Titlebook: Representations of France in English Satirical Prints 1740-1832; John Richard Moores Book 2015 Palgrave Macmillan, a division of Macmillan

浓缩

https://doi.org/10.1057/9781137380142England; France; peace; revolution

LASH

debacle

,Women and Other ‘Others’,irtue, Justice, and Liberty.. Tamara Hunt assessed some of Britannia’s many uses in ., noting Britannia’s versatility, her prominence in prints on the conflict with America, the decline of her utilisation after 1785 and her ousting by John Bull as national symbol.

Servile

2634-6699 ith France. This book shows how Georgian satirical prints reveal attitudes towards the French ‘Other‘ that were far more complex, ambivalent, empathetic and multifaceted than has previously been recognised.978-1-349-47912-2978-1-137-38014-2Series ISSN 2634-6699 Series E-ISSN 2634-6702

远足

Medley

Conclusion, is tempting to interpret such works as direct evidence of the rampant Francophobia that supposedly defined this age, a closer study reveals greater satirical complexities at work which do not merely conceptualise and exploit the French ‘Other’ as a simple target of hatred.

overbearing

WITH

Revolution,d from the French people to their monarchy and aristocracy, and the transformation was certainly not permanent. Like the initial reception to 1789, the revolution of 1830 would also be viewed as cause for celebration.

Accrue

Studying Satirical Prints,cature’ are employed to refer to widely disparate visual forms. E.E.C. Nicholson has argued that both habits impede the establishment of a ‘sensitive and viable methodology’ for handling such sources, obscuring their ‘historical specificity’.

倒转

Studying Satirical Prints, ‘caricatures’, ‘political prints’, ‘satirical prints’ and more. Sometimes these labels are arbitrarily interchanged, while single terms such as ‘caricature’ are employed to refer to widely disparate visual forms. E.E.C. Nicholson has argued that both habits impede the establishment of a ‘sensitive