Relevant bibliographies by topics / Cartoons and caricatures

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  2. Dissertations / Theses
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Academic literature on the topic 'Cartoons and caricatures'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Cartoons and caricatures"

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

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In his essay titled “Drawing Blood” for Harper's magazine in June 2006, written as a response to the Muhammad cartoon affair, Art Spiegelman argued convincingly that a cartoon is, first and foremost, a cartoon. It sounds straightforward, but is it really? Following Spiegelman, we can define caricatures as charged or loaded images that compress ideas into memorable icons, namely clichés. A cartoon must have a point, and a good cartoon can change our perspective on the ruling order. Spiegelman opens his discussion with classical caricatures such as Honoré Daumier's 1831 depiction of King Louis-Philippe as Gargantua and George Grosz's 1926 attack on the “Pillars of Society” (“Stützen der Gesellschaft”) as beer-drinking, pamphlet-reading, swastika-wearing men without brains. Spiegelman acknowledges these cartoonists as “masters of insult,” who often had to face trial or imprisonment for their transgressions (45). The question is whether the twelve cartoons of Muhammad, published by the Danish newspaper Jyllands-Posten on 30 September 2005, are in any way compatible with the great tradition of caricature.
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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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Hameed, Ansa, and Haroon N. Alsager. "A Semiotic Study of Contemporary Middle Eastern Internal Dilemmas in Arab News Cartoons." World Journal of English Language 14, no. 1 (December 15, 2023): 472. http://dx.doi.org/10.5430/wjel.v14n1p472.

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Many parts of the Middle Eastern region have a history of persistent and long-term crises. The media, and particularly the news media, endeavors to highlight these issues in various forms. One established format among them is caricatures, or cartoonish representations, which retain a visually captivating quality for the intended audience. Undeniably, cartoons depict the bitter realities in candid yet convincing forms. In this regard, the present study aims to analyze the Arab News cartoons that depict the internal predicaments faced by the selected Middle Eastern countries. The primary objective of this study is to examine the intricate relationship between semiotics and socio-political intricacies in the selected regions. This study employs Barthes’ semiotic lens theory to investigate the methods employed by the cartoonist in conveying messages, creating narratives, and interacting with the socio-political environment. The results reveal that the caricatured representations effectually depict several underlying causes and conflicts that fuel the internal chaotic situation inside the region, using signs, symbols, and pictorial rhetoric. These findings help in understanding the essence of the challenges faced by the chosen Middle Eastern nations quite meritoriously. At the same time, the results endorse cartoons as an authentic medium for discussing such harsh realities.
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Abdulwahid, Huda Y. "Analyzing Iraqi Political Cartoons." Cihan University-Erbil Journal of Humanities and Social Sciences 6, no. 1 (February 16, 2022): 47–53. http://dx.doi.org/10.24086/cuejhss.v6n1y2022.pp47-53.

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Pictures have an essential effect on our thoughts and decisions. We have also noticed how these pictures produced in the form of cartoons affect our viewpoints. They do so since we are addicted to social media to the extent it can manipulate our thoughts unconsciously and obnoxiously. Besides, people don’t have the courage to express their viewpoints clearly, so they tend to use the satire to keep their face. This motivates the researcher to analyze the underlying structure of this satire presented in caricatures to read the message clearly. This research aims at revealing the way the political caricatures are produced and the main characteristics of political caricatures. Incorporating a methodology depending on selecting some samples, this paper is a semiotic analysis of political caricatures announced through the election campaign 2018 in Iraq. It concentrates on the format caricatures used as a communicative channel on net platform to come up with essential senses and prevailing political matters. This is carried out by adopting Barthes’ semiotic theory which is the first apparent semiotic approach. It is a good means to analyze the implied structure, including the dictionary and implied senses of creating influence of political caricatures. Besides, it provides us with a good means to interpret and understand political caricatures. This is quite important since political cartoons work as an approach to comprehend human consciousness.
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Sonina, Elena S. "The Literary Canon in the Russian Magazine and Newspaper Cartoons of the late 19th - early 20th centuries." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 122–50. http://dx.doi.org/10.46539/gmd.v3i3.194.

