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Journal articles on the topic 'Cartoons and caricatures'
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1
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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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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Zhuravleva, Aleksandra G. "The Caricatures of Pavel. E. Shcherbov in the Satirical Magazine “The Jester”." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 151–73. http://dx.doi.org/10.46539/gmd.v3i3.183.
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Pavel. E. Shcherbov's caricatures were first brought to the public's attention in the satirical magazine “The Jester” in which he had published them for several years. The cartoons of this period led P.E. Shcherbov to serious success, while their chosen theme - the artistic environment of St. Petersburg at the turn of the century - brought him fame. The research is aimed at studying the artist's collaboration with this magazine through the cartoons themselves as well as his relationship with the magazine's editorial board. It records the assessments, memories and reactions of the contemporaries about Shcherbov's cartoons published in “The Jester”. The study found that the reactions were opposite at times, from sharply negative to rave reviews. A subsequent analysis of the influence of the cartoonist's works on the art world is carried out. Within this article Shcherbov's caricatures that were published in the magazine “The Jester” and other themes that the artist used are identified. As a result of the research, a close cooperation between Shcherbov and the magazine “The Jester” is revealed as well as the conclusion that the cartoonist contributed to the rise of the satirical publications, whilst his works generated great public interest, having influenced further decisions and actions of his contemporaries, is made.
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Vukičević, Marko. "Depiction of the Enemy in Croatia During World War I." Eikon / Imago 9 (July 3, 2020): 341–61. http://dx.doi.org/10.5209/eiko.73327.
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The aim of this paper is to analyse and compare the visual representation and iconography in works depicting the enemy in Croatian visual arts during World War I. The article encompasses research on unpublished archival sources and contemporaneaous press. The works of renowned Croatian artists, who were enlisted or volunteered for frontline duty are analysed, as are the works of art presented to the Croatian general public through graphics, cartoons and caricatures in the then popular press. Comparison of war-themed images shows differences in the visualisation of the enemy. The generally accepted belief that the enemy was visually satanised and ridiculed actually only applies to caricatures and cartoons.
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Chatterjee, Sourav. "Against Imitation: Anti-Colonial Caricatures in Basantak , or the Bengali Punch." Victorian Periodicals Review 56, no. 1 (March 2023): 1–44. http://dx.doi.org/10.1353/vpr.2023.a905138.
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Abstract: In 1874, Prannath Dutta published the satirical periodical Basantak to undermine obscenity laws and caricature the rational, militant masculinity of British administrators by depicting them as venal and incompetent to administer British India. Basantak 's farces draw on various Indian literary and visual forms and genres. The jester-like omniscient narrator called Basantak—modeled after the cultivated iconoclast, Mr. Punch—displays an all-consuming cynicism. This article examines various imagetextual narratives, caricatures, and cartoons of British officials Stuart Hogg, Richard Temple, and Robert Phayre through which Basantak lampoons not only the childlike Englishmen but also their inane laws.
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Rusnak, Iryna. "The (un)serious image of Ulas Samchuk in creolized texts Based on satirical and humorous magazines of the Ukrainian diaspora." Synopsis: Text Context Media 29, no. 4 (2023): 235–47. http://dx.doi.org/10.28925/2311-259x.2023.4.1.
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The object of research in the article is creolized texts, in particular friendly cartoons and caricatures. The author defines creolized texts as texts, the structure of which consists of two components of different sign systems — verbal and non-verbal. For interpretation, the author selected eighteen friendly cartoons and caricatures of Ulas Samchuk. These are the works by Edward Kozak, Teodor Kurpita, Mykola Stepanenko, Roman Kupchynsky, and other cartoonists. The purpose of the article is to consider the peculiarities of the representation of Ulas Samchuk in these texts; to add new — (not) serious — details to his image established in literary studies; to reveal the essence of satirical and humorous views of caricaturists on literary and semi-literary processes, in which the writer was an active participant. Contextual analysis, art historical and biographical methods were used to achieve this goal. As a result of the research, it was concluded that caricatures and friendly cartoons of Ulas Samchuk are effective methods for insightful private characterization of a creative personality. They supplement the writer's official biography and activities with fascinating or curious details. The image of the writer is maintained within a certain canon: he is a kind middle-aged man, dressed in an emphatically refined suit with an indispensable bow tie and certain writerly or authoritative (characteristic for artistic circles) attributes. Creolized texts at the artistic level comprehended the creative personality and their activities in time and space, provided information about the attitude of the creative elite towards the artistic processes of the interwar and post-war eras. Caricatures and friendly cartoons have preserved the unpredictability, ambiguity and reticence of Ulas Samchuk’s perceived figure. This made it possible to complete the image of the writer in a different way in the new political and time realities, to interpret his transformations, to supplement the official portrait of the artist with new strokes and details.
