This book explores the emerging challenges to foreign policymaking in liberal democracies and the adequacy of the 'marketplace of ideas' in responding to these challenges. Looking at foreign policy challenges as diverse as democratization, globalization and climate change, from the role of values in environmental debate to the Iraq invasion and the war on drugs, the contributors critically examine how key global issues are framed in public debate across three of the world's most mature liberal democracies: the US, the UK, and Australia. The book contributes to a better understanding of the limits of the 'marketplace of ideas' in helping to produce wise and accountable policy, and how those limits may soon be overcome. Examining how key global issues are framed in foreign policy debate across a range of liberal democratic societies, this book will strongly appeal to academics and students with an interest in international relations, policymaking and politics, as well as to governmental and think tank policymakers and advisors.

"Parages" brings together four essays by Derrida on the fictions of Maurice Blanchot. Three of the essays--"Living On," "Title To Be Specified," and "The Law of Genre," are by now canonical. The fourth, ""Pa"ce Not("s")" as well as Derrida's 1986 introduction to the French edition of the book, appear here in English for the first time. This was a breakthrough publication in the analysis of Blanchot, a notoriously difficult writer. It is safe to say Derrida contributed much to that writer's reputation in both French and English, always insisting on the philosophical pertinence of Blanchot's work to any discussion of the relationship between literature and critical thought. Through patient citation, and an ample collocation and readings of Blanchot's various motifs, Derrida explores a variety of questions, including the limits of genre, the procedure of crossing out, and the evocation of a non-dialectical and non-privative negativity. The book marks a crucial stage in Derrida's itinerary and provides a context for his later writings on apophatics in such works as "On the Name" (SUP, 1995) and his response to Heidegger on death in "Aporias" (SUP, 1993).

This 1992 book studies the importance of typographic shapes in French Renaissance literature in the context of psychoanalysis and of the history of printed writing. Focusing on the poetry of Clement Marot, Rabelais's Gargantua, Ronsard's sonnets and the Essais of Montaigne, it argues that printed characters can either supplement or betray what they appear to articulate, revealing compositional patterns that do not appear to be under authorial control. Professor Conley shows that graphic forms are crucial for the development of complex interactions of verbal and visual materials in the early years of print culture. Marot and Rabelais articulate a religious programme through the letter; Ronsard conflates the arts in poetry of the French court in the middle years of the sixteenth century; Montaigne stages the birth of the self in print and inscribes political dimensions in the relationship between the letter and meaning. This unconscious, proto-Freudian writing has complex historical relations with verbal and visual practices in the media of the twentieth century.

This 1992 book studies the importance of typographic shapes in French Renaissance literature in the context of psychoanalysis and of the history of printed writing. Focusing on the poetry of Clement Marot, Rabelais's Gargantua, Ronsard's sonnets and the Essais of Montaigne, it argues that printed characters can either supplement or betray what they appear to articulate, revealing compositional patterns that do not appear to be under authorial control. Professor Conley shows that graphic forms are crucial for the development of complex interactions of verbal and visual materials in the early years of print culture. Marot and Rabelais articulate a religious programme through the letter; Ronsard conflates the arts in poetry of the French court in the middle years of the sixteenth century; Montaigne stages the birth of the self in print and inscribes political dimensions in the relationship between the letter and meaning. This unconscious, proto-Freudian writing has complex historical relations with verbal and visual practices in the media of the twentieth century.

Early Modern Ecologies is the first collective volume to offer perspectives on the relationship between contemporary ecological thought and early modern French literature. If Descartes spoke of humans as being 'masters and possessors of Nature' in the seventeenth century, the writers taken up in this volume arguably demonstrated a more complex and urgent understanding of the human relationship to our shared planet. Opening up a rich archive of literary and non-literary texts produced by Montaigne and his contemporaries, this volume foregrounds not how ecocriticism renews our understanding of a literary corpus, but rather how that corpus causes us to re-think or to nuance contemporary eco-theory. The sparsely bilingual title (an acute accent on ecologies) denotes the primary task at hand: to pluralize (i.e. de-Anglophone-ize) the Environmental Humanities. Featuring established and emerging scholars from Europe and the United States, Early Modern Ecologies opens up new dialogues between ecotheorists such as Timothy Morton, Gilles Deleuze, and Bruno Latour and Montaigne, Ronsard, Du Bartas, and Olivier de Serres.

