From neighborhood associations and humanitarian alliances to arts organizations both large and small, Fisek traces how theater has emerged as a practice with the perceived capacity to address questions regarding immigrant rights, integration, and experience. In Aesthetic Citizenship, she explores how the stage, one of France’s most evocative cultural spaces, has come to play a role in contemporary questions about immigration, citizenship and national identity. Yet Fişek’s insightful research also illuminates Paris’s broader historical, political, and cultural through-lines that continue to shape the relationship between theater and migration in France.
By focusing on how French public discourses on immigration are not only rendered meaningful but also inhabited and modified in the context of activist and arts practice, Aesthetic Citizenship seeks to answer the fundamental question: is theater a representational act or can it also be a transformative one?
In 1959, when Un Negre a Paris first appeared, the French still held West Africa under colonial rule. Dadié's subtle parodies draw on intimate knowledge obtained over decades spent observing the colonizers abroad and now, suddenly, on their own home terrain. His remarks on Parisian living conditions, wordplay, manners, and and morals are entertaining and poignant, charming yet profound.
Ames circles serious questions, rarely losing a sense of irony, bewilderment, or amusement, especially at his circumstances, with their inherent discomforts, risks, and not-so-reassuring self-revelation. As readers see him stumble into renewed social bonds, his skewed searching and unconventional existence will engage and sometimes befuddle them.
“I’m not saying become homeless, but do understand it opens many doors, and helps us appreciate the doors we can close.”—from the introduction
Winner of the Nonfiction Award in the Utah Division of Arts and Museums Original Writing Competition
Interview with Tom Williams at Access Utah
He describes an almost continual parade of garish and grandiose plans: some, like the destruction of the glorious marketplace of les Halles for him the heart of the city, were realized; others, like the superhighway along the left bank of the Seine, were bitterly and successfully resisted.
Almost twenty years later, we find it difficult to remember the city as it was. And while Paris looks to many much the way it always has, behind the carefully sandblasted stone and restored shop fronts is a city radically transformed—emptied of centuries of popular life; of entire neighborhoods and the communities they housed engineered out to desolate suburban slums. The battle over the soul and spirit of the city continues.
This book is not entirely about the loss of physical places. Or a romance about a world that never really was. It is a cautionary tale filled with lessons for all who struggle to protect the human scale, the diversity, and the welcoming public life that are the threatened gifts of all great cities.
Sifting through royal edicts, private letters, and Revolutionary records of all kinds, Johnson uncovers the roots of the Opera’s survival in its identity as a uniquely privileged icon of French culture—an identity established by the conditions of its founding one hundred years earlier under Louis XIV. Johnson’s rich cultural history moves between both epochs, taking readers backstage to see how a motley crew of singers, dancers, royal ministers, poet entrepreneurs, shady managers, and the king of France all played a part in the creation and preservation of one of the world’s most fabled cultural institutions.
Despite the overpowering salience of bread in public and private life, Kaplan’s is the first inquiry into the ways bread exercised its vast and significant empire. Bread framed dreams as well as nightmares. It was the staff of life, the medium of communion, a topic of common discourse, and a mark of tradition as well as transcendence. In his exploration of bread’s materiality and cultural meaning, Kaplan looks at bread’s fashioning of identity and examines the conditions of supply and demand in the marketplace. He also sets forth a complete history of the bakers and their guild, and unmasks the methods used by the authorities in their efforts to regulate trade.
Because the bakers and their bread were central to Parisian daily life, Kaplan’s study is also a comprehensive meditation on an entire society, its government, and its capacity to endure. Long-awaited by French history scholars, The Bakers of Paris and the Bread Question, 1700–1775 is a landmark in eighteenth-century historiography, a book that deeply contextualizes, and thus enriches our understanding of one of the most important eras in European history.
To introduce this compulsively readable, gift-quality journey through the Chicago of 1893, Chicago writers and humorists Paul Durica and Bill Savage have added an expert introduction to Gilded Age Chicago and the World's Columbian Exposition. Showcasing the first Ferris wheel, dazzling new electrification technologies, and exhibits from around the world, the Exposition was Chicago’s chance to prove it had risen from the ashes of the Great Fire and would claim a place among the world’s great cities.
Both a perfect keepsake or gift for Chicago travelers as well as an invaluable text for readers interested in the history of Chicago, the Midwest, or Gilded Age urban life, Chicago by Day and Night is a beloved classic of Chicago writing.
Aimée Boutin tours the sonic space that orchestrated the different, often conflicting sound cultures that defined the street ambience of Paris. Mining accounts that range from guidebooks to verse, Boutin braids literary, cultural, and social history to reconstruct a lost auditory environment. Throughout, impressions of street noise shape writers' sense of place and perception of modern social relations. As Boutin shows, the din of the Cris contrasted economic abundance with the disparities of the capital, old and new traditions, and the vibrancy of street commerce with an increasing bourgeois demand for quiet. In time, peddlers who provided the soundtrack for Paris's narrow streets yielded to modernity, with its taciturn shopkeepers and wide-open boulevards, and the fading songs of the Cris became a dirge for the passing of old ways.
Through the stories of Duverney and Perrault, as well as those of Marin Cureau de la Chambre, Jean Pecquet, and Louis Gayant, The Courtiers' Anatomists explores the relationships between empiricism and theory, human and animal, as well as the origins of the natural history museum and the relationship between science and other cultural activities, including art, music, and literature.
All three women would go on to become icons, key figures in American cultural, intellectual, and political life, but when they embarked for France, they were young, little-known, uncertain about their future, and drawn to the culture, sophistication, and drama that only Paris could offer. Yet their backgrounds and their dreams couldn’t have been more different. Jacqueline Bouvier was a twenty-year-old debutante, a Catholic girl from a wealthy East Coast family. Susan Sontag was twenty-four, a precocious Jewish intellectual from a North Hollywood family of modest means, and Paris was a refuge from motherhood, a failing marriage, and graduate work in philosophy at Oxford. Angela Davis, a French major at Brandeis from a prominent African American family in Birmingham, Alabama, found herself the only black student in her year abroad program—in a summer when all the news from Birmingham was of unprecedented racial violence.
Kaplan takes readers into the lives, hopes, and ambitions of these young women, tracing their paths to Paris and tracking the discoveries, intellectual adventures, friendships, and loves that they found there. For all three women, France was far from a passing fancy; rather, Kaplan shows, the year abroad continued to influence them, a significant part of their intellectual and cultural makeup, for the rest of their lives. Jackie Kennedy carried her love of France to the White House and to her later career as a book editor, bringing her cultural and linguistic fluency to everything from art and diplomacy to fashion and historic restoration—to the extent that many, including Jackie herself, worried that she might seem “too French.” Sontag found in France a model for the life of the mind that she was determined to lead; the intellectual world she observed from afar during that first year in Paris inspired her most important work and remained a key influence—to be grappled with, explored, and transcended—the rest of her life. Davis, meanwhile, found that her Parisian vantage strengthened her sense of political exile from racism at home and brought a sense of solidarity with Algerian independence. For her, Paris was a city of political commitment, activism, and militancy, qualities that would deeply inform her own revolutionary agenda and soon make her a hero to the French writers she had once studied.
Kaplan, whose own junior year abroad played a prominent role in her classic memoir, French Lessons, spins these three quite different stories into one evocative biography, brimming with the ferment and yearnings of youth and shot through with the knowledge of how a single year—and a magical city—can change a whole life. No one who has ever dreamed of Paris should miss it.
