CHARTING THE “TRANSITIONAL PERIOD”: THE EMERGENCE OF MODERN TIME IN THE NINETEENTH CENTURY
Identifieur interne : 000331 ( Istex/Corpus ); précédent : 000330; suivant : 000332CHARTING THE “TRANSITIONAL PERIOD”: THE EMERGENCE OF MODERN TIME IN THE NINETEENTH CENTURY
Auteurs : Göran BlixSource :
- History and Theory [ 0018-2656 ] ; 2006-02.
English descriptors
- Teeft :
- Balzac, Baudelaire, Blix, Chaotic times, Chateaubriand, Christenheit oder europa, Complaintes satiriques, Contemporary experience, Decadence, Ernest renan, Euphoric label, Faceless character, First half, French revolution, Future utopia, Gallimard, Great architecture, Gustave flaubert, Historical continuum, Historical experience, Historical norm, Ibid, Inaccessible future, Intermediary time, Introduction universelle, Jules michelet, Laborious transition, Literary studies, Louis xiii, Mercier, Michelet, Middle ages, Modern time, Modernity, Musset, Nineteenth century, Normative status, Painful transition, Paradoxical experience, Perpetual change, Perpetual transition, Present century, Renan, Robert laffont, Romantic concept, Same time, Secular form, Sedentary life, Stable state, Temporal experience, Transition, Transitional, Transitional experience, Transitional period, Transitional periods, Transitional time, Transitory, Victor hugo, World order.
Abstract
This paper seeks to chart a concept of historical experience that French Romantic writers first developed to describe their own relationship to historical time: the notion of the “transitional period.” At first, the term related strictly to the evolving periodic conception of history, one that required breaks, spaces, or zones of indeterminacy to bracket off periods imagined as organic wholes. These transitions, necessary devices in the new grammar of history, also began to attract interest on their own, conceived either as chaotic but creative times of transformation, or, more often, as slack periods of decadence that possessed no proper style but exhibited hybrid traits. Their real interest, however, lies in their reflexive application to the nineteenth century itself, by writers and historians such as Alfred de Musset, Chateaubriand, Michelet, and Renan, who in their effort to define their own period envisioned the “transitional period” as a passage between more coherent and stable historical formations. This prospective self‐definition of the “age of history” from a future standpoint is very revealing; it shows not just the tension between its organic way of apprehending the past and its own self‐perception, but it also opens a window on a new and paradoxical experience of time, one in which change is ceaseless and an end in itself. The paper also presents a critique of the way the term “modernity” has functioned, from Baudelaire's initial use to the present, to occlude the experience of transition that the Romantics highlighted. By imposing on the nineteenth‐century sense of the transitory a heroic period designation, the term “modernity” denies precisely the reality it describes, and sublimates a widespread temporal malaise into its contrary. The paper concludes that the peculiarly “modern” mania for naming one's period is a function of transitional time, and that the concept coined by the Romantics still governs our contemporary experience.
Url:
DOI: 10.1111/j.1468-2303.2006.00348.x
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ISTEX:3B05A09B3419357A24B83A49CDB57292AD9F5A08Le document en format XML
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These transitions, necessary devices in the new grammar of history, also began to attract interest on their own, conceived either as chaotic but creative times of transformation, or, more often, as slack periods of decadence that possessed no proper style but exhibited hybrid traits. Their real interest, however, lies in their reflexive application to the nineteenth century itself, by writers and historians such as Alfred de Musset, Chateaubriand, Michelet, and Renan, who in their effort to define their own period envisioned the “transitional period” as a passage between more coherent and stable historical formations. This prospective self‐definition of the “age of history” from a future standpoint is very revealing; it shows not just the tension between its organic way of apprehending the past and its own self‐perception, but it also opens a window on a new and paradoxical experience of time, one in which change is ceaseless and an end in itself. The paper also presents a critique of the way the term “modernity” has functioned, from Baudelaire's initial use to the present, to occlude the experience of transition that the Romantics highlighted. By imposing on the nineteenth‐century sense of the transitory a heroic period designation, the term “modernity” denies precisely the reality it describes, and sublimates a widespread temporal malaise into its contrary. 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These transitions, necessary devices in the new grammar of history, also began to attract interest on their own, conceived either as chaotic but creative times of transformation, or, more often, as slack periods of decadence that possessed no proper style but exhibited hybrid traits. Their real interest, however, lies in their reflexive application to the nineteenth century itself, by writers and historians such as Alfred de Musset, Chateaubriand, Michelet, and Renan, who in their effort to define their own period envisioned the “transitional period” as a passage between more coherent and stable historical formations. This prospective self‐definition of the “age of history” from a future standpoint is very revealing; it shows not just the tension between its organic way of apprehending the past and its own self‐perception, but it also opens a window on a new and paradoxical experience of time, one in which change is ceaseless and an end in itself. The paper also presents a critique of the way the term “modernity” has functioned, from Baudelaire's initial use to the present, to occlude the experience of transition that the Romantics highlighted. By imposing on the nineteenth‐century sense of the transitory a heroic period designation, the term “modernity” denies precisely the reality it describes, and sublimates a widespread temporal malaise into its contrary. 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These transitions, necessary devices in the new grammar of history, also began to attract interest on their own, conceived either as chaotic but creative times of transformation, or, more often, as slack periods of decadence that possessed no proper style but exhibited hybrid traits. Their real interest, however, lies in their reflexive application to the nineteenth century itself, by writers and historians such as Alfred de Musset, Chateaubriand, Michelet, and Renan, who in their effort to define their own period envisioned the “transitional period” as a passage between more coherent and stable historical formations. This prospective self‐definition of the “age of history” from a future standpoint is very revealing; it shows not just the tension between its organic way of apprehending the past and its own self‐perception, but it also opens a window on a new and paradoxical experience of time, one in which change is ceaseless and an end in itself. The paper also presents a critique of the way the term “modernity” has functioned, from Baudelaire's initial use to the present, to occlude the experience of transition that the Romantics highlighted. By imposing on the nineteenth‐century sense of the transitory a heroic period designation, the term “modernity” denies precisely the reality it describes, and sublimates a widespread temporal malaise into its contrary. The paper concludes that the peculiarly “modern” mania for naming one's period is a function of transitional time, and that the concept coined by the Romantics still governs our contemporary experience.