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Making Modern Paris by Christopher Curtis Mead Pdf
Investigates how architecture, technology, politics, and urban planning came together in French architect Victor Baltard's creation of the Central Markets of Paris. Presents a case study of the historical process that produced modern Paris between 1840 and 1870.
A sparkling account of the nineteenth-century reinvention of Paris as the most beautiful, exciting city in the world In 1853, French emperor Louis Napoleon inaugurated a vast and ambitious program of public works in Paris, directed by Georges-Eugè Haussmann, the prefect of the Seine. Haussmann transformed the old medieval city of squalid slums and disease-ridden alleyways into a "City of Light" characterized by wide boulevards, apartment blocks, parks, squares and public monuments, new rail stations and department stores, and a new system of public sanitation. City of Light charts this fifteen-year project of urban renewal which -- despite the interruptions of war, revolution, corruption, and bankruptcy -- set a template for nineteenth and early twentieth-century urban planning and created the enduring landscape of modern Paris now so famous around the globe. Lively and engaging, City of Light is a book for anyone who wants to know how Paris became Paris.
Author : Jeffrey H. Jackson Publisher : Duke University Press Page : 281 pages File Size : 45,7 Mb Release : 2003-08-05 Category : Music ISBN : 9780822385080
Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial. Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.
A sparkling account of the nineteenth-century reinvention of Paris as the most beautiful, exciting city in the world In 1853, French emperor Louis Napoleon inaugurated a vast and ambitious program of public works in Paris, directed by Georges-Eugène Haussmann, the prefect of the Seine. Haussmann transformed the old medieval city of squalid slums and disease-ridden alleyways into a "City of Light" characterized by wide boulevards, apartment blocks, parks, squares and public monuments, new rail stations and department stores, and a new system of public sanitation. City of Light charts this fifteen-year project of urban renewal which--despite the interruptions of war, revolution, corruption, and bankruptcy--set a template for nineteenth and early twentieth-century urban planning and created the enduring landscape of modern Paris now so famous around the globe. Lively and engaging, City of Light is a book for anyone who wants to know how Paris became Paris.
The Powers of Sound and Song in Early Modern Paris by Nicholas Hammond Pdf
The long and spectacular reign of Louis XIV of France is typically described in overwhelmingly visual terms. In this book, Nicholas Hammond takes a sonic approach to this remarkable age, opening our ears to the myriad ways in which sound revealed the complex acoustic dimensions of class, politics, and sexuality in seventeenth-century Paris. The discovery in the French archives of a four-line song from 1661 launched Hammond’s research into the lives of the two men referenced therein—Jacques Chausson and Guillaume de Guitaut. In retracing the lives of these two men (one sentenced to death by burning and the other appointed to the Ordre du Saint-Esprit), Hammond makes astonishing discoveries about each man and the ways in which their lives intersected, all in the context of the sounds and songs heard in the court of Louis XIV and on the streets and bridges of Paris. Hammond’s study shows how members of the elite and lower classes in Paris crossed paths in unexpected ways and, moreover, how noise in the ancien régime was central to questions of crime and punishment: street singing was considered a crime in itself, and yet street singers flourished, circulating information about crimes that others may have committed, while political and religious authorities wielded the powerful sounds of sermons and public executions to provide moral commentaries, to control crime, and to inflict punishment. This innovative study explores the theoretical, social, cultural, and historical contexts of the early modern Parisian soundscape. It will appeal to scholars interested in sound studies and the history of sexuality as well as those who study the culture, literature, and history of early modern France.
Besieged during the Franco-Prussian War, its buildings damaged, its finances mired in debt, Paris was a city in crisis. Alexia Yates chronicles the private actors and networks, practices and politics, that spurred the largest building boom of the nineteenth century, turning city-making into big business in the French capital.
