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  • Prof: Today I want to talk about the Industrial

  • Revolution from a variety of aspects.

  • Everything on the board I put on our website,

  • so don't worry about copying it down.

  • It's all pretty obvious.

  • Doing the Industrial Revolution across the century is no easy

  • task, but we will do it and do the reading.

  • Let me just say that the way people look at what used to be

  • called Industrial Revolution, and I guess some people still

  • call it that, has changed dramatically.

  • Through the 1950s and into the 1960s,

  • the idea of the Industrial Revolution was that it was the

  • work of some genius inventors who created machines used

  • primarily in the textile industry--but also in

  • mining--that eliminated blocks to assembly line production.

  • Then everybody was crowded into factories and the new brave

  • world opened up.

  • In fact, one of the most interesting books and great

  • classics that is still in print was written by an economic

  • historian at Harvard who's still around called David Landes.

  • It's a good book called The Unbound Prometheus,

  • which was basically that.

  • Some of the inventions that I briefly describe in your

  • reading, the spinning jenny, etc., refer to that.

  • That kind of analysis led one to concentrate on England,

  • where the Industrial Revolution began,

  • and to view industrialization as being a situation of winners

  • and losers (by not going as fast).

  • In your reading I give you some pretty obvious examples of

  • reasons for the Industrial Revolution first coming to

  • England: the location of resources,

  • particularly coal; a country in which nowhere is

  • more than seventy-five miles away from the sea;

  • precocious canals and roads; banking systems;

  • fluidity between classes and a very large and increasingly

  • larger proletariat; agricultural revolution, etc.

  • With that kind of analysis, those places that didn't

  • industrialize as fast, for example,

  • France, one thought they were

  • "retarded"; a word that was used,

  • unfortunately, at that time.

  • Then one tried to see why not.

  • That analysis has been rejected greatly over the past years,

  • because the Industrial Revolution is measured by more

  • than simply large factories with industrial workers and the

  • number of machines.

  • This is the point of the beginning of this.

  • The more that we look at the Industrial Revolution,

  • the more we see that the Industrial Revolution was first

  • and foremost an intensification of forms of production,

  • of kinds of production that were already there.

  • Thus, we spend more time looking at the intensification

  • of artisanal production, craft production,

  • domestic industry--which we've already mentioned,

  • that is, people, mostly women but also men and

  • children, too, working in the countryside.

  • The rapid rise of industrial production was very much tied to

  • traditional forms of production.

  • In Paris, for example, in 1870, the average unit of

  • production had only slightly more than seven people in it.

  • So, if you only look for big factories and lots of machines,

  • you'll be missing the boat on the Industrial Revolution.

  • To be sure, when we think of the Industrial

  • Revolution we think of Manchester,

  • which grew from a very small town into this enormous city

  • full of what Engels called "the satanic mills"

  • of industrial production.

  • Or you think of smoky Sheffield, also in Northern

  • England.

  • Or you think of Birmingham in the midlands.

  • If you think of France you'll think of Lille and its two

  • burgeoning towns around it, Tourcoing and Roubaix.

  • Or you think of Saint Etienne, which was kind of France's

  • Manchester.

  • In Germany you think of the Rhineland and the Ruhr.

  • In Italy you think of Turin and Milan.

  • In Russia, you think of the Moscow and St.

  • Petersburg region.

  • In Spain, Barcelona.

  • Indeed, those are classic cases of industrial concentration,

  • where you do have really significant mechanization over a

  • very long period of time.

  • You do have large towns with smoky factories full of workers.

  • But again, and we've underestimated--in fact,

  • the second edition has more about this than the first,

  • which you're reading--the degree of industrial production

  • in the late Russian empire.

  • Yet, to be sure, when I say that the Industrial

  • Revolution is first and foremost an intensification of forms of

  • industries that already existed, if you were a parachutist and

  • you're somehow floating down over Europe from,

  • say, the middle of the eighteenth century through the

  • middle of the nineteenth century,

  • what you would see is that there were still all sorts of

  • industry, a rapid increase of industrial

  • production that is out in the countryside,

  • that's not in factories.

  • It's done in a very traditional way.

  • Or rural handicrafts, people producing all sorts of

  • things still at home.

  • There's a marvelous book written by a scholar called

  • Maxine Berg, who teaches at Warwick in England.

  • The book is called The Age of Manufacture.

  • She reexamined the Industrial Revolution and discovered that,

  • for example, the town of Birmingham,

  • which produced all sorts of toys,

  • big toy manufacturers, that even though you had a lot

  • of factories, you still had a lot of the toys

  • being finished or even produced by women working in the

  • hinterland, that is, the arrière pays,

  • or the environs of Birmingham.

