Although the great French novelists of the last two centuries are widely read in America, there is a widespread notion that little of importance has happened in French literature since the heyday of Sartre, Camus, and the nouveau roman. Curious American readers seeking new, up-to-date information and analyses will find in Paths to Contemporary French Literature a stimulating and much-needed guide to the major currents of one of the worldas great literatures. This critical panorama (...) of contemporary French literature introduces English-language readers to over fifty important writers and poets. Emphasizing authors who are admired by their peers, John Taylor offers a compelling insideras view. (shrink)

Although the great French novelists of the last two centuries are widely read in America, there is a widespread notion that little of importance has happened in the French literature since the heyday of Sartre, Camus, and the nouveau roman. Some might argue that even well-read Americans are ignorant about what is happening in European literature generally. Certainly, there has never been so few translations of foreign books in the United States, or so little coverage of (...) foreign writers. Curious American readers need new, up-to-date information and analyses about what is happening elsewhere. Paths to Contemporary French Literature is a stimulating and much-needed guide to the major currents of one of the world's great literatures. This critical panorama of contemporary French literature introduces English-language readers to over fifty important writers and poets, many of whom are still little known outside of France. Emphasizing authors who are admired by their peers, John Taylor offers a compelling insider's view. Their pioneering essays included in this book offer incisive analyses of the ideas motivating current writing and delve into a writer's or poet's entire output. Although some names may be familiar, the reader obtains fresh reappraisals of their seminal work. Especially noteworthy, however, are Taylor's lively introductions to many other key writers who either have not yet crossed the English Channel, let alone the Atlantic. Combating the notion that French literature is overtly intellectual, inaccessible, or interested only in formal experimentation, Taylor shows that many French writers are instead acutely inquisitive about the outside world, shrewd observers of reality, even very funny. Although not conceived as a "reference book," the volume possess some qualities of a reference work: a good bibliography, reliable dates and biographical facts. (shrink)

** Named a Best Book of 2007 by Ready Steady Book, an independent book review website, working in association with The Book Depository, which is devoted to reviewing the best books in literary fiction, poetry, history and philosophy. "An invaluable guide to new literary territory, Taylor is equally good in discussing writers whom the reader already knows." -- Raphael Rubenstein, Rain Taxi "The paths that John Taylor invites us to walk in this book are inviting ones: fifty-five luminous essays devoted (...) to the broad avenues and the seductive byways of contemporary writing in France. John Taylor is opinionated but his opinions are rigorously argued ones. He strikes a canny and productive balance among a variety of competing concerns: the will to instruct his readers, the desire to share with them some very real pleasures, the imperative to interpret critically, and so forth. What emerges here is the image of a rare reader, one who is always willing to engage literature on its own terms, and that of a literature that is mobile, ambitious, provocative and deeply invested in the process of becoming. -- Warren Motte, Review of Contemporary Fiction "In this great introduction to some 50 French writers and poets little known outside of France, Taylor (The Presence of Things Past; The World As It Is), winner of the Three Oaks Prize for Fiction, invites his readers on an interesting journey."--Library Journal "Here it is under one cover: a deeply informed, delightful, and provocative stroll' through the literature of postwar France. From the chroniques of Cingria to the mythologies of Barthes, John Taylor introduces us to the prose and poetry of dozens of French authors, many of them regrettably never translated into English. Taylor is a skillful and witty guide, able to locate a writer between the traditions of Catullus and Pavese or to identify a style borrowing equally from Hlderlin and Hemingway. Working across every genre from autobiography to poetry to fiction to travelogue to the essay, these French authors, well known and obscure, have plumbed the quintessential French problem' of subjectivity. Tired of the culture wars? The language-lyric debate? The post-game analysis of post-structuralism? I suggest you dive into any one of John Taylor's Paths' for a reminder of the astonishing breadth and depth and complexity of which literature is capable."--Erica Funkhouser, author, Pursuit "Here we have vast erudition revealed in graceful, arresting sentences, writing that provides confidence and pleasure. John Taylor's writing strongly evokes Henry James' writing about French literature in his own day. Like James, Taylor is both generous and astute, never relinquishing admiration for the intricate process of analysis, analysis that he does so penetratingly and eloquently. However brilliant Taylor's observations, behind them rests a deep esteem for the writer, for his or her work, and for the tradition from which it comes. This is critical writing that is satisfying at every single level."--Richard Goodman, author, French Dirt: The Story of a Garden in the South of France "As they stroll through forgotten quartiers of Paris, wander in memory through the fields of a Norman childhood, reflect on a poem's resemblance to the salt marshes of the Breton coast, mourn the death of a beloved young wife, or look for answers in questions to which the only answers are more questions--France's most celebrated and, in some cases, still uncelebrated contemporary writers are exquisitely captured by John Taylor in a prose both limpid and lapidary and through a host of finely wrought essays, each a small jewel of critical insight, poetic sensitivity, and meticulous interpretation. Like a message in a bottle cast up on the shore, this work offers the English-speaking reader an original and poetic way to understand, appreciate, and love French. (shrink)

This paper makes a comparison between Milan Kundera and Annie Saumont. I assume there is a message being sent by Saumont in her highly recommended short story “You Should Have Changed at Dol,” regarding history in Kundera, but what is the message? I offer two interpretations.

Evil remains a primary source of inquiry in contemporary literature of French expression, even among its most secular writers. In considering French-speaking authors from France, Belgium, the United States, the Maghreb, and Sub-Saharan Africa, this collection delineates a rich international perspective on some of the most disturbing events of our time. Each essay testifies to the urgency expressed in works of fiction to give an account of human catastrophes, from the Shoah and the Rwandan genocide to (...) the terrorist attacks of September 11, and the ongoing oppression of women in Islamic nations. Themes underlying this volume include an investigation into the origins of evil, its representations in writing, and the ethical responsibilities of authors who write on human suffering. Contemporary fiction on evil confronts us with fundamental questions: Can evil be attributed to intentionality, is evil "subconscious," or is it the result of impersonal forces? Which styles of writing are ethically appropriate or effective for depicting evil? Can we speak of a veritable "poetics of evil" shared by contemporary authors? When does a literary text on evil become "evil"? In providing informed and nuanced answers to these important questions, the scholars engage in crucial theories of psychoanalysis, post-structuralism, and post-modernism, address a number of issues raised by trauma and genocide studies, and draw from critical frameworks in literary theory on testimony, the limits of representing the extreme, and "transgressive" writing. (shrink)

First published in 1964, this is not just a chronicle or encyclopaedia, but deals thoroughly in turn with meaning, view about reason, and views about values, particularly moral values. The author's knowledge of French literature is extensive and thorough, and a feature of the book is his analysis of the philosophical implications of literary works by Sartre, Paul Valery, Camus and others.

This book is an introduction to French phenomenology in the post-1945 period. While many of phenomenology's greatest thinkers--Husserl, Heidegger, Sartre and Merleau-Ponty--wrote before this period, Steven DeLay introduces and assesses the creative and important turn phenomenology took after these figures. He presents a clear and rigorous introduction to the work of relatively unfamiliar and underexplored philosophers, including Jean-Louis Chrétien, Michel Henry, Jean-Yves Lacoste, Jean-Luc Marion and others. After an introduction setting out the crucial Husserlian and Heideggerian background to (...) class='Hi'>French phenomenology, DeLay explores Emmanuel Levinas's ethics as first philosophy, Henry's material phenomenology, Marion's phenomenology of givenness, Lacoste's phenomenology of liturgical man, Chrétien's phenomenology of the call, Claude Romano's evential hermeneutics, and Emmanuel Falque's phenomenology of the borderlands. Starting with the reception of Husserl and Heidegger in France, DeLay explains how this phenomenological thought challenges boundaries between philosophy and theology. Taking stock of its promise in light of the legacy it has transformed, DeLay concludes with a summary of the field's relevance to theology and analytic philosophy, and indicates what the future holds for phenomenology. Phenomenology in France: A Philosophical and Theological Introduction is an excellent resource for all students and scholars of phenomenology and continental philosophy, and will also be useful to those in related disciplines such as theology, literature, and French studies. (shrink)

