05 | 2009 : Les = archives=20 judiciaires en question

VI. = Archives judiciaires=20 et =C3=A9criture de l=E2=80=99histoire

L'archive, la trace, le = sympt=C3=B4me. Remarques sur=20 la lecture des archives

Andrea Cavazzini=20

R=C3=A9sum=C3=A9s

Fran=C3=A7ais<= /A> English =

Ce travail est une analyse = =C3=A9pist=C3=A9mologique de quelques=20 d=C3=A9marches d=E2=80=99historiens contemporains (et notamment Arlette = Farge, Carlo=20 Ginzburg), visant =C3=A0 d=C3=A9gager de leurs travaux une approche = symptomatologique de=20 la lecture des archives. Cette approche consisterait =C3=A0 saisir, dans = les=20 =C2=AB lapsus =C2=BB des sources narratives, les traces = d=E2=80=99une r=C3=A9alit=C3=A9 historique=20 que l=E2=80=99archive, en tant que dispositif abstrait r=C3=A9gissant la = possibilit=C3=A9 m=C3=AAme de=20 la connaissance historique, ne parvient pas =C3=A0 voir et penser du = fait de son lien=20 aux pouvoirs sociaux et aux institutions. Par ce biais, plusieurs = ouvrages=20 historiques sont analys=C3=A9s, et les sujets du rapport entre archives = et=20 institutions, entre le savoir de l=E2=80=99historien et les voix des = hommes du pass=C3=A9,=20 entre l=E2=80=99historien et les pouvoirs, entre le r=C3=A9cit et la = r=C3=A9alit=C3=A9, entre les=20 structures sociales et les cas singuliers, sont abord=C3=A9s =C3=A0 = travers une analyse=20 d=C3=A9taill=C3=A9e des travaux d=E2=80=99A. Farge et = C. Ginzburg.
On plaide=20 finalement pour un rapprochement entre la connaissance historique et la=20 r=C3=A9flexion philosophique sur la base d=E2=80=99un souci commun pour = l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne dans les=20 discours et les rapports sociaux.

The present work is a = science=E2=80=93theoretical study about=20 a number of contemporary historians (Marc Bloch, Georges Duby, Arlette = Farge,=20 Carlo Ginzburg); it aims to delineate a symptomatological approach to = techniques=20 of archives=E2=80=99 reading. The aforementioned approach consists in = detecting within=20 the =E2=80=9Clapsus=E2=80=9D of narrative sources, the traces of = historical reality the archive=20 can neither see nor think because of its relationship with social powers = and=20 institutions. This viewpoint enables the analysis of many historical = works=20 dealing with such themes as the relationship between archives and = institutions,=20 between historical knowledge and the voices of people that lived in the = past,=20 between historians and powers, between narration and reality, between = social=20 structures and singular cases, which the text treats by the means of a = detailed=20 analysis of works of A. Farge=E2=80=99s and = C. Ginzburg=E2=80=99s.
This work points=20 towards an articulation between historical knowledge and philosophical=20 reflection based on the attention to the heterogeneous in discourses and = social=20 relationships.

=20

Entr=C3=A9es d'index

Mots-cl=C3=A9s :

archive, source, sympt=C3=B4me, parole, h=C3=A9t=C3=A9rog=C3=A8ne<= /A>

Keywords :

archive, source, symptom, parole, heterogeneity =

=20

Texte int=C3=A9gral

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Cr=C3=A9dits : = Jean-Luc Thieffry /=20 Mus=C3=A9e 510

1 F. Dosse, = L=E2=80=99histoire en=20 miettes, Paris, La D=C3=A9couverte, 1987, p. 35-36. =

1Le = r=C3=B4le actuel des=20 archives judiciaires dans les travaux de plusieurs historiens pose des = probl=C3=A8mes=20 qui d=C3=A9passent les confins de l=E2=80=99histoire. Probl=C3=A8mes que = l=E2=80=99on pourra faute de=20 mieux caract=C3=A9riser de philosophiques. Il s=E2=80=99agit de = probl=C3=A8mes concernant=20 le statut du savoir historique, de son rapport au pouvoir, de la nature = de ses=20 actes d=E2=80=99interpr=C3=A9tation. Tout cela renvoie aux = conditions de possibilit=C3=A9=20 de cette discipline que nous appelons =C2=AB histoire =C2=BB = =E2=80=93 conditions=20 susceptibles d=E2=80=99=C3=AAtre interrog=C3=A9es =C3=A0 partir de = ce no man=E2=80=99s land=20 disciplinaire dont l=E2=80=99espace est occup=C3=A9 par le discours = philosophique. Le r=C3=B4le=20 crucial des archives judiciaires peut =C3=AAtre le pivot permettant = d=E2=80=99occuper cette=20 position d=E2=80=99o=C3=B9 une pratique th=C3=A9orique et discursive = montre son enracinement dans=20 des actes constituants et des conditions qui lui =C3=A9chappent. Afin de = mieux saisir=20 les enjeux du r=C3=B4le des archives, il faut d=E2=80=99abord rappeler = quelques questions=20 pr=C3=A9liminaires d=E2=80=99ordre g=C3=A9n=C3=A9ral, que je ne ferai = ici qu=E2=80=99introduire. L=E2=80=99int=C3=A9r=C3=AAt pour=20 les archives judiciaires, leur position centrale au sein de plusieurs = d=C3=A9marches=20 historiques contemporaines, marquent l=E2=80=99av=C3=A8nement, au = c=C5=93ur des int=C3=A9r=C3=AAts des=20 historiens, des archives du crime, de la d=C3=A9viance, de = l=E2=80=99h=C3=A9r=C3=A9sie, et de la=20 r=C3=A9pression. Ces archives ont =C3=A9t=C3=A9 utilis=C3=A9es comme des = sources capables de=20 restituer tant le r=C3=A9el et la violence des rapports de pouvoir que = l=E2=80=99=C3=A9paisseur de=20 formes de vie sociale exclues de la = =C2=AB visibilit=C3=A9 =C2=BB institutionnelle.=20 De ce point de vue, une histoire pour laquelle le travail sur ces = archives est=20 devenu paradigmatique marque un tournant par rapport =C3=A0 = l=E2=80=99histoire du xix^e si=C3=A8cle qui, tant=20 dans sa phase =C2=AB romantique =C2=BB que dans sa phase = =C2=AB =C3=A9rudite =C2=BB,=20 avait b=C3=A2ti sa l=C3=A9gitimit=C3=A9 sur l=E2=80=99utilisation = privil=C3=A9gi=C3=A9e des archives=20 =C2=AB officielles =C2=BB1. Par l=C3=A0, = plusieurs=20 probl=C3=A8mes =C3=A9pist=C3=A9mologiques et historiques se posent. Pour = les aborder, je=20 commencerai par citer une remarque de Marc Bloch sur le rapport entre=20 l=E2=80=99historien et les sources dont il dispose :

2 Marc Bloch =C2=AB Apologie = pour=20 l=E2=80=99histoire =C2=BB dans Id., L=E2=80=99histoire, la = guerre,=20 la R=C3=A9sistance, Paris, Gal(...)

Les faits qu=E2=80=99il =C3=A9tudie, = l=E2=80=99historien, nous dit-on,=20 est, par d=C3=A9finition, dans l=E2=80=99impossibilit=C3=A9 absolue de = les constater lui=E2=80=93m=C3=AAme.=20 Aucun =C3=A9gyptologue n=E2=80=99a vu Rams=C3=A8s ; aucun = sp=C3=A9cialiste des guerres=20 napol=C3=A9oniennes n=E2=80=99a entendu le canon d=E2=80=99Austerlitz. = Des =C3=A2ges qui nous ont=20 pr=C3=A9c=C3=A9d=C3=A9s, nous ne saurions donc parler que = d=E2=80=99apr=C3=A8s t=C3=A9moins2.

3 Par = =C2=AB formatage =C2=BB nous entendons=20 les contraintes cognitives et discursives que toute source subit(...)

2L=E2=80=99historien=20 s=E2=80=99autorise, en tant que figure du savoir, de ses sources. Selon = l=E2=80=99hypoth=C3=A8se qui=20 guidera nos analyses =E2=80=93 et que nous croyons pouvoir = retrouver chez les=20 historiens faisant l=E2=80=99objet de notre lecture =E2=80=93, = toute source est=20 =C2=AB format=C3=A9e =C2=BB3 par les normes = (et les=20 forces) qui r=C3=A9gissent le monde social pr=C3=A9sidant =C3=A0 sa = production et=20 transmission : le trajet de son existence sociale d=C3=A9termine = les formes de=20 sa lisibilit=C3=A9, et le genre de lumi=C3=A8re jet=C3=A9e par elle sur = le pass=C3=A9. Cela implique=20 qu=E2=80=99une source ne puisse pas reconna=C3=AEtre le = refoul=C3=A9 du processus social=20 dont elle rel=C3=A8ve. Or, le savoir de l=E2=80=99historien est = enti=C3=A8rement conditionn=C3=A9 par=20 des sources d=C3=A9j=C3=A0 format=C3=A9es, donc limit=C3=A9es par ce que = les conditions de sa=20 production ont =C3=A9tabli comme visible ou invisible. Tout cela a des = cons=C3=A9quences=20 imm=C3=A9diates sur le probl=C3=A8me de l=E2=80=99=C3=A9laboration des = crit=C3=A8res selon lesquels il=20 convient d=E2=80=99interroger les sources : il faudrait en effet, = pour saisir ce=20 refoul=C3=A9 =E2=80=93 enveloppant toujours des potentialit=C3=A9s = de la vie sociale effac=C3=A9es=20 par des rapports de force =E2=80=93 pouvoir faire dire =C3=A0 la = source ce qu=E2=80=99elle ne=20 dit pas, et surtout ce qu=E2=80=99elle ne peut pas dire. = L=E2=80=99invention par l=E2=80=99historien de=20 pratiques de d=C3=A9chiffrage capables d=E2=80=99arracher aux sources ce = qu=E2=80=99elles ne peuvent=20 pas exhiber en pleine lumi=C3=A8re d=C3=A9pend d=E2=80=99un rapport aux = instances qui=20 pr=C3=A9-codent toute source historique : nous appelons = ces instances,=20 conform=C3=A9ment =C3=A0 l=E2=80=99usage d=E2=80=99auteurs tels que = Michel Foucault, Arlette Farge et=20 Jacques Derrida, l=E2=80=99archive. L=E2=80=99archive = n=E2=80=99est pas un d=C3=A9p=C3=B4t mat=C3=A9riel de=20 documents mais un dispositif abstrait, bien que producteur = d=E2=80=99effets mat=C3=A9riels=20 =E2=80=93 il s=E2=80=99agit d=E2=80=99un agencement de conditions = et de r=C3=A8gles permettant la=20 connaissance d=E2=80=99=C3=A9poques r=C3=A9volues. Cet agencement relie = les uns aux autres les=20 =C3=A9l=C3=A9ments suivants : les sources ; les = m=C3=A9thodes d=E2=80=99interpr=C3=A9tation,=20 d=C3=A9chiffrage et critique ; une certaine id=C3=A9e de la = fa=C3=A7on dont une source=20 peut signifier le pass=C3=A9 ; et des contenus = suppos=C3=A9s appartenir =C3=A0 la=20 p=C3=A9riode =C3=A9tudi=C3=A9e.

4 Sur la forme discursive de=20 l=E2=80=99histoire-bataille et ses pr=C3=A9suppos=C3=A9s = s=C3=A9miologiques =C2=AB r=C3=A9f=C3=A9rentialistes(...)

5 Sur le probl=C3=A8me de la=20 =C2=AB visibilit=C3=A9 =C2=BB, de la = =C2=AB vision =C2=BB et de l=E2=80=99=C3=A9vidence en=20 histoire, cf. Fran=C3=A7ois(...)

3Par = exemple, du=20 point de vue de l=E2=80=99archive qui gouverne l=E2=80=99histoire = politique du xix^e si=C3=A8cle et des=20 premi=C3=A8res d=C3=A9cennies du xx^e, les sources = valid=C3=A9es=20 sont celles produites et conserv=C3=A9es par les archives des =C3=89tats = nationaux=20 europ=C3=A9ens ; les m=C3=A9thodes sont celles d=C3=A9finies au = cours de ce premier essor=20 d=E2=80=99une histoire universitaire ; la relation de signification = entre la source=20 et le pass=C3=A9 est r=C3=A9f=C3=A9rentielle et = repr=C3=A9sentative ; enfin, tout ce syst=C3=A8me=20 d=E2=80=99archivage engendre presque automatiquement une approche des = r=C3=A9alit=C3=A9s agissant=20 dans le pass=C3=A9 (et peut-=C3=AAtre dans toute histoire = humaine) : l=E2=80=99histoire sera=20 histoire politique, histoire-bataille, et/ou roman de = l=E2=80=99=C3=A9pop=C3=A9e nationale4. En outre, = l=E2=80=99histoire=20 =C3=A9rudite tend =C3=A0 ne pas =C2=AB voir =C2=BB pas les = s=C3=A9ries quantitatives, et la=20 valeur d=E2=80=99une lecture s=C3=A9rielle (et non = r=C3=A9f=C3=A9rentielle) de ces sources lui est=20 difficilement accessible. Finalement, pour elle, les mouvements sociaux=20 =C2=AB d=E2=80=99en bas =C2=BB, souvent anonymes, = n=E2=80=99existent pas comme acteurs=20 historiques pleinement =C2=AB visibles =C2=BB5, Or, toute = archive est=20 ancr=C3=A9e dans des institutions, des id=C3=A9ologies, des savoirs = diff=C3=A9rents et des=20 relations de pouvoir. Une archive ne donnera =C3=A0 voir = =E2=80=93 du pass=C3=A9, des sources=20 possibles, des fa=C3=A7ons de les lire =E2=80=93 que ce qui sera = transmis par=20 l=E2=80=99articulation des proc=C3=A9d=C3=A9s d=E2=80=99archivage au = sein d=E2=80=99un ensemble de pratiques=20 sociales. D=C3=A8s lors, on est renvoy=C3=A9 au probl=C3=A8me = d=E2=80=99une source qui occulterait le=20 processus de son av=C3=A8nement.

6 Sur le lien entre archive, savoir = et=20 autorit=C3=A9, cf Jacques Derrida, Mal d=E2=80=99archive, = Paris, Galil=C3=A9e,(...)