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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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Tamás, Ágnes. "Caricatures as propaganda weapons during the First World War." European Journal of Humour Research 12, no. 2 (June 26, 2024): 18–35. http://dx.doi.org/10.7592/ejhr.2024.12.2.869.
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This study examines a specific segment of visual propaganda from the First World War, the caricatures of comic papers (German: Kladderadatsch; Austrian: Figaro, Kikieriki, Wiener Caricaturen and Die Muskete; Hungarian: Borsszem Jankó and Mátyás Diák). It focuses on the visual tools used by cartoonists to depict the enemy, how they employed visual propaganda, and whether this met the criteria of effective propaganda. By way of comparison, it also briefly discusses some elements of the self-image. The symbols of the First World War cartoons still closely followed 19th century trends: cartoonists commented on the events of the war by depicting and exaggerating ancient myths, biblical stories, women representing countries and men and animals representing nations. This study will attempt a systematic analysis of these motifs and symbols.
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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (October 12, 2020): 197. http://dx.doi.org/10.15421/26190214.
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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sources was formed according to the principle of informational correspondence to the goal and consists of newspaper articles – reviews by N. B. Gersevanov on military cartoons and an album of cartoons “The Adventures of the Novgorod resident Fedora Ivanovna”, published under the pseudonym “Durov”. The materials involved cover 1858–1860. both the critic and the creator of this genre convincingly demonstrate the place of caricature in journalism of N. B. Gersevanov. Using the methods of historiographic and source analysis and synthesis allowed us to identify the state of development of the issue in the historical literature and realize the goal. The main result was the identification of thematic variability of the cartoons of N. B. Gersevanov and the reactions of representatives of the military community to them. Based on the content analysis, the contents of the caricature album “Adventures of the Novgorod resident Fedora Ivanovna” were investigated. The texts and the cartoons published by Gersevanov were a reaction to harsh criticism by the public of the Russian army and military after the defeat of the Russian Empire in the Crimean War of 1853–1856. Since 1812, wars have become a powerful impetus for development for the Russian caricature tradition. The humorous genre was not inherent in the work of Gersevanov, moreover, he considered it dangerous for military discipline. Thus, the appeal to the caricature of the socio-political and literary issues was a kind of experiment for the author. Despite economic success, the final goal was not achieved, the vices were not overcome. Gersevanov became convinced of the futility of ridiculing as a method of education, therefore, he did not turn to the humorous genre anymore. The conclusion is that the hermeneutic analysis of the texts and the contexts of their appearance allowed us to significantly expand our understanding of the multifaceted activities of such a little-explored personality as N. B. Gersevanov and to reveal the informational potential of the cartoon as a historical source. The type of article: analytical.
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Tian, Wenxin. "Converting Real Human Avatar to Cartoon Avatar Utilizing CycleGAN." International Journal of Artificial Intelligence & Applications 13, no. 6 (November 30, 2022): 01–15. http://dx.doi.org/10.5121/ijaia.2022.13601.
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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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Marchant-Wallis, Caroline. "The Paris Commune cartoon collection: An introduction." Art Libraries Journal 45, no. 3 (July 2020): 90–93. http://dx.doi.org/10.1017/alj.2020.13.
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This article discusses the illustrative material found within the Paris Commune Collection held in the Special Collections of The University of Sussex, and focuses on how values and opinions were communicated through the use of sartorial cartoons and caricatures. Approaches from a range of disciplines including art, librarianship, archives and education have been employed, highlighting the value of cartoons as both pieces of art and valuable communication devices, alongside the importance of the collection for teaching, and wider importance of using archive material within teaching.
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Golubinov, Viktor. "Alex Gard (Aleksei Kremkov): “An Accidentally Americanized Cartoonist”." Experiment 28, no. 1 (December 21, 2022): 332–64. http://dx.doi.org/10.30965/2211730x-12340032.
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Abstract The article focuses on Aleksei Mikhailovich Kremkov (1898-1948), graduate of the St. Petersburg Naval Corps, who received his military education—and baptism of fire—during the First World War and Civil War, and who, in emigration, worked as caricaturist in France and USA under the pseudonym Alex Gard. Gard collaborated with The New York Herald Tribune and many other serials, his cartoons graced the walls of the prestigious Sardi’s Restaurant in New York, and he published several albums of caricatures (including skits on military service, the Russian ballet, and the cream of America’s theater and cinema bohemia in the 1930s and 1940s). True, his cartoons brought tears to many an eye, but they also inspired people to understand themselves better and even to bolster self-confidence. Little has been written about Gard and biographical data are often contradictory. This article publishes vintage photographs and inscriptions, including a drawing from the collection of the author, whose great-uncle—the Russian ballet dancer in exile—Dimitri Rostoff (D.N. Kulchitsky), was one of Gard’s closest friends.