  • If you take smoky Sheffield, a grim kind of place in the

  • nineteenth century, where they produced knives and

  • cutlery.

  • You still had a lot of these products being finished by

  • people out in the countryside.

  • If you take the North of France,

  • if you think of a town like Reims,

  • famous for champagne, it was a big industrial center

  • but it wasn't the center of mechanized production until

  • after about 1850.

  • What you had is you had all these people out in the

  • countryside, mostly women, who are doing spinning and

  • weaving and carding and that kind of thing.

  • Or around Nancy in the east of France.

  • By 1875 you still had something like 75,000 women who were

  • embroiderers working in the countryside.

  • Rural industry intensifies.

  • Finally, at the end--not at the end, but it depends on where you

  • are--you have this implosion of work into factories.

  • So, by the end of the century the kind of traditional view

  • that one would have of the Industrial Revolution has really

  • arrived, where factory production and

  • above all, in the textile industry.

  • The textile industry is the leading edge of the Industrial

  • Revolution.

  • You have women who used to work at home that are now working in

  • factories as what the British call textile operatives.

  • Or Switzerland, you think of Switzerland as

  • being the famous mercenaries in the early modern period or the

  • very wealthy bankers in our own day.

  • But if you think of a town like Zurich, on the lake,

  • there was all sorts of industry in the uplands of Zurich,

  • up into the hills and even into the mountains around Zurich,

  • of handicraft production.

  • Or Austria, in the Austria-Hungarian empire,

  • there's hundreds of thousands of people working in the textile

  • industry.

  • The details aren't as important as the fact that,

  • to be sure, the mines that you read about in Germinal,

  • which is a great, great read, and the factories that I will

  • describe in a while are described by Engels--and I

  • couldn't do better than that--are a reality and they

  • become the industrial experience.

  • When you think of Detroit, Michigan, in the 1930s,

  • or Flint, Michigan, in the 1930s,

  • or you think about now the rust belt of Connecticut of

  • Torrington and these places that were once booming industrial

  • towns.

  • That's the kind of classic model.

  • The American model really is closer to what people used to

  • think the Industrial Revolution meant in the case of Europe.

  • But that's not a subject for now.

  • A couple points--by the way, I don't think I'll ever get to

  • my notes, but it doesn't really matter.

  • First of all, and this is another reason why

  • the Industrial Revolution starts in England.

  • You can't have an industrial revolution without an

  • agricultural revolution.

  • What the Agricultural Revolution does is increases the

  • amount of food produced that's going to feed your burgeoning

  • proletariat, your labor force.

  • This is a place, all of Europe increases in

  • population.

  • The French population is unique; it stops growing in 1846 and

  • 1847.

  • In simply stops, skids to a halt.

  • But everywhere else, the population grows.

  • There are regional differences in France, as there are regional

  • differences everywhere.

  • But the Industrial Revolution depends on the Agricultural

  • Revolution for an increase in food supply.

  • This makes possible the increase in urban population,

  • thus also increasing the demand for food.

  • Also, the Agricultural Revolution particularly,

  • but not just in the case of England, increases capital

  • formation.

  • You've got this sort of surplus of money, bucks,

  • pounds, fric, cash that can be invested in

  • industry.

  • This is precisely what happens.

  • That's why the Agricultural Revolution is absolutely

  • important.

  • These three things, Industrial Revolution,

  • Agricultural Revolution, and the growth of cities,

  • are very much tied together.

  • Let me give you an example, which you certainly don't have

  • to remember.

  • Think of Manchester.

  • I describe the statistics in there, that the growth of

  • Manchester is a prodigious, scary thing.

  • I'll talk more about how rural and urban elites are frightened

  • by the growth of cities, particularly in Germany,

  • but in France, England, and in the United States, later.

  • What the growth of Manchester does is it really changes the

  • countryside around and helps bring the Agricultural

  • Revolution.

  • What do I mean by that?

  • You find the same thing around Paris, around Berlin,

  • or around Warsaw, almost any big city that I can

  • think of.

  • In response to this urban growth,

  • this big octopus of people and money,

  • of rich people and poor people, I'll talk about some of the

  • rich people next time on Wednesday.

  • You've got an expanded demand for food.

  • In that ring immediately around a city like Manchester,

  • you've got a dramatic expansion of people doing what they call

  • truck farming.

  • They're specializing in crops for the urban market--fruit,

  • vegetables, things like that.

  • They specialize because there are people there that are going

  • to pay for and eat what they produce.

