Abstract:This article analyzes the "political" columns, composed during the siege and Commune of Paris, of Emmeline Raymond, editor-in-chief of La Mode illustrée. Not surprisingly, the author of the most bourgeois of fashion journals bears witness to history by critiquing first the invading Germans and then the enemy from within, the Communards. But her columns also reveal an unwitting sympathy with certain principles animating the Commune's social and political unrest, ultimately proposing fashion reforms that explicitly critique Second Empire excess and target the fashion system itself.
{"title":"When Fashion Stood Still: from la mode assiégée to la mode durable","authors":"Susan Hiner","doi":"10.1353/NCF.2021.0025","DOIUrl":"https://doi.org/10.1353/NCF.2021.0025","url":null,"abstract":"Abstract:This article analyzes the \"political\" columns, composed during the siege and Commune of Paris, of Emmeline Raymond, editor-in-chief of La Mode illustrée. Not surprisingly, the author of the most bourgeois of fashion journals bears witness to history by critiquing first the invading Germans and then the enemy from within, the Communards. But her columns also reveal an unwitting sympathy with certain principles animating the Commune's social and political unrest, ultimately proposing fashion reforms that explicitly critique Second Empire excess and target the fashion system itself.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"549 - 566"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0025","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43135753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:By 1880, the year Jules Ferry produced his law on public education, the Third Republic had become France's longest enduring republic. Given France's unstable political history, republicans focused on public education as the key to stabilizing the republic, instilling republican values in future generations of French citizens, and constructing historical narratives of the Republic as the embodiment of the nation's will. However, the Commune posed a particular challenge to the origins story of the Third Republic. The brief narratives of the Commune in public-school textbooks guardedly sympathized with the conditions that drove the Commune's working-class support, but tempered that with conventional portrayals of working-class manipulability and female emotionality in the political arena. Textbooks reserved their opprobrium for the unnamed Commune leaders, their choice of political referents, their motivations, and the emotional paroxysms they unleashed. Above all, the textbooks chastised the Commune as destructive of national unity.
{"title":"Collective Forgetting: Textbooks and the Paris Commune in the Early Third Republic","authors":"David Shafer","doi":"10.1353/NCF.2021.0012","DOIUrl":"https://doi.org/10.1353/NCF.2021.0012","url":null,"abstract":"Abstract:By 1880, the year Jules Ferry produced his law on public education, the Third Republic had become France's longest enduring republic. Given France's unstable political history, republicans focused on public education as the key to stabilizing the republic, instilling republican values in future generations of French citizens, and constructing historical narratives of the Republic as the embodiment of the nation's will. However, the Commune posed a particular challenge to the origins story of the Third Republic. The brief narratives of the Commune in public-school textbooks guardedly sympathized with the conditions that drove the Commune's working-class support, but tempered that with conventional portrayals of working-class manipulability and female emotionality in the political arena. Textbooks reserved their opprobrium for the unnamed Commune leaders, their choice of political referents, their motivations, and the emotional paroxysms they unleashed. Above all, the textbooks chastised the Commune as destructive of national unity.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"329 - 347"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41771806","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article explores the Paris Commune's conflicted legacy in fin-de-siècle France through a set of portraits by the Franco-Swiss artist Félix Vallotton. In 1897 the critic and anarchist Félix Fénéon published a questionnaire about the Commune in La Revue blanche with responses from a wide range of surviving participants and eyewitnesses. Vallotton supplemented these reflections with drawings of leaders, many of whom were long dead, from both sides of the barricades. These portrait heads, and their placement vis-à-vis the text, capture the complexity of the Commune's ideological afterlife in deceptively simple form, showing Vallotton's keen sensitivity to the political debates and uncertainties of his time. Like many of the artist's politically charged prints published throughout the 1890s, these portraits convey profound ambivalence about the relationship between the Parisian people and the state.
{"title":"Vallotton, Fénéon, and the Legacy of the Commune in Fin-de-siècle France","authors":"B. Alsdorf","doi":"10.1353/NCF.2021.0009","DOIUrl":"https://doi.org/10.1353/NCF.2021.0009","url":null,"abstract":"Abstract:This article explores the Paris Commune's conflicted legacy in fin-de-siècle France through a set of portraits by the Franco-Swiss artist Félix Vallotton. In 1897 the critic and anarchist Félix Fénéon published a questionnaire about the Commune in La Revue blanche with responses from a wide range of surviving participants and eyewitnesses. Vallotton supplemented these reflections with drawings of leaders, many of whom were long dead, from both sides of the barricades. These portrait heads, and their placement vis-à-vis the text, capture the complexity of the Commune's ideological afterlife in deceptively simple form, showing Vallotton's keen sensitivity to the political debates and uncertainties of his time. Like many of the artist's politically charged prints published throughout the 1890s, these portraits convey profound ambivalence about the relationship between the Parisian people and the state.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"258 - 281"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48752695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article illuminates a little-known legacy of the Paris Commune in China: Chinese biographies of Louise Michel in the late Qing and early Republican periods (1897–1917). Providing an overview of the biographies and their historical contexts, the article shows how Michel—one of the leading figures of the Paris Commune—became part of a pantheon of radical Western women exemplars in China. In this period of rapid political, social, and cultural change for China, Michel's example inspired moderate and radical intellectuals and activists, providing a vector for thinking through issues ranging from revolutionary thought and history to feminism, nationalism, and modernization.
