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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 contemporaineCaricature 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 OrganizaçõesEste 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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Cohen, Raviv. "Impact of caricature-based datasets on demographic inference." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=117195.
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The widespread adoption of social networking platforms has generated interest in studying groups of users. Interest in the composition of groups has led to the development of methods to infer demographic attributes of participants such as such as age, ethnicity, and political orientation. While all demographic inference methods report excellent performance, there is a concern that this is the product of the way the dataset was constructed and not just the methods accuracy. In our research we observed an overemphasis on classifying users that exhibit easy-to-classify traits ; we call such users caricatures. In this thesis, we establish the extent to which caricatures introduce a bias that leads to results that give an overoptimistic characterization of the inference engine's abilities. We further continued our research and introduced a simple and effective method to create non-caricature-based datasets. In this work we focus on political caricatures in Twitter, although we consider our results representa- tive of the effect of caricatures in Twitter demographic inference datasets, regardless of the attribute of interest. Therefore our research should serve as a warning call to researchers using caricature-based datasets to do demographic inference.La déduction démographique est devenue une force motrice derrire certaines des plus grandes techniques en analyse de données. Sa multitude d'utilisations et d'applications rendues possibles l'aide de données démographiques augmente de jour en jour. Alors que toutes les méthodes de déduction démographique aboutissent d'excellentes performances, on craint que ce soit le produit de la faon dont le groupe de données a été construit et pas seulement l'exactitude des méthodes. Dans notre recherche, nous avons observé une insistance exagérée sur le classement des utilisateurs qui présentent des caractéristiques faciles classer, on appelle ces caractéristiques des caricatures. Ces caricatures introduisent un biais qui son tour conduit des résultats qui donnent une caricaturization trop optimiste des capacités de déduction. Poursuivant notre recherche, nous avons introduit et présenté une méthode simple et efficace pour créer des ensembles de données non-caricaturistes. Notre travail suggre qu'en effet un tel biais existe et motive davantage notre introduction une telle méthode. En outre, notre recherche adresse un appel de mise en garde l'utilisation des ensembles de données axées sur la caricature dans la recherche de la déduction démographique.
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NERY, LAURA MOUTINHO. "CARICATURE: MICROCOSM OF THE ARTISTIC ISSUES IN MODERNITY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9068@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA tese recupera a importância da técnica da caricatura no âmbito da discussão literária e plástica modernas em dois momentos específicos: na primeira metade do século XVIII, com o debate estabelecido por William Hogarth e Henry Fielding, num contexto em que se fixam as bases do romance; e em meados do século XIX, quando o tema é retomado por Charles Baudelaire, especialmente no ensaio Da essência do riso e das artes geralmente cômicas, de 1855. Embora tenha recebido da dupla Hogarth-Fielding uma definição pejorativa, a caricatura significou um caminho para a experiência moderna, seja pela assimilação de motivos altos e baixos na arte, pela tematização da vivência urbana ou pela valorização da psicologia dos personagens (dentro da tradição do empirismo de Locke), traduzida na exploração da fisionomia humana. Com Baudelaire, estabelece-se não só uma estética da caricatura, mas uma estética caricatural construída a partir das categorias cômico absoluto e o cômico significativo. Esse modo caricatural, acreditamos, já irrompia nas cenas morais de Hogarth. Adotamos a definição da caricatura como uma novidade no campo da arte pictórica, de acordo com Ernst Gombrich. À técnica italiana, segundo ele, estava franqueada a possibilidade de experimentação que levaria à descoberta não trivial de como criar a ilusão de vida sem qualquer ilusão de realidade. As reflexões de Hogarth e de Baudelaire dimensionam historicamente a importância do humor gráfico não só como um desafio à representação artística, mas também como elemento central de uma certa experiência da modernidade.
In this work, the relevance of caricature, both in modern literary and plastic discourses, is considered in two moments: during the first half of the XVIII century, in the interaction between William Hogarth and Henry Fielding, concurrent to the beginnings of the English novel, and in mid XIX century, when Charles Baudelaire, especially in his essay De l essence du rire et généralement du comique dans les arts plastiques, reapproaches the subject. Caricature received from Hogarth and Fielding a negative definition, but still showed a path to the modern experience, by assimilating low and high themes in art, by taking subjects from urban life and by emphasizing the psychology of characters (in the spirit of Locke s empiricism), through an exploration of the human face. Baudelaire s ideas give rise to an esthetics of caricature, built up from his concepts of significative and absolute comic. This caricatural mode, we believe, was already present in Hogarth s modern moral scenes. We take Ernst Gombrich s definition of caricature as an innovation in pictorial art. According to him, the Italian technique was allowed a freedom of experimentation which led to the nontrivial discovery of how to create the illusion of life without the illusion of reality. The arguments in Hogarth and Baudelaire describe the historical relevance of graphic humor, both as a challenge to artistic representation and as a central element of a certain kind of experience of modernity.
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MURUCI, LUCIO PICANCO. "SETH: THE SINGULAR CHAPTER IN A BRAZILIAN CARICATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9437@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOO objetivo desta tese é o estudo da obra do desenhista Seth (1891-1949), um dos mais importantes caricaturistas brasileiros da primeira metade do século XX, percebendo sobretudo a singularidade de sua contribuição, no tocante a criação de personagens negros, e procurando um amplo levantamento documental, biográfico e artístico de sua carreira, buscando analisar sua trajetória no meio artístico do Rio de Janeiro entre as décadas de 1910 e 1940, seu percurso intelectual. A presente pesquisa trabalha com um número expressivo de desenhos produzidos durante esse longo período, no qual se destacam obras da caricatura de costumes como Quando a morena passa, O democrático bonde, Dois desejos, da série Flagrantes Cariocas, entre outras. O trabalho objetiva ainda o estudo das inovações que Seth trouxe para a publicidade com os cartazes da série Casa Mathias. E procura entender como Seth encontrou na participação na política de propaganda cívica do regime Vargas um caminho para a expressão de suas crenças nacionalistas, observando sua relação com os valores do Estado Novo.
This proposition try to bring lights about Seth (1891- 1949) - one of the most importants brazilians caricaturists in the first half of the XX century, talking about the singularity of his contribution, at the concern of his black people characters creations and the searching to enlarge the documental, biographic and artistic aspects of his career, analyzing his trajectory in the middle of the artistic environment in Rio de Janeiro, between 1910 and 1940 decades, his intellectual journey. The present research works with au expressive numbers of drawings, produced along this period, showing works of the customs drawings likes the ones The Brunette´s Walks; The Democratic Streetcar; Two Desires, all frow the Cariocas Flagrants series, between others. This researchs will focus either the study of publicity innovations introduced by Seth for Casa Mathias Magazines calendars and posters. The proposition seeks to understand how the artist founded at the civic propaganda in the Vargas govern times, a way to express his nacionalistics believes, in the craddle of the Estado Novo values.
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Mendes, Ana Irene Fonseca. "Caricatura e reconhecimento de faces." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59134/tde-05122012-140245/.
