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REVIEWS OF BOOKS 611

Dodman’s brief afterword, ‘Nostalgia in History’, returns to nostalgia’s historical


transformations and changes, further thoughts on ‘our propensity to long for and desire
things lost or never quite possessed’, an emotional state we may never fully understand.
In sum, Dodman’s attempt to afford clinical forms of nostalgia a more central position
in our understanding of emotional passions in history is an ambitious task. Yet, his
perceptive, detailed reading of nostalgia’s origins and evolution offers a new interpre-
tive framework for interrogating the dynamic character of nostalgia during the early
modern era.

Swansea University DAV I D  AN DERS ON


doi:10.1093/fh/cry077
Advance Access publication 28 September 2018

A History of the Barricade. By Eric Hazan. Translated by D. Fernbach. London


and New York: Verso. 2015. x + 132 pp. £9.99. ISBN 978 1 7847 8125 5.
La barricade renversée. Histoire d’une photographie. Paris, 1848. By
Olivier Ihl. Vulaines-sur-Seine: Éditions du Croquant. 2016. 147 pp. €15. ISBN
978 2 3651 2085 2.
Barricades, Chateaubriand noted in Mémoires d’outre-tombe, ‘are found in all our
disturbances’. These two short books approach the quintessential symbol of Parisian
urban insurrection in very different ways, exploring the barricade in its symbolic, polit-
ical, physical and aesthetic contexts.
Eric Hazan’s A History of the Barricade is the fourth of his books to be published by
Verso in English translation. The book tells the story of the barricade from the Fronde to
the Commune of 1871 and is primarily focused on Paris (though Hazan briefly consid-
ers the spread of the barricade across Europe in 1848 in one chapter, drawing primarily
on Mark Traugott’s The Insurgent Barricade, and evokes barricade fighting in Russia
and Spain in the Epilogue). Hazan’s stated aim is to ‘show a certain continuity’ in the
use of barricades across the centuries, whether in terms of the cast of characters that
built and manned these usually makeshift, temporary structures or the physical aspects
of the barricade and barricade fighting. A History of the Barricade is essentially a nar-
rative history, with each chapter moving chronologically through time to examine a
particular journée or revolutionary event. The work makes considerable use of contem-
porary accounts and memoirs, perhaps relying a little too heavily at times on long quo-
tations that might benefit from more contextualization. Most chapters are punctuated
with the small maps, usually hand drawn, but in this case, rendered digitally, that are
the hallmark of much of Hazan’s writing on Paris. Indeed, several chapters appear to be
closely based on the account of nineteenth-century barricade fighting in the ‘Red Paris’
section of The Invention of Paris, his evocative work of 2010. Hazan appears more
interested in ‘the barricades of despair’, in notable defeats, than in examples of success-
ful street fighting, as illustrated by the twelve pages devoted to the insurrection of June
1848 (in contrast to the three that form the brief chapter on the February Revolution).
That chapter on June is illustrated with reproductions of two daguerreotypes that have
become almost ubiquitous in representations of nineteenth-century French barricade
fighting. Depicting the barricades of the rue Saint-Maur before and after the final defeat of
the June Days, these images were rapidly reproduced as engravings in L’Illustration and
612 REVIEWS OF BOOKS

have illustrated countless lectures, textbooks and articles ever since (including the cover
of L’Histoire’s February 2018 issue, devoted to 1848). These iconic daguerreotypes are
the subject of Olivier Ihl’s La barricade renversée. Histoire d’une photographie. Paris,
1848. Ihl takes the images—which are, in fact, a set of three rather than the pair that
appeared in L’Illustration in July 1848—as the starting point for a microhistory that packs
considerable range and detail into its 147 pages. Ihl pieces together the diverse elements
in the story of these images: the political commitment and scientific interests of their crea-
tor, Charles-François Thibault; the likely position he took them from; even the name of
the young woman in the white bonnet who peeps cautiously at Thibault’s camera in the
little-known third image in the set. From the daguerreotypes themselves, Ihl expands the
focus, drawing on archival records, contemporary accounts and little-known pamphlets.
The social and political history of the quartier captured in Thibault’s remarkable images
is explored across several chapters throughout the book, including insights into the pho-
tographer’s own political activism in the republican and socialist clubs of the faubourg du
Temple during 1848. Two concluding chapters examine the rise of photo-reportage, com-
paring the engraved versions of Thibault’s images with similar versions of the well-known
photograph by William Kilburn of the Chartist meeting at Kennington.
Ihl uses the photographs as a way to draw out the specific neighbourhood experience
of the June insurrection, delving into the considerable corpus of memoirs and osten-
sibly historical accounts of the fighting to try to evoke the experiences of those who
lived on the rue Saint-Maur during the rebellion and particularly its bloody repression. As
Ihl notes, the limitations of photographic technology in the summer of 1848 mean that
Thibault’s images do not really capture the violence and loss of life that accompanied
the end of the insurrection (he contrasts the daguerreotypes with Meissonier’s paint-
ing of dead bodies on the rue de la Mortellerie). What they do represent, he argues, is
an attempt to capture something essentially transient: not just a moment in time, as all
photographs try to do, but the barricades themselves, so temporary by their very nature.
Hazan’s short survey, peppered with contemporary quotes and outlining the story
of the barricade across three centuries, would provide an engaging introduction to
the subject for the general reader or undergraduate student. Ihl’s work appeals more
obviously to a specialized readership. Though its structure is occasionally complicated
and more might have been said about the history of the images after 1848 and their
reproduction in L’Illustration, Ihl’s short book remains a fascinating insight not alone
into these rare and beautiful photographic visions of Paris as a city of revolution, but
into the world of 1848 more broadly.

Northumbria University LAU RA  O’ BRI EN


doi:10.1093/fh/cry070
Advance Access publication October 6 2018

Deux avocats dans la France occupée: Les archives de Joseph Haennig et


Leon-Maurice Nordmann. By Eric A.  Freedman and Richard H.  Weisberg.
Paris: Éditions Non Lieu. 2015. 171 pp. €15. ISBN 978 2 3527 0221 4.
It was a frosty morning on 23 February 1942 when Leon-Maurice Nordmann was exe-
cuted by Nazi firing squad at Mont Valerien. Whether in an act of bravado or a com-
ment on the irony of the situation he went to his death singing a popular comic song of