ティーチング・ポートフォリオ

日本国際学園大学 経営情報学部 ビジネスデザイン学科
ヨルン・アンドリュー・タイラー

目次 | Contents

Educational responsibilities | 教育の責任.......................................................................................................................................... 1
1. Overall responsibilities | 何を担当しているのか................................................................................................................ 1
2. Courses in charge of | 担当科目..................................................................................................................................................1
Educational philosophy | 教育の理念...................................................................................................................................................2
1. Cultivating reflexivity | 反省的思考の育成...........................................................................................................................2
2. Aiming for broad perspectives | 幅広い視野を目指して......................................................................................... 2
3. Fostering awareness of contemporary themes | 現代のテーマへの意識を育む...............................2
Teaching methods | 教育の方法............................................................................................................................................................... 3
1. Interactive and analytical methods | 対話方式と分析方式...................................................................................3
2. Active learning techniques | アクティブ・ラーニングの手法.....................................................................................3
3. Integration with Google Drive | グーグル・ドライブとの統合..................................................................................3
Goals and expectations | 教育の成果 および 今後の目標....................................................................................................4
Reference data | 参考資料............................................................................................................................................................................ 5

Educational responsibilities | 教育の責任1.

Overall responsibilities | 何を担当しているのか

I am an Assistant Professor in the International Liberal Arts department at Japan International
University. I teach a range of courses mainly in the humanities and social sciences, including
two specialised seminars in my research field (philosophy). In addition, I supervise graduation
projects for students who wish to write in English.

2. Courses in charge of | 担当科目

対象学年

受講人数※

授業形態

必修選択

科目区分

EB Reading and Writing

1–4

10

講・演

選択

総合教養

専門演習ゼミ1 | Specialised Seminar 1

3–4

5

講義

必修

専門基礎・共通

EI Enhanced Reading Skills

1–4

30

講・演

必修

専門基礎・共通

卒業研究 | Graduation Research

4

5

講義

必修

専門基礎・共通

EA Adv Reading Skills

1–4

10

講・演

必修

専門基礎・共通

Humanities A/I

1–4

30

講義

必修

総合教養

専門演習ゼミ2 | Specialised Seminar 2

3–4

5

講義

必修

専門基礎・共通

EB Listening and Speaking

1–4

10

講・演

選択

総合教養

人文科学特論 Ａ | Special Humanities A

1–4

5

講義

必修

専門基礎・共通

English through Film

1–4

20

講・演

選択

総合教養

Reading, Writing, and Critical Thinking

1–4

30

講義

必修

総合教養

English for Academic Purposes

1–4

5

講・演

必修

専門基礎・共通

EA Advanced Writing Skills

2–4

5

講・演

必修

専門基礎・共通

現代の思想 | Modern Thought

1–4

30

講義

必修

専門基礎・共通

目名科

1

Educational philosophy | 教育の理念
1. Cultivating reflexivity | 反省的思考の育成
In my teaching, I emphasise nurturing an attitude of radical self-appraisal and self-critiqueamong students. This approach encourages them to remain open and receptive to new ideas
and to appreciate diverse perspectives. By cultivating this intellectual humility, I aim to prepare
my students to engage thoughtfully and empathetically with the world around them.
私の教育においては、学生が徹底的な自己評価と自己批判の態度を育むことに重点を置いています。
このアプローチは、学生が新しいアイデアや多様な視点を受け入れやすくすることを奨励します。この知的謙虚さを育むことで、学生が周囲の世界と考え深く共感的に関わる準備を整えたいと思います。

2. Aiming for broad perspectives | 幅広い視野を目指して
I strive to introduce students to pivotal figures, texts, and concepts in the history of Westernthought that can serve as guiding lights regardless of the life-path they choose. My lessons aredesigned at an introductory level to expose students to a broad array of new ideas and topics.
This strategy stems from my belief that initial exposure can ignite curiosity and that those
intrigued by specific issues will pursue them further independently. My role is to plant the seedsof curiosity and provide a foundation for future exploration.
私は、学生がどのような人生の道を選ぶにせよ指針となる西洋思想の重要な人物、テキスト、概念を紹介することを目指しています。私の授業は、できるだけ多くの新しいアイデアやトピックに触れるために、入門レベルで設計されています。この戦略は、初めての接触が好奇心を刺激し、特定の問題に興味を持った学生がそれをさらに追求することを信じるところから来ています。私の役割は、好奇心の種を植え、将来の探求の基礎を提供することです。

