Portal:France/Featured Article Archive/2008

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January 2008
Stasbourg's medieval "ponts couverts" bridge.

Strasbourg (French: Strasbourg, pronounced [stʁasbuʁ]; Alsatian: Strossburi, [ˈʃd̥ʁɔːsb̥uʁi]; German: Straßburg; archaic: Strassburg) is the capital and principal city of the Alsace region in northeastern France, with 702,412 inhabitants in the metropolitan area in 2007. Located close to the border with Germany, it is the préfecture (capital) of the Bas-Rhin département.

Strasbourg is the seat of several European institutions such as the Council of Europe with its European Court of Human Rights, its European Directorate for the Quality of Medicines and its European Audiovisual Observatory, the Eurocorps as well as the European Parliament and the European Ombudsman of the European Union. Strasbourg is an important center of manufacturing and engineering, as well as of road, rail, and river communications. The port of Strasbourg is the second largest on the Rhine after Duisburg, Germany. The city is the seat of the Central Commission for Navigation on the Rhine.

Strasbourg's historic center, the Grande Île ("Grand Island"), was classified a World Heritage site by UNESCO in 1988, the first time such an honor was placed on an entire city center. Strasbourg is beautifully fused into the Franco-German culture (Alemannic), and is regarded as the bridge of unity between modern France and Germany.

At the site of Strasbourg, the Romans established a military outpost and named it Argentoratum. (Hence the town is commonly called Argentina in medieval Latin. The town was occupied successively in the 5th century by Alemanni, Huns, and Franks. In the 9th century it was commonly known as Strazburg in the local language, as documented in 842 by the Oaths of Strasbourg. This trilingual text is considered to contain, besides Latin and Old High German, also the oldest written variety of Gallo-Romance clearly distinct from Latin, the ancestor of Old French. A major commercial center, the town came under control of the Holy Roman Empire in 923, through the homage paid by the Duke of Lorraine to German King Henry I. Read more...


February 2008
Eugène Delacroix, La Grèce sur les ruines de Missolonghi. This painting played an important role in the public opinion campaign in the West that led to an intervention.

The Morea expedition (French: Expédition de Morée) is the name given in France to the land intervention of the French Army in the Peloponnese,[1] between 1828 and 1833, at the time of the Greek War of Independence.

After the fall of Messolonghi, Western Europe decided to intervene in favour of revolutionary Greece. Their attitude toward the Ottoman Empire's Egyptian ally, Ibrahim Pasha, was especially critical; their principal objective was to obtain the evacuation of the occupied regions, the Peloponnese in the first place. The intervention began when a Franco-Russo-British fleet was sent to the region, winning the Battle of Navarino in October 1827. In August 1828, a French expeditionary corps disembarked at Koroni in the southern Peloponnese. The soldiers were stationed on the peninsula until the evacuation of Egyptian troops in October, then taking control of the principal strongholds still held by Turkish troops. Although the bulk of the troops returned to France from the end of 1828, the French presence remained until 1833.

As during Napoleon's Egyptian Campaign, when a Commission of Sciences and Arts had accompanied the military campaign, a Morea scientific mission (Mission scientifique de Morée) accompanied the troops. Seventeen learned men represented different specialties (natural history and antiquities – archaeology, architecture and sculpture) made the voyage. Their work was of major importance in augmenting knowledge about the country. The topographic maps produced were of a very high quality and the measurements, drawings, profiles, plans and proposals for the restoration of Peloponnesian monuments, of Attica and of the Cyclades were, after James Stuart and Nicholas Revett, a new attempt to systematically and exhaustively catalogue Ancient Greek ruins. The Morea expedition and its publications offered a near-complete description of the regions visited. They formed a scientific, aesthetic and human inventory that for a long time remained one of the best means, other than visiting them in person, to get to know those regions. Read more...


March 2008
A medieval depiction of Comtessa Beatriz de Dia.

The trobairitz were Occitan female troubadours of the 12th century and the 13th century. The word trobairitz was first used in the 13th-century romance Flamenca. It comes from the Provençal word trobar, the literal meaning of which is "to find", and the technical meaning of which is "to compose". Trobairitz composed, wrote verses, and performed for the Occitan noble courts. They are exceptional in musical history as the first known female composers of Western secular music; all earlier known female composers wrote sacred music. The trobairitz were part of courtly society, as opposed to their lower class counterparts the joglaresse. Although troubadours frequently came from humble origins— Bernart de Ventadorn may have been the son of a castle's baker— the trobairitz were nobly born. The most important trobairitz are Alamanda de Castelnau, Azalais de Porcairagues, Maria de Ventadorn, Tibors, Castelloza, Garsenda de Proença, Gormonda de Monpeslier, and the Comtessa de Diá.