"[F]ull of knowledge, penetration, good sense, individual wit, stock humor, justifiable exasperation, understanding exaggeration, emotion and rhetoric of every kind."—Randall Jarrell, New York Times Book Review
"To succeed in [writing these tales], as Berlioz most brilliantly does, requires a combination of qualities which is very rare, the many-faceted curiosity of the dramatist with the aggressively personal vision of the lyric poet."—W. H. Auden, The Griffin
French trade unions played a historical role in the 1930s quite unlike that of any other labor movement. Against a backdrop of social unrest, parliamentary crisis, and impending world war, industrial unionists in the great metal-fabricating plants of the Paris Region carried out a series of street mobilizations, factory occupations, and general strikes that were virtually unique in Western history.
The unionization of the metal industry, following a series of anti-fascist demonstrations and plant seizures, would constitute the defining episode in modern French labor history and one of the great chapters in European social history. Yet little is known of these extraordinary events.
With a style that captures the vivid character of these experiences, Every Factory a Fortress tells the story of the Paris metal workers, who succeeded in organizing the largest Communist union in the Western world, reshaping the parameters of French social relations, and, ultimately, altering the course of French destinies.
Fatal Isolation tells the stories of these victims and the catastrophe that took their lives. It explores the multiple narratives of disaster--the official story of the crisis and its aftermath, as presented by the media and the state; the life stories of the individual victims, which both illuminate and challenge the ways we typically perceive natural disasters; and the scientific understandings of disaster and its management. Fatal Isolation is both a social history of risk and vulnerability in the urban landscape and a story of how a city copes with emerging threats and sudden, dramatic change.
Despite their importance during the French Revolution, the Paris middle classes are little known. This book focuses on the family organization and the political role of the Paris commercial middle classes, using as a case study the Faubourg St. Marcel and particularly the parish of St. Médard.
David Garrioch argues that in the late seventeenth and early eighteenth centuries the commercial middle classes were steadfastly local in their family ties and outlook. He shows, too, that they took independent political action in defense of their local position. This gradually changed during the eighteenth century, and the Revolution greatly accelerated the process of integration, at the same time broadening the composition of what may now be termed the Parisian bourgeoisie.
Central to Garrioch's argument is the idea that family, politics, and power are intimately connected. He shows the centrality of kinship to local politics in the first half of the eighteenth century, and the way new family structures were related to changes in the nature of politics even before the Revolution. Among the many important issues considered are birth control, the role of women, the importance of lineage, the spatial limits of middle-class lives, and the language and secularization of politics.
Today, William of Auvergne (1180?–1249) is remembered for his scholarship about the afterlife as well as the so-called Trial of the Talmud. But the medieval bishop of Paris also left behind nearly 600 sermons delivered to all manner of people—from the royal court to the poorest in his care. In Fragments of a World, Lesley Smith uses these sermons to paint a vivid picture of this extraordinary cleric, his parishioners, and their bustling world. The first modern biography of the influential teacher, bishop, and theologian, Fragments of a World casts a new image of William of Auvergne for our times—deeply attuned to both the spiritual and material needs of an ever-changing populace in the medieval city.
The collection of seventeenth- and eighteenth-century French silver at the J. Paul Getty Museum is of exceptional quality and state of preservation. Each piece is remarkable for its beauty, inventive form, skillful execution, illustrious provenance, and the renown of its maker. This volume is the first complete study of these exquisite objects, with more than 250 color photographs bringing into focus extraordinary details such as minuscule makers’ marks, inscriptions, and heraldic armorials.
The publication details the formation of the Museum’s collection of French silver, several pieces of which were selected by J. Paul Getty himself, and discusses the regulations of the historic Parisian guild of gold- and silversmiths that set quality controls and consumer protections. Comprehensive entries catalogue a total of thirty-three pieces with descriptions, provenance, exhibition history, and technical information. The related commentaries shed light on the function of these objects and the roles they played in the daily lives of their prosperous owners. The book also includes maker biographies and a full bibliography.
The free online edition of this open-access publication is available at getty.edu/publications/french-silver/ and includes 360-degree views and zoomable high-resolution photography. Also available are free PDF and EPUB downloads of the book, and JPG downloads of the main catalogue images.
The kind of extraordinary domed house constructed by Chad and Cameroon’s Mousgoum peoples has long held sway over the Western imagination. In fact, as Steven Nelson shows here, this prototypical beehive-shaped structure known as the teleukhas been cast as everything from a sign of authenticity to a tourist destination to a perfect fusion of form and function in an unselfconscious culture. And in this multifaceted history of the teleuk, thought of by the Mousgoum themselves as a three-dimensional symbol of their culture, Nelson charts how a singular building’s meaning has the capacity to change over time and in different places.
Drawing on fieldwork in Cameroon and Japan as well as archival research in Africa, the United States, and Europe, Nelson explores how the teleuk has been understood by groups ranging from contemporary tourists to the Cameroonian government and—most importantly—today’s Mousgoum people. In doing so, he moves in and out of Africa to provide a window into a changing Mousgoum culture and to show how both African and Western peoples use the built environment to advance their own needs and desires. Highlighting the global impact of African architecture, From Cameroon to Paris will appeal to scholars and students of African art history and architectural history, as well as those interested in Western interactions with Africa.
Michael Camille begins his long-awaited study by recounting architect Eugène Viollet-le-Duc’s ambitious restoration of the structure from 1843 to 1864, when the gargoyles were designed, sculpted by the little-known Victor Pyanet, and installed. These gargoyles, Camille contends, were not mere avatars of the Middle Ages, but rather fresh creations—symbolizing an imagined past—whose modernity lay precisely in their nostalgia. He goes on to map the critical reception and many-layered afterlives of these chimeras, notably in the works of such artists and writers as Charles Méryon, Victor Hugo, and photographer Henri Le Secq. Tracing their eventual evolution into icons of high kitsch, Camille ultimately locates the gargoyles’ place in the twentieth-century imagination, exploring interpretations by everyone from Winslow Homer to the Walt Disney Company.
Lavishly illustrated with more than three hundred images of its monumental yet whimsical subjects, The Gargoyles of Notre-Dame is a must-read for historians of art and architecture and anyone whose imagination has been sparked by the lovable monsters gazing out over Paris from one of the world’s most renowned vantage points.
As a writer, Glenway Wescott (1901–1987) left behind several novels, including The Grandmothers and The Pilgrim Hawk, noted for their remarkable lyricism. As a literary figure, Wescott also became a symbol of his times. Born on a Wisconsin farm in 1901, he associated as a young writer with Hemingway, Stein, and Fitzgerald in 1920s Paris and subsequently was a central figure in New York’s artistic and gay communities. Though he couldn’t finish a novel after the age of forty-five, he was just as famous as an arts impresario, as a diarist, and for the company he kept: W. H. Auden, Christopher Isherwood, Marianne Moore, Somerset Maugham, E. M. Forster, Joseph Campbell, and scores of other luminaries.
In Glenway Wescott Personally, Jerry Rosco chronicles Wescott’s long and colorful life, his early fame and later struggles to write, the uniquely privileged and sometimes tortured world of artistic creation. Rosco sensitively and insightfully reveals Wescott’s private life, his long relationship with Museum of Modern Art curator Monroe Wheeler, his work with sex researcher Alfred Kinsey that led to breakthrough findings on homosexuality, and his kinship with such influential artists as Jean Cocteau, George Platt-Lynes, and Paul Cadmus.
Hard Driving delves beyond the riveting headlines to explore the race’s implications for global politics and diplomacy and how the automobile became a viable mode of transportation.
In 1924 Ernest Hemingway published a small book of eighteen vignettes, each little more than one page long, with a small press in Paris. Titled in our time, the volume was later absorbed into Hemingway’s story collection In Our Time. Those vignettes, as Milton Cohen demonstrates in Hemingway’s Laboratory, reveal a range of voices, narrative strategies, and fictional interests more wide-ranging and experimental than any other extant work of Hemingway’s. Further, they provide a vivid view of his earliest tendencies and influences, first manifestations of the style that would become his hallmark, and daring departures into narrative forms that he would forever leave behind.