3. Fostering awareness of contemporary themes | 現代のテーマへの意識を育む
To ensure relevance, I anchor my teaching in contemporary themes that have a direct impact
on students' lives. I challenge them to examine these themes from multiple
angles—philosophical, historical, sociological, political, economic, and ethical. This
multidisciplinary approach not only enriches their understanding but also equips them to thinkcritically about the world in a nuanced and holistic manner.
授業の関連性を確保するために、私は学生の生活に直接影響を与える現代のテーマを中心に教えています。これらのテーマを哲学的、歴史的、社会学的、政治的、経済的、倫理的など、さまざまな角度から考察するように促します。この学際的なアプローチは、学生の理解を深めるだけでなく、世界を批判的かつ多面的に考える能力を身につけさせます。

2

Teaching methods | 教育の方法
1. Interactive and analytical methods | 対話方式と分析方式
My teaching approach involves a mix of lecturing and interactive techniques to enhance
student comprehension and engagement. While I frequently lecture, I always use slides thatsummarise the main points. This visual aid helps students to better understand and retain thematerial. Additionally, I strive to use easy English and break down complex thoughts into
simpler, more digestible ideas. When necessary, I incorporate Japanese to ensure clarity,especially when the English concepts might be too challenging for some students.
私の教育アプローチは、学生の理解と関与を高めるために、講義とインタラクティブな手法を組み合わせています。頻繁に講義を行いますが、要点を要約したスライドを常に使用しています。このビジュアル
エイドは、学生が教材をよりよく理解し、記憶するのに役立ちます。また、複雑な考えをより簡単に消化できるアイデアに分解し、やさしい英語を使うよう努めています。必要に応じて、日本語を取り入れて、
英語の概念が難しすぎる場合でも明確に伝えるようにしています。

2. Active learning techniques | アクティブ・ラーニングの手法
In many of my classes, which often deal with art, music, theatre, and film, I utilise multimedia toenrich the learning experience. Incorporating videos, music, and visual arts helps to break themonotony of a traditional lecture and keeps the content engaging and dynamic. This
multimedia approach also provides diverse entry points for students with varying interests andlearning styles. Moreover, I prioritise student participation and value their thoughts andopinions. If a student shows interest in speaking or sharing their ideas, I will defer to them foras long as possible. This not only encourages active learning but also provides valuablespeaking and reasoning practice. Creating an open and inclusive classroom environment
where students feel comfortable expressing themselves is crucial to my teaching philosophy.
芸術、音楽、演劇、映画を扱う授業が多いため、マルチメディアを活用して学習体験を豊かにしています。ビデオ、音楽、視覚芸術を取り入れることで、伝統的な講義の単調さを打破し、内容を魅力的でダイナミックなものにしています。このマルチメディアアプローチは、さまざまな興味や学習スタイルを持つ学
生に多様なエントリーポイントを提供します。

3. Integration with Google Drive | グーグル・ドライブとの統合
To facilitate learning and streamline course management, all my courses are thoroughly
integrated into the Google Drive platform. This integration makes it easy to disseminate
materials, assign and grade work, and ensures that students have consistent access toresources. By leveraging technology, I aim to make the educational process more efficient andaccessible for everyone involved.
さらに、学生の参加を重視し、彼らの考えや意見を大切にしています。学生が発言やアイデアの共有に興味を示した場合、できる限り彼らに発言を譲ります。これにより、アクティブな学習が促進されるだけ
でなく、貴重なスピーキングと推論の練習にもなります。学生が自己表現しやすいオープンで包括的な教室環境を作ることは、私の教育理念において重要です。

