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The Franco-Japanese coproduction Hiroshima mon amour (1959) is one of the most important films for global art cinema and for the French New Wave. In Through a Nuclear Lens, Hannah Holtzman examines this film and the transnational cycle it has inspired, as well as its legacy after the 2011 nuclear disaster at Fukushima Daiichi. In a study that includes formal and theoretical analysis, archival research, and interviews, Holtzman shows the emergence of a new kind of nuclear film, one that attends to the everyday effects of nuclear disaster and its impact on our experience of space and time. The focus on Franco-Japanese exchange in cinema since the postwar period reveals a reorientation of the primarily aesthetic preoccupations in the tradition of Japonisme to center around technological and environmental concerns. The book demonstrates how French filmmakers, ever since Hiroshima mon amour, have looked to Japan in part to better understand nuclear uncertainty in France.

This book explores how the concept of colonialism can help to understand the past and present of Antarctica, and how Antarctica may illuminate the limits of colonialism as an analytic concept. Despite lacking an indigenous population, the continent has been shaped by many of the same political and economic forces that have defined the rest of the world – notwithstanding its unique governance arrangement, the Antarctic Treaty System. The book provides a fresh and timely set of contributions that critically explore different practices, attitudes and logics that suggest that colonialism may have been and may still be present in Antarctica, ranging from religion to material culture to the treatment of animals. The chapters also explore the connection between colonialism and cognate terms like capitalism, socialism, nationalism, and environmentalism.

Revolutionary Warfare investigates how efforts to counter a revolution could also be revolutionary. The Algerian War fractured the French Empire, destroyed the legitimacy of colonial rule, and helped launch the Third Worldist movement for the liberation of the Global South. By tracing how French generals, officers, and civil officials sought to counter Algerian independence with their own project of radical social transformation, Terrence G. Peterson reveals that the conflict also helped to transform the nature of modern warfare.The French war effort was never defined solely by repression. As Peterson details, it also sought to fashion new forms of surveillance and social control that could capture the loyalty of Algerians and transform Algerian society. Hygiene and medical aid efforts, youth sports and education programs, and psychological warfare campaigns all attempted to remake Algerian social structures and bind them more closely to the French state. In tracing the emergence of such programs, Peterson reframes the French war effort as a project of armed social reform that sought not to preserve colonial rule unchanged, but to revolutionize it in order to preserve it against the global challenges of decolonization. Revolutionary Warfare demonstrates how French officers'efforts to transform warfare into an exercise in social engineering not only shaped how the Algerian War unfolded from its earliest months, but also helped to forge a paradigm of warfare that dominated strategic thinking during the Cold War and after: counterinsurgency.

Exploring the history of the gas mask in Germany from 1915 to the eve of the Second World War, Peter Thompson traces how chemical weapons and protective technologies like the gas mask produced new relationships to danger, risk, management and mastery in the modern age of mass destruction. Recounting the apocalyptic visions of chemical death that circulated in interwar Germany, he argues that while everyday encounters with the gas mask tended to exacerbate fears, the gas mask also came to symbolize debates about the development of military and chemical technologies in the Weimar Republic and the Third Reich. He underscores how the gas mask was tied into the creation of an exclusionary national community under the Nazis and the altered perception of environmental danger in the second half of the twentieth century. As this innovative new history shows, chemical warfare and protection technologies came to represent poignant visions of the German future.

This book is a critical, transdisciplinary examination of a broad range of philosophical ideas, theoretical concepts, and artistic projects of community in the 20th and 21st century in the context of global/local social and political changes. This volume opens new vitas by focusing on carefully selected instances of multipronged crises in which existing concepts of commonality are questioned, reformulated, or even speculatively designed with a (better) future in view. As many authors of this volume argue, in the face of today's unprecedented global ecological and economic challenges speculative design is of utmost importance as it can foster alternative, unthought-of forms of connectivity that go far beyond progressivist narratives of nation, corporation, and nuclear family. Focusing on the situations of upheaval, both historical and fabulated, the collection not only examines how multipronged crises trigger antagonisms between egalitarian forms of communitas and the normative concept of the nation (and other normative forms of communities) as a community that separates and excludes. It also looks closely at philosophical and artistic projects that strive to go beyond the dichotomies and typically extrapolated utopias, envisaging new political economies, ways of living and alternative relational structures. It will be of great interest to students and scholars in performance studies, cultural studies, political studies, media studies, postcolonial and decolonial studies, critical anthropology.