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An enormous amount of research has been devoted to studying the Russian classics. Nevertheless, the issue of reflecting social ideas about the writers whose works were included into the Russian literary canon has been insufficiently studied, especially with regard to satirical graphics. Caricature in the legitimate press is considered to be a popular visual art, with the image of a Russian writer demonstrating the attitude of society towards his work. The purpose of this paper is to study the frequency of the portrayals of Russian writers in the satirical graphics of the early 20th century, which are viewed as a reflection of the established (and constantly updated) literary canon of Russia. Our objectives include identifying the images of Russian writers found in the satirical graphics, comparing the visualization techniques used to portray the authors in the caricatures of the 19th and early 20th centuries, highlighting the visual motifs used to contrast the literature of the past and the contemporary magazine issues and pointing out the persistent satirical characterizations and tropes of the images of famous writers, depending on the periodical. On the basis of a selective scan of 25 thin magazines and two newspapers published from 1877 to 1917, more than 200 caricatures and satirical cartoons were identified, including benevolent and spiteful caricatures of Alexander Pushkin, Nikolai Gogol, Nicolai Nekrasov, Leo Tolstoy, Maxim Gorky and many others. The cartoons held the readers’ interest in their literary work, forming the people’s attitude towards the human qualities of the writers and highlighting their personality among the rest of their peers. The prevalence of humor or satire was directly related to the historical context, either to the works of a particular writer, the editorial policy of publications or the position of a caricaturist. The cartoons of the early 20th century reflect the social atmosphere of the Silver Age: creative, critical, nervous and overthrowing the idols of the bygone eras. The article would prove useful for literary critics, historians of journalism and visual content researchers interested in the Russian pre-revolutionary press.
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Norris, Stephen M. "Copying Cartoons: An Intimate History of the Stalinist Caricature." Experiment 28, no. 1 (December 21, 2022): 274–95. http://dx.doi.org/10.30965/2211730x-12340031.

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Abstract “Copying Cartoons” examines a set of albums used by Aleksandr Avgustovich Frolovskii (1867–1942). In the 1930s, Frolovskii, a retired math teacher, purchased the albums and used them to redraw political caricatures published in newspapers such as Pravda (Truth) and Izvestiia (The News) and journals such as Krokodil (Crocodile). Frolovskii was particularly drawn to the works of Boris Efimov, the principal political caricaturist for Izvestiia, and redrew over 100 of Efimov’s cartoons. Frolovskii’s albums, as this chapter argues, serve as both a visual history of the Stalin era and a record of what it meant to be “Soviet” during the Great Purges.
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Zhirnova, Lidia S. "Russia and Other Significant Others in Latvian Caricatures." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 199–212. http://dx.doi.org/10.46539/gmd.v3i3.196.

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After the collapse of the Soviet Union Latvia faced the need to redefine its national identity in a new international environment. Its elite took a clear Euro-Atlantic course, and the image of Latvia in the public space has been largely defined in contrast to the image of Russia ever since. One of the ways to understand how Latvia sees itself and Russia is analyzing political cartoons. The purpose of the study is to bring out the attributes of Russia as a significant Other in caricatures in national newspapers and analyze how they correspond to the characteristics of Latvia, thus defining the outlines of the mental border between the two. The analysis shows two main sets of ideas associated with Russia in Latvian cartoons: one is power, threat and aggression, and the other is propaganda and lies. Although the genre of caricature is meant to be disrespectful, the comparison with cartoons featuring the EU shows that the cartoonists are much more hostile towards Russia. Latvia has succeeded in distancing itself from Russia mentally and uses its image as an antagonist Other, however the cartoons show lack of national pride and doubt that the country has become a rightful member of the Western world.
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Hoffman, Zachary. "Stepan Sokolovskii, Novoe vremia, and the Cartoons of Empire." Experiment 28, no. 1 (December 21, 2022): 71–89. http://dx.doi.org/10.30965/2211730x-12340025.