3

Goals and expectations | 教育の成果 および 今後の目標
Being a university student involves enormous opportunities and challenges alike. The hard
work of studying is inseparable from the thrill of being exposed to new ideas, perspectives,texts, and fields of research. At no other time in our lives are we so free to explore, interrogate,
reflect on, analyse, criticise, and try to change the world around us. And for this very reason, at
no time are we so lost, anxious, and confused, adrift on the vast and ever shifting and swellingsea of knowledge. To make the most of this singular and all-too-brief time, students must
actively seize its offerings rather than passively absorb them; the rewards of a university
education are directly proportional to the effort spent on acquiring them. In the first place,and minimally, this means becoming a more efficient learner by forming or improving certain
habits and behaviours (such as keeping a schedule, staying organised, etc.). Second and far
more important, and above all in the liberal arts, is cultivating an attitude of intellectual
openness, curiosity, and flexibility, a naïve sense of wonder at the inexhaustible richness andcomplexity of the world. Such an attitude necessarily demands a certain courage – to accept
vulnerability, to appreciate difference, and to change course as the situation requires. Finally,and perhaps most difficult of all, is the effort of finding one’s own voice, of learning to put theideas and concepts one has studied to work in the service of a unique, personal,
well-reasoned, and coherent outlook or orientation; this is essential for being an informed andengaged citizen ready to tackle the numerous problems we face today. These are just a few
of the goals I expect students to strive to attain while at JIU, and I look forward to helping
them in every way I can.

大学生活は膨大な機会と挑戦の両方を伴います。勉強の苦労は新しいアイデア、視点、テキスト、研究分野に触れる刺激と切り離せません。人生の他のどの時期よりも、私たちは自由に探求し、問い質し、反省し、分析し、批判し、そして世界を変えようとすることができます。しかしその反面、知識の海で漂流し、迷子になり、不安と混乱を感じることもあります。この特異で貴重な時間を最大限に活用するためには、学生は積極的に機会を捉えることが求められます。大学教育の報酬は、その獲得に費やす努力に比例します。
まず、少なくとも効果的な学習者となるために、定期的なスケジュールの管理や整理などの習慣や行動の形成・改善が必要です。さらに重要なことは、特にリベラルアーツにおいて知識の開放的な態度、好奇心、柔軟性を培うことです。世界の無限の豊かさと複雑さに対する素朴な驚きを持つことが求められます。このような態度は、必然的に特定の勇気が必要です―脆弱性を受け入れ、異なるものを認め、状況に応じてコースを変更することを理解することです。
最後に、そしておそらく最も難しいことは、自分自身の声を見つけ、学んだアイデアや概念を独自の、個人的でよく理由付けされた、そして一貫した見解や方向性に組み込む努力です。これは、今日直面している多くの問題に対応する準備ができた情報を持ち、関与した市民であるために不可欠です。これら
は、JIUで学生が目指すべき目標のほんの一部であり、私は彼らが達成するために全力で支援することを楽しみにしています。

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Reference data | 参考資料
Sample syllabus: LA Humanities A

La Ville-Lumière à la Belle Époque(The City of Light in the Beautiful Age)

