Abstract: In their posters and in their protests, the peasants of the Larzac deployed sheep to help them fight back against the French Army’s plans to expropriate them from the land as part of the expansion of a local military base. In Paris, as in regional courtrooms, sheep served as a visible and disruptive contrast to urban modernity, emblematized in ovine invasions which invited animals to make themselves heard (and smelt) in courtrooms, townhalls and even beneath the Eiffel Tower. This article considers sheep as objects and agents of protest in the Larzac campaign, showing how they embodied contested visions of rural modernity, offered both opportunities for and shaped new methodologies of protest, and came to characterize the way in which this pacifist campaign resonated internationally.
{"title":"Ovine invasion: sheep as protest objects and animal agents in the Larzac campaign","authors":"Andrew W M Smith","doi":"10.1093/fh/crad044","DOIUrl":"https://doi.org/10.1093/fh/crad044","url":null,"abstract":"Abstract: In their posters and in their protests, the peasants of the Larzac deployed sheep to help them fight back against the French Army’s plans to expropriate them from the land as part of the expansion of a local military base. In Paris, as in regional courtrooms, sheep served as a visible and disruptive contrast to urban modernity, emblematized in ovine invasions which invited animals to make themselves heard (and smelt) in courtrooms, townhalls and even beneath the Eiffel Tower. This article considers sheep as objects and agents of protest in the Larzac campaign, showing how they embodied contested visions of rural modernity, offered both opportunities for and shaped new methodologies of protest, and came to characterize the way in which this pacifist campaign resonated internationally.","PeriodicalId":43617,"journal":{"name":"French History","volume":"10 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135265867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract: In the early months of 1903, a new play opened at the Théâtre du Château-d’Eau in Paris, La Chute de l’Aigle, telling the story of the weeks following Napoléon’s defeat at Waterloo. Though the play itself was not particularly remarkable, it is notable for the presence of a ‘Musée Napoléonien’, containing a selection of original Napoleonic objects, in the theatre’s foyer. This article takes this unusual coming together of Napoleonic display in theatre and material culture as a starting point to examine the interplay between these forms of historical representation in France in the long nineteenth century. It argues that, like theatrical performance, exhibitions of Napoleonic things—especially personal items and belongings—constituted part of the broader turn towards a ‘spectacular past’, where historical narratives and biography were mediated via entertainment and spectacle. It demonstrates how contemporaries read the display of the personal items of a historical figure in dramatic, narrative terms, underlining the interaction between the visions of the historical past being constructed in performance and in the display of historical objects. In looking at these popular opportunities for experiential engagement with the past, it suggests that—whether in theatre, in exhibitions or, as in La Chute de l’Aigle, in both—such phenomena should be understood as important elements in how historical knowledge is acquired.
