Relevant bibliographies by topics / Caricature

Academic literature on the topic 'Caricature'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Caricature"

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Brennan, Susan E. "Caricature Generator: The Dynamic Exaggeration of Faces by Computer." Leonardo 40, no. 4 (August 2007): 392–400. http://dx.doi.org/10.1162/leon.2007.40.4.392.

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The author has researched and developed a theory of computation for caricature and has implemented this theory as an interactive computer graphics program. The Caricature Generator program is used to create caricatures by amplifying the differences between the face to be caricatured and a comparison face. This continuous, parallel amplification of facial features on the computer screen simulates the visualization process in the imagination of the caricaturist. The result is a recognizable, animated caricature, generated by computer and mediated by an individual who may or may not have facility for drawing, but who, like most human beings, is expert at visualizing and recognizing faces.
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Poyet, Thierry. "Flaubert et la caricature : l’exigence de la modernité." Quêtes littéraires, no. 10 (December 30, 2020): 66–77. http://dx.doi.org/10.31743/ql.11533.

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Quelquefois caricaturé par ses contemporains, Flaubert suscite les réactions dans l'outrance, lui qui ose dans sa Correspondance abonder dans la caricature selon ses humeurs et ses opinions en excellant dans l'hyperbole et l ’emphase. Un mot de son cru le résume : « hénaurrrme ». Au demeurant, ses personnages les plus mémorables sont des caricatures : de l ’amour avec Emma, de la bêtise avec Bouvard et Pécuchet, de la bonté avec Félicité d'Un Cœur simple… Dans la fabrique flaubertienne, l'incarnation est intrinsèquement liée à la déformation, elle-même dégradée en parodie. Car la caricature chez Flaubert est partie prenante d'une pensée nihiliste : le romancier participe d ’une déconstruction généralisée de la société bourgeoise parune caricature évidemment politique même si l ’écrivain se défend d ’utiliser l'œuvre comme une tribune, au nom de l'autotélisme de l ’art. Au fond, c'est la modernité de Flaubert qui justifie le goût et l'usage de la caricature.
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Mbatia Kinyanjui, Benjamin. "Visual analysis of the big four agenda caricature as portrayed in new media: A case of the Gadocartoons.com." Journal of Media and Communication (JMC) 1, no. 1 (September 22, 2022): 37–46. http://dx.doi.org/10.51317/jmc.v4i1.257.

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This paper focuses on the Visual analysis of the Big Four Agenda as portrayed in the new media caricature. The study aims to depict the sociopolitical and economic context after the 2017 election, focusing on visual communication as embedded in political caricature. This study seeks to unearth such hidden meanings embedded in the Big Four Agenda caricature. The study adopted a qualitative method to arrive at descriptive findings. The researcher applied a semiotic analysis paradigm to analyse the sampled data by interpreting the signs system through connotative and denotative aspects entrenched in the caricatures. The researcher purposively sampled Three caricatures published by Godfrey Mwampembwa, a Tanzanian, Kenyan-based caricaturist. The results established that Gaddo's caricatures deployed various stylistic devices to criticise the socioeconomic and political plight of the Kenyan people. The devices included puns, codemixing, facial expressions, and gestures. The major themes derived from this caricature were Corruption, Leniency, Selfish economic Interest and Short-lived socioeconomic promises. This study concludes that in as much as a caricature is used as a means of humour, it most significantly conveys messages that require interpreting sociopolitical and ideological knowledge.
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Pham, Thi Binh, Thi Hao Truong, and Duc Hieu Ta. "Designing and applying caricatures to teaching population geography at high school." Ministry of Science and Technology, Vietnam 65, no. 10 (October 25, 2023): 34–38. http://dx.doi.org/10.31276/vjst.65(10).34-38.

