Aux frontières de la Chronique : les Salons de Diderot (1769-1781)

Au xviiie siècle, la Chronique est considérée comme un simple récit d’évènements passés classés dans un ordre chronologique. Dans l’article *Chronique de l’Encyclopédie, Diderot la dévalorise, et semble opposer le chroniqueur à l’historien qui s’interroge avec profit sur les liens entre les évènements. Ce n’est qu’au xixe siècle que le terme prend son sens actuel. Cependant, par son attention aux débats de l’époque sur l’art dont il fait écho dans les salons, par son activité de journaliste pour la Correspondance Littéraire de Grimm, Diderot s’apparente à un chroniqueur. Dans cette perspective, il nous a paru intéressant de nous pencher sur les derniers salons de Diderot, en particulier sur le Salon de 1769, qui juxtapose sans lien deux chroniques de nature différente, la Chronique artistique et la « Chronique du quotidien », cette dernière ne nourrissant pas la réflexion esthétique de Diderot. Ce procédé est repris, avec des variantes (il s’agit de deux chroniques d’art qui ne dialoguent pas entre elles), dans les salons suivants : ceux de 1771, 1775, 1781. Dans les derniers salons, cette juxtaposition de deux chroniques signale de façon exemplaire l’abandon du projet esthétique de Diderot : rivaliser avec le peintre.In the 18th Century, the Chronicle is considered as a simple narrative of past events classified in a chronological order. In the article *Chronique of the Encyclopédie, Diderot depreciates it. Only in the 19th Century, the term got its current meaning. However, by its attention on the debates of his time which he echoes in his Salons published in Grimm’s Correspondance Littéraire, Diderot may be considered as an author of chronicles. In this perspective, it seemed interesting to us to pay attention to the last Salons, particularly to the Salon de 1769, which juxtaposes without links between them two chronicles of different nature, art chronicle, and a chronicle of the life, without links to esthetical problems. The last Salons, indicates in a exemplary way the abandonment of the esthetic project of Diderot: to compete with the painter

Note sur le discours de Miss Polly Baker et la mystification dans le Supplément au voyage de Bougainville

L’histoire de Miss Polly Baker, tardivement insérée par Diderot dans le Supplément au voyage de Bougainville, a fait l’objet de commentaires, souvent pertinents. Cependant, elle n’a pas été abordée sous l’angle de la mystification, alors que de nombreux textes de Diderot sont mystificateurs: outre Jacques le fataliste, on peut citer le conte éponyme, Mystification, La Religieuse, Les deux amis de Bourbonne, la Lettre sur les aveugles (le discours qu’aurait prononcé Saunderson sur son lit de m..

Contribution à l'écriture fragmentaire de Diderot: le manuscrit n.a.fr. 24938 des Fragments divers utilisé par Grimm dans la Correspondance littéraire (les Fragments politiques de 1772)

Jean-Christophe Rebejkow: A Contribution to the Study of Diderot's Fragmentary Writing: ms n.a.fr. 24938 of the Fragments divers used by Grimm in his Correspondance littéraire (the 1772 Fragments politiques) . The Fragments divers, the manuscript of which is in the Bibliothèque nationale (n.a.fr. 24938), were originally intended for the third edition of the Histoire des Deux Indes, but they were also used by Grimm, who circulated them in a modified form in the Correspondance littéraire in 1772. Even if these modifications were made with Diderot's tacit agreement, this manuscript is nevertheless particulary important; not only is it the only one which shows the original version of Diderot's contributions to Raynal's work, but in addition the order of the fragments in this manuscript often changes our understanding of his political choices, at the time when he was moving towards a more democratic stance.Rebejkow Jean-Christophe. Contribution à l'écriture fragmentaire de Diderot: le manuscrit n.a.fr. 24938 des Fragments divers utilisé par Grimm dans la Correspondance littéraire (les Fragments politiques de 1772). In: Recherches sur Diderot et sur l'Encyclopédie, n°15, 1993. pp. 55-69

Recherches nouvelles sur les manuscrits des Observations sur le Nakaz

Jean-Christophe Rebejkow : New Research on the Observations sur le Nakaz. This article argues that the copy of the Observations in the manuscript n.a.fr.24938, revised by Diderot on his return from Russia in 1774, should be taken as the text for this work. The different form of the text shows his changed attitude towards the Physiocrats and also his view of Montesquieu. In this work we see Diderot trying to develop an original political thought, freed from existing models, and his refusal to formulate a systematic political treatise.Rebejkow Jean-Christophe. Recherches nouvelles sur les manuscrits des Observations sur le Nakaz. In: Recherches sur Diderot et sur l'Encyclopédie, n°8, 1990. pp. 21-28

Nouvelles recherches sur la musique dans le Neveu de Rameau

Jean-Christophe Rebejkow : New work on music in Rameau 's Nephew. Questions of musical aesthetics are at the heart of Rameau 's Nephew. This article places certain aspects of the theories of Jean-Francois Rameau, who is here Diderot 's mouthpiece, in their musical context. After relating the nephew's theories concerning stress and declamation to the debate on French and Italian music, with the help of Rousseau's Dictionnaire de musique, we show how they were mainly inspired by Praetta (Sofonisba in particular) whose type of declamation was adapted by Philidor or Gréty to the resources of the French language. But French airs that the nephew sings is not a complete invention ; it can also be seen in Voltaire and echoes a type of comic opera to be found in the théatre de la foire and in ballet-comedies, in particular in Jean-Philippe Rameau (L'Endriague).Rebejkow Jean-Christophe. Nouvelles recherches sur la musique dans le Neveu de Rameau. In: Recherches sur Diderot et sur l'Encyclopédie, n°20, 1996. pp. 57-74

Aux frontières de la Chronique : les Salons de Diderot (1769-1781)

In the 18th Century, the Chronicle is considered as a simple narrative of past events classified in a chronological order. In the article *Chronique of the Encyclopédie, Diderot depreciates it. Only in the 19th Century, the term got its current meaning. However, by its attention on the debates of his time which he echoes in his Salons published in Grimm’s Correspondance Littéraire, Diderot may be considered as an author of chronicles. In this perspective, it seemed interesting to us to pay attention to the last Salons, particularly to the Salon de 1769, which juxtaposes without links between them two chronicles of different nature, art chronicle, and a chronicle of the life, without links to esthetical problems. The last Salons, indicates in a exemplary way the abandonment of the esthetic project of Diderot: to compete with the painter

De quelques problèmes d'interprétation posés par les maximes des Principes de politique des souverains de Diderot

Jean-Christophe Rebejkow : Concerning some problems of interpreting the maxims of Diderot's Principes de politique des souverains. Diderot's Principes de politique des souverains is a disconcerting work, as the succession of maxims does not seem to follow any clear plan. We therefore see the importance of a philological analysis. A comparison of the different sources has led us to accord more importance to the text of the Correspondance littéraire, which is the most reliable and is in line with Naigeon's declaration that the definitive version of the work was the shortest. The Principes therefore poses the problem of the "complete" text versus the definitive text.Rebejkow Jean-Christophe. De quelques problèmes d'interprétation posés par les maximes des Principes de politique des souverains de Diderot. In: Recherches sur Diderot et sur l'Encyclopédie, n°11, 1991. pp. 63-72