Reproductions of Banality was first published in 1986. 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. An established fascist state has never existed in France, and after World War II there was a tendency to blame the Nazi Occupation for the presence of fascists within the country. Yet the memory of fascism within their ranks still haunts French intellectuals, and questions about a French version of fascist ideology have returned to the political forefront again and again in the years since the war. In Reproductions of Banality, Alice Yaegar Kaplan investigates the development of fascist ideology as it was manifested in the culture of prewar and Occupied France. Precisely because it existed only in a "gathering" or formative stage, and never achieved the power that brings with it a bureaucratic state apparatus, French fascism never lost its utopian, communal elements, or its consequent aesthetic appeal. Kaplan weighs this fascist aesthetic and its puzzling power of attraction by looking closely at its material remains: the narratives, slogans, newspapers, and film criticism produced by a group of writers who worked in Paris in the 1930s and early 1940s — their "most real moment." These writers include Pierre Drieu la Rochelle, Louis-Ferdinand Celine, Lucien Rebatat, Robert Brasillach, and Maurice Bardeche, as well as two precursors of French fascism, Georges Sorel and the Italian futurist F.T. Marinetti, who made of the airplane an industrial carrier of sexual fantasies and a prime mover in the transit from futurism to fascism. Kaplan's work is grounded in the major Marxist and psychoanalytic theories of fascism and in concepts of banality and mechanical reproduction that draw upon Walter Benjamin. Emphasizing the role played by the new technologies of sight and sound, she is able to suggest the nature of the long-repressed cultural and political climate that produced French fascism, and to show—by implication — that the mass marketing of ideology in democratic states bears a family resemblance to the fascist mode of an earlier time.

Reproductions of Banality was first published in 1986. 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. An established fascist state has never existed in France, and after World War II there was a tendency to blame the Nazi Occupation for the presence of fascists within the country. Yet the memory of fascism within their ranks still haunts French intellectuals, and questions about a French version of fascist ideology have returned to the political forefr.

Addressing a constellation of diverse thinkers—including Emmanuel Levinas, Patricia Williams, Jean-Francois Lyotard, Michel Foucault, Frantz Fanon, Julia Kristeva, and Luce Irigaray—the author proposes a new conception of ethics, an ethics of dissensus that rethinks the relation between freedom and obligation in a double context of embodiment and antagonism. The author employs discourses that have hitherto been segregated: postmodern ethics, feminism, race theory, and the idea of radical democracy.

Pierrot, a theatrical stock character known by his distinctive costume of loose white tunic and trousers, is a ubiquitous figure in French art and culture. This richly illustrated book offers an account of Pierrot’s recurrence in painting, printmaking, photography and film, tracing this distinctive type from the art of Antoine Watteau to the cinema of Occupied France. As a visual type, Pierrot thrives at the intersection of theatrical and marketplace practices. From Watteau’s Pierrot (c. 1720) and Édouard Manet’s The Old Musician (1862) to Nadar and Adrien Tournachon’s Pierrot the Photographer (1855) and the landmark film Children of Paradise (1945), Pierrot has given artists a medium through which to explore the marketplace as a form for both social life and creative practice. Simultaneously a human figure and a theatrical mask, Pierrot elicits artistic reflection on the representation of personality in the marketplace.

In the Mother of Invention in their analyses of literature, painting, sculptures, film, and fashion, the contributors explore the politics of invention articulated by these women as they negotiated prevailing ideologies.

The Jewish Radical Right is the first comprehensive analysis of Zionist Revisionist thought in the 1920s and 1930s, and of its ideological legacy in modern-day Israel. The Revisionists, under the leadership of Ze'ev Jabotinsky, offered a radical view of Jewish history and a revolutionary vision for its future. Using new archival material, Eran Kaplan examines the intellectual and cultural origins of the Zionist and Israeli Right, when Revisionism evolved into one of the most important movements in the Zionist camp. He presents revisionism as a form of integral nationalism, rooted in an ontological monism and intellectually related to the radical right-wing ideologies that flourished in the early twentieth century. Kaplan provocatively suggests that revisionism's legacies can be found both in the right-wing policies of Likud and in the heart of Post Zionism and its critique of mainstream (Labor) Zionism. Published with support from the Koret Jewish Studies Program