Journal articles on the topic 'Caricature'
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1
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.
6
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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Brooks, Jeffrey. "Caricature and Print Culture in Late-Imperial Russia." Experiment 28, no. 1 (December 21, 2022): 44–70. http://dx.doi.org/10.30965/2211730x-12340024.
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Abstract Caricature became entrenched as a common form of social commentary in Russian visual culture in the latter half of the nineteenth century. Four prominent humor magazines: Iskra (Spark, 1859–1873), Budil’nik (Alarm Clock, 1865–1918), Strekoza (Dragonfly, 1875–1908), and Oskolki (Splinters, 1881–1916) promoted caricatures and built success largely on the public’s appetite for them. The editors and staff of these humor magazines made caricature a ready and effective tool of social criticism and helped develop a critical public familiar enough with the form to appreciate it. The rather gentle caricature of the early period and its benign social criticism established a foundation for a harsher partisan form of caricature as political advocacy during the revolution of 1905–1906.
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Färnlöf, Hans. "L’excès du réel – caricature et réalisme dans quelques nouvelles de Maupassant." Quêtes littéraires, no. 10 (December 30, 2020): 94–105. http://dx.doi.org/10.31743/ql.11535.
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Par son excès mimétique, la caricature peut sembler difficilement compatible avec l'esthétique réaliste, qui cherche à donner une image fidèle au réel. Pourtant l'ironiste Maupassant a souvent recours au portrait caricatural afin de mettre en relief le caractère excessif du personnage. En établissant des liens fermes entre le portrait du personnage et le déroulement de l ’histoire, qui illustrera les conséquences négativesde cet excès, Maupassant expose le danger qu ’il y a à dévier d'un comportement mesuré. Le réalisme réside ainsi dans la cohérence entre le portrait caricatural du personnage et ses actes. Il dérive aussi de l'application d'un schéma rationnel mis en place pour déprécier le personnage caricaturé, dont l'excès, souvent sous forme de passion, provoque une appréhension erronée du réel objectif. L'impossibilité d'appliquerun tel cadre normatif, comme dans le genre fantastique, pourrait indiquer la nécessité d'abandonner partiellement l’esthétique réaliste pour embrasser d'autres formes de composition.
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Ishtia, Dr Moaz. "The Symbolic Dimensions of the Child’s Image in Naji Al-Ali’s Caricatures." Thi Qar Arts Journal 3, no. 45 (March 31, 2024): 24. http://dx.doi.org/10.32792/tqartj.v3i45.559.
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There is no doubt that there are many studies and researches that have taken care of researching Naji Al-Ali’s caricatures; however, the researcher often finds that they focused more on the contents and themes rather than delving into their artistic structure. These studies addressed the issues that Al-Ali was concerned with without researching the dimensions behind these issues. Hence, this study comes to explore the symbolic dimensions that contribute to deepening the vision expressed by the caricature image of Naji Al-Ali. This research direction contributes to the textual analysis of the caricature panel, without entering into general judgments. The caricature discourse, like many creative discourses, comes loaded with human, cultural, political, and social dimensions, and uncovering these connotations can only be through researching the caricature text as coherent elements of symbols represented by visual, linguistic, and numerical systems.
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Salnikova, A. A., and K. A. Korniushkina. "Cariсature as a Source of the Soviet Childhood History (Based on the “Pionerskaya Pravda” Newspaper in the Second Half of the 1920s)." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, no. 6 (2020): 194–209. http://dx.doi.org/10.26907/2541-7738.2020.6.194-209.
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This paper deals with the phenomenon of newspaper caricature and its influence on the life of Soviet children. Caricatures were widely used by the Soviet authorities as a means of official propaganda, in children’s periodicals as well. For children, they were employed to create an image of the “standardized” Soviet child, through cartooning and criticism of antipodes. The analysis of caricatures from the pages of the “Pionerskaya Pravda” newspaper dating back to the second half of the 1920s revealed the ways by which various archetypes developed in the satirical ideological images. Their strong impact on children was demonstrated. The caricatures for young readers of “Pionerskaya Pravda” were considered as a creolized text (binary – verbal–non-verbal) with categorical, simplified, political, and educational purposes. A classification of caricature images based on their genre and content was developed. The value of newspaper caricatures as a source for reconstruction of children’s “sovetization” in the USSR during the second half of the 1920s was discussed.
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Furl, Nicholas, Forida Begum, Francesca Pizzorni Ferrarese, Sarah Jans, Caroline Woolley, and Justin Sulik. "Caricatured facial movements enhance perception of emotional facial expressions." Perception 51, no. 5 (March 28, 2022): 313–43. http://dx.doi.org/10.1177/03010066221086452.
