Christine Schultz-Touge

Movies

Juliet — 2010-08-04T22:00:00Z

Book Editing & Proofreading

2010-01-27T22:52:11Z

A copy edit is basically one step up from proofreading. Where the scope of the proofreader is generally limited to spotting typographical errors, misspellings and really gross errors in presentation, the copy editor adds grammar to the mix. Copy editors generally follow a set of hard and fast rules about how to use punctuation and terminology, and they don't pay a lot of attention to the overall structure of your composition or even the meaning of a sentence.

A hard edit is when the editor is asked how to improve the manuscript. This isn't cheating on the author's part, it's an honest admission that it's impossible to read your own work through somebody else's eyes. While a copy editor or a proofreader can do their work one sentence at a time, a hard editor should read the whole book through once before trying to edit it.

A technical edit is somewhat akin to “fact checking” and, depending on the manuscript, can end up being exactly the same thing. Some technical edits go far beyond simply reading a text with an expert eye and picking out flaws in logic or out-and-out mistakes. Technical editors of computer books, for example, are required to verify computer code in the book and on any accompanying CD. Technical editors must be experts in their field, not in English grammar.

Proofreading should be performed by a number of good readers, the more who fit your production schedule, the merrier. The manuscript should be given to proofreaders in the final, typeset, form. Aside from the possibility of errors being introduced by whomever does the typesetting, it's just easier for most people to pick out errors in a text that looks like a real book instead of double-spaced paper. Proofreaders should really restrain themselves from commenting on iffy grammar and stick to mistakes.

Curriculum vitae

2010-01-14T23:00:00Z

Book editor specialized in fine art

Titles which I have edited and coordinated include:

Somogy Art Publishers Cast in Bronze: French Sculpture from Renaissance to Revolution (2009), Nick Tosches / Gravleur / Never Trust a Loving God (2009), Bernar Venet (2009), Tassili (2009), Perfume A Global History (2007), Esprit Staron (2007)

Éditions Gallimard Venice and the Islamic World (2007), Girodet (2006), The Perfect Medium (2005), Apollo Gallery of the Louvre (2004), Jacques Garcia (2003), Jean-Marc Bustamante (2003), Matisse/Kelly plant drawings (2002), Balthus Catalogue Raisonné of the Complete Works (1999)

BETC RSCG Paris The Louis Vuitton City Guides (2005, 2006, 2007, 2008, 2009, 2010)

Flammarion Paris The Messiah (2007), Salve Regina: The Story of Mary (2006), Orlan (2004), René Herbst (2004), Bernard Buffet (2004), Brassaï Graffiti (2002), Atget (2002), Paris Gourmet (1999), Peggy Guggenheim (1996), Georges de la Tour (1996), Living in Portugal (1995), The Book of Fine Linen (1994), Prague: Hidden Splendors (1994), Industrial Design (1993), A History of Men's Fashion (1993), French Art by André Chastel, 3 volumes: Middle Ages (1994), Renaissance (1995), Ancien Regime (1996)

Éditions Hazan Mignonne Allons Voir: The Barbier-Mueller Collection (2006), African and Oceanic Art; The Barbier-Mueller Collection (2006), Matisse, A Second Life (2005).

Musée d'Art Américain Giverny An American Point of View, The Daniel J. Terra Collection (2002)

Éditions Assouline Alexy Brodovitch (1998), Peter Lindbergh (1998), Symbols of Tibetan Buddhism (1997), Symbols of Catholicism (1997)

Citadelles & Mazenod Oceanic Art (1997), Jewish Art (1997)

Le Louvre Editing of web site for the Apollo Gallery (2004)

Translations

Abbeville Press Publishers Courbet by Ségolène Le Men (2008, co-translation with Deke Dusinberre, Alexandra Keens, Susan Pickford, Charles Penwarden, and John Tittensor)

Éditions Dilecta Orlan, (2009) translation of interview by Raphaël Enthoven

Éditions Assouline Art.biz by Judith Benhamou (2007, co-translation with Charles Penwarden and Deke Dusinberre)

Éditions Hazan Eija-Liisa Ahtila (Jeu de Paume, 2007) translation of essay by Régis Durand, editing of exhibition catalog Arman exhibition catalog by Tita Reut (Musée de Vence, 2000, co-translation with Deke Dusinberre)

