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Journal articles on the topic 'Image of Napoleon'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Mogilevskiy, N. A. "«Unclear Enemy»: Why the Guerrilla War in France in 1814 Failed." MGIMO Review of International Relations, no. 5(44) (October 28, 2015): 7–13. http://dx.doi.org/10.24833/2071-8160-2015-5-44-7-13.

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Abstract: Author of the article analyzes the reasons of the fail of Napoleon’s attempts to set the guerrilla war in France during the campaign of 1814. While the forces of anti-Napoleonic coalition were standing near the border of France, Napoleon did his best to recruit his new army. But the human resources of France were exhausted, and that’s why Napoleon decided to set the guerrillia. But all his proclamations and even his orders were disobeyed - French people were too tired of incessant war, and Napoleon again decided to gain his goals on the battlefield. Besides author shows great efforts

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Postnikova, A. "Napoleonic era in art and multimedia space of France." Bulletin of Science and Practice, no. 12 (December 14, 2017): 400–409. https://doi.org/10.5281/zenodo.1116420.

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The author pursued the aim — to reveal features of an image of the Napoleonic era in art and multimedia space of France. Using methodology of “communicative memory”, the author analysed an image of the French emperor in fiction, advertising, cinema, computer games. The image of Napoleon is actively used in the art forming mass ideas of historical events. In recent years there was a huge number of the computer games devoted to the Napoleonic era and allowing players not only to like the spirit of that time but also to offer a possible alternative to a succession of events of t

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3

Vol’skii, Aleksei L. "Through the prism of aesthetics. Napoleonic myth in the works of Goethe and Nietzsche." Vestnik of Saint Petersburg University. Language and Literature 20, no. 3 (2023): 446–61. http://dx.doi.org/10.21638/spbu09.2023.303.

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The reception of Napoleon in Germany was carried out under the sign of an aesthetic myth. The aesthetic myth is understood as a set of theories, concepts and texts of culture based on the idea of transforming the world through artistic creativity. Starting with romanticism, the aesthetic myth determines the specifics of the German discourse of culture. Under the sign of the aesthetic myth in Germany, the image of the French emperor is also comprehended. J.W.Goethe sees in Napoleon the embodiment of genius, the secret of which he is trying to unravel. Goethe sees in Napoleon a demonic personali

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Melnikova, Lyubov Alexandrovna. "The Napoleonic theme in the story by A. Zegers "Slavery returned to Guadeloupe" in the context of the traditions of F.M. Dostoevsky." Филология: научные исследования, no. 8 (August 2024): 71–80. http://dx.doi.org/10.7256/2454-0749.2024.8.71520.

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The subject of the study is the specifics of the disclosure of the Napoleonic theme in the story by A. Zegers "Slavery returned to Guadeloupe" in the context of the development of the traditions of F.M. Dostoevsky. This work belongs to the so-called "Negro" novels by Anna Zegers. The development of the events described in the work is based on antagonism and the problem of mutual rejection of blacks and whites. The problem of the oppressed position of Blacks in the story is closely related to the image of Napoleon. In her literary and critical articles, A. Zegers repeatedly denounced the Napole

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KONDRATYEVA, O. N. "THE IMAGE OF NAPOLEON BONAPARTE AS A SOURCE FOR CONSTRUCTING MEDIA IMAGES OF MODERN POLITICIANS (BASED ON THE MATERIAL OF RUSSIAN MEDIA)." Imagologiya i komparativistika, no. 22 (2024): 285–309. https://doi.org/10.17223/24099554/22/16.

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The article examines the features of using the image of Napoleon in constructing media images of modern political leaders. The material was Russian media texts collected and processed using the corpus method and content analysis, and interpreted using the methods of lexical-semantic, distributional and pragmatic analysis. It has been established that, in the Russian media, in terms of frequency of associations with the French emperor, the leaders are two young, ambitious politicians who are ideological opponents of Russia -French President Emmanuel Macron and Ukrainian President Vladimir Zelen

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Podosokorsky, Nikolay N. "The Religious Element of the Myth of Napoleon in the Novel Crime and Punishment: The Image of “Napoleon-Prophet” and the Mystic Sects of Russian Schismatics, Worshippers of Napoleon." Dostoevsky and World Culture. Philological journal, no. 2 (2022): 89–143. http://dx.doi.org/10.22455/2619-0311-2022-2-89-143.

