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Jean-Jacques HublinPaléantropologieCollège de FranceAnnée 2022-2023Colloque - Les héritiers de Lucy / Lucy's Heirs : Une, deux, ou trois espèces d'Australopithecus en Afrique australe ? La diversité taxinomique au temps de « Lucy »Intervenant(s)Amélie Beaudet, CNRS, Université de Poitiers, France - University of Cambridge, Royaume-UniColloque en hommage à Yves Coppens.Organisé par le Collège de France et la Fondation Hugot du Collège de France.Avec le soutien du Musée de l'Homme et de la Société des Amis du Musée de l'Homme.PrésentationLa disparition d'Yves Coppens le 22 juin 2022 a provoqué une vive émotion au sein de la communauté des paléoanthropologues et bien au-delà. Cette personnalité hors norme a profondément marqué sa discipline à la fois par une contribution scientifique exceptionnelle, mais aussi par un impact inégalé auprès d'un très large public. En son hommage, la chaire de Paléoanthropologie du Collège de France organise, avec le soutien de plusieurs partenaires, un colloque exceptionnel intitulé « Les héritiers de Lucy ». Il se tiendra dans l'amphithéâtre Marguerite de Navarre du Collège de France les 15 et 16 juin prochains.Depuis la découverte de la fameuse « Lucy », les découvertes se sont succédé sur le continent africain à un rythme toujours accéléré, avec notamment la mise en évidence de plusieurs espèces d'Hominines fossiles jusqu'alors inconnues. Les innovations méthodologiques ont été, elles aussi, nombreuses et ont conduit à des réinterprétations parfois radicales des données existantes. Ces progrès spectaculaires offrent aujourd'hui à nos yeux un paysage complètement renouvelé. Nous sommes passés d'une vision linéaire de l'évolution humaine à un buissonnement et une diversité longtemps insoupçonnée de formes d'Hominines aujourd'hui éteintes.Le colloque « Les héritiers de Lucy » rassemblera les meilleurs spécialistes internationaux des Hominines anciens. Il permettra de faire le point sur les nombreuses avancées réalisées depuis les premiers travaux d'Yves Coppens au Tchad et en Éthiopie. Plusieurs générations de chercheurs pourront y confronter leurs résultats et leurs points de vue sur une période cruciale de notre évolution qui a vu l'émergence du genre Homo et porte donc en germe l'Homme véritable.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts' emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman's writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters' aesthetic experimentation, mirroring the conceit framed by Henry James's depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin's prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin's Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin's understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.
Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke's Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists' representations of their studio spaces; the rhetoric of US artists' clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O'Keeffe's clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O'Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O'Keeffe: Living Modern. Her O'Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association's Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn's Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman's Building at the 1893 Chicago World's Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood's American Gothic.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.
Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke’s Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists’ representations of their studio spaces; the rhetoric of US artists’ clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O’Keeffe’s clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O’Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O’Keeffe: Living Modern. Her O’Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association’s Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn’s Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman’s Building at the 1893 Chicago World’s Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood’s American Gothic.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the fourth in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Content Warning: This talk will include references to historic racist language and imagery. Viewer discretion is advised. Performing Innocence: Baby Nation Moderator: Professor Alastair Wright, Associate Professor in the History of Art, St John's College Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: French artists often referred to US artists and art as their offspring. In the context of French declining birthrates, cultural fecundity absorbed the anxieties about a decline of French culture in the name of superiority. The final lecture analyzes how US artists in Paris took up the child as a motif and mantra that reinforced or rejected the narrative of French artistic parentage. While Edwin Blashfield and Henry Ossawa Tanner, both artists invested in the French academy system, framed dutiful tutelage, Mary Cassatt, Cecilia Beaux, and Ellen Emmet Rand instead probed burgeoning ideas in psychology about the child to frame independent and precocious children. These modern children modeled artistic independence echoed in these painters’ aesthetic experimentation, mirroring the conceit framed by Henry James’s depiction of his child character in What Maisie Knew as “flattening her nose upon the hard window-pane of the sweet-shop of knowledge.” Cartoons related to the War of 1898 suggest the fungible nature of this position; while playing youthful in the context of Europe, Americans adopted the aged Uncle Sam in rendering their colonized subjects as the children as they moved to outgrow their longstanding dependence on Parisian art practice. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Alastair Wright teaches modern art and visual culture for both the first year course (Prelims) and courses taken in subsequent years. At graduate level, his teaching focuses on French modernism and the interaction between art and mass culture. In all his teaching he encourages students to engage as closely as possible with actual works of art, regularly leading visits to collections in Oxford and beyond. Alastair Wrights's research focuses primarily on European modernisms. His first book, Matisse and the Subject of Modernism, was published by Princeton University Press in 2004, and more recently he curated an exhibition of Paul Gauguin’s prints at the Princeton University Art Museum. The accompanying catalogue, Gauguin’s Paradise Remembered: The Noa Noa Prints, examined the role played by reproduction in Gauguin’s understanding of French colonialism in Tahiti. He has published essays in Art History, Oxford Art Journal, Art Bulletin, Burlington Magazine, Gazette des Beaux-Arts, Artforum International, Nineteenth-Century Art Worldwide and in various edited volumes.
Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.