4Le = concept=20 d=E2=80=99archive que nous venons d=E2=80=99esquisser est la condition = inconsciente de la=20 discipline historique. Un historien parle toujours =C3=A0 partir du lieu = ouvert par=20 une archive lui permettant de prendre sa place =C3=A0 = l=E2=80=99int=C3=A9rieur d=E2=80=99un agencement=20 entre documents, m=C3=A9thodes, s=C3=A9miologies et objets. Le savoir = des historiens=20 d=C3=A9pend de l=E2=80=99archive qui soutient leur parole6. Reconstruire = les=20 crit=C3=A8res d=E2=80=99archivage, changer d=E2=80=99archive = =E2=80=93 et par ce m=C3=AAme=20 changement acc=C3=A9der =C3=A0 l=E2=80=99intelligence de ce que = l=E2=80=99archive initiale laissait=20 invisible =E2=80=93 tous ces gestes ne peuvent =C3=AAtre accomplis = qu=E2=80=99=C3=A0 l=E2=80=99int=C3=A9rieur d=E2=80=99un=20 r=C3=A9gime donn=C3=A9 de savoir. Afin de saisir ce qu=E2=80=99une = soci=C3=A9t=C3=A9 n=E2=80=99arrive pas =C3=A0 rendre=20 visible, l=E2=80=99historien doit arracher les traces de = l=E2=80=99effac=C3=A9 au savoir que cette=20 soci=C3=A9t=C3=A9 produit sur elle=E2=80=93m=C3=AAme. Son savoir = n=E2=80=99a d=E2=80=99autre fondement que l=E2=80=99archive=20 dont il dispose, et qui est le r=C3=A9sultat de tout ce qui a obtenu, au = cours des=20 =C3=A2ges, un statut de visibilit=C3=A9 effa=C3=A7ant ou d=C3=A9formant = les possibilit=C3=A9s rest=C3=A9es=20 invisibles. Ainsi, l=E2=80=99archive livrera une image du pass=C3=A9 qui = est plut=C3=B4t celle des=20 rapports de forces ayant refoul=C3=A9 d=E2=80=99autres = r=C3=A9alit=C3=A9s jadis vivantes.

5D=C3=A8s lors, la=20 question se pose de la possibilit=C3=A9 de travailler contreles = contraintes=20 de l=E2=80=99archive, et non seulement =C3=A0 partir des = conditions qu=E2=80=99elle impose.=20 On peut d=C3=A9j=C3=A0 comprendre que le r=C3=B4le des archives = judiciaires a partie li=C3=A9e avec=20 les r=C3=A9ponses fournies =C3=A0 cette question. Ces archives = cristallisent dans des=20 configurations particuli=C3=A8rement sensibles les rapports de forces et = de pouvoirs=20 qui traversent un contexte social d=C3=A9termin=C3=A9. Les archives = =C3=A9tablies par les=20 pouvoirs en place s=E2=80=99acquittent de leur t=C3=A2che = d=E2=80=99enregistrement des =C3=A9v=C3=A9nements en=20 ob=C3=A9issant =C3=A0 une norme =E2=80=93 la norme que les = rapports de force ont=20 impos=C3=A9e comme dominante au sein d=E2=80=99un monde social = d=C3=A9termin=C3=A9.=20 L=E2=80=99efficacit=C3=A9 de l=E2=80=99archive en tant que dispositif = est patente dans ces archives=20 dont la fonction est imm=C3=A9diatement li=C3=A9e =C3=A0 des t=C3=A2ches = de contr=C3=B4le et gestion=20 d=E2=80=99une population donn=C3=A9e : archives judiciaires, = archives de l=E2=80=99Inquisition,=20 archives des institutions m=C3=A9dicales, etc. Ici, la liaison des = sources aux=20 pouvoirs incorpor=C3=A9s =C3=A0 l=E2=80=99archive est = imm=C3=A9diate ; et c=E2=80=99est pourquoi c=E2=80=99est au=20 c=C5=93ur du travail de ces archives que ce qui =C3=A9chappe =C3=A0 = l=E2=80=99imposition de la norme=20 peut refaire surface. Les r=C3=A9alit=C3=A9s effac=C3=A9es ou = d=C3=A9form=C3=A9es redeviennent visibles=20 au travers des impasses du processus que nous avons appel=C3=A9 = =C2=AB formatage =C2=BB =E2=80=93 impasses qui sont = autant de limites des normes=20 gouvernant ce processus. Chaque fois que la r=C3=A9alit=C3=A9 hors-norme = rencontre la=20 norme et les instruments qui visent son imposition, la possibilit=C3=A9 = est ouverte=20 que l=E2=80=99anomalie, l=E2=80=99a-norm-al,=20 ne soit pas compl=C3=A8tement effac=C3=A9e, mais parvienne au contraire = =C3=A0 faire entendre=20 son timbre singulier =C3=A0 travers les failles du dispositif de = normation. Les=20 archives judiciaires =E2=80=93 dont la t=C3=A2che est justement = celle d=E2=80=99enregistrer,=20 du point de vue de la norme, ces rencontres = conflictuelles =E2=80=93=20 constituent un lieu privil=C3=A9gi=C3=A9 pour recueillir les traces des = occasions et des=20 conjonctures o=C3=B9 il y a eu =C3=A9chec de la r=C3=A9duction =C3=A0 la = norme. D=E2=80=99ailleurs, ces=20 anomalies demandent des techniques sp=C3=A9cifiques afin = d=E2=80=99=C3=AAtre saisies. La volont=C3=A9,=20 voire la n=C3=A9cessit=C3=A9 pour l=E2=80=99historien de saisir ce que = cache l=E2=80=99archive entra=C3=AEne=20 des cons=C3=A9quences =C3=A9pist=C3=A9mologiques majeures : 1) le = r=C3=B4le strat=C3=A9gique=20 qu=E2=80=99assument des archives imm=C3=A9diatement engag=C3=A9es dans = des t=C3=A2ches=20 gouvernementales ; 2) la construction de proc=C3=A9dures de lecture = en mesure de=20 reconna=C3=AEtre dans ces archives les allures d=E2=80=99un rapport de = forces et les limites=20 des normes dominantes.

7 Arlette Farge, Le go=C3=BBt de = l=E2=80=99archive,=20 Paris, Seuil, 1989.

6I.Pour=20 quitter cette exposition excessivement abstraite, je chercherai =C3=A0 = retrouver ces=20 probl=C3=A9matiques dans les travaux de deux historiens dont = l=E2=80=99=C5=93uvre est li=C3=A9e =C3=A0=20 l=E2=80=99av=C3=A8nement des archives judiciaires; je commencerai par = les r=C3=A9flexions=20 d=E2=80=99Arlette Farge, une des rares historiennes =C3=A0 avoir = r=C3=A9fl=C3=A9chi sur le concept m=C3=AAme=20 d=E2=80=99archive. Son =C5=93uvre la plus marquante de ce point de vue = est Le go=C3=BBt de = l=E2=80=99archive7.=20 L=E2=80=99objet de ce livre est un travail sur le rapport de = l=E2=80=99historien(ne)=C3=A0 l=E2=80=99archive. Il s=E2=80=99agit = d=E2=80=99unearchive sp=C3=A9cifique, sur=20 laquelle A. Farge travaille depuis longtemps : = l=E2=80=99archive de police. En=20 m=C3=AAme temps, l=E2=80=99archive n=E2=80=99est pas qu=E2=80=99une = institution empirique (ce qui est indiqu=C3=A9=20 par l=E2=80=99usage du singulier) : elle est avant tout un mode = sp=C3=A9cifique de=20 pr=C3=A9senter les =C3=A9nonc=C3=A9s du pass=C3=A9. De ce point de vue, = elle est imm=C3=A9diatement=20 d=C3=A9termin=C3=A9e, dans sa mat=C3=A9rialit=C3=A9 m=C3=AAme, par ses = relations avec les=20 pouvoirs :

8 Ibid., p. 8-9. =

[Au xviii^e si=C3=A8cle,=20 l=E2=80=99archive] est simplement un des moyens que prend la monarchie = pour=20 s=E2=80=99administrer civilement et p=C3=A9nalement, et que le temps a = retenu comme trace=20 de son =C3=A9coulement. Comme aujourd=E2=80=99hui, autrement = qu=E2=80=99aujourd=E2=80=99hui, la police=20 dresse des proc=C3=A8s-verbaux et remplit des registres. Les = commissaires et les=20 inspecteurs de police envoient =C3=A0 leurs sup=C3=A9rieurs notes et = rapports ; les=20 d=C3=A9linquants subissent des interrogatoires et les t=C3=A9moins = livrent leurs=20 appr=C3=A9ciations =C3=A0 des greffiers qui notent sans ponctuation, = selon l=E2=80=99habitude=20 fluide du si=C3=A8cle. L=E2=80=99archive judiciaire du xviii^e si=C3=A8cle est=20 faite de cela : de l=E2=80=99accumulation, feuille volante = apr=C3=A8s feuille volante,=20 de plaintes, de proc=C3=A8s, d=E2=80=99interrogatoires, = d=E2=80=99informations et de sentences.8

9 Ibid., p. 9.

10 Ibidem.

11 Ibid., p. 10.

12 Ibid., p. 14.

7L=E2=80=99archive est donc=20 marqu=C3=A9e, jusque dans son aspect le plus mat=C3=A9riel, par sa = fonction administrative=20 et polici=C3=A8re =E2=80=93 les =C3=A9nonc=C3=A9s narratifs = qu=E2=80=99elle livre ne sont lisibles que=20 moyennant cette forme de pr=C3=A9sentation, dont les traces restent = visibles dans les=20 modalit=C3=A9s d=E2=80=99=C3=A9criture ou les modalit=C3=A9s de = conservation du mat=C3=A9riel (l=E2=80=99archive=20 judiciaire est =C2=AB la plus "brutalement" conserv=C3=A9e = (=E2=80=A6) C=E2=80=99est-=C3=A0-dire la plus=20 simplement gard=C3=A9e =C3=A0 l=E2=80=99=C3=A9tat brut, sans reliure, = sans brochure, seulement=20 rassembl=C3=A9e et li=C3=A9e =C2=BB9). Surtout, = l=E2=80=99archive est=20 =C2=AB en quelque sorte pr=C3=A9par=C3=A9e pour un usage = =C3=A9ventuel (=E2=80=A6) Usage imm=C3=A9diat,=20 celui dont le xviii^e si=C3=A8cle avait=20 besoin pour la mise en place de sa police =C2=BB10. = L=E2=80=99archive n=E2=80=99est=20 jamais s=C3=A9parable de sa fonction : si elle conserve et livre = des r=C3=A9cits, il=20 ne faut pas oublier qu=E2=80=99elle les a toujours d=C3=A9j=C3=A0 = inscrits =C3=A0 l=E2=80=99int=C3=A9rieur du rouage=20 administratif de l=E2=80=99Ancien R=C3=A9gime (ce qui se = r=C3=A9p=C3=A9tera sous des formes diff=C3=A9rentes=20 pour tout r=C3=A9gime futur). La lecture de ces r=C3=A9cits = pr=C3=A9suppose une extr=C3=AAme=20 attention =C3=A0 ces conditions de production et conservation : = =C2=AB L=E2=80=99archive=20 ne ressemble ni aux textes, ni aux documents imprim=C3=A9s ni aux = "relations", ni aux=20 correspondances, ni aux journaux, ni m=C3=AAme aux autobiographies. Elle = est=20 difficile dans sa mat=C3=A9rialit=C3=A9 =C2=BB11. Ce qui la = rend=20 =C2=AB difficile =C2=BB est son lien structurel aux fonctions = administratives et=20 polici=C3=A8res : l=E2=80=99archive n=E2=80=99est qu=E2=80=99un = rouage de l=E2=80=99appareil =C3=A9tatique, elle ne=20 sert aucune finalit=C3=A9 de communication, ni de production de = sens ; elle=20 laisse des traces qui n=E2=80=99ont rien d=E2=80=99intentionnel : = =C2=AB L=E2=80=99archive (=E2=80=A6) n=E2=80=99a=20 pas =C3=A9t=C3=A9 compos=C3=A9e pour =C3=A9tonner, plaire ou informer, = mais pour servir =C3=A0 une police=20 qui surveille et r=C3=A9prime =C2=BB12. = L=E2=80=99archive donne =C3=A0=20 lire des r=C3=A9cits, mais son but n=E2=80=99=C3=A9tait pas de les faire = conna=C3=AEtre ;=20 d=E2=80=99ailleurs, les auteurs de ces r=C3=A9cits ne voulaient rien = communiquer par leurs=20 narrations : ils ont =C3=A9t=C3=A9 forc=C3=A9s =C3=A0 parler par = une sommation brutale. Il y a=20 donc un d=C3=A9calage entre le dispositif d=E2=80=99archivage et la = lecture qu=E2=80=99il est=20 possible d=E2=80=99en faire =E2=80=93 l=E2=80=99archive conserve = des =C3=A9nonc=C3=A9s dont le crit=C3=A8re de=20 formation =C3=A9tait parfaitement indiff=C3=A9rent =C3=A0 la lecture de = la post=C3=A9rit=C3=A9 ou des=20 historiens. Les =C3=A9nonc=C3=A9s sont des traces non-intentionnelles du = dispositif=20 d=E2=80=99archivage. Cela impose un mode sp=C3=A9cifique de = lecture :

13 Ibid., p. 16. =

Le carnet le plus intime qui soit, = d=C3=A9laiss=C3=A9 dans un=20 coin de grenier puis retrouv=C3=A9 quelques si=C3=A8cles plus = tard, sugg=C3=A8re malgr=C3=A9=20 tout que celui qui l=E2=80=99a =C3=A9crit cherchait plus ou moins = =C3=A0 =C3=AAtre d=C3=A9couvert et=20 estimait que les =C3=A9v=C3=A9nements de sa vie n=C3=A9cessitaient une = mise en texte.=20 L=E2=80=99archive ne poss=C3=A8de point ce caract=C3=A8re : le = t=C3=A9moin, le voisin, le=20 voleur, le tra=C3=AEtre et le rebelle ne voulaient pas de mise en = page ; c=E2=80=99est=20 pour d=E2=80=99autres n=C3=A9cessit=C3=A9s que leurs mots, leurs actes = et leurs pens=C3=A9es ont =C3=A9t=C3=A9=20 retranscrits.13

