Satire, prints and theatricality in the French Revolution
著者
書誌事項
Satire, prints and theatricality in the French Revolution
(Oxford University studies in the Enlightenment, 2016:10)
Voltaire Foundation, c2016
大学図書館所蔵 全8件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
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注記
Includes bibliographical references (p. 223-250) and index
内容説明・目次
内容説明
The Revolutionary era was a period of radical change in France that dissolved traditional boundaries of privilege, and a time when creative experimentation flourished. As performance and theatrical language became an integral part of the French Revolution, its metaphors seeped into genres beyond the stage. Claire Trevien traces the ways in which theatrical activity influenced Revolutionary print culture, particularly its satirical prints, and considers how these became an arena for performance in their own right.
Following an account of the historical and social contexts of Revolutionary printmaking, the author analyses over 50 works, incorporating scenes such as street singers and fairground performers, unsanctioned Revolutionary events, and the representation of Revolutionary characters in hell. Through analysing these depictions as an ensemble, focusing on style, vocabulary, and metaphor, Claire Trevien shows how prints were a potent vehicle for capturing and communicating partisan messages across the political spectrum. In spite of the intervening centuries, these prints still retain the power to evoke the Revolution like no other source material.
目次
List of illustrations
List of abbreviations
1. Introduction: the other stage of the French Revolution
Revolutionary prints: a brief historiography
Theatricality and prints
2. Singing the scene: chansons and images in prints
The case of Bonvalet (1788-1789)
The aftershocks of 1789
Multiple voices (1791-1792)
Songs and martyrdom (1793-1794)
Epilogue
3. Le monde a l'envers: the carnivalesque in prints
The commedia dell'arte in Revolutionary prints
Individual actors
Epilogue
4. The spectacle of science: illusion in prints
Charlatanism and theatricality (1784-1795)
Spellbound science (1789-1790)
Spectator and performer (1791-1792)
Science as a propaganda tool (1794)
Epilogue
5. Theatre de l'ombre: visions of afterlife in prints
Setting the stage
Executing theatre
Lighting shadows
Epilogue
6. Conclusion
Bibliography
Index
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