A heretical text, a vengeful husband, a forbidden love... It's 1310 and Paris is alive with talk of the trial of the Templars. Religious repression is on the rise, and the smoke of execution pyres blackens the sky above the city. But sheltered behind the walls of Paris's great beguinage, a community of women are still free to work, study and live their lives away from the domination of men. When a wild, red-haired child clothed in rags arrives at the beguinage gate one morning, with a sinister Franciscan monk on her tail, she sets in motion a chain of events that will shatter the peace of this little world-plunging it into grave danger...

A heretical text, a vengeful husband, a forbidden love... It's 1310 and Paris is alive with talk of the trial of the Templars. Religious repression is on the rise, and the smoke of execution pyres blackens the sky above the city. But sheltered behind the walls of Paris's great beguinage, a community of women are still free to work, study and live their lives away from the domination of men. When a wild, red-haired child clothed in rags arrives at the beguinage gate one morning, with a sinister Franciscan monk on her tail, she sets in motion a chain of events that will shatter the peace of this little world-plunging it into grave danger...

Moving beyond the dominant model of syncretism, this extensively illustrated volume proposes a completely different approach to the field known as Latin American "colonial art," positioning it as a constitutive part of Renaissance and early modern art history. From the first contacts between European conquerors and the peoples of the Americas, objects were exchanged and treasures pillaged, as if each side were seeking to appropriate tangible fragments of the "world" of the other. Soon, too, the collision between the arts of Renaissance Europe and pre-Hispanic America produced new objects and new images with the most diverse usages and forms. Scholars have used terms such as syncretism, fusion, juxtaposition, and hybridity in describing these new works of art, but none of them, asserts Alessandra Russo, adequately conveys the impact that the European artistic world had on the Mesoamerican artistic world or treats the ways in which pre-Hispanic traditions, expertise, and techniques-as well as the creation of post-Conquest images-transformed the course of Western art. This innovative study focuses on three sets of paradigmatic images created in New Spain between the sixteenth and seventeenth centuries-feather mosaics, geographical maps, and graffiti-to propose that the singularity of these creations arises not from a syncretic impulse, but rather from a complex process of "untranslatability." Foregrounding the distances and differences between incomparable theories and practices of images, Russo demonstrates how the constant effort to understand, translate, adapt, decode, transform, actualize, and condense Mesoamerican and European aesthetics, traditions, knowledge, techniques, and concepts constituted an exceptional engine of unprecedented visual and verbal creativity in the early modern transatlantic world.

Beggars, outcasts, urchins, waifs, prostitutes, criminals, convicts, madmen, fallen women, lunatics, degenerates-part reality, part fantasy, these are the grotesque faces that populate the underworld, the dark inverse of our everyday world. Lurking in the mirror that we hold up to our society, they are our counterparts and our doubles, repelling us and yet offering the tantalizing promise of escape. Although these images testify to undeniable social realities, the sordid lower depths make up a symbolic and social imaginary that reflects our fears and anxieties-as well as our desires. In Vice, Crime, and Poverty, Dominique Kalifa traces the untold history of the concept of the underworld and its representations in popular culture. He examines how the myth of the lower depths came into being in nineteenth-century Europe, as biblical figures and Christian traditions were adapted for a world turned upside-down by the era of industrialization, democratization, and mass culture. From the Parisian demimonde to Victorian squalor, from the slums of New York to the sewers of Buenos Aires, Kalifa deciphers the making of an image that has cast an enduring spell on its audience. While the social conditions that created that underworld have changed, Vice, Crime, and Poverty shows that, from social-scientific ideas of the underclass to contemporary cinema and steampunk culture, its shadows continue to haunt us.

