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In The Path Not Taken, Jeff Horn argues that—contrary to standard, Anglocentric accounts—French industrialization was not a failed imitation of the laissez-faire British model but the product of a distinctive industrial policy that led, over the long term, to prosperity comparable to Britain's. Despite the upheavals of the Revolution and the Napoleonic Wars, France developed and maintained its own industrial strengths. France was then able to take full advantage of the new technologies and industries that emerged in the "second industrial revolution," and by the end of the nineteenth century some of France's industries were outperforming Britain's handily. The Path Not Taken shows that the foundations of this success were laid during the first industrial revolution. Horn posits that the French state's early attempt to emulate Britain's style of industrial development foundered because of revolutionary politics. The "threat from below" made it impossible for the state or entrepreneurs to control and exploit laborers in the British manner. The French used different means to manage labor unruliness and encourage innovation and entrepreneurialism. Technology is at the heart of Horn's analysis, and he shows that France, unlike England, often preferred still-profitable older methods of production in order to maintain employment and forestall revolution. Horn examines the institutional framework established by Napoleon's most important Minister of the Interior, Jean-Antoine Chaptal. He focuses on textiles, chemicals, and steel, looks at how these new institutions created a new industrial environment. Horn's illuminating comparison of French and British industrialization should stir debate among historians, economists, and political scientists.
Histories of the Napoleonic period are almost exclusively biographies of the man, or political-military accounts of his wars. But such wars were only the first stage in a far more ambitious programme; the establishment of a rational state which would force the pace of modernising society. Through an examination of the experiences of French domination, Napoleon's Integration of Europe explores the implications of such a project for France and its relationship with the rest of Europe. It examines the problems of ruling a progressively expanding empire, as seen through the eyes of a trained corps of bureaucrates who were convinced that their scientific methods would enable them to understand and govern the mechanisms of society. However it also looks at the populations subjected to French rule, at the nature of their resistance and adaptation to the principles of the Napoleonic project. This book is the first overall comparative study of Europe in the Napoleonic years. It is a study not only of an early exercise in imperialism, but of the conflict that is aroused between the rationalising tendencies of the modern state and the spatial and cultural heterogeneity of individual societies. As well as a history of France, it is also a history of Italy, Germany, Belgium, Holland, Switzerland, Poland and Spain at a crucial moment in the history of each nation state.
The Violence of Modernity turns to Charles Baudelaire, one of the most canonical figures of literary modernism, in order to reclaim an aesthetic legacy for ethical inquiry and historical critique. Works of modern literature are commonly theorized as symptomatic responses to the trauma of history. In a climate that tends to privilege crisis over critique, Debarati Sanyal argues that it is urgent to rethink literary experience in terms that recall its contestatory potential. Examining Baudelaire's poems afresh, she shifts the focus of critical attention toward an account of modernism as an active engagement with violence, specifically the violence of history in nineteenth-century France. Sanyal analyzes a literary current that uses the traditional hallmarks of modernism—irony, intertextuality, self-reflexivity, and formalism—to challenge the historical violence of modernity. Baudelaire and the committed ironists writing in his wake teach us how to read and resist the violence of history, and thereby to challenge the melancholy tenor of our contemporary "wound culture." In a series of provocative readings, Sanyal presents Baudelaire's poetry as an aesthetic form that contests historical violence through rhetorical strategies of complicity, counterviolence, and critique. The book develops a new account of Baudelaire's significance as a modernist by dislodging him both from his traditional status as a practitioner of "art for art's sake" and from his more recent incarnation as the poet of trauma. Following her extended analysis of Baudelaire's poetry, Sanyal in later chapters considers a number of authors influenced by his strategies—including Rachilde, Virginie Despentes, Albert Camus, and Jean-Paul Sartre—to examine the relevance of their interventions for our current climate of trauma and terror. The result is a study that underscores how Baudelaire's legacy continues to energize literary engagements with the violence of modernity.
In The Antiquarians of the Nation, Francesca Zantedeschi explores how the works of Roussillon's nineteenth-century archaeologists and philologists, who retrieved and enhanced the Catalan specificities of the region, contributed to the early stages of a ‘national’ (Catalan) cultural revival.