There are very few extant sources of information on the individual trobairitz. Almost all information which exists about them come from their vidas (biographies) and razós (contextual explanations of the songs), the brief descriptions that were assembled in song collections called chansonniers. The vidas are notoriously unreliable, since they frequently consisted of little more than romanticized extrapolations from the poems of the trobairitz themselves. The names of about twenty female poets from the 12th and 13th centuries survive, among whom between 23 and 46 works are attributed. Only one survives with musical notation intact, "A chantar" by Comtessa de Diá. Some works which are anonymous in the sources are ascribed by certain modern editors to women, as are some works which are attributed to men in the manuscripts. For comparison, of the 460 male troubadours, about 2600 of their poems survive. Of these, about one in 10 survive with musical notation intact. Read more...


April 2008
Title-page engraving from an 1897 edition of Le Père Goriot, by an unknown artist; published by George Barrie & Son in Philadelphia.

Le Père Goriot (English: Father Goriot or Old Goriot) is an 1835 novel by French novelist and playwright Honoré de Balzac (1799–1850), included in the Scènes de la vie privée section of his novel sequence La Comédie humaine. Set in Paris in 1819, it follows the intertwined lives of three characters: the elderly doting Goriot; a mysterious criminal-in-hiding named Vautrin; and a naive law student named Eugène de Rastignac.

Originally published in serial form during the winter of 1834–35, Le Père Goriot is widely considered as Balzac's most important novel. It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction and makes La Comédie humaine unique among bodies of work. The novel is also noted as an example of his realist style, using minute details to create character and subtext.

The novel takes place during the Bourbon Restoration, which brought about profound changes in French society; the struggle of individuals to secure upper-class status is ubiquitous in the book. The city of Paris also impresses itself on the characters – especially young Rastignac, who grew up in the provinces of southern France. Balzac analyzes, through Goriot and others, the nature of family and marriage, providing a pessimistic view of these institutions.

The novel was released to mixed reviews. Some critics praised the author for his complex characters and attention to detail; others condemned him for his many depictions of corruption and greed. A favorite of Balzac's, the book quickly won widespread popularity and has often been adapted for film and the stage. It gave rise to the French-language expression "Rastignac", a social climber willing to use any means to better his situation. Read more...


May 2008
Theatrical poster for Georges Méliès' A Trip to the Moon (1902).

A Trip to the Moon (French: Le Voyage dans la lune) is a 1902 French black and white silent science fiction film. It is loosely based on two popular novels of the time: From the Earth to the Moon by Jules Verne and The First Men in the Moon by H. G. Wells.

The film was written and directed by Georges Méliès, assisted by his brother Gaston. The film runs 14 minutes if projected at 16 frames per second, which was the standard frame rate at the time the film was produced. It was extremely popular at the time of its release and is the best-known of the hundreds of fantasy films made by Méliès. A Trip to the Moon is the first science fiction film, and utilizes innovative animation and special effects.

When originally screened, the film featured a final scene depicting a celebratory parade in honor of the travelers' return. Until recently, this scene was considered lost, and did not appear on any commercially available editions. However, a complete cut of the film was discovered in a French barn in 2002. Not only is it the most complete cut of the movie, but it is also entirely hand-colored. It was restored and premiered in 2003 at the Pordenone Silent Film Festival. Read more...


June 2008
A profiterole with chocolate.

A profiterole or cream puff is a popular choux pastry. Choux paste is baked into small round puffs that are served cold with a sweet filling and sometimes a topping. The usual fillings are whipped cream and pastry cream. The puffs may be left plain or cut to resemble swans or decorated with chocolate sauce, caramel, or a dusting of powdered sugar. This dessert is not to be confused with puff pastry.

The origin of both the pastry and its name profiterole are obscure. The word profiterole (also spelled prophitrole, profitrolle, profiterolle) has existed in English since the 16th century, borrowed from French. The original meaning in both English and French is unclear, but later it came to mean a kind of roll 'baked under the ashes'. A 17th-century French recipe for a Potage de profiteolles or profiterolles describes a soup of dried small breads (presumably the profiteroles) simmered in almond broth and garnished with cockscombs, truffles, and so on. Read more...


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