This article aims at studying the evolution of the woman-dragon relation by comparing texts from English and French medieval literature and contemporary fantasy literature texts, in French and English as well. We will first determine the similarities between the two corpora, especially regarding the narrative triad composed of the knight, the princess and the dragon. We will then deal with the reorganization of the narrative space by examining the shift in focalization from the knight to (...) the woman and the dragon, thus placing them as heroes of the story. We will eventually try to explain the evolution of the values born by these two characters and demonstrate if there is, or not, a new woman-dragon relation in contemporary literature. (shrink)

'Samuel Beckett and Contemporary French Philosophy' explores the productive relationship between literature and philosophy, tracing the key ideas that inform Beckett's work and the ways in which these ideas are central to the French philosophy that developed in Beckett's wake. Forged within a similar cultural nexus both writer and philosophers pursue questions of epistemology and ontology within an exploration of the nature and function of language. Reacting against the rule-bound parameters of conceptual frameworks such as empiricism (...) and structuralism, the chapter argues that both Beckett and key French philosophers such as Lyotard, Derrida, Deleuze and Blanchot seek to establish an understanding of subjectivity that takes into consideration the somatic and the contingent within the context of writing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ornament, Fantasy, and Desire in Nineteenth-Century French LiteratureGeoffrey Galt HarphamOrnament, Fantasy, and Desire in Nineteenth-Century French Literature, by Rae Beth Gordon; xvii & 288pp. Princeton: Princeton University Press, 1992, $42.50.As Rae Beth Gordon notes in the introduction to her stimulating and original book, ornament, which is devoted to grace, charm, and attractiveness, becomes the object of suspicion and moralizing disdain when it exceeds what numerous (...) commentators refer to as “its proper limits.” The limits are set low by those who wish to maintain the integrity of the center—the melodic line, the text, the main image, the literal sense, the consensual meaning—against the disruptive and excessive forces of the margin. Transgress the margin to which ornament is properly confined, as artists in virtually every medium available in nineteenth-century France did, and a series of crucial binary distinctions collapses, threatening not only the center, but ornament itself, which is defined by its limits, its position on a well-defined edge.What distinguished nineteenth-century French literature was, from Gordon’s point of view, a sustained interest, among critics as well as artists, in cultivating the creative possibilities opened up by compromising the boundary between ornament and its other. So fertile and successful has this project proven to be that today’s postmodernity has not come to an end of it, continuing to discover its most interesting possibilities on the margin. And within the field of art history, we see that ornament, once widely denigrated as the source of confusion, has become virtually orthodox; as the title of Ernst Gombrich’s book on the subject indicates, ornament is now held to appeal to and gratify The Sense of Order.Gordon takes advantage of the posthistory of her subject, applying to studies of Nerval, Mallarmé, Gautier, Huysmans a theoretical armature drawn from the psychoanalytic theories of Freud, Winnicott, and Lacan. Drawing attention to a dimension of meaning or intention that has been “suppressed or excluded from the central field,” ornament, she argues, “anticipates the way psychiatry, perceptual psychology, and aesthetics converge in the fin de siècle.” Ornament, in other words, is cognate with the unconscious, and its prevalence in fin de siècle art and literature may be considered a sign of a certain cultural receptivity to the discoveries Freud was about to make, the “French” modality of a phenomenon to which Freud would give a “Viennese” formulation. [End Page 364]It is fashionable, especially in medieval studies, to focus on the disruptively counter-doctrinal potential of marginal elements such as gargoyles or textual illuminations. But Gordon generally argues another kind of case altogether, one that has, perhaps, even greater contemporary interest. Ornament, she claims, discloses the essential principles of aesthetic production. The expressive power of line, the “sense of order” to which it appeals, the subordination of literal depiction to design, the primacy of relationships over individual figures—all these reflect, as Wilhelm Worringer was explicitly to claim in 1908, energies deriving from the very beginnings of art itself.Thus, when principles and figures of ornament began to invade the “sense” or “business” of the text itself, as they did in nineteenth-century French literature, what is happening is not only a radical adjustment of a certain conception of ornament, but a large movement of return. Art becomes under these circumstances both decadent and primordial, devoting itself to both meaningless proliferation and to “pure art.” Gordon tracks this ambivalent movement with very considerable assurance and learning in an argument as sinuous as the ornamental line itself. The chapters on Nerval (“Lace as Textual Metaphor”) and Gautier (“Trills, Frills, and Decorative Frames for the Object of Desire”) are particularly illuminating, inspired by a kind of theoretical wit that does justice to their objects. Gordon is somewhat less successful in communicating the relevance to Mallarmé of Lacan, the exposition of whom—of which?—is laborious. But the responsibility probably lies more heavily with Lacan than with Gordon. Labored accounts of Lacan may even be considered as a species of ornament, a refinement and a new barbarism, peculiar to critical discourse in the fin of our own siècle.Geoffrey Galt HarphamTulane UniversityCopyright... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nonplaces:An Anecdoted Topography of Contemporary French TheoryBruno Bosteels (bio)In its juridical sense, a non-lieu is a judgment that suspends, annuls, or withdraws a case without bringing it to trial. It is thus a judgment that announces or enunciates that there will be no judgment as to guilt or innocence, a finding that there is no place to judge. It therefore renders justice by refusing to render it (...) under the law, which it does when it pronounces or enunciates the non-lieu.—Peggy Kamuf, "Béance"1Inside the Spatial TurnIf modernity will always be remembered as an era dominated by questions of time and history, then perhaps the steady waning of modern ideals invites us to think of the entry into something called the postmodern as a passage dominated by questions of space and geography. As Michel Foucault once famously observed in a 1967 conference paper, first published two decades ago: "Perhaps we might say that some of the ideological conflicts that animate today's polemics oppose the pious descendants of time and the willful inhabitants of space" ["Of Other Spaces" 22]. This conflict over time and space presupposes a much larger argument that is not only historical but also methodological in nature. What is at stake is both a question of the passage, or transition, from modernity to postmodernity, if that is indeed what we decide to name modernity's aftermath, and a question of the theoretical consequences that follow from giving precedence to space over time in treating this very transition. With regard to this second question, too, Foucault's work stands as exemplary insofar as he was able to show the degree to which a vital emphasis on space, geography, and territoriality [End Page 117] forces us to take leave of the modern paradigm of consciousness—typically associated with the category of time and its unfolding in the mind or spirit—in favor of a situated understanding of knowledge, subjectivity, and power. "Metaphorizing the transformations of discourse in a vocabulary of time necessarily leads to the utilisation of the model of individual consciousness with its intrinsic temporality," Foucault observes in an interview with the editors of the French journal of geography Hérodote, and he continues: "Endeavouring on the other hand to decipher discourse through the use of spatial, strategic metaphors enables one to grasp precisely the points at which discourses are transformed in, through and on the basis of relations of power" ["Questions on Geography" 69–70]. Whether real or metaphorical, a willful displacement of our categorial apparatus from time to space thus might enable one to avoid the idealist temptation inherent in a strictly discursive or textual model, by inscribing all discourses and practices in the geopolitics of power relations.My aim in the following pages is not to go over the much-discussed shift from time to space once more, even as I take advantage of several of its methodological principles along the way. Instead, I want to map out a momentous change of perspective that has been taking place over the past few decades within the parameters of the so-called spatial turn itself. In fact, if and when modernity is coming to an end, both in the sense of completing itself and of revealing its character as a finite historical entity, not only does whatever shape critical thought takes in the face of this turnabout need to be securely fastened onto specific places and spaces but, if we are to believe a growing number of authors, particularly but by no means exclusively in France, the study of art, literature, politics, philosophy, and even anthropology would also require a thorough consideration of so-called "nonplaces" as a rigorous category for critical thinking today [for a brief discussion of the use of "nonplace" in Anglo-American anthropology, including Melvin M. Webber's notion of "nonplace urban realm" from the mid-1960s, see Weiner]. In the end, these proponents of the nonplace confront us with one disarmingly simple question: how can critical thinking in the present time respond to the task of having to work through whatever lies outside of the order that is actually in place?The Exhaustion of... (shrink)