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The article is dedicated to the presence of the Napoleonic myth in Dostoevsky’s novel Crime and Punishment (1866) through its religious aspect, namely the historical and cultural mergence of Napoleon and Mohammed and the worship of Napoleon among the mystic sects of Russian schismatics in the first half of the 19th century. The formation of a lasting perception of Napoleon Bonaparte as the new “prophet”, “Mohammed of the West” — which can be found in Stendhal, Alexandre Dumas, Honoré de Balzac, and others — is here traced, as well as the way Napoleon used religion and art for political aims du

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7

Bilate, Danilo. "Le cas Napoléon." Nietzsche-Studien 50, no. 1 (2021): 121–40. http://dx.doi.org/10.1515/nietzstu-2021-500108.

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Abstract Napoleon Bonaparte is a veritable “case” for Nietzsche: he does not reduce Napoleon to a single image, but he rather builds up an ambiguous image of Napoleon for years without trying to define a final result. This ongoing construction is due to Nietzsche’s deep admiration for Napoleon that, however great it may be, does not avoid a certain distancing. Defined as the synthesis of Unmensch and Ubermensch, Nietzsche regards Napoleon as an extraordinary human being because of his immorality when he exercised power. It is precisely this extraordinary nature that makes Napoleon a model for

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Bilate, Danilo. "Le cas Napoléon." Nietzsche-Studien 50, no. 1 (2021): 121–40. http://dx.doi.org/10.1515/nietzstu-2021-0006.

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Abstract Napoleon Bonaparte is a veritable “case” for Nietzsche: he does not reduce Napoleon to a single image, but he rather builds up an ambiguous image of Napoleon for years without trying to define a final result. This ongoing construction is due to Nietzsche’s deep admiration for Napoleon that, however great it may be, does not avoid a certain distancing. Defined as the synthesis of Unmensch and Übermensch, Nietzsche regards Napoleon as an extraordinary human being because of his immorality when he exercised power. It is precisely this extraordinary nature that makes Napoleon a model for

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9

Denis, Béatrice. "Représenter Austerlitz : le système icono-textuel napoléonien." RACAR : Revue d'art canadienne 47, no. 1 (2022): 23–41. http://dx.doi.org/10.7202/1091819ar.

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This article examines how the battle of Austerlitz (December 2, 1805) became a symbol of Napoleonic power. It argues that this happened through deliberate propaganda efforts, with a carefully crafted written version of the events leading to the battle, found in the 30th bulletin de la Grande Armée, as well as three paintings commissioned by Napoleon in March 1806, not long after the close of the successful 1805 campaign. The fame of the battle was forged by Napoleon himself by way of a text/image system that constructs its own authority and veracity. The images commissioned and created repeat

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Kondratyeva, O. N., and E. E. Yurieva. "Precedent Anthroponym “Napoleon” as a Means of Constructing Media Images of European Politicians." Vestnik NSU. Series: History and Philology 24, no. 2 (2025): 42–53. https://doi.org/10.25205/1818-7919-2025-24-2-42-53.

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Purpose. The article examines the usage peculiarities of the universal precedent anthroponym “Napoleon” by the Russian mass media in the process of modeling media images of two modern European politicians – the French President Emmanuel Macron and the Ukrainian President Vladimir Zelensky.Results. A corpus of the Russian media texts including more than 500 contexts serve as the material for the analysis. The texts were scrutinised with the help of lexical-semantic, distributional and frame methods to identify and describe the differential features of the precedent anthroponym “Napoleon”. These

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Dmitrieva, Nina Lvovna. "THE BALD NAPOLEON IN “<REFUTATION OF M-R BERANGER>”." Vremennik Pushkinskoi Komissii 37 (2024): 89–92. https://doi.org/10.31860/0236-2481-2023-37-89-92.

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In Pushkin’s poem “<Refutation of M-r Beranger>” there is a line that speaks of “bald“ Napoleon. It is known that Napoleon was not bald. Why is he pictured like this? The image of the bald French emperor is drawn from one popular print (in the manner of a lubok) by the artist I. Terebenev. This very caricature, which Pushkin must have known, served as the model for the image of Napoleon in a poem stylized as a soldier’s song.

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Strasik, Amanda. "The Art of Imperial Maternity: Pierre-Paul Prud'hon, Empress Marie-Louise, and The King of Rome Sleeping." Eighteenth-Century Life 46, no. 3 (2022): 101–22. http://dx.doi.org/10.1215/00982601-9955351.