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Teaching material is necessary and plays an important role in the teaching and learning process. Caricature or cartoon is one of the most effective visual materials in teaching geography in high school. Caricature itself not only transmits information and knowledge but also helps the teacher to develop the student’s critical thinking skills in teaching geography. Nowadays, geography teachers can collect or design caricatures themselves by using various online applications or caricatures by hand. Caricature can be an important material for many geography teachers to design lesson plans and learning activities for students to discover new understandings in different topics. Applying caricature in teaching geography will greatly contribute to teaching innovation, combining different methods and teaching techniques, etc, especially in competent learning and teaching processes. This article briefly focuses on introducing the basic process of designing a caricature and ways to apply it effectively in teaching population geography at high school, bringing knowledge of joy to our students in each geography lessons.
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Abdulallah, Lect Dr Rafid Jihad. "Satirical Caricatures in the Andalusian Poetry." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 137–54. http://dx.doi.org/10.36473/ujhss.v221i1.428.

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Satirical caricature is deemed one of the critical topics that occupied a central position in the poetry of Andalusia through the ages, and it gained momentum during The Almoravids’ (“al-Murabitun’s”) times, and this is especially the case as their poetry seemed to have been more concerned with the satirical depictions of the jurists and the judges. The present research paper has fallen into two major divisions: the first one is treating of the political satirical caricature, while the second one is mainly concerned with the social satirical caricature. The first division branches out into three sections, as follows: Section One: Satirical Caricatures of Ministerial Members. Section Two: Satirical Caricatures of the Statesmen. Section Three: Satirical Caricatures of the Judges. As for the second division, it branches out into two sections, as follows: Section One: Satirical Caricatures of the Jurists. Section Two: Satirical Caricatures of the Misers.
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George, Leigh-Michil. "“Mind Is Revealed in the Countenance”: Subversive Laughter and Caricature in The Woman of Colour." Eighteenth-Century Fiction 35, no. 1 (January 1, 2023): 43–64. http://dx.doi.org/10.3138/ecf.35.1.43.

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Throughout The Woman of Colour (1808), Olivia Fairfield, the Black mixed-race heroine, ridicules the “fair sex” bodies of white female characters who irrationally judge the heroine as inferior because of the colour of her skin. In this article, I extend Lyndon J. Dominique’s reading of Olivia’s subversive gaze and laughter found in Imoinda’s Shade (2012). In building on Dominique’s insights, I show how Olivia paradoxically uses caricatural tropes of fat versus thin and young versus old to envision caricature on her own terms: to challenge and resist anti-Black stereotypes. When the novel is examined within the context of contemporary visual caricatures that depict the Black female body as grotesque, one recognizes that Olivia’s defensive use of verbal caricature is a rhetorically strategic attempt to challenge England’s racial hierarchy, by reaffirming her own femininity and “fairness.”
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Guinand, Cécile. "La Caricature littéraire : L’Éducation sentimentale de Flaubert." Quêtes littéraires, no. 5 (December 30, 2015): 65–77. http://dx.doi.org/10.31743/ql.239.

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In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of lithography, in which the figures move like puppets, on the model of ball scenes by Gavarni. He then adds a caption that emphasises their comical scope. Finally, he skillfully practices caricatural portrait on the model of Daumier through the accentuation and reduction of traits. Characters and narrator thus fashion and allow a satirical view of society through the use of caricature. However, Flaubert’s "romanesque" poetics aims not to conclude. As such, the sharp judgment specific to caricature is not satisfactory to him. The author will redirect the intention in the wake of Daumier in order to mitigate its satirical scope and develop its ludic aspect. He will thereby superimpose the different voices of the characters to preserve the narrative’s polyphony. Flaubert as well as Daumier take some distance in order to avoid any definitive moral conclusion.
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Hiba Nadhim Jebur, Jebur, and Prof. Hashim Aliwy Mohammed Al-Husseini (Ph.D.). "A Pragmatic Analysis of Coronavirus Pandemic in Selected Iraqi Caricature Posters." Journal of Education College Wasit University 48, no. 1 (August 1, 2022): 555–68. http://dx.doi.org/10.31185/eduj.vol48.iss1.2910.

