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History as Ideology or History as “Idéologie:” C. F. Volney and the Uses of the Past in Revolutionary France

100%

Cook A.

Dialogue and Universalism

2021

issue 3

179-196

The French Revolution had a complex relationship with historical thought. In a significant sense, the politics of 1789 was built upon a rejection of the authority of the past. As old institutions and practices were swept away, many champions of the Revolution attacked conventional historical modes for legitimating authority, seeking to replace them with a politics anchored in notions of reason, natural law and natural rights. Yet history was not so easily purged from politics. In practice, symbols and images borrowed from the past saturated Revolutionary culture. The factional disputes of the 1790s, too, invoked history in a range of ways. The politics of nature itself often relied on a range of historical propositions and, as the Revolution developed, a new battle between “ancients” and ‘moderns’ gradually emerged amongst those seeking to direct the future of France. This article explores these issues by focusing on a series of lectures delivered at the École Normale in the Year III (1795), in the wake of Thermidor and the fall of Robespierre. The lectures, commissioned by the Ministry of Education, were designed to lay out a program for historical pedagogy in the French Republic. Their author, Constantin-Francois Volney (1757–1820), was one of a group of figures who sought, during these years, to stabilise French politics by tying it to the development of a new form of social science—a science that would eventually be labelled “idéologie.” With this in mind, Volney sought to promote historical study as an antidote to the political appropriation of the past, with particular reference to its recent uses in France. In doing so, he also sought to appropriate the past for political purposes. These lectures illustrate a series of tensions in the wider Revolutionary relationship with history, particularly during the Thermidorian moment. They also, however, reflect ongoing ambiguities in the social role of the discipline and the self-understanding of itspractitioners.

Caricature textuelle et visuelle française du XIXe siècle. Enjeux sémiologiques d’une analyse icono-textuelle

80%

Guinand C.

Quêtes littéraires

2020

issue 10

This article considers caricature as an icono-verbal tool that mobilizes shared cultural codes. It shows that in the 19th century, both visual (in this case, Daumier and Gavarni) and textual caricature (in this case, Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) were designed based on the model of a theatrical scene which plays on the rich possibilities offered by the combination of text and image at the heart of comical mechanisms. Indeed, invalidating the observation of the primacy of image over text (Charles Baudelaire's stance) or vice versa: of text over image (represented by Roland Barthes), this article posits that the visual and the textual take on fluid roles and complement each other. As such, the consonance or dissonance between the image and its title/legend are two types of relationships that contribute to the birth of laughter as well as to the semantic richness of a caricature. This vision of laughter proceeding above all from formal mechanisms could lead one to believe that the evaluation of the adopted value systems is superfluous. The important thing would be to understand and analyze, not to judge. Against such a claim, this article supports the need to add to the formal analysis of a work in its historical context, its ethical positioning in the face of its explicit and implicit ideological implications.

Cet article considère la caricature en tant que dispositif icono-verbal qui mobilise des codes culturels partagés. Il montre qu’au XIXe siècle, la caricature visuelle (ici Daumier et Gavarni) comme la caricature textuelle (ici Balzac, Baudelaire, Stendhal, Musset, Flaubert, Huysmans) sont pensées sur le modèle de la scène théâtrale qui joue des riches possibilités offertes par la combinatoire du texte et de l'image au cœur des mécanismes comiques. En effet, invalidant le constat d'un primat de l’image sur le texte (position de Charles Baudelaire) ou inversement du texte sur l’image (position de Roland Barthes), cet article rappelle que le visuel et le textuel assument des rôles fluides et qu’ils se complètent. À ce titre, la consonance ou dissonance entre l'image et son titre/sa légende sont deux types de rapports qui concourent à la naissance du rire comme à la richesse sémantique de la caricature. Cette vision d’un rire procédant avant tout de mécanismes formels pourrait tendre à faire croire que l'évaluation des systèmes de valeur mobilisés est superflue. L'important serait de comprendre et d'analyser, pas de juger. Contre une telle prétention, cet article soutient la nécessité d’ajouter à l'analyse formelle d'une œuvre dans son contexte historique un positionnement éthique face à ses implications idéologiques explicites et implicites.

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1 Dialogue and Universalism

1 Quêtes littéraires

1 Cook A.

1 Guinand C.

1 2021

1 2020

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History as Ideology or History as “Idéologie:” C. F. Volney and the Uses of the Past in Revolutionary France

Caricature textuelle et visuelle française du XIXe siècle. Enjeux sémiologiques d’une analyse icono-textuelle