What do photographs want? Do they need any accompaniment in today's image-saturated society? Can writing inflect photography (or vice versa) in such a way that neither medium takes precedence? Or are they in constant, inexorable battle with each other? Taking nine case studies from the 1990s French-speaking world (from France, North Africa and the Caribbean), this book attempts to define the interaction between non-fictional written text (caption, essay, fragment, poem) and photographic image. Having considered three categories of 'intermediality' between text and photography - the collaborative, the self-collaborative and the retrospective - the book concludes that the dimensions of their interaction are not simple and two-fold (visuality versus/alongside textuality), but threefold and therefore 'complex'. Thus, the photo-text, as defined here, is concerned as much with orality - the demotic, the popular, the vernacular - as it is with visual and written culture. That text-image collaborations give space to the spoken, spectral traces of human discourse, suggests that the key element of the photo-text is its radical provisionality.

A priced and annotated annual record of international book auctions.

Reprint of the original, first published in 1869.

Neither Barthou's contemporaries nor subsequent historians have known quite what to make of this bourgeois politician who fought a duel with Jean Jaurès and flew with Wilbur Wright. Many concluded he was an individual of considerable talent, few principles, and excessive ambition. No one, reading Power and Pleasure, can maintain that view. Robert Young, constructing a complete picture of Barthou, effectively refutes the charge of unprincipled ambition and deftly deals with the tension between political principles and pragmatism. Young has written a social biography, situating Barthou's life -- both public and private -- in the political and cultural context of the Third Republic. Barthou was a centrist in his politics and, while current scholarship maintains that centrists adopted regressive strategies in response to the social question, Young presents an alternative reading of their position. He argues that although centrists like Barthou were not socialists -- for them "bourgeois" was a positive term -- they were capable of adjusting their ideals to meet the social changes of modern France. Barthou's turbulent political career was tempered both by a thirty-five-year marriage to his supportive wife and by a lifetime of pleasure derived from music, art, history, books, and literature.