Archeofuturism, an important work in the tradition of the European New Right, is finally now available in English. Challenging many assumptions held by the Right, this book generated much debate when it was first published in French in 1998. Faye believes that the future of the Right requires a transcendence of the division between those who wish for a restoration of the traditions of the past, and those who are calling for new social and technological forms - creating a synthesis which will amplify the strengths and restrain the excesses of both: Archeofuturism. Faye also provides a critique of the New Right; an analysis of the continuing damage being done by Western liberalism, political inertia, unrestrained immigration and ethnic self-hatred; and the need to abandon past positions and dare to face the realities of the present in order to realise the ideology of the future. He prophesises a series of catastrophes between 2010 and 2020, brought about by the unsustainability of the present world order, which he asserts will offer an opportunity to rebuild the West and put Archeofuturism into practice on a grand scale. This book is a must-read for anyone concerned with the course that the Right must chart in order to deal with the increasing crises and challenges it will face in the coming decades. Guillaume Faye was one of the principal members of the famed French New Right organisation GRECE in the 1970s and '80s. After departing in 1986 due to his disagreement with its strategy, he had a successful career on French television and radio before returning to the stage of political philosophy as a powerful alternative voice with the publication of Archeofuturism. Since then he has continued to challenge the status quo within the Right in his writings, earning him both the admiration and disdain of his colleagues.

"[Girard's] methods of extrapolating to find cultural history behind myths, and of reading hidden verification through silence, are worthy enrichments of the critic's arsenal." -- John Yoder, Religion and Literature.

First published in 1996. This lavishly illustrated study is a comprehensive literary and social history which offers a record of changing genres, manuscript/book production, and cultural, political, and religious emphases by examining one of the most long lived popular legends in England. Guy of Warwick became part of history when he was named in chronicles and heraldic rolls. The power of the Earls of Warwick, especially Richard de Beauchamp, inspired the spread of the legend, but Guy's highest fame came in the Renaissance as one of the Nine Worthies. Widely praised in texts and allusions, Guy's feats were sung in ballads and celebrated on the stage in England and France. The first Anglo-Norman romance of Gui de Warewic, a Saxon hero of the tenth century was written in the early 13th century; the latest retellings of the legend are contemporary. Examples of Guy's legend can be found in two English translations that survived the Middle Ages, a new French prose romance, a didactic tale in the Gesta Romanorum, and late medieval versions in Celtic, German, and Catalan, as well as English. Guy remained a favorite Edwardian children's story and was featured in the Warwick Pageant, an historical extravaganza of 1906. The patriotism of World War II sparked a resurgence of interest that produced several new versions, mostly folkloric.

Love and War chronicles Guillaume Simoneau's on-off relationship with Caroline Annandale. They first met at the at the Maine Photographic Workshop in 2000. Both in their early 20s, they began a feverish relationship. After the terrorist attacks on the US, Annandale enlisted in the army and was sent to Iraq. The two grew apart, but reunited sever years later to begin a tumultuous second chapter of their relationship. Using a variety of images, text messages and handwritten notes, Simoneau charts the couple's love affair and its attendant ups and downs.

As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics. Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles.