Nathalie P
reiss& Valérie s
tiénon“Sketched by themselves”
The panorama tested by the ‘panoramic’
To refer to this article :
Nathalie Preiss & Valérie stiénon, “‘Sketched bu themselves’. The panorama tested by the ‘panoramic’”, in: Interférences littéraires/Literaire interferenties, May 2012, 8, Nathalie Preiss & Valérie stiénon (eds.), “Croqués par eux-mêmes. La société à l’épreuve du ‘panoramique’”, 17-24.
http://www.interferenceslitteraires.be ISSN : 2031 - 2790
Abstract
Examining the pertinence of the notion “panoramic literature”, famously used by Walter Benjamin in a series of studies on nineteenth century manners, on the basis on a French, Belgian, English, German, Spanish and Austrian corpus: that is what is at stake in this issue. Benjamin’s heuristic model, drawn from the spectacle of the panorama, seems to capture the ‘scopic pulsion’ which is connected to the advent of the social democratic state and which, underlying these texts, manifests itself in effects of specularity and reflexivity. By its unifying vocation, the model also brings to light another dimension of these texts, namely a characte- ristic dialectic of similarity and difference, of individuality and universality, inherited from the Enlightenment and arguably also indebted to the optical illusion. In returning to this notion, the present issue engages in a critique of panoramic reason, which is also a critique of critical reason in its analysis of the moment when, in each of the countries under consideration, a ‘panoramic literature’ constitutes itself as an object of study and a literary-historical question. The issue hence forms both the antechamber of and the springboard for an upcoming site, “Sociorama”, which will be devoted to interdisciplinary research on international “panoramic” literature.
Résumé
Interroger la pertinence de la notion de « littérature panoramique », appliquée par Walter Benjamin à un ensemble composite d’études de mœurs du XIXe siècle, à partir de corpus français, belge, anglais, belge, allemand, espagnol, autrichien : tel est l’enjeu de ce numéro. Si ce modèle heuristique, emprunté au spectacle du panorama, semble bien rendre compte de la « pulsion scopique », liée à l’avènement de l’état social démocratique, qui sous-tend ces textes et se manifeste par des effets de spécularité et de réflexivité ; si, par sa vocation unifiante, elle met en lumière la dialectique du même et de l’autre, de l’universel et de l’individuel héritée des Lumières, qui les caractérise, elle peut aussi relever de l’illusion d’optique. On se livre donc ici à une critique de la raison panoramique, à une critique aussi de la raison critique en scrutant le moment où, dans chaque pays concerné, la « littérature panoramique » se constitue en objet d’étude et en question. Ce numéro se veut tout à la fois l’antichambre et le tremplin d’un site d’étude interdisciplinaire en préparation, « Sociorama », consacré à la littérature panoramique internationale.
A
cknowledgmentsWe express our gratitude to Prof. David Martens for his wise comments and the attention he has kindly paid to the achievement of this issue. We also thank for their valuable and generous assistance Helga Meise, André Lorant, Owen Heathcote and Andrew Watts.
Interférences littéraires/Literaire interferenties, 8, may 2012
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“s
ketched by themselves”
The panorama tested by the ‘panoramic’
Any conversation about “panoramic literature” implies Walter Benjamin. It is known, in fact, that in a famous passage of his work on Baudelaire (Charles Baude- laire. Un poète lyrique à l’apogée du capitalisme) Benjamin used the term in quotes to apply to a whole group of studies of mores and manners in French from the 19th century – Le Livre des Cent-et-Un (1831-1834, 15 vol.), Les Français peints par eux-mêmes (1839-1842, 8 vol.), La Grande Ville (1842-1843), Le Diable à Paris (1845-1846) and others. The term drew its sense from the original “panorama”, an optical demon-The term drew its sense from the original “panorama”, an optical demon- stration invented in 1787 by the Scottish painter Robert Barker, brought to France by the American inventor Robert Fulton in 1799, and later exhibited in Spain and Austria. The “panorama” was a way of producing the illusion of visual perspective for a spectator, standing in the centre of a rotunda-shaped room whose circular wall was covered with painted scenery (a landscape, battle scene, view of a city, etc.):
When the writer went to the marketplace, he looked at what was happening around him as if he were within a panorama. This particular literary genre conserved its initial tendency toward orienting oneself. This is panoramic lite- rature. It is not by chance that Le Livre des Cent-et-un, Les Français peints par eux- mêmes, Le Diable à Paris, or La Grande Ville became popular in Paris at the same time as the panoramas. These books were made up of a series of sketches whose anecdotal consistency was like that of the plastic figures one saw situa- ted in the foreground of the panoramas, but the richness of the information they provided was similar to the vast perspective suggested by the background of the panoramic display.1
He expands on this idea in notes for a future book, Paris, capital of the 19th century:
The foreground of the diorama [a variant for panorama] visually displayed in more or less detail, finds its equivalent in the novelistic accoutrements, pre- sented quite in profile, which are given to a study of society, which then fur- ther displays a very large background analogous to a landscape.2
In the expression “panoramic literature” Benjamin is trying to unify and sta- bilise a type of material that is quite heterogeneous and variable, and the purpose of
1. Walter Benjamin, citation drawn from “Le Paris du Second Empire chez Baudelaire’’, in:
Charles Baudelaire. Un poète lyrique à l’apogée du capitalisme, translated from the original German, with a preface by Jean Lacoste, following the original edition established by Rolf tiedemann [1955], Paris, Payot, 1982, 55 [our translation from French to English].