Éditions du Regard Eugène Leroy (2003), Balmain (1995)

Flammarion Paris Bronzino by Maurice Brock (2002, co-translation with David Howell Radzinowicz)

Éditions du Seuil The Photography of Charles Sheeler (2002) translation of essay by Gilles Mora

Proficient in Microsoft Word, Quark Xpress, and InDesign

EDUCATION

1985 Loyola University of Chicago ------- M.A. in English Literature

1976 Indiana University ------------------- B.A. in Creative Writing

1975 Indiana University ------------------- B.S. in Elementary Education


CV C.Schultz-Touge

Previous works

schultz-Touge — 2010-01-14T01:51:00Z

NOTES FOR A RECONSTRUCTION OF THE LIFE OF POPE JOAN

By Wendolyn Wright Ph.D.

Dec. 5, 1951

It's only in the dark, under covers, the gray bell tower finally disappearing in my window that I can pull out this black book.

I've never kept a journal. I prefer to sift through the dusty ones of other women-to discover a raw diamond and polish it up, not throw together flout and water then call that paste a gem. Cracker Jacks. An historian. A woman. Pregnant with his dirty tricks.

History is all in the telling.

I. Pope Joan lived in the 9th century. She was a woman posing as a man. She delivered her child on the steps of the Vatican. She jumped from the bell tower into the jeering female crowd.

II. Pope Joan was a purely mythological figure-flour and water mixed up by the bored female intelligentsia of the 10th century Italian court.

IlL Pope Joan was a man alter all. Hah!

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ABOUT THE EATING HABITS OF THE FRENCH,

The very scientific cnrs pronounced this oracle: “yesterday, meals told time; today, time dictates meals.” from now on, table talk (assuming we still eat at a table) is a debate between yesterday's lingering pleasure and today's ever-quickening pace. women work. days grow longer. The office and home have combined. what's more, there has been a certain loss of interest in cuisine. even the harried french are now only too happy to mimic quick and easy food concepts born in the usa- snacks, self-service, street stands, junk food, anything fast.

Of course, the biggest fast food fans are young, restless, city-dwellers learning how to eat on their own. Inexperienced, dependent on eating out, and basically poorly-organized, they shop nearly everyday, simply shoving last month's mouldy cheese to the back of the fridge. With no fixed hours, they skip meals, eat only one dish (as opposed to Mum's traditional three-course meals) and are easy prey for “ready-to-eat.”

Even if these young urbanites make up only 17% of French homes, they are guilty of bringing down the average time spent by a French person at table. The new low is one hour 26 minutes per day (an American just might manage that on Christmas or Thanksgiving): 14 minutes for breakfast; 34 for lunch; and 38 for dinner.

While deplored by the guardians of French cuisine, the above figures bring joy to manufacturers who have resolutely decided to take advantage of the trend. They immediately saw the obvious: less time spent at the table means more time spent standing in front of the fridge. Nearly half of the French population admit taking part in the guilty pleasure of eating between meals. The manufacturers have managed to fill that void with an explosion of chips, cheese curls (peanutflavoured!), and bacon crisps that go by the peculiar name of Peppi.

Thanks to the tools of modern technology, the food industry has been able to take advantage of this gastronomic gold mine. In a process called “extrusion” they take a raw material such as semolina (you've seen it in macaroni) or hydrated corn, bring it up to a very high temperature, then compres itnder extremely high pressure. The result is a dried product, puffed up to 80% air, flavoured, and sold at double the price of a good old camembert. One must pay for guilty pleasures.

But manufacturers have done more than just fill up French caddies with American-style snack foods. They've also answered the call to save consumers' time. In 1996, 23% of food product innovations were in “service foods” - products that are fast and easy to buy and to prepare. If not already in tiny individual portions, packages now have handles to make the trip from supermarket shelf to dinner plate even smoother. Single-portion pouches are there for the exploded nuclear family and its members who have to eat and run. Junior can now gobble down an IQF (Individual Quick Frozen) paella before going out to play football, while Mum and Dad enjoy an intimate tête à tête over the more upscale cuisses de poulet élaborées (fancy chicken thighs). And leave the scissors at the bottom of the kitchen drawer: these dream products open with a flick of the tab - at least they're supposed to.

