories of 'recognition' in international relations is of considerable interest for the study of international cultural relations. France provides a revealing case study due to the historical importance of culture as such in its foreign policies. Its 'diplomacies of influence' can be understood as forms of recognition-seeking across shifting international 'regimes of recognition' (Ringmar). France once played a leading role in shaping the global templates for cultural recognition between states. In recent decades, it has had to adapt to the terms of new recognition templates established elsewhere, either via forms of institutional imitation, or by seeking to inflect these new templates (notably in a self-ascribed role as global champion of cultural diversity). These dynamics can be traced in a series of official reports on France's external cultural policies, notably across the sectors of language policy, arts diplomacy, higher education mobility and global news projection. The reports' deliberation on these processes opens a space for critical discussion concerning the contemporary operation of international regimes of recognition. [ABSTRACT FROM AUTHOR]

The Alliance Française was founded in 1883 to reinforce France's colonial ambitions in Tunisia and throughout the Mediterranean basin. Its focus on language as a tool of empire was unprecedented among the colonial powers. This article revisits that colonial past and examines the Alliance's role as a purveyor of colonial education during the early years of the Third Republic. Its founders envisioned modern France as an imperial republic that would consolidate a republican polity while simultaneously asserting its mounting stature as a world empire. Quickly spreading beyond its colonial matrix, the Alliance Française grew to build a vast cultural network abroad. This article examines the complex and often contradictory processes that led from colonial strategies of dominance to the development of modern French cultural relations abroad. It argues, too, for a more comprehensive inclusion of nineteenth-century imperial expansion within the historical narrative of the rise of modern French cultural diplomacy. [ABSTRACT FROM AUTHOR]

This paper examines the formulation of policy frames towards new minorities in France by analysing Lyon's membership of the European Commission's and Council of Europe's Intercultural Cities programme (ICP). Here, with culture accounting for 20% of Lyon's budget, emphasis is placed on the adoption of the Charte de Coopération Culturelle to use cultural institutions to implement difference-orientated policies. Critically, important issues emerge with this strategy. The effort to engage new minorities is hampered by significant apathy from cultural institutions in Lyon, and the limited geographical area of Lyon included in the ICP. Finally, institutions who engage with promoting interculturality co-opt existing organizations, with negative implications for the treatment of diversity in the city. This illustrates the problems with a European framework fostering a policy frame based on recognition for minorities in a context that has yet to fully embrace such policies at the national level. [ABSTRACT FROM AUTHOR]

The article analyzes how the French novel "Saint Jacque...La Mecque" by Coline Serreau sheds light on issues in contemporary French society. Topics discussed include the social and religious significance of Moslem and Christian pilgrimages both in medieval times and the present day, ethnicity and intercultural relationships, and social structures, patriarchy, and addiction in France.

The article presents information on Cléo de Mérode, an international celebrity and French dancer. Cléo, the world's most photographed woman in the decade surrounding 1900, is described as a missing link in the prehistory of image-obsessed, star-struck modernity. Her career also reflects a pivotal point in the intertwined histories of celebrity, entertainment, visual culture, and Franco-American cultural relations.

The article presents a discussion on the role of social network analysis, particularly ego-centric network analysis, in studies of 17th-century letters composed by Alexandre Bergeret, the valet of the ruler of the former French province known as Dauphiné. Particular emphasis is placed on the revelation of Bergeret's social network within the letters, as well as the ways in which he participated in cultural relations during the French Baroque era. The author's examination of Bergeret's network focuses on his social capital, his geographical roots ranging from Paris, France to Vienna, Austria, and his influence on his surrounding community.

The period of the 1870 siege of Paris has often been dismissed as a musical vacuum; few new works were written, and many of the capital's theatres closed. But as the war persisted, initial objections to entertainment were overridden by a desire to escape the tedium of life under siege. In response, the artists of the Opéra formed a cooperative to present a series of soirées musicales. The hitherto neglected archives for these concerts offer a fascinating insight not only into the difficulties faced by musicians, but also into the ideological and aesthetic debates that preoccupied the musical culture of Paris in this time of political crisis. Central to these debates was the prominence of the enemy's music in the concert programmes: investigation of this repertory's reception reveals the complex nature of French attitudes to German culture during this period. But the unique performing conditions imposed by the siege provoked as much discussion as the chosen repertory. The Opéra and its audience were forced to adapt to the absence of costumes, décor, and lighting—a compromise that would bring with it intriguing aesthetic consequences. [ABSTRACT FROM PUBLISHER]