The present study examines the idea of lucid self-delusion in late nineteenth and early twentieth century French literature. It traces its gradual incorporation at every level of the text--author, narrator and reader--and connects this tendency to trends in contemporary German philosophy . As a primary vehicle for lucid self-delusion, story-telling becomes a central theme in the confessional prose and symbolist poetry of the period. Here the narrative voice often performs a deliberate and conscious falsification upon the material (...) of the tale, just as the author, at a higher level, spins experience into acknowledged fantasy. The result is that the reader, while willingly submitting to the illusion on which all reading depends, must also reconstruct the activity of speaker and author, and is thus placed in a similar double position. ;If the reader's relationship to the text is ultimately made to resemble that of the author, this is because the latter discerns a new form of heroism in such a rigorous lucidity, coupled with the determination to believe: a resolution to live life as if it made sense, even if this means forcing it to do so; to act as if one had a fixed essence, even if this means constructing one. Lucid self-delusion becomes a value to fill the vacuum; and self-reflexivity, the aesthetic analogue of this psychological state, comes to characterise the literary output of an age. (shrink)

Today, French public debate and bioethics research reflect an ongoing controversy about eugenics. The field of reproductive medicine is often targeted as pre-implantation genetic diagnosis (PGD), prenatal diagnosis, and prenatal detection are accused of drifting towards eugenics or being driven by eugenics considerations. This article aims at understanding why the charge against eugenics came at the forefront of the ethical debate. Above all, it aims at showing that the charge against prenatal diagnosis is groundless. The point of view presented (...) in this article has been elaborated jointly by a geneticist and a philosopher. Besides a survey of the medical, bioethical, philosophical and social sciences literature on the topic, the methodology is founded on a joint analysis of geneticist’s various consults. Evidence from office visits demonstrated that prenatal diagnosis leads to case-by-case decisions. As we have suggested, this conclusion does not mean that prenatal diagnosis is devoid of ethical issues, and we have identified at least two. The first is related to the evaluation of a decision to abort. The second line of ethical questions arises from the fact that the claim for “normality” hardly hides normative and ambiguous views about disability. As a conclusion, ethical dilemmas keep being noticeable in the field of reproductive medicine and genetic counselling, but an enquiry about eugenic tendencies probably does not allow us to understand them in the proper way. (shrink)

Recasting French literary history in terms of the cultures and peoples that interacted within and outside of France's national boundaries, this volume offers a new way of looking at the history of a national literature, along with a truly global and contemporary understanding of language, literature, and culture. The relationship between France's national territory and other regions of the world where French is spoken and written (most of them former colonies) has long been central to (...) discussions of "Francophonie." Boldly expanding such discussions to the whole range of French literature, the essays in this volume explore spaces, mobilities, and multiplicities from the Middle Ages to today. They rethink literary history not in terms of national boundaries, as traditional literary histories have done, but in terms of a global paradigm that emphasizes border crossings and encounters with "others." Contributors offer new ways of reading canonical texts and considering other texts that are not part of the traditional canon. By emphasizing diverse conceptions of language, text, space, and nation, these essays establish a model approach that remains sensitive to the specificities of time and place and to the theoretical concerns informing the study of national literatures in the twenty-first century. (shrink)

Ethics of Description: The Anthropological Dispositif and French Modern Travel Writing follows the development of a minor tradition in French literature where metropolitan authors traveling abroad demonstrate their awareness of the ethical conundrums of representing world peoples. During the colonial-modern era, currents of anthropological thought and representational practice are identifiable throughout society, and across literature, the arts, and the sciences. Collectively, they can be theorized as belonging to a dispositif, the anthropological dispositif. The modernization of anthropology (...) serves as an ambivalent interlocutor for the realizations of the writers studied in this book about the difficulties of describing cultural realities that lie largely outside their ken. Anthropology motivates new literary representational strategies that are, alternatively, in keeping with scientific mandates or operate against them. Forty images are analyzed alongside literary works. A postcolonial chapter shows how the ethical awareness of the colonial-modern authors studied have impacted minority self-representation in contemporary France. (shrink)

This book demonstrates how the conceptual resources of contemporary French philosophy from the early 20thCentury to the present day can be applied to give us new perspectives on business ethics and the ethics of organizations. In providing an overview of possible applications,the book covers a wide range of philosophers, philosophical movements and perspectives, and provides detailed analyses of core materials relevant to business ethics. It explores and analyzes French philosophy, taking into account phenomenology,existentialism, French epistemology, structuralism, (...) post-structuralism,deconstruction and postmodernism as well as recent discussions of philosophy of organizations and management. Each chapter contains suggestions for further reading and educational illustrations of possible applications to the mainstream business ethics and ethics of organization literature. (shrink)

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers—among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature , first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores (...) the process of reading as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarme;, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language. (shrink)

Taking as its theoretical frame of reference Jean-Luc Nancy's distinction between globalization and mondialisation, this article explores the relationship between contemporary Africa, the ‘world’ and the ‘literary’. The discussion centres on a number of present-day African novelists, and looks in particular at a controversial recent text by the Cameroonian writer and critic, Patrice Nganang, who is inspired by the work of the well-known theorist of postcolonial Africa, Achille Mbembe. For both writers ‘Africa’, as a generic point of reference, is (...) seen in terms of a certain genealogy of Africanist thinking, from colonial times through to the contemporary postcolonial era, and the article reflects on what a radical challenge to this genealogy might entail. Using a more phenomenologically oriented reading of monde and immonde, this rupture could be conceived in terms of the kind of ‘epistemological break’ that thinkers like Althusser and Foucault introduced into common usage and theoretical currency in contemporary French thought back in the 1960s. (shrink)

This book analyses the use of the crucial concept of 'taste' in the works of five major seventeenth-century French authors, Méré, Saint Evremond, La Rochefoucauld, La Bruyère and Boileau. It combines close readings of important texts with a thoroughgoing political analysis of seventeenth-century French society in terms of class and gender. Dr Moriarty shows that far from being timeless and universal, the term 'taste' is culture-specific, shifting according to the needs of a writer and his social group. The (...) notion of 'taste' not only helped to shape a new dominant culture, but also registered the conflicts within that culture between a view of taste that presupposted the values of 'polite society' as an exclusive (though not necessarily aristocratic) group, and a view that stressed the value of the classical-humanist tradition as a source of standards ratified by a broader public. this study sheds light not only on the central concept, but also on the individual authors discussed and on the norms of French classical literature in general. (shrink)

