French Revolution and the Trial of Marie Antoinette Background Guide Table of Contents
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Quick Study Guide
WH07_te_ch06_rev_MOD_s.fm Page 240 Monday, March 5, 2007 5:10WH07MOD_se_CH06_rev_s.fm PM Page 240 Friday, January 26, 2007 12:12 PM Quick Study Guide CHAPTER Progress Monitoring Online 6 6 For: Self-test with vocabulary practice 6 Web Code: nba-1851 Quick Study Guide ■ Have students use the Quick Study ■ What Inspired the French Revolution? ■ Causes and Effects of the French Guide to prepare for this chapter’s Revolution test. Students may wish to refer to • Social: Enlightenment ideas such as equality and justice the following pages as they review: • Political: Ideas from the American Revolution • Economic: Inequalities among classes; unrest due to Cause and Effect extravagant monarchy Long-Term Causes Immediate Causes What Inspired the French Revolution? • Corrupt and inconsistent • Huge government debt Section 1, pp. 210–213 leadership • Poor harvests and rising ■ Reforms of the National Assembly • Prosperous members of price of bread Third Estate resent • Failure of Louis XVI to Causes and Effects of the French Revolution Political privileges of First and accept financial reforms Second Estates. Section 1, pp. 210–215; Section 2, • Proclaimed all male citizens equal before the law. • Formation of National • Spread of Enlightenment • Limited the power of the monarchy. Assembly pp. 217–222; Section 3, pp. 223–227; ideas Section 4, pp. 230–238 • Established the Legislative Assembly to make laws. • Storming of Bastille • Granted all tax-paying male citizens the right to elect members of the Legislative Assembly. Reforms of the National Assembly The French Revolution Section 2, pp. 217–220 Social and Economic • Abolished special privileges of the nobility. Immediate Effects Long-Term Effects • Announced an end to feudalism. -
Nationalism in the French Revolution of 1789
The University of Maine DigitalCommons@UMaine Honors College 5-2014 Nationalism in the French Revolution of 1789 Kiley Bickford University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Cultural History Commons Recommended Citation Bickford, Kiley, "Nationalism in the French Revolution of 1789" (2014). Honors College. 147. https://digitalcommons.library.umaine.edu/honors/147 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. NATIONALISM IN THE FRENCH REVOLUTION OF 1789 by Kiley Bickford A Thesis Submitted in Partial Fulfillment of the Requirement for a Degree with Honors (History) The Honors College University of Maine May 2014 Advisory Committee: Richard Blanke, Professor of History Alexander Grab, Adelaide & Alan Bird Professor of History Angela Haas, Visiting Assistant Professor of History Raymond Pelletier, Associate Professor of French, Emeritus Chris Mares, Director of the Intensive English Institute, Honors College Copyright 2014 by Kiley Bickford All rights reserved. Abstract The French Revolution of 1789 was instrumental in the emergence and growth of modern nationalism, the idea that a state should represent, and serve the interests of, a people, or "nation," that shares a common culture and history and feels as one. But national ideas, often with their source in the otherwise cosmopolitan world of the Enlightenment, were also an important cause of the Revolution itself. The rhetoric and documents of the Revolution demonstrate the importance of national ideas. -
Jacques-Louis David's 'Oath of the Tennis Court'
EXTENSION ACTIVITIES – Jacques-Louis David’s ‘Oath of the Tennis Court’, 1791 Read the discussion of Jacques-Louis-David’s ‘Oath of the Tennis Court’ (1791) on p. 3-8 of this handout. Then complete the following extension activities: 1. One of the big problems which faced David as the Revolution progressed was that many of the figures to whom he had given prominence in the 1791 drawing fell from favour as political conditions changed. Using Liberating France (including the Who’s Who) and other sources, find out what happened to Mounier, Mirabeau, Bailly, Barère, Barnave, and Robespierre. Then research the clergymen, Abbé Grégoire and Abbé Sieyès. 2. David alludes to the popular movement which became known as the sans-culottes through the strong and robust figure in the red bonnet of liberty in the lower left hand corner. Referring to Liberating France (including the Section B Timeline), write a paragraph to outline the role played by the sans-culottes movement from 10 August 1792 until the days of Germinal and Prairial Year III, (1 April and 20-23 May 1795). 3. Using Liberating France (including the Who’s Who) and other sources, outline David’s revolutionary career – both as a painter and as a politician. In your answer consider the importance his paintings and drawings 1789-1795, and his role in organising public ceremonies. Then investigate his political activities as a deputy in the National Convention. 4. David uses at least eight revolutionary ideas in his 1791 study of the Tennis Court Oath. Locate them and any other revolutionary ideas not mentioned in the summary above. -
