Sent to a remote village for the duration of the war, two children devise physical and mental exercises to render themselves invulnerable to pain and sentiment. The Notebook distils the experience of Nazi occupation and Soviet 'liberation' during World War II into a stark fable of timeless relevance. In The Proof and The Third Lie perspectives shift and identity becomes unstable as Claus and Lucas, isolated in different countries, yearn for the restoration of their lost connection. The novels are an exploration of both the after-effects of trauma and the nature of story-telling.

The Theatre of the Dream is a profound study of our dream world and its place in everyday life. The author grounds his ideas in Freud and psychoanalysis authors such as Klein, Bion, Rosenfeld and Matte Blanco, but also draws on the approach to dream phenomena in the work of philosophers, artists and poets. He argues that dreams are indeed, as the ancients held, messages. The dream is a theatrical re-recreation of certain unconscious experiences, which are both subjective and objective at the same time. It expresses not only desire but a complex working over of a problematic situation that is not quite resolved. In waking the dream is a new elaboration of everyday experience and one which creates the seeds of oracular awareness. Resnik develops his thesis with ample and enlightening examples of dreams and their significance from his own patients. The author's achievement is a new psychoanalytic reading of dreams one which does justice to Freud's momentous discovery but which broadens it and places it within the wider context of subsequent developments in psychoanalysis, semiotics and social and cultural anthropology. The book will be of great value to the professional psychotherapist or psychoanalyst as well as to students of literature, the arts and linguistics and the wider public interested in the ongoing relationship between dream reality and what is commonly called external reality. As has been remarked, each era can be defined on the basis of relations between dream and life.

Translated by:
Alan Sheridan

Politics, Philosophy, Culture contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

The Fabric of Affect in the Psychoanalytic Discourse is a seminal work on one of the most neglected topics in psychoanalysis, that of affect. Originally published in French as Le Discours Vivant, and by one of the most distinguished living analysts, the book is structured in three parts:

• Affect within psychoanalytic literature
• Clinical practice of psychoanalysis: structure and process
• Theoretical study: affect, language and discourse; negative hallucination

Written in a clear, lucid style, connecting theory to both culture and clinical practice, this book will appeal to psychoanalysts and psychotherapists, and also to those involved in cultural studies.

The Theatre of the Dream is a profound study of our dream world and its place in everyday life. The author grounds his ideas in Freud and psychoanalysis authors such as Klein, Bion, Rosenfeld and Matte Blanco, but also draws on the approach to dream phenomena in the work of philosophers, artists and poets. He argues that dreams are indeed, as the ancients held, messages. The dream is a theatrical re-recreation of certain unconscious experiences, which are both subjective and objective at the same time. It expresses not only desire but a complex working over of a problematic situation that is not quite resolved. In waking the dream is a new elaboration of everyday experience and one which creates the seeds of oracular awareness. Resnik develops his thesis with ample and enlightening examples of dreams and their significance from his own patients. The author's achievement is a new psychoanalytic reading of dreams one which does justice to Freud's momentous discovery but which broadens it and places it within the wider context of subsequent developments in psychoanalysis, semiotics and social and cultural anthropology. The book will be of great value to the professional psychotherapist or psychoanalyst as well as to students of literature, the arts and linguistics and the wider public interested in the ongoing relationship between dream reality and what is commonly called external reality. As has been remarked, each era can be defined on the basis of relations between dream and life.

First Published in 2004. Michel Foucault: The Will to Truth is the first full-length study of Foucault in any language. It covers the whole of his work to date, including material unavailable in English, and provides invaluable information on recent French intellectual history. Foucault emerges as an essential thinker for our time: his 'political anatomy' implies a radical critique not only of established intellectual positions, and social institutions, but also most of the alternatives offered by the opposition.

First Published in 2004. Michel Foucault: The Will to Truth is the first full-length study of Foucault in any language. It covers the whole of his work to date, including material unavailable in English, and provides invaluable information on recent French intellectual history. Foucault emerges as an essential thinker for our time: his 'political anatomy' implies a radical critique not only of established intellectual positions, and social institutions, but also most of the alternatives offered by the opposition.