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A caricatura, uma imagem da face baseada no exagero de suas características peculiares, geralmente é reconhecida tão bem quanto a fotografia da face sem distorções. Para confecção das caricaturas, exageram-se as diferenças entre a imagem original e um protótipo (face média de um grupo de pessoas); e para confecção das anti-caricaturas essas diferenças são atenuadas. O objetivo desta pesquisa foi investigar se existe um grau de exagero ótimo para que a caricatura represente a face melhor que a fotografia original. Além disso, investigou- se o papel da percepção holística versus percepção componencial no processo de reconhecimento de faces. Foram geradas seis faces prototípicas, masculinas e femininas, de pessoas da população da região de Ribeirão Preto que se auto-declaram branca, parda e preta. A partir das faces prototípicas, foram gerados dois tipos de caricaturas e anticaricaturas: 1. holística: em que todas as diferenças entre a face original e a prototípica foram manipuladas, 2. parcial: em que somente as diferenças de alguns elementos faciais isolados ou combinados entre a face original e a prototípica foram manipuladas. No Experimento I os estímulos teste foram as caricaturas e anti-caricaturas holísticas. No Experimento II os estímulos foram as caricaturas e anti-caricaturas parciais. Em ambos experimentos as caricaturas e anti-caricaturas foram submetidas a julgamentos de similaridade com a face original previamente memorizada. Os resultados do Experimento I indicaram que a melhor representação da face é a fotografia sem distorção e que, nos casos em que a face é atípica em relação ao protótipo, as caricaturas tendem a ser representações tão fidedignas quanto as fotografias sem distorção. Os resultados do Experimento II apontam para a importância dos elementos peculiares no reconhecimento de faces. Comparando-se os resultados dos Experimentos I e II pode-se afirmar que o processamento de faces se dá predominantemente de forma holística e que a manipulação de elementos peculiares da face reduz mais a similaridade entre a face original e a caricatura (ou anti-caricatura) que a manipulação de elementos não-peculiares.A caricature is an exaggeration of distinctive facial features and is generally recognized just as well as an undistorted photograph of a face. Caricatures can be generated by exaggerating the differences between a face and a prototypical face (average face) and an anticaricature can be generated by reducing those differences. The aim of this study was to investigate whether there is a degree of caricaturing that best captures facial likeness. Moreover, we investigated the role of holistic perception versus componential perception in the facial recognition process. Six prototypical faces, three male and three female, were generated by morphing photographs of Brazilian people from the region of Ribeirão Preto-SP of different races: black, white and mixed race. Two types of caricatures and anticaricatures were generated: 1, holistic: by manipulating of all the differences between a face and the prototypical faces; 2, partial: by manipulating the differences of isolated or combined features between a face and the prototypical face. The stimuli used in Experiment 1 were the holistic caricatures and anticaricatures. In Experiment 2 the stimuli were the partial caricatures and anticaricatures. In both experiments, subjects were asked to rate the similarity between the caricatures and the anticaricatures and a face previously memorized. The results of Experiment 1 provide evidence that the best representation of the face is a photograph without distortion and that, when the face is atypical, the caricatures seem to be as good as photographs without distortion. The results of Experiment 2 point to the importance of the role of distinctive features in face recognition. Comparing the results of Experiments 1 and 2, we can say that the facial recognition process is predominantly holistic but that the manipulation of distinctive facial elements reduces the similarity judgment more than the manipulation of non-distinctive features.
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Brisson, Réal. "La représentation d'Oka : une crise vue par la caricature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0004/NQ36241.pdf.
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Hemphill, Richard. "An album of caricature drawings by Pietro de Rossi." Oberlin College Masters Theses / OhioLINK, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=obgrad1553252239145575.
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Howe, Neil Gregory. "The politician in caricature : the case of Charles James Fox." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546482.
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DeMaio, Rory. "Performing artistic control| Gian Lorenzo Bernini and his caricature drawings." Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591482.
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Ferguson, Olivia Mary. "Literary forms of caricature in the early-nineteenth-century novel." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31529.
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This thesis examines the status of caricature in the literary culture of early-nineteenth- century Britain, with a focus on the novel. It shows how the early-nineteenth- century novel developed a variety of literary forms that negotiated and remade caricature for the bourgeois literary sphere. Case studies are drawn primarily from the published writings and manuscript drafts of Thomas Love Peacock, Jane Austen, Mary Shelley, and Walter Scott. The first chapter elucidates the various meanings and uses of 'caricature' in the eighteenth and early nineteenth centuries, when the term was more ambiguous and broadly applied than literary criticism and print history have acknowledged. I counter the assumption that the single-sheet satirical print was central to conceptions and practices of caricature in this period, giving examples of the textual, dramatic, and real-life 'caricatures' that were more often under discussion. The second and third chapters consider the unstable distinction between textual caricature and satirical characterisation in early-nineteenth-century literary culture. They explain how the literary construction of textual caricature developed from two sources: Augustan rulings against publishing satires on individuals, and caricature portraits as a pastime beloved of genteel British society. I argue that Peacock and Austen adapted forms of 'caricaturistic writing' that were conscious of the satirical literary work's relation to caricature. Subsequent chapters turn to the thematic uses of caricature in the early-nineteenth- century novel. In the fourth chapter, I uncover the significance of caricature to deformity in Mary Shelley's fiction, presenting evidence that her monsters' disproportion was inherited from the 'real-life' caricatures diagnosed in philosophical and medical texts of the eighteenth century. The final chapter traces ideas about caricature through the writings of Walter Scott, and finds that Scott conceived of exemplary graphic and textual caricatures as artefacts of antiquarian interest.
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Doré, Sandrine. "Albert Robida (1848-1926) : un dessinateur fin de siècle dans la société des images." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100151/document.
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Au cours d’une carrière amorcée sous le Second Empire et achevée dans les années vingt, Albert Robida (1848-1926) participa à cent sept périodiques et illustra quatre-vingt-quatorze livres. Il acquit une autonomie créatrice par la fondation, en 1880, de son propre journal humoristique, La Caricature, et par la publication de quarante-sept ouvrages écrits et illustrés de sa main. Il exprime, en tant que dessinateur la forte tension entre tradition et modernité palpable dans le monde parisien de l’édition au tournant des XIXe et XXe siècles. Sa notoriété actuelle est principalement due au premier de ses romans d’anticipation Le Vingtième Siècle (1883). Par cette forme originale, Robida livre une satire de son époque, tout en proposant la vision dystopique d’une société régie par la mécanisation. Dans la perspective de l’histoire de l’art, on s’interrogera sur la pratique graphique traditionnelle défendue par Robida, qui pourtant avait si bien entrevu, dès le début des années 1880, le potentiel médiatique des images animées. Afin de résoudre ce paradoxe, sa production graphique a été analysée selon de trois axes de recherche complémentaires. Le premier concerne les mécanismes de diffusion de ses dessins dans le secteur de l’édition, que ce soit à travers la presse, les livres ou les estampes. Le deuxième axe s’intéresse à la singularité de Robida dans la fin de siècle. Il analyse les modes de créations qui lui permirent de se dégager des contraintes inhérentes au monde de l’édition par la mise au point de son propre style de caricature, par l’auto-illustration et par sa participation aux livres de bibliophilie. Le troisième axe cerne les limites que Robida fixait au métier de dessinateur par une enquête orientée vers la peinture, la photographie et le cinémaDuring his career from the Second Empire to 1926, Albert Robida (1848-1926) took an active part in a hundred and seven newspapers and illustrated ninety-four books. He acquired a creative self-sufficiency by founding, in 1880, his own satirical newspaper, La Caricature, and by publishing forty-seven works which he himself wrote and illustrated. His career and his drawings express the strong tension between tradition and modernity in the Parisian world of edition from the end of the nineteenth century to the beginning of the twentieth century. His present fame is mainly due to Le Vingtième siècle (1883), the first of his works of science-fiction. Through this new form, Robida renders a satire of his time, while offering a dystopic vision of a society run by mechanization. Although he foresaw the media possibilities in animated pictures in the early 1880's, he defended his traditional graphic practice which will be examined in the art history angle. To resolve this paradox, his graphic production has been analyzed according to three further axes of research. The first one is about the distribution of his pictures in the publishing sector through newspapers, books or etchings. The second one is focused on the peculiarity of Robida in the “fin de siècle”. It analyses the creative forms which allowed him to free himself from the constraints connected to the publishing sector by focusing on his own style as a caricaturist, on his auto-illustrations and on his participation in books on bibliophilia. The third axis centers on the limits which, as an illustrator, Robida set to his own profession by a research directed towards painting, photography and cinema
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Le, Meur Jegou Monique. "Forme et nature comparées de la caricature dans les romans anglais et français du XIXe siècle." Paris 3, 2000. http://www.theses.fr/2000PA030107.