Many of the chapters are pointillistic glimpses of violence--bullfights, a botched execution, the fleeting thoughts of the wounded on the battlefield. Others reach back into childhood. Still others adopt the wry, mannered voice of English aristocracy. Though critics have often read these chapters as secondary asides to the longer stories that constitute the commercial collection, Cohen argues that not only do the vignettes merit consideration as a unit unto themselves, but that they exhibit a plethora of styles and narrative gambits that show Hemingway at his most versatile.
The final section examines in detail the individual chapters of in our time, their historical origins, their drafts, themes, and styles. The result is an account of what is arguably Hemingway’s most crucial formative period.
The Heroic City is a sparkling account of the fate of Paris’s public spaces in the years following Nazi occupation and joyful liberation. Countering the traditional narrative that Paris’s public landscape became sterile and dehumanized in the 1940s and ’50s, Rosemary Wakeman instead finds that the city’s streets overflowed with ritual, drama, and spectacle. With frequent strikes and protests, young people and students on parade, North Africans arriving in the capital of the French empire, and radio and television shows broadcast live from the streets, Paris continued to be vital terrain.
Wakeman analyzes the public life of the city from a variety of perspectives. A reemergence of traditional customs led to the return of festivals, street dances, and fun fairs, while violent protests and political marches, the housing crisis, and the struggle over decolonization signaled the political realities of postwar France. The work of urban planners and architects, the output of filmmakers and intellectuals, and the day-to-day experiences of residents from all walks of life come together in this vibrant portrait of a flamboyant and transformative moment in the life of the City of Light.
Originally published to glowing reviews and literary prizes in France in 1985, this revealing diary not only recounts the moving and tragic relationship of its author, Geneviève Bréton, with the rising young nineteenth-century artist Henri Regnault, it also serves as a valuable historical document concerning the social, cultural, and political life of the French Second Empire.
The young Geneviève Bréton began her journal in 1867 as a consolation for the death of her eldest brother, Antoine. She met Regnault soon after on a trip to Rome. Throughout the next four years of their relationship, Bréton eloquently describes the personal, cultural, and political turbulence that affected her life. Writing against the backdrop of France’s fateful conflict with Prussia and the hardships and dangers of the siege of Paris and the Commune, Bréton, with innate candor and lyricism, creates a text that beautifully illuminates French art, literature, family life, society, and politics of the time. Her poignant account of her love for and engagement to Regnault reveals special insight into the life and mind of an extraordinary, though little known, literary talent. At Regnault’s death in 1871 during the Franco–Prussian War, the expression of her anguish is as much testimony to the political and cultural disorder of the time as it is to her own personal tragedy.
Following Bréton’s own instructions that she left before her death in 1918, this English version of the diary reincorporates material that was deleted from the French edition. Graced by rare photographs of the Bréton family as well as Regnault’s paintings, the book contains a touching foreword by the author’s granddaughter, Daphné Doublet-Vaudoyer. In its first English translation, it is a book for lovers of French life and culture, as well as students of French history; literature, and art.
The difference was due to Baron Haussmann's massive urban renovation projects between 1852 and 1868, which dispersed workers from Paris's center to newly annexed districts on the outskirts of the city. In these areas, residence rather than occupation structured social relations. Drawing on evidence from trail documents, marriage records, reports of police spies, and the popular press, Gould demonstrates that this fundamental rearrangement in the patterns of social life made possible a neighborhood insurgent movement; whereas the insurgents of 1848 fought and died in defense of their status as workers, those in 1871 did so as members of a besieged urban community.
A valuable resource for historians and scholars of social movements, this work shows that collective identities vary with political circumstances but are nevertheless constrained by social networks. Gould extends this argument to make sense of other protest movements and to offer predictions about the dimensions of future social conflict.
Why are there restaurants? Why would anybody consider eating to be an enjoyable leisure activity or even a serious pastime? To find the answer to these questions, we must accompany Rebecca Spang back to France in the eighteenth century, when a restaurant was not a place to eat but a thing to eat: a quasi-medicinal bouillon that formed an essential element of prerevolutionary France's nouvelle cuisine. This is a book about the French Revolution in taste and of the table--a book about how Parisians invented the modern culture of food, thereby changing their own social life and that of the world.
During the 1760s and 1770s, those who were sensitive and supposedly suffering made public show of their delicacy by going to the new establishments known as "restaurateurs' rooms" and there sipping their bouillons. By the 1790s, though, the table was variously seen as a place of decadent corruption or democratic solidarity. The Revolution's tables were sites for extending frugal, politically correct hospitality, and a delicate appetite was a sign of counter-revolutionary tendencies. The restaurants that had begun as purveyors of health food became symbols of aristocratic greed. In the early nineteenth century, however, the new genre of gastronomic literature worked within the strictures of the Napoleonic police state to transform the notion of restaurants and to confer star status upon oysters and champagne. Thus, the stage was set for the arrival of British and American tourists keen on discovering the mysteries of Frenchness in the capital's restaurants. From restoratives to Restoration, Spang establishes the restaurant at the very intersection of public and private in French culture--the first public place where people went to be private.
Winner of the Louis Gottschalk Prize
Winner of the Thomas J. Wilson Memorial Prize
“Witty and full of fascinating details.”
—Los Angeles Times
Why are there restaurants? Why would anybody consider eating alongside perfect strangers in a loud and crowded room to be an enjoyable pastime? To find the answer, Rebecca Spang takes us back to France in the eighteenth century, when a restaurant was not a place to eat but a quasi-medicinal bouillon not unlike the bone broths of today.
This is a book about the French revolution in taste—about how Parisians invented the modern culture of food, changing the social life of the world in the process. We see how over the course of the Revolution, restaurants that had begun as purveyors of health food became symbols of aristocratic greed. In the early nineteenth century, the new genre of gastronomic literature worked within the strictures of the Napoleonic state to transform restaurants yet again, this time conferring star status upon oysters and champagne.
“An ambitious, thought-changing book…Rich in weird data, unsung heroes, and bizarre true stories.”
—Adam Gopnik, New Yorker
“[A] pleasingly spiced history of the restaurant.”
—New York Times
“A lively, engrossing, authoritative account of how the restaurant as we know it developed…Spang is…as generous in her helpings of historical detail as any glutton could wish.”
—The Times
Hollywood was once enamored with everything French and this infatuation blossomed in a wildly popular series of films including An American in Paris, Gigi,and Funny Face. Schwartz here examines the visual appeal of such films, and then broadens her analysis to explore their production and distribution, probing the profitable influences that Hollywood and Paris exerted on each other. This exchange moved beyond individual films with the sensational spectacle of the Cannes Film Festival and the meteoric career of Brigitte Bardot. And in turn, their success led to a new kind of film that celebrated internationalism and cultural hybridity. Ultimately, Schwartz uncovers an intriguing paradox: that the road to globalization was paved with nationalist clichés, and thus, films beloved for being so French were in fact the first signs of a nascent cosmopolitan culture.
Packed with an array of colorful film stills, publicity photographs, paparazzi shots, ads, and never before seen archival images, It’s So French! is an incisive account of the fertile collaboration between France and the United States that expanded the geographic horizons of both filmmaking and filmgoing, forever changing what the world saw and dreamed of when they went to the movies.
Brian Brace Taylor draws on extensive archival research to reconstruct each step of the architect's attraction to the commission, his design process and technological innovations, the social and philosophical compatibility of the Salvation Army with Le Corbusier's own ideas for urban planning, and finally, the many modifications required, first to eliminate defects and later to accommodate changes in the services the building provided. Throughout, Taylor focuses on Le Corbusier's environmental, technological, and social intentions as opposed to his strictly formal intentions. He shows that the City of Refuge became primarily a laboratory for the architect's own research and not simply a conventional solution to residents' requirements or the Salvation Army's program.