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Abstract A caricature is a drawing, the artist who draws it is a creative person who tries to send messages in a sarcastic way. This study is dedicated to investigate some selected Iraqi caricatures as one of the effective tools that have implied or hidden meanings. This study also tries to fill in the gap of the misunderstanding of the aims of the caricatures that have been taken from Iraqi newspapers. It also aims at identifying and explaining the elements of the pragmatic level of analysis for the selected coronavirus caricature posters. The researchers adopt Hymes’ SPEAKING model (1974), Grice’s Implicature theory (1975), and Yule’s Presupposition theory (1996). The study uses a qualitative method in collecting and analysing data. The selected data that will be analysed are three caricatures. The study concludes the importance of the pragmatic aspects in revealing the meaning of the texts in caricature posters by using different theories of pragmatics.
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Infante Yupanqui, Carlos Rodrigo. "Crisis y desequilibrio político durante el régimen fujimorista. El papel de la caricatura política. 1998-2000." Desde el Sur 16, no. 1 (January 31, 2024): e0014. http://dx.doi.org/10.21142/des-1601-2024-0014.

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This article examines the role of Peruvian political caricature during the crisis of the Fujimori administration (1998-2000). The research also develops an approach to the connections between caricature and power. This reading, which links macro and micro sociology, is made from the processes of political imbalance of the Fujimori regime, a process that marked, at the same time, a moment of inflection within the political sphere and that reached the caricature, both officious and opposition. Following a qualitative approach with an interpretative perspective, the analysis includes a contextual reading of some caricatures by important Peruvian graphic humorists. As a result, we find that the opposition caricature played a critical role, characterized by the development of its erosive capacity; the same did not happen with the officious caricature that leaned towards a more functional role to the hegemonic power.
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Armin, Mardi Adi, and Nafiatul Amalia. "SEMIOTIKA KARIKATUR PANDEMI COVID-19 MELALUI MEDIA DARING (ON LINE) DI PERANCIS." JURNAL ILMU BUDAYA 8, no. 2 (August 20, 2020): 279–93. http://dx.doi.org/10.34050/jib.v8i2.11106.

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This study investigates the caricature representations contained in online media regarding the French government's response to the Covid-19 Pandemic. Also examined the response of citizens to government policies, including religious and other professional society. This research was conducted to try to examine aspects of Corona pandemic reporting through online media because this issue has become a worldwide concern. Pandemic has caused many victims The response of the community is directly reflected in the caricature. by using the semiotic approach, we will get the meanings of the caricatures under study. The caricature is the data in this study. Caricature as data is divided into four: caricature of the government version, caricature of the community version, caricature of the professional version and caricature which is a critique of the Chinese government scientific method used is semiotics as a theory that can interpret the explicit and implicit meaning of an image. The results of the study found that the French Government remained criticized despite trying to handle the pandemic to the maximum. Also depicted a sense of optimism and pessimism of citizens facing disaster. Also found criticism of the Chinese Government that is not open to investigations of the origin of the virus.
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Dissertations / Theses on the topic "Caricature"

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Qiu, Lingling, and doublelingqiu@hotmail com. "Landscape as Caricature?" RMIT University. Architecture and Design, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080725.120217.