Roberts & Tilton
ROBERTS & TILTON FOR IMMEDIATE RELEASE March 12, 2016 Daniel Joseph Martinez IF YOU DRINK HEMLOCK, I SHALL DRINK IT WITH YOU or A BEAUTIFUL DEATH; player to player, pimp to pimp. (As performed by the inmates of the Asylum of Charenton under the direction of the Marquis de Sade) April 9 – May 21, 2016 Sade: “Justine (or The Misfortunes of Virtue)” 1791 Opening Reception Saturday, April 9th, 6-8pm Roberts & Tilton is pleased to present a new installation by Daniel Joseph Martinez. “IF YOU DRINK HEMLOCK, I SHALL DRINK IT WITH YOU or A BEAUTIFUL DEATH; player to player, pimp to pimp. (As performed by the inmates of the Asylum of Charenton under the direction of the Marquis de Sade)” is an immersive environment referencing Jacques-Louis David’s seminal portrait The Death of Marat (1793). Whereas David’s painting represents a single moment, Martinez’s interpretation is conceived as a mise en scène, constantly oscillating between past and present. Entering the gallery, the viewer is confronted by a pair of aluminum bleachers dividing the gallery space. Monitors depicting slow moving clouds are hung over each set, suggesting windows. In the space carved out between the bleachers are three life-like sculptures of Martinez as Marat, his assassin Charlotte Corday, and of the artist himself. A closer look reveals that while the figures are modeled after the artist’s own body, each appropriate the signifiers specific to their character: a knife; fresh wounds; a bathtub; a chore jacket. Confronting this hyper-awareness of the physical body is the fourth character, who appears in the deadpan recital of Corday’s monologues from Peter Weiss’s play “Marat/Sade” (1963) projected throughout the installation. -
Analysing the High Art of Propaganda During the French Revolution
Thema Close to the Source: Analysing the High Art of Propaganda during the French Revolution Jacques-Louis David’s The Death of Marat reveals the blurred lines between historical fact and fiction. Cam Wilson, undergraduate student, The University of Melbourne Analysing primary source material is both an The Death of Marat (1793, see Figure 1) by Jacques- important and highly rewarding exercise in historical Louis David is a uniquely complex historical source scholarship. The ability to critically examine and that captures both the brutal reality and the elaborate evaluate primary documents is the foundation of fiction of the French Revolution. The tragic depiction quality historical research. Analysis requires historians of Jean-Paul Marat, the radical journalist and political to look far beyond first impressions of a historical agitator lying dead in his bath, reveals the methods source. They must examine it in fine detail and be employed by political propagandists to manufacture able to communicate their description to the reader. a new ideological reality for the revolutionary state. Reconstructing the historical context of the source Simultaneously, it serves to accentuate the sense of both deepens the analysis and frequently provides tragedy and death the revolution has left in its wake. This analysis examines the multiple meanings of inspiration for further research. Armed with detailed David’s iconic painting to explain how a historical research and observation, the focus of the analysis source with such a deliberate political agenda can is to uncover the intentions of the author and the reveal so much about revolutionary France. message they are trying to convey. -
Download Full Book
Respectable Folly Garrett, Clarke Published by Johns Hopkins University Press Garrett, Clarke. Respectable Folly: Millenarians and the French Revolution in France and England. Johns Hopkins University Press, 1975. Project MUSE. doi:10.1353/book.67841. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/67841 [ Access provided at 2 Oct 2021 03:07 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. HOPKINS OPEN PUBLISHING ENCORE EDITIONS Clarke Garrett Respectable Folly Millenarians and the French Revolution in France and England Open access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program. © 2019 Johns Hopkins University Press Published 2019 Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/. CC BY-NC-ND ISBN-13: 978-1-4214-3177-2 (open access) ISBN-10: 1-4214-3177-7 (open access) ISBN-13: 978-1-4214-3175-8 (pbk. : alk. paper) ISBN-10: 1-4214-3175-0 (pbk. : alk. paper) ISBN-13: 978-1-4214-3176-5 (electronic) ISBN-10: 1-4214-3176-9 (electronic) This page supersedes the copyright page included in the original publication of this work. Respectable Folly RESPECTABLE FOLLY M illenarians and the French Revolution in France and England 4- Clarke Garrett The Johns Hopkins University Press BALTIMORE & LONDON This book has been brought to publication with the generous assistance of the Andrew W. -
Hannah Black Ruin/Rien
