An archetype ( /ˈɑrkɪtaɪp/) is a universally understood symbol, term,^[1] or pattern of behavior, a prototype upon which others are copied, patterned, or emulated. Archetypes are often used in myths and storytelling across different cultures.

In psychology, an archetype is a model of a person, personality, or behavior.

In philosophy, archetypes have, since Plato, referred to ideal forms of the perceived or sensible objects or types.

In the analysis of personality, the term archetype is often broadly used to refer to:

1. A stereotype— a personality type observed multiple times, especially an oversimplification of such a type.
2. An epitome— a personality type exemplified, especially the "greatest" such example.
3. A literary term to express details.

Archetype refers to a generic version of a personality. In this sense, "mother figure" may be considered an archetype, and may be identified in various characters with otherwise distinct (non-generic) personalities.

Archetypes are likewise supposed to have been present in folklore and literature for thousands of years, including prehistoric artwork. The use of archetypes to illuminate personality and literature was advanced by Carl Jung early in the 20th century, who suggested the existence of universal contentless forms that channel experiences and emotions, resulting in recognizable and typical patterns of behavior with certain probable outcomes. Archetypes are cited as important to both ancient mythology and modern narratives.

Etymology[link]

First attested in English in 1540s,^[2] the word archetype derives from the Latin noun archetypum, the latinisation of the Greek noun ἀρχέτυπον (archetupon) and adjective ἀρχέτυπος (archetupos), meaning "first-moulded",^[3] which is a compound of ἀρχή (archē,) "beginning, origin"^[4] + τύπος (tupos), amongst others "pattern, model, type".^[5]

Pronunciation note: The "ch" in archetype is a transliteration of the Greek chi (χ) and is most commonly articulated in English as a "k".^[6]

Origins[link]

The origins of the archetypal hypothesis date back as far as Plato. Jung himself compared archetypes to Platonic ideas. Plato's ideas were pure mental forms that were imprinted in the soul before it was born into the world. They were collective in the sense that they embodied the fundamental characteristics of a thing rather than its specific peculiarities.

The Platonist Jewish philosopher Philo of Alexandria used the term to describe the Imago Dei, and the Gallic Christian theologian Irenaeus of Lyons used the term to describe the act of Creation.^[7]

Jungian archetypes[link]

The concept of psychological archetypes was advanced by the Swiss psychiatrist Carl Jung, c. 1919. In Jung's psychological framework, archetypes are innate, universal prototypes for ideas and may be used to interpret observations. A group of memories and interpretations associated with an archetype is a complex ( e.g. a mother complex associated with the mother archetype). Jung treated the archetypes as psychological organs, analogous to physical ones in that both are morphological constructs that arose through evolution.^[8]

Jung outlined five main archetypes:

• The Self, the regulating center of the psyche and facilitator of individuation,
• The Shadow, the opposite of the ego image, often containing qualities with which the ego does not identify, but which it possesses nonetheless,
• The Anima, the feminine image in a man's psyche, or
• The Animus, the masculine image in a woman's psyche,
• The Persona, the image we present to the world, usually protecting the Ego from negative images (like a mask), and considered another of 'the subpersonalities, the complexes'.^[9]

Although archetypes can take on innumerable forms, there are a few particularly notable, recurring archetypal images^{[citation needed]}:

Jung also outlined what he called archetypes of transformation, which are situations, places, ways, and means that symbolize the transformation in question. These archetypes exist primarily as energy and are useful in organizational development, personal and organizational change management, and extensively used in place branding.

In pedagogy (teaching)[link]

Clifford Mayes (born July 15, 1953), professor in the Brigham Young University McKay School of Education, has developed what he has termed archetypal pedagogy. Mayes' work also aims at promoting what he calls archetypal reflectivity in teachers; this is a means of encouraging teachers to examine and work with psychodynamic issues, images, and assumptions, as those factors affect their pedagogical practices. Archetypal reflectivity, which draws not only upon Jungian psychology but transpersonal psychology, generally offers an avenue for teachers to probe the spiritual dimensions of teaching and learning in non-dogmatic terms.

