Pub Date : 2023-08-01DOI: 10.1215/00161071-10454867
L. Provenzano
From the après-mai 1968 through the end of the 1970s, successive groups of French radicals legitimized revolutionary violence and developed a militant protest culture that challenged the state's monopoly on violence. Most scholars have presented political violence in 1970s France as bound to the trajectories of organized Maoist and Trotskyist groups and as the product of revolutionary ideology that was overcome by experience. This article traces how a cohort of radicals continued to articulate discourses of self-defense, counterviolence, and violence as revolution of the self well into the 1970s. Activists did so because their experiences of conflict confirmed the salience of violent struggle. The article contributes to the historical study of violent phenomena by tracing an approach that integrates the analysis of understandings of violence and experiences of conflictual politics.
{"title":"“The Great Lesson of May '68 Is That Violence Pays”","authors":"L. Provenzano","doi":"10.1215/00161071-10454867","DOIUrl":"https://doi.org/10.1215/00161071-10454867","url":null,"abstract":"\u0000 From the après-mai 1968 through the end of the 1970s, successive groups of French radicals legitimized revolutionary violence and developed a militant protest culture that challenged the state's monopoly on violence. Most scholars have presented political violence in 1970s France as bound to the trajectories of organized Maoist and Trotskyist groups and as the product of revolutionary ideology that was overcome by experience. This article traces how a cohort of radicals continued to articulate discourses of self-defense, counterviolence, and violence as revolution of the self well into the 1970s. Activists did so because their experiences of conflict confirmed the salience of violent struggle. The article contributes to the historical study of violent phenomena by tracing an approach that integrates the analysis of understandings of violence and experiences of conflictual politics.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48841812","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}
Pub Date : 2023-05-01DOI: 10.1215/00161071-10350033
Florence Martin, Laura Mason
The long, rich history of Francophone cinematic culture has been largely absent from the pages of French Historical Studies. The current issue offers a corrective by initiating dialogue between historians and film studies specialists, and this introduction lays a groundwork by briefly sketching intellectual and cultural contexts for the articles that follow. Brett Bowles, Christian Delage, and Thibault Guichard examine films that recover voices silenced by abuses of state power or antistate terror, adding to existing work on how visual media preserves evidence of violence and so broadening our understanding of how history is constituted. Vanessa Brutsche engages a rich literature on how cinematic fictions represent the past with an article that explains how two popular films of the 1970s married historical “truths” with contemporary cultural referents to reappraise the French past and challenge illusions of progress. Kamel Ben Ouanès and Patricia Caillé’s overview of Tunisian cinema explores its complex relationship to state, civil society, and an international “Third Cinema” while reminding us how much Francophone cinema has become transnational in contexts of production and subject matter alike.
{"title":"Film and History","authors":"Florence Martin, Laura Mason","doi":"10.1215/00161071-10350033","DOIUrl":"https://doi.org/10.1215/00161071-10350033","url":null,"abstract":"\u0000 The long, rich history of Francophone cinematic culture has been largely absent from the pages of French Historical Studies. The current issue offers a corrective by initiating dialogue between historians and film studies specialists, and this introduction lays a groundwork by briefly sketching intellectual and cultural contexts for the articles that follow. Brett Bowles, Christian Delage, and Thibault Guichard examine films that recover voices silenced by abuses of state power or antistate terror, adding to existing work on how visual media preserves evidence of violence and so broadening our understanding of how history is constituted. Vanessa Brutsche engages a rich literature on how cinematic fictions represent the past with an article that explains how two popular films of the 1970s married historical “truths” with contemporary cultural referents to reappraise the French past and challenge illusions of progress. Kamel Ben Ouanès and Patricia Caillé’s overview of Tunisian cinema explores its complex relationship to state, civil society, and an international “Third Cinema” while reminding us how much Francophone cinema has become transnational in contexts of production and subject matter alike.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46652400","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}
Pub Date : 2023-05-01DOI: 10.1215/00161071-10350075
Kamel Ben Ouanès, Patricia Caillé
Les historiens en Tunisie ne se sont guère intéressés au cinéma. A partir d'une production éditoriale locale qui accompagne commémorations et manifestations cinématographiques en Tunisie, cet article tisse les contours du paysage, souvent ambivalent, du cinéma tunisien. La première partie restitue la production des savoirs sur le cinéma tunisien dans ses différents lieux. La deuxième partie porte sur une production nationale contingente constituée de textes, le plus souvent collectifs, d'acteurs et actrices engagés dans diverses capacités pour le développement d'un cinéma local. Alternant états des lieux, témoignages et analyses dans un rapport convenu, mais devenu trop étroit, aux valeurs du tiers-mondisme, ces textes affichent un attachement indéfectible au cinéma d'auteur et réaffirment les fondements d'une culture du cinéma hégémonique. La troisième partie explore les vestiges d'une lutte du cinéma face à un Etat défaillant, que la nouvelle génération a déjà dépassée dans ses pratiques.
