Millet-Robinet, Maison Rustique des Dames, Tom Jaine translator,review (original) (raw)
Modern & Contemporary France, 2019
In 1992 Régine Brès Kanéko assumed the management of her family's 165-year-old olive farm in Provence. Her parents, Yvette and Henri Brès modernized their farm over the 1970s and 1980s. By the mid-1990s the couple began planning for retirement. Without a male heir, Henri and Yvette asked Régine to consider leaving her career as a teacher, to become the sixth-generation head of their family farm. Transformations happening in France in the areas of direct marketing of farm products, female entrepreneurship, and a regionally robust revolution in organic farming attracted Régine Brès to the challenge of becoming the first female head of her property. This article argues that Régine Brès Kanéko's success came as a result of the direct transmission of knowledge from her experienced parents, and from structural changes in the French economy and agricultural trends in the Drôme. Benefiting from a moment of intersection of women moving into small holder farming and increased conversions to organic farming, Régine tapped the structural resources and her entrepreneurial drive to succeed. En Provence, la quête d'une femme de résister à l'agriculteur industriel et de transformer et donc préserver la ferme familiale française RÉSUMÉ En 1992 Régine Brès Kanéko commençait à s'assumer le titre, propriétrice-en-chef de la ferme de ses parents Yvette and Henri Brès. Pendant les années 70 et 80, Yvette et Henri ont réussi à moderniser leur exploitation familiale, La Ferme Brès, restée dans la même famille depuis 1827. Au début des années 90, le couple voulait se faire préparer leur retraite. Sans un fils comme héritier, ils demandé à Régine leur fille unique de penser à quitter sa carrière d'institutrice pour rentrer à la ferme. Elle deviendra le sixième chef-de-propriété dans l'histoire de la famille et la première femme à gérer La Ferme Brès. Des changements en France à l'époque, en particulier la vente directe de la ferme au marché, la commercialisation parmi des femmes et la plantation d'oliviers en agriculture biologique en Drôme aidaient à Régine de s'assumer son nouvel rôle.
The Sower by Jean-Françoise Millet: class tension in 19th Century Paris
Millet did share Baudelaire’s belief in both the need and appeal of depicting and canonizing the tumultuous present. He had been educated with the Bible and Virgil, and had read widely from Friedrich Grimm to Charlotte Bronte; upon his arrival in Paris, he educated himself with Vasari Le Vite dei Pittori and the masters at the Louvre. He could have easily produced Classical and mythological images, in respect to the tradition; but while his art was never free from citations and mythological associations (Pollock defines his art as capable of ranging from Fragonard’s pastoralism to “the darkest moments of Spanish art”), the figures that inhabit it are no Aeneas or Christ. He wrote to Sensier, “One must be able to make use of the trivial to express the sublime, there is the real force”. Indeed he populated his paintings with nameless figures, and became by choice a painter of peasants, as his obituary defined him.
Routledge eBooks, 2019
Pierre Bondil was born in France in 1949. He studied English before embarking on a career in teaching, first in high school and later in higher eduction, where for 15 years he taught English and Film History to audiovisual communication students. He began translating in 1981, working mostly for Rivages, Albin Michel and Gallimard. He has since worked with some 15 French publishing houses. By inclination he has always been a translator of the roman noir, but he has also worked on what some would consider 'more literary' texts, including Canadian and American Indian novels, collections of short stories, photographic works (notably focusing on Native Americans) and film scripts. In total, Pierre has translated around 150 books by writers including Jim Thompson,
Food and Language. Proceedings of the Oxford Symposium on Food & Cookery 2009, Totnes, Prospect Books
Les mots d'une langue, lorsqu'ils sont attestés pour une période donnée, peuvent constituer une source historique. On en verra un exemple dans le domaine culinaire avec un dictionnaire limousin-français, publié à Tulle (Corrèze, France) en 1823. Il témoigne, à travers certains termes et expressions, des débuts de la pomme de terre dans la cuisine de cette région. Elle est encore largement utilisée comme complément des céréales les années de mauvaises récoltes. Mais d'autres façons de l'apprêter existent également, qui constituent la première étape de sa véritable « entrée en cuisine ». Néanmoins, au début du XIXe siècle, elle est encore loin d'occuper la place importante qui sera la sienne au XXe siècle.
Reading the Loire Valley Chansonniers
Acta musicologica 79/1, 2007
like most fifteenth-century books in the vernacular, were objects of leisure. They stand apart from other books in that the type of reading they offer combines artistic, musical, and textual aspects. These distinct aesthetic traditions are brought together in ways that make possible a multidimensional reading experience: though each aspect can be seen to make a separate contribution, the appeal of chansonniers lies in the way these elements form a mutually supportive dialogue.