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Art qui exagere a partir du reel, la caricature se differencie du grotesque. C'est un art, en effet, que de resumer d'un trait un etre ou une situation a l'idee que l'on veut exprimer. La caricature est un langage double qui scelle sa signification par le mot d'esprit. Ses intentions sont donc satiriques. Caricaturer dans quel but ? d'abord pour rire. Et aussi pour montrer, denoncer, accuser. A l'origine, la caricature est graphique, jeu avec les formes, pour s'opposer au beau a la renaissance. Litterature et peinture usent du meme langage, symboles, allegories, emblemes, dont s'accommode le langage double de la caricature. William hogarth (1697-1764) reste le modele des relations de sens verbal et visuel. Charles dickens (1812-1870), william. Makepeace thackeray (1811-1863) en angleterre, guy de maupassant (1850-1893), gustave flaubert (1821-1880) en france, caricaturent les memes maux. Les themes de la caricature restent traditionnellement politiques et sociaux. Dickens et thackeray sont impregnes de la satire graphique de leur temps. Maupassant et flaubert sont les heritiers du realisme et du naturalisme que rejette avec horreur l'angleterre. L'art, aux yeux des contemporains, doit etre moral. La fantaisie de dickens lui permet de caricaturer pour faire rire. Thackeray voile ses sarcasmes d'ironie comme flaubert. Maupassant se contente de demontrer. Le realisme est une convention, l'illusion de la representation du reel dont fait partie la caricature.
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Dubaux, Liliane. "La caricature littéraire (1830-1870) : l'example de Balzac et de Hugo." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63969.
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Viltard, Henri. "Jossot et l'épure décorative (1866-1951) : caricature entre anarchisme et Islam." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0029.
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L'épure décorative dans la presse de la Troisième République, est liée au decorum du laid. Chez Jossot, l'arabesque caricaturale bafoue les convenances : contre l'Académie, elle puise dans l'art médiéval, parodie les grâces symbolistes, la japonisme des Nabis, le cloisonnisme, rencontre le fauvisme et appartient à l'Art Nouveau. Le regard confisqué par la caricature, l'artiste cherche à fuir une vision terrifiante : il voit, écrit et peint au travers de son schème caricatural. Proche de l'anarchisme individualiste, il fuit un monde politique conçu en terme de domination et d'oppositions binaires. La Tunisie devient un havre esthétique et exotique défendu par des charges anti-coloniales. Converti puis initié au soufisme, la "libre pensée de l'Islam" distingue son adepte et remplace ainsi la caricature. Dès 1927, Jossot quitte le burnous et meurt en athée, assimilant la vie au monde "agité" de la caricatureDecorative diagram in the Third Republic press is linked to decorum of ugliness. Jossot's caricatural arabesques flouted social proprieties : against the Academy, it took inspiration from medieval art, parodied symbolist grace, nabis' japanism, cloisonism, joined fauvism and belonged to Modern Style. His vision was caught by caricature and he tried to escape from a terrific view : he saw, wrote and painted through his caricatural schema. Close from individualist anarchism, he tried to run away from a political world conceived in terms of domination and binary oppositions. Tunisia appeared him as an aesthetic and exotic refuge protected by anti-colonialists caricatures. Tunisia appeared him as an aesthetic and exotic refuge protected by anti-colonialists caricatures. Converted and initiated to Suffism, the "free thought of Islam" replaced caricature making him conspicuous. However Jossot threw up his burnous around 1927 and died atheist, likening the life to the "hectic" world of caricature
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Munch, Valérie. "Nouveaux aspects de la caricature à Paris entre 1830 et 1835." Paris 8, 1999. http://www.theses.fr/1999PA081738.
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Les annees 1830-1835 correspondent, en france, au debut de l'apogee de la caricature, tant sur le plan de la qualite des oeuvres que sur l'importance de leur diffusion. Tout, ou presque, a ete dit sur la caricature ou le charivari de philipon, mais qui se souvient de la charge ? pour un daumier, un grandville, un travies, combien de caricaturistes tombes dans l'oubli ? les fonds de la bibliotheque nationale de france, d'une richesse inesperee, ont constitue la source quasi-exclusive des recherches sur lesquelles s'appuie cette etude. Toutefois 1 abondance de ces donnees a oblige a faire des choix et a limiter le cadre de l'etude a la production caricaturale distribuee a paris. Dans la premiere partie, nous ferons decouvrir treize journaux ayant edite, ensemble, plusieurs centaines de dessins tantot satiriques, tantot humoristiques et on pourra apprecier leur diversite d'un journal a l'autre. La seconde partie mettra en lumiere toute une production caricaturale jusque la completement occultee, comme la caricature pornographique, d'une reelle qualite artistique, et quelques supports inattendus avant de revenir sur l'oeuvre d'un sculpteur peu connu, dantan jeune dont les caricatures ont atteint un large public. A travers l'exploration de tout un materiel litteraire et iconographique jamais utilise auparavant, c'est une nouvelle dimension de la caricature des annees 1830-1835 qui s'offre ainsi au lecteur et lui permet de mieux penetrer les mentalites des parisiens des premieres annees du regne de louis-philippe.
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Garces, Abigail. "Mexican political caricature : the crises of the early 1900s and 1990s." FIU Digital Commons, 2001. https://digitalcommons.fiu.edu/etd/3600.
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The purpose of this study was to compare the political, economic and social problematic of Mexico in the early 1900s and the 1990s, using political caricatures as primary sources of information.
To fully understand the Porfiriato regime during the early 1900s, images from the Mexican newspapers El Diablito Rojo, El Hijo del Ahuizote and El Paladin were selected and analyzed, while Carlos Salinas’ government of the early 1990s was studied through the caricatures found in La Jornada.
The political caricatures demonstrated that similar conflicts existed during the early 1900s and the 1990s, such as the abuse of an authoritarian government, corrupt elections, an evident polarization between a small elite and the masses, the exploitation of the agricultural sectors, and a strive for the modernization of the country.
