Abstract:Le musée d'histoire en France entre traditions nationales et soucis identitaires Dominique Poulot 1 RÉSUMÉ: Les musées d'histoire ont connu durant les dernières décennies en France des mutations rapides, marquées par une série de constructions ou de rénovations. L'histoire de tels chantiers, intervenus plus tardivement par rapport aux autres types de musées, permet de s'interroger sur les rapports nouveaux tissés à ces occasions entre musées d'histoire et historiographie savante. On constate que le musée d'his… Show more
“…20 'Industrie' prehistoric and contemporary as powerhouse of France therefore also befitted its establishment of history museums as central to this sense of national heritage. 21 The special interests of Napoleon III in Gallo-Roman and Celtic antiquities also assured the Exposition Universelle exhibits on 'préhistoire' their newest dedicated Museum. Although he had already established the 'Musée des Antiquités celtiques et gallo-romaines' at the Château de Saint-Germaine-en-Laye in 1862, Napoleon III enlarged and redefined its ambit in 1867 as the 'Musée des Antiquités nationales' (becoming in 2005 the 'Musée d'Archéologie nationale').…”
Section: The First Excavations Of the Grotte Du Renne And The Construction Of French Prehistory Collectionsmentioning
This article reconsiders the important work of Leroi-Gourhan through the lens of Christopher Johnson's ‘Leroi-Gourhan and the Limits of the Human’ (2011) by returning to the context of French prehistory of the 1860s that lies behind Leroi-Gourhan's discoveries and interpretations of hominid remains and artefacts in the Grotte du Renne. The Exposition universelle of 1867 and French publications of the period capture the importance of ‘préhistoire’ for Second Empire France materialized in Napoleon III's establishment at Saint-Germain-en-Laye of the first national Musée des Antiquités Nationales dedicated to their collections. The archaeological discoveries, and the debates they inspired, did not escape the encyclopaedic bricolage and designs of Flaubert. With delicious clins d'oeil to the question of ‘l'homme fossile’ and ‘l'homme futur’ that he had already debated with Louis Bouilhet, this article uncovers how Flaubert's Légende de Saint Julien details the ‘limits of the human’ in Johnson's reading of Leroi-Gourhan. By returning to ‘real’ counterparts for the legendary Stag in Flaubert's tale, its contextual, allegedly fantastical, ‘préhistoires’ can better be excavated. To find the non-legendary, extreme contemporary, sources for Flaubert's disturbing text crucially informs a critique of the dehistoricization of seeing in post-war French cultural studies and sciences of the human.
“…20 'Industrie' prehistoric and contemporary as powerhouse of France therefore also befitted its establishment of history museums as central to this sense of national heritage. 21 The special interests of Napoleon III in Gallo-Roman and Celtic antiquities also assured the Exposition Universelle exhibits on 'préhistoire' their newest dedicated Museum. Although he had already established the 'Musée des Antiquités celtiques et gallo-romaines' at the Château de Saint-Germaine-en-Laye in 1862, Napoleon III enlarged and redefined its ambit in 1867 as the 'Musée des Antiquités nationales' (becoming in 2005 the 'Musée d'Archéologie nationale').…”
Section: The First Excavations Of the Grotte Du Renne And The Construction Of French Prehistory Collectionsmentioning
This article reconsiders the important work of Leroi-Gourhan through the lens of Christopher Johnson's ‘Leroi-Gourhan and the Limits of the Human’ (2011) by returning to the context of French prehistory of the 1860s that lies behind Leroi-Gourhan's discoveries and interpretations of hominid remains and artefacts in the Grotte du Renne. The Exposition universelle of 1867 and French publications of the period capture the importance of ‘préhistoire’ for Second Empire France materialized in Napoleon III's establishment at Saint-Germain-en-Laye of the first national Musée des Antiquités Nationales dedicated to their collections. The archaeological discoveries, and the debates they inspired, did not escape the encyclopaedic bricolage and designs of Flaubert. With delicious clins d'oeil to the question of ‘l'homme fossile’ and ‘l'homme futur’ that he had already debated with Louis Bouilhet, this article uncovers how Flaubert's Légende de Saint Julien details the ‘limits of the human’ in Johnson's reading of Leroi-Gourhan. By returning to ‘real’ counterparts for the legendary Stag in Flaubert's tale, its contextual, allegedly fantastical, ‘préhistoires’ can better be excavated. To find the non-legendary, extreme contemporary, sources for Flaubert's disturbing text crucially informs a critique of the dehistoricization of seeing in post-war French cultural studies and sciences of the human.