“A great story, full of twists and turns.... Careers made and ruined, departments torn apart, writing programs turned into sensitivity seminars, political witch hunts, public opprobrium, ignorant media attacks, the whole ball of wax. Read it and laugh or read it and weep. I can hardly wait for the movie.” —Stanley Fish, _Think Again, New York Times_ “In such a difficult genre, full of traps and obstacles, French Theory is a success and a remarkable book in every respect: it (...) is fair, balanced, and informed. I am sure this book will become the reference on both sides of the Atlantic.” —Jacques Derrida “The Atlantic Ocean has two sides, and so does French Theory. Reinvented in America and betrayed in its own country, it has become the most radical intellectual movement in the West with global reach, rewriting Marx in light of late capitalism. Breathtakingly moving back and forth between the two cultures, Francois Cusset takes us through a dazzling intellectual adventure that illuminates the past thirty years, and many more decades to come.” —Sylvere Lotringer During the last three decades of the twentieth century, a disparate group of radical French thinkers achieved an improbable level of influence and fame in the United States. Compared by at least one journalist to the British rock ‘n’ roll invasion, the arrival of works by Michel Foucault, Jacques Derrida, Jean-François Lyotard, Jean Baudrillard, Gilles Deleuze, and Félix Guattari on American shores in the late 1970s and 1980s caused a sensation. Outside the academy, “French theory” had a profound impact on the era’s emerging identity politics while also becoming, in the 1980s, the target of right-wing propagandists. At the same time in academic departments across the country, their poststructuralist form of radical suspicion transformed disciplines from literature to anthropology to architecture. By the 1990s, French theory was woven deeply into America’s cultural and intellectual fabric. French Theory is the first comprehensive account of the American fortunes of these unlikely philosophical celebrities. François Cusset looks at why America proved to be such fertile ground for French theory, how such demanding writings could become so widely influential, and the peculiarly American readings of these works. Reveling in the gossipy history, Cusset also provides a lively exploration of the many provocative critical practices inspired by French theory. Ultimately, he dares to shine a bright light on the exultation of these thinkers to assess the relevance of critical theory to social and political activism today-showing, finally, how French theory has become inextricably bound with American life. François Cusset, a writer and intellectual historian, teaches contemporary French thought in Paris at the Institut d’Etudes Politiques and at Columbia University’s Reid Hall. His books include Queer Critics and La Décennie. Jeff Fort is assistant professor of French at the University of California, Davis. He has translated works by Maurice Blanchot, Jean Genet, and Jean-Luc Nancy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The King and the Crowd: Divine Right and Popular Sovereignty in the French Revolution Robert G. Hamerton-Kelly Stanford University We French cannot really think about politics or philosophy or literature without remembering that all this— politics, philosophy, literature—began, in the modem world, under the sign of a crime. A crime was committed in France in 1793. They killed a good and entirely likable king who (...) was the incarnation of legitimacy. We cannot not remember that this crime was horrible... When we speak about writing, the accent is on what is necessarily criminal in writing. (Jean-François Lyotard, "Discussion Lyotard-Rorty" 583; quoted in Dunn 165) The condemnation ofthe king is at the crux ofour contemporary history. It symbolizes the secularization of our history and the disincarnation of the Christian God. (Albert Camus, The Rebel 120; quoted in Dunn 140) Susan Dunn makes a well-documented case that the death of Louis XVI was unconsciously understood, especially by the Jacobins, as a human sacrifice that was necessary for the founding of the republic. "Louis must die because the patrie must live," said Robespierre at the king's trial, and the representative Carra considered Louis "the source of corruption and servitude... the fatal talisman ofall our ills" whose death would cause the people to be "regenerated in morality and virtue" (Dunn 15-37). The king was a monster and the source ofall the ills, and his death 68Robert G. Hamerton-Kelly had the power to alleviate those ills and regenerate the nation. This image of the king as sacrificial victim persisted throughout the first half of the nineteenth century in French literature and politics, sometimes assimilating itself to the image of Jesus Christ who died for the sins of the world. Legitimist writers like Joseph de Maistre saw his death precisely in this light as a great Christian sacrifice that would do France and the world good (Dunn 28-37). The king as a sacred monster whose life causes all ill and whose death brings healing is the classic figure of the scapegoat or sacrificial victim identified by René Girard. Susan Dunn recognizes this but because she does not know Girard's mimetic theory she is not able to explain the significance of the scapegoat king. Her work is, indeed, as Conor Cruise O'Brien says in the foreword, a work ofdemonstration rather than argument, of evidence rather than interpretation. I offer a mimetic interpretation ofthe Jacobin claim that the death ofthe king was the human sacrifice that founded the republic, and an argument that a universally operative generative mechanism forged the historical events of the revolution.1 There is no essential difference between the sovereignty ofthe king and the sovereignty of the people. In both cases sovereignty arises from a metaphorical contract that threatens death to anyone who violates it. The royal metaphors are organic while the revolutionary metaphors are legal and rational, but they all express the sacrificial structure ofpolitical power. Revolutionary democracy imports the fiction ofrationality to obscure its sacrificial structure. The desire ofthe general will for contractual equality is a transformation of mimetic desire in search of a victim around which the bad violence ofmimetic rivalry can coalesce into the good violence of sacred order. Sovereignty, therefore, is structurally single and simple; it is violence transformed through the sacred into the powers oforder. Max Weber understood this in general ifnot in its particulars when he defined sovereignty as the monopoly of the means of violence within a single territory.2 1 Mimetic theory was discovered by René Girard. I have given an account of my understanding of it in 7Ae Gospel and the Sacred 129-52. The idea of a mechanism universally operative in human history isjustified in the emerging discipline ofevolutionary psychology. Such mechanisms are the result ofthe interaction ofgenetic and environmental factors in the process of evolution (see Robert Wright). 2 The precise quotation from Weber is as follows: "The state is a human community that (successfully) claims the monopoly of the legitimate use of physical force within a The King and the Crowd69 The transition from royal to popular sovereignty is a transformation of the basic pattern of victim and group. The... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 371-373 [Access article in PDF] Book Review French Fiction in the Mitterrand Years: Memory, Narrative, Desire French Fiction in the Mitterrand Years: Memory, Narrative, Desire, by Colin Davis & Elizabeth Fallaize; 160pp. Oxford: Oxford University Press, 2000, $24.95. Like the Mitterrand era itself, Davis and Fallaize's French Fiction in the Mitterrand Years is somewhat uneven. The election of François Mitterrand (...) in 1981 as the President of the Fifth Republic was a milestone in modern French history. After the conservative politics of the 1960s and 70s, the election of a socialist president and legislature seemed to offer the possibility of a new political and intellectual atmosphere. Indeed, the first two years of Mitterrand's presidency brought sweeping reforms. However, several scandals, continued economic problems and later "cohabitation" with a right-wing legislative majority muted the original verve. Mired in partisan politics, the government often appeared ineffectual.As with the political arena, French fiction of the 1980s was produced under the shadow of another long-standing French institution--the nouveau roman. Again we find a new direction, a turning-away from the past during the 1980s. Yet there was no outright refusal. There were no manifestos or polemical articles written by budding novelists, no claim to Literature. As Annie Ernaux describes her work Une Femme (1987): "Mon projet est de nature littéraire [...]. Mais je souhaite rester, d'une certaine façon, au-dessous de la littérature" (My project is of a literary nature [...]. But I wish to remain, in a certain way, beneath literature (p. 144).This lack of pretension is important, for it helps us better understand the writing of the period. As Davis and Fallaize point out, in the fiction of the Mitterrand years we find a return to history, to the subject, and to storytelling, three areas disdained by the new novelists of the 1950s and 60s (pp. 12-15). But at the same time, there is not an elegiac return to the conventions of the past. There are no didactic tales of Lucien de Rubempré's lost illusions. A good example of this is Patrick Roegiers's Beau Regard (1990), the account of a dinner during which hardly anyone speaks, told by a narrator who knows no one else at the table. Davis and Fallaize note: "In these novels the event is merely an incident, the story no more than an anecdote, and the anecdote merely a fait divers" (p. 147). Although not inconsequential, argue Davis and Fallaize, there is an unquestionable modesty to these texts.In the introduction to their work Davis and Fallaize write: "The aim of the current book is to analyze some of the most important and interesting directions in French fiction through detailed discussions of a selection of texts, all published during François Mitterrand's period as President of the Fifth Republic (1981-95)" (p. 1). This is exactly what they accomplish, selecting six novels--Duras's L'Amant (The Lover, 1984), Pennac's Au bonheur des ogres (The Scapegoat, 1985), Semprun's La Montagne blanche (1986), Echenoz's Lac (Lake, 1989), Guilbert's A l'ami qui ne m'a pas sauvé la vie (To the Friend Who Did Not Save [End Page 371] my Life, 1990), and Ernaux's Passion simple (Simple Passion, 1991)--and spending one chapter on each. They also discuss some of the important features of the era's fiction including memory, especially of World War II, contemporary culture and postmodernism, and autofiction.However, the book's limited goal also leads to some of its problems. As a whole, the work lacks cohesion. Chapters often read like individual essays. Moreover, although some chapters are well-grounded critically and contextually, others are not. Finally, the conclusion is too brief to synthesize aptly the various topics discussed in the previous chapters. The reader does not have a solid grasp of the fictional landscape of the Mitterrand years, but rather, as the introduction indicated, knowledge of "some of the [...] interesting directions in French fiction."One of the most illuminating chapters considers Daniel... (shrink)

