Adaptation and layers of influence in Napoleonic silhouette-ghost prints

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Nineteenth-Century Contexts-An Interdisciplinary Journal Pub Date : 2022-10-20 DOI:10.1080/08905495.2022.2144249
Alissa R. Adams
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Abstract

During the 1830s, a collection of unusual prints of Napoleon Bonaparte began to appear throughout France and Europe. Their strangeness derived from the fact that, although they honored the memory of the Emperor and can be described as images of him, he does not appear in the works directly. Instead, he takes the form of a blank space. These prints, which this study will refer to as “ silhouette-ghost prints, ” depict the island of St. Helena. Viewers are shown a fi ctionalized version of Bonaparte ’ s grave, where mourners weep at the gravestone as the sun sets in the distance. Despite the melodramatic nature of this subject matter, the most striking characteristic of the prints is the con fi guration of tree trunks, branches, and twigs that create an outline of the Emperor. During the Bourbon Restoration (1815 – 1830), such hidden images of the Emperor were often used to evade censorship, for the carefully hidden silhouettes often took time to detect and allowed Bonapartists to collect images of their idol while evading government scrutiny (Kroen 2000, 190 – 191). However, the silhouette-ghost prints appeared after 1830, when King Louis-Philippe lifted censorship of Napoleon ’ s image and even actively promoted it (Marrinan 1988, 158 – 164). For this reason, their use of the silhouette form likely is not meant for political subterfuge. Other works, known as puzzle prints, used hidden silhouettes as brainteasers for their audiences. Certain of these, especially depic-tions of Lord Byron, closely resemble the silhouette-ghost prints (Jones 2008, 22). Here again, however, the prints diverge from a likely model. For even in the most subtle examples, the Emperor ’ s form is usually obvious and even fi guratively highlighted through the use of captions or titles. The prints ’ use of the silhouette form to honor Napoleon ’ s memory, then, requires elucidation. We
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拿破仑剪影鬼版画的改编与影响层次
19世纪30年代,一组不同寻常的拿破仑·波拿巴版画开始在法国和欧洲各地出现。它们的奇怪之处在于,尽管它们是为了纪念皇帝,可以被描述为他的形象,但他并没有直接出现在作品中。相反,他以空白的形式出现。这些版画,本研究将其称为“剪影鬼版画”,描绘了圣赫勒拿岛。观众看到的是虚构版的波拿巴的坟墓,随着太阳在远处落下,哀悼者在墓碑前哭泣。尽管这一主题具有戏剧性的性质,但这些版画最引人注目的特点是树干、树枝和细枝的组合,形成了皇帝的轮廓。在波旁王朝复辟时期(1815 - 1830),这种隐藏的皇帝形象经常被用来逃避审查制度,因为精心隐藏的轮廓往往需要时间来发现,并允许波拿巴主义者在躲避政府审查的同时收集他们偶像的图像(Kroen 2000, 190 - 191)。然而,剪影鬼版画出现在1830年之后,当时国王路易-菲利普取消了对拿破仑形象的审查,甚至积极推广它(Marrinan 1988, 158 - 164)。出于这个原因,他们使用剪影形式可能不是为了政治诡计。其他作品,被称为拼图版画,使用隐藏的剪影作为观众的脑筋急转弯。其中的某些,尤其是拜伦勋爵的描绘,与幽灵的剪影版画非常相似(Jones 2008, 22)。然而,这里的指纹又一次偏离了一个可能的模型。因为即使在最微妙的例子中,皇帝的形式通常是明显的,甚至通过使用说明文字或标题来明确地强调。这些版画使用剪影的形式来纪念拿破仑,那么,需要解释。我们
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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