2. Walter Benjamin, Paris, capitale du XIXe siècle. Le livre des passages, translated from German by Jean Lacoste based on the original edition established by Rolf tiedemann [1982], Paris, Cerf, 1989, 547 [our translation from French to English]. Concerning panoramas and dioramas and their uses, see: Bernard comment, Le XIXe siècle des panoramas, Paris, Adam Biro, 1993 and Sophie Lefay (ed.),
‘‘Lectures du panorama’’, in: Revue des Sciences Humaines, n° 294, 2009.
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the eighth issue of Interférences littéraires is the interrogation, on the basis of French, English, Belgian, Spanish, German and Austrian texts, of the pertinence of this notion, which has “totalising” tendencies: it is a critique of panoramic reason, as it were. This is why it could only begin with the study by Isabel Kranz, a reflection on the status of the panorama in the work on Paris, capital of the 19th century: an epis- temological and heuristic model which was also a sort of scale model for his own work in progress.
At first sight, it is difficult not to agree with the proposition made by Benjamin.
Various types of studies of mores – Tableau de Paris, Physiologie, Musée, Galerie – clas-– clas- clas- sified under the heading of “panoramic literature” were most popular from 1830 to 1860, and certainly belonged to that historical moment when the “social democratic state” so well thought out by Tocqueville3 was established. Powerful because of his independence with regard to any intellectual or religious authority, yet fragile at the same time because of the isolation which may result from such independence, the “democrat” feels the need of an authority which will preserve his freedom and protect it from the effects of his weakness: only a union not of egos but of equals, which is public opinion itself, can play this role, whence the importance given to its preferred vehicle, the newspaper4 ; whence also the need to show oneself to others and to be recognised, not indeed in an exhibitionistic or narcissistic sense but as a means of taking the measure of the force generated by this new freedom. All this sheds considerable light on this reflective movement that also “holds the mirror up”, informing these texts and giving rise to a play of varying “foci” in evidence of which there are many titles that both speak and make themselves visible, beginning with a series of 8 volumes published by Curmer, Les Français peints par eux-mêmes (1839-1842), which was sold along with a “bonus”, Le Prisme !, Heads of the People (London, 1840-1841), which became in the Curmer translation Les Anglais peints par eux-mêmes [The English painted by themselves], Les Belges peints par eux-mêmes [The Belgians painted by themselves] (Brussels, Raabé, 1839) or Los Españoles Pintados por sí mismos [The Spanish painted by themselves] (Madrid, Ignacio Boix, 1843)… And along the way the substantial connection between the newspaper and such studies of mores is illuminated as well, something that is emphasised in articles by Teresa Schön, Martina Lauster and Ana Peñas Ruiz – and especially as regards the “petit journal”, a satirical broadsheet which became popular in the French Restoration period, regarding which La Caricature and Le Charivari by Philipon, which were dis- seminated as well in Belgium and in England, may be taken as exemplars – which in effect joins together the two mainsprings of democracy: authority of public opin- ion and vitality of scopic pulsion. The Physiologies, because of their editorial history as well as their depiction of the present moment, which presupposes, thanks to a subtle interplay of text and image, the resurrection of political caricature, thought extirpated by the laws of September 1835, are the illustrious and illustrated witness- es, less emasculated than emasculating in relation to the regime of Louis-Philippe.