14 Ibid., p. 34.

8Le = probl=C3=A8me de=20 dissocier les paroles de leur transcription-pr=C3=A9sentation = archivistique se pose=20 sous un nouveau jour. Ni les paroles conserv=C3=A9es dans = l=E2=80=99archive, ni leur=20 transcription archivistique, ne rel=C3=A8vent d=E2=80=99une volont=C3=A9 = explicite de communiquer,=20 voire d=E2=80=99une intention accessible =C3=A0 une op=C3=A9ration = herm=C3=A9neutique d=C3=A9gageant le=20 vouloir-dire cach=C3=A9 derri=C3=A8re le dit. L=E2=80=99archive = n=E2=80=99est porteuse d=E2=80=99aucun=20 vouloir-dire : elle ob=C3=A9it =C3=A0 un dispositif impersonnel de = contr=C3=B4le de la=20 population. Le d=C3=A9calage entre les paroles archiv=C3=A9es et = l=E2=80=99archive les=20 re-pr=C3=A9sentant se joue enti=C3=A8rement =C3=A0 la surface, =C3=A0 = m=C3=AAme la mat=C3=A9rialit=C3=A9 des=20 =C3=A9nonc=C3=A9s. Il faut donc une technique de lecture capable de = saisir les d=C3=A9calages=20 qui l=C3=A9zardent la pr=C3=A9sentation de ces paroles par = l=E2=80=99archive =E2=80=93 il s=E2=80=99agit de=20 mettre en =C3=A9vidence l=E2=80=99irr=C3=A9ductibilit=C3=A9 de deux = r=C3=A9gimes de formation des =C3=A9nonc=C3=A9s=20 qui travaillent la pr=C3=A9sentation homog=C3=A8ne des paroles par = l=E2=80=99archive dominante.=20 Cette lecture implique moins une recherche de = l=E2=80=99authenticit=C3=A9 de la parole=20 =C2=AB populaire =C2=BB ou =C2=AB exclue =C2=BB = (position=20 =C2=AB romantique =C2=BB, proche de celle d=E2=80=99un = Michelet, et qu=E2=80=99Arlette Farge=20 r=C3=A9cuse) qu=E2=80=99un souci pour = l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne toujours-d=C3=A9j=C3=A0 = ench=C3=A2ss=C3=A9 dans la=20 logique m=C3=AAme de l=E2=80=99archive. Cet = h=C3=A9t=C3=A9rog=C3=A8ne est situable comme tel par=20 rapport =C3=A0 la fonction de l=E2=80=99archive, et =C3=A0 son = crit=C3=A8re de formation =C3=A9nonciative.=20 Il faut s=E2=80=99interroger sur ce qui, dans les =C3=A9nonc=C3=A9s = produits par l=E2=80=99archive,=20 =C3=A9chappe pourtant =C3=A0 ce crit=C3=A8re =E2=80=93 par l=C3=A0, = ce qui est trouv=C3=A9 est un d=C3=A9calage=20 au niveau m=C3=AAme des =C3=A9nonc=C3=A9s, d=C3=A9celable sur la = =C2=AB peau =C2=BB des mots. Il=20 s=E2=80=99agit d=E2=80=99un d=C3=A9calage ult=C3=A9rieur par rapport = =C3=A0 celui qui marquait=20 l=E2=80=99irr=C3=A9ductibilit=C3=A9 de la parole conserv=C3=A9e =C3=A0 = l=E2=80=99intention et =C3=A0 la volont=C3=A9.=20 L=E2=80=99archive n=E2=80=99est pas simplement productrice de = significations involontaires=20 =E2=80=93 elle est aussi l=E2=80=99instrument d=E2=80=99une = r=C3=A8gle =C3=A0 imposer, d=E2=80=99un ordre social =C3=A0=20 instaurer ; pourtant, elle ne trouve et ne conserve que des = exceptions =C3=A0=20 cette r=C3=A8gle et des infractions =C3=A0 cet ordre : = =C2=AB Voici d=E2=80=99abord la ville,=20 Paris, tel un personnage, r=C3=A9sidant toute enti=C3=A8re en ses = acteurs qui l=E2=80=99habitent=20 et la fa=C3=A7onnent, fabriqu=C3=A9e de modes de sociabilit=C3=A9 = =C2=BB14.=20 Cette ville

15 Ibid., p. 35. =

[=E2=80=A6] fait peur aux gens de bien, = aux voyageurs, =C3=A0 la=20 police comme au roi, et conserve assez de myst=C3=A8re pour faire = na=C3=AEtre tout au=20 long du xviii^e si=C3=A8cle=20 d=E2=80=99innombrables notes de police qui tentent de rien laisser = =C3=A9chapper de son=20 ombre. A travers ce mat=C3=A9riel imposant [=E2=80=A6] on la = d=C3=A9couvre fuyante bien=20 qu=E2=80=99=C3=A9troitement surveill=C3=A9e par une administration qui = la veut lisse et docile.=20 De fait, elle est opaque et mobile, et c=E2=80=99est bien son = d=C3=A9sordre qu=E2=80=99on devine=20 d=E2=80=99abord derri=C3=A8re la monotonie de r=C3=A9glementations = inlassablement r=C3=A9p=C3=A9t=C3=A9es [=E2=80=A6]=20 et rarement ob=C3=A9ies ; la ville =C3=A9coute peu, et les ordres = d=C3=A9cid=C3=A9s d=E2=80=99en haut=20 n=E2=80=99ont gu=C3=A8re de prise sur son tumulte.15

9La = vis=C3=A9e de=20 l=E2=80=99administration est l=E2=80=99ordre ; mais elle = s=E2=80=99av=C3=A8re inatteignable ;=20 l=E2=80=99archive, cet outil de l=E2=80=99administration, montre, par = son souci de l=E2=80=99ordre et de=20 la r=C3=A8gle, le d=C3=A9sordre et le d=C3=A9r=C3=A8glement qui = habitent la ville :

16 Ibid., p. 35-36. =

L=E2=80=99archive de police la livre = =C3=A0 nu, r=C3=A9tive la plupart=20 du temps, soumise parfois, toujours ailleurs, l=C3=A0 o=C3=B9 le = r=C3=AAve policier voudrait=20 d=C3=A9finitivement l=E2=80=99immobiliser. L=E2=80=99archive, en = quelque sorte, prend la ville en=20 flagrant d=C3=A9lit : ruser avec l=E2=80=99ordre, par exemple, de = ne point accepter=20 l=E2=80=99utopie des hommes de police ou encore choisir, selon les = =C3=A9v=C3=A9nements,=20 d=E2=80=99acclamer ou de bouder ses rois, et de se soulever au cas = o=C3=B9 elle se sent=20 menac=C3=A9e. =C3=A0 = lire les registres=20 de police, on constate =C3=A0 quel point la r=C3=A9bellion, le = d=C3=A9fi ou m=C3=AAme la r=C3=A9volte=20 sont des faits sociaux accoutum=C3=A9s que la ville sait g=C3=A9rer, = susciter, et dont=20 elle reconna=C3=AEt ais=C3=A9ment les premiers signes.16

17 Ibid., p. 34.

18 Ibid., p. 36. =

10L=E2=80=99archive, en=20 tant que partie de l=E2=80=99appareil administratif, doit contribuer au = maintien de=20 l=E2=80=99ordre =E2=80=93 mais elle ne restitue que le = d=C3=A9sordre. Et de ce fait, elle=20 devient lisible contre elle-m=C3=AAme. Elle donne =C3=A0 lire ce dont = elle aurait d=C3=BB nier=20 l=E2=80=99existence : =C2=AB Dans l=E2=80=99infini d=C3=A9tail = de leurs r=C3=A9glementations, les=20 rapports de police la racontent tant=C3=B4t inqui=C3=A8te, tant=C3=B4t = f=C3=A9brile ou encore=20 implorante ; ils la montrent aussi insouciante ou col=C3=A9rique, = r=C3=A9agissant=20 avec t=C3=A9nacit=C3=A9 et vigueur =C3=A0 tout ce qui = survient =C2=BB17.=20 Plusieurs ouvrages d=E2=80=99Arlette Farge se construisent sur la = r=C3=A9it=C3=A9ration de ce=20 geste montrant l=E2=80=99effet de connaissance produit par le = d=C3=A9calage entre les vis=C3=A9es=20 polici=C3=A8res de l=E2=80=99archive et la r=C3=A9alit=C3=A9 = qu=E2=80=99elle r=C3=A9v=C3=A8le dans le seul but de la nier=20 et r=C3=A9primer. L=E2=80=99archive travaille =C3=A0 =C3=A9tablir une = norme, mais elle n=E2=80=99en conserve=20 que les infractions, r=C3=A9v=C3=A9lant par l=C3=A0 la contingence de = tout ordre social. =C3=A0 force de vouloir = imposer une r=C3=A8gle,=20 elle donne =C3=A0 voir un foisonnement infini d=E2=80=99exceptions = =C3=A0 celle-ci. Ces exceptions=20 sont autant de failles dans la logique archivistique qui montrent la = fa=C3=A7on dont=20 celle-ci se construit sur un =C3=A9quilibre toujours = pr=C3=A9caire : =C2=AB L=E2=80=99archive=20 na=C3=AEt du d=C3=A9sordre =C2=BB18. Un = d=C3=A9sordre incarn=C3=A9=20 dans des actes et des paroles que l=E2=80=99archive enregistre par = l=E2=80=99effort m=C3=AAme de les=20 effacer. L=E2=80=99historien est confront=C3=A9 au d=C3=A9calage entre = l=E2=80=99archive et les formes de=20 vie dont elle enregistre les d=C3=A9bordements :

19 A. Farge, La = vie fragile, = Paris, Hachette, 1986 ; r=C3=A9=C3=A9d., Paris, Seuil, = 1992,p. 11.=20

Les archives judiciaires [=E2=80=A6] = sont tout enti=C3=A8res=20 contenues au c=C5=93ur du syst=C3=A8me politique et policier du xviii^e si=C3=A8cle qui les=20 gouverne et les produit [=E2=80=A6]. Elles ne sont point = =C2=AB la r=C3=A9alit=C3=A9 =C2=BB,=20 mais =C3=A0 chaque fois elles montrent un ajustement particulier avec = des formes de=20 coercition, ou des normes qu=E2=80=99elles soient impos=C3=A9es ou = int=C3=A9rioris=C3=A9es [=E2=80=A6] La=20 coexistence oblig=C3=A9e entre l=E2=80=99=C3=89tat et des vies = priv=C3=A9es s=C3=A9cr=C3=A8te des figures=20 =C3=A9clat=C3=A9es, dont il est possible de tracer le contour.19

11Les r=C3=A9cits ne=20 sont jamais l=E2=80=99expression coh=C3=A9rente d=E2=80=99un sujet (le = Peuple, l=E2=80=99=C3=82me populaire) qu=E2=80=99il=20 s=E2=80=99agirait de retrouver dans sa pl=C3=A9nitude : celui qui = raconte est toujours=20 un sujet partiel, un fragment d=E2=80=99=C3=AAtre humain = =E2=80=93 non n=C3=A9cessairement=20 coh=C3=A9rent avec d=E2=80=99autres fragments possibles dot=C3=A9s des = m=C3=AAmes noms et=20 pr=C3=A9noms =E2=80=93 =C2=AB mis =C3=A0 nu =C2=BB par sa = rencontre avec le pouvoir. Le=20 choc avec le pouvoir provoque un =C3=A9clatement que = l=E2=80=99historien peut=20 enregistrer. Mais en aucun cas les r=C3=A9cits qui op=C3=A8rent et = conservent cet=20 =C3=A9clatement ne peuvent =C3=AAtre l=E2=80=99expression de la = =C2=AB normalit=C3=A9 =C2=BB de la=20 parole populaire :

20 Ibid., p. 11-12. =

Les comportements qu=E2=80=99illustre = l=E2=80=99archive et qui=20 t=C3=A9moignent, dit=E2=80=93on, de leur embourbement dans la = n=C3=A9cessit=C3=A9 du r=C3=A9el, et =C3=A0=20 propos desquels on dresse avec faconde ou sollicitude le tableau de la = mis=C3=A8re=20 et de la na=C3=AFvet=C3=A9 populaires, portent en eux la trace du = d=C3=A9ni du quotidien, de=20 paysages aper=C3=A7us ou r=C3=AAv=C3=A9s [=E2=80=A6] Alors = l=E2=80=99archive devient possiblement un d=C3=A9fi au=20 sens que nous voulions par avance donner aux =C3=A9v=C3=A9nements, = d=C3=A9placement par=20 rapport =C3=A0 toutes les tentatives de th=C3=A9orisations = globalisantes. Je la ressens=20 comme le surgissement d=E2=80=99existences, qui offrent un surplus de = savoir, pour peu=20 qu=E2=80=99on admette que cela vienne transformer les r=C3=A8gles = apprises d=E2=80=99=C3=A9volution du=20 social.20

12Ces existences=20 sont celles d=E2=80=99=C3=AAtres auxquels la rencontre avec le pouvoir a = fourni l=E2=80=99occasion de=20 n=E2=80=99=C3=AAtre plus ni =C2=AB peuple =C2=BB ni = pl=C3=A8be, de ne plus =C3=AAtre forc=C3=A9s de=20 s=E2=80=99identifier =C3=A0 une identit=C3=A9 sociale = pr=C3=A9d=C3=A9finie :

21 Ibid., p. 12-13. =

En =C3=A9tudiant les comportements = populaires parisiens=20 du xviii^e si=C3=A8cle, je=20 restitue des formes et dessine des contours =C3=A0 partir de = r=C3=A9cits minuscules ou=20 de conflits oubli=C3=A9s [=E2=80=A6]. Derri=C3=A8re les mots = =C3=A9crits =E2=80=93 parfois injustes,=20 faux ou outranciers =E2=80=93 il y a trace de rencontres = d=C3=A9cisives : celle=20 que l=E2=80=99homme et la femme inventent entre eux au milieu des = assignations donn=C3=A9es=20 =C3=A0 leur sexe, celles qu=E2=80=99ils am=C3=A9nagent avec les = conditions sociales et=20 =C3=A9conomiques qui leur sont impos=C3=A9es, celle qu=E2=80=99ils = font ensemble lorsqu=E2=80=99en foule=20 ils recherchent =C3=A0 leur mani=C3=A8re la plus grande proximit=C3=A9 = possible avec la=20 justesse du sens.21

13Donc, il faut=20 =C3=AAtre tr=C3=A8s prudent face =C3=A0 l=E2=80=99id=C3=A9e selon = laquelle l=E2=80=99archive conserverait la parole=20 intacte du peuple : toute na=C3=AFvet=C3=A9 paresseuse dans = l=E2=80=99=C3=A9coute de cette parole=20 entra=C3=AEne une m=C3=A9connaissance de la fa=C3=A7on dont = l=E2=80=99archive demande =C3=A0 =C3=AAtre lue. Le=20 =C2=AB peuple =C2=BB est porteur d=E2=80=99un rapport = singulier =C3=A0 la parole =E2=80=93 une=20 parole anonyme et collective d=E2=80=99abord, mais qui est constamment = singularis=C3=A9e par=20 les relations de pouvoir qui s=E2=80=99y nouent. Car la police qui, = elle, =C2=AB veille=20 =C3=A0 tout =C2=BB, rencontre le peuple dans la parole = =E2=80=93 aux marges=20 d=E2=80=99une parole dont l=E2=80=99attribution oscille entre sujets et = l=E2=80=99autorit=C3=A9 :

