Artículos de revistas sobre el tema "Napoleon Propaganda"

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 the French, and their own interpretations of the Napoleonic impact on the pan-South-Slavic movement. The proposed paper will concentrate on the opposite approach and will investigate how French perceived the South Slavs in the perspective of the nascent nationalisms, especially that French propaganda presented Napoleon as the savior of the European nations including the „Illyrian” one. But how French defined this „Illyrian” nation? This question can be answered thanks to the French strive for description of the societies inhabiting Illyrian Provinces.

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 the French, and their own interpretations of the Napoleonic impact on the pan-South-Slavic movement. The proposed paper will concentrate on the opposite approach and will investigate how French perceived the South Slavs in the perspective of the nascent nationalisms, especially that French propaganda presented Napoleon as the savior of the European nations including the „Illyrian” one. But how French defined this „Illyrian” nation? This question can be answered thanks to the French strive for description of the societies inhabiting Illyrian Provinces.

Petitions, loyal addresses, plebiscites, and other displays of popular consent accompanied most episodes of the revolutionary and Napoleonic expansion of France between 1789 and 1814. Petitioning had been adapted and transformed in France during the revolution, through which it became associated to popular sovereignty. Historians have often studied popular mobilisation through the prism of the conquest of rights, thereby pitting subordinate groups against entrenched ruling classes. This article surveys a different development, as French revolutionary administrators and generals, and Napoleon himself, adapted and reconfigured petitioning as a top-down tool for territorial expansion and empire-building, using it to invoke the supposed popular acquiescence to their reconfiguration of the political map of Europe. French propaganda portrayed these initiatives within the same interpretative framework that discussed the value of other, more autonomous, petitions. This work will thus analyse the paradox of top-down-controlled mobilisations that, at the same time, reinforced the symbolic pre-eminence of popular consent and participation.

The article refers to the connection between royalist publicism and anti-Napoleonic caricature through the example of two etchings from the Khanenko Museum collection. The task of royalist propaganda was to undermine the authority of Napoleon Bonaparte and, at the same time, to set society in favor of the Bourbon restoration. This causes the specifics of the anti-Napoleonic pamphlets and caricatures, which were usually focused on creating of the repulsive images of the emperor. At the same time, it is easy to notice that the authors of texts and images operated with a common set of motifs, images, as well as they used similar techniques. Therefore, the analysis of pamphlets provides better understanding of the subject of studied etchings and helps to clarify the meaning of certain details. Furthermore, taking into account that caricature was often secondary to the texts, author strived to find the literary sources of the studied caricatures and came to the conclusion that Charon’s famous engraving “The Height of Cannibalism” was strongly influenced by the François-René Chateaubriand’s “Report on the State of France” (1815). The matching texts, as well as the general consonance of the caricature “Arrival of Nicolas Buonaparte in Tuileries on January 20, 1815” with Rougemaitre’s popular anti-Napoleonic pamphlet “Life of Nicolas” (1815) suggests that the latter was among the caricaturist’s sources of inspiration at least.

Nada más llegar a España, lo primero que hizo José Napoleón I fue establecer una reglamentación nueva para la Casa Real. Con ello pretendía fortalecer las figuras de su entorno más cercano en un deseo de dotarlas de un especial papel en el entorno propagandístico y legitimador que pretendía crear y que le dotaría de los mejores elementos visuales con los que presentarse ante la población._______________________Upon arrival in Spain, the first thing that José Napoleón I did was to establish a new regulation for the Royal Household. With this he intended to strengthen the figures of his closest environment in a desire to give them a special role in the propaganda and legitimating environment that he intended to create and that would provide him with the best visual elements with which to present himself to the population.