A part of the "return to religion" now evident in European philosophy, this book represents the culmination of the career of a leading phenomenological thinker whose earlier works trace a trajectory from Marx through a genealogy of psychoanalysis that interprets Descartes's "I think, I am" as "I feel myself thinking, I am."
In this book, Henry does not ask whether Christianity is "true" or "false." Rather, what is in question here is what Christianity considers as truth, what kind of truth it offers to people, what it endeavors to communicate to them, not as a theoretical and indifferent truth, but as the essential truth that by some mysterious affinity is suitable for them, to the point that it alone is capable of ensuring them salvation. In the process, Henry inevitably argues against the concept of truth that dominates modern thought and determines, in its multiple implications, the world in which we live.
Henry argues that Christ undoes "the truth of the world," that He is an access to the infinity of self-love, to a radical subjectivity that admits no outside, to the immanence of affective life found beyond the despair fatally attached to all objectifying thought. The Kingdom of God accomplishes itself in the here and now through the love of Christ in what Henry calls "the auto-affection of Life." In this condition, he argues, all problems of lack, ambivalence, and false projection are resolved.

The study of facial expression and its musculature undertaken by Guillaume-Benjamin Duchenne de Boulogne in 1862, an attempt to secure biological meaning in the natural language of the emotions, resulted in the pioneering "Mechanisme du physiognomie humaine," Duchenne, who used photography to document his experiments, inspired Charles Darwin's "Expression of the Emotions in Man and Animals" (1872) and had a significant influence on artists (his teachings were incorporated into the curriculum of the Ecole Normale Superieur des Beaux Arts). Through Duchenne, Francois Delaporte provides a remarkable philosophical and historical examination of expressive physiology during the mid-nineteenth century and considers the science of emotion as a means of revealing inner life upon the surface of the face. The central concern of "Anatomy of the Passions" is how techniques of studying facial musculature became a point of contact between existing and novel understandings of the body's expressive anatomy. Delaporte shows that Duchenne entirely reordered the knowledge and limits of expressive physiology in science and art. The face became a site where the signs of inner life are silently revealed, not yet betrayed by speech, but brought forth by reflexive physiology or by technical manipulation.

What has the land of Israel meant for the Jewish imagination? This book provides a lively and readable answer, covering Biblical times to the present. Its aim is to pierce the mystery of the images of Israel, to grasp their meaning and function, to trace their origins and history, and to resituate in historical terms the fertile mythology that has peopled and continues to people the Jewish imagination, interposing a screen between a people and their land. Describing the real, however, is not sufficient to disqualify the myths. The authors believe, with the famous French historian Pierre Vidal-Naquet, that: "Things are not so simple. Myth is not opposed to the real as the false to the true; myth accompanies the real." Today, Israel is an undeniable fact and no longer has to legitimize its existence. It is in the midst of living through the crises of adulthood. The authors simply want to reconstitute and trace the genealogies of these contemporary crises. Only upon a clear understanding of this present and this past can a future be constructed.

The years before the First World War have long been romanticized as a zenith of French culture-the "Belle Epoque." The era is seen as the height of a lost way of life that remains emblematic of what it means to be French. In a vast range of texts and images, it appears as a carefree time full of joie de vivre, fanfare and frills, artistic daring, and scientific innovation. The Moulin Rouge shared the stage with the Universal Exposition, Toulouse-Lautrec rubbed elbows with Marie Curie and La Belle Otero, and Fantomas invented automatic writing. This book traces the making-and the imagining-of the Belle Epoque to reveal how and why it became a cultural myth. Dominique Kalifa lifts the veil on a period shrouded in nostalgia, explaining the century-long need to continuously reinvent and even sanctify this moment. He sifts through images handed down in memoirs and reminiscences, literature and film, art and history to explore the many facets of the era, including its worldwide reception. The Belle Epoque was born in France, but it quickly went global as other countries adopted the concept to write their own histories. In shedding light on how the Belle Epoque has been celebrated and reimagined, Kalifa also offers a nuanced meditation on time, history, and memory.

Written with verve and intensity (and a good bit of wordplay), this is the long-awaited study of Flaubert and the modern literary field that constitutes the definitive work on the sociology of art by one of the world's leading social theorists. Drawing upon the history of literature and art from the mid-nineteenth century to the present, Bourdieu develops an original theory of art conceived as an autonomous value. He argues powerfully against those who refuse to acknowledge the interconnection between art and the structures of social relations within which it is produced and received. As Bourdieu shows, art's new autonomy is one such structure, which complicates but does not eliminate the interconnection.
The literary universe as we know it today took shape in the nineteenth century as a space set apart from the approved academies of the state. No one could any longer dictate what ought to be written or decree the canons of good taste. Recognition and consecration were produced in and through the struggle in which writers, critics, and publishers confronted one another.