"Surprisingly fresh and intense. . . . A retrospective travelogue of the Left Bank in the days when it was the setting for almost all French intellectual activity. . . . Absorbing."—Naomi Bliven, New Yorker
"As an introduction to a period in French history already legendary, The Left Bank is superb."—Michael Dirda, Washington Post Book World
"An intellectual history. A history of the interaction between politics and letters. And a rumination on the limitless credulity of intellectuals."—Christopher Hitchens, New Statesman
Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society—and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism’s most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.
Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.
Kristin Ross shows how the current official memory of May '68 came to serve a political agenda antithetical to the movement's aspirations. She examines the roles played by sociologists, repentant ex-student leaders, and the mainstream media in giving what was a political event a predominantly cultural and ethical meaning. Recovering the political language of May '68 through the tracts, pamphlets, and documentary film footage of the era, Ross reveals how the original movement, concerned above all with the question of equality, gained a new and counterfeit history, one that erased police violence and the deaths of participants, removed workers from the picture, and eliminated all traces of anti-Americanism, anti-imperialism, and the influences of Algeria and Vietnam. May '68 and Its Afterlives is especially timely given the rise of a new mass political movement opposing global capitalism, from labor strikes and anti-McDonald's protests in France to the demonstrations against the World Trade Organization in Seattle.
Stephen Fredman illuminates the relationship of Jewish intellectuals to modernity through a close look at Reznikoff's life and writing. He shows that when we regard the Objectivists as modern Jewish poets, we can see more clearly their distinctiveness as modernists and the reasons for their profound impact upon later poets, such as Allen Ginsberg and Charles Bernstein. Fredman also argues that to understand Reznikoff's work more completely, we must see it in the context of early, nonsectarian attempts to make the study of Jewish culture a force in the construction of a more pluralistic society. According to Fredman, then, the indelible images in Reznikoff's poetry open a window onto the vexed but ultimately successful entry of Jewish immigrants and their children into the mainstream of American intellectual life.
The contributions of female artists to the development of literary and artistic modernism in early twentieth century France remain poorly understood. It was during this period that a so-called “modern woman” began occupying urban spaces associated with the development of modern art and modernism’s struggles to define subjectivities and sexualities. Whereas most studies of modernism’s formal innovations and its encouragement of artistic autonomy neglect or omit necessary discussions of gender, race, class, and sexual orientation, the contributors of The Modern Woman Revisited inject these perspectives into the discussion.
Between the two World Wars, Paris served as the setting for unparalleled freedom for expatriate as well as native-born French women, who enjoyed unprecedented access to education and opportunities to participate in public artistic and intellectual life. Many of these women made lasting contributions in art and literature. Some of the artists discussed include Colette, Tamara de Lempicka, Sonia Delaunay, Djuna Barnes, Augusta Savage, and Lee Miller.
Inthis book, an internationally recognized roster of art historians, literary critics, and other scholars offers a nuanced portrait of what it meant to be a modern woman during this decisive period of modernism’s development. Individual essays explore the challenges faced by women in the early decades of the twentieth century, as well as the strategies these women deployed to create their art and to build meaningful lives and careers. The introduction underscores the importance of the contributors’ efforts to engender larger questions about modernity, sexuality, race, and class.
In the late nineteenth century, numerous French plays, novels, cartoons, and works of art focused on Mormons. Unlike American authors who portrayed Mormons as malevolent “others,” however, French dramatists used Mormonism to point out hypocrisy in their own culture. Aren't Mormon women, because of their numbers in a household, more liberated than French women who can't divorce? What is polygamy but another name for multiple mistresses? This new critical edition presents translations of four musical comedies staged or published in France in the late 1800s: Mormons in Paris (1874), Berthelier Meets the Mormons (1875), Japheth’s Twelve Wives (1890), and Stephana’s Jewel (1892). Each is accompanied by a short contextualizing introduction with details about the music, playwrights, and staging. Humorous and largely unknown, these plays use Mormonism to explore and mock changing French mentalities during the Third Republic, lampooning shifting attitudes and evolving laws about marriage, divorce, and gender roles.
Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
In long years of mountaineering Oates fought the self-loathing that had infused him as the gay kid in the Baptist pew. And in The Mountains of Paris, he ascends to a place of wonder. In luminous prose, Oates invites readers to share a sense of awe—whether awakened by a Vermeer painting or a wilderness sojourn, by the night sky, a loved one, or echoing strains of music—lifting the curtain on a cosmos filled with a terrifying yet beautiful rightness.
Opera and musical theater dominated French culture in the 1800s, and the influential stage music that emerged from this period helped make Paris, as Walter Benjamin put it, the “capital of the nineteenth century.” The fullest account available of this artistic ferment and its international impact, Music, Theater, and Cultural Transfer explores the diverse institutions that shaped Parisian music and extended its influence across Europe, the Americas, and Australia.
The contributors to this volume, who work in fields ranging from literature to theater to musicology, focus on the city’s musical theater scene as a whole rather than on individual theaters or repertories. Their broad range enables their collective examination of the ways in which all aspects of performance and reception were affected by the transfer of works, performers, and management models from one environment to another. By focusing on this interplay between institutions and individuals, the authors illuminate the tension between institutional conventions and artistic creation during the heady period when Parisian stage music reached its zenith.
Miller ranges from the beginnings of francophone African literature—which he traces not to the 1930s Negritude movement but to the largely unknown, virulently radical writings of Africans in Paris in the 1920s—to the evolving relations between African literature and nationalism in the 1980s and 1990s. Throughout he aims to offset the contemporary emphasis on the postcolonial at the expense of the colonial, arguing that both are equally complex, with powerful ambiguities. Arguing against blanket advocacy of any one model (such as nationalism or hybridity) to explain these ambiguities, Miller instead seeks a form of thought that can read and recognize the realities of both identity and difference.
These artists exhibited the works they created in Paris at prestigious salons in France and in the United States, winning fellowships, grants, and awards. Leininger-Miller argues that it was study abroad that won these artists critical acclaim, establishing their reputations as some of the most significant leaders of the New Negro movement in the visual arts. She begins her study with a history of the debut of African American artists in Paris, 1830–1914, then provides readers with rarely seen profiles of each of the six artists from their birth through the end of their time abroad. Finally, Leininger-Miller examines patterns and differences in these individuals’ backgrounds and development, their patronage in the United States and France, their shared experiences abroad, and the impact their study in Paris had on the rest of their careers.
The Nightinghouls of Paris is a thinly fictionalized memoir of the darker side of expatriate life in Paris. Beginning in 1928, the story follows the changes undergone by Canadian youths John Glassco and his friend Graeme Taylor during their (mis)adventures in Paris while trying to become writers. There they meet Robert McAlmon, who guides them through the city’s cafes, bistros, and nightclubs, where they find writers and artists including Kay Boyle (with whom Glassco has a fling), Bill Bird, Djuna Barnes, Claude McKay, Hilaire Hiler, Peggy Guggenheim, and Ernest Hemingway.
Fleeing France in late 1940, Robert McAlmon lost his notebook manuscripts and draftedThe Nightinghouls of Paris from memory. Till now, it has existed solely as a typescript held by Yale University. Unlike most memoirs of American expatriates in the ‘20s, The Nightinghouls of Paris centers not only on writers, but also encompasses the racial, national, and social mélange they encountered in everyday life.
Joachim Schlör has spent his days sifting through countless police and church archives, and first-hand accounts, and his nights exploring the highways and byways of these three great capitals. Illustrated with haunting and evocative photographs by, among others, Brandt and Kertész, and filled with contemporary literary references, Nights in the Big City has already been acclaimed in the German press as a milestone in the cultural history of the city.