In the USA, Mayes' two most recent works, Inside Education: Depth Psychology in Teaching and Learning (2007) and The Archetypal Hero's Journey in Teaching and Learning: A Study in Jungian Pedagogy (2008), incorporate the psychoanalytic theories of Heinz Kohut (particularly Kohut's notion of the selfobject) and the object relations theory of Ronald Fairbairn and D.W. Winnicott. Some of Mayes' work in curriculum theory, especially Seven Curricular Landscapes: An Approach to the Holistic Curriculum (2003) and Understanding the Whole Student: Holistic Multicultural Education (2007), is concerned with holistic education.

In literature and art[link]

Archetypes can be found in nearly all forms of literature, with their motifs being predominantly rooted in folklore.

William Butler Yeats completed an automatic writing with his wife (Georgie) Hyde-Lees. Their book, A Vision, contains an interesting mapping and list of 28 archetypes by these characters' will and fate. Tarot cards depict a system of archetypes used for divination of a persons' fate or story.^{[citation needed]} In the Noh plays of Japan, the characters are skillfully depicted with exaggerated expressions and elaborate costumes to clearly portray a system of archetypes.

William Shakespeare is responsible for popularizing several archetypal characters. Falstaff, the bawdy rotund comic knight; Romeo and Juliet, the ill-fated ("star-crossed") lovers; Richard II, the hero who dies with honour; and many others. Although Shakespeare based many of his characters on existing archetypes from fables and myths (e.g., Romeo and Juliet on Arthur Brooke's Romeus and Juliet), Shakespeare's characters stand out as original by their contrast against a complex social literary landscape. For instance, in The Tempest, Shakespeare borrowed from a manuscript by William Strachey that detailed an actual shipwreck of the Virginia-bound 17th-century English sailing vessel Sea Venture in 1609 on the islands of Bermuda. Shakespeare also borrowed heavily from a speech by Medea in Ovid's Metamorphoses in writing Prospero's renunciative speech; nevertheless, the combination of these elements in the character of Prospero created a new interpretation of the sage magician as that of a carefully plotting hero, quite distinct from the wizard-as-advisor archetype of Merlin or Gandalf. Both of these are likely derived from priesthood authority archetypes, such as Celtic Druids, or perhaps Biblical figures like Abraham, Moses, etc.; or in the case of Gandalf, the Norse figure Odin.

Certain common methods of character depiction employed in dramatic performance rely on the pre-existence of literary archetypes. Stock characters used in theatre or film are based on highly generic literary archetypes. A pastiche is an imitation of an archetype or prototype in order to pay homage to the original creator.

Sheri Tepper's novel Plague of Angels contains archetypical villages, essentially human zoos where a wide variety of archetypal people are kept, including heroes, orphans, oracles, ingénues, bastards, young lovers, poets, princesses, martyrs, and fools.

Similarly, the song "Atlantis" by the folk singer Donovan mentions twelve archetypal characters leaving the sinking Atlantis and spreading to the far corners of the world to bring civilization, though only five of the twelve are mentioned in the song:

<poem>Knowing her fate, Atlantis sent out ships to all corners of the Earth. On board were the Twelve: The poet, the physician, the farmer, the scientist, the magician, And the other so-called Gods of our legends, Though Gods they were.</poem>

The superhero genre is also frequently cited as emblematic of archetypal literature.

The young, flawed, and brooding antihero Spider-Man became the most widely imitated archetype in the superhero genre since the appearance of Superman and Batman.
—Bradford W. Wright, Comic Book Nation: The transformation of Youth Culture in America 212
—Superman on the Couch by Danny Fingeroth 151

See also[link]

References[link]

Susumu Hirasawa (平沢進, Hirasawa Susumu^?, born April 2, 1954 in Tokyo, Kantō region) is a Japanese electropop artist and composer.

In 1972, he enrolled at Tokyo Designer Gakuin College. From 1972 to 1978, he performed in his first band Mandrake, a progressive rock group influenced by King Crimson and Yes. In 1979 he formed a New Wave synth-rock & techno-pop band called P-Model, along with two former members of Mandrake. They released a string of albums through the 1980s, and in 1989, Hirasawa began releasing solo work, while also continuing to work with the reactivated P-Model beginning in 1992. The P-Model project continued until 1999; in 2004 Hirasawa started a new unit known as Kaku P-Model, which is effectively a solo continuation of P-Model.^[1]

Compositions and performances[link]

Hirasawa uses Amiga computers extensively in his work, using applications such as Scala, Bars and Pipes, and OctaMED in the production of his music. One of the factors that set him apart from other Japanese electronic artists is ever-changing production techniques. For 2001's Solar Ray album, his recording studio was powered completely by solar energy.^[1]

His subject matter can be equally unusual. A constant source of inspiration for his music has come from Thailand. In fact, the concept behind his 1995 album Sim City was drawn from his experiences travelling there, and more specifically, from Thai transsexuals. Guest Thai vocalists appear throughout that and proceeding albums, including 1996's Siren, which was also a concept album based on Thailand. As for his lyrical inspiration, Hirasawa references the philosophies of yin and yang, his travels and the principles of nature vs. machines.