And it was indeed Henry Monnier, a product of the English school of caricature and a mainstay of the well-named little magazine La Silhouette (1829-1830), the illustrator for Les Français peints par eux-mêmes and for the Physiologies, author and il-
3. In De la démocratie en Amérique [Democracy in America], vol. I, 1835 and vol. II, 1840.
4. Alexis de tocqueviLLe, chap. VI of the second part: “Du rapport des associations et des journaux”, op. cit., t. II, 1840.
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lustrator for the Physiologie du bourgeois, who popularised through his Scènes populaires dessinées à la plume (1830) the art of the “sketch” studied by Alain-Marie Bassy5, and which was at the centre of the panoramic literature analysed by Martina Lauster6.
Because it belonged to the period of the advent of the “social democratic state”, panoramic literature had to do with the dialectical reason of the Enlighten- ment, which lay as it were beneath its surface, and raised a question about identity, in the sense of a dialectical relationship between the Same and the Other. On a national scale, with England and the English (London, Bentley, 1833), Les Français peints par eux-mêmes, Les Belges peints par eux-mêmes, or in terms of a single city, as with Wien und die Wiener [Vienna and the Viennese] (Pesth, Heckenast, 1841-1844), Berlin und die Berliner [Berlin and the Berliners] (Berlin, Kleman, 1840-1841), this identity was defined not by rootedness in a particular soil but by attachment to a territory; not something to conquer but something to construct, more of a topic among moral and social values than a geography of local colour… This is what Valérie Stiénon has shown in the series Les Belges peints par eux-mêmes which leaves aside the facile accusation of inauthenticity in all its forms, revealing an identity that is not defined
“against” neighbouring France as much as it is “up against” it, as if France were a cloying spouse...7 In this regard, the portrait of the tulip lover is a revelation, involv- ing rewriting and from that point a reappropriation of the character of La Bruyère.
One can also understand why this literature is given to satire, which through its various generic manifestations is based on a distance, or rather an effect of distance in relation to a target that is too close and menacing8, and thus defines a poetics of the familiarity of the strange. It is no longer a question of thinking the Self as over against the Other, but rather a mirror-game that is played between a number of panoramic mountain ranges – the French, Belgian, Spanish, German and Aus- trian – or is played out within one (we are borrowing an Alpine metaphor used by Benjamin) in the sense of “oneself as another”,9 by and for the other: from this point (and the iconography of various corpuses make this necessary) everyone gets to “take off ” his own head.
But across and through the dialectical couple of the Same and the Other which is active in panoramic literature, there is another pair, that of the Universal and the Individual, a matrix for the foundation of the spirit of the Enlightenment, which is involved: these terms are not opposed to each other, but rather presup- pose each other; it is because of the universal and not in spite of it that individual differences can be conceived and defined. No one will then be surprised at the fact
5. Alain-Marie Bassy, “Images en abyme. Prudhomme – Monnier – Prudhomme”, in:
Nathalie Preiss & Joëlle raineau (eds), L’Image à la lettre, Paris, Paris-Musées/Des Cendres, 2005, 109-135.
6. Martina Lauster, Sketches of the Nineteenth-Century. European Journalism and Its Physiologies, 1830-1850, Basingstoke, Palgrave Macmillan, 2007. Also see: Richard sha, The Visual and Verbal Sketch in British Romanticism, Philadelphia, University of Philadelphia Press, 1998.
7. It should be remembered that the revolution in France in 1830 helped bring about a revo- It should be remembered that the revolution in France in 1830 helped bring about a revo- lution in Belgium that led to that country’s independence, and that the oldest daughter of Louis- Philippe, Louise-Marie d’Orléans, was married on August 9, 1832 to Léopold I, who was chosen King of the Belgians on July 21, 1831.
8. See the important theoretical synthesis by Fredric v. BogeL, “Satire et critique moderne:
modèles, emprunts et perspectives”, in: Modernités, 2008, 27, Sophie duvaL & Jean-Pierre saïdah (eds),
‘‘Mauvais genre. La satire littéraire moderne’’, 19-34.
9. This phrase is well known as the title of the work by Paul ricoeur: Soi-même comme un autre, Paris, Seuil, 1997 [1st edition: 1990].