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Although faces “in the wild” constantly undergo complicated movements, humans adeptly perceive facial identity and expression. Previous studies, focusing mainly on identity, used photographic caricature to show that distinctive form increases perceived dissimilarity. We tested whether distinctive facial movements showed similar effects, and we focussed on both perception of expression and identity . We caricatured the movements of an animated computer head, using physical motion metrics extracted from videos. We verified that these “ground truth” metrics showed the expected effects: Caricature increased physical dissimilarity between faces differing in expression and those differing in identity. Like the ground truth dissimilarity, participants’ dissimilarity perception was increased by caricature when faces differed in expression. We found these perceived dissimilarities to reflect the “representational geometry” of the ground truth. However, neither of these findings held for faces differing in identity. These findings replicated across two paradigms: pairwise ratings and multiarrangement. In a final study, motion caricature did not improve recognition memory for identity, whether manipulated at study or test. We report several forms of converging evidence for spatiotemporal caricature effects on dissimilarity perception of different expressions. However, more work needs to be done to discover what identity-specific movements can enhance face identification.
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Smith, Adam, and Michael Mateas. "Computational Caricatures: Probing the Game Design Process with AI." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 7, no. 3 (October 9, 2011): 14–18. http://dx.doi.org/10.1609/aiide.v7i3.12478.
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We propose the creation of computational caricatures as a design research practice that aims to advance understanding of the game design process and to develop the reusable technology for design automation. Computational caricatures capture and exaggerate statements about the game design process in the form of computational systems (i.e. software and hardware). In comparison with empirical interviews of game designers, arguments from established design theory, and the creation of neutral simulations of the design process, computational caricatures provide more direct access to inquiry and insight about design. Further, they tangibly demonstrate architectures and subsystems for a new generation of human-assisting design support systems and adaptive games that embed aspects of automated design in their runtime processes. In this paper, we frame the idea of computational caricature, review several existing design automation prototypes through the lens of caricature, and call for more design research to be done following this practice.
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Aritonang, Agusly Irawan. "KRITIK SOSIAL DALAM KARIKATUR (Analisis Semiotika Terkait Kritik Sosial dalam Postingan Instagram Gejayan Memanggil)." Scriptura 12, no. 2 (January 17, 2023): 122–32. http://dx.doi.org/10.9744/scriptura.12.2.122-132.
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Social criticism arises when there is no satisfaction with an existing order. In the political context, social criticism is often conveyed when the government system doesn’t run optimally and ideally. Many parties can convey social criticism and many ways how to to convey social criticism. The emergence of social media makes it easier to convey social criticism. Caricatures have long been known as a form of conveying social criticism, both in the form of satire and sarcastic statements. This paper seeks to see how social criticism is conveyed through the form of caricatures. Using Pierce's semiotics method, tracking the combination of icons, indexes, and symbols that appear from the caricatures posted by the @gejayanmemanggil account. The chosen caricature is a caricature that is the result of the creation by @gejayanmemanggil account admin, not a reposted caricature because it is the result of someone else's creation. As a result, criticism emerged targeting President Joko Widodo and his circle including his ministers as being the contradictive, anti-criticism and stifling freedom of expression. Criticism to members of the Council was also conveyed for not immediately ratifying the law that was deemed important as well as criticism of the Omnibus Law. In addition, a post related to Marsinah was raised as a reminder and a moral gesture to urge solve of her case.
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Cabut, Jean (Cabu). "Cabu Reporter." European Comic Art 2, no. 1 (January 1, 2009): 131–51. http://dx.doi.org/10.3828/eca.2.1.8.
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French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work
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Turgeon, Alexandre. "La Palme présenteDisplicuit Nasus Tuus : quand la caricature sert de discours politique au Québec." Journal of the Canadian Historical Association 25, no. 1 (August 28, 2015): 107–42. http://dx.doi.org/10.7202/1032800ar.
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Le 29 juin 1944, le gouvernement libéral d’Adélard Godbout déclenche des élections au Québec. Affaibli par son appui à Mackenzie King, le Parti libéral provincial se tourne vers le caricaturiste Robert La Palme pour la production d’une brochure intitulée La Palme présente Displicuit Nassus Tuus – du latin « Ton nez a déplu », en référence au nez de Maurice Duplessis, chef de l’Union nationale. Cette brochure ne contient que des caricatures. Si l’usage de la caricature dans ce contexte n’est pas particulier, on ne peut en dire autant de la place qui lui est accordée dans ce document. Pour étudier cette brochure, nous nous intéresserons aux stratégies électorales employées ainsi qu’aux caricatures choisies, afin de faire ressortir les thématiques et les enjeux privilégiés par le Parti libéral provincial. Dans cette brochure, il semble en fait y avoir confusion des genres entre caricature et discours politique. Cet article montre que la caricature sert de discours politique dans la brochure La Palme présente Displicuit Nassus Tuus, pavant la voie à la stratégie libérale contre Duplessis dans les années à venir. Les effets dépasseront le camp libéral pour se faire ressentir dans le discours antiduplessiste qui commence à prendre forme.
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Andrade, Vera Lúcia. "Em torno de uma suspeita acima de qualquer cidadão." Cadernos de Linguística e Teoria da Literatura 5, no. 10 (December 31, 2016): 191. http://dx.doi.org/10.17851/0101-3548.5.10.191-200.
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Resumo: Leitura do conto Um homem de cabelos cinzas, de Roberto Drummond, enquanto caricatura da narrativa policial.Résumé: Une lecture du conte Um homem de cabelos cinzas, de Roberto Drummond, en tant qu' une caricature du récit policier.
