In this powerful new study Edward Baring sheds fresh light on Jacques Derrida, one of the most influential yet controversial intellectuals of the twentieth century. Reading Derrida from a historical perspective and drawing on new archival sources, The Young Derrida and French Philosophy shows how Derrida's thought arose in the closely contested space of post-war French intellectual life, developing in response to Sartrian existentialism, religious philosophy and the structuralism that found its base at the École Normale Supérieure. In a history of the philosophical movements and academic institutions of post-war France, Baring paints a portrait of a community caught between humanism and anti-humanism, providing a radically new interpretation of the genesis of deconstruction and of one of the most vibrant intellectual moments of modern times.

France is often depicted as the model of assimilationist or republican integration in the international literature on immigration. However, rarely have surveys drilled down to provide individual responses from a double representative sample. In As French as Everyone Else?, Sylvain Brouard and Vincent Tiberj provide a comprehensive assessment of the state of integration in France and challenge the usual crisis of integration by systematically comparing the "new French" immigrants, as well as their children and grandchildren born in France, with a sample of the French general population. The authors' survey considers a wide range of topics, including religious affiliation and religiosity, political attitudes and political efficacy, value systems (including gender roles, work ethics, and anti-Semitism), patterns of integration, multiple identities and national belongings, and affirmative action. As the authors show, despite existing differences, immigrants of Maghrebin, African, and Turkish origin share a wide scope of commonality with other French citizens.

In this book Gary Gutting tells, clearly and comprehensively, the story of French philosophy from 1890 to 1990. He examines the often neglected background of spiritualism, university idealism, and early philosophy of science, and also discusses the privileged role of philosophy in the French education system. Taking account of this background, together with the influences of avant-garde literature and German philosophy, he develops a rich account of existential phenomenology, which he argues is the central achievement of French thought during the century, and of subsequent structuralist and poststructuralist developments. Gary Gutting is Professor of Philosophy at the University of Notre Dame and a leading authority on the work of Michel Foucault. In addition to continental philosophy, he has done important work in philosophy of science and philosophy of religion. Gutting is the author of several books, including Michel Foucault's Archaeology of Scientific Knowledge (Cambridge, 1989), Pragmatic Liberalism and the Critique of Modernity (Cambridge, 1999), and the editor of The Cambridge Companion to Foucault (Cambridge, 1994).

Th ere are many people that I would like to acknowledge. Th is book was made possible with the generous support of a number of institutions — and more specifi cally the individuals that work in them: Judy Janec, Director of Library and Archives Holocaust Center of Northern California; Tina Minh, at the USC Shoah Foundation Institute; and Edyta Chowaniec, chief audio-visual archivist at the Auschwitz-Birkenau Memorial and Museum. Th ere are a couple of fi lmmakers that have been quite generous with me sharing their work, and providing me with supporting material. Elida Schogt generously (and very promptly) supplied me with reviews of her trilogy of fi lms — Silent Song (2001), The Walnut Tree (2000), and Zyklon Portrait (1999). Abraham Ravett — who made Everything’s For You (1989), and The March (1999) — was also very generous. Nina Koocher kindly provided me with a DVD of her 2007 fi lm How Much to Remember: One Family’s Conversation with History. Likewise, some of my fellow researchers have been quite generous as well. I would like to especially thank Joshua Hirsch. I would also like to thank Griselda Pollock and Max Silverman for inviting me to their seminar series, “Concentrationary Imaginaries: The Politics of Representation,” at the University of Leeds. Th is presentation was instrumental in developing the ideas found in exploitation and horror chapters in this book. Griselda, you continue to be an inspiration to me, and I only hope to be as productive and engaged as you are. I would also like to thank Francesco Ventrella for organizing my trip, and even helping to spring me from detention, aft er being detained by British Customs Agents at Gatwick. A number of my colleagues have also been instrumental in shaping the book — Julian Hoxter, Randy Rutsky, Tarek Elhaik, and Bill Nichols. Julian was especially helpful in bouncing ideas off of. I am deeply indebted to Chi-Hui Yang who read an early version of the book and helped to shape it. To my family: I thank you for your patience. Ariel, Daddy can come out to play now. “And now, let the wild rumpus start!”

Книга одной из самых известных современных французских философов Юлии Кристевой "Силы ужаса: эссе об отвращении" (1982) посвящается темам материальной семиотики, материального и любви, занимающим ключевое место в ее творчестве и оказавшим исключительное влияние на развитие феминистской теории и философии. В книге на материале творчества Ф. Селина анализируется, каким образом искоренение низменного, грязного, отвратительного выступает необходимым условием формирования человеческой субъективности и социальности, и насколько, в то же время, оказывается невозможным их окончательное устранение. Книга предназначена для специалистов - философов, филологов, культурологов, так и для широкой читательской аудитории.

