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Becoming French explores the geographical shift that occurs in French society during the first four decades of France's Third Republic government. Dana Kristofor Lindaman provides the historical context that led to the explosion of geographic interest at the end of the nineteenth century, exploring the ways that the work of the geographers Paul Vidal de la Blache and Élisée Reclus served as a conceptual basis for abstract notions of the nation such as la Patrie. Lindaman then uses Reclus's formulation of the earth as "une organisme terrestre" (terrestrial organism) to read Jules Verne's Voyage au centre de la terre (Journey to the Center of the Earth) as a journey to the center of the individual self. Finally, he traces the geographic narrative of G. Bruno's Tour de la France par deux enfants, in particular the way that Bruno's work incorporates the geographic thought of Vidal de la Blache, to discover the organic ties that bind readers through the shared experience of reading the text.

We have grown accustomed to the idea that scientific theories are embedded in their place and time. But in the case of the development of mathematical physics in eighteenth-century France, the relationship was extremely close. In Before Voltaire, J.B. Shank shows that although the publication of Isaac Newton’s Principia in 1687 exerted strong influence, the development of calculus-based physics is better understood as an outcome that grew from French culture in general.
 
Before Voltaire explores how Newton’s ideas made their way not just through the realm of French science, but into the larger world of society and culture of which Principia was an intertwined part. Shank also details a history of the beginnings of calculus-based mathematical physics that integrates it into the larger intellectual currents in France at the time, including the Battle of the Ancients and the Moderns, the emergence of wider audiences for science, and the role of the newly reorganized Royal Academy of Sciences. The resulting book offers an unprecedented cultural history of one the most important and influential elements of Enlightenment science.
 

Studies the critical role homeland politics plays in Vietnamese immigrants' assimilation into the host society

In this abridgment of his monumental study, Berlioz and the Romantic Century, Jacques Barzun recounts the events and extraordinary achievements of the great composer's life against the background of the romantic era. As the author eloquently demonstrates, Berloiz was an archetype whose destiny was the story of an age, the incarnation of an artistic style and a historical spirit. "In order to understand the nineteenth century, it is essential to understand Berlioz," notes W. H. Auden, "and in order to understand Berlioz, it is essential to read Professor Barzun."

For the past several decades, French historians have emphasized the writing of history in terms of structures, cultures, and mentalities, an approach exemplified by proponents of the Annales school. With this volume, Bernard Guenée, himself associated with the Annalistes, marks a decisive break with this dominant mode of French historiography. Still recognizing the Annalistes' indispensable contribution, Guenée turns to the genre of biography as a way to attend more closely to chance, to individual events and personalities, and to a sense of time as people actually experienced it. His erudite, lively, elegantly written study links in sequence the lives of four French bishops, illuminating medieval and early modern history through their writings.

Guenée chooses as his frame the momentous period from the height of Saint Louis's reign in the mid-thirteenth century to the beginning of the Italian wars two hundred years later. During this time of schism in the church, of war between nascent states, and of treachery among princes, Bernard Gui (1261-1331), Gilles Le Muisit (1272-1353), Pierre D'Ailly (1351-1420), and Thomas Basin (1412-1490) all rose from modest circumstances to the dignity of office. Guenée shows us how these prelates used their talent, ambition, patrons, zeal, and experience to juggle the competing demands of obedience to church and state; to overcome competition from an upcoming new generation; and to cope with plague, war, and violence. Free of jargon yet steeped in learning, Between Church and State reveals the career patterns and politics of an era while forging a new model for points of departure in historical scholarship.

The Nazi invasion of Poland in 1939 plunged the world into its second global conflict. The Third Reich's attack, mounted without consulting its Italian ally, had other reverberations as well. Chief among them was Mussolini's decision to conduct a "parallel war" based on his own tactical and political agendas. Against this backdrop, Daniel Carpi depicts the fate of some 5000 Jews in Tunisia and as many as 30,000 in southeastern France, all of whom came under the aegis of the Italian Fascist regime early in the war. Many were unskilled immigrants: still others were political refugees, activists, or anti-fascist emigres, the fuoriusciti who fled oppression in Italy only to find themselves under its rule once again after the fall of France. While the Fascist regime disagreed with Hitler's final solution for the "Jewish problem," it also saw actions by Vichy French police or German security forces against Jews in Italian-controlled regions as an erosion of Rome's power. Thus, although these Jews were not free from oppression, Carpi shows that as long as Italy maintained control over them its consular officials were able to block the arrests and mass deportations occurring elsewhere.