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Rossomakhin, Andrey, and Vasily Uspensky. "“An Imperial Stride”: Two Hundred and Thirty Years of Transforming a Metaphor." Experiment 28, no. 1 (December 21, 2022): 3–23. http://dx.doi.org/10.30965/2211730x-12340023.
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Abstract This research traces the evolution and transformation of the metaphor of the “Imperial Step,” which signifies the expansionist ambitions of Russia’s Imperial, Soviet and Post-Soviet rulers from Catherine the Great to Vladimir Putin as expressed in caricatures and satirical cartoons appearing predominantly in Britain, France, and Germany. Following in chronological order, each section is devoted to the discussion of a pertinent example of the Imperial Step beginning with late 18th century British caricature satirizing Catherine the Great in the context of her “Greek Project” and concluding with a contemporary caricature with Putin as the principal protagonist.
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Loshchilov, I. E., and A. B. Ustinov. "“The Heavy Lyre”: Around One of Bronislav Malakhovsky’s Cartoons." Studies in Theory of Literary Plot and Narratology 17, no. 1 (2021): 208. http://dx.doi.org/10.25205/2410-7883-2021-1-190-208.
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The essay is dedicated to the caricature of Nikolai Zabolotsky by the famous Leningrad graphic artist Bronislav Malakhovsky (1902–1937), the author of numerous “writer’s caricatures.” The development of this genre in the Soviet press of the 1930s is related to the artistic practices of the pre-revolutionary magazine “Satyricon,” where caricatures also served as an artistic expression of corresponding epigrams or literary parodies. In the Soviet times, this genre was used for the purposes of ideological assessment of any type of artistic creativity, giving “writer’s caricatures” an ominous meaning. An example of such work was Anatoly Spesivtsev’s imaginary portrait “Zabolotsky through the Eyes of an Artist.” On the contrary, Malakhovsky’s drawing is distinguished by sympathy and deep knowledge of the poetry of Zabolotsky. The authors of the essay restore the context of the caricature against the cultural background of the era, in particular, the so-called “Discussion about Formalism” of 1936. They demonstrate the connection of this drawing with Zabolotsky’s poetry, and also with tragic events in his and Malakhovsky’s lives in the late 1930s.
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Benson, Philip J., and David I. Perrett. "Visual Processing of Facial Distinctiveness." Perception 23, no. 1 (January 1994): 75–93. http://dx.doi.org/10.1068/p230075.
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Three experiments are reported in which the role of facial distinctiveness in line-drawing representations of famous faces has been examined. In the first subjects were asked to select their impressions of best likeness interactively from a continuous range of drawings generated in real-time. On average, 42% of caricatures were considered to be the best likeness of famous individuals. The distinctiveness of the target faces related by independent observers correlated with the degree of exaggeration faces received to produce an optimal likeness. More distinctive faces required less caricaturing. In the second experiment caricature levels chosen as best likenesses were investigated. Caricatures of famous faces were recognised more quickly (by 36% of subjects) and more accurately (by 28%) than the true veridical drawings. Thus caricature enhancement can improve recognition in terms of both speed and accuracy. In the third experiment the role of distinctiveness and its interaction with external and internal facial features was investigated. The external (outer) hairline present in the previous experiment was found to provide a powerful frame of reference for the perceptual assessment of individuals' appearances; estimations of best likeness without external features present were, on average, veridical. It is concluded that accurate line drawings of even highly familiar faces are poor at conveying identity. Distinctiveness enhancement improves their likeness and their recognisability. Such caricatured drawings provide improved access to memories of famous faces, which lends strong support to models of human-face memory and processing based on norm-based coding. When required to decide upon the veracity of line drawings based only upon internal features subjects were able to make accurate judgments of veridicality. As well as validating the interaction approach to best-likeness judgments, this result further indicates the difficulty in making judgments of identification based on piecemeal and sparse configural information.
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Hardy, Dominic. "Les collections d’imprimés et les fonds d’archives de banq : des ressources importantes pour l’histoire de la caricature et de la satire graphique québécoises avant 1960." Revue de Bibliothèque et Archives nationales du Québec, no. 4 (August 28, 2012): 96–109. http://dx.doi.org/10.7202/1012099ar.
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Pour toute étude sur l’histoire de la caricature et de la satire graphique au Québec avant 1960, les fonds et les collections de Bibliothèque et Archives nationales du Québec (BAnQ) sont d’une richesse exceptionnelle. Ce texte présente les collections d’imprimés et les fonds d’archives utiles à la recherche en deux temps. Nous examinons d’abord les lieux de publication des documents pour faire ressortir les grandes étapes de l’évolution de la pratique caricaturale sur le territoire québécois. Ensuite, nous décrivons deux fonds d’archives pour indiquer comment des corpus très différents, composés de caricatures et d’autres documents, peuvent être utiles aux chercheurs. Premièrement, un fonds de 3600 caricatures originales signées par Albéric Bourgeois (1876-1962), véritable témoignage de l’avènement de la modernité culturelle au xx e siècle. Ensuite, un ensemble de documents associés au peintre Louis Dulongpré (1759-1843) qui montre comment la circulation de caricatures est étroitement liée aux débuts de la vie démocratique de la collectivité. Ainsi, BAnQ est riche de documents divers – originaux et reproductions – qui permettent de voir comment artistes et éditeurs ont été les artisans d’une forme d’expression qui a longtemps été au coeur de polémiques dans la société québécoise.
