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Relevant bibliographies by topics / Caricatures and cartoones

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Academic literature on the topic 'Caricatures and cartoones'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Caricatures and cartoones"

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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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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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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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Cunningham, Anthony. "Moral Addicts." Dialogue 33, no. 2 (1994): 223–36. http://dx.doi.org/10.1017/s0012217300010507.

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Any good ethical theory aspires to provide as comprehensive a guide to moral value and motivation as possible. Within modern moral philosophy, conceptions of moral value have been dominated largely by considerations of justice and concerns for the common good, and moral shortcomings have been accounted for primarily by appeal to ignorance, weakness, indifference or outright hostility to moral values. Yet the ways in which we fall short are far more complicated. By discussing one interesting example here, I hope to provide some support for the claim that our conceptions of moral value and motivation need enrichment. In making my case, I utilize a character who is more like a caricature than a figure from ordinary life. This touch of hyperbole is deliberate. Reflect for a moment on the function of a good cartoon caricature. By exaggerating physical features, it draws our attention to characteristics that go unnoticed in their normal context. Whereas cartoon caricatures aim at amusement, my goal is to distil some of our perceptions of moral excellence.

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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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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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Flores Borjabad, Salud Adelaida. "Ali Ferzat: De la caricatura comunicativa en papel a la caricatura activista en los medios digitales." Ámbitos. Revista Internacional de Comunicación, no. 46 (2019): 108–32. http://dx.doi.org/10.12795/ambitos.2019.i46.07.

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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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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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POLLARD, LISA. "Family Follies." International Journal of Middle East Studies 39, no. 4 (October 30, 2007): 522–24. http://dx.doi.org/10.1017/s0020743807071012.

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“The wife: I bet your friends envy you your domestic happiness!” Reprinted with permission of Mohammed Elchamaa.This cartoon comes from a 1948 edition of the Egyptian periodical Akhir Saʿa. I happened across it in Cairo, as part of some exploratory research into the fate of the female image of the Egyptian nation-state that was so central to the 1919 revolution. In previous inquiries, I had noticed that “lady Egypt” or “mother Egypt” or “Egypt as a woman,” to use historian Beth Baron's expression, lost pride of place in popular periodicals as 1919 gave way to nominal independence and nation building. By the late 1920s, cartoon and caricature space was more frequently dedicated to men engaged in laying the foundations of new political, legal, and educational systems, as well as erecting the buildings that would house them. Throughout the 1930s, political caricatures also frequently lampooned prominent Egyptian men for their behavior in the institutions that they had been active in creating. In the popular press, the reified female figure of the Egyptian nation was all but usurped by the men who built the state (and who seemed determined to keep Egyptian women out of the body politic).

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Dissertations / Theses on the topic "Caricatures and cartoones"