In the early 1760s, Jesuit missionaries serving as court artists in Peking were instructed by the Qianlong emperor (r. 1736-96) to produce a set of sixteen sketches in celebration of his recent victories over the Mongols and the Turkic Muslims in the region of present-day Xinjiang. The designs that were to be engraved on copper plates and printed in Europe were dispatched from Canton to Paris where the work was executed. Yet it was not until 1777, over a decade after the Qianlong emperor had initiated the project that his order was fully realized and the sixteen original designs, the sixteen copper plates, and 200 prints drawn from each plate, had all arrived in Beijing. This paper explores the politics behind the execution of this unique set of prints. [ABSTRACT FROM AUTHOR]

As it is obvious from the title, the paper "France-Amérique: une relation linguistico-culturelle ambiguë": "américanisation et antiaméricanisme" has as major approach the issue of the Franco-American cultural relations. It deals on the one hand with the fascination of the American model upon a large part of the French people (especially the teenagers and youth) and on the other hand, it deals with the more virulent reaction, against globalisation and the even through state policies. The paper also aims to answer the question: "To what extent can one speak of a French "anti-Americanism?" [ABSTRACT FROM AUTHOR]

By virtue of the increasing spatial networks in which it is performed, contemporary Shakespeare is globalized and cosmopolitan and seems to function as a timeless non-place. However, at the local level, cultural encounters with Shakespeare also allegedly introduce dissonant voices that destabilize dominant readings of the plays. This article analyses the Shakespearian productions of four contemporary French directors within the context of a culture of alternate ordering that aims to carve out social and cultural space as a space of difference and hybridity. It firstly suggests a reading of the version of Hamlet that Daniel Mesguich staged in 1996 based on his problematization of spatial practice and representation. The techniques of displacement the production entailed created double effects and affected translation to the extent that the play became associated with the Otherness of space and time. In another theatrical register illustrated by some of the smaller companies working outside of large theatrical institutions, the productions of directors Michel Laubu (1996-97), Jean-Luc Courcoult (2003-06), and Michel Cailleau (2003-to date) further dislocate the Shakespearian text, to recycle it with heterogeneous everyday objects and integrate it into the life of the city. In these productions the heterogeneization of Shakespeare collapses space and time together, and unsettles order and hierarchies. Shakespeare is reterritorialized into counter-sites of difference which are neither French, English, nor Shakespearian spaces, asking what meanings are created when Shakespeare is produced in another culture and language. In these productions the understanding of Shakespeare may be affected by textual disruption and the undermining of interpretative certainties. Dislocation undermines the logic of meaning and gives access to a polysemic theatre which presents the shared Shakespearian memory as a problematic cultural space. [ABSTRACT FROM AUTHOR]

It is by no means unknown, in Middle-Eastern art-music traditions, to find claims that a given rhythmic cycle was invented on a particular occasion by a particular musician, the most obvious and reliable instance being provided by ‘Abd al-Qādir al-Marāġī (d. 1435), who tells us that he was commissioned to create a new cycle to commemorate a victory. With frenkçin, then, a cycle where the very name clearly suggests some form of western derivation or inflection, it was perhaps only to be expected that we should encounter a similar narrative that pinpointed its origin, associating its creation with the impulse provided by a particular cultural encounter with the West. It has to be said, though, that no such account appears as a standard feature of the contemporary theoretical discourse surrounding Turkish art music: works that deal with the rhythmic cycles tend to be expository catalogues unconcerned with origins and derivations, and it is only in one major modern reference work that we come across the notion of western inspiration, together with a tentative suggestion as to the period during which frenkçin emerged. The detailed narrative of origin certainly first appears in a text by an eminent Turkish scholar, but it is one written in French—the comprehensive survey article by Rauf Yekta Bey published in 1922—and possibly in consequence it has so far been relayed primarily in western languages. The discussion by Kösemihal, the one significant Turkish scholar to have accepted this account, appears to have had little impact, and it remains to be seen whether the relatively recent translation of Rauf Yekta Bey's article into Turkish will stimulate renewed interest in this version in Turkey itself. [ABSTRACT FROM PUBLISHER]

Copyright of ESSACHESS is the property of ESSACHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An essay is presented on how "The Bloody Chamber" was interpreted, received and placed within the literary and cultural space of France and Italy. It offers a history of the translations and the cultural exchange and examines the acceptability of texts to the target culture, the interpretation as to the culture of target readers and expectations of the publishing industry. The author relates that different strategies can be used by publishing agents of the two countries to adapt the text to their particular cultural and literary traditions.

