1. For a recent contribution to a gendered interpretation of Utopian socialism by Flora Tristan’s contemporaries but where there is little reference to their interface with workers’ organizations see Naomi Andrews, Socialism’s Muse: Gender in the Intellectual Landscape of French Romantic Socialism (Lanham: Lexington Books, 2006).
2. ‘Avec la paix nous ferons des merveilles, Avec l’union nous serons tout puissant; Des chants d’amour charmeront nos oreilles.’, Puech Archive, Castres, France. For a recent biography of Langomazino, see Dominique Lecoeur, Louis Langomazino (1820–1885): un missionnaire républicain de la Provence aux îles Marquises (Les Mées: Association 1851; Mane: Alpes de lumieres, 2002).
3. See Marie-Véronique Gauthier, Chanson, sociabilité et grivoiserie au XIX e siècle, Collection historique (Paris: Aubier Montaigne, 1993)
4. Pierre Pierrard, Chansons populaires de Lille sous le Second Empire (La Tour-d’Aigues: Editions de l’Aube, 1998).
5. The author has explored elsewhere the themes of the song composed for Flora Tristan’s workers’ union: see Máire Fedelma Cross, ‘Tuning into Politics: Flora Tristan’s Songs for the Union ouvrière’ in French History and Civilization: Papers from the George Rudé Seminar, ed. by Ian Coller, Helen Davies and Julie Kalman, 1 vol. (Melbourne: The George Rudé Society, 2005), 1, 82–96. For further background on Tristan’s political impact on the worker organizations see Máire Fedelma Cross, The Letter in Flora Tristan’s Politics (Basingstoke: Palgrave, 2004).