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In 1811, Pierre-Paul Prud'hon painted an allegorical portrait of the infant Napoleon II for Empress Marie-Louise, Napoleon's second wife and the child's mother, that was exhibited publicly at the Paris Salon the following year. Prud'hon's painting is distinctive because it lacks conventional imperial attributes that characterized Napoleonic imagery at the time. On one level, the portrait can be understood according to Christian iconography or as an allegory of the new French order according to ancient Roman mythology. I argue, however, that Prud'hon subscribed to early nineteenth-century Roman

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Сулемина, О. В. "AMBIVALENCE OF THE HEROE’S IMAGE IN A.S. PUSHKIN’S WORKS." Актуальные вопросы современной филологии и журналистики, no. 2(53) (July 8, 2024): 78–81. http://dx.doi.org/10.36622/2587-9510.2024.53.2.011.

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В русской классической литературе, особенно в поэзии, образ Героя занимает значимое место. Это обусловлено историческими реалиями (многочисленные войны), но также связано с интересом авторов к выдающимся личностям, меняющим ход истории и бросающим вызов самой Судьбе. Уделял внимание этому образу и А.С. Пушкин. В данной статье мы рассмотрим несколько героических фигур в лирике и поэмах (Наполеон, Карагеоргий, Петр I). Интерес поэта к личности Наполеона не вызывает сомнения. Анализ показывает, что образ Наполеона в «лицейской» лирике трактуется в соответствии с литературной и культурной традицие

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Patrikeeva, Mariya V. "Actualizing memories of the 1812 Patriotic War in the context of the Crimean War of 1853–1856." Verhnevolzhski Philological Bulletin 4, no. 27 (2021): 45–54. http://dx.doi.org/10.20323/2499-9679-2021-4-27-45-54.

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. In the minds of contemporaries, the Crimean War of 1853–1856 and the Patriotic War of 1812 that preceded it were closely linked. The author of the article examines the image of the French and France as an enemy familiar to the Russians from the 1812 Patriotic War. The article analyzes the system of images, motives, memories associated with the events of 1812–1814 and reflected in the poetic works of the Crimean campaign contemporaries. The author of the article points out the reasons for the actualization of memories, shows how and in what way the perception of the French as military adversa

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15

Osborne, Tony. "Napoleon, David: The Image Enthroned (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 2 (2007): 80–81. http://dx.doi.org/10.1353/flm.2007.0061.

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Kabanova, Irina V. "The Image of Napoleon in the Novel of Anthony Burgess “Napoleon Symphony”." New Past, no. 1 (March 31, 2020): 116–33. http://dx.doi.org/10.18522/2500-3224-2020-1-116-133.

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Viatkina, Daria S. "English Caricature as a Means of Forming and Reflection of the “Image Of The Enemy” in the Epoch of the Napoleonic Wars." Bulletin of Nizhnevartovsk State University, no. 1 (March 15, 2024): 13–25. http://dx.doi.org/10.36906/2311-4444/24-1/02.

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The article is devoted to the topical problem in the scientific and socio-political space associated with the formation of the image of the “enemy”. This issue is considered on the example of the English caricature in the era of the Napoleonic wars. Caricature is still actively used in the information space, which makes it an important part of political discourse. From its inception to the present day, caricature has been an effective mechanism for reflecting the image of the “other” and the image of the “enemy”. English cartoonists managed to create a certain idea about the most popular episo

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Sajkowski, Wojciech. "French image of the inhabitants of the Illyrian Provinces and the emergence of South Slavic nationalisms." Balcanica Posnaniensia. Acta et studia 27 (December 13, 2020): 69–80. http://dx.doi.org/10.14746/bp.2020.27.5.

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The Illyrian Provinces, a part of the 1st French Empire which existed in the years 1809-1813, are often portrayed as a political entity which anticipated various projects of the political emancipation of the South Slavs. However, the link between later pan-South-Slavic movements and the Napoleonic political activity is a matter which still remains unclear and deserves some in-depth analysis. Most often the Napoleonic impact on the evolution of the nascent South-Slavic nationalisms is viewed in the perspective of the posterior political attitudes of the Croat, Slovene or Serbian elites towards

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Sajkowski, Wojciech. "French image of the inhabitants of the Illyrian Provinces and the emergence of South Slavic nationalisms." Balcanica Posnaniensia. Acta et studia 27 (December 13, 2020): 69–80. http://dx.doi.org/10.14746/bp.2020.27.5.