The article presents an exploration of the political relationship between France and Russia. Comments are given highlighting the 300-year tradition of diplomatic ties between the two nations, despite the conflicts of the Soviet period. An overview of renewed cultural, political and economic relations in the 21st-century is then given, citing diplomatic visits, educational and financial investments between the countries, and the leadership of France toward facilitating Russian-European diplomacy. Discussion is also given noting ways in which geopolitical tensions left over from the Cold War are still present and need to be overcome.

A concise survey of the cultural exchanges between China and France, this article looks into the religious, cultural, and political backdrops against which such exchanges took place from the thirteenth century to the end of the twentieth century. It argues that each country perceived and presented the other in relation to its own concerns and interests shaped by the historical changes of a given period. [ABSTRACT FROM AUTHOR]

This performance review examines Alain Destandau's Antigone Viet Nam, a Vietnamese/French, bilingual adaptation of Sophocles's play set in dynastic-era Vietnam and presented at the 2008 Hue Festival. Performed with a cast of Vietnamese and French actors, the play juxtaposes Vietnamese classical opera (Tuong) with Western performance traditions to create an aesthetic hybrid in the service of critical engagement. Such transcultural theatre productions, particularly those inhabiting the borderland between colonial nations and their former colonies, as this one does, are fraught with ethical challenges of representation. Destandau attempts to navigate these challenges by shaping the performance around two critical commentaries: the first interrogates the long history of gender inequality within Vietnamese society; the second reads the legacy of unequal power dynamics between France, the United States, and Vietnam to offer an alternate narrative for the birth of the modern Vietnamese nation. I argue that while Antigone Viet Nam flirts with some of the common pitfalls of intercultural theatre, it ultimately manages to steer clear of them through its incisive critical commentary. This production thereby offers a useful template for artistic practitioners or critical scholars working at the intersection of intercultural performance and postcolonial hybridity. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of the History of Sport is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the author's insights on the concepts known as le parkour which transform urban space through application of displacement. It mentions the study of four cinematic texts including the documentary of Mark Daniels, two "Besson" films and the opening sequence in the Bond movie. It discusses the cinema's awakening of the potential of le parkour and the thrill in the French context. It notes that le parkour can promote cultural relations in ways that can lead to plurality.

This paper analyses French cultural diplomacy in the Kingdom of Serbs, Croats and Slovenians, a country created after the First World War as a result of the Franco-Serbian military alliance during the war. Cultural diplomacy is examined as part of broader French political and economical action in Eastern Europe to organise the small newly created countries into the French field of interest and oppose Germany. French cultural diplomacy in the Kingdom of SCS had two aspects: the symbolical and the concrete. Its aim was to spread positive feelings towards France in the ex-Austria-Hungarian regions of the Kingdom, where France was unknown or seen as an enemy, and to maintain the pro-French attitude of the majority of Serbs. The aim was to contribute to the 'internal equalisation and strengthening' of the new ethnically and religiously heterogeneous country, by using culture as a 'soft power'. French cultural diplomacy in the Kingdom of SCS is analysed in its local, regional and European context and in a short- and long-term perspective. [ABSTRACT FROM AUTHOR]

The article presents an examination of the relations between France and Hungary during the years 1963-1968 when Hungary undertook an effort to reestablish their international relations and foreign policy goals. It also examines how France, under President Charles de Gaulle, was trying to establish a new policy towards Eastern Europe during this time. The author notes that the period yielded valuable cultural developments, but economic and trade developments proved to be elusive.

The paper presents the collection and activity of the Media Centre of the French Cultural Centre in Cluj. Being part of a worldwide network of French cultural institutions, the Media Centre helps its visitors in their French language studies, offers them information on France and Francophone countries, on French culture and society. As a media centre its collection comprises besides books and periodicals a great number of CDs, DVDs and videotapes. By means of this varied collection and cultural programmes and events which take place here the media centre encourages the dialogue between cultures and cultural exchanges. [ABSTRACT FROM AUTHOR]

