The subject of this paper is a famous satirical painting of the French by the British painter William Hogarth (1697–1764). Hogarth’s The Gate of Calais has long proved to be an effective conduit for national sentiment. Deploying an inter‐disciplinary analysis, the paper argues that Hogarth’s satire draws on a cultural heritage that originated within French refugee communities writing to discredit politics ‘back home’. Understood from this perspective, the painting demonstrates how the cultural materials of a French ethnic minority can become woven into the meta‐narrative about Britishness and then, in turn, become generative of meaning for broader communities of transnationalized Protestants, not just for the British themselves.

中文翻译：

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难民，爱国主义和霍加斯的《加来之门》（The Gate of Calais，1748年）

本文的主题是英国画家威廉·霍加斯（William Hogarth，1697–1764）的一幅著名的法国讽刺画。长期以来，霍加斯（Hogarth）的《加莱之门》（The Gate of Calais）被证明是传达民族情感的有效渠道。通过进行跨学科分析，该论文认为，霍加斯的讽刺作品借鉴了法国难民社区内部的文化遗产，该文学作品抹黑了“回国”的政治色彩。从这个角度可以理解，这幅画展示了法国少数民族的文化材料如何被编织成关于英国性的元叙事，然后反过来成为更广泛的跨国化新教徒社区的意义生成，而不仅仅是英国本人。 。