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SOPER, KERRY. "From Swarthy Ape to Sympathetic Everyman and Subversive Trickster: The Development of Irish Caricature in American Comic Strips between 1890 and 1920." Journal of American Studies 39, no. 2 (August 2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.
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Observed from a distance, the prevalence of ethnic stereotyping in late nineteenth-century and early twentieth-century cartooning in the United States is disturbing. All one can see, initially, is that turn-of-the-century readers seemed to enjoy seeing blacks, Native Americans, and non-Anglo immigrants reduced to simplistic caricatures and made to say and do outrageously stupid things. The Distorted Image, the Balch Institute's exposé on the evils of ethnic caricature, agrees with this assessment, suggesting that “the strips from the early years of this century [the twentieth] are inevitably suffused with crude, even gross stereotypes” in which blacks and ethnic immigrants are “maligned and mistreated with blithe insouciance.” However, a closer inspection of particular characters, mediums, and creators, reveals that there was greater complexity to these “crude” images – a rich history, in fact, of shifting meanings and uses. There were, of course, some blatantly racist depictions of ethnic minorities in cartoons and comic strips during this period, but there was also a complex spectrum of ethnic characters who played out shifting comedic and social roles. By properly contextualizing some of these cartoons – considering how meanings and uses changed according to where the cartoons appeared, who created them, and who read them – many images that initially seem just like more entries in a long line of gross stereotypes begin to reveal layered, ambivalent, and even sympathetic codings.
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Herkman, Juha. "Populism in political cartoons: caricatures of Nordic populist leaders." Popular Communication 17, no. 3 (May 17, 2019): 252–67. http://dx.doi.org/10.1080/15405702.2019.1614183.
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Bal, Anjali Suniti, Leyland Pitt, Pierre Berthon, and Philip DesAutels. "Caricatures, cartoons, spoofs and satires: political brands as butts." Journal of Public Affairs 9, no. 4 (November 2009): 229–37. http://dx.doi.org/10.1002/pa.334.
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Abdul Latif, Roslina, and Sojoud Elgarrai. "The Power of Political Cartoons: A Case Study of Zunar’s ‘Twit Twit Cincin’." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 146–80. http://dx.doi.org/10.17576/jkmjc-2021-3701-09.
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The following study of selected works of art by Zulkiflee Anwar Haque or better known as Zunar, a Malaysian political cartoonist from his book ‘Twit Twit Cincin’. This study is guided by the visual rhetoric theory that has three areas of study - nature, function and evaluation. The study looks at selected cartoons that addressed political figures, politics and social issues. The research looked at the way the caricatures portrayed Malaysian politicians, his perspectives on the political and social issues and how these issues were addressed. The researcher also looked at metaphors used by the cartoonist to communicate his ideas to the audiences. The study found that Zunar’s portrait of Malaysian politicians is not always positive. He is critical but not in an inflammatory way. The metaphors found in Zunar’s work are found to be common themes and simple to understand. They are also very well-known, visually appealing and a tool to tie his messages together and to get his ideas across. Zunar has managed to resist the oppression of the state through his cartoons while looking at institutional reform, puts forth an alternative articulation of history and nation that juxtapose the current government. Keywords: Zunar, political cartoonist, political and social issues, Twit Twit Cincin, metaphors.
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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>
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Andreeva, Galina. "CONSTITUTIONAL MECHANISM IN THE MIRROR OF FOREIGN CARICATURE." Herald of Culturology, no. 4 (2021): 179–200. http://dx.doi.org/10.31249/hoc/2021.04.10.
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The wide use of the term «constitutional mechanism» in the article is compared with the image of the constitution in the form of a mechanism in foreign cartoons. Caricatures are analyzed, in which the constitution is depicted in the form: details (an integral part) of a larger mechanism; unknown device (mechanism); ship (marine vehicle) and car. A small «list» of types of images of the constitution is predetermined by the author, on the one hand, by the fact that the constitution is more and more easily associated with a book or scroll, on the other hand, by the fact that mechanization in the second half of the twentieth and early 21 st centuries has already ceded its leading role to other technologies that are more difficult to implement in caricature. It was noted that the lack of image of high-speed vehicles corresponds to the nature of the constitution.
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Virág, Ágnes. "Multimodal conceptual patterns of Hungary in political cartoons." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 222–53. http://dx.doi.org/10.1075/cogls.00055.vir.
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Abstract Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present article explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventy-five cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.