This book investigates how people have thought about and experienced time, and how their ideas about time have shaped their political views and actions. Using French thinkers and activists of the radical left and right between the Dreyfus Affair and the First World War as a case study, it argues that time provides an important means of exploring how concepts such as nationalism, revolution and social change were understood at the turn of the century. Attending to different experiences of time – the speed at which it was perceived to move, the extent to which the future was near and graspable, the ways in which the past was seen to impinge on the present – opens up exciting new possibilities for analysing politics, ideologies and worldviews.

André Siegfried (1875–1959) was a leading figure in French academic and cultural life for over five decades. A world traveller who trained as a geographer, Siegfried became a leading political scientist and prominent newspaper columnist. As a long-time professor at Sciences Po, he shaped generations of his country's elite. France in the World explores the life and career of André Siegfried. An innovator in the field of political science, he established himself as France's leading interpreter of the English-speaking world. Often likened to Alexis de Tocqueville, Siegfried published influential studies of the United States, Canada, Great Britain, and New Zealand, striving to understand France's place in a changing global context. Siegfried was a cosmopolitan promoter of liberalism and individual freedom. But at the same time he perceived France to be the core of a Western civilization whose leadership and values were threatened by Americanization, anti-imperial nationalism, and non-white immigration. By following Siegfried's long career and examining the breadth of his writings, Sean Kennedy shows how his racial and ethnic essentialism was a unifying aspect of his life's work. That these ideas were considered unremarkable for most of his lifetime offers a powerful illustration of how racist thinking permeated mainstream French republicanism.Exploring the many facets of Siegfried's career, France in the World examines the entanglement of liberal and racist thinking during an era that witnessed political extremism and a rapidly changing international order.

Spectrality disrupts and fissures our conceptions of time, unmaking and complicating binaries such as life and death, presence and absence, the visible and the invisible, and literality and metaphor. A contribution to current conversations in memory studies and spectrality studies, Mind the Ghost is an experiment in reading ghosts otherwise. It explores, through contemporary fiction in French, sites of textual haunting that take the form of names, lists, objects, photographs, and stains. The book turns to Jacques Derrida and Hélène Cixous to rethink what constitutes and functions as a ghost, proposing that this figure solicits readers'investment in mnemonic practices. Considering the memories and legacies of violence that have marked the greater part of the twentieth-century – in Algeria, Bosnia, Croatia, France, and Rwanda – this book traces absences, disappearances and reappearances, textual omissions and untimely irruptions to posit literature's power to both remember and communicate beyond the bounds of chronological time. Through close readings of recent fiction by Kaouther Adimi, Jakuta Alikavazovic, Gaël Faye, Jérôme Ferrari, Patrick Modiano, Lydie Salvayre, Leïla Sebbar, and Cécile Wajsbrot, Mind the Ghost articulates the mechanisms through which readers themselves become haunted.

Aimed firmly at the student reader, this handbook offers an overview of the full range of the history of France, from the origins of the concept of post-Roman'Francia,'through the emergence of a consolidated French monarchy and the development of both nation-state and global empire into the modern era, forward to the current complexities of a modern republic integrated into the European Union and struggling with the global legacies of its past.Short, incisive contributions by a wide range of expert scholars offer both a spine of chronological overviews and a diverse spectrum of up-to-date insights into areas of key interest to historians today. From the ravages of the Vikings to the role of gastronomy in the definition of French culture, from Caribbean slavery to the place of Algerians in present-day France, from the role of French queens in medieval diplomacy to the youth-culture explosion of the 1960s and the explosions of France's nuclear weapons program, this handbook provides accessible summaries and selected further reading to explore any and all of these issues further, in the classroom and beyond.

