Making a New World David and the Revolution
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Inscriptive Masculinity in Balzac's Comédie Humaine
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Theses, Dissertations, Student Research: Modern Languages and Literatures, Department Modern Languages and Literatures of 4-20-2009 Inscriptive Masculinity in Balzac’s Comédie Humaine Alana K. Eldrige University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/modlangdiss Part of the Modern Languages Commons Eldrige, Alana K., "Inscriptive Masculinity in Balzac’s Comédie Humaine" (2009). Theses, Dissertations, Student Research: Modern Languages and Literatures. 6. https://digitalcommons.unl.edu/modlangdiss/6 This Article is brought to you for free and open access by the Modern Languages and Literatures, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Theses, Dissertations, Student Research: Modern Languages and Literatures by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. INSCRIPTIVE MASCULINITY IN BALZAC’S COMÉDIE HUMAINE by Alana K. Eldrige A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor in Philosophy Major: Modern Languages and Literature (French) Under the Supervision of Professor Marshall C. Olds Lincoln, Nebraska May, 2009 INSCRIPTIVE MASCULINITY IN BALZAC’S COMÉDIE HUMAINE Alana K. Eldrige, Ph.D. University of Nebraska, 2009. Adviser: Marshall C. Olds This reading of La Comédie humaine traces the narrative paradigm of the young hero within Balzac’s literary universe. A dynamic literary signifier in nineteenth-century literature, the young hero epitomizes the problematic existence encountered by the individual in post-revolutionary France. At the same time, he serves as a mouth-piece for an entire youthful generation burdened by historical memory. -
9799 SM2 V2.Indd
Cambridge International Examinations Cambridge Pre-U Certifi cate ART HISTORY (PRINCIPAL) 9799/02 Paper 2 Historical Topics For Examination from 2016 SPECIMEN MARK SCHEME 2 hours 15 minutes MAXIMUM MARK: 60 The syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 3 Pre-U Certifi cate. This document consists of 28 printed pages. © UCLES 2013 [Turn over 2 Relative weightings of the assessment objectives: Individual questions Total for Paper 2 Paper 2 mark % mark % AO1 315915 AO2 7352135 AO3 5251525 AO4 5251525 Total 20 100 60 100 Candidates are to answer three questions in total from at least two different topics. All questions carry 20 marks each. Marking should be done holistically, taking into consideration the weighting of marks for each assessment objective as they are refl ected in the descriptor. The question-specifi c notes describe the area covered by the question and defi ne its key elements. Candidates may answer the question from a wide variety of different angles using different emphases, and arguing different points of view. There is no one required answer and the notes are not exhaustive. However candidates must answer the question set and not their own question; the question-specifi c notes provide the parameters within which markers may expect the discussion to dwell. Use the generic marking scheme levels to fi nd the mark. First fi nd the level which best describes the qualities of the essay, then allocate a point within the level to establish a mark out of 20. Add the 3 marks out of 20 together to give a total mark out of 60 for the script as a whole. -
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. -
Jacques-Louis David
Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title. -
Refractions of Rome in the Russian Political Imagination by Olga Greco
From Triumphal Gates to Triumphant Rotting: Refractions of Rome in the Russian Political Imagination by Olga Greco A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2015 Doctoral Committee: Professor Valerie A. Kivelson, Chair Assistant Professor Paolo Asso Associate Professor Basil J. Dufallo Assistant Professor Benjamin B. Paloff With much gratitude to Valerie Kivelson, for her unflagging support, to Yana, for her coffee and tangerines, and to the Prawns, for keeping me sane. ii TABLE OF CONTENTS Dedication ............................................................................................................................... ii Introduction ............................................................................................................................. 1 Chapter I. Writing Empire: Lomonosov’s Rivalry with Imperial Rome ................................... 31 II. Qualifying Empire: Morals and Ethics of Derzhavin’s Romans ............................... 76 III. Freedom, Tyrannicide, and Roman Heroes in the Works of Pushkin and Ryleev .. 122 IV. Ivan Goncharov’s Oblomov and the Rejection of the Political [Rome] .................. 175 V. Blok, Catiline, and the Decomposition of Empire .................................................. 222 Conclusion ........................................................................................................................... 271 Bibliography ....................................................................................................................... -
