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At the beginning of the twentieth century, Paris was the cosmopolitan hub of Europe and home to a vast number of foreigners – including the writers, painters, sculptors, and musicians who were creating works now synonymous with modernism itself, such as Les Desmoiselles d’Avignon , The Rite of Spring , and Ulysses . The situation at the end of the period, however, could not have been more different: even before the violence of the Second World War, the cosmopolitan avant-garde had largely abandoned Paris, driven out by nationalism, xenophobia, and intolerance. Foreign Modernism investigates this tense and transitional moment for both modernism and European multiculturalism by looking at the role of foreigners in Paris’s artistic scene. Examining works of literature, sculpture, ballet and performing arts, music, and architecture, Ihor Junyk combines cultural history with contemporary work in transnationalism and diaspora studies. Junyk emphasizes how émigré artists used radical new forms of art to resist the culture of virulent nationalism taking root in France, and to articulate new forms of cosmopolitan identity.

Challenging the prevalent view that the 1960s did not have any lasting effect, From Revolution to Ethics demonstrates that intellectuals and activists turned to ethics as the touchstone for understanding interpersonal, institutional, and political dilemmas. In absorbing and scrupulously researched detail Bourg explores the developing ethical fascination as it emerged among student Maoists courting terrorism, anti-psychiatric celebrations of madness, feminists mobilizing against rape, and pundits and philosophers championing human rights.

At the turn of the twentieth century, the United States and Germany emerged as the two most rapidly developing industrial nation-states of the Atlantic world. The elites and intelligentsias of both countries staked out claims to dominance in the twentieth century. In Militarism in a Global Age, Dirk Bönker explores the far-reaching ambitions of naval officers before World War I as they advanced navalism, a particular brand of modern militarism that stressed the paramount importance of sea power as a historical determinant. Aspiring to make their own countries into self-reliant world powers in an age of global empire and commerce, officers viewed the causes of the industrial nation, global influence, elite rule, and naval power as inseparable. Characterized by both transnational exchanges and national competition, the new maritime militarism was technocratic in its impulses; its makers cast themselves as members of a professional elite that served the nation with its expert knowledge of maritime and global affairs. American and German navalist projects differed less in their principal features than in their eventual trajectories. Over time, the pursuits of these projects channeled the two naval elites in different directions as they developed contrasting outlooks on their bids for world power and maritime force. Combining comparative history with transnational and global history, Militarism in a Global Age challenges traditional, exceptionalist assumptions about militarism and national identity in Germany and the United States in its exploration of empire and geopolitics, warfare and military-operational imaginations, state formation and national governance, and expertise and professionalism.

Challenging the established historiography that frames the French picturesque garden movement as an international style, this book contends that the French picturesque gardens from 1775 until 1867 functioned as liminal zones at the epicenter of court patronage systems.

As a nominally neutral power during the Second World War, Sweden in the early postwar era has received comparatively little attention from historians. Nonetheless, as this definitive study shows, the war—and particularly the specter of Nazism—changed Swedish society profoundly. Prior to 1939, many Swedes shared an unmistakable affinity for German culture, and even after the outbreak of hostilities there remained prominent apologists for the Third Reich. After the Allied victory, however, Swedish intellectuals reframed Nazism as a discredited, distinctively German phenomenon rooted in militarism and Romanticism. Accordingly, Swedes’ self-conception underwent a dramatic reformulation. From this interplay of suppressed traditions and bright dreams for the future, postwar Sweden emerged.

Largely forgotten over the years, the seminal work of French poet, novelist and camp survivor Jean Cayrol has experienced a revival in the French-speaking world since his death in 2005. His concept of a concentrationary art-the need for an urgent and constant aesthetic resistance to the continuing effects of the concentrationary universe-proved to be a major influence for Hannah Arendt and other writers and theorists across a number of disciplines. Concentrationary Art presents the first translation into English of Jean Cayrol's key essays on the subject, as well as the first book-length study of how we might situate and elaborate his concept of a Lazarean aesthetic in cultural theory, literature, cinema, music and contemporary art.

Taking Edgar Allan Poe's 1841 \"The Murders in the Rue Morgue\" as an inaugural frame, Andrea Goulet traces shifting representations of violence, space, and nation in French crime fiction from serial novels of the 1860s to cyberpunk fictions today. She argues that the history of spatial sciences-geology, paleontology, cartography-helps elucidate the genre's fundamental tensions: between brutal murder and pure reason; historical past and reconstructive present; national identity and global networks. As the sciences underlying her analysis make extensive use of strata and grids, Goulet employs vertical and horizontal axes to orient and inform her close readings of crime novels. Vertically, crimes that take place underground subvert above-ground modernization, and national traumas of the past haunt present criminal spaces. Horizontally, abstract crime scene maps grapple with the sociological realities of crime, while postmodern networks of international data trafficking extend colonial anxieties of the French nation. Crime gangs in the catacombs of 1860s Paris. Dirt-digging detectives in coastal caves at the fin-de-siècle. Schizoid cartographers in global cyberspace. Crime fiction's sites of investigation have always exposed central rifts in France's national identity while signaling broader, enduring unease with violent disruptions to social order. Reading murder novels of the last 150 years in the context of shifting sciences,Legacies of the Rue Morgueprovides a new spatial history of modern crime fiction.

Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Women’s Salon in 1881 followed by the Independent Artists’ Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the \"modern art centre.

Based on three decades of fieldwork throughout the developing world,Scars of Partitionis the first book to systematically evaluate the long-term implications of French and British styles of colonialism and decolonization for ordinary people throughout the so-called Third World. It pays particular attention to the contemporary legacies of artificial boundaries superimposed by Britain and France that continue to divide indigenous peoples into separate postcolonial states. In so doing, it uniquely illustrates how the distinctive stamps of France and Britain continue to mark daily life along and behind these inherited borders in Africa, Asia, Oceania, and the Caribbean. Scars of Partitiondraws on political science, anthropology, history, and geography to examine six cases of indigenous, indentured, and enslaved peoples partitioned by colonialism in West Africa, West Indies, South Pacific, Southeast Asia, South India, and the Indian Ocean. William F. S. Miles demonstrates that sovereign nations throughout the developing world, despite basic differences in culture, geography, and politics, still bear the underlying imprint of their colonial pasts. Disentangling and appreciating these embedded colonial legacies is critical to achieving full decolonization-particularly in their borderlands.

The Francophilia of the Beat circle in the New York of the mid-1940s is well known, as is the importance of the Beat Hotel in the Paris of the late 1950s and early 1960s, but how exactly did French literature and culture participate in the emergence of the Beat Generation? French modernism did much more than inspire its first major writers, it materially shaped their works, as this comparative study reveals through close textual analysis of William Burroughs, Allen Ginsberg and Jack Kerouac's appropriations of French literature and culture. Sometimes acknowledged, sometimes not, their appropriations take multiple forms, ranging from allusions, invocations and citations to adaptations and translations, and they involve a vast array of works, including the poetic realist films of Carné and Cocteau, the existentialist philosophy of Sartre, and the poems and novels of Baudelaire, Rimbaud, Proust, Gide, Apollinaire, St.-John Perse, Artaud, Céline, Genet and Michaux. While clarifying the extent of Burroughs, Ginsberg and Kerouac's engagements with French literature and culture, in-depth analysis of their textual appropriations emphasises differences in their views of literature, philosophy and politics, which help us understand the early Beat circle was divided from the start. The book's close-readings also transform our perception of Burroughs' cut-up practice, Kerouac's spontaneous prose, and Ginsberg's poetics of open secrecy.