Hirasawa occasionally stages interactive live performances. They merge computer graphics with his music to tell interactive stories, and involve heavy use of computers, particularly Amiga systems, motion capture cameras and video projectors. The flow of each live show is determined by audience participation; for example, Interactive Live Show 2000 was formatted as a maze, and the audience was allowed to choose which path to follow. Sometimes, audience participation plays a part in the performed music, as it did in Interactive Live Show 2000. He provided the phone numbers to four cellular phones during one song, and the audience was allowed to call the numbers to have him play the corresponding ringtone. This provided an improvised harmony between the background music and the ringing phones.^[2]

Hirasawa's live music is based on samples he activates with various hand-crafted sampler machines, pre-recorded tracks without vocals, and no regular backup performers. For the Solar Ray live tour, he used solar power and a power-generating wheel, inspired by bicycles, to power his electronic equipment. DVDs are available of his innovative award-winning live performances via his website (and ordering through Teslakite).

Activism[link]

Hirasawa spoke out against "the nations that are headed towards carnage while ignoring international law" and the actions of the Japanese government in aiding such actions. Specifically, he pointed to the American response after the September 11, 2001 attack, which he believes to involve excessive murder of innocent people. As a result of his convictions, Hirasawa has offered free downloads of his music, which he hopes will be used as tools of objection.^[3]

Discography[link]

P-Model[link]

Original albums[link]

As KAKU P-Model (solo)[link]

Soundtracks[link]

These are all animation soundtracks, except Kamui Mintara which is a documentary soundtrack.

Singles[link]

Videos[link]

References[link]

External links[link]

• English translation of an interview with Susumu Hirasawa from Ikir Sector, an Italian-language website
• Susumu Hirasawa's official site (in English)
• Susumu Hirasawa's "Free Distribution Against the Carnage" anti-war protest page
• Teslakite, Susumu Hirasawa's online store (Japanese)
• The most comprehensive and current English information site
• A review of Interactive Live Show 2000 DVD Version 1.4
• RocketBaby's Interview
• Susumu Hirasawa discography at MusicBrainz
• Jmusic.fr.tc Biography and complete discography at the jmusic section (in French)
• Susumu Hirasawa discography at Discogs

An engraving of Robespierre guillotining the executioner after having guillotined everyone else in France.

The Reign of Terror (5 September 1793 – 28 July 1794) (the latter is date 10 Thermidor, year II of the French Revolutionary Calendar),^[1] also known simply as The Terror (French: la Terreur), was a period of violence that occurred after the onset of the French Revolution, incited by conflict between rival political factions, the Girondins and the Jacobins, and marked by mass executions of "enemies of the revolution." The death toll ranged in the tens of thousands, with 16,594 executed by guillotine (2,639 in Paris),^[2] and another 25,000 in summary executions across France.^[3]

The guillotine (called the "National Razor") became the symbol of the revolutionary cause, strengthened by a string of executions: Marie Antoinette, King Louis XVI, the Girondins, Philippe Égalité (Louis Philippe II, Duke of Orléans) and Madame Roland, as well as many others, such as pioneering chemist Antoine Lavoisier, lost their lives under its blade. During 1794, revolutionary France was beset with conspiracies by internal and foreign enemies. Within France, the revolution was opposed by the French nobility, which had lost its inherited privileges. The Roman Catholic Church was generally against the Revolution, which had turned the clergy into employees of the state and required they take an oath of loyalty to the nation (through the Civil Constitution of the Clergy). In addition, the First French Republic was engaged in a series of wars with neighboring powers intent on crushing the revolution to prevent its spread.