Explores the concept of historical intermittency in 5 recent French philosophers. Andrew Gibson engages with five recent and contemporary French philosophers, Badiou, Jambet, Lardreau, Francoise Proust and Ranciere, who each produce a post-Hegelian philosophy of history founded on an assertion of the intermittency of historical value. Gibson explores this `anti-schematics of historical reason' and its implication for politics, ethics and aesthetics in a wide range of modern intellectual contexts, finding its necessary complement and most powerful expression in (...) a wealth of modern art, chiefly modern literature. The result is a sustained reflection on the possible character of a contemporary philosophy of history and an important contribution to our knowledge of contemporary French philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Steven Fuller A FRENCH SCIENCE (WITH ENGLISH SUBTITLES) It is of no news to anyone with even a passing interest in the theoretical wranglings of literary critics that deconstruction is on the defensive. This is of special interest to an historian and philosopher of science such as myself because (with the notable exception of Frank Lentricchia's revisionist history of contemporary critical trends) ] most of the recent (...) salvos launched against deconstruction have been supplied by analytic philosophy.2 Indeed, some analytic philosophers have felt bold enough to enter the fray themselves. And as with other Anglo-American incursions into theoretical debates of continental origin, whatever is lost in subtlety and sheer ingenuity is made up for in clarity and commonsense. If there is one theme common to adi analytically inspired attacks on deconstruction, it is that critical method ought to be a systematic articulation of the intuitions of the average reflective reader. To be a literary critic is not to achieve esoteric insight into the uncommunicative nature of texts; rather, it is to become more fully aware of the many ways in which texts do communicate. While such advice may be reassuring, it is certainly not very "philosophical" in the sense of "deeply problematic" that deconstructionists would claim for the nature of texts. And the deconstructionists are right — so I believe. At least, I will try to show that the case for deconstruction, in all its radicalness, can be made with something of the clarity desired by analytic philosophers. A contentious critic might wonder, at this point, why the deconstructionists were not clear in the first place (thereby rendering this article superfluous). The reason, contrary to what certain "friends of deconstruction" in the analytic tradition would have us believe, is that there are few precedents in the recent history of philosophy for claims made by deconstructionists.3 It would indeed be faint praise to find, as Hacking and Rorty have maintained, that the theses of Barthes, Foucault, and Derrida were anticipated in the limpid prose style of a Quine, a Goodman, or a Kuhn.4 Why is the latter set of writers so clear, while the former set is so obscure? Our contentious critic might conclude diat clarity of style reflects a clarity of thought, and likewise for obscurity of style. In any case, both friends 2 Philosophy and Literature and foes of deconstruction tend to agree diat whatever is of value in the French texts may be derived with less effort by reading the American ones. The friends want to place deconstruction among several strains oftwentieth-century thought that would dissolve classical philosophy into a critical history of ideas, while the foes (more ingenuously perhaps) want to resume the business of practical criticism as usual and its attendant function (à la F. R. Leavis) of preserving Western Culture. Since the analytic devil can (and will) cite deconstructionist scripture for his own purposes, it is not clear that explicating Derrida will settle matters, especially since deconstruction gives an ironic twist to the search for what an author "had in mind" when he composed a particular text. It is, however, interesting to note that when one analytic philosopher recently presented a paradigm of literary criticism that allegedly compensated for the excesses of deconstruction, he resorted to Kantian talk about the intentions of the author being a "regulative ideal" toward which all responsible practical criticism aspires.5 This paradigm claims to owe to deconstruction the idea that, once an author is separated from his text, die reader becomes unable to verify any hypotheses about what the author meant by what he wrote. However, the evidence surrounding the text's composition (as well as the text itself) may be reconstructed so as to suggest a model of the audioes intentions. In that case, the explanatory adequacy of such a model would be relative to the evidence and methods available to the critic. And so, while the text certainly had a real audior who possessed a set of determinate intentions at the time ofwriting, mere is no reason to think that the most plausible model of the currendy available evidence picks out those intentions. What we have here is the first of two species of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetorical Definition:A French InitiativeNancy S. StrueverRhetoric as TheoryIl y a quelque chose de démesuré et de prématuré à entreprendre une histoire de la rhétorique dans I'Europe moderne(Fumaroli 1999).When in his preface to the Histoire de la rhétorique Marc Fumaroli states that the project itself is overambitious and premature, he proceeds to justify his judgment by listing the complications of rhetorical definition: rhetoric is Protean in nature, and in (...) this it simply matches the fluidity of the phenomena of speech, parole ; it is oxymoronic as the science of the uncertain, trying to ally incertitude of topic with intelligibility of explanation; it intricates theoria and ergon, the concept of parole with an engagement with parole in act. Long a part of early education, it generates grace in adult expression, finesse. It is as well a primary source for reflection on communication phenomena. It is manifest in works of genius, yet, it is democratic in its accessibility; it is perdurable, remarkably persistent through change; and, it recognizes that the sharing and abusing of parole are intimately bound together. Finally rhetoric stimulates, for it may illumine the contemporary "exile" of literature and the arts, an exile that poses for us the issue of, perhaps intractable, cultural decline (Fumaroli 1999, 2–3). [End Page 401]These disparate elements of rhetoric, I would argue, by their very complexity justify rhetoric as mode of inquiry, and prompt our continuing consideration of the investigative protocols of rhetoric as hermeneutic. Roman rhetoric, subdivided into three communicative tasks—docere, delectare, movere —sponsors three investigative tasks: instructing requires command of the strategies of argument; delighting sponsors an ecology of desire, and moving requires a socio-pathology of community assent and dissent. The rhetorical interest in discursive effect, then, sponsors a second-order inquiry, the task of reviewing the basic assumptions of the communicative community: the beliefs, doxa, the shared opinions, endoxa, habits, dispositions. Rhetoric collects assumptions; thus Aristotle's Rhetoric has been characterised as a compendium of the collective wisdom of the polis. Rhetorical topoi, commonplaces, are the rubrics that organize common sense, sensus communis. Rhetoric has the task of understanding the means of asserting, rejecting, altering beliefs, the transfer of theory into practice, dealing with the transformations of idea into ideology.Rhetorical interests, in the Habermasian sense of motives that color knowledge initiatives, can correct careers of inquiry; a shift to a rhetorical investigative focus is pragmatic, to a most distinctive engagement with practice. And thus Martin Heidegger's aphorism: "Rhetoric functions inside politics." Rhetoric is framed, compromised by politics defined in the generous sense of discursive negotiations within the communal domain of beliefs, shared opinions, habits of action, dispositions. Rhetorical inquiry has to identify the beliefs and habits of action of a community in its efforts to preserve and extend its identity, and rhetoric must analyze the discursive negotiations for affirmation and alteration of beliefs vital to the continued existence of the polity.The work of Marc Fumaroli is of intrinsic interest to the historian of rhetoric as an instantiation of rhetorical interests driving an entire career, a practice shaped by rhetorical tasks and habits of action in inquiry; the effect is that of a kind of alchemy, of the transformation, at every turn, of the history of culture into the history of cultural politics. "Cultural politics" does not denote, of course, an exclusive focus on state policy, dirigisme in culture. Rather, we have a combination of a compendious notion of culture as all our inventions, artifices—political, theological, affective, aesthetic—with a generous sense of politics as all our discursive negotiations of differences of public import, a combination that sets a topic that Fumaroli prefers to call a "politics of the spirit" (Fumaroli 1992a, 80–81).1 If we distinguish rhetoric as discipline, oratory as product, eloquence as value, we [End Page 402] see Fumaroli's career is exemplary of a modern initiative that links rhetoric as disciplined inquiry to the politics of value. Thus, he will give us a rhetorical definition of the Académie Française's communal, historical duty to French "eloquence," to a pursuit of a national excellence (Fumaroli 1996a, 304, 1992b, 78). And... (shrink)

What explanation can be given for the relevance of literature to Bourdieu's theoretical work? In order to explain this choice of object, in the first part of this article I consider the national and international context within which Bourdieu's theory has been built. In the French intellectual space literature was a central theoretical object. In the international context, the attention paid to literature was justified by the importance given to the symbolic phenomena in the main (...) class='Hi'>contemporary theoretical traditions. In order to appreciate the singularity and difficulty of Bourdieu's theoretical acquisition, I try to reconstruct the problems that he attempted to resolve, the theoretical possibilities with regard to which his hypotheses were defined, and the position that he held in his field of production at the time in which they were formulated. In Bourdieu's thought, this conjunctural dimension does not imply that a theory is particularized or relativized. So he presented his theoretical frameworks on literature as a model applying to any kind of cultural products. In the second part of my paper I intend to test these claims by examining under what conditions and to what extent his `Principles of a science of works' have been considerd transposable to other national contexts and/or to new objects. (shrink)

The essays in this collection, which derive from the conference 'Alienation and Alterity: Otherness in Modern and Contemporary Francophone Contexts', held at the University of Exeter in September 2007, explore various aspects of this ...

