French-language version

THE PASSIONS AS ENIGMAS
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François Furet

Christophe Prochasson
The Passions as Enigmas: History, Politics, and Society in the Work of François Furet

PREVIOUS LETTERS THE INFLUENCE OF THE SAINT-SIMONIANS AND THE IDEA OF ART IN THE VANGUARD OF THE SOCIAL REFORM BODY MORALITY DANDIES The Model Child THE BEAUTIFUL AND THE USEFUL Photographs by amateurs The market, at the start art in the republic the voyage of the avant-gardes Major exhibitions WHAT IS SOCIAL ART ? PRIMITIVISMS realisms JOSEPH BEUYS : A SHAMAN's FACTORY ? the Artist and the philosopher appropriations THE OPACITIES OF THE TECHNOLOGY Alternatives to the art market in new york genius PREHISTORIES POSTWAR MONEY Icons THE POWER OF ARTISTS values in formation nominalism ANCIENT ROME ON EVALUATION NEW SOVIET FASHIONS KLEINIAN ECONOMICS POLICIES OF THE REAL TOCQUEVILLE AND THE ARTS IN DEMOCRACY an elitist aesthetic for everyone The artist as teacher The equal of history passion for philosophy and passion for equality in the age of the enlightenment DEMOCRATIC ART IN ACTION ART AND EQUALITY IN THE GERMAN DEMOCRATIC REPUBLIC FRANS MASEREEL (1889-1972) : IDEALISM IN THE ART OF AN EYEWITNESS TO HISTORY

 
   

      How does the historian think passion?  It was in the late 1970s that François Furet, the author of the already famous book Penser la Révolution française (Interpreting the French Revolution), introduced the notions of sentiment and affect in relation to his nineteenth-century predecessors, and in particular Alexis de Tocqueville.  While for Furet it was never to be a matter of images, art historians will once again be passionately fascinated by a discourse on politics, which is nonetheless played out to a great extent in terms of “representations.”
      Christophe Prochasson generously offers us his initial observations from his new Furet project.