scholarly journals J. I. Little, The Other Quebec. Microhistorical Essays on Nineteenth-Century Religion and Society, Toronto, University of Toronto Press, 2006, 278 p. 35 $

2007 ◽  
Vol 73 ◽  
pp. 90
Author(s):  
Louis-Georges Harvey
Author(s):  
Linford D. Fisher

Although racial lines eventually hardened on both sides, in the opening decades of colonization European and native ideas about differences between themselves and the other were fluid and dynamic, changing on the ground in response to local developments and experiences. Over time, perceived differences were understood to be rooted in more than just environment and culture. In the eighteenth century, bodily differences became the basis for a wider range of deeper, more innate distinctions that, by the nineteenth century, hardened into what we might now understand to be racialized differences in the modern sense. Despite several centuries of dispossession, disease, warfare, and enslavement at the hands of Europeans, native peoples in the Americans almost universally believed the opposite to be true. The more indigenous Americans were exposed to Europeans, the more they believed in the vitality and superiority of their own cultures.


2020 ◽  
Vol 60 (2) ◽  
pp. 137-168
Author(s):  
James Donovan

Abstract In nineteenth-century France, liberals assumed that a conservative judiciary was frequently biased in favour of the prosecution, and socialists assumed that juries were dominated by the upper classes and too unrepresentative of the population to render justice equitably. Agitation by the left to combat these perceived biases led to the adoption of two key reforms of the fin de siècle. One was the abolition in 1881 of the résumé, or summing-up of the case by the chief justice of the cour d’assises (felony court). Liberals thought this reform was necessary because judges allegedly often used the résumé to persuade jurors in favour of conviction, a charge repeated by modern historians. The other reform, beginning at about the same time, was to make jury composition more democratic. By 1880, newly empowered liberals (at least in Paris) had begun to reduce the proportion of wealthy men on jury lists. This was followed in 1908 by the implementation of a circular issued by the Minister of Justice ordering the jury commissions to inscribe working-class men on the annual jury lists. However, a quantitative analysis of jury verdicts suggests that the reforms of the early 1880s and 1908 had only modest impacts on jury verdicts. Ideas and attitudes seem to have been more important. This has implications regarding two key controversies among modern jurists: the extent to which judges influence jurors and the extent to which the characteristics of jurors influence their verdicts.


PMLA ◽  
1961 ◽  
Vol 76 (3) ◽  
pp. 233-239 ◽  
Author(s):  
Monroe Z. Hafter

A recent article of Leon Livingstone rightly calls attention to the importance of Pérez Galdós' assimilation of Cervantine irony as a forerunner of the concern of modern Spanish novelists about the autonomy of their characters. The unreality of rationalism, which Livingstone holds to be the germ of El amigo Manso, the imagination's capacity to create reality at the heart of Misericordia, lead to the even bolder experiments in the artistic representation of reality undertaken by Unamuno, Azorín, Valle-Inclán, and Pérez de Ayala. Anomalous for his time yet so pervasive in his work is Galdós' employment of “interior duplication” that a separate study would contribute to our fuller understanding of his art as well as to our measure of the advances in the Spanish novel of the latter half of the nineteenth century. The present essay focuses on Galdós' developing skill with internal repetitions from La Fontana de Oro (publ. 1870), through the rich complexities of the novels written between 1886–89, to their almost stylized simplicity in El abuelo (1897). Always related to Cervantine irony, the variety of verbal echoes, the mirroring of one character in another, the unconscious illumination each may offer the other, underscore the increasingly intimate wedding of form and matter with which Galdós came to unfold his narratives.


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