Winner of the Alf Andrew Heggoy Book Prize of the French Colonial Historical SocietyThe Future Is Feminist by Sara Rahnama offers a closer look at a pivotal moment in Algerian history when Algerians looked to feminism as a path out of the stifling realities of French colonial rule. Algerian people focused outward to developments in the Middle East, looking critically at their own society and with new eyes to Islamic tradition. In doing so, they reordered the world on their own terms—pushing back against French colonial claims about Islam's inherent misogyny. Rahnama describes how Algerians took inspiration from Middle Eastern developments in women's rights. Empowered by the Muslim reform movement sweeping the region, they read Islamic knowledge with new eyes, even calling Muhammad'the first Arab feminist.'They compared the blossoming women's rights movements across the Middle East and this history of Islam's feminist potential to the stifled position of Algerian women, who suffered from limited access to education and respectable work. Local dynamics also shaped these discussions, including the recent entry of thousands of Algerian women into the workforce as domestic workers in European settler homes. While Algerian people disagreed about whether Algeria's future should be colonial or independent, they agreed that women's advancement would offer a path forward for Muslim society toward a more prosperous future. Through its use of Arabic-language sources alongside French ones, The Future Is Feminist moves beyond Algeria's colonial relationship to France to illuminate its relationship to the Middle East.

This book draws on a rich set of materials to examine postwar experiences of ex-servicemen who were facially-disfigured during the First World War. Weaving together medical, institutional, amateur and family photographic albums under a social history framework, Jason Bate underscores overlooked aspects of these men's continued hardships after returning home from the front. In particular, a focus is on the private sphere of the family and the complicated world of employment that disfigured veterans navigated on their return. Little attention has hitherto been paid to the aftercare of disfigured veterans once discharged from the army, or the long-term impact on individuals, and the sense of burden felt by families and local communities. In addressing this neglected area, the chapters here illuminate different practices of photography by doctors, nurses, press agencies, and families across the generations to challenge our perceptions of the personal traumas of soldiers and civilians.

In the nineteenth century, drug consumption permeated French society to produce a new norm: the chemical enhancement of modern life. French citizens empowered themselves by seeking pharmaceutical relief for their suffering and engaging in self-medication. Doctors and pharmacists, meanwhile, fashioned themselves as gatekeepers to these potent drugs, claiming that their expertise could shield the public from accidental harm. Despite these efforts, the unanticipated phenomenon of addiction laid bare both the embodied nature of the modern self and the inherent instability of the notions of individual free will and responsibility.Drugging France explores the history of mind-altering drugs in medical practice between 1840 and 1920, highlighting the intricate medical histories of opium, morphine, ether, chloroform, cocaine, and hashish. While most drug histories focus on how drugs became regulated and criminalized as dangerous addictive substances, Sara Black instead traces the spread of these drugs through French society, demonstrating how new therapeutic norms and practices of drug consumption transformed the lives of French citizens as they came to expect and even demand pharmaceutical solutions to their pain. Through self-experimentation, doctors developed new knowledge about these drugs, transforming exotic botanical substances and unpredictable chemicals into reliable pharmaceutical commodities that would act on the mind and body to modify pain, sensation, and consciousness.From the pharmacy counter to the boudoir, from the courtroom to the operating theatre, from the battlefield to the birthing chamber, Drugging France explores how everyday encounters with drugs reconfigured how people experienced their own minds and bodies.

Yiddish Paris explores how Yiddish-speaking emigrants from Eastern Europe in Paris in the 1920s and 1930s created a Yiddish diaspora nation in Western Europe and how they presented that nation to themselves and to others in France. In this meticulously researched and first full-length study of interwar Yiddish culture in France, author Nicholas Underwood argues that the emergence of a Yiddish Paris was depended on'culture makers,'mostly left-wing Jews from Socialist and Communist backgrounds who created cultural and scholarly organizations and institutions, including the French branch of YIVO (a research institution focused on East European Jews), theater troupes, choruses, and a pavilion at the Paris World's Fair of 1937.Yiddish Paris examines how these left-wing Yiddish-speaking Jews insisted that even in France, a country known for demanding the assimilation of immigrant and minority groups, they could remain a distinct group, part of a transnational Yiddish-speaking Jewish nation. Yet, in the process, they in fact created a French-inflected version of Jewish diaspora nationalism, finding allies among French intellectuals, largely on the left.