摘要:1903年初的几个月，一部新剧《La Chute de l’aigle》在巴黎thth渡口剧院上演，讲述了拿破仑在滑铁卢战败后几周的故事。虽然这出戏本身并不特别引人注目，但值得注意的是，在剧院的门厅里，有一件“mussame napolesamonien”，里面有一些拿破仑的原始物品。本文以拿破仑在戏剧和物质文化中不同寻常的结合为出发点，研究在漫长的19世纪中，这些形式的法国历史表现之间的相互作用。它认为，就像戏剧表演一样，拿破仑物品的展览——尤其是个人物品和财产——构成了向“壮观的过去”更广泛转向的一部分，在那里，历史叙事和传记通过娱乐和奇观来调解。它展示了当代人如何以戏剧、叙事的方式解读历史人物的个人物品的展示，强调了在表演和历史物品展示中构建的历史过去的愿景之间的相互作用。通过观察这些流行的与过去进行体验接触的机会，它表明，无论是在剧院，在展览中，还是在La Chute de l’aigle，两者都应该将这些现象理解为如何获得历史知识的重要因素。
{"title":"The Musée Napoléonien: objects, performance and encountering the ‘spectacular past’ in the long nineteenth century","authors":"Laura O’Brien","doi":"10.1093/fh/crad047","DOIUrl":"https://doi.org/10.1093/fh/crad047","url":null,"abstract":"Abstract: In the early months of 1903, a new play opened at the Théâtre du Château-d’Eau in Paris, La Chute de l’Aigle, telling the story of the weeks following Napoléon’s defeat at Waterloo. Though the play itself was not particularly remarkable, it is notable for the presence of a ‘Musée Napoléonien’, containing a selection of original Napoleonic objects, in the theatre’s foyer. This article takes this unusual coming together of Napoleonic display in theatre and material culture as a starting point to examine the interplay between these forms of historical representation in France in the long nineteenth century. It argues that, like theatrical performance, exhibitions of Napoleonic things—especially personal items and belongings—constituted part of the broader turn towards a ‘spectacular past’, where historical narratives and biography were mediated via entertainment and spectacle. It demonstrates how contemporaries read the display of the personal items of a historical figure in dramatic, narrative terms, underlining the interaction between the visions of the historical past being constructed in performance and in the display of historical objects. In looking at these popular opportunities for experiential engagement with the past, it suggests that—whether in theatre, in exhibitions or, as in La Chute de l’Aigle, in both—such phenomena should be understood as important elements in how historical knowledge is acquired.","PeriodicalId":43617,"journal":{"name":"French History","volume":"70 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135266008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Lacemaking in nineteenth-century France continued to be organized on a ‘putting-out’ basis, involving tens of thousands of women working from home. Their tools—pillow, bobbins, pins—were cheap or easy to make, and also highly portable, enabling lacemakers to gather in groups while working. These same tools held strong emotional and symbolic connotations, both for lacemakers themselves and for the art lovers and social crusaders who were determined to protect the trade from mechanization. Pillows, bobbins and other tools could be decorated with sentimental, religious or other messages. Lace tools were anthropomorphized in local dialects, made into ‘servants’. They were exchanged as gifts between couples, lent by neighbours and passed down from previous generations. They invoked and embodied lacemakers’ relationships, as well as their own craft identity. On their feast days lacemakers paraded replicas of their tools as a public statement of craft pride. Yet in lacemakers’ work culture, the tools were sometimes depicted as instruments of torture or as weapons used against those who forced them to work so long for so little. Lacemakers were ‘broken to the trade’ (rompu au métier) by their tools and the bodily attitudes they were forced to adopt. As the market for homemade lace declined and lacemaking became ever more closely associated with poverty, some lacemakers destroyed their tools as a protest at the grinding discipline of the trade.
在19世纪的法国，蕾丝制作继续以“外派”为基础，涉及成千上万的妇女在家工作。他们的工具——枕头、线轴、大头针——既便宜又容易制作，而且非常便携，使得缝制花边的人可以在工作时聚集在一起。这些同样的工具有着强烈的情感和象征意义，无论是对蕾丝匠自己，还是对那些决心保护贸易不受机械化影响的艺术爱好者和社会改革者。枕头、线轴和其他工具可以用情感、宗教或其他信息来装饰。蕾丝工具在当地方言中被拟人化，被制成“仆人”。它们是夫妻之间交换的礼物，是邻居借给的，也是祖祖辈辈传下来的。他们唤起并体现了蕾丝制作者的关系，以及他们自己的工艺身份。在他们的节日里，蕾丝匠们会展示他们工具的复制品，作为对手工艺自豪的公开声明。然而，在蕾丝匠的工作文化中，这些工具有时被描绘成折磨人的工具，或者是用来对付那些强迫他们长时间工作却少得可怜的人的武器。蕾丝匠被他们的工具和他们被迫采取的身体态度“打破了贸易”(rompu au msamtier)。随着自制蕾丝市场的萎缩，以及蕾丝制作与贫困的联系越来越紧密，一些蕾丝制造者毁掉了他们的工具，以抗议这一行业的残酷纪律。