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Abstract Stepan Fedorovich Sokolovskii (pen name Coré) served as the primary caricaturist for the prominent St. Petersburg newspaper Novoe vremia (New Times, 1868–1917) in the late 1890s and early 1900s. While his vibrant style and prolific output have led his cartoons to appear frequently in scholarship, few studies examine his work specifically. Interestingly, his illustrations for Novoe vremia focus almost exclusively on international politics, and thus, prominently engage in national and ethnic stereotypes. These caricatures not only offered eye-catching and amusing visual depictions of foreign relations, they also showed Russia’s imperial rivals as buffoonish back-stabbers that represented the worst excesses of imperialist exploitation. In this way, Sokolovskii’s works offer an intriguing snapshot of popular attitudes towards Russia’s allies and enemies. This essay surveys the broad themes of Sokolovskii’s work and examines the ways his drawings encapsulated complex international conflicts and offered pithy visual representations of Novoe vremia’s loyalist and nationalistic take on foreign affairs. Further, it fills a gap in the scholarship by shedding light on the biography of this prolific artist and examining his views on political caricature as a medium.
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Baltodano Román, Gabriel. "Fisiognomía y fealdad cómica en la caricatura política de Enrique Hine (Physiognomy and Comic Ugliness in the Political Cartoons of Enrique Hine)." LETRAS 1, no. 59 (February 6, 2017): 155. http://dx.doi.org/10.15359/rl.1-59.7.

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Este artículo trata la caricatura política; en particular, el significado ideológico construido mediante dos procedimientos empleados en la sátira política de combate contra el liberal Ricardo Jiménez Oreamuno, a saber: la comparación fisiognómica (con figuras míticas y animales) y la fealdad cómica (Bergson) como rigidez mental, moral e intelectual. Se centra en las caricaturas del artista gráfico Enrique Hine Saborío, editor del periódico humorístico El Cometa.This article addresses political cartoons, and focuses on the ideological meaning constructed using two procedures found in political protest satire against the Costa Rican liberal Ricardo Jiménez-Oreamuno. They include the physiognomical comparison (with mythical figures and animals) and comic ugliness (Bergson) as mental, moral and intellectual rigidity. This study examines on the caricatures of the graphic artist Enrique Hine-Saborío , editor of the comic Costa Rican newspaper El Cometa.
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Dissertations / Theses on the topic "Cartoons and caricatures"

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Dines-Levy, Gail. "Towards a sociology of cartoons a framework for sociological investigation with special reference to Playboy sex cartoons /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1990. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.280757.

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Man, Kam-hung Ricky. "Cartoon Production Centre an urban channel to fantasy world /." Click to view the E-thesis via HKUTO, 1996. http://sunzi.lib.hku.hk/hkuto/record/B31982992.

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Pissarra, Mario. "Criticism and censorship in the South African "alternative" Press with particular reference to the cartoons of Bauer and Zapiro (1985-1990)." Bachelor's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/14749.