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The Illyrian Provinces, a part of the 1st French Empire which existed in the years 1809-1813, are often portrayed as a political entity which anticipated various projects of the political emancipation of the South Slavs. However, the link between later pan-South-Slavic movements and the Napoleonic political activity is a matter which still remains unclear and deserves some in-depth analysis. Most often the Napoleonic impact on the evolution of the nascent South-Slavic nationalisms is viewed in the perspective of the posterior political attitudes of the Croat, Slovene or Serbian elites towards

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Romanova, Irina Viktorovna. "“THE CONQUEROR! CYRUS! NAPOLEON!”: THE IMAGE OF NAPOLEON IN THE ART WORLD OF JOSEPH BRODSKY." Philological Class 25, no. 2 (2020): 58–67. http://dx.doi.org/10.26170/fk20-02-05.

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Kryazheva-Kartseva, Elena Valer'evna, Elena Valentinovna Linkova, and Mariya Aleksandrovna Simonova. "Two emperors – two eras. A view from Russia on the personality and politics of Napoleon Bonaparte and Napoleon III: a comparative analysis." Genesis: исторические исследования, no. 4 (April 2025): 1–11. https://doi.org/10.25136/2409-868x.2025.4.73841.

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The subject of this study is the views of domestic conservative and liberal thinkers from the mid-19th to the second half of the 19th century on the personality and activities of Napoleon Bonaparte and Napoleon III. It is noted that there has always been a high level of interest in Russian society regarding events occurring in France. This interest was associated both with the ideological attitudes among the Russian nobility and with the contradictions that existed between Russia and France in the 19th century. This concerns the Patriotic War of 1812 and the anti-Napoleonic wars of the early c

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Krotov, Artem A. "Social and Philosophical Ideas of Napoleon III." Voprosy Filosofii, no. 6 (2023): 194–204. http://dx.doi.org/10.21146/0042-8744-2023-6-194-204.

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The article is devoted to the analysis of the worldview of Louis Bonaparte, his ideas about the political prospects of mankind, which include generalizing judgments about the meaning of the French Revolution, about the significance of Napoleonic rule for social life. Of course, for Louis Bonaparte the theoretical works he wrote served as a means of promoting his own political aspirations, a kind of justification for the ambitions that inspired him, but also a certain philosophical support on the life path. Created by him even before coming to power, they may well be coordinated with the subse

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Gotovtseva, Anastasiya G. "THE IMAGE OF NAPOLEON IN THE PUBLICISM OF F.N. GLINKA (“LETTERS OF A RUSSIAN OFFICER”)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 10 (2021): 10–30. http://dx.doi.org/10.28995/2686-7249-2021-10-10-30.

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“Letters of a Russian officer” by F.N. Glinka is a multi-layered work characterized by a combination of various genres. The historiography has been so far mainly concerned with the genre nature of that source. The purpose of the article is to identify historical parallels and cultural stereotypes that arise in the creative mind of the author when thinking about the personality of Napoleon and his historical role. Direct or indirect correlation of Napoleon with the symbolic names – Nebuchadnezzar, Batu Khan, Catilinа – constitute a characteristic feature of the story, the author’s handwriting.

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SUNDASARI, Witakania, and Ferli HASANAH. "LITTLE BONEY, GROSSE MENACE : UNE ANALYSE DE L’IMAGE." FRANCISOLA 2, no. 2 (2017): 202. http://dx.doi.org/10.17509/francisola.v2i2.9412.

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RÉSUMÉ. Exprimant un message, une image est utilisée comme moyens de communication. Malgré son effet comique, une caricature politique construit indispensablement un discours politique. En 1804 James Gillray a lancé un dessin satirique qui dénonce Napoléon Bonaparte ainsi que les idées républicaines de la Révolution de 1789 pour sensibiliser le public Britannique par ses regards royalistes contre la France révolutionnaire et napoléonienne. La présente recherche s’insère sur l’étude sémiologique de l’image publiée pendant cette période turbulente et l’analyse s’effectue en appliquant les lectur

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Tarasov, K. A. "The Ghost of a General on a White Horse: The Political Use of the Image and the Anticipation of the Russian Civil War in 1917." Modern History of Russia 14, no. 3 (2024): 558–71. https://doi.org/10.21638/spbu24.2024.302.