The extension of civil war and the advance of foreign armies on national territory produced a political crisis and increased the rivalry between the Girondins and the more radical Jacobins. The latter were eventually grouped in the parliamentary faction called the Mountain, and they had the support of the Parisian population. The French government established the Committee of Public Safety, which took its final form on 6 September 1793 in order to suppress internal counter-revolutionary activities and raise additional French military forces. Through the Revolutionary Tribunal, the Terror's leaders exercised broad dictatorial powers and used them to instigate mass executions and political purges. The repression accelerated in June and July 1794, a period called "la Grande Terreur" (the Great Terror), and ended in the coup of 9 Thermidor Year II (27 July 1794), leading to the Thermidorian Reaction, in which several protagonists of the Reign of Terror were executed, including Saint-Just and Robespierre.

Origins and causes[link]

After the resolution of the foreign wars during 1791–1793, the violence associated with the Reign of Terror increased significantly: only roughly 4% of executions had occurred before November 1793 (Brumaire, Year I), thus signaling to many that the Reign of Terror might have had additional causes.^[4] These could have included inherent issues with revolutionary ideology,^[5] and/or the need of a weapon for political repression in a time of significant foreign and civil upheaval,^[4] leading to many different interpretations by historians.

Many historians have debated the reasons why the French Revolution took such a radical turn during the Reign of Terror of 1793–1794. The public was frustrated that the social equality and anti-poverty measures that the Revolution originally promised were not coming to fruition. Jacques Roux’s “Manifesto of the Enraged” in 25 June 1793 describes the extent to which, four years into the Revolution, these goals were largely unattained by the common people.^[6] The foundation of the Terror is centered on the April 1793 creation of the Committee of Public Safety and its militant Jacobin delegates. The National Convention believed that the Committee needed to rule with “near dictatorial power” and the Committee was delegated new and expansive political powers to quickly respond to popular demands.^[7]

Those in power believed the Committee of Public Safety was an unfortunate, but necessary and temporary reaction to the pressures of foreign and civil war.^[8] Historian Albert Mathiez argues that the authority of the Committee of Public Safety was based on the necessities of war, as those in power realized that deviating from the will of the people was a temporary emergency response measure in order to secure the ideals of the Republic. According to Mathiez, they “touched only with trepidation and reluctance the regime established by the Constituent Assembly” so as not to interfere with the early accomplishments of the Revolution.^[9]

Similar to Mathiez, Richard Cobb introduces the competing circumstances of revolt and reeducation within France as an explanation for the Terror. Counterrevolutionary rebellions taking place in Lyon, Brittany, Vendée, Nantes and Marseille were threatening the Revolution with royalist ideas.^[10] Cobb writes, “the revolutionaries themselves, living as if in combat… were easily persuaded that only terror and repressive force saved them from the blows of their enemies.”^[11] Terror was used in these rebellions both to execute inciters and to provide a very visible example to those who might be considering rebellion. Cobb agrees with Mathiez that the Terror was simply a response to circumstances, a necessary evil and natural defense, rather than a manifestation of violent temperaments or excessive fervor. At the same time, Cobb rejects Mathiez’s Marxist interpretation that elites controlled the Reign of Terror to the significant benefit to the bourgeoisie. Instead, Cobb argues that “social struggles” between the classes were seldom the reason for revolutionary actions and sentiments.^[12]

Francois Furet, however, argues that circumstances could not have been the sole cause of the Reign of Terror because “the risks for the Revolution were greatest” in the middle of 1793 but at that time “the activity of the Revolutionary Tribunal was relatively minimal.”^[13] Widespread terror and a consequent rise in executions came after external and internal threats were vastly reduced. Therefore Furet suggests that ideology played the crucial role in the rise of the Reign of Terror because “man’s regeneration” became a central theme for the Committee of Public Safety as they were trying to instill ideals of free will and enlightened government in the public.^[14] As this ideology became more and more pervasive, violence became a significant method for dealing with counterrevolutionaries and the opposition because for fear of being labeled a counterrevolutionary themselves, “the moderate men would have to accept, endorse and even glorify the acts of the more violent.”^[15]

The Terror[link]

On 2 June 1793, Paris sections – encouraged by the enragés Jacques Roux and Jacques Hébert – took over the Convention, calling for administrative and political purges, a low fixed price for bread, and a limitation of the electoral franchise to sans-culottes alone. With the backing of the National Guard, they persuaded the Convention to arrest 29 Girondist leaders, including Jacques Pierre Brissot.^[16] On 13 July the assassination of Jean-Paul Marat – a Jacobin leader and journalist known for his violent rhetoric – by Charlotte Corday resulted in a further increase in Jacobin political influence.^[17]

