Nouvelles (vraies et fausses) de conversions (vraies et fausses) de monarques étrangers, imprimées en France aux XVIe-XVIIe siècles

Printed news reports circulated, in the 16th and 17th century, which revealed the sudden conversion to Christianity – some were real, but several were invented – of powerful monarchs from abroad. How were such announcements written or invented? Different scenarios existed. There was genuine news, to which were added cosmetic and false details, or sometimes overly enthusiastic interpretations. There was false news, although invented, arguably, to simplify the reporting of real upheavals on the scene of world affairs – such as the entrance on the historical stage of the Safavid dynasty, fantasized in the media as the conversion of Ismail I (in 1508) or Abbas I (in 1606). The strange case of La conversion de trois grands rois [The Conversion of Three Great Kings] helps in distinguishing two falsification mechanisms, or in this case two steps: in 1571, it was the fraudulent mixing of excerpts from genuine Jesuit letters; in 1588, 1608 and 1609, the same news report circulated anew, with all of its dates replaced by current ones. Truth and fiction thus intertwined better than they clashed, and paradoxically at the very time when genuine and current information about Persia, India and Indonesia was starting to circulate in Europe. The existence of such chimerical news also indicates that, as the industry of news reporting was developing, the particular desirability of reports on high-level conversions helped them prevail over other news more genuine, yet less appealing.

Le « serpent de mer du Constitutionnel », « cet admirable et immortel canard ». Examen d’un running gag médiatique

This paper assesses the reality and sources of the Constitutionnel's sea serpent case, attributing to this newspaper the authorship of the invention of this journalist's joke (hoax), circulated as a running gag during the 19th century. The subject is not so much the dissemination of sea serpent stories as this problematic attribution, which became traditional in the history of the French press. At the end of our inquiry, after what might seem like a police investigation, it is established that the first mention of a sea serpent indeed really took place in this newspaper in 1817-18, when it was called the Journal du commerce, a paper that had no exclusivity in the dissemination of this hoax, which had its source in American papers. Before the digitization of newspapers, it was difficult if not impossible to find brief mentions or even articles on these elusive subjects. It was therefore easy to make fun of them without having to provide any proof or justification.

Breaking the News: Max Jacob’s Le Cornet à dés (1917)

The recurring pastiches of journalistic writing in Max Jacob’s seminal collection are more complex than they initially appear—critical, not merely of this discourse’s supposed objectivity, but of the assumption that the transmission of valid, valuable news is ever really sought in the first place. The indiscretions of sensationalist, and even fallacious news items appear far less surprising when we acknowledge, along with Jacob, that the esthetic pleasure orienting poetic expression – which is dependent, precisely, on a certain distortion of truthful communication – is what the public expects from its news sources as well, if unconsciously. By identifying the texts in this collection that reference topics and discursive tropes of Belle Époque journalism (and its often indistinguishable sibling, le roman feuilleton), we find that the poet simultaneously draws on the “attractive force” of such writing, drawing his reader into its intrigue, while continually disrupting any stable referential function, through linguistic play. While Jacob is hardly an engaged artist, by laying bare the ultimately unsatisfying quick fix of headline news, reconstituting the latter as an objet d’art, he reminds us of an important truth after all: the most rewarding esthetic experiences are at once more transparent – fiction acknowledged as such – and more resistant to understanding.