22 Ibid., p. 21. =

Sartine veut tout contr=C3=B4ler ; = les plaintes bien=20 entendu, mais surtout les propos jaillissant des l=C3=A8vres et = donnant au quartier=20 une tonalit=C3=A9 inqui=C3=A9tante [=E2=80=A6] La chasse aux paroles, = aux propos, aux murmures=20 est une des pr=C3=A9occupations essentielles du gouvernement de la = capitale.=20 L=E2=80=99importance qu=E2=80=99on leur donne, la mise en place des = =C2=AB mouches =C2=BB et=20 d=E2=80=99observateurs pour les capter dans les lieux publics (je = pense tout=20 particuli=C3=A8rement aux =C2=AB gazetins =C2=BB de la = police secr=C3=A8te et aux=20 rapports de l=E2=80=99inspecteur Vanneroux sur les propos entendus = dans les caf=C3=A9s),=20 montrent assez comment la parole est un outil de travail pour la = police, flux=20 =C3=A0 capter et =C3=A0 contraindre.22

14Par l=C3=A0, la parole=20 devient un lien transindividuel entre les sujets et les = pouvoirs, un=20 lieu commun o=C3=B9 se joue le conflit entre ceux-ci et = ceux-l=C3=A0 :

23 Ibid.,. p. 21-22. =

Aussi devrait-on moins = s=E2=80=99=C3=A9tonner de ce qu=E2=80=99on appelle=20 les rumeurs populaires : dans la mesure o=C3=B9 la parole du = quartier est=20 traqu=C3=A9e par les autorit=C3=A9s [=E2=80=A6] elle est = forc=C3=A9ment v=C3=A9cue comme tr=C3=A8s importante=20 par ceux qui la d=C3=A9tiennent ou la font circuler. D=C3=A8s lors, il = se passe un jeu=20 d=E2=80=99interactions et d=E2=80=99amplification incessant entre le = public qui parle [=E2=80=A6], et=20 la police charg=C3=A9e de recueillir les paroles pour mieux les = contenir. La rumeur=20 de quartier n=E2=80=99est pas seulement un de ses produits, elle est = le fruit de ce=20 que les =C3=A9v=C3=A9nements, les habitants et la police ont pris = l=E2=80=99habitude d=E2=80=99en faire.=20 Produit complexe qui ne peut =C3=AAtre totalement assign=C3=A9 au = peuple, comme si lui=20 seul le s=C3=A9cr=C3=A9tait, le nourrissait, puis le manipulait. = L=E2=80=99attitude active de la=20 police, qui recueille, donc suscite =C3=A0 son tour, est un = param=C3=A8tre essentiel =C3=A0=20 ne jamais omettre.23

15A. Farge=20 ram=C3=A8ne les r=C3=A9cits enregistr=C3=A9s (et co-produits) par la = police au syst=C3=A8me des=20 leurs rapports de production =E2=80=93 un syst=C3=A8me habit=C3=A9 = par un affrontement. Les=20 rumeurs, les propos, les murmures, sont produits et archiv=C3=A9s =C3=A0 = l=E2=80=99int=C3=A9rieur d=E2=80=99une=20 forme de vie sp=C3=A9cifique par rapport =C3=A0 laquelle le = contr=C3=B4le policier n=E2=80=99est ni=20 v=C3=A9ritablement ext=C3=A9rieur ni totalement englobant. Les sujets = sont donc toujours=20 pris dans un champ d=E2=80=99actions et de strat=C3=A9gies, par rapport = auquel ils se=20 positionnent, r=C3=A9alisant par l=C3=A0 un travail = d=E2=80=99auto-construction centr=C3=A9 sur le=20 rapport =C3=A0 la parole, =C3=A0 son existence publique, et =C3=A0 la = visibilit=C3=A9 de chacun =C3=A0=20 l=E2=80=99int=C3=A9rieur de ce r=C3=A9gime singulier des rapports = sociaux :

24 Ibid., p. 22. =

Ce va-et-vient de paroles concerne = chacun et le=20 quartier sait compter avec son flux. Rien de plus puissant que ces = mots dits=20 entre voisins, au point que certains y lisent de v=C3=A9ritables = d=C3=A9clarations de=20 guerre. La parole peut m=C3=AAme avoir pour cons=C3=A9quence une = arrestation ou une=20 convocation chez le commissaire.24

16Arlette Farge=20 d=C3=A9gage, par la lecture des r=C3=A9cits d=E2=80=99archive, = d=E2=80=99autres r=C3=A9cits ench=C3=A2ss=C3=A9s dans les=20 premiers =E2=80=93 elle esquisse une v=C3=A9ritable anthropologie=20 =C2=AB arch=C3=A9ologique =C2=BB de ces narrations, en les = repla=C3=A7ant dans les formes=20 de vie qui les ont produites. Pourtant, il ne faut pas oublier que ces = r=C3=A9cits=20 =C2=AB populaires =C2=BB surgissent sous la pression constante = des pratiques du=20 gouvernement de la ville. La spontan=C3=A9it=C3=A9 de ces r=C3=A9cits = que l=E2=80=99archive conserve=20 est bien probl=C3=A9matique : elle est indissociable des dynamiques = du contr=C3=B4le=20 social, bien que ce contr=C3=B4le-l=C3=A0 ne puisse jamais emp=C3=AAcher = aux sujets de=20 d=C3=A9tourner tactiquement ses propres pratiques. La lecture de = l=E2=80=99archive ne saurait=20 d=C3=A8s lors =C3=AAtre na=C3=AFve, la signification de ces r=C3=A9cits = n=E2=80=99=C3=A9tant jamais imm=C3=A9diate.=20 Leur d=C3=A9chiffrage d=C3=A9pend de la possibilit=C3=A9 de les resituer = =C3=A0 l=E2=80=99int=C3=A9rieur d=E2=80=99un=20 conflit ne se donnant =C3=A0 lire jamais qu=E2=80=99=C3=A0 = rebrousse-poil.

25 Carlo Ginzburg, I = benandanti,=20 Torino, Einaudi, 1966 ; tr. fr. par Giordana Charuty, = Les=20 batailles(...)

26 Ibid., p. 18.

27 Ibid., p. 20.

17II.=20 Le nom de Carlo Ginzburg est associ=C3=A9 =C3=A0 une d=C3=A9marche = analogue =C3=A0 celle=20 d=E2=80=99A. Farge, couplant le travail sur une archive du pouvoir = =C3=A0 l=E2=80=99=C3=A9laboration=20 de techniques aptes =C3=A0 faire parler cette archive contre = elle-m=C3=AAme. I=20 benandanti(titre fran=C3=A7ais : Les batailles = nocturnes25) est = l=E2=80=99un de premiers=20 livres o=C3=B9 C. Ginzburg s=E2=80=99attache =C3=A0 rendre visibles = les traces de cultures,=20 croyances, pratiques et formes de vie dont les =C2=AB archives de = la=20 r=C3=A9pression =C2=BB n=E2=80=99ont pas r=C3=A9ussi =C3=A0 effacer = toute l=E2=80=99h=C3=A9t=C3=A9rog=C3=A9n=C3=A9it=C3=A9 par rapport = =C3=A0=20 la norme. Face au r=C3=A9cit du benandantePaolo Gasparutto, le = cur=C3=A9=20 Bartolomeo Sgabarizza est =C2=AB incr=C3=A9dule =C2=BB, et il = cherche =C2=AB non sans=20 peine =C3=A0 comprendre les r=C3=A9cits de Paolo =C2=BB26. Ces = r=C3=A9cits concernent=20 les batailles nocturnes de la compagnie des benandanticontre = les=20 sorciers. Pour C. Ginzburg, ces r=C3=A9cits que les autorit=C3=A9s = n=E2=80=99arrivent=20 manifestement pas =C3=A0 comprendre sont des t=C3=A9moignages = d=C3=A9cisifs permettant=20 =C2=AB d=E2=80=99affirmer avec certitude l=E2=80=99existence, dans = la r=C3=A9gion de Cividale, durant=20 la seconde moiti=C3=A9 du xvi si=C3=A8cle, = d=E2=80=99un ensemble de=20 croyances qui sortent du cadre individuel et priv=C3=A9, ne sont = mentionn=C3=A9es nulle=20 part ailleurs et se m=C3=AAlent de fa=C3=A7on =C3=A9trange =C3=A0 des = traditions bien=20 connues =C2=BB27. Le = m=C3=A9lange de=20 l=E2=80=99habituel et de l=E2=80=99inhabituel est =C3=A9vident dans le = rapport entre d=E2=80=99un c=C3=B4t=C3=A9, les=20 benandantiet leurs r=C3=A9unions, et, de l=E2=80=99autre, le = sabbat des=20 sorciers :

28 Ibid., p. 21. =

Qui sont ces benandanti ?=20 D=E2=80=99un c=C3=B4t=C3=A9, ils affirment s=E2=80=99opposer aux = sorci=C3=A8res et aux sorciers, faire=20 obstacle =C3=A0 leurs desseins mal=C3=A9fiques, soigner les victimes = de leurs=20 ensorcellements ; de l=E2=80=99autre, tout comme leurs = adversaires suppos=C3=A9s, ils=20 d=C3=A9clarent se rendre =C3=A0 de myst=C3=A9rieuses rencontres = nocturnes, dont ils ne=20 peuvent parler sans encourir une bastonnade, en chevauchant des = li=C3=A8vres, des=20 chats et d=E2=80=99autres animaux. Cette ambigu=C3=AFt=C3=A9 se = refl=C3=A8te sur le plan=20 lexical : la notion de la diff=C3=A9rence profonde voire de = l=E2=80=99antagonisme=20 entre sorci=C3=A8res et sorciers [=E2=80=A6] d=E2=80=99une part, et = =C2=AB les hommes et les=20 femmes benandanti =C2=BB de l=E2=80=99autre, ne semble = s=E2=80=99=C3=A9laborer qu=E2=80=99avec peine=20 dans la conscience populaire elle-m=C3=AAme. Ainsi, un cur=C3=A9 de = campagne comme=20 Sgabarizza a d=E2=80=99abord recours, de fa=C3=A7on significative, = =C3=A0 une traduction=20 approximative du terme per=C3=A7u comme =C3=A9tranger : = =C2=AB vagabondi et=20 dans leur langage benandanti =C2=BB Puis [=E2=80=A6] il = utilise l=E2=80=99expression=20 =C2=AB sorciers benandanti =C2=BB, dans laquelle = l=E2=80=99adjectif=20 n=E2=80=99acquiert son sens qu=E2=80=99en s=E2=80=99appuyant sur le = substantif bien connu d=C3=A9j=C3=A0 [=E2=80=A6] D=C3=A8s=20 maintenant, les benandantinous apparaissent sous le signe = d=E2=80=99une=20 contradiction qui fa=C3=A7onnera profond=C3=A9ment leur aventure = s=C3=A9culaire.28

18La contradiction=20 dont parle ici C. Ginzburg concerne = l=E2=80=99h=C3=A9t=C3=A9rog=C3=A9n=C3=A9it=C3=A9 des=20 benandantipar rapport aux cat=C3=A9gories dont les=20 contemporains disposaient, une contradiction ult=C3=A9rieure = concernant la=20 lecture de l=E2=80=99archive par l=E2=80=99historien. Les r=C3=A9cits = des benandantiont =C3=A9t=C3=A9=20 transmis jusqu=E2=80=99=C3=A0 aujourd=E2=80=99hui par des archives qui, = tout en les conservant, ne=20 pouvaient pas, par d=C3=A9finition, les comprendre. Ils nous sont = montr=C3=A9s dans toute=20 leur mat=C3=A9rialit=C3=A9, comme des =C3=A9nonc=C3=A9s = incontestablement donn=C3=A9s et=20 lisibles, mais dont l=E2=80=99archive n=E2=80=99a pas r=C3=A9ussi =C3=A0 = d=C3=A9gager une =C2=AB logique =C2=BB=20 assimilable par ses propres cat=C3=A9gories. Les r=C3=A9cits se = pr=C3=A9sentent =C3=A0 l=E2=80=99historien=20 pour ainsi dire =C3=A0 l=E2=80=99=C3=A9tat brut, impossibles =C3=A0 = transformer en sens, non=20 incorporables aux significations r=C3=A9gissant l=E2=80=99archive en = tant que dispositif de=20 production d=E2=80=99=C3=A9nonc=C3=A9s. Ces r=C3=A9cits sont des = faillesdans l=E2=80=99archive :=20 l=E2=80=99archivage les a effac=C3=A9s en les soumettant =C3=A0 des = r=C3=A8gles d=E2=80=99intelligibilit=C3=A9 plus=20 famili=C3=A8res, en d=C3=A9formant par l=C3=A0 leur signification = originaire ; mais, en=20 m=C3=AAme temps, elle leur a conf=C3=A9r=C3=A9 une certaine = =C2=AB saillance =C2=BB, car=20 l=E2=80=99impossibilit=C3=A9 de les assimiler =C3=A0 ces = r=C3=A8gles-l=C3=A0 les pr=C3=A9sente dans la nudit=C3=A9 de=20 l=E2=80=99exp=C3=A9rience singuli=C3=A8re qu=E2=80=99elles transmettent. = La lecture des r=C3=A9cits est rendue=20 possible par un d=C3=A9calage interne =C3=A0 l=E2=80=99archive, les = r=C3=A9cits =C3=A9tant les sympt=C3=B4mes de=20 son incapacit=C3=A9 =C3=A0 produire du sens avec n=E2=80=99importe quel = mat=C3=A9riau =C3=A0 partir de ses=20 r=C3=A8gles de formation =C3=A9nonciative. Les = benandantiforment des =C3=A9nonc=C3=A9s=20 suivant d=E2=80=99autres r=C3=A8gles ; certes, ces = =C3=A9nonc=C3=A9s restent enfouis dans les=20 produits ordinaires des r=C3=A8gles archivistiques, mais ils y restent = comme des=20 fragments de mati=C3=A8re =C3=A9trang=C3=A8re que le regard d=E2=80=99un = historien pourra d=C3=A9gager un=20 jour. Voil=C3=A0 un exemple de ces indicesdont = l=E2=80=99historien=20 =C2=AB critique =C2=BB est toujours =C3=A0 la recherche, les = anomalies induisant la=20 recherche d=E2=80=99une strate ult=C3=A9rieure de significations.