This book is a brilliant and timely analysis of the complex issues raised by the relation between women and philosophy. It offers a critical account of a wide range of contemporary philosophical and feminist texts and it develops this account into an original project of critical feminist thought. Braidotti examines contemporary French philosophy as practised by men such as Foucault and Derrida, showing that they rely on a notion of 'the feminine' in order to undermine classical thought, (...) which bears no direct relevance to the historical experience of women. Braidotti then looks at the attempts of contemporary feminist thinkers in Europe and the United States to show the gendered nature of discursive power games. She discusses the contributions of Luce Irigaray and many other feminist theorists to the understanding of sexual difference and of its implications for philosophy and politics. This book will be of interest to students and researchers in women's studies, feminist theory, social theory, cultural studies, philosophy and literature, and anyone interested in contemporary feminism and the relation between feminist theory, post-structuralism and psychoanalysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Skeptical Selves: Empiricism and Modernity in the French NovelDaniel GordonSkeptical Selves: Empiricism and Modernity in the French Novel, by Elena Russo; 225 pp. Stanford: Stanford University Press, 1996, $35.00.Skeptical Selves explains how linguistic relativism has shaped French literature from the Enlightenment to the present. Elena Russo provides three cases: Prévost’s Histoire d’une Grecque moderne (1740), Constant’s Adolphe (1816), and des Forêts’s Le Bavard (1946). (...) Her fascinating scholarly goal is to portray the inexorable decline of the novel in a climate of ever growing doubt about the truthfulness of narration. Her remarkably ambitious philosophical goal is to save the novel by refuting skepticism!More precisely, Russo’s target is not every form of doubt but rather a specific current of French skeptical consciousness. In recent years, the representatives of this current have been Derrida and Blanchot. Its main feature is a denial of the correspondence notion of the language-truth relationship combined—paradoxically—with an intense nostalgia for a perfectly mimetic language that has allegedly been lost. The seemingly most radical critics of the sign, Russo claims, never overcome the perverse yearning for the very mimesis whose possibility they deny (p. 3).Russo is getting at an interesting distinction here, the distinction between epistemological modesty, which she upholds, and French skepticism, which she deplores. Epistemological modesty means the redefinition of truth according to some criterion other than perfect representation of the external world. French skepticism for her means the insistence on an absolute standard of mimetic reliability and a simultaneous denial that this standard can ever be reached. “Much of the language of negativity we have grown accustomed to in contemporary criticism rests upon the following syllogism: to know is to know directly and without mediation; this is not possible; therefore, the world is unknowable. Any conceptualization is ipso facto viewed as suspect, hence the flight towards nonverbal forms of expression, such as music and silence” (p. 13).After suggesting in her first chapter that French skepticism is a specific style of thought, not a final answer to our epistemological queries, Russo goes on to illustrate the impact of this skepticism on the novel. Prévost’s text, she observes, is one of the first novels built around the distorted point of view of a fallible [End Page 179] narrator. The narrator is the French ambassador to Constantinople who falls in love with a woman, Théophé, recently freed from a seraglio. Both his love and his comprehension are frustrated by the woman’s apparent simplicity and virtue. “Signs acquire a meaning opposite to their manifest one,” Russo notes. “It is precisely the discourse that should have made Théophé look credible that makes her appear suspicious. She is cunning and deceptive because she appears ‘naive’ and ‘innocent’; she is opaque because of her ‘simplicity’ and ‘openness’” (p. 42). The whole point of the novel is to show that we are imprisoned in subjectivity and there is no way out. For a time the narrator attempts to resolve his doubts regarding Théophé’s words by concentrating instead on her body. But here as well he can discover only ambiguity: nothing reveals clearly whether she is conquerable and whether she already has another lover.The novel ends with the unexplained death of Théophé, and Russo comments: “we are given the impression that, rather than ending his text, Prévost is ridding himself of an intractable problem” (p. 66). Artfully, the rest of the book helps us see that the tendency to thematize philosophical problems that have no solutions is intensified in the nineteenth and twentieth centuries—to the point where not merely the ending of novels but novels themselves disappear. (Of course, Russo means not that people no longer write novels but that the genre has succeeded in diminishing its own stature by so frequently decrying the limits of language.)The chapter on Constant did not strike me as the strongest part of the book. The problem is due perhaps to the fact that Constant was a truly great thinker, a brilliant political theorist and philosopher of religion as well as a romantic novelist. One chapter does not... (shrink)

Why have poets played such an important role for contemporary philosophers? How can poetry link philosophy and political theory? How do formal considerations intersect with philosophical approaches? These essays seek to establish a dialogue between poetry and philosophy. Each essay contributes to our understanding of the relationships between theory and lived experience while providing new insight into important poets such as Charles Baudelaire, Stéphane Mallarmé, Victor Hugo, and others. The broad range of metaphysical, phenomenological, aesthetic, and ethical approaches announce (...) important new paths for a reinvigorated study of lyric poetry in the decades to come. (shrink)

Contemporary historiography holds that it was the practices and technologies underpinning both the Great Voyages and the 'New Science', as opposed to traditional book learning, which led to the major epistemic breakthroughs of early modernity. This study, however, returns to the importance of book-learning by exploring how cosmological and cosmographical 'novelties' were explained and presented in Renaissance texts, and discloses the ways in which the reports presented by sailors, astronomers, and scientists became not only credible but also deeply disturbing (...) for scholars, preachers, and educated laymen in sixteenth- and seventeenth-century France. It is argued here that dialectic--the art of argumentation and reasoning--played a crucial role in articulating and popularizing new learning about the cosmos by providing the argumentative toolkit needed to define, discard, and authorize novelties. The debates that shaped them were not confined to learned circles; rather, they reached a wider audience via early modern vernacular genres such as the essay. Focusing both on major figures such as Montaigne or Descartes, as well as on now-forgotten popularizers such as Belleforest and Binet, this book describes the deployment of dialectic as a means of articulating and disseminating, but also of containing, the disturbance generated by cosmological and cosmographical novelties in Renaissance France, whether for the lay reader in Court or Parliament, for the parishioner at Church, or for the student in the classroom. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Putting French Studies on the MapTom Conley (bio)A good deal of work accomplished in new historicism over the last decade has opened new perspectives on the relations of literature to cartography. If new historicism tends to be affiliated with Shakespearean scholars who reconstruct the world of the Globe Theatre in the context of London and the Elizabethan world picture, it almost goes without saying that cartography, whose (...) mobilization and rapid growth occur from the beginnings of the printing press to the middle of the seventeenth century, plays a significant role in the analysis of print-culture in general. 1 The convergence of the two disciplines has shown that Renaissance authors, obsessed with the beginnings of writing, valorize both its geographical and spatial virtues and the ways that its pictogrammar constitutes “a grid for comprehension of the world” [Martin 14]. Humanists discovered that it simulated divisions of land in transactions devoted to their negotiation. What early archeologists of writing discovered is comparable today to what we gather about the meaning of the crosshatched rectangles and insignia we admire on the great prehistoric petroglyph of Bedolina standing over its arable valley below [Jacob 41–48; Thrower 4–5]. In the early modern age cartographical issues are central to broader inquiry about the power of writing.New historicists take up early modern cartography not just to assess the impact of Ptolemy on humanism but to develop agendas that concern how a sense of habitus was conceived, projected, and betrayed at a time of tumultuous change. They ask how the “world” could be both imagined and experienced when its boundaries were expanding at exponential rates. Cartographic studies have shown where the unknown, vital for any definition of consciousness or even the drives of life itself, was located and bracketed. 2 The unknown was an integral part of cartography prior to the eighteenth century. But to assert, as many have, that cartography sought to contain the unknown within the terrae incognitae it indicated on its maps does not solve the relation of the discipline with the [End Page 23] unknown. Evidence shows how much in the early modern age the unknown inhabits most written and schematic representations of the world. 3 Unnamed patches that we retrieve on maps printed in the sixteenth century prompt reverie of spaces that can be fancied as unknown by virtue of the maps themselves. The cartographical impulse in early modern studies cannot be dissociated from our own drive to find spots that can remove us from the regnum of nonplaces that define our world, that is, other places, whether heterotopical or “anywhere out of this world,” valorized when the “nonplace” has come to define contemporary human geography [see Augé 1992].Concurrently, the history of cartography remains one of the most immediate modes of access for what we can understand about the imagination of power, control, statecraft, and economy at a time when maps figured with increasing regularity in matters of administration. In broader terms, we can say that the unforeseen growth of map production and the consequent stress laid on fantasies of power that accompanied cartographic representations from the beginning of print culture to the establishment of “state reason” under Louis XIV bore witness to a greater spatialization of knowledge. What in the study of literature goes by the name of discourse is seen through a cartographical lens as patterns of utterances and exchanges that owe much to the influence of Ramism, monocular perspective, and diagrammatical logic. It is a truism to note that when the world became a function of cartographical representations made accessible to a public at large, the ways it was configured bore great impact on communication in general. 4In this issue of Diacritics, where the current plight and uncertain future of French studies is being pondered, it also goes without saying that many teachers and scholars are wondering what can be done to invigorate one of the richest of all literary canons. The assault that American media have led on French culture (among others, articles in the New Times by Roger Cohen and Craig Whitney) would lead us to believe that literature has [End Page 24] become equivalent to freeze-dried croissants, a... (shrink)

