Abstract
"The Story of the Eye" (George Bastille) and the "Story of O" (Pauline Reage) are both very early examples of erotic fiction. In many respects, they establish themes that will often be repeated in this modernist genre. The paper analyzes Bataille's "The Story of the Eye" (Histoire de l'Oille) which was written in the late 1920's and discusses the author's intention to exaggerate sexual encounters to the level of absurdity so as to illustrate the purely sensual, irrational nature of sex. The paper then discusses "The Story of O" and shows that it is much different from the "Story of the Eye" in that the protagonist is a slave instead of a master.

From the Paper
"Simone transforms the protagonist from a boy into the fantasy figure Marcelle describes as "The Cardinal," which we can imagine to be a cardinal of the inquisition. This image is evidenced in the bloody scene at the party to which Marcelle owes her compromised sanity, in which the protagonist approaches Marcelle in the wardrobe covered in blood and surrounded by passed-out bodies. The "evil cardinal" image is an appropriate symbolic approximation of evil and religious perversion in both southern France and Spain, as the Inquisition took place in Spain and Provence was home to the Albegensian heresy of the Middle Ages. "

Tags:sadism, voyeurism, Lord, Auch, masochism

Abstract
This paper examines the life of Georges Seurat, particularly focusing on his artwork "A Sunday on La Grande Jatte". The paper argues that Seurat approached his works like "A Sunday on La Grande Jatte" in an empirical, systematic yet flexible manner. It also suggests that while this method is rigid, it is flexible allowing for Seurat to rework areas he felt needed more attention during the creation process.

From the Paper
"Close examination of the final painting reveals that a number of smaller figures were added over the final landscape, since much of the shadows and grass are visible through the actual figures. These figures are located in green (figure 9) and are usually referred to as being painted in the intermediate stage. Some scholars believe this suggests that Seurat may have worked out the details of these figures on both the metropolitan sketch and the Chicago canvas simultaneously. The figures in red (figure 9) were added in the final stages of the painting as they are not visible in the x-rays of A Sunday on La Grande Jatte."

Tags:masterpiece, creation, artist

Abstract
This paper analyzes the painting 'Saint Anne with the Christ Child', by the French artist Georges de la Tour that can be found at the Art gallery of Ontario. The analysis addresses its formal and contextual characteristics. It is also examined as an example of Baroque art, compared to other artists of the baroque style, and the analysis includes how it relates to religious, political cultural and social changes that took place at that time. Finally the paper examines how this work speaks about the religious propaganda happening at the time.

Tags:baroque, art

Abstract
This paper explains that, in 1907, Georges Braque, who initially was greatly influenced by Henri Matisse, with his friend Pablo Picasso, rediscovered Paul Cezanne, the originator of the Cubist movement. Braque's style went through a radical transformation. The author points out that, within a three year period, Picasso and Braque invented Analytic Cubism, a new, completely non-illusionistic and non-imitative method of depicting the visual world; the collaboration between Braque and Picasso was so close and intense that often only experts can distinguish Braque's painting of 1910 -1912 from those of Picasso. The paper relates that Cubism, which survived in its purest form until the mid-1920s, had an impact on the art world that extended far beyond the existence of the painting style itself and paved the way for several other art revolutions, including Dada and surrealism.

From the Paper
"From 1917 to 1920, Georges Braque's works are derived compositionally from Synthetic Cubism, which is the second phase of Cubism and began around 1914. These paintings were much flatter and more "variegated in color," and included "brightly dotted decorative passages." Sometime around 1930, Braque moved to the coast of Normandy in France, and as a result, the subject of this paintings changed, and now included bathers, beach scenes, and seascapes as his favorite themes, while stylistically, he "became increasingly interested in ornamentation and patterned surfaces." By the early 1940's, Braque was concerned with melancholy themes, and from 1945, birds became a dominant subject. And then by the 1950's, Braque had returned to the brilliant colors of the Fauve period, "as in the Louvre ceiling, 1952-53, and the decoration for the villa at Saint Paul-de-Vence, 1954." Georges Braque remained active until the end of his life, and his work includes sculpture, graphics, book illustration and decorative art."

Tags:collages, muted, fragmented, analytic, picasso

Abstract
This paper examines the formal elements of Georges Seurat 1884 oil painting, "A Sunday Sur La Grande Jatte". It also explores the artistic context from which it arose. The author describes and the painting's use of the lush color of Impressionists and Seurat's use of the relationship of color and line.