{"title":"Broken to the trade: French lacemakers’ tools as sources of pride and pain","authors":"David Hopkin","doi":"10.1093/fh/crad042","DOIUrl":"https://doi.org/10.1093/fh/crad042","url":null,"abstract":"Abstract Lacemaking in nineteenth-century France continued to be organized on a ‘putting-out’ basis, involving tens of thousands of women working from home. Their tools—pillow, bobbins, pins—were cheap or easy to make, and also highly portable, enabling lacemakers to gather in groups while working. These same tools held strong emotional and symbolic connotations, both for lacemakers themselves and for the art lovers and social crusaders who were determined to protect the trade from mechanization. Pillows, bobbins and other tools could be decorated with sentimental, religious or other messages. Lace tools were anthropomorphized in local dialects, made into ‘servants’. They were exchanged as gifts between couples, lent by neighbours and passed down from previous generations. They invoked and embodied lacemakers’ relationships, as well as their own craft identity. On their feast days lacemakers paraded replicas of their tools as a public statement of craft pride. Yet in lacemakers’ work culture, the tools were sometimes depicted as instruments of torture or as weapons used against those who forced them to work so long for so little. Lacemakers were ‘broken to the trade’ (rompu au métier) by their tools and the bodily attitudes they were forced to adopt. As the market for homemade lace declined and lacemaking became ever more closely associated with poverty, some lacemakers destroyed their tools as a protest at the grinding discipline of the trade.","PeriodicalId":43617,"journal":{"name":"French History","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135219780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Fortune-telling using cards became increasingly popular in France in the late eighteenth century. But the history of cards as tools for divination has been overshadowed by myths spun by occultist writers, who claimed Tarot were the only cards truly suited to fortune-telling, because they encoded secret magical truths that dated back to ancient Egypt. This article turns from these myths to alternative sources that show cards in action: criminal prosecutions of fortune-tellers, popular card-reading manuals, and surviving cards from the period. Not only Tarot, but cards of all kinds, from playing cards to decks designed for divination became flexible tools for negotiating relationships among a broad range of the French population. As images, texts and objects to be manipulated, cards unlock common structures of emotion in nineteenth-century France, from the sense of order implied by suits, to the importance of juxtapositions and chance, and of turning things over to uncover their true, hidden meaning.
{"title":"Paper tools for broken hearts: fortune-telling with cards in France, <i>c.</i> 1803–1937","authors":"William G Pooley","doi":"10.1093/fh/crad043","DOIUrl":"https://doi.org/10.1093/fh/crad043","url":null,"abstract":"Abstract Fortune-telling using cards became increasingly popular in France in the late eighteenth century. But the history of cards as tools for divination has been overshadowed by myths spun by occultist writers, who claimed Tarot were the only cards truly suited to fortune-telling, because they encoded secret magical truths that dated back to ancient Egypt. This article turns from these myths to alternative sources that show cards in action: criminal prosecutions of fortune-tellers, popular card-reading manuals, and surviving cards from the period. Not only Tarot, but cards of all kinds, from playing cards to decks designed for divination became flexible tools for negotiating relationships among a broad range of the French population. As images, texts and objects to be manipulated, cards unlock common structures of emotion in nineteenth-century France, from the sense of order implied by suits, to the importance of juxtapositions and chance, and of turning things over to uncover their true, hidden meaning.","PeriodicalId":43617,"journal":{"name":"French History","volume":"195 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135967687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines the history of women’s coiffure in eighteenth-century France beyond its visual representations. Focusing on the city of Rouen, it adopts the perspective of the trades involved in the creation of coiffures, and in particular the legal conflicts between the female guild of bonnetières, brodeuses, enjoliveuses and coiffeuses and the merchant mercers over the business of embellishment. Emphasizing the interactions between male and female workers in the fashion trades, the study seeks to identify the impact that the acceleration of fashion innovation had on the practices of fashion workers and the ways in which they conceptualized the skills involved in the production of fashion novelties.