Professor c, Terra Foundation Visiting Professor in American Art, gives the second lecture in the The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 series. Moderator: Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Puritan Abstract: Visual culture representing Americans in Paris often polarized stereotypes of French and US identities, framing French bohemia as distinct from steadfast US work ethic. This lecture analyzes how Americans and US institutions in Paris adopted the ideal of the Puritan as a symbol of their sustained connection with the United States and a protective armor from becoming absorbed into Parisian decadence. US churches in Paris—all Protestant—participated in this construction alongside offering critiques of Catholicism in the context of debates about laicization in France. Professor Burns analyzes paintings, sculpture, and illustrations by Julius LeBlanc Stewart, Cecilia Beaux, Augustus St. Gaudens, and Jean André Castaigne, and studies St. Luke’s Chapel, which was built for the US students in Paris, to argue that this discourse inflected US artists’ representations of their studio spaces; the rhetoric of US artists’ clubs in Paris; and limited professional possibilities for US women artists. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Wanda M.Corn, Robert and Ruth Halperin Professor Emerita in Art History, Stanford University Having earned a BA (l963), MA (l965) and Ph.D. (l974) from New York University, Professor Wanda Corn taught at Washington Square College, the University of California, Berkeley, and Mills College before moving to Stanford University in Palo Alto, California in 1980. At Stanford she held the university's first permanent appointment in the history of American art and served as chair of the Department of Art and Art History and Acting Director of the Stanford Museum. From l992 to 1995 she was the Anthony P. Meier Family Professor and Director of the Stanford Humanities Center. In 2000, she became the Robert and Ruth Halperin Professor in Art History. She retired from teaching at Stanford in 2008. In 2009, she was the John Rewald Distinguished Visiting Lecturer at the CUNY Graduate Center. A scholar of late nineteenth- and early twentieth-century American art and photography, Professor Corn has received fellowships from the American Council of Learned Societies, the Smithsonian American Art Museum, the Woodrow Wilson International Center for Scholars, the Smithsonian Regents, the Stanford Humanities Center, the Radcliffe Institute of Advanced Study, and the Clark Institute of Art. In 2003 she was the Clark Distinguished Visiting Professor at Williams College and in 2006-07, the Samuel H. Kress Professor at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. In 2012, she was awarded a Mellon Emeritus Fellowship to support her pioneering research on Georgia O’Keeffe’s clothes. She has won numerous teaching awards: in 2007 The Distinguished Teaching of Art History Award from the College Art Association; in 2002 the Phi Beta Kappa Undergraduate Teaching Award; and in 1974 the Graves Award for outstanding teaching in the humanities. In 2006, the Archives of American Art awarded her The Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History and in 2007 she received the Women's Caucus for Art Lifetime Achievement Award in the Visual Arts. In 2014, the College Art Association dedicated a Distinguished Scholar Session to her work. She has served two terms on the Board of Directors of the College Art Association and two on the Commission for the Smithsonian American Art Museum. She served on the Advisory Board of the Georgia O’Keeffe Catalogue Raisonné and two terms on the Board of the Terra Foundation in American Art. Today she is a trustee of the Andrew and Betsy Wyeth Foundation for American Art; and a board member of the Grant Wood Art Colony at the University of Iowa. Since 2000, she has chaired the Advisory Committee for Historic Artist Homes and Studios (HAHS) that is an affiliate of the National Trust. Active as a guest curator, she had produced various books and exhibitions, including The Color of Mood: American Tonalism 1990-1910 (1972); The Art of Andrew Wyeth (l973); Grant Wood: The Regionalist Vision (1983); Seeing Gertrude Stein, Five Stories (2011-12); and in 2017-19, Georgia O’Keeffe: Living Modern. Her O’Keeffe study, published by Prestel Press, won Honorable Mention for the College Art Association’s Alfred H. Barr Jr. Award and was awarded the 1918 Dedalus Foundation Exhibition Catalogue Award. Her historiographic article for Art Bulletin, "Coming of Age: Historical Scholarship in American Art" (June l988), became a significant point of reference in the field as has her work on cultural nationalism in early American modernism. Her study of avant-garde modernist culture along the Atlantic rim, The Great American Thing: Modern Art and American Identity, 1915-35, was published by the University of California Press in 1999 and won the Charles C. Eldredge Prize for Distinguished Scholarship in American Art. In 2011, UC Press published Professor Corn’s Women Building History about Mary Cassatt and the decorative program of murals and sculptures for the Woman’s Building at the 1893 Chicago World’s Columbian Exposition. She continues to research, write, and lecture on high, middle, and low culture interpretations of Grant Wood’s American Gothic.
In this episode, I discuss the limits of French republicanism with Jean Beaman, who is an Associate Professor of Sociology at the University of California, Santa Barbara. We will focus on her book Citizen Outsider: Children of North African Immigrants in France (University of California Press, 2017).
This week we are Dancing Through Change with diasporic dance icon, Marina Magalhaes! Join us for this episode as we sway and move through the uncertainty with ease and passion. We can’t wait for you to listen! MARINA MAGALHÃES is border-crosser, bridge-builder, and dance-and-change-maker from Brazil, based in Los Angeles. Her unapologetically feminist and latinx work has been shared throughout Los Angeles (REDCAT Theater, Ford Amphitheatre, Zipper Concert Hall, Highways Performance Space, UCLA Fowler Museum, Blaktina Festival), San Francisco (CounterPulse, Yerba Buena Night, Dance Mission Theater), New York (Bowery Ballroom), Brazil (Universidade do Rio De Janeiro, Centro de Teatro do Oprimido, and Parque das Ruínas in Rio), Cuba (Teatro Favorito in La Havana), South Africa (The Wits Theatre in Johannesburg and My Body My Space Festival in Mpumalanga), Botswana (Maitisong Festival in Gabarone) and France (University of the Arts MFA program in Montpellier). She was awarded the LA Weekly Theater Award for Best Choreography in 2013 for her original work in the pop musical phenomenon “Patty! The Revival”. In 2014 she