{"id":2363,"date":"2024-01-18T18:22:00","date_gmt":"2024-01-18T23:22:00","guid":{"rendered":"https:\/\/sites.smith.edu\/frn372-fa24\/?p=2363"},"modified":"2024-09-11T12:34:10","modified_gmt":"2024-09-11T16:34:10","slug":"les-tableaux-de-paris-et-la-litterature-panoramique","status":"publish","type":"post","link":"https:\/\/sites.smith.edu\/frn372-fa24\/les-tableaux-de-paris-et-la-litterature-panoramique\/","title":{"rendered":"Les tableaux de Paris et la litt\u00e9rature panoramique"},"content":{"rendered":"\n

COURS 3<\/h2>\n\n\n\n

La litt\u00e9rature panoramique et le journal<\/h3>\n\n\n\n
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The Revolution generated an immense amount of writing about France<\/strong>, and the production about Paris<\/strong> increased astronomically. Many contemporaries must have agreed with J. B. Pujoulx, who noted in the first chapter of Paris \u00e0 la fin du XVIIIe si\u00e8cle<\/em> that no period favored the observer more than the present: ‘Everything is new<\/strong>.’ […] <\/p>\n\n\n\n

The great number of guidebooks to Paris that appeared in the new century testifies to the need for guidance, not simply because of the altered topography but also, and more urgently, because of the radically altered character or, to use the term favored by contemporaries, the ‘physiognomy<\/strong>‘ of a city that had been shaken to its foundations by revolution<\/strong>.<\/p>\nFerguson, p. 55<\/cite><\/blockquote>\n\n\n\n

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[…] the mass press incessantly conjured a never-ending festival of modern life<\/strong> that unfolded in and around the grands boulevards<\/em>. The new mass press provided a printed digest of the fl\u00e2neur<\/em>\u2019s roving eye<\/strong>.<\/p>\nSchwartz, p. 16<\/cite><\/blockquote>\n\n\n\n

Le diable boiteux<\/em><\/h3>\n\n\n\n
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Asmodeus (Asmod\u00e9e<\/strong>), a rather benevolent king of demons […] first made his appearance in the popular 1707 novel Le diable boiteux<\/em>, by Alain-Ren\u00e9 Lesage. Lesage’s demon, typically depicted with a crooked back and a cane, explores the city<\/strong> of Madrid and the everyday life<\/strong> of its inhabitants by removing rooftops and peeking inside people’s homes<\/strong>. References to this figure appear frequently in works written after Lesage’s novel, most notably in Louis-S\u00e9bastien Mercier’s Tableau de Paris<\/em><\/strong> (1781-1788), a work that also served as a key precursor to Paris, ou le livre des cent-et-un<\/em>. Lesage’s character thus provided a literary model for the project of Paris, ou le livre des cent-et-un<\/em> and for panoramic literature as a whole<\/strong>.<\/p>\nAnne O’Neil-Henry and Masha Belenky, Popular Literature from Nineteenth-Century France, p. 3<\/cite><\/blockquote>\n\n\n\n

Balzac, dans son roman Ferragus <\/em>(1833), d\u00e9crit Paris comme un \u00abmonstre complet:<\/p>\n\n\n\n

<\/div><\/code><\/p>\n\n\n\n

Il fait \u00e9cho aux \u00e9diteurs du \u00ab Diable boiteux \u00e0 Paris, ou le livre des cent-et-un \u00bb (un projet auquel Balzac avait particip\u00e9) qui avaient dit la m\u00eame chose \u00e0 la page 3 du Figaro<\/em> (25 juillet 1831).<\/p>\n\n\n\n

Mercier, Le Tableau de Paris<\/em><\/h3>\n\n\n\n
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J\u2019ai tant couru pour faire Le Tableau de Paris<\/em> que je puis dire l\u2019avoir fait avec mes jambes ; aussi ai-je appris \u00e0 marcher sur le pav\u00e9 de la capitale d\u2019une mani\u00e8re leste, vive et prompte. (\u2026) On ne peut rien faire lentement \u00e0 Paris, parce que d\u2019autres attendent.<\/p>\nLouis-S\u00e9bastien Mercier, Tableau de Paris, 1781<\/cite><\/blockquote>\n\n\n\n