{"title":"From \"female bodhisattva with a she-devil face\" to \"female general of the anarchist party\": Biographies of Louise Michel in Early 20th-Century China","authors":"Cecilia A. Feilla","doi":"10.1353/NCF.2021.0030","DOIUrl":"https://doi.org/10.1353/NCF.2021.0030","url":null,"abstract":"Abstract:This article illuminates a little-known legacy of the Paris Commune in China: Chinese biographies of Louise Michel in the late Qing and early Republican periods (1897–1917). Providing an overview of the biographies and their historical contexts, the article shows how Michel—one of the leading figures of the Paris Commune—became part of a pantheon of radical Western women exemplars in China. In this period of rapid political, social, and cultural change for China, Michel's example inspired moderate and radical intellectuals and activists, providing a vector for thinking through issues ranging from revolutionary thought and history to feminism, nationalism, and modernization.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"637 - 656"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0030","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42384711","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines Sand's response to the Paris Commune through a rereading of her novel Nanon, which she started writing just two months after the Commune's collapse, in July 1871. Sand's work of fiction refracts the recent traumas of this urban uprising through a retelling of the French Revolution, and the period of the nation's first Commune (1792–95)—this, from the perspective of the provinces. The article thinks through this double "displacement" of 1871 in Nanon—in particular, the distance that the novel cultivates from the capital of revolution. It situates Sand's pastoral narrative in relation to contemporaneous discourses on the Commune that recognised in the peasant class an impediment to its radical Republican politics. However unfashionable the pragmatic version of Sand's Republicanism might be, this article sets out to take seriously the writer's political thought as it was transposed in fiction. In redescribing, from the periphery, the peasants' alienation from the political centre, Sand interrogates the blind spots in the Commune's theorisation of "people" and "nation."
{"title":"Back to Her Sheep: The Commune and Peasant Politics in George Sand's Nanon","authors":"Claire White","doi":"10.1353/NCF.2021.0020","DOIUrl":"https://doi.org/10.1353/NCF.2021.0020","url":null,"abstract":"Abstract:This article examines Sand's response to the Paris Commune through a rereading of her novel Nanon, which she started writing just two months after the Commune's collapse, in July 1871. Sand's work of fiction refracts the recent traumas of this urban uprising through a retelling of the French Revolution, and the period of the nation's first Commune (1792–95)—this, from the perspective of the provinces. The article thinks through this double \"displacement\" of 1871 in Nanon—in particular, the distance that the novel cultivates from the capital of revolution. It situates Sand's pastoral narrative in relation to contemporaneous discourses on the Commune that recognised in the peasant class an impediment to its radical Republican politics. However unfashionable the pragmatic version of Sand's Republicanism might be, this article sets out to take seriously the writer's political thought as it was transposed in fiction. In redescribing, from the periphery, the peasants' alienation from the political centre, Sand interrogates the blind spots in the Commune's theorisation of \"people\" and \"nation.\"","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"460 - 476"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42507006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Départs: Entretien avec Jacques Rancière","authors":"Robert St. Clair, Seth Whidden, J. Rancière","doi":"10.1353/NCF.2021.0002","DOIUrl":"https://doi.org/10.1353/NCF.2021.0002","url":null,"abstract":"","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"162 - 172"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47187470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Discussing his 1971 urban art installation, Les Gisants de la Commune de Paris, Ernest Pignon-Ernest stated he felt it necessary for art dedicated to the Paris Commune to be created in the street. Only there could it do justice to a movement built on popular seizure of urban space. In recent years, as 'street art' has emerged as a significant artistic movement, the affinity Pignon-Ernest asserted between art in the street and the Commune has continued to make itself felt. This article discusses three Paris-based street artists who have referenced the Commune: A2, Morèje, and Rue Meurt d'Art. Their work resists the Commune's erasure from collective memory. However, their strategies sometimes risk relegating it to the past, stripping it of its political radicalism. This, combined with street art's growing commercialization and institutionalization, poses questions about urban art's capacity to engage the Commune on an ideological—not just iconographic—level.
