The articles assembled in tradition Wars and Literature within the French 3rd Republic describe and examine the ever-widening makes an attempt within the early years of the 3rd Republic (1870-1914) to mobilize literary phenomena for the needs of political and social struggle. Literature turned the popular web site within which the human implications of the fiercest and such a lot common of those tradition wars, the battles over nationwide identification waged among proponents of secular and non secular schooling, have been articulated, dramatized and appraised.
In reports of Erckmann-Chatrian and Vallès, Rachilde and Colette, the Goncourt brothers and Marcelle Tinayre, los angeles Fontaine and Corneille, the song-writer Jules Jouy and the theater critic Francisque Sarcey between others, a few of these essays open up new views on famous concerns comparable to schooling, the definition of nationwide classics, Boulangism and women’s liberation, whereas others deliver to mild hitherto unsuspected connections among it sounds as if disparate difficulties like decadence, anarchism and feminism, the secret of literariness and the ban on Muslim headscarves, or the posthumous e-book of personal letters and the State’s curiosity in cultural and literary heroes. the ultimate piece crystallizes the basic clash of democratization: the strain among the republican wish for well known participation and the phobia of the implications of that participation through an uncultured public.
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Additional resources for Culture Wars and Literature in the French Third Republic
The French nineteenth century was dominated by the debate over the moral authority of the state, particularly in its new role (since the Revolution) as overseer of mass public education. 1 This evolved into a peculiarly French pedagogical tradition associated with the advent of mass education, consolidated after the birth of the Third Republic in 1870: the teaching of “morality” in school. The purpose of moral pedagogy was to teach ethics through reason and persuasion rather than through the more traditional fear of hellfire (of which Arnolphe’s repressive pedagogy vis-à-vis Agnès in Molière’s L’Ecole des Femmes is a comic example).
31)]. Jean-Baptiste recounts the story of his youthful experiences as a cautionary tale designed to warn the country of the dangers of retaining such an oppressive educational system. Its plot therefore follows the model of the thesis novel as described by Susan Suleiman in her Authoritarian Fictions, simply pitting good against evil in a series of misadventures caused by the vices of the current system, attempts at progressive reform, and persecutions by the forces hostile to those salutary innovations (Suleiman 1983, 103-112).
Dès lors, toute tentative d’analyse de l’écriture vallésienne se voit reléguée au second plan par une discussion militante des «idées» sociales et politiques de l’auteur (Rogozinski 1985, 337). [Giving preference to the criticism of family and school, people have most often read The child as a thesis novel, the satirical manifesto of a former Communard. ”] 5 Vallès waged a campaign for children’s rights in the press in 1882, and he founded a short-lived League for the Protection of the Rights of the Child that same year (Moores 1987, 57-58).