Catalogue Of Political And Personal Satires Preserved In The Department Of Prints And Drawings In The British Museum Vol 10

Excerpt from Catalogue of Political and Personal Satires, Preserved in the Department of Prints and Drawings in the British Museum, Vol. 10: 1820-1827 Satires Dr. Dorothy George has reached the penultimate stage of her task and the year 1827. One further volume will bring the Catalogue down to 1832 and the passing of the Reform Bill, Which has been fixed as the limit of the work. This date marks not only the end of an historical era, but also the Virtual end of the type of political caricature Which has formed the bulk of the material catalogued in this and the preceding volumes. The scurrility and bitter personal invective of the age of Rowlandson and Gillray finally disappear and are replaced by the gentlemanly irony of H. B. And his imitators. Nor after 1832 does the material in the Department provide the continuous picture of political and social life Which it had done hitherto and Which made the elaborate treatment it has received in these volumes so valuable. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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 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.

That there is a queeras opposed to merely homosexualhistory before Oscar Wilde will come as news to many in the sexuality studies field. Oscar Wilde Prefigured. It turns out that there is indeed a history of queerness, and that is originated in the early 18th century, coming to a head, as it were, by the end of the 19th. Dominic Janes draws on lots of new historical material, especially parodies and stereotypes in caricatures of sodomy and effeminacy. Front and center, then, are the 18th-century macaronies and mollies and men of feeling, the Regency dandies, and Victorian aesthetes. Visual display become a powerful historical tableau, generating a long history of queerness/homosexuality via caricatures of allegedly effeminate types. Images of effeminacy became a cultural field in which same-sex desire could be expressed. Wilde, then, was not the starting-point of public gay figures, but the endpoint. Wilde, in turn, is the pivot for connecting the Georgian figures to 20th-century stereotypes of camp (think Liberace), using images drawn from theater, fashion, and popular press to reveal new dimensions of identity politics and queer culture."