Menschen träumen – mutmaßlich schon immer – nachts, tagsüber und in politischen Visionen und Utopien. Aber wovon sie träumen, wie sie träumen, wie Träume wahrgenommen werden und welche Bedeutung man ihnen individuell, gesellschaftlich, politisch und wissenschaftlich beimisst, unterliegt historischem Wandel. Im Mittelpunkt dieses Bandes stehen Fragen nach den Inhalten des Geträumten, Imaginierten oder Ersonnenen sowie Betrachtungen zu den Träumenden, Visionären oder Utopisten der Geschichte. Die Beiträge thematisieren zudem sowohl theoretische und methodische Aspekte einer Traumgeschichte als auch Überlegungen zu den Begriffen, Semantiken und Diskursen des Traums und zu seinen visuellen Repräsentationen.

Aux yeux des dictatures et des idéologies fanatiques, l'espéranto est une langue dangereuse qui doit être combattue. C'est notamment le sort qu'elle a connu dans l'Allemagne nazie et dans l'Union soviétique sous Staline. L'historien allemand Ulrich Lins montre les conséquences tant de la condamnation hitlérienne de l'espéranto comme outil de la domination mondiale des Juifs, que de la liquidation par Staline du mouvement espérantiste ouvrier soviétique et de ses pratiques transnationales. La première édition de ce livre a été publiée en Allemagne en 1988 (réimpression à Moscou en 1990) et a été traduite en sept langues. La traduction française se fonde sur la nouvelle version parue en 2016, profondément révisée et enrichie grâce aux sources devenues accessibles après la chute du mur de Berlin.

Was ist Persönlichkeit? Und wie kann sie wissenschaftlich erschlossen und diagnostiziert werden? Vor allem in der ersten Hälfte des 20. Jahrhunderts entfaltete die kulturell voraussetzungsreiche Idee der Persönlichkeit innerhalb der psychologischen Wissenschaften große produktive Kraft. David Keller stellt eine Vielfalt von Medien und Techniken in den Mittelpunkt seiner systematischen Untersuchung, die mobilisiert wurden, um'Persönlichkeit'anhand experimenteller Suchprozesse als ein stabiles Konzept der Humanwissenschaften zu legitimieren. Dabei verdeutlicht seine Rekonstruktion einschlägiger Forschungs- und Diagnosepraktiken sowie die Betrachtung popularisierender Diskurse, wie die Suche nach der Persönlichkeit nicht allein eine wissensstiftende Funktion besaß, sondern zuletzt immer neue Fragen aufwarf. Auf diese Weise wurde sie zu einer fortgesetzten Herausforderung für die Wissenschaften vom Menschen.

The Edinburgh Companion to Irish Modernism presents a fresh perspective on received understandings of Irish modernism.

Winner of the 2022 Ab Imperio Award Hoping to unite all of humankind and revolutionize the world, Ludwik Zamenhof launched a new international language called Esperanto from late imperial Russia in 1887. Ordinary men and women in Russia and all over the world soon transformed Esperanto into a global movement. Esperanto and Languages of Internationalism in Revolutionary Russia traces the history and legacy of this effort: from Esperanto's roots in the social turmoil of the pre-revolutionary Pale of Settlement; to its links to socialist internationalism and Comintern bids for world revolution; and, finally, to the demise of the Soviet Esperanto movement in the increasingly xenophobic Stalinist 1930s. In doing so, this book reveals how Esperanto – and global language politics more broadly – shaped revolutionary and early Soviet Russia. Based on extensive archival materials, Brigid O'Keeffe's book provides the first in-depth exploration of Esperanto at grassroots level and sheds new light on a hitherto overlooked area of Russian history. As such, Esperanto and Languages of Internationalism in Revolutionary Russia will be of immense value to both historians of modern Russia and scholars of internationalism, transnational networks, and sociolinguistics.