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Can Landscape be created like a caricature? How can the key characteristics of a site be celebrated in different ways through design? Can potential design possibilities be generated through celebrating the key characteristics of a site's contexts? My research started with the idea of 'Identity', as the existing Central Plaza copies the physical form of an adjacent park (People's Park) in a simplistic way without considering its own unique key contexts, and I think every location and context is different. Careful consideration of both physical and cultural contexts is what a landscape architect undertakes as an essential part of developing a design, however, how can a stronger or more interesting idea be created for a specific site? One day, the idea of CARICATURE suddenly occurred to me when I was having a shower. What I find inspirational about caricature is the aspect of 'Celebration' which it encourages. Just as a site has unique characteristics and each of them can be celebrated differently, each caricature celebrates the particular physical and emotional characteristics of a single, unique original identity. Each successful caricature can be related clearly to the key characteristics of its own identity, so you can still recognize the person and you are encouraged to have fun as well in that game of recognition. By 'Celebration' I mean the carefully chosen, positive exaggeration, intensification and emphasis of key characteristics which reveal how good, how important, or how unique the site is. 'Celebration' is an act of revealing and sharing the positive potential qualities of a site. In terms of landscape design, what I sought to do is to reinforce the key qualities of my site through design or designs which would emphasize. If landscape is thought about and designed like caricatures are created, interesting or potential possibilities could be generated for design responses. Before celebrating, it is necessary to make sure that the site contexts have been fully analyzed and understood. After that, we can celebrate particular qualities through design. I have produced three different designs based on the conceptual idea of 'caricature'. They are called Topopark, Occupark and Tocopark. Topopark started from a focus on one of the physical context of the site - that is, its topography. It celebrates the topographic context as well as the relationship of the activities between and beneath Central Plaza and People's Park. Occupark focuses on the celebration of the various types of occupation activities which take place. Tocopark started around the possibility of generating the plaza's organisation from the organization of circulation systems and combines to celebrate both topography and active occupation. Although Tocopark is more intensive than Topopark and Occupark in terms of the idea of celebration, all three have different strengthens and weaknesses. Like the example of the caricatures of Ronaldinho, the same identity is celebrated in different ways, but you still can recognize him in each one and enjoy them equally as well, because all of them relate to t he key characteristics of his appearance and personality.
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Stevenage, Sarah Veronica. "The perception of caricature." Thesis, University of Exeter, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316388.

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Turner, Colin. "A caricature of a sculptor." Thesis, Loughborough University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508285.

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Lai, Ka-Hang. "Neural network approaches to caricature generation." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/34440.

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A caricature is defined as a humorous drawing of a human facial figure that makes some of its distinct features appear exaggerated. It is easily observed that the exaggerations made by different artists on facial components are often different and are non-linear. This uniqueness of the exaggerations signifies the drawing style of an artist, but has unfortunately been ignored in the design of existing computer based automatic caricature generation systems. Nevertheless learning the unique drawing style and modelling the non-linear exaggerations distinct to an artist provide the key but a real challenge to the computer based automatic generation of professional caricature. This Thesis proposes a face modelling framework that includes two novel face models, which are capable of representing human faces in caricaturing applications.
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Hatem, Majida. "La caricature et le message latent : étude en France et au Liban de caricatures relatives à la guerre d'Irak." Amiens, 2008. http://www.theses.fr/2008AMIE0020.

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Bosch-Abele, Susanne. "La Caricature (1830-1835) : Katalog und Kommentar /." Weimar : Verl. und Datenbank für Geisteswissenschaften, 1997. http://catalogue.bnf.fr/ark:/12148/cb37201694r.

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Lo, Feudo Michela. "Jules Champfleury (1821-1889) : littérature et caricature." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100049.

