Relevant bibliographies by topics / Caricatures and cartoons Australia History

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  2. Dissertations / Theses
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Academic literature on the topic 'Caricatures and cartoons Australia History'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Caricatures and cartoons Australia History"

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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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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
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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 s
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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 sou
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Frisch, Robin. "“Fraudonomics”: Cartooning against Structural Adjustment in Togo." International Review of Social History 66, S29 (March 10, 2021): 139–60. http://dx.doi.org/10.1017/s0020859021000171.

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AbstractThis article offers a sensitive reading of oppositional political cartoons in Togo in the early 1990s, during the period of structural adjustment, which was accompanied by the swift reversal of democratizing trends and the restoration of authoritarian rule. Togolese satirists perceived this moment as a moment of “fraudonomics”, thus contesting rampant corruption and clientelism in politics. They poked fun at the president, local politicians, businesspeople, and bureaucrats of the international institutions. The article begins by examining the making of satirical newspapers with a focus
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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, Y
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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 c
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Benedict, Michael Les. "Constitutional Politics in the Gilded Age." Journal of the Gilded Age and Progressive Era 9, no. 1 (January 2010): 7–35. http://dx.doi.org/10.1017/s1537781400003777.

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During the Gilded Age, constitutional issues pervaded the discussion of nearly all matters of public policy, including regulation of railroads, suppressing unsafe and fraudulent products, labor issues, and combating trusts and monopolies. The Democratic and Republican parties differed in their conceptions of federal power and state rights as well as on matters related to social order and personal liberty. They articulated these differences in political platforms and manifested them in their approach to public policy. The obsession with constitutional issues was not confined to the halls of Con
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NORMAN, D. B. "Henry De la Beche and the plesiosaur's neck." Archives of Natural History 27, no. 1 (February 2000): 137–48. http://dx.doi.org/10.3366/anh.2000.27.1.137.

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There was a close relationship, as neighbours, friends and colleagues, between the triumvirate of Henry Thomas De la Beche, William Daniel Conybeare and William Buckland, who were among the most important and influential members of the Geological Society of London during the decades immediately following its foundation in 1807. Their mutually supportive work on, and interest in, the geology and fossils of their local Dorset coast, meant that each had a great familiarity with the Lias (Lower Jurassic) and its fossil flora and fauna. Henry De la Beche was, however, also blessed with artistic fla
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Kabir, Nahid. "Depiction of Muslims in Selected Australian Media." M/C Journal 9, no. 4 (September 1, 2006). http://dx.doi.org/10.5204/mcj.2642.

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 Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties. —John Milton (1608-1674)
 
 
 Introduction
 
 The publication of 12 cartoons depicting images of Prophet Mohammed [Peace Be Upon Him] first in Denmark’s Jyllands-Posten on 30 September 2005, and later reprinted in European media and two New Zealand newspapers, sparked protests around the Muslim world. The Australian newspapers – with the exception of The Courier-Mail, which published one cartoon – refrained from reprinting the cartoons, a
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Dissertations / Theses on the topic "Caricatures and cartoons Australia History"

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Huen, Yuk-wan, and 禤育昀. "The representation of space and cultural memory in Hong Kong independent comics." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48334601.

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This paper explores the way Hong Kong independent comics encapsulate the essence of the city. Independent comics are distinguished from mainstream comics by their specific mode of production. More significantly they demonstrate an emphasis on subjective personal creativity and craftsmanship, which stands out sharply in the pervasive objective culture in modern society. Adopting an anthropological approach in representing local ways of living, these comics attempt to map an identity of Hong Kong in a way that is free from confusing influences of her postcolonial history, her political subordin
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Verster, F. P. (Francois Philippus). "'n Kultuurhistoriese ontleding van pikturale humor, met besondere verwysing na die werk van T.O. Honiball." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53521.

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Thesis (PhD)--Stellenbosch University, 2003.<br>ENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his
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Boetzkes, Amanda. "Berlin in disorder : the representation of nature in the works of George Grosz." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79288.

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George Grosz's paintings and drawings of Berlin during the Weimar period demonstrate a complex matrix of tensions between nature and the urban experience. In his work, mechanization, sexuality, gender and animality are recurring themes that cue the viewer to the profound anxiety that modernity had unleashed a chaotic force into the city. Using an ecofeminist analysis, I show how the disorder of the city was imagined as a primordial human condition in which a previously disavowed connection to nature was suddenly foregrounded. Though Grosz's renditions of Berlin scenes are ironic, they a
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Bianchi, Alessandro. "Their swords were brushes : instances of political satire in eighteenth-century Japan." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709168.

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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.

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Lemieux, Éric. "Un chardon dans les jardins de la reine : le référendum de 1995 tel que (re)présenté à travers la caricature au Canada anglais." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ47216.pdf.

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Foster, John E. (John Elwall). "A critical, social and stylistic study of Australian children's comics." 1989. http://web4.library.adelaide.edu.au/theses/09PH/09phf755.pdf.

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"Beijing cartoon: a contested site of cultural production." 1999. http://library.cuhk.edu.hk/record=b5896334.

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by Cheung Hiu Wan.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.<br>Includes bibliographical references (leaves [135-140]).<br>Abstracts in English and Chinese.<br>Acknowledgement<br>Abstract<br>List of figures<br>Chapter Chapter 1. --- Introduction<br>Chapter 1.1 --- Scope of Study --- p.1<br>Chapter 1.2 --- Literature Review --- p.3<br>Chapter 1.3 --- Methodology --- p.13<br>Chapter 1.4 --- Structure of the Thesis --- p.17<br>Chapter Chapter 2. --- Historical Development of Comics in China<br>Chapter 2.1 --- Comics History before1949 --- p.24<br>Chapter 2 . 2 --- Comics un
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Mudd, Scott E. "Graphic propaganda Japan's creation of China in the prewar period, 1894-1937 /." Thesis, 2005. http://micro189.lib3.hawaii.edu/ezproxy/details.php?dbId=320.

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Books on the topic "Caricatures and cartoons Australia History"

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Joffe, Mick. Endangered characters of Australia: Their yarns & caricatures. Berowra Heights, Sydney, N.S.W: Mike & Phyl Joffe, 1995.

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Lent, John A. Comic art of Africa, Asia, Australia, and Latin America through 2000: An international bibliography. Westport, Conn: Praeger, 2004.

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Lent, John A. Comic art in Africa, Asia, Australia, and Latin America: A comprehensive, international bibliography. Westport, Conn: Greenwood Press, 1996.

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Lindesay, Vane. Drawing from life: A history of the Australian Black and White Artists' Club. [Australia]: State Library of New South Wales Press, 1994.

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Homan, Anne Marshall. Vasco's Livermore, 1910: Portraits from the Hub Saloon. Walnut Creek, Calif: Hardscratch Press, 2010.

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Historical Kimberley cartoons. Kimberley, South Africa: Kimberley Africana Library, 2009.

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Simons, Wendell. Forgotten history: Cartoons. Dalles, Or: Columbia Gorge Publishery, 1995.

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The story of America in cartoons. London: Arcturus, 2015.

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Richard, Havers, ed. The Stones: A history in cartoons. Stroud: Sutton, 2006.

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Chinese history: Ancient China to 1911. Singapore: Asiapac Books, 2006.

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Book chapters on the topic "Caricatures and cartoons Australia History"

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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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