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Relevant bibliographies by topics / Affaire des caricatures

Academic literature on the topic 'Affaire des caricatures'

Author: Grafiati

Published: 7 July 2024

Last updated: 7 July 2024

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Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Journal articles on the topic "Affaire des caricatures":

1

Strzelczyk, Agata. "Dyplomata, Polak, minister spraw zagranicznych. Agenor Gołuchowski młodszy w karykaturze wiedeńskich pism satyrycznych." Galicja. Studia i materiały 7 (2021): 238–64. http://dx.doi.org/10.15584/galisim.2021.7.12.

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The aim of the article is to analyze the image of Agenor Gołuchowski in the light of caricatures published in Viennese satirical magazines (1895–1906). Agenor Gołuchowski the younger (1849–1921) was the only Pole in the position of the Minister of Foreign Affairs of Austria- Hungary (1895–1906). More than once, he became the object of mockery in newspapers such as “Kikeriki!”, “Wiener Caricaturen”, or “Der Floh”. The article focuses on how Gołuchowski was portrayed in caricatures and on what aspects of his identity they were focused. Caricatures are a contribution to reflection on racial and national stereotypes in Viennese satire and the mentality of the late nineteenth century.

2

Hoffman, Zachary. "Stepan Sokolovskii, Novoe vremia, and the Cartoons of Empire." Experiment 28, no. 1 (December 21, 2022): 71–89. http://dx.doi.org/10.30965/2211730x-12340025.

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Abstract Stepan Fedorovich Sokolovskii (pen name Coré) served as the primary caricaturist for the prominent St. Petersburg newspaper Novoe vremia (New Times, 1868–1917) in the late 1890s and early 1900s. While his vibrant style and prolific output have led his cartoons to appear frequently in scholarship, few studies examine his work specifically. Interestingly, his illustrations for Novoe vremia focus almost exclusively on international politics, and thus, prominently engage in national and ethnic stereotypes. These caricatures not only offered eye-catching and amusing visual depictions of foreign relations, they also showed Russia’s imperial rivals as buffoonish back-stabbers that represented the worst excesses of imperialist exploitation. In this way, Sokolovskii’s works offer an intriguing snapshot of popular attitudes towards Russia’s allies and enemies. This essay surveys the broad themes of Sokolovskii’s work and examines the ways his drawings encapsulated complex international conflicts and offered pithy visual representations of Novoe vremia’s loyalist and nationalistic take on foreign affairs. Further, it fills a gap in the scholarship by shedding light on the biography of this prolific artist and examining his views on political caricature as a medium.

3

Plantureux, Jean (Plantu). "'I Must Not Draw . . .'." European Comic Art 2, no. 1 (January 1, 2009): 1–19. http://dx.doi.org/10.3828/eca.2.1.2.

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The publication of some caricatures of the prophet Mohammed by the Jyllands-Posten, a Danish newspaper, and their distribution around the globe provoked a tremendous outcry and debate, which even led to physical destruction and death. This raises fundamental questions about the nature of blasphemy, (self-)censorship and the freedom of expression, the responsibility of cartoonists, trans-cultural communication, and the power of caricature. The author, who played a direct role in the French part of this affair, reflects on the questions it raises and on his own practice of editorial cartooning.

4

Göktürk, Deniz. "Jokes and Butts: Can We Imagine Humor in a Global Public Sphere?" PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1707–11. http://dx.doi.org/10.1632/pmla.2008.123.5.1707.

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In his essay titled “Drawing Blood” for Harper's magazine in June 2006, written as a response to the Muhammad cartoon affair, Art Spiegelman argued convincingly that a cartoon is, first and foremost, a cartoon. It sounds straightforward, but is it really? Following Spiegelman, we can define caricatures as charged or loaded images that compress ideas into memorable icons, namely clichés. A cartoon must have a point, and a good cartoon can change our perspective on the ruling order. Spiegelman opens his discussion with classical caricatures such as Honoré Daumier's 1831 depiction of King Louis-Philippe as Gargantua and George Grosz's 1926 attack on the “Pillars of Society” (“Stützen der Gesellschaft”) as beer-drinking, pamphlet-reading, swastika-wearing men without brains. Spiegelman acknowledges these cartoonists as “masters of insult,” who often had to face trial or imprisonment for their transgressions (45). The question is whether the twelve cartoons of Muhammad, published by the Danish newspaper Jyllands-Posten on 30 September 2005, are in any way compatible with the great tradition of caricature.

