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The Crown and the Crowd

Sublimations of Monarchy in Georgian Satirical Prints

David Morgan

prints of this era would seem on the surface to be one of unalloyed personal invective and scathing political condemnation. The ‘regal satirical’ prints of James Gillray, in particular, are notably blistering in their portrayal of George III as a hapless

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A Rousseauian Reading of Gillray's National Conveniences

John Moores

The German journal London und Paris called James Gillray 'the foremost living artist in his genre, not only amongst Englishmen, but amongst all European nations'. Despite the scholarly attention he has attracted, many of Gillray's individual works have yet to receive rigorous analysis. One such neglected print is National Conveniences (1796), assumed to be a crude, straightforward expression of national supremacy. However, a closer reading shows Gillray employing the ideas of Jean-Jacques Rousseau both to undermine notions of English superiority and to assail a particular personal adversary. With this reading in mind, we can reassess references to Rousseau in Gillray's other prints, and propose a new direction from which to approach his greater oeuvre.

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Interview with Steve Bell

David Morgan

nineteenth-century British press and has remained popular ever since. There is a continuous tradition of lacerating visual satire in Britain, which flows from the moral Progresses of William Hogarth, through the late Georgian cartoons of James Gillray, to

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Comics and Transnational Exchanges

Lawrence Grove, Anne Magnussen, and Ann Miller

current fashions may be read as a comedic exaggeration, and revelation, of desperate attempts to keep the social mask from slipping. Likewise, James Gillray's double portrayals of political figures set their public personae alongside a more scurrilous twin

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Looking Awry at Georgian Caricature

Lacan and the Satirists

David Morgan

’ with my ‘mask’ to accommodate the gaze of the world – the gaze of the Other. This notion of the essential malleability or fungibility of the ‘mask’ worn by the subject is graphically addressed in a famous satirical print by James Gillray ( Figure 3

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The Editors

sense of nationhood, even, or especially, when they mercilessly lampoon the head of state. The graphic line of James Gillray and his contemporaries ridiculed the Hanoverian monarchs on grounds of their boorishness, sexual appetites and political meddling

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Fresh off the Boat and Off to the Presses

The Origins of Argentine Comics between the United States and Europe (1907–1945)

Amadeo Gandolfo and Pablo Turnes

(2014): 105–115; Judith Gociol and José María Gutiérrez, La Historieta salvaje: Primeras series argentinas (1907–1929) (Buenos Aires: De La Flor, 2015). 6 Namely, the work of the English authors William Hogarth and James Gillray in the eighteenth