Prémonitions - La trilogie Tome 1 Etranges pouvoirs Tome 2 Possédés Tome 3 Passion (French Edition)

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James Clear. Matthew Walker. Eric Carle. The journey lasted nearly two hours. The closed carriage and its full military escort passed through streets lined with citizens armed with spikes and guns.

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The beating of drums attached to the horses muffled any possible expression of sympathy for the man who had been Louis XVI, the sixth member of the House of Bourbon to reign as King of France and Navarre, great-great-great grandson of Louis XIV, the monarch known as the Sun King. At the scaffold, the condemned man asserted his innocence and absolved his executioners, but his attempts to say more were stifled by more drums.

The personal and dynastic drama and its compelling political consequences consumed observers at the time and focused commentary on the properly national significance of the execution. For in beheading the king, the Revolution simultaneously abolished a central symbol of country and obliterated a vital emblem of the city. It is those urban consequences, the crisis of authority that necessitated redefinition of the city, that concern this chapter. Once the king's city—the city earlier kings ritually appropriated as "our good city of Paris"—Paris became the city of the Revolution.

But what did, what. Whose "good city" would Paris be henceforth? At least since the sixteenth century, monarch and inhabitants alike had boasted of Paris as the "capital of the kingdom.

Decapitation deprived the city of a chef, of its symbolic head. Paris became an organism without a head, truncated, incomplete, in sum, a monstrosity. So strong was the association of the city and the monarchy, so visible the imprint of royalty on the topography and the toponymy of the city itself that the execution made much of Paris a symbolic nonsense.

Clearly, the crown and the fleurs-de-lys that figured on the seal of the city had to be discarded. But what would replace them? Whose city was it?

Who now would, or indeed could, comprehend it? The city, in a very real sense, had to be rewritten before it could once again be read. Most obviously, one regime took over from another and went about the business of creating institutions and ideologies in its own image. Accordingly, revolutionaries destroyed a number of the more egregious emblems of the past the term vandalism was coined at the time.

But transition entailed more than demolition. Given the imprint of the monarchy upon Paris, iconographic regeneration posed problems of major proportions. The Revolution had somehow to accommodate the past. The execution of Louis XVI functions as a larger symbol of urban crisis, one that bespeaks an immediate need for symbolic re-representation, a drastic rewriting or resymbolization, of the urban text.

Writers of many different persuasions and commitments took up this challenge in the nineteenth century. Claiming a new authority over the city as text, they sought to guide their readers through the newly unfamiliar passages of the city and to explain, if possible, its disconcerting capacity for continual change. The role of guide through a fearful place was not, of course, a new one.

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Virgil's guidance of Dante through hell supplied the model regularly invoked through the centuries, and never more insistently than in the first part of the nineteenth century, when Paris itself reverberated from the repeated, and intensified, disruptions of revolution. The writer simply assumed, or arrogated, the intellectual authority to map the postrevolutionary city. That authority was necessarily also political, so nineteenth-century writers cast themselves in a position of leadership, guiding readers through the perilous territory that only they knew as they insisted it.

The special relationship of the writer and the city does not originate in this postrevolutionary period, but it is then that writers learned to press their claims with especial urgency. There was a void to fill, and it was filled by the self-conscious authority of the author and by texts that presented themselves as authoritative. The nature and the consequences of this immense self-confidence are prime elements in an understanding of the urban discourse that began to emerge in early nineteenth-century Paris. The stories that the city came to tell, in new genres like the guidebook and eventually the novel, became part of its history, just as the history of the city was integral to the very notion of the genre.

The urban discourse elaborated in nineteenth-century Paris builds on just this crosscutting of genre and history. The Revolution made the interaction of the two more obvious, and more imperative, but the relation was already well established by No city exists apart from the multitude of discourses that it prompts. Topography is textuality. One reads the structured space of the city as one reads the structured language of a book.

But more than analogy is at work in this dual textuality. In the modern city the two models of urban texts—the "text" of the physical city and the writings about that city—coincide, overlap, comment upon, and at times contradict each other. This intertextuality becomes increasingly intricate as the city expands, builds, and demolishes and as writing about the city draws upon ever more diverse, ever more sophisticated, and ever more established traditions of texts.

As these urban texts become more various, meaning proliferates and turns the city into a palimpsest, that is, a textual expression of the labyrinth. Indeed, readings of the palimpsest weave the magic thread that enables the individual to find a way through the labyrinth. Such reading requires guidance of a sort different than the directives proffered in more conventional narratives. As early as the mid-sixteenth century, it became evident that the city of Paris needed.

There was no lack of histories and legends and myths to trace the origins of the city and of its name. In fact, chronicles of ritualized praise had been part of a Parisian discourse for centuries.


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But these celebrations of Paris make no connection to the explicitly topographical expositions like Guillot's Dit des rues de Paris at the very beginning of the fourteenth century. The guidebook as it took shape in the early nineteenth century emerges from the conjunction of these two very different urban texts, the chronicle and the topographical exposition.

But the genre that arises from this alliance does not merely join one text to another.

More than juxtaposition is at work. For the guidebook to take its place among city texts first requires that the city as a whole be rethought. Like most practitioners of the genre since, the authors of these early guidebooks assume that unmediated contact with the city is inadequate at best, and probably dangerous as well. The writer of a guidebook supplied the essential link between text and reader and between city and inhabitant. Gradually, the nineteenth century raised this affinity between the writer-guide and the city to a principle of literary-urban conduct.

The literary guidebook became a characteristic genre of postrevolutionary Paris. Guidebooks undertook to define the city in terms of the evolving landscape of power and to direct attention to the sacred geography of monarchical Paris.