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• W241245005 abstract "Louis-Sebastien Mercier's vivid descriptions of indigent Parisians in the years preceding the Revolution in his Tableau de Paris (1781-88) are of particular interest to the modern reader, as well as the specialist, both the historian and the sociologist. At no point in their lives do poverty stricken Parisians in this time have any personal space of their own as Tableau de Paris suggests. Mercier's striking insistence on the spatial dimension of poverty, so to speak, will be the focus of this essay. Through his analysis of Parisians and the space they occupy, Mercier reveals a spatial logic which reflects the social structure of his time: social injustice and the uneven distribution of space are related and help to explain relationships between social groups. Louis-Sebastien Mercier was a writer whose life was inextricably linked to the city of Paris: in great part a product of the city himself, he also helped to shape the image of eighteenth-century Paris in the minds of many writers and scholars. Mercier was born there in 1740 to a bourgeois family and was buried in Pere-Lachaise cemetery in 1814. As a journalist, novelist, poet, playwright, literary critic, and chronicler, he made his mark as a respected yet controversial literary figure in late eighteenth-century France. He was also active politically during the revolutionary period, as an elected representative of the Convention in 1792 and also of the Council of Five Hundred from 1795 to 1797. During the Revolutionary period, his moderate political views as a decentralist Girondin (as opposed to the centralist Montagnards) served to isolate him from mainstream politics after the demise of his party (Majewski 1-14). The reception of Mercier's considerable body of work has been mixed since his active period in the late eighteenth century. Some of his contemporaries dismissed his status as a writer because of his controversial views on the theater, the fine arts, and his rejection of academic institutions. These factors have perhaps contributed to his conspicuous absence from the French literary canon. In the past fifty years, however, there has been a resurgence of scholarly interest in his work. In his book La Capitale des signes: Paris et son discours, Karlheinz Stierle establishes Mercier as the founder of discourse on the city of Paris; both Balzac and Hugo were inspired by his writings and by his meaningful and powerful description of conditions in the city of Paris (80-96). Mercier published the work that perhaps best represents his originality as an author, a seemingly disorganized chronicle of Paris, Tableau de Paris, from 1781 to 1788. The journalistic style of this, his most famous work, is conducive to the treatment of social reform: he describes the present state of the city, its strengths, and its problems, and provides recommendations for the future. It is a twelve volume, encyclopedic description of the eighteenthcentury city of lights, in which the author examines an incredible amount of urban minutiae, as well as the main facets of Parisian everyday life. Generically, Tableau de Paris can be considered a type of chronicle, but in some ways Mercier also reinvents the urban guide with a journalistic twist. With his journalistic flair, he seeks to wake Parisians from their slumber so they will do something to improve the poor's situation, and he succeeds in doing so by reversing the traditional use of an established genre. Unlike his contemporaries, such as Germain Brice, Charles-Etienne Pesselier Jeze, and Luc- Vincent Thiery, who all wrote urban guides for foreigners, Mercier wrote his Tableau for the French. In their introduction to the anthology Les Guides imprimes du XVIe au XXe siecle : Villes, paysages, voyages, Gilles Chabaud and his fellow editors claim that eighteenth-century authors of guides render urban space intelligible by describing a clear hierarchy of places, which reflects specific values (11). The editors add that Dans les guides, la construction d'une realite spatiale semble a l'oeuvre a travers les categories qu'ils utilisent, vehiculent et contribuent a banaliser (In guides, the construction of a spatial reality seems to be at work through the categories they use, convey, and contribute in making common place) (11). …" @default.
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• W241245005 date "2012-05-01" @default.
• W241245005 modified "2023-09-22" @default.
• W241245005 title "A Grim Cycle of Life: The Indigent's Spatial Journey in Louis-Sébastien Mercier's Tableau De Paris (1781-88)" @default.
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