19Carlo Ginzburg a=20 =C3=A9labor=C3=A9 et d=E2=80=99une certaine fa=C3=A7on canonis=C3=A9 sa = technique de lecture de ces archives=20 du pouvoir : le =C2=AB paradigme indiciaire =C2=BB dont = il est, sinon=20 l=E2=80=99inventeur, sans aucun doute le th=C3=A9oricien et le = baptiseur, =C3=A9nonce et explicite=20 les principes de cette lecture =C2=AB =C3=A0 = rebrousse-poil =C2=BB qui semble=20 consubstantiel au r=C3=B4le paradigmatique des archives = judiciaires : dans son=20 article =C2=AB Signes, traces, pistes =C2=BB, Ginzburg = reconstruit, d=E2=80=99apr=C3=A8s=20 S. Freud, A. Conan Doyle et G. Morelli,

29 Carlo Ginzburg, Signes, = traces,=20 pistes. Racines d=E2=80=99un paradigme de l=E2=80=99indice = (1976), dans Le=20 D=C3=A9bat,(...)

[=E2=80=A6] l=E2=80=99id=C3=A9e = d=E2=80=99une m=C3=A9thode d=E2=80=99interpr=C3=A9tation = s=E2=80=99appuyant=20 sur les d=C3=A9chets, sur les donn=C3=A9es marginales = consid=C3=A9r=C3=A9s comme r=C3=A9v=C3=A9lateurs.=20 Ainsi, des d=C3=A9tails habituellement jug=C3=A9s comme d=C3=A9pourvus = d=E2=80=99importance, voire=20 franchement triviaux et =C2=AB bas =C2=BB, fournissent la = cl=C3=A9 permettant=20 d=E2=80=99acc=C3=A9der aux productions les plus =C3=A9lev=C3=A9es de = l=E2=80=99esprit humain.29=20

20La lecture des=20 traces et des indices pratiqu=C3=A9e par l=E2=80=99historien italien = concerne les=20 significations involontaires =E2=80=93 les = =C2=AB lapsus =C2=BB =E2=80=93 =C3=A9mises par=20 des formes de vie sociale :

30 Ibid., p. 12. =

Pour Morelli, ces donn=C3=A9es = marginales =C3=A9taient=20 r=C3=A9v=C3=A9latrices, parce qu=E2=80=99elles t=C3=A9moignaient des = moments o=C3=B9 la vigilance de=20 l=E2=80=99artiste, li=C3=A9 par la tradition culturelle, se = rel=C3=A2chait pour laisser place =C3=A0=20 des traits purement personnels =C2=AB qui lui =C3=A9chappaient = sans qu=E2=80=99il en e=C3=BBt=20 conscience =C2=BB. Ce qui frappe ici, plus encore que = l=E2=80=99allusion =C3=A0 une=20 activit=C3=A9 inconsciente (la chose n=E2=80=99avait rien = d=E2=80=99exceptionnel =C3=A0 l=E2=80=99=C3=A9poque), c=E2=80=99est=20 l=E2=80=99identification du noyau intime de la personnalit=C3=A9 aux = =C3=A9l=C3=A9ments soustraits au=20 contr=C3=B4le de la conscience.30

31 Ibid., p. 7. =

21En outre, il faut=20 souligner une remarque de Ginzburg : l=E2=80=99attitude = d=E2=80=99un Morelli =C2=AB tend=20 vers l=E2=80=99appr=C3=A9ciation des d=C3=A9tails plut=C3=B4t que vers = celle de l=E2=80=99=C5=93uvre consid=C3=A9r=C3=A9e=20 comme un tout =C2=BB31.Cettem=C3=A9t= hode de=20 lecture est une contestation permanente de l=E2=80=99archive (ou = =E2=80=93 ce qui revient=20 au m=C3=AAme =E2=80=93 une d=C3=A9marche instituant une archive = diff=C3=A9rente,=20 =C2=AB refoul=C3=A9e =C2=BB par l=E2=80=99archivage dominant). = Les traces r=C3=A9v=C3=A8lent justement=20 ce qui n=E2=80=99est pas pens=C3=A9 par l=E2=80=99archive, ce qui = n=E2=80=99est pas visible selon ses=20 crit=C3=A8res : tout comme le critique d=E2=80=99art ne voit que la = totalit=C3=A9 d=E2=80=99une=20 =C5=93uvre, l=E2=80=99artiste ne voit que les buts conscients de son = travail. Leurs=20 =C2=AB archives =C2=BB =E2=80=93 les crit=C3=A8res qui = leur permettent de saisir et=20 d=E2=80=99=C3=A9valuer les =C5=93uvres d=E2=80=99art =E2=80=93 = excluent forc=C3=A9ment du champ de la=20 signification tout ce qui =C3=A9chappe au monde de la volont=C3=A9 et de = la totalit=C3=A9=20 organique et coh=C3=A9rente. N=C3=A9anmoins, le critique = =C2=AB morellien =C2=BB peut=20 faireque d=E2=80=99autres entit=C3=A9s fassent archive = =E2=80=93 entit=C3=A9s qui=20 manifestent involontairement des unit=C3=A9s et des s=C3=A9ries, des = dynamiques et des=20 processus, invisibles aux archives des artistes et des historiens = traditionnels.=20

32 Arnold Davidson, =C3=A9pist=C3=A9mologie des=20 preuves d=C3=A9form=C3=A9es, dans Id., L=E2=80=99=C3=A9mergence = de la=20 sexualit=C3=A9. =C3=A9pist(...)

22Mais la m=C3=A9thode=20 de Ginzburg se donne aussi comme but de surmonter le clivage qui a = institu=C3=A9 la=20 diff=C3=A9rence entre l=E2=80=99archive officiel et la dimension = invisible, pr=C3=A9tendument=20 insignifiante, =C2=AB refoul=C3=A9e =C2=BB. Carlo Ginzburg a = explicitement th=C3=A9matis=C3=A9=20 cette lutte entre le visible et l=E2=80=99invisible, le patent et le = refoul=C3=A9, avant de=20 se consacrer =C3=A0 refonder les assises du savoir (et donc du pouvoir) = de=20 l=E2=80=99historien par le biais d=E2=80=99une th=C3=A9orie de la = preuve. Dans son essai =C2=AB The=20 Inquisitor as Anthropologist =C2=BB il reconna=C3=AEt, selon Arnold = Davidson,=20 =C2=AB entre inquisiteurs, anthropologues et historiens (=E2=80=A6) = une troublante=20 analogie qui trahit une difficult=C3=A9 =C3=A9pist=C3=A9mologique = fondamentale avec certaines=20 formes de preuve (=E2=80=A6) que lui=E2=80=93m=C3=AAme emploie dans = Les Batailles=20 nocturneset Le Fromage et les Vers =C2=BB32. Le=20 probl=C3=A8me est toujours celui du double rapport de = l=E2=80=99historien =C3=A0 l=E2=80=99archive et =C3=A0=20 l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne qu=E2=80=99il veut saisir = par-del=C3=A0 des crit=C3=A8res=20 d=E2=80=99archivage :

33 Carlo Ginzburg, The = Inquisitor as=20 Anthropologist, dans Id., Clues, myths, and = historical=20 methods,(...)

Le besoin pressant qu=E2=80=99avaient = les inquisiteurs de la=20 v=C3=A9rit=C3=A9 (de leur v=C3=A9rit=C3=A9 propre, cela va de soi) a = produit pour nous des preuves=20 extr=C3=AAmement riches, mais d=C3=A9form=C3=A9es par les pressions = psychologiques et=20 physiques qui jouaient un r=C3=B4le si puissant dans les proc=C3=A8s = en sorcellerie. Le=20 questionnement suggestif =C3=A9tait particuli=C3=A8rement patent dans = les=20 interrogatoires des inquisiteurs en rapport avec le sabbat des = sorci=C3=A8res,=20 l=E2=80=99essence m=C3=AAme de la sorcellerie si l=E2=80=99on en croit = les d=C3=A9monologues. Quand cela=20 se produisait, les accus=C3=A9s faisaient =C3=A9cho, plus ou moins = spontan=C3=A9ment, aux=20 st=C3=A9r=C3=A9otypes inquisitoriaux que pr=C3=A9dicateurs, = th=C3=A9ologiens et juristes=20 r=C3=A9pandaient =C3=A0 travers l=E2=80=99Europe.33

34 Carlo Ginzburg, Checking the = Evidence, dans Critical Inquiry, vol. 18, = n. 1, 1991.=20 On a suivi la t(...)

23Donc, un=20 historien ne soutenant son savoir que par des archives inquisitoriales=20 laisserait forc=C3=A9ment =C3=A9chapper toute v=C3=A9ritable = =C2=AB h=C3=A9r=C3=A9sie =C2=BB : il=20 n=E2=80=99aurait aucune voie d=E2=80=99acc=C3=A8s =C3=A0 ce qui reste = h=C3=A9t=C3=A9rog=C3=A8ne vis-=C3=A0-vis du=20 code des inquisiteurs (tout comme un Georges Duby avouait ne = pas avoir=20 les moyens de saisir le r=C3=A9el de la subjectivation f=C3=A9minine au = Moyen-=C3=82ge, toute source = disponible =C3=A9tant=20 enti=C3=A8rement =C2=AB format=C3=A9e =C2=BB par le point de = vue masculin qui a pr=C3=A9sid=C3=A9 =C3=A0=20 sa production). Mais Ginzburg est moins pessimiste : pour lui, les = sources=20 sont comparables =C2=AB =C3=A0 un verre d=C3=A9form=C3=A9. Sans une = analyse fouill=C3=A9e de ses=20 distorsions inh=C3=A9rentes (les codes suivant lesquels elles ont = =C3=A9t=C3=A9 construites=20 et/ou il convient de les percevoir), une reconstruction historique saine = est=20 impossible =C2=BB34. Donc, pour = en revenir=20 au commentaire d=E2=80=99A. Davidson :

35 Arnold Davidson, cit.,=20 p. 261.

Entre un =C3=A9l=C3=A9ment de preuve et = nous, s=E2=80=99interposent=20 des codes, et une bonne historiographie doit pr=C3=AAter attention aux = proc=C3=A9d=C3=A9s=20 h=C3=A9t=C3=A9rog=C3=A8nes par lesquels nous codons ces = =C3=A9l=C3=A9ments. Si l=E2=80=99on en croit Carlo=20 Ginzburg, il n=E2=80=99existe pas de documents neutres (=E2=80=A6) = Toutefois, ces codes ne=20 sont pas des prisons dans lesquelles nous serions =C3=A0 jamais = confin=C3=A9s. Il nous=20 faut comprendre les processus de codage, les diff=C3=A9rentes formes = de distorsions=20 de la preuve, pour interpr=C3=A9ter celle=E2=80=93ci, en =C3=A9valuer = la fiabilit=C3=A9 et savoir=20 de quoielle est la preuve.35

36 Carlo Ginzburg, Inquisitor = as=20 Anthropologist, cit., p. 160-161. Traduction=20 d=E2=80=99A. Davidson =C3=A0 p. 261(...)

24Ici,=20 A. Davidson pose implicitement une question cruciale : que = nous donne=20 =C3=A0 conna=C3=AEtre la lecture indiciaire =C3=A0 laquelle Ginzburg = soumet les r=C3=A9cits=20 inquisitoriaux ? Des faits, peut-=C3=AAtre, comme le voudrait une = histoire=20 =C2=AB positiviste =C2=BB =C3=A0 laquelle Ginzburg = lui-m=C3=AAme essayera par la suite de=20 restituer des titres de l=C3=A9gitimit=C3=A9 ? La r=C3=A9ponse de = C. Ginzburg=20 lui-m=C3=AAme, cit=C3=A9e par A. Davidson, est inattendue : = =C2=AB Afin de=20 d=C3=A9chiffrer [les documents des inquisiteurs], il nous faut apprendre = =C3=A0 saisir,=20 sous la surface lisse du texte, la subtile interaction des menaces et = des peurs,=20 des attaques et des r=C3=A9tractations. Nous devons apprendre =C3=A0 = d=C3=A9m=C3=AAler les divers=20 fils qui forment le tissu textuel de ces dialogues =C2=BB36.=20 Donc, l=E2=80=99analyse ginzburgienne des r=C3=A9cits form=C3=A9s et = transmis par l=E2=80=99archive=20 inquisitoriale nous donne =C3=A0 conna=C3=AEtre un rapport de = forces,une relation=20 de pouvoir pr=C3=A9sidant =C3=A0 la formation de la source et =C3=A0 son = codage archivistique.=20 Les r=C3=A9cits ne r=C3=A9v=C3=A8lent que leur propre processus = (conflictuel) de production, ce=20 processus =C3=A9tant de toute =C3=A9vidence une = r=C3=A9alit=C3=A9, mais nullement un=20 fait au sens r=C3=A9f=C3=A9rentiel du terme. Il s=E2=80=99agit = plut=C3=B4t d=E2=80=99un rapport, ou=20 d=E2=80=99un encha=C3=AEnement de rapports se d=C3=A9roulant dans une = dur=C3=A9e sp=C3=A9cifique, que=20 l=E2=80=99historien peut saisir mais sans jamais parvenir =C3=A0 le = figer dans un tableau=20 objectiv=C3=A9 de =C2=AB faits =C2=BB. L=E2=80=99approche = d=C3=A9velopp=C3=A9e par C. Ginzburg=20 nous permettrait de retrouver, par-del=C3=A0 refoulements et archivages, = ce que Freud=20 aurait peut-=C3=AAtre appel=C3=A9 la sc=C3=A8ne conflictuelle = o=C3=B9 se forment et=20 s=E2=80=99objectivent les identit=C3=A9s culturelles et les formes = sociales d=E2=80=99existence,=20 cette sc=C3=A8ne =C3=A9tant ce que toute archive doit r=C3=A9duire = =C3=A0 du d=C3=A9j=C3=A0 connu et ma=C3=AEtris=C3=A9.=20 D=E2=80=99o=C3=B9 la difficult=C3=A9 de l=E2=80=99entreprise de = l=E2=80=99historien italien : elle ne vise=20 pas qu=E2=80=99=C3=A0 retrouver des identit=C3=A9s d=C3=A9j=C3=A0 = form=C3=A9es en surmontant l=E2=80=99=C3=A9paisseur des=20 d=C3=A9formations archivistiques. Il cherche surtout =C3=A0 reconstituer = l=E2=80=99instant=20 =E2=80=93 ou la sc=C3=A8ne =E2=80=93 o=C3=B9 des = identit=C3=A9s, des cultures, des formes de=20 pens=C3=A9e et de sensibilit=C3=A9 se sont constitu=C3=A9es par un geste = pol=C3=A9mique d=E2=80=99exclusion=20 et de domination. Ce qui implique un corollaire : =C2=AB la = culture =C2=BB=20 des domin=C3=A9s n=E2=80=99est pas simplement ce que la culture = dominante d=C3=A9figure=20 =E2=80=93 elle est plut=C3=B4t ce que cette derni=C3=A8re constitue = en l=E2=80=99excluant d=E2=80=99elle-m=C3=AAme=20 (ce qu=E2=80=99elle exclue en se constituant soi-m=C3=AAme). = L=E2=80=99historien=20 =C2=AB indiciaire =C2=BB ne vise pas =C3=A0 retrouver la = puret=C3=A9 et la pl=C3=A9nitude du=20 refoul=C3=A9, une telle puret=C3=A9 n=E2=80=99ayant jamais exist=C3=A9. = Bien au contraire, l=E2=80=99exclu et=20 le dominant se constituent ensemble au travers d=E2=80=99un seul = geste : le d=C3=A9form=C3=A9=20 et le d=C3=A9formant sont toujours-d=C3=A9j=C3=A0 pris dans la = corr=C3=A9lation de leur rapport de=20 pouvoir, instituant, et cachant aussit=C3=B4t, un lien entre ces deux = instances. Il=20 s=E2=80=99agira, pour cette histoire arch=C3=A9ologique, de retrouver, = au fil des r=C3=A9cits,=20 l=E2=80=99existence de ce lien qui produit les r=C3=A9alit=C3=A9s = qu=E2=80=99il relie et s=C3=A9pare =C3=A0 la=20 fois : un lien conflictuel s=E2=80=99effa=C3=A7ant dans la = production de ses effets,=20 c=E2=80=99est-=C3=A0-dire dans la production de deux mondes culturels se = donnant d=E2=80=99embl=C3=A9e=20 comme s=C3=A9par=C3=A9s.

