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Hatem, Majida. "La caricature et le message latent : étude en France et au Liban de caricatures relatives à la guerre d'Irak." Amiens, 2008. http://www.theses.fr/2008AMIE0020.
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Silva, Lívia Freitas Pinto. "O povo no imaginário dos letrados: as representações dos setores populares nas páginas da revista O Malho (1904-1908)." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/762.
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A presente pesquisa teve como objetivo primordial conhecer as representações sobre a população que habitava o Rio de Janeiro, então capital federal, através da análise das charges veiculadas na revista O Malho durante os primeiros anos do século XX, mais especificamente entre os anos de 1904 e 1908. Ao longo deste trabalho, procuramos analisar como os setores populares foram representados pelos chargistas do periódico, bem como examinar como essas crônicas humorísticas retrataram a participação da sociedade carioca durante a sua Belle Époque. Para tal, buscamos conhecer as imagens que nos mostraram o cotidiano dos diferentes grupos sociais que habitavam a cidade em vias de modernização, suas reações em face do “bota- abaixo”, do regulamento da higiene, da vacinação obrigatória contra a varíola e da crise imobiliária. Procuramos avaliar, também, o modo como esses atores sociais se comportaram diante das ações e medidas contempladas pelos governos de Passos e Souza Aguiar, no Executivo municipal e Rodrigues Alves e Afonso Pena, à frente do poder federal. O exame dessas fontes nos permitiu mergulhar no universo sócio- cultural da cidade e, ao mesmo tempo, fazer uma leitura da iconografia de humor político do Rio de Janeiro da Primeira República cuja tônica recaiu sobre a análise do comportamento popular.
This dissertation intends to study the representations of people who lived in Rio de Janeiro, federal district at the time, through the analysis of cartoons printed in the “O Malho” magazine, during the early years of the twentieth century, more specifically, between the 1904-1908 period. Throughout this research, we analyzed how brazilians coming from different economic and social strata were represented by press cartoonists, as well as examined how those humorous chronicles portrayed society´s participation during the Belle Époque. Therefore, we looked into the images that show the lives of different social groups who inhabited the city during its modernization, their reactions to the urbanization process, hygiene regulation, mandatory vaccination politic and the imobiliary crisis. We aim to study the reactions of these social actors to the measures took by city governments, such as Passos and Souza Aguiar, and national leaders, like Rodrigues Alves and Afonso Pena. The examination of these cartoons allowed us to delve into the city´s sociocultural environment and interpret the iconography of political humor in Rio de Janeiro during Brazil´s First Republic, regarding popular behavior.
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CONDE, MIGUEL BEZZI. "VOICES AND CARICATURES: ESSAYS ON CONTEMPORARY BRAZILIAN LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=33045@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROPROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A dissertação reúne cinco ensaios sobre a ficção brasileira contemporânea, articulados em torno da ideia de que os anos 1990 e 2000 são um momento de crise dos conceitos que demarcavam o valor e lugar da literatura no Brasil. Se entre nós o valor literário foi muitas vezes pensado em função de seu índice de verdade ou medida de utilidade, as fraturas atuais nas noções de História e Nação ajudam a redefinir interesses, prioridades, referências e caminhos dos autores brasileiros. Discussão que não implica um experimentalismo ensimesmado, mas antes um jogo político, no sentido de busca de um lugar. Num tal contexto, o surgimento de vozes narrativas que vinculam o narrado a uma determinada inflexão afetiva aparece como contraponto às incertezas, instaurando um novo tipo de assertividade que orienta e circunscreve a imaginação do leitor. Uma rediscussão da distinção feita por Blanchot entre falar e ver, e da experiência de leitura como descrita por Iser, abre caminho para o exame da tensão entre visão de mundo e modo de ver inerente ao texto literário, e fundamenta o desenvolvimento da noção de uma literatura caricatural, que permite a constatação de afinidades entre autores aparentemente díspares, como João Anzanello Carrascoza, André Sant Anna e Marcelino Freire. Apresentados em conjunto, os três são também pensados em separado, em leituras críticas apoiadas na discussão das noções de kitsch, engajamento político e valor do ordinário.
