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Radical Satire and Print Culture 1790-1822 focuses on the work produced collaboratively between 1816 and 1822 by the poet and radical journalist William Hone and the brilliant young graphic satirist George Cruikshank. Wood provides a much needed analytical framework for Regency radical satire uncovering a set of new sources and previously unknown cultural contexts for Hone and Cruikshank's work, which is shown to combine modernity and tradition in thrilling ways. Entertaining and original, this is an important contribution to the study of radical satire, which sheds new light on the relations between popular political authors and graphic artists and the major Romantic writers of the period.
Eighteenth-century Britain thought of itself as a polite, sentimental, enlightened place, but often its literature belied this self-image. This was an age of satire, and the century's novels, poems, plays, and prints resound with mockery and laughter, with cruelty and wit. The street-level invective of Grub Street pamphleteers is full of satire, and the same accents of raillery echo through the high scepticism of the period's philosophers and poets, many of whom were part-time pamphleteers themselves. The novel, a genre that emerged during the eighteenth-century, was from the beginning shot through with satirical colours borrowed from popular romances and scandal sheets. This Handbook is a guide to the different kinds of satire written in English during the 'long' eighteenth-century. It focuses on texts that appeared between the restoration of the Stuart monarchy in 1660 and the outbreak of the French Revolution in 1789. Outlier chapters extend the story back to the first decade of the seventeenth-century, and forward to the second decade of the nineteenth. The scope of the volume is not confined by genre, however. So prevalent was the satirical mode in writing of the age that this book serves as a broad and characteristic survey of its literature. The Oxford Handbook of Eighteenth-Century Satire reflects developments in historical criticism of eighteenth-century writing over the last two decades, and provides a forum in which the widening diversity of literary, intellectual, and socio-historical approaches to the period's texts can come together.
Illustrated with over sixty woodcuts by Hone's frequent collaborator, George Cruikshank, this book reveals the writer's commitment to such issues as parliamentary reform, religious liberty, reform of asylums, and freedom of the press, while conveying the many dimensions of his humane personality.".
This set offers a representitive collection of the verse satire of the Romantic period, published between the mid-1780s and the mid-1830s. As well as two single-author volumes, from William Gifford and Thomas Moore, there is also a wealth of rare, unedited material.
This is the first full-scale study of the political radicalism of Iolo Morganwg, the renowned Welsh romantic whose colourful life as a Glamorgan stonemason, poet, writer, political activist and humanitarian made him one of the founders of modern Wales. This path-breaking volume offers a vivid portrait of a natural contrarian who tilted against the forces of the establishment for the whole of his adult life. Known as the ‘Bard of Liberty’ or the ’little republican bard’, he moved in highly-politicized circles, embraced republicanism, founded the Gorsedd of the Bards of the Isle of Britain, threw in his lot with Unitarians, promoted a sense of cultural nationalism, and supported the anti-slave trade campaign and the anti-war movement during years of war, oppression and cruelty.
Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
Using detailed case studies, Beyond Deviant Damsels undermines many of the conventional assumptions about how women committed crime in the nineteenth century. Previous historical accounts generally constructed gendered stereotypes of women acting in self-defence, being lesser accomplices to male criminals, committing crimes that require little or no physical effort, or pursuing supposedly 'female' goals (such as material acquisition). This study countersthese gendered assumptions by examining instances where women tested society's boundaries through their own actions, ultimately presenting women as far more like men in their capacity and execution of criminal behaviour. The book shows examples where women acted far beyond these stereotypes, and showcases theexistence of cultural discussion of open-ended female misbehaviour in Victorian Britain - leading us to question the very role of stereotyping in the history of criminality. These individual challenges to a supposed gendered status quo in Victorian Britain did not produce spontaneous outrage, nor were attempts at controlling and eradicating such behaviour coherent or successful. As such Victorian society's treatment of women emerges as uncertain and confused as much as it was determinedlymoralistic. From this, Beyond Deviant Damsels seeks to re-evaluate our twenty-first-century perception of female criminals, by indicating that historiography may have been responsible for limiting the picture of Victorian female criminality and behaviour from that time until the present.
This book examines professional literary criticism by Romantic-era British women to reveal that, while developing a conscious professionalism, women literary critics helped to shape the aesthetic models that defined Romantic-era literary values and made the British literary heritage a source of national pride. Women critics understood the contested nature of aesthetics and the public implications of aesthetic values on questions such as morality, both public and private, the nation's cultural heritage, even the essential qualities of Britishness itself.
This is the first scholarly study to focus on satirical prints of women in the late eighteenth century. This was the golden age of graphic satire: thousands of prints were published, and they were viewed by nearly all sections of the population. These prints both reflected and sought to shape contemporary debate about the role of women in society. Cindy McCreery's study examines the beliefs and prejudices of Georgian England which they revealed.
Between 1740 and 1832, England witnessed what has been called its 'golden age of caricature', coinciding with intense rivalry and with war with France. This book shows how Georgian satirical prints reveal attitudes towards the French 'Other' that were far more complex, ambivalent, empathetic and multifaceted than has previously been recognised.