25Dans les=20 d=C3=A9marches d=E2=80=99Arlette Farge et Carlo Ginzburg, la lecture des = archives vise la=20 r=C3=A9cup=C3=A9ration du refoul=C3=A9 de chaque configuration des = rapports sociaux. De toute=20 =C3=A9vidence, les d=C3=A9marches de ces deux historiens (parmi tant = d=E2=80=99autres) vis-=C3=A0-vis=20 des archives impliquent une herm=C3=A9neutique (ou une = anti-herm=C3=A9neutique) du lien=20 social, interrog=C3=A9 du point de vue de son reste, de ce qui = r=C3=A9siste =C3=A0 sa=20 pr=C3=A9tendue totalisation, en en montrant par l=C3=A0 la contingence = ineffa=C3=A7able. Par ce=20 biais, la fonction de paradigme assign=C3=A9e aux archives judiciaires = tisse un lien=20 encore =C3=A0 explorer entre la pratique des historiens et certaines = pens=C3=A9es=20 philosophiques centr=C3=A9es sur le concept = d=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne.=20 Nous empruntons cette expression =C3=A0 Patrice Loraux

37 Patrice Loraux, Le Souci = de=20 l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne, dans Collectif, Au = risque de Foucault, Paris,=20 =C3=A9ditions d(...)

Le mot = h=C3=A9t=C3=A9rog=C3=A8ne[=E2=80=A6] signifie que quelque=20 chose provient d=E2=80=99une autre fa=C3=A7on que cela a coutume de = provenir. D=E2=80=99habitude,=20 les choses proviennent de leurs causes, de leurs principes. = L=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne,=20 c=E2=80=99est ce qui fait provenir autrement que depuis la cause ou le = principe.37

26Patrice Loraux=20 parle du rapport entre la philosophie et = l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne, mais son discours=20 pourrait tr=C3=A8s bien s=E2=80=99appliquer =C3=A0 = l=E2=80=99histoire : les =C2=AB causes =C2=BB et=20 les =C2=AB principes =C2=BB sont pour l=E2=80=99historien les = cat=C3=A9gories auxquelles=20 l=E2=80=99archive permet d=E2=80=99assigner les sujets et les = =C3=A9v=C3=A9nements, et l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne=20 consisterait de ces positivit=C3=A9s historiques pour lesquelles il = n'est pas de=20 crit=C3=A8re d=E2=80=99archivage pr=C3=A9d=C3=A9termin=C3=A9. La = d=C3=A9finition de Patrice Loraux nous sugg=C3=A8re=20 qu=E2=80=99il n=E2=80=99y a d=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne que = comme d=C3=A9formationde l=E2=80=99ordre habituel des=20 causes et des principes : l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne = =C2=AB fait provenir =C2=BB=20 autrement =C2=AB que cela a coutume de = provenir =C2=BB. De la m=C3=AAme=20 fa=C3=A7on, l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne historique n=E2=80=99est = saisissable que comme distorsion,=20 fl=C3=A9chissement, impos=C3=A9s au regard de l=E2=80=99archive par une = =C2=AB intensit=C3=A9=20 faible =C2=BB (mais bien r=C3=A9elle). Pour les historiens, = l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne est toujours=20 le corr=C3=A9lat, =C3=A0 la fois r=C3=A9sultat et incitation, = d=E2=80=99un bricolage :=20 l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne s=E2=80=99av=C3=A8re =C3=AAtre une = possibilit=C3=A9 insoup=C3=A7onn=C3=A9e se d=C3=A9gageant des=20 ressources habituelles du sens qui soutiennent l=E2=80=99historien dans = sa pratique.=20 Cette id=C3=A9e de l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne historique = rejoint la position philosophique de=20 Jacques Ranci=C3=A8re, pour lequel les domaines que la philosophie = interroge=20 existeraient gr=C3=A2ce =C3=A0

38 Jacques Ranci=C3=A8re, = L=E2=80=99usage des=20 distinctions, dans Failles n=C2=B0 2, = =C2=AB Situations de la=20 philosophie =C2=BB, p(...)

[=E2=80=A6] des alt=C3=A9rations, des = processus de perte d=E2=80=99un=20 certain m=C3=AAme :=20 des processus de d=C3=A9sidentification, de d=C3=A9sappropriation ou = d=E2=80=99indiff=C3=A9renciation=20 (=E2=80=A6). J=E2=80=99ai essay=C3=A9 de penser = l=E2=80=99h=C3=A9t=C3=A9rog=C3=A9n=C3=A8se sous la forme d=E2=80=99une = pens=C3=A9e et d=E2=80=99une=20 activit=C3=A9 qui produisent des chocs de mondes, mais des chocs de = mondes dans le=20 m=C3=AAme monde : des redistributions, recompositions ou = reconfigurations des=20 =C3=A9l=C3=A9ments.38

27=C3=89videmment, il=20 n=E2=80=99est pas question de voir dans ces r=C3=A9flexions la = =C2=AB v=C3=A9rit=C3=A9 =C2=BB ou la=20 =C2=AB conscience =C2=BB philosophique du travail des = historiens. Bien au=20 contraire, notre int=C3=A9r=C3=AAt =E2=80=93 qui reste de part en = part philosophique =E2=80=93=20 pour le statut des archives au sein de la discipline historique voudrait = plut=C3=B4t=20 s=E2=80=99interroger sur la fa=C3=A7on dont une pratique de connaissance = peut donner =C3=A0=20 penser, en cr=C3=A9ant les conditions mat=C3=A9rielles = d=E2=80=99une pens=C3=A9e du refoul=C3=A9, de la=20 trace et du sympt=C3=B4me. Ici, nous n=E2=80=99avons voulu = qu=E2=80=99amorcer une confrontation dont=20 l=E2=80=99exp=C3=A9rience reste un enjeu et un pari tant pour = l=E2=80=99histoire que pour la=20 philosophie.

=20

Notes

1 = F. Dosse,=20 L=E2=80=99histoire=20 en miettes, Paris, La D=C3=A9couverte, 1987, p. 35-36.

2 Marc = Bloch=20 =C2=AB Apologie pour l=E2=80=99histoire =C2=BB dans Id., = L=E2=80=99histoire, la = guerre, la=20 R=C3=A9sistance, Paris, Gallimard, 2006, p. 883.

3 Par=20 =C2=AB formatage =C2=BB nous entendons les contraintes = cognitives et discursives=20 que toute source subit du fait d=E2=80=99avoir =C3=A9t=C3=A9 = engendr=C3=A9e par un processus de=20 production, conservation et transmission engageant des dynamiques = sociales et=20 plus particuli=C3=A8rement institutionnelles. Plus = pr=C3=A9cis=C3=A9ment, ce terme vise la=20 tendance de ce processus =C3=A0 incorporer =C3=A0 la source lesdites = contraintes comme=20 autant d=E2=80=99=C3=A9vidences non-questionn=C3=A9es (et que le = =C2=AB regard =C2=BB de la source=20 sur elle-m=C3=AAme ne peut pas mettre en question). Nous posons = axiomatiquement que=20 n=E2=80=99importe quelle source peut =C3=AAtre consid=C3=A9r=C3=A9e sous = l=E2=80=99angle de son=20 =C2=AB formatage =C2=BB.

4 Sur = la forme=20 discursive de l=E2=80=99histoire-bataille et ses pr=C3=A9suppos=C3=A9s = s=C3=A9miologiques=20 =C2=AB r=C3=A9f=C3=A9rentialistes =C2=BB cf. Roland = Barthes, Le discours de = l=E2=80=99histoire,=20 dans Id. Le bruissement de = la langue.=20 Essais critiques IV, Paris, Seuil, 1984 ; sur la constitution = de=20 l=E2=80=99histoire en tant que discipline et discours id=C3=A9ologique,=20 cf. F. Hartog, Le xix^e si=C3=A8cle= =20 et l=E2=80=99histoire. Le cas Fustel de = Coulanges,=20 Paris, Puf, 1988 ; r=C3=A9=C3=A9dit=C3=A9 en 2001 chez Seuil = avec une pr=C3=A9face in=C3=A9dite=20 de l=E2=80=99auteur.

5 Sur = le=20 probl=C3=A8me de la =C2=AB visibilit=C3=A9 =C2=BB, de la = =C2=AB vision =C2=BB et de=20 l=E2=80=99=C3=A9vidence en histoire, cf. Fran=C3=A7ois Hartog, = L=E2=80=99=C5=93il de = l=E2=80=99historien et la=20 voix de l=E2=80=99histoire, dans Id. =C3=89vidence de = l=E2=80=99histoire. Ce que voient les=20 historiens, Paris, =C3=A9ditions=20 de l=E2=80=99EHESS, 2005.

6 Sur = le lien=20 entre archive, savoir et autorit=C3=A9, cf Jacques Derrida, = Mal d=E2=80=99archive,=20 Paris, Galil=C3=A9e, 1995.

7 = Arlette Farge,=20 Le go=C3=BBt de=20 l=E2=80=99archive, Paris, Seuil, 1989.

8 Ibid., = p. 8-9.

9 Ibid., = p. 9.

10 = Ibidem.=20

11 = Ibid.,=20 p. 10.

12 = Ibid.,=20 p. 14.

13 = Ibid.,=20 p. 16.

14 = Ibid.,=20 p. 34.

15 = Ibid.,=20 p. 35.

16 = Ibid.,=20 p. 35-36.

17 = Ibid.,=20 p. 34.

18 = Ibid.,=20 p. 36.

19=20 A. Farge, La vie fragile, = Paris,=20 Hachette, 1986 ; r=C3=A9=C3=A9d., Paris, Seuil, 1992,p. 11. =

20 = Ibid.,=20 p. 11-12.

21 = Ibid.,=20 p. 12-13.

22 = Ibid.,=20 p. 21.

23 = Ibid.,.=20 p. 21-22.

24 = Ibid.,=20 p. 22.

25 = Carlo=20 Ginzburg, I benandanti, Torino, Einaudi, 1966 ; tr. fr. = par=20 Giordana Charuty, Les batailles = nocturnes,=20 Paris, Lagrasse, Verdier, 1980 ; r=C3=A9=C3=A9d. Paris, = Flammarion, 1984.

26 = Ibid.,=20 p. 18.

27 = Ibid.,=20 p. 20.

28 = Ibid.,=20 p. 21.

29 = Carlo=20 Ginzburg, Signes, traces, pistes. Racines d=E2=80=99un paradigme de = l=E2=80=99indice=20 (1976), dans Le D=C3=A9bat, 6, 1980, p. 11.

30 = Ibid.,=20 p. 12.

31 = Ibid.,=20 p. 7.

32 = Arnold=20 Davidson, =C3=A9pist=C3=A9mologie des preuves=20 d=C3=A9form=C3=A9es, dans Id., L=E2=80=99=C3=A9mergence = de la sexualit=C3=A9.=20 =C3=A9pist=C3=A9mologie=20 historique et formation des concepts, Paris, Albin Michel, 2005,=20 p. 259.

33 = Carlo=20 Ginzburg, The Inquisitor as Anthropologist, dans Id., = Clues,=20 myths, and historical methods, Baltimore, Johns Hopkins = University=20 Press, 1994, p. 158-159. On a suivi la traduction = d=E2=80=99A. Davidson dans=20 l=E2=80=99article cit=C3=A9.

34 = Carlo=20 Ginzburg, Checking the Evidence, dans Critical Inquiry,=20 vol. 18, n. 1, 1991. On a suivi la traduction = d=E2=80=99A. Davidson=20 =C3=A0 la p. 260 de l=E2=80=99article cit=C3=A9.

35 = Arnold=20 Davidson, cit., p. 261.

36 = Carlo=20 Ginzburg, Inquisitor as Anthropologist, cit., = p. 160-161.=20 Traduction d=E2=80=99A. Davidson =C3=A0 p. 261 de = l=E2=80=99article cit=C3=A9.

37 = Patrice=20 Loraux, Le Souci de l=E2=80=99h=C3=A9t=C3=A9rog=C3=A8ne, dans = Collectif, Au risque de=20 Foucault, Paris, =C3=A9ditions du=20 Centre Pompidou, 1997, p. 31-32.

38 = Jacques=20 Ranci=C3=A8re, L=E2=80=99usage des=20 distinctions, dans Failles n=C2=B0 2, = =C2=AB Situations de la=20 philosophie =C2=BB, p. 13.

=20

Pour citer cet = article

R=C3=A9f=C3=A9rence =C3=A9lectronique

Andrea Cavazzini ,=20 =C2=AB L'archive, la trace, le sympt=C3=B4me. Remarques sur la = lecture des=20 archives =C2=BB, L'Atelier du Centre de recherches = historiques, 05 | 2009, = [En=20 ligne], mis en ligne le 14 octobre 2009. URL :=20 http://acrh.revues.org/index1635.html ; DOI : = 10.4000/acrh.1635.=20 Consult=C3=A9 le 19 f=C3=A9vrier 2012.

