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In 1878 Alexandre Ribot assumed his place at the left-center of the French Chamber of Deputies. From here he began a lifelong effort to establish a moderate republic based upon his conception of liberal political values. The time seemed propitious to instill lofty purpose into French political life, for his entry into the Chamber coincided with the consolidation of the republican regime following the crisis of 16 May. But the first wave of republican anti-clericalism revealed the fragility of Ribot's hopes. During the next forty years, successive dramatic phases in republican history - Boulangism, the Dreyfus Affair, separa tion of church and state, the emergence of socialism, and ultimately, the demands of wartime leadership - would test Ribot's system of political values. Adaptive and resilient, he refined his definition of liberalism in response to political change and the charge that his plea for liberty and toleration had become instead sanctuary for a privileged class in French society.
The Battle for Control of the Brass and Instruments Business in the French Industrial Revolution narrates and analyzes the largest judicial battle in culture and industrial property in nineteenth century Europe, the echoes of which still ring today. The battle was about simple wind instruments made of brass and their related patents, not by opera - the musical genre that moved the most money and people at the time - or the revered and contentious high art. Music, in all its dimensions, had become a business. The nineteenth-century French industry of brasswinds shows how the strategic parameters of the Industrial Revolution and, essentially, the system that sustained them (capitalism), permeated everything. What lay behind those contentious disputes was the pursuit of commercial profit, and the consolidation of a dominant position that would yield the maximum possible economic return. The legal confrontation began when a group of French businessmen who built wind instruments saw their business and sources of financing threatened after being forced by the Army to use a series of musical instruments that were different to the usual ones and protected by patents for invention that belonged to Adolphe Sax, the inventor of the saxophone. Diago Ortega provides evidence of how political power was used by economic power, and presents arguments on how culture articulated the social machinery and was a powerful tool for legitimizing political positions.
Tocqueville was not only an active participant in the French Revolution of 1848, he was also a deeply perceptive observer with a detached attitude of mind. He saw the pitfalls of the course his country was taking more clearly than any of his contemporaries, including Karl Marx. Recollections was first written for self-clarification. It is both an exciting, candid, behind-the-scenes account of what actually happened during those tumultuous months and a remarkably shrewd analysis that has become an accurate forecast of future societies wrestling with the dilemma of synthesizing equality and freedom. Thus the book has a relevance that extends beyond France, to our own country and others, a relevance that is explored in J.P. Mayer's new introduction.Out of print in English for several years, Recollections is presented here in a translation based on the definitive French edition of 1964. It captures the wit and subtlety of mind that have made this book one of the most popular of all Tocqueville's works. Tocqueville's own comments, which he wrote into the manuscript, including his variants, are given, and the editors have added explanatory notes.