Instructor: Andrew Tyler Jorn
Contact: tyler.jorn@japan-iu.ac.jp
When: Wednesday, 13:25–15:10
Where: 1108
Course description: The period in European history from the latter third of thenineteenth century up until the outbreak of the First World War (1871–1914) is
commonly known as ‘La Belle Époque’—‘the Beautiful Era’. Correlating with theThird French Republic and centred in Paris—the ‘capital of the nineteenth
century’—it was a time in which (relative) political stability and economic prosperity
combined to facilitate rapid and dramatic changes and innovations in the arts,
technology, architecture, design, and the rhythms and rituals of modern life andculture generally. This course will take us on a whirlwind tour of Belle-Époque andfin-de-siècle Paris. Along the way, we will explore the avant-garde masterpieces of
the Impressionists and their followers; the scintillating productions of Diaghilev andthe Ballets Russes; the bustling salons of Gertrude Stein and Natalie Barney; theproto-modernist music of Debussy and Ravel; the glamorous nightlife of the Moulin
Rouge; the endless cultural and economic amusements of Le Bon Marché, Maxim’s,
and the arcades; the proliferation of novel architectural and design aesthetics,
often inspired by styles from abroad; as well as major political events such as the
Dreyfus Affair.
Texts:● Benjamin, Walter. The Arcades Project. Cambridge, MA: The Belknap Press ofHarvard University Press, 1999.
● Caddy, Davinia. The Ballets Russes and Beyond: Music and Dance in
Belle-Époque Paris. Cambridge: Cambridge University Press, 2012.
● Jullian, Philippe. La Belle Epoque. New York: The Metropolitan Museum of Art,
1982.
● McAuliffe, Mary. Dawn of the Belle Epoque: The Paris of Monet, Zola, Bernhardt,
Eiffel, Debussy, Clemenceau, and Their Friends. Lanham: Rowman & Littlefield
Publishers, Inc., 2011.
● ——————. Twilight of the Belle Epoque: The Paris of Picasso, Stravinsky,
Proust, Renault, Marie Curie, Gertrude Stein, and Their Friends through the Great
War. Lanham: Rowman & Littlefield Publishers, Inc., 2014.
5

Weekly schedule:
Week 1: Introduction to the Belle Époque (1871–1914)● Main topic: the social, political, and economic context in France, 1871–1914● Key themes: optimism, technological advancements, cultural dynamism, Frenchcolonialism and imperialism, impact on global politics and cultural exchange,orientalism (e.g., Japonisme)● Key terms and figures: Belle Époque, Franco-Prussian War, French Third
Republic
Week 2: Modern and avant-garde painting: Impressionism and beyond● Main topic: Impressionism, Post-/Neo-impressionism, Symbolism, Fauvism,
Cubism● Key themes: the rise of new artistic styles, impact on the cultural landscape of
Paris● Key terms and figures: Monet, Renoir, Degas (Impressionism); Van Gogh,
Cezanne (Post-impressionism); Gauguin (Symbolism); Seurat, Signac(Neo-impressionism); Matisse (Fauvism); Braque, Picasso (Cubism)
Week 3: The Eiffel Tower and the Exposition Universelle● Main topic: world fairs and capitalism, globalisation, and technology● Key themes: technological advancements of the era; impact of inventions on
daily life and culture; construction and significance of the Eiffel Tower; 1889
Exposition Universelle and its impact on Paris; the legacy of world fairs on city
planning and architecture more generally● Key figures: Gustave Eiffel, Ferdinand de Lesseps, Buffalo Bill (William F. Cody),
Thomas Edison, Gaston Leroux, Arturo Toscanini, Louis Lumière
Week 4: Literature and poetry of the Belle Époque (Fin de Siècle Literature)● Main topic: overview of the main literary movements of the period● Key themes: Naturalism; Symbolism; Decadence; Parnassianism; Impressionism;
satire; avant-garde literature; the influence of pre-Belle Époque writers such as
Baudelaire● Key terms and figures: Émile Zola (Naturalism); Stéphane Mallarmé, Arthur
Rimbaud, Paul Verlaine (Symbolism); Joris-Karl Huysmans (Décadence);
Leconte de Lisle, Théophile Gautier (Parnassianism); Marcel Proust(Impressionism); Guy de Maupassant (cultural critique, satire); Tristan Tzara(avant-garde)
Week 5: The music of the Belle Époque● Main topic: overview of music in Belle Époque Paris● Key themes: salon music, operas and operettas, notable composers; the Palais
Garnier● Key figures: Erik Satie, Gabriel Fauré, Emmanuel Chabrier (salon music); Hervé,
Jacques Offenbach, Louis Varney, Georges Bizet (operas, operettas); Claude
Debussy, Maurice Ravel (early modernists)6