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Isaikova, Oleksandra. "«We don’t believe you, Nicolas»: royalist publicism as a source of French anti-Napoleonic caricature." Text and Image: Essential Problems in Art History, no. 2 (2020): 94–108. http://dx.doi.org/10.17721/2519-4801.2020.2.06.
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The article refers to the connection between royalist publicism and anti-Napoleonic caricature through the example of two etchings from the Khanenko Museum collection. The task of royalist propaganda was to undermine the authority of Napoleon Bonaparte and, at the same time, to set society in favor of the Bourbon restoration. This causes the specifics of the anti-Napoleonic pamphlets and caricatures, which were usually focused on creating of the repulsive images of the emperor. At the same time, it is easy to notice that the authors of texts and images operated with a common set of motifs, images, as well as they used similar techniques. Therefore, the analysis of pamphlets provides better understanding of the subject of studied etchings and helps to clarify the meaning of certain details. Furthermore, taking into account that caricature was often secondary to the texts, author strived to find the literary sources of the studied caricatures and came to the conclusion that Charon’s famous engraving “The Height of Cannibalism” was strongly influenced by the François-René Chateaubriand’s “Report on the State of France” (1815). The matching texts, as well as the general consonance of the caricature “Arrival of Nicolas Buonaparte in Tuileries on January 20, 1815” with Rougemaitre’s popular anti-Napoleonic pamphlet “Life of Nicolas” (1815) suggests that the latter was among the caricaturist’s sources of inspiration at least.
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Snigovska, О. V., and A. V. Malakhiti. "POLITICAL CARICATURE AS A KIND OF CREOLIZED TEXT IN THE CONTEXT OF THE CRISIS OF UKRAINIAN-RUSSIAN RELATIONS (ON THE MATERIAL OF THE GREEK PRESS)." International and Political Studies, no. 35 (November 10, 2022): 179–202. http://dx.doi.org/10.18524/2707-5206.2022.35.259387.
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Using scientific works in the field of creolized text theory, an attempt was made to analyze the specific features of political caricature in Greek mass media discourse, as well as to identify the role of verbal and nonverbal components of creolized political caricature texts in conditions of hybrid warfare. The research department of 162 political caricatures of national and world political leaders and international events in the context of the crisis of Ukrainian-Russian relations served as the material of the presented work. Illustrations were selected from the Greek media, including newspapers, magazines, social networks, thematic blogs and websites. The subject of research in this work were structural, lexical-semantic, graphic and historical-cultural characteristics of the creolized text of political caricature in Greek and English. In order to achieve this goal, the authors of the article solved the following tasks: 1) define the concept of «creolized text» and give synonymous definitions; 2) identify the characteristics of political caricature as a genre / type of creolized text in political, media and artistic discourses; 3) analyze and describe the relationship between the structural components of the creolized text of a political caricature; 4) identify common stylistic devices of political caricature and give examples. The performed analysis of the works showed that the real world in the information space is transmitted through the prism of metaphor, irony, antithesis, animation, personification, metonymy, and synecdoche. The work highlights the leading anthropomorphic and zoomorphic images of famous political leaders, as well as strategies and tactics of their formation in terms of cognitive metaphor. Common tactics in political cartoons include tactic of «hanging» labels, tactic of contemptuously ironic belittling of any advantages of the target (strength, significance, quality, scale, etc.), and tactic of exaggeration of its disadvantages.
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Churchill, Larry R. "Market Meditopia A Glimpse at American Health Care in 2005." Hastings Center Report 27, no. 1 (January 2, 1997): 5–6. http://dx.doi.org/10.1002/j.1552-146x.1997.tb00009.x.
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Images of the future are usually only caricatures of the present. Perhaps this picture of the future of medical care will also prove to be a caricature. Whether it does depends on choices that Americans have still to make.—Paul StarrThe Social Transformation of American Medicine
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Tayyab, Areeba. "Grotesque Literary Caricatures of Exotic Orientals in Tariq Ali's Play Iranian Nights." International Journal of Linguistics, Literature and Translation 3, no. 10 (2020): 140–47. http://dx.doi.org/10.32996/ijllt.2020.3.10.16.
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The paper analyzes grotesque literary caricature of the exotic Orientals in Tariq Ali and Howard Brenton's play Iranian Nights. The focus is to elucidate how the writer market margins by creating caricatural and exotic characters that generate laughter and comical wit for the international readership. The research has two folds i.e. on one level it will discuss the caricatural features in characters to understand the underline meaning for the use of such distorted and exaggerated art form in a modern play. On the other hand, the paper will have an investigative stance into the dramatic techniques used ancient grotesque plays to find out the significance of such a dramaturgy in the business of exoticism. The research broadens the scope as it presents an art form that depicts a grotesque caricature exoticizing the third world's other Orientals to market margins.
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Rhodes, Gillian, Graham Byatt, Tanya Tremewan, and Anthony Kennedy. "Facial Distinctiveness and the Power of Caricatures." Perception 26, no. 2 (February 1997): 207–23. http://dx.doi.org/10.1068/p260207.