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Includes bibliography.
Cartooning is an extremely heterogeneous practice whose genealogy can be traced back to caricature. This paper does not concern itself with the diversity that can be found in the cartoons of Derek Bauer and Jonathan Shapiro (Zapiro), but rather chooses to focus on the potential of cartooning as a critical art practice. Given that the "flipside" of criticism is censorship, the effects of censorship on cartooning together with cartooning's response to censorship will also be examined. Cartoons published in the alternative press after the 1985 declaration of a State of Emergency, but preceding the unbanning of political organisations in February 1990, which comment directly on press or political censorship, as well as those which raise issues pertinent to censorship, provide the basis for examining the converse notions of criticism and censorship. Having said this it should also be stated at the outset that whilst this paper focuses on particular cartoons produced in specific historical circumstances, it is also intended that this paper will have broader implications for the development of a contemporary critical art practice. This paper proceeds from the premise that criticism and censorship are oppositional and antagonistic concepts which seldom appear alone. Criticism, particularly when expressed publicly and directed at specific interest groups (eg. a ruling elite) frequently evokes censorship, whilst censorship and repression in turn breed criticism and resistance.
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Álvarez, Chávez Roland. "La masculinidad figurada la representación del significado social de la virilidad en las ilustraciones de humor de la prensa limeña /." Lima : Fondo Editorial de la Facultad de Ciencias Sociales, UNMSM, 2005. http://www.cybertesis.edu.pe/sdx/sisbib/envoi?dest=file:/d:/cybertesis/tesis/production/sisbib/2004/alvarez_chr/xml/../pdf/alvarez_chr.pdf&type=application/pdf.

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Master's thesis in sociology (2004), Universidad Nacional Mayor de San Marcos (Peru); directed by Mg. Guillermo Nugent Herrera.
Title from ebook home page (viewed on nov. 20, 2009). Includes bibliographical references (p. 166-173). Also available in print.
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Koon, Chui-min. "The politics of popular culture : a study of a Hong Kong comic strip, McMug /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085542.

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Herek, Ann Marie. "The effects of perceived sexism on funniness ratings of cartoons." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/451607.

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Humor-evoking events frequently contain aggressive elements. Sex differences have been found for the effects of aggressive content on perceived funniness, (Wilson & Molleston, 1981; Terry & Ertle, 1974; Groch, 1974; Felker & Hunter, 1970) but the findings are not consistent. Sexism is sometimes perceived as a more subtle form of aggression. Sex differences have also been found for the way sexism affects funniness ratings, (Chapman & Gadfield, 1976; Priest & Wilhelm, 1974) but again the findings are inconsistent. The primary purpose of the present study was to determine the relationship between the ratings of sexism and the ratings of funniness for cartoons. A secondary purpose of the present study was to determine to what extent, if any, gender of experimenter influences humor, sex, sexism, and pain ratings.Subjects were 60 female and 58 male introductory Psychology students. There were four experimental groups: two groups of female and two groups of male subjects. A female experimenter was assigned to one male and one female group, and a male experimenter was assigned to one male and one female group. This design facilitated exploration of an experimenter gender x subject gender interaction. Subjects were shown 34 cartoons and asked to rate each for funniness, and then to rate them for the degree of sexual, sexist, and aggressive (pain) content each contained.A preliminary analysis revealed that there were significant relationships between gender of experimenter and funniness ratings, gender of subject and funniness ratings, as well as a gender of experimenter x gender of subject interaction.A step-down multiple regression was performed among the predictor variables experimenter gender and subject gender, with the criterion of funniness, for each of the four experimental conditions. For female subjects, only sexism scores correlated with funniness scores, and the contributions of sex and pain ratings were not significant. For male subjects, only sex scores correlated with funniness scores, and the contributions of sexism and pain ratings were not significant. Comparisons between these results and past research were made.
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Lee, Hak Keung. "Man hua hui yue : "Shanghai man hua" shi qi Ye Qianyu de zuo pin ji qi shou zhong, 1928-1930 /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202008%20LEE.

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Chiu, Sau Wan Anne Terry. "An analysis of the humor in political comic strips in Hong Kong newspapers." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/643.

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Bogansky, Amy Elizabeth. "The Devil's servants satire in colonial America and the visual language of conflict (Pennsylvania) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.51 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435863.

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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Books on the topic "Cartoons and caricatures"

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Fazlić, Hasan. Caricatures & cartoons. Sarajevo: Blicdruk, 2004.

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Tatchell, Judy. Cartoons and caricatures. London: Usborne, 1987.

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Graham, Round, ed. How to draw cartoons and caricatures. London: Usborne, 1986.