{"title":"L'histoire au conditionnel passé du cinéma tunisien","authors":"Kamel Ben Ouanès, Patricia Caillé","doi":"10.1215/00161071-10350075","DOIUrl":"https://doi.org/10.1215/00161071-10350075","url":null,"abstract":"\u0000 Les historiens en Tunisie ne se sont guère intéressés au cinéma. A partir d'une production éditoriale locale qui accompagne commémorations et manifestations cinématographiques en Tunisie, cet article tisse les contours du paysage, souvent ambivalent, du cinéma tunisien. La première partie restitue la production des savoirs sur le cinéma tunisien dans ses différents lieux. La deuxième partie porte sur une production nationale contingente constituée de textes, le plus souvent collectifs, d'acteurs et actrices engagés dans diverses capacités pour le développement d'un cinéma local. Alternant états des lieux, témoignages et analyses dans un rapport convenu, mais devenu trop étroit, aux valeurs du tiers-mondisme, ces textes affichent un attachement indéfectible au cinéma d'auteur et réaffirment les fondements d'une culture du cinéma hégémonique. La troisième partie explore les vestiges d'une lutte du cinéma face à un Etat défaillant, que la nouvelle génération a déjà dépassée dans ses pratiques.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47377517","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}
Pub Date : 2023-05-01DOI: 10.1215/00161071-10350047
B. Bowles
While the massacre of peaceful Algerian demonstrators by French police on October 17, 1961, has been thoroughly studied by historians and is well known to the general public thanks to a sprawling corpus of novels, plays, songs, films, bandes dessinées, and other retrospective representations, to date there has been no careful archaeology of the event's original audiovisual archive from 1961. This article takes up that challenge in two stages: first, by identifying the photos and newsreel footage shot on the night of October 17, specifying the circumstances of their production, (non)distribution, and impact in the immediate aftermath of the massacre; second, by surveying how key elements of the original archive were recycled over the following sixty years to serve in turn as surrogates for and complements to other sources of knowledge about this infamous and long-dissimulated crime d’état.
{"title":"Fragmentary, Censored, Indispensable","authors":"B. Bowles","doi":"10.1215/00161071-10350047","DOIUrl":"https://doi.org/10.1215/00161071-10350047","url":null,"abstract":"\u0000 While the massacre of peaceful Algerian demonstrators by French police on October 17, 1961, has been thoroughly studied by historians and is well known to the general public thanks to a sprawling corpus of novels, plays, songs, films, bandes dessinées, and other retrospective representations, to date there has been no careful archaeology of the event's original audiovisual archive from 1961. This article takes up that challenge in two stages: first, by identifying the photos and newsreel footage shot on the night of October 17, specifying the circumstances of their production, (non)distribution, and impact in the immediate aftermath of the massacre; second, by surveying how key elements of the original archive were recycled over the following sixty years to serve in turn as surrogates for and complements to other sources of knowledge about this infamous and long-dissimulated crime d’état.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45026295","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}
Pub Date : 2023-05-01DOI: 10.1215/00161071-10350061
C. Delage, Thibault Guichard
Cet article s'interroge sur la manière dont le procès des responsables et complices des attentats du 13 novembre 2015 s'inspire de l'héritage du procès de Nuremberg, qui a été filmé et a accueilli la projection régulière d'images comme témoignages et comme preuves. Cette problématique, qui est caractéristique des sociétés dans lesquelles les images sont l'objet d'un intérêt académique comme judiciaire, conduit à questionner ce qu'elles apportent dans un tribunal, en termes de « vérité », et comment elles sont reçues par les protagonistes du procès et les sociétés dans lesquelles elles ont été produites.