  • Take the example of Paris, which I'll come back and talk

  • about with great relish someday.

  • The suburbs of Paris, a place called Montreuil,

  • which is kind of a grim part of eastern Paris.

  • It used to be famous for its cherries, and fruits,

  • and that kind of thing that they were producing for the

  • urban market.

  • Or wine, if you can imagine wine being produced,

  • what a horrible idea, in the region of Paris.

  • It's Asnières, on the Seine.

  • They used to produce wine for Paris's vast market.

  • Then the next big ring around Manchester, you've got the big

  • fish eating the little fish.

  • They are more productive.

  • As this commercial agriculture develops and more productive

  • production--that's a terrible sentence,

  • there's a greater productivity in response to this urban

  • demand.

  • On the far, distant places you have people specializing in the

  • production of cattle, that is, milk and meat for the

  • market.

  • Of course, the other thing which goes without saying is

  • that in the course of the nineteenth century you've got

  • this amazing development in shipping.

  • Pretty soon with steel, and with refrigeration--and

  • just like now you've got lamb arriving from New Zealand and

  • things like that.

  • This is largely in response to the increase of these large

  • urban conurbations.

  • We use the term "conurbation"

  • to describe cities that grow up so much that they actually merge

  • together.

  • The American Northeast became sort of a conurbation.

  • It's very hard when going to New Jersey to ever see where

  • there aren't cities.

  • One ends and then the other starts.

  • That becomes the case in parts of Northern England as well.

  • The term "protoindus trialization"

  • there is what we mean by the expansion of industrial

  • production along very traditional lines.

  • What I put in parentheses there, domestic or rural

  • industry, we've already talked about.

  • So, first you've got this expansion of industry in the

  • countryside.

  • I'll give you one example.

  • Again, I hate to keep taking examples occasionally from

  • France, but I know that best.

  • The city of Lyons, which is a big soap producing

  • city, what you have in the first half

  • of the nineteenth century is you've got an implosion of work

  • into Lyons, into this working class suburb

  • called the Croix-Rousse--it doesn't matter,

  • although it's a neat place.

  • It's a really neat place.

  • Then in the 1850s the people that owned the silk begin to put

  • work back out into the countryside.

  • Why would they do that?

  • Because the women working there or the men working there worked

  • for less than people living in the city.

  • Again, if you're parachuting down starting about 1750,

  • you have to imagine hundreds of thousands of little dots out in

  • the countryside.

  • And even more of them as the Industrial Revolution gets

  • kicking along before you finally have this implosion or movement

  • in and around cities.

  • More about that when I talk about cities.

  • I'll help explain why European cities are so different than

  • American cities, with the poor living on the

  • outside and the rich living within.

  • Large-scale industrialization has a lot to do with that.

  • Having said all of that, let me talk a little bit

  • about--I'll never get to my notes, but this is fun

  • anyway--women's work.

  • Did the Industrial Revolution change women's work?

  • There are continuities in women's work which are extremely

  • important, and ultimately there will be

  • changes as factory production comes to dominate in many places

  • in industrial Europe.

  • Yet, there are certain things that don't change about women's

  • work and women's roles in the household.

  • Women remain the head of the family economy.

  • Women, whether they're married or simply living with people

  • that they've been living with for a short or long time,

  • run the family economy and it's true whether they are in rural

  • Switzerland in the uplands of Zurich,

  • working in the textile industry,

  • or whether they are textile operatives in Manchester or

  • someplace like that.

  • The Industrial Revolution does not change other aspects of

  • women's work in that at least well into the nineteenth century

  • in most parts of industrial Europe,

  • women are still working in the countryside but also major

  • employers of women don't change at all with industrialization.

  • The classic case hereto is England, and that is domestic

  • service.

  • If you were going to take England in, say,

  • 1850, the largest three categories of

  • people doing anything are not in this order,

  • but just about all the same number would be women working as

  • domestics.

  • Some men worked as domestics, too.

  • Say, domestic service, textile operatives,

  • and an important category that I'm going to talk about later in

  • my theme of "it's bitter hard to write the history of

  • remainders," rural agricultural laborers,

  • rural proletarians.

  • Another category of women's work, again which one hesitates

  • to evoke, is of course prostitution.

  • The Industrial Revolution doesn't change that sad aspect

  • of women's work.

  • It increases with urban growth the number of people working as

  • prostitutes in even very small towns.

  • The number of prostitutes in Paris or London is simply

  • incalculable.

  • The estimates in Paris go from 20,000 to 100,000.

  • Lots of women who are married become prostitutes pour faire

  • sa fin de mois, to pay off the bills at the end

  • of the month.