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Pociūtė, Vaiva. "Politinių karikatūrų, kaip žodžio laisvės išraiškos, problematika demokratiškoje žiniasklaidoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090805_085429-03820.
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Pastaruoju metu kilę vietiniai ir tarptautiniai konfliktai žiniasklaidoje vis dažniau priverčia atsigręžti į pamatinę jos vertybę - žodžio laisvę. Skirtinga šios sąvokos samprata dažnai tampa nesutarimų objektu, todėl žiniasklaidos vaidmuo ją pateikiant bei formuojant labai svarbus. Taigi, darbo tikslas yra ištirti pranašo Mahometo (angl. k. Mohammad) karikatūrų atvejo vaizdavimą Lietuvos žiniasklaidoje ir nustatyti, kokios reakcijos, požiūriai atsispindi žodžio laisvės problematikoje.
Iš pradžių, tikslui pasiekti gilinamasi į pačios demokratiškos žiniasklaidos sampratą, žodžio laisvę ir esminius jų pokyčius moderniųjų technologijų amžiuje. Toliau, siejant žodžio laisvę su politinių karikatūrų žanru, atskleidžiamas jų prieštaringas santykis. Tuo pačiu supažindinama su pranašo Mahometo karikatūrų atveju ir reakcijomis užsienio žiniasklaidoje. Galiausiai, pateikiama įvykio analizė Lietuvos spaudos ir internetinės žiniasklaidos priemonėse, išskiriant savitus bruožus iš kitų užsienio šalių ir nustatant dominuojančią poziciją žodžio laisvės aspektu.
Pagrindinis darbo objektas – Mahometo karikatūrų atvejis Lietuvos žiniasklaidoje – yra tiriamas taikant kiekybinės ir kokybinės turinio analizės metodą. Toks pasirinkimas suteikia galimybę plačiau ir giliau pažvelgti į konkrečios žiniasklaidos priemonės indėlį formuojant tarptautinį įvykį, skatinant tarptautines diskusijas, o taip pat palyginti duomenis tarptautiniame kontekste.
Gautos tyrimo išvados parodo, kad Mahomedo karikatūrų... [toliau žr. visą tekstą]The latest local and international conflicts forced to look back to the democratic society’s value – freedom of speech. Different conceptions become an axis of the conflict, so the role of media is very important in constructing and presenting it. That’s why this work’s goal is to research specific international event, Mohammed’s cartoon controversy in Lithuanian media, and to define the reactions and opinions which reflect the freedom of speech problematic. At first, the research was concentrated on democratic media conception, freedom of speech and there fundamental changes in modern technology age. Further, looking for the connection between freedom of speech and political caricature genre, it is tried to reflect the controversial connection. At the same time, I try to present the Mohammed’s cartoon controversy and reactions of it in foreign media. Last, this international event is analyzed in certain Lithuanian press and internet media, trying to characterize certain attributes from other countries and determine the dominated position in freedom of speech frame. The basic work’s object is Mohammed’s cartoon controversy in Lithuanian media. The investigation is made by using quantity and quality content analyzes. This type of this method gives the ability to look deeper in certain media tools and there affect to construction of international event, trying to stimulate international discus and compare data in international context. General research conclusions show that... [to full text]
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Kerr, David S. "Charles Philipon : caricature and political culture in France under the July monarchy." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339041.
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Murphy, S. "The taste of revolt : caricature and controversy in the works of Rimbaud." Thesis, University of Kent, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332522.
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Northrop, Chloe Aubra. "White Creole Women in the British West Indies: From Stereotype to Caricature." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33190/.
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Many researchers of gender studies and colonial history ignore the lives of European women in the British West Indies. The scarcity of written information combined with preconceived notions about the character of the women inhabiting the islands make this the "final frontier" in colonial studies on women. Over the long eighteenth century, travel literature by men reduced creole white women to a stereotype that endured in literature and visual representations. The writings of female authors, who also visited the plantation islands, display their opinions on the creole white women through their letters, diaries and journals. Male authors were preoccupied with the sexual morality of the women, whereas the female authors focus on the temperate lifestyles of the local females. The popular perceptions of the creole white women seen in periodicals, literature, and caricatures in Britain seem to follow this trend, taking for their sources the travel histories.
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Duprat, Annie. ""Repique est Capet" : Louis XVI dans la caricature : naissance d'un langage politique." [Rouen] : [A. Duprat], 1991. http://catalogue.bnf.fr/ark:/12148/cb35531932w.
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Renault-Monin, Magali. "Théodore Roosevelt, personnage de caricature : les moments clés de la satire politique." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA142/document.
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Plusieurs études de la « couverture » médiatique accordée à la vie personnelle, publique et privée, de Théodore Roosevelt montrent qu’il attira plus d’attention journalistique que nombre de ses successeurs. L’on ne saurait sous-estimer la contribution capitale des caricaturistes, même les plus sévères, à l’inaltérable popularité de Roosevelt pendant quelque trente ans. Il y a lieu de penser que nul autre président ne fut pour eux une source d’inspiration aussi constante et aussi réjouissante. Le but de la présente thèse est de replacer l’émergence de l’image caricaturée de Roosevelt dans le contexte d’une prise de conscience globale du pouvoir de la caricature sur l’opinion publique. L’humour devenant un formidable outil d’opposition ou de propagande lorsqu’il est associé à la politique, il convient d’explorer les caractéristiques de l’humour politique à l’époque de Roosevelt, et notamment en quoi il se distingue d’autres formes de critique du pouvoir en place. Est proposé dans un premier temps une rétrospective historique de la caricature politique en Europe et son émergence aux États-Unis, suivie de l’analyse en détail du « moment décisif », avec le très célèbre Thomas Nast, de l’histoire de la caricature américaine. Vient ensuite une évaluation de l’impact des caricatures sur la carrière politique de Théodore Roosevelt au moyen de plusieurs études de cas, identifiés comme les moments clés, dont la finalité est de vérifier s’il existait une véritable corrélation entre les actions du président et son image médiatique : cow-boy légendaire, homme politique au destin national, héros militaire, chef de l’exécutif controverséSeveral studies of the media coverage of Theodore Roosevelt’s personal, public and private life reveal that he attracted more media attention than many of his successors. The importance of the contribution of even the most caustic cartoonists to his enduring popularity for thirty years should not be underestimated. There are reasons to believe that no other president offered a more constant and delightful source of inspiration. The objective of this dissertation is to contextualize several cartooned images of Roosevelt within the growing awareness of the power of cartoons on public opinion. When combined with politics, humor becomes a tremendous tool for the spreading of official propaganda or of the opposition’s creed. We will therefore assess the characteristics of political humor during Roosevelt’s age and how it is distinct from other types of criticism of the establishment. We will first present a brief history of political cartoons in Europe and their rise in the United States, followed by a detailed assessment of the legacy of the famous cartoonist Thomas Nast, which represents a « defining moment » in the history of American political cartoons. This will be followed by an evaluation of their impact on Theodore Roosevelt’s political career by means of several case studies of decisive moments. The objective will be to determine whether there is a correlation between Roosevelt’s actions and his media image: mythical cowboy, politician with a national destiny, war hero, controversial chief executive
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Rouquier, Viviane. "La caricature antihitlérienne dans la presse satirique allemande de 1923 à 1933." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00844378.
