Research and Innovation

Browne’s analysis of the film Opera Aoi, which premiered at Hyper Japan in London in 2014, reveals the artistic possibilities and limitations of the combination of bunraku puppetry and Vocaloid music within the film. She argues that Opera Aoi suggests that these technologies, whether the centuries old bunraku or the 21st century Vocaloid, requires a human element to reach its expressive potential.

This book presents a new history of German film from 1980-2010, a period that witnessed rapid transformations, including intensified globalization, a restructured world economy, geopolitical realignment, and technological change, all of which have affected cinema in fundamental ways. Rethinking the conventional periodization of German film history, Baer posits 1980-rather than 1989-as a crucial turning point for German cinema's embrace of a new market orientation and move away from the state-sponsored film culture that characterized both DEFA and the New German Cinema. Reading films from East, West, and post-unification Germany together, Baer argues that contemporary German cinema is characterized most strongly by its origins in and responses to advanced capitalism. Informed by a feminist approach and in dialogue with prominent theories of contemporary film, the book places a special focus on how German films make visible the neoliberal recasting of gender and national identities around the new millennium.

As a five-member international team including my former PhD students, we have developed the fuzzy lexical representations (FLRs) hypothesis. We are co-editing a Research Topic Fuzzy Lexical Representations in the Nonnative Mental Lexicon for Frontiers in Psychology and Frontiers in Communication. We propose the fuzzy lexical representations (FLRs) hypothesis that regards fuzziness as a core property of nonnative (L2) lexical representations (LRs). Fuzziness refers to imprecise encoding at different levels of LRs and interacts with input frequency during lexical processing and learning in adult L2 speakers. The FLR hypothesis primarily focuses on the encoding of spoken L2 words. We discuss the causes of fuzzy encoding of phonological form and meaning as well as fuzzy form-meaning mappings and the consequences of fuzzy encoding for word storage and retrieval. A central factor contributing to the fuzziness of L2 LRs is the fact that the L2 lexicon is acquired when the L1 lexicon is already in place. There are two immediate consequences of such sequential learning. First, L2 phonological categorization difficulties lead to fuzzy phonological form encoding. Second, the acquisition of L2 word forms subsequently to their meanings, which had already been acquired together with the L1 word forms, leads to weak L2 form-meaning mappings. The FLR hypothesis accounts for a range of phenomena observed in L2 lexical processing, including lexical confusions, slow lexical access, retrieval of incorrect lexical entries, weak lexical competition, reliance on sublexical rather than lexical heuristics in word recognition, the precedence of word form over meaning, and the prominence of detailed, even if imprecisely encoded, information about LRs in episodic memory. The main claim of the FLR hypothesis—that the quality of lexical encoding is a product of a complex interplay between fuzziness and input frequency—can contribute to increasing the efficiency of the existing models of LRs and lexical access.

The book Latino-Americanizando o Brasil: A Crítica Literária e o Diálogo Transnacional focuses on the dialogues and exchanges between Brazilian and Hispanic American literary critics from the 1960s to the 1980s and their efforts to integrate Brazil in the Latin American paradigm. It shows how these engagements helped to rethink national and transnational cultural constructs producing a revision of the Hispanic-centered definition of Latin American literature and a shift in the Brazilian literary and cultural theory from a nationally based perspective to a transnational one. Moreover, Thayse Lima connects the efforts of regional integration to the process of internationalization of Latin American literature in the phenomenon known as the “Boom”. In the intellectual field, she argues, integration was also related to a desire to influence the regime of international circulation, which largely happened in the centre-periphery axis. Latin Americanist critics helped to shape a unified view of the continent’s cultural production, while also creating opportunities for the promotion and circulation of Latin American literature within the region. In addition to contributing to a greater understanding of the complex history of Brazil's insertion in Latin America, the book also sheds light on the strategies used by marginalized intellectual traditions to negotiate and imagine their place in a global sphere.

Barcelona: Anthropos, 1994. 463 p. ISBN 84-7658-438-5

Rutas is an integrated intermediate Spanish textbook and online platform utilizing current research in language teaching and learning. It is specifically designed for hybrid or flipped learning environments, but works well for total online learning and traditional classroom environments. The materials are completely integrated so that students are constantly working with recycled grammar and vocabulary. In addition, culture is intertwined throughout the text, while dedicated Cultura sections explore themes related to the country or region and chapter theme. Authors: Danielle C. Velardi, Roberta Z. Lavine, Paula V. Croci Date: 2019

This invited conference at the Université de Bretagne in May 2021 examined the transnational experience of Raoul de Roussy de Sales, who covered events in the United States for the French press at the beginning of World War II. A bi-national French/American writer and intellectual, Roussy became an influential figure in France-United States cultural and diplomatic relations. As the author of articles published in The Atlantic Monthly and other north American outlets, he provided a bi-cultural view on the American experience. A version of this conference will be published in proceedings in 2022.

