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       Hailed as a pioneering work of
      "total history" when it was published in France in 1966, Le Roy Ladurie's
      volume combines elements of human geography, historical demography, economic
      history, and folk culture in a broad depiction of a great agrarian cycle,
      lasting from the Renaissance to the Enlightenment. It describes the conflicts
      and contradictions of a traditional peasant society in which the rise in
      population was not matched by increases in wealth and food production.
      "It presents us with a great study of rural history, an analysis of economic change and a description of a society
in movement that has few equals."
-- Washington Post Book World
"It is without any doubt one of the most important, if not the most important, monograph of the French Annales school of socio-economic
historians written in the last decade." -- Canadian Historical Review
 

The Jazz Age. The phrase conjures images of Louis Armstrong holding court at the Sunset Cafe in Chicago, Duke Ellington dazzling crowds at the Cotton Club in Harlem, and star singers like Bessie Smith and Ma Rainey. But the Jazz Age was every bit as much of a Paris phenomenon as it was a Chicago and New York scene.

In Paris Blues, Andy Fry provides an alternative history of African American music and musicians in France, one that looks beyond familiar personalities and well-rehearsed stories. He pinpoints key issues of race and nation in France’s complicated jazz history from the 1920s through the 1950s. While he deals with many of the traditional icons—such as Josephine Baker, Django Reinhardt, and Sidney Bechet, among others—what he asks is how they came to be so iconic, and what their stories hide as well as what they preserve. Fry focuses throughout on early jazz and swing but includes its re-creation—reinvention—in the 1950s. Along the way, he pays tribute to forgotten traditions such as black musical theater, white show bands, and French wartime swing. Paris Blues provides a nuanced account of the French reception of African Americans and their music and contributes greatly to a growing literature on jazz, race, and nation in France.

The siege of Paris by Prussians in the fall and winter of 1870 and 1871 turned the city upside down, radically altering its appearance, social structure, and mood. As Hollis Clayson demonstrates in Paris in Despair, the siege took an especially heavy toll on the city's artists, forcing them out of the spaces and routines of their insular prewar lives and thrusting them onto the ramparts (as many became soldiers).

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.

“We’ll always have Paris,” croons Humphrey Bogart in Casablanca to a young Ingrid Bergman. F. Scott Fitzgerald commented that “the best of America drifts to Paris.” But, should one never get the opportunity to visit Paris, one might take consolation in the words of critic William Hazlitt, who called it a “beast of a city.” Be it praise or colorful invective, everyone, it seems, has something to say about the city and this slender volume—filled with wise, witty, and sometimes scandalous quotes—presents the full range of impressions it has made.

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.

France today is in the throes of a crisis about whether to represent social differences within its political system and, if so, how. It is a crisis defined by the rhetoric of a universalism that takes the abstract individual to be the representative not only of citizens but also of the nation. In Parité! Joan Wallach Scott shows how the requirement for abstraction has led to the exclusion of women from French politics. 

During the 1990s, le mouvement pour la parité successfully campaigned for women's inclusion in elective office with an argument that is unprecedented in the annals of feminism. The paritaristes insisted that if the abstract individual were thought of as sexed, then sexual difference would no longer be a relevant consideration in politics. Scott insists that this argument was neither essentialist nor separatist; it was not about women's special qualities or interests. Instead, parité was rigorously universalist—and for that reason was both misunderstood and a source of heated debate.

Passionate Discontent is an erudite study of the relationship between gender and genius in late nineteenth-century French Symbolism. Born in an era of crisis, the Symbolist art movement was characterized by withdrawal to a mystical, antibourgeois world of the mind and spirit. While Symbolists idealized the "poète maudit," a creative, mad genius exhibiting an emotional state of heightened awareness and "passionate discontent," female artists displaying similar symptoms were dismissed as hysterical.