S francuskom upravom u hrvatskim zemljama stupilo je na snagu i francusko državno zakonodavstvo. Između ostaloga, ono je uključivalo i Konkordat između Napoleona i Svete Stolice iz 1801. te Napoleonovu jednostranu zakonsku nadopunu u obliku 77 „Organskih članaka“ iz iste godine. Ovi dokumenti učinili su katoličke biskupije u Francuskoj nekom vrstom carskih upravnih tijela pod nadzorom Ministarstva bogoštovlja. Tako je čl. 39 propisao da će u katoličkim crkvama Francuskoga Carstva od tada nadalje moći postojati samo jedna liturgija i samo jedan katekizam. To je bila osnova za sastavljanje jednoga univerzalnoga Katekizma za sve katoličke crkve u Francuskom Carstvu, poznatoga kao Carski katekizam, objavljenoga 1806. godine. Njega su državni organi vlasti uveli bez potvrde pape Pija VII. i u njemu je prvi put u povijesti katekizma uz pouku o četvrtoj Božjoj zapovijedi izrijekom bilo spomenuto jedno svjetovno ime, dakako, cara Napoleona I. Generalni providur za Dalmaciju Vincenzo Dandolo prvi je 1807. godine naložio prevođenje Carskoga katekizma na „ilirski“, tj. hrvatski jezik, jer je Dalmacija postala dio Kraljevine Italije. Taj je pokušaj završio fijaskom zbog recenzija koje su ukazivale na nerazumljivost prijevoda među narodom. U Ilirskim pokrajinama osnovanim 1809. godine prijevodi su, bilo cjeloviti, bilo tek nekoliko poglavlja, na poticaj civilnih vlasti objavljeni 1811. i 1812. godine, i to na čak četiri jezika: talijanskom, slovenskom, njemačkom i „ilirskom“ jeziku. Premda su ostali bez utjecaja jer su Ilirske pokrajine ukinute već 1813. godine, a Napoleonov katekizam strogo zabranjen od strane austrijskih vlasti, ovi prevodilački pothvati ostaju vrlo vrijedan primjer propagande i pokušaja kulturnoga transfera Napoleonova imperijalnoga kulta u ove krajeve, o čemu će biti riječ u ovome radu.

S francuskom upravom u hrvatskim zemljama stupilo je na snagu i francusko državno zakonodavstvo. Između ostaloga, ono je uključivalo i Konkordat između Napoleona i Svete Stolice iz 1801. te Napoleonovu jednostranu zakonsku nadopunu u obliku 77 „Organskih članaka“ iz iste godine. Ovi dokumenti učinili su katoličke biskupije u Francuskoj nekom vrstom carskih upravnih tijela pod nadzorom Ministarstva bogoštovlja. Tako je čl. 39. propisao da će u katoličkim crkvama Francuskoga Carstva od tada nadalje moći postojati samo jedna liturgija i samo jedan katekizam. To je bila osnova za sastavljanje jednoga univerzalnoga Katekizma za sve katoličke crkve u Francuskom Carstvu, poznatoga kao Carski katekizam, objavljenoga 1806. godine. Njega su državni organi vlasti uveli bez potvrde pape Pija VII. i u njemu je prvi put u povijesti katekizma uz pouku o četvrtoj Božjoj zapovijedi izrijekom bilo spomenuto jedno svjetovno ime, dakako, cara Napoleona I. Generalni providur Dalmacije Vincenzo Dandolo prvi je godine 1807. naložio prevođenje Carskoga katekizma na „ilirski“, tj. hrvatski jezik, jer je Dalmacija postala dio Kraljevine Italije. Taj je pokušaj završio fijaskom zbog recenzija koje su ukazivale na nerazumljivost prijevoda među narodom. U Ilirskim pokrajinama osnovanim 1809. godine prijevodi su, bilo cjeloviti, bilo prijevodi tek nekoliko poglavlja, na poticaj civilnih vlasti objavljeni 1811. i 1812. godine, i to na čak četiri jezika: talijanskom, slovenskom, njemačkom i „ilirskom“ jeziku. Premda su ti prijevodi ostali bez utjecaja jer su Ilirske pokrajine ukinute već 1813. godine, a Napoleonov katekizam bio strogo zabranjen od strane austrijskih vlasti, ovi prevodilački pothvati ostaju vrlo vrijedan primjer propagande i pokušaja kulturnog transfera Napoleonova imperijalnoga kulta u ove krajeve, o čemu će biti riječ u ovome radu.

Written in 1809 in response to Napoleon's war propaganda and published posthumously, Heinrich von Kleist's satirical “Primer of French Journalism” ( Lehrbuch der französischen Journalistik) appropriates the form of the instruction manual to expose the process by which fake news is manufactured and disseminated in the media.