</p></abstract><textClass><keywords rend="tocHeading1"><term>Articles</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc><revisionDesc><change xml:id="refBibs-istex" who="#ISTEX-API" when="2018-06-14">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/WNG-QGMV4NNJ-R/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2303</doi><issn type="print">0018-2656</issn><issn type="electronic">1468-2303</issn><idGroup><id type="product" value="HITH"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="HISTORY THEORY">History and Theory</title></titleGroup></publicationMeta><publicationMeta level="part" position="02001"><doi origin="wiley">10.1111/hith.2006.45.issue-1</doi><numberingGroup><numbering type="journalVolume" number="45">45</numbering><numbering type="journalIssue" number="1">1</numbering></numberingGroup><coverDate startDate="2006-02">February 2006</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="3" status="forIssue"><doi origin="wiley">10.1111/j.1468-2303.2006.00348.x</doi><idGroup><id type="unit" value="HITH348"></id></idGroup><countGroup><count type="pageTotal" number="21"></count></countGroup><titleGroup><title type="tocHeading1">Articles</title></titleGroup><eventGroup><event type="firstOnline" date="2006-02-02"></event><event type="publishedOnlineFinalForm" date="2006-02-02"></event><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:2.3.5 mode:FullText source:Header result:Header" date="2010-04-06"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-01-27"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-24"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="51">51</numbering><numbering type="pageLast" number="71">71</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:HITH.HITH348.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="referenceTotal" number="9"></count><count type="linksCrossRef" number="1"></count></countGroup><titleGroup><title type="main">CHARTING THE “TRANSITIONAL PERIOD”: THE EMERGENCE OF MODERN TIME IN THE NINETEENTH CENTURY</title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>GÖRAN</givenNames><familyName>BLIX</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1"><unparsedAffiliation>Princeton University</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">ABSTRACT</title><p>This paper seeks to chart a concept of historical experience that French Romantic writers first developed to describe their own relationship to historical time: the notion of the “transitional period.” At first, the term related strictly to the evolving periodic conception of history, one that required breaks, spaces, or zones of indeterminacy to bracket off periods imagined as organic wholes. These transitions, necessary devices in the new grammar of history, also began to attract interest on their own, conceived either as chaotic but creative times of transformation, or, more often, as slack periods of decadence that possessed no proper style but exhibited hybrid traits. Their real interest, however, lies in their reflexive application to the nineteenth century itself, by writers and historians such as Alfred de Musset, Chateaubriand, Michelet, and Renan, who in their effort to define their own period envisioned the “transitional period” as a passage between more coherent and stable historical formations. This prospective self‐definition of the “age of history” from a future standpoint is very revealing; it shows not just the tension between its organic way of apprehending the past and its own self‐perception, but it also opens a window on a new and paradoxical experience of time, one in which change is ceaseless and an end in itself. The paper also presents a critique of the way the term “modernity” has functioned, from Baudelaire's initial use to the present, to occlude the experience of transition that the Romantics highlighted. By imposing on the nineteenth‐century sense of the transitory a heroic period designation, the term “modernity” denies precisely the reality it describes, and sublimates a widespread temporal malaise into its contrary. 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These transitions, necessary devices in the new grammar of history, also began to attract interest on their own, conceived either as chaotic but creative times of transformation, or, more often, as slack periods of decadence that possessed no proper style but exhibited hybrid traits. Their real interest, however, lies in their reflexive application to the nineteenth century itself, by writers and historians such as Alfred de Musset, Chateaubriand, Michelet, and Renan, who in their effort to define their own period envisioned the “transitional period” as a passage between more coherent and stable historical formations. This prospective self‐definition of the “age of history” from a future standpoint is very revealing; it shows not just the tension between its organic way of apprehending the past and its own self‐perception, but it also opens a window on a new and paradoxical experience of time, one in which change is ceaseless and an end in itself. The paper also presents a critique of the way the term “modernity” has functioned, from Baudelaire's initial use to the present, to occlude the experience of transition that the Romantics highlighted. By imposing on the nineteenth‐century sense of the transitory a heroic period designation, the term “modernity” denies precisely the reality it describes, and sublimates a widespread temporal malaise into its contrary. The paper concludes that the peculiarly “modern” mania for naming one's period is a function of transitional time, and that the concept coined by the Romantics still governs our contemporary experience.</abstract><relatedItem type="host"><titleInfo><title>History and Theory</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0018-2656</identifier><identifier type="eISSN">1468-2303</identifier><identifier type="DOI">10.1111/(ISSN)1468-2303</identifier><identifier type="PublisherID">HITH</identifier><part><date>2006</date><detail type="volume"><caption>vol.</caption><number>45</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>51</start><end>71</end><total>21</total></extent></part></relatedItem><identifier type="istex">3B05A09B3419357A24B83A49CDB57292AD9F5A08</identifier><identifier type="ark">ark:/67375/WNG-QGMV4NNJ-R</identifier><identifier type="DOI">10.1111/j.1468-2303.2006.00348.x</identifier><identifier type="ArticleID">HITH348</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/WNG-QGMV4NNJ-R/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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