But if getting the product from package to pan has advanced by leaps and bounds, the actual cooking time is that of a sprint. Three minutes for Maestria and Lustucru pasta - and they promise not to stick! Ten minutes for Uncle Ben's or Taureau Ailé rice - extreme speed with “no loss of flavour.” And seven minutes for reconstituted vegetables that manufacturers, following the example of Vivien Paille, want to make more “practical” to cook.

Of course, record speeds mean nothing to the consumer, if flavour is forgotten. And manufacturers have thrown themselves wholeheartedly into the creation of instant sauces, seasonings, and other “kitchen helpers.” In 1996 this new Eldorado accounted for a turnover of 1.5 billion French Francs.

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The Wave, a weekly free newspaper in Miami, Florida.

Wrote weekly cover stories while dealing with daily office organization, including relations with reporters, photographers, and advertisers.

Contact & Location

2008-08-05T00:58:00Z

Christine Schultz-Touge 10, av. de la République 28400 Nogent le Rotrou

Tél : 02 37 54 50 39 Email : contact@ schultz-touge.com

SIRET: 490 412 392 000 14

Afficher Schultz-Touge sur une carte plus grande

Venise et l'Orient

2007-02-04T01:22:00Z

Venise et l'Orient : rarement deux destins ne furent aussi intimement liés maiglré les antagonismes et les péripéties de l'histoire. Cette cité européenne qui exerça une suprématie économique et commerciale pendant des siècles en Méditerranée entretenait, depuis le IX°siècle, des rapports privilégiés avec les dynasties du Proche Orient et tissait des liens solides avec Le Caire, Damas et Byzance-Constantinople.

Ce catalogue se concentre sur la période la plus féconde de ces échanges, du XIV, au XVII siècle. C'est en effet fin xui'-début xiV que Venise se couvre de palais, se pare de tapis, de soieries, Elle devint très tôt une puissance mondiale qui établit, grace au commerce, des liens privilégiés avec les grandes dynasties musulmanes. L'ouvre d'art islamique est ainsi intégrée à une culture qui l'absorbe et la rend sienne, opérant ainsi à travers les siècles une transmission des savoirs et des techniques de l'Orient vers Venise. La présence de Mamlûks et d'Ottomans, avec leurs habits caractéristiques, dans les toiles des grands maîtres de la Renaissance vénitienne, témoigne d'ailleurs de la familiarité des Vénitiens avec leurs voisins méditerranéens. De1e xvi siècle Veruse exportera à son tour cf ojeîsTeuxe a aecor islamique.

Riche de 350 illustrations en couleurs d'objets provenant de collections vénitiennes et de Musées internationaux, d'essais et de notices des plus grands spécialistes du domaine, cet ouvrage présente un regard différent et très original sin le langage et la production artistique de Venise a son apogée. S'il n'a pas pour objectif de traiter de l'art vénitien, ou de l'art islamique, il s'attache plutôt à démontrer comment deux mondes différents et souvent en conflits étaient quelquefois capables de partager Un langage Méditerranée commun.

Arts d'Afrique et d'Océanie

2006-12-01T11:58:00Z

Le musée Barbier-Mueller, riche de la plus importante collection d'art des cultures non occidentales en mains privées, célèbre à Genève ses trente ans d'activité. Cette publication accompagne l'exposition organisée à l'occasion de cet événement : elle est consacrée aux arts d'Afrique et d'Océanie, à travers une sélection de chefs-d'oeuvre de ces deux ensembles prestigieux.

Le lecteur trouvera ici les pièces majeures de la collection, sujets de nombreuses études scientifiques dans les catalogues consacrés à telle région du monde ou à tel style, mais il découvrira aussi maintes oeuvres inédites, le tout commenté par d'éminents spécialistes. Jamais ces objets « stars » ne s'étaient tous côtoyés au sein d'une exposition exaltant leur beauté autant que leur histoire.

Mignone allons voir...