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The article examines the usage of the term “general on a white horse” in the political language of the Russian Revolution. Its meaning was influenced by Christian motifs, popular culture, ceremonies of the Tsarist era, and visual images of Napoleon Bonaparte. The image of the “general on a white horse” emerged in public speeches and the press after the revolution and became associated with authoritarianism, mass repression, and a possible return to the Tsarist era. Unlike the images of Napoleon prevalent in the press, the general on a white horse carried exclusively negative connotations. Revi

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Krotov, Artem A. "Chernyshevsky and Napoleon III." Izvestiya of Saratov University. Philosophy. Psychology. Pedagogy 24, no. 1 (2024): 46–50. http://dx.doi.org/10.18500/1819-7671-2024-24-1-46-50.

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Introduction. The image of Napoleon III in philosophical thinking of Chernyshevsky is important for the characterization of ideological struggle in the nineteenth century. Theoretical analysis. From his student years, Chernyshevsky followed the political career of Louis Bonaparte, noted his successes and personal traits. During the Second Empire in France, Chernyshevsky criticized Bonapartism, put forward an explanation of the reasons for its temporary triumph. He mentioned the worship of the peasantry before the glory combined with a famous name, the fear of anarchy and the erroneous calculat

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Morais, Yuri Borges, Levy da Costa Felix, and Jones Aguiar de Azevedo. "Metatarsal Sesamoids: Borges-Napoleon Sign." Brazilian Journal of Case Reports 4, no. 4 (2024): 118–25. http://dx.doi.org/10.52600/2763-583x.bjcr.2024.4.4.118-125.

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The metatarsal sesamoids have been well studied due to their consistent presence in humans and relatively common involvement in foot pathologies. The manifestations of sesamoid lesions on imaging depend on the nature of the pathology and generally overlap. During observation in sectional examinations, an anatomical pattern sign of the sesamoid bones of the first metatarsal was identified to be assessed by specialists in diagnostic imaging to note alterations that deviate from this anatomical pattern sign. Would the anatomical pattern sign in question help in the diagnosis of pathological alter

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Shimoda, Brandon. "The Bottom Drawer, or, The Beginning of Reading." TOPIA: Canadian Journal of Cultural Studies 46 (April 1, 2023): 191–94. http://dx.doi.org/10.3138/topia-2022-0025.

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A meditation on an image in Dionne Brand’s A Map to the Door of No Return, in which a young Dionne Brand discovers a book, The Black Napoleon, in the bottom drawer of her grandmother’s wardrobe, and begins to read it. “The Bottom Drawer, or, The Beginning of Reading” is also a meditation on the act of reading as related to tactility, initiation, and transformation; on ancestors and where descendants imagine their ancestors gathering; the pose of the subject in a photograph by Manuel Álvarez Bravo; the influence of The Black Napoleon in Dionne Brand’s writing/life; and the genesis, in reading,

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Liu, Lanqing. "The Multifaceted Interpretation of the Napoleon Image in European Literature." Communications in Humanities Research 25, no. 1 (2024): 141–44. http://dx.doi.org/10.54254/2753-7064/25/20231907.

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The developmental process of the Napoleonic Wars and their impact across different countries and levels find expression in popular literary creations, particularly highlighting the influence of the Napoleonic Wars on literary production. Novels, serving as keen observers of life and meticulous recorders of history, embed their narratives within a macro-historical context, employing highly flexible and multidimensional narrative tones. In doing so, these novels illuminate historical events and characters, allowing them to radiate the brilliance of their lives once again. This paper takes "The R

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Mitrofanov, Andrey. "Eaglet, Liberty, Hercules, and a Beehive: from the History of the Evolution of the State Seal of France in the Time of Napoleon." ISTORIYA 14, no. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027138-0.

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The article is devoted to the formation of republican and imperial emblems of the late 18th — early 19th centuries. in France, an important element of which was the state seal. A complete break with the heraldic tradition of the Old Order ended not in 1789, but in 1792 in connection with the overthrow of the monarchy. In August 1792, the National Convention approved a new state seal, which was used until 1804 with minor changes. The central element of the seal — the allegory of Liberty in the image of a woman was a well-known visual representation of the image of France from the very beginning

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Kravchuk, I. A. "The Ghost of the Nephew: Napoleon iii in “The Demons” by F. M. Dostoevsky." Dostoevsky Journal 22, no. 1 (2021): 150–83. http://dx.doi.org/10.1163/23752122-02201003.

