French Influence

Alexandre Benois, the founder of The World of Art (Mir Iskusstva) movement, a brilliant graphic designer, a prominent art critic and historian renowned for his writings on art history , and a distinguished theatre artist who worked for Serge Diaghilev's Russian Seasons, was fascinated with Versailles. His passion lasted over thirty years and resulted in the Versailles (Versal') series that culminated in more than six hundred drawings, watercolors, pastels, gouaches, engravings and canvases created during two prolonged stays in France (1896-1899 and 1905-1907). Although the research on Benois's oeuvre has expanded during the last two decades, the majority of his works have yet to be interpreted. This article examines an unexplored aspect of Versailles, a distinctive Rococo-revivalist style which Benois assimilated in France. Examined through the prism of the Europeanization of Russian art, this article will explain Rococo revivalism of Versailles in a historico-cultural context.

Aleksandar Djordjevic (1890-1952) is placed among the most famous Serbian architects of the period between the
two Wars. While working for the elite of the pre-war Belgrade, for King Aleksandar I, Prince Pavle Karadjordjevic,
merchants, industrialists and members of Parliament, he created, in his architectural opus, many remarkable
works, such as building of Belgrade Stock Exchange, White Palace and Golf Club in Kosutnjak, and numerous
private residencies in capital and out of it, as well. He was educated in the most prestigeous schools in Germany
and France, during his creative period he reflected the influences of the style of academism inspired by French
architecture of 17th and 18th century. His approach to the architectural design, was not exclusively the reflection
of his education and explicit demands of the environment, but it was also the reflection of the cultural milieu which
he belonged to. While working for the pre-war capital elite, Djordjevic made influence on the taste formation of
the highest society class in the capital, on the picture which reflected their demands and marked the period of civic
culture increase. In the period from 1922 up to the beginning of the Second World War, twenty five buildings were
constructed or reconstructed according to the ideas of the architect Aleksandar Djordjevic, while around fifteen of
his designs remained non-constructed. Besides successful realizations in the domain of the style of academism,
field where Djordjevic, apart from the architect Milutin Borisavljevic, may be considered a leading figure from the
end of the third and beginning of the fourth decade, this architect designed even in coexisting national style and
modern architecture movements, but without sincere devotion to these art movements. Sophistication and artistic
emancipation of Aleksandar Djordjevic and his architectural opus, were highly valued among the doyens of the
Serbian architecture between the two wars. Even nowadays, observers and researchers of the Serbian architecture
are enchanted with style and delicacy of his work, placing this architect among the most eminent architects of 20th
century Serbian architecture.

Josep M. de Sagarra translated twenty-eight out of thirty-seven Shakespeare plays. According to Salvador Oliva (1986, 1993), Sagarra did these translations using the French translations from different authors. The aim of this paper is to establish whether Sagarra translated Macbeth directly from the English or if he did it from the French translation by Maurice Maeterlinck, or if he looked at both texts: the English and the French.

París fue un lugar central para la cultura y la política latinoamericanas entre la Independencia y la Segunda Guerra Mundial. Durante más de cien años, la ciudad se convirtió en un importante punto de referencia para las élites políticas e intelectuales de los países de América Central y del Sur.
El presente estudio es el primer análisis empírico de esta presencia latinoamericana en París. El microcosmos de asociaciones, festivales y publicaciones latinoamericanos en París fue fundamental para el concepto de «América Latina», concebido y puesto en práctica por latinoamericanos en la capital francesa desde la segunda mitad del siglo XIX.

In the 19th century, Romanian Principalities were facing some of the most significant transformations in society, culture and arts of past centuries. Escaping the Ottoman suzerainty and facing modernization, they quickly embraced the Western ideas, one of the strongest influences being the one of the French culture.

বাংলাদেশের কবিতার আধুনিকায়নের ক্ষেত্রে ফরাসি কবিতার প্রত্যক্ষ ও পরোক্ষ প্রভাব ছিল। বুদ্ধদেব বসুর অনুবাদে বোদলেয়ার পড়ার পর প্রভাব ব্যাপক হয়ে ওঠে। এই প্রবন্ধে ফরাসি কবিতার ঝোঁক বা প্রভাব কীভাবে পড়ল, তার হদিস নেয়ার চেষ্টা করা হয়েছে। প্রবন্ধটি ঢাকায় অবস্থিত আলিয়ঁস ফ্রসেজের একটি আয়োজনে বক্তৃতা আকারে উপস্থাপিত হয়েছিল। পরে সেটি অন্তর্ভুক্ত হয় আমার ‘‘আধুনিকতা ও আত্মপরিচয়’’ বইয়ে।