Nineteenth-century operas reflected the changing views of Venice before its fall. Early in the century, depictions of a tyrannical political system, derived from French revolutionary and Napoleonic propaganda, dominated operatic plots. Later, when gothic melodrama was in full swing, the spy, the bravo, and the prostitute assumed central roles. During the fin-de-siècle, when the prevailing view of republican Venice's politics, as well as literary convention, had profoundly changed, operatic settings of eighteenth-century Venice tended to emphasize the liberating, sensual pleasures of Carnival.

ResumenLa productora de cine Warner Brothers se encargó de la creación de tres biopics sobre la vida de Louis Pasteur, Benito Juárez y Emile Zola. Esta trilogía producida durante los años previos de la Segunda Guerra Mundial, se convirtió en un material de propaganda antinazi a pesar de la presión en contra del gobierno alemán en Estados Unidos y gracias a la astucia de dos artistas de origen judío en Hollywood como lo fueron el actor Paul Muni y el director William Dieterle.

The Impossible Ancien Régime colonial: Postcolonial Haiti and the Perils of the French Restoration This article discusses the consequences of Napoleon's downfall for the world's first modern post-slavery state, Haiti. It focuses on the interplay between the French colonial office's diplomatic missions that were lobbied by dispossessed planters to recover the lost colony and the Haitian propaganda to guarantee national independence. These relations ultimately contributed to a shift in French colonial politics towards Haiti, from military conquest and re-enslavement to financial indemnification. Taking the rhetoric of pacification beyond Europe, French diplomacy presented racial hierarchies as an extension of the 1814 compromise between old and new elites in metropolitan France. The Haitian side, however, insisted on the sharp contradiction between the supposed reconciliation in France and a quasi-restoration of the Ancien Régime colonial. Drawing on Haitian, French and British source material, this article analyses how Haitian propaganda attacked the precarious political legitimacy of Restoration France from an extra-European viewpoint to exert pressure on European colonial politics. Relying on Haiti as a model for slave emancipation, British abolitionists significantly contributed to excluding the option of the Ancien Régime colonial. The debate on Haiti's future forced Louis XVIII's government to ponder the political risks of colonial restoration. In the outcome, financial indemnification became France's primary condition for recognising Haitian independence in 1825.

En Polonia, el conocimiento de la participación de los legionarios de la Legión del Vístula y de los lanceros del Vístula en los Sitios de Zaragoza proviene principalmente de la literatura y el cine. Las primeras obras proceden del género novelístico. La falta de un estudio histórico riguroso propició que estos trabajos se alzasen como portadores auténticos de los hechos allí narrados, cuando, en realidad, eran interpretaciones creadas por la pluma del escritor de turno. De esta manera se fueron forjando mitos que han perdurado hasta la actualidad. Una de estas leyendas salió de la imaginación de Stefan Żeromski, quien, a partir de un texto anónimo, inventó una escena que ha sido motivo de remordimiento para generaciones de polacos: el suicidio de una religiosa al verse ante el inminente peligro de ser violada por la soldadesca en un convento de Zaragoza. Andrzej Wajda recogió ese pasaje plasmándolo en una escena de su película. Nosotros hemos demostrado que el texto inspirador de Żeromski, y, por ende, de Wajda, es apócrifo, probablemente por la propaganda zarista con el fin de ensuciar acciones polacas en las guerras napoleónicas, cuando los polacos volvieron a ser libres en tiempos del Ducado de Varsovia de la mano de Napoleón I Bonaparte. Con este artículo, demostramos la necesidad de volver a interpretar las fuentes originales, para desterrar mitos creadores de errores con fines políticos claros.

This article analyses a set of French periodical articles on British travel writing, exploring the complex and ambivalent relationship that the French press entertained with translations of British travelogues. As travel writing was a highly popular genre in this period, but also politically charged, its periodical reception in revolutionary and Napoleonic France offers a rich object of study for understanding the entanglement of political and cultural conflict. In a political climate heavily influenced by the military conflicts between France and Great Britain, and dealing with a travel book market dominated by translations from English, the French periodical travel review partakes in the overall mediation of national stereotypes. Relatively restrained in literary journals of the Directoire such as the Magasin encyclopédique and La Décade philosophique, the mediation of stereotypes turns into outright Anglophobic propaganda in the Napoleonic Journal de l’Empire.

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