  • This sad aspect of women's work, people forced into

  • prostitution by want, doesn't really change with

  • industrialization.

  • The numbers simply get bigger and bigger.

  • Of course, one of the results of this,

  • this isn't the time to discuss this,

  • but there's a sort of panic at the end of the nineteenth

  • century about syphilis and about venereal disease and all that.

  • Also which ironically helps further condemn ordinary people

  • in elite minds, which is a coincidence,

  • since many of the patrons or many of the clients of

  • prostitutes were middle-class males no matter what country

  • you're talking about.

  • More about women's work in a while in the context of

  • factories.

  • Here again, history has its history, too.

  • When I grew up, to the extent I ever did,

  • as a student when I was thinking about doing a

  • dissertation, and becoming an historian,

  • and all that stuff, what people studied was--the

  • reason I put it in quotes--;"working class

  • consciousness."

  • We were sort of children of the very late or the 1960s or 1970s

  • and everybody wanted to follow the great English historian

  • E.P. Thompson, who wrote a monumental book

  • called The Making of the English Working Class.

  • Everybody wanted to find the making of class-conscious

  • workers in various places.

  • Everybody wanted to study the crowd,

  • as in The Crowd in the French Revolution,

  • my late friend, George Rudé's famous

  • book, the crowd here or the crowd

  • there.

  • The first article I ever published was called "The

  • Crowd in the Affair du Limoges, April 27,1848."

  • Now I look back sometimes and I think, "Who cares?"

  • But anyway, in the 1980s the move kind of turned away from

  • that and more people started studying the middle class.

  • More about the middle class folk in the nineteenth century

  • and what my friend, Peter Gay, called the bourgeois

  • century next time around.

  • Nonetheless, you can't throw out the baby

  • with the bathwater, and class remains a fundamental

  • concept.

  • If you're going to understand nineteenth and twentieth century

  • Europe, you have to understand social class,

  • because there's a reality.

  • We live in a country now where people like to think there are

  • no classes.

  • Well, don't get me going on the current economic crisis.

  • I can remember people going down to the Ford plant in

  • Ypsilanti and Detroit and trying to get people who work in those

  • places interested in the war, against the war in Vietnam,

  • and getting absolutely nowhere and hearing arguments that in

  • America we don't have classes.

  • That simply isn't true.

  • Anyway, in the nineteenth century social class was a real

  • thing.

  • Nobody had a stronger class identity than the middle class.

  • That's what I'm going to talk about next time.

  • I can hardly wait.

  • There was a working class, but not everybody saw

  • themselves as workers, as a form of identity as

  • opposed to something else.

  • People can have multiple identities.

  • When we talk about nationalism, that's an obvious point to

  • make.

  • If you ask people who they are, they might say they're

  • Protestant or they're Jewish or they're Catholic or they're

  • Muslim or they might say they're from this extended family or

  • they're from this region.

  • They're Bavarian or whatever.

  • In the nineteenth century-class identity, the sense of being

  • workers as a class apart was a reality.

  • That's just the way it is.

  • That was worth studying and people did some very good work

  • on it.

  • It's kind of come back, too.

  • It's kind of come back.

  • Anyone who's been in Britain, where class identity is so

  • revealed by language, there isn't anyplace,

  • including France or any place else that I know where a

  • difference in accent is so revealing as to not only where

  • you are from, but who you are in terms of

  • social class.

  • It's really just amazing.

  • It remains true in France and some other places.

  • There was a strangler.

  • There are always these stranglers around in Britain.

  • There was one guy was this hardcore killer,

  • a bad guy killing a bunch of people about fifteen years ago.

  • Finally, they get all these experts on language and he

  • called up I guess a radio station and sort of "Here I

  • am.

  • Come and get me" kind of thing.

  • They had him pegged where he was within something like ten

  • miles of where they ended up arresting him,

  • which is in Bradford in the north of England.

  • Language is one of the ways that people reveal their class.

  • In the nineteenth century we're talking about workers and how

  • some workers, but not all,

  • began to see themselves as proletarians.

  • That seems like one of those trendy words,

  • but it meant something to people.

  • A proletarian is somebody dependent on their own labor,

  • usually unskilled or semi-skilled,

  • in order to survive.

  • There are two aspects to the term

  • "proletarianization."

  • One is kind of the objective sense that you are a laborer.

  • You may be a harvester.

  • You may pick grapes for the wine harvest.

  • You may be carrying around large boxes,

  • which is what I did at Alice Love's Jams and Jellies in

  • Portland, Oregon, or at Kellogg's of Battle

  • Creek, where I also worked,

  • totally unskilled, but again that was not going to

  • be my lifelong identity, because I was able to go on to

  • do something else.