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Sheikh, Dr Adnan Rashid, Shaukat Khan, and Dr Ameer Sultan. "Despair, Hope, And Politics: A Semiotic Analysis Of Online Media Cartoons On The Turkey And Syria Earthquake 2023." Migration Letters 21, S9 (April 3, 2024): 297–310. http://dx.doi.org/10.59670/ml.v21is9.9798.
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The Turkey and Syria earthquake of 2023 caused widespread devastation and loss of life, resulting in widespread despair and hopelessness among the people. In the aftermath of the disaster, social media was flooded with caricatures that sought to represent the political and social realities of the affected regions. This research paper presents a semiotic analysis of online media cartoons using the Barthesian modal to understand the representation of despair, hope, and politics in the context of the Turkey and Syria earthquake of 2023. Through a qualitative analysis of purposively sampled cartoons, this study explores how dominant emotions and political messages are conveyed through visual and textual elements and how they shape public perception of the event. The findings suggest that the cartoons use a range of semiotic modalities, such as images, text, and symbolic representations, to convey political messages about the earthquake and its aftermath. The paper contributes to the growing research on semiotics and visual communication. It highlights the potential of online cartoons as a rich source of social and political insights in the context of the earthquake and how people respond to it.
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Fedosov, Egor A. "The evolution of graphics in newspaper holiday issues in the Soviet Ukraine (1953-1984)." Rusin, no. 69 (2022): 269–81. http://dx.doi.org/10.17223/18572685/69/15.
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The article focuses on the issues of the Soviet Ukrainian periodicals Pravda Ukrainy(Kyiv) and Rabochaya gazeta (Kyiv), timed to the most popular Soviet public celebrations: New Year, May Day, and October Revolution Day. The author analyses the graphics of about 180 newspapers of 1953-1984 to determine the approaches to selecting visual elements (front page drawings, caricatures, cartoons and other decorative sketches). The chronology of newspaper images and symbols clearly shows the evolution of key political categories, their relevance, diversity, and interrelation, depending on the regional specificity of the newspaper. The visualization scheme naturally differed for each celebration. For example, the May Day or, especially, October Revolution Day newspaper issues invariably published portraits of Vladimir Lenin, while the political symbolism of New Year holiday referred to the Kremlin towers. In different years, the background that formed the plot of holday illustrations was industry or space exploration, international workers' parade or family life. The repetition of compositional and semantic elements not only emphasized their significance, but, in time, began to indicate the lack of new ideas. Meanwhile, the political satire, represented by foreign policy caricatures, gradually gave way to humorous cartoons related to domestic casual topics. The national specificity of visual symbolism could be found only in some types of visual images, as well as in accompanying texts in Ukrainian.
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Hewitson, Mark. "The Violent Art: Caricatures of Conflict in Germany." Cultural History 6, no. 1 (April 2017): 57–79. http://dx.doi.org/10.3366/cult.2017.0135.
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War furnishes a – perhaps the – classic case of ‘black humour’, which is understood here in the broad sense, not merely as the humour of the gallows or the cheating of death, but humour deriving from a confrontation with suffering or death, either as a victim or a perpetrator. War cartoons relied on the manipulation of images for comic effect, which – at least until the absurdist experiments of the Dada and Surrealist movements during and after the First World War – appeared impossible in photography, painting and cinematography. Caricature permitted artists simultaneously to conjure up, simplify and undermine reality. The selection and exaggeration of character traits and circumstantial detail, which was fundamental to caricature, revealed graphically how cartoonists perceived the social and political world in which they lived. This chapter examines how such selection and exaggeration worked in extreme conditions during wartime.
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Zinin, A. M., and V. V. Vorontsova. "Features of the Analysis of Human Images as Objects of Forensic Portrait Examination." Theory and Practice of Forensic Science 17, no. 1 (April 29, 2022): 120–29. http://dx.doi.org/10.30764/1819-2785-2022-1-120-129.
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The authors present an analysis of the practice of forensic portrait examinations appointed on criminal and civil cases to the Russian Federal Centre of Forensic Science of the Ministry of Justice of the Russian Federation, the objects of which have been atypical. These have been human facial images performed in various techniques: engravings on stone, cartoons, caricatures, dolls made in workshops and author’s studios. The authors propose a new methodical approach, taking into account the technology of manufacturing such human images, they also consider their features.
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Allison, Deborah. "You Oughta Be in Pictures : Cartoons and caricatures in opening title sequences." Film International 18, no. 1 (March 1, 2020): 82–88. http://dx.doi.org/10.1386/fint_00010_1.
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Dutton, George. "Lýý Toéét in the City: Coming to Terms with the Modern in 1930s Vietnam." Journal of Vietnamese Studies 2, no. 1 (February 1, 2007): 80–108. http://dx.doi.org/10.1525/vs.2007.2.1.80.