Art historian Patricia Mathews traverses the artistic, social, and scientific discourses of fin-de-siècle France in order to illuminate the Symbolist construction of a feminized aesthetic that nonetheless excluded female artists from its realm. Along the way, Mathews proffers important new readings of the art of such Symbolists as Gauguin, van Gogh and Moreau, as well as that of their female contemporaries Camille Claudel and Suzanne Valadon. Passionate Discontent is an important contribution to art historical and women's studies.

In Past Forward: French Cinema and the Post-Colonial Heritage, author Dayna Oscherwitz focuses on the world of French films with a new lens. Drawing upon a wealth of research and the examination of popular French movies, Oscherwitz offers fresh perspectives not only on the unique importance of motion pictures and their indelible influence on French character, but on current debates regarding individual and collective memory.
            Past Forward traces the development and ascension of the French heritage film—those historical and costume dramas focusing on prestigious French subjects, events, and settings. These motion pictures, preeminent during a period of globalization and fear over the affects of immigration in 1980s France, quickly came to embody a specific version of French national and collective identity: one that idealized the past, condemned the present, and created an institutional form of memory. Oscherwitz presents the intriguing notion that French heritage films are not exclusively expressions of nationalism and nostalgia as has commonly been asserted. On the contrary, although these movies were born out of a perceived loss of French culture, their ambivalence toward traditional hallmarks of nationalism opens them up to new interpretation. Also in contrast to typical conceptions, the author suggests that these heritage films are far from cinematic bastions of multicultural backlash; instead, she argues, popular culture has in its own fashion reinserted the history of colonialism and immigration into the national past, thus reimagining heritage itself.

            Against this backdrop, Oscherwitz goes on to investigate the multicultural worlds of beur and banlieue movies—cinema seemingly in direct contrast with the heritage film—offering the theory that these films serve as a “countermemory” to an institutionalized one and provide alternative models of collective memory and identity. Through careful analysis of several examples, Oscherwitz demonstrates how these two seemingly different realms—heritage and multicultural cinema—are far from mutually exclusive in the construction of French identity.

            Throughout the volume, numerous well-known French movies are reexamined, inviting new interpretations of and challenging old views through investigations of familiar cinematic works. Past Forward is arevolutionary volume that boldly reimagines our ideas about French film and its role in communicating history and memory.

Between 1880 and 1920, Muslim Sufi orders became pillars of the colonial regimes and economies of Senegal and Mauritania. In Paths of Accommodation, David Robinson examines the ways in which the leaders of the orders negotiated relations with the Federation of French West Africa in order to preserve autonomy within the religious, social, and economic realms while abandoning the political sphere to their non-Muslim rulers.

This was a striking development because the local inhabitants had a strong sense of belonging to the Dar al-Islam, the “world of Islam” in which Muslims ruled themselves.

Drawing from a wide variety of archival, oral, and Arabic sources, Robinson describes the important roles played by Muslim merchants and the mulatto community of St. Louis, Senegal. He also examines the impact of the electoral institutions established by the Third Republic, and the French effort to develop a reputation as a “Muslim power”—a European imperial nation with a capacity for ruling over Islamic subjects.

By charting the similarities and differences of the trajectories followed by leading groups within the region as they responded to the colonial regimes, Robinson provides an understanding of the relationship between knowledge and power, the concepts of civil society and hegemony, and the transferability of symbolic, economic, and social capital.

In 1942, two years after invading France, the Germans implemented their policy of exterminating the Jews. In contrast to Jews in many parts of German-occupied Europe, however, the majority of Jews in France survived, thanks to opposition to the Nazi extermination policy from Church dignitaries and the moral indignation of the average Frenchmen. Seeking to maintain popular support, the Vichy Regime bargained with the Germans over the substance and extent of its collaboration, which the Germans needed in order to hold France.