Der britische Filmemacher Peter Watkins (geb. 1935) ist vermutlich einer der meist übersehenen zeitgenössischen Regisseure Europas. Watkins'Filme fordern einerseits ein vor allem politisches Engagement ihrer Rezipient_innen, was durch das schriftliche Werk des Künstlers angetrieben und verstärkt wird. Zum anderen bewegen sich Watkins'Werke auf und über Grenzen: Der Gewinn des Oscars für den besten Dokumentarfilm 1966 (»The War Game«, 1965) verwundert zunächst und steht doch exemplarisch für ein Gesamtwerk, dessen Filme sich weder klar als dokumentarisch oder fiktional noch als Kino- oder Fernsehfilm einordnen lassen. Der Filmemacher, der sich kritisch mit gesellschaftlichen und sozialen Missständen befasst, bindet in seinen Filmen Historie und Gegenwart eng aneinander. Auf diese Weise sind seine Filme wie seine Texte zukunftsweisend und behalten auch nach Jahrzehnten ihre Aktualität. Eva-Kristin Winter liefert die erste umfassende deutschsprachige Auseinandersetzung mit Peter Watkins'Werk und Schaffen. Ihr Fokus liegt auf dem Umgang mit unterschiedlichen Medien (Wort – Bild – Interaktion), die seine Filme rahmen und strukturieren. Winter untersucht anhand der historischen Filme »Edvard Munch« (1974), »The Freethinker« (1994) sowie »La Commune (Paris, 1871)« (2000), wie der Filmemacher diese selbst gewählten Rahmungen – frames – bedient, jedoch auch untergräbt.

The magnitude of the legal violence exercised by the French to colonize and occupy Algeria (1830–1962) is such that only aesthetic works have been able to register its enduring effects. In Decolonizing Memory Jill Jarvis examines the power of literature to provide what demographic data, historical facts, and legal trials have not in terms of attesting to and accounting for this destruction. Taking up the unfinished work of decolonization since 1962, Algerian writers have played a crucial role in forging historical memory and nurturing political resistance—their work helps to make possible what state violence has rendered almost unthinkable. Drawing together readings of multilingual texts by Yamina Mechakra, Waciny Laredj, Zahia Rahmani, Fadhma Aïth Mansour Amrouche, Assia Djebar, and Samira Negrouche alongside theoretical, juridical, visual, and activist texts from both Algeria's national liberation war (1954–1962) and war on civilians (1988–1999), this book challenges temporal and geographical frameworks that have implicitly organized studies of cultural memory around Euro-American reference points. Jarvis shows how this literature rewrites history, disputes state authority to arbitrate justice, and cultivates a multilingual archive for imagining decolonized futures.

French composer Maurice Ravel was described by critics as a magician, conjurer, and illusionist. Scholars have been aware of this historical curiosity, but none so far have explained why Ravel attracted such critiques or what they might tell us about how to interpret his music. Magician of Sound examines Ravel's music through the lens of illusory experience, considering how timbre, orchestral effects, figure/ground relationships, and impressions of motion and stasis might be experienced as if they were conjuring tricks. Applying concepts from music theory, psychology, philosophy, and the history of magic, Jessie Fillerup develops an approach to musical illusion that newly illuminates Ravel's fascination with machines and creates compelling links between his music and other forms of aesthetic illusion, from painting and poetry to fiction and phantasmagoria. Fillerup analyzes scenes of enchantment and illusory effects in Ravel's most popular works, including Boléro, La Valse, Daphnis et Chloé, and Rapsodie espagnole, relating his methods and musical effects to the practice of theatrical conjurers. Drawing on a rich well of primary sources, Magician of Sound provides a new interdisciplinary framework for interpreting this enigmatic composer, linking magic and music.

Mit dem Begriff „Francophonie“ wird meist die Sprachpolitik Frankreichs ab den 1960er Jahren assoziiert. Ihre eigentliche Prägekraft als politisches Projekt entfaltete sie jedoch vom letzten Drittel des 19. Jahrhunderts bis zur Dekolonisierung. Sprache und Sprachpolitik waren zum einen ein sensibler Seismograph französischen Selbstverständnisses. Zum anderen wurden sie zu einem politisch-kulturellen Ordnungsinstrument, das auf die Etablierung und Verbreitung von Normen und Vorstellungen sowie die Herstellung gesellschaftlicher Integration und politischer Kohäsion zielte. Von Beginn an war es in gleichem Maße nach innen wie nach außen gerichtet.Das Buch untersucht die Genese und Weiterentwicklung der Francophonie, nimmt ihre zentralen Akteure, Ideen und Praktiken in den Blick und untersucht ihre konkrete Ausgestaltung. Im Zentrum steht das komplexe Wechselspiel zwischen dem französischem Nationalstaat, seinem Imperium und der internationalen Politik. Damit werden diese häufig getrennt voneinander behandelten Dimensionen französischer Geschichte konsequent aufeinander bezogen. Zugleich wird der anglophone Schwerpunkt der Imperial- und Globalgeschichte um einen zentralen Aspekt des „French Imperial Nation-State“ ergänzt.