This dissertation is composed of five essays about contemporary Brazilian literature, organized around the idea that the 1990s and 2000s are a moment of crisis in the concepts that traditionally defined the value and place of literature in Brazil. If among us literary value has often been measured according to its degree of truth or usefulness, the current fractures in the notions of History and Nation help to redefine the preoccupations, priorities, references and practices of Brazilian authors. This does not result in an insular experimentalism, but rather in a political effort, in the sense of search for a place. In such a context, the emergence of narrative voices that link the narrated events to a determined affective inflection appears as a counterpoint to uncertainties, establishing a new kind of assertiveness that guides and circumscribes the reader s imagination. A discussion of Blanchot s distinction between speaking and seeing, and of the experience of reading as described by Iser, opens up the way for the analysis of the tension between the point of view and the viewpoint intrinsical to literary texts, and supports the development of the notion of a caricatural literature, which allows the recognition of affinities between apparently incompatible authors, such as João Anzanello Carrascoza, André Sant Anna e Marcelino Freire. Although presented as a group, they are also examined individually, in critical readings that rely on the discussion of such notions as kitsch, political commitment and the value of the ordinary.
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Alvarado, Lezama Almendra Geraldine. "El lenguaje visual de la caricatura política peruana desde 1978 a 1982: Monos y Monadas y Oiga." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/651605.
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La investigación plantea como objetivo principal el análisis del lenguaje visual de la caricatura política peruana desde 1978 a 1982 para representar la realidad del país durante la transición de poder del gobierno militar al democrático. Por esta razón, se buscó identificar si se desarrolló un lenguaje visual para representar situaciones coyunturales y personajes en las caricaturas, y si tuvo influencia en la percepción y legitimidad de la clase política.
De este modo, se realizó un análisis de contenido de un total de 20 caricaturas publicadas en la revista Monos y Monadas y el diario Oiga, durante el periodo acotado, el cual se basó en un estudio denotativo y connotativo de cada elemento dentro de la pieza visual. Adicionalmente, se entrevistó a un caricaturista contemporáneo de la época para profundizar el panorama de la investigación. Entre los principales resultados se observó el uso frecuente de recursos retóricos como la metáfora y la oposición, la utilización del zoomorfismo y la personificación, así como la representación de personajes políticos a través de animales como perros y gorilas en estado salvaje e irracionales. Finalmente, el análisis de cada muestra permitió concluir que, durante el periodo delimitado, la opinión y crítica propia de la caricatura política se consolidó al punto de construir su propio lenguaje visual para representar la realidad del país.The research has as its main objective the analysis of the visual language of the Peruvian political cartoon from 1978 to 1982 to represent the reality of the country during the transition from the power of the military government to the democratic one. For this reason, it was sought to identify if a visual language was developed to represent short-term situations and characters in the cartoons, and if it had an influence on the perception and legitimacy of the political class. Thereby, a content analysis was performaced of a total of 20 cartoons published in the magazine Monos y Monadas and the newspaper Oiga was made during the limited period, which was based on a denotative and connotative study of each element within the visual piece. Additionally, a contemporary cartoonist of the time was interviewed to deepen the research landscape. Among the main results are the frequent use of rhetorical resources such as metaphor and opposition, the use of zoomorphism and personification, as well as the representation of political characters through animals such as dogs and gorillas in the wild and irrational state. Finally, the analysis of each sample allowed us to conclude that, during the defined period, the opinion and criticism of the political cartoon was consolidated to the point of building its own visual language to represent the reality of the country.
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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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Rivière, Philippe Tillier Bertrand. "La caricature, le dessin de presse et le dessin d'humour en France, de la Révolution à nos jours." [S.l.] : [s.n.], 2005. http://www.enssib.fr/bibliotheque/documents/dessid/rrbriviere.pdf.
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Rapport de recherche bibliographique de master professionnel 2e année : Ingénierie documentaire : Villeurbanne, ENSSIB : 2005. Rapport de recherche bibliographique de master professionnel 2e année : Ingénierie documentaire : Lyon 1 : 2005.Texte intégral.
