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© 2015

Representations of France in English Satirical Prints 1740–1832

  • Authors
Book

Part of the War, Culture and Society, 1750–1850 book series (WCS)

Table of contents

  1. Front Matter
    Pages i-xii
  2. John Richard Moores
    Pages 1-24
  3. John Richard Moores
    Pages 25-50
  4. John Richard Moores
    Pages 51-114
  5. John Richard Moores
    Pages 115-150
  6. John Richard Moores
    Pages 151-176
  7. John Richard Moores
    Pages 177-206
  8. John Richard Moores
    Pages 207-214
  9. Back Matter
    Pages 215-261

About this book

Introduction

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.

Keywords

England France peace revolution

About the authors

John Richard Moores completed his PhD at the University of York, UK, and has taught History at the University of York and Durham University. His research interests include collective identities in the long eighteenth century and 'lower' forms of artistic and literary culture, especially comic art.

Bibliographic information

Reviews

“Representations of France in English Satirical Prints 1740-1832, therefore, offers a thought-provoking study regarding the multifaceted aspects of not only the function and objective of satirical prints, but also the employment of their polemical agency and reactions of those whom the prints targeted. … Those interested in material culture, transnational histories, literary culture, and international relations of the long eighteenth century will benefit from Moores’s compelling analysis.” (Padraig Lawlor, JHistory, H-Net Reviews, networks.h-net.org, November, 2016)

“The book offers a useful survey of prints from this period for students and the general reader. Hopefully it will persuade historians to give increased consideration to graphic satire, and encourage scholars to challenge the false dichotomy (that Moores occasionally reifies) at the heart of francophobia.” (Amanda Lahikainen, The BARS Review, Issue 47, Spring, 2016)