5

Devlin, Morgana A. "Ribbentrop: First Non-Caricature Portrait." Almanac “Essays on Conservatism” 65 (March 1, 2020): 483–86. http://dx.doi.org/10.24030/24092517-2020-0-4-483-486.

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The article presents the review of the book of Russian historian and political scientist Vasili Molodiakov about one of the major figures of Nazi Germany – Reich minister of Foreign Affairs Joachim von Ribbentrop. This book is the first Russian-language biography of Ribbentrop as well as the first scientific biography of the minister. Molodiakov’s book serves as a perfect illustration of the event time and gives a very good idea of the diplomatic realia of the epoch.

6

Weston, Jane. "Bête et méchant." European Comic Art 2, no. 1 (January 1, 2009): 109–29. http://dx.doi.org/10.3828/eca.2.1.7.

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The weekly French satirical newspaper, Charlie hebdo, which originally ran from 1969 to 1982, pending a revival in 1992, distinguishes itself through its bête et méchant ['stupid and nasty'] humorous heritage, defined in its parent publication, Hara-Kiri, as the freedom to make jokes on potentially any subject, however taboo. Whilst this satirical ethos predominated in Charlie hebdo up to 1982, its enduring place in the publication has become more ambiguous since 1992, with the abrupt sacking of Siné in July 2008 seemingly belying its vigorous defence of provocative humour in the context of the 2006 Danish caricature affair. An important underlying continuity nonetheless remains in Charlie hebdo and transcends the bête et méchant project: that of negotiating a space for satirical expression that has continuously engaged with both elements of bande dessinée and the rich French tradition of polemical editorial cartooning and caricature.

7

Bellin, Eva. "Faith in Politics. New Trends in the Study of Religion and Politics." World Politics 60, no. 2 (January 2008): 315–47. http://dx.doi.org/10.1353/wp.0.0007.

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Studies of religion and politics have begun to force their way into the mainstream of the discipline thanks to their increasing methodological sophistication and theoretical ambition in addition to the push of real-world events. In comparative politics, puzzle-driven structured comparison has yielded new insights into the rationality of religious behavior, the weight of path dependence in shaping religious values, and the play of socioeconomic factors in shaping religion's vitality. In international relations, recognition of the importance of religious identities and values in the play of international affairs has spelled an advance over realist caricatures that long discounted ideas as epiphenomenal and focused on the quest for wealth and power as the sole driver of international politics. But notable lacunae remain. The comparative subfield still needs to reckon with the noninstrumental aspect of religious behavior, the power of religion as an independent variable, and the differential appeal, persuasiveness, and political salience of religious ideas over time. The IR subfield must move beyond “paradigm wars” focused on whether religion matters in international politics in favor of more empirically grounded, structured comparison to illuminate when and why religion matters in international affairs.

8

Thuynsma, Peter N. "Esk'ia Mphahlele remembered." Tydskrif vir Letterkunde 46, no. 1 (January 25, 2018): 213–16. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.4298.

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The phrase ‘affable to a fault’ could well be the severest understatement to characterise Esk’ia Mphahlele. He related warmly to everyone and did so with a natural and consummate ease. People meant everything to him and life was forever ripe with metaphor and analogy. He would cradle experiences, mull them over, toss them about, prod here and tickle there to extract and savour. All this coupled with a comical gait of flaying arms and a thunderous laughter made of him both a delightful caricature and a sage!

9

Lotherington, John. "Caricatures and Political Purposes: A Comment on Robert Kagan's Of Paradise and Power." German Law Journal 4, no. 9 (September 1, 2003): 977–84. http://dx.doi.org/10.1017/s2071832200016576.

