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Winner of the Global Humanities Prize

A classic of modern Provençal literature, Jóusè d’Arbaud’s 1926 masterpiece “The Beast of Vacarés” (also known as “The Beast of Vaccarès”) is a haunting parable. Set during the fifteenth century, the tale is narrated by a solitary bull herder—known as a gardian—who stumbles upon a starving creature that is half man, half goat. Terrified, the gardian is nonetheless drawn to the eloquent Beast, a dying demigod who laments the loss of his glorious past even as he wields power over the animals around him. Torn between pity and fear, unable to understand his experiences and afraid he will be condemned for heresy, the gardian records his encounters in a journal, hoping that one day readers will make sense of what he cannot.

Set in the vast, lonely landscape of the Camargue delta, where the Rhône meets the Mediterranean, The Beast seamlessly melds fantasy with naturalistic detail about the region’s flora and fauna. Three additional stories—“The Caraco,” “Pèire Guilhem’s Remorse,” and “The Longline”—explore the lives of twentieth-century gardians in the region. Each man succumbs to fears and social pressure, tragically losing what he most loves.

French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris.

Tracing multivalent words of nineteenth-century French print culture

The production of printed text changed radically over the course of the nineteenth century: Everything from the material used to make paper to the gender of the people assembling books shifted. Examining ten key terms as they took on new meanings in the world of print, Cary Hollinshead-Strick shows how the words, borrowed to name technical transformations, reveal the social expectations surrounding the birth of industrial print culture. Through these homonyms she connects papermaking to both Renaissance ceramics and fin-de-siècle japonisme, reveals the politics behind typos and the reasons women went to work in Parisian suburbs, shows how newspaper formats mapped onto rural and urban forms of entertainment and food, and explores the fantasy that information itself could be gathered and distributed in reliable, comprehensive ways.

By lingering over the resonances set in motion when ordinary words like canard and filet became terms for modern media formats, this book situates communication practices in the social, economic, and political environments that gave rise to them. This innovative approach not only elucidates nineteenth-century French print culture’s influence on the literature of the period but also invites us to consider the relationships between contemporary forms of information, media, labor, and language.

How contemporary writers and filmmakers from across the African Sahara confront the colonial ideology of desert emptiness.

Jill Jarvis’s The Desert Is Alive challenges the image of the Sahara desert as a historical and cultural blank zone through a new “aesthetic cartography” that combines literary and film study with interdisciplinary thinking about space, borders, and infrastructures. In fields that still bear the imprint of a French colonial mindset, the Sahara has long been overlooked as a site of intellectual and cultural vitality. The Desert Is Alive breaks with a longstanding conceptual divide between “North” and “Subsaharan” Africa by resolutely centering the African Sahara and recognizing that the desert is not just full, but “peopled” in unexpected ways. 

Jarvis accounts for colonial transformations of Saharan land during the twentieth century, attesting to the tactical and symbolic allure that this desert’s purported “emptiness” has held for French empire-building. Jarvis also considers how such tactics have been repurposed by postcolonial states. She takes up the last manuscript composed by Swiss writer Isabelle Eberhardt, who died in a flood at Aïn Sefra, Algeria in 1904, and examines the first novel published by French writer and aviator Antoine de Saint-Exupéry, composed while he worked as a pilot at Tarfaya, Morocco, in order to build the first trans-Saharan flight line during the 1920s. Jarvis then explores depictions of Timbuktu (Mali) and Nouadhibou (Mauretania) in films by Mauritanian-French director Abderrahmane Sissako. Jarvis concludes with chapters that unfold the unfinished history of French nuclear violence in the Sahara. First, she discusses multimedia and documentary works that reckon with the enduring impact of the seventeen nuclear bombs that France detonated in the Algerian desert in the 1960s. Finally, Jarvis turns to works by Tuareg poet and artist Hawad that confront the ongoing legacy of uranium mining on Indigenous land in northern Niger. The result is a rich contribution to Francophone cultural studies, African studies, postcolonial studies, and ecocriticism. 

Examining the role of changes in print technologies and poetics in the early novel

Around the same time that Aristotle’s Poetics was reemerging from obscurity, Rabelais was composing his Pantagruel series, while a host of influential works in a chivalric, sentimental, or pastoral vein were being imported from Spain and Italy. From this emergent corpus, Rabelais’s is the only name to have unambiguously made it into our modern canon of literary history, where he appears to stand alone as an early pioneer of the novel. The Early Novel in French: Poetics of a Genre in the Making explores the literary, cultural, and eminently material soil in which these early forms of what we would come to know as the novel originally took root, showing how they were imaginatively responding to the practices and uncertainties of the literary texts of their own era as well as to works of classical antiquity. 

