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Statements

Subject Item
dbr:Beer_Street_and_Gin_Lane
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Переулок джина Beer Street and Gin Lane Beer Street et Gin Lane شارع البيرة وزقاق جن Beer Street - Gin Lane
rdfs:comment
Gin Lane (Calle de la ginebra) es el título de una obra del artista británico William Hogarth, quien realizó dos grabados sobre la misma temática, respectivamente titulados Beer Street y Gin Lane, en el momento álgido de lo que se conoció como la "Locura londinense por la ginebra (London Gin Craze)" en 1751.​ Estos dos grabados se imprimieron al mismo tiempo en que el amigo de Hogarth, Henry Fielding, publicó su contribución al debate sobre la ginebra: An Inquiry into the Late Increase in Robbers (Una investigación sobre el incremento reciente de los ladrones). شارع البيرة و زُقاق جن هما أثنان من أعمال الطباعة التي تم اصدارُها في عام 1751م بواسطة الفنان الإنجليزي وليام هوغارث دعمًا لما يُمكن أن يُصبح . Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society (as he had done with Marriage A-la-Mode) and towards a more cutting satire on the problems of poverty and crime. «Переулок джина» — гравюра Уильяма Хогарта, созданная в дни так называемой «лондонской джиномании» в 1751 году. Как и сопутствующая ей «Пивная улица», гравюра кажется однозначным предупреждением против ужасов джиномании. Однако, многие комментаторы утверждали, что в гравюрах Хогарта есть некоторое двойственное отношение. Эссеист-романтик Чарлз Лэм описал гравюру как «возвышенную». Beer Street et Gin Lane sont deux estampes publiées en 1751 par l'artiste anglais William Hogarth en soutien à ce qui allait devenir le (en). Composés pour être vus côte à côte, ils décrivent les dérives de la consommation de gin en opposition avec les avantages de boire de la bière. À peu près au même moment et sur le même sujet, Henry Fielding, un ami de Hogarth, publie An Inquiry into the Late Increase in Robbers (Une enquête sur l’augmentation récente du nombre de voleurs). Publiées avec Les Quatre Étapes de la cruauté, les estampes s'inscrivent dans un mouvement initié dans Industry and Idleness (Industrie et paresse), s'éloignant de la description des faiblesses dérisoires de la société à la mode (comme il l’avait fait avec Marriage A-la-Mode) et se dirigeant plus vers une satire pl
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Drunk for a penny Gin-drinking is a great vice in England, but wretchedness and dirt are a greater; and until you improve the homes of the poor, or persuade a half-famished wretch not to seek relief in the temporary oblivion of his own misery, with the pittance that, divided among his family, would furnish a morsel of bread for each, gin-shops will increase in number and splendour. Every part is full of "strange images of death." It is perfectly amazing and astounding to look at. There is more of imagination in it-that power which draws all things to one,-which makes things animate and inanimate, beings with their attributes, subjects and their accessories, take one colour, and serve to one effect. Every thing in the print, to use a vulgar expression, tells. Clean straw for nothing Dead drunk for twopence
dbo:abstract
شارع البيرة و زُقاق جن هما أثنان من أعمال الطباعة التي تم اصدارُها في عام 1751م بواسطة الفنان الإنجليزي وليام هوغارث دعمًا لما يُمكن أن يُصبح . Beer Street et Gin Lane sont deux estampes publiées en 1751 par l'artiste anglais William Hogarth en soutien à ce qui allait devenir le (en). Composés pour être vus côte à côte, ils décrivent les dérives de la consommation de gin en opposition avec les avantages de boire de la bière. À peu près au même moment et sur le même sujet, Henry Fielding, un ami de Hogarth, publie An Inquiry into the Late Increase in Robbers (Une enquête sur l’augmentation récente du nombre de voleurs). Publiées avec Les Quatre Étapes de la cruauté, les estampes s'inscrivent dans un mouvement initié dans Industry and Idleness (Industrie et paresse), s'éloignant de la description des faiblesses dérisoires de la société à la mode (comme il l’avait fait avec Marriage A-la-Mode) et se dirigeant plus vers une satire plus tranchée sur les problèmes de la pauvreté et du crime. En première lecture, Hogarth décrit les habitants de Beer Street comme étant heureux et en bonne santé abreuvés par la