In 1730 a delegation of Illinois Indians arrived in the French colonial capital of New Orleans. An Illinois leader presented two ceremonial pipes, or calumets, to the governor. One calumet represented the diplomatic alliance between the two men and the other symbolized their shared attachment to Catholicism. The priest who documented this exchange also reported with excitement how the Illinois recited prayers and sang hymns in their Native language, a display that astonished the residents of New Orleans. The "Catholic" calumet and the Native-language prayers and hymns were the product of long encounters between the Illinois and Jesuit missionaries, men who were themselves transformed by these sometimes intense spiritual experiences. The conversions of people, communities, and cultural practices that led to this dramatic episode all occurred in a rapidly evolving and always contested colonial context. In The Catholic Calumet, historian Tracy Neal Leavelle examines interactions between Jesuits and Algonquian-speaking peoples of the upper Great Lakes and Illinois country, including the Illinois and Ottawas, in the seventeenth and eighteenth centuries. Leavelle abandons singular definitions of conversion that depend on the idealized elevation of colonial subjects from "savages" to "Christians" for more dynamic concepts that explain the changes that all participants experienced. A series of thematic chapters on topics such as myth and historical memory, understandings of human nature, the creation of colonial landscapes, translation of religious texts into Native languages, and the influence of gender and generational differences demonstrates that these encounters resulted in the emergence of complicated and unstable cross-cultural religious practices that opened new spaces for cultural creativity and mutual adaptation.

The name of Fritz Lang—the visionary director of Metropolis, M, Fury, The Big Heat, and thirty other unforgettable films—is hallowed the world over. But what lurks behind his greatest legends and his genius as a filmmaker? Patrick McGilligan, placed among “the front rank of film biographers” by the Washington Post, spent four years in Europe and America interviewing Lang’s dying contemporaries, researching government and film archives, and investigating the intriguing life story of Fritz Lang. This critically acclaimed biography—lauded as one of the year’s best nonfiction books by Publishers Weekly—reconstructs the compelling, flawed human being behind the monster with the monocle.

All of a sudden, or so it seems, Spanish cinema is emerging as one of the most exciting, fascinating, and special cinemas in the world—not only are others viewing Spanish films, they are adopting Spanish producers and Spanish actors as their own. Obviously, part of this trend can be traced to Pedro Almodovar or Penelope Cruz, but that would be a vast oversimplification. Spanish cinema is not new: it has been maturing for a long time, having been one of the first to arise in the early days of silent film, and having produced excellent producers, actors, and films for decades—even during the dark times of the Franco regime. But now it is winning numerous fans not only at home but also abroad. So, this is a particularly good time to take a close look at its past and present and see just what it has achieved to date. More particularly, it is essential to discover that in today’s cinema Almodovar and Cruz are simply part of a cinematic tradition that is impressively long and broad, in some ways specific to Spain, in others truly universal. Moreover, there is not just Spanish cinema, but a circle of regional cinemas that also gain from being known better. A historical dictionary is a good way to explore this tradition, because it starts with a chronology that progresses from the very first, hesitant steps, through various periods of modest success and occasionally dismal failure, to the present, when recognition and awards, as well as reasonable box-office receipts, are rewarding Spain’s cinema and auteurs. The introduction takes a much broader view, showing how the industry is organized, who the leading players were and are, and considering the very different eras and sometimes quite different cinemas within the same era. Much of this information has been totally ignored outside of Spain until recently, as Spanish cinema has garnered world attention. The dictionary section is obviously the most informative, with hundreds of solid entries on producers, directors, and film companies, on actors and actresses, and on memorable films. Still, there is a limit to what can be done in one book, and this one pushes those limits rather far, so it ends with a bibliography that allows readers to go even further. This Historical Dictionary of Spanish Cinema was written by Alberto Mira, who is Spanish, and lives in Catalonia (which is not without its advantages). His earlier studies actually focused on English and American drama, which makes it easier for him to adopt a comparative approach and explain his own national cinema to outsiders. This is what he has been doing for well over a decade now, since he is presently a lecturer at Oxford Brookes University in England while also teaching at the Universitat Autonoma de Barcelona. Along with film studies, he lectures on Spanish and Latin American Literature and Culture, as well as on gender studies. Aside from this book, he has written a number of works in Spanish, including translations of plays, and he was the editor of a special issue of a Spanish film journal on homosexuality and film. He is also a member of the editorial board and review editor for New Cinemas and a member of the Pedro Almodovar Research Forum. These various and varied activities have combined very neatly in this particular work, which he engaged in very enthusiastically and conscientiously, and which has turned into one of the more insightful and helpful volumes in this series on cinema.