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« Inventée » en Italie à la fin du XVIe siècle, la caricature naît comme divertissement de l’artiste qui se plaît à peindre des portraits comiques en remettant en cause les règles de la représentation. Elle se caractérise d’entrée de jeu par sa double valence mimétique et expressive et atteint son apothéose sous la Monarchie de Juillet. Grâce à l’introduction de la presse industrielle et de la lithographie, elle devient l’ un des instruments de contestation politique et de l’enquête sociale menée à travers l’étude des mœurs bourgeoises. C’est au sein de la « petite presse » que la caricature partage avec l’écriture critique et fictionnelle de nouveaux projets esthétiques. A partir de l’expérience de Balzac, pionnier du journalisme et théoricien de la caricature littéraire autour de 1830, la « petite presse » est le lieu où Jules Champfleury, critique d’art, conteur, théoricien du Réalisme en art, auteur de pantomimes et d’une monumentale Histoire de la caricature, expérimente les armes de la charge. La notion de portrait satirique est le plus important des lieux conceptuels et esthétiques réinterrogés dans et par son écriture piquante. Elle permet une réflexion plus ample sur la condition des artistes et des arts au XIXe siècle ainsi que sur la représentation elle-même. Un fil conducteur unit alors l’œuvre vaste et hétérogène de Champfleury, une œuvre qui se développe à partir de son expérience journalistique et arrive jusqu’aux romans et aux manifestes des années 1850. L’enquête qu’il y mène sera pour l’auteur la prémisse de son Histoire de la caricature : dans ses recherches historiques d’un type complexe, se donne à lire un véritable questionnement sur la littérature contemporaine
Caricature was invented at the end of the sixteenth century , it was born by artists who used it as a pastime and enjoyed drawing funny portraits by overturning the rules of representation. Its characteristic was at the same time mimetic and expressive and it reached its top during the so called Monarchy of July. Thanks to the invention of industrial and lithographic printing caricature became a means of political protest and of social inquiry into middle classes’ habits. Caricature shared its aesthetic projects with reviewers and novelists of ‘petite presse’ (small publishing industry). Since Balzac’s experience as a pioneer of journalism and a theorizer of literary caricature (1830), ‘petite presse’ had been the place where Champfleur, art critic, novelist, theorizer of Realism in art, author of pantomimes and of a monumental Histoire de la caricature, had experimented the arms of “charge”. The concept of satirical portrait is the most important aesthetical concept about which his pungent writings develop. This last work enables us to reflect deeply and widely about nineteenth century artists’ and arts’ condition and about mere representation as well. A guiding thread links Champfleury’s wide and multicoloured production ranging from journalism to novels and posters of nineteen-fifties. This activity would be for the author the introduction to his Histoire de la caricature, in which many writers of the time are mentioned. Through his historical research on this complex genre he makes us reflect on the literature of his time
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Cheng, Sandra. ""Il bello dal deforme" caricature and comic drawings in seventeenth-century Italy /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 339 p, 2008. http://proquest.umi.com/pqdweb?did=1771527611&sid=10&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Munch, Valérie Malvano Laura. "Nouveaux aspects de la caricature à Paris entre 1830 et 1835 /." Paris (2-4, rue Henri Brisson, 75018) : V. Munch, 1999. http://catalogue.bnf.fr/ark:/12148/cb372106267.

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Soares, Domitília D´Assunção Batista Diogo Pires. "Rir com os impostos : por uma humorologia fiscal." Doctoral thesis, Instituto Superior de Economia e Gestão, 2020. http://hdl.handle.net/10400.5/21462.

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Doutoramento em Sociologia Económica e Organizações
Este estudo enquadra-se no âmbito da sociologia do humor e da sociologia fiscal. Pretende ser uma reflexão crítica sobre as diversas formas de representação humorística da ação governativa, em matéria de fiscalidade. Tem como suporte as teorias do humor e do riso, na tentativa de um maior esclarecimento, através do humor, das relações que se estabelecem entre o Estado, o imposto e a sociedade, com recurso a uma metodologia qualitativa. Partimos do estudo de um conjunto de contributos humorísticos de vários autores, que podem ser considerados como parte integrante do que Mahadev Apte (1988) designou por “humorologia”. Entendemos porém que, neste trabalho, resultante da conjugação de fenómenos humorísticos com fenómenos fiscais, seria oportuno procedermos à criação de um novo conceito que designámos por “humorologia fiscal”. Se os impostos acompanham o indivíduo desde o seu nascimento até à sua morte, o humor ora transgride ora suspende os códigos discursivos sociais, éticos e morais, subvertendo assim, pelo riso e pela ironia, a ordem estabelecida. Neste cruzamento de olhares entre o humor e os impostos, ocupam lugar central a sátira, o riso e a ironia, elementos que integram a cultura, a cultura fiscal, a ética e a confiança (ou desconfiança) entre o “eu” e os “outros”, assim como nas instituições do Estado. Os três pilares fundamentais que estruturam o trabalho empírico desta investigação têm, como denominador comum, a conjugação de elementos humorísticos e fiscais em momentos de incerteza. São eles: as caricaturas de Rafael Bordalo Pinheiro, alguns fragmentos do teatro de revista e alguns cartoons de Luís Afonso.
This study fits into the sociology of humor and fiscal sociology. It is intended to be a critical reflection on the various forms of humorous representation of government action in tax matters. It is supported by the theories of humor and laughter, in an attempt to clarify, through humor, the relations that are established between the state, the tax and society, using a qualitative methodology. We start by studying a set of humorous contributions from various authors, which can be considered as an integral part of what Mahadev Apte (1988) called “humorology”. However, we understand that in this work, resulting from the combination of humorous and fiscal phenomena, it would be opportune to create a new concept that we called “fiscal humorology”. If taxes accompany the individual from birth to death, humor sometimes transgresses, sometimes suspends social, ethical, and moral discursive codes, thereby subverting, by laughter and irony, the established order. In this intersection of looks between humor and taxes, satire, laughter and irony occupy a central place, being elements that integrate culture, fiscal culture, ethics and trust (or distrust) between the “I” and the “ others, ”as well as state institutions. The three fundamental pillars that structure the empirical work of this research have as their common denominator the combination of humorous and fiscal elements in moments of uncertainty. They are: the caricatures of Rafael Bordalo Pinheiro, some fragments of the “revista” type of theater and some cartoons of Luís Afonso.
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Books on the topic "Caricature"