"[Schlör] is erudite, and his literary style is alluring."—Architect's Journal
Sifting through countless police and church archives alongside first-hand accounts, Schlör sets out on his own explorations with a head full of histories, exploring the boulevards and side-streets of these three great capitals. Illustrated with haunting and evocative photographs by, among others, Bill Brandt and André Kertész, and filled with contemporary literary references, Nights in the Big City is a milestone in the cultural history of the city.
The Allied landings on the coast of Normandy on June 6, 1944, have assumed legendary status in the annals of World War II. But in overly romanticizing D-day, Olivier Wieviorka argues, we have lost sight of the full picture. Normandy offers a balanced, complete account that reveals the successes and weaknesses of the titanic enterprise.
In addition to describing the landings with precision and drama, Wieviorka covers the planning and diplomatic background, Allied relationships, German defensive preparations, morale of the armies, economics and logistics, political and military leaders, and civilians’ and soldiers’ experience of the fighting. Surprisingly, the landing itself was not the slaughter the general staff expected. The greater battle for Normandy—waged on farmland whose infamous hedgerows, the bocage, created formidable obstacles—took a severe toll not only in lives lost, but on the survivors who experienced this grueling ordeal.
D-day, Wieviorka notes, was a striking accomplishment, but it was war, violent and cruel. Errors, desertions, rivalries, psychological trauma, self-serving motives, thefts, and rapes were all part of the story. Rather than diminishing the Allied achievement, this candid book underscores the price of victory and acknowledges the British, American, and Canadian soldiers who dashed onto the Normandy beaches not as demigods, but as young men.
At once deeply intimate and terrifyingly universal, One Hour in Paris weaves together Freedman’s personal experience with the latest philosophical, neuroscientific, and psychological insights on what it means to live in a body that has been traumatized. Using her background as a philosopher, she looks at the history of psychological trauma and draws on recent theories of posttraumatic stress disorder and neuroplasticity to show how recovery from horrific experiences is possible. Through frank discussions of sex and intimacy, she explores the consequences of sexual violence for love and relationships, and she illustrates the steep personal cost of sexual violence and the obstacles faced by individual survivors in its aftermath. Freedman’s book is an urgent call to face this fundamental social problem head-on, arguing that we cannot continue to ignore the fact that sexual violence against women is rooted in gender inequalities that exist worldwide—and must be addressed.
One Hour in Paris is essential reading for survivors of sexual violence as well as an invaluable resource for therapists, mental health professionals, and family members and friends of victims.
Nancy L. Green thus introduces us for the first time to a long-forgotten part of the American overseas population—predecessors to today’s expats—while exploring the politics of citizenship and the business relationships, love lives, and wealth (and poverty for some) of Americans who staked their claim to the City of Light. The Other Americans in Paris shows that elite migration is a part of migration tout court and that debates over “Americanization” have deep roots in the twentieth century.
Roberts tells the story of how a provincial backwater rose up to become one of the richest, most powerful, and most visited cities in Europe, a world leader in fashion, the arts, and gastronomy. He takes us back two millennia to when roaming Celtic tribes first set up camp on the banks of the Seine, and from there moves through turbulent centuries full of the fates and fortunes of kings, marked by invasions, revolutions, and magnificent buildings constructed one after the other. He explores the city’s renowned gothic architecture, the urban planning that has been revised throughout history, the mammoth museums that have been erected to preserve its artistic legacy, and the vibrant street culture that hosts markets, performers, and Paris’s own flâneurs every single day. Along the way, he points out countless hidden gems travelers rarely make it to: from a vintage candy shop to a museum of romantic life, from a hidden garden inside a hospital to a converted hair salon that hosts—of all things—table tennis tournaments. And of course he shows readers where to eat, catch a show, and go for gorgeous sunset strolls.
Offering a comprehensive but easily digestible overview, Paris is the perfect book for anyone planning a visit to the city or anyone who simply loves it from afar.
While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved between France and China: the painter Chang Yu, the poet Li Jinfa, the art critic Fu Lei, the painter Pan Yuliang, and the writer Xu Xu. Chau draws the idea of transposition from music theory where it refers to shifting music from one key or clef to another, or to adapting a song originally composed for one instrument to be played by another. Transposing transposition to the study of art and literature, Chau uses the term to describe a fluid and strategic art practice that depends on the tension between foreign and familiar, new and old, celebrating both novelty and recognition—a process that occurs when a text gets placed into a fresh context.
Paris at War chronicles the lives of ordinary Parisians during World War II, from September 1939 when France went to war with Nazi Germany to liberation in August 1944. Readers will relive the fearful exodus from the city as the German army neared the capital, the relief and disgust felt when the armistice was signed, and the hardships and deprivations under Occupation. David Drake contrasts the plight of working-class Parisians with the comparative comfort of the rich, exposes the activities of collaborationists, and traces the growth of the Resistance from producing leaflets to gunning down German soldiers. He details the intrigues and brutality of the occupying forces, and life in the notorious transit camp at nearby Drancy, along with three other less well known Jewish work camps within the city.
The book gains its vitality from the diaries and reminiscences of people who endured these tumultuous years. Drake’s cast of characters comes from all walks of life and represents a diversity of political views and social attitudes. We hear from a retired schoolteacher, a celebrated economist, a Catholic teenager who wears a yellow star in solidarity with Parisian Jews, as well as Resistance fighters, collaborators, and many other witnesses.
Drake enriches his account with details from police records, newspapers, radio broadcasts, and newsreels. From his chronology emerge the broad rhythms and shifting moods of the city. Above all, he explores the contingent lives of the people of Paris, who, unlike us, could not know how the story would end.
In an original and evocative journey through modern Paris from the mid-eighteenth century to World War II, Patrice Higonnet offers a delightful cultural portrait of a multifaceted, continually changing city. In examining the myths and countermyths of Paris that have been created and re-created over time, Higonnet reveals a magical urban alchemy in which each era absorbs the myths and perceptions of Paris past, adapts them to the cultural imperatives of its own time, and feeds them back into the city, creating a new environment.
Paris was central to the modern world in ways internal and external, genuine and imagined, progressive and decadent. Higonnet explores Paris as the capital of revolution, science, empire, literature, and art, describing such incarnations as Belle Epoque Paris, the Commune, the surrealists' city, and Paris as viewed through American eyes. He also evokes the more visceral Paris of alienation, crime, material excess, and sensual pleasure.
Insightful, informative, and gracefully written, Paris illuminates the intersection of collective and individual imaginations in a perpetually shifting urban dynamic. In describing his Paris of the real and of the imagination, Higonnet sheds brilliant new light on this endlessly intriguing city.
Paris is the most personal of cities. There is a Paris for the medievalist, and another for the modernist—a Paris for expatriates, philosophers, artists, romantics, and revolutionaries of every stripe. James H. S. McGregor brings these multiple perspectives into focus throughout this concise, unique history of the City of Light.
His panorama begins with an ancient Gallic fortress on the Seine, burned to the ground by its own defenders in a vain effort to starve out Caesar’s legions. After ninth-century raids by the Vikings ended, Parisians expanded the walls of their tiny sanctuary on the Ile de la Cité, turning the river’s right bank into a thriving commercial district and the Rive Gauche into a college town. Gothic spires expressed a taste for architectural novelty, matched only by the palaces and pleasure gardens of successive monarchs whose ingenuity made Paris the epitome of everything French. The fires of Revolution threatened all that had come before, but Baron Haussmann saw opportunity in the wreckage. No planned city in the world is more famous than his.
Paris from the Ground Up allows readers to trace the city’s evolution in its architecture and art—from the Roman arena to the Musée d’Orsay, from the Louvre’s defensive foundations to I. M. Pei’s transparent pyramids. Color maps, along with identifying illustrations, make the city accessible to visitors by foot, Metro, or riverboat.