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The emergence of popular journalism in 1930s Vietnam allowed for new forms of commentary on a transformed urban life, among them caricatures featuring LB Toéét, a villager bewildered by his encounters with the modern city. This article uses the LB To�t cartoons that appeared in the weekly journal Phong Hóóa [Mores] as a window on urban attitudes toward the modern. It suggests that the illustrations reveal a considerable ambivalence toward modernity on the part of Phong Hóóa's editors, despite their rhetorical commitment to the new and the modern.
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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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Varat, Deborah. "“Their New Jerusalem”: Representations of Jewish Immigrants in the American Popular Press, 1880–1903." Journal of the Gilded Age and Progressive Era 20, no. 2 (April 2021): 277–300. http://dx.doi.org/10.1017/s1537781420000766.
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AbstractMillions of immigrants arrived in the United States during the Gilded Age, drastically altering the ethnic character of the American citizenry. This dramatic social change was met with mixed reactions from the native-born population that were vividly communicated in the popular press. Cartoonists for newspapers and magazines across the country developed a language of caricature to identify and distinguish among ethnic groups and mocked new arrivals in imagery that ranged from mild to malicious. One might assume that the masses of Eastern European Jews flooding into the country (poor, Yiddish-speaking, shtetl-bred) would have been singled out for anti-Semitic attack, just as they were in Europe at the time. However, Jews were not the primary victims of visual insults in America, nor were the Jewish caricatures wholly negative. Further, the broader scope of popular imagery, which, in addition to cartoons, includes a plethora of illustrations as well as photographs, presents a generally positive attitude toward Jewish immigrants. This attitude aligned with political rhetoric, literature, newspaper editorials, and financial opportunity. This article will propose a better alignment of the visual evidence with the scholarly understanding of the essentially providential experience of Jews in America during this period.
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McMahon. "Cartoons in the Classroom: Using Digitized Political Caricatures to Teach Migration and Ethnicity." Journal of American Ethnic History 33, no. 4 (2014): 87. http://dx.doi.org/10.5406/jamerethnhist.33.4.0087.
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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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Alhreashy, Fouzia Abdulaziz, Arwa Abdulelah Mobeirek, Osama Abdulelah Mobeirek, Salem Dakheel Al-Suwaidan, Nawal Mohammed AlRajeh, and Monirh Abdulaziz Alhorishi. "Caricature-based Antenatal Breastfeeding Education Trial: A Randomized Controlled Trial." Journal of Nature and Science of Medicine 7, no. 2 (April 2024): 73–81. http://dx.doi.org/10.4103/jnsm.jnsm_136_23.
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Abstract Objectives: Cartoons, comics, and caricatures have been incorporated in health education. This trial aimed to evaluate the effectiveness of caricature-based breastfeeding education at improving breastfeeding knowledge, attitudes, self-efficacy, and practice among pregnant women. Materials and Methods: A randomized controlled clinical trial was carried out at Riyadh First Health Cluster in Saudi Arabia. A total of 85 pregnant women were randomly assigned to the intervention group (n = 41) or the control group (n = 44). The intervention was two caricature-based versus one standard online lecture in breastfeeding. The participants were followed up for 3 months postpartum. The primary outcome was full breastfeeding (predominant and exclusive breastfeeding) by the time infants were 3 months old. The secondary outcomes were prenatal and postnatal breastfeeding self-efficacy, Iowa Infant Feeding Attitude Scale (IIFAS) scores, and satisfaction with the education. Results: The participants were mostly Saudi (97.6% vs. 90.9%) and housewives (79% vs. 86.4%) for the intervention and control groups, respectively. The full breastfeeding rate at 3 months postpartum was 32.5% for the intervention and 31.6% for the control (P = 0.808; 95% confidence interval 0.539–1.965; relative risk = 1.029). Prenatal breastfeeding, postnatal self-efficacy, and IIFAS scores were compared between the intervention and control groups; no statistically significant difference was found (P > 0.05). In both arms of the study, participants’ experiences with the health education were satisfactory. Conclusion: Caricature use in antenatal breastfeeding education was a pleasant experience, but its effect on self-efficacy, attitudes, and behavior could not be determined from this trial. Large-scale, multi-center, multi-component research is recommended.
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Marcella, Valentina. "A Satirical Magazine in Its Own Way”: Politicisation and Dissent in Gırgır (1972-1983)." DIYÂR 2, no. 2 (2021): 329–48. http://dx.doi.org/10.5771/2625-9842-2021-2-329.
