“Why is Emmanuel Macron so centered on cultivating the legacy of Georges Pompidou? » | EUROtoday

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BMany had been shocked when Emmanuel Macron needed, in June 2019, to rejoice with nice fanfare the fiftieth anniversary of the election of Georges Pompidou as President of the Republic. We thought he was reasonably fascinated by the nice heroic figures of our modern historical past, Napoleon, de Gaulle and Clemenceau, three legendary characters whom he additionally largely honored when the commemorative event offered itself.

Mr. Macron was offered because the inheritor of Valéry Giscard d'Estaing, elected in 1974 as president of modernity, on a program of generational rupture which borrowed on the identical time from financial liberalism, militant Europeanism and societal progressivism. But, if the Giscardian reference appears to be important, then why is Emmanuel Macron so centered on cultivating the legacy of Georges Pompidou (1911-1974), who seems, in lots of elements, to be his antithesis?

To absolutely perceive this fascination of the disruptive president for the smart man of Montboudif [commune du Cantal où Georges Pompidou est né]we will check with his preface to the collective work In the intimacy of the ability of the Georges Pompidou presidency (New World, 2019). He notably praised the qualities of “tireless reformer” of the latter, whose mandate was linked to “a happy time, that of full employment and growth”. In his speech-tribute for the fiftieth anniversary, he noticed in him a precursor who “thought of both old France and new France”. Was it essential to see a form of delegated incarnation, or perhaps a self-portrait? Beyond the nostalgic reference to the golden age of the Pompidou years, the period of “economic miracle” French, of the homogeneous client society and full employment, the appropriation of “pompidolism” by the president of ” new world “ actually poses a query.

Read additionally | At the Elysée, Emmanuel Macron celebrates the mythological determine of Georges Pompidou

Would he see himself because the inheritor of this France of letters, arts and tradition of which his distant predecessor was the logo? The style for phrases led them each to take the aggressive examination for the Ecole Normale Supérieure, with success for one and, maybe, a slight frustration for the opposite. [à la suite de son échec]. Which is at present offset by the literary emphasis of presidential commemorations, when Georges Pompidou was content material to pepper his press conferences with quotes, together with the well-known one from Paul Eluard [interrogé sur le suicide, en septembre 1969, de Gabrielle Russier, professeure de lettres condamnée pour détournement de mineur, Georges Pompidou cita un vers de Comprenne qui voudra (1944) : « Moi, mon remords, ce fut la victime raisonnable au regard d’enfant perdue, celle qui ressemble aux morts, qui sont morts pour être aimés »].

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