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Jacques, Rampal, ed. Danger, caricatures. Monaco: Rocher, 2007.

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Kʻēōsēean, Grigor. Ergitsankarner: Caricatures = Yerkidzangarner. Poston: Mayreni Publishing, 2013.

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Counihan, Noel. Caricatures. Hawthorn, Vic: Hutchinson of Australia, 1985.

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Graeve, Jan de. De hervormers: Knack's cartoon Cabinet : politieke cartoons. Brussel: Roularta Books, 1991.

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Peng, Guoliang. Little cartoons. Beijing: Dolphin Books, 1990.

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Beaudet, Marc. Les meilleures caricatures de Beaudet. Outremont, Québec: Quebecor, 2004.

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America, Caricature Carvers of. Caricatures in motion. Atglen, Pa: Schiffer Pub., 2011.

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Book chapters on the topic "Cartoons and caricatures"

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Bal, Anjali, Leyland Pitt, and Pierre Berthon. "Caricatures, Cartoons, Spoofs and Satires: Political Brands as Butts." In Proceedings of the 2009 Academy of Marketing Science (AMS) Annual Conference, 63. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10864-3_39.

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Sucontphunt, Tanasai, and Jaturong Mahaisavariya. "Automatic Cartoon Face Composition Using Caricature Traits." In Lecture Notes in Computer Science, 497–504. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93000-8_56.

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Davis, Jim. "‘Auntie, can you do that?’ or ‘Ibsen in Brixton’: Representing the Victorian Stage through Cartoon and Caricature." In Ruskin, the Theatre and Victorian Visual Culture, 216–38. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230236790_12.

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Langer, Lorenz. "Caricatures / Cartoons." In Culture and Human Rights: The Wroclaw Commentaries, edited by Andreas J. Wiesand, Kalliopi Chainoglou, and Anna Sledzinska-Simon. Berlin, Boston: De Gruyter, 2016. http://dx.doi.org/10.1515/9783110432251-028.

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Lent, John A., and John A. Lent. "Thailand." In Asian Political Cartoons, 175–87. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496842527.003.0016.

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This chapter examines political cartoons in Thailand. It begins with an overview of pioneering Thai cartoonists, starting from King Rama VI, who drew satirical caricatures to embarrass corrupt officials that were published in royal newspapers. However, as the chapter shows, Rama VI is hardly the first cartoonist in the country, which has a rich history of political cartooning. The chapter demonstrates how political turmoil has drawn out dormant cartoonists in Thailand, before turning to Thai cartooning in the twenty-first century. Here, it is revealed that, compared to neighboring Southeast Asian countries, Thailand has a relatively high level of freedom to cartoon.
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"Introduction: Jews: Caricatures, Cartoons, Comics." In Israel, 1–26. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781316756027.001.

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Weigel, Sigrid. "Defamatory Images: Disfiguration in Physiognomy and Caricature’s Two Bodies." In Grammatology of Images, 118–69. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500153.003.0006.

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The chapter departs from the controversy about the ‘Muhammed Caricatures,’ interpreted as a religious war between comparable fundamentalist positions (ban of pictures vs. freedom of press), and analyses the iconographic tradition the individual cartoons refer to. Their pictorial rhetoric, typical for the genre's tension between critique and defamation, initiates a) a theoretical investigation of the genre and its relation to the joke in reference to the psychoanalytic approach (Freud, Kris, Gombrich) and b) an archaeology of the caricature/ pictorial satire beyond the mainstream narrative of the genre, whose origin usually is seen in the invention of ‘caricatura’ as distorted portrait in 16th-century Italy. In contrast, the chapter traces the history of pictorial satire back to the religious war of the 15th century, iconoclasm, and the defamatory image policy of the 14th century (Schandbilder), and interprets the invention of the distorted likeness in relation to the emergence of physiognomics. The last part summarizes these paths in a new theoretical approach to the political theology of the genre, namely, the caricature's two bodies.
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Portnoy, Edward. "Exploiting Tradition: Religious Iconography in Cartoons of the Polish Yiddish Press." In Polin: Studies in Polish Jewry Volume 16, 243–68. Liverpool University Press, 2003. http://dx.doi.org/10.3828/liverpool/9781874774730.003.0013.

