Departing from Mario Turchetti's study on the concept of tyranny and tyrannicide, the author sets out to explore its specific use in the political discourse in the eighteenth century. Originally, as in the works of Plato and Montesquieu, tyranny was used in reference to degenerate forms of government. Tyranny and tyrannicide gained additional significance with its inclusion in the virulent discourse during the radicalization of the French Revolution. Based on the myth of Brutus and other classical sources, anti-tyrannical rhetoric in the form revolutionary literature and propaganda spurted political activism. As the figure of the king became the main obstacle to liberty and the foundation of a new republic, tyranny and tyrannicide became key concepts in the revolutionary movements.
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Use and Role of the Concepts of Tyrrany and Tyrannicide During the French Revolution
Raymonde Monnier
In Contributions to the History of Concepts
- Published (Print):
- 01 Mar 2006
- Article Type:
- Research Article
- Pages:
- 19–41 (23 total)
Nathaniel Lee's Politics of Sovereignty
Aspasia Velissariou
power, as is underscored by his transformation in Gloriana of the historical Augustus into a paranoid and lustful tyrant. Patriarchal cannibalism, featuring in his republican play Lucius Junius Brutus: Father of His Country (1680), cautions us about
In Critical Survey
- Published (Print):
- 01 Dec 2022
- Article Type:
- Research Article
- Pages:
- 136–150 (15 total)
Book Reviews
Elizabeth Hoyt and Gašper Jakovac
exact nature of just and unjust causes’ (p. 129). Quabeck then turns to the question of right intention, examining Brutus and Cassius as case studies. She lauds Brutus’s concern for the common good; as she concedes, however, right intention does not
Editorial
Graham Holderness
Nathaniel Lee. Drawing on Giorgio Agamben's Homo Sacer , Velissariou argues that in Lee's Lucius Junius Brutus: Father of His Country (1680) sovereign violence is inscribed in a most savage form as the very foundation of the civil community.
Queering Lucrezia's Virtú
A Feminist Reinterpretation of the Radical Machiavelli
Andrés Fabián Henao Castro
, it is worth noting, helped him to dramatise the new foundation of the Roman Republic. After Tarquinius rapes Lucrezia under the threat of destroying her virtue, Lucrezia commits suicide in front of her family members. Brutus, the hero of the story
[I] ‘did write this Wyll with my own hand’
Simulation and Dissimulation in Isabella Whitney’s ‘Wyll and Testament’
Vassiliki Markidou
highlights its contemporary reality, one expects it to begin with its glorious past and thus refer to London's origins and its mythic founder, the Trojan Brutus. However, ‘Wyll and Testament’ omits the stock portrayal of London as Troynovant, namely as the
Reflecting upon Coriolanus as Being-in-and-for-Mother through the Gaze of Existential Semiotics
Maryamossadat Mousavi and Pyeaam Abbasi
.3.59), Brutus and Sicinius were supporting the plebeians against him, ‘unsettled by his thinly veiled contempt for the civic ritual he has enacted and fearful of his intentions towards them’. 45 Coriolanus then makes a leap into ‘the realm of Le Néant ’, in
The Last Roman King
Ian Ward
coincidental birth of Christ, which was not, of course, a coincidence at all. As a foundation-myth, the ‘matter of Britain’ needed a founder, and much the most popular choice was the Trojan Brutus, who enjoyed pride of place in Geoffrey of Monmouth
Book Reviews
On Machiavelli as Plebeian Theorist
Marc Stears, Jérémie Barthas, and Adam Woodhouse
's murder of Remus and Brutus's execution of his sons constitute ‘transgression[s] that cannot simply be justified by a schema of expediency’ (118): foundational violence clears the field of opponents, but it also addresses an audience through a ‘poetics of
A Transtextual Hermeneutic Journey
Horst Rosenthal's Mickey au camp de Gurs (1942)
Yaakova Sacerdoti
find themselves locked up against their will and for no action of their own. In Dante's inferno, Alexander the Great and Attila the Hun are condemned to wallow in boiling blood forever because they were bloodthirsty killers; Judas, Brutus and Cassius
In European Comic Art
- Published (Print):
- 01 Mar 2019
- Article Type:
- Research Article
- Pages:
- 21–40 (20 total)