Hannah Black Ruin/Rien Ruin/Rien links together a cluster of events associated with the French Revolution in the late 18th century and the concept of the autonomous artwork. On the day of the storming of the Bastille, King Louis XVI wrote a single word in his diary: “rien” (nothing). This has been interpreted as a sign of the aristocracy’s disconnect from the activities of the proletariat. But it is more likely to have been simply a reference to the day’s hunt, in which the king killed nothing. The word “RIEN” appears here as a six-foot painting based on Ed Ruscha’s famous painting Oof. Ruscha was part of a movement of artists who played at the boundary of two ideas: that art draws its power from a kind of semantic emptiness, and that this emptiness itself characterizes everyday urban life. During the storming of the Bastille, a protestor found and rescued a manuscript tucked into the walls of a prison cell. This was the work of a recent inhabitant, the Marquis de Sade, who had been moved from the Bastille just 10 days previously. Bastille playfully reconstructs this anecdote in brick and paper, blocking out part of the outside world and evoking both the autonomy of minimalist sculpture and the prison cell. De Sade was a scion of the aristocracy but was sprung from his class position by his perverse sexual desires. A facing work, The Ruler, repurposes the cover of a famous heterosexual dating manual offering “capture”, gesturing to how, just as much as some desires can dislodge us from social norms, others can fuse us more closely to them. -
The French Revolution Unfolds
WH07_te_ch06_s02_MOD_s.fm Page 216 Monday, March 5, 2007 5:24WH07MOD_se_CH06_s02_s.fm PM Page 216 Thursday, January 25, 2007 4:17 PM Step-by-Step SECTION Instruction 2 Women march WITNESS HISTORY AUDIO to the palace. Parisian Women Storm Versailles Objectives On October 5, 1789, anger turned to action as thousands As you teach this section, keep students of women marched from Paris to Versailles. They wanted focused on the following objectives to help the king to stop ignoring their suffering. They also them answer the Section Focus Question wanted the queen. French women were particularly angry and master core content. 2 with the Austrian-born queen, Marie Antoinette. They 2 could not feed their children, yet she lived extravagantly. ■ Explain how the political crisis of 1789 The women yelled as they looked for her in the palace: led to popular revolts. Death to the Austrian! We’ll wring her neck! ■ Summarize the moderate reforms “ We’ll tear her heart out! enacted by the National Assembly in —mob of women at Versailles,” October 6, 1789 August 1789. Focus Question What political and social reforms did ■ Identify additional actions taken by the the National Assembly institute in the first stage of the National Assembly as it pressed French Revolution? onward. ■ Analyze why there was a mixed reac- tion around Europe to the events unfolding in France. The French Revolution Unfolds Objectives Excitement, wonder, and fear engulfed France as the revolution Prepare to Read • Explain how the political crisis of 1789 led to unfolded at home and spread abroad. Historians divide this revo- popular revolts. -
Introduction
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. CHAPTER 1 Introduction French Society in 1789 Historians working on the French Revolution have a problem. All of our attempts to find an explanation in terms of social groups or classes, or particular segments of society becoming powerfully activated, have fallen short. As one expert aptly expressed it: “the truth is we have no agreed general theory of why the French Revolution came about and what it was— and no prospect of one.”1 This gaping, causal void is cer- tainly not due to lack of investigation into the Revolution’s background and origins. If class conflict in the Marxist sense has been jettisoned, other ways of attributing the Revolution to social change have been ex- plored with unrelenting rigor. Of course, every historian agrees society was slowly changing and that along with the steady expansion of trade and the cities, and the apparatus of the state and armed forces, more (and more professional) lawyers, engineers, administrators, officers, medical staff, architects, and naval personnel were increasingly infusing and diversifying the existing order.2 Yet, no major, new socioeconomic pressures of a kind apt to cause sudden, dramatic change have been identified. The result, even some keen revisionists admit, is a “somewhat painful void.”3 Most historians today claim there was not one big cause but instead numerous small contributory impulses. One historian, stressing the absence of any identifiable overriding cause, likened the Revolution’s origins to a “multi- coloured tapestry of interwoven causal factors.”4 So- cial and economic historians embracing the “new social interpretation” identify a variety of difficulties that might have rendered eighteenth- century French society, at least in some respects, more fraught and vulnerable than earlier. -
Page 544 H-France Review Vol. 3 (October 2003), No. 124 DMG