This book analyzes the relationship of the French press to political power. The bedrock concept of “innocent until proven guilty” is reversed for French journalists in libel cases; they enter courtrooms presumed guilty. Royal holdovers live on: Louis XIV’S system of indirect control through revocable favors persists in the form of state financial aid to the press.  The weekly Le Canard Enchaîné is a journalistic court jester that plays the same role as the fops at Versailles, telling truth to power in joke form on topics that “serious” journals avoid.

Also introduced: “surplus freedom” a novel approach for gauging self-censorship by comparing the degree of free expression a legal system permits to what publications actually exercise.

In Black France / France Noire, scholars, activists, and novelists from France and the United States address the untenable paradox at the heart of French society. France's constitutional and legal discourses do not recognize race as a meaningful category. Yet the lived realities of race and racism are ever-present in the nation's supposedly race-blind society. The vaunted universalist principles of the French Republic are far from realized. Any claim of color-blindness is belied by experiences of anti-black racism, which render blackness a real and consequential historical, social, and political formation. Contributors to this collection of essays demonstrate that blackness in France is less an identity than a response to and rejection of anti-black racism. Black France / France Noire is a distinctive and important contribution to the increasingly public debates on diversity, race, racialization, and multicultural intolerance in French society and beyond.

Contributors. Rémy Bazenguissa-Ganga, Allison Blakely, Jennifer Anne Boittin, Marcus Bruce, Fred Constant, Mamadou Diouf, Arlette Frund, Michel Giraud, Bennetta Jules-Rosette, Trica Danielle Keaton, Jake Lamar, Patrick Lozès, Alain Mabanckou, Elisabeth Mudimbe-Boyi, T. Denean Sharpley-Whiting, Tyler Stovall, Christiane Taubira, Dominic Thomas, Gary Wilder

Black Venus is a feminist study of the representations of black women in the literary, cultural, and scientific imagination of nineteenth-century France. Employing psychoanalysis, feminist film theory, and the critical race theory articulated in the works of Frantz Fanon and Toni Morrison, T. Denean Sharpley-Whiting argues that black women historically invoked both desire and primal fear in French men. By inspiring repulsion, attraction, and anxiety, they gave rise in the nineteenth-century French male imagination to the primitive narrative of Black Venus.
The book opens with an exploration of scientific discourse on black females, using Sarah Bartmann, the so-called Hottentot Venus, and natural scientist Georges Cuvier as points of departure. To further show how the image of a savage was projected onto the bodies of black women, Sharpley-Whiting moves into popular culture with an analysis of an 1814 vaudeville caricature of Bartmann, then shifts onto the terrain of canonical French literature and colonial cinema, exploring the representation of black women by Baudelaire, Balzac, Zola, Maupassant, and Loti. After venturing into twentieth-century film with an analysis of Josephine Baker’s popular Princesse Tam Tam, the study concludes with a discussion of how black Francophone women writers and activists countered stereotypical representations of black female bodies during this period. A first-time translation of the vaudeville show The Hottentot Venus, or Hatred of Frenchwomen supplements this critique of the French male gaze of the nineteenth and early twentieth centuries.
Both intellectually rigorous and culturally intriguing, this study will appeal to students and scholars in the fields of nineteenth- and twentieth-century French literature, feminist and gender studies, black studies, and cultural studies.