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This chapter explores religious iconography in cartoons of the Polish Yiddish press. Alongside the mainstream press, a Jewish satirical press began to flourish in the Yiddish language in both eastern Europe and America. In addition to jokes, humorous stories, poems, and many parodies, Yiddish satirical journals would come to include numerous cartoons and caricatures. Never having been seen previously in Jewish life, such visual parody was an unprecedented innovation among Yiddish-speaking Jews in Poland, partly because of its sheer novelty and partly because art without a religious connection was discouraged among Jews. Moreover, the vast majority of Jewish texts, particularly those used on a daily basis, did not contain illustrations of any kind. The cartoonists of the Yiddish press were therefore engaged not only in a radical subversion of Jewish tradition but also in a reassessment of what Jewish caricature should be, as opposed to the antisemitic caricature of the non-Jewish satirical press. In addition, Jewish cartoonists frequently applied traditional Jewish themes to critical commentary on current cultural and political events.
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Teukolsky, Rachel. "Character." In Picture World, 21–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859734.003.0002.

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“Character” is often studied as the deep psychological self crafted by the nineteenth-century realist novel. Yet Chapter 1 proposes an alternative history of character by looking to caricature, in some of the earliest comics (“Galleries of Comicalities”) appearing in sporting newspapers in the 1830s. Early caricatures portrayed an idea of character that was grotesque, masculinist, and brilliantly exteriorized, especially in depictions of “the cockney,” the urban mischief-man whose subversive masculinity reflected the economic pressures of the new urban economy. Cartoons featuring the cockney were anti-authoritarian, carnivalesque, and often laced with crude racism and misogyny. Their mock-violent energy gave voice to some of the explosive frustration felt by working- and lower-middle-class men after the failures of the Reform Bill of 1832. The young Charles Dickens borrowed many of his earliest subjects from extant caricature motifs, reflecting some of the fundamental instabilities of social class and economic precarity defining the Reform Era.
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Ahmed, Tahnia. "Caricatures of Difference: The Changing Perception of Sikhs in London Political Cartoons." In Visualising a Sacred City. I.B. Tauris, 2017. http://dx.doi.org/10.5040/9781350989665.ch-012.

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Conference papers on the topic "Cartoons and caricatures"

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Tian, Wenxin. "Converting Real Human Avatar to Cartoon Avatar using CycleGAN." In 8th International Conference on Artificial Intelligence and Applications (AI 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.121816.

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Cartoons are an important art style, which not only has a unique drawing effect but also reflects the character itself, which is gradually loved by people. With the development of image processing technology, people's research on image research is no longer limited to image recognition, target detection, and tracking, but also images In this paper, we use deep learning based image processing to generate cartoon caricatures of human faces. Therefore, this paper investigates the use of deep learning-based methods to learn face features and convert image styles while preserving the original content features, to automatically generate natural cartoon avatars. In this paper, we study a face cartoon generation method based on content invariance. In the task of image style conversion, the content is fused with different style features based on the invariance of content information, to achieve the style conversion.
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Eryilmaz, Önder, and Kayhan Bozgün. "The Effect of Using Cartoons on Primary School Students’ Academic Achievement in Social Studies Courses in Turkey: A Meta Analysis Study." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.49.

