Imaging the French Revolution

2. What are the advantages/deficits of visual mediation of events and concepts in this period? Can images provide knowledge that is distinctive and different from textual sources? How do images either correspond with or differ from their textual commentary? What does this reveal about the combination of image and text? Can representations by their nature capture popular attitudes? Are inherent male/female upper class/popular class tensions either captured or effaced in these images?

question 2 Warren Roberts, 6-9-03, 9:50 AM
	RE: question 2 Jack Censer, 6-10-03, 1:05 AM
		RE: question 2 Warren Roberts, 7-2-03, 9:53 AM
	RE: question 2 Barbara Day-Hickman, 7-1-2003, 3:17 PM
	RE: question 2 Warren Roberts, 7-2-03, 12:53 PM
	RE: question 2 Jack Censer, 7-26-03, 10:17 PM
question 2 Vivian Cameron, 7-6-03, 6:05 PM
Final thoughts Warren Roberts, 7-18-03, 5:38 AM

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A project of the Center for History & New Media, George Mason University and the Department of History, University of California, Los Angeles for the American Historical Review.

1. Are images vital sources of historical knowledge that have been insufficiently exploited?

2. What are the advantages/deficits of visual mediation of events and concepts in this period? (more)

3. Can imagery be addressed in new ways with on-line methods? (more)

4. Is there anything left to discover about the crowd in the French Revolution? (more)

5. How would our analysis change if we knew more about the date, engravers, designers, producers, merchants and distribution of the images in question? (more)

6. What difference does in make that we know the “author” of one print and not another, given that “authorship” is a somewhat vexed notion in regard to print making? (more)

Read edited discussion.