=20

Auteur

Andrea Cavazzini

Andrea Cavazzini est titulaire d=E2=80=99une = bourse de recherche=20 aupr=C3=A8s du D=C3=A9partement d=E2=80=99=C3=A9tudes=20 Historiques de l=E2=80=99Universit=C3=A9 de Venise =C2=AB C=C3=A0 = Foscari =C2=BB dans le cadre=20 d=E2=80=99un projet dirig=C3=A9 par Maria Turchetto et consacr=C3=A9 = =C3=A0 Louis Althusser et =C3=A0 la=20 tradition fran=C3=A7aise de l=E2=80=99=C3=A9pist=C3=A9mologie = historique. Il a soutenu en d=C3=A9cembre 2007=20 une th=C3=A8se en co=E2=80=93tutelle entre l=E2=80=99EHESS (Centre de = Recherches Historiques) et la=20 Scuola Alti Studi Europei =E2=80=93 Fondazione San Carlo (Modena), = consacr=C3=A9e =C3=A0=20 =C2=AB Le statut des archives et du r=C3=A9cit dans = l=E2=80=99historiographie=20 contemporaine =C2=BB (directeurs : Arlette Farge et Bruno = Moroncini ;=20 rapporteurs : Simona Cerutti et Remo Bodei). Il est membre de=20 l=E2=80=99Associazione Culturale =C2=AB Louis Althusser =C2=BB = pr=C3=A9sid=C3=A9e par=20 M. Turchetto et il collabore =C3=A9galement aux activit=C3=A9s = du Groupe de=20 Recherches Mat=C3=A9rialistes (GRM) anim=C3=A9 par Guillaume = Sibertin=E2=80=93Blanc et St=C3=A9phane=20 Legrand dans le cadre du projet Europhilosophie = (resp. Jean=E2=80=93Christophe=20 Goddard, Professeur =C3=A0 l=E2=80=99Universit=C3=A9 de = Toulouse le Mirail). Il a=20 publi=C3=A9, dans la collection =C2=AB Epistemologia =C2=BB = dirig=C3=A9 par=20 M. Turchetto et Enrico Castelli Gattinara, plusieurs traductions en = italien=20 d=E2=80=99auteurs appartenant =C3=A0 l=E2=80=99=C3=A9pist=C3=A9mologie = historique fran=C3=A7aise (notamment=20 G. Bachelard, G. Canguilhem, A. Koyr=C3=A9), et de = nombreux articles=20 et recensions dans des volumes collectifs et des revues philosophiques = (Glaux,=20 La Rosa di Nessuno, Oltrecorrente, Psychiatry=E2=80=93Online, Quaderni = Materialisti). Il=20 a dirig=C3=A9 avec Alberto Gualandi un num=C3=A9ro de la revue = =C2=AB Discipline=20 Filosofiche =C2=BB consacr=C3=A9 =C3=A0 = l=E2=80=99=C3=A9pist=C3=A9mologie fran=C3=A7aise et le probl=C3=A8me de=20 l=E2=80=99a priori historique et un num=C3=A9ro de la = publication bilingue=20 =C2=AB La Rosa di Nessuno/La Rose de Personne =C2=BB = consacr=C3=A9 =C3=A0 =C2=AB Michel=20 Foucault et la r=C3=A9volution iranienne =C2=BB. Actuellement, ses = recherches portent=20 sur l=E2=80=99=C3=A9pist=C3=A9mologie historique fran=C3=A7aise et = italienne, la signification=20 philosophique de la biologie contemporaine, l=E2=80=99histoire du = marxisme.

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- LettreS'abonner =C3=A0 la Lettre de = Revues.org
- Alertes & abonnementsAcc=C3=A9der au=20 service
Freemium

=20
- Titre :
  
  L=E2=80=99Atelier du Centre de recherches = historiques
  
  Revue =C3=A9lectronique du CRH
  
  En bref :
  
  Publication de travaux collectifs = =C3=A9manant du Centre=20 de recherches historiques, toutes p=C3=A9riodes comprises
  
  Publication of the researches conducted by = =C2=AB Centre de recherches historiques =C2=BB, = encompassing all=20 periods
  
  Sujets :
  
  Histoire, Histoire =C3=A9conomique, Histoire industrielle, = Histoire=20 sociale, Historiographie
- Dir. de publication :
  
  Paul-Andr=C3=A9 Rosental, G=C3=A9rard B=C3=A9aur
  
  =C3=89diteur :
  
  Centre de recherches historiques - EHESS
  
  Support :
  
  =C3=89lectronique
  
  EISSN :
  
  1760-7914
- Acc=C3=A8s :
  
  Open access Freemium
- Voir la notice dans = le=20 catalogue OpenEdition
DOI / R=C3=A9f=C3=A9rences=20
- DOI :
  
