{"id":1405,"date":"2024-03-18T12:00:00","date_gmt":"2024-03-18T16:00:00","guid":{"rendered":"https:\/\/sites.smith.edu\/frn372-sp24\/?p=1405"},"modified":"2024-11-07T14:36:29","modified_gmt":"2024-11-07T19:36:29","slug":"images-et-theories-de-la-foule","status":"publish","type":"post","link":"https:\/\/sites.smith.edu\/frn372-fa24\/images-et-theories-de-la-foule\/","title":{"rendered":"Images et th\u00e9ories de la foule"},"content":{"rendered":"\n

La foule dans Bel-Ami<\/em><\/h2>\n\n\n\n

Premi\u00e8re partie, ch. I<\/h3>\n\n\n\n
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Quand Georges Duroy parvint au boulevard, il s’arr\u00eata encore, ind\u00e9cis sur ce qu’il allait faire. […] Il tourna vers la Madeleine est suivit le flot de foule<\/strong> qui coulait accabl\u00e9 par la chaleur. […] La foule<\/strong> glissait autour de lui, ext\u00e9nu\u00e9e et lente, et il pensait toujours: \u00abTas de brutes ; tous ces imb\u00e9ciles-l\u00e0 ont des sous dans leur gilet.\u00bb Il bousculait les gens de l’\u00e9paule, et sifflotait des airs joyeux.<\/p>\npp. 46-48<\/cite><\/blockquote>\n\n\n\n

Seconde partie, ch. X<\/h3>\n\n\n\n
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Du Roy l’\u00e9coutait [l’\u00e9v\u00eaque], ivre d’orgueil. Un pr\u00e9lat de l’\u00c9glise romaine lui parlait ainsi, \u00e0 lui. Et il sentait derri\u00e8re son dos, une foule<\/strong>, une foule illustre<\/strong> venue pour lui. Il lui semblait qu’une force le poussait, le soulevait. Il devenait un des ma\u00eetres de la terre […] Lorsqu’il parvint sur le seuil [de la Madeleine], il aper\u00e7ut la foule<\/strong> amass\u00e9e, une foule<\/strong> noire, bruissante, venue l\u00e0 pour lui, pour lui Georges Du Roy. Le peuple de Paris le contemplait et l’enviait.<\/p>\np. 369, p. 371<\/cite><\/blockquote>\n\n\n\n

Images<\/h2>\n\n\n\n
\n
\"Une<\/a>
Vallotton, La Foule \u00e0 Paris<\/figcaption><\/figure>\n\n\n\n
\"Une<\/a>
Vallotton, La Manifestation<\/figcaption><\/figure>\n\n\n\n
\"Une<\/a>
Vallotton, La Charge<\/figcaption><\/figure>\n\n\n\n
\"Une<\/a>
D\u00e9vambez, La Charge<\/figcaption><\/figure>\n
Images de la foule<\/figcaption><\/figure>\n\n\n\n
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Artistes et sociologues <\/h2>\n\n\n\n

Vallotton, Taine, Tarde, Le Bon<\/h3>\n\n\n\n
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Vallotton\u2019s pictorial approach to the crowd was forged amid an explosion of historical, sociological, and philosophical interest in the subject. From 1876 to 1894 Hippolyte Taine published a six-volume account of French history since the 1789 Revolution. Les Origines de la France contemporaine<\/em> is laced with hostility toward\u2014and sensational descriptions of\u2014the unruly crowds that propelled this period of radical change. Taine describes the crowd as \u201cun animal primitif,\u201d a thoughtless force of destructive anarchy (vol. 3 [1878], 70).1<\/a><\/sup> Drawing on Taine, sociologists Gabriel Tarde and Gustave Le Bon (among others) made crowd psychology a new branch of scientific inquiry. Tarde, an original philosophical thinker, saw the crowd as an aggregate of imitative individuals, each of whom bears the potential for sympathy and innovation as well as conformity and irrational violence<\/strong>. Le Bon<\/strong>, who popularized Tarde\u2019s ideas, doubled down on the negative view<\/strong>. His notorious best-seller, La Psychologie des foules<\/em> (1895)<\/strong>, describes the crowd as dumb and dangerous yet manipulable by a charismatic leader, especially if that leader wields power in the form of images. Rational individuals transform through collective contagion, mutually intoxicated by \u201cl\u2019impulsivit\u00e9, l\u2019irritabilit\u00e9, l\u2019incapacit\u00e9 de raisonner, l\u2019absence de jugement et d\u2019esprit critique, l\u2019exag\u00e9ration des sentiments\u201d<\/strong> (24). <\/p>\n\n\n\n

