Item: New York City, 28 June 2009. The streets are blaring “Thriller” and are full of people “being” Michael Jackson. What's the ownership stake of Michael impersonators in his image? Do Jackson im...

Que veut dire « vivre de sa plume»? L'expression a souvent été invoquée par des historiens avançant le récit d'un progrès dans les pratiques littéraires marqué par le passage des écrivains du patronage au marché, afin de définir la « modernité » auctoriale par rapport à un modèle ancien de l'homme de lettres protégé par la noblesse. Or un examen plus attentif montrera que ce progrès vers une autonomie gagnée par la vente des écrits n'est guère aussi évident qu'on a (...) eu tendance à le croire. Cet article étudie donc les ambiguïtés du récit historique implicite dans la notion de « vivre de sa plume ». Il propose ensuite une approche différente qui considère cette représentation non pas comme le reflet d'une nouvelle réalité professionnelle, mais comme un élément dans une nouvelle rhétorique de la présentation de soi en tant qu 'intellectuel. Comme topos, l'image va désigner - et en fait, constituer - à la fois la libération sociale de l'auteur à l'égard de la noblesse et son autorité morale lorsque ses tentatives de vivre de ses écrits échouent et qu'il persiste tout de même à sacrifier son bonheur personnel à son art. (shrink)

ArgumentThe history of ballooning has received considerable attention from historians examining the technological innovations behind it as well as from scholars interested in aeronautical anecdotes concerning launches and disasters. The cultural importance of this new machine, however, remains less fully analyzed. This essay explores one facet of that history through a discussion of the commodification of launches in France and Great Britain. These two countries, which have larger middling classes as well as a higher degree of commercialization in general, provided (...) a fertile environment for aeronauts seeking to instruct and entertain an audience willing to fund ballooning. Balloonists had to invent ways to market this scientific discovery and determine how best to attract paying customers. The audience was entertained while simultaneously empowered to act as witnesses to what balloonists presented as a scientific experiment. (shrink)

Against the current background of renewed publisher interests in encyclopedias, the article examines the modern genealogy of the Encyclopedia project. The article focuses particularly on three moments: Bacon’s ‘Great Instauration’ and attempted fashioning of a ‘New Organon’, the Encylopedia of 1751 and its revolutionary-era successors, and Comte’s ‘system’ of positive philosophy. D’Alembert and Diderot’s classificatory tree, with its secularized capture of moral and political philosophy, was an attempt to improve on Bacon. Comte’s grand systematizing was an attempt to cap their (...) efforts by being entirely ‘positive’. For this, a science of society and a social standpoint were essential. His effort to fulfill Bacon’s totalizing dream of fully scientific systematization of knowledge, was a heroic and perhaps absurd failure. But, the article argues, Comte’s critique of Diderot and d’Alembert, with respect to what he took to be the radical incoherence of their classificatory ‘tree’ of knowledge, and his more general critique of both Bacon and 18th-century ‘encyclopedism’ for holding out the possibility of an objective synthesis of knowledge, touch on ‘metaphysical’ features of the epistemic landscape that, in new forms, are still with us. Comte’s forthright articulation of the technocratic and religious dimensions of the Baconian project also illuminates elements of the Enlightenment and derivatives from it that have not received sufficient attention, particularly in relation to one another. (shrink)

This essay adopts a semiotic perspective focused on practices of communication, movement, and translation to examine the global impact of A. J. Greimas and his oeuvre. The linguist and semiotician’s lecture trips abroad, the number and provenance of international students in his Paris seminar, and the chronology and linguistic geography of translations of his work help describe, gauge, and explain the dissemination and development of his ideas throughout the world. His project has engendered distinctive appropriations and at times productive institutional (...) structures in a number of cultural and linguistic contexts, notably Romance, Anglo-American, Germanic, Russian, Lithuanian, and Chinese. The broader historical relations between France and other lands, and the extent of each society’s use of the French language have conditioned, fostered, or impeded responses to his proposals. The conclusion’s discussion of the relative importance of personal contacts, socio-historical context, and the sociolinguistic and pedagogical status of French for his international reception aims to contribute to general methodological debates in the history of science and ideas and in transnational history. (shrink)

An early proponent of the social sciences, Frédéric Le Play, was the occupant of senior positions within the French state in the mid- to late 19th century. He was writing at a time when science was ascending. There was for him no doubt that scientific observation, correctly applied, would allow him unmediated access to the truth. It is significant that Le Play was the organizer of a number of universal expositions because these expositions were used as vehicles to demonstrate the (...) ascendant position of western civilization. The fabrication of linear time is a history of progress requiring a vision of history analogous to the view offered the spectator at a diorama. Le Play employed the design principles and spirit of the diorama in his formulations for the social sciences, and L’Exposition Universelle of 1867 used the technology wherever it could. Both the gaze of the spectators and the objects viewed are part and products of the same particular and unique historical formation. Ideas of perception cannot be separated out from the conditions that make them possible. Vision and its effects are inseparable from the observing subject who is both a product of a particular historical moment and the site of certain practices. (shrink)

Lexical evidence reveals that ordinary notions of space underwent a dramatic change from the late seventeenth century into the first decades of the nineteenth century: the word’s core meaning metamorphosed from INTERVAL to DIMENSION, revolutionizing relations between ordinary conceptions of time and space. Analyzing instances of the word in French over the years 1330–1835 indicates this conceptual change of SPACE was concurrent with growing interest in metaphysics and natural philosophy and echoed debates—provoked by Newton’s Principia (1687)—over the precise nature of (...) space. Employing both quantitative and qualitative methodologies, I show how changes in philosophical and scientific theory reshaped the general lexicon. I argue that ordinary lexical mechanisms largely determine the manner of science’s dissemination into culture and propose a model accounting for such changes. (shrink)