In June 1835, writer John Sanderson traveled to France, where he stayed until May 1836. Upon his return to Philadelphia, he published his Sketches of Paris: In Familiar Letters to His Friends by an American Gentleman, which met with great success on both sides of the Atlantic. Printed in Philadelphia in 1838, the Sketches were published in London the same year with the title The American in Paris. A few years later, French novelist Jules Janin produced a successful adaptation in two volumes. This article contends that the Sketches were written by an author whose perspective represents the paradigm of American democracy as described by Alexis de Tocqueville in the 1830s: Sanderson observes and attempts to understand French mores and institutions through the prism of equality of condition, decentralization, public participation in politics, social mobility, the separation of powers, and the influence of commerce and industry. The second portion of the article examines Jules Janin’s adaptation of the Sketches of Paris in his two volumes titled Un hiver à Paris and L’été à Paris. Contrary to what Janin would have his readers believe, the volumes are a very loose adaptation rather than a translation of Sanderson’s work. Whereas the American writer was highly critical of French society under the July Monarchy, Janin portrays Sanderson as an enthusiastic “Yankee,” an “American LaBruyère,” who was supposedly a fervent admirer and defender of the culture and institutions of Louis-Philippe’s France. The history and legacy of Sanderson’s Sketches represents, therefore, an intriguing form of cultural, literary, and political transference: in order to show that the July Monarchy was the logical, inevitable, and admirable outcome of French history, a French author – who, in 1870, was elected to the seat of Sainte-Beauve at the Académie française – appropriated the work of an American author who examined France through the prism of the young American democracy.

This article deals with representations of France–United States relations at the time of the treaties of Paris and Versailles (1783). It provides a study of the numerous texts and abundant iconography that dealt with the treaties in the years 1783-1784 on both sides of the Atlantic. Written from the perspective of cultural history, its goal is to go beyond traditional historiographic perspectives and show that the French and the Americans did not share the same vision of the relationship between their two nations. As the American War of Independence ended and a new world order arose, a divide soon developed between, on the one hand, an idealized vision of the French–American friendship and, on the other hand, the realities of international trade and politics. The images and representations analyzed in this study played a key role as France–United States relations were being shaped: as such, they provide important insights into interactions between the two nations in the 1780s and beyond.

This article assesses the creation of an enemy image of France and the French in the United States in two separate historical contexts. Although France and the United States have usually enjoyed rather positive relations throughout history after the signing of the Treaty of Amity and Commerce in 1778, the French were widely depicted as America’s enemy during the late 1790s Quasi-War, and more recently after France refused to support U.S. military intervention in Iraq in 2003-2004. In the first instance, an undeclared naval war opposed the two countries as the French government allowed for seizure of American ships in the wake of the 1795 Jay Treaty the US had signed with Great Britain, a conflict which escalated when U.S. navy later began to fight the French in the Caribbean. In 2003-2004, an acute diplomatic crisis induced a confrontation between the two nations when France suggested it would use its veto power to block passage of a United Nations Security Council resolution authorizing a U.S.- led military operation against Iraq. The aim of this study is to provide an understanding of the process through which the image of France was transformed, in both historical contexts, from that of ally and friend into that of a threatening other. Particular attention is paid to the creation and use of cultural stereotypes in statements by American officials, as well as in the media campaigns that characterized both diplomatic crises. Although the enemy image of France underwent significant changes between 1797 and 2003, our research shows that a number of cultural stereotypes that were created during the Quasi-War were revived during the 2003 diplomatic crisis. Chief amongst those is the association of France with terror and tyranny. This article also examines the deep political divisions that pitted Federalists against Republicans in the 1790s, and Neo-Conservative “hawks” against anti-war “doves” in 2003. These disputes shed light on the creation of enemy images of France in the United States. In both cases, the French antagonist was as mirror and a scapegoat that provides as much information on American identity and U.S. political debates as it does about American views on France and the French.

This article shows how François de Belleforest (1530–83) adapted a variety of historical and geographical sources to meet the demands of the histoire tragique genre in composing three narratives set in the Americas. One recounts the destiny of conquistador Francisco Pizarro; another is the story of Marguerite de Roberval, who was allegedly marooned on a Canadian island; the third concerns Taino cacique Enriquillo’s heroic rebellion in 1520s Hispaniola. These narratives fostered a tragic image of the Americas that had a considerable influence on early modern readers, inviting them to ponder essential questions about European encounters with the American continent and its inhabitants.