A leading intellectual member of France's Freudian school, Michel de Certeau combined principles from the disciplines of religion, history, and psychoanalysis in order to redefine historiography and rethink the categories of history. In "The Writing of History," de Certeau examines the West's changing conceptions of the very role and nature of history itself, from the seventeenth-century attempts to formulate a "history of man" to Freud's "Moses and Monotheism" with which de Certeau interprets historical practice as a function of mankind's feelings of loss, mourning, and absence. Exhaustively researched and stunningly innovative, "The Writing of History" is a crucial introduction to de Certeau's work and is destined to become a classic of modern thought.

Ever slip your hand into the pocket of a coat unworn for a trinity of seasons and find there objects left over from what seems to be a lifetime ago? A paper clip, an old piece of chewing gum, a few tattered pieces of paper, notes with something then urgent, but now with escaped significance? Ever watch a three-year-old play in a sandbox, creating castles with imaginary inhabitants limited only by his or her creativity? Ever have a private place where you spent some of your adolescence experimenting with ideas, relationships, and objects which, at the time, were viewed askance by a suspicious adult world? Ever have a marriage or an intimate relationship and be pressed to wonder in a private moment what makes it tick...or not, and how it will evolve twenty, thirty years down the road? Ever encounter someone panhandling on the street, in an office, or in a park and wonder about his story, her history, their plights that brought them to this request for a handout; and if you gave something, and your fingers grazed that roughened palm, ever wonder what lined and wrinkled that hand, what experiences and "touches" had crossed that palm before yours? Ever wonder what happens to spirituality if it becomes ensconced in institutional religion and forfeits some of its soul? In this unique book of poetry, Tom Conley, author, preacher, psychotherapist, and retired Canon Pastor of the Episcopal Cathedral of St. Philip in Atlanta, Ga., explores some of these ordinary events of our lives that carry spiritual meanings...but only if we are paying attention, and if we are mindful of the elements that create soulful moments and pour these varied experiences into The Common Cup. Conley is ExecutiveDirector and Pastoral-Theologian-in-Residence at the Florence McDonnell Counseling and Spiritual Life Center in Atlanta.

"Identity Papers "was first published in 1996. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

What does citizenship mean? What is the process of "naturalization" one goes through in becoming a citizen, and what is its connection to assimilation? How do the issues of identity raised by this process manifest themselves in culture? These questions, and the way they arise in contemporary France, are the focus of this diverse collection.

The essays in this volume range in subject from fiction and essay to architecture and film. Among the topics discussed are the 1937 Exposition Universelle; films dealing with Vichy France; Francois Truffaut's "Histoire d'Adele H."; the war of Algerian independence; and nation building under Francois Mitterrand.

Contributors: Anne Donadey, Elizabeth Ezra, Richard J. Golsan, Lynn A. Higgins, T. Jefferson Kline, Panivong Norindr, Shanny Peer, Rosemarie Scullion, David H. Slavin, Philip H. Solomon; Florianne Wild, .

Steven Ungar is professor of cinema and comparative literature at the University of Iowa and author of "Scandal and Aftereffect: Blanchot and France since 1930" (Minnesota, 1995). Tom Conley is professor of French at Harvard University.

Jacques Ranciere's work is increasingly central to several debates across the humanities. Distributions of the Sensible confronts a question at the heart of his thought: How should we conceive the relationship between the "politics of aesthetics" and the "aesthetics of politics"? Specifically, the book explores the implications of Ranciere's rethinking of the relationship of aesthetic to political democracy from a wide range of critical perspectives. Distributions of the Sensible contains original essays by leading scholars on topics such as Ranciere's relation to political theory, critical theory, philosophical aesthetics, and film. The book concludes with a new essay by Ranciere himself that reconsiders the practice of theory between aesthetics and politics.

