Reviewed by:

• The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes by Jill Richards
• Eleni Coundouriotis, Professor (bio)

Jill Richards takes up the first decades of the twentieth century in her provocative, transatlantic study of the feminist avant-garde. She posits that the confluence of an avant-garde visual aesthetic of montage with feminist agitation shows politically visible, angry female subjects as challenges to the liberal subject on which we have built our human rights narratives to date. Focusing on types of action and creativity rather than individual figures or works, Richards emphasizes collectivity rather than individuality. She juxtaposes historical examples from both sides of the Atlantic and across the English Channel in novel comparative readings that reconfigure the human by foregrounding (and challenging) the assumptions about the inhumanity of nonconforming female subjects.

Traversing the boundary between the intimate and the public, Richards shows us how to look anew at female citizenship. Demands for equality and inclusion are historically recursive but not stalled. They produce new configurations of political subjects and actions. Moreover, Richards eschews identity and affect in the sense of injury or sentimentality. Hence she participates in a movement by literary scholars to shift away from the debates about sympathy and the instrumentality of creative works for human rights. For Richards, creative works rub against received histories to open up the past and thus seed novel theoretical insights about the meaning of human rights.

There is much that is counterintuitive in this book, beginning with its timeline, which extends an entire century, starting with the Paris Commune and ending with the works of British-Mexican surrealist Leonora Carrington from the 1970s. Examining the female arsonists of the Paris Commune, Richards locates an emergent technique of collage in the photography of Ernest Charles Appert. Appert shifted from taking individual portraits of the women who were arrested during the insurrection to composing collective tableaux, most striking among them an image where he mounted photographs of the women's faces onto an imaginary composition of crowded bodies in the prison's interior.

A response to the questions about the juridical humanity of these "furies, " Appert's work helps Richards establish the method of her inquiry. It is not the representativeness of the actions that matter as much as the effort to convey them in the moment—in newspapers, pamphlets, committee meeting minutes, or performative creative responses interjected into the political arena. The mediation of events—the taking up of form in representation—is in itself a sphere of action that carries out a contest over the meaning of human rights. Richards's emphasis on a present temporality brings into view the "long middle" of political struggle when action repeats itself without a clear sign [End Page 607] of resolution either in success or failure.¹ Her archive is full of lists (from tables of contents to announcements of events in newspapers to serialized images), and she deliberately casts aside texts that rely on the "backward gaze of the storyteller."²

Richards, moreover, describes her study as a "counterhistory" that "shifts our understanding of rights from a kind of boundary between citizen and noncitizen, to a set of practices that dismantle such boundaries in the attempt to rebuild social relations and social life."³ She is interested in how rights make demands for justice "beyond the remedies provided by positive law."⁴ Postcolonial scholars, who confront the legacies of exclusion and dehumanization cemented in the governance structures of states and intergovernmental organizations shaped by empire, have put a similar emphasis on moving beyond the law. Richards provides various openings to integrate postcolonial methodologies by resituating familiar figures in the history of the avant-gardes. Thus, for example, we re-encounter E. D. Morel, the Congo Reform Association founder, who is an exemplary figure in the history of humanitarianism. Now, however, he appears alarmingly prejudiced. His pamphlet, The Horror on the Rhine, exposed the purported sexual violence by French African troops stationed with the Allied occupation of the Rhineland against German women.⁵ The...

审核人：

• 愤怒档案：女性公民权、人权和国际先锋派吉尔·理查兹
• Eleni Coundouriotis，教授（生物）

吉尔·理查兹 (Jill Richards) 在她对女权主义先锋派的跨大西洋挑衅性研究中占据了 20 世纪的头几十年。她认为，蒙太奇的前卫视觉美学与女权主义鼓动的融合表明，政治上可见的、愤怒的女性主体是对我们迄今为止建立人权叙事的自由主体的挑战。理查兹专注于行动和创造力的类型而不是个人形象或作品，他强调集体而不是个性。她将大西洋两岸和英吉利海峡对面的历史例子并列在新颖的比较阅读中，通过突出（并挑战）关于不合规的女性主体不人道的假设来重新配置人类。

穿越亲密与公众之间的界限，理查兹向我们展示了如何重新审视女性公民身份。对平等和包容的要求在历史上是反复出现的，但并没有停滞不前。它们产生了政治主体和行动的新配置。此外，理查兹在伤害或多愁善感的意义上避开了身份和情感。因此，她参加了一场文学学者的运动，以摆脱关于同情和创造性作品对人权的工具的辩论。对于理查兹来说，创造性的作品与公认的历史相冲突，以打开过去，从而播种关于人权意义的新理论见解。

这本书有很多违反直觉的地方，从它的时间线开始，它延伸了整整一个世纪，从巴黎公社开始，到 1970 年代英墨超现实主义画家莱昂诺拉·卡林顿的作品结束。通过检查巴黎公社的女性纵火犯，理查兹在欧内斯特·查尔斯·阿佩特的摄影中找到了一种新兴的拼贴技术。阿佩尔从拍摄叛乱期间被捕妇女的个人肖像转向创作集体画面，其中最引人注目的是一幅图像，他将女性面部的照片安装在监狱内部拥挤的身体的想象构图上。

对这些“愤怒”的法律人性问题的回应，阿佩尔的著作帮助理查兹确立了她的调查方法。在报纸、小册子、委员会会议记录或插入政治舞台的表演性创造性反应中，重要的不是行动的代表性，而是在当下传达它们的努力。事件的调解——在表现中采取形式——本身就是一个行动领域，对人权的意义进行竞争。理查兹对当前时间性的强调使人们看到了政治斗争的“长期中间”，即当行动在没有成功或失败解决方案的明确迹象[End Page 607]的情况下重演时。¹她的档案中充满了清单（从目录到报纸上的事件公告再到连载图像），她故意将依赖于“讲故事者的后视凝视”的文本放在一边。²

此外，理查兹将她的研究描述为“反历史”，“将我们对权利的理解从一种公民与非公民之间的界限转变为一系列消除这些界限以试图重建社会关系和社会生活的实践。” ³她对权利如何“超越实在法提供的补救措施”提出正义要求感兴趣。⁴后殖民学者面临着在帝国塑造的国家和政府间组织的治理结构中固化的排斥和非人化的遗产，他们也同样强调超越法律。理查兹通过重新定位前卫历史中熟悉的人物，为整合后殖民方法论提供了各种机会。因此，例如，我们再次遇到了刚果改革协会创始人 ED Morel，他是人道主义史上的模范人物。然而，现在看来，他的偏见令人震惊。他的小册子《莱茵河上的恐怖》揭露了驻扎在莱茵兰盟军占领区的法属非洲军队对德国妇女实施的据称性暴力行为。⁵ ...