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Dissertationen zum Thema "Pictorial Reunionese wit and humor"
Herek, Ann Marie. „The effects of perceived sexism on funniness ratings of cartoons“. Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/451607.
Der volle Inhalt der QuelleVerster, F. P. (Francois Philippus). „'n Kultuurhistoriese ontleding van pikturale humor, met besondere verwysing na die werk van T.O. Honiball“. Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53521.
Der volle Inhalt der QuelleENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his creative work. Honiball became famous as a political cartoonist and played an important role in the rise of the National Party, seeing that his association with the Nasionale Pers provided him with a forum as opinion-former. It is said that his comic strips Oom Kaspaas, Jakkals en Wolf and Adoons-hulle influenced different age groups and even people who were not Afrikaners. It was however mainly Afrikaans-speaking people who strongly identified with these strips due to the strong Afrikaans character thereof. Various instances own Honniballiana, where it is being preserved and is available for research purposes. A number of marketing initiatives were launched to promote the work of Honiball, mainly by TO Honiball-Promosies. Despite the fact that much of his work is dated, new interest is generated by utilising his work in educational programmes. Honiball's body of work is a source for culture-historical research seeing that it offers references to the tangible and intangible culture of Afrikaans-speaking South Africans during his lifetime.
AFRIKAANSE OPSOMMING: Etlike definisies bestaan van die begrip humor, afhangend van die persepsie daarvan. Sodanige persepsies word beïnvloed deur onder andere gedeelde ondervindings, kultuur, milieu en individuele kreatiwiteit. Pikturale humor word onderverdeel in verskillende sub-genres, soos die karikatuur, spotprent en strokie. Hierdie sub-genres toon elk 'n afsonderlike ontwikkelingsgang, plaaslik en globaal. Die werk van TO Honiball vorm deel van dié tradisie. Sy kunstenaarspersoonlikheid en humorsin word eweneens onmiskenbaar verbeeld in sy skeppings. Honiball het bekendheid verwerf as politieke spotprenttekenaar en het 'n belangrike rol gespeel in die opgang van die Nasionale Party, omdat sy verbintenis met die Nasionale Pers aan hom 'n forum gebied het om as meningsvormer op te tree. Daar word beweer dat sy strokiesreekse Oom Kaspaas, Jakkals en Wolf en Adoons-hulle verskillende ouderdomsgroepe en selfs mense van ander volksgroepe as die Afrikaner bereik het. As gevolg van die eg- Afrikaansheid daarvan het egter hoofsaaklik Afrikaanssprekendes sterk aanklank daarby gevind. Verskillende instansies is in besit van Honiballiana, waar dit bewaar word en beskikbaar is vir navorsingsdoeleindes. 'n Aantal bemarkingsinisiatiewe is geloods om Honiball se werk te promoveer, hoofsaaklik deur TO Honiball-Promosies. Ten spyte van die feit dat talle voorbeelde van sy werk gedateer is, word nuwe belangstelling gegenereer deur middel van die aanwending van sy werk in opvoedkundige programme. Honiball se oeuvre bied bronne vir kultuurhistoriese navorsing aangesien dit verwysings bied na die geestelike en stoflike kultuur van Afrikaanssprekendes gedurende sy leeftyd.
Odumosu, Temi-Tope. „Roaming beggars, errant servants and sable mistresses : some African characters from English satirical prints (1769-1819)“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610347.
Der volle Inhalt der QuellePereira, Renan Rivaben [UNESP]. „Semana Ilustrada, o Moleque e o Dr. Semana: imprensa, cidade e humor no Rio de Janeiro do 2º Reinado“. Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127692.
Der volle Inhalt der QuelleA partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época
From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time
Pereira, Renan Rivaben. „Semana Ilustrada, o Moleque e o Dr. Semana : imprensa, cidade e humor no Rio de Janeiro do 2º Reinado /“. Assis, 2015. http://hdl.handle.net/11449/127692.
Der volle Inhalt der QuelleBanca: Silvia Maria Azevedo
Banca: Laura Moutinho Nery
Resumo: A partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época
Abstract: From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time
Mestre
Foster, John E. „A critical, social and stylistic study of Australian children's comics /“. Title page, contents and introduction only, 1989. http://web4.library.adelaide.edu.au/theses/09PH/09phf755.pdf.
Der volle Inhalt der QuelleMcGuire, Kathleen Diane. „The transatlantic Paddy the making of a transnational Irish identity in nineteenth-century America /“. Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3359906.
Der volle Inhalt der QuelleIncludes abstract. Title from first page of PDF file (viewed February 9, 2010). Includes bibliographical references (p. 339-346). Issued in print and online. Available via ProQuest Digital Dissertations.
Pinto, Henriques Luís Nuno. „Ilustração. Imagem da Modernidade em Portugal = Ilustración. Imagen de la modernidad en Portugal“. Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/299802.
Der volle Inhalt der QuelleThis paper investigates the relationship between the illustrated image and the experience of modernity. In the cross-line between an industrial matrix and the art of engraving, illustration gives visibility to a comprehensive social spectrum and participates in the formation of new subjects of politics and the public sphere. It is also a media touched by contradictory impulses — humor and scientific bias; atomized vision and production of series, aiming to recode society. The investigation of recreational and instructional images, physiological portraits and caricatures, published mainly in the illustrated press of the nineteenth century (in Portugal and abroad), will allow a better understanding of the political representations that emerge with the dissolution of the Ancient Regime’s idea of sovereignty .
