A reexamination of 1970s France as a decade of intellectual, cultural, and political consequence, both then and now Number 143 of Yale French Studies, "The French Seventies," reintroduces and reorients readers to a decade typically considered a period of disillusionment and malaise in the wake of the 1960s. This collection of essays, edited by Richard J. Golsan and Lynn A. Higgins, shows that the era was in fact a period of intellectual, cultural, and political ferment. It was a time not of spectacular leaps forward but rather of searching, regrouping, and cultivating trends that would flower in the 1980s and beyond, for better or worse. The volume offers interdisciplinary scholarly essays on history, film, national identity as articulated in the mode rétro, social and literary movements, and more. Interviews and personal history essays by major figures who actively participated in this decade add further dimension to this broad collection.

This new volume of Yale French Studies both honors and adds to Edwin M. Duval's scholarship on the history and development of French Renaissance literature. Edwin (Ned) M. Duval's scholarship focuses on teasing out hidden structures and symmetries in the poetry and prose of the French Renaissance, a period when literature underwent radical changes. In honor of Duval's literary "sleuthing," the contributors in this issue explore the symmetries, as well as the dissymmetries, the fragility, ambiguities, and contradictions of French Renaissance literary production. This volume addresses evolving literary practices, innovations in genre, and intellectual developments in sixteenth-century France.

Number 137/138 in Yale French Studies, this collection of essays examines poetry in French by authors from across the Maghreb Although in recent years Maghrebi literature written in French has enjoyed increased critical attention, less attention has been paid specifically to the genre of poetry. The sixteen essays collected in this special issue of Yale French Studies show how the poem provides a uniquely privileged perspective from which to examine questions relating to aesthetics, linguistics, philosophy, history, autobiography, gender, the visual arts, colonial and postcolonial society and politics, and issues relating to the post-Arab Spring.

Focused on existentialism, this issue explores current writers, thinkers, and texts affiliated with the movement In 1948, Yale French Studies devoted its inaugural issue to existentialism. This anniversary issue responds seventy years later. In recent years, new critical and theoretical approaches have reconfigured existentialism and refreshed perspectives on the philosophical, literary, and stylistic movement. This special issue restores the writers, thinkers, and texts of the movement to their subversive strength. In so doing, it illustrates existentialism's present relevance, revealing how the concerns of the past urgently bristle into our own times.

Provides the listing of books, articles, and book reviews concerned with French literature since 1885. This is a reference source in the study of modern French literature and culture. It contains nearly 8,800 entries.

This book is about memory—about how the past persists into the present, and about how this persistence has been understood over the past two centuries. Since the French Revolution, memory has been the source of an intense disquiet. Fundamental cultural theories have sought to understand it, and have striven to represent its stresses.

The first Yale French Studies issue on photography, examining French photography's place in art, identity, and society through a lens of diversity and interdisciplinary investigation In its first issue on photography, this volume of Yale French Studies presents multiple avenues of interdisciplinary investigation designed to intersect and open up new areas of inquiry in the twenty-first century. These intersections push beyond traditional geographic and gender boundaries, exploring women's photography, new cultural contexts, trans orientalism, and minority and marginalized bodies. As they do so, they ask us to reconsider the way that we conceive of photography's place in the past and in our lives today.