  • But in Europe you were born into the proletariat in most

  • cases.

  • If you grew up as a Catholic, in this part of France,

  • you still would have been a practicing Catholic,

  • a Catholic guy, a young boy or young woman in

  • and around Saint Etienne or in Lille,

  • the chances were overwhelming that you were going to follow

  • your parents into the mines.

  • You were going to go in the mines.

  • As a matter of fact, again I hate giving these

  • French examples, but there's an expression

  • that's really only used there that I've ever heard when a kid

  • screws up, does something he's not

  • supposed to.

  • What they say is deux semaines dessous une benne,

  • which is if you spend two weeks ducking down like this and

  • having to help guide this cart full of coal up and down the

  • railroad tracks, you won't screw up like that

  • again, little boy.

  • The sense of you were born into the world of work.

  • In America there were all these kinds of literature,

  • the equivalent of Boys Life about remarkable

  • assents into the social stratosphere,

  • that America was the land of opportunity.

  • Well, America was the land of opportunity, to be sure,

  • with availability of land.

  • But cases of social mobility were actually fairly limited.

  • This was certainly the case in almost all of Europe.

  • You were essentially born into, for most people,

  • this status.

  • The other thing that happened, and this explains the rise of

  • class consciousness, is that people who--suddenly

  • the bottom drops out of their economic life--that's a fairly

  • appropriate analogy for today--who were artisans,

  • who were craftsmen, become really the first,

  • depending on where we're talking about.

  • It begins really about the turn of the century,

  • that is, 1800 or slightly before,

  • but mostly afterward, by 1830 in England and then

  • follows in other countries in many, many places.

  • Artisans and craftsmen are really the first to see

  • themselves as a class apart.

  • Not unskilled workers.

  • Why?

  • This is pretty obvious.

  • Artisans and craftsmen are educated up to a point.

  • They have a sense of dignity about their trades.

  • They have organizations.

  • They have mutual aid societies, for example.

  • There's a craft guild organization in France called

  • the compagnonnage.

  • This came from the medieval times when they built the big

  • cathedrals and all of that.

  • They have organization.

  • They have a sense of pride in craft dignity.

  • Karl Marx, who was a pretty smart guy, he got a lot of

  • things wrong, but he got a lot of things

  • right.

  • Karl Marx wrote in the 1830s and 1940s about how workers'

  • wages were declining.

  • He was right for artisans.

  • There's no question about it.

  • Artisans are at the forefront of every single social and

  • political movement that you can think of in the French

  • Revolution.

  • There we go.

  • Who stormed the Bastille?

  • It was artisans, 1830 in France,

  • 1848 in Austria, in Berlin, in Paris.

  • It was artisans.

  • Why all of a sudden do they get mad?

  • There's really two reasons, two things that happened to

  • artisans that caused their economic situation to go

  • downhill.

  • First of all, the French Revolution or the

  • effects of the French Revolution destroy the guilds.

  • Anybody can be a tailor or a shoemaker or whatever,

  • a glassmaker.

  • If you learn the skills, there's no one who's going to

  • say no, you can't get in this union.

  • You might be able to get in this mutual aid society or

  • friendly society, but you can't do the work

  • because the guilds are gone.

  • The French Revolution banishes the guilds, laissez faire,

  • Adam Smith, et cetera, et cetera.

  • There are laws against unions.

  • Strikes are not legal in France until 1864.

  • The corporation acts are reinforced by the fear in

  • Britain of the French Revolution.

  • But what happens is you've got what can be called,

  • Bill Sewell has called it that, a friend of mine in Chicago,

  • the crisis of expansion.

  • You've got all these people now who say, "Hey,

  • I'm going to be a tailor, too."

  • If you lived in Berlin or someplace in the 1840s,

  • you would hear tailors walking along the street pushing carts

  • full of clothes that they had made from the beginning to the

  • end, of suits being sold for

  • practically nothing.

  • Why?

  • Because there's so many other people making suits as well.

  • Also, mechanized production means that you can buy suits off

  • the rack, and they're getting very little for their suits.

  • They didn't wake up and think, "Gee, I can't remember how

  • to make a suit."

  • They got these suits.

  • They can make them and they can't sell them.

  • Their wages are declining.

  • Are they mad?

  • They're furious.

  • Who do they blame?

  • They blame the state and they blame the bourgeoisie,

  • the middle class, the middlemen.

  • For example, in the case of tailors,

  • there are a lot of middlemen who've got capital.

  • What do you do?