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Cette étude comprend l'analyse et le commentaire de quelques cent-trente-cinq caricatures qui ont pour but de tenter de répondre à la question sur l'éventualité d'une reconstitution historique au travers des caricatures antihitlériennes de la presse satirique de la République de Weimar. Elles illustrent la montée du national-socialisme, du moins par le biais de la critique, puis de l'opposition et de la révolte, que ce dernier a pu susciter au cours des années 1923-1933. Ce travail a nécessité la recherche de faits politiques précis auxquels chaque caricature faisait référence et la comparaison de la représentation proposée par la caricature avec les informations et les jugements donnés rétrospectivement par les historiens. Ce jeu de va-et-vient entre le document-source et l'arrière-plan référentiel a aidé à proposer une estimation de l'écho suscité ou non par l'événement politique en question. Ce choix de caricatures a permis par exemple de voir quelles avaient été les apparitions de Hitler sur la scène politique qui avaient le plus déchaîné les passions. Toutefois il reste difficile de concevoir une histoire de la montée du national-socialisme et de l'opposition à Hitler avant 1933 à partir des seules caricatures.
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Rouquier, Viviane. "La caricature antihitlérienne dans la presse satirique allemande de 1923 à 1933." Electronic Thesis or Diss., Toulouse 2, 2012. http://www.theses.fr/2012TOU20124.
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Cette étude comprend l'analyse et le commentaire de quelques cent-trente-cinq caricatures qui ont pour but de tenter de répondre à la question sur l'éventualité d'une reconstitution historique au travers des caricatures antihitlériennes de la presse satirique de la République de Weimar. Elles illustrent la montée du national-socialisme, du moins par le biais de la critique, puis de l'opposition et de la révolte, que ce dernier a pu susciter au cours des années 1923-1933. Ce travail a nécessité la recherche de faits politiques précis auxquels chaque caricature faisait référence et la comparaison de la représentation proposée par la caricature avec les informations et les jugements donnés rétrospectivement par les historiens. Ce jeu de va-et-vient entre le document-source et l'arrière-plan référentiel a aidé à proposer une estimation de l'écho suscité ou non par l'événement politique en question. Ce choix de caricatures a permis par exemple de voir quelles avaient été les apparitions de Hitler sur la scène politique qui avaient le plus déchaîné les passions. Toutefois il reste difficile de concevoir une histoire de la montée du national-socialisme et de l'opposition à Hitler avant 1933 à partir des seules caricaturesThis study is made up of the analysis and commentary of some one hundred and thirty-five caricatures in an attempt to resolve the question of a possible historical reconstruction through anti-Hitler caricatures in the satirical press of the Weimar Republic. They illustrate the rise of National Socialism, at least as seen by the critics and then the opposition and revolt that the former actually gave rise to between 1923 and 1933. The work bas required research into the precise political events referred to by each caricature and the comparison between the representation proposed by the caricature and the information and the opinion provided in retrospect by historians. This coming and going between the original document and the referential background has led to an assessment of the extent of the coverage given to the political event in question. The choice of caricatures has allowed for instance to see which appearances in public by Hitler had unleashed the most passion. Nevertheless it still remains difficult to establish a history of the rise of National Socialism and of the opposition to Hitler before 1933 from these caricatures alone
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Silva, Rogério Souza. "Modernidade em desalinho: costumes, cotidiano e linguagens na obra humorística de Raul Pederneiras (1898-1936)." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12840.
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This thesis performs a discussion of the humorous production of Raul Pederneiras. The starting point of the research is the year 1898, when the artist published his first caricature, in O Mercurio. Aspects of modern urban area of Rio de Janeiro were among his favorite subjects. He noted the wide gap between a modernity seen as ideal, which was modeled on the North Atlantic world, and its application to the Brazilian reality. But his vision was global and international issues were among their concerns. Besides caricaturist, Raul Pederneiras wrote texts of humor with high quality, getting to play with words and making numerous puns. He was a multifaceted character, which made it more interesting. Among its activities, may be included journalist, playwright, poet, painter, composer, propagandist, police officer and professor of international law, having written several books in his career. The final milestone of the research is the year 1936, when Raul published his latest book, titled Musa travessa: ruma de rimas sem rumo, having already clear signs of decline in his artistic and intellectual production. In this historical moment, there is a look of the comedian to the change process by which the country was in that context
A presente tese realiza uma discussão da produção humorística de Raul Pederneiras. O marco inicial da pesquisa é o ano de 1898, quando o artista publicou a sua primeira caricatura, em O Mercurio. Os aspectos de modernidade do espaço urbano carioca estavam entre os seus temas prediletos. Ele notava o grande abismo existente entre uma modernidade vista como ideal, que tinha como modelo o mundo do Atlântico Norte, e a sua aplicação à realidade brasileira. Porém, sua visão era global e as questões internacionais estavam entre as suas preocupações. Além de caricaturista, Raul Pederneiras foi autor de textos de humor de grande qualidade, conseguindo brincar com as palavras e fazer inúmeros trocadilhos. Ele era um personagem multifacetado, o que o tornava mais interessante. Entre as suas atividades, podem ser incluídas as de jornalista, teatrólogo, poeta, pintor de quadros, compositor, reclamista, delegado de polícia e professor de direito internacional, tendo escrito vários livros na sua carreira. O marco final da pesquisa é o ano de 1936, quando Raul publicou o seu último livro, intitulado Musa travessa: ruma de rimas sem rumo, já havendo claros sinais de queda em sua produção artística e intelectual. Nesse momento histórico, nota-se um olhar do humorista para os processos de mudanças pelos quais o país passava naquele contexto
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Munjal, Savi. "Politicizing caricature/caricaturing politics : re-interpreting James Gillray's counter revolutionary prints (1780-1800)." Thesis, University of Leeds, 2011. http://etheses.whiterose.ac.uk/21131/.
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This thesis intends to address the marginalization of loyalist visual culture by focusing on political prints produced by James Gillray (1757-1815) during the last decades of the eighteenth century (1780-1800). It engages with the cross-linkages between British Loyalism and counter-revolutionary politics by reading political caricatures as historiographical accounts. Gillray's caricatures are central to understanding the fears that the excesses of the French Revolution generated in the conservative heartland of England. But his prints continue to be read as graphic metaphors for counter-revolutionary protest, and he himself heralded as a Tory hireling or propagandist. In this inter-disciplinary study visual and verbal texts will engage with each other in an attempt to show that a reading of Gillray's visual semiotics through a lens of either/or is reductive because his prints form a complex compendium of Loyalist, Republican, revolutionary and anti-revolutionary historiographies. This thesis scrutinizes his prints to challenge conventional polarities used to describe British politics between 1780 and 1800; Pitt versus Fox, Burke versus Paine, Church versus Dissenters, Jacobin versus anti-Jacobin. The central argument is articulated by examining the context in which these prints were produced; Gillray is here situated in a wider context by studying historical and literary texts including a series of late eighteenth-century literary pamphlets, religious pamphlets, ballads, broadsheets, historical treatises, 'vulgar' radical texts and polite literature. These are used to highlight the mutual interdependence of the visual and the verbal in the establishment of meaning. The argument is consolidated using theories of inter-textuality developed by Roland.
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Dupuy, Pascal. "L'Angleterre face à la révolution : la représentation de la France et des français à travers la caricature (1789-1802)." Rouen, 1998. http://www.theses.fr/1998ROUEL310.