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Abstract The article contains an analysis of one of the references to Emperor Napoleon iii in the preparatory materials of F. M. Dostoevsky for The Demons. In addition, the hypothesis of Louis Bonaparte as one of the prototypes of Peter Verkhovensky is considered. This assumption is based on the material of Dostoevsky’s notebooks and has already been expressed by V. A. Tunimanov and A. Pekurovskaya, although it has not yet received complete development. The article shows what are the details of Napoleon iii’s biography, what are the elements of his political tactics and individual myth that co

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Tchoudinov, Alexander. "The Image of Napoleon in Russian Folklore of the 19th century." Annual of French Studies 55 (2022): 286–96. http://dx.doi.org/10.32608/0235-4349-2022-1-55-286-296.

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Ispanov, K. A. "The Grand Duchy of Berg in the Napoleonic Wars in the field diary of Lieutenant Zimmermann." Гуманитарные и юридические исследования 10, no. 3 (2023): 375–82. http://dx.doi.org/10.37493/2409-1030.2023.3.2.

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Introduction. After becoming emperor of France in 1804, Napoleon Bonaparte had to solve an extremely difficult geopolitical situation: the old European monarchies were in no hurry to recognize the legitimacy of the newly-made emperor’s power, so France had to act not only by force of arms, but also by demonstrating the effectiveness of the new order by creating model states located in Germany and becoming a showcase. One of these model states was the Grand Duchy of Berg, formed on the territory of the former duchies of Cleves and Berg in 1806. Napoleon sends his officials to the young duchy, a

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Kushcheva, Marina V. "NAPOLEON BONAPARTE AND HENRY DE GUISE. CONSTRUCTING AN IMAGE OF THE POWER IN THE AGE OF THE FIRST EMPIRE." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2022): 65–74. http://dx.doi.org/10.28995/2073-6339-2022-2-65-74.

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The article attempts to analyze a little-studied episode related to historical politics in the era of the First Empire in France. The revolution and the coming to power of the emperor actualized many events of the past, the reception of which took place in various, including artistic forms. The article considers an example of an attempt to act in opposition to the emperor and destroy the image of a legitimate charismatic national leader created by him through a historical tragedy. F.J.M. Renoir, a playwright and participant in the revolution, criticized the usurpation of the throne by Napoleon

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Zhdanov, S. S. "Travesty Image of Germany in the Russian Literature of 1840s: I. P. Myatlev’s poem "Sensacii i zamechaniya gospozhi Kurdyukovoy za graniceyu, dans l’etranger." Bulletin of Kemerovo State University, no. 3 (October 27, 2018): 166–76. http://dx.doi.org/10.21603/2078-8975-2018-3-166-176.

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The paper deals with the image ofGermanyin I. P. Miatlev’s poem "Sensacii i zamechaniya gospozhi Kurdyukovoy za graniceyu, dans l’etranger" ("Madam Kurdukova’s Sensations and Remarks Abroad, dans l’etranger") that is an example of macaronic poetry. The poem marks an important milestone in the transformation of the image ofGermanyin the Russian literature of the 1840s; however, it has not received proper scientific attention. The current research examines the historic and the mundane aspects of the image in question. The historic aspect combines different loci connected with the German history

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Stroganov, Mikhail. "LE BOURGEOIS GENTILHOMME В РОМАНЕ Л. Н. ТОЛСТОГО «ВОЙНА И МИР»". Проблемы исторической поэтики 18, № 4 (2020): 248–62. http://dx.doi.org/10.15393/j9.art.2020.8703.

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L. N. Tolstoy does not make any direct statements about the great French Revolution, although a probe into the writer’s attitude to this historical event allows us to understand his interpretation of phenomena contemporary to him. In this sense, the analysis of the early drafts of the novel War and Peace (1864) conducted in this article is of great interest. In these drafts, French politicians of the Directory period are called ‘rich upstarts’ and ‘yesterday’s bourgeois gentilhommes.’ Bonaparte himself is referred to as “a clever, cunning and evil successful bourgeois.” And in the outline of t

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Gorunović, Gordana. "The Return of Napoleon Chagnon: On American “Cowboys” and Amazonian Indians, again." Issues in Ethnology and Anthropology 8, no. 2 (2016): 539. http://dx.doi.org/10.21301/eap.v8i2.10.