Drawing on German and French sources, Wolfgang Seibel traces the twisted process of political decision-making that shaped the fate of the Jews in German-occupied France during World War II. By analyzing the German-French negotiations, he reveals the underlying logic as well as the actual course of the bargaining process as both the Vichy Regime and the Germans sought a stable relationship. Yet that relationship was continually reshaped by the progress of the war, Germany’s deteriorating prospects, France’s economic and geopolitical position, and the Vichy government’s quest for domestic political support. The Jews’ suffering intensified when the Germans had the upper hand; but when the French felt empowered, the Vichy Regime stopped collaborating in the completion of the “final solution.” Persecution and Rescue: The Politics of the “Final Solution” in France, 1940–1944 demonstrates the ways in which political circumstances can mitigate—or foster—mass crime.

Originally published in 1982, James Clifford's analytical biography of Maurice Leenhardt (1878–1954)—missionary, anthropologist, founder of French Oceanic studies, historian of religion, and colonial reformer—received wide critical acclaim for its insight into the colonial history of anthropology. Drawing extensively on unpublished letters and journals, Clifford traces Leenhardt's life from his work as a missionary on the island of New Caledonia (1902–1926) to his subsequent return to Paris where he became an academic anthropologist at the École Practique des Hautes Études, where he followed Marcel Mauss and was succeeded in 1951 by Claude Lévi-Strauss. Clifford sees in Leenhardt's career a foreshadowing of contemporary anthropological concerns with reflexivity, cultural hybridity, and colonial and post-colonial entanglements.

In the fateful year of 1913, events in New York and Paris launched a great public rivalry between the two most consequential artists of the twentieth century, Pablo Picasso and Marcel Duchamp. The New York Armory Show art exhibition unveiled Duchamp’s Nude Descending a Staircase, a “sensation of sensations” that prompted Americans to declare Duchamp the leader of cubism, the voice of modern art. In Paris, however, the cubist revolution was reaching its peak around Picasso. In retrospect, these events form a crossroads in art history, a moment when two young bohemians adopted entirely opposite views of the artist, giving birth to the two opposing agendas that would shape all of modern art. Today, the museum-going public views Pablo Picasso as the greatest figure in modern art. Over his long lifetime, Picasso pioneered several new styles as the last great painter in the Western tradition. In the rarefied world of artists, critics, and collectors, however, the most influential artist of the last century was not Picasso, but Marcel Duchamp: chess player, prankster, and a forefather of idea-driven dada, surrealism, and pop art. Picasso and the Chess Player is the story of how Picasso and Duchamp came to define the epochal debate between modern and conceptual art—a drama that features a who’s who of twentieth-century art and culture, including Henri Matisse, Gertrude Stein, André Breton, Salvador Dalí, and Andy Warhol. In telling the story, Larry Witham weaves two great art biographies into one tumultuous century.

In Picasso's Demoiselles, eminent art historian Suzanne Preston Blier uncovers the previously unknown history of Pablo Picasso's Les Demoiselles d’Avignon, one of the twentieth century's most important, celebrated, and studied paintings. Drawing on her expertise in African art and newly discovered sources, Blier reads the painting not as a simple bordello scene but as Picasso's interpretation of the diversity of representations of women from around the world that he encountered in photographs and sculptures. These representations are central to understanding the painting's creation and help identify the demoiselles as global figures, mothers, grandmothers, lovers, and sisters, as well as part of the colonial world Picasso inhabited. Simply put, Blier fundamentally transforms what we know about this revolutionary and iconic work.

Martha Ward tracks the development and reception of neo-impressionism, revealing how the artists and critics of the French art world of the 1880s and 1890s created painting's first modern vanguard movement.

Paying particular attention to the participation of Camille Pissarro, the only older artist to join the otherwise youthful movement, Ward sets the neo-impressionists' individual achievements in the context of a generational struggle to redefine the purposes of painting. She describes the conditions of display, distribution, and interpretation that the neo-impressionists challenged, and explains how these artists sought to circulate their own work outside of the prevailing system. Paintings, Ward argues, often anticipate and respond to their own conditions of display and use, and in the case of the neo-impressionists, the artists' relations to market forces and exhibition spaces had a decisive impact on their art.

