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Furthermore, Aleida Assmann has defined “memorial culture” as resulting from an extension of our sense of responsibility in the face of mass crimes committed during the 20 th century. Yet if we are still the inheritors of a political concept stemmed from the French Revolution and in which society as well as its interests prevail over the types of government, then it seems the Shoah has already replaced the Revolution in regards to its role as an ethical reference (i.e. Confino 2001). By ‘modernity’ I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable” (1859).
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For Baudelaire, the artist “is looking for that indefinable something we may be allowed to call modernity. According to Aleida Assmann, Baudelaire was the first to found modernity upon this new relation to time by establishing as one of its criterias, the positioning of the artist within the present. It permeated the entire modern period to the point that it actually became an essential characteristic of Modernity. Aleida Assmann, through the variety of her references, broadens the reflection on memorial phenomenon to other fields, and specifically to literature, thus instigating an unprecedented shift within the debate, both cross-disciplinary and transnational.Ģ The question here is not simply of Germany but rather of Europe, and also beyond, of this West which shares the same relation to time that appeared during the French Revolution. However, the angle of approach now comes from of a specialist of memory rather than of history. Pierre Nora and Christoph Corneli ß en have studied the causes of this “world-wide advent of memory” (Nora 2002) that we are currently experiencing, and which they situate within the historical, social and economic contexts of the 1970s. This approach was initiated by historians – Aleida Assmann namely makes reference to the work and the concepts of Reinhart Koselleck and François Hartog. Is time “dislocated”, “disjointed”? It is firstly about putting into perspective our society’s relation to time, in other words to the present, past and future, and to consider this relation within a “culture of memory” ( Erinnerungskultur ). After publishing several monographs on memorial culture and the construction of a collective memory in Germany after 1945, namely Der lange Schatten der Vergangenheit (2006) and Geschichte im Gedächtnis (2007), Aleida Assmann indeed proposes in this book to answer a question which extends beyond this field of study. In Ist die Zeit aus den Fugen?, she takes some distance with her regular object of study, thus marking an important new phase in her thinking. Cet article se propose, sous la forme d’un compte rendu critique, d’explorer la richesse de cet ouvrage ainsi que les questionnements qu’il suscite : pourquoi le choix de s’arrêter sur le régime d’historicité de la Modernité ? Pourquoi se confronter au point de vue des historiens sur notre rapport actuel au passé, au présent et au futur, sans s’appuyer sur une tradition de pensée philosophique ? Quels sont enfin les enjeux qui s’y dessinent pour les études mémorielles, dont l’auteur est la chef de file en Allemagne ? Haut de pageġ With her work on history and on memory, Alaide Assmann is now a major reference in Germany and elsewhere in Europe – except in France where only one of her books has been translated – as well as in the United States.
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À travers une démonstration qui se nourrit des expériences et réflexions d’écrivains qui vont de Shakespeare à Virginia Woolf en passant par Baudelaire et Tolstoï, Aleida Assmann fait ressortir toute la complexité de la relation entre temps et Modernité.
#TIME OUT OF JOINT PLUS#
Dans Ist die Zeit aus den Fugen? (2013), Aleida Assmann prend du recul par rapport à ses travaux sur la mémoire collective après la Seconde guerre mondiale en resituant la « culture de la mémoire » qui caractérise aujourd’hui la société occidentale dans une perspective plus longue de notre rapport au temps.