Within the flowering of experimental fictional forms in mid-sixteenth-century France, Virginia Krause identifies historical subplots shaping the development of this genre. As rhetorical culture continued to animate fictions through an active literary tradition, print culture was changing the very fabric of books. The early novel was thus at once rhetorically fashioned and technologically manufactured. Meanwhile, the legacy of medieval romance adventure persisted, making the early novel in French both a new laboratory for Aristotelian immersion and a vehicle for a mysterious and fugitive romanesque. Krause sheds fresh light on this new and rapidly evolving genre: its lifelike personas or “person-fictions”; its material forms, from pocket-sized volumes to vast literary serials; its immersive powers; and its underappreciated role in the production of the modern author. 

2005 — San Antonio Conservation Society Citation

Original articles that explore the French presence and influence on Texas history, arts, education, religion, and business.

The flag of France is one of the six flags that have flown over Texas, but all that many people know about the French presence in Texas is the ill-fated explorer Cavelier de La Salle, fabled pirate Jean Laffite, or Cajun music and food. Yet the French have made lasting contributions to Texas history and culture that deserve to be widely known and appreciated. In this book, François Lagarde and thirteen other experts present original articles that explore the French presence and influence on Texas history, arts, education, religion, and business from the arrival of La Salle in 1685 to 2002.

Each article covers an important figure or event in the France-Texas story. The historical articles thoroughly investigate early French colonists and explorers, the French pirates and privateers, the Bonapartists of Champ-d'Asile, the French at the Alamo, Dubois de Saligny and French recognition of the Republic of Texas, the nineteenth-century utopists of Icaria and Reunion, and the French Catholic missions. Other articles deal with French immigration in Texas, including the founding of Castroville, Cajuns in Texas, and the French economic presence in Texas today (the first such study ever published). The remaining articles look at painters Théodore and Marie Gentilz, sculptor Raoul Josset, French architecture in Texas, French travelers from Théodore Pavie to Simone de Beauvoir who have written on Texas, and the French heritage in Texas education. More than seventy color and black-and-white illustrations complement the text.

The Great Syrian Revolt of 1925 was the largest and longest-lasting anti-colonial insurgency in the inter-war Arab East. Mobilizing peasants, workers, and army veterans, rather than urban elites and nationalist intellectuals, it was the first mass movement against colonial rule in the Middle East. The revolt failed to liberate Syria from French occupation, but it provided a model of popular nationalism and resistance that remains potent in the Middle East today. Each subsequent Arab uprising against foreign rule has repeated the language and tactics of the Great Syrian Revolt.

In this work, Michael Provence uses newly released secret colonial intelligence sources, neglected memoirs, and popular memory to tell the story of the revolt from the perspective of its participants. He shows how Ottoman-subsidized military education created a generation of leaders of modest background who came to rebel against both the French Mandate rulers of Syria and the Syrian intellectuals and landowners who helped the colonial regime to function. This new popular nationalism was unprecedented in the Arab world. Provence shows compellingly that the Great Syrian Revolt was a formative event in shaping the modern Middle East.

This book argues, however, that the fear of sexual abandon--though real--veiled an even more insidious fear: that women might be capable of intellectual equality with men and thus pose a threat to the most basic structures of French patriarchal society. In demonstrating the pervasiveness of this anxiety through analysis of nineteenth-century medical texts, literary criticism, and fiction, The Hysteric's Revenge brings into relief a critical relationship between the female mind and body that is essential to understanding the discursive position of the turn-of-the-century woman writer.

The novels presented here confront this mind/body problem through a wide variety of styles and genres that challenge conventional fin-de-siecle notions of femininity. From the compelling autobiography of Liane de Pougy--one of Paris's most renowned courtesans--to Colette's frank discussions of female pleasure in one of her early novels, to the violent creativity of Rachilde's androgynous heroine, Mesch demonstrates how both canonical and non-canonical writers promoted women's intellectual authority through the development of a sexual counter-discourse. In engaging the relationship between women's minds and bodies, these novels challenge the conclusions of a century of doctors who sought to prove a physiological basis for female intellectual inferiority. At the same time, they point the way towards later French feminists who sought to subvert patriarchal structures through literary explorations of sexuality.

The first English-language translation of the 1968 activist play about inequality and access to education

In The Inheritor, surrealist imagery and experimental forms convey the radically different experience of two students, the Inheritor and the Non-Inheritor, as they prepare for a high-stakes exam. Revealing a world of privilege where “there is no such thing as luck,” the play features a beheaded knight, a talking record player, and a boisterous chorus of professors depicted as a flock of squawking birds.

Based on sociologists Pierre Bourdieu and Jean-Claude Passeron’s The Inheritors: French Students and Their Relations to Culture, the play was collectively created by Théâtre de l’Aquarium, a company then composed entirely of students. It proved a powerful success when it premiered in May 1968 amid student and worker protests in Paris, and it continues to speak forcefully to education inequity on campuses across anglophone countries today.