Ward details the changes in art dealing, and chronicles how these and new freedoms for the press made artistic vanguardism possible while at the same time affecting the content of painting. She also provides a nuanced account of the neo-impressionists' engagements with anarchism, and traces the gradual undermining of any strong correlation between artistic allegiance and political direction in the art world of the 1890s.

Throughout, there are sensitive discussions of such artists as Georges Seurat and Paul Signac, as well as Pissarro. Yet the touchstone of the book is Pissarro's intricate relationship to the various factions of the Paris art world.

After a long journey from Sugar City, Idaho, to France’s Argonne Forest France during World War I,
young Thomas Neibaur found himself in the core of the American Expeditionary Force’s most important offensive.
After becoming separated in advance of his unit, he, despite serious wounds, single-handedly stopped a German
counterattack at a critical hill known as Côte de Châtillon. For this remarkable feat of valor, he received the Medal of
Honor and other awards, becoming the first Idaho and first Mormon recipient of the nation’s highest combat award.
But after a heroic return and brief celebrity, his life followed a tragic downward arc, culminating in his attempt to return
his medal because, as he put it, it could not feed his family.

Édouard Glissant, long recognized in the French and francophone world as one of the greatest writers and thinkers of our times, is increasingly attracting attention from English-speaking readers. Born in Martinique in 1928, Glissant earned a doctorate from the Sorbonne. When he returned to his native land in the mid-sixties, his writing began to focus on the idea of a "relational poetics," which laid the groundwork for the "créolité" movement, fueled by the understanding that Caribbean culture and identity are the positive products of a complex and multiple set of local historical circumstances. Some of the metaphors of local identity Glissant favored--the hinterland (or lack of it), the maroon (or runaway slave), the creole language--proved lasting and influential.
In Poetics of Relation, Glissant turns the concrete particulars of Caribbean reality into a complex, energetic vision of a world in transformation. He sees the Antilles as enduring suffering imposed by history, yet as a place whose unique interactions will one day produce an emerging global consensus. Arguing that the writer alone can tap the unconscious of a people and apprehend its multiform culture to provide forms of memory capable of transcending "nonhistory," Glissant defines his "poetics of relation"--both aesthetic and political--as a transformative mode of history, capable of enunciating and making concrete a French-Caribbean reality with a self-defined past and future. Glissant's notions of identity as constructed in relation and not in isolation are germane not only to discussions of Caribbean creolization but also to our understanding of U.S. multiculturalism. In Glissant's view, we come to see that relation in all its senses--telling, listening, connecting, and the parallel consciousness of self and surroundings--is the key to transforming mentalities and reshaping societies.
This translation of Glissant's work preserves the resonating quality of his prose and makes the richness and ambiguities of his voice accessible to readers in English.
"The most important theoretician from the Caribbean writing today. . . . He is central not only to the burgeoning field of Caribbean studies, but also to the newly flourishing literary scene in the French West Indies." --Judith Graves Miller, University of Wisconsin, Madison
Édouard Glissant is Distinguished Professor of French at City University of New York, Graduate Center. Betsy Wing's recent translations include Lucie Aubrac's Outwitting the Gestapo (with Konrad Bieber), Didier Eribon's Michel Foucault and Hélêne Cixous's The Book of Promethea.

Once a marginal political coalition, the French National Front has become the most high-profile far-right organization in Europe. In Politics on the Fringe Edward G. DeClair provides the first extensive analysis of the Front’s history, from its creation in 1972 and outcast status in the early 1980s to its achievement of broad-based support and show of political strength in the 1997 elections.

Using rare, in-depth interviews with twenty-nine members of the Front elite, as well as public opinion survey data and electoral results, DeClair examines the internal structure of the Front, its political agenda, and its growing influence in France. DeClair shows how the party has dramatically expanded its traditionally narrow core constituency by capitalizing upon anxieties about national identity, immigration, European unification, and rising unemployment. In illustrating how the rhetoric surrounding such topics is key to the Front’s success, DeClair examines the Front’s legacy by detailing the links between the French far-right and similar movements in such countries as Germany, Belgium, Austria, Italy, and the United States. Finally, Politics on the Fringe offers not only a complete picture of the Front’s increasingly influential role in French partisan politics but also further insight into the resurgence of right-wing extremism throughout western societies in the late twentieth century.