Hall was abandoned by her Deaf African American mother at a young age and forged a close bond with her father, James Paris Mosley, who communicated with her in American Sign Language. Although his family was Native American, they—like many other Nanticoke Native Americans of that region—had assimilated over time into Dover’s Black community. Hall vividly recounts the social and cultural elements that shaped her, from Jim Crow to the forced integration of public schools, to JFK and Motown. As a Coda (child of deaf adults) in a time when no accessibility or interpreting services were available, she was her father’s sole means of communication with the hearing world, a heavy responsibility for a child. After her turbulent teenage years, and with the encouragement of her future husband, she attended college and discovered that her skills as a fluent ASL user were a valuable asset in the field of education.
Hall went on to become a college professor, mentor, philanthropist, and advocate for Deaf students from diverse backgrounds. Her memoir is a celebration of her family, her faith, her journey, and her heritage.
But the crisis did not halt artistic production, as some have suggested. In fact, Clayson argues that the siege actually encouraged innovation, fostering changed attitudes and new approaches to representation among a wide variety of artists as they made art out of their individual experiences of adversity and change—art that has not previously been considered within the context of the siege. Clayson focuses especially on Rosa Bonheur, Edgar Degas, Jean-Alexandre-Joseph Falguière, Edouard Manet, and Henri Regnault, but she also covers a host of other artists, including Ernest Barrias, Gustave Courbet, Edouard Detaille, Pierre Puvis de Chavannes, Albert Robida, and James Tissot. Paris in Despair includes more than two hundred color and black-and-white images of works by these artists and others, many never before published.
Using the visual arts as an interpretive lens, Clayson illuminates the wide range of issues at play during the siege and thereafter, including questions of political and cultural identity, artistic masculinity and femininity, public versus private space, everyday life and modernity, and gender and class roles in military and civilian society. For anyone concerned with these issues, or with nineteenth-century French art in general, Paris in Despair will be a landmark work.
Paris in Quotations takes readers on a one-of-a-kind tour of the City of Lights, in which we hear from the likes of Molière and Thomas Gold Appleton, who thought that, “When good Americans die, they go to Paris.” For centuries, Paris has reigned over the popular imagination. For those planning a visit, this collection will be warmly welcomed.
In 1910 John Merven Carrère, a Paris-trained American architect, wrote, “Learning from Paris made Washington outstanding among American cities.” The five essays in Paris on the Potomac explore aspects of this influence on the artistic and architectural environment of Washington, D.C., which continued long after the well-known contributions of Peter Charles L’Enfant, the transplanted French military officer who designed the city’s plan.
Isabelle Gournay’s introductory essay provides an overview and examines the context and issues involved in three distinct periods of French influence: the classical and Enlightenment principles that prevailed from the 1790s through the 1820s, the Second Empire style of the 1850s through the 1870s, and the Beaux-Arts movement of the early twentieth century. William C. Allen and Thomas P. Somma present two case studies: Allen on the influence of French architecture, especially the Halle aux Blés, on Thomas Jefferson’s vision of the U.S. Capitol; and Somma on David d’Angers’s busts of George Washington and the Marquis de Lafayette. Liana Paredes offers a richly detailed examination of French-inspired interior decoration in the homes of Washington’s elite in the late nineteenth and early twentieth centuries. Cynthia R. Field concludes the volume with a consideration of the influence of Paris on city planning in Washington, D.C., including the efforts of the McMillan Commission and the later development of the Federal Triangle complex.
The essays in this collection, the latest addition to the series Perspectives on the Art and Architectural History of the United States Capitol, originated in a conference held by the U.S. Capitol Historical Society in 2002 at the French Embassy’s Maison Française.
Paris Primitive recounts the massive reconfiguration of Paris’s museum world that resulted from Chirac’s dream, set against a backdrop of personal and national politics, intellectual life, and the role of culture in French society. Along with exposing the machinations that led to the MQB’s creation, Sally Price addresses the thorny questions it raises about the legacy of colonialism, the balance between aesthetic judgments and ethnographic context, and the role of institutions of art and culture in an increasingly diverse France. Anyone with a stake in the myriad political, cultural, and anthropological issues raised by the MQB will find Price’s account fascinating.
The expansion of the Paris sewer system during the Second Empire and Third Republic was both a technological and political triumph. The sewers themselves were an important cultural phenomenon, and the men who worked in them a source of fascination. Donald Reid shows that observing how such laborers as cesspool cleaners and sewermen present themselves and are represented by others is a way to reflect on the material and cultural foundations of everyday life.
For bourgeois urbanites, the sewer became the repository of latent anxieties about disease, disorder, and anarchy. The sewermen themselves formed a model army of labor in an era of social upheaval in the workplace. They were pioneers both in demanding the right of public servants to unionize and in securing social welfare measures. They were among the first French manual laborers to win the eight-hour day, paid vacations, and other benefits.
Reid transcends traditional categories by bringing together the infrastructure and the cultural supports of society, viewing technocracy and its achievements in technical, political and cultural terms. Historians of modern France, and Francophiles in search of the unusual, will welcome the cultural interfaces of urban history, labor history, and the history of technology his book provides. His text is enlivened by drawings and photographs of the life below Paris streets, and illuminated by references to literary sources such as Hugo's Les Miserables and Giraudoux's The Madwoman of Chaillot.
A writer has penned a novel about the great love of his youth. After a public reading, he is approached by a woman he doesn’t recognize—but it’s his lover. He is the author; she, the figure in his novel. The young girl from back then has turned into an interesting and attractive woman—but she’s also married. Soon the situation becomes a little strange: they sit down together, have a glass of wine, talk about French romantic novels, ask each other what one expects of love when one grows older. And all the while her husband is sitting in the next room. How is this going to end? Navid Kermani has written a romantic novel like no other—surprising, witty, profound—and one can barely put it down.
Paris, Tightwad, Peculiar, Neosho, Gasconade, Hannibal, Diamond, Quarantine, Zif, and Zig. These are just a few of the names Margot Ford McMillen covers in her lively book on the history of place names in Missouri. The origins behind the names range from humorous to descriptive:
•Tightwad, Missouri, is said to have been named after a store owner who cheated a mailman out of his rightful watermelon to make an extra fifty cents. •Plad, Missouri, was supposed to be named "Glad," but the post office printed the name wrong, and it was too much trouble to get it changed. •Some place names describe a location, such as Big Spring or Flat River. •Other names show the influence of immigrants to the state, like Hermann, which is a German name, or the Maries River, which was derived from the French. •Many places are named for people or wildlife found nearby, while others are backed up by legend or simply picked out of thin air.
An innovative history of the fashion industry, focusing on the connections between Paris and New York, art and finance, and design and manufacturing.
Fashion is one of the most dynamic industries in the world, with an annual retail value of $3 trillion and globally recognized icons like Coco Chanel, Christian Dior, and Yves Saint Laurent. How did this industry generate such economic and symbolic capital?
Focusing on the roles of entrepreneurs, designers, and institutions in fashion’s two most important twentieth-century centers, Paris to New York tells the history of the industry as a negotiation between art and commerce. In the late nineteenth century, Paris-based firms set the tone for a global fashion culture nurtured by artistic visionaries. In the burgeoning New York industry, however, the focus was on mass production. American buyers, trend scouts, and designers crossed the Atlantic to attend couture openings, where they were inspired by, and often accused of counterfeiting, designs made in Paris. For their part, Paris couturiers traveled to New York to understand what American consumers wanted and to make deals with local manufacturers for whom they designed exclusive garments and accessories. The cooperation and competition between the two continents transformed the fashion industry in the early and mid-twentieth century, producing a hybrid of art and commodity.
Véronique Pouillard shows how the Paris–New York connection gave way in the 1960s to a network of widely distributed design and manufacturing centers. Since then, fashion has diversified. Tastes are no longer set by elites alone, but come from the street and from countercultures, and the business of fashion has transformed into a global enterprise.
