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In this important contribution both to the study of social protest and to French social history, Roger Gould breaks with previous accounts that portray the Paris Commune of 1871 as a continuation of the class struggles of the 1848 Revolution. Focusing on the collective identities framing conflict during these two upheavals and in the intervening period, Gould reveals that while class played a pivotal role in 1848, it was neighborhood solidarity that was the decisive organizing force in 1871.
The difference was due to Baron Haussmann's massive urban renovation projects between 1852 and 1868, which dispersed workers from Paris's center to newly annexed districts on the outskirts of the city. In these areas, residence rather than occupation structured social relations. Drawing on evidence from trail documents, marriage records, reports of police spies, and the popular press, Gould demonstrates that this fundamental rearrangement in the patterns of social life made possible a neighborhood insurgent movement; whereas the insurgents of 1848 fought and died in defense of their status as workers, those in 1871 did so as members of a besieged urban community.
A valuable resource for historians and scholars of social movements, this work shows that collective identities vary with political circumstances but are nevertheless constrained by social networks. Gould extends this argument to make sense of other protest movements and to offer predictions about the dimensions of future social conflict.
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About the Author:
Roger V. Gould is assistant professor of sociology at the University of Chicago.
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- PublisherUniversity of Chicago Press
- Publication date1995
- ISBN 10 0226305619
- ISBN 13 9780226305615
- BindingPaperback
- Edition number1
- Number of pages262
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A Listener's Guide to Free Improvisation
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Book Description Softcover. Condition: new. 1. Improvisation rattles some listeners Maybe theyre even suspicious of it John Coltranes saxophonic flights of fancy Jimi Hendrixs feedback drenched guitar solos Ravi Shankars sitar extrapolationsall these sounds seem like so much noodling or jamming indulgent selfexpression Just improvising as is sometimes said For these music fans it seems natural that music is meant to be composed In the first book of its kind John Corbetts A Listeners Guide to Free Improvisation provides a howto manual for the most extreme example of spontaneous improvising music with no preplanned material at all Drawing on over three decades of writing about presenting playing teaching and studying freely improvised music Corbett offers an enriching set of tools that show any curious listener how to really listen and he encourages them to enjoy the human impulse found all around the world to make up music on the spotCorbett equips his reader for a journey into a difficult musical landscape where there is no steady beat no preordained format no overarching melodic or harmonic framework and where tones can ring with the sharpest of burrs In Fundamentals he explores key areas of interest such as how the musicians interact the malleability of time overcoming impatience and watching out for changes and transitions he grounds these observations in concrete listening exercises a veritable training regime for musical attentiveness Then he takes readers deeper in Advanced Techniques plumbing the philosophical conundrums at the heart of free improvisation including topics such as the influence of the audience and the counterintuitive challenge of listening while asleep Scattered throughout are helpful and accessible lists of essential resourcesrecordings books videos and a registry of major practicing free improvisors from Nol Akchot to John Zorn particularly essential because this music is best experienced liveThe result is a concise humorous and inspiring guide a unique book that will help transform one of the worlds most notoriously unapproachable artforms into a rewarding and enjoyable experience. Seller Inventory # DADAX022635380X
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Insurgent Identities: Class, Community, and Protest in Paris from 1848 to the Commune
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