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Les imaginaires écologiques des ruines romantiques et post-apocalyptiques : représenter le sauvage et la pollution contre l’artificialisation moderne
Abstract
Ecological imaginaries of Romantic and post-apocalyptic ruins: Representing the wild and pollution versus modern artificialization
Romantic and then post-apocalyptic representations of ruins are privileged objects for the environmental humanities insofar as they reveal the ambiguity of the relationship between modernity and nature. Produced by a modernity dominated by the attempt to artificialize the world, these works present other worlds dominated by non-humans such as climate, geology, plants, and animals. Formally, these works present them in space-times situated before and after modernity. However, they are exhibited today. This confrontation makes perceptible the idea of a conflict in which nature and culture seek to govern each other. The comparison of Romantic and post-apocalyptic representations leads us to consider that it is in fact played out between three instances: to the cultural artificial and the natural wild, we must add another non-artificial reality. This may be designated as pollution. It opposes the artificial without being a form of wild nature: it is the result of a dialectic between the wild and the artificial without reducing itself to a composition of the two. We must make room for this hybrid in the way we look at ecology.
Le genre post-apocalyptique a connu un certain succès depuis la seconde moitié du XXe siècle en se posant comme un regard critique des auteurs sur des modèles socio-économiques et sur le contexte historique dans lequel ils publient. Mettant en scène des décors urbains dévastés, ces œuvres permettent, à travers une projection dans le futur, d’interroger le présent. Les ruines qu’elles dépeignent symbolisent à la fois un effondrement du monde et l’ouverture d’un espace de conquête. Les jeux vidéo qui s’inscrivent dans ce sous-genre de la science-fiction permettent alors aux utilisateurs de s’engager dans de nouveaux modes d’appropriation de l’espace. Lorsqu’ils mettent en scène la ville, voire une ville en particulier, ces jeux alors offrent des nouveaux modes d’engagement dans l’espace urbain sous la forme de l’appropriation ludique.
This article presents a history of the experience of seeing and feeling the presence of the past in the medieval ruins at the time of Romanticism. Rather than a cultural history of the spreading of the “romantic sensibility”, it offers a reflection on the political efficiency of the publication of images and literary texts which were able to show the past to 19th century readers. From the series launched under the Restoration by Charles Nodier and Justin Taylor, the Voyages pittoresques et romantiques dans l’Ancienne France, to the first tourist attractions in Jumièges at the beginning of the 1830s, we follow the erasure of a political and religious use of the ruins under the Restoration (whose the Voyages bear the discreet trace), in favour of a cultural and patrimonial use of the ruins, destined to pass through time.
N° 649
N° 649 de la revue : Annales de géographie
Book, Edited
La ville après l’apocalypse
- Di Filippo Laurent
usages et perceptions de la nature en
- P Annales De Géographie Arnould
- É Et Glon
- Wilderness