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The satirical weekly Gırgır, founded by Oğuz Aral in 1972, has been Turkey’s best-selling satirical magazine of all times. Characterized by a multitude of genres and styles, its contents ranged from written jokes to comics and political cartoons. Such diversity has prompted scholars to present this magazine in different, often contrasting ways, especially with reference to the nature and strength of its satire. This study intends to contribute to solving the ambiguity concerning whether Gırgır’s caricatures and cartoons may be deemed political or not. For this purpose, it focuses on its satirical repertoire from its early days up to the end of the military regime of 1980 to 1983, the most challenging time in terms of freedom of expression and dissent. This article argues that satire in Gırgır became increasingly political parallel to the growing politicisation of society in the 1970s and that the magazine did not bow to political pressure under the military rule. Especially its reactions to the repressive climate of the regime allow us to define its satire as political.
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Lydin, N. N., and P. V. Ulyanov. "The Evolution of the Image of the Ottoman Empire on the Cartoons of the British Magazine «Punch» of the First World War Period." Izvestiya of Altai State University, no. 3(113) (July 6, 2020): 69–75. http://dx.doi.org/10.14258/izvasu(2020)3-11.
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This article discusses the development in the British society of the image of the Ottoman Empire, perceived as a ’’German ally“ during the First World War. English cartoons from the satirical magazine “Punch” were taken as historical sources. The peculiarity of this magazine was that during the period under study it was popular among representatives of the elite, intelligentsia, workers and some of the farmers due to the publication of various drawings and cartoons in it. The main goal of the authors of the article is to consider the development of the image of the Ottoman Empire, presented on graphic materials as an “ally of Germany”, using political caricatures as an example, and to reveal its features in British propaganda. The study allows us to conclude that the image of the Ottoman Empire was presented in satirical form, as it was aimed at discrediting the ”ally of Germany“. British artists sought to convey to the mass audience that the Ottoman Porta was embroiled in armed conflict and was used by Germany as a "puppet". On the example of the most striking English cartoons of the satirical magazine “Punch”, it can be noted that many stories about the “ally of Germany” reflected in their content the military-political dependence of the Ottoman Empire on the German one.
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Moscovitch, Morris, Gordon Winocur, and Marlene Behrmann. "What Is Special about Face Recognition? Nineteen Experiments on a Person with Visual Object Agnosia and Dyslexia but Normal Face Recognition." Journal of Cognitive Neuroscience 9, no. 5 (October 1997): 555–604. http://dx.doi.org/10.1162/jocn.1997.9.5.555.
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In order to study face recognition in relative isolation from visual processes that may also contribute to object recognition and reading, we investigated CK, a man with normal face recognition but with object agnosia and dyslexia caused by a closed-head injury. We administered recognition tests of up right faces, of family resemblance, of age-transformed faces, of caricatures, of cartoons, of inverted faces, and of face features, of disguised faces, of perceptually degraded faces, of fractured faces, of faces parts, and of faces whose parts were made of objects. We compared CK's performance with that of at least 12 control participants. We found that CK performed as well as controls as long as the face was upright and retained the configurational integrity among the internal facial features, the eyes, nose, and mouth. This held regardless of whether the face was disguised or degraded and whether the face was represented as a photo, a caricature, a cartoon, or a face composed of objects. In the last case, CK perceived the face but, unlike controls, was rarely aware that it was composed of objects. When the face, or just the internal features, were inverted or when the configurational gestalt was broken by fracturing the face or misaligning the top and bottom halves, CK's performance suffered far more than that of controls. We conclude that face recognition normally depends on two systems: (1) a holistic, face-specific system that is dependent on orientationspecific coding of second-order relational features (internal), which is intact in CK and (2) a part-based object-recognition system, which is damaged in CK and which contributes to face recognition when the face stimulus does not satisfy the domain-specific conditions needed to activate the face system.
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Richardson, Jenny. "‘A fur coat and a blunted vocabulary are misfits’: Representations of Munitionettes’ Fashion and Class during the First World War." Costume 57, no. 1 (March 2023): 82–107. http://dx.doi.org/10.3366/cost.2023.0246.
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This article offers new insights into the way fashion was used to identify and disseminate discourses surrounding patriotism and class during the First World War. Official directives encouraged frugality; thus any extravagance was deemed to be unpatriotic. Wartime narratives targeting the alleged disconnect between women and the reality of war were depicted in satirical cartoons. Upper-class women were depicted wearing expensive, new, ‘ragged’ clothes, whereas lower-class munition workers faced accusations of profligacy exemplified by the wearing of fur coats, previously out of their financial reach. Expensive furs had historically been considered the preserve of the wealthy and royal echelons of society. Therefore, the wearing of such garments, even if made from cheaper pelts, by lower-class female factory workers led to assumptions of their impropriety. Cartoons depicted consumer behaviour in terms of class, which further cemented the trope of the fur-wearing munitionette profiting from the war. The caricatures analysed in this article are contrasted with a consideration of the actual purchases made by working-class women, to add a more nuanced interpretation of the hyperbolic condemnation of munition workers during the First World War.
