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The concept of the right to the city is most closely associated with Henri Lefebvre, the Marxist philosopher of space and everyday life, in his classic polemic Le Droit à la ville (1968/The Right to the City). The right to the city, for Lefebvre, was, first, an abstract claim—what he called the right to the oeuvre, or work, that is, the right to belong to, and to determine the fate of, that urban world that urban dwellers had created: the right not to be alienated from the spaces of everyday life. Second, it was a concrete claim to social, economic, and political goods: housing, culture, work that develops workers rather than destroys them, the rights of the elderly and children, and especially, the rights of all people to a space in the city.

As Eleonore Kofman and Elizabeth Lebas note in their 1996 review of Lefebvre's urban writings, the right to the city develops in both Lefebvre's work and in the urban uprisings of 1968 as the highest form of rights. It was defined by Lefebvre in 2003 as the summation of other crucial rights: liberty, indi-vidualization in socialization, environs (habitat), and way of living (habiter). For Lefebvre, therefore, “the right to the city is like a cry and a demand”: a cry for those rights of man that are—or ought to be— inalienable, and demand for those concrete rights that might make human rights in the city obtainable, not as a once-and-for-all good, but as an oeuvre (work, but especially a participatory project). The city as oeuvre, however, has as its end la Fête, a “celebration which consumes unproductively, without other advantage but pleasure and prestige and enormous riches in money and object.”

Context and Argument

Le Droit à la ville was written on the occasion of the 100th anniversary of the publication of Marx's Capital. Having been expelled from the French Communist Party in 1958 after seeking reform in the wake of the Khrushchev's revelations of Stalin's atrocities and the 1956 Soviet invasion of Hungary, Lefebvre both deepened his engagement with Marx's writings (as opposed to communist orthodoxy) and refocused his attention on questions of everyday life, ideology, and alienation, both in rural studies and increasingly in an analysis of the urban. Le Droit thus stands as a commentary on Capital in a number of ways, but primarily through a close analysis of how the oeuvre is alienated within and through the space of the city and why it is necessary to continually contest that alienation.

Le Droit was clearly also inspired by the events of 1871 in Paris—which Lefebvre referred to in La proclamation de la commune (1965) as “the biggest celebration of the century and modern times” (p. 389) and the “only crack at a revolutionary urbanism” (p. 394)—and stands as Lefebvre's first attempt at theorizing the oeuvre within or as part of the urban. As such, it led the way for several more, including La Révolution urbaine (1970/The Urban Revolution, 2003) and most important, La production de l'espace (1974/The Production of Space, 1991).

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