School of History Assignment Cover Sheet

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ITS Username Ra21200

Module Code: HST5901  Module History Research Project

Title

Seminar Teacher Stefan Visnjevac

Assignment name Project Plan Word Count: 550

(e.g. ‘Research
Essay’)

Title:
How did French and British visual depictions of the French Revolution
differ?

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1
Research Plan: Template

Project Title How did French and British visual depictions of the French Revolution
differ?

Main Source Liberté, Egalité, Fraternité –https://revolution.chnm.org

Base

Why is this The French Revolution (1789 – 1799) was a significant event in shaping,
project moulding and manipulating the history of the world. It symbolised the death
of the ancient, traditional, feudal order and the birth of, on one hand, liberty,
interesting, fraternity and equality, and on the other, modern dictatorship,
important or authoritarianism and totalitarianism. Characterised by both the extension of
useful? What do individual freedoms (direct democracy, equality under the law, religious
you hope to find freedoms, abolition of class privileges etc.) and the restriction of such
freedoms (propaganda, censorship of the press, police state, conquest etc.),
out? understandings of the nature of such a revolution differed. Whilst the French
depicted the revolution as an emblem of good, the British illustrated it as the
embodiment of evil. 

What questions Who created such sources?

do you need to – education, nationality, socio-economic status, religious, political
affiliations, motives, telos, epistemologically - truth or opinion?
ask of your Who had the means, capabilities, skills, time, interest to produce such
primary depictions?
sources? When was such a source created?
– helps to understand intellectual, political, religious, economic, social
influences
For whom was such a source created?
– masses or elites, learned or ignorant, particular nation or the globe?
What type of source?
Visual - satirical, caricature, portrait, sketch, engraving, painting?
Why was it created?
– influence, propaganda, rhetoric, sophistry, advertisement, pamphlet, spread
or inhibit ideas, aesthetics, art, decoration, recreation, commissioned?
Contents of the source?
-most sources not intended as historical sources
-cannot grant a full, whole, holistic view
-characterised by limitations
-what do such limitations reveal?
Tones, themes, colours, ideas, motifs, symbols explored - implications?
How comprehensive is the collection’?
How representative is such a source?
What survives to the present? What might have been lost?

Which sources Visual sources will be prioritised - as the question specifies - though such
will you sources will be complemented with written sources to aid comprehension. 
2–3 French visual depictions and 2–3 British visual depictions of the French
prioritise, and revolution will be utilised. 
why? Are there Such a small sample of sources may not be representative nonetheless a small
any limitations number of sources facilities a thorough, detailed, and comprehensive analysis
to this selection? Only sources that have been classified under a given keyword will appear -
that which has not been categorised will be missed 
Art of people of a particular standing will likely be preserved, enhancing a
certain interpretation

2
What secondary Books on the General history of French Revolution - context, historiography
literature will etc. 
Academic articles on specifics - i.e. similarities and differences between
you need to French and British visual depictions on the French Revolution
consult? How Literature on the utilisation of visual or artistic sources as an historical
will you find it? source 
A combination of offline (books, biographies, newspapers etc.) and online
(eBooks, PDFs, scholarly articles etc.) sources will be utilised.

What do you Challenges - 

expect to be the French Language on visual sources - unintelligible, incomprehensible
Post translation - may be a loss in nuances, intricacies of meaning
main challenges
of this project? Solution -  
How do you Derive multiple translations and merge, combine, integrate them in hopes to
propose to meet discover truthful, credible, valid translation 
them?

What is your Week 6 –

proposed Narrow down visual primary sources (4 – 6)
Detailed notes on 2 readings
timetable, weeks Week 7 –
6-13? Detailed notes on 3 selected readings
Week 8 –
Detailed notes on 3 selected readings
Week 9 –
Detailed notes on 3 selected readings
Week 10 –
Detailed essay plan
Week 11 –
Draft 1
Week 12 –
Draft 2
Week 13 –
Final essay

Please ATTACH A SAMPLE BIBLIOGRAPHY HERE. This does not count towards
your word limit.