Vallotton\u2019s vision of the crowd could be called Tardian in its contradictions, but with a leftist bent<\/strong>. His ambivalent figures frequently look out as if to hook our attention, soliciting the viewer\u2019s identification with their dilemma. In La Charge<\/em> we are addressed by the passive policeman and the young dissident, who stares straight ahead with one policeman grabbing his neck and another about to strike his head with a fist. Whose side are you on, Vallotton seems to ask, and what will you do from where you stand?<\/strong> Other prints by the artist from the early to mid 1890s\u2014depicting suicide, capital punishment, political protest, and public brawls\u2014similarly place the viewer in uncomfortable positions of political fence-sitting and ethical doubt<\/strong>.2<\/a><\/sup><\/p>\nBridget Alsdorf, “Vallotton, F\u00e9n\u00e9on, and the Legacy of the Commune in Fin-de-si\u00e8cle France,” Nineteenth-Century French Studies 49, nos. 3 & 4, Spring\u2013Summer 2021, pp. 272-273 <\/a><\/cite><\/blockquote>\n\n\n\n

L’Affaire Dreyfus et les th\u00e9ories de Gabriel Tarde<\/h2>\n\n\n\n
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Les r\u00e9percussions de l\u2019Affaire sur l\u2019opinion publique peuvent historiquement s\u2019expliquer par plusieurs ph\u00e9nom\u00e8nes. Tout d\u2019abord celui de la presse sur laquelle s\u2019appuie l\u2019opinion publique<\/strong>, jour apr\u00e8s jour elle rend compte du d\u00e9veloppement de l\u2019Affaire et diffuse ses propres mythes. Tout en elle joue sur le registre passionnel. Mais elle est aussi l\u2019interm\u00e9diaire par lequel l\u2019\u00e9v\u00e9nement lui-m\u00eame passe<\/strong>. Ensuite, les principales figures de l\u2019Affaire sont des \u00e9crivains, des \u00ab intellectuels \u00bb<\/strong> : la nouvelle figure de l\u2019intellectuel engag\u00e9 cr\u00e9e l\u2019\u00e9v\u00e9nement, elle engendre le combat par la pol\u00e9mique, elle s\u2019oppose aux institutions et au pouvoir au moyen de l\u2019\u00e9criture. Une nouvelle soci\u00e9t\u00e9 \u00e9merge. L\u2019Affaire repr\u00e9sente alors une \u00e9volution dans l\u2019histoire de la d\u00e9mocratie : elle d\u00e9place l\u2019instance de d\u00e9cision de l\u2019ombre des minist\u00e8res \u00e0 la place publique ; elle consacre le triomphe des puissances d\u2019opinion (assembl\u00e9es, presse, instances locales) sur les puissances traditionnelles (notables, arm\u00e9e, justice)<\/strong>.<\/p>\nLouise Salmon, \u00ab Gabriel Tarde et l\u2019Affaire Dreyfus \u00bb, Champ p\u00e9nal\/Penal field<\/em> [En ligne], Vol. II | 2005<\/a><\/cite><\/blockquote>\n\n\n\n

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  1. The classic Jacobin critique of Taine\u2019s account of revolutionary crowds is Georges Lefebvre, \u201cFoules r\u00e9volutionnaires,\u201d Annales historiques de la R\u00e9volution fr an\u00e7aise, no. 61, Jan.- Feb. 1934, pp. 1-26 \u21a9\ufe0e<\/a><\/li>
  2. Cf. Le Suicide<\/em>, 1894, woodcut; L\u2019Ex\u00e9cution<\/em>, 1894, woodcut; La Manifestation<\/em>, 1893, woodcut; Au Violon<\/em>, 1893, zincograph; La Rixe<\/em>, 1892, woodcut. \u21a9\ufe0e<\/a><\/li><\/ol>","protected":false},"excerpt":{"rendered":"

    La foule dans Bel-Ami Premi\u00e8re partie, ch. I Quand Georges Duroy parvint au boulevard, il s’arr\u00eata encore, ind\u00e9cis sur ce qu’il allait faire. […] Il tourna vers la Madeleine est suivit le flot de foule qui coulait accabl\u00e9 par la chaleur. […] La foule glissait autour de lui, ext\u00e9nu\u00e9e et lente, et il pensait toujours:… Continue reading Images et th\u00e9ories de la foule<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":4992,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"[{\"id\":\"297a1ece-c7a3-45ac-9f1a-76b4f4d6c4db\",\"content\":\"The classic Jacobin critique of Taine\\u2019s account of revolutionary crowds is Georges Lefebvre, \\u201cFoules r\\u00e9volutionnaires,\\u201d Annales historiques de la R\\u00e9volution fr an\\u00e7aise, no. 61, Jan.- Feb. 1934, pp. 1-26\"},{\"id\":\"46137bf7-1a03-4b23-946e-bd3e528a5fe6\",\"content\":\"Cf. Le Suicide<\\\/em>, 1894, woodcut; L\\u2019Ex\\u00e9cution<\\\/em>, 1894, woodcut; La Manifestation<\\\/em>, 1893, woodcut; Au Violon<\\\/em>, 1893, zincograph; La Rixe<\\\/em>, 1892, woodcut.\"}]"},"categories":[5,6,11],"tags":[],"class_list":["post-1405","post","type-post","status-publish","format-standard","hentry","category-ressources","category-supplements","category-unite4"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/1405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/users\/4992"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/comments?post=1405"}],"version-history":[{"count":6,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/1405\/revisions"}],"predecessor-version":[{"id":3554,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/1405\/revisions\/3554"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/media?parent=1405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/categories?post=1405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/tags?post=1405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}