204 research outputs found
Génération, générations
Sous bien des plumes, il est question dâune « gĂ©nĂ©ration 68 », fondĂ©e sur lâĂ©quation Mai 68=baby-boomers. Certes, il serait incongru dâenlever Ă ces derniers leur rĂŽle, effectif, dans les Ă©vĂ©nements du printemps 1968. Pour autant, il apparaĂźt historiquement plus juste de parler de gĂ©nĂ©rations 68 au pluriel. Et un tel constat, important en lui-mĂȘme, lâest Ă©galement pour ce qui concerne lâĂ©tude de lâombre portĂ©e de ces Ă©vĂ©nements. Les gĂ©nĂ©rations, en effet, actrices dâun prĂ©sent, sont toujours le fruit dâun passĂ© et câest bien sous lâeffet dâune telle double diffĂ©renciation quâelles diffractent ensuite de façon trĂšs contrastĂ©e une histoire commune et deviennent, de ce fait, un prisme dans lequel lâombre portĂ©e de cette histoire se lit de diverses maniĂšres. Lâanalyse de cette diversitĂ© est dâautant plus complexe que cette â ou ces â gĂ©nĂ©rations 68 est devenue depuis quelques annĂ©es lâobjet dâun procĂšs en responsabilitĂ© : les mots forgĂ©s par cette gĂ©nĂ©ration auraient engendrĂ© les maux de la sociĂ©tĂ© française contemporaine. Ce sont aussi ces accusations qui constituent lâombre portĂ©e et qui sont Ă©tudiĂ©es dans cet article.Many pens write of a â68 generationâ, based on the equation May 68=baby boomers. To be sure, it would be incongruous to take their role away, a real one, in the events of Spring 1968. However, it seems to be historically more valid to speak of generations 68 in the plural. Such an observation, important in itself, is equally important concerning the study of the cast shadow these events left. Generations, thus, actors of a present, are always the fruit of a past and it is under the effect of a double differentiation that they diffract a very contrasted common history and become, because of this, a prism in which the shadow carried by this history can be read in various ways. The analysis of this diversity is all the more complex as this or these 68 generations has/have become over recent years the object of a process of responsibility: the words forged by this generation are said to have engendered the defects of contemporary French society. It is also these accusations that make up the shadow cast studied in this article
La norme et la transgression. Remarques sur la notion de provocation en histoire culturelle
Le thĂšme de la provocation apparaĂźt essentiel pour lâhistoire culturelle. Il est liĂ©, en effet, Ă la notion de transgression, elle-mĂȘme dĂ©coulant de celle de norme. Il conduit donc Ă travailler sur la norme et la transgression culturelles, Ă©lĂ©ments essentiels du mĂ©tabolisme des sociĂ©tĂ©s et des reprĂ©sentations collectives en leur sein. En mĂȘme temps, il est vrai, force est de constater quâune telle approche est de mise en Ćuvre complexe, la norme dĂ©coulant de ce que lâon appellera, faute de mieux, la sensibilitĂ© dâune Ă©poque. On touche par-lĂ aux reprĂ©sentations et aux imaginaires, et donc Ă ce qui balise, tout autant que le font le droit ou la coutume, les comportements individuels et collectifs au sein dâune communautĂ© humaine donnĂ©e Ă une date donnĂ©e. Il sâagit lĂ dâun domaine Ă la fois immense, puisquâil touche Ă la vie privĂ©e et Ă lâintimitĂ©, et trĂšs impermĂ©able Ă lâinvestigation de lâhistorien, puisquâil concerne des notions aussi complexes que le rapport au corps ou la relation avec lâAutre. On a tentĂ© ici de mieux prĂ©ciser ce domaine en Ă©voquant trois cas de figure relevant de la mĂȘme dĂ©cennie, les annĂ©es 1960.Provocation is an essential notion in cultural history. It is linked to that of transgression, also coming from the notion of norm. It leads to working on cultural norms and transgression, essential elements of societiesâ metabolism and its collective representations. It is true that at the same time, such an approach must be recognized as being difficult to put into practice as the norm comes from what will be called, for lack of a better term, a periodâs sensibility. Here are the representations and imaginations, and thus what marks, just as much as law or customs, individual and collective behaviors within a given human community at a given date. This is both an immense area since it touches private life and intimacy and impermeable to a historianâs research since it concerns notions as complex as the relation to the body or with the Other. The article aims to circumscribe this area by bringing up three cases from the same decade, the 1960s.Provocation is an essential notion in cultural history. It is linked to that of transgression, also coming from the notion of norm. It leads to working on cultural norms and transgression, essential elements of societiesâ metabolism and its collective representations. It is true that at the same time, such an approach must be recognized as being difficult to put into practice as the norm comes from what will be called, for lack of a better term, a periodâs sensibility. Here are the representations and imaginations, and thus what marks, just as much as law or customs, individual and collective behaviors within a given human community at a given date. This is both an immense area since it touches private life and intimacy and impermeable to a historianâs research since it concerns notions as complex as the relation to the body or with the Other. The article aims to circumscribe this area by bringing up three cases from the same decade, the 1960s
Quelle identitĂ© pour lâhistoire culturelle ?
