David Francis Taylor
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300223750
- eISBN:
- 9780300235593
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300223750.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter looks at William Shakespeare's Macbeth as a source for graphic satire. Given both its resonant depiction of regicide, atrocity, and criminality, and its sensational conjoining of the ...
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This chapter looks at William Shakespeare's Macbeth as a source for graphic satire. Given both its resonant depiction of regicide, atrocity, and criminality, and its sensational conjoining of the political and the fantastical, it is to be expected that Macbeth was a recurrent source for the period's graphic satirists. Between 1754 and 1835, at least sixty-two political prints cite the play in some manner: thirty-seven do so in extended or elaborate ways, and many others engage with it by means of brief but often complex intertextual gestures of the kind exemplified in Isaac Cruikshank's The Near in Blood, The Nearer Bloody (1793). The chapter then considers the largest and most prominent cluster of Macbeth prints, that is, parodies of the weird sisters. The weird sisters have long been the subject of scholarly fascination, but when looked at through the political and parodic lens of graphic satire, their history and status seems suddenly less familiar.Less
This chapter looks at William Shakespeare's Macbeth as a source for graphic satire. Given both its resonant depiction of regicide, atrocity, and criminality, and its sensational conjoining of the political and the fantastical, it is to be expected that Macbeth was a recurrent source for the period's graphic satirists. Between 1754 and 1835, at least sixty-two political prints cite the play in some manner: thirty-seven do so in extended or elaborate ways, and many others engage with it by means of brief but often complex intertextual gestures of the kind exemplified in Isaac Cruikshank's The Near in Blood, The Nearer Bloody (1793). The chapter then considers the largest and most prominent cluster of Macbeth prints, that is, parodies of the weird sisters. The weird sisters have long been the subject of scholarly fascination, but when looked at through the political and parodic lens of graphic satire, their history and status seems suddenly less familiar.
Meredith McNeill Hale
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780198836261
- eISBN:
- 9780191873539
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198836261.001.0001
- Subject:
- History, Political History
This book documents one of the most important moments in the history of printed political imagery, when the political print became what we would recognize as modern political satire. Contrary to ...
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This book documents one of the most important moments in the history of printed political imagery, when the political print became what we would recognize as modern political satire. Contrary to conventional historical and art-historical narratives, which place the emergence of political satire in the news-driven coffee-house culture of eighteenth-century London, this study locates the birth of the genre in the late seventeenth-century Netherlands in the contentious political milieu surrounding William III’s invasion of England known as the ‘Glorious Revolution’. The satires produced between 1688 and 1690 by the Dutch printmaker Romeyn de Hooghe (1645–1708) on the events surrounding William III’s campaigns against James II and Louis XIV establish many of the qualities that define the genre to this day: the transgression of bodily boundaries; the interdependence of text and image; the centrality of dialogic text to the generation of meaning; serialized production; and the emergence of the satirist as a primary participant in political discourse. This study, the first in-depth analysis of De Hooghe’s satires since the nineteenth century, considers these prints as sites of cultural influence and negotiation, works that both reflected and helped to construct a new relationship between the government and the governed.Less
This book documents one of the most important moments in the history of printed political imagery, when the political print became what we would recognize as modern political satire. Contrary to conventional historical and art-historical narratives, which place the emergence of political satire in the news-driven coffee-house culture of eighteenth-century London, this study locates the birth of the genre in the late seventeenth-century Netherlands in the contentious political milieu surrounding William III’s invasion of England known as the ‘Glorious Revolution’. The satires produced between 1688 and 1690 by the Dutch printmaker Romeyn de Hooghe (1645–1708) on the events surrounding William III’s campaigns against James II and Louis XIV establish many of the qualities that define the genre to this day: the transgression of bodily boundaries; the interdependence of text and image; the centrality of dialogic text to the generation of meaning; serialized production; and the emergence of the satirist as a primary participant in political discourse. This study, the first in-depth analysis of De Hooghe’s satires since the nineteenth century, considers these prints as sites of cultural influence and negotiation, works that both reflected and helped to construct a new relationship between the government and the governed.