Most people would be hard pressed to name a famous artist from Renaissance France. Yet sixteenth-century French kings believed they were the heirs of imperial Rome and commissioned a magnificent array of visual arts to secure their hopes of political ascendancy with images of overflowing abundance. With a wide-ranging yet richly detailed interdisciplinary approach, Rebecca Zorach examines the visual culture of the French Renaissance, where depictions of sacrifice, luxury, fertility, violence, metamorphosis, and sexual excess are central. Zorach looks at the cultural, political, and individual roles that played out in these artistic themes and how, eventually, these aesthetics of exuberant abundance disintegrated amidst perceptions of decadent excess.
 
Throughout the book, abundance and excess flow in liquids-blood, milk, ink, and gold-that highlight the materiality of objects and the human body, and explore the value (and values) accorded to them. The arts of the lavish royal court at Fontainebleau and in urban centers are here explored in a vibrant tableau that illuminates our own contemporary relationship to excess and desire.
 
From marvelous works by Francois Clouet to oversexed ornamental prints to Benvenuto Cellini's golden saltcellar fashioned for Francis I, Blood, Milk, Ink, Gold covers an astounding range of subjects with precision and panache, producing the most lucid, well-rounded portrait of the cultural politics of the French Renaissance to date.

Long a dominant figure in the French human sciences, Pierre Bourdieu has become internationally influential in the fields of sociology, anthropology, and cultural studies. A major figure in the development of "practice" as an organizing concept in social research, Bourdieu has emerged as the foremost advocate of reflexive social science; his work combines an astonishing range of empirical work with highly sophisticated theory.

American reception of his works, however, has lacked a full understanding of their place within the broad context of French human science. His individual works separated by distinct boundaries between social science fields in American academia, Bourdieu's cohesive thought has come to this country in fragments.

Bourdieu: Critical Perspectives provides a unified and balanced appraisal of Bourdieu's varied works by both proponents and skeptics. The essays are written from the varied viewpoints of cultural anthropology, ethnomethodology and other varieties of sociology, existential and Wittgensteinian philosophies, linguistics, media studies, and feminism. They work around three main themes: Bourdieu's effort to transcend gaps between practical knowledge and universal structures, his central concept of "reflexivity," and the relations between social structure, systems of classification, and language.

Ultimately, the contributors raise a variety of crucial theoretical questions and address problems that are important not only to understanding Bourdieu but to advancing empirical work of the kind he has pioneered. In an essay written especially for this volume, Bourdieu describes his own "mode of intellectual production" and the reasons he sees for its common misunderstanding.

The contributors are Hubert Dreyfus, Paul Rabinow, Charles Taylor, Aaron Cicourel, James Collins, William Hanks, Beate Krais, Nicholas Garnham, Scott Lash, Roger Brubaker, and Loic Wacquant, and the editors.

Nicknamed the "Eye of Paris" by Henry Miller, Brassaï was one of the great European photographers of the twentieth century. This volume of letters and photographs, many published for the first time, chronicles the fascinating early years of Brassaï's life and artistic development in Paris and Berlin during the 1920s and 1930s.

"[Brassaï] is probably the only photographer—at least in France—to have acquired such a vast audience and mastered his material to such a degree that he can express himself with a flexibility and apparent ease that is almost literary in its nature."—Jean Gallien, Photo-Monde

"The letters that Brassaï wrote to his parents between 1920 and 1940 chronicle the sometimes painful stages by which this gifted man hauled himself from penury to celebrity."—Peter Hamilton, Times Literary Supplement

"In these proud, protective, occasionally conscience-stricken missives, the young man full of eager dreams emerges as one of the century's pioneering photographers, revered for his lushly atmospheric portraits of Paris after dark."—Elle

"A fascinating insight into how a bright individual slowly found his calling."—Christine Schwartz Hartley, New York Times Book Review

At Chartres Cathedral, for the first time in medieval art, the lowest register of stained-glass windows depicts working artisans and merchants instead of noble and clerical donors. Jane Welch Williams challenges the prevailing view that pious town tradesmen donated these windows. In Bread, Wine, and Money, she uncovers a deep antagonism between the trades and the cathedral clergy in Chartres; the windows, she argues, portray not town tradesmen but trusted individuals that the fearful clergy had taken into the cloister as their own serfs.