bière anglaise, et ceux qui vivent à Gin Lane sont détruits par leur dépendance à l’esprit étranger du gin. Cependant, comme de nombreuses œuvres de Hogarth, une inspection plus minutieuse révèle d'autres cibles de sa satire et révèle que la pauvreté de Gin Lane et la prospérité de Beer Street sont plus intimement liées qu'elles ne le paraissent à première vue. Gin Lane présente des scènes choquantes d'infanticide, de famine, de folie, de délabrement et de suicide, tandis que Beer Street décrit l'industrie, la santé, la bonhomie et le commerce florissant. Gin Lane (Calle de la ginebra) es el título de una obra del artista británico William Hogarth, quien realizó dos grabados sobre la misma temática, respectivamente titulados Beer Street y Gin Lane, en el momento álgido de lo que se conoció como la "Locura londinense por la ginebra (London Gin Craze)" en 1751.​ Estos dos grabados se imprimieron al mismo tiempo en que el amigo de Hogarth, Henry Fielding, publicó su contribución al debate sobre la ginebra: An Inquiry into the Late Increase in Robbers (Una investigación sobre el incremento reciente de los ladrones). La crisis de la ginebra fue muy severa, y las pinturas de Hogarth no eran tan caricaturescas como puede suponerse. Desde 1690 en adelante, el gobierno británico animó a la industria de la destilería, pues servía para incrementar el precio del grano, que entonces era bajo, así como el comercio, en particular con las colonias. De hecho, Daniel Defoe y , entre otros, y particularmente economistas whigs (del Partido Liberal británico), habían visto en la destilería uno de los pilares de la prosperidad británica en la balanza de pagos (aunque Defoe luego cambió de opinión y apoyó la legislación contra la ginebra). Esta obra de Hogarth está ambientada en St. Giles (Londres), y la figura más chocante es la de una madre borracha y con manchas en la pierna (presumiblemente por sífilis). Ambas obras, Beer Street y Gin Lane, parecen ser una advertencia sin ambages contra los horrores del abuso en el consumo de alcohol. No obstante, algunos aprecian cierta ambivalencia en la postura de Hogarth. Charles Lamb, escritor y bebedor, la consideraba "sublime". Y por su parte, William Hazlitt y Charles Dickens también admiraron el grabado, advirtiendo este último que el mensaje verdadero de la pieza era una advertencia contra los horrores de la pobreza, y no simplemente sobre los peligros del consumo de alcohol.​ Beer Street and Gin Lane are two prints issued in 1751 by English artist William Hogarth in support of what would become the Gin Act. Designed to be viewed alongside each other, they depict the evils of the consumption of gin as a contrast to the merits of drinking beer. At almost the same time and on the same subject, Hogarth's friend Henry Fielding published An Inquiry into the Late Increase in Robbers. Issued together with The Four Stages of Cruelty, the prints continued a movement started in Industry and Idleness, away from depicting the laughable foibles of fashionable society (as he had done with Marriage A-la-Mode) and towards a more cutting satire on the problems of poverty and crime. On the simplest level, Hogarth portrays the inhabitants of Beer Street as happy and healthy, nourished by the native English ale, and those who live in Gin Lane as destroyed by their addiction to the foreign spirit of gin; but, as with so many of Hogarth's works, closer inspection uncovers other targets of his satire, and reveals that the poverty of Gin Lane and the prosperity of Beer Street are more intimately connected than they at first appear. Gin Lane shows shocking scenes of infanticide, starvation, madness, decay, and suicide, while Beer Street depicts industry, health, bonhomie, and thriving commerce; but there are contrasts and subtle details that some critics believe allude to the prosperity of Beer Street as the cause of the misery found in Gin Lane. «Переулок джина» — гравюра Уильяма Хогарта, созданная в дни так называемой «лондонской джиномании» в 1751 году. Как и сопутствующая ей «Пивная улица», гравюра кажется однозначным предупреждением против ужасов джиномании. Однако, многие комментаторы утверждали, что в гравюрах Хогарта есть некоторое двойственное отношение. Эссеист-романтик Чарлз Лэм описал гравюру как «возвышенную».
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