Written with verve and intensity (and a good bit of wordplay), this is the long-awaited study of Flaubert and the modern literary field that constitutes the definitive work on the sociology of art by one of the world's leading social theorists. Drawing upon the history of literature and art from the mid-nineteenth century to the present, Bourdieu develops an original theory of art conceived as an autonomous value. He argues powerfully against those who refuse to acknowledge the interconnection between art and the structures of social relations within which it is produced and received. As Bourdieu shows, art's new autonomy is one such structure, which complicates but does not eliminate the interconnection.
The literary universe as we know it today took shape in the nineteenth century as a space set apart from the approved academies of the state. No one could any longer dictate what ought to be written or decree the canons of good taste. Recognition and consecration were produced in and through the struggle in which writers, critics, and publishers confronted one another.

Beggars, outcasts, urchins, waifs, prostitutes, criminals, convicts, madmen, fallen women, lunatics, degenerates-part reality, part fantasy, these are the grotesque faces that populate the underworld, the dark inverse of our everyday world. Lurking in the mirror that we hold up to our society, they are our counterparts and our doubles, repelling us and yet offering the tantalizing promise of escape. Although these images testify to undeniable social realities, the sordid lower depths make up a symbolic and social imaginary that reflects our fears and anxieties-as well as our desires. In Vice, Crime, and Poverty, Dominique Kalifa traces the untold history of the concept of the underworld and its representations in popular culture. He examines how the myth of the lower depths came into being in nineteenth-century Europe, as biblical figures and Christian traditions were adapted for a world turned upside-down by the era of industrialization, democratization, and mass culture. From the Parisian demimonde to Victorian squalor, from the slums of New York to the sewers of Buenos Aires, Kalifa deciphers the making of an image that has cast an enduring spell on its audience. While the social conditions that created that underworld have changed, Vice, Crime, and Poverty shows that, from social-scientific ideas of the underclass to contemporary cinema and steampunk culture, its shadows continue to haunt us.

Alexander I was a ruler with high aspirations for the people of Russia. Cosseted as a young grand duke by Catherine the Great, he ascended to the throne in 1801 after the brutal assassination of his father. In this magisterial biography, Marie-Pierre Rey illuminates the complex forces that shaped Alexander's tumultuous reign and sheds brilliant new light on the handsome ruler known to his people as "the Sphinx." Despite an early and ambitious commitment to sweeping political reforms, Alexander saw his liberal aspirations overwhelmed by civil unrest in his own country and by costly confrontations with Napoleon, which culminated in the French invasion of Russia and the burning of Moscow in 1812. Eventually, Alexander turned back Napoleon's forces and entered Paris a victor two years later, but by then he had already grown weary of military glory. As the years passed, the tsar who defeated Napoleon would become increasingly preoccupied with his own spiritual salvation, an obsession that led him to pursue a rapprochement between the Orthodox and Roman churches. When in exile, Napoleon once remarked of his Russian rival: "He could go far. If I die here, he will be my true heir in Europe." It was not to be. Napoleon died on Saint Helena and Alexander succumbed to typhus four years later at the age of forty-eight. But in this richly nuanced portrait, Rey breathes new life into the tsar who stood at the center of the political chessboard of early nineteenth-century Europe, a key figure at the heart of diplomacy, war, and international intrigue during that region's most tumultuous years.

The years before the First World War have long been romanticized as a zenith of French culture-the "Belle Epoque." The era is seen as the height of a lost way of life that remains emblematic of what it means to be French. In a vast range of texts and images, it appears as a carefree time full of joie de vivre, fanfare and frills, artistic daring, and scientific innovation. The Moulin Rouge shared the stage with the Universal Exposition, Toulouse-Lautrec rubbed elbows with Marie Curie and La Belle Otero, and Fantomas invented automatic writing. This book traces the making-and the imagining-of the Belle Epoque to reveal how and why it became a cultural myth. Dominique Kalifa lifts the veil on a period shrouded in nostalgia, explaining the century-long need to continuously reinvent and even sanctify this moment. He sifts through images handed down in memoirs and reminiscences, literature and film, art and history to explore the many facets of the era, including its worldwide reception. The Belle Epoque was born in France, but it quickly went global as other countries adopted the concept to write their own histories. In shedding light on how the Belle Epoque has been celebrated and reimagined, Kalifa also offers a nuanced meditation on time, history, and memory.