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Depuis le milieu du 18eme siècle, la caricature anglaise est sans rivale en Europe. Sous la direction artistique de William Hogarth, la production anglaise a su inventer un répertoire de signes et un alphabet symbolique enrichis par des artistes d'exceptions. La guerre de sept ans, la révolution américaine ont également permis un renouvellement des thèmes toutefois sans commune mesure avec la production caricaturale relative à la révolution française. C’est cette imagerie satirique que nous avons analysée en mettant à jour 838 caricatures conservées dans le monde entier mais toutes publiées en Grande Bretagne entre 1789 et 1802. À partir d'un traitement informatique de chaque gravure, nous avons mis en relief les tendances idéologiques de cette production, la peur d'une invasion française ou d'une révolution en Angleterre, les aspirations des caricaturistes et à travers eux les attentes d'un public largement conservateurSince the middle of the 18th-century, english caricature was unrivaled in europe. Under the leadership of William Hogarth, english production was known for its creation of signs and symbolic messages, a body of work enriched by a number of exceptional artists. In addition, the seven years war and the american revolution altered some of the themes of caricaturists. Nonetheless, the themes of these prints would bear little in common with the caricatures produced relative to the french revolution. In analyzing the satirical imagery published in great britain between 1789 and 1802, this thesis brings to light 838 caricatures from holdings all over the world. After giving information relative to each print, the works' ideological tendencies are put in relief - fear of a french invasion or a revolution in england, the caricaturists' aspirations and, through them, the expectations of a largely conservative public.
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Choeb, Saber Chendi Wael. "L’emploi de la caricature dans le développement des habiletés de la lecture critique des apprenants de français langue étrangère et leurs perceptions." Thèse, Université de Sherbrooke, 2017. http://hdl.handle.net/11143/11226.
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La lecture joue un grand rôle dans le processus d’enseignement-apprentissage. Elle constitue une base solide de la formation didactique de l’apprenant pour s’adapter à la société. Il existe quatre niveaux de compréhension en lecture : littérale, inférentielle ou interprétative, critique et créative. Les habiletés de ces quatre niveaux de compréhension sont organisées selon la hiérarchie de la taxonomie de Bloom. Notre recherche portait sur le niveau de la compréhension critique en lecture : la lecture critique. À la suite d’une recension de la littérature scientifique, nous avons constaté que les recherches connues à ce jour appuient l’importance de s’intéresser à la didactique de la lecture en classe de français. Cependant, les résultats semblent peu concluants à l’égard de la lecture critique, malgré son importance.
La problématique de notre recherche consiste au fait que les apprenants du Français Langue Étrangère (FLE) éprouvent des difficultés en lecture critique. Ils tendent vers une compréhension globale du texte sans chercher ni comprendre le sens implicite. D’une part, différents auteurs ont montré que les raisons de ces difficultés ne sont pas dues seulement aux étudiants eux-mêmes mais aussi aux méthodes d'enseignement non appropriées à enseigner la lecture critique en FLE. Dans le domaine de l'enseignement des langues étrangères aux locuteurs d'autres langues, certains auteurs préconisent également la didactique de la lecture critique où les enseignants ne font pas juste enseigner aux étudiants les compétences linguistiques de base ou de former leurs habiletés de communication, mais aussi le besoin de développer la conscience critique chez les apprenants qui leur permettent de poser des questions plutôt que d'accepter passivement l'information qu'ils trouvent. D’autre part, la recension a montré que l’enseignement basé sur la caricature semble motivant et amène les apprenants à réfléchir, mais que ce support didactique n’a pas été utilisé auprès d’apprenants de français, surtout au niveau universitaire. Des études ont prouvé l’efficacité de la caricature dans l’enseignement de l’histoire, les sciences et la littératie visuelle et politique. Aucune étude, d’après notre recension d’écrits, n’a porté sur la caricature en didactique de FLE. D’ailleurs c’est un domaine peu investigué.
Notre recherche exploratoire voulait intégrer la caricature dans l'enseignement de la lecture critique en FLE. En définitive, notre recherche visait à répondre à la question générale suivante : Quelle est la contribution de la caricature comme support didactique au développement des habiletés de la lecture critique chez les apprenants du FLE ? De cette question découlent les questions spécifiques suivantes : 1- Quel est le rôle de la caricature comme support didactique dans le développement de la lecture critique chez les apprenants du FLE ? Et 2- quelles sont les perceptions des apprenants ciblés à l’égard de la caricature ? Pour ce faire, notre recherche a impliqué l’élaboration d’un dispositif didactique au cœur duquel figurait la caricature.
Afin de recueillir les données, nous avons choisi un échantillon volontaire parmi des étudiants adultes qui apprennent le FLE, à l’Université de Sherbrooke. Notre expérimentation didactique consistait à leur faire vivre des activités de lecture critique de textes basés sur la caricature en trois séances complémentaires. Les outils de collecte de données étaient les suivants : des prétests qui précédaient chaque séance du dispositif didactique pour diagnostiquer le niveau des étudiants en lecture critique, des posttests en lecture critique qui suivaient chacune des séances, des entrevues pour identifier les perceptions et les productions des participants.
Nous avons analysé l'ensemble des données. Il s’agissait d’une analyse évaluative des réponses des participants dans les pré/posttests; d’une analyse thématique du verbatim des entrevues afin d’identifier les perceptions des participants ; et d’une analyse du contenu des caricatures produites par les participants pour appuyer les résultats obtenus.
Les résultats de l’analyse ont indiqué que la caricature a contribué au développement de la lecture critique chez les apprenants du FLE : grandement chez les débutants et les intermédiaires et partiellement chez les avancés. En parallèle, la caricature était positivement perçue par tous les participants. Ceux-ci ont avancé que la caricature était pour eux une expérience originale, motivante et transférable. Ces résultats combinés avec ceux des recherches antérieures dans le même domaine laissent entrevoir que la caricature comme support didactique pourrait favoriser la compréhension en lecture en général chez les apprenants adultes.Abstract: Reading plays an important role in the teaching / learning process. It constitutes a solid basis for the didactic training of the learner to adapt to society. There are four levels of reading comprehension: literal, inferential or interpretive, critical and creative. The skills of these four levels of understanding are organized according to the hierarchy of Bloom's taxonomy. Our research focused on the level of critical reading comprehension: critical reading. Following a review of the scientific literature, we found that the research known to date supports the importance of taking an interest in reading literacy in French. However, the results seem inconclusive with regard to critical reading, despite its importance. The problem of our research is that the learners of the French Foreign Language (FFL) have difficulties in critical reading. They tend towards a global understanding of the text without going further in the implicit sense. On the one hand, different authors have shown that the reasons for these difficulties are not only due to the students themselves but also to the teaching methods not appropriate to teach critical reading in FFL. In the field of foreign language teaching to speakers of other languages, some authors also advocate the teaching of critical reading where teachers do not just teach students basic language skills or train their communication skills, but also the need to develop critical awareness in learners that allow them to ask questions rather than passively accepting the information they find. On the other hand, the review showed that teaching based on caricature seems motivating and leads learners to think, but that this didactic support was not used with learners of French, especially at the university level. Studies have proven the effectiveness of caricature in the teaching of history, science and visual and political literacy. No study, according to our review of writings, has focused on the caricature in didactics of FFL. Besides, it is a little investigated field. Our exploratory research wanted to integrate caricature into the teaching of critical reading in FFL. As a conclusion, our research aimed to answer the following general question: What is the contribution of caricature as a didactic medium to the development of the skills of critical reading in the learners of the FFL? From this issue arise the following specific questions: 1- What is the role of caricature as a didactic medium in the development of critical reading in the learners of the FFL? And what are the perceptions of targeted learners about caricature? To do this, our research involved the development of a didactic system at the heart of which caricature was included. In order to collect the data, we chose a sample of adult learners who were studying at the University of Sherbrooke. Our didactic experimentation consisted in making them live the activities of critical reading of texts based on caricature in three complementary stages. The data collection tools included pre-tests that preceded each stage of the didactic experimentation to diagnose the participant’s level in critical reading; post-tests that followed each stage; interviews to identify their perceptions, and drawings produced by them. We analyzed all the data. This was an evaluative analysis of the students' responses in pre / posttests; a thematic analysis of the interview verbatim in order to identify their perceptions; and an analysis of the content of the caricatures produced in support of the results obtained. The results of the analysis showed that caricature has greatly contributed to the development of critical reading in FFL among the beginners and intermediates and partially among the advanced students. At the same time, the caricature was positively perceived by all participants. These ones argued that caricature was an original, motivating and transferable experience. These results, combined with previous research in the same field, suggest that caricature as a didactic medium could promote reading comprehension in adult learners in general.