{"title":"Des images du et dans le procès du 13 novembre 2015","authors":"C. Delage, Thibault Guichard","doi":"10.1215/00161071-10350061","DOIUrl":"https://doi.org/10.1215/00161071-10350061","url":null,"abstract":"\u0000 Cet article s'interroge sur la manière dont le procès des responsables et complices des attentats du 13 novembre 2015 s'inspire de l'héritage du procès de Nuremberg, qui a été filmé et a accueilli la projection régulière d'images comme témoignages et comme preuves. Cette problématique, qui est caractéristique des sociétés dans lesquelles les images sont l'objet d'un intérêt académique comme judiciaire, conduit à questionner ce qu'elles apportent dans un tribunal, en termes de « vérité », et comment elles sont reçues par les protagonistes du procès et les sociétés dans lesquelles elles ont été produites.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43221263","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}
Pub Date : 2023-05-01DOI: 10.1215/00161071-10350089
Vanessa Brutsche
While the trend for historical subjects in 1970s French cinema is often remembered in terms of la mode rétro, defined by an obsessional fixation on the Occupation, this article examines films that revisit two polarizing scandals during the explosive final years of the Third Republic. Alain Resnais's Stavisky (1974) recounts the mysterious death of a swindler that triggered a political crisis, leading to the violent street protests of February 6, 1934; Claude Chabrol's Violette Nozière (1978) dramatizes a famous case of parricide in 1933 that became a national obsession, pitting adherents of conservative bourgeois values against opponents of tradition and patriarchy. Rather than investigate the “myth” of resistance under Vichy, these films explore the fault lines of the bitter divide between Right and Left, recasting the prewar narrative through the prism of the 1970s to interrogate the legacies of fascism and the political stakes of interpreting history.
{"title":"Retro Visions","authors":"Vanessa Brutsche","doi":"10.1215/00161071-10350089","DOIUrl":"https://doi.org/10.1215/00161071-10350089","url":null,"abstract":"\u0000 While the trend for historical subjects in 1970s French cinema is often remembered in terms of la mode rétro, defined by an obsessional fixation on the Occupation, this article examines films that revisit two polarizing scandals during the explosive final years of the Third Republic. Alain Resnais's Stavisky (1974) recounts the mysterious death of a swindler that triggered a political crisis, leading to the violent street protests of February 6, 1934; Claude Chabrol's Violette Nozière (1978) dramatizes a famous case of parricide in 1933 that became a national obsession, pitting adherents of conservative bourgeois values against opponents of tradition and patriarchy. Rather than investigate the “myth” of resistance under Vichy, these films explore the fault lines of the bitter divide between Right and Left, recasting the prewar narrative through the prism of the 1970s to interrogate the legacies of fascism and the political stakes of interpreting history.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46019070","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}
Pub Date : 2023-05-01DOI: 10.1215/00161071-10350103
Sarah Sussman
This bibliography is designed to introduce readers to recent publications on French history, broadly defined. It is organized according to commonly recognized periods, with works that bridge multiple categories listed under “General and Miscellaneous.”
{"title":"Recent Books and Dissertations on French History","authors":"Sarah Sussman","doi":"10.1215/00161071-10350103","DOIUrl":"https://doi.org/10.1215/00161071-10350103","url":null,"abstract":"This bibliography is designed to introduce readers to recent publications on French history, broadly defined. It is organized according to commonly recognized periods, with works that bridge multiple categories listed under “General and Miscellaneous.”","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135050924","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}
Pub Date : 2023-02-01DOI: 10.1215/00161071-10152332
M. Gaposchkin
This article examines the material and ideological meaning of the three relics of the True Cross acquired by Louis IX in 1241 and 1242, which were venerated, along with the Crown of Thorns, in the Sainte-Chapelle, as part of the broader project of building Capetian sacral kingship in the High Middle Ages. Although cross relics flooded Western Christendom after 1204, these three relics, acquired directly from the Byzantine emperor, were specifically associated with Constantine and Heraclius and their historic military victories against enemies of Christian empire. The article identifies one of the three relics, known to contemporaries as the crux triumphalis in Latin and the croix de victoire in French, which Byzantine emperors were said to have carried into battle, as a relic that Louis IX then brought with him on his crusade of 1249–50 to Egypt, in hopes of martialing its historic power against the infidel in battle.