Alexander I was a ruler with high aspirations for the people of Russia. Cosseted as a young grand duke by Catherine the Great, he ascended to the throne in 1801 after the brutal assassination of his father. In this magisterial biography, Marie-Pierre Rey illuminates the complex forces that shaped Alexander's tumultuous reign and sheds brilliant new light on the handsome ruler known to his people as "the Sphinx." Despite an early and ambitious commitment to sweeping political reforms, Alexander saw his liberal aspirations overwhelmed by civil unrest in his own country and by costly confrontations with Napoleon, which culminated in the French invasion of Russia and the burning of Moscow in 1812. Eventually, Alexander turned back Napoleon's forces and entered Paris a victor two years later, but by then he had already grown weary of military glory. As the years passed, the tsar who defeated Napoleon would become increasingly preoccupied with his own spiritual salvation, an obsession that led him to pursue a rapprochement between the Orthodox and Roman churches. When in exile, Napoleon once remarked of his Russian rival: "He could go far. If I die here, he will be my true heir in Europe." It was not to be. Napoleon died on Saint Helena and Alexander succumbed to typhus four years later at the age of forty-eight. But in this richly nuanced portrait, Rey breathes new life into the tsar who stood at the center of the political chessboard of early nineteenth-century Europe, a key figure at the heart of diplomacy, war, and international intrigue during that region's most tumultuous years.

The study of facial expression and its musculature undertaken by Guillaume-Benjamin Duchenne de Boulogne in 1862, an attempt to secure biological meaning in the natural language of the emotions, resulted in the pioneering "Mechanisme du physiognomie humaine," Duchenne, who used photography to document his experiments, inspired Charles Darwin's "Expression of the Emotions in Man and Animals" (1872) and had a significant influence on artists (his teachings were incorporated into the curriculum of the Ecole Normale Superieur des Beaux Arts). Through Duchenne, Francois Delaporte provides a remarkable philosophical and historical examination of expressive physiology during the mid-nineteenth century and considers the science of emotion as a means of revealing inner life upon the surface of the face. The central concern of "Anatomy of the Passions" is how techniques of studying facial musculature became a point of contact between existing and novel understandings of the body's expressive anatomy. Delaporte shows that Duchenne entirely reordered the knowledge and limits of expressive physiology in science and art. The face became a site where the signs of inner life are silently revealed, not yet betrayed by speech, but brought forth by reflexive physiology or by technical manipulation.

What has the land of Israel meant for the Jewish imagination? This book provides a lively and readable answer, covering Biblical times to the present. Its aim is to pierce the mystery of the images of Israel, to grasp their meaning and function, to trace their origins and history, and to resituate in historical terms the fertile mythology that has peopled and continues to people the Jewish imagination, interposing a screen between a people and their land. Describing the real, however, is not sufficient to disqualify the myths. The authors believe, with the famous French historian Pierre Vidal-Naquet, that: "Things are not so simple. Myth is not opposed to the real as the false to the true; myth accompanies the real." Today, Israel is an undeniable fact and no longer has to legitimize its existence. It is in the midst of living through the crises of adulthood. The authors simply want to reconstitute and trace the genealogies of these contemporary crises. Only upon a clear understanding of this present and this past can a future be constructed.

There is no society without right and wrong. There is no society without sin. But every culture has its own favorite list of trespasses. Perhaps the most influential of these was drawn up by the Church in late antiquity: the Seven Deadly Sins. Pride, sloth, gluttony, envy, anger, lust, and greed are not forbidden acts but the passions that lead us into temptation. Aviad Kleinberg, one of the most prominent public intellectuals in Israel, examines the arts of sinning and of finger pointing. What is wrong with a little sloth? Where would haute cuisine be without gluttony? Where would we all be without our parents' lust? Has anger really gone out of style in the West? Can consumer culture survive without envy and greed? And with all humility, why shouldn't we be proud? With intellectual insight and deadpan humor, Kleinberg deftly guides the reader through Jewish, Christian, and Greco-Roman thoughts on sin. Each chapter weaves the past into the present and examines unchanging human passions and the deep cultural shifts in the way we make sense of them. Seven Deadly Sins is a compassionate, original, and witty look at the stuff that makes us human.