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

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

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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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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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Pereira, Cibeli Morais. "O humor nas charges de Angeli: um estudo da construção linguístico-discursiva e dos efeitos de sentido no discurso humorístico." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20978.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-06T12:55:10Z No. of bitstreams: 1 Cibeli Morais Pereira.pdf: 2015883 bytes, checksum: 0cd02026c18c049f79dc76a80346a7ad (MD5)
Made available in DSpace on 2018-04-06T12:55:10Z (GMT). No. of bitstreams: 1 Cibeli Morais Pereira.pdf: 2015883 bytes, checksum: 0cd02026c18c049f79dc76a80346a7ad (MD5) Previous issue date: 2018-03-07
This present piece of work has as a objective to analyse the linguistic discursive construction found in the cartoons by Angeli. The corpus is composed by four cartoons published by Folha de São Paulo newspaper relating the period from January 2016 to September 2016, regarding Dilma Rousseff´s impeachment. We believe that cartoons provide rewarding experiences with issues related to language and humour as a social phenomenon which expresses an opinion leader character. The theoretical principles are based on humour concepts presented and discussed in the studies of Bergson (1993), Propp (1992), Travaglia(1990), as well as in the Discourse Analyses in media context from Charaudeau`s perspective (2005, 2006, 2009, 2014, 2015). Firstly, we proceed to present the corpus and historical aspects which involve the selected cartoons. We resumed the history, trying to understand how humour was explained by scholars and theoreticians chosen for this study. We managed to identify the linguistic elements of humour in cartoons and the effects of understanding of such cartoons. Finally, after corpus analyses, we realized that humour not only criticizes, but also derides those who distance from social standards
O presente trabalho tem como objetivo analisar a construção linguístico-discursiva do humor nas charges de Angeli. O corpus é composto por quatro charges, publicadas no jornal Folha de S. Paulo, referente ao período de janeiro de 2016 a setembro de 2016, a respeito do impeachment de Dilma Rousseff. Acreditamos que os textos humorísticos possibilitam gratificantes experiências com as questões da língua e do humor como um fenômeno social que exprime um caráter formador de opinião. A fundamentação teórica baseia-se em conceitos de humor apresentados e discutidos nos estudos de Bergson (1993), Propp (1992), Travaglia (1990), bem como na Análise do Discurso em contexto midiático sob a perspectiva de Charaudeau (2005, 2006, 2009, 2014, 2015). Primeiramente, procedemos à apresentação do corpus e dos aspectos históricos que abarcam as charges selecionadas. Realizamos uma retomada histórica, procurando conhecer como o humor foi explicado pelos pensadores e teóricos, escolhidos para esta pesquisa. Analisamos os mecanismos linguístico-discursivos do humor nas charges e os efeitos de sentido. Finalmente, após a análise do corpus, percebemos que o humor pode não só criticar, como também pode ridicularizar aqueles que se distanciam das normas sociais

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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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Tomé, Cristina Maria de Sousa 1963. "Entre o burlesco e o sublime-a sátira gráfica de William Hogarth e James Gillray." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Instituto Letras e Ciências Humanas, 2000. http://dited.bn.pt:80/29407.

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Books on the topic "Caricatures and cartoones"

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Bizarro buccaneers: Nuttin' but pirate cartoons. Kansas City: Andrews McMeel, 2008.

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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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Political asylum: Cartoons and caricatures. Edmonton, Alta: NeWest, 1995.

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

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

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

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Darracott, Joseph. A cartoon war: World War Two in cartoons. London: Leo Cooper, 1989.

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

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Evely, Ron. Lead poisoning: 8 years of the best cartoons by Cape Breton cartoonist Ron Evely. Nova Scotia: Solus publishing, 1998.

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Book chapters on the topic "Caricatures and cartoones"

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Shukla, Pushkar, Tanu Gupta, Priyanka Singh, and Balasubramanian Raman. "CARTOONNET: Caricature Recognition of Public Figures." In Proceedings of 3rd International Conference on Computer Vision and Image Processing, 1–10. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9088-4_1.

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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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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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"Coca-Cola, Cartoons and Caricature." In America’s Backyard. Bloomsbury Academic, 2009. http://dx.doi.org/10.5040/9781350218420.ch-011.

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Endong, Floribert Patrick C., and Eugenie Grace Essoh. "Representing Trump and Trumpism Through Caricature." In Advances in Media, Entertainment, and the Arts, 188–219. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9312-6.ch008.

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This chapter focuses on the Nigerian media representations of Donald Trump's controversial policies, statements and style of government. It specifically examines Nigerian caricaturists' criticism of these aspects of American politics through a semiotic analysis of six editorial cartoons penned by Boglo G. and published in the Nigerian online magazine Nasoweseeam, from 2016 to 2018. In the light of the semiotic analysis conducted in the study, the chapter argues that Nigerian political cartoonists have continuously given a remarkable attention to U.S. politics (notably Trump's presidency), particularly exploring the angle of U.S. policies' impact on Nigeria(ns). Their cartoons have been tapping into both universal myths and local idiosyncrasies to represent the Trump administration in particular, and the American nation as a whole. Such a representation has mostly been negative. Icons, indexes and symbols have thus, most often been mobilized in their cartoons to associate Trump, Trumpism and/or America as a whole with such negativities as racism, Islamophobia, Nazism, xenophobia and authoritarianism, among others.

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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 "Caricatures and cartoones"

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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 "Caricatures and cartoones"

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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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