本文考察了路易九世于1241年和1242年获得的三件真十字架遗物的物质和思想意义，这三件遗物与荆棘王冠一起被供奉在圣礼拜堂，作为在中世纪盛期建立卡佩王朝的更广泛项目的一部分。虽然十字架遗迹在1204年之后充斥着西方基督教世界，但这三件直接从拜占庭皇帝那里获得的遗迹，与君士坦丁和希拉克略以及他们对基督教帝国敌人的历史性军事胜利特别相关。这篇文章指出，这三件圣物中的一件是路易九世在1249年至1250年的十字军东征中随身携带的圣物，当时的拜占庭皇帝称其为“凯旋之钥”(crux triumph)和“胜利之十字”(croix de victoire)，希望在战斗中运用其历史力量对抗异教徒。
{"title":"Louis IX and the Triumphal Cross of Constantine","authors":"M. Gaposchkin","doi":"10.1215/00161071-10152332","DOIUrl":"https://doi.org/10.1215/00161071-10152332","url":null,"abstract":"\u0000 This article examines the material and ideological meaning of the three relics of the True Cross acquired by Louis IX in 1241 and 1242, which were venerated, along with the Crown of Thorns, in the Sainte-Chapelle, as part of the broader project of building Capetian sacral kingship in the High Middle Ages. Although cross relics flooded Western Christendom after 1204, these three relics, acquired directly from the Byzantine emperor, were specifically associated with Constantine and Heraclius and their historic military victories against enemies of Christian empire. The article identifies one of the three relics, known to contemporaries as the crux triumphalis in Latin and the croix de victoire in French, which Byzantine emperors were said to have carried into battle, as a relic that Louis IX then brought with him on his crusade of 1249–50 to Egypt, in hopes of martialing its historic power against the infidel in battle.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46910106","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}
Pub Date : 2023-02-01DOI: 10.1215/00161071-10152318
C. Haynes, J. Heuer
{"title":"A Note from the New Editors","authors":"C. Haynes, J. Heuer","doi":"10.1215/00161071-10152318","DOIUrl":"https://doi.org/10.1215/00161071-10152318","url":null,"abstract":"","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48384060","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}
Pub Date : 2023-02-01DOI: 10.1215/00161071-10152360
Michael Harrigan
This article explores how onboard sociocultural practices were shaped by different conceptions of human and external environment on seventeenth- and early eighteenth-century French ships embarking for the Indian Ocean basin or across the Atlantic to the Caribbean. In these environments, in which large numbers of people were confined together, physical conditions shaped the sensory and social dynamics of ocean voyages, while they made ships ambiguous sites for the implementation of spiritual practices. Concepts of society responded to a largely unrecognizable marine environment; shipboard conditions of physical confinement were thought conducive to moral disorder, while ships were conceived of as a source of potentially subversive human energies that had to be channeled. These tensions reached a paroxysm on the slave ships increasingly crossing the Atlantic in the seventeenth and eighteenth centuries. The conditions within early modern ships, this article contends, were exacerbated by multiple external factors, making the ship a uniquely unsustainable environment.
{"title":"Confinement, Environment, and Slave Ships in Early Modern Ocean Voyages","authors":"Michael Harrigan","doi":"10.1215/00161071-10152360","DOIUrl":"https://doi.org/10.1215/00161071-10152360","url":null,"abstract":"\u0000 This article explores how onboard sociocultural practices were shaped by different conceptions of human and external environment on seventeenth- and early eighteenth-century French ships embarking for the Indian Ocean basin or across the Atlantic to the Caribbean. In these environments, in which large numbers of people were confined together, physical conditions shaped the sensory and social dynamics of ocean voyages, while they made ships ambiguous sites for the implementation of spiritual practices. Concepts of society responded to a largely unrecognizable marine environment; shipboard conditions of physical confinement were thought conducive to moral disorder, while ships were conceived of as a source of potentially subversive human energies that had to be channeled. These tensions reached a paroxysm on the slave ships increasingly crossing the Atlantic in the seventeenth and eighteenth centuries. The conditions within early modern ships, this article contends, were exacerbated by multiple external factors, making the ship a uniquely unsustainable environment.","PeriodicalId":45311,"journal":{"name":"FRENCH HISTORICAL STUDIES","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41328860","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：