  • You say, "Look, I'm going to get a bunch of

  • suits made.

  • Here are all these tailors, they don't have enough to

  • work."

  • I'm not giving you a very good example, because I don't know a

  • damn thing about being a tailor.

  • But they say, "Okay, you guys do the

  • sleeves.

  • You guys do the pants, because you can do them all one

  • after another and you don't have to worry about doing the rest of

  • it.

  • Then I'll pick up everything that you make."

  • This is a continuation of rural industry.

  • "Then I will sell it in the markets."

  • Into World War I you still had single women in Paris now

  • chained to their sewing machine, not literally,

  • but they've got to pay off their sewing machine.

  • The sewing machine starts before electricity,

  • but after electricity comes along.

  • They're working by themselves.

  • Their day isn't cut short anymore by the end of daylight.

  • It's cut short by sheer fatigue and producing these goods for

  • this market.

  • These tailors, and shoemakers,

  • and all of that, they're in every single

  • movement.

  • They are the ones who first say, "Hey,

  • you know what?

  • All we workers, we've got some stuff in common.

  • This is amplified by residential patterns,

  • people living in and around where they work,

  • et cetera, et cetera.

  • Mechanization also, I'll give you an example that I

  • do know something about which is porcelain.

  • Porcelain is one of these products that's a luxury good.

  • Renoir, the great painter, started out--he was born in

  • Limoges, France in 1841--Renoir starts out decorating plates.

  • He painted plates.

  • Along comes this new technological innovation.

  • If you did, and I only did very briefly,

  • make those model airplanes and stuff like that,

  • there were little decals that you'd stick on the plane to

  • represent the Spitfire, or whatever American fighters

  • or boats.

  • I'm not such a war guy, so I stopped that pretty

  • quickly.

  • So, somebody invents one of these decals that can be baked

  • on to high quality plates between the first and second

  • baking.

  • Porcelain remains a luxury good.

  • The people that used to paint them are sent to the warehouse

  • where they work for about a third of what they would make as

  • skilled painters.

  • They didn't wake up one day and say, "Geez,

  • I can't remember how you paint a plate anymore."

  • No one's going to pay them to paint plates except for very

  • special orders.

  • Glassmaking is the same thing.

  • People that formed bottles used to be very well paid.

  • Then a machine is invented that comes along and does the same

  • thing.

  • It turns out bottles by the zillions to be filled with wine

  • and whatever.

  • They're out of luck.

  • Are they mad?

  • They're furious.

  • Pretty soon they start thinking, "You know these

  • unskilled people, we have some of the same

  • grievances."

  • They begin seeing themselves as a class apart.

  • Class consciousness isn't sort of an invention of lefties from

  • the 1970s like yours truly.

  • It's not at all.

  • It was a reality.

  • It wasn't for everybody, but if you read a lot of

  • literature, especially from London or from

  • anywhere about the kinds of solidarities that people had

  • because of their social class, and the sense that they formed

  • a class apart and were relegated to sort of a permanent

  • proletarian status by forces that they can't control--the

  • state and big money and big capital.

  • People would be a little better off if they were thinking about

  • that now.

  • Anyway, that's that.

  • Having said that, I want to turn in the last ten

  • minutes to--did I get all that in?

  • Yes!

  • I want to turn to something that complements that.

  • That is a discussion of industrial discipline.

  • One thing as workers learn to strike,

  • going on to strike for better working conditions,

  • for more money, for better hours,

  • shorter hours, et cetera, et cetera,

  • one has to imagine what the world looked like for them.

  • What did they think about things that were happening to

  • them?

  • One of the things that had happened to them was this sort

  • of nineteenth-century end stage of the Industrial Revolution,

  • that is, factory production.

  • If you were an artisan, if you were a tailor--I keep

  • using these examples, but they're so stuck in my

  • mind--or shoemaker, you basically worked when you

  • wanted.

  • You worked in response to demand for your product.

  • Many of these people were on the move, going from one place

  • to the next.

  • But you worked kind of when you wanted to, or when there was a

  • demand for your product.

  • If you were in domestic industry, and you were a woman

  • working in the hinterland of Zurich, you worked when there

  • was demand for your work.

  • Then you took time off to nurse your child or to take account of

  • the family to see how we were doing,

  • if there was enough to tie through until the next week.

  • You more or less worked on your own.

  • A pottery baron called Josiah Wedgwood,

  • you've probably heard of Wedgwood pottery,

  • just before 1800 he's trying to think about how you make all

  • these workers that he had-- how do you make them respond in the

  • very same way, so they don't just kind of get

  • up and wander off or spend time talking or enjoying themselves?

