Militant feminism in the French Revolution 奧斯卡·弗朗索瓦·德·賈傑斯 オスカー・フランソワ・ド・ジャルジェ

In pre-revolutionary France, most women had little formal part in affairs outside the house. Before the revolution and the advent of feminism in France, women's official role in society consisted of providing heirs for their husbands and tending to household duties. While women in the upper classes played an influential role in society through the literary salon, women in general were dismissed as simpletons, unable to understand or give a meaningful contribution to the philosophical or political conversations of the day. However, with the emergence of ideas such as liberté, égalité, and fraternité, the women of France joined their voices to the chaos of the early revolution. This was the beginning of feminism in France. With demonstrations such as the Women's March on Versailles, and the Demonstration of 20 June 1792, women displayed their commitment to the Revolution. Both the Declaration of the Rights of Woman and of the Female Citizen and the creation of the Society of Revolutionary Republican Women further conveyed their message of women's rights as a necessity to the new order of the revolution.

This costume is actually Oscar François de Jarjayes (オスカル・フランソワ・ド・ジャルジェ, Osukaru Furansowa do Jaruje), a fictional character created by Japanese manga artist Riyoko Ikeda. She is the protagonist of the 1972 manga series The Rose of Versailles, and its various adaptations and spin-offs.

Born December 25, 1755, the last of six daughters to the Commander of the Royal Guards, General François Augustin Regnier de Jarjayes (a real historical personage), she is raised by her father as if she were a boy in order to succeed him as the commander of the Royal Guard at the Palace of Versailles. Upon the completion of her military training at the age of fourteen, Oscar is tasked with protecting the Dauphine Marie Antoinette when she arrives at Versailles.

Despite being raised as if she were a boy and dressing in males' clothes, Oscar is open about being female. Even as she embraces her womanhood, she uses her male position to gain freedoms that she could never have as a lady of the court.

She is the love interest of André Grandier, her servant at the Jarjayes mansion and afterwards a soldier in her regiment. She also earns the admiration and love of Rosalie Lamorlière, and in turn calls Rosalie her "spring breeze". Other women are infatuated with Oscar, even after she tells them she is female. She dislikes the court intrigues, but remains there out of loyalty to her father and her friend, Marie Antoinette. At one point, Oscar becomes infatuated with the Swedish aristocrat Hans Axel von Fersen, who has a forbidden love for Marie Antoinette.

Soon gaining the Dauphine and Queen-to-be's affection and trust, Oscar experiences life at Versailles and the pain caused by the contradictions of her being a woman whom everybody, including herself, considers a man.

Later in the story, Oscar learns of the political ideals of the French Revolution and that the royalist regime is corrupt. As violence erupts in Paris, Oscar renounces her status and her French Guards Regiment joins forces with the people marching to the Bastille. While leading an artillery bombardment of the fortress, Oscar is shot by the royal soldiers inside; she dies right before the Bastille falls.

Modeled after the revolutionary Pierre-Augustin Hulin, Oscar was originally a supporting character to Marie Antoinette and was created as a female because Ikeda was unsure if she could accurately portray a male soldier. However, Oscar eclipsed Marie Antoinette in popularity and due to reader feedback became the co-protagonist only until her death. Eri Izawa suggests that as Oscar is fictional, Ikeda could be freer in the portrayal of Oscar's life than Ikeda could be in the life of Marie-Antoinette, who had to die on the guillotine.

The Venice Carnevale is not solely about masks. Local Italians and an increasing number of foreign costumers now prefer historical costumes or painted faces. During Carnevale, the whole Venice becomes a real life theatrical stage, and many of these historical costumes carry deep perspectives...

And as usual, the portraits are just done on the busy streets of Venice and using natural lighting only...It is not an indoor photo studio, there is no artificial lighting, flash or reflectors...With my costumed friends, we just take our street portraiture to an all new level....