Week 6: The Ballets Russes and Diaghilev● Main topic: introduction to Diaghilev and the Ballets Russes● Key themes: cultural commodification/appropriation, Orientalism● Key figures: Diaghilev, Ballets Russes, Stravinsky et al.
Week 7: Orientalism in the Belle Époque● Main topic: modern Europe and the ‘Oriental Other’● Key themes: European construction of ‘the Orient’; role of capitalism,
globalisation, cultural commodification, etc.; Chinoiserie, Turquerie, Japonisme;
exploitation and counter-exploitation (e.g., the Ballets Russes, exploited the
exploiters by capitalising on the Tom Thumb-like freakshow Europeans wanted)● Key figures: Gauguin, van Gogh, Matisse, Émile Bernard (painting); Diaghilev(ballet); Pierre Loti (literature); Paul Poiret (fashion/design); outside Paris, Gilbert
and Sullivan’s Mikado, Puccini’s Madama Butterfly, etc.
Week 8: Cafés and salons in the Belle Époque● Main topic: the role of cafés and salons as cultural hubs in Belle Époque Paris● Key themes: intellectual exchange; cultural crossroads; crucibles for emergenceof new modernist movements; gender and social dynamics● Key figures: Gertrude Stein, Alice Toklas, Marcel Proust, Pablo Picasso, Natalie
Barney (of ‘Natalie’s Tuesdays’), Édouard Manet, Toulouse-Lautrec, Colette
Week 9: French politics and the Dreyfus Affair● Main topic: the Dreyfus Affair and its political context● Key themes: background and events of the Dreyfus Affair and its social andpolitical ramifications in Belle Époque society; anti-Semitism● Key figures: Alfred Dreyfus, Émile Zola, Georges Picquart, Ferdinand Walsin
Esterhazy, Edouard Drumont, Mathieu Dreyfus, Auguste Scheurer-Kestner,
Alphonse Bertillon, Georges Clemenceau
Week 10: Fashion, lifestyle, architecture, Art Nouveau● Main topic: wide-ranging exploration of issues related to fashion, architecture,etc.
● Key themes: the arcades, department stores like Le Bon Marché, the flâneur (thestroller, man about town, etc.) and the dandy (the man of good taste and style,the aesthete), Maxim’s● Key figures: Walter Benjamin, Baron Haussmann, Aristide and Marguerite
Boucicaut, Charles Baudelaire, Maxime Gaillard, Hector Guimard (Art Nouveau,
Metro), Alphonse Mucha, Paul Poiret, Louis Majorelle
Week 11: The Moulin Rouge and cabaret culture● Main topic: Cabaret culture● Key themes: Class relations, attitudes toward women and sex etc.
● Key figures: Toulouse-Lautrec, Aristide Bruant, Jane Avril, Louise Weber, Aristide
Boucicaut, Yvette Guilbert
Week 12: Photography and film
● Main topic: the role of photography and the invention and impact of film
7

● Key themes: technological advancements, social documentation, artistic
expression, cultural impact, early narrative cinema● Key figures: Georges Méliès, Auguste and Louis Lumière (the Lumière brothers),
Alfred Stieglitz, Edward Steichen (too late?), Étienne-Jules Marey, Alice
Guy-Blaché (too late?), Eadweard Muybridge, Jacques-Henri Lartigue
Week 13: After the Belle Époque: WWI and the ‘lost generation’● Main topic: the ‘Great War’ and the end of the Belle Époque● Key themes: the impact of the First World War; the end of the idealism of theBelle Époque; cultural, literary, and artistic contributions of the expats who cameof age in the Paris of the 1920s; postwar reconstruction● Key figures: Ernest Hemingway, F. Scott Fitzgerald, Gertrude Stein, T. S. Eliot,
James Joyce, Djuana Barnes, Marcel Duchamp (?)

8

The Paris Commune (1871)
Background of the Belle ÉpoqueWhat is the Paris Commune (PC)?
March–May 1871, mostly working class Parisians take over the city and conduct
an experiment in democratic, decentralised self-government
Pass several progressive social reforms like free education and women’s rights
Brutally crushed by the French army in May 1871, leaving tens of thousands
one of the worst massacres in French history
Background of the Paris Commune
1.
2.