Since the Ping-Pong diplomacy of the early 1970s and the readmission of the People's Republic of China to the IOC in 1979 at a time when the Chinese Government was moving towards economic reform, Europe has watched closely the growth of China and its economic challenge to the USA and indeed other powerful economies. The European perceptions of, and reactions to Chinese successes have been contradictory. On one hand, much has been done by Europe to be included in the economic great match, for instance the strategic partnership between China and France forged on the initiative of President Jacques Chirac in 1997. On the other hand, concerns have been often expressed about other aspects of the Chinese society. Consequently, contradictions have been apparent in responses to Chinese sport successes and bids for the Olympic Games. Criticism had nowhere been stronger than in France, the self-proclaimed country of Human Rights. The Tiananmen Square Massacre in 1989 had an immense impact in France, where the bicentenary of the French Revolution had just been celebrated. This criticism culminated recently in Segolene Royal's official demand for a Boycott of the Beijing Olympic Games during her campaign for the French Presidency, in 2007. [ABSTRACT FROM AUTHOR]

Copyright of Societes Contemporaines is the property of Fondation Nationale des Sciences Politiques and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cultural differences in reasoning and persuasion have mainly been documented for the East - West divide. Nisbett (2003) expects such differences to be absent for Western cultures because of their shared Grecian inheritance. The results of two experiments, however, show that France and The Netherlands, both Western European countries, differ with respect to the persuasiveness of different evidence types. In Study 1 (N=600), cultural differences occurred between the relative persuasiveness of anecdotal, statistical, causal, and expert evidence. In Study 2 (N=600), the quality of statistical and expert evidence was manipulated. For the Dutch, but not for the French, normatively strong evidence was more persuasive than normatively weak evidence for both evidence types. Implications and possible explanations are discussed. [ABSTRACT FROM AUTHOR]

The debates about multiculturalism, and the democratic conduct of foreign policy, need bringing systematically together. A comparison of state approaches to cultural diversity helps us to understand their interrelationship. For different reasons, neither the United States nor France has experienced a direct link between multiculturalism and foreign policy, as Britain has, but each has the potential to do so. The complexities of social composition, and the growing overlaps between the domestic and international realms, mean that all three states need to revise significantly their understanding of the balance between efficiency and accountability in foreign policy-making, not least because civil peace and international peace are now connected in previously unimaginable ways. It should, nonetheless, be possible to rework practices and principles to allow the state to protect the interests of society as a whole without either scapegoating an internal minority or giving it special privileges. [ABSTRACT FROM AUTHOR]

This article puts forward a project approach and a set of solutions to better prepare foreign students wishing to enter engineering schools in France. It focuses on how we train students to understand scientific presentations through intensive listening comprehension. Within this framework, it proposes a new educational ICT model that is original from both a pedagogical and a technical point of view. This model was achieved as a result of close collaboration between experts in the fields of science, linguistics, intercultural relations and educational ICT. [ABSTRACT FROM AUTHOR]

Cogently articulating the miscegenation of cultural identity in film and literary culture in postwar France, Grace An first conceptualized her insightful notion of the ‘Par-Asian’ in the 2000 special issue of Sites on ‘Cinema, Video, New Media.’ Her article on Olivier Assayas' Irma Vep dwells not only on the paradox of reviving New Wave French cinema with a Hong Kong action actress but also on its implications for a Hollywood-based global cinema. She since has gone on to articulate a systematic research and pedagogical program concerning ‘Par-Asian Visualities,’ now in development at Oberlin College where she has a joint appointment in French and Cinema Studies. Her critical approach to France's complex artistic and cultural relation to the Far Orient praises Chris Marker and Alain Resnais, in this issue of Sites, for their experimental appropriation of footage, imagery, and critical reflection from Japan, while also dwelling on the paradox of something I think along the lines of contemporary ‘Japonisme,’ an acknowledgment of the mystery of the cultural other while also a sign of the centralizing point of view of the French, metropolitan artist. Her reading of Level 5 traces a sophisticated path between the melancholy of loss and the film's curious relation to the figure of Japan in Hiroshima Mon Amour. What is stunning is how she weaves a reading of these two films as documentary sources of French-Asian cultural transference while also situating them in relation to reflections on the current technological condition. In a longer version of this condensed essay, she informs her important elision of tropes of technology and culture by subtle with economical citations of philosophical and psychoanalytical reflections on the technological, from Heidegger to Deleuze, and how they frame French representations of gender and race. It is important to note that An's approach to ‘Orientalism’ promises far from yet another thematic, deconstructive, or even ‘cultural studies’ approach to the politics of colonialism and its relation to France. Departing somewhat from the French tradition, Grace is guided by the imperative of reading French Orientalism via the Orient and its broader global imaginaries rather than positioning it as a concept confined to and emanating from the Mediterranean. Rather than taking the simple path of denouncing Marker and his peers for colonialist tendencies, An reflects on how deeply the fantasy of Japan and its Asian essence have become a crucial part of postwar cinematic representations of French ontological purity. An thinks it necessary to contemplate the lasting impact of the French ‘interiorization’ of the Orient, as well as the French denial of its own ‘Orientalness,’ by framing the figure of the Orient as an aesthetic and technological trope. This welcome project on the ‘Par-asian’ promises to transform French ‘postcolonial’ studies, which now will be reading postwar France through Grace An's insightful ‘parasian’ lens. [ABSTRACT FROM AUTHOR]