These three internationally acclaimed novels have confirmed Agota Kristof's reputation as one of the most provocative exponents of new-wave European fiction. With all the stark simplicity of a fractured fairy tale, the trilogy tells the story of twin brothers, Claus and Lucas, locked in an agonizing bond that becomes a gripping allegory of the forces that have divided brothers in much of Europe since World War II. Kristof's postmodern saga begins with The Notebook, in which the brothers are children, lost in a country torn apart by conflict, who must learn every trick of evil and cruelty merely to survive. In The Proof, Lucas is challenging to prove his own identity and the existence of his missing brother, a defector to the other side. The Third Lie, which closes the trilogy, is a biting parable of Eastern and Western Europe today and a deep exploration into the nature of identity, storytelling, and the truths and untruths that lie at the heart of them all. Stark and haunting. - The San Francisco Chronicle; A vision of considerable depth and complexity, a powerful portrait of the nobility and perversity of the human heart. - The Christian Science Monitor.

In this stimulating and wide-ranging 1979 study, Andre Green, the eminent French psychoanalyst, demonstrates the relevance of psychoanalysis to literary criticism. He interprets the Freudian theory of the Oedipus complex - in its 'negative' aspect of male hostility towards the female - in several of the great European tragedies, including Aeschlyus' Oresteia (where the son kills the mother), Shakespeare's Othello (where the husband kills the wife) and Racine's Iphigegenie a Aulis (where the father kills the daughter), as well as Sophocles' Oedipodeia. Green sheds light on such important literary and psychoanalytic questions as the stage's kinship with phantasy, glorified in Artaud's theatre; those devices through which the spectator's unconscious may be affected; the family's privileged position at the centre of the 'tragic space'; the points at which modern structuralist thought fails; and the different perspectives exploring the Oedipus myth and Freud's interpretation of it. This will interest psychologists, anthropologists, and readers of literary debate.

"The Sacred Night" continues the remarkable story Tahar Ben Jelloun began in "The Sand Child." Mohammed Ahmed, a Moroccan girl raised as a boy in order to circumvent Islamic inheritance laws regarding female children, remains deeply conflicted about her identity. In a narrative that shifts in and out of reality moving between a mysterious present and a painful past, Ben Jelloun relates the events of Ahmed's adult life. Now calling herself Zahra, she renounces her role as only son and heir after her father's death and journeys through a dreamlike Moroccan landscape. A searing allegorical portrait of North African society, "The Sacred Night" uses Arabic fairy tales and surrealist elements to craft a stunning and disturbing vision of protest and rebellion against the strictures of hidebound traditions governing gender roles and sexuality.

What can one man accomplish, even a great man and brilliant scientist? Although every town in France has a street named for Pasteur, was he alone able to stop people from spitting, persuade them to dig drains, influence them to undergo vaccination? Pasteur's success depended upon a whole network of forces, including the public hygiene movement, the medical profession (both military physicians and private practitioners), and colonial interests. It is the operation of these forces, in combination with the talent of Pasteur, that Bruno Latour sets before us as a prime example of science in action.

Latour argues that the triumph of the biologist and his methodology must be understood within the particular historical convergence of competing social forces and conflicting interests. Yet Pasteur was not the only scientist working on the relationships of microbes and disease. How was he able to galvanize the other forces to support his own research? Latour shows Pasteur's efforts to win over the French public--the farmers, industrialists, politicians, and much of the scientific establishment.

Instead of reducing science to a given social environment, Latour tries to show the simultaneous building of a society and its scientific facts. The first section of the book, which retells the story of Pasteur, is a vivid description of an approach to science whose theoretical implications go far beyond a particular case study. In the second part of the book, "Irreductions," Latour sets out his notion of the dynamics of conflict and interaction, of the "relation of forces." Latour's method of analysis cuts across and through the boundaries of the established disciplines of sociology, history, and the philosophy of science, to reveal how it is possible not to make the distinction between reason and force. Instead of leading to sociological reductionism, this method leads to an unexpected irreductionism.