At a time when traditional film theory privileged the purely visual, Film Hieroglyphs introduced a new way of watching film--examining the ways in which writing bears on cinema. Author Tom Conley gives special consideration to the points (ruptures) at which story, image, and writing appear to be at odds with one another. Conley hypothesizes that major directors--Renoir, Lang, Walsh, Rossellini--tend unconsciously to meld history and ideology. Graphic elements are seen as simultaneously foreign and integral to the field of the image. From these contradictions hieroglyphs emerge that mark a design attesting to a hidden rhetoric and to configurations of meaning that cinema cannot always control. Tom Conley is Lowell Professor of romance languages and visual and environmental studies at Harvard University. Among his books is The Self-Made Map (1996), as well as translations of The Fold (1992) by Gilles Deleuze and In the Metro (2002) by Marc Auge, all available from the University of Minnesota Press.

An Errant Eye studies how topography, the art of describing local space and place, developed literary and visual form in early modern France. Arguing for a "new poetics of space" ranging throughout French Renaissance poetry, prose, and cartography, Tom Conley performs dazzling readings of maps, woodcuts, and poems to plot a topographical shift in the late Renaissance in which space, subjectivity, and politics fall into crisis. He charts the paradox of a period whose demarcation of national space through cartography is rendered unstable by an ambient world of printed writing. This tension, Conley demonstrates, cuts through literature and graphic matter of various shapes and forms-hybrid genres that include the comic novel, the emblem-book, the eclogue, sonnets, and the personal essay. An Errant Eye differs from historical treatments of spatial invention through Conley's argument that the topographic sensibility is one in which the ocular faculty, vital to the description of locale, is endowed with tact and touch. Detailed close readings of Apian, Rabelais, Montaigne, and others empower the reader with a lively sense of the topographical impulse, deriving from Conley's own "errant eye," which is singularly discerning in attentiveness to the ambiguities of charted territory, the contours of woodcut images, and the complex combinations of word and figure in French Renaissance poetry, emblem, and politics.

Cartography and cinema are what might be called locational machinery. Maps and movies tell their viewers where they are situated, what they are doing, and, to a strong degree, who they are. In this groundbreaking work, eminent scholar Tom Conley establishes the ideological power of maps in classic, contemporary, and avant-garde cinema to shape the imaginary and mediated relations we hold with the world. Cartographic Cinema examines the affinities of maps and movies through comparative theory and close analysis of films from the silent era to the French New Wave to Hollywood blockbusters. In doing so, Conley reveals that most of the movies we see contain maps of various kinds and almost invariably constitute a projective apparatus similar to cartography. In addition, he demonstrates that spatial signs in film foster a critical relation with the prevailing narrative and mimetic registers of cinema. Conley convincingly argues that the very act of watching films, and cinema itself, is actually a form of cartography. Unlike its function in an atlas, a map in a movie often causes the spectator to entertain broader questions--not only about cinema but also of the nature of space and being.

Marc Auge was eleven or twelve years old when he first saw "Casablanca." Made in 1942 but not released in France until 1947, the film had a profound effect on him. Like cinephiles everywhere, Auge was instantly drawn to Rick Blaine's mysterious past, his friendship with Sam and Captain Renault, and Ilsa's stirring, seductive beauty. The film-with its recurring scenes of waiting, menace, and flight-occupies a significant place in Auge's own memory of his uprooted childhood and the wartime exploits of his family.

Marc Auge's elegant and thoughtful essay on film and the nature of both personal and collective memory contends that some of our most haunting memories are deeply embedded in the cinema. His own recollections of the hurried, often chaotic embarkations of his childhood, he writes, are become intertwined with scenes from "Casablanca" that have become bigger in his memory through repeated viewings in the movie houses of Paris's Latin Quarter.

Seamlessly weaving together film criticism and memoir, "Casablanca" moves between Auge's insights into the filmgoing experience and his reflections on his own life, the collective trauma of France's wartime history, and how such events as the fall of Paris, the exodus of refugees, and the Occupation-all depicted in the film-were lived and are remembered.