People have pondered conflicts between science and religion since at least the time of Christ. The millennia-long debate is well documented in the literature in the history and philosophy of science and religion in Western civilization. "Science and Eastern Orthodoxy" is a departure from that vast body of work, providing the first general overview of the relationship between science and Christian Orthodoxy, the official church of the Oriental Roman Empire.

This pioneering study traces a rich history over an impressive span of time, from Saint Basil's "Hexameron" of the fourth century to the globalization of scientific debates in the twentieth century. Efthymios Nicolaidis argues that conflicts between science and Greek Orthodoxy--when they existed--were not science versus Christianity, but rather ecclesiastical debates that traversed the whole of society.

Nicolaidis explains that during the Byzantine period, the Greek fathers of the church and their Byzantine followers wrestled passionately with how to reconcile their religious beliefs with the pagan science of their ancient ancestors. What, they repeatedly asked, should be the church's official attitude toward secular knowledge? From the rise of the Ottoman Empire in the fifteenth century to its dismantlement in the nineteenth century, the patriarchate of Constantinople attempted to control the scientific education of its Christian subjects, an effort complicated by the introduction of European science in the seventeenth and eighteenth centuries.

"Science and Eastern Orthodoxy" provides a wealth of new information concerning Orthodoxy and secular knowledge--and the reactions of the Orthodox Church to modern sciences.

In today's academe, the fields of science and literature are considered unconnected, one relying on raw data and fact, the other focusing on fiction. During the period between the Renaissance and the Enlightenment, however, the two fields were not so distinct. Just as the natural philosophers of the era were discovering in and adopting from literature new strategies and techniques for their discourse, so too were poets and storytellers finding inspiration in natural philosophy, particularly in astronomy. A work that speaks to the history of science and literary studies, "Fictions of the Cosmos" explores the evolving relationship that ensued between fiction and astronomical authority. By examining writings of Kepler, Godwin, Hooke, Cyrano, Cavendish, Fontenelle, and others, Frederique Ait-Touati shows that it was through the telling of stories - such as accounts of celestial journeys - that the Copernican hypothesis, for example, found an ontological weight that its geometric models did not provide. Ait-Touati draws from both cosmological treatises and fictions of travel and knowledge, as well as personal correspondences, drawings, and instruments, to emphasize the multiple borrowings between scientific and literary discourses. This volume sheds new light on the practices of scientific invention, experimentation, and hypothesis formation by situating them according to their fictional or factual tendencies.

Rescue, Relief, and Resistance: The Jewish Labor Committee's Anti-Nazi Operations, 1934-1945 is the English translation of Catherine Collomp's award-winning book on the Jewish Labor Committee (JLC). Formed in New York City in 1934 by the leaders of the Jewish Labor Movement, the JLC came to the forefront of American labor's reaction to Nazism and antisemitism. Situated at the crossroads of several fields of inquiry-Jewish history, immigration and exile studies, American and international labor history, World War II in France and in Poland-the history of the JLC is by nature transnational. It brings to the fore the strength of ties between the Yiddish-speaking Jewish worlds across the globe. Rescue, Relief, and Resistance contains six chapters. Chapter 1 describes the political origin of the JLC, whose founders had been Bundist militants in the Russian empire before their emigration to the United States, and asserts its roots in the American Jewish Labor movement of the 1930s. Chapters 2 and 3 discuss how the JLC established formal links with the European non-communist labor movement, especially through the Labor and Socialist International and the International Federation of Trade Unions. Chapter 4 focuses on the approximately 1,500 European labor and socialist leaders and left-wing intellectuals, including their families, rescued from certain arrest and deportation by the Gestapo. Chapter 5 deals with the special relationship the JLC established with currents in the Resistance in France, partly financing its underground labor and socialist networks and operations. Chapter 6 is devoted to the JLC's support of Jews in Poland during the war: humanitarian relief for those in the occupied territory under Soviet domination and political and financial support of the combatants of the Warsaw ghetto in their last stand against annihilation by the Wermacht. The JLC has never commemorated its rescue operations and other political activities on behalf of opponents of fascism and Nazism, nor its contributions to the reconstruction of Jewish life after the Holocaust. Historians to this day have not traced its history in a substantial way. Students and scholars of Holocaust and American studies will find this text vital to their continued studies.