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Sartori, Aldo. Ottanta caricature. Roma: Gabriele Corbo, 1986.

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Bukhārī, Bahāʾ. Kārīkātīr =: Caricature. [Kuwait: s.n., 1985.

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Barr, Debbie. Carving caricature women. Atglen, PA: Schiffer Pub., 1999.

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Baecque, Antoine de. La caricature révolutionnaire. Paris: Presses du CNRS, 1988.

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Edward, Heath, Political Cartoon Society, and Henry Sotheran Ltd, eds. Churchill in caricature. London: Political Cartoon Society, 2002.

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1808-1879, Daumier Honoré, ed. Honoré Daumier: Caricature. Palermo: E. M. Falcone, 2011.

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Délépine, Marie, and Margarethe Potocki. Caricature et littérature. Brest: Université de Bretagne occidentale, 2009.

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Langlois, Claude. La caricature contre-révolutionnaire. [Paris]: Presses du CNRS, 1988.

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1808-1879, Daumier Honoré, ed. Daumier et la caricature. Paris: Citadelles & Mazenod, 2008.

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Mens, Ségolène Le. L'art de la caricature. Nanterre: Presses universitaires de Paris-Ouest, 2011.

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Book chapters on the topic "Caricature"

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Trott, Alex. "Hydropathe Caricature." In Topics in Humor Research, 259–68. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/thr.2.19tro.

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Abelson, Robert P. "Caricature theory." In Attribution and social interaction: The legacy of Edward E. Jones., 489–501. Washington: American Psychological Association, 1998. http://dx.doi.org/10.1037/10286-009.

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Antal, Frederick. "Expression and Caricature." In Hogarth and his Place in European Art, 128–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003329404-7.

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Haywood, Ian. "The Caricature Backlash." In Queen Caroline and the Power of Caricature in Georgian England, 85–116. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-46224-5_4.

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Duncan, Randy. "Caricature and comics." In The Routledge Handbook of Language and Politics, 454–67. Milton Park, Abingdon, Oxon; New York, NY: Routledge, [2017] |: Routledge, 2017. http://dx.doi.org/10.4324/9781315183718-34.

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Larsen, Svend Erik. "Caricature and realism." In Comparative History of Literatures in European Languages, 287–301. Amsterdam: John Benjamins Publishing Company, 2022. http://dx.doi.org/10.1075/chlel.xxxiii.10lar.

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Bray, Joe. "Visual and verbal caricature." In The Portrait in Fiction of the Romantic Period, 77–114. Farnham, Surrey, UK, England : Ashgate Publishing Limited ; Burlington, VT : Ashgate Publishing Company, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315554150-4.