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The main purpose of this study is to investigate the effect of using cartoons on primary school students’ academic achievement in social studies courses in Turkey. We preferred to conduct meta-analysis instead of traditional literature review. In accordance with the purpose of the study, we analyzed experimental research such as articles, dissertations, and papers which were obtained from Web of Science, ERIC, Scopus, Proquest, Ebscohost, Google Scholar, The Turkish Council of Higher Education Thesis Center, and Dergipark databases. We used [“cartoon” OR “comic” OR “caricature” AND “social studies”] search code in order to reach convenient publications. As a result of the literature review by using search code, 25 publications that were conducted as experimental studies between 2006 and 2020, were listed. 9 publications were eliminated since they had non-parametric values in normality tests and have no standard deviation values of control and experimental group posttests. Moreover, publications that have no achievement test were eliminated as well. Finally, 16 studies were included. We used R software to analyze the data. Cohen’s d, Hedge’s g values, and sampling variances of all publications were calculated. Heterogeneity and publication bias of studies were also checked before proceeding to the main analysis. The random-effects model was performed to calculate the overall effect size. As a result of the analysis, a large effect size was found. In other words, using cartoons has a large effect on primary school students’ academic achievement in social studies courses in Turkey.
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Adascalita-Crigan, Lucia. "The narrative and its role in the creation of Alexei Grabco." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.10.

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In the caricature genre of the Republic of Moldova, Alexei Grabco asserted himself as a cartoonist who, through his graphic sheets, raised to a new value the artistic and spiritual dimension of humoristic-satirical drawings. His field of creation includes scenes taken from the society of his time, as well as the results of, subtle and critical analyzes on topics related to morals, religion, culture, etc. Even if his works are part of the realism of the time, in which caricaturists such as Iurie Rumeantsev, Nicolae Macarenco, Zigfrid Polingher, Leonid Domnin are also asserted, the plastic artist Alexei Grabco stands out and devotes himself to extensive compositions in which the narrative plays a major role in highlighting the humorous and philosophical aspect. By involving the narrative in the creation of caricatures, the artist contributes to the amplification of the visual impact of the message on the reader. Along with the landscape, in which the multitude of characters are included, the dynamism of the compositional elements, the grotesque treatment of the human figure, and the details come to support the unfolding/perception of the narrative thread. In this context, it is noted that the expressiveness of the movements, captured from reality, represents the sonority of the graphic work developed by Alexei Grabco. The narrative, in the case of satirical graphic sheets such as “Change of personnel” (1959), “Preparing for exams” (1959), “Dniester, on your bank…” (1959), "Take them to the market and return..."; (1960), "Passengers arriving by train at Comrat..."; (1960), is also made present through the prism of non-verbal means of expression: color, line, shape, texture. These, in turn, highlight the predominant emphasis of the narrative topics. At the same time, they generate junctions in the narrative with satire, humor, and mockery.
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Шевцова, А. А., and И. А. Гринько. "To the question of the methodology of the study of visual sources (on the example of ethnic marked plots of Soviet cartoons)." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.11.46.091.

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авторы, уже обращавшиеся к различным сюжетам через призму советской визуальной сатиры, предлагают собственную методологию исследования карикатуры. Рассматривая ключевые паттерны этносюжетов в динамике и фигуры умолчания советской визуальной сатиры, формирующиеся базовые и визиотипы, статистику появления различных этнических образов и ее связь с этнополитическим контекстом, можно выявить корни современных этнических стереотипов, рожденных в том числе советским визуальным языком. the authors, who have already addressed various subjects through the prism of Soviet visual satire, offer their own methodology for the study of caricature. Considering the key patterns of ethnic plots in dynamics and figures of silence of Soviet visual satire, the emerging basic and visiotypes, the statistics of the appearance of various ethnic images and its connection with the ethnopolitical context, it is possible to identify the roots of modern ethnic stereotypes, including those born of the Soviet visual language.
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Zheng, Wenbo, Lan Yan, Fei-Yue Wang, and Chao Gou. "Learning from the Past: Meta-Continual Learning with Knowledge Embedding for Jointly Sketch, Cartoon, and Caricature Face Recognition." In MM '20: The 28th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394171.3413892.

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Reports on the topic "Cartoons and caricatures"

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

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