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left to discover about the crowd in the French Revolution? Can
we contribute to the issues raised by Rudé, Soboul, and
Andrews over the last 30 years? Is the crowd a new topic for representation
in late eighteenth-century France, and if so, why is that important? |
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question
4 Warren
Roberts, 6-9-03, 9:54 AM |
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RE:
question 4 Jack Censer, 6-12-03, 4:46 PM |
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what
can we learn about the crowd Lynn Hunt, 6-23-03, 11:04
PM |
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RE:
what can we learn about the crowd Barbara Day-Hickman,
7-15-2003,
12:58 PM |
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RE:
what can we learn about the crowd Jack Censer, 7-17-2003,
10:18 AM |
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Response
to Jack Warren Roberts,
7-21-03, 8:03 AM |
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Responses
to Barbara Warren Roberts,
7-19-03, 10:31 AM |
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RE: Response to Warren
and Final Remarks Barbara Day-Hickman,
7-25-03, 1:14 PM
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Response
to Barbara Warren
Roberts, 7-28-03, 10:33 AM |
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| Subject: |
Response to
Jack |
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By: |
Warren Roberts |
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| Date
Posted: |
7-21-03, 8:03
AM |
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I can’t comment on Jack’s observations on the depiction
of crowds, and faces in crowds, in British images because
I have don’t have any of those images in front of me.
What I do have is a memory of British (and other foreign)
images that are on the BN Videodisk. What I remember
most vividly is British images depicting the Storming
of the Tuileries and the September Massacres, I believe
some of them by Gillray. The political satire in these
images is most distinctive, and informed, I suspect,
by a Hogarthian current of caricature. Images depict
orgies with sans culottes eating the eyes, hearts,
and arms of the decapitated bodies they sit on, children
eating human entrails from a pail, and a crowd dragging
a decapitated and eviscerated body of a female. Contextualizing
these images could be instructive. Initial British
responses to the French Revolution were positive, and
when Edmund Burke published his Reflections in l790
he appeared to many of his contemporaries to have gone
around the bend. By contrast, responses to Paine’s
Rights of Man were highly favorable, to the extent
that copies sold is an index of British opinion. The
authorities became uneasy about the spread of Jacobinism
in Britain and repressive legislation was passed; having
responded favorably to the Revolution initially, Britain
became the leading bastion of opposition to the Revolution,
a position it was to retain all the way down to 1815.
A study of British images of the Revolution could be
instructive within this framework. Were image makers
in the pay of the government? What role do images play
in the war of ideas within Britain—and
elsewhere? |
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