Paris. The name alone conjures images of chestnut-lined boulevards, sidewalk cafés, breathtaking façades around every corner--in short, an exquisite romanticism that has captured the American imagination for as long as there have been Americans. In 1995, Adam Gopnik, his wife, and their infant son left the familiar comforts and hassles of New York City for the urbane glamour of the City of Light. Gopnik is a longtime New Yorker writer, and the magazine has sent its writers to Paris for decades--but his was above all a personal pilgrimage to the place that had for so long been the undisputed capital of everything cultural and beautiful. It was also the opportunity to raise a child who would know what it was to romp in the Luxembourg Gardens, to enjoy a croque monsieur in a Left Bank café--a child (and perhaps a father, too) who would have a grasp of that Parisian sense of style we Americans find so elusive. So, in the grand tradition of the American abroad, Gopnik walked the paths of the Tuileries, enjoyed philosophical discussions at his local bistro, wrote as violet twilight fell on the arrondissements. Of course, as readers of Gopnik's beloved and award-winning "Paris Journals" in The New Yorker know, there was also the matter of raising a child and carrying on with day-to-day, not-so-fabled life. Evenings with French intellectuals preceded middle-of-the-night baby feedings; afternoons were filled with trips to the Musée d'Orsay and pinball games; weekday leftovers were eaten while three-star chefs debated a "culinary crisis." As Gopnik describes in this funny and tender book, the dual processes of navigating a foreign city and becoming a parent are not completely dissimilar journeys--both hold new routines, new languages, a new set of rules by which everyday life is lived. With singular wit and insight, Gopnik weaves the magical with the mundane in a wholly delightful, often hilarious look at what it was to be an American family man in Paris at the end of the twentieth century. "We went to Paris for a sentimental reeducation-I did anyway-even though the sentiments we were instructed in were not the ones we were expecting to learn, which I believe is why they call it an education."
A memoir in essays that expands on the viral sensation “The Crane Wife” with a frank and funny look at love, intimacy, and self in the twenty-first century. From friends and lovers to blood family and chosen family, this “elegant masterpiece” (Roxane Gay, New York Times bestselling author of Hunger) asks what more expansive definitions of love might offer us all. A BEST BOOK OF THE YEAR: TIME, THE GUARDIAN, GARDEN & GUN "Hauser builds their life's inventory out of deconstructed personal narratives, resulting in a reading experience that's rich like a complicated dessert—not for wolfing down but for savoring in small bites." —The New York Times “Hauser’s wry, introspective investigation of their assumptions about love will likely free readers to examine their own personal narratives as well ... ‘The rare happy ending I appreciate is one that makes room for the whole painful fact of the world at the same time it offers the reader some joy,’ they write. The Crane Wife embraces this philosophy again and again as Hauser excavates their past loves and losses, thoughtfully examines them and declares the pain of love to be worth the risk.” —BookPage Ten days after calling off their wedding, CJ Hauser went on an expedition to Texas to study the whooping crane. After a week wading through the gulf, they realized they'd almost signed up to live someone else's life. Hauser releases themself from traditional narratives of happiness and goes looking for ways of living that leave room for the unexpected, making plenty of mistakes along the way. They kiss Internet strangers and officiates at a wedding. They reread Rebecca in the house their boyfriend once shared with his ex-wife and rewinds Katharine Hepburn in The Philadelphia Story to learn how not to lose yourself in a relationship. They think about Florence Nightingale at a robot convention and grief at John Belushi’s rock and roll gravesite, and the difference between those stories we’re asked to hold versus those we choose to carry. Told with the late-night barstool directness of your wisest, most bighearted friend, The Crane Wife is a book for everyone whose life doesn't look the way they thought it would; for everyone learning to find joy in the not-knowing; for everyone trying, if sometimes failing, to build a new sort of life story, a new sort of family, a new sort of home, to live in.
How much further should the affluent world push its material consumption? Does relative dematerialization lead to absolute decline in demand for materials? These and many other questions are discussed and answered in Making the Modern World: Materials and Dematerialization. Over the course of time, the modern world has become dependent on unprecedented flows of materials. Now even the most efficient production processes and the highest practical rates of recycling may not be enough to result in dematerialization rates that would be high enough to negate the rising demand for materials generated by continuing population growth and rising standards of living. This book explores the costs of this dependence and the potential for substantial dematerialization of modern economies. Making the Modern World: Materials and Dematerialization considers the principal materials used throughout history, from wood and stone, through to metals, alloys, plastics and silicon, describing their extraction and production as well as their dominant applications. The evolving productivities of material extraction, processing, synthesis, finishing and distribution, and the energy costs and environmental impact of rising material consumption are examined in detail. The book concludes with an outlook for the future, discussing the prospects for dematerialization and potential constrains on materials. This interdisciplinary text provides useful perspectives for readers with backgrounds including resource economics, environmental studies, energy analysis, mineral geology, industrial organization, manufacturing and material science.