  • How do you get them all to work at his single command?

  • His dream, his fantasy was that he wanted a set of workers that

  • responded as fingers on two hands in response to his

  • command.

  • That's what he wants.

  • He and his successors create strategies of doing just that.

  • In doing so they launch this sort of protracted struggle,

  • which is very revealing about the bigger processes at play in

  • the nineteenth century.

  • Factories have a lot to do with that.

  • Hereto, I say that with such intensity for my bad experiences

  • working in factories.

  • I once was working in Alice Love's Jams and Jellies.

  • I was supposed to be to work about 6:00 in the morning after

  • a night I probably shouldn't have had.

  • The last thing I remember was the guy.

  • He didn't like me because I was a college guy.

  • I always had my mighty maize and blue Michigan shirt on.

  • He said, "Listen, idiot"--I was on jams and

  • jelly duty.

  • There was a huge machine.

  • You have to imagine an enormous accordion.

  • They'd put all these berries in there.

  • Then the press would squeeze them into jelly,

  • which we would drink or eat and make ourselves sick.

  • It would build up a lot of pressure and the last thing I

  • remember him saying was, "Listen,

  • idiot," that was me, "don't leave your finger

  • on that button very long."

  • As I was trying to figure out who had beaten whom the night

  • before in the American League, the thing blew up.

  • This enormous tidal wave of boysenberry juice engulfed me

  • and I was burned.

  • Actually, I was out on sick leave for two weeks or I was

  • just down playing basketball and getting paid to do that.

  • This tidal wave of boysenberries,

  • a forklift with about something like 2,000 jars of apple butter

  • spun out of control.

  • It was a terrible, terrible mess.

  • But the point of this is that I hated the foreman.

  • As I left, I said, "Too bad for you,

  • foreman."

  • I take that back.

  • I didn't say that.

  • Anyway, the point of this is that factories become first of

  • all a way of maintaining industrial discipline.

  • In the first factories in Britain they were not there

  • because you had these machines that were there immediately.

  • James Watts' steam engine was not used really for about

  • fifteen years after it was made, because there weren't many

  • things it could do.

  • The first factories were there putting together artisans,

  • semi-skilled workers, and unskilled workers as a form

  • of industrial discipline.

  • When you think, if you see postcards--at the

  • end of the nineteenth century, really about 1900,

  • the craze for postcards begins in Europe and in the United

  • States, too.

  • Now, these postcards are extremely expensive if they have

  • people in them, particularly people at work.

  • They're really, really--and I have all sorts of

  • them from Limoges and the porcelain industry and from the

  • strikes.

  • But if you see these pictures, when workers had their pictures

  • taken together, they're always in front of the

  • door.

  • Why?

  • You had to enter the door or leave the door.

  • The signal was given by the clock and by the bell that

  • called you to work.

  • If you were late, too bad for you.

  • You could be docked or fired, and there are lots more people

  • out there who would like to have those jobs.

  • What happens in the nineteenth century is that the factory,

  • before really its role as a houser of big thundering

  • machines, in many places the factory was

  • first and foremost a way of putting discipline on workers.

  • There's a terrible case in Brooklyn,

  • I think in 1912 or something, where 150 or 200 women were

  • burned to death because the bosses or the foreman had locked

  • the doors, so they couldn't go out and

  • "chatter."

  • What they begin to do in the middle of the nineteenth century

  • is have rules, regulations for work,

  • what you can do, what you can't do,

  • and what you must do.

  • You can't talk.

  • If you were a porcelain worker and something blew up in the

  • oven, that was docked from your salary.

  • In order to watch over these workers, they bring in the

  • foreman, fore-people.

  • There was a strike in Limoges because the fore-person,

  • a woman, was very religious and she made

  • the workers kneel down on the ground and pray with their knees

  • on the stone before work started.

  • No separation of church and work there.

  • They bring in foremen who are going to enforce these--to see

  • if you're a good worker or if you're a bad worker.

  • Now, workers resent this very much.

  • How did workers view the bosses, for example?

  • In the 1820s and 1830s, you're still working in smaller

  • units of production in most places in Europe if you're in a

  • factory.

  • You've got an issue with the boss.

  • The boss is somebody who might give you a little extra on

  • Christmas, or something like that.

  • The boss is somebody you knew.

  • There was a sense of, "Well, you're not doing me

  • right now.

  • This isn't right and I'm going to leave until you get it

  • together and do better by me."

  • The boss is a presence.

  • He's there all the time, as my boss at Dennis Uniform

  • Manufacturing Company, also in Portland,

  • Oregon.

  • He was there all the time.