Rise of left-wing activism
Franco-Prussian war

dead,Rise of left-wing activism
Late 1860s, surge of socialist and anarchist activism
June 1868 public meetings made legal (were illegal)●●

Led to large political meetings mostly on the edges of Paris in large
warehouses, cafés etc.– discussed politics, reforms, etc.
Many even discussed a new form of government (socialist, democratic,
republic)

Wave of strikes, which were illegal until 1864

Franco-Prussian war (1870–71)
Napoleon III gets tricked into a war with Prussian chancellor Otto von Bismarck– trying to unify all 39 German states
July 1870, Napoleon III goes to war without allies and is demolished●●

Napoleon III captured in September and deposed by citizens
Sept 4 1870 – crowd storms town hall, seizes power, proclaims republic,
renames streets etc.

France is going to have to pay a huge fee to Prussia and give up Alsace andLorraine, two major German-speaking industrial towns

French soldiers drill at IIe Chambrière camp near Metz, 1870

Prussian ﬁeld artillery column at Torcy in September 1870

Wilhelm Camphausen, Napoleon III and Bismarck talk after Napoleon's capture at the Battle of Sedan(1878)

Siege of Paris
Paris surrounded by an old mediaeval wall; Prussians keep pushing forward andeventually surround the capital, cut oﬀ Paris from the outside world
Rich people ﬂee, leaving mostly poor and working-class people: migrants, artisans,craftsmen, day labourers, servants – suﬀering constant Prussian bombardment (think
Gaza)
Mail stops; Parisians started using balloons to send mail! Balloon as symbol of liberty.
●

After balloons, used pigeons, so Germans brought in hawks to eat all the pigeonsOver 2 million people in Paris to feed, including Americans, Belgians, Brits etc. –not enough to eat●

Had to eat all the animals in the city

Pretty bad – rise in malnutrition, STDs, mental illness, etc. (lesson: poverty doesn’t
make people nice)●Maybe 50,000 deadsimplyFrance surrenders
People start seriously thinking they need a change●●

People from the provinces aren’t coming to help (betrayal)
Parisians thought of themselves as ﬁrst line of defence against Prussia –proud and patriotic, not despair

Jan 1871, somebody puts up a red sign●●

Red the colour of the Left (illegal from 1849–51, considered divisive)
Poster says: ‘Make way for the commune. The people of Paris have a right todefend themselves and work towards a better world in the future’

End of Jan 1871, France surrenders, Prussians march on Paris

Provisional government
Feb 1871, National Assembly elections; conservative countryside people elect abunch of anti-war conservatives to lead France, led by Adolphe Thiers
Want the Prussians out, so what’s the price? – huge:●Fine of 25% of French GDP, surrender of Alsace and Lorraine, victory paradein Paris

Parisians, who were basically the only ones really ﬁghting for the country, now
being told it was all for nothing, all a waste, France would surrender, etc.
On top of this, rich landlords come back to Paris (from the countryside),
immediately tell people to pay all the money they owe with interest●

People had no money, of course, couldn’t pay – very angry

Adolphe Thiers, leader of provisional government from 1871

Prussian victory parade in Paris, 1871

National Guard consolidates power
Popular resentment in Paris building up – people stockpiling weapons, talking
about attacking the Prussians during their victory parade etc.
National Guard allowed to keep their guns to prevent Parisians from attacking
Prussians in the parade – secretly making their own plans
24 Feb – National Guard declares itself independent, under control of a central
committee (not Thiers)
Over the next few weeks, National Guard forms alliances with other groups
known as ‘Vigilance Committees’
3 March 1871 – Prussians march away; provisional gov’t alone in Paris with theGuard

Seizing the cannons
By mid-March, the National Guard was openly challenging Thiers’s provisional
government; Thiers responds by moving the government to Versailles
Thiers passes two laws:
1.
2.

