Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Marc Auge takes readers below Paris in a work that is both an ethnography of the city and a personal narrative. Guiding us through history, memory, and physical space, Auge juxtaposes the romance of the metro with the reality of multiethnic urban France. His work is part autobiography, with impressions from a lifetime riding the trains; part meditation on self and memory reflected in the people and places underneath Paris; part analysis of a place...
Tourists climb the Eiffel Tower to see Paris. Parisians know that to really see the city you must descend into the metro. In this revelatory book, Mar...
For the health of the psyche and the culture, for the individual and the whole society, oblivion is as necessary as memory. One must know how to forget, Marc Auge suggests, not just to live fully in the present but also to comprehend the past. Renowned as an anthropologist and an innovative social thinker, Auge's meditation moves from how forgetting the present or recent past enables us to return to earlier pasts, to how forgetting propels us into the present, and finally to how forgetting becomes a necessary part of survival. "Oblivion moves with authority and ease among a wide variety of...
For the health of the psyche and the culture, for the individual and the whole society, oblivion is as necessary as memory. One must know how to forge...
For the health of the psyche and the culture, for the individual and the whole society, oblivion is as necessary as memory. One must know how to forget, Marc Auge suggests, not just to live fully in the present but also to comprehend the past. Renowned as an anthropologist and an innovative social thinker, Auge's meditation moves from how forgetting the present or recent past enables us to return to earlier pasts, to how forgetting propels us into the present, and finally to how forgetting becomes a necessary part of survival. "Oblivion moves with authority and ease among a wide variety of...
For the health of the psyche and the culture, for the individual and the whole society, oblivion is as necessary as memory. One must know how to forge...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a profound effect on him. Like cinephiles everywhere, Auge was instantly drawn to Rick Blaine's mysterious past, his friendship with Sam and Captain Renault, and Ilsa's stirring, seductive beauty. The film-with its recurring scenes of waiting, menace, and flight-occupies a significant place in Auge's own memory of his uprooted childhood and the wartime exploits of his family.
Marc Auge's elegant and thoughtful essay on film and the nature of...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a pr...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a profound effect on him. Like cinephiles everywhere, Auge was instantly drawn to Rick Blaine's mysterious past, his friendship with Sam and Captain Renault, and Ilsa's stirring, seductive beauty. The film-with its recurring scenes of waiting, menace, and flight-occupies a significant place in Auge's own memory of his uprooted childhood and the wartime exploits of his family.
Marc Auge's elegant and thoughtful essay on film and the nature of...
Marc Auge was eleven or twelve years old when he first saw Casablanca. Made in 1942 but not released in France until 1947, the film had a pr...
Anthropology is both outside of history and within it. Histories of anthropology tend to summarise particular authors' intellectual differences; but, as Marc Auge argues in this book, first published in English in 1982, these differences may in fact be intrinsically derived from intellectual divisions within anthropology as obvious as they are irreconcilable. Auge identifies, in contemporary debates in French anthropology, the paths that perhaps allow us to transcend these oppositions. On doing so, he explores and clarifies the relationship that anthropology enjoys with history, on the...
Anthropology is both outside of history and within it. Histories of anthropology tend to summarise particular authors' intellectual differences; but, ...
For Marc Auge, best-selling author of "Non-Places," the prevailing idea of "the Future" rests on our present fears of the contemporary world. It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Auge finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
For Marc Auge, best-selling author of "Non-Places," the prevailing idea of "the Future" rests on our present fears of the contemporary world. It is to...
As he leaves the cinema where he has just watched "Casablanca," one of his favorite films, Julien is approached by a mysterious young woman, Claire. Unbeknownst to Julien, Claire has been following him for several days. Outside the cinema she relays a cryptic message: Someone s trying to find you. She insists that as a practitioner of the little-known science of narrative psychology she is acting as the anonymous individual s intermediary. Slowly, Julien allows himself to be sucked into Claire s investigation, and a strange odyssey through his past ensues. In this novel by Marc Auge, a...
As he leaves the cinema where he has just watched "Casablanca," one of his favorite films, Julien is approached by a mysterious young woman, Claire. U...