From the Paper
"Georges Seurat's, "A Sunday on La Grande Jatte" is one of the best known paintings of the 19th century presenting us with all of the lush color of more mainline Impressionist works and the formalist scientific bent of much of the French art world at the time ..."

Tags:Seurat, post-impressionism, light, pointillism, La Grande Jatte

Abstract
This paper describes the period during WWI when France was militarily very vulnerable, as the Allies waited for the American troops to arrive, and morale at the home-front was worryingly low. Next, the author stresses that, although Clemenceau was considered by most to be the historical great leader of France during WWI, it was during the three years prior to his appointment as Prime Minister that he gained his reputation as a formidable force to create a national will to fight on. The paper relates Clemenceau's leadership abilities during his period of being the Prime Minister as he re-established respect for the office and built home-front morale by such acts as working with the trade unions. The paper has footnotes and quotations some of which are in French; however, the paper is in English.

Table of Contents:
Introduction
Clemenceau and the Beginnings Of War
Clemenceau the Critic
The Malvy Affair
Clemenceau as Prime Minister
Conclusion

From the Paper
"In fact, it has been said that it was a sign of strength of the French parliament that these differences were allowed to exist and that the Socialists so strongly opposed the government. Whilst previous governments tried to please everyone and ended up pleasing no one, now there was a clear distinction between those who opposed the war and those who did not, the latter group holding a large majority in Parliament. As it turned out, a union sacree was not necessary for the last year of the War; the sheer tenacity of those who supported the war effort equalled its strength.
"That said, it was a big ask for the French to put their heads down and force their way through this blizzard of a War. One way in which he overcame this obstacle was by declaring himself Minister of War, thereby ensuring the army took the direction that he believed was the right one. Ironically, it was during his time as Prime Minister that the Germans came closest to victory. Nonetheless, Clemenceau felt that military victory was intrinsically linked with morale at the home-front, and despite the absence of any major victory in 1917 and the first few months of 198, the French public seemed persuaded that Clemenceau had things under control."

Tags:home-front defeatism anti-militarism patriots, trade union leaders

Abstract
This paper will examine Seurat and his paintings - and, in particular, the use of colour theory and physics in his painting - in order to demonstrate how the artistic and the scientific can be complementary as opposed to mutually exclusive propositions. While it must be acknowledged that Seurat was not a "true" scientist in any respect, nonetheless, his insights into colour theory represent a pivotal moment in Western art history when science and art converged.

From the Paper
"Georges Lefebvre, in The Coming of the French Revolution, argues convincingly that the revolution can be best understood by viewing it as four interrelated revolutions --- the aristocratic, the bourgeois, the popular, and the peasant revolutions. Lefebvre presents these turbulent and overlapping events in such an orderly way that the reader gains a clear perspective on both the historical and human elements of the revolution. It is certainly one of the author's intentions to show the process of the revolution as it moved through its various grand stages, but Lefebvre also seeks to show that politics is at its root human and not merely cold historical processes.


Writing of the Declaration of the Rights of Man and the Citizen, Lefebvre says,
The Declaration in proclaiming the rights of man..."

Abstract
This paper examines Dan Carter's book "From George Wallace to Newt Gingrich: Race in the Conservative Counterrevolution, 1963-1994" on the use of racial politics in presidential campaigns.

Tags:George Wallace, Newt Gingrich, Race, Conservative Counterrevolution, Richard Nixon, George Bush, racial politics, Republican Party

Abstract
This paper is a character analysis of Steffler's main character in "The Afterlife of George Cartwright". It focuses on the character's traits of unloving, wild, a corruptor and himself corrupted and how they change within the novel. Cartwright begins as a just young man in the army and becomes what he had always hated, a true corruptor of society.

From the Paper
When writing a novel a writer should create living people; people not characters (Hemingway, 95). Steffler achieves the creation of a person in the character of George Cartwright by blending numerous personality traits. These traits can be both pleasant, and upsetting, and either creates distance or closeness between Cartwright and the other characters. In order to make the character more realistic Steffler creates a progression in some of these traits, to create the illusion of growth in Cartwright over the span of his lifetime. Paradoxically, everything Cartwright claims to hate he later embodies. This is not entirely of his accord; his early years in the army set up his adult characteristics. His development is from a man of pride and ambition, although rough and rugged, to an uncivilized corruptor of native society. His pride and ambition are spoiled when he realizes that it is wealth that buys you promotions in the army and not skill or hard work. He grows to become the man Steffler portrays as unloving, wild, and as both corrupted and as a corruptor. "

Tags:afterlife, analysis, canadian, cartwright, character, george, literature, novel, steffler, traits