“…The important conferences on questions of national heritage involving historians date only from the mid 1990s, for example that of the cultural service of the Louvre held in June 1993. On this point see Poulot (2007).…”
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confidence: 97%
“…At this point the historical and the museum accounts merged to produce the prehistory of the Sarkozy idea. 22 Once consecrated during the Third Republic, the grand homme became the iconic embodiment of the eternal present of the nation, there in troubled times, steady, ready, and a little bit sacred, to save the nation's shared values (Poulot, 2007). Because of the horrible butchery of the First World War, as Dominique Poulot has pointed out, this tradition of the great man supplying society with examples of heroism fell into relative discredit in the interwar years (Poulot, 2008;Chanet, 2000).…”
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confidence: 99%
“…The important conferences on questions of national heritage involving historians date only from the mid 1990s, for example that of the cultural service of the Louvre held in June 1993. On this point see Poulot (2007). 15 Both historians and curators are civil servants, and as such have something like permanent tenure in the state service, but a curator is very much more embedded in a strict hierarchy than the scholar.…”
When he ran for president in 2007 Nicolas Sarkozy promised to build a museum of French history. He declared that he was troubled by the lack of a coherent account of the nation’s great moments and great heroes. On being elected, he started the planning process, finally settling on the Hôtel de Soubise, part of the Archives nationales, as the site of the future Maison de l’histoire de France. Although his project was supported by a certain number of intellectuals, many university scholars, especially the historians, raised strong objections to a concept that returned to the old Third Republic civic history in the style of Ernest Lavisse. The future museum was to offer visitors old-fashioned narrative history of male achievements, with no account taken of new insights that women’s, gender, social, cultural, colonial and immigration history have added to any discussion of what France is or might be. It rejects the idea that there have been, and can be, many ways of being French. The critics of the museum project deplored the instrumentalisation of the nation’s past – one of several such presidential ventures – for short-term political gain. The strike of archive employees, which lasted for several months, scuttled that site as the future home of the history museum. The story is not finished. The discussion of the presidential museum initiative is placed in a larger context in which increased economic neo-liberalism, greater state interventions at home and overseas, and the propagation of a nostalgic-conservative vision of the nation’s past reinforce each other, even as they coexist in uneasy union.
“…O Museu como formador de uma identidade a partir da contestação da cultura ocidental, mantendo-se aberto para os múltiplos e mutáveis discursos da memória, contra a mercantilização e espetacularização que exclui uma aproximação crítica e acadêmica (POULOT, 2007). O Museu do Território Líquido, representado primordialmente pelo vigor dos corpos d"água revelados para a cidade, destaca-se como um novo vetor das relações de uso e percepção da paisagem, a partir da integração do Patrimônio Cultural de Monte Alegre do Sul, da efetiva participação da comunidade local, e da sua contribuição no desenvolvimento social local.…”
Aos meus pais, em memória, Gioacchino Spinazzola e Jeanette Kouak Spinazzola, pelos ensinamentos mais importantes da vida. Aos meus irmãos Giovanni Spinazzola e Madalena Spinazzola que sempre me apoiaram em meu aprendizado. Ao meu sócio, Chico Gitahy, pelo apoio às minhas ausências no escritório e pelas conversas sobre a dissertação. Aos amigos que apoiaram este trabalho, seja na indicação de um livro, na troca de experiências ou em uma simples conversa. Aos professores que me acompanharam nesse processo de aprendizado da dissertação, nas disciplinas cursadas, na banca de qualificação e nas conversas, Prof. Dra. Flávia Brito do Nascimento, Prof. Dra. Catharina P. Cordeiro dos Santos Lima, Prof. Dr.
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