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Robert Kagan's Of Paradise and Power is the latest attempt, following Francis Fukuyama's The End of History and Samuel Huntington's The Clash of Civilizations, to provide us with “The Answer,” an analysis of the way the world works to take away some of the pain of the uncertainties which have dogged us since the end of the Cold War. The pattern has been the same: first an article in a journal, striking a chord with a wider than usual readership and then the press in general, aided by an arresting sound-bite –(the titles in the case of Fukuyama and Huntington, the tag from the first page of Kagan's Policy Review article: “the Americans are from Mars and Europeans are from Venus.”). It is through such caricature, given just enough resonance to contemporary anxieties and provoking just enough outrage, that a viewpoint can gain currency among the journalists and policy wonks who set the parameters of the policy debate surrounding governments and legislators. To reinforce academic respectability, the articles were then expanded into books, to reveal, or create, the philosophical and historical underpinnings of the original argument. The timing of these publications creating a stir is everything: those moments when the worrying complexity of international relations cry out for the simplicity which a caricature can offer, when there is a demand to make the hard-to-calibrate risks in world affairs comprehensible through their replacement by goals achieved or threats cut and dried.

10

Faßhauer, Vera. "Unharmonious Images Conceived by Troubled Minds: Graphic and Literary Caricatures in Heinrich Heine’s French Affairs and French Painters." Interfaces, no. 42 (December 12, 2019): 129–64. http://dx.doi.org/10.4000/interfaces.789.

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Dissertations / Theses on the topic "Affaire des caricatures":

1

Jarnier, Jean-Luc. "L’affaire Dreyfus et l’imagerie de presse en France (1894-1908)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040023.

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L’intensité de la crise nouée autour de l’affaire Dreyfus n’est plus à démontrer. La presse y joue un rôle majeur. Les caricaturistes, en particulier, alimentent de leurs images les quotidiens et périodiques, des ouvrages, cartes postales et affiches. La palette des styles est large. Lorsqu’ils vont au-delà de l’hésitation – moment très court pour certains –, ils placent souvent leurs contributions dans un engagement construit, entre attaques et ripostes. Quand certains restent indécis ou indifférents, d’autres prennent le parti d’en rire. On constate aussi des pratiques de duplicité. À une époque d’âge d’or de la presse, l’iconographie de l’affaire Dreyfus se déploie dans de très nombreux journaux. Interrogées depuis les préludes de l’Affaire, les images donnent à voir une société tourmentée par la défaite de 1870, un patriotisme parfois nourri d’un esprit de revanche, une République trentenaire instable. Elles révèlent aussi la montée très démonstrative de l’antisémitisme et d’un nationalisme à multiples facettes, revigoré par la crise, qui fourbit ses armes contre le régime. Cette thèse examine en priorité le parcours des imagiers, afin d’apprécier l’impact de l’Affaire sur leur art. En second, elle explore comment ont évolué les figurations d’acteurs importants de l’Affaire, en particulier Émile Zola, Joseph Reinach et Henri Rochefort
The intensity of the crisis brought about by the Dreyfus affair is a proven fact. The press plays a major role. Caricaturists, in particular, contribute their images to daily and periodical publications, books, postcards and posters. The range of styles is wide. After some hesitation – which can be very short - their contributions are constructed engagements of either attack or defence. While some are undecided or indifferent, others resort to humour. We can also see elements of duplicity. At a golden era for the press, iconography of the Dreyfus affair can be seen in numerous newspapers. The images, which have been analysed since the first signs of the Affair, show a society tormented by the defeat of 1870, a patriotism sometimes sustained by a spirit of revenge and an unstable thirty-year old Republic. They also illustrate the extremely demonstrative increase in anti-Semitism and in a multifaceted nationalism ; reinvigorated by a crisis polishing up its arms against the regime. This thesis studies, first and foremost, the careers of the caricaturists in order to appreciate the impact of the Affair on their art. Secondly, it explores the evolution of the presentation of major actors in the Affair; in particular Émile Zola, Joseph Reinach and Henri Rochefort

2

Anderson, Pauline Tee. "L' intégration de dessins humoristiques dans la didactique de l'anglais des affaires et du commerce : le cas d'un enseignement en langues étrangères appliquées." Montpellier 3, 1999. http://www.theses.fr/1999MON30026.

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3

Bazin, Maëlle. "Dessiner la liberté d'expression face au terrorisme : sémiotique et sociologie des pratiques graphiques en hommage aux victimes des attentats de « Charlie Hebdo » (France, janvier 2015)." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0078.