Williams weaves a tight net of historical circumstances, iconographic traditions, exegetical implications, political motivations, and liturgical functions to explain the imagery in the windows of the trades. Her account of changing social relationships in thirteenth-century Chartres focuses on the bakers, tavern keepers, and money changers whose bread, wine, and money were used as means of exchange, tithing, and offering throughout medieval society. Drawing on a wide variety of original documents and scholarly work, this book makes important new contributions to our knowledge of one of the great monuments of Western culture.

Laura Levine Frader’s synthesis of labor history and gender history brings to the fore failures in realizing the French social model of equality for all citizens. Challenging previous scholarship, she argues that the male breadwinner ideal was stronger in France in the interwar years than scholars have typically recognized, and that it had negative consequences for women’s claims to the full benefits of citizenship. She describes how ideas about masculinity, femininity, family, and work affected post–World War I reconstruction, policies designed to address France’s postwar population deficit, and efforts to redefine citizenship in the 1920s and 1930s. She demonstrates that gender divisions and the male breadwinner ideal were reaffirmed through the policies and practices of labor, management, and government. The social model that France implemented in the 1920s and 1930s incorporated fundamental social inequalities.

Frader’s analysis moves between the everyday lives of ordinary working women and men and the actions of national policymakers, political parties, and political movements, including feminists, pro-natalists, and trade unionists. In the years following World War I, the many women and an increasing number of immigrant men in the labor force competed for employment and pay. Family policy was used not only to encourage reproduction but also to regulate wages and the size of the workforce. Policies to promote married women’s and immigrants’ departure from the labor force were more common when jobs were scarce, as they were during the Depression. Frader contends that gender and ethnicity exerted a powerful and unacknowledged influence on French social policy during the Depression era and for decades afterward.

Thirty years ago, an international antiglobalization movement was born in the grazing lands of France’s Larzac plateau. In the 1970s, Larzac farmers were joined by others from around the world in their efforts to prevent the expansion of a local military base: by ecologists, religious pacifists, and urban leftists, and by social activists including American Indians and South American peasant leaders. In 1999 some of the same farmers who had fought the expansion of the base in the 1970s—including José Bové—dismantled the new local McDonald’s. That gesture was part of a protest against U.S. tariffs on specified French exports including Roquefort cheese, the region’s primary market product. The two struggles—the one against expanding a French army camp intended to train troops for postcolonial wars, the other against American economic might—were landmarks in the global campaign to preserve local cultures. They were also key episodes in the decades-long attempt by the French to define their cultural heritage within a much changed nation, a new Europe, and, especially, an American-dominated world.

In Bringing the Empire Back Home, the inventive cultural historian Herman Lebovics provides a riveting account of how intense disputes about what it means to be French have played out over the past half-century, redefining Paris, the regions, and the former colonies in relation to one another and the world at large. In a narrative populated with peasants, people from the former colonies, museum curators, former colonial administrators, left Christians, archaeologists, anthropologists, soccer players and their teenage fans, and, yes, leading government officials, Lebovics reveals contemporary French society and cultures as perhaps the West’s most important testing grounds of pluralism and assimilation. A lively cultural history, Bringing the Empire Back Home highlights not only the political significance of France’s efforts to synthesize the regional, national, European, ethnic postcolonial, and global but also the chaotic beauty of the endeavor.

Looking at decolonization in the conditional tense, this volume teases out the complex and uncertain ends of British and French empire in Africa during the period of ‘late colonial shift’ after 1945. Rather than view decolonization as an inevitable process, the contributors together explore the crucial historical moments in which change was negotiated, compromises were made, and debates were staged. Three core themes guide the analysis: development, contingency and entanglement. The chapters consider the ways in which decolonization was governed and moderated by concerns about development and profit. A complementary focus on contingency allows deeper consideration of how colonial powers planned for ‘colonial futures’, and how divergent voices greeted the end of empire. Thinking about entanglements likewise stresses both the connections that existed between the British and French empires in Africa, and those that endured beyond the formal transfer of power.