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that all the articles in this issue focus on the key notion involved in this process, the “type” – a notion which can be traced back to one of Plato’s dialogues, and then traced forward to the conversation between the “singes” (typesetters) and the
“ours” (pressmen) in printing. And these articles examine all the nuances of the
“type”, conceived as an overdetermined personality that contains all the character- istics of a genre or group, and also of the “type” as individuality, a figure that stands forth, which is the very meaning of “caricature”, in the vocabulary of illustration at that time. A reflection on the “type” which Olaf Briese blends with a reflection on appellation, on naming and onomastics, something very crucial at the moment when blood and native soil no longer sufficed to confer a name: in this regard the publication in 1849 of a Physiologie des noms propres, “ibi et alibi”, was a further rev- elation.10 Joining “typified individuals” to “individualised types”, in the manner of a Balzacian expression,11 panoramic literature defines collective singularities, from the circle to the entire nation, and including everything in between that belongs to urban or rural sociability, which themselves converse and conspire. A locus of circulation of forms and models both textual and visual – a character or portrait in the manner of La Bruyère, a maxim of the kind favoured by La Rochefoucauld or a reflection à la Vauvenargues, anecdote, comic interlude, humorous song, novel, fable, parable – these productions in series, which are the bread and butter of the publishers of the picturesque, also facilitate that commerce of the spirit to which Le Livre des Cent-et-Un testifies – which, need we remind the reader, was put together by faithful readers as an hommage to, and for the rescue of, Ladvocat, the publisher of literary novelties, the “pasha of vignettes”,12 then in bankruptcy. Panoramic lit- erature – it is not surprising – runs true. It remains to be seen!
With the panoramic model, Benjamin hypothesises a perspective, various ref- erence points and backgrounds, a horizon and a totality. Now, within what appears to be a homogeneous grouping in terms of the conditions of its emergence, its chains of production and diffusion, the attitude of its authors and its writing, no longer is set off against very large features (“mountain ranges”) but is differentiated with regard to blocs of resistance. Thus the Physiologies, far from offering the reader a social panorama or a “moral encyclopaedia of the 19th century”,13 far from render- ing democratic society “readable”,14 actually plays the classificatory and descriptive method of zoology off against the explanatory method of scientific physiology thus deliberately taking a stand against a unitary and organic view of society, such as was then supported by the “social physiology” of the time – as opposed to the horizon of the Physiologies, which emphasise not a fragmentary style of writing, but that of
10. Physiologie des noms propres par le cousin d’un homme d’esprit…, Ibi et Alibi, chez tous les libraires qui ont un nom, 1849.
11. The phrase was included in the famous letter of October 26, 1834 to Madame Hanska The phrase was included in the famous letter of October 26, 1834 to Madame Hanska (Honoré de BaLzac, Lettres à Madame Hanska. 1832-1844, edition established by Roger Pierrot, Paris, Robert Laffont, vol.. I, 1990, 204), reconsidered by Félix Davin in the Introduction to Études philosophiques, dated December 6, 1834.
12. Title given in Title given in Title given in Illusions perdues by the Balzacian narrator to Dauriat, who maintained close relations with Ladvocat (Honoré de BaLzac, Illusions perdues, text presented, established and anno- tated by Roland choLLet, in La Comédie humaine, edition published by Pierre-Georges castex, Paris, Gallimard, vol. V, 1977, 323).
13. Subtitle of Français peints par eux-mêmes.
14. We stand at some critical distance from the position of Benjamin, on this point, followed by Richard sieBurth, in his article: “Pour une idéologie du lisible : le phénomène des ‘Physiologies’”, in: Romantisme, n° 47, 1985, 39-60.
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the “fraction”, the detached fact in the absence of all totality. The Physiologies are like the pieces of a broken mirror, giving back to the viewer not a panoramic but a kaleidoscopic view, which Vance Byrd and Isabel Kranz have also identified with regard to Stifter’s Wien und die Wiener, and also (oddly enough) with regard to Ben- jamin’s work. Perhaps panoramic literature was situated at a critical moment, well recognised by Tocqueville, when democratic equality was threatening to change into equivalence, universality into uniformity, the clarity of the Enlightenment into opaque transparency, as witness a certain naturalisation of the city, the tides, the crowd, and chaos, emphasised here by Vance Byrd and Karlheinz Stierle as present in Baudelaire15 : this is also the face of modernity. What has been lost, is the rela- tion that distinguishes and unites to the benefit of indistinction: the diabolism that separates is substituted for the symbol that ties things together. There perhaps lies the reason for the recurrent presence of the devil or the diabolical in these texts – over and above the reference to the Diable boiteux of Lesage, the god of couples or unions that are a bad match – well demonstrated by Martina Lauster elsewhere,16 and here precisely with regard to the prime mover of panoramic literature, the typographer. The game of the Same and the Other risks turning into enclosure within the Same, a collective singularity turning into a collection of juxtaposed singularities, which by the same token are paradoxically identical, a reflective char- acter within a corpus and between corpuses in reversibility – who started this, the English, the French, the Belgians? – a circulation of models, repeated ad infinitum.