Jean-Claude Milner’s Le sage trompeur (2013), a controversial recent piece of French Spinoza literature, remains regrettably understudied in the English-speaking world. Adopting Leo Strauss’ esoteric reading method, Milner alleges that Spinoza dissimulates his genuine analysis of the causes of the persecution and survival of the Jewish people within a brief “manifesto” found at the end of the Tractatus Theologico-Politicus (TTP), Chapter 3. According to Milner, Spinoza holds that the Jewish people themselves are responsible for the hatred of the (...) Jewish people, and that the engine of their longevity is the hatred they engender. Additionally, claims Milner, Spinoza covertly insinuates that the solution to this persistent state of hatred consists in the mass apostasy of the Jewish people under the leadership of a Sabbatai Zevi-like figure. This article presents the Milner–Spinoza controversy to the English-speaking public along with the larger context of French-language scholarship on Spinoza’s relation to Judaism. While refuting Milner’s reading of Spinoza, I simultaneously clarify relevant elements of Spinoza’s discussions of Judaism in the TTP, such as Spinoza’s examination of Jewish identity and the nature of divine election, Spinoza’s understanding of the causes of national hatred, and Spinoza’s appeals to Portuguese, Spanish, Chinese, and Turkish political history. (shrink)

Pierre Bourdieu in Hispanic Literature and Culture is a collective reflection on the value of French sociologist Pierre Bourdieu's work for the study of Spanish and Latin American literature and culture. The authors deploy Bourdieu's concepts in the study of Modernismo, avant-garde Mexico, contemporary Puerto Rican literature, Hispanism, Latin American cultural production, and more. Each essay is also a contribution to the study of the politics and economics of culture in Spain and Latin America. The (...) book, as a whole, is in dialogue with recent methodological and theoretical interventions in cultural sociology and Latin American and Iberian studies. (shrink)

I use the word Moralist, somewhat after the French fashion, in the sense of a commentator on the human scene. I apologize for Contemporary, but there was another Camus, way back in the seventeenth century, who is being resuscitated now and who, according to the new Encyclopaedia of Literature , “wrote besides theological works some fifty novels which make him a pioneer of religious edification through popular fiction.” Our Camus is very much of our century and is (...) still a comparatively young man. And he is contemporary not only in the accidental sense that he happens to be alive and writing in our generation. He has suffered in his own flesh with our generation. He is both of us and with us. Born to a working-class French Colonial family in 1913 he knew none of the douceurs de la vie which held the memory in the first World War; while in the second he took an active part in the French Resistance movement and after the liberation edited the periodical Combat . His novels- L'Étranger and La Peste -are not so much works of imaginative creation as fictional records of the events of our time. His plays- Le Malentendu , Caligula , L'État de siège , Les justes -are studies or allegories of moral and political collapse in its various and varying moods. Like Actuelles , a collection of his current writing from 1944 to 1948, both novels and plays are testimonies of the anxieties through which our generation has passed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Present Trends of French Philosophical ThoughtAlexandre Koyré and Paola ZambelliThe paper that is published here for the first time was read to the Graduate Faculty of the New School for Social Research by Alexandre Koyré, probably during one of his first trips to the United States as a visiting professor in the fall of 1946 or in the fall of 1950. 1 Given its content and the secondary (...) literature he quoted, the paper seems to go back to the end of 1946, when eight lectures were announced in the Bulletin of the New School, 2 but Koyré probably read only the first of them, deciding to postpone the later ones, because the other subject chosen for his 1946 seminars at the New School (“Les philosophes et la machine”) gained more interest and grew longer. He came back to the New School in 1950 to give some lectures on existentialism [End Page 521] in France, but this time he was the guest of Horace Kallen. 3 But we read in this paper that Koyré had spoken in a series of seminars organized by Albert Salomon. It was determined that Koyré should speak on a broad subject—not only on Sartre’s existentialism, but also on French philosophical trends in general in the first year after the Second World War. His American listeners were obviously interested in hearing about Sartre, Camus, Merleau-Ponty, and the development of the new existentialist school in France.The result was that Koyré prepared a long paper—one that began by mentioning philosophers who had died in the War and the Resistance and concluded with an analysis of Sartre’s ontology and ethics. In the archives of the Centre Koyré in Paris there are three originals of this paper: a longer manuscript which, though earlier in date than the other two, is more complete and provides the basis of my edition, and two shorter typescripts, possibly prepared by the author’s typist with a view to publishing the piece in an American journal. In the first of the two typed versions several sentences, names, and words are missing in the typescript but were inserted into the text by an unknown hand. The second of the typescripts is complete in these points, but its preparation was interrupted for unknown reasons, and the copies (an original and two carbons) bear a final handwritten note: “Le texte s’arrête là.” Happily, the present manuscript version continues to the paper’s original conclusion.Perhaps Koyré, having temporarily mislaid the last pages of the manuscript among his many notes, decided not to publish the paper. 4 The omission from the [End Page 522] body of his published work is regrettable, since this is one of the few papers in which Koyré took a position on contemporary philosophical problems. On the basis of his deep knowledge of Husserl’s and Heidegger’s philosophies, he was able to give a serious interpretation of Sartre. In discussing Sartre, Koyré predominantly used Sartre’s polemical lecture L’exis-tentialisme est un humanisme, read, and published in 1946 as a response to Catholic and Marxist critiques. This was certainly a simpler text than the bulky but more authoritative L’être et le néant. And perhaps it was to avoid taking this latter work in his suitcase that Koyré—as he often did—prepared a selection of fundamental passages for his American trip, copying them first in French and then making what was their first translation into English (published below in an appendix).No doubt, after five years of exile, Koyré wished to familiarize himself with the work of contemporary thinkers, both French and German. Indeed, he had already been doing this, since just before the lecture in New York, Koyré took part in a private debate with Jean Wahl, Maurice Merleau-Ponty, Georges Blin, Maurice de Gandillac, and Gabriel Marcel on the subject of Heidegger’s philosophy. The last two speakers, together with Koyré himself, published their papers from the exchange in a journal and later in a volume introduced by Wahl. In his contribution Koyré emphasized Heidegger’s ideas of “concern [Sorge, souci]” and of “being unto death [zum Tode sein],” writing... (shrink)

This article links Konstantin Batiushkov’s poem Elysium (1810) to the tradition of poetic imitations of Janus Secundus’s Basium II. A French equivalent for this poem’s pythiambic distichs was invented by Ronsard (Chanson, 1578), who used cross-rhymed quatrains with regular alternation of dodecasyllabic and hexasyllablic lines. However, the French translators of Basia of the eighteenth and early nineteenth centuries could not use this metre, because its semantic aura was drastically changed by Malherbe’s Consolation a Monsieur du Perier (1598). Batiushkov’s (...) Elysium as well as its Latin and French sources are poems about a delightful death and the union of lovers in the afterlife; yet the metre, which was used in Malherbe’s poem, was for more than two centuries a metre of mournful elegiac stanzas about eternal separation. The question of a metrical prototype for Batiushkov’s poem still remains undetermined. His “anacreontic” trochaic tetrameter does not have analogues in the Latin original or its French translations, but coincides with the metre of G. A. Burger’s Die Umarmung from 1776 (of which Batiushkov was hardly aware in 1810), and finds parallels in some eighteenth-century Russian imitations of Basium II which were most likely forgotten by the beginning of the nineteenth century. (shrink)

