Modernizing the Marianne: the French Feminist Movement and Its Effects on Gender Equality
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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. -
Medieval Hats
Hats Hats Coif Coif — coifs, which tied under the chin, were considered to be underwear — they were a sign of respectability and no self respecting person would be seen in public with their head uncovered. They were worn underneath formal hats by everybody over 12 except those doing physical labour. They had several practical uses as they would have restricted the spread of head lice, and kept grease, dirt and lice from contaminating more expensive outer hats. Coifs were also worn in bed to keep people warm at night. Coifs were made from linen, a fabric made from the flax plant. How do we know about coifs? There are many illustrations of people at all levels of society wearing coifs in medieval manuscripts, including the Luttrell Psalter, Romance of Alexander, Murthly Hours, and the Queen Mary Psalter. Hats Hood with buttoned front Hood with buttoned front — this could be worn up to cover the head, or down to just keep the neck warm, depending on the season and the weather. It is made form wool, with a linen lining and cast pewter buttons. The medieval hood was worn by men, women, and children. It was very practical cold weather-wear, and also became a fashion item. The liripipe (the point at the back of the head) was extended until it reached outrageous proportions by the end of the 15th Century. The hood can be worn off the head, turned back at the front edge or the wearer could just hide away inside — useful in rainy weather or if the wearer wanted to appear mysterious. -
Fashion,Costume,And Culture
FCC_TP_V4_930 3/5/04 3:59 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V4_930 3/5/04 3:59 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 4: Modern World Part I: 19004 – 1945 SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Marie Antoinette
Louis XVII - CHILD PRISONER 0. Louis XVII - CHILD PRISONER - Story Preface 1. A ROYAL CHILDHOOD 2. THE YOUNG ANTOINETTE 3. WEDDING at the PALACE of VERSAILLES 4. DEATH of LOUIS XV 5. A GROWING RESENTMENT 6. CHILDREN of MARIE ANTOINETTE 7. THE DIAMOND NECKLACE AFFAIR 8. THE FRENCH REVOLUTION 9. EXECUTION of LOUIS XVI 10. THE GUILLOTINE 11. TRIAL of MARIE ANTOINETTE 12. MARIE ANTOINETTE and the GUILLOTINE 13. Louis XVII - CHILD PRISONER 14. DNA EVIDENCE and LOUIS XVII Jean-Louis Prieur (1759-1795) created this illustration of Louis-Charles, the French Dauphin, depicting his treatment in prison. The title of this 1794 work is: Simon le cordonnier et Louis XVII au Temple (“Simon the Shoemaker and Louis XVII at the Temple”). Once his father was executed, royalists referred to the Dauphin as King Louis XVII. The illustration is maintained at the BnF and is online via Gallica (the BnF’s digitized gallery). Louis-Charles, the orphaned son of a king and—to royalists—a king (Louis XVII) himself, would have been better off had his captors simply killed him. Instead, he endured unimaginable conditions in Temple prison, existing in a room above his sister. When first imprisoned, he was a bright, good-looking child: ...his blue eyes, aquiline nose, elevated nostrils, well-defined mouth, pouting lips, chestnut hair parted in the middle and falling in thick curls on his shoulders, resembled his mother before her years of tears and torture. All the beauty of his race, by both descents, seemed to reappear in him. (Campan, Memoirs of Marie Antoinette, Supplement to Chapter IX - scroll down 60%.) An acquaintance of Robespierre, Antoine Simon (often called "Simon the shoemaker"), was charged with caring for the young prince. -
A Don West Reader West End Press
Lincoln Memorial University LMU Digital Commons Copyright-Free Books Collection Special Collections 1985 In a Land of Plenty: A Don West Reader West End Press Don West Constance Adams West Follow this and additional works at: https://digitalcommons.lmunet.edu/csbc Part of the Appalachian Studies Commons, and the Poetry Commons Recommended Citation End Press, West; West, Don; and West, Constance Adams, "In a Land of Plenty: A Don West Reader" (1985). Copyright-Free Books Collection. 1. https://digitalcommons.lmunet.edu/csbc/1 This Book is brought to you for free and open access by the Special Collections at LMU Digital Commons. It has been accepted for inclusion in Copyright-Free Books Collection by an authorized administrator of LMU Digital Commons. For more information, please contact [email protected]. With sketches Constance Adams West No Grants This book is not supported any grant, governmental, corporate or PS 3545 .E8279 16 1985 private. It is paid for, directly or indirectly, by the people who support and In a land of plenty have Don West's vision, and it both reflects and proves their best - The publisher No Purposely this book is not copyrighted. Poetry and other creative efforts should be levers, weapons to be used in the people's struggle for understanding, human rights, and decency. "Art for Art's Sake" is a misnomer. The poet can never be neutral. In a hungry world the struggle between oppressor and oppressed is unending. There is the inevitable question: "Which side are you on?" To be content with as they are, to be "neutral," is to take sides with the oppressor who also wants to keep the status quo. -