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Chaisemartin, Amélie de. "Créer des types. La caractérisation des personnages dans les romans de la seconde génération romantique en France (1830-1848)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040157.
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Dans leurs préfaces et essais critiques, les romanciers de la seconde génération romantique expriment le désir de « créer des types ». C’est en effet selon eux le propre d’un chef-d’œuvre que de faire entrer dans le patrimoine littéraire commun de nouveaux types, comme Cervantès avec don Quichotte ou Molière avec Tartuffe. Notre thèse étudie la signification de ce terme apparu sous la monarchie de Juillet et les procédés stylistiques de caractérisation des personnages employés par les romanciers pour constituer des types. Notre corpus comprend les romans de Stendhal, Alfred de Vigny, Victor Hugo, George Sand, Honoré de Balzac, Alexandre Dumas, Eugène Sue et Théophile Gautier. Parce que le terme de type apparaît au même moment dans le vocabulaire de la caricature et de l’illustration, notre travail a également pour but de souligner les liens entre les procédés littéraires de typification et les dessins de types dans la presse satirique et la littérature panoramique. L’enjeu de notre thèse est de distinguer l’acception romantique du type d’une compréhension exclusivement sociologique tout en montrant les liens étroits entre types romanesques et types sociologiquesDuring the July Monarchy, French romantic writers used critical essays to express their desire to create new typical characters, or « types ». According to them, the ability of a novel to create new « types » is a sign of literary value. This work studies the esthetical meaning of the word « type » and the way novels written by Stendhal, Vigny, Hugo, Sand, Musset, Balzac, Dumas, Eugène Sue and Théophile Gautier make a character into a « type ». This term appears in satirical newspapers and « Physiologies » at the same time and this dissertation aims at explaining the links between visual « types » in caricature and litterary « types » in novels. This work also tries to underline the differences and similarities between romantic and sociological « types »
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Drouin, Alex. "Les éditorialistes du crayon : une analyse des représentations du genre dans la caricature politique." Thèse, Université du Québec à Trois-Rivières, 2012. http://depot-e.uqtr.ca/6163/1/030405656.pdf.
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Tomé, Cristina Maria de Sousa 1963. "Entre o burlesco e o sublime-a sátira gráfica de William Hogarth e James Gillray." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Instituto Letras e Ciências Humanas, 2000. http://dited.bn.pt:80/29407.
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Hague, Ian. "Experiencing comics : a multisensory approach to the comic strip and related forms." Thesis, University of Chichester, 2012. http://eprints.chi.ac.uk/574/.
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Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comics are inherently and almost exclusively visual. Drawing on social definitions for its object, this study challenges that premise and asserts that comics is not just a visual medium. The study outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader's physical senses can be understood. A wide range of examples demonstrate how multisensory communication systems work in both commercial and more experimental contexts. The thesis concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by ocularcentric approaches.
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Passot, Florence Chazal Jean-Pascal. "L'humour et le droit." Lyon : Université Lyon3, 2006. http://thesesbrain.univ-lyon3.fr/sdx/theses/lyon3/2006/passot_f.
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Rivière, Philippe Tillier Bertrand. "La caricature, le dessin de presse et le dessin d'humour en France, de la Révolution à nos jours." [S.l.] : [s.n.], 2005. http://www.enssib.fr/bibliotheque/documents/dessid/rrbriviere.pdf.
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Rapport de recherche bibliographique de master professionnel 2e année : Ingénierie documentaire : Villeurbanne, ENSSIB : 2005. Rapport de recherche bibliographique de master professionnel 2e année : Ingénierie documentaire : Lyon 1 : 2005.Texte intégral.
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Lemieux, Éric. "Un chardon dans les jardins de la reine : le référendum de 1995 tel que (re)présenté à travers la caricature au Canada anglais." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47216.pdf.
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Bertron, Juliette. "De la parodie dans l'art des années 1960 à nos jours." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL028/document.
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Si la parodie est loin d'être une pratique nouvelle, la première occurrence connue du terme remontant à l'Antiquité, elle a été jusqu'alors principalement envisagée comme un genre ou comme une figure littéraires. Et pourtant ses formes, ses connotations et ses procédés sont exploités par de nombreux artistes plasticiens. Dans les années 1960, l'avènement de la société de consommation et ses effets sur la reproductibilité de l'œuvre d'art donnent à la parodie un essor nouveau. Transformant l'histoire de l'art en un répertoire accessible dans lequel puiser à loisir pour créer à partir de, la reproductibilité offre des conditions idéales au jeu parodique. Comprendre comment et pourquoi des artistes d'horizons fort divers, des années 1960 à nos jours, se saisissent de la parodie, à des fins aussi bien personnelles que contextuelles, est l'objet de cette étude. État des lieux de la notion, la première partie s'attache à définir le terme et se penche sur les parodies réalisées depuis le milieu du XIXe siècle, des Salons caricaturaux au postmodernisme en passant par les avant-gardes historiques. La deuxième partie se construit autour du ludique, du comique et du satirique, compris comme autant de couleurs et de régimes. Enfin, la troisième partie est consacrée à la part réflexive de la parodie. Art sur l'art, cette dernière participe à une mise en cause institutionnelle et aspire à la dénudation du faire artistique lui-même. Tout au long de cette étude, la parodie apparaît comme une pratique essentiellement ambivalente, entre mauvais genre et pratique cultivée, gaminerie et jeu élitiste, dégénérescence de l'art et sursaut de créativité, destitution et aveu d'admiration, outrage et hommageThe word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. The first part of this study is articulated around the precise definition of the term and a chronological view of the parodic art since the middle of the 19th century, from the Salons caricaturaux to postmodernism including historical avant- gardes. The notions of playfulness, comic and satiric will be discussed in the second part, in order to grasp the multiple shades of parody. The third and last part is devoted to the specular aspect of parody that leads to a questioning of the artistic institutions and aims to unveil the artistic practices themselves. Across these pages, parody appears as an ambivalent process, oscillating between mauvais genre and sophistication, childishness and elitism, barrenness and creative rebirth, destitution and admiration, outrage and tribute
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Vert, Xavier. "Le portrait-charge : image infamante, caricature et contre-figure en Italie, de la Renaissance à l'Age baroque." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0101.