Maximilien Robespierre

Georges Danton, the leader of the August 1792 uprising against the King, was removed from the Committee. On 27 July Maximilien Robespierre, known in Republican circles as "the Incorruptible" for his ascetic dedication to his ideals, made his entrance, quickly becoming the most influential member of the Committee as it moved to take radical measures against the Revolution's domestic and foreign enemies.^[18]

Meanwhile, on 24 June the Convention adopted the first republican constitution of France, the French Constitution of 1793. It was ratified by public referendum, but never put into force; like other laws, it was indefinitely suspended by the decree of October that the government of France would be "revolutionary until the peace".^[19]

On 25 December 1793 Robespierre stated:

The goal of the constitutional government is to conserve the Republic; the aim of the revolutionary government is to found it... The revolutionary government owes to the good citizen all the protection of the nation; it owes nothing to the Enemies of the People but death... These notions would be enough to explain the origin and the nature of laws that we call revolutionary ... If the revolutionary government must be more active in its march and more free in his movements than an ordinary government, is it for that less fair and legitimate? No; it is supported by the most holy of all laws: the Salvation of the People.^{[citation needed]}

On 5 February 1794 Robespierre stated, more succinctly that "Terror is nothing else than justice, prompt, severe, inflexible."^[20]

The result was policy through which the state used violent repression to crush resistance to the government. Under control of the effectively dictatorial Committee, the Convention quickly enacted more legislation. On 9 September the Convention established sans-culottes paramilitary forces, the revolutionary armies, to force farmers to surrender grain demanded by the government. On 17 September the Law of Suspects was passed, which authorized the charging of counter-revolutionaries with vaguely defined crimes against liberty. On 29 September the Convention extended price-fixing from grain and bread to other essential goods, and also fixed wages. The guillotine became the symbol of a string of executions: Louis XVI had already been guillotined before the start of the terror; Marie-Antoinette, the Girondists, Philippe Égalité, Madame Roland and many others lost their lives under its blade.^[22] The Revolutionary Tribunal summarily condemned thousands of people to death by the guillotine, while mobs beat other victims to death. Sometimes people died for their political opinions or actions, but many for little reason beyond mere suspicion, or because some others had a stake in getting rid of them.^[23] Among people who were condemned by the revolutionary tribunals, about 8 percent were aristocrats, 6 percent clergy, 14 percent middle class, and 72 percent were workers or peasants accused of hoarding, evading the draft, desertion, rebellion.^[24] Maximilien Robespierre, "frustrated with the progress of the revolution,"^[25] saw politics in a rather tyrannical way because "any institution which does not suppose the people good, and the magistrate corruptible, is evil."^[26]

Another anti-clerical uprising was made possible by the installment of the Revolutionary Calendar on 24 October. Hébert's and Chaumette's atheist movement initiated a religious campaign in order to dechristianise society. The program of dechristianisation waged against Catholicism, and eventually against all forms of Christianity, included the deportation or execution of clergy; the closing of churches; the rise of cults and the institution of a civic religion; the large scale destruction of religious monuments; the outlawing of public and private worship and religious education; the forced abjurement of priests of their vows and forced marriages of the clergy; the word "saint" being removed from street names; and the War in the Vendée.^[27] The enactment of a law on 21 October 1793 made all suspected priests and all persons who harbored them liable to death on sight.^[27] The climax was reached with the celebration of the goddess "Reason" in Notre Dame Cathedral on 10 November. Because dissent was now regarded as counterrevolutionary, extremist enragés such as Hébert and moderate Montagnard indulgents such as Danton were guillotined in the Spring of 1794.^{[citation needed]} On 7 June Robespierre, who favoured deism over Hébert's atheism and had previously condemned the Cult of Reason, recommended that the Convention acknowledge the existence of God. On the next day, the worship of the deistic Supreme Being was inaugurated as an official aspect of the Revolution. Compared with Hébert's somewhat popular festivals, this austere new religion of Virtue was received with signs of hostility by the Parisian public.^{[citation needed]}

The End of the Reign[link]

The execution of Robespierre.