2006-11-30T23:25:00Z

En ce siècle de fer naquit une poésie nouvelle, dont les vers raffinés enchantèrent la France. Les amis des Muses, les courtisans d'Apollon étaient alors légion, vouant un culte enthousiaste aux demi-dieux et prophètes inspirés de cet univers, qui avaient pour noms Ronsard ou Du Bellay. On chantait l'amour et la guerre, des rois ou des belles, qui s'appelaient Cassandre, Mane, Hélène, Pasithée ou Meline : le vers se préoccupait alors de chaque circonstance de la vie. Initiée il y a soixante ans, la bibliothèque Barbier-Mueller a été tout entière dédiée aux poètes français sous les derniers Valois et les règnes d'Henri 1V et Louis Xlii, des premiers écrits de Ronsard à l'avènement de l'âge classique: elle constitue aujourd'hui le plus important fonds jamais réuni sur ce thème. Abondamment documenté et illustré, Mignonne, allons voir... dévoile pour la première fois ces éditions originales rarissimes, ces prestigieux exemplaires royaux et ces fastueuses reliures, les fleurons d'une collection unique.

Musée Barbier-Mueller

Girodet

2005-12-01T22:55:00Z

Girodet was one of the greatest French painters of the early nineteenth century. Born in Montargis in 1767, he won the Prix de Rome in 1789, and spent the most turbulent years of the French Revolution in Italy perfecting his art. His career reached its apogee under the reign of Napoleon. But while his Burial of Atala and Portrait of Chateaubriand are recognized masterpieces, Girodet himself remains relatively unknown. He lived in what, paradoxically, is both one of the most popular periods for French art and one of the least studied. The political and aesthetic positions of Girodet, Gros, and Gerard-all students of David-were very different from those of their master. While David was actively involved in the political renewal that changed the course of history, his students suffered the disillusionments of the Revolution and the wars of the Empire that followed.

This catalogue, published to accompany the Girodet retrospective, reveals a wealth of new research about the rebellious artist whose ambiguous, erotic, and,at the same time, intellectual art fascinated his contemporaries with its dazzling virtuosity.

In the opening text, Sylvain Bellenger, the catalogue's editor and the general curator of the exhibition, recounts Girodet's passionate life and groundbreaking work. Specific aspects of Girodet's art are then further explored in essays by Marc Fumaroli of the Acadéniie Française, Abigail Solomon-Godeau, Jean-Loup Champion, Stephane Guéguan, Adrien Goetz, Andrew Carrington Shelton, Susan Houghton Libby, Jean-François l.emaire, Barthélémy iobert, and Richard Dagorne. Each approaches Girodet from a different revealing angle-including poetry, politics, and sexual identity. Detailed catalogue entries of the exhibited works bring together extensive research, carried out through the collaboration of four of the world's most prestigious museums: the Musée du Louvre, The Art Institute of Chicago, The Metropolitan Museum of Art, and The Montreal Museum of Fine Arts.

Finally, Bruno Chenique has assembled an extensive chronology of Girodet's life, with extracts from the artist's correspondence, in French. This is to he found on the CD-ROM inserted inside the catalogue.

“For the English edition of this work, Sylvain Bellenger and Jean-Loup Champion would like to express their sincere gratitude to Christine Schultz-Touge, who with skill and tact coordinated the translations and resolved numerous difficulties.” Sylvain Bellenger.

Edouard Cortès

2005-11-30T23:00:00Z

Edouard Cortès (1882-1969) catalogue raisonné de l'oeuvre peint.

Ce premier catalogue présente la vie et 1'oeuvre peint d'Edouard Cortès jusqu'en 1940 il réunit des informations chronologiques et inédites sui cet artiste célèbre, de son vivant, en Europe et aux États-Unis.

II contient 330 pages cl 560 illustrations, les articles des chroniqueurs d'art de I'époque ont permis de mettre en évidence l'inné et l'acquis du talent très personnel de I'artiste; ses contacts avec plusieurs générations de peintres; son rôle actif à faire partager le sens de sa vie “Né par et pour la peinture”

Edouard Cortès est né en France. il a cent vingt ans.

Il reçut de son père, d'ascendance aristocrate, peintres et académiciens originaires de l'Andalousie espagnole, les préceptes d'harmonie qui unissent la Nature à l'Homme.

Élevé parmi les peintres, dessinateurs, graveurs, poètes et écrivains de la fin du XIXème siècle, il affirme ait début du XXème siècle les prémices d'une oeuvre poétique picturale qu'il développera, et toute modestie, tout au long de sa vie.