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Caricatures, which increase the distinctiveness of faces, are generally recognised at least as well as undistorted images of those faces. However, caricatures seem to facilitate recognition more for some faces than others. An investigation was made into whether the effectiveness of caricaturing depends on a face‘s initial distinctiveness. In experiments 1–3, subjects learned names for unfamiliar faces (photographs) that varied in distinctiveness, and were tested on recognition of caricatures, anticaricatures, and undistorted images of those faces. The test images were line drawings in experiments 1 and 2 and photographic images in experiment 3. Experiments 1 and 2 were identical except that subjects had more exposure to the study photographs in experiment 1. In all three experiments, distinctive faces were recognised (named) more accurately than less-distinctive faces, and caricatures were recognised at least as accurately as undistorted images and better than anticaricatures. However, distinctiveness and caricature level did not interact. Nor did a face's initial distinctiveness correlate with the degree of recognition facilitation produced by caricaturing (experiments 1–3) or with the caricature level chosen as the best likeness (experiment 4). The effectiveness of caricatures varied across faces and experimental conditions, but these differences did not relate to differences in initial distinctiveness. These results prompted a more careful analysis of the expected relationship between initial distinctiveness and the power of caricatures, which indicated that the relationship may be curvilinear rather than linear. In addition, it was found that line-drawing caricatures functioned as superportraits (recognised better than undistorted images—experiment 1) but photographic caricatures did not (experiment 3), suggesting that the forensic potential of caricatures may be limited.
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Teive, Hélio A. G., Gustavo L. Franklin, Plínio Lima, Francisco M. B. Germiniani, Carlos Henrique F. Camargo, and Olivier Walusinski. "The Art of Charcot: An Outstanding Caricaturist." European Neurology 84, no. 1 (2021): 49–52. http://dx.doi.org/10.1159/000513677.
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Jean-Martin Charcot is considered the father of modern neurology; alongside his work as a physician, professor, and researcher in this area, he was also artistically gifted with a taste for caricature. This historical note summarizes 8 caricatures by Charcot that exhibit a mixture of humor, satire, irony, and sarcasm.
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Lewis, Michael B., and Robert A. Johnston. "Understanding Caricatures of Faces." Quarterly Journal of Experimental Psychology Section A 51, no. 2 (May 1998): 321–46. http://dx.doi.org/10.1080/713755758.
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Lateral caricatures are transformed faces like caricatures but the transformation is orthogonal (in the face-space, Valentine, 1991) to the direction of caricaturization. It has been reported that lateral caricatures are more difficult to recognize than anti-caricatures (Rhodes & Tremewan, 1994). To investigate this effect, oblique caricatures (transformed obliquely to caricaturing) were generated by morphing between a veridical face and a reference face. Two experiments used a forced-choice similarity task to find which images are perceived to have the least change from the veridical. An advantage for caricatures over anti-caricatures was found, but none was found between oblique and anti-caricatures. Performance of theoretical lateral caricatures was extrapolated from the oblique caricature data. These lateral caricatures would be perceived as more similar to the veridical faces than were the anti-caricatures.
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Rahmawati, Fadhilah. "Sikap Masyrakat Arab terhadap Perancis Pasca Kemunculan Karikatur Nabi Muhammad Saw dalam Majalah Charlie Hebdo Edisi September Tahun 2020: Studi Fenomenologi Edmund Husserl." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 7, no. 1 (March 30, 2022): 1. http://dx.doi.org/10.36722/sh.v7i1.561.
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<p><em>Abstract</em> -<strong> The purpose of this article is to describe the attitude of the Arab Arab community towards France after the appearance of the caricature of the Prophet Muhammad in the September 2020 edition of Charlie Hebdo Magazine based on the perspective of Edmund Husserl's phenomenological study. The problems that will be investigated are: (1) how did the caricature of Prophet Muhammad (PBUH) appear in Charlie Hebdo magazine?: and (2) how was the attitude of the Arab community towards France after the appearance of the caricature of the Prophet Muhammad in the September 2020 edition of Charlie Hebdo Magazine? The object studied is in the form of national and international online news media. The research method used is qualitative. Data collection using the watch and note technique. Then the data were analyzed by descriptive analysis technique. To validate the data, the technique used is the triangulation technique. The results of this research are (1) the appearance of caricatures of the Prophet Muhammad in Charlie Hebdo magazine starting in 2006 which is a reprint of the Danish magazine Jyllands-Posten. Chalie Hebdo magazine has published caricatures of the Prophet Muhammad four times in the vulnerable time between 2006 and 2020: and (2) the publication of caricatures of the Prophet Muhammad in the September 2020 edition of Charlie Jebdo magazine has raised angry attitudes from the Arab Muslim community towards Franc, through the condemnation of many countries, demonstrations of the Arab Muslim community, to the boycott of French products.</strong></p><div class="WordSection1"><p><strong><em>Keywords</em></strong> – <em>Cartoon of Prophet Muhammad, Charlie Hebdo, Arab-France Coflict, Phenomenolog</em></p></div>
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Rossiter, Caroline. "Early French Caricature (1795-1830) and English Influence." European Comic Art 2, no. 1 (January 1, 2009): 41–64. http://dx.doi.org/10.3828/eca.2.1.4.