Did barristers as a professional group support the French Revolution, or were they most often “in flight from politics”? A close inquiry into the Order of Barristers at Paris—the largest and most important in France, with over six hundred members in 1789—reveals that the vast majority within the Order did not support the Revolution. Unsympathetic to the ideal of the nation asserted by the National Assembly, most members of the Order instead remained loyal to the traditional corporate paradigm that the National Assembly had specifically repudiated. Dismayed by the abolition of their Order, they were disillusioned with the Revolution even before the advent of the Terror, which, along with the arbitrariness of the Directory, deepened their disaffection. The manner in which Bonaparte ultimately restored the Order in 1811 completed their alienation from the Revolution and, as a result, they warmly welcomed the return of the Bourbons in 1814.
This investigation not only revises what historians have long thought of the attitude of barristers toward the French Revolution, but also offers insights into the corporate character of Old Regime society and how the Revolution affected it. Fitzsimmons’s study suggests that many propertied commoners during the Revolution were not politically engaged, that they were not necessarily associated with a party or cause simply because of their place within a set of social relationships. Most of the barristers to the Parlement simply reacted timidly to events and yearned for an ideal that was irretrievably lost, tending to view the Revolution more in terms of an end than of a beginning.
Listen to "An Electronic Cabaret: Paris Street Songs, 1748–50" for songs from Poetry and the PoliceAudio recording copyright © 2010 by the President and Fellows of Harvard College. All rights reserved.
In spring 1749, François Bonis, a medical student in Paris, found himself unexpectedly hauled off to the Bastille for distributing an “abominable poem about the king.” So began the Affair of the Fourteen, a police crackdown on ordinary citizens for unauthorized poetry recitals. Why was the official response to these poems so intense?
In this captivating book, Robert Darnton follows the poems as they passed through several media: copied on scraps of paper, dictated from one person to another, memorized and declaimed to an audience. But the most effective dispersal occurred through music, when poems were sung to familiar tunes. Lyrics often referred to current events or revealed popular attitudes toward the royal court. The songs provided a running commentary on public affairs, and Darnton brilliantly traces how the lyrics fit into song cycles that carried messages through the streets of Paris during a period of rising discontent. He uncovers a complex communication network, illuminating the way information circulated in a semi-literate society.
This lucid and entertaining book reminds us of both the importance of oral exchanges in the history of communication and the power of “viral” networks long before our internet age.
Rachel Fuchs shows how poor urban women in Paris negotiated their environment, and in some respects helped shape it, in their attempt to cope with their problems of poverty and pregnancy. She reveals who the women were and provides insight into the nature of their work and living arrangements. With dramatic detail, and drawing on actual court testimonies, Fuchs portrays poor women's childbirth experiences, their use of charity and welfare, and their recourse to abortion and infanticide as desperate alternatives to motherhood.
Fuchs also provides a comprehensive description of philanthropic and welfare institutions and outlines the relationship between the developing welfare state and official conceptions of womanhood. She traces the evolution of a new morality among policymakers in which secular views, medical hygiene, and a new focus on the protection of children replaced religious morality as a driving force in policy formation.
Combining social, intellectual, and medical history, this study of poor mothers in nineteenth-century society illuminates both class and gender relations in Paris, and illustrates the connection between social policy and the way ordinary women lived their lives.
A radical reconceptualization of modernism, this book traces the appearance of the modern artist to the Paris of the 1830s and links the emergence of an enduring modernist aesthetic to the fleeting forms of popular culture. Contrary to conventional views of a private self retreating from history and modernity, Popular Bohemia shows us the modernist as a public persona parodying the stereotypes of commercial mass culture. Here we see how the modern artist—alternately assuming the roles of the melodramatic hero, the urban flâneur, the female hysteric, the tribal primitive—created his own version of an expressive, public modernity in opposition to an increasingly repressive and conformist bourgeois culture. And here we see how a specifically modern aesthetic culture in nineteenth-century Paris came about, not in opposition to commercial popular culture, but in close alliance with it.
Popular Bohemia revises dominant historical narratives about modernism from the perspective of a theoretically informed cultural history that spans the period between 1830 and 1914. In doing so, it reconnects the intellectual history of avant-garde art with the cultural history of bohemia and the social history of the urban experience to reveal the circumstances in which a truly modernist culture emerged.
Spanning the decades from the post–World War II era to the present day, Amine demonstrates that the postcolonial other is both peripheral to and intimately entangled with all the ideals so famously evoked by the French capital—romance, modernity, equality, and liberty. In their work, postcolonial writers and artists have juxtaposed these ideals with colonial tropes of intimacy (the interracial couple, the harem, the Arab queer) to expose their hidden violence. Amine highlights the intrusion of race in everyday life in a nation where, officially, it does not exist.
Berthe Weill, a formidable Parisian dealer, was born into a Jewish family of very modest means. One of the first female gallerists in the business, she first opened the Galerie B. Weill in the heart of Paris’s art gallery district in 1901, holding innumerable exhibitions over nearly forty years. Written out of art history for decades, Weill has only recently regained the recognition she deserves.
Under five feet tall and bespectacled, Weill was beloved by the artists she supported, and she rejected the exploitative business practices common among art dealers. Despite being a self-proclaimed “terrible businesswoman,” Weill kept her gallery open for four decades, defying the rising tide of antisemitism before Germany’s occupation of France. By the time of her death in 1951, Weill had promoted more than three hundred artists—including Henri Matisse, Pablo Picasso, Amedeo Modigliani, Diego Rivera, and Suzanne Valadon—many of whom were women and nearly all young and unknown when she first exhibited them.
Pow! Right in the Eye! makes Weill’s provocative 1933 memoir finally available to English readers, offering rare insights into the Parisian avant-garde and a lively inside account of the development of the modern art market.
D'Adesky takes us through a fast-changing East Village: squatter protests and civil disobedience lead to all-night drag and art-dance parties, the fun-loving Lesbian Avengers organize dyke marches, and the protest group ACT UP stages public funerals. Traveling as a journalist to Paris, an insomniac d'Adesky trolls the Seine, encountering waves of exiles fleeing violence in the Balkans, Haiti, and Rwanda. As the last of the French Nazis stand trial and the new National Front rises in the polls, d'Adesky digs into her aristocratic family's roots in Vichy France and colonial Haiti. This is a testament with a message for every generation: grab at life and love, connect with others, fight for justice, keep despair at bay, and remember.
The implications for historians and economists are substantial. The role of notaries operating in Paris that Priceless Markets uncovers has never before been recognized. In the wake of this pathbreaking new study, historians will also have to rethink the origins of the French Revolution. As the authors show, the crisis of 1787-88 did not simply ignite revolt; it was intimately bound up in an economic struggle that reached far back into the eighteenth century, and continued well into the 1800s.
Exploring the violent histories and alternate trajectories effaced through this banal backgrounding of a crucial aspect of French history and culture, this richly textured ethnography lays bare the profound nostalgia that undergirds Catholicism’s circulation in nonreligious sites such as museums, corporate spaces, and political debates. Oliphant’s aim is to unravel the contradictions of religion and secularism and, in the process, show how aesthetics and politics come together in contemporary France to foster the kind of banality that Hannah Arendt warned against: the incapacity to take on another person’s experience of the world. A creative meditation on the power of the taken-for-granted, The Privilege of Being Banal is a landmark study of religion, aesthetics, and public space.
In the 1800s, urban development efforts modernized Paris and encouraged the creation of brothels, boulevards, cafés, dancehalls, and even public urinals. However, complaints also arose regarding an apparent increase in public sexual activity, and the appearance of “individuals of both sexes with depraved morals” in these spaces. Andrew Israel Ross’s illuminating study, Public City/Public Sex, chronicles the tension between the embourgeoisement and democratization of urban culture in nineteenth-century Paris and the commercialization and commodification of a public sexual culture, the emergence of new sex districts, as well as the development of gay and lesbian subcultures.
