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The French edition of Neighbours of Passage has been awarded Le Grand Prix des Rendez-vous de l'histoire 2024.The book is a sociocultural microhistory of migrants. From the 1880s to the 1930s, it traces the lives of the occupants of a housing complex located just north of the French capital, in the heart of the Plaine-Saint-Denis. Starting in the 1870s, that industrial suburb became a magnet for working-class migrants of diverse origins, from within France and abroad. The author examines how the inhabitants of that particular place identified themselves and others. The study looks at the role played, in the construction of social difference, by interpersonal contacts, institutional interactions and migration.The objective of the book is to carry out an original experiment: applying microhistorical methods to the history of modern migrations. Beyond its own material history, the tenement is an observation point: it was deliberately selected for its high degree of demographic diversity, which contrasts with the typical objects of the traditional, ethnicity-based scholarship on migration. The micro lens allows for the reconstruction of the itineraries, interactions, and representations of the tenement’s occupants, in both their singularity and their structural context. Through its many individual stories, the book restores a degree of complexity that is often overlooked by historical accounts at broader levels.

Visualizing Theory is a lavishly illustrated collection of provocative essays, occasional pieces, and dialogues that first appeared in Visual Anthropology Review between 1990 and 1994. It contains contributions from anthropologists, from cultural, literary and film critics and from image makers themselves. Reclaiming visual anthropology as a space for the critical representation of visual culture from the naive realist and exoticist inclinations that have beleaguered practitioners' efforts to date, Visualizing Theory is a major intervention into this growing field.

The French edition of Neighbours of Passage has been awarded Le Grand Prix des Rendez-vous de l'histoire 2024.The book is a sociocultural microhistory of migrants. From the 1880s to the 1930s, it traces the lives of the occupants of a housing complex located just north of the French capital, in the heart of the Plaine-Saint-Denis. Starting in the 1870s, that industrial suburb became a magnet for working-class migrants of diverse origins, from within France and abroad. The author examines how the inhabitants of that particular place identified themselves and others. The study looks at the role played, in the construction of social difference, by interpersonal contacts, institutional interactions and migration.The objective of the book is to carry out an original experiment: applying microhistorical methods to the history of modern migrations. Beyond its own material history, the tenement is an observation point: it was deliberately selected for its high degree of demographic diversity, which contrasts with the typical objects of the traditional, ethnicity-based scholarship on migration. The micro lens allows for the reconstruction of the itineraries, interactions, and representations of the tenement’s occupants, in both their singularity and their structural context. Through its many individual stories, the book restores a degree of complexity that is often overlooked by historical accounts at broader levels.

Since the mid-1970s, the colloquial term zone has often been associated with the troubled post-war housing estates on the outskirts of large French cities. However, it once referred to a more circumscribed space: the zone non aedificandi (non-building zone) which encircled Paris from the 1840s to the 1940s. This unusual territory, although marginal in a social and geographical sense, came to occupy a central place in Parisian culture. Previous studies have focused on its urban and social history, or on particular ways in which it was represented during particular periods. By bringing together and analysing a wider range of sources from the duration of the zone’s existence, this study offers a rich and nuanced account of how the area was perceived and used by successive generations of Parisian novelists (including Zola and Flaubert), poets, songwriters, artists, photographers, film-makers, politicians and town-planners. More generally, it aims to raise awareness of a neglected aspect of Parisian cultural history while pointing to links between current and past perceptions of the city’s periphery.

Since the mid-1970s, the colloquial term zone has often been associated with the troubled post-war housing estates on the outskirts of large French cities. However, it once referred to a more circumscribed space: the zone non aedificandi (non-building zone) which encircled Paris from the 1840s to the 1940s. This unusual territory, although marginal in a social and geographical sense, came to occupy a central place in Parisian culture. Previous studies have focused on its urban and social history, or on particular ways in which it was represented during particular periods. By bringing together and analysing a wider range of sources from the duration of the zone’s existence, this study offers a rich and nuanced account of how the area was perceived and used by successive generations of Parisian novelists (including Zola and Flaubert), poets, songwriters, artists, photographers, film-makers, politicians and town-planners. More generally, it aims to raise awareness of a neglected aspect of Parisian cultural history while pointing to links between current and past perceptions of the city’s periphery.