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The immediate motive for the writing of this paper is the renewed interest in the controversial anthropologist Napoleon Chagnon, whose name, scientific work and authority (or the dubious value thereof) is firmly linked to the Yanomami people of South America. The image of the “paleolithic -neolithic” warrior culture of the Yanomami in the contemporary world, which was construed by the American anthropologist through his books and ethnographic films, was received by millions of people all over the world, including members of the Yanomami community. At the turn of the 21st century, this image ba

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Poplavskaya, Irina A. "The Kingdom of Naples and Russia at the Beginning of the 19th Century: Based on the Correspondence of the Bulgakov Brothers." Imagologiya i komparativistika, no. 17 (2022): 170–91. http://dx.doi.org/10.17223/24099554/17/9.

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The article examines the activities of the Russian diplomatic mission in Naples in 1802-1808 based on the correspondence between brothers Alexander and Konstantin Bulgakov. In accordance with the tropological methodology of the historian Hayden White, tragic and novel metanarratives are distinguished in describing the relationship between the Kingdom of Naples, Russia, and the countries of Western Europe at the beginning of the 19th century. The narration of the events in accordance with the tragic plot reveals the confrontation between the hero and the world, Napoleon and the coalition of Eur

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Shaw, Philip. "Napoleon as Philoctetes: Military Masculinity, Sacrifice and the Image of the Wound." Journal for Eighteenth-Century Studies 41, no. 4 (2018): 559–77. http://dx.doi.org/10.1111/1754-0208.12571.

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Barysenka, Volha. "The Representation of Protestants in the Legends of Marian Images in the Territories of the (Former) Grand Duchy of Lithuania." Studia Historica Gedanensia 13 (2022): 135–48. http://dx.doi.org/10.4467/23916001hg.22.009.17429.

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The paper is devoted to the representation of Protestants in the stories (legends and miracles) about the miraculous images of Our Lady that come from the territories of the (former) Grand Duchy of Lithuania: involving those currently incorporated in Belarus, Lithuania, Poland and Ukraine. It considers first the representation of both the locals who converted to Protestantism from Orthodoxy or Catholicism in the 16th–17th century and the Lutheran Swedish invaders of the 17th–18th century by their contemporaries and later investigates into how the image of Protestants changed with the course of

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Lukashevich, Andrey. "The Image of Napoleon in Belarussian Historiography and Literature: Scientific Conservatism and Artistic Romantism." Ukrainian Historical Review 1 (December 29, 2022): 63–76. http://dx.doi.org/10.47632/2786-717x-2022-1-63-76.

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Kosykh, Tatiana A. "Leaving the Pyrenees: France and Frenchmen as Perceived by British Soldiers in 1813–1814." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 3 (2023): 211–24. http://dx.doi.org/10.15826/izv2.2023.25.3.051.

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Under the command of Field Marshal Arthur Wellesley, the future first Duke of Wellington, the British Army was one of the main participants of the military conflict on the Iberian Peninsula in 1808–1814. In the autumn of 1813, fighting on the side of the Spaniards and the Portuguese against the French Army, Wellington’s army ousted the enemy from the Spanish territories and launched an offensive on French lands. This article focuses on the reception of the image of France and the French in the diaries, letters, and memoirs of British soldiers and officers who participated in the war in France

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Podosokorsky, Nikolay N. "I.A. Krylov’s “Fables” in F.M. Dostoevsky’s Novel The Idiot." Studia Litterarum 9, no. 2 (2024): 238–55. http://dx.doi.org/10.22455/2500-4247-2024-9-2-238-255.

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The article explores the presence of I.A. Krylov’s “Fables” as a book within a book in F.M. Dostoevsky’s novel The Idiot, making the first approaches to the development of the topic “Dostoevsky and Krylov,” which practically did not attract the attention of researchers earlier, despite the numerous references of the writer to Krylov’s legacy. In the text of the novel Idiot, only two Krylov fables are directly mentioned. However, one of them (named by Ferdyshchenko “The Lion and the Donkey”) is a reference to the plot, which is common to two fables at once (“The Aged Lion” and “The Fox and the

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Semenoff-Tian-Chansky-Baïdine, Irène. "Anna Bounina (1774-1829) – chantre de la victoire russe de 1812." Slavica Occitania 39, no. 1 (2014): 219–36. https://doi.org/10.3406/slaoc.2014.911.