摘要：欧内斯特·皮格农·欧内斯特（Ernest Pignon Ernest）在谈到他1971年的城市艺术装置作品《巴黎公社》（Les Gisants de la Commune de Paris）时表示，他认为有必要在街头创作献给巴黎公社的艺术。只有在那里，它才能公正地对待一场建立在民众占领城市空间基础上的运动。近年来，随着“街头艺术”成为一场重要的艺术运动，Pignon Ernest所断言的街头艺术与公社之间的亲和力不断显现。本文讨论了三位提到公社的巴黎街头艺术家：A2、Morèje和Rue Meurt d‘Art。他们的作品抵制了公社从集体记忆中抹去的痕迹。然而，他们的策略有时会冒着将其降级为过去，剥夺其政治激进主义的风险。这与街头艺术日益商业化和制度化相结合，对城市艺术在意识形态层面——而不仅仅是图像层面——与公社互动的能力提出了质疑。
{"title":"Between Memory and Mobilization: The Graffiti and Street Art of the Paris Commune","authors":"Macs Smith","doi":"10.1353/NCF.2021.0008","DOIUrl":"https://doi.org/10.1353/NCF.2021.0008","url":null,"abstract":"Abstract:Discussing his 1971 urban art installation, Les Gisants de la Commune de Paris, Ernest Pignon-Ernest stated he felt it necessary for art dedicated to the Paris Commune to be created in the street. Only there could it do justice to a movement built on popular seizure of urban space. In recent years, as 'street art' has emerged as a significant artistic movement, the affinity Pignon-Ernest asserted between art in the street and the Commune has continued to make itself felt. This article discusses three Paris-based street artists who have referenced the Commune: A2, Morèje, and Rue Meurt d'Art. Their work resists the Commune's erasure from collective memory. However, their strategies sometimes risk relegating it to the past, stripping it of its political radicalism. This, combined with street art's growing commercialization and institutionalization, poses questions about urban art's capacity to engage the Commune on an ideological—not just iconographic—level.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"238 - 257"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47555888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Frédéric Auguste Bartholdi's Lion of Belfort, a 11 × 22-meter sculpture made out of red sandstone, was erected at the foot of the citadel of the frontier town of Belfort in 1879. Associated versions were also exhibited at the Salon and subsequently installed at Place Denfert-Rochereau in Paris. As a nationalist monument to noble resistance (and defeat) as well as an implicit repudiation of the revolutionary spirit of the Commune, Bartholdi's sculpture took the form of the obdurately generalized symbol of the lion, which made it susceptible to unanticipated collective readings against the grain. I trace the resonances of the Lion of Belfort into the twentieth century, when the monument made a belated appearance as the protagonist in the first volume of Max Ernst's collage-novel, Une semaine de bonté (1933–34). Ernst's collage-novel proposes a retrospective reading of the collective revolutionary echoes of a counter-revolutionary monument across time. My paper asks what it means for a Third Republic monument to contend with the various political, class, and temporal boundaries of the nineteenth and early twentieth centuries. I argue that the reappearance of these leonine forms across time and in very different contexts offers a model for examining the unfinished business of nineteenth-century revolutionary history.
摘要：1879年，弗雷德里克·奥古斯特·巴尔托尔迪（Frédéric Auguste Bartholdi）的《贝尔福之狮》（Lion of Belfort）由红砂岩制成，高11×22米。相关版本也在沙龙展出，随后安装在巴黎的Denfert Rochereau广场。作为崇高抵抗（和失败）的民族主义纪念碑，以及对公社革命精神的含蓄否定，巴尔托尔迪的雕塑采用了顽固的狮子象征的形式，这使得它容易受到意想不到的集体反对。我将贝尔福之狮的共鸣追溯到二十世纪，当时这座纪念碑作为马克斯·恩斯特的拼贴小说《Une semaine de bonté》（1933-34）的第一卷中的主人公姗姗来迟地出现了。恩斯特的拼贴小说提出了对反革命纪念碑的集体革命回声的回顾性阅读。我的论文问，第三共和国纪念碑与十九世纪和二十世纪初的各种政治、阶级和时间界限相抗衡意味着什么。我认为，这些利昂形式在不同的时间和背景下的再现，为审视19世纪革命史上未完成的事业提供了一个模式。
{"title":"The Lion of Belfort, Max Ernst's Une semaine de bonté, and the Uses of the Past","authors":"Katie Hornstein","doi":"10.1353/NCF.2021.0010","DOIUrl":"https://doi.org/10.1353/NCF.2021.0010","url":null,"abstract":"Abstract:Frédéric Auguste Bartholdi's Lion of Belfort, a 11 × 22-meter sculpture made out of red sandstone, was erected at the foot of the citadel of the frontier town of Belfort in 1879. Associated versions were also exhibited at the Salon and subsequently installed at Place Denfert-Rochereau in Paris. As a nationalist monument to noble resistance (and defeat) as well as an implicit repudiation of the revolutionary spirit of the Commune, Bartholdi's sculpture took the form of the obdurately generalized symbol of the lion, which made it susceptible to unanticipated collective readings against the grain. I trace the resonances of the Lion of Belfort into the twentieth century, when the monument made a belated appearance as the protagonist in the first volume of Max Ernst's collage-novel, Une semaine de bonté (1933–34). Ernst's collage-novel proposes a retrospective reading of the collective revolutionary echoes of a counter-revolutionary monument across time. My paper asks what it means for a Third Republic monument to contend with the various political, class, and temporal boundaries of the nineteenth and early twentieth centuries. I argue that the reappearance of these leonine forms across time and in very different contexts offers a model for examining the unfinished business of nineteenth-century revolutionary history.