Hat, Cap, Hood, Mitre
CHAPTER 1 Headgear: Hat, Cap, Hood, Mitre Introduction down over his shoulders;4 and in Troilus and Criseyde Pandarus urges his niece, a sedate young widow, to Throughout the later Middle Ages (the twelfth to early cast off her face-framing barbe, put down her book and sixteenth centuries), if we are to believe the evidence of dance.5 art, some kind of headgear was worn by both sexes in- In art of the middle medieval period (from about doors and out: at dinner, in church, even in bed. This is the eighth to the eleventh centuries), headgear is less understandable if we consider the lack of efficient heat- well attested. Men are usually depicted bareheaded. ing in medieval buildings, but headgear was much more Women’s heads and necks are wrapped in voluminous than a practical item of dress. It was an immediate mark- coverings, usually depicted as white, so possibly linen is er of role and status. In art, it is possible to distinguish being represented in most cases. There is no clue to the immediately the head of a man from that of woman, as shape of the piece of cloth that makes up this headdress, for example in a fourteenth-century glass panel with a sa- how it is fastened, or whether there is some kind of cap tirical depiction of a winged serpent which has the head beneath it to which it is secured. Occasionally a fillet is of a bishop, in a mitre, and a female head, in barbe* and worn over, and more rarely under, this veil or wimple. -
The Pitiful King: Tears, Blood, and Family in Revolutionary Royalism
The Pitiful King: Tears, Blood, and Family in Revolutionary Royalism Victoria Murano Submitted to Professors Lisa Jane Graham and Linda Gerstein In partial fulfillment of the requirement of History 400: Senior Thesis Seminar Murano 1 Abstract When the French Revolution erupted in 1789, revolutionaries strove to foster a sense of freedom of expression, guaranteeing a brief freedom of the press. The eleventh article of the 1791 Declaration of the Rights of Man asserts that “The free communication of thoughts and opinions is one of man’s most precious rights; all citizens may therefore speak, write, print freely, except to answer for the abuse of this liberty in cases determined by law.” However, as France became further embroiled in the Revolution, it abandoned its allegiance to the universality of these rights, propagating pro-republican thought, and persecuting anyone who did not share these views. The royalist press was a major concern to the new republican government, because it continued to speak out in support of the king and criticize the Revolution. The existence of royalist journalists and writers thus posed a problem for revolutionaries who wanted to establish a monolithically-minded republic. Therefore, over time, they enacted repressive censorship and punishment to crack down on royalist sympathizers. Although they sent many royalist writers to prison or the guillotine, the revolutionaries ultimately failed to silence their political enemies. This thesis uses newspapers, images, and other printed media to explore royalist coverage of three events that diminished royal power: Louis XVI’s flight to Varennes in June 1791, his execution in January 1793, and the death of his nine-year-old son and heir, Louis XVII, in June 1795. -
Timeline (PDF)
Timeline of the French Revolution 1789 1793 May 5 Estates General convened in Versailles Jan. 21 Execution of Louis XVI (and later, Marie Jun. 17 National Assembly Antoinette on Oct. 16) Jun. 20 Tennis Court Oath Feb. 1 France declares war on British and Dutch (and Jul. 11 Necker dismissed on Spain on Mar. 7) Jul. 13 Bourgeois militias in Paris Mar. 11 Counterrevolution starts in Vendée Jul. 14 Storming of the Bastille in Paris (official start of Apr. 6 Committee of Public Safety formed the French Revolution) Jun. 1-2 Mountain purges Girondins Jul. 16 Necker recalled Jul. 13 Marat assassinated Jul. 20 Great Fear begins in the countryside Jul. 27 Maximilien Robespierre joins CPS Aug. 4 Abolition of feudalism Aug. 10 Festival of Unity and Indivisibility Aug. 26 Declaration of Rights of Man and the Citizen Sept. 5 Terror the order of the day Oct. 5 Adoption of Revolutionary calendar 1791 1794 Jun. 20-21 Flight to Varennes Aug. 27 Declaration of Pillnitz Jun. 8 Festival of the Supreme Being Jul. 27 9 Thermidor: fall of Robespierre 1792 1795 Apr. 20 France declares war on Austria (and provokes Prussian declaration on Jun. 13) Apr. 5/Jul. 22 Treaties of Basel (Prussia and Spain resp.) Sept. 2-6 September massacres in Paris Oct. 5 Vendémiare uprising: “whiff of grapeshot” Sept. 20 Battle of Valmy Oct. 26 Directory established Sept. 21 Convention formally abolishes monarchy Sept. 22 Beginning of Year I (First Republic) 1797 Oct. 17 Treaty of Campoformio Nov. 21 Berlin Decree 1798 1807 Jul. 21 Battle of the Pyramids Aug. -