This volume will be of primary importance to political scientists and those engaged with European politics, culture, and history. It will also appeal to those concerned with right-wing populism and political movements.

Politics, Writing, Mutilation was first published in 1985. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Five twentieth-century French writers played, and continue to play, a pivotal role in the development of literary-philosophical thinking that has come to be known in the United States as post-structuralism. The work of Georges Bataille, Maurice Blanchot, Raymond Roussel, Michel Leiris, and Francis Ponge in the 1930s and 1940s amounts to a prehistory of today's theoretical debates; the writings of Foucault and Derrida in particular would have been unthinkable outside the context provided by these writers. In Politics, Writing, Mutilation,Allan Stoekl emphasizes their role as precursors, but he also makes clear that they created a distinctive body of work that must be read and evaluated on its own terms.

Stoekl's critical readings of their work—selected novels, poems, and autobiographical fragments—reveal them to be battlegrounds not only of disruptive language practices, but of conflicting political drives as well. These irreconcilable tendencies can be defined as progressive political revolution, on the one hand with its emphasis on utility, conservation, and labor; and, on the other hand, a notion of dangerous and sinister production that stresses orgiastic sexuality and delirious expenditure. Caught between these forces is the intellectual of Bataille's time (and indeed of ours), locked in impotence, self-betrayal, and automutilation.

Stoekl develops his critique through dual readings of each writer's central work—the first reading deconstructive, the second a search for the political meaning excluded by a deconstructive approach. Repeating this process on a larger scale, he shows how Derrida and Foucault are indebted to their precursors even while they have betrayed them by stripping their work of political conflict and historical specificity. And he acknowledges that one of the most painful questions faced in prewar and Occupied France—that of the unthinkable guilt and duplicity of the intellectual—may not be as remote from contemporary theoretical concerns as some would have us believe.

As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800–1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists—including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot—figured and brought forth the radical image of a female subject representing the world.

 

Wettlaufer brings to light a rich and nearly forgotten culture of women’s artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of “The Studio” (Part I), “Cosmopolitan Visions” (Part II), and “The Portrait” (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.

Catherine de Médicis was portrayed in her day as foreign usurper, loving queen and queen mother, patron of the arts, and Machiavellian murderer of Protestants. Leah L. Chang and Katherine Kong assemble a diverse array of scathing polemic and lofty praise, diplomatic reports, and Catherine’s own letters, which together show how one extraordinary woman’s rule intersected with early modern conceptions of gender, maternity, and power.

France has in recent years emerged as a bellwether for worldwide anxieties around postcolonialism and multiculturalism, and the rise of right-wing populism. This book offers a detailed exploration of the dynamics and dilemmas of the present moment of crisis and hope in France through an exploration of a number of recent moral panics. Paul Silverstein here examines urban racial violence, female Islamic dress and male public prayer, anti-system gangster rap, and sports—all of which have triggered major national debates over France’s multicultural future. Silverstein shows convincingly that these conflicts can be traced back to unresolved tensions around France's imperial project, the present-day effects of which are still being felt.
 

In the global imagination, Paris is the city's glamorous center, ignoring the Muslim residents in its outskirts except in moments of spectacular crisis such as terrorist attacks or riots. But colonial immigrants and their French offspring have been a significant presence in the Parisian landscape since the 1940s. Expanding the narrow script of what and who is Paris, Laila Amine explores the novels, films, and street art of Maghrebis, Franco-Arabs, and African Americans in the City of Light, including fiction by Charef, Chraïbi, Sebbar, Baldwin, Smith, and Wright, and such films as La haine, Made in France, Chouchou, and A Son.

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.

