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Brett Bowles

In a 1989 article published by Annales under the title “Le monde comme représentation,”1 Roger Chartier articulated a conceptual framework for bridging the gap that had traditionally separated the history of mentalities from social and political history. While the former field—pioneered by Georges Duby, Robert Mandrou, and Philippe Ariès in the 1960s—had legitimized the study of collective beliefs, anxieties, and desires as historical phenomena, the latter remained largely devoted to more concrete, easily quantifiable factors such as structures, institutions, and material culture. Drawing on the anthropological and psychoanalytical premises that had informed the work of Michel Foucault, Louis Marin, and Michel de Certeau, among others, Chartier emphasized the performative dimension of individual and collective representations in order to argue that they should be understood not only as evidence registering the exercise of social and political power, but as underlying catalysts of change in their own right. Like habitus, Pierre Bourdieu’s complex model of social causality and evolution, Chartier framed representation as a symbiotic “structuring structure” that deserved to sit at the heart of historical inquiry.

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Résistance Oblige?

Historiography, Memory, and the Evolution of Le Silence de la mer, 1942-2012

Brett Bowles

Among the best-selling French literary works of the twentieth century, Vercors' novella has enjoyed an exceptionally rich afterlife thanks to numerous print editions as well as several influential stage and screen adaptations: Jean-Pierre Melville's 1947 feature film, Jean Mercure's 1949 play, Vercors' own 1978 theatrical rendering, and a 2004 television movie written by Anne Giafferi and directed by Pierre Boutron. Taking a comparative approach that weighs the aesthetic and ideological priorities of these authors and directors alongside shifts in historiography and French political culture, this article traces the evolution of Le Silence de la mer as a contested site of national memory and a means of negotiating the ethically-charged concepts of collaboration and resistance.