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Viatkina, Daria S. "English Caricature as a Means of Forming and Reflection of the “Image Of The Enemy” in the Epoch of the Napoleonic Wars." Bulletin of Nizhnevartovsk State University, no. 1 (March 15, 2024): 13–25. http://dx.doi.org/10.36906/2311-4444/24-1/02.
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The article is devoted to the topical problem in the scientific and socio-political space associated with the formation of the image of the “enemy”. This issue is considered on the example of the English caricature in the era of the Napoleonic wars. Caricature is still actively used in the information space, which makes it an important part of political discourse. From its inception to the present day, caricature has been an effective mechanism for reflecting the image of the “other” and the image of the “enemy”. English cartoonists managed to create a certain idea about the most popular episodes and personalities of the Napoleonic wars and about the images and stereotypes that existed at that time. The most striking of them were the images of “bloodthirsty sans-culottes” led by the “Corsican monster” in the person of Napoleon. Foreign events were perceived by cartoonists through the prism of British interests. That is why the main attention in these images was given to France, as one of the main opponents. The author of the article, based on the caricatures of one of the most famous cartoonists of the “golden age” J. Gillray and his students, comes to the conclusion that the legacy of English satirical graphics of the mid-18th – early 19th centuries. – a vivid example of the formation of the image of the “enemy”. Thanks to the analysis of the cartoons, the main components of the image of not only the French emperor, but also his Great Army were identified. It was concluded that these components were firmly entrenched in the form of stereotypes not only in the British consciousness, but also in the European one, and continue to exist to this day.
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Makombe, Rodwell. "Images of a nation in crisis." Communicare: Journal for Communication Studies in Africa 37, no. 1 (October 13, 2022): 56–73. http://dx.doi.org/10.36615/jcsa.v37i1.1582.
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Political cartoonists have, in recent years, faced victimisation for daring to speak truth to power.In December 2010, South African cartoonist, Jonathan Shapiro (Zapiro) was sued for portrayingformer President Zuma as a rapist. In February 2018, his contract of over ten years with TheSunday Times was abruptly terminated. These developments show that cartoons can be effectivetools of undermining and resisting power. This article critically analyses Zapiro’s Rape of LadyJustice cartoons in the context of South African politics under Zuma’s presidency. The ANC-ledgovernment under Jacob Zuma was perceived as corrupt and gravitating away from the ideals ofa democratic state. Underpinned by Bal et al.’s (2009) model of caricature, this article seeks toexamine, firstly, how the cartoon, as a medium of expression, pokes fun at its object of caricature,and secondly, how the broader socio-political context of Zuma’s presidency inspired Zapiro’sLady Justice cartoons.
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Panayotidis, E. Lisa, and Paul Stortz. "Visual Interpretations, Cartoons, and Caricatures of Student and Youth Cultures in University Yearbooks, 1898–19301." Journal of the Canadian Historical Association 19, no. 1 (May 28, 2009): 195–227. http://dx.doi.org/10.7202/037432ar.
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Abstract Students have always been integral in the development of the university in Canada. Driven by personal, professional, and political agendas, student experiences, understandings, and narratives helped construct the academic and intellectual cultures of universities. In their relationships with professors, administrators, and the spaces they inhabit, students crucially contributed to the university as a historically vibrant idea and social institution. As cast by the students, the university was clearly expressed in variant and creative ways through the annual yearbook. In particular, within the yearbook, the practice of parody in cartoons and caricatures was powerful in depicting the imagined worlds of academe as seen through the students’ eyes, and importantly how the students saw themselves and their life on campus. Using yearbooks from three universities — Toronto, Alberta, and British Columbia – visual images are studied that reveal underlying intentions to comment, marginalize, ridicule, and esteem groups of students according to both ascribed and self-imposed socialized hierarchical structures and codes of expectations and behaviour. Among the universities, the visual satire was consistent in tone and image, exposing the historic place and activities of students in the early university and in society, the contingent formation of student identities, and the nature of the pursuit of academic knowledge and credentials by youth in early-twentieth Century Canada.
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Williams, Dominic. "Punch and the Pogroms: Eastern Atrocities in John Tenniel’s Political Cartoons, 1876–1896." RACAR : Revue d'art canadienne 42, no. 1 (August 15, 2017): 32–47. http://dx.doi.org/10.7202/1040838ar.