Public City/Public Sex examines how the notion that male sexual desire required suitable outlets shaped urban policing and development. Ross traces the struggle to control sex in public and argues that it was the very effort to police the city that created new opportunities for women who sold sex and men who sought sex with other men. Placing public sex at the center of urban history, Ross shows how those who used public spaces played a central role in defining the way the city was understood.
A Publisher's Paradise explores the political and literary dynamics that gave rise to this expatriate cultural flourishing, which included everything from Victorian pornography to the most daring and controversial modernist classics. Colette Colligan tracks the British and French politicians and diplomats who policed Paris editions of banned books and uncovers offshore networks of publishers, booksellers, authors, and readers. She looks closely at the stories the "dirty books" told about this publishing haven and the smut peddlers and literary giants it brought together in transnational cultural formations. The book profiles an eclectic group of expatriates living and publishing in Paris, from relatively obscure figures such as Charles Carrington, whose list included both The Picture of Dorian Gray and the pornographic novel Randiana, to bookshop owner Sylvia Beach, famous for publishing James Joyce's Ulysses in 1922.
A Publisher's Paradise is a compelling exploration of the little-known history of foreign pornography in Paris and the central role it played in turning the city into a modernist outpost for literary and sexual vanguardism, a reputation that still lingers today in our cultural myths of midnight in Paris.
Green focuses on issues of fashion and fabrication as they involve both the production and consumption of clothing. Traditionally, much of the urban garment industry has been organized around small workshops and flexible homework, and Green emphasizes the effect this labor organization had on the men and mostly women who have sewn the garments. Whether considering the immigrant Jews, Italians, Puerto Ricans, Dominicans, and Chinese in New York or the Chinese-Cambodians, Turks, Armenians, and Russian, Polish, and Tunisian Jews in Paris, she outlines similarities of social experience in the shops and the unions, while allowing the voices of the workers, in all their diversity to be heard.
A provocative examination of gender and ethnicity, historical conflict and consensus, and notions of class and cultural difference, Ready-to-Wear and Ready-to-Work breaks new ground in the methodology of comparative history.
In 1871 Paris was a city in crisis. Besieged during the Franco-Prussian War, its buildings and boulevards were damaged, its finances mired in debt, and its new government untested. But if Parisian authorities balked at the challenges facing them, entrepreneurs and businessmen did not. Selling Paris chronicles the people, practices, and politics that spurred the largest building boom of the nineteenth century, turning city-making into big business in the French capital.
Alexia Yates traces the emergence of a commercial Parisian housing market, as private property owners, architects, speculative developers, and credit-lending institutions combined to finance, build, and sell apartments and buildings. Real estate agents and their innovative advertising strategies fed these new residential spaces into a burgeoning marketplace. Corporations built empires with tens of thousands of apartments under management for the benefit of shareholders. By the end of the nineteenth century, the Parisian housing market caught the attention of the wider public as newspapers began reporting its ups and downs.
The forces that underwrote Paris’s creation as the quintessentially modern metropolis were not only state-centered or state-directed but also grew out of the uncoordinated efforts of private actors and networks. Revealing the ways housing and property became commodities during a crucial period of urbanization, Selling Paris is an urban history of business and a business history of a city that transforms our understanding of both.
Brian Ladd recounts a rich social and cultural history of the European city street, tracing its transformation from a lively scene of trade and crowds into a thoroughfare for high-speed transportation. Looking closely at four major cities—London, Paris, Berlin, and Vienna—Ladd uncovers both the joys and the struggles of a past world. The story takes us up to the twentieth century, when the life of the street was transformed as wealthier citizens withdrew from the crowds to seek refuge in suburbs and automobiles. As demographics and technologies changed, so did the structure of cities and the design of streets, significantly shifting our relationships to them. In today’s world of high-speed transportation and impersonal marketplaces, Ladd leads us to consider how we might draw on our history to once again build streets that encourage us to linger.
By unearthing the vivid descriptions recorded by amused and outraged contemporaries, Ladd reveals the changing nature of city life, showing why streets matter and how they can contribute to public life.
"An invaluable look at this fascinating genre."—George W. Loomis, Opera News
Offering a uniquely intimate look at the daily lives of captive great apes, Herzfeld uses Wattana’s life to trace the history of orangutans from their first arrival in Europe in 1776 to the inhabitants of the Zoo of Paris and other zoos today. She provides a close look at the habits, technical know-how, and skills of Wattana, who, remarkably, uses strings, paper rolls, rope, and even pieces of wood to make things. And she thoughtfully explores how apes individually—and often with ingenuity—come to terms with and adapt to their captive environments and caretakers. Through these stories, Wattana sympathetically reveals the extraordinary psychology and distinctive personalities of great apes as well as the interconnections between animal and human lives, especially in zoos.
Scientists predict that orangutans will disappear from the wild by 2030, and captive animals like Wattana may, as a result, provide our best chance to understand and appreciate their astonishing intelligence and abilities. Wattana, the accomplished maker of knots, is the hero of this poignant book, which will enthrall anyone curious about the lives of our primate cousins.
"This unique collection of documents will be a boon to teachers of history and to scholars of the French Revolution. . . . Recommended."
-- Library Journal
Now available in a durable paperback edition, Shari Benstock's critically acclaimed, best-selling Women of the Left Bank is a fascinating exploration of the lives and works of some two dozen American, English, and French women whose talent shaped the Paris expatriate experience in the century's early years.
This ambitious historical, biographical, and critical study has taken its place among the foremost works of literary criticism. Maurice Beebe calls it "a distinguished contribution to modern literary history." Jane Marcus hails it as "the first serious literary history of the period and its women writers, making along the way no small contribution to our understanding of the relationships between women artists and their male counterparts, from Henry James to Hemingway, Joyce, Picasso, and Pound."
What does it mean to look like a lesbian? Though it remains impossible to conjure a definitive image that captures the breadth of this highly nuanced term, today at least we are able to consider an array of visual representations that have been put into circulation by lesbians themselves over the last six or seven decades. In the early twentieth century, though, no notion of lesbianism as a coherent social or cultural identity yet existed.
In Women Together/Women Apart, Tirza True Latimer explores the revolutionary period between World War I and World War II when lesbian artists working in Paris began to shape the first visual models that gave lesbians a collective sense of identity and allowed them to recognize each other. Flocking to Paris from around the world, artists and performers such as Romaine Brooks, Claude Cahun, Marcel Moore, and Suzy Solidor used portraiture to theorize and visualize a "new breed" of feminine subject. The book focuses on problems of feminine and lesbian self-representation at a time and place where the rights of women to political, professional, economic, domestic, and sexual autonomy had yet to be acknowledged by the law. Under such circumstances, same-sex solidarity and relative independence from men held important political implications.
Combining gender theory with visual, cultural, and historical analysis, Latimer draws a vivid picture of the impact of sexual politics on the cultural life of Paris during this key period. The book also illuminates the far-reaching consequences of lesbian portraiture on contemporary constructions of lesbian identity.
Much of what we know about these iconic literary figures comes from their own published letters and essays, revealing how adroitly they developed their own reputations by controlling the reception of their work. Surprisingly the literary world has paid less attention to their autobiographies.
In Writing the Lost Generation, Craig Monk unlocks a series of neglected texts while reinvigorating our reading of more familiar ones. Well-known autobiographies by Malcolm Cowley, Ernest Hemingway, and Gertrude Stein are joined here by works from a variety of lesser-known—but still important—expatriate American writers, including Sylvia Beach, Alfred Kreymborg, Samuel Putnam, and Harold Stearns. By bringing together the self-reflective works of the Lost Generation and probing the ways the writers portrayed themselves, Monk provides an exciting and comprehensive overview of modernist expatriates from the United States.
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