The repression brought thousands of suspects before the Paris Revolutionary Tribunal, whose work was expedited by the Law of 22 Prairial (10 June 1794). As a result of Robespierre's insistence on associating Terror with Virtue, his efforts to make the republic a morally united patriotic community became equated with the endless bloodshed. Finally, after 26 June's decisive military victory over Austria at the Battle of Fleurus, Robespierre was overthrown on 9 Thermidor (27 July).

The fall of Robespierre was brought about by a combination of those who wanted more power for the Committee of Public Safety, and a more radical policy than he was willing to allow, with the moderates who opposed the Revolutionary Government altogether. They had, between them, made the Law of 22 Prairial one of the charges against him, and after his fall, advocating Terror would mean adopting the policy of a convicted enemy of the Republic, endangering the advocate's own head. Before his execution, Robespierre tried unsuccessfully to commit suicide by shooting himself, but the bullet merely shattered his jaw, and Robespierre was guillotined the next day.^[28]

The reign of the standing Committee of Public Safety was ended. New members were appointed the day after Robespierre's execution, and term limits were imposed (a quarter of the committee retired every three months); its powers were reduced piece by piece.

This was not an entirely or immediately conservative period; no government of the Republic envisaged a Restoration, and Marat was reburied in the Pantheon in September.^{[citation needed]}

Gallery[link]

• 

  Mass shootings at Nantes, 1793

• 

  Drownings at Nantes, 1793

• 

  Nine emigrants go to the guillotine, 1793

• 

  "The Last Cart" before the 9th Thermidor, 1794

• 

  Revolutionary Tribunal

See also[link]

• Bals des victimes
• Great Fear
• Tricoteuse
• Use of the Guillotine in Paris

References[link]

Further reading[link]

Primary sources[link]

• Cléry, Jean-Baptiste; Henry Essex Edgeworth (1961) [1798]. Sidney Scott. ed. Journal of the Terror. Cambridge: Cambridge University Press. OCLC 3153946. 

Secondary sources[link]

• Andress, David (2006). The Terror: The Merciless War for Freedom in Revolutionary France. New York: Farrar, Straus and Giroux. ISBN 0-374-27341-3. 
• Beik, William (August 2005). "The Absolutism of Louis XIV as Social Collaboration: Review Article". Past and Present (188): 195–224. 
• Kerr, Wilfred Brenton (1985). Reign of Terror, 1793–1794. London: Porcupine Press. ISBN 0-87991-631-1. 
• Moore, Lucy (2006). Liberty: The Lives and Times of Six Women in Revolutionary France. London: HarperCollins. ISBN 0-00-720601-1. 
• Steel, Mark (2003). Vive La Revolution. London: Scribner. ISBN 0-7432-0806-4. 
  • Reviewed by Adam Thorpe in The Guardian, 23 December 2006.
• Palmer, R. R. (2005). Twelve Who Ruled: The Year of the Terror in the French Revolution. Princeton, New Jersey: Princeton University Press. ISBN 0-691-12187-7. 
• Jordan, David P. (1985). The Revolutionary Career of Maximilien Robespierre. New York: Free Press. pp. 150–164. ISBN 0-02-916530-X. 
• Schama, Simon (1989). Citizens – A Chronicle of the French Revolution. New York: Alfred A. Knopf. pp. 678–847. ISBN 0-394-55948-7. 
• Scott, Otto (1974). Robespierre, The Fool as Revolutionary – Inside the French Revolution. Windsor, New York: The Reformer Library. ISBN 978-1-887690-05-8. 
• Loomis, Stanley (1964). Paris in the Terror. New York: Dorset Press. ISBN 0-88029-401-9. 
• Hibbert, Christopher (1981). The Days of the French Revolution. New York: Quill-William Morrow. ISBN 978-0-688-16978-7. 
• Censer, Jack, and Lynn Hunt (2001). Liberty, Equality, Fraternity: Exploring the French Revolution. University Park, PA: Pennsylvania State University Press. 
• Hunt, Lynn (1984). Politics, Culture, and Class in the French Revolution. Berkeley: University of California Press. 
• Kafker, Frank, James M. Lauz, and Darline Gay Levy (2002). The French Revolution: Conflicting Interpretations. Malabar, FL: Krieger Publishing Company. 
• Popkin, Jeremy D. (2002). A Short History of the French Revolution. Upper Saddle River, NJ: Prentice Hall. 

External links[link]

• The Terror from In Our Time (BBC Radio 4)
• Reign of Terror from Khanacademy