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Anna Bunina (1774-1829), poet of the Russian victory of 1812 Anna Bunina grew up and lived in the mist of officers. This undoubtedly contributed to the formation of her patriotic discourse, especially since this milieu formed in great part her reading public. Field Marshal M. Kutuzov himself supported her. In this context, it is not surprising that several of her writings in prose and in verse were devoted to the 1812 war and especially one article – The rescue of an unhappy family – and several poems, the main one being On the extermination of the French who, with arrogance, invaded the heart

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Meerson, Olga A. "Crime and Punishment in War and Peace: The Counter-Chronological Etiology of the Murder-Apologia Disease." Dostoevsky and World Culture. Philological journal, no. 1 (2022): 143–57. http://dx.doi.org/10.22455/2619-0311-2022-1-143-157.

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This article dwells on the author’s initial discovery of a subtext from Crime and Punishment in War and Peace (1994) — something we hardly expect, given the timeline of the historical events addressed in each novel. Ideologically, however, the influence goes from Dostoevsky to Tolstoy, not the other way around. In the scene of the Fire of Moscow in War and Peace, describing how Pierre Bezukhov becomes afflicted with the idée fixe of the Great Man affording to murder for the benefit of humanity, an idea initially ascribed to Napoleon, Tolstoy intertextually dwells on the image of Rodion Raskoln

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НОВИК, О. "ПОВСЯКДЕННІСТЬ У РОМАНІ ВАСИЛЯ ДОБРЯНСЬКОГО«ВИБІР КАПІТАНА КОТЛЯРЕВСЬКОГО»". Current issues of linguistics and translation studies 21, № 1 (2021): 86–90. https://doi.org/10.31891/2415-7929-2021-21-16.

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Vasyl Dobrianskyi's novel has not actually been studied by literary critics, and therefore, the study of various aspects of the poetics of the work "The choice of Captain Kotliarevskyi. Burning Europe", including the poetics of everyday life in the structure of the text, is relevant. Everyday life in history and culturology is currently studied more than in the literature. It is evidenced by the appearance of numerous works in history and culturology studies. However, the interdisciplinary nature of research indicates the prospects of this area for the interpretation of literary texts. This is

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ZEMTSOV, V. N. "NAPOLEON'S PARIS: THE IMPERIAL CAPITAL." History and Modern Perspectives 5, no. 4 (2023): 13–17. http://dx.doi.org/10.33693/2658-4654-2023-5-4-13-17.

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The article attempts to identify the features of new approaches that have appeared in French historiography in recent decades in terms of characterizing the forms of power presentation. The author does it on the example of Napoleon Bonaparte's realization of the idea of imperiosness in relation to Paris. It is concluded that such an idea was realized not only and not so much through the creation of pompous buildings, but through giving Paris the image of a city of the «middle class», on more than was previously, the effective organization of the urban environment, the development of theaters,

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Trofimova, A. A. "Statue of Augustus as Jupiter from the Hermitage Museum. Style, Image, Myth." Art Studies Journal, no. 3 (2024): 106–37. https://doi.org/10.51678/2073-316x-2024-3-106-137.

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The statue of seated Augustus, one of the key ancient sculptures in the Hermitage collection, still remains a mystery. Researchers do not have a consensus on its dating, degree of authenticity and purpose. Most of these sculptures were found as part of dynastic groups representing the Julio-Claudians. The statue was acquired for the Hermitage from the J.P. Campana’s collection. In 1854, F. Gnaccerini carried out its restoration, repeating the composition of the statue of Napoleon I by Antonio Canova. However, the sculpture should be considered mostly authentic. The inherent difference between

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Dwyer, P. G. "Napoleon Bonaparte as Hero and Saviour: Image, Rhetoric and Behaviour in the Construction of a Legend." French History 18, no. 4 (2004): 379–403. http://dx.doi.org/10.1093/fh/18.4.379.

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CORBER, ERIN, MEREDITH L. SCOTT-WEAVER, NICK UNDERWOOD, and NADIA MALINOVICH. "Beyond the Pletzl: Jewish urban histories in interwar France." Urban History 43, no. 4 (2015): 577–80. http://dx.doi.org/10.1017/s0963926815000814.

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In the 1930s, Walter Benjamin described Paris as ‘the capital of the nineteenth century’, the hub of cultural transformations precipitated by the rise of industrial capitalism. For good reasons, Jewish historians have followed suit in identifying Paris as the focal point for studies of political, social, cultural, demographic and economic change in France during the nineteenth and twentieth centuries. Moreover, native French Jewish religious and cultural administrative structures, implemented during Napoleon I's reign and further entrenched by reforms in the Third Republic, are centred in Pari

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