Verkehrsmittel lassen sich als Medien betrachten, die auf die Wahrnehmung des Raums einwirken, aber auch als Milieus, die bestimmte Formen sozialer Interaktion erzeugen. Um beide Perspektiven aufeinander zu beziehen, umreißt der Beitrag eine Topologie der Fahrzeuge anhand von Stadttexten aus der französischen Literatur der Gegenwart. Aus deren eingehender Darstellung bestimmter Verkehrsmittel geht hervor, dass literarische Texte nicht allein fahrzeugspezifische Weisen der Raumerfahrung entziffern, sondern darüber hinaus auch in Auseinandersetzung mit einer überkommenen Transportkultur originelle Praktiken des Fahrzeuggebrauchs ersinnen. On the one (...) hand, means of transport can be considered as media which shape the perception of space; on the other, they can be considered as milieus which produce certain forms of social interaction. In order to relate both perspectives to each other, the present contribution outlines a topology of vehicles, drawing upon contemporary French literature set in cities. Their detailed representation of certain means of transport shows that literary texts not only decipher modes of spatial perception that are specific to certain vehicles, but also devise new ways of using vehicles through their involvement with an outdated culture of transport. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Maurice Blanchot and the Literature of TransgressionColette GaudinMaurice Blanchot and the Literature of Transgression, by John Gregg; 241 pp. Princeton: Princeton University Press, 1994, $29.95.In the preface to The Gaze of Orpheus (1981), the first book in English to present a collection of Maurice Blanchot’s critical essays, Geoffrey Hartman recalls his excitement on discovering this philosopher-novelist in the fifties. As for Hélène Cixous, she speaks of (...) “Blanchot’s terrifying but admirable art.” Blanchot indeed holds a paradoxical place in French literature and criticism. His books constitute a fundamental work of our time, yet his reflection developed in total independence of the noisiest intellectual debates of his times. A contemporary of Sartre, a friend of Georges Bataille and of Emmanuel Levinas, Blanchot began his career as a literary chronicler before World War II, even collaborating for a few years in rightist publications. But he generally remained at a forbidding distance from the media and the public, revealing [End Page 160] himself only through his writings: three novels, a number of terse short stories or récits, and an abundant critical corpus evolving toward fragmentary meditations on the conditions of literature’s possibility and on the experience of writing. He was the first, in the midst of the existentialist wave following the war, to pay close attention to the poetics of Mallarmé and Rilke, the art of Flaubert or Kafka, and the ethical provocations of Nietzsche, all of which were to become trademarks of postmodernist thinkers. Yet our present familiarity with these motifs does not make Blanchot less difficult and even less esoteric.With Maurice Blanchot and the Literature of Transgression, John Gregg now gives us the first English book-length study devoted exclusively to Blanchot, organized around solid analyses of several difficult texts—more extensively of the novel Le Très-Haut and the fragmentary narrative L’Attente l’oubli. There is unfortunately very little excitement or terror in the way Gregg presents his work, which bears traces of the doctoral thesis it evidently once was. Whereas the choice of transgression, as the focus of the study is quite appropriate, the title suggests, somewhat misleadingly, that transgression will be treated as a theme common to a group of authors including Blanchot. The “Introduction,” barely more than an extended table of contents, fails to prepare the reader for the provocative notion of transgression illustrated and theorized in Blanchot’s writing, a notion inherited from psychoanalysis and ethnology via Bataille, and which has to do with the law, Eros, and negativity. In his opening pages, moreover, we are confronted with concepts that Gregg takes for granted. A neologism such as “worklessness” (p. 8), for instance, does not make sense without a minimal gloss relating it to Blanchot’s pair of opposites, œuvre/désœuvrement. Similarly, the opposition between “regional economy” and “general economy,” which is Gregg’s constant point of reference, needs to be anchored historically and philosophically in order to accomplish its function.To nuance the preceding criticism, it should be stressed that Blanchot’s thought defies summary, linear exposition, and dialectical closure, just as his fiction illustrates the impossibility of narration. His work draws on multiple influences and at the same time is fiercely original. His reflection proceeds through two apparently contradictory processes, dispersion and repetition, the function of the latter being more to situate what is said in its difference from itself than to convince others. Gregg’s first chapter (poorly titled “Literature and transgression”) rightly indicates the ambivalent Hegelian heritage found in Blanchot as well as in Bataille. For if Hegel is a great inspiration to them, he is also a constant foil, in that he ignores the surplus of negativity that no dialectic can absorb through the historical or artistic process. Gregg’s method, that of tracing a pattern of nondialectical play of opposites in Blanchot’s writing, takes on its full effectiveness in the following chapters, in which he shows the circular relation (or exigence circulaire) that Blanchot establishes repeatedly between death and writing in his definition of the “suicidal artist.” The study of Orpheus as a mythical portrayal of writing and reading equates [End Page... (shrink)

A prolific essayist, novelist, translator, philosopher, and a critic of rare elegance, Pascal Quignard returns anew to the major questions of existence in The Silent Crossing, a haunting homage to life and liberty, to society and solitude, and to the binding and unbinding that constitute the weft of our lives. Drawing on materials from across many cultures, Quignard makes an effort to establish shared human values as the breeding ground for a modern Enlightenment. Considering atheism as a spiritual liberation, suicide (...) as a free act, and the rejection of society as a free choice, the author explores philosophical themes that have run through human civilizations—most often as heresies—from our earliest days. In his search for freedom, Quignard questions the binding dependency of religion, querying how, in a world where all forms of society presuppose that someone is looking over our shoulders, we can be free. These reflections, he implies, are the essential spiritual exercise for our times. Few voices in contemporary French literature are more distinct than that of Quignard. By reading this fragmentary, episodic assemblage of intimate experiences and borrowed tales, we open up a space of liberty, creating for the reader space for meditation and, perhaps, liberation. “Pascal Quignard is undoubtedly the most iconoclastic of contemporary French authors.”—Catherine Argand, Lire “Quignard has redefined historical fiction as both hoax and enigma.”—Burning Deck on Wooden Tablets: Apronenia Avitia. (shrink)

This article proceeds to describe in detail the expression forms (“Formes de l’expression”) particular to two photographs by Henri Cartier-Bresson. The investigation of the specificities of the plastic dimension of these photographs leads us to discover some of the formal features liable to raise photographic language to the level of artistic composition. We thereby demonstrate how Photography may take on astonishingly deep and complex sensations and significations.

Powers of Horror is an excellent introduction to an aspect of contemporary French literature which has been allowed to become somewhat neglected in the current emphasis on para-philosophical modes of discourse.".

Although there is much scholarship on Maurice Blanchot’s relationship to his contemporaries on the French intellectual scene, substantially less has been made of his debts to the German philosophical heritage in general, and to G. W. F. Hegel in particular. In this article, the author maintains that Blanchot’s association of literature with worklessness comprises a direct, if somewhat tacit, refusal of Hegel’s determination of art as a work of spirit. The author argues that Blanchot’s critical relation to Hegel (...) sheds new light not only on Blanchot’s conception of literature and related themes of language, but also on his view of the significance of literature as a powerful and elusive force of resistance to hegemonic and ideological programs of many kinds. (shrink)

A prolific essayist, novelist, translator, philosopher, and a critic of rare elegance, Pascal Quignard returns anew to the major questions of existence in _The Silent Crossing_, a haunting homage to life and liberty, to society and solitude, and to the binding and unbinding that constitute the weft of our lives. Drawing on materials from across many cultures, Quignard makes an effort to establish shared human values as the breeding ground for a modern Enlightenment. Considering atheism as a spiritual liberation, suicide (...) as a free act, and the rejection of society as a free choice, the author explores philosophical themes that have run through human civilizations—most often as heresies—from our earliest days. In his search for freedom, Quignard questions the binding dependency of religion, querying how, in a world where all forms of society presuppose that someone is looking over our shoulders, we can be free. These reflections, he implies, are the essential spiritual exercise for our times. Few voices in contemporary French literature are more distinct than that of Quignard. By reading this fragmentary, episodic assemblage of intimate experiences and borrowed tales, we open up a space of liberty, creating for the reader space for meditation and, perhaps, liberation. _“_Pascal Quignard is undoubtedly the most iconoclastic of contemporary French authors.”—Catherine Argand, _Lire_ “Quignard has redefined historical fiction as both hoax and enigma.”—_Burning Deck_ on _Wooden Tablets: Apronenia Avitia_. (shrink)

The article seeks to refute the popular idea in Russian-language scientific literature of French personalism as a homogeneous and monolithic movement, briefly pointing out the existence of three of its internal movements: Esprit, Ordre Nouveau and Jeune Droite. Focusing on the figure of D. de Rougemont, this study nevertheless shows the close connection between these three groups and the commonality of ideological quests. Dwelling in detail on the confessional context of the differences between Esprit and Ordre Nouveau, the (...) author demonstrates that both groups are still united in the perception of the concept of “personality” as a spiritual imperative for a person in the 1930s (albeit not agreeing on some details of its definition) and criticism of contemporary political regimes. (shrink)