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Croisant les apports de la sémiotique des images, de l'anthropologie de l'écrit et des sciences de l'information et de la communication, cette recherche procède à l'analyse d'un corpus de plusieurs centaines de dessins produits en réaction aux attaques terroristes islamistes de janvier 2015 en région Île-de-France. Elle établit dans quelle mesure le dessin, en tant qu'auxiliaire et sujet de discours des mobilisations populaires, constitue un vecteur de cohésion entre les Français ·es. La première partie de la thèse montre en quoi les attentats de janvier 2015 constituent un moment charnière dans les pratiques mémorielles en France et explicite les filiations et l'originalité de cette recherche doctorale. En s'inscrivant dans la continuité de travaux en sociologie des attentats, ce travail fait le choix de s'intéresser avant tout à la dimension visuelle des messages, un aspect jusqu'ici encore peu exploré. La deuxième partie examine le traitement médiatique des attentats et rend compte du poids du cadrage d'une atteinte à la liberté d'expression sur les dispositifs et les procédés d'implication du public déployés par la presse et la télévision françaises. La troisième partie analyse un grand nombre de matériaux empiriques issus de plusieurs archives françaises, publiques et privées. Elle rend compte de la pluralité des pratiques graphiques et des formes de politisation selon trois dispositifs communicationnels spécifiques : les mémoriaux éphémères de trois villes de province, les murs de la capitale et les courriers adressés à la rédaction de Charlie Hebdo
Combining contributions from the semiotics of images, the anthropology of the written word and media studies, this research focuses on a corpus of several hundred drawings produced in response to the Islamist terrorist attacks of January 2015 in the Île-de-France region. It establishes the extent to which the drawing, as an auxiliary and subject of discourse of popular mobilisations, constitutes a vector of cohesion between French people. The first part of the thesis shows how the attacks of January 2015 constitute a pivotal moment in remembrance practices in France and explains the connections and originality of this doctoral research. Following on from work on the sociology of the attacks, this thesis focuses primarily on the visual dimension of the messages, an aspect that has been little explored until now. The second part examines the media treatment of the attacks, looking at how the framing of an attack on freedom of expression affects the ways in which the French press and television engage the public. The third part analyses a large amount of empirical material from a number of French public and private archives. It takes account of the plurality of graphic practices and forms of politicization in three specific communication devices: ephemeral memorials in three provincial towns, walls in the capital and letters sent to the editorial staff of Charlie Hebdo

4

NIELSEN, Anne Mark. "Blasphemy, secularisation and multiculturalism : a study of the Rushdie affair, the Theo van Gogh affair and the Mohammad caricature crisis." Doctoral thesis, 2010. http://hdl.handle.net/1814/15398.

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Defence date: 18 November 2010
Examining Board: Prof. Bo Stråth (EUI, Supervisor); Prof. Kiran K. Patel (EUI); Prof. Lisbet Christoffersen (Roskilde University); Prof. Willfried Spohn (Georg-August-Universität)
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
This thesis examines secularisation theories and explores the question of their capability to capture and explain contemporary conflicts in Europe centred on the space and role for, primarily Muslims, religion in the public sphere. From the 1980s onwards, the "resurrection of religion” has reigned as the paradigm for the development of religion in the modern world, substituting the otherwise prevailing prediction that religion would “die out” as the inevitable effect of modernity. The prediction of revitalising religious vitality was motivated by the Iranian Revolution and a general worldwide rise in what broadly came to be labelled as 'religious fundamentalism'. Subsequently, this was fuelled by incidents such as the Rushdie affair, the 9/11 terror attacks, the Madrid and London bombings, the murder of Theo van Gogh and the Mohammed caricature crisis. Besides causing somewhat of a Kuhnian shift within secularisation theory and the social sciences more generally, these incidents, among many others, have also aroused a secular retort in Europe responding to what is perceived to be an inappropriate increasing religious vitality in otherwise modern and secularised societies.

Books on the topic "Affaire des caricatures":

1

Laurent, Gervereau, and Prochasson Christophe, eds. L' affaire Dreyfus et le tournant du siècle (1894-1910). Nanterre: Bibliothèque de documentation internationale contemporaine, 1994.

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2

Wright, Patrick. Affairs of the heart. London: Heinemann, 1985.

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3

Gorrell, Bob. Affairs of state. Gretna, La: Pelican Pub. Co., 1995.

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4

Dombrowski, André. The image affair: Dreyfus in the media, 1894-1906. Philadelphia, PA: University of Pennsylvania, Department of the History of Art, 2015.