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This article analyses the production of caricatures in post-revolutionary Paris, specifically the role of publishers and artists and the constraints of censorship within society of that time. By considering such factors in the light of English caricature production, we will outline the exchanges that took place between London and Paris at the turn of the nineteenth century and demonstrate that the two cities' comic print productions were subject to reciprocal influences.
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Cerić, Haris, and Ešref Kenan Rešidagić. "Strip i karikatura u nastavi politilogije." Obrazovanje odraslih/Adult Education, no. 2 2019 (2020): 39–54. http://dx.doi.org/10.53617/issn2744-2047.2019.19.2.39.
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The intention of the authors is to demonstrate the utilisation of comictrips and caricature in political science teaching at university level. The kinship of comics and caricatures is reflected in the fact that they, as visual and verbal - visual media, form their own ''visual language''. In teaching in general, including higher education, comic strips and caricatures have a provoking value(scandalon), hence they represent an excellent motivational tool for learning. Certanly, the selection of appropriate comics and caricatures in crucial, therefore the paper provides examples of some comics and caricatures that can be used in political science teaching. Also, the readers are reffered to relevant theoretical starting points which can justify the use of comics and caricatures in teaching as visual and (or) verbal-visual media.
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Adascalita, Lucia. "The plastic expression of everyday life in the satirical graphics of the artist Glebus Sainciuc." Arta 32, no. 1 (September 2023): 93–99. http://dx.doi.org/10.52603/arta.2023.32-1.13.
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Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.
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Rosyadi, Faiq Ilham, and Muhammad Luqman Chakim. "Karikatur Al-Arabiyah Fi Hisab Twitter @cartoon_ar (Dirasah Tahliliyah Tadawuliyah)." An Nabighoh: Jurnal Pendidikan dan Pembelajaran Bahasa Arab 22, no. 02 (December 31, 2020): 131. http://dx.doi.org/10.32332/an-nabighoh.v22i02.2005.
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This research presents several caricature images with various themes, starting from the issue of resistance between the Muslim Brotherhood and Saudi Arabia. Then there is also about the extreme weather that has hit Saudi Arabia for days, as well as other insinuations that contain the readers' motivation. Through this discussion, the researcher tries to analyze and understand each caricature that is presented in the account. Also through this study, researchers looked for some facts and events that were happening in the State of Saudi Arabia at that time. From that incident, inspiration emerged from a caricature and poured it out through a work called caricature. The purpose of this research is to know and understand well what themes are presented, then to study using illocutionary speech acts based on their types and some using speech acts based on their mode. The theory as a surgical tool in this study uses Searle's speech act theory. Data collection was carried out using observation and note-taking techniques, then all data were put together and analyzed one by one. In illocutionary speech acts, there are five types of speech, namely, assertive, directive, commissive, expressive, and declarative. The results of the analysis of the caricatures found, there are several meanings, namely, assertiveness can mean to state, express opinions, and propose. The directive is also divided into four functions, namely ordering, ordering, and giving advice. Commissive means promise. Then Expressive can mean complaining, blame. And the last declarative changes the utterance word into a speech.
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Shen, Yehu, Zhenyun Peng, and Yaohui Zhang. "Image Based Hair Segmentation Algorithm for the Application of Automatic Facial Caricature Synthesis." Scientific World Journal 2014 (2014): 1–10. http://dx.doi.org/10.1155/2014/748634.
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Hair is a salient feature in human face region and are one of the important cues for face analysis. Accurate detection and presentation of hair region is one of the key components for automatic synthesis of human facial caricature. In this paper, an automatic hair detection algorithm for the application of automatic synthesis of facial caricature based on a single image is proposed. Firstly, hair regions in training images are labeled manually and then the hair position prior distributions and hair color likelihood distribution function are estimated from these labels efficiently. Secondly, the energy function of the test image is constructed according to the estimated prior distributions of hair location and hair color likelihood. This energy function is further optimized according to graph cuts technique and initial hair region is obtained. Finally, K-means algorithm and image postprocessing techniques are applied to the initial hair region so that the final hair region can be segmented precisely. Experimental results show that the average processing time for each image is about 280 ms and the average hair region detection accuracy is above 90%. The proposed algorithm is applied to a facial caricature synthesis system. Experiments proved that with our proposed hair segmentation algorithm the facial caricatures are vivid and satisfying.
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Bau, Andi, Irianty Bandu, and Andi Faisal. "KARIKATUR GERAKAN ROMPI KUNING DI BELGIA." JURNAL ILMU BUDAYA 8, no. 2 (November 26, 2020): 399–49. http://dx.doi.org/10.34050/jib.v8i2.11935.
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This research is about the caricature analysis of the yellow vest movement in Belgium using a semiotic approach. This study aims to determine the meaning of connotation in the caricature of Les Gilets Jaunes by the caricature Oli. In addition, to know the form of depiction in caricature to convey meaning in caricature. Spurces of research data derivied from caricature web created by Oli, which is one of the caricaturist in Belgium. This research is a qualitative descriptive research. The results showed that the caricature related to Oli's Les Gilets Jaunes is a form of the reality of events that occurred. Some of Oli's works use analogy to convey the meaning to be conveyed.