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Le portrait-charge se définit au croisement des disciplines historique, anthropologique et philosophique à partir de l'hypothèse d'un dépassement d'une histoire de la caricature dans une anthropologie de la charge. Cela suppose d'une part de réinterroger la caricature à partir des opérations auxquelles elle soumet l'effigie en mobilisant notamment une conception pragmatique de l'instance du spectateur. D'autre part de redéployer la notion de charge en s'interrogeant sur ce qu'il peut en être de son statut et de ses mises en œuvres aussi bien que des types de rapports qu'elle entretient avec les pratiques sociales, les croyances, le droit et la théologie. Cette recherche pose pour cadre général l'étude du portrait afflictif de la Renaissance jusqu'au seuil de l'époque baroque. Il s'agit dès lors de penser la charge des images dans la perspective d'une figurabilité de l'outrage et des pratiques infamantes. Il s'agit ensuite d'évaluer au sein d'un usage agressif de l'image un élément d'ambiguïté et de dérision. Le phénomène de la dérision est en effet l'un des plus complexes qui soient, si l'on veut bien ne pas couper ses manifestations individuelles et sociales de son implication théologique. Y rattacher la caricature ne signifie pas simplement voir en elle le contre-pied d'un idéal esthétique et héroïque mais aussi et surtout l'une des formes majeures de l'inversion comiqueThe portrait-charge defines itself at the crossroads of historical, anthropological and philosophical disciplines, on the hypothesis of going beyond caricature history into an anthropology of charge. On the one hand, this implies re-examining caricature on the basis of the operations to which it submits the effigy in mobilizing a pragmatic conception of the instance of the viewer. On the other hand, this implies reconceiving the notion of charge, by questionning its status and implementation as well as its various relationships with social practices, beliefs, law, and theology. The general framework of this thesis is the study of the afflictive portrait from the Renaissance up to the threshold of the baroque period. It is, therefore, necessary to consider the charge of images in the perspective of a figurability of outragous and infamous practices. The next step is to assess an element of ambiguity and derision within an aggressive use of the image. The phenomenon of derision is indeed one of the most complex, if one does not strip its individual and social manifestations of its theological implication. Linking caricature to this phenomenon does not simply mean to see in it the opposite of an aesthetic and heroic ideal, but also and above aIl, one of the major forms of comic inversion
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Cuno, James Bash. "Charles Philipon and la Maison Aubert : the business, politics, and public of caricature in Paris, 1820-1840 /." Ann Arbor (Mich.) : University microfilms international, 1985. http://catalogue.bnf.fr/ark:/12148/cb35534916c.
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Houillere, Jérémy. "Un rendez-vous manqué : journaux illustrés et films comiques dans la France d’avant 1915." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20003/document.
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Les liens qu’entretient le cinéma avec les journaux illustrés ont été perçus très tôt par les observateurs. Or, si les historiens semblent s’accorder sur une « influence » de la presse illustrée sur la production comique du cinéma français, les journaux humoristiques s’intéressent peu au cinéma de manière générale et ignorent complètement, ou presque, les films comiques. Comment expliquer ce phénomène ? Cette thèse propose de développer trois pistes de réflexion. En premier lieu nous tentons d’appréhender la manière dont la presse illustrée a perçu l’émergence et l’essor du spectacle cinématographique au tournant du XIXe siècle jusqu’au milieu des années 1910. Pour la plupart des chroniqueurs le spectacle cinématographique apparaît comme un intrus parmi les spectacles scéniques parisiens, déportant en quelque sorte la rivalité entre théâtre et cinéma dans la presse illustrée. Puis, en nous intéressant aux proximités entre films et journaux, il apparaît que le cinéma emprunte aux journaux autant qu’il recycle leurs histoires comiques, les modernise. Cela nous conduit enfin à envisager les deux médias sous l’angle de leurs divergences, à la fois idéologiques et politiques, empêchant une rencontre qui semblait pourtant à première vue inévitableThe links between the cinema and the illustrated press were perceived very early by the observers. Now, if historians seem to agree on an "influence" of the illustrated press on the comic production of French cinema, humorous newspapers are not very interested in cinema in general and completely, or almost completely, ignore comic films. How to explain this phenomenon ? This thesis proposes to develop three lines of thought. First, we try to understand the way in which the illustrated press saw the emergence and growth of the film show at the turn of the 19th century until the mid-1910s. For most chroniclers the cinema appears as an intruder among the Parisian stage shows, deporting in a way the rivalry between theater and cinema in the illustrated press. Then, by looking at the proximity between films and newspapers, it appears that cinema borrows from newspapers as much as it recycles their comic stories, modernizes them. This leads us finally to consider the two media from the angle of their differences, both ideological and political, preventing a meeting that seemed at first sight inevitable
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Mornat, Isabelle. "La femme et la satire : étude sur le corps féminin et les femmes dans la caricature de mœurs à Madrid (1864-1894)." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00639526.
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La caricature de mœurs fait définitivement son apparition à Madrid dans Gil Blas. Elle s'empare d'abord de la question féminine en se penchant sur la différence des corps. Les caricaturistes dénoncent les apparences fallacieuses du corps de la bourgeoise dans un déshabillage qui met en perspective un discours masculin sur les dépenses associées aux toilettes et livre un discours en creux sur la condition masculine à travers la critique du mariage. Le corps des femmes des classes populaires est marqué par le travail, la précarité, la vulnérabilité, la solitude. Autant de circonstances qui font planer le danger de l'entrée dans la prostitution, signifiée aussi par la ritualisation du corps empruntée à la silhouette de la cocotte. La caricature de mœurs s'oriente vers le terrain de l'érotico-festif en multipliant les figures de cocottes boulevardières. Celles-ci manifestent le nouveau statut de l'image commerciale de la femme. L'épaisseur sociale du corps féminin disparaît. Aux scènes de séduction où le caricaturiste déjoue le jeu hypocrite du marché de la chair, succède une représentation de la séduction de l'image. La prééminence de la cocotte manifeste l'avènement des nouveaux usages de la consommation. Dans la pluralité des images de la femme qui circulent dans la deuxième moitié du siècle, les caricatures diffusées massivement occupent une place décisive.
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Сидоренко, Ольга Павлівна, Ольга Павловна Сидоренко, Olha Pavlivna Sydorenko, and М. Грищенко. "Карикатура в ЗМІ – креолізація вербальних та невербальних елементів у мультимодальному тексті." Thesis, Сумський державний університет, 2019. https://essuir.sumdu.edu.ua/handle/123456789/77221.
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Розкрито кореляцію семіотичних систем комунікації в мультимодальному тексті; описано
способи і принципи взаємодії вербальних та невербальних елементів карикатури в мас-медіа.The correlation of semiotic communication systems in the multimodal text is defined in the article; мethods and principles of interaction of verbal and non-verbal elements of caricature in the mass media are described.