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Goldstein, Robert Justin. "Political Censorship of Caricature." In Political Censorship of the Arts and the Press in Nineteenth-Century Europe, 72–112. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20128-0_3.

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Tindemans, Klaas. "A Caricature of Totalitarianism." In The Dramatic Society, 74–98. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003039280-3.

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McEwan, Dorothea. "Caricature as War Effort." In Studies on Aby Warburg, Fritz Saxl and Gertrud Bing, 171–92. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003169024-14.

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Conference papers on the topic "Caricature"

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Adascalița-Crigan, Lucia. "The caricature in the creation of the plastician Leonid Domnin." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.07.

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Th e painter Leonid Domnin distinguished himself in the artistic life of the Republic of Moldova through a prolifi c activity promoted in such fi elds as book graphics, cinematographic art, and the art of caricature. Th e caricature as a genre of plastic creation is professed by the protagonist mainly during the 60s-80s of the last century. Following in the stylistic strands of the time, most of the painter’s humorous-satirical works remain relevant today, attracting attention through skilfully selected scenes, well-directed plastically, and laconic promoted messages. Being made mainly in watercolor and ink, the caricatures elaborated by the plastic artist, highlight the high level of operation of the author with the mentioned materials and the techniques and, at the same time, facilitate his ironic representation of interpersonal relationships, vices, and bad events recorded in the community. Th e humorous-satirical activity of the painter Leonid Domnin, being implanted in resonant graphic sheets, can serve as an original point of reference in the development of current satirical graphics.
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Chen, Yu-Lun, Wen-Hung Liao, and Pei-Ying Chiang. "Generation of 3D Caricature by Fusing Caricature Images." In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384498.

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Choi, Yoon-Seok, In-Kwon Lee, and Bon-Ki Koo. "Painterly caricature maker." In SIGGRAPH '09: Posters. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1599301.1599389.

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Klare, Brendan F., Serhat S. Bucak, Anil K. Jain, and Tayfun Akgul. "Towards automated caricature recognition." In 2012 5th IAPR International Conference on Biometrics (ICB). IEEE, 2012. http://dx.doi.org/10.1109/icb.2012.6199771.

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Shi, Yichun, Debayan Deb, and Anil K. Jain. "WarpGAN: Automatic Caricature Generation." In 2019 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2019. http://dx.doi.org/10.1109/cvpr.2019.01102.

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Chen, Wenjuan, Hongchuan Yu, Minyong Shi, and Qingjie Sun. "Regularity-Based Caricature Synthesis." In 2009 International Conference on Management and Service Science (MASS). IEEE, 2009. http://dx.doi.org/10.1109/icmss.2009.5305380.

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Iwashita, S., Y. Takeda, and T. Onisawa. "Expressive facial caricature drawing." In Proceedings of 8th International Fuzzy Systems Conference. IEEE, 1999. http://dx.doi.org/10.1109/fuzzy.1999.790143.

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Kaenel, Philippe. "Friedrich Dürrenmatt et la caricature." In Littérature et caricature (XIXe-XXIe siècles). Fabula, 2021. http://dx.doi.org/10.58282/colloques.6892.

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Choi, Yoon-Seok, JiHyung Lee, and Bon-Ki Koo. "Intuitive 3D caricature face maker." In ACM SIGGRAPH ASIA 2010 Posters. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900354.1900395.

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Sadimon, Suriati Bte, Mohd Shahrizal Sunar, Dzulkifli Mohamad, and Habibollah Haron. "Computer Generated Caricature: A Survey." In 2010 International Conference on Cyberworlds (CW). IEEE, 2010. http://dx.doi.org/10.1109/cw.2010.33.

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Reports on the topic "Caricature"

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Wang, Wei-Ping. Multiple Impulse Solutions to McKean's Caricature of the Nerve Equation. 2. Stability. Fort Belvoir, VA: Defense Technical Information Center, January 1988. http://dx.doi.org/10.21236/ada203021.