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Hajar, Rachel. "Medical Caricature." Heart Views 12, no. 3 (2011): 120. http://dx.doi.org/10.4103/1995-705x.95069.
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Robillot, Jean-Pie. "La caricature." Humanisme N° 302, no. 1 (February 1, 2014): 20–21. http://dx.doi.org/10.3917/huma.302.0020.
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Hare, Antony. "Russell Caricature." Inquiry: Critical Thinking Across the Disciplines 20, no. 2 (2001): 6. http://dx.doi.org/10.5840/inquiryctnews200120213.
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Lee, Eun-Jung, Ji-yong Kwon, and In-Kwon Lee. "Caricature video." Computer Animation and Virtual Worlds 18, no. 4-5 (2007): 279–88. http://dx.doi.org/10.1002/cav.200.
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Gonzalez-Quijano, Yves. "caricature arabe." SGMOIK-Bulletin, no. 34 (May 1, 2012): 11–13. http://dx.doi.org/10.12685/bul.34.2012.931.
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Bonilla Reyna, Helia Emma. "Santa Anna como Faetón en una caricatura de El Gallo Pitagórico (1845)." Estudios de Historia Moderna y Contemporánea de México, no. 56 (October 4, 2019): 35. http://dx.doi.org/10.22201/iih.24485004e.2018.56.67086.
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<p>En este artículo se analiza una significativa caricatura publicada en <em>El Gallo Pitagórico</em>, libro escrito e impreso respectivamente por Juan Bautista Morales e Ignacio Cumplido en 1845, con el fin de impulsar los intereses del grupo liberal <em>moderado</em>, al cual ambos pertenecían. Puesta a la luz del trasfondo político, la imagen refleja las tensiones que vivieron al enfrentar a Santa Anna y sus seguidores.</p><p> </p><p>This article analyzes a significant caricature published in <em>El Gallo Pitagórico</em>, a book written and printed respectively by Juan Bautista Morales and Ignacio Cumplido in 1845. Viewed from a political context, the caricature promotes the interests of the <em>moderate</em> liberal group to which both belonged and reflects the tensions they experienced when confronting Santa Anna and his advocates. </p>
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Jaashan, Hasan Mohammed Saleh. "Decoding Sense in Caricatures: A Study in Semio-stylistics." Journal of Language Teaching and Research 10, no. 5 (September 1, 2019): 954. http://dx.doi.org/10.17507/jltr.1005.06.
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Icon, index, and symbol are the trichotomy parts of sign proposed by Peirce. The relationship between sign and object in them generates more and different interpretants. These parts focus primarily on non-verbal communication. Part of that nonverbal genre is caricaturing. Caricatures draw the attention of readers because caricaturists concretize the intended meaning in an overstatement style of drawing. This paper seeks to investigate how Peirce's terms of the sign; icon, index, and symbol are integrated into each caricature to complement the intended meaning of the caricaturists. Stylistically, it asks what are the foregrounding and de-familiarization features of these caricatures? It concludes that caricatures are mere connection between signs and objects results in formulating specific perception about the highlighted phenomena. Moreover, in caricatures there are some idiosyncratic aspects that make them de-familiarized and foregrounded. The researcher collected samples of caricatures from different newspapers to support his arguments.
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Deffenbacher, Kenneth A., Thomas Vetter, John Johanson, and Alice J. O'Toole. "Facial Aging, Attractiveness, and Distinctiveness." Perception 27, no. 10 (October 1998): 1233–43. http://dx.doi.org/10.1068/p271233.
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A standard facial caricature algorithm has been applied to a three-dimensional (3-D) representation of human heads, those of Caucasian male and female young adults. Observers viewed unfamiliar faces at four levels of caricature—anticaricature, veridical, moderate caricature, and extreme caricature—and made ratings of attractiveness and distinctiveness (experiment 1) or learned to identify them (experiment 2). There were linear increases in perceived distinctiveness and linear decreases in perceived attractiveness as the degree of facial caricature (Euclidean distance from the average face in 3-D-grounded face space) increased. Observers learned to identify faces presented at either level of positive caricature more efficiently than they did with either uncaricatured or anticaricatured faces. Using the same faces, 3-D representation, and caricature levels, O'Toole, Vetter, Volz, and Salter (1997, Perception 26 719–732) had shown a linear increase in judgments of face age as a function of degree of caricature. Here it is concluded that older-appearing faces are less attractive, but more distinctive and memorable than younger-appearing faces, those closer to the average face.
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Hagedorn, Lea. "Brüche einer Gattungsgeschichte. Karikatur zwischen Massani und Sulzer." Kulturwissenschaftliche Zeitschrift 6, no. 1 (December 1, 2021): 225–46. http://dx.doi.org/10.2478/kwg-2021-0019.
