Set in Paris on the eve of World War II, the novel draws upon Simone de Beauvoir's relationship with Jean-Paul Sartre, and the affair that almost destroyed it.

This psychobiographical study of the renowned French pediatrician and psychoanalyst Françoise Dolto introduces both her theories of child development and her unique insights into language and identity. A friend of Jacques Lacan’s, Dolto believed that we are all humanized through language, and that the words we use carry unconscious traces of our early histories of love, suffering and desire. Suggesting that infants unconsciously symbolize and that a continuous circulation of unconscious affects—the transference—prevails in all language-based relations, her findings challenge assumptions about autism, autobiography, linguistics, literacy, pedagogy and therapy. Dolto’s own corpus—a rich archive blending the personal and professional—demonstrates this, with echoes between Dolto’s constructs about the child and her own challenging childhood. This fascinating book will not only introduce the work of Françoise Dolto to many readers, but will be a valuable resource for all psychoanalytic researchers and theorists interested in childhood, language and identity.

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Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.

Traditional histories of medieval art and architecture often privilege the moment of a work’s creation, yet surviving works designated as "medieval" have long and expansive lives. Many have extended prehistories emerging from their sites and contexts of creation, and most have undergone a variety of interventions, including adaptations and restorations, since coming into being. The lives of these works have been further extended through historiography, museum exhibitions, and digital media. Inspired by the literary category of biography and the methods of longue durée historians, the introduction and seventeen chapters of this volume provide an extended meditation on the longevity of medieval works of art and the aspect of time as a factor in shaping our interpretations of them. While the metaphor of "lives" invokes associations with the origin of the discipline of art history, focus is shifted away from temporal constraints of a single human lifespan or generation to consider the continued lives of medieval works even into our present moment. Chapters on works from the modern countries of Italy, France, England, Spain, and Germany are drawn together here by the thematic threads of essence and continuity, transformation, memory and oblivion, and restoration. Together, they tell an object-oriented history of art and architecture that is necessarily entangled with numerous individuals and institutions.