Cet article fait le point sur la grande diversité de la manière dont la notion de populaire est perçue dans les «Cultural Studies». Grosso modo, les différences qui se manifestent tiennent d'abord au fait que les études culturelles ne constituent pas une discipline homogène: le poids des traditions nationales pèse en effet très fortement sur la manière dont le populaire est conçu et jugé en Grande-Bretagne et aux Etats-Unis . Elles sont liées ensuite au fait que le populaire en soi (...) a fait l'objet d'évaluations très contrastées au cours du développement des études culturelles, qui se sont détachées progressivement de leur défense inconditionnelle de la culture ouvrière. L'émergence du populisme et ses rapports avec le néo-libéralisme s'avèrent décisifs dans les nouvelles évolutions du populaire.This article deals with the various ways in which the concept of "popular" has been dealt with in Cultural Studies. Roughly speaking, the dramatic variety of interpretations has to do first of all with the fact that Cultural Studies is not a homogeneous discipline: national traditions, for instance, continue to play a very important role, so that British Cultural Studies does not analyze the popular the same way as American Cultural Studies . Second, the differences within the field are explained by the fact that the interpretation of the popular has shifted dramatically during the decades in which Cultural Studies developed as an autonomous disciplinary field, progressively ceasing to be the sole study of working class culture. The emergence of populism and its relationships with neo-liberalism play a decisive role in this shifting appreciation. (shrink)

In recent years, the problem of value has been drastically pushed away towards the periphery of the discipline of literary studies. More and more, this fact has come to be experienced as a source of frustration and misunderstandings.1 In this article, I would like to show the great extent to which a value-oriented approach is in fact inevitable. By the same token, however, I will also indicate the disturbing ambiguities that the consideration of the value-dimension may reveal. The example I (...) will use for my demonstration, the case of the French photographic novel , is fairly straightforward , but at the same time it betrays my slightly polemical intentions, since this genre is undoubtedly held in low esteem both within and without the domain of literary scholarship.It seems reasonable to assume that our twentieth century, with its turbulent successions of competing fashions and trends, has radically affected the concept of value, that is, the dialectical game of valorization and devalorization. The notion of value has of course become subject to “devaluations” on the content-level, as the mixtures and the instabilities of the criteria called on clearly lattest.2 In addition—and more important—value has been disobjectified, that is, snatched from the object of the judgment and located on the side of the judging subject. Jan Baetens teaches French at the Vlaamse Economische Hogeschool . He is the author of three books: Aux frontiers du récit: “Fable” de Robert Pinget comme “nouveau nouveau roman” ; Hergé écrivain: microlectures de Tintin ; and Les Mesures de l’excès: notes pour un traverse de “Eglogues” de Renaud Camus et al. . He is currently at work on the various aspects of grammatextuality in literature and the comics. (shrink)

Biographical note: Sascha Bru, Genth University, Belgium; Peter Nicholls, University of Sussex, UK.