Suffering and Sentiment on Romantic Military Art

《浪漫主义军事艺术中的苦难与情感》以从七年战争到克里米亚战争结束的英国文化中的死伤士兵形象为中心。在西蒙·班布里奇、约翰·伯恩希尔、玛丽·法夫雷特和尤瓦尔·哈拉里的开创性工作之后，它首次详细讨论了战场内外的苦难和情感是如何在一系列视觉和口头媒体中被描绘的：从绘画和素描到政治散文和反战诗歌，从关于文化和美学的写作到图形讽刺和早期照片。该项目将出版一本书(阿什盖特2012)，一个为期一天的会议和一个‘晚泰特’活动，两者都对公众开放，将于2011年在英国泰特举行。与以前的研究有很大不同的是，我的研究特别关注的是死亡和受伤的图像被用来限定和巩固个人和国家一致的观点的方式。通过考虑这一时期的各种媒体，这项研究试图纠正这样一种观念，即苦难只被描绘为高尚或英勇的。虽然古典肖像画和历史画无疑与官方意识形态合谋，以转移人们对战争真实代价的关注，但这种肖像画必须与关注普通士兵命运的文学和视觉艺术作品相对照。通过将这个被忽视的人物公之于众，这本书揭示了一段对苦难态度变化的历史，从18世纪中期的矛盾心理，到18世纪末和19世纪初的道德情操概念，再到维多利亚时代中期的同情概念。因此，《痛苦与情感》讲述了死亡和受伤的图像如何促进和质疑战争观念的转变：从高尚牺牲的专制愿景到忍耐和共同事业的民主观念。在介绍了18世纪对军事的态度和对战争的描绘后，第一章重点讲述了劳伦斯·斯特恩的《绅士特里斯特拉姆·尚迪的生活和观点》(The Life and Options of Tristram Shandy，Gentleman，1759-67)中对受伤士兵的描绘。它特别关注这部小说的当代插图，这些插图突出了军事礼仪、男子气概概念以及性和伤害之间的不安联系。下一章讨论的是平面艺术家亨利·邦伯里的作品，沃尔波尔将其描述为“第二个霍加斯”。邦伯里的《苦难》(1783年)是一幅描绘了一名阵亡士兵和他悲痛的妻子和孩子的版画，在英国、美国和苏格兰对反美战争的反应以及关于对战争受害者的慈善救济的辩论中进行了考察。在第三章中，注意力转向约瑟夫·赖特的油画《死去的士兵》(1789)，这部作品呈现了军事和家庭领域的挑衅性融合。这一章借鉴了赖特和他的圈子之前未发表的信件，以及诗歌、散文和图形讽刺作品，将这幅画定位在自由、激进和保守的反战情绪的复杂网络的中心。第四章关注抗战时期的艺术和文学反应。它考察了约瑟夫·赖特、詹姆斯·吉利、罗伯特·布朗和威廉·霍奇斯的作品是如何回应一种“军事奇观”的文化的，他们提供了忧郁的不确定性，而不是崇高的必胜主义。第五章论述了军事纪律在一系列版画、绘画和文学作品中的表现，而第六章则侧重于在医学话语和意象中对死伤士兵的刻画。这项研究的结论解释了克里米亚文学和艺术中出现的新形式的同情。

Suffering and Sentiment in Romantic Military Art' takes as its focus the image of the dead and wounded soldier in British culture, from the Seven Years War to the close of the Crimean War. Following in the wake of pioneering work by Simon Bainbridge, John Bonehill, Mary Favret and Yuval Harari it presents the first detailed discussion of how suffering and sentiment on and off the battlefield was depicted in a range of visual and verbal media: from paintings and sketches to political prose and anti-war poetry, and from writings on culture and aesthetics to graphic satires and early photographs. The project will result in the publication of a book (Ashgate 2012), a one-day conference and a 'Late at Tate' event, both open to the public, to be held at Tate Britain in 2011. In a significant departure from previous studies, the particular concern of my research is with the way in which images of death and wounding are used to qualify as well as consolidate ideas of individual and national unanimity. By taking account of the full range of media in this period, the study seeks to redress the notion that suffering was depicted solely as noble or heroic. Whilst classical portraiture and history painting undoubtedly conspired with official ideologies to deflect attention from the true costs of war, such portrayals must be set against works of art, literary as well as visual, which focus on the lot of the common soldier. In bringing this neglected figure to light, the book uncovers a history of changing attitudes to suffering, from mid eighteenth-century ambivalence, through late eighteenth- and early nineteenth-century concepts of moral sentiment, to mid-Victorian notions of sympathy. As such, 'Suffering and Sentiment' tells the story of how images of death and wounding both facilitated and queried a shift in the perception of war: from autocratic visions of noble sacrifice to democratic notions of endurance and common cause.Following an introductory discussion of eighteenth-century attitudes to the military and to the portrayal of war, the first chapter focuses on the depiction of the wounded soldier in Laurence Sterne's 'The Life and Opinions of Tristram Shandy, Gentleman' (1759-67). It pays particular attention to contemporary illustrations of the novel, which foreground the uneasy connections between military manners, conceptions of masculinity and the links between sexuality and injury. The following chapter discusses the work of the graphic artist Henry Bunbury, described by Walpole as 'a second Hogarth'. Bunbury's 'Affliction' (1783), a print depicting a dead soldier and his grieving wife and child, is examined in the context of English, American and Scottish responses to the wars against America and in terms of debates about charitable relief for the victims of war. In chapter three, attention turns to Joseph Wright's painting 'The Dead Soldier' (1789), a work presenting a provocative conflation of the military and domestic spheres. Drawing on previously unpublished correspondence by Wright and his circle, as well as on poems, prose writings and graphic satires, the chapter locates the painting at the centre of a complex network of liberal, radical and conservative anti-war sentiment. Chapter four pays close attention to artistic and literary responses to the war against revolutionary France. It considers how works by Joseph Wright, James Gillray, Robert Brown and William Hodges responded to a culture of 'military spectacle', offering melancholic uncertainty in place of sublime triumphalism. The final chapters turn to considerations of the changing status of the soldier's body: chapter five addresses the representation of military discipline in a range of prints, paintings and literary works, while chapter six focuses on the depiction of the dead and wounded soldier in medical discourse and imagery. The study's conclusion accounts for the emergence of new forms of sympathy in the literature and art of the Crimea.