The new photo-illustrated magazines of the 1920s traded in images of an ideal modernity, promising motorised leisure, scientific progress, and social and sexual emancipation. Modernist Magazines and the Social Ideal is a pioneering history of these periodicals, focusing on two of the leading European titles: the German monthly UHU, and the French news weekly VU, taken as representative of the broad class of popular titles launched in the 1920s.The book is the first major study of UHU, and the first scholarly work on VU in English. Modernist Magazines explores, in particular, the striking use of regularity and repetition in photographs of modernity, reading these repetitious images as symbolic of modernist ideals of social order in the aftermath of the First World War. Introducing a novel methodology, pattern theory, the book argues for a critical return to the Gestalt tradition in visual studies.Alongside the UHU and VU case studies, Modernist Magazines offers an essential primer to interwar magazine culture in Europe. Accounts of rival titles are woven into the book's thematic chapters, which trace the evolution of the two magazines'photography and graphic design in the tumultuous years up to 1933.

This newly updated and improved edition of Bonnie G. Smith's classic textbook provides the most authoritative history available of Europe in a global context during the 20th and 21st centuries. It cleverly incorporates elements of political, social, cultural, economic and intellectual history and presents an integrated history with detailed coverage right across the continent.Including 131 images and 23 maps, Europe in the Contemporary World: 1900 to the Present is organized around key themes within a chronological chapter structure that is easy to follow. Smith's balanced treatment of the subject allows for a comprehensive assessment of the positive and negative developments in European history over the period, as well as the wider impact of this in the world at large. The book also includes picture essays and document sections, which provide variety and foreground the importance of primary sources, and useful end-of-chapter further readings for students who wish to investigate specific topics in greater depth.The enhanced 2nd edition contains:• A new chapter on the 21st-century issues that have challenged and continue to challenge Europe• More material on globalization, the end of the Cold War, European countercultures and various other topics• Historiographic updates throughoutEurope in the Contemporary World: 1900 to the Present is the definitive guide to Europe and its place in the world since 1900 for students and scholars alike.

Digital self-tracking devices and data have become normal elements of everyday life. Imagining Personal Data examines the implications of the rise of body monitoring and digital self-tracking for how we inhabit, experience and imagine our everyday worlds and futures. Through a focus on how it feels to live in environments where data is emergent, present and characterized by a sense of uncertainty, the authors argue for a new interdisciplinary approach to understanding the implications of self-tracking, which attends to its past, present and possible future. Building on social science approaches, the book accounts for the concerns of scholars working in design, philosophy and human-computer interaction. It problematizes the body and senses in relation to data and tracking devices, presents an accessible analytical account of the sensory and affective experiences of self-tracking, and questions the status of big data. In doing so it proposes an agenda for future research and design that puts people at its centre.

This book examines how the fall of France in the Second World War has been recorded by historians and remembered within society. It argues that explanations of the fall have usually revolved around the four main themes of decadence, failure, constraint and contingency. It shows that the dominant explanation claimed for many years that the fall was the inevitable consequence of a society grown rotten in the inter-war period. This view has been largely replaced among academic historians by a consensus which distinguishes between the military defeat and the political demise of the Third Republic. It emphasizes the contingent factors that led to the military defeat. At the same time it seeks to understand the constraints within which France's policy-makers were required to act and the reasons for their policy-making failures in economics, defence and diplomacy.