  • By the time the foremen start coming in, the foreman is

  • representing the boss.

  • The foreman is somebody who's brought in from the outside or

  • promoted, often unjustly, from within.

  • The foreman replaces the boss as the one who's hitting on the

  • young female workers.

  • They call it in French the droit de cuissage--that's

  • rather crude--the right of hitting on and scoring,

  • putting oneself in a power relationship with a female

  • employee.

  • The foreman begins to represent the boss.

  • The boss now during strikes, the language of workers during

  • strikes is, "The boss, he's a letch.

  • He's a drunk.

  • He eats too much."

  • He doesn't care whether you live or die.

  • He's still somebody you see kind of walking through and all

  • that.

  • You don't like him that much, but he's still a presence.

  • The strikes at the end of the nineteenth century are very,

  • very different.

  • The boss often is a very distant person.

  • He's sending telegrams from London or sending telegrams from

  • Frankfurt to his foreman demanding this or that.

  • In the case of a strike in Limoges, France,

  • the owner of the factory was an American called David Haviland,

  • as in Haviland porcelain, at one point actually demands

  • that the U.S.

  • Embassy send in the U.S. Marines,

  • as if that was possible in order to put an end to this

  • disturbance, this disorder in his factory.

  • He or she has become a symbol of capitalism,

  • protected by the state and protected by the army.

  • This is how workers, not all workers,

  • but in many cases, view the boss.

  • Industrial discipline has been imposed by these rules,

  • these regulations, and these foreman.

  • If you don't like it, too bad.

  • Women workers are no longer allowed to nurse their children,

  • to bring their children or to go out and nurse them.

  • They are forced to eat inside the factory.

  • That's why tuberculosis rates are enormous,

  • particularly in mining and in factories.

  • You'll see this in Germinal.

  • It's really kind of an amazing book.

  • This view of workers of their bosses tells you something about

  • this long process, it's very uneven and not

  • everywhere, but still there--that explain

  • this massive kind of movements of strikes that you found in all

  • sorts of countries--Northern Italy, Barcelona,

  • Moscow in 1917.

  • Huge strikes would be terribly important in 1917 in Moscow.

  • Then something else happens, and I'm going to end with this,

  • because it's in a minor way an amazing tale about a colleague,

  • a brilliant woman I know called Michelle Perrot,

  • something she wrote in the late 1970s.

  • It tells you so much about our time.

  • In the beginning of the twentieth century an American

  • engineer called Taylor comes up.

  • Remember, this is the time when the Olympics have started up

  • again.

  • You measure how fast people can run the 100 or how far they can

  • throw the shot-put.

  • You're measuring things.

  • Car races have begun.

  • Bicycle race, which was a bloody spectacle

  • with bikes careening out of control all the time.

  • You see working class heroes getting just mangled,

  • in part through each other's manipulations of trying to knock

  • them off.

  • But you're measuring things.

  • Taylor comes up with this way of measuring units of

  • production, the ultimate in industrial discipline.

  • You were on the assembly line.

  • They will count the number of units you can do of jars of

  • apple butter that you can turn out.

  • If you're not turning out enough, "See ya',

  • we'll get somebody else.

  • A lot of people want that job.

  • We'll see ya'."

  • That's why the wages stay down, because there are a lot of

  • people who want those jobs because of the growth.

  • He becomes the darling of the French car manufacturers.

  • He becomes the darling.

  • He is a hot item.

  • He would be on People magazine,

  • if they did have one, because he comes and tells them

  • how they can get more effort out of their tired,

  • fatigued workers by counting them.

  • It's just like that all the way.

  • Michelle Perrot, when she wrote a brilliant

  • article and edited a book I did a long time ago,

  • her article was called "The Three Ages of

  • Industrial Discipline."

  • She had an amazing phrase for the late 1970s.

  • This was before, thank god, cell phones.

  • It was before personal computers and all of that.

  • There were computers, but they weren't personal

  • computers.

  • She said that in this post-industrial age,

  • where you've got the rust belt, and you've got factories being

  • torn down outside Detroit, and in Flint,

  • and in Torrington, and Waterbury,

  • and places like that, in Pittsburg,

  • and almost anywhere you can name that was the heart of the

  • American industrial experience.

  • She predicted in 1978 that what would replace Taylorism would be

  • the computer.

  • The computer will measure in your cubicles your performance.

  • She said in the end, the foreman would be replaced

  • by "the quiet violence of the computer."

  • Kind of amazing.

  • See you on Wednesday.

Prof: Today I want to talk about the Industrial

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B1 中級

8.工業革命 (8. Industrial Revolutions)

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