By Pit Péporté, Sonja Kmec, Benoît Majerus, Michel Margue
The grand duchy of Luxembourg is a exhibit instance for the built nature of nationwide identities. This publication explores this building procedure from the 19th to the twenty-first century, concentrating on representations of the previous, house and languag
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Extra resources for Inventing Luxembourg: Representations of the Past, Space and Language from the Nineteenth to the Twenty-First Century (National Cultivation of Culture)
Example text
15 the master narrative of luxembourg’s history 35 tions are largely filled with reports on wars, including the disastrous Thirty Years War and the French conquest and occupation of Luxembourg (1685–98). ”19 This was succeeded by a moment of relief under Austrian rule. 20 It is also within these pages that the greatness of the fortress of Luxembourg was lauded and taken pride in by Herchen, even though much of the fortifications went back to Spanish initiatives with additional French alterations carried out in the seventeenth century.
15 Paul Ricoeur, Temps et récit. I. L’intrigue et le récit historique. Collection Points Essais 227 (Paris: Seuil, 1983), 128–129. making sense, producing meaning 27 Emplotment is the practice that transforms a diversity of events into a temporarily unified story: the act of emplotment combines in variable proportions two temporal dimensions, one chronological and the other not. The former constitutes the episodic dimension of narrative. It characterizes the story insofar as it is made up of events.
28 introduction human life on the other—Weltzeit and Lebenszeit, as Hans Blumenberg calls them18—pushes people to search for temporal points of reference on a ‘medium’ scale, such as family history or the history of a more or less institutionalised community. Turning to a relatively ‘near’ collective time has the advantage of providing reference points that are not only manageable and familiar, but also shared by the people one feels close to. It is a matter of ‘shared time’. The production of shared representations of the past allows one to move from ‘individual’ to ‘collective’ time, and also from the ‘time of memory’ to the ‘time of history’.