<\/div><\/code><\/p>\n\n\n\n

L’Hermite de la Chauss\u00e9e d’Antin<\/h3>\n\n\n\n

Entre 1811 et 1814, \u00c9tienne de Jouy a publi\u00e9 dans la rubrique feuilleton du journal la Gazette de France<\/em> des observations sur les m\u0153urs fran\u00e7aises et parisiennes sous le pseudonyme \u00abL’Hermite de la Chauss\u00e9e d’Antin\u00bb :<\/p>\n\n\n\n

<\/div><\/code><\/p>\n\n\n\n

Ces \u00e9crits ont aussi \u00e9t\u00e9 publi\u00e9s en volume :<\/p>\n\n\n\n

<\/div><\/code><\/p>\n\n\n\n

Les Fran\u00e7ais peints par eux-m\u00eames<\/em><\/h3>\n\n\n\n
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\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Les Fran\u00e7ais peints par eux-m\u00eames \u2013 Le ramoneur<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Les Fran\u00e7ais peints par eux-m\u00eames \u2013 La femme de m\u00e9nage<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Les Fran\u00e7ais peints par eux-m\u00eames \u2013 Le d\u00e9butant litt\u00e9raire<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Les Fran\u00e7ais peints par eux-m\u00eames \u2013 La Grisette<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Les Fran\u00e7ais peints par eux-m\u00eames \u2013 Le collectionneur<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Les Fran\u00e7ais peints par eux-m\u00eames \u2013 La femme de chambre<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

La chronique dans le journal comme continuation de la litt\u00e9rature panoramique<\/h3>\n\n\n
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\"Magic<\/figure>\n<\/div>\n\n\n

Jules Claretie parle de ses chroniques comme \u00ab une sorte de lanterne magique \u00bb (image ci-dessus) o\u00f9 on peut observer les personnages de son temps (\u00ab Pr\u00e9face \u00bb p. VIII).<\/p>\n\n\n\n

Ailleurs, en parlant du 19e si\u00e8cle, il a dit :<\/p>\n\n\n\n

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Ce temps-ci tient surtout \u00e0 deux choses : \u00eatre amus\u00e9<\/strong> et \u00eatre renseign\u00e9<\/strong>. […] Aujourd’hui, le renseignement s’imprime<\/strong>. Il n’y a plus de causeurs [notez : causer = parler, discuter<\/em>] \u00e0 proprement dire ; il n’y a qu’un causeur gigantesque, un causeur in\u00e9puisable, un causeur extraordinaire, qui rab\u00e2che parfois, mais qui plus souvent a bien du nouveau \u00e0 nous apprendre \u2014 et ce causeur, c’est le journal<\/strong>. Ce Gargantua de la causerie avale toute l’actualit\u00e9<\/strong> et ne laisse au beaux esprits de dessert que les miettes de son repas. C’est pourquoi, la plupart du temps, la causerie actuelle […] se compose des bons mots de la gazette du matin ou de la nouvelle de la feuille du soir r\u00e9p\u00e9t\u00e9s simplement et r\u00e9cit\u00e9s par ceux qui se taillent de l’esprit tout fait dans la chronique. <\/p>\nJules Claretie, La Vie \u00e0 Paris 1880, p. 2<\/cite><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

COURS 3 La litt\u00e9rature panoramique et le journal The Revolution generated an immense amount of writing about France, and the production about Paris increased astronomically. Many contemporaries must have agreed with J. B. Pujoulx, who noted in the first chapter of Paris \u00e0 la fin du XVIIIe si\u00e8cle that no period favored the observer more… Continue reading Les tableaux de Paris et la litt\u00e9rature panoramique<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":4992,"featured_media":16,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,8],"tags":[],"class_list":["post-2363","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-supplements","category-unite1"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/2363","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=2363"}],"version-history":[{"count":14,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/2363\/revisions"}],"predecessor-version":[{"id":2530,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/posts\/2363\/revisions\/2530"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/media\/16"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/media?parent=2363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/categories?post=2363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.smith.edu\/frn372-fa24\/wp-json\/wp\/v2\/tags?post=2363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}