From the walls of the Salon to the pages of weekly newspapers, war imagery was immensely popular in postrevolutionary France. This fascinating book studies representations of contemporary conflict in the first half of the 19th century and explores how these pictures provided citizens with an imaginative stake in wars being waged in their name. As she traces the evolution of images of war from a visual form that had previously been intended for mostly elite audiences to one that was enjoyed by a much broader public over the course of the 19th century, Katie Hornstein carefully considers the influence of emergent technologies and popular media, such as lithography, photography, and panoramas, on both artistic style and public taste. With close readings and handsome reproductions in various media, from monumental battle paintings to popular prints, Picturing War in France,1792–1856 draws on contemporary art criticism, war reporting, and the burgeoning illustrated press to reveal the crucial role such images played in shaping modern understandings of conflict.

"From the walls of the Salon to the pages of weekly newspapers, war imagery was immensely popular in postrevolutionary France. This fascinating book studies representations of contemporary conflict in the first half of the 19th century and explores how these pictures provided citizens with an imaginative stake in wars being waged in their name. As she traces the evolution of images of war from a visual form that had previously been intended for mostly elite audiences to one that was enjoyed by a much broader public over the course of the 19th century, Katie Hornstein carefully considers the influence of emergent technologies and popular media, such as lithography, photography, and panoramas, on both artistic style and public taste. With close readings and reproductions in various media, from monumental battle paintings to popular prints, Picturing War in France, 1792-1856 draws on contemporary art criticism, war reporting, and the burgeoning illustrated press to reveal the crucial role such images played in shaping modern understandings of conflict"--Publisher's description.

The Crimean War (1854–56) is widely considered the first modern war with its tactical use of railways, telegraphs, and battleships, its long-range rifles, and its notorious trenches – precursors of the Great War. It is also the first media war: the first to know the impact of a correspondent on the field of battle and the first to be documented in photographs. No one, however, including the French themselves, seems to remember that France was there, fighting in Crimea, losing 95,000 soldiers and leading the Allied campaign to victory. It would seem that the Crimean War has no place in the canon of culturally retained historical events that define modern French identity. Looking at literature, art, theatre, material objects, and medical reports, The Crimean War and Cultural Memory considers how the Crimean War was and was not represented in French cultural history in the second half of the nineteenth century. Ultimately, the book illuminates the forgotten traces that the Crimean War left on the French cultural landscape.

Taking into account the destructive powers of globalization, Making Worlds considers the interconnectedness of the world in the early modern period. This collection examines the interdisciplinary phenomenon of making worlds, with essays from scholars of history, literary studies, theatre and performance, art history, and anthropology. The volume advances questions about the history of globalization by focusing on how the expansion of global transit offered possibilities for interactions that included the testing of local identities through inventive experimentation with new and various forms of culture. Case studies show how the imposition of European economic, religious, political, and military models on other parts of the world unleashed unprecedented forces of invention as institutionalized powers came up against the creativity of peoples, cultural practices, materials, and techniques of making. In doing so, Making Worlds offers an important rethinking of how early globalization inconsistently generated ongoing dynamics of making, unmaking, and remaking worlds.

This book turns a compelling new lens on thinking about the history of Paris and photography. The invention of photography changed how history could be written. But the now commonplace assumptions--that photographs capture fragments of lost time or present emotional gateways to the past--that structure today's understandings did not emerge whole cloth in 1839. Focusing on one of photography's birthplaces, Paris and the Cliché of History tells the story of how photographs came to be imagined as documents of the past. Author Catherine E. Clark analyzes photography's effects on historical interpretation by examining the formation of Paris's first photo archives at the Musée Carnavalet and the city's municipal library, their use in illustrated history books and historical exhibitions and reconstructions such as the 1951 celebration of Paris's 2000th birthday, and the public's contribution to the historical record in amateur photo contests. Despite the photograph's growing importance in these forums, it did not simply replace older forms of illustration, visual documentation, or written text. Photos worked in complex and shifting relation to other types of pictures as photographers, popular historians, and publishers built on the traditions and iconography of painting and engraving in order to both document the past scientifically and objectively and to reconstruct it romantically. In doing so, they not only influenced how Parisians thought about the city's past and how they pictured it; they also ensured that these images shaped how Parisians lived their own lives--especially in deeply charged moments such as the Liberation after World War II. This history of picturing Paris does not simply reflect the city's history: it is Parisian history.

In this compelling new study, Carol E. Harrison and Thomas J. Brown chart the rise and fall of the Zouave uniform, the nineteenth century’s most important military fashion fad for men and women on both sides of the Atlantic. Originating in French colonial Algeria, the uniform was characterized by an open, collarless jacket, baggy trousers, and a fez. As Harrison and Brown demonstrate, the Zouaves embraced ethnic, racial, and gender crossing, liberating themselves from the strictures of bourgeois society. Some served as soldiers in Papal Rome, the United States, the British West Indies, and Brazil, while others acted in theatrical performances that combined drag and drill. Zouave Theaters analyzes the interaction of the stage and the military, and reveals that the Zouave persona influenced visual artists from painters and photographers to illustrators and filmmakers.

In the past century Western attitudes toward the soldier’s death have undergone a remarkable transformation. Widely accepted at the time of the First World War – when nearly ten million soldiers died in uniform – as a redemptive sacrifice on behalf of the nation, the soldier’s death is increasingly regarded as an unacceptable tragedy. In Dying for France Ian Germani considers this transformation in the context of the history of France over the expanse of five centuries, from the Renaissance to the present. Blending military history with the history of culture and mentalities, Germani explores key episodes in the history of France’s wars to show how patriotic models of the soldier’s death eclipsed those inspired by the aristocratic code of honour, before themselves giving way to disillusioned representations. First-hand testimony of soldiers, surgeons, and others provides the basis for vivid descriptions of how a soldier encountered death, on and away from the battlefield. Works of art and print culture are used to analyze how soldiers’ deaths were represented to the public and to discern how popular attitudes evolved over time. Encompassing France’s major external conflicts and its civil wars, this study also considers the experiences of soldiers recruited from the French colonial empire. Relating changes in the perception of military mortality to broader changes in society’s relationship with death, Dying for France highlights essential turning points in the rise and fall of the patriotic ideal of the soldier’s death.