ABSTRACT

In the aftermath of the Peterloo massacre, the ongoing collaboration between William Hone and George Cruikshank in the milieu of the London-based radical press resulted in a number of wildly satirical hybrid publications, including A Slap at Slop and the Bridge Street Gang, a dazzling parody of a four-page daily newspaper (1821). In a unique combination of text and image, the two mock newspaper entries dealing with the Peterloo events lay bare the abysmal power logic underlying the making of that tragedy, and construct a scathing indictment of both state violence and the pervasive rhetoric of self-celebration underlying the exercise of state power. Building on the expanding scholarship on William Hone and radical print culture, this article addresses some questions implied in the debunking process these texts enact, which reach back to include war and abolitionist rhetoric, as well as Robert Southey’s role as Poet Laureate.

摘要

在彼得卢大屠杀之后，威廉·霍恩 (William Hone) 和乔治·克鲁克尚克 (George Cruikshank) 在总部位于伦敦的激进媒体环境中进行的持续合作产生了许多具有讽刺意味的混合出版物，包括Slop 的一记耳光和 Bridge Street Gang，对一份四页日报（1821 年）的精彩模仿。两篇处理彼得卢事件的模拟报纸以独特的文字和图像组合，揭露了悲剧背后深不可测的权力逻辑，构建了对国家暴力和普遍存在的自我庆祝言论的严厉控诉。国家权力的行使。基于对威廉·霍恩 (William Hone) 和激进印刷文化不断扩大的学术研究，本文解决了这些文本制定的揭穿过程中隐含的一些问题，这些问题可以追溯到包括战争和废奴主义修辞，以及罗伯特·索西 (Robert Southey) 作为桂冠诗人的角色。