Abstract
In Les ruines one can clearly see the construction of a ‘science’ of society, or of history, emerging out of a critique of religion. It is of only secondary concern that the critique of religion remains so shallow: that the problem of revelation is largely ignored; that the proscription of doubt is made into an effect of power (rather than a consequence of faith); that the intentionality animating the religious discourse is reduced to a secular quest for knowledge of the laws of nature; and that, consequently, religion is incorporated into the history of reason as the latter’s first, naive stumblings. And yet, however much religion is forced, paradigmatically speaking, into the limits of reason alone, the contrast between religion and enlightenment could not be starker. It is not just that enlightenment addresses society and questions it directly, while religion turns its gaze heavenward, stifling any such enquiry; or that enlightenment seeks to provide, in principle, universal access to all discussions of what is just or true, while religion maintains knowledge as the monopoly of a select few. These intuitions are extended much further,.developing into a communications utopia where mutual understanding would be so complete as to command unanimous assent on all matters of significance. Moreover, with the elimination of disagreement, society would be able to eliminate all the barriers that stand between itself and the mastery of its history.
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Notes
See the analysis of Pierre Testud, Rétif de la Bretonne et la création littéraire (Geneva: Droz, 1977) p. 83ff.
And as Jean-Pierre Vernant suggests in a context rather different from our own, the existence of illusions, fictions, and more generally, what we call the imagination can only be conceptualized within a society that possesses a mimetic concept of representation. Religions, histoires raisons (Paris: François Maspéro, 1979) pp. 33–4.
Louis-Sébastien Mercier, Le Tableau de Paris. (Paris: Maspéro, 1979) p. 260.
The reader may wish to look at the exceptional essay on this pamphlet by Maurice Blanchot, ‘L’Insurrection, la folie d’écrire,’ in L’Entretien infini (Paris: Gallimard, 1969) pp. 323–42.
‘Endlessly repeated from one festival to the next, the essential argument of these scenic productions: … is the confrontation of light with shadow. An idealized fire symbolized light dispelling darkness, i.e. all that ‘intercepts the rays of liberty’ as incarnated by either the ‘den’ on which the throne appears to stand, the veils that shroud the statue of Liberty, or the caves hollowed out from the artificial mountains in which the enemies of liberty are said to reside: (Mona Ozouf, La fête révolutionnaire (Paris: Editions Gallimard, 1976), p. 119.)
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© 1986 Brian C. J. Singer
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Singer, B.C.J. (1986). Science, Ideology and Social Transparency. In: Society, Theory and the French Revolution. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-18361-6_4
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