  10.4000/acrh.1635
- Citer = cette=20 r=C3=A9f=C3=A9rence

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-moz-box-shadow: = 0px 5px 15px rgba(0, 0, 0, .5); -webkit-box-shadow: 0px 5px 15px rgba(0, = 0, 0, .5); opacity: .95 } #openbarre UL#plateformes > LI:hover > UL { DISPLAY: block } #openbarre UL#services > LI:hover > UL { DISPLAY: block } #openbarre UL#context > LI:hover > UL { DISPLAY: block } #openbarre DIV#openedition { BORDER-BOTTOM: #868686 1px solid; BACKGROUND: #666666 } #openbarre H1 { PADDING-BOTTOM: 0px; LINE-HEIGHT: 35px; MARGIN: 0px; PADDING-LEFT: = 15px; PADDING-RIGHT: 15px; BACKGROUND: #525252; COLOR: #fff; FONT-SIZE: = 14px; VERTICAL-ALIGN: middle; FONT-WEIGHT: bold; PADDING-TOP: 0px } #openbarre H1 A { COLOR: #fff } #openbarre H1:hover { BACKGROUND: url(../images/openbarre-openedition-bg-hover.png) repeat-x } #openbarre H1 A:hover { COLOR: #fff } #openbarre DIV#openedition LI:hover { COLOR: #fff } #openbarre H1 .dots { PADDING-LEFT: 15px; COLOR: #868686 } #openbarre H1:hover .dots { COLOR: #565656 } #openbarre DIV#openedition > DIV > UL > LI:hover { BACKGROUND: url(../images/openbarre-plateforme-bg-hover.png) repeat-x } #openbarre DIV#openedition > DIV > UL > LI:hover > A { COLOR: #fff } #openbarre DIV#openedition > DIV > UL UL { BACKGROUND: #909090; FONT-SIZE: 11px; BORDER-TOP: #868686 1px solid; = TOP: 35px; FONT-WEIGHT: normal } #openbarre DIV#openedition > DIV > UL LI UL LI > A { BORDER-BOTTOM: #9f9f9f 1px solid; MIN-WIDTH: 220px; PADDING-BOTTOM: = 10px; LINE-HEIGHT: normal; PADDING-LEFT: 25px; PADDING-RIGHT: 25px; = DISPLAY: inline-block; COLOR: #343434; PADDING-TOP: 10px } #openbarre DIV#openedition > DIV > UL LI UL LI > A:hover { BACKGROUND: #717171; COLOR: #fff } #openbarre DIV#openedition > DIV > UL LI UL LI > A:hover .title { BACKGROUND: #717171; COLOR: #fff } #openbarre DIV#openedition > DIV > UL LI UL LI .title { PADDING-LEFT: 0px !important; DISPLAY: block; COLOR: #bfbfbf; = FONT-WEIGHT: bold; PADDING-TOP: 10px } #openbarre UL#plateformes { BACKGROUND: #525252 } #openbarre UL#plateformes > LI { PADDING-BOTTOM: 0px; LINE-HEIGHT: 35px; MARGIN: 0px 5px; PADDING-LEFT: = 10px; PADDING-RIGHT: 10px; COLOR: #d2d2d2; FONT-SIZE: 12px; = VERTICAL-ALIGN: middle; FONT-WEIGHT: bold; PADDING-TOP: 0px } #openbarre UL#plateformes > LI > A { COLOR: #d2d2d2 } #openbarre UL#services { PADDING-LEFT: 15px; BACKGROUND: = url(../images/openbarre-services-shadow.png) repeat-y } #openbarre UL#services > LI { PADDING-BOTTOM: 0px; LINE-HEIGHT: 35px; MARGIN: 0px 5px; PADDING-LEFT: = 10px; PADDING-RIGHT: 10px; COLOR: #d2d2d2; VERTICAL-ALIGN: middle; = PADDING-TOP: 0px } #openbarre UL#services > LI A { COLOR: #d2d2d2 } #openbarre #openedition FORM { TEXT-ALIGN: right; PADDING-BOTTOM: 0px; LINE-HEIGHT: 35px; MARGIN: 0px = auto; PADDING-LEFT: 8px; WIDTH: 1024px; PADDING-RIGHT: 8px; = VERTICAL-ALIGN: middle; PADDING-TOP: 0px } #openbarre #openedition FORM LABEL { PADDING-BOTTOM: 0px; PADDING-LEFT: 15px; PADDING-RIGHT: 15px; DISPLAY: = inline; COLOR: #343434; PADDING-TOP: 0px } #openbarre #openedition FORM INPUT[type=3D'text'] { BORDER-BOTTOM: #474747 1px solid; BORDER-LEFT: #474747 1px solid; = LINE-HEIGHT: normal; BACKGROUND: #b2b2b2; HEIGHT: 17px; COLOR: #2e2e2e; = FONT-SIZE: 12px; BORDER-TOP: #474747 1px solid; BORDER-RIGHT: #474747 = 1px solid } #openbarre #openedition FORM INPUT[type=3D'text']:hover { BACKGROUND: #c2c2c2 } #openbarre #openedition FORM INPUT[type=3D'submit'] { BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; WIDTH: 17px; = BACKGROUND: url(../images/openbarre-search-button.png) no-repeat 50% = 100%; HEIGHT: 17px; BORDER-TOP: medium none; BORDER-RIGHT: medium none } #openbarre #contextwrapper { BORDER-BOTTOM: #9f9f9f 1px solid; LINE-HEIGHT: 24px; MIN-HEIGHT: 24px; = BACKGROUND: url(../images/openbarre-greybar-bg.png) #cbcbcb repeat-x } DIV#breadcrumb { BORDER-BOTTOM: #9f9f9f 1px solid; LINE-HEIGHT: 24px; MIN-HEIGHT: 24px; = BACKGROUND: url(../images/openbarre-greybar-bg.png) #cbcbcb repeat-x } #openbarre UL#context { POSITION: absolute; COLOR: #666 } #openbarre DIV#tmpcontext { POSITION: absolute; PADDING-LEFT: 60px; BACKGROUND: = url(../images/openbarre-i.png) no-repeat; COLOR: #666; LEFT: 0px } #openbarre #authdata { Z-INDEX: 9999; TEXT-ALIGN: right; LINE-HEIGHT: 24px; MARGIN: 0px auto; = WIDTH: 1024px; VERTICAL-ALIGN: middle } #openbarre #authdata IMG { LINE-HEIGHT: 24px; VERTICAL-ALIGN: middle } #openbarre UL#context > LI { Z-INDEX: 9997; PADDING-BOTTOM: 0px; LINE-HEIGHT: 24px; PADDING-LEFT: = 15px; PADDING-RIGHT: 15px; COLOR: #505050; VERTICAL-ALIGN: middle; = BORDER-RIGHT: #aaa 1px solid; PADDING-TOP: 0px } #openbarre #contextwrapper A { COLOR: #505050 } #openbarre UL#context > LI A { COLOR: #505050 } #openbarre UL#context > LI LI A { COLOR: #505050 } #openbarre UL#context > LI:first-child { WIDTH: 14px; BACKGROUND: url(../images/openbarre-i.png) no-repeat 50% = 50% } #openbarre UL#context > LI:first-child:hover { BACKGROUND: url(../images/openbarre-i-hover.png) no-repeat 50% 50% } #openbarre UL#context > LI:first-child > UL { PADDING-TOP: 15px } #openbarre UL#context > LI:hover { BACKGROUND: url(../images/openbarre-greybar-bg-hover.png) repeat-x; = COLOR: #fff } #openbarre #contextwrapper A:hover { COLOR: #fff } #openbarre UL#context > LI:hover > A { COLOR: #fff } #openbarre UL#context > LI > UL { BACKGROUND: #9e9d9d; BORDER-TOP: #646464 1px solid; TOP: 24px } #openbarre UL#context LI UL LI { LINE-HEIGHT: normal } #openbarre UL#context LI UL LI > A { BORDER-BOTTOM: #8c8c8c 1px solid; MIN-WIDTH: 220px; PADDING-BOTTOM: = 10px; PADDING-LEFT: 25px; PADDING-RIGHT: 25px; DISPLAY: block; = BACKGROUND: inherit; PADDING-TOP: 10px } #openbarre UL#context LI UL LI > DIV { BORDER-BOTTOM: #8c8c8c 1px solid; MIN-WIDTH: 220px; PADDING-BOTTOM: = 10px; PADDING-LEFT: 25px; PADDING-RIGHT: 25px; DISPLAY: block; = BACKGROUND: inherit; PADDING-TOP: 10px } #openbarre UL#context LI UL LI > DL { BORDER-BOTTOM: #8c8c8c 1px solid; MIN-WIDTH: 220px; PADDING-BOTTOM: = 10px; PADDING-LEFT: 25px; PADDING-RIGHT: 25px; DISPLAY: block; = BACKGROUND: inherit; PADDING-TOP: 10px } #openbarre UL#context LI UL LI > DIV { COLOR: #fff !important } #openbarre UL#context LI UL LI > DL { COLOR: #fff !important } #openbarre UL#context LI UL LI > DL { MARGIN: 0px } #openbarre UL#context LI UL LI > DL DT { MARGIN-BOTTOM: 0px; FLOAT: left; COLOR: inherit; FONT-WEIGHT: bold; = MARGIN-RIGHT: 5px } #openbarre UL#context LI UL LI > DL DD { MARGIN: 0px; COLOR: inherit } #openbarre UL#context DD.first { MARGIN-BOTTOM: 0px } #openbarre UL#context DD.title { MARGIN-BOTTOM: 0px } #openbarre UL#context DD.second { FONT-STYLE: italic } #openbarre UL#context LI UL LI A { COLOR: #505050 } #openbarre UL#context LI UL LI A:hover { BACKGROUND-COLOR: #939393; COLOR: #fff } #openbarre UL#context LI#fromsameauthor > UL > LI > DIV { MIN-WIDTH: 250px; BACKGROUND: #939393; FONT-WEIGHT: bold } #openbarre UL#context LI#fromsameauthor > UL > LI A { MIN-WIDTH: 250px } #openbarre UL#context LI#fromsameauthor SPAN.name { MIN-WIDTH: 250px; PADDING-BOTTOM: 0px; PADDING-LEFT: 25px; = PADDING-RIGHT: 25px; DISPLAY: block; FONT-WEIGHT: bold; PADDING-TOP: = 10px } #openbarre UL#context LI#fromsameauthor SPAN.in { MIN-WIDTH: 250px; DISPLAY: block; COLOR: #e4e3e3 } #openbarre UL#context LI#fromsameauthor LI.more A { TEXT-ALIGN: right; PADDING-BOTTOM: 5px; PADDING-LEFT: 25px; = PADDING-RIGHT: 25px; PADDING-TOP: 5px } #openbarre UL#context .freedl { PADDING-BOTTOM: 25px; PADDING-LEFT: 50px; PADDING-RIGHT: 0px; DISPLAY: = block; BACKGROUND: url(../images/openbarre-freedl.png) no-repeat 0px = 50%; FONT-WEIGHT: bold; PADDING-TOP: 25px } #openbarre UL#context A.dl { PADDING-BOTTOM: 15px; PADDING-LEFT: 75px; PADDING-RIGHT: 0px; DISPLAY: = block; BACKGROUND-REPEAT: no-repeat; BACKGROUND-POSITION: 25px 50%; = PADDING-TOP: 15px } #openbarre UL#context A.dlepub { BACKGROUND-IMAGE: url(../images/openbarre-epub.png) } #openbarre UL#context A.dlpdf { BACKGROUND-IMAGE: url(../images/openbarre-pdf.png) } #openbarre UL#context A.dlebook { BACKGROUND-IMAGE: url(../images/openbarre-ebook.png) } DIV#breadcrumb { POSITION: absolute; MIN-WIDTH: 1050px; LINE-HEIGHT: 24px; WIDTH: 100%; = FONT-FAMILY: Sans, Verdana !important; COLOR: #333; FONT-SIZE: 11px; = VERTICAL-ALIGN: middle; TOP: 61px; LEFT: 0px } DIV#breadcrumb #crumbs { POSITION: absolute; TOP: 0px } DIV#breadcrumb > DIV > DIV { POSITION: absolute; TOP: 0px } DIV#breadcrumb P { LINE-HEIGHT: 24px; MARGIN: 0px; MIN-HEIGHT: 24px; FONT-SIZE: inherit; = VERTICAL-ALIGN: middle } DIV#breadcrumb SPAN.separator { BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; COLOR: #505050; = BORDER-TOP: medium none; BORDER-RIGHT: medium none } DIV#breadcrumb A { BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; COLOR: #505050; = BORDER-TOP: medium none; BORDER-RIGHT: medium none } DIV#breadcrumb A:hover { COLOR: #fff } DIV#breadcrumb A:first-child { PADDING-LEFT: 60px; BACKGROUND: url(../images/openbarre-home.png) = no-repeat 13px 50% } DIV#breadcrumb STRONG.current { FONT-WEIGHT: normal } DIV#breadcrumb FORM { TEXT-ALIGN: right; LINE-HEIGHT: 24px; MARGIN: 0px auto; WIDTH: 1024px; = FONT-SIZE: 10px; VERTICAL-ALIGN: middle } DIV#breadcrumb LABEL { DISPLAY: none } DIV#breadcrumb SELECT { BORDER-BOTTOM: #bdbdbd 1px solid; BORDER-LEFT: #bdbdbd 1px solid; = BACKGROUND: #f5f5f5; COLOR: #666; FONT-SIZE: 10px; BORDER-TOP: #bdbdbd = 1px solid; BORDER-RIGHT: #bdbdbd 1px solid } #siteLang { TEXT-ALIGN: right; MARGIN: 0px auto; WIDTH: 1024px } #siteLang LI { TEXT-ALIGN: center; TEXT-TRANSFORM: uppercase; WIDTH: 20px; DISPLAY: = inline-block; FONT: 10px/16px verdana, sans-serif; HEIGHT: 16px } #siteLang LI .selected { TEXT-ALIGN: center; WIDTH: 20px; DISPLAY: block; BACKGROUND: = url(../images/bg-lang.png) no-repeat 0px -20px; HEIGHT: 16px; COLOR: = #fff } #siteLang LI A:first-child { PADDING-LEFT: 0px !important } #siteLang LI A { TEXT-ALIGN: center; WIDTH: 20px; DISPLAY: block; BACKGROUND: = url(../images/bg-lang.png) no-repeat 0px 0px; HEIGHT: 16px; COLOR: = #525252 } #siteLang LI A:hover { BACKGROUND: url(../images/bg-lang.png) no-repeat 0px -20px; COLOR: #fff } #siteLang LI { ZOOM: 1 } #openbarre INPUT[name=3D'q'] { PADDING-LEFT: 3px; WIDTH: 150px } #openbarre INPUT[type=3D'submit'] { DISPLAY: inline; FLOAT: none } #openbarre #searchchoice { DISPLAY: none } #openbarre FORM .popupcontainer:hover #searchchoice { Z-INDEX: 999; POSITION: absolute; TEXT-ALIGN: left; WIDTH: 176px; = DISPLAY: block; BACKGROUND: #909090; FONT-SIZE: 11px; BORDER-TOP: = #868686 1px solid; RIGHT: 0px; FONT-WEIGHT: normal; box-shadow: 0px 5px = 15px rgba(0, 0, 0, .5); -moz-box-shadow: 0px 5px 15px rgba(0, 0, 0, .5); = -webkit-box-shadow: 0px 5px 15px rgba(0, 0, 0, .5); opacity: .95 } #openbarre FIELDSET { POSITION: relative } #openbarre #searchchoice INPUT { MARGIN-LEFT: 10px } #openbarre #openedition FORM #searchchoice LABEL { PADDING-BOTTOM: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; = PADDING-TOP: 0px } #openbarre FORM .popupcontainer { FLOAT: right } #breadcrumb #siteLang UL { MARGIN: 0px } ------=_NextPart_000_0000_01CCEF12.1FDCB6F0 Content-Type: text/css; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Location: http://static.openedition.org/js/fancybox/jquery.fancybox-1.3.1.css #fancybox-loading { Z-INDEX: 1104; POSITION: fixed; MARGIN-TOP: -20px; WIDTH: 40px; = DISPLAY: none; HEIGHT: 40px; MARGIN-LEFT: -20px; OVERFLOW: hidden; TOP: = 50%; CURSOR: pointer; LEFT: 50% } * HTML #fancybox-loading { POSITION: absolute; MARGIN-TOP: 0px } #fancybox-loading DIV { BACKGROUND-IMAGE: url(fancybox.png); POSITION: absolute; WIDTH: 40px; = HEIGHT: 480px; TOP: 0px; LEFT: 0px } #fancybox-overlay { Z-INDEX: 1100; POSITION: fixed; BOTTOM: 0px; DISPLAY: none; BACKGROUND: = #000; TOP: 0px; RIGHT: 0px; LEFT: 0px } * HTML #fancybox-overlay { POSITION: absolute; WIDTH: 100% } #fancybox-tmp { BORDER-BOTTOM: 0px; BORDER-LEFT: 0px; PADDING-BOTTOM: 0px; MARGIN: 0px; = PADDING-LEFT: 0px; PADDING-RIGHT: 0px; DISPLAY: none; OVERFLOW: auto; = BORDER-TOP: 0px; BORDER-RIGHT: 0px; PADDING-TOP: 0px } #fancybox-wrap { Z-INDEX: 1101; POSITION: absolute; PADDING-BOTTOM: 20px; MARGIN: 0px; = PADDING-LEFT: 20px; PADDING-RIGHT: 20px; DISPLAY: none; TOP: 0px; = PADDING-TOP: 20px; LEFT: 0px } #fancybox-outer { POSITION: relative; WIDTH: 100%; BACKGROUND: #fff; HEIGHT: 100% } #fancybox-inner { POSITION: absolute; PADDING-BOTTOM: 0px; MARGIN: 0px; OUTLINE-STYLE: = none; OUTLINE-COLOR: invert; PADDING-LEFT: 0px; OUTLINE-WIDTH: medium; = WIDTH: 1px; PADDING-RIGHT: 0px; HEIGHT: 1px; OVERFLOW: hidden; TOP: 0px; = PADDING-TOP: 0px; LEFT: 0px } #fancybox-hide-sel-frame { POSITION: absolute; WIDTH: 100%; BACKGROUND: none transparent scroll = repeat 0% 0%; HEIGHT: 100%; TOP: 0px; LEFT: 0px } #fancybox-close { BACKGROUND-IMAGE: url(fancybox.png); Z-INDEX: 1103; POSITION: absolute; = WIDTH: 30px; DISPLAY: none; BACKGROUND-POSITION: -40px 0px; HEIGHT: = 30px; TOP: -15px; CURSOR: pointer; RIGHT: -15px } #fancybox_error { PADDING-BOTTOM: 7px; MARGIN: 0px; PADDING-LEFT: 7px; PADDING-RIGHT: = 7px; FONT: 12px/20px Arial; COLOR: #444; PADDING-TOP: 7px } #fancybox-content { PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; WIDTH: auto; = PADDING-RIGHT: 0px; HEIGHT: auto; PADDING-TOP: 0px } #fancybox-img { BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; PADDING-BOTTOM: = 0px; LINE-HEIGHT: 0; MARGIN: 0px; OUTLINE-STYLE: none; OUTLINE-COLOR: = invert; PADDING-LEFT: 0px; OUTLINE-WIDTH: medium; WIDTH: 100%; = PADDING-RIGHT: 0px; -MS-INTERPOLATION-MODE: bicubic; HEIGHT: 100%; = VERTICAL-ALIGN: top; BORDER-TOP: medium none; BORDER-RIGHT: medium none; = PADDING-TOP: 0px } #fancybox-frame { BORDER-BOTTOM: medium none; POSITION: relative; BORDER-LEFT: medium = none; WIDTH: 100%; DISPLAY: block; HEIGHT: 100%; BORDER-TOP: medium = none; BORDER-RIGHT: medium none } #fancybox-title { Z-INDEX: 1102; POSITION: absolute; BOTTOM: 0px; FONT-FAMILY: Arial; = FONT-SIZE: 12px; LEFT: 0px } .fancybox-title-inside { TEXT-ALIGN: center; PADDING-BOTTOM: 10px; PADDING-LEFT: 0px; = PADDING-RIGHT: 0px; COLOR: #333; PADDING-TOP: 10px } .fancybox-title-outside { TEXT-ALIGN: center; COLOR: #fff; FONT-WEIGHT: bold; PADDING-TOP: 5px } .fancybox-title-over { TEXT-ALIGN: left; COLOR: #fff } #fancybox-title-over { BACKGROUND-IMAGE: url(fancy_title_over.png); PADDING-BOTTOM: 10px; = PADDING-LEFT: 10px; PADDING-RIGHT: 10px; DISPLAY: block; PADDING-TOP: = 10px } #fancybox-title-wrap { DISPLAY: inline-block } #fancybox-title-wrap SPAN { FLOAT: left; HEIGHT: 32px } #fancybox-title-left { BACKGROUND-IMAGE: url(fancybox.png); PADDING-LEFT: 15px; = BACKGROUND-REPEAT: no-repeat; BACKGROUND-POSITION: -40px -90px } #fancybox-title-main { BACKGROUND-IMAGE: url(fancybox-x.png); LINE-HEIGHT: 29px; = BACKGROUND-POSITION: 0px -40px; COLOR: #fff; FONT-WEIGHT: bold } #fancybox-title-right { BACKGROUND-IMAGE: url(fancybox.png); PADDING-LEFT: 15px; = BACKGROUND-REPEAT: no-repeat; BACKGROUND-POSITION: -55px -90px } #fancybox-left { BACKGROUND-IMAGE: url(blank.gif); Z-INDEX: 1102; POSITION: absolute; = OUTLINE-STYLE: none; OUTLINE-COLOR: invert; OUTLINE-WIDTH: medium; = WIDTH: 35%; BOTTOM: 0px; DISPLAY: none; HEIGHT: 100%; CURSOR: pointer } #fancybox-right { BACKGROUND-IMAGE: url(blank.gif); Z-INDEX: 1102; POSITION: absolute; = OUTLINE-STYLE: none; OUTLINE-COLOR: invert; OUTLINE-WIDTH: medium; = WIDTH: 35%; BOTTOM: 0px; DISPLAY: none; HEIGHT: 100%; CURSOR: pointer } #fancybox-left { LEFT: 0px } #fancybox-right { RIGHT: 0px } #fancybox-left-ico { Z-INDEX: 1102; POSITION: absolute; MARGIN-TOP: -15px; WIDTH: 30px; = DISPLAY: block; HEIGHT: 30px; TOP: 50%; CURSOR: pointer; LEFT: -9999px } #fancybox-right-ico { Z-INDEX: 1102; POSITION: absolute; MARGIN-TOP: -15px; WIDTH: 30px; = DISPLAY: block; HEIGHT: 30px; TOP: 50%; CURSOR: pointer; LEFT: -9999px } #fancybox-left-ico { BACKGROUND-IMAGE: url(fancybox.png); BACKGROUND-POSITION: -40px -30px } #fancybox-right-ico { BACKGROUND-IMAGE: url(fancybox.png); BACKGROUND-POSITION: -40px -60px } #fancybox-left:hover { VISIBILITY: visible } #fancybox-right:hover { VISIBILITY: visible } #fancybox-left:hover SPAN { LEFT: 20px } #fancybox-right:hover SPAN { RIGHT: 20px; LEFT: auto } .fancy-bg { Z-INDEX: 1001; BORDER-BOTTOM: 0px; POSITION: absolute; BORDER-LEFT: = 0px; PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; WIDTH: 20px; = PADDING-RIGHT: 0px; HEIGHT: 20px; BORDER-TOP: 0px; BORDER-RIGHT: 0px; = PADDING-TOP: 0px } #fancy-bg-n { BACKGROUND-IMAGE: url(fancybox-x.png); WIDTH: 100%; TOP: -20px; LEFT: = 0px } #fancy-bg-ne { BACKGROUND-IMAGE: url(fancybox.png); BACKGROUND-POSITION: -40px -162px; = TOP: -20px; RIGHT: -20px } #fancy-bg-e { BACKGROUND-IMAGE: url(fancybox-y.png); BACKGROUND-POSITION: -20px 0px; = HEIGHT: 100%; TOP: 0px; RIGHT: -20px } #fancy-bg-se { BACKGROUND-IMAGE: url(fancybox.png); BOTTOM: -20px; = BACKGROUND-POSITION: -40px -182px; RIGHT: -20px } #fancy-bg-s { BACKGROUND-IMAGE: url(fancybox-x.png); WIDTH: 100%; BOTTOM: -20px; = BACKGROUND-POSITION: 0px -20px; LEFT: 0px } #fancy-bg-sw { 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L'Atelier du Centre=20 de recherches historiques