Why is La révolution fandom only this 🤏 small???
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just finished watching la révolution on netflix and damn why did it have to get cancelled after one season
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Maybe it's my own fault for not checking the news
UK folks, listen, it's time for you to unify to destroy the UK once and for all. Scotland & Wales, do everything to declare independence, Ireland, become one again, English people, get rid of those nobles treating you like dirt. Overwelm them, get your freedom back. Others gov cannot support you, but the people are. The EU is waiting for you, folks.
Now, excusez-moi, but I'm going to prepare myself for my brother saying that British are happy to not have heat if the King gets a great ceremony.
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Je ne vois pas la [femme] cachée dans la forêt
La Révolution surréaliste, Paris no. 12, December 15, 1929
The Surrealist group around Magritte's I do not see the (Woman) hidden in the Forest
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La Révolution - Chapter 4: The Executioners
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Anon it is then :)
(You don't know me lmao, I'm not one of your mutuals.)
Ok
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Descriptions of Napoleon’s personality by Adam Zamoyski
“He was kind by nature, quick to assist and reward. He found comfortable jobs and granted generous pensions to former colleagues, teachers, and servants, even to a guard who had shown sympathy during his incarceration after the fall of Robespierre. He was generous to the son of Marbeuf, promoted his former commander at TouIon Dugommier and looked after his family when he died, did the same for La Poype and du Teil, and even found the useless Carteaux a post with a generous pension. Whenever he encountered hardship or poverty, he disbursed lavishly. He could be sensitive, and there are countless verifiable acts of solicitude and kindness that testify to his genuinely wishing to make people happy.”
“He was most at his ease with children, soldiers, servants, and those close to him, in whom he took a personal interest, asking them about their health, their families, and their troubles. He would treat them with a joshing familiarity, teasing them, calling them scoundrels or nincompoops; whenever he saw his physician, Dr. Jean-Nicolas Corvisart, he would ask him how many people he had killed that day.”
“He possessed considerable charm and only needed to smile for people to melt. He could be a delightful companion when he adopted an attitude of bonhomie. He was a good raconteur, and people loved listening to him speak on some subject that interested him, or tell his ghost stories, for which he would sometimes blow out the candles. He could grow passionate when discussing literature or, more rarely, his feelings.”
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Toussaint L'Ouverture by George De Baptiste.
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Fics where they do a little dance and they both KNOW they are doing it but can’t outright SAY IT my beloved (link)
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Vampires being Southern confederates in the American pop culture tradition makes so much sense to me logically. Not saying that I don't believe it's propaganda, because it absolutely is. But planter vampires and confederate vampires (Jasper, Damon, Lestat, Louis, Bill Compton) make a lot of sense in the American context, as much as aristocratic and “Old World” vampires make sense in the British context.
If vampires are inherently Gothic, then vampires must symbolize and personify the vestiges of a long-gone past – one which only simmers to life from far below the surface when it’s time to reveal the horrors, or the romance, of what is usually an oft-forgotten history. In 19th-century Britain, through vampire short stories and novellas, and later Dracula, vampires evoked the (misunderstood and misappropriated) time of the Goths. This, in turn, brought to readers’ minds images of towering castles, the superstition of Eastern Europe, and the so-called barbarism of the Old World, that which was made to appear antiquated in its monstrosity and secret imperialist desires. (*sarcastic voice*) The Old World was so at odds with enlightened, modern, industrializing Britain! It’s no wonder that vampires in British literature took the forms of counts, noblemen, and princes – they were the conspiring, powerful leaders of the Old World, or the medieval world, or some forgotten pre-Industrial feudal world.
And if we are to apply this concept of what vampires should represent for the United States, it only makes perfect sense that vampires would be planters and confederates. Slavers, planters, and confederate fighters also evoke the Old America, conjuring images of Southern chivalry, the great Antebellum, and the humble pioneers of this free nation of God and goodness and prosperity! And then the confederates got their ass beat really bad. And they could only hold on to these romantic images of that former “honour and glory” through propagation of the Lost Cause myth. What better vehicle to wield this romanticisation of, yunno, the defense of chattel slavery than through vampire softbois?! Immortal beings who symbolize the survival and resilience of the Antebellum South through time. Why don’t we make them hot guys who were just protecting the South in our pop culture? Sure. If the vestiges of America’s long-gone past are slavery and genocide and, uh, chivalric Southern honour, then vampires do a pretty effective job of reminding us of this horrifying/romantic (you choose here) history. Spoiler alert: it’s horrifying.
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hewwo frevblr! its been awhile but today i bring yall a scan of the l'Humanité special edition, robespierre et le peuple debout, that came out this summer!
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Halloween was yesterday so I'm late, but look at the spooky busts of the place de la Révolution in Montpellier
I mean, I don't know what went wrong with the reproductions of the David d'Angers busts, but they look very rough and cursed
From top to bottom and left to right: Couthon, Saint-Just, Jussieu, Sieyès, Lafayette, and La Révellière-Lépeaux without his famous microbangs mullet. The pictures aren't mine, they're from here.
See the original David d'Angers busts of Saint-Just and Couthon for comparaison
It seems mostly a problem with the d'Angers reproductions cause the other busts in the same place are...well, still cursed...but not as rought looking?
From top to bottom, left to right: Marat by ???, Danton by Paul Eugène Victor Bacquet, Desmoulins by François Martin, Barnave by Jean-Antoine Houdon, Manon Roland by Emile Carlier, and Bailly by Louis-Pierre Deseine. The pictures aren't mine, they're from here.
And then there's the Robespierre by Claude-André Deseine, who's doing alright and has some spiders friends 🕷🕷🕷 (picture from here)
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