In June 1951, Sartre’s play The Devil and the Good Lord (Le Diable et le Bon Dieu) was first produced at the Théâtre Antoine in Paris. Set during the German Peasants’ War, the play recounts the story of Goetz, a military leader who transforms himself from a feared and notorious war criminal into a saint and folk hero through a series of arbitrary acts of clemency and generosity. First sparing the besieged town of Worms from total destruction, Goetz then proceeds to break up his own estates and redistribute the land among the peasantry. Far from being presented as an ethical conversion from Evil to Good, however, Goetz’s generosity is twice criticised within the play as a strategem to achieve even greater domination over the beneficiaries of his mercy and munificence.
Between the world wars, France attracted more immigrants per capita than any other country in the world. Roughly 3 million had settled in the Hexagon by 1931, seven percent of the total population according to official statistics. They came primarily from Italy, Poland, and Spain, but also Russia, Czechoslovakia, Hungary, and Rumania, political refugees and workers alike. France also welcomed a greater non-European minority than any other country on the continent. Well over a hundred thousand arrived, almost exclusively from North Africa, especially Algeria.1 The level of immigration rose so high so fast that many commentators began to worry about the threat of increased crime and miscegenation. Some even feared for the survival of French culture.
This article explores the relationship between existentialism and the horror genre. Noël Carroll and others have proposed that horror monsters defy established categories. Carroll also argues that the emotion they provoke - 'art-horror' - is a 'composite' of fear and disgust. I argue that the sometimes horrifying images and metaphors of Sartre's early philosophy, which correlate with nausea and anxiety, have a non-coincidental commonality with art-horror explained by existentialism's preoccupation with the interstitial nature of the self. Further, it is argued that, as with some of the more sophisticated examples of the horror genre, the way for existential protagonists like Roquentin and Gregor Samsa to meet the challenge of the horrifying involves an accommodation of these features of the existential condition within their developing identity, which results in them appearing monstrous to others. Lastly, it is claimed that the association between existentialism and art-horror can explain the (paradoxical) appeal of horror.
The Controversy over "Statistiques Ethniques"
Daniel Sabbagh and Shanny Peer
In the United States, while some race-based policies such as affirmative action have faced often successful political and legal challenges over the last quartercentury, historically, the very principle of official racial classification has met with much less resistance. The Equal Protection Clause of the Constitution’s Fourteenth Amendment, according to which “no state shall deny to any person within its jurisdiction the equal protection of the laws,” was not originally intended to incorporate a general rule of “color blindness.” And when in California, in 2003, the “Racial Privacy Initiative” led to a referendum on a measure—Proposition 54—demanding that “the state shall not classify any individual by race, ethnicity, color or national origin,” this restriction was meant to apply exclusively to the operation of public education, public contracting or public employment, that is, the three sites where affirmative action was once in effect and might be reinstated at some point, or so the proponents of that initiative feared. In any case, that measure was roundly defeated at the polls.
decree on 27 May 1907. After World War I, the combination of public health crises, racialized fears of contagion, and the objective of mise en valeur prompted the colonial state to make Muslim villagers in the communes mixtes a more systematic target
due to the fear of death or the simple need to live. 10 In the modern sense of production ( Gestell ), the natural world is largely taken as something to be transformed entirely for the sake of the human. Form is imposed on matter. 11 Here, the human
A Comedic Film between History and Memory
), a bourgeois factory owner, race from Deauville, where Pivert’s wife Germaine (Suzy Delair) fears he has a mistress, to Paris in a Citroën DS. Pivert is returning for his daughter’s marriage on Saturday to a pimply-faced aristocrat. As they drive
Edward Berenson, Elinor Accampo, Joseph Bohling, and Michael Seidman
,” to bridge political divides at a key moment in the Dreyfus Affair. 2 It goes without saying that at other times, the empire was divisive and that, later, when it produced a wave of immigration, it caused hostility, fear, and anxiety in the Hexagon
Christopher E. Forth
would have been content with vicarious experiences rather than actually emulating them. Heroes of Empire outlines some of the paradoxes that colonialists faced when portraying themselves as masculine. Imperialist expansionism was goaded on by fears of
Familialism and the National Revolution in 1940s Morocco
Margaret Cook Andersen
being sustained largely by reductions in mortality rates and not the increasingly restrained birthrate. Following French defeat in the Franco-Prussian War, 1870–1871, growing numbers of patriotic French people feared the consequences of the dwindling