Bibliography

Bernstein, Samuel. “English Reactions to the French Revolution.” Science & Society 9, no. 2 (1945): 147–
71. http://www.jstor.org/stable/40399694.

Cichoski, Bill; Rice, Angela; Greenan, Philip; and Visick, Elisa, "Symbols of the French Revolution"
(2010). FHSS Mentored Research Conference. 131.
https://scholarsarchive.byu.edu/fhssconference_studentpub/131

3
Coleman, John. “JOHN STUART MILL ON THE FRENCH REVOLUTION.” History of Political
Thought 4, no. 1 (1983): 89–110. http://www.jstor.org/stable/26212368.

rd
Doyle, William. The Oxford History of the French Revolution. (3 ed, 2018).
James Cuno (ed.), French Caricature and the French Revolution, 1789-1799 (Los Angeles, 1789).

Edmund Burke, Reflections on the Revolution in France [selections: pp. 77-101], in: Edmund

Burke, Revolutionary Writings (edited by Iain Hampsher-Monk, Cambridge: Cambridge University
Press, 2014), pp. 77-101.

Giacomo Aliprandi (engraver) and Giacomo Beys (illustrator), “The Death of Robespierre,” Liberté,
Egalité, Fraternité: Exploring the French Revolution, https://revolution.chnm.org/d/11.

Isidore-Stanislas Helman (engraver), Antoine-Jean Duclos (engraver), and Charles Monnet (designer),
“Execution of Marie Antoinette (16 October 1793) at the place de la Révolution,” Liberté, Egalité,
Fraternité: Exploring the French Revolution, https://revolution.chnm.org/d/183.

James Gillray, “Aristocratic Occupations . . .,” Liberté, Egalité, Fraternité: Exploring the French
Revolution, https://revolution.chnm.org/d/7.

James Gillray (engraver), “A Democrat, or Reason and Philosophy,” LIBERTY, EQUALITY,

FRATERNITY: EXPLORING THE FRENCH REVOUTION, accessed February 19,
2023, https://revolution.chnm.org/d/24.

James Gillray, “French Liberty. British Slavery. Published December 21, 1792.,” Liberté, Egalité,
Fraternité: Exploring the French Revolution, https://revolution.chnm.org/d/1141.

John Stuart Mill, Autobiography and Literary Essays, ed. John M. Robson and Jack Stillinger
(Toronto: University of Toronto Press, 1981), 65, 135.

Macleod, Emma Vincent. “British Attitudes to the French Revolution.” The Historical Journal 50, no. 3
(2007): 689–709. http://www.jstor.org/stable/20175117.

Mary Wollstonecraft, 'A Vindication of the Rights of Men', in: Mary Wollstonecraft, A Vindication of
the Rights of Men and A Vindication of the Rights of Woman (edited by Sylvana Tomaselli,
Cambridge: Cambridge University Press, 1995), pp. 5-9, 13-14, 17-19, 22-25, 37-40, 42-49, 54, 60-
64.

Moores, John R. “Representations of France and the French in English Satirical Prints, c. 1740-1832.”
Vol. 1:2. University of York History, September 2011.

None Identified, “Hell Broke Loose, or, The Murder of Louis,” Liberté, Egalité, Fraternité: Exploring
the French Revolution, https://revolution.chnm.org/d/53.

Roger (engraver) and Horace Vermet (designer), “A Grateful France Proclaims Napoleon the First
Emperor of the French,” Liberté, Egalité, Fraternité: Exploring the French Revolution,
https://revolution.chnm.org/d/197.

Rothenberg, Gunther E. “The Origins, Causes, and Extension of the Wars of the French Revolution and
Napoleon.” The Journal of Interdisciplinary History 18, no. 4 (1988): 771–93.
https://doi.org/10.2307/204824.

Thomas Rowlandson (engraver) and George Murphy (designer), ‘The Contrast, 1793 British
Liberty/French Liberty,” Liberté, Egalité, Fraternité: Exploring the French Revolution,
https://revolution.chnm.org/d/36.