{"title":"The skills of fashion: guild conflicts between <i>bonnetières-coiffeuses</i> and merchant mercers over <i>enjolivement</i> in eighteenth-century Rouen","authors":"Jean-Alexandre Perras","doi":"10.1093/fh/crad040","DOIUrl":"https://doi.org/10.1093/fh/crad040","url":null,"abstract":"Abstract This article examines the history of women’s coiffure in eighteenth-century France beyond its visual representations. Focusing on the city of Rouen, it adopts the perspective of the trades involved in the creation of coiffures, and in particular the legal conflicts between the female guild of bonnetières, brodeuses, enjoliveuses and coiffeuses and the merchant mercers over the business of embellishment. Emphasizing the interactions between male and female workers in the fashion trades, the study seeks to identify the impact that the acceleration of fashion innovation had on the practices of fashion workers and the ways in which they conceptualized the skills involved in the production of fashion novelties.","PeriodicalId":43617,"journal":{"name":"French History","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135253244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Correction to: Three women artists in postwar France: Anna-Eva Bergman, Germaine Richier, Maria Helena Vieira da Silva","authors":"","doi":"10.1093/fh/crad045","DOIUrl":"https://doi.org/10.1093/fh/crad045","url":null,"abstract":"","PeriodicalId":43617,"journal":{"name":"French History","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135345559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article analyses the trial of Félicité, an enslaved woman in Port-au-Prince, who was convicted of theft and arson in 1787 and sentenced to be executed. The case is of interest to historians, as it is one of the few complete surviving records of slave testimony from Saint-Domingue. By examining the testimony of Félicité and a number of her fellow slaves and free people of colour, the case sheds new light on the sociability and economic life of urban slaves, explores the meaning of marronage, questions the extent to which racial solidarity existed between slaves and free people of colour and probes the assertions of recent scholarship regarding the use of slave testimony as autobiographical narrative. In addition, the article advances the argument that the outcome of the trial revealed a number of fault-lines within the white governing classes, particularly over the question of the intersection between humanitarianism and judicial decision-making.
{"title":"‘Un jugement politique’: Race, Policy, and Punishment in Colonial Saint-Domingue before 1789","authors":"Nancy Christie, Michael Gauvreau","doi":"10.1093/fh/crad038","DOIUrl":"https://doi.org/10.1093/fh/crad038","url":null,"abstract":"Abstract This article analyses the trial of Félicité, an enslaved woman in Port-au-Prince, who was convicted of theft and arson in 1787 and sentenced to be executed. The case is of interest to historians, as it is one of the few complete surviving records of slave testimony from Saint-Domingue. By examining the testimony of Félicité and a number of her fellow slaves and free people of colour, the case sheds new light on the sociability and economic life of urban slaves, explores the meaning of marronage, questions the extent to which racial solidarity existed between slaves and free people of colour and probes the assertions of recent scholarship regarding the use of slave testimony as autobiographical narrative. In addition, the article advances the argument that the outcome of the trial revealed a number of fault-lines within the white governing classes, particularly over the question of the intersection between humanitarianism and judicial decision-making.","PeriodicalId":43617,"journal":{"name":"French History","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135534604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Correction to: Impunity and Capitalism: The Afterlives of European Financial Crises","authors":"","doi":"10.1093/fh/crad041","DOIUrl":"https://doi.org/10.1093/fh/crad041","url":null,"abstract":"","PeriodicalId":43617,"journal":{"name":"French History","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135394212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Les Encyclopédismes en France à l’ère des révolutions (1789–1850)","authors":"Jeffrey D Burson","doi":"10.1093/fh/crad032","DOIUrl":"https://doi.org/10.1093/fh/crad032","url":null,"abstract":"","PeriodicalId":43617,"journal":{"name":"French History","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135736543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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