Bronzes to Bullets. Vichy and the Destruction of French Public Statuary, 1941–1944 by Kirrily Freeman
Bibliographic record
Abstract
la France de lui décerner la Légion d’Honneur et à Tours, sa ville natale, de donner son nom à une rue. Sylvia Beach ouvre Shakespeare and Company au 12, rue de l’Odéon en 1919. C’était une bibliothèque de prêt et une librairie très appréciée par quiconque lisait l’anglais. En 1920, elle est lancée par Gertrude Stein et ses amis, Ernest Hemingway et Sherwood Anderson. Elle édita Ulysses de James Joyce en 1922. Au moment de l’invasion, avant sa fuite à Londres, Arthur Koestler se cache dans son appartement. Pendant toute la guerre, elle accueille des amis juifs et résistants . A la Libération, T. S. Eliot, un de ses bunnies, lui offre du savon et du thé de Chine; Shakespeare and Company ferme ‘for the time being’ et ne rouvrira jamais. Le 16 juin 1962, elle célèbre Bloomsday en inaugurant à Dublin (Martello Tower) un centre d’études joycéennes et mourra la même année. Une librairie américaine, en face de Notre-Dame, fait revivre sa raison sociale. Deux institutions américaines parisiennes traverseront l’occupation. L’American Library et l’American Hospital in Paris sont soigneusement dirigés par le couple aristocratique du comte Aldebert de Chambrun, descendant de Lafayette (31), et de sa femme Clara Longworth. Fervents pétainistes, ils sont beaux-parents de Pierre Laval. La Bibliothèque américaine protège discrètement de nombreux employés et abonnés juifs et le comte de Chambrun parlemente avec le Général Leclerc à la Libération de Paris. Pendant toute la guerre, l’hôpital, dont le comte de Chambrun préside le Board of Trustees, s’occupe de civils démunis anglais et américains dans la ville affamée. Cependant, son chirurgien en chef, Sumner Jackson, fait échapper plusieurs aviateurs de la Royal Air Force (RAF) et de l’US Air Force (USAF), envoie son fils Phillip photographier la base de sous-marins nazis à Saint-Nazaire et participe avec l’aide de Toquette, sa femme, à maintes activités de Résistance. En 1944, tous sont déportés: Toquette à Ravensbrück, Sumner et son fils à Neuengamme. Lors de l’évacuation du camp à Lübeck, ils coulent dans la Baltique quand la RAF, qui doit tant de pilotes à Sumner, torpille leur bateau. Ce dernier disparaît alors que Phillip (‘Pete’) lui survira pour écrire sa biographie. Glass a donc écrit avec des détails culturels précieux la chronique des Américains sous l’Occupation. New Mexico State University Jacques Laroche FREEMAN, KIRRILY. Bronzes to Bullets. Vichy and the Destruction of French Public Statuary, 1941–1944. Stanford, CA: Stanford UP, 2009. ISBN 9780804758895. Pp. 241. $65.00. This study, a reworked Ph.D. thesis, contains much that will be of interest to teachers of modern French politics, art history, and culture in general, for the removal of bronze statuary to provide raw materials for the German war machine incidentally erased the physical aids to the memory of France’s glorious past, even if some of the statuary celebrated persons of only local significance. Not all of them were of the stature of Jeanne d’Arc, or even Jacques Cartier, the sixteenth-century Breton navigator. They also included the symbolic representations of La République or the depiction of the valiant French soldier. Also requisitioned were the church bells that in pre-modern times had regulated the rhythm of daily life and announced weddings or funerals as well as the times of prayer in the France of “ringing towns.” (42) The author brings together the relevant—as well as some tangential—recent Reviews 649 studies and mined the national and regional archival sources to describe the variety of reactions to the directives from Vichy. Several Vichy officials used the program to remove statuary of allegedly mediocre artistic value and occasionally also of works that embodied ideas seen as antithetical to its own ideology or to that of a regional politician. In the book’s conclusion, Freeman reviews the scholarly evidence for the aesthetic or “revanchist” motivation for removing certain statues and accepts recent scholarship favoring “acceptance of complexity” rather than...
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.010 | 0.007 |
| Scholarly communication | 0.005 | 0.003 |
| Open science | 0.001 | 0.002 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.017 | 0.003 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".