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A study from the American perspective of modern spiritualism, which flourished in the mid-19th century, and of surrealism, a movement that produced a major following between the two World Wars.
A highly original study that examines the central role played by women as mediums, healers, and believers during the golden age of spiritualism in the late Victorian era, The Darkened Room is more than a meditation on women mediums—it's an exploration of the era's gender relations. The hugely popular spiritualist movement, which maintained that women were uniquely qualified to commune with spirits of the dead, offered female mediums a new independence, authority, and potential to undermine conventional class and gender relations in the home and in society. Using previously unexamined sources and an innovative approach, Alex Owen invokes the Victorian world of darkened séance rooms, theatrical apparitions, and moving episodes of happiness lost and regained. She charts the struggles between spiritualists and the medical and legal establishments over the issue of female mediumship, and provides new insights into the gendered dynamics of Victorian society.
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Before the Vichy regime, there was ostensibly only one France and one form of colonialism for French West Africa (FWA). World War II and the division of France into two ideological camps, each asking for legitimacy from the colonized, opened for Africans numerous unprecedented options. French Colonialism Unmasked analyzes three dramatic years in the history of FWA, from 1940 to 1943, in which the Vichy regime tried to impose the ideology of the National Revolution in the region. Ruth Ginio shows how this was a watershed period in the history of the region by providing an in-depth examination of the Vichy colonial visions and practices in fwa. She describes the intriguing encounters between the colonial regime and African society along with the responses of different sectors in the African population to the Vichy policy. Although French Colonialism Unmasked focuses on one region within the French Empire, it has relevance to French colonial history in general by providing one of the missing pieces in research on Vichy colonialism. Ruth Ginio is a research fellow at the Harry S. Truman Research Institute for the Advancement of Peace in the Hebrew University of Jerusalem. She is the author of articles in International Journal of African Historical Studies, Revue d'histoire moderne et contemporaine, Cahiers d'etudes africaines, and several other journals.
What is the relationship between fashion and modernity, and how is this unique relationship manifested in the material world? This book considers how the relationship between fashion and modernity tests the very definition of modernity and enhances our understanding of the role of fashion in the modern world.
Poetry. Translated from the French by Peter Manson. THE POEMS IN VERSE is Peter Manson's translation of The Poésies of Stéphane Mallarmé. Long overshadowed by Mallarmé's theoretical writings and by his legendary visual poem "Un coup de Dés jamais n'abolira le Hasard," the Poésies are lyrics of a uniquely prescient and generative modernity. Grounded in a scrupulous sounding of the complex ambiguities of the original poems, Manson's English translations draw on the resources of the most innovative poetries of our own time these may be the first translations really to trust the English language to bear the full weight of Mallarméan complexity. With THE POEMS IN VERSE, Mallarmé's voice is at last brought back, with all its incisive strangeness, into the conversation it started a hundred and fifty years ago, called contemporary poetry."
Fiction. Translated from the French by Paul Knobloch. Originally published in 1947. "In the Exopotamian desert, where hepatrols blossom and children collect little animals called sandpeepers, the sun shines in an unusual way: it produces eerie black zones whose mysteries remain unexplained. Above all, Vian's pecurilar way with language proves that, indeed, life in the desert is equal to none. Since unusual language is bound to produce unusual fiction, it follows that the story does not take place in the fall, nor is it set in China" - from the Foreword by Marc Lapprand. The fourth novel by Vian, who was a contemporary of Sartre and Beauvoir. His innovative style, cutting-edge during his lifetime, but only successful in the sixties, made him an icon of the May 1968 student movement.