Rescue, Relief, and Resistance: The Jewish Labor Committee's Anti-Nazi Operations, 1934-1945 is the English translation of Catherine Collomp's award-winning book on the Jewish Labor Committee (JLC). Formed in New York City in 1934 by the leaders of the Jewish Labor Movement, the JLC came to the forefront of American labor's reaction to Nazism and antisemitism. Situated at the crossroads of several fields of inquiry-Jewish history, immigration and exile studies, American and international labor history, World War II in France and in Poland-the history of the JLC is by nature transnational. It brings to the fore the strength of ties between the Yiddish-speaking Jewish worlds across the globe. Rescue, Relief, and Resistance contains six chapters. Chapter 1 describes the political origin of the JLC, whose founders had been Bundist militants in the Russian empire before their emigration to the United States, and asserts its roots in the American Jewish Labor movement of the 1930s. Chapters 2 and 3 discuss how the JLC established formal links with the European non-communist labor movement, especially through the Labor and Socialist International and the International Federation of Trade Unions. Chapter 4 focuses on the approximately 1,500 European labor and socialist leaders and left-wing intellectuals, including their families, rescued from certain arrest and deportation by the Gestapo. Chapter 5 deals with the special relationship the JLC established with currents in the Resistance in France, partly financing its underground labor and socialist networks and operations. Chapter 6 is devoted to the JLC's support of Jews in Poland during the war: humanitarian relief for those in the occupied territory under Soviet domination and political and financial support of the combatants of the Warsaw ghetto in their last stand against annihilation by the Wermacht. The JLC has never commemorated its rescue operations and other political activities on behalf of opponents of fascism and Nazism, nor its contributions to the reconstruction of Jewish life after the Holocaust. Historians to this day have not traced its history in a substantial way. Students and scholars of Holocaust and American studies will find this text vital to their continued studies.

This timely book explores the often stormy French-U.S. relationship and the evolution of the Atlantic Alliance under the presidency of Charles de Gaulle (1958 1969). The first work on this subject to draw on previously inaccessible material from U.S. and French archives, the study offers a comprehensive analysis of Gaullist policies toward NATO and the United States during the 1960s, a period that reached its apogee with de Gaulle s dramatic decision in 1966 to withdraw from NATO s integrated military arm. This launched the French policy of autonomy within NATO, which has since been adapted without having been abandoned. De Gaulle s policy often has been caricatured by admirers and detractors alike as an expression of nationalism or anti-Americanism. Yet Frederic Bozo argues that although it did reflect the General s quest for grandeur, it also, and perhaps more important, stemmed from a genuine strategy designed to build an independent Europe and to help overcome the system of blocs. Indeed, the author contends, de Gaulle s actions forced NATO to adapt to new strategic realities. Retracing the different phases of de Gaulle s policies, Bozo provides valuable insight into current French approaches to foreign and security policy, including the recent attempt by President Chirac to redefine and normalize the France-NATO relationship. As the author shows, de Gaulle s legacy remains vigorous as France grapples with European integration, a new role within a reformed NATO, and relations with the United States.

France is often described as one of the last Western economies that has not been able to reform itself in the face of globalization. Yet its economy has not fallen by the wayside, and it has even resisted the great recession that began in 2008. By interlinking historical, economic, and political factors, and by comparing France with other nations, this book offers keys for understanding the puzzle found in the development of France. Dynamics at work in the French case sidestep the usual injunctions--less state control or less rigidity in the labor market--and instead stress the importance of the construction of a long-term industrial strategy.