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Villagómez, P., P. Romero, and T. Villalva. Caricatura política y agenda mediática en Ecuador Political cartoon and media agenda in Ecuador. Sociedad Latina de Comunicación Social, February 2020. http://dx.doi.org/10.4185/cac166-4.

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Yatsymirska, Mariya. Мова війни і «контрнаступальна» лексика у стислих медійних текстах. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11742.

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The article examines the language of the russian-ukrainian war of the 21st century based on the materials of compressed media texts; the role of political narratives and psychological-emotional markers in the creation of new lexemes is clarified; the verbal expression of forecasts of ukrainian and foreign analysts regarding the course of hostilities on the territory of Ukraine is shown. Compressed media texts reflect the main meanings of the language of the russian-ukrainian war in relation to the surrounding world. First of all, the media vocabulary was supplemented with neologisms – aggressive and sad: “rashism”, “denazification”, “katsapstan”, “orks”, “rusnia”, “kremlins”, “parebrik”, “in the swamps”, “nuclear dictator”, “putinism”, “two hundred” and others. Numerals acquired new expressive and evaluative meanings: “200s” (dead), “300s” (wounded), “400s” (russian military personnel who filed reports for termination of the contract), “500s” (hopelessly drunk russian soldiers, alcoholics who are unable to perform combat tasks). The language of war intensified the slogans of the struggle for state independence and people’s freedom. The scope of the greeting “Glory to Ukraine! – Glory to Heroes!”. New official holidays have appeared in the history of Ukraine since 2014: “Heroes of the Heavenly Hundred” Day (February 20), “Ukrainian Volunteer Day” (March 14), “Defenders and Defenders of Ukraine Day” (October 14), “Volunteer Day” (5 December). As you know, the professional holiday of the military is the Day of the Armed Forces of Ukraine” (December 6). A special style is characteristic of media texts on military topics: “Iron Force of Ukraine” (Iron Force of Ukraine), “digitize the Army” (for effective simulation of military operations); “grain corridor” (export of Ukrainian grain to African and European countries); “don’t let Ukraine lose” (the position of the Allies at the first stage of the war), “Ukraine must win!” (the position of the Allies in the second stage of the war); “in the Russian-Ukrainian war, the thinking of the 19th century collided with the thinking of the 21st century”, “a politician is a person who understands time” (Grigori Yavlinskyy, Russian oppositionist); “aggressive neutrality” (about Turkey’s position); “in Russia”, “there, in the swamps” (in Russia), “weak, inadequate evil” (about Russia), “behind the fence”; “a great reset of the world order”; “technology of military creativity”; “they are not Russian and not Ukrainian, they are Soviet”, “people without mentality”, “in Ukraine and without Ukraine” (Vitaly Portnikov about a separate category of Russian-speaking citizens in Ukraine); “information bed of Ukraine” (about combat operations on the front line; “when a descendant asks me what I did in those terrifying moments, I will know what to answer. At the very least, I did not stand aside” (opinion of a Ukrainian fighter). Compressed in media texts is implemented in the headline, note, infographic, chronicle, digest, help, caption for photos, blitz poll, interview, short articles, caricature, visual text, commercial, etc. Researchers add “nominative-representative text (business card text, titles of sections, pages, names of presenters, etc.) to concise media texts for a functional and pragmatic purpose.” accent text (quote, key idea); text-navigator (content, news feed, indication of movement or time); chronotope”. A specific linguistic phenomenon known as “language compression” is widespread in media texts. Language compression is the art of minimization; attention is focused on the main, the most essential, everything secondary is filtered out. Compression uses words succinctly and sparingly to convey the meaning as much as possible. For example, the headline “Racism. What is the essence of the new ideology of the Russian occupiers?”. The note briefly explains the meaning of this concept and explains the difference from “nazism” and “fascism”. Key words: compressed media text, language compression, language of war, emotional markers, expressive neologisms, political journalism.
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