In this lyrical, hallucinatory novel set in Morocco, Tahar Ben Jelloun offers an imaginative and radical critique of contemporary Arab social customs and Islamic law. "The Sand Child" tells the story of a Moroccan father's effort to thwart the consequences of Islam's inheritance laws regarding female offspring. Already the father of seven daughters, Hajji Ahmed determines that his eighth child will be a male. Accordingly, the infant, a girl, is named Mohammed Ahmed and raised as a young man with all the privileges granted exclusively to men in traditional Arab-Islamic societies. As she matures, however, Ahmed's desire to have children marks the beginning of her sexual evolution, and as a woman named Zahra, Ahmed begins to explore her true sexual identity. Drawing on the rich Arabic oral tradition, Ben Jelloun relates the extraordinary events of Ahmed's life through a professional storyteller and the listeners who have gathered in a Marrakesh market square in the 1950s to hear his tale. A poetic vision of power, colonialism, and gender in North Africa, "The Sand Child" has been justifiably celebrated around the world as a daring and significant work of international fiction.

'A fascinating collection of some typically wide ranging and stimulating essays and interviews by Michel Foucault.' - Sociology

At the height of the Algerian war, Jean-Paul Sartre embarked on a fundamental reappraisal of his philosophical and political thought. The result was the Critique of Dialectical Reason, an intellectual masterpiece of the twentieth century, now republished with a major original introduction by Fredric Jameson. In it, Sartre set out the basic categories for the renovated theory of history that he believed was necessary for post-war Marxism. Sartre's formal aim was to establish the dialectical intelligibility of history itself, as what he called 'a totalisation without a totaliser'. But, at the same time, his substantive concern was the structure of class struggle and the fate of mass movements of popular revolt, from the French Revolution at the end of the eighteenth century to the Russian and Chinese revolutions in the twentieth: their ascent, stabilisation, petrification and decline, in a world still overwhelmingly dominated by scarcity.

Michel knows nothing about love when he marries the gentle Marceline out of duty to his father. They travel to Tunisia for their honeymoon, where Michel becomes very ill. During his recovery, he meets a young Arab boy, whose radiant health and beauty captivate him. This is an awakening for him both sexually and morally and, in seeking to live according to his own desires, Michel discovers a new freedom. But, as he also finds, freedom can be a burden.

In the tradition of Flann O'Brien's At Swim-Two-Birds, Gilbert Sorrentino's Mulligan Stew, and Raymond Queneau's The Flight of Icarus, Robert Pinget's Mahu or The Material tells the story of Mahu, a lazy man who may be a character in his friend Latirail's failing novel, which is taken over by characters invented by Sinture, yet another writer. The latter half of the novel consists of Mahu's strange and hilarious musings on everything from belly dancers to how he catches ideas from other people in the same way he catches germs. Mahu is Pinget's funniest novel, featuring a mix of dark humor and manic word-games, and is as inventive and energetic now as when it was first published.

A revised edition of a groundbreaking work tracing the rhetoric, politics, and ideology of funeral orations in ancient Greece, arguing that they served to celebrate the city of Athens and the Athenian citizen. How does the funeral oration relate to democracy in ancient Greece? How did the death of an individual citizen-soldier become the occasion to praise the city of Athens? In The Invention of Athens, Nicole Loraux traces the different rhetoric, politics, and ideology of funeral orations-epitaphioi-from Thucidydes, Gorgias, Lysias, and Demosthenes to Plato. Arguing that the ceremony of public burial began circa 508-460 BCE, Loraux demonstrates that the institution of the funeral oration developed under Athenian democracy. A secular, not a religious phenomenon, a literary genre with fixed rhetoric effects, the funeral oration was inextricably linked to the epainos-praise of the city-rather than to a ritualized lament for the dead as is commonly assumed. Above all, the funeral oration celebrated the city of Athens and the Athenian citizen. Loraux interprets the speeches from literary, anthropological, and political perspectives. She explains how these acts of secular speech invented an image of Athens often at odds with the presumed ideals of democracy. To die in battle for the city was presented as an act of civic choice-the "fine" death that defined the citizen-soldier's noble, aristocratic ethos. At the same time, the funeral oration cultivated an image of democracy at a time when there was, for example, no formal theory of a respect for law and liberty, the supremacy of the collective and public over the individual and the private, or freedom of speech.This new edition of The Invention of Athens includes significant revisions made by Nicole Loraux in 1993. Her aim in editing the original text was to render this groundbreaking work accessible to nonspecialists. Loraux's introduction to this revised volume, as well as important revisions to the 1986 English translation, make this publication an important addition to scholarship in the humanities and the social sciences.