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Abstract When the caricature came up in the late 16th century, the notion meant an overloaded or exaggerated – and humorous – kind of portrait. Since then its meaning has changed considerably. Today caricature is understood as a visual equivalent of literary satire. This modern understanding has its origin in the bourgeois culture of the Enlightenment. In my contribution I examine the change in the concept of caricature in Western history. The focus is on the connection between this change in meaning and the constitution of caricature as an image genre. When did caricature acquire the status of a legitimate form of invectivity? Besides caricature, special attention is also paid to parody, because both types of invective communication often overlap.
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Mohammed, Maha Bakir, and Hiba Saad Abduljabbar. "Exploring the Importance of Contextual Factors in Translating Islamophobia Caricatures." JOURNAL OF LANGUAGE STUDIES 8, no. 2 (February 29, 2024): 230–44. http://dx.doi.org/10.25130/lang.8.2.11.
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This study sheds light on the role of the contextual factors in rendering the islamophobia caricatures to identify which of these factors is highly effective. The study aims at examining the importance of the speech events of the caricatures in question by the virtue of Hymes’ classification of contextual factors. It also aims at identifying which translation strategy is highly used by the translators in rendering the islamophobia caricatures. Consequently, the current study hypothesizes that ‘participants’ is the most effective factor that may affect the translation process. It also hypothesizes that the translation of this type of caricature is communicatively oriented. Eventually, the study draws two main conclusions that are: (1) identifying both addressors and addressees in the caricatures helps the translators reach the exact meaning of the caricaturists, and (2) the communicative strategy of free procedure has been adopted by the majority of translators.
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Ibrahim, Ulfat Zakir, and Imran Elkhan Guliyev. "The means of expression of irony in caricatures on the subject of the Covid 19 pandemic in the French periodic press." Scientific Bulletin 2 (2021): 38–47. http://dx.doi.org/10.54414/ffaj1483.
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The article is devoted to the study of irony on the material of cartoons in the French periodical press on the topic of the COVID epidemic 19. The authors of the article examine the political cartoons used on the pages of French newspapers, magazines and the Internet, their genre features, functions. Caricatures - satirical drawings with verbal accompaniment, transmitting an assessment of political events, social phenomena, etc. - are an important visual-informative element of the press. The nature of the process of perceiving a political caricature is analyzed, the authors of the article come to the conclusion that caricatures are an important element of the French press and touch upon the burning topics of modern life and perform various functions.
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Volynets, G., and S. Albinovska. "СУСПІЛЬНІ НАРАТИВИ В СУЧАСНІЙ УКРАЇНСЬКІЙ ПОЛІТИЧНІЙ КАРИКАТУРІ." State and Regions. Series: Social Communications, no. 4(44) (February 5, 2021): 56. http://dx.doi.org/10.32840/cpu2219-8741/2020.4(44).9.
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<p><strong><em>The purpose</em></strong><em> of the study is to identify and characterize social narratives in modern Ukrainian political cartoons («NV» and «</em><em>Tyzhden.ua</em><em>» </em><em>web </em><em>sites) for 2015–2020).</em></p><p><strong><em>Research methodology. </em></strong><em>In the course of the research the following methods were used: method of monitoring and analysis of documentary sources (</em><em>«</em><em>NV</em><em>»</em><em> and </em><em>«</em><em>Tyzhden.ua</em><em>»</em><em> web sites in </em><em><br /> </em><em>2015</em><em>–</em><em>2020); descriptive method, structural-typological one in the study of genre-typological features of caricature; method of generalization to determine the patterns of modern political caricature development; elements of the classification method to characterize the image creation in a satirical drawing.</em></p><p><strong><em>Results.</em></strong><em> The visual and pictorial complex of print media has repeatedly been the subject of scientific research, but caricature as a pictorial genre of modern journalism, including features of image creation, mythologizing of public opinion, mechanisms of meanings incorporation </em><em>–</em><em> they </em><em>do not yet have a deep thorough comprehension. The development of these issues will allow determining the main narratives of modern political caricature, to clarify the visual and thematic transformations in caricatures on political topics. Analyzing the socio-political </em><em>«</em><em>NV</em><em>»</em><em> and </em><em>«</em><em>Tyzhden.ua</em><em>»</em><em> media resources, we found the following patterns: the active use of grotesque cartoons of famous politicians, the use of allusions </em><em>–</em><em> borrowing and rethinking of images-symbols (Biblical, mythological, folklore, cinema ones, etc.). Modern visualization of political satire demonstrates the combination of classical artistic and visual means with the latest ideas and approaches to the content implementation. The main method of political satire is still the use of grotesque cartoon </em><em>–</em><em> a modified portrait of a famous politician. Caricatures use such artistic means as metaphor, personification, stereotyping, allusion, grotesque, etc. Important semantic elements in the cartoon are the symbols and images-symbols, which help to present the stand-alone information blocks concisely and clearly.</em></p><p><strong><em>Novelty. </em></strong><em>The article on the «NV» and «Tyzhden.ua» web-sites material characterizes social narratives in modern Ukrainian political caricature. The analysis and description of political caricature is carried out, features of image creation, their functions, etc. are defined.</em></p><p><strong><em>Practical significance.</em></strong><em> The results of the study can be used for further research on pictorial genres of journalism.</em></p><p><strong><em>Key words:</em></strong><em> visual and pictorial genres of journalism, visual content, political caricature, drawing (grotesque cartoon, caricature).</em></p>