The transport of a model is transformed into the transfer of a motif, as if one used decoupage like a stencil. But because this indistinction and this illegibility are unbearable, an artificial distinction is created: the exception. Singularity becomes obligatory eccentricity: chic, shock, smack. “Du chic et du poncif ”, in the disap- proving words of Baudelaire in the Salon de 1846.
Thus panoramic literature, finally, nor rotates well neither goes round in cir-nor rotates well neither goes round in cir- cles. It is a genre suspended between democracy’s moment of grace and a moment when it grimaces. In the universe of Benjamin’s book it is not so much given to the panorama as to the other side...of the “Mirrors”; the mirrors of Redon: “Redon paints things as they would appear seen in a mirror, a slightly dirty one. But his mir- ror universe is flat, and repels perspective.”17
*
* *
In addition to being a critique of panoramic reason, this journal issue also wanted to be a critique of critical panoramic reason. Certainly, the analysis of these corpuses of texts from many countries, where reflective character at the risk of reversibility reigns supreme, could not have been published in a better place, than in a journal entitled Interférences littéraires, a journal which over and above linguistic exchanges favoured a confluence between literary history, the history of publishing, the history of ideas, cultural history, the history of forms and models, textual poe-
15. Karlheinz stierLe, “Un lecteur dans la ville, Charles Baudelaire”, in: La Capitale des signes.
Paris et son discours, preface by Jean staroBinski, translated from the original German by Marianne rocher-jacquin, Paris, Maison des sciences de l’homme, 2001, 439.
16. In Chapter 4 of In Chapter 4 of Sketches of the Nineteenth-Century…, op. cit.
17. Walter Walter Benjamin, Paris, capitale du XIXe siècle…, op. cit., 554 [our translation].
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tics, intersemioticity, and the aesthetics of the reception of texts: a methodological combination that is indispensable for one wishing to approach this diverse and complex matter which does not requires hasty theorizing but a gradual concep- tualisation, with the notion that it is not to be treated as an agency for factual information about the so-called real state of a society, but rather as an arrangement of various textual, visual, and fictional constructions, which are the whole reality of this state of affairs. We can surmise that it is the very notion of a “document”
which the study of this “panoramic” “literature”(?) invites us to question. Through a confrontation between critical discourses from different countries which some- times border each other without getting to know one another, it also brings forth a variety of calendars and critical positions with regard to Benjamin: while the Spa- nish criticism, through costumbrismo, shows early interest in this panoramic material;
while the French criticism, beginning in the 80’s, taking off from the study of the Physiologies, echoed by Anglo-Saxon and Belgian criticism, stands at a distance from the theses of Benjamin; the German criticism accepts them more willingly, even prior to questioning them.18 This means that the journal issue referred to here is only a antechamber, and not for a panorama of panoramic critical reason, but for a
“Sociorama”19, an electronic platform with multiple levels – digitisation of various
“panoramic” corpuses, questioning based on multiple criteria, presentation of criti- cal studies and dossiers, a bibliography – and the goal, standing at an equal distance from the platitude of a network and the altitude of the panorama, is the habit of sharing, and according to “a 3-D comparativism”20, the use of a real “prism of knowledge”.
Nathalie Preiss
University of Reims Valérie stiénon FNRS-University of Liège & KULeuven 2121
18. See bibliography, below. See bibliography, below.
19. �ebsite and database under construction; this is the result of a partnership between the �ebsite and database under construction; this is the result of a partnership between the University of Liège, the University of Leuven and the University of Reims.
20. Culturalist comparativism, sensitive to cultural interferences, supporter of transdiscipli- Culturalist comparativism, sensitive to cultural interferences, supporter of transdiscipli- narity and an open hermeneutics, and thus “able to reconnect the Same and the Other” (Antonio domínguez Leiva, “Pour un (nouveau) comparatisme culturaliste”, in: Antonio domínguez Leiva, Sébastien huBier & Frédérique toudoire-surLaPierre (eds), Le Comparatisme : un univers en 3D ?, préface by Didier souiLLer, Paris, L’improviste, 2012, 206).
21. This journal issue was developed thanks to intercommunitarian scientifi c collaboration This journal issue was developed thanks to intercommunitarian scientific collaboration between the University of Liège and the KULeuven, and support (for which we are grateful) from the Francqui Foundation.
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b
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