received the Pennington Dance Group Space Grant @ ARC and the UCLA Hothouse Residency to create her critically acclaimed work, (UN)BRIDALED. Hailed as "the type of show that keeps concert dance relevant in our lives" by LA Dance Review and "an unrivaled dance theater experience" by Theatre Ghost, (UN)BRIDALED was adapted with a cast of South African women and performed at The Wits Theatre's Human Rights & Social Justice Season 2016 in Johannesburg, South Africa. There, it was hailed as "riveting... a physical and emotional feat" by Creative Feel magazine. In 2017 she began a multi-year choreography residency with the LA-based Viver Brasil Dance Company, who commissioned Cor Da Pele, a dance concert work selected by the National Endowment for the Arts as one of the top 40 best choreographic works of 2018. Other choreography credits include collaborations with visual artist Carolina Caycedo on the experimental film Apariciones / Apparitions (commissioned by The Huntington Library and officially selected for the Motion Capture series at Highways Space), music videos for the YouTube sensation Watsky (including “Moral of the Story” with over 9 million views), and live tours nation-wide with the rising East LA-based band Las Cafeteras. Magalhães holds a B.A. in World Arts and Cultures with a Dance Concentration from UCLA, where she was the recipient of the international Moss Scholarship ($76,000) and had the opportunity to study with renowned artists such as David Rousseve, Victoria Marks, Barak Marshall, Susan Foster, Rennie Harris, Ronit Ziv, Maria Gillespie, and Cheng-Chieh Yu. Additionally, she has trained extensively in contemporary dance with Maria Bauman, House and Hip Hop with Jackie "Miss Funk" Lopez of Versa-Style, Afro-Brazilian dance with Rosangela Silvestre & Vera Passos of Bahia, Brazil, and conducted separate two-month long apprenticeships with Urban Bush Women in NYC and Gregory Maqoma of Vuyani Dance Theatre in South Africa in 2016. She is also an alum of the Association of Performing Arts Presenters (APAP) Emerging Leaders Institute (2014) & Director's Lab West (2014). For seven years, Magalhães worked with CONTRA-TIEMPO Urban Latin Dance Theater as a Performer, Teaching Artist, Resident Choreographer, Director of Arts Education, Assistant Artistic Director and ultimately Artistic Director Interim, playing a crucial role in the company’s development of a unique and powerful dance activist methodology. Magalhães has also performed in works by Victoria Marks (Smallest Gesture, Grandest Frame, voted runner-up in REDCAT Theater’s A.W.A.R.D. show in 2011), Viver Brasil Dance Company (alongside Grammy Award-winning artist Sergio Mendes at the world-famous 18,000 seat theater Hollywood Bowl), as a guest soloist with Maria Bauman's MBDance Company, and as a guest artist with Bessie Award-winning choreographer Joya Powell and her company Movement Of The People. Magalhães is a dedicated and experienced educator whose unique and inclusive approach to movement has been shared throughout the world. Her on-going movement research is called Dancing Diaspora, based on the fundamental belief that decolonization is inherently a transformative and futuristic process of reinventing and reclaiming tradition, and like the word diaspora communicates, it seeks to embody past and future, tradition and creativity, ancestry and individuality. In 2017 & 2018, Magalhães received the California Arts Council Artists In Communities award to provide the Dancing Diaspora class at Pieter Space free of charge, which she is currently offering a weekly basis. Additionally, Magalhães has taught in over twenty-five K-12 schools and designed dozens of original curricula that introduce young people to yoga and meditation, creative movement, and dance as resistance. Magalhães has taught Latin American Social Dances as Adjunct Faculty at various universities, including California State Polytechnic University of Pomona, Occidental College, Scripps College, and where she currently lectures, UC Riverside. She is a co-founder and faculty of UCLA Department of World Arts & Cultures's Travel Study program, which brings college students to study at the renowned Center for Theater of the Oppressed in Rio de Janeiro, Brazil. She is also a certified yoga instructor and a founding teacher of the East LA-based People's Yoga studio since 2014. While Magalhães is based in Los Angeles, she has special ties to Latin America and especially Brazil, her native country, as she routinely travels to conduct her artistic research and share her work. To learn more about Marina’s work please visit her https://www.marinamagalhaes.com/. Follow her on Instagram @marinamagalicious, YouTube @marinaomagalhaes Remember, it’s no fun to SHIFT alone so share, review, like, and repost to invite your friends and loved ones along for the ride! Follow us @shapingtheshiftpodcast and host Thea Monyee´ @theamonyee on IG! There are many ways to support this joy-centered, pleasure-focused work! Thea’s Patreon, Ca$h App ($theamonyee), or Venmo (@theamonyee), so pick your favorite and show us some love!
For this evening of conversation, Inès Seddiki interviewed Jean Beaman about her research, including her book, Citizen Outsider: Children of North African Immigrants in France. Dr. Beaman then posed some questions to Inès about her organization, GHETT'UP. Finally, the two discussed racism in France more broadly re COVID-19 and police violence. They also offered their thoughts and perspectives on the recent protests in France for Adama Traoré and in support of the Black Lives Matter movement. Jean Beaman is an Assistant Professor of Sociology at the University of California, Santa Barbara. She was previously on the faculty at Purdue University and has held visiting fellowships at Duke University and the European University Institute (Florence, Italy). Her research is ethnographic in nature and focuses on race/ethnicity, racism, international migration, and state-sponsored violence in both France and the United States. She is an Editor of H-Net Black Europe, an Associate Editor of the journal, Identities: Global Studies in Culture and Power, and Corresponding Editor for the journal Metropolitics/Metropolitiques. She earned her B.A., M.A., and Ph.D. from Northwestern University. Inès Seddiki is a French-Moroccan activist and Corporate Social Responsibility (CSR) professional living in the banlieues of Paris. Inès graduated with a masters degree in corporate social responsibility from Grenoble Graduate School of Business and a bachelor's degree in economics from Pierre Mendès-France University. In 2016, she founded GHETT'UP, an organization dealing with youth empowerment and leadership in the underprivileged areas of Paris, the banlieues. 5000+ youth have been impacted by the organization's programs.