Ă la diffĂ©rence des autres branches historiographiques, lâhistoire culturelle nâest pas encore une discipline totalement constituĂ©e. Fille cadette de lâĂ©cole historique française, elle nâa pas pris encore tous ses contours et cette difficultĂ©, jointe Ă dâautres qui seront signalĂ©es dans une premiĂšre partie, ne permet pas rĂ©ellement de dresser un bilan et de dĂ©tailler des lignes de force ou de faiblesse. Cela Ă©tant, cette jeune discipline en voie de constitution connaĂźt actuellement en France ..
INĂS CABRERA FUENTES [Material grĂĄfico]
ĂLBUM FAMILIAR CASA DE COLĂNCopia digital. Madrid : Ministerio de EducaciĂłn, Cultura y Deporte. SubdirecciĂłn General de CoordinaciĂłn Bibliotecaria, 201
Dix ans d'histoire culturelle
L'association pour le dĂ©veloppement de l'histoire culturelle (ADHC) est nĂ©e, en 1999, du constat de la place croissante, en mĂȘme temps que problĂ©matique, de l'histoire culturelle dans l'historiographie contemporaine. RevendiquĂ©e par les uns, dĂ©noncĂ©e par les autres, cette place mĂ©ritait l'institution d'un lieu de rencontres oĂč tous ceux qui se reconnaissent dans cette qualification pourraient Ă©changer sur le fond et sur la forme de leur travail. L'association a tenu son premier congrĂšs en 2000. Au terme d'une dĂ©cennie et plus d'activitĂ©, il Ă©tait temps de tirer le bilan et, comme il se doit, de tracer de nouvelles perspectives. Cette anthologie des confĂ©rences et tables rondes organisĂ©es dans le cadre du congrĂšs annuel de l'association propose un panorama unique en son genre des propositions avancĂ©es par l'histoire culturelle en France et, dans une moindre mesure, Ă l'Ă©tranger depuis dix ans. RegroupĂ©s en sections thĂ©matiques (dĂ©finitions et frontiĂšres, objets, regards et transferts, dĂ©bats), ces textes rĂ©digĂ©s par d'Ă©minents spĂ©cialistes venus de divers horizons (historiens, sociologues, philosophes, historiens de l'art ou de la littĂ©rature) donnent Ă voir Ă la fois la permanence de certains questionnements et leur renouvellement
Revista do Museu Paulista e(m) capas: identidade e representação institucional em texto e imagem
Este artigo propĂ”e reflexĂŁo sobre a escrita da histĂłria, a partir de estudo das capas da Revista do Museu Paulista, especialmente durante as gestĂ”es dos dois primeiros diretores da instituição, quando certa continuidade editorial foi preservada. Tomadas como "fontes", ou seja, objeto de trabalho do historiador, as capas revelam vestĂgios de processos que permitem reconstruir, em suas dimensĂ”es histĂłricas, as complexas imbricaçÔes entre a produção da Revista, sua materialidade, e os atos de leitura e interpretação que condicionam e refletem relaçÔes entre produtores de textos e seus leitores nas primeiras dĂ©cadas do sĂ©culo XX, a partir de SĂŁo Paulo, onde era editada.This paper offers a reflection about the writing of History, based on the study of Revista do Museu Paulista's covers, noticeably during the term of its two first directors, when a certain editorial continuity was preserved. Taken as "sources", namely as historian subjects, those covers reveal evidences of practices that allow one to reconstitute, in its historic dimensions, the complex connection between the creation of the Revista, its materiality, and the reading and interpretation efforts that condition and reflect liaisons with writers and readers during the first decades of the XXth Century, from SĂŁo Paulo, where it was published.
MendĂšs France Pierre, S'engager, 1922- 1943, et Une politique de l'Ă©conomie 1943-1954. Oeuvres complĂštes
Sirinelli Jean-François. MendÚs France Pierre, S'engager, 1922- 1943, et Une politique de l'économie 1943-1954. Oeuvres complÚtes. In: VingtiÚme SiÚcle, revue d'histoire, n°10, avril-juin 1986. Dossier : Lectures pour tous. pp. 137-138
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