Voices of Revolt Voices of Revolt
VOICES OF REVOLT VOICES OF REVOLT SPEECHES OF MAXIMILIEN ROBESPIERRE VOICES OF REVOLT VOLUME I * SPEECHES OF MAXI MILlEN ROBES PIERRE WITH A BIOGRAPHICAL SKETCH NEW YORK INTERNATIONAL PUBLISHERS Copyright, 1927, by INTERNATIONAL PUBLISHERS, INc. Printed in the U. S . .A. This book is composed and printed by union labor CONTENTS PAGE INTRODUCTION 9 Robespierre in the Club of the Jacobins 18 Robespierre as the Realpolitiker of the Revo- lution 22 Robespierre and the Committee of Public Safety 2 7 The Ninth Thermidor 36 THE FLIGHT OF THE KING 41 AsKING THE DEATH PENALTY FOR Louis XVI 46 CoNCERNING THE DECLARATION OF THE RIGHTS OF MAN AND OF THE CITIZEN 52 IN FAVOR OF AN ARMED PEOPLE, OF A wAR AGAINsT THE VENDEE s6 REPORT ON THE PRINCIPLES OF A REVOLUTIONARY GOVERNMENT 61 REPORT ON THE PRINCIPLES OF POLITICAL MORAL ITY • REPORT ON THE EXTERNAL SITUATION OF THE REPUBLIC • EXPLANATORY NOTES MAXIMILIEN ROBESPIERRE INTRODUCTION IN the year 1770 a boy knocked at the gate of the Lycee Louis-le-Grand. Mass was just being held, and the youth could still hear the last notes of the organ as he was resting on a bench. He had covered a long distance on his journey: he had come from Arras. "Praised be Jesus Christ," was the sexton's greet ing as he opened the gate. The boy had already been announced, and was at once led to the rector. "So your name is Maximilien Robespierre, my child?" asked the Jesuit who conducted the insti tution. The young man becomes a scholar, one of the most diligent students of the Lycee Louis-le Grand. -
Marisa Linton, Virtue Or Glory?: Dilemmas of Political Heroism In
Virtue or Glory? 83 Virtue or Glory?: Dilemmas of Political Heroism in the French Revolution Marisa Linton At some point after Maximilien Robespierre embarked on a career in revolutionary politics he became known as “the incorruptible.” This meant that he was seen as a “man of virtue.” People nowadays do not use the term virtue when they talk about politics. Sometimes I am told this is an archaic term that the general public will no longer understand. Yet in the realm of contemporary politics, matters of morality and immorality are as topical as ever. We no longer speak about the virtue of political leaders, but we do speak about honesty and hypocrisy; corruption and integrity; the need to put the public good over cronyism and favoritism; the acceptability or otherwise of political ambition and careerism; and the proper demarcation between public and private life. For example, the recent detention for questioning of Nicolas Sarkozy, on 1 July 2014, following allegations about corruption during his time in public office, invoked some of the same issues that vexed the revolutionary generation.1 There is a difference of course between our politicians and those of the French Revolution. We do not cut the heads off our politicians when they fall short of high moral standards. But we all know that the integrity or otherwise of politicians has an impact on many peoples’ lives. We do not, however, expect our politicians to be heroes. We know that being in politics entails, in the words of Hilary Clinton, making “hard choices.”2 We might well agree with Charles Nodier who, in 1831, characterized the professional politician Marisa Linton is Reader in History at Kingston University, UK. -
Homoeroticism in Neoclassical Poetics: French Translations of the Ideal Male Nude in Late-Eighteenth-Century Word and Image
Homoeroticism in neoclassical poetics: French translations of the ideal male nude in late-eighteenth-century word and image. Satish Padiyar, University College London, PhD. 1999 BIBL LONDON flnv. 1 Abstract The thesis consists of four chapters, an Introduction and a Conclusion. The Introduction considers the theoretical frameworks within which recent readings of the late-eighteenth-century French homoerotic ideal male nude have been developed; and how these readings have in turn emerged from a wider extra-art-historical discourse on the sexual politics of representation and the representation of sexual politics. A clear picture of the ideal male nude as a contested field emerges; and a justification of the materials which will be used in the thesis clarifies their critical engagement with these polemical