The Annex discusses the case of Jussie Smollett, an actor who was charged for filing a fake hate crime to gain publicity. The case was dismissed by prosecutors, leading to outcry and conflict. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean Photo By Dominick D - Jussie Smollett, CC BY-SA 2.0, Link
The Annex discusses the case of Jussie Smollett, an actor who was charged for filing a fake hate crime to gain publicity. The case was dismissed by prosecutors, leading to outcry and conflict. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean Photo By Dominick D - Jussie Smollett, CC BY-SA 2.0, Link
The Annex discusses a recent piece from UT Austin's Steven Mintz in Inside Higher Ed, in which he asks how we should respond to the college admissions scandal. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean
The Annex discusses a recent piece from UT Austin's Steven Mintz in Inside Higher Ed, in which he asks how we should respond to the college admissions scandal. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean
Today, The Annex discusses an exchange in Contexts between Northwestern law professor Steven Lubet and UC Berkeley sociologist Michael Burawoy on the need to fact-check ethnography and the legality of studying violent crimes in progress. Read the pieces: "Accuracy in Ethnography: Narratives, Documents, and Circumstances" by Lubet."Empricism and Its Fallacies" by Burawoy. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean Photo Credits By Dosseman - Own work, CC BY-SA 4.0, Link
Today, The Annex discusses an exchange in Contexts between Northwestern law professor Steven Lubet and UC Berkeley sociologist Michael Burawoy on the need to fact-check ethnography and the legality of studying violent crimes in progress. Read the pieces: "Accuracy in Ethnography: Narratives, Documents, and Circumstances" by Lubet."Empricism and Its Fallacies" by Burawoy. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean Photo Credits By Dosseman - Own work, CC BY-SA 4.0, Link
We interview Margaret Hagerman on her book, White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press), a book about how white youth learn to reproduce white privilege. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean Photo Credit By KNewman1 - Own work, CC BY-SA 3.0, Link
We interview Margaret Hagerman on her book, White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press), a book about how white youth learn to reproduce white privilege. Margaret Hagerman is an Assistant Professor at Mississippi State University. She wrote White Kids: Growing Up with Privilege in a Racially Divided America (NYU Press). Twitter: @MaggieHagerman Jean Beaman is an Assistant Professor of Sociology at Purdue University. Jean wrote Citizen Outsider: Children of North African Immigrants in France( (University of California Press). Twitter: @jean23bean Photo Credit By KNewman1 - Own work, CC BY-SA 3.0, Link
What does it mean to be a citizen? Every country has its own legal codes that confer a set of rights on official members. But full citizenship is often more than what the law says. A better question is: what does it mean to be an accepted member of one’s society? According to France’s Republicanism, national and civic terms determine identity, and basic citizenship, “being French,” trumps all other group affiliations. Race, ethnicity—those common and powerful sources of identity and symbols of belonging—simply do not exist within this model. Not so for everyone in France, according to sociologist Jean Beaman in her new book Citizen Outsider: Children of North African Immigrants in France (University of California Press, 2017). In this work, Beaman focuses on a group of people in France who have ostensibly “made it”—children of maghrebin immigrants who have obtained university (and sometimes post-graduate) degrees, work professional jobs, and entered the middle class—and who mostly embrace French culture and the country’s sense of Republicanism, but who are not accepted as French by their country. They feel French, but are not regarded as French. Driven by the question of “what does it mean to be a minority in a society that does not recognize minorities?” Beaman lets her participants’ lives and experiences shine, and her analyses reveal the unfortunate conditions and realities of their everyday existence as “citizen outsiders”: both an ordinary member of their society, and a total foreigner at the same time. Richard E. Ocejo is associate professor of sociology at John Jay College and the Graduate Center of the City University of New York (CUNY). He is the author of Masters of Craft: Old Jobs in the New Urban Economy (Princeton University Press, 2017), about the transformation of low-status occupations into cool, cultural taste-making jobs (cocktail bartenders, craft distillers, upscale mens barbers, and whole animal butchers), and of Upscaling Downtown: From Bowery Saloons to Cocktail Bars in New York City (Princeton University Press, 2014), about growth policies, nightlife, and conflict in gentrified neighborhoods. His work has appeared in such journals as City & Community, Poetics, Ethnography, and the European Journal of Cultural Studies. He is also the editor of Ethnography and the City: Readings on Doing Urban Fieldwork (Routledge, 2012) and serves on the editorial boards of the journals Metropolitics, Work and Occupations, and the Journal for Undergraduate Ethnography. Learn more about your ad choices. Visit megaphone.fm/adchoices
What does it mean to be a citizen? Every country has its own legal codes that confer a set of rights on official members. But full citizenship is often more than what the law says. A better question is: what does it mean to be an accepted member of one’s society? According to France’s Republicanism, national and civic terms determine identity, and basic citizenship, “being French,” trumps all other group affiliations. Race, ethnicity—those common and powerful sources of identity and symbols of belonging—simply do not exist within this model. Not so for everyone in France, according to sociologist Jean Beaman in her new book Citizen Outsider: Children of North African Immigrants in France (University of California Press, 2017). In this work, Beaman focuses on a group of people in France who have ostensibly “made it”—children of maghrebin immigrants who have obtained university (and sometimes post-graduate) degrees, work professional jobs, and entered the middle class—and who mostly embrace French culture and the country’s sense of Republicanism, but who are not accepted as French by their country. They feel French, but are not regarded as French. Driven by the question of “what does it mean to be a minority in a society that does not recognize minorities?” Beaman lets her participants’ lives and experiences shine, and her analyses reveal the unfortunate conditions and realities of their everyday existence as “citizen outsiders”: both an ordinary member of their society, and a total foreigner at the same time. Richard E. Ocejo is associate professor of sociology at John Jay College and the Graduate Center of the City University of New York (CUNY). He is the author of Masters of Craft: Old Jobs in the New Urban Economy (Princeton University Press, 2017), about the transformation of low-status occupations into cool, cultural taste-making jobs (cocktail bartenders, craft distillers, upscale mens barbers, and whole animal butchers), and of Upscaling Downtown: From Bowery Saloons to Cocktail Bars in New York City (Princeton University Press, 2014), about growth policies, nightlife, and conflict in gentrified neighborhoods. His work has appeared in such journals as City & Community, Poetics, Ethnography, and the European Journal of Cultural Studies. He is also the editor of Ethnography and the City: Readings on Doing Urban Fieldwork (Routledge, 2012) and serves on the editorial boards of the journals Metropolitics, Work and Occupations, and the Journal for Undergraduate Ethnography. Learn more about your ad choices. Visit megaphone.fm/adchoices