The French Revolution, Napoleon, and Congress of Vienna (1770
FCPS World II SOL Standards: WHII 6e, 8a and 8b The French Revolution, Napoleon, and Congress of Vienna (1770-1850 C.E.) You Mean the Revolution Was More than a Bunch of Heads Being Chopped Off? Causes and Events of the French Revolution By the late 1700s, France was on the edge of revolution. The French people were inspired by both the American Revolution and the Enlightenment ideas. The country was struggling due to debt, famine, and inequality. The lower class, known as the third estate, was being taxed unfairly and felt they deserved equal say in the government. On July 14, 1789, a group of angry peasants looking for weapons began the French Revolution by Storming the Bastille, an old prison. The third estate went on to take over the government and made major changes to France. Their goal was to get rid of the old system of monarchy and nobles and establish democracy. Revolutionaries, under the leadership of Maximilien Robespierre, arrested and executed King Louis XVI and Queen Marie Antoinette. This began a time known as the Reign of Terror during which those who opposed the Revolution were executed with the guillotine. Over 15,000 people died during the Reign of Terror. While the Revolution did not achieve all of its goals of liberty and equality for all, it did succeed in encouraging secularism, nationalism and democracy. The Third Estate carrying the king, nobles and Catholic Church on its back Napoleon’s Rise and Fall Source: http://www.mrallsophistory.com/revision/the-origins-of-the-french-revolution.html The French people grew tired of the revolution’s violence. -
Bamfords Auctioneers & Valuers
Bamfords Auctioneers & Valuers The Derby Auction House Chequers Road THREE DAY FINE ART AND ANTIQUE SALE Derby DE21 6EN United Kingdom Started 20 Jan 2016 10:30 GMT Lot Description 1 A 18th century Creamware model of a sheep, reclining, lightly coloured in brown and green, 5.5cm high, c.1790 A Spode Creamware oval strainer, the border with stylised leaves in tones of grey, 37cm wide, c.1810; a Creamware oval dish, banded 2 with stiff leaves in tones of yellow and buff, 38cm wide; another, plain, 34cm diam (3) A 19th century Ironstone panelled tapered vase and cover, in relief with fanciful bird perched on a blossoming branches, on an apple 3 green ground, dragons to shoulders and finial, 64cm high, c.1830 Condition Report: Cover - chip to cover, some rubbing to gilding; fin with restoration, some ware to ...[more] A 19th century Jasperware ceiling boss, probably Wedgwood, sprigged in white with putti within a border of acanthus, 35.5cm diam, 4 papier mache mount A 19th century Masons Ironstone type two-handled vase, in relief overall with blossoming branches and butterflies, in pink, yellow and 5 green on a cobalt blue ground, gilt handles, 31cm high, c.1860 A 19th century Toby jug and cover, seated holding a foaming jug of beer, wearing a brown tricorn hat, blue overcoat ,wavy line 6 socks,sponged base and handles, 25.5cm high, c.1800 An early 19th century creamware jug, decorated in polychrome with stylised flowers and foliage, beaded rim, double strapwork handle, 7 12cm high, c.1800 8 A Davenport creamware sauce tureen and cover, decorated -
Divine Right and Popular Sovereignty in the French Revolution
THE KING AND THE CROWD: DIVINE RIGHT AND POPULAR SOVEREIGNTY IN THE FRENCH REVOLUTION Robert G. Hamerton-Kelly Stanford University We French cannot really think about politics or philosophy or literature without remembering that all this— politics, philoso- phy, literature—began, in the modern world, under the sign of a crime. A crime was committed in France in 1793. They killed a good and entirely likable king who was the incarnation of legitimacy. We cannot not remember that this crime was horrible... When we speak about writing, the accent is on what is necessarily criminal in writing. (Jean-François Lyotard, "Discussion Lyotard-Rorty" 583; quoted in Dunn 165) The condemnation of the king is at the crux of our contemporary history. It symbolizes the secularization of our history and the disincarnation of the Christian God. (Albert Camus, The Rebel 120; quoted in Dunn 140) usan Dunn makes a well-documented case that the death of Louis SXVI was unconsciously understood, especially by the Jacobins, as a human sacrifice that was necessary for the founding of the republic. "Louis must die because the patrie must live," said Robespierre at the king's trial, and the representative Carra considered Louis "the source of corruption and servitude . the fatal talisman of all our ills" whose death would cause the people to be "regenerated in morality and virtue" (Dunn 15-37). The king was a monster and the source of all the ills, and his death 68 Robert G. Hamerton-Kelly had the power to alleviate those ills and regenerate the nation. This image of the king as sacrificial victim persisted throughout the first half of the nineteenth century in French literature and politics, sometimes assimilating itself to the image of Jesus Christ who died for the sins of the world.