Festivals and the French Revolution--the subject conjures up visions of goddesses of Liberty, strange celebrations of Reason, and the oddly pretentious cult of the Supreme Being. Every history of the period includes some mention of festivals; Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process.

Festivals and the French Revolution--the subject conjures up visions of goddesses of Liberty, strange celebrations of Reason, and the oddly pretentious cult of the Supreme Being. Every history of the period includes some mention of festivals, although most historians have been content either to ridicule them as ineffectual or to bemoan them as repugnant examples of a sterile, official culture. Mona Ozouf shows us that they were much more than bizarre marginalia to the revolutionary process. Festivals offer critical insights into the meaning of the French Revolution; they show a society in the process of creating itself anew. Historians have recognized the importance of the revolutionary festival as a symbol of the Revolution. But they have differed widely in their interpretations of what that symbol meant and have considered the festivals as diverse as the rival political groups that conceived and organized them. Against this older vision, Ozouf argues for the fundamental coherence and profound unity of the festival as both event and register of reference and attitude. By comparing the most ideologically opposed festivals (those of Reason and the Supreme Being, for instance), she shows that they clearly share a common aim, which finds expression in a mutual ceremonial and symbolic vocabulary. Through a brilliant discussion of the construction, ordering, and conduct of the festival Ozouf demonstrates how the continuity of the images, allegories, ceremonials, and explicit functions can be seen as the Revolution's own commentary on itself. A second and important aim of this book is to show that this system of festivals, often seen as destructive, was an immensely creative force. The festival was the mirror in which the Revolution chose to see itself and the pedagogical tool by which it hoped to educate future generations, Far from being a failure, it embodied, socialized, and made sacred a new set of values based on the family, the nation, and mankind--the values of a modern, secular, liberal world.

The search for a republican morality provides an exciting new study of an important event in the French Revolution and a defining moment in the career of its principal actor, Maximilien Robespierre, the Festival of the Supreme Being. This day of national celebration was held to inaugurate the new state religion, the Cult of the Supreme Being, and whilst traditionally it has been dismissed as a compulsory political event, this book redefines its importance as a hugely popular national event. Hitherto unused or disregarded source material is used to offer new perspective to the national reaction to Robespierre's creation of the Festival and of his search for a new republican morality. It is the first ever detailed study in English of this area of French Revolutionary history, the first in any language since 1988 and will be welcomed by scholars and students of this period.

When this book was published in 1984, it reframed the debate on the French Revolution, shifting the discussion from the Revolution's role in wider, extrinsic processes (such as modernization, capitalist development, and the rise of twentieth-century totalitarian regimes) to its central political significance: the discovery of the potential of political action to consciously transform society by molding character, culture, and social relations. In a new preface to this twentieth-anniversary edition, Hunt reconsiders her work in the light of the past twenty years' scholarship.

The fall of the Bastille on July 14, 1789 has become the commemorative symbol of the French Revolution. But this violent and random act was unrepresentative of the real work of the early revolution, which was taking place ten miles west of Paris, in Versailles. There, the nobles, clergy and commoners of France had just declared themselves a republic, toppling a rotten system of aristocratic privilege and altering the course of history forever. The Revolution was led not by angry mobs, but by the best and brightest of France's growing bourgeoisie: young, educated, ambitious. Their aim was not to destroy, but to build a better state. In just three months they drew up a Declaration of the Rights of Man, which was to become the archetype of all subsequent Declarations worldwide, and they instituted a system of locally elected administration for France which still survives today. They were determined to create an entirely new system of government, based on rights, equality and the rule of law. In the first three years of the Revolution they went a long way toward doing so. Then came Robespierre, the Terror and unspeakable acts of barbarism. In a clear, dispassionate and fast-moving narrative, Ian Davidson shows how and why the Revolutionaries, in just five years, spiralled from the best of the Enlightenment to tyranny and the Terror. The book reminds us that the Revolution was both an inspiration of the finest principles of a new democracy and an awful warning of what can happen when idealism goes wrong.

City authorities in recent years have competed vigorously to gain the right to host international festivals. In doing so they are heirs to a long tradition, since cities have always served as a natural location for festivals and fairs, providing settings on a scale impossible elsewhere. Cities of Culture examines the role of the Western city as the scene of staged cultural events over the last 150 years. Adopting a lively comparative perspective, it highlights the development of international festivals since London's Great Exhibition of 1851. Making extensive use of case studies and illuminating examples, it offers thought-provoking insight into the material and symbolic significance of international festivals in urban affairs. The book opens with an historical analysis of the role of the city as centre for celebrations, rites and festivities from Antiquity to the French Revolution. The next three sections of the book each focus on a different form of international festival. The first deals with the history of staging the International Expositions, with case studies of the Great Exhibition (1851), New York's World's Fair (1939-40) and Montreal's Expo 67 (1967). The next part covers the Summer Olympic Games from their revival at Athens in 1896 to the Atlanta Games (1996), discussing the implications of their fluctuating fortunes for their host cities. The third section discusses the history of a recently-founded event that is assuming ever-greater importance - the European Cities of Culture programme. The conclusion provides an overview of the events that celebrated the Millennium and examines the prospects for international festivals as part of the urban agenda of the twenty-first century. Cities of Culture will appeal to students of cultural history, urban and cultural geography, specialists in arts and heritage events management, and anyone with an interest in the development of the contemporary Western city.

From an award-winning historian, a “vivid” (Wall Street Journal) account of the revolution that created the modern world The French Revolution’s principles of liberty and equality still shape our ideas of a just society—even if, after more than two hundred years, their meaning is more contested than ever before. In A New World Begins, Jeremy D. Popkin offers a riveting account of the revolution that puts the reader in the thick of the debates and the violence that led to the overthrow of the monarchy and the establishment of a new society. We meet Mirabeau, Robespierre, and Danton, in all their brilliance and vengefulness; we witness the failed escape and execution of Louis XVI; we see women demanding equal rights and Black slaves wresting freedom from revolutionaries who hesitated to act on their own principles; and we follow the rise of Napoleon out of the ashes of the Reign of Terror. Based on decades of scholarship, A New World Begins will stand as the definitive treatment of the French Revolution.