What does it mean to be a citizen? Every country has its own legal codes that confer a set of rights on official members. But full citizenship is often more than what the law says. A better question is: what does it mean to be an accepted member of one’s society? According to France’s Republicanism, national and civic terms determine identity, and basic citizenship, “being French,” trumps all other group affiliations. Race, ethnicity—those common and powerful sources of identity and symbols of belonging—simply do not exist within this model. Not so for everyone in France, according to sociologist Jean Beaman in her new book Citizen Outsider: Children of North African Immigrants in France (University of California Press, 2017). In this work, Beaman focuses on a group of people in France who have ostensibly “made it”—children of maghrebin immigrants who have obtained university (and sometimes post-graduate) degrees, work professional jobs, and entered the middle class—and who mostly embrace French culture and the country’s sense of Republicanism, but who are not accepted as French by their country. They feel French, but are not regarded as French. Driven by the question of “what does it mean to be a minority in a society that does not recognize minorities?” Beaman lets her participants’ lives and experiences shine, and her analyses reveal the unfortunate conditions and realities of their everyday existence as “citizen outsiders”: both an ordinary member of their society, and a total foreigner at the same time. Richard E. Ocejo is associate professor of sociology at John Jay College and the Graduate Center of the City University of New York (CUNY). He is the author of Masters of Craft: Old Jobs in the New Urban Economy (Princeton University Press, 2017), about the transformation of low-status occupations into cool, cultural taste-making jobs (cocktail bartenders, craft distillers, upscale mens barbers, and whole animal butchers), and of Upscaling Downtown: From Bowery Saloons to Cocktail Bars in New York City (Princeton University Press, 2014), about growth policies, nightlife, and conflict in gentrified neighborhoods. His work has appeared in such journals as City & Community, Poetics, Ethnography, and the European Journal of Cultural Studies. He is also the editor of Ethnography and the City: Readings on Doing Urban Fieldwork (Routledge, 2012) and serves on the editorial boards of the journals Metropolitics, Work and Occupations, and the Journal for Undergraduate Ethnography. Learn more about your ad choices. Visit megaphone.fm/adchoices
What does it mean to be a citizen? Every country has its own legal codes that confer a set of rights on official members. But full citizenship is often more than what the law says. A better question is: what does it mean to be an accepted member of one’s society? According to France’s Republicanism, national and civic terms determine identity, and basic citizenship, “being French,” trumps all other group affiliations. Race, ethnicity—those common and powerful sources of identity and symbols of belonging—simply do not exist within this model. Not so for everyone in France, according to sociologist Jean Beaman in her new book Citizen Outsider: Children of North African Immigrants in France (University of California Press, 2017). In this work, Beaman focuses on a group of people in France who have ostensibly “made it”—children of maghrebin immigrants who have obtained university (and sometimes post-graduate) degrees, work professional jobs, and entered the middle class—and who mostly embrace French culture and the country’s sense of Republicanism, but who are not accepted as French by their country. They feel French, but are not regarded as French. Driven by the question of “what does it mean to be a minority in a society that does not recognize minorities?” Beaman lets her participants’ lives and experiences shine, and her analyses reveal the unfortunate conditions and realities of their everyday existence as “citizen outsiders”: both an ordinary member of their society, and a total foreigner at the same time. Richard E. Ocejo is associate professor of sociology at John Jay College and the Graduate Center of the City University of New York (CUNY). He is the author of Masters of Craft: Old Jobs in the New Urban Economy (Princeton University Press, 2017), about the transformation of low-status occupations into cool, cultural taste-making jobs (cocktail bartenders, craft distillers, upscale mens barbers, and whole animal butchers), and of Upscaling Downtown: From Bowery Saloons to Cocktail Bars in New York City (Princeton University Press, 2014), about growth policies, nightlife, and conflict in gentrified neighborhoods. His work has appeared in such journals as City & Community, Poetics, Ethnography, and the European Journal of Cultural Studies. He is also the editor of Ethnography and the City: Readings on Doing Urban Fieldwork (Routledge, 2012) and serves on the editorial boards of the journals Metropolitics, Work and Occupations, and the Journal for Undergraduate Ethnography. Learn more about your ad choices. Visit megaphone.fm/adchoices
Thibaut Balabonski (LRI, France and University of Paris-Sud, France) gives the third talk in the second panel, Foundations of Higher-Order Programming, on the 2nd day of the ICFP conference. Co-written by Pablo Barenbaum (University of Buenos Aires, Argentina/IRIF, France/University of Paris Diderot, France), Eduardo Bonelli (CONICET, Argentina/Universidad Nacional de Quilmes, Argentina), Delia Kesner (IRIF/University of Paris Diderot, France). We present a call-by-need strategy for computing strong normal forms of open terms (reduction is admitted inside the body of abstractions and substitutions, and the terms may contain free variables), which guarantees that arguments are only evaluated when needed and at most once. The strategy is shown to be complete with respect to beta-reduction to strong normal form. The proof of completeness relies on two key tools: (1) the definition of a strong call-by-need calculus where reduction may be performed inside any context, and (2) the use of non-idempotent intersection types. More precisely, terms admitting a beta-normal form in pure lambda calculus are typable, typability implies (weak) normalisation in the strong call-by-need calculus, and weak normalisation in the strong call-by-need calculus implies normalisation in the strong call-by-need strategy. Our (strong) call-by-need strategy is also shown to be conservative over the standard (weak) call-by-need.
