« I am in favor of universal suffrage-indeed, I do not know that I should be permitted to live in my own house if I were not. » 1. C'est ainsi que Henry B. Stanton présente en 1866, lors de la 26 e réunion annuelle de la Pennsylvania Anti-Slavery Society, sa position sur le suffrage universel qui agite alors les organisations abolitionnistes. En effet, si Stanton est un abolitionniste et un homme politique connu à l'époque, sa femme, Elizabeth Cady Stanton, l'a depuis plusieurs années dépassé en renommée : elle est, depuis la fin des années 1840, l'une des forces intellectuelles et politiques qui animent le mouvement américain pour les droits des femmes. Sa personnalité et son énergie hors du commun-« larger than life », écrit à son sujet Lori D. Ginzberg (3)-sont également de notoriété publique, ce qui explique l'hilarité que déclenchent les propos de Henry B. Stanton chez son auditoire.
With Jared Hickman, he co-edited a 2014 special issue of American Literature entitled "After the Postsecular." 2 Hélène Quanquin and Cécile Roudeau: Our research group has been questioning the frontier between history and literature in the wake of recent works by French scholars, among whom, in particular, Ivan Jablonka's L'Histoire est une littérature contemporaine: Manifeste pour les sciences sociales[History As Contemporary Literature: A Manifesto for Social Sciences](2014). In this book, which follows and should be read as a more personal counterpart to a previous book of "memoirs" about his grandparents who died in Nazi camps, Histoire de ces grands-parents que je n'ai jamais eus [(Hi)story of Those Grandparents I've Never Had] (2012), Jablonka reflects on his own practice as both historian and writer. Jablonka's way of writing may be described as reflexive in two senses: because it is an autobiographical text, and also in the sense that the author is highly aware of the power of literariness, more specifically of literary fiction, to invent the "true" lives of those grandparents he never met. Jablonka's diptych can be considered as a methodological manifesto exhorting us to stop thinking (and doing) inside the disciplinary boxes of "history" and "literature." It encourages historians to acknowledge that fiction and literariness are constitutive of their practice. Ultimately, it aims for what Jablonka calls "creative history" (L'Histoire est une
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