David Sowell, The Early Colombian Labor Movement: Artisans and Politics in Bogotá, 1832–1919 (Philadelphia, PA: Temple University Press, 1992), pp. xvi + 269, $44.95. - Hernán Horna, Transport Modernization and Entrepreneurship in Nineteenth Century Colombia: Cisneros and Friends (Uppsala: Acta Universitatis Upsaliensis, Studia Historica Upsaliensia 172, 1992), pp. 189, SEK 182.

Mexican industrialization, which began during the second half of the nineteenth century, was paralleled by the appearance of an urban labor movement. Industrialization resulted in a sudden concentration of new workers from the countryside in a few urban areas—especially Mexico City. Living conditions for the new city dwellers were generally intolerable and were compounded by chronic economic and political instability. Crowning the laborer's difficulty were the almost impossible working conditions in the new factories. The working class, virtually in self-defense, began to organize. Because the urban labor movement during the last third of the nineteenth century was a prelude to similar and more famous developments during the violent years of the early twentieth century, analysis of its causes, nature, and significance is essential for understanding an important aspect of the Mexican Revolution.

Download Full-text

The Irish labor movement in the nineteenth century

Choice Reviews Online ◽

10.5860/choice.27-1071 ◽

1989 ◽

Vol 27 (02) ◽

pp. 27-1071-27-1071

Keyword(s):

Nineteenth Century ◽

Labor Movement

Download Full-text

L'ENFANT ET LE TYRAN:“LA MARSEILLAISE” AND THE BIRTH OF MELODRAMA

Theatre Survey ◽

10.1017/s0040557411000950 ◽

2012 ◽

Vol 53 (1) ◽

pp. 29-57

Author(s):

Jennifer Wise

Keyword(s):

Nineteenth Century ◽

Labor Movement ◽

The Other ◽

National Anthem ◽

The World ◽

The One

Whether through its association with 1789 or 1830, with the German labor movement of the nineteenth century, or the fight against fascism in the twentieth, the stirring sound of the national anthem of France is familiar to us all.1(And film buffs everywhere have a powerful image of this last association thanks to the unforgettable depiction of the song inCasablanca.) Less well known is that this famous song, though feared during the 1790s as the terrorist “chant” of the guillotine,2also provided René-Charles Guilbert de Pixérécourt with the ingredients, and a ready-made dramaturgical recipe, for inventing a new theatrical genre.3With its simple division of the world into vulnerable, imperiledenfantson the one hand, and powerful, plottingtyranson the other, and its demand that the latter be killed, “La Marseillaise” may well have helped to stoke the fire of the Terror and certainly helped legitimize its violence. But in terms of its plot, characters, and politicomoral thought, even in terms of its diction and spectacle,4“La Marseillaise” also laid down the dramaturgical rules for playwriting in revolutionary Paris, showing the father of melodrama how to make for the happiness of theenfants de la patrie—those in the audience and those on the stage.

Download Full-text