In The Emergence of Tropical Medicine in France (University of Chicago Press, 2014), Michael Osborne offers a new way to think about and practice the history of colonial medicine. Eschewing pan-European or Anglo-centric models of the history of colonial medicine, Osborne's book focuses on the centrality, transformations, and ultimate demise of naval medicine in France in the nineteenth and early twentieth centuries. Motivating the central arguments and narrative of the book is a concern with place, places, and emplacement, and Osborne explores maritime medical practices and the ecology of disease in French provincial port cities, on ships, in prisons, in hospitals and schools, and beyond. The Emergence of Tropical Medicine in France pays special attention to how the study and conception of race, and its connection with health and disease, was formed and reformed in these settings. Readers with a special interest in the relationship between medicine and the military will find much to enjoy here, as will those who come to the book wanting to know more about the maritime history of diseases like Yellow Fever, lead poisoning, and Malaria. There's also some wonderful storytelling here, including a fascinating account of a book-bomber in Chapter 4. It is a beautifully written account, and it should be required reading for those interested in the history of medicine and healing, of France, of the colonial medical past, and of place and locality. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Emergence of Tropical Medicine in France (University of Chicago Press, 2014), Michael Osborne offers a new way to think about and practice the history of colonial medicine. Eschewing pan-European or Anglo-centric models of the history of colonial medicine, Osborne’s book focuses on the centrality, transformations, and ultimate demise of naval medicine in France in the nineteenth and early twentieth centuries. Motivating the central arguments and narrative of the book is a concern with place, places, and emplacement, and Osborne explores maritime medical practices and the ecology of disease in French provincial port cities, on ships, in prisons, in hospitals and schools, and beyond. The Emergence of Tropical Medicine in France pays special attention to how the study and conception of race, and its connection with health and disease, was formed and reformed in these settings. Readers with a special interest in the relationship between medicine and the military will find much to enjoy here, as will those who come to the book wanting to know more about the maritime history of diseases like Yellow Fever, lead poisoning, and Malaria. There’s also some wonderful storytelling here, including a fascinating account of a book-bomber in Chapter 4. It is a beautifully written account, and it should be required reading for those interested in the history of medicine and healing, of France, of the colonial medical past, and of place and locality. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Emergence of Tropical Medicine in France (University of Chicago Press, 2014), Michael Osborne offers a new way to think about and practice the history of colonial medicine. Eschewing pan-European or Anglo-centric models of the history of colonial medicine, Osborne’s book focuses on the centrality, transformations, and ultimate demise of naval medicine in France in the nineteenth and early twentieth centuries. Motivating the central arguments and narrative of the book is a concern with place, places, and emplacement, and Osborne explores maritime medical practices and the ecology of disease in French provincial port cities, on ships, in prisons, in hospitals and schools, and beyond. The Emergence of Tropical Medicine in France pays special attention to how the study and conception of race, and its connection with health and disease, was formed and reformed in these settings. Readers with a special interest in the relationship between medicine and the military will find much to enjoy here, as will those who come to the book wanting to know more about the maritime history of diseases like Yellow Fever, lead poisoning, and Malaria. There’s also some wonderful storytelling here, including a fascinating account of a book-bomber in Chapter 4. It is a beautifully written account, and it should be required reading for those interested in the history of medicine and healing, of France, of the colonial medical past, and of place and locality. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Emergence of Tropical Medicine in France (University of Chicago Press, 2014), Michael Osborne offers a new way to think about and practice the history of colonial medicine. Eschewing pan-European or Anglo-centric models of the history of colonial medicine, Osborne’s book focuses on the centrality, transformations, and ultimate demise of naval medicine in France in the nineteenth and early twentieth centuries. Motivating the central arguments and narrative of the book is a concern with place, places, and emplacement, and Osborne explores maritime medical practices and the ecology of disease in French provincial port cities, on ships, in prisons, in hospitals and schools, and beyond. The Emergence of Tropical Medicine in France pays special attention to how the study and conception of race, and its connection with health and disease, was formed and reformed in these settings. Readers with a special interest in the relationship between medicine and the military will find much to enjoy here, as will those who come to the book wanting to know more about the maritime history of diseases like Yellow Fever, lead poisoning, and Malaria. There’s also some wonderful storytelling here, including a fascinating account of a book-bomber in Chapter 4. It is a beautifully written account, and it should be required reading for those interested in the history of medicine and healing, of France, of the colonial medical past, and of place and locality. Learn more about your ad choices. Visit megaphone.fm/adchoices
In The Emergence of Tropical Medicine in France (University of Chicago Press, 2014), Michael Osborne offers a new way to think about and practice the history of colonial medicine. Eschewing pan-European or Anglo-centric models of the history of colonial medicine, Osborne's book focuses on the centrality, transformations, and ultimate demise of naval medicine in France in the nineteenth and early twentieth centuries. Motivating the central arguments and narrative of the book is a concern with place, places, and emplacement, and Osborne explores maritime medical practices and the ecology of disease in French provincial port cities, on ships, in prisons, in hospitals and schools, and beyond. The Emergence of Tropical Medicine in France pays special attention to how the study and conception of race, and its connection with health and disease, was formed and reformed in these settings. Readers with a special interest in the relationship between medicine and the military will find much to enjoy here, as will those who come to the book wanting to know more about the maritime history of diseases like Yellow Fever, lead poisoning, and Malaria. There's also some wonderful storytelling here, including a fascinating account of a book-bomber in Chapter 4. It is a beautifully written account, and it should be required reading for those interested in the history of medicine and healing, of France, of the colonial medical past, and of place and locality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine
In The Emergence of Tropical Medicine in France (University of Chicago Press, 2014), Michael Osborne offers a new way to think about and practice the history of colonial medicine. Eschewing pan-European or Anglo-centric models of the history of colonial medicine, Osborne’s book focuses on the centrality, transformations, and ultimate demise of naval medicine in France in the nineteenth and early twentieth centuries. Motivating the central arguments and narrative of the book is a concern with place, places, and emplacement, and Osborne explores maritime medical practices and the ecology of disease in French provincial port cities, on ships, in prisons, in hospitals and schools, and beyond. The Emergence of Tropical Medicine in France pays special attention to how the study and conception of race, and its connection with health and disease, was formed and reformed in these settings. Readers with a special interest in the relationship between medicine and the military will find much to enjoy here, as will those who come to the book wanting to know more about the maritime history of diseases like Yellow Fever, lead poisoning, and Malaria. There’s also some wonderful storytelling here, including a fascinating account of a book-bomber in Chapter 4. It is a beautifully written account, and it should be required reading for those interested in the history of medicine and healing, of France, of the colonial medical past, and of place and locality. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracking soldiers from the villages and towns of Northern France, to the “Silver Foxhole” of Paris, to tribunals that convicted a disproportionate number of African-American soldiers of rape, Mary Louise Roberts‘ latest book reveals a side of the Liberation of 1944-45 that is typically obscured in histories of the D-Day landings and the months that followed. What Soldiers Do: Sex and the American GI in World War II France (University of Chicago Press, 2013) draws on a wealth of material from French and American archives to show us that the war was an experience saturated with sights, sounds, smells, tastes, and touch. Battles were critical, of course, but so too was sex. The American GI in war-torn France was a soldier, a tourist, a liberator, and also a destroyer. Military propaganda represented the Normandy campaign as a soldier’s opportunity for sexual adventure, framing the invasion and occupation of France in terms of the rescue of damsels in distress by heroic tough guys from a manly nation. Convinced of the hyper-sexuality of French women and culture, many American soldiers courted, paid for sex with, and even assaulted women they met in French homes, streets, hotels, and brothels. This is a book about what American GIs thought about France; what they did while they were “over there”; how French women and men received and responded to the “advances” of American troops; and the lasting impact of this complex set of encounters on individual lives, communities, and politics. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracking soldiers from the villages and towns of Northern France, to the “Silver Foxhole” of Paris, to tribunals that convicted a disproportionate number of African-American soldiers of rape, Mary Louise Roberts‘ latest book reveals a side of the Liberation of 1944-45 that is typically obscured in histories of the D-Day landings and the months that followed. What Soldiers Do: Sex and the American GI in World War II France (University of Chicago Press, 2013) draws on a wealth of material from French and American archives to show us that the war was an experience saturated with sights, sounds, smells, tastes, and touch. Battles were critical, of course, but so too was sex. The American GI in war-torn France was a soldier, a tourist, a liberator, and also a destroyer. Military propaganda represented the Normandy campaign as a soldier’s opportunity for sexual adventure, framing the invasion and occupation of France in terms of the rescue of damsels in distress by heroic tough guys from a manly nation. Convinced of the hyper-sexuality of French women and culture, many American soldiers courted, paid for sex with, and even assaulted women they met in French homes, streets, hotels, and brothels. This is a book about what American GIs thought about France; what they did while they were “over there”; how French women and men received and responded to the “advances” of American troops; and the lasting impact of this complex set of encounters on individual lives, communities, and politics. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracking soldiers from the villages and towns of Northern France, to the “Silver Foxhole” of Paris, to tribunals that convicted a disproportionate number of African-American soldiers of rape, Mary Louise Roberts‘ latest book reveals a side of the Liberation of 1944-45 that is typically obscured in histories of the D-Day landings and the months that followed. What Soldiers Do: Sex and the American GI in World War II France (University of Chicago Press, 2013) draws on a wealth of material from French and American archives to show us that the war was an experience saturated with sights, sounds, smells, tastes, and touch. Battles were critical, of course, but so too was sex. The American GI in war-torn France was a soldier, a tourist, a liberator, and also a destroyer. Military propaganda represented the Normandy campaign as a soldier’s opportunity for sexual adventure, framing the invasion and occupation of France in terms of the rescue of damsels in distress by heroic tough guys from a manly nation. Convinced of the hyper-sexuality of French women and culture, many American soldiers courted, paid for sex with, and even assaulted women they met in French homes, streets, hotels, and brothels. This is a book about what American GIs thought about France; what they did while they were “over there”; how French women and men received and responded to the “advances” of American troops; and the lasting impact of this complex set of encounters on individual lives, communities, and politics. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracking soldiers from the villages and towns of Northern France, to the “Silver Foxhole” of Paris, to tribunals that convicted a disproportionate number of African-American soldiers of rape, Mary Louise Roberts‘ latest book reveals a side of the Liberation of 1944-45 that is typically obscured in histories of the D-Day landings and the months that followed. What Soldiers Do: Sex and the American GI in World War II France (University of Chicago Press, 2013) draws on a wealth of material from French and American archives to show us that the war was an experience saturated with sights, sounds, smells, tastes, and touch. Battles were critical, of course, but so too was sex. The American GI in war-torn France was a soldier, a tourist, a liberator, and also a destroyer. Military propaganda represented the Normandy campaign as a soldier’s opportunity for sexual adventure, framing the invasion and occupation of France in terms of the rescue of damsels in distress by heroic tough guys from a manly nation. Convinced of the hyper-sexuality of French women and culture, many American soldiers courted, paid for sex with, and even assaulted women they met in French homes, streets, hotels, and brothels. This is a book about what American GIs thought about France; what they did while they were “over there”; how French women and men received and responded to the “advances” of American troops; and the lasting impact of this complex set of encounters on individual lives, communities, and politics. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracking soldiers from the villages and towns of Northern France, to the “Silver Foxhole” of Paris, to tribunals that convicted a disproportionate number of African-American soldiers of rape, Mary Louise Roberts‘ latest book reveals a side of the Liberation of 1944-45 that is typically obscured in histories of the D-Day landings and the months that followed. What Soldiers Do: Sex and the American GI in World War II France (University of Chicago Press, 2013) draws on a wealth of material from French and American archives to show us that the war was an experience saturated with sights, sounds, smells, tastes, and touch. Battles were critical, of course, but so too was sex. The American GI in war-torn France was a soldier, a tourist, a liberator, and also a destroyer. Military propaganda represented the Normandy campaign as a soldier’s opportunity for sexual adventure, framing the invasion and occupation of France in terms of the rescue of damsels in distress by heroic tough guys from a manly nation. Convinced of the hyper-sexuality of French women and culture, many American soldiers courted, paid for sex with, and even assaulted women they met in French homes, streets, hotels, and brothels. This is a book about what American GIs thought about France; what they did while they were “over there”; how French women and men received and responded to the “advances” of American troops; and the lasting impact of this complex set of encounters on individual lives, communities, and politics. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tracking soldiers from the villages and towns of Northern France, to the “Silver Foxhole” of Paris, to tribunals that convicted a disproportionate number of African-American soldiers of rape, Mary Louise Roberts‘ latest book reveals a side of the Liberation of 1944-45 that is typically obscured in histories of the D-Day landings and the months that followed. What Soldiers Do: Sex and the American GI in World War II France (University of Chicago Press, 2013) draws on a wealth of material from French and American archives to show us that the war was an experience saturated with sights, sounds, smells, tastes, and touch. Battles were critical, of course, but so too was sex. The American GI in war-torn France was a soldier, a tourist, a liberator, and also a destroyer. Military propaganda represented the Normandy campaign as a soldier’s opportunity for sexual adventure, framing the invasion and occupation of France in terms of the rescue of damsels in distress by heroic tough guys from a manly nation. Convinced of the hyper-sexuality of French women and culture, many American soldiers courted, paid for sex with, and even assaulted women they met in French homes, streets, hotels, and brothels. This is a book about what American GIs thought about France; what they did while they were “over there”; how French women and men received and responded to the “advances” of American troops; and the lasting impact of this complex set of encounters on individual lives, communities, and politics. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few moments in recent sports history as riveting, perplexing, and widely debated as Zinedine Zidane’s head-butt to Marco Materazzi in the final match of the 2006 World Cup. Think of your own reaction when the referee stopped play to attend to Materazzi, and you then saw the reply of Zidane trotting away from the Italian defender, turning back, and driving his head into Materazzi’s chest. Perhaps a cheer of approval, or scorn for the blatant foul. Then the red card came out, and with it the realization that Zidane’s brilliant career had come to an end. And as the camera followed him leaving the pitch, and he passed the World Cup trophy waiting on its pedestal, we understood that Zidane’s act of anger had likely cost his team the victory. Laurent Dubois, scholar of modern French history and devoted supporter of Les Bleus, recognized that the head-butt and the reactions it generated in France were questions needing serious investigation. Finding the answers, he understood, required looking beyond whatever insults Materazzi shot at Zidane in the 109th minute of the final match. Laurent’s bookSoccer Empire: The World Cup and the Future of France (University of California Press, 2011) sets Zidane’s act within multiple, overlapping frames: the history of the French national team and its traditionally multi-ethnic rosters; the development of football in France’s colonies; the experiences of immigrants from those colonies, like Zidane’s parents; the nationwide euphoria when France won the 1998 World Cup, with a team composed of players of Caribbean, New Caledonian, North African, and West African descent; and the poverty and social unrest in the banlieues of Paris and other French cities, where many of these players had grown up, which burst into violence in 2005. Against this backdrop, Laurent follows not only the story of Zidane but also that of his teammate on the national side, Lilian Thuram, a native of Guadeloupe who openly challenged the French government’s handling of the 2005 riots. As Laurent explains in our interview, his research began as the personal quest of a fan seeking to understand the action of a player. But his book is about far more than football. Soccer Empire offers insight into contemporary Europe society, with its increasing population of immigrants from around the world, by looking through the lens of sport. And Laurent has opened an ongoing forum on soccer and society with his blog Soccer Politics, which offers his and other writers’ musings and research. For the thinking football fan, it is recommended reading on the larger significance of the game, in Europe and around the world. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few moments in recent sports history as riveting, perplexing, and widely debated as Zinedine Zidane’s head-butt to Marco Materazzi in the final match of the 2006 World Cup. Think of your own reaction when the referee stopped play to attend to Materazzi, and you then saw the reply of Zidane trotting away from the Italian defender, turning back, and driving his head into Materazzi’s chest. Perhaps a cheer of approval, or scorn for the blatant foul. Then the red card came out, and with it the realization that Zidane’s brilliant career had come to an end. And as the camera followed him leaving the pitch, and he passed the World Cup trophy waiting on its pedestal, we understood that Zidane’s act of anger had likely cost his team the victory. Laurent Dubois, scholar of modern French history and devoted supporter of Les Bleus, recognized that the head-butt and the reactions it generated in France were questions needing serious investigation. Finding the answers, he understood, required looking beyond whatever insults Materazzi shot at Zidane in the 109th minute of the final match. Laurent’s bookSoccer Empire: The World Cup and the Future of France (University of California Press, 2011) sets Zidane’s act within multiple, overlapping frames: the history of the French national team and its traditionally multi-ethnic rosters; the development of football in France’s colonies; the experiences of immigrants from those colonies, like Zidane’s parents; the nationwide euphoria when France won the 1998 World Cup, with a team composed of players of Caribbean, New Caledonian, North African, and West African descent; and the poverty and social unrest in the banlieues of Paris and other French cities, where many of these players had grown up, which burst into violence in 2005. Against this backdrop, Laurent follows not only the story of Zidane but also that of his teammate on the national side, Lilian Thuram, a native of Guadeloupe who openly challenged the French government’s handling of the 2005 riots. As Laurent explains in our interview, his research began as the personal quest of a fan seeking to understand the action of a player. But his book is about far more than football. Soccer Empire offers insight into contemporary Europe society, with its increasing population of immigrants from around the world, by looking through the lens of sport. And Laurent has opened an ongoing forum on soccer and society with his blog Soccer Politics, which offers his and other writers’ musings and research. For the thinking football fan, it is recommended reading on the larger significance of the game, in Europe and around the world. Learn more about your ad choices. Visit megaphone.fm/adchoices
There are few moments in recent sports history as riveting, perplexing, and widely debated as Zinedine Zidane’s head-butt to Marco Materazzi in the final match of the 2006 World Cup. Think of your own reaction when the referee stopped play to attend to Materazzi, and you then saw the reply... Learn more about your ad choices. Visit megaphone.fm/adchoices
Listener comments, naturism in France, and some recent research on objectification. Links to items mentioned in the show: Video on Naturism in France University of Maryland Mind Perception and Morality Lab “More than a body: Mind perception and the nature of objectification” in the Journal of Personality and Social Psychology Play Now Episode XXXVIII The post: French Naturism and Objectification Research, appeared first on The Naturist Living Show Podcast. #naturism #naturist #nudism #nudist
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