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"282 - 304"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48991316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Gilets jaunes movement that emerged in the fall of 2018 gave new life to the memory of the Commune: claiming its heritage on discursive and imaginary fronts while nevertheless failing to adopt all of its modes of operation. Revisiting specific aspects of this "Commune of roundabouts," this article considers the discourses and imaginaries of the Gilets jaunes with regard to their "wild" writings (banners, signs, tags and customized vests). Such examples allow us to measure the movement's specificities, the collective ethos that it develops, its relationship to history and to the revolutionary tradition, its use of laughter in response to those in power, and, ultimately, its endurance. (In French)
{"title":"1871 raisons d'y croire: logiques et imaginaire des Gilets jaunes","authors":"Denis Saint- Amand","doi":"10.1353/NCF.2021.0015","DOIUrl":"https://doi.org/10.1353/NCF.2021.0015","url":null,"abstract":"Abstract:The Gilets jaunes movement that emerged in the fall of 2018 gave new life to the memory of the Commune: claiming its heritage on discursive and imaginary fronts while nevertheless failing to adopt all of its modes of operation. Revisiting specific aspects of this \"Commune of roundabouts,\" this article considers the discourses and imaginaries of the Gilets jaunes with regard to their \"wild\" writings (banners, signs, tags and customized vests). Such examples allow us to measure the movement's specificities, the collective ethos that it develops, its relationship to history and to the revolutionary tradition, its use of laughter in response to those in power, and, ultimately, its endurance. (In French)","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"374 - 395"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66359465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay recovers a lost debate about the political aspirations of the Commune. Recent scholarship has rightly emphasized that the common theme of Communard initiatives was association. However, Communards were torn between competing interpretations of association. According to the predominant sense, indebted to Proudhon, associations were expressions of worker autonomy. They were voluntary but morally obligatory contracts for mutual benefit. Opposed to this conception was another, according to which associations were necessary defensive formations, meant to resist economic and political domination. The most articulate advocate of this defensive conception was Prosper-Olivier Lissagaray (1838–1901), and this essay focuses on reconstructing his theory of association during and after the Commune. According to Lissagaray, association is not voluntary, but a practical necessity, a barricade against the overwhelming power of capital and the state. The tension between these divergent understandings of association is essential to the history and legacy of the Commune.
{"title":"«Une barricade, non un gouvernement» Contrasting Views of Association in the Paris Commune","authors":"W. Roberts","doi":"10.1353/NCF.2021.0003","DOIUrl":"https://doi.org/10.1353/NCF.2021.0003","url":null,"abstract":"Abstract:This essay recovers a lost debate about the political aspirations of the Commune. Recent scholarship has rightly emphasized that the common theme of Communard initiatives was association. However, Communards were torn between competing interpretations of association. According to the predominant sense, indebted to Proudhon, associations were expressions of worker autonomy. They were voluntary but morally obligatory contracts for mutual benefit. Opposed to this conception was another, according to which associations were necessary defensive formations, meant to resist economic and political domination. The most articulate advocate of this defensive conception was Prosper-Olivier Lissagaray (1838–1901), and this essay focuses on reconstructing his theory of association during and after the Commune. According to Lissagaray, association is not voluntary, but a practical necessity, a barricade against the overwhelming power of capital and the state. The tension between these divergent understandings of association is essential to the history and legacy of the Commune.","PeriodicalId":42524,"journal":{"name":"NINETEENTH-CENTURY FRENCH STUDIES","volume":"49 1","pages":"173 - 193"},"PeriodicalIF":0.2,"publicationDate":"2021-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/NCF.2021.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44299614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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