The article discusses the issue of recognition of specific identities for immigrants in France. France is thought to be the state where the cultural differences remain socially invisible and limited only to private sphere. Any kind of recognition to such differences creates tensions in the state where assimilationist model of citizenship is adopted. Three cultural projects implemented by French government in post colonial period to recognize and make visible the immigrant cultures are also mentioned in the article.

This article is concerned with the social exclusion agenda in contemporary French cultural policy, exploring the relevance of aspects of postcolonial theory to an understanding of that agenda. The tensions involved in recent attempts to evolve policies addressing interculturalism, integration and “emergent” cultures (such as hip‐hop) while also staying true to the French republican tradition of universalism are illuminated by France’s problematic relationship with its colonial past. They are also shown to be related to a wider movement of post‐industrial, postmodern experimentation with aesthetic forms, from video and computer art to street arts, free parties and electronic dance music. [ABSTRACT FROM AUTHOR]

Focuses on the sociological research findings of the cultural differences separating contemporary experiences of adolescence in France and the U.S. Exploration of the era of feminist criticism and activism; Impact of political philosophy on the feminist thought; Assessment of the transformative changes in attitudes about young women and sex.

The cultural drives in the Antillese population in continental France have switched, in step with migration dynamics, in direction and target: they focus less than in the past on the future of the 'native lands' and more on improved integration in the host country. But in such a situation, facing racism, Antillese peoples in France are paradoxically reduced to emphasizing their collective identity, notably through associations, to obtain recognition from the host society's institutions and achieve social advancement within that society. A recognition of the diversity and complexity of the cultural dynamics in question should lead to break with any essentialist thinking and, then, to reappraise many of the ideas that are at the heart of the discussions inspired by those dynamics, notably the idea of diaspora. [ABSTRACT FROM AUTHOR]

Applications of Bourdieu''s theory of taste have focused almost exclusively on French-American comparisons. This paper uses original data to identify the cultural repertoires, the level of cultural participation, and the personal qualities used in symbolic boundary formation for an international sample of young elites. The study found evidence for two domains of cultural stratification: arts activities and sports activities. Rates of participation in arts activities varied across world region but were consistently higher than arts participation found in the GSS national sample. Regional variations in personal qualities desired in friends cast new light on past comparisons; again, despite this variation, arts-related personal qualities were valued more by this sample of elites than by the GSS sample. Sports activities emerged as a major candidate for legitimate culture in the examples of upper-class cultural repertoires generated by respondents; American domination of sports culture was the only consistent regional pattern found. A major finding of this study is the disjuncture in findings among cultural repertoires, cultural participation, and symbolic boundaries, all of which have been assumed to be aspects of a single cultural stratification concept. [Copyright &y& Elsevier]

The article discusses on the description of "Americans in Paris," an English class that was being developed to draw interest among non-language major students to French Studies classes. The class was focused on American writers who lived and worked in Paris, France between 1890 and 1955 as part of the effort of French and American societies to have a literary and cultural exchange, wherein students were introduced to the history and cultural heritage that have passed between the two societies. The course allowed French professors to discuss his cross-disciplinary subject by assessing American literary works using French cultural viewpoint.

Copyright of Sociologie & Sociétés is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers de Sociologie Economique et Culturelle is the property of Institut de sociologie economique et culturelle (ISEC) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Themes of identity, difference, ethnicity and culture are central to practices of exclusion and inclusion. Yet a concentration on political rhetoric around these important themes often accompanies a neglect of the ongoing experience of negotiating difference. This paper explores both levels of analysis in comparison of French and Australian material, in an attempt to interrelate national/local, public/private and political/cultural discourses and practices, connecting concepts of ethnicity, culture, globalisation, racism and social citizenship, especially in relation to the activities of le Front National in France and One Nation in Australia. [ABSTRACT FROM AUTHOR]