Este trabajo investiga la relación entre la imagen ilustrada y la experiencia de la modernidad. En los márgenes del arte del grabado y de una nueva matriz de producción industrial, la imagen ilustrada dota de visibilidad a un espectro social amplio y participa en la formación de nuevos sujetos de la política y de la esfera pública. Es también una forma atravesada por impulsos contradictorios: el humor y una cierta inclinación científica, una visión atomizada y la producción de series que buscan recodificar la sociedad. La investigación de imágenes recreativas e instructivas, retratos fisiológicos y caricaturas, publicadas sobre todo en la prensa ilustrada del siglo XIX, internacional y portuguesa, permite entender mejor las representaciones políticas que emergen con la disolución de la idea de soberanía del Antiguo Régimen.
Menegotto, Roberto Rossi. „"Qua comando mi" : a estereotipação do colono italiano no universo de Radicci, do cartunista Iotti“. reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3189.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES.
The present dissertation investigates the stereotyped construction of the Italian colonists in Radicci comics series, by Carlos Henrique Iotti, with the intention to contribute to the studies about the regional identity of Serra Gaúcha. The analysis starts with the selection of three categories in the comics series: character development, description of spaces in which the narrative takes place, and the identity conflict existing among characters. For this purpose, connections are established with the historical, social, and cultural context of the Italian Colonization Region in Rio Grande do Sul, in order to verify how the stereotyping of the Italian immigrant cultural features happens. The theoretical basis is multidisciplinary, including: Literary Studies, History, Sociology, Social Communication and Visual Arts. From the results, one can consider that stereotyping historical data can (re)create identities while preserving and providing new meanings for cultural habits and manners.
Nuñez, Guimerà Cristina. „Estudio comparado de los periódicos satíricos ilustrados Simplicissimus–Strix“. Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672143.
Der volle Inhalt der QuelleI have done a comparative investigation between two European satirical illustrated newspapers grounded by the end of the nineteenth century. They are the German Simplicissimus and the Swedish Strix. This thesis starts studying and analysing older European satirical illustrated newspaper such as La Caricature, Le Charivari, Gil Blas Illustré, Le Rire, Punch, Fliegende Blätter, Kladderadatsch and Söndags-Nisse. The aim was to find a model in their content or tendencies, or work of their collaborators, which had later influenced on Simplicissimus and Strix. My research starts in 1830 and includes almost 100 years. It shows the influence of the caricature used as a stirring source publishing as a pamphlet during wars and conflicts such as the 1848 German Revolution or the French-Prussian War in 1870-1871. Another important development, which occurred in the second part of the nineteenth century was the beginning of modern advertising, which represented a new way of employment for artists and writers. Advertising offered a substantial additional income for the satirical newspapers. The products reveal tendencies and preferences. Some of those products advertised 120 years ago in Simplicissimus or in Strix are still on the market. I dedicate the following chapters to each newspaper, first Simplicissimus, then Strix. I explain where they were founded, their main contributors as well as their content. I analyse their cover, special issues, advertisements but above all their diversity in prose text, their main literary genders and tendencies. I have also included and analysed illustrations because they were significant for those newspapers. Sometimes they required a text to clarify the content. Later in my work, I accomplish the comparative research, which is only based on prose texts published between 1896 and 1914. Both newspapers shared subjects such as politics or current events. Finally, in my conclusions I discuss for instance the influence from the text or illustration’s main characters of one publication to the other or the importance of several artist. Some of those artists contributed to both newspapers. Simplicissimus was an inspiration for Strix, but you also notice the Scandinavian influence on Simplicissimus.
Bücher zum Thema "Pictorial Reunionese wit and humor"
Guardiola, J. M. Vilabella. Humor gráfico asturiano. [Oviedo]: Caja de Ahorros de Asturias, 1987.
Den vollen Inhalt der Quelle findenBrentani, Gerda. Bom humor. [São Paulo]: Empório Cultural, 1991.
Den vollen Inhalt der Quelle findenArgüeso, Angel Revilla. La antigua: Humor panameño. Panamá: Editorial La Antigua, 1995.
Den vollen Inhalt der Quelle findenStern, Friedel. Lo raḳ humor. Haifa: Muzeʾon Maneh-Kats, 1999.
Den vollen Inhalt der Quelle findenLiotta, José. En pocas palabras-- el humor. [Buenos Aires]: Hyspamerica, 1988.
Den vollen Inhalt der Quelle findenFonseca, Joaquim da. Caricatura: A imagem gráfica do humor. Porto Alegre: Artes e Ofícios, 1999.
Den vollen Inhalt der Quelle findenTabaré. Patología del humor. Capital Federal: Hyspamérica, 1988.
Den vollen Inhalt der Quelle findenHenfil. Hiroshima, meu humor. 3. Aufl. São Paulo, SP, Brasil: Geração Editorial, 1994.
Den vollen Inhalt der Quelle findenGroup), Zarigüeya (Artistic. La Zarigüeya: Humor gráfico. San José, Costa Rica: [s.n.], 1997.
Den vollen Inhalt der Quelle findenGuerrero, David Enrique Martínez. Humor crítico. Santafé de Bogotá: Cooperativa Editorial Magisterio, 1996.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Pictorial Reunionese wit and humor"
Lent, John A., und John A. Lent. „China“. In Asian Political Cartoons, 15–25. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496842527.003.0002.
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