Transnational in scope, this much-needed volume explores how modernist writers and artists address and critique the dramatic changes to food systems that took place in the early twentieth century. During this period, small farms were being replaced with industrial agriculture, political upheavals exacerbated food scarcity in many countries, and globalization opened up new modes of distributing culinary commodities. Looking at a unique variety of art forms by authors, painters, filmmakers, and chefs from Ireland, Italy, France, the United States, India, the former Soviet Union, and New Zealand, contributors draw attention to modernist representations of food, from production to distribution and consumption. They consider Oscar Wilde's aestheticization of food, Katherine Mansfield's use of eggs as a feminist symbol, Langston Hughes's use of chocolate as a redemptive metaphor for blackness, hospitality in William Faulkner's Sanctuary, Ernest Hemingway's struggles with gender and sexuality as expressed through food and culinary objects, Futurist cuisine, avant-garde cookbooks, and the impact of national famines on the work of James Joyce, Viktor Shklovsky, and Tarashankar Bandyopadhyay. Less celebrated topics of putrefaction and waste are analyzed in discussions of food as both a technology of control and a tool for resistance. The diverse themes and methodologies assembled here underscore the importance of food studies not only for the literary and visual arts but also for social transformation. The cultural work around food, the editors argue, determines what is produced, who has access to it, and what can or will change. A milestone volume, this collection uncovers new links between seemingly disparate spaces, cultures, and artistic media and demystifies the connection between modernist aesthetics and the emerging food cultures of a globalizing world. Contributors: Giles Whiteley | Aimee Gasston | Randall Wilhelm | Bradford Taylor | Sean Mark | Céline Mansanti | Shannon Finck

Fabricating Modern Societies: Education, Bodies, and Minds in the Age of Steel, edited by Karin Priem and Frederik Herman, offers new interdisciplinary and transnational perspectives on the history of industrialization and societal transformation in early twentieth-century Luxembourg. The individual chapters focus on how industrialists addressed a large array of challenges related to industrialization, borrowing and mixing ideas originating in domains such as corporate identity formation, mediatization, scientification, technological innovation, mechanization, capitalism, mass production, medicalization, educationalization, artistic production, and social utopia, while competing with other interest groups who pursued their own goals. The book looks at different focus areas of modernity, and analyzes how humans created, mediated, and interacted with the technospheres of modern societies. Contributors: Klaus Dittrich, Irma Hadzalic, Frederik Herman, Enric Novella, Ira Plein, Françoise Poos, Karin Priem, and Angelo Van Gorp.

Over the last century a growing number of visual artists have been captivated by the entwinements of beauty and power, truth and artifice, and the fantasy and functionality they perceive in geographical mapmaking. This field of “map art” has moved into increasing prominence in recent years yet critical writing on the topic has been largely confined to general overviews of the field. In Mapping Beyond Measure Simon Ferdinand analyzes diverse map-based works of painting, collage, film, walking performance, and digital drawing made in Britain, Japan, the Netherlands, Ukraine, the United States, and the former Soviet Union, arguing that together they challenge the dominant modern view of the world as a measurable and malleable geometrical space. This challenge has strong political ramifications, for it is on the basis of modernity's geometrical worldview that states have legislated over social space; that capital has coordinated global markets and exploited distant environments; and that powerful cartographic institutions have claimed exclusive authority in mapmaking.Mapping Beyond Measure breaks fresh ground in undertaking a series of close readings of significant map artworks in sustained dialogue with spatial theorists, including Peter Sloterdijk, Zygmunt Bauman, and Michel de Certeau. In so doing Ferdinand reveals how map art calls into question some of the central myths and narratives of rupture through which modern space has traditionally been imagined and establishes map art's distinct value amid broader contemporary shifts toward digital mapping.

Der Erste Weltkrieg stellte nicht nur eine traumatische Zäsur dar, welche das Fortschrittsnarrativ der Industrialisierung brutal unterbrach. Er hinterließ auch eine gespenstische Leerstelle in den europäischen Gesellschaften der Nachkriegszeit. Vera Kaulbarsch geht den Spuren nach, die Millionen Kriegstote, Verwundete und Vermisste in der Kultur und Literatur zwischen den Kriegen hinterlassen haben. Die diskursiven Einflusslinien des Krieges werden zunächst über eine Aufarbeitung von zeitgenössischen Dokumenten aufgezeigt, um die historische Situation in Deutschland, Frankreich und Großbritannien zu rekonstruieren. Die Lektüre von Großstadttexten, die Berlin, Paris und London ins Zentrum rücken, zeigt schließlich, wie die Schlachtfelder der Westfront in die Räume der Metropolen einbrechen. In Werken von Alfred Döblin, André Breton, Louis Aragon und H.D. (Hilda Doolittle) werden die Gespenster des Krieges auf Berliner Friedhöfe, in Pariser Passagen und Londoner Kinos verfolgt.