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Books on gaullism – or, more precisely, books on General de
Gaulle – are not uncommon. Originally published in English in
1971, this claimed to be the first book of this sort on gaullism as
a political force within the French political system. Since the
publication of his work on the Union pour la nouvelle République
Jean Charlot had become known as one of the few objective experts
on gaullism. His knowledge of the British political system had
helped him to appreciate the nature of the gaullist party which he
saw from the first, not as a transient party linked to the
political career of General de Gaulle, but as a major, modern,
right-wing party, comparable to the Conservative Party in Britain.
In this book he demonstrates how the gaullist movement is a
‘voter-oriented’ party, the first that France had really ever
known. The strength of gaullism lies in the electorate, which had
fully accepted gaullist economic policies, the institutional
changes introduced under the Republic, and the party’s foreign
policy. This voter-oriented party had fundamentally changed the
French party system. A majority party since 1962, the gaullist
movement would force the left to regroup within a left-wing,
voter-oriented party, if it did not want to face political
sterility. Jean Charlot was one of the few specialists to publish
an article just after the referendum (Le Monde, May 2, 1969)
forecasting that the departure of General de Gaulle did not
foreshadow the end of gaullism as a major political force.
Books on gaullism - or, more precisely, books on General de Gaulle
- are not uncommon. Originally published in English in 1971, this
claimed to be the first book of this sort on gaullism as a
political force within the French political system. Since the
publication of his work on the Union pour la nouvelle Republique
Jean Charlot had become known as one of the few objective experts
on gaullism. His knowledge of the British political system had
helped him to appreciate the nature of the gaullist party which he
saw from the first, not as a transient party linked to the
political career of General de Gaulle, but as a major, modern,
right-wing party, comparable to the Conservative Party in Britain.
In this book he demonstrates how the gaullist movement is a
'voter-oriented' party, the first that France had really ever
known. The strength of gaullism lies in the electorate, which had
fully accepted gaullist economic policies, the institutional
changes introduced under the Republic, and the party's foreign
policy. This voter-oriented party had fundamentally changed the
French party system. A majority party since 1962, the gaullist
movement would force the left to regroup within a left-wing,
voter-oriented party, if it did not want to face political
sterility. Jean Charlot was one of the few specialists to publish
an article just after the referendum (Le Monde, May 2, 1969)
forecasting that the departure of General de Gaulle did not
foreshadow the end of gaullism as a major political force.
Night is coming and small things without words are going to sleep . . . sleepy bunnies, sleepy birds, and sleepy children, too, are getting under their covers. "Jean Charlot's illustrations are first-rate." —NYT. Barbara Bader called this 1943 book, now restored to its original size and format, "the first of the true bedtime books." 1944 Caldecott Honor Book
This is a new release of the original 1930 edition.
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
Was the Royal Academy of San Carlos, founded in 1785 by the King
of Spain, beneficial or detrimental to the development of a valid,
living art in Mexico? The answer lies in the archives of the
school, but nobody thought about constructing an aesthetic history
from them until Jean Charlot accidentally discovered their extent
and interest while searching for other material.
In this straightforward, documented account he presents not
merely opinions and criticism but evidence, including curricula and
contemporary drawings by students and teachers.
Since Pre-Conquest art there have been, it is usually assumed,
two periods in Mexican art: the Colonial and the Modern. Between
these peaks lies the dark Academy-dominated hiatus called
Neo-Classicism, an episode that this treatise makes the first
attempt to under-stand. The academic canons imported from Europe
during this period were undeniably wrong for the indigenous people,
and especially wrong at a time when a revolutionary Mexico was
struggling for its own identity. But instead of throwing out this
strange episode as foreign and imitative, it now becomes possible
to see it as a period of acculturation through which the Mexican
spirit emerged.
Aside from its interest as aesthetic history, this book makes an
important contribution to the social history of Mexico. Some
provocative ideas emerge: the interrelations between cultural and
political attitudes, the historical impact of events and
personalities on ideology. In the seesaw of political and financial
fortunes, the worst moments of confusion were often the most
pregnant artistically, with mexicanidad rising inevitably when
official guidance weakened. As social history this account
constitutes an interesting parallel to similar cultural experiences
in the United States and in other countries of the Americas.
Charlot presents this material without special pleading, but not
without appraisal. He writes: ..". in the periods when the Academy
was most strictly run along academic lines, it helped the young, by
contrast, to realize the meaning of freedom. When the school was
manned by men blind to the Mexican tradition, and sensitive only to
European values, their stubborn stand became a most healthy
invitation to artistic revolution."
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