The ambition of this magnificent volume is not only to present the reader with the research of a wide range of international scholars on those questions, but also to bring one into the heart of the issues still under lively debate. Its form is as original as its goal: neither dictionary, in the traditional sense of the word, nor encyclopedia, it is deliberately limited to some ninety-nine entries organized alphabetically by key words and themes under five major headings: "events," including the Estates General and the Terror; "actors," such as Marie Antoinette, Marat, and Napoleon Bonaparte; "institutions and creations," among them Revolutionary Calendar and Suffrage; "ideas," covering, for example, Ancien Regime, the American Revolution, and Liberty; and "historians and commentators," from Hegel to Tocqueville. In addition, there are synoptic indexes of names and themes that give the reader easy access to the entire volume as well as a key to its profound coherence. What unifies all the varied topics brought together in this dictionary is their authors effort to be critical. As such, the book rejects the dogmatism of closed systems and definitive interpretations. Its aim is less to make a complete inventory of the findings of the history of the French Revolution than to take stock of what remains problematical about those findings; this work thus offers the additional special quality of incorporating the rich historiographical literature unceasingly elaborated since 1789. With "A Critical Dictionary of the French Revolution," Francois Furet and Mona Ozouf invite the reader to recross the first two centuries of French democracy in order to gain a better understanding of the origins of the world in which we live today.

    

    Every history of the period includes some mention of festivals, although most historians have been content either to ridicule them as ineffectual or to bemoan them as repugnant examples of a sterile, official culture. Mona Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process. Festivals offer critical insights into the meaning of the French Revolution; they show a society in the process of creating itself anew.Historians have recognized the importance of the revolutionary festival as a symbol of the Revolution. But they have differed widely in their interpretations of what that symbol meant and have considered the festivals as diverse as the rival political groups that conceived and organized them. Against this older vision, Ozouf argues for the fundamental coherence and profound unity of the festival as both event and register of reference and attitude. By comparing the most ideologically opposed festivals (those of Reason and the Supreme Being, for instance), she shows that they clearly share a common aim, which finds expression in a mutual ceremonial and symbolic vocabulary. Through a brilliant discussion of the construction, ordering, and conduct of the festival Ozouf demonstrates how the continuity of the images, allegories, ceremonials, and explicit functions can be seen as the Revolution's own commentary on itself.A second and important aim of this book is to show that this system of festivals, often seen as destructive, was an immensely creative force. The festival was the mirror in which the Revolution chose to see itself and the pedagogical tool by which it hoped to educate future generations, Far from being a failure, it embodied, socialized, and made sacred a new set of values based on the family, the nation, and mankind--the values of a modern, secular, liberal world.