debates surrounding the object of study. Chapter 1 is in two parts. Part one deals with the possibilities of a textual representation of homosexuality in French neoclassical poetics by focusing on the notion of 'anacréontisme' as a synonym for 'veiled' homoeroticism. Contrary to the present understanding of the notion, it is argued here, by recourse to successive French translations of the Greek source text, that homosexuality was explicitly problematized in the development of anacréontisme as a critical term, rather than consensually hidden. Part two reviews a social history of homosexuality in eighteenth-century France, in order to contextualize the preceding anacreontic debate. A Kantian reading of the beau ideal, in Chapter 3, attempts to contradict the now dominant understanding of this figure as being simply a high-cultural sign of patriarchal dominance. The chapter traces the philosophical coordinates of the beau ideal from the late seventeenth century until the moment when this figure coincides with the Kantian transcedental aesthetic, and thereby propels it into an anti-ideological space. -
A History of the French in London Liberty, Equality, Opportunity
A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7. -
SILVANA SINTOW Roberto Scandiuzzi Bass
Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 e-mail: [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Roberto Scandiuzzi Bass Roberto Scandiuzzi studied with Anna Maria Bicciato in his native Treviso and made his debut at La Scala in Milan in 1982 with „Le nozze di Figaro“ under the direction of Riccardo Muti. Shortly thereafter he achieved his first great international success as Fiesco in „Simon Boccanegra“ at the Royal Opera House Covent Garden conducted by Georg Solti. Today he is one of the most renowned singers of the operatic world and enthuses the audience with his vocal beauty, his round and noble timbre and his electrifying stage presence. He is often compared with famous basses such as Ezio Pinza and Cesare Siepi, by whom he was strongly influenced. Roberto Scandiuzzi frequently appears at the most prestigious opera houses worldwide: at the Metropolitan Opera, the Opéra-Bastille in Paris, Royal Opera House Covent Garden, State Operas of Vienna and Munich, the San Francisco Opera and Zürich Opera House as well as with the leading symphonic orchestras such as the Berlin and Vienna Philharmonic, Royal Philharmonic Orchestra, London Philharmonic Orchestra, the Orchestras of Chicago, San Francisco, Philadelphia, Boston and Los Angeles, the Orchestra Filarmonica della Scala, Maggio Musicale Fiorentino, the Accademia Nazionale di Santa Cecilia, Orchestre National de Paris and Orchestre National de France, the Symphony Orchestra of Bavarian Radio and the Munich Philharmonic. The vast list of conductors he worked with includes celebrities such as Claudio Abbado, Sir Colin Davis, Valéry Gergiev, Christoph Eschenbach, Gian Luigi Gelmetti, James Levine, Fabio Luisi, Lorin Maazel, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Myung Whun Chung, Giuseppe Sinopoli, Georges Prêtre, Marcello Viotti and Wolfgang Sawallisch. -
The FRENCH REVOLUTION
HISTORY IN THE MAKING The FRENCH REVOLUTION BY Georges Pernoud and Sabine Flaissier ,. PREFACE BY ANDRE MAUROIS THE FRENCH REVOLUTION +++++++++++++++++++++++++++++++++++++ THE FRENCH REVOLUTION by GEORGES PERNOUD and SABINE FLAISSIER with a preface by ANDRE MAUROIS translated by RICHARD GRAVES FOUNDED 1138 G. P. PUTNAM'S SONS NEW YORK FIRST AMERICAN EDITION, 1961 ©196 0 BY MARTIN SECKER & WARBURG LTD. Allrights reserved. This book, or parts thereoI, must not be reproduced without permission. Library of Congress Catalog Card Number: 60-13673 MANUFACTURED IN THE UNITED STATES OF AMERICA /"Ii CONTENTS +++++++++++++++++++++++++++++++++++++ CHRONOLOGICAL TABLE 7 PREFACE 9 PREFATORY EXPLANATION 15 THE FOURTEENTH OF JULY 17 THE FIFTH AND SIXTH OF OCTOBER 56 THE FLIGHT TO VARENNES 70 THE EMIGRES 108 LA MARSEILLAISE 123 THE TENTH OF AUGUST 126 THE SEPTEMBER MASSACRES 142 VALMY 160 THE MISFORTUNES OF THE ROYAL FAMILY 174 CHARLOTTE CORDAY 222 THE COLLAPSE OF THE EMIGRES 233 THE TERROR 242 THE SOLDIERS OF YEAR II 281 LA VENDEE 298 THERMIDOR 320 SOURCES 342 INDEX 347 CHRONOLOGICAL TABLE +++++++++++++++++++++++++++++++++++++ 1789 January Louis XVI summons States General May States General meet at Versailles June States General in future called National Assembly July Fall of the Bastille-National Guard formed with Lafayette as Commandant October The Paris mob march on Versailles. King removed to Paris 1790 September Necker resigns as Chief Minister December King gives assent to Civil Constitution of the Clergy 1791 June The flight to Varennes September