'Japrisot is the most welcome talent since the early Simenons' New York Times Car mechanic Fiorimond is irresistibly drawn to beautiful, provocative Elle, a recent arrival in his sleepy Provence village. Their relationship develops quickly, but even as they make plans to marry, Fiorimond doesn't know what to make of his bride-to-be: is she an enigma or simply vacuous? In fact the troubled Elle is on a mission to exact revenge on Fiorimond's family for a crime committed decades earlier, with a plan that will ultimately destroy all their lives, including hers. Set in the 1970s, and available in English again for the first time in many years, this is a true classic of French suspense. It has everything: stylish writing, clever construction, an unforgettable leading lady, and most importantly leaves the reader guessing until the very last page. In the 1980s it was turned into a successful film with Isabelle Adjani.

Festivals and the French Revolution--the subject conjures up visions of goddesses of Liberty, strange celebrations of Reason, and the oddly pretentious cult of the Supreme Being. Every history of the period includes some mention of festivals, although most historians have been content either to ridicule them as ineffectual or to bemoan them as repugnant examples of a sterile, official culture. Mona Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process. Festivals offer critical insights into the meaning of the French Revolution; they show a society in the process of creating itself anew.

Historians have recognized the importance of the revolutionary festival as a symbol of the Revolution. But they have differed widely in their interpretations of what that symbol meant and have considered the festivals as diverse as the rival political groups that conceived and organized them. Against this older vision, Ozouf argues for the fundamental coherence and profound unity of the festival as both event and register of reference and attitude. By comparing the most ideologically opposed festivals (those of Reason and the Supreme Being, for instance), she shows that they clearly share a common aim, which finds expression in a mutual ceremonial and symbolic vocabulary. Through a brilliant discussion of the construction, ordering, and conduct of the festival Ozouf demonstrates how the continuity of the images, allegories, ceremonials, and explicit functions can be seen as the Revolution's own commentary on itself.

A second and important aim of this book is to show that this system of festivals, often seen as destructive, was an immensely creativeforce. The festival was the mirror in which the Revolution chose to see itself and the pedagogical tool by which it hoped to educate future generations, Far from being a failure, it embodied, socialized, and made sacred a new set of values based on the family, the nation, and mankind--the values of a modern, secular, liberal world.

In The Immoralist, André Gide presents the confessional account of a man seeking the truth of his own nature. The story's protagonist, Michel, knows nothing about love when he marries the gentle Marceline out of duty to his father. On the couple's honeymoon to Tunisia, Michel becomes very ill, and during his recovery he meets a young Arab boy whose radiant health and beauty captivate him. An awakening for him both sexually and morally, Michel discovers a new freedom in seeking to live according to his own desires. But, as he also discovers, freedom can be a burden. A frank defense of homosexuality and a challenge to prevailing ethical concepts, The Immoralist is a literary landmark, marked by Gide's masterful, pure, simple style.

Dispelling the lurid stereotypes portrayed in fiction, Alain Corbin depicts prostitution in nineteenth-century France not as a vice, crime, or disease, but as a well-organized business. Corbin reveals how the brothel served the sex industry in the same way that the factory served manufacturing: it provided an institution for the efficient and profitable sale of services.