The French Revolution As Blasphemy

This is a book about two paintings that were meant to turn the English against the French Revolution by showing its worst excesses--a world in which religious piety and racial, class, and gender hierarchies are turned upside down.

Demystifying the Sacred: Blasphemy and Violence from the French Revolution to Today offers a much-needed analysis of a subject that historians have largely ignored, yet that has considerable relevance for today’s world: the powerful connection that exists between offences against the sacred and different forms of violence. Drawing on cases from revolutionary France to the Russia of Vladimir Putin, the international authors probe the nature and agency of local blasphemy accusations, the historical and legal framework in which they were expressed and the violence, both physical and symbolic, accompanying them. In doing so, the volume reveals how cultures of blasphemy, and related acts of heresy, apostasy and sacrilege, were a companion to or acted as a trigger for physical action but also a form of how violence was experienced. More generally, it shows the importance of religious sensibilities in modern society and the violent potential contained in criticism or ridicule of the sacred and secular alike.

William Pressly presents for the first time a close analysis of two important, neglected paintings, arguing that they are among the most extraordinary works of art devoted to the French Revolution. Johan Zoffany's Plundering the King's Cellar at Paris, August 10, 1792, and Celebrating over the Bodies of the Swiss Soldiers, both painted in about 1794, represent events that helped turn the English against the Revolution. Pressly places both paintings in their historical context—a time of heightened anti-French hysteria—and relates them to pictorial conventions: contemporary history painting, the depiction of urban mobs in satiric and festival imagery, and Hogarth's humorous presentation of modern moral subjects, all of which Zoffany adopted and reinvented for his own purposes. Pressly relates the paintings to Zoffany's status as a German-born Catholic living in Protestant England and to Zoffany's vision of revolutionary justice and the role played by the sansculottes, women, and blacks. He also examines the religious dimension in Zoffany's paintings, showing how they broke new ground by conveying Christian themes in a radically new format. Art historians will find Pressly's book of immense value, as will cultural historians interested in religion, gender, and race.

Originally published in 1999, this book deals with the cultural and legal debates which have counterposed the right to free speech and the need to protect Christian sensibilities in Britain from the time of the French Revolution to the present day. Central to the book is a close study of the content and public reception of the anti-Christian literature of the 19th century associated with the names G.W.Foote and J.W. Gott, the Freethinker and The Truthseeker. David Nash here also examines a variety of critical-theoretical approaches to blasphemy and blasphemous writing, including postmodernism and the work of Foucault and Said. The book concludes with a detailed examination of 20th-century blasphemy cases, up to and including the Gay News case, The Last Temptation of Christ and Visions of Ecstasy.

Originally published in 1999, this book deals with the cultural and legal debates which have counterposed the right to free speech and the need to protect Christian sensibilities in Britain from the time of the French Revolution to the present day. Central to the book is a close study of the content and public reception of the anti-Christian literature of the 19th century associated with the names G.W.Foote and J.W. Gott, the Freethinker and The Truthseeker. David Nash here also examines a variety of critical-theoretical approaches to blasphemy and blasphemous writing, including postmodernism and the work of Foucault and Said. The book concludes with a detailed examination of 20th-century blasphemy cases, up to and including the Gay News case, The Last Temptation of Christ and Visions of Ecstasy.

The 115,000 priests on French territory in 1789 belonged to an evolving tradition of priesthood. The challenge of making sense of the Christian tradition can be formidable in any era, but this was especially true for those priests required at the very beginning of 1791 to take an oath of loyalty to the new government—and thereby accept the religious reforms promoted in a new Civil Constitution of the Clergy. More than half did so at the beginning, and those who were subsequently consecrated bishops became the new official hierarchy of France. In Priests of the French Revolution, Joseph Byrnes shows how these priests and bishops who embraced the Revolution creatively followed or destructively rejected traditional versions of priestly ministry. Their writings, public testimony, and recorded private confidences furnish the story of a national Catholic church. This is a history of the religious attitudes and psychological experiences underpinning the behavior of representative bishops and priests. Byrnes plays individual ideologies against group action, and religious teachings against political action, to produce a balanced story of saints and renegades within a Catholic tradition.