Postmodern Spiritual Practices: The Construction of the Subject and the Reception of Plato in Lacan, Derrida, and Foucault, by Paul Allen Miller, argues that a key element of postmodern French intellectual life has been the reception of Plato. This fact has gone underappreciated in the Anglophone world due to a fundamental division in culture. Until very recently, the concerns of academic philosophy and philology have had little in common. On the one hand, this is due to analytic philosophy’s self-confinement to questions of epistemology, speech act theory, and philosophy of science. As such, it has had little to say about the relation between antique and contemporary modes of thought.
On the other hand, blindness to the merits of postmodern thought is also due to Anglo-American philology’s own parochial instincts. Ensconced within a nineteenth-century model of Alterumswissenschaft, only a minority of classicists have made forays into philosophical, psychoanalytic, and other speculative modes of inquiry. The result has been that postmodern French thought has largely been the province of scholars of modern languages. 
A situation thus emerges in which most classicists do not know theory, and so cannot appreciate the scope of these thinkers’ contribution to our understanding of the genealogy of Western thought, while most theorists do not know the Platonic texts and their contexts that ground them. This book bridges this gap, offering detailed and theoretically informed readings of French postmodernism’s chief thinkers’ debts to Plato and the ancient world. 

These texts were written in the vernacular for a readership of physicians and surgeons but also of midwives and lay women. So they present important evidence that, contrary to stereotypes, women were the recipients of medical texts written specifically for them. More generally, these texts demonstrate a strong interest in women’s health, indicating that early modern physicians and surgeons had a new interest in the specificity of female anatomy and women’s diseases. The texts selected and translated in this volume allow the reader to access an important group of primary sources on issues related to women’s health, including childbirth and caesarean section, sterility, miscarriage, breastfeeding, etc. The selection of texts is well organized and coherent, the translation is accurate and fluent, and the texts are adequately annotated, so the book will be easily used by scholars and students, including undergraduates. It provides evidence of a new concern and attention for women’s health needs, which, most interestingly, often went hand-in-hand with the rejection of misogynist stereotypes and the challenging of conventional views of female subordination and inferiority.
—Gianna Pomata
Professor of the History of Medicine, Johns Hopkins University

Preliminary Discourse to the Encyclopedia of Diderot expresses the hopes, dogmas, assumptions, and prejudices that have come to characterize the French Enlightenment. In this preface to the Encyclopedia, d'Alembert traces the history of intellectual progress from the Renaissance to 1751. Including a revision of Diderot's Prospectus and a list of contributors to the Encyclopedia, this edition, elegantly translated and introduced by Professor Richard Schwab, is one of the great works of the Enlightenment and an outstanding introduction to the philosophes.

This pathbreaking book shows how credit markets functioned in Paris, through the agency of notaries, during a critical period of French history. Its authors challenge the usual assumption that organized financial markets—and hence the opportunity for economic growth—did not emerge outside of England and the Netherlands until the nineteenth century. Drawing on innovative research, the authors show that as early as the Old Regime, financial intermediaries in France were mobilizing a great tide of capital and arranging thousands of loans between borrowers and lenders.

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.

In his now classic volume Prospero and Caliban, Octave Mannoni gives his firsthand account of a 1948 revolt in Madagascar that led to one of the bloodiest episodes of colonial repression on the African continent. It is in Prospero and Caliban that Mannoni constructs the notion of the “dependency complex,” for which his book has since been remembered and widely discussed in both psychoanalytical and anthropological writing. Prospero and Caliban was one of the first books to challenge traditional approaches to the study of native American societies by Western colonizers and anthropologists; and Mannoni is recognized today for his close association with and influence on the French psychoanalyst Lacan.
 
Noted anthropologist Maurice Bloch has written a powerful and critical new foreword to the English translation, which allows the reader to view Mannoni’s unique work in its historical and intellectual context.
 

"Prostitution in Medieval Society, a monograph about Languedoc between the twelfth and sixteenth centuries, is also much more than that: it is a compelling narrative about the social construction of sexuality."

– Catharine R. Stimpson

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.