National Guard wouldn’t be paid for defending Paris from the Prussians
All debts would automatically be collected or you’d go to prison

18 March 1871 – Thiers sends the army to go to Montmartre and seize the
National Guard’s stockpile of cannons that were still there

Vincent van Gogh, Le Moulin de la Galette (1886)

Execution of Lecomte, start of the Commune
Reckless: cannons were powerful symbols of Parisian resistance against Prussia
Army soldiers found the guns, but realised they had no horses to take them away
As they’re screwing around, Parisians ﬁgure out what they’re doing and an
angry mob surrounds them
Army general Claude Lecomte gets spooked, orders his soldiers to ﬁre on themobInstead, the army soldiers look at the mob and tell them to take Lecomte – which
they do, and shoot him
National Guard understands this as an act of war, take key locations across Paris,
attacking the army, who ﬂee back to Versailles
Start of the (Second) Commune (ﬁrst one after the revolution of 1789)

Link

‘Festival of the oppressed’ (Lenin)
National Guard votes to hold the city, not attack or overthrow Thiers (didn’t want civil
war)
26 March, elections: diverse leadership of anarchists, republicans, socialists, Jacobians
etc.
Inﬁghting amongst the various groups, but still managed to pass radical reforms, such
as:
●
●
●
●
●
●
●
●
●

Women could vote in elections, held powerful positions on committees
Free day care centres
Free and compulsory education
Separation of church and state
Unused buildings taken and used for homelessSoldiers and families were given pensions
Free access to legal services
Death penalty abolished and guillotine destroyed
No nighttime baking

No central gov’t but rather nine self-organising commissions where issues could beProblems with the Paris Commune
5 April, Jacobians pass ‘Law of Hostages’: can arrest anyone for being‘anti-commune’●

200 people jailed including the archbishop of Paris

Businesses who were against the Commune were extorted (robbed)
Main problem: Thiers’s government had recovered, was planning to retake thecity
5 April 1871, ﬁve National Guard troops killed by army soldiers outside the cityThiers pulls more soldiers from Versailles, marches on Paris…

Commune starts to fall apart
National Guard less disciplined than the regular army; lots of desertion
Jacobin authoritarians start to take power within the commune – ‘Committee of
Public Safety’ – anarchists quit, internal ideological split
Communards barricade smaller streets, can’t do large boulevards – start to wreck
the city●

Gustave Courbet (realist painter) suggests bringing down the column at thePlace Vendôme – comes down, everyone takes pictures with pieces of thebroken columnMassacre
May 1871, massacre: army came through the western gate, which was left wide
open; orders to shoot to kill – took military one week to retake the city
Army used the boulevards built by Hausmann under Napoleon III as
throughways to get to the communards and destroy them●

Hausmann demolished the working class neighbourhoods to create more
light, space, air, circulation of capital, etc. – plus they couldn’t be barricaded

Troops come down the boulevards, lay siege to everything, put the women on
trial and shot them – most National Guard ﬁghters had returned to their homesrather than wait to be killed
Not a neutral massacre – troops went to areas like Belleville in the NE andMontmartre, places assumed to be radical

Edouard Manet, The Shooting of the Communards(1871)

‘À Paris tout le monde était coupable’
Communards killed their 50 hostages, including archbishop of Paris, burned theTuileries palace with gunpowder and petrol, destroyed monuments and tried todestroy others like Notre Dâme etc.
●

By mid-May, half of Paris was destroyed, burned etc.

Final battle: 150 Communards mass executed in Père Lachaise cemetery, Wall of
the Fédérés (Communards’ Wall)
Conservative estimates = 15,000–25,000 people deadIncredibly bloody, violent, lots of arbitrary executions, mass killings, massetc.

gravesCommunards executing the Archbishop of Paris and other hostages

Ernest-Charles Appert, Crimes of the Commune: massacre of dominicans(1871)

The walls of the Tuileries Palace after arson by the Paris Commune

Ruins of the Ministry of Finance on the Rue de Rivoli

Communards’ Wall, Père Lachaise cemetery, Paris

Legacy of the Commune
Portentous – seemed to herald the dawn of a new age, workers’ revolution etc.
Took many years to rebuild Paris
Contested legacy:●●

Egalitarianism inspired Marx, Lenin, etc., and protest movements up to thepresent
Destruction indicated a dark and violent core, authoritarian, etc.

Sacre Coeur basilica on Montmartre built to mark victory over the Communards
and end of violence (also contested)
For communists, reminder that the state was a force of oppression (greatest
danger, power, etc.)
Haunted European politics for decades