"Explores the role of private art collections in the cultural, social, and political life of early eighteenth-century Paris. Examines how two principal groups of collectors, each associated with a different political faction, amassed different types of treasures and used them to establish social identities and compete for distinction"--Provided by publisher.
"Dividing Paris: Urban Renewal and Social Inequality, 1852-1870 offers a new look at the ambitious urban changes that transformed the city of Paris during the Second Empire, when Paris became a template for urban renewal in many large cities in Europe, North, and South America. Esther da Costa Meyer looks at the social and historical of context of these urban changes--what Napoleon III, his prefect Georges-Eugene Haussman, and their team of engineers planned, as well as how the diverse and deeply stratified public responded to them. Along with broad streets and boulevards intended to enable crowds and merchandise to circulate and, also, impede the chances of popular insurgency, Haussman's project of urban renewal called for ample water supply, sewerage, and public parks and gardens. These changes radically altered the old, tightly-knit weave of the medieval city, serving the needs of the industrial bourgeoisie while forcing the urban poor to the outskirts. Dividing Paris is the first architectural history of the city that takes into account the larger part of the urban territory annexed in 1860, a ring of settlements and villages which became increasingly class-specific. Instead of relating the story of Haussmanization as a top-down administrative effort, as Haussman's critics and admirers have both tended to do, it draws on primary sources, especially newspapers and memoirs, to investigate the degree to which Parisians' experiences of modernity were class and gender-specific and to ask what strategies working class men and women in particular used to cope with and in some cases resist the changing world around them. At the same time, da Costa Meyer resists the familiar narrative of Paris as "capital of the 19th century" that has endured, at least since Walter Benjamin's famous essay, as euro-centric and misleading insofar as it fails to situate Paris's urban developments in a broader global context or to acknowledge the extent to which Haussmanization was itself implicated in the broader imperial project on which France was embarked at the time"--
Hearty boeuf Bourguignon served in deep bowls over a garlic-rubbed slice of baguette toast; decadently rich croque monsieur, eggy and oozing with cheese; gossamer crème brulee, its sweetness offset by a brittle burnt-sugar topping. Whether shared in a cozy French bistro or in your own home, the romance and enduring appeal of French country cooking is irrefutable. Here is the book that helps you bring that spirit, those evocative dishes, into your own home. What Ina Garten is known for—on her Food Network show and in her three previous bestselling books—is adding a special twist to familiar dishes, while also streamlining the recipes so you spend less time in the kitchen but still emerge with perfection. And that’s exactly what she offers in Barefoot in Paris. Ina’s kir royale includes the unique addition of raspberry liqueur—a refreshing alternative to the traditional crème de cassis. Her vichyssoise is brightened with the addition of zucchini, and her chocolate mousse is deeply flavored with the essence of orange. All of these dishes are true to their Parisian roots, but all offer something special—and are thoroughly delicious, completely accessible, and the perfect fare for friends and family. Barefoot in Paris is suffused with Ina’s love of the city, of the bustling outdoor markets and alluring little shops, of the bakeries and fromageries and charcuteries—of the wonderful celebration of food that you find on every street corner, in every neighborhood. So take a trip to Paris with the perfect guide—the Barefoot Contessa herself—in her most personal book yet.
The Belly of Paris (Le Ventre de Paris) is the third novel in Émile Zola's twenty-volume series Les Rougon-Macquart, first published in 1873. It is a novel of the teeming life which surrounds the great central markets of Paris. The book was originally translated into English by Henry Vizetelly and published in 1888 under the title Fat and Thin. After Vizetelly's imprisonment for obscene libel the novel was one of those revised and expurgated by his son, Ernest Alfred Vizetelly. The heroine is Lisa Quenu, a daughter of Antoine Macquart. She has become prosperous, and with prosperity her selfishness has increased. Her brother-in-law Florent had escaped from penal servitude in Cayenne and lived for a short time in her house, but she became tired of his presence and ultimately denounced him to the police. Émile Zola (1840 – 1902) was a French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. He was a major figure in the political liberalization of France.
