Recreating time, history, and the poetic imaginary: Alexandre Lenoir and the Musée des Monuments français (1795-1816)
Bibliographic record
Abstract
This dissertation is a hermeneutic and philosophical study of the emergence of the narrative museum in late eighteenth-century France. An early example of this genre, Alexandre Lenoir's creation of the short-lived Musée des Monuments français (1795-1816) out of the deposits to a post-revolution sculpture depot at #14 Rue de Petite-Seine on Paris's Left Bank, purported to recount the history of the French nation through the chronological and aestheticized arrangement of a collection of sculpture, funerary monuments, and architectural fragments. These objects had, since mid-October 1790, found temporary refuge at the former monastery of the Petits-Augustins, and under Lenoir's guardianship they became the nucleus of an evolving display that highlighted the evolution of French art and history. In his scenographic installations in the cloisters and halls, church, courtyards, and garden at the Petits-Augustins, Lenoir recreated a philosophical parcours that sought to materialize through the art object six centuries of French artistic heritage and history, beginning with the thirteenth century and culminating with the birth of the French republican nation in the last decade of the eighteenth century. Part monument to French accomplishment, part mythic narrative, Lenoir's project was an embodiment of Enlightenment ideals in its deliberate attempt to provide moral and didactic instruction to its visiting publics through the sequencing of objects in choreographed spaces. Yet the Musée's claim to didacticism must be qualified, for the reality was that this museum was born of the unique social, historical, and political circumstances of the French Revolution – a singularly tumultuous and radically transformative moment in modern social history – and in form and content the Musée bore witness to a society coming to terms with beginnings and endings in ways that recalled the paradoxes of the very horizon in which the institution first took shape. Lenoir's almost
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.010 | 0.013 |
| Scholarly communication | 0.006 | 0.002 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".