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Cet article analyse trois caricatures produites pour Punch, magazine humoristique de l’époque victorienne, par son caricaturiste en chef, John Tenniel. Elles représentent des despotismes en périphérie de l’Europe opprimant et assassinant des minorités sous leur férule : les atrocités commises en Bulgarie en 1876, les pogroms antisémites en Russie en 1881–1882 et les massacres d’Arméniens dans l’Empire ottoman en 1895–1896. Considérées ici comme faisant partie d’une série, ces images sont placées en dialogue notamment avec les textes qui ont paru à leurs côtés et avec les magazines rivaux de Punch tels que Fun et Judy. Alors que les Turcs, les Russes, les Bulgares, les Juifs et les Arméniens sont devenus des figures au moyen desquelles Punch a pu réfléchir à lui-même et à sa nation, elles lui ont posé un problème de représentation : c’est particulièrement les figures juives que Punch a eu le plus de difficulté à situer dans l’ordre des nations.
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Webb, Joel C. "Drawing a Glorious Past, Picturing an Uncertain Future." European History Quarterly 47, no. 2 (April 2017): 257–83. http://dx.doi.org/10.1177/0265691417690996.
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This article uses turn-of-the-century editorial cartoons and other imagery mass produced by the Spanish press to examine a period in Spanish history when the momentum of a developing national identity collided with the challenges of war and decolonization. Through a detailed exploration of the iconography embedded in caricatures published in the pages of a politically diverse selection of turn-of-the-century Spanish publications, this article seeks to demonstrate that the fear of an uncertain future combined with the disaster of a collapsing empire were projected onto images of the enemy which reflect a submerged anxiety over the threat of an ascendant and vulgar modernity. This anxiety manifested itself in dueling metaphors that presented the essence of Spanishness as a bulwark against industrialization, modernization, and liberalization.
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Zakharova, Milana, and Ekaterina Kiseleva. "Chinese View of the World in Global Times Caricatures in 2022: Features of Constructing Images and Meanings." Theoretical and Practical Issues of Journalism 12, no. 4 (December 18, 2023): 745–62. http://dx.doi.org/10.17150/2308-6203.2023.12(4).745-762.
Full textAbstract:
The article examines the main features of the presentation of the position of the Chinese government on a wide range of issues on the world stage, as well as the specifics of constructing a positive image of the country for the world community in visual materials of the English-language Chinese newspaper Global Times in September-December 2022 (at example of cartoons in the Cartoon section on the publication’s website). The graphic images included in the final sample (101 drawings in total) can be divided into two groups: those dedicated to international issues and those revealing the features of life in modern China. Much attention is paid to the study of the thematic focus of publications and the geography of the event series, the features of their visualization, as well as the analysis of the lexical originality of title complexes, the semantic content of which directly affects the nature of the representation of a figure/event/phenomenon in the media space and their perception by the wider public. mass audience all over the world. One of the emphasis is placed on examining the characteristics of the representation of different countries and regions of the world. The authors concluded that the main object of criticism of the publication is the United States, its hegemony on the world stage and failures in domestic politics. At the same time, the EU countries act as the injured party as a result of US actions in the geopolitical arena. In turn, materials about Chinese life are presented through the prism of a positive, balanced narrative, demonstrating the advantages and features of the Chinese way of life, constructing an image of a harmoniously developing, attractive society.
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Adascalita, Lucia. "The artistic path of Dumitru Trifan in the field of satirical graphics." Journal of Social Sciences 6, no. 1 (April 2023): 39–48. http://dx.doi.org/10.52326/jss.utm.2023.06(1).04.
Full textAbstract:
The objectives of this study are to mirror the fruitful activity of the plastic artist Dumitru Trifan in the field of satirical graphics by highlighting the particularities of the graphic sheets signed by him. As a result of extensive analysis, it is noted that the plastic artist Dumitru Trifan has excelled in the field of caricature for several decades. Thus, the protagonist, together with other established cartoonists, intensively publishes ironic and humorous cartoons on the pages of the most famous periodicals, such as the magazines Scînteia Leninistă and Femeia Moldovei and the satire and humor magazine Chiparuş. At the same time, at the beginning of the 1980s of the last century, as an illustrator for the weekly Literatura si Arta, Dumitru Trifan elaborates and publishes an impressive number of caricatures on the pages of this newspaper. I am constantly amazed by how these scenarios are twisted from reality and how boldly the crises' core is handled. Dumitru Trifan practiced a vast thematic spectrum through which he brought to the fore the relations between spouses and those between the working man and the bureaucrat; he also presented humorously but also sarcastically the images of the chilling and the trickster, of irresponsible people, and others. Thus, the artist is sometimes sarcastic in the distortion of the image and sometimes cordial and kind to the character or landscape. And the tonal stain, like an arbitrary game, is intense and expressive.