H-France Review Volume 3 (2003) Page 544 H-France Review Vol. 3 (October 2003), No. 124 D.M.G. Sutherland , The French Revolution and Empire: The Quest for a Civic Order . Malden, Mass., Oxford, Melbourne, and Berlin: Blackwell Publishing, 2003. viii + 424 pp. Map, bibliography, and index. $27.95 U.S. (pb). ISBN 0-631-23363-6. Review by Tracey Rizzo, University of North Carolina at Asheville. D.M.G. Sutherland’s new book, The French Revolution and Empire: The Quest for a Civic Order , is a richer version of his earlier textbook, France; 1789-1815 (Oxford, 1986) in which he presented a compelling case for an interpretation of the Revolution that placed provincial and rural life at the center of the story. He continues to insist that “every crisis of the Revolution after 1789 had its origin in the provinces” (p. 74). Readers will be convinced even more in this edition, which has been augmented with more powerful quotes and updated statistics. Moreover, the author indicates that most of the book has been rewritten, a reflection of the extensive outpouring of new work, including his own recently published in Histoire et Mesure (with T.J.A. Le Goff). The Quest for a Civic Order is a provocative new subtitle for a work that essentially resembles its predecessor in structure and content. Organized chronologically, this book integrates the “revolution and counter-revolution” (the previous edition’s subtitle) in every chapter, thus conveying the degree to which “the vast weight of ancient peasant France,” a sparkling phrase from the last sentence of the first edition, “imposed itself upon the government, at the expense of many of the ideals of 1789" (p. -
After Robespierre
J . After Robespierre THE THERMIDORIAN REACTION Mter Robespierre THE THERMIDORIAN REACTION By ALBERT MATHIEZ Translated from the French by Catherine Alison Phillips The Universal Library GROSSET & DUNLAP NEW YORK COPYRIGHT ©1931 BY ALFRED A. KNOPF, INC. ORIGINALLY PUBLISHED AS La Reaction Thermidorienne COPYRIGHT 1929 BY MAX LECLERC ET CIE UNIVERSAL LIBRARY EDITION, 1965 BY ARRANGEMENT WITH ALFRED A. KNOPF, INC. LIBRARY OF CONGRESS CATALOG CARD NUMBER: 65·14385 PRINTED IN THE UNITED STATES OF AMERICA PREFACE So far as order of time is concerned, M. M athie( s study of the Thermidorian Reaction, of which the present volume is a translation, is a continuation of his history of the French Revolution, of which the English version was published in 1928. In form and character, however, there is a notable difference. In the case of the earlier work the limitations imposed by the publishers excluded all references and foot-notes, and the author had to refer the reader to his other published works for the evidence on which his conclusions were based. In the case of the present book no such limitations have been set, and M. Mathiei: has thus been able not only to state his con clusions, but to give the chain of reasoning by which they have been reached. The Thermidorian Reaction is therefore something more than a sequel to The French Revolution, which M. Mathiei:, with perhaps undue modesty, has described as a precis having no independent authority; it is not only a work of art, but a weighty contribution to historical science. In the preface to his French Revolution M. -
LM Findlay in the French Revolution: a History
L. M. Findlay "Maternity must forth": The Poetics and Politics of Gender in Carlyle's French Revolution In The French Revolution: A History ( 1837), Thomas Carlyle made a remarkable contribution to the history of discourse and to the legiti mation and dissemination of the idea of history qua discourse.' This work, born from the ashes of his own earlier manuscript, an irrecover able Ur-text leading us back to its equally irrecoverable 'origins' in French society at the end of the eighteenth century, represents a radical departure from the traditions of historical narrative.2 The enigmas of continuity I discontinuity conveyed so powerfully by the events of the Revolution and its aftermath are explored by Carlyle in ways that re-constitute political convulsion as the rending and repair of language as cultural fabric, or. to use terms more post-structuralist than Carlyl ean, as the process of rupture/suture in the rhetoric of temporality.3 The French Revolution, at once parodic and poetic, provisional and peremptory, announces itself as intertextual, epigraphic play, before paying tribute to the dialogic imagination in a series of dramatic and reflective periods which resonate throughout the poetry and prose of the Victorian period. In writing what Francis Jeffrey considered "undoubtedly the most poetical history the world has ever seen- and the most moral also,"4 Carlyle created an incurably reflexive idiom of astonishing modernity. And an important feature of this modernity indeed, a feature that provides a salutary reminder of the inevitably relative, historically mediated modernity of the discourse of periods earlier than our own - is the employment of countless versions of human gender to characterize and to contain the phenomenon of revolution.