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1964-, Dudley William, ed. Watergate. San Diego, Calif: Greenhaven Press, 2002.

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John, Clarke. The catastrophe continues: Twenty-one years of interviews. Melbourne, Vic: Text Publishing, 2008.

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Moore, Michael (director). Stupid white men-- and other sorry excuses for the state of the nation! Waterville, Me: Thorndike Press, 2002.

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Moore, Michael (director). Glupye belye li͡udi. Moskva: AST, 2005.

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Moore, Michael (director). Mike contre-attaque! et s'en prend aux escrocs qui ont fait main basse sur la Maison-Blanche. Paris: Editions La Decouverte, 2002.

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Moore, Michael (director). Stupid white men-- and other sorry excuses for the state of the nation! New York: ReganBooks, 2001.

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Book chapters on the topic "Affaire des caricatures":

1

Eko, Lyombe. "Charlie Hebdo and French Collective Memory: Origins of the Right to Caricature." In The Charlie Hebdo Affair and Comparative Journalistic Cultures, 53–91. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18079-9_3.

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2

Jomier, Augustin. "Loin des caricatures. Les échos de l’« Affaire » en Algérie." In La caricature au risque des autorités politiques et religieuses, 137–62. Presses universitaires de Rennes, 2010. http://dx.doi.org/10.4000/books.pur.102885.

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3

"8. John Grand-Carteret, a Historian of the Dreyfus Affair through Caricature?" In Revising Dreyfus, 269–84. BRILL, 2013. http://dx.doi.org/10.1163/9789004256958_010.

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Ansell, Joseph P. "An Ambassador for Co-operation." In Arthur Szyk, 74–91. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781874774945.003.0006.

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This chapter follows Arthur Szyk's career toward the outbreak of the Second World War. This period marked a period of increased political activism on his part. Supported by the highest levels of the Polish government, Szyk's work continued to spread the message of mutual co-operation and freedom, meeting with positive responses during his exhibits. He once again took up the pen as a political caricaturist during this period, adding contemporary images to the message he believed was already embodied in the statute, to help alert people to the worsening situation in Germany. He contributed drawings to several Polish newspapers, highlighting the threats posed by the rise of the Nazi party and commenting on the sad state of affairs experienced by his fellow Jews living in Germany.

5

Sommerville, C. John. "The Club Image and Vicarious Community." In The News Revolution in England, 1–3. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195106671.003.0012.

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Abstract The defining moment in the life of the English reading public came at around the tum of the eighteenth century, shortly after the press found itself free. That was when local affairs became part of the world of news, when the image of the club became symbolic of the informed public, and when caricature began to replace civil discourse. Together, these changes would tend to reduce periodical publication from a medium to a mechanism. That is, they reduced the effort needed to participate in public opinion, by marketing news and discussion as a product. No longer did readers need to search out a wider world when they could find it on their own doorstep. No longer did they need to engage with a diverse coffeehouse crowd when they could find a more like-minded group in the “club” to which they subscribed. And there was no longer any challenge to engage with alien views after seeing them portrayed in freakish shape. Readers could begin to live in a more subjective world, encouraged by a news industry whose expertise was in the knowledge of its customers rather than some outer reality.

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Llewellyn, Karl N. "This Case System: What to Do with the Cases." In The Bramble Bush, 37–54. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195368451.003.0003.

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Abstract I have now sketched for you in charcoal outline—an unkind critic might remark, in bastard caricature—the part that law and law’s minions play in our society, and the general history of a case at law. All this, for your ordained affairs, is background; you will be getting restive. Indeed, in delivering these lectures orally, I have felt the need, before the second hour, of setting to work to dynamite the foreground stumps: cases in casebooks have been assigned to you; what, then, are you to do with them? Now the first thing you are to do with an opinion is to read it. Does this sound commonplace? Does this amuse you? There is no reason why it should amuse you. You have already read past seventeen expressions of whose meaning you have no conception. So hopeless is your ignorance of their meaning that you have no hard-edged memory of having seen unmeaning symbols on the page. You have applied to the court’s opinion the reading technique that you use upon the Satevepost. Is a word unfamiliar? Read on that much more quickly! Onward and upward—we must not hold up the story.