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Bosch-Abele, Susanne. "La Caricature (1830-1835) : Katalog und Kommentar /." Weimar : Verl. und Datenbank für Geisteswissenschaften, 1997. http://catalogue.bnf.fr/ark:/12148/cb37201694r.
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Wilz, Kelly. "From caricatures to characters processes of rehumanization in Iraq War films /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3354488.
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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2009.Title from PDF t.p. (viewed on Feb. 3, 2010). Source: Dissertation Abstracts International, Volume: 70-04, Section: A, page: 1266. Adviser: Robert L. Ivie.
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Meson, Emmanuelle. "Les relations israélo-palestiniennes entre 1982 et 1999, d'après les caricatures de presse du "Monde", "The Jerusalem Post" et "Al-Fajr"." Montpellier 3, 2007. http://www.theses.fr/2007MON30071.
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Cette thèse s’intéresse aux relations israélo-palestiniennes à travers l’analyse comparative de la caricature de presse, dans des quotidiens français, israéliens et palestiniens : Le Monde, The Jerusalem Post et Al-Fajr. L’objectif de cette étude est de comparer la couverture médiatique des évènements entre les journaux, selon leur pays d’origine et leur prise de position. La presse outil d’information ou relais du conflit israélo-palestinien ? L’étude, qui s’étend sur une période de dix-huit ans, de 1982, avec la guerre du Liban, à 1999 et l’accord de Charm el Cheik, porte principalement sur un échantillon de trois journaux, publiés en France, en Israël et dans les territoires occupés. Cette thèse s’intéresse à l’image que ces journaux donnent des personnalités politiques concernées par ce sujet, aux obstacles de la paix qui ressortent de leurs caricatures de presse, et à la vision qu’ils ont des pays étrangers qui interviennent dans la région. Les résultats de ce travail mettent en évidence la relative liberté dont jouissent les caricaturistes, les attaques incisives dont certains font preuve et la place importante qu’ils occupent au sein de leur journal respectif. De tous les journaux, Le Monde est le plus consensuel. La presse israélienne critique tout autant les Palestiniens, que son propre gouvernement. La presse palestinienne, elle, pousse la satire très loin sur des sujets comme la politique israélienne et la vision des Etats-UnisThis thesis is interested in Israelis and Palestinians relationships through a comparative analysis of the political caricatures, of the French, Israelis and Palestinians newspapers : Le Monde, The Jerusalem Post, and Al-Fajr. The aim of this study is to compare the media coverage of events between the newspapers according to their country of origin and their position. The press information tool or relay of the Israelis – Palestinians conflict? This study which cover a period of 18 years, from 1982 and the Lebanon’s war, to 1999 and the aggreement of Sharm el Sheikh, focuses on three newspaper published in France, Israel and the occupied territories. This thesis study the image that these newspapers give of the politicians concerned by this conflict, the obstacles to peace that emerged from their caricatures, and the vision they have of the foreign countries involved in the region. The results of this work shows the relative freedom enjoyed by cartoonists, including some hard attacks, and the importance they hold within their respective newspapers. Of all the newspapers, Le Monde is the most consensual. The Israeli press criticism both his own government and the Palestinians. The palestinian press, it pushes satire very far on topics such as the Israeli policy and the vision of the United States
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Pociūtė, Vaiva. "Politinių karikatūrų, kaip žodžio laisvės išraiškos, problematika demokratiškoje žiniasklaidoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090805_085429-03820.
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Pastaruoju metu kilę vietiniai ir tarptautiniai konfliktai žiniasklaidoje vis dažniau priverčia atsigręžti į pamatinę jos vertybę - žodžio laisvę. Skirtinga šios sąvokos samprata dažnai tampa nesutarimų objektu, todėl žiniasklaidos vaidmuo ją pateikiant bei formuojant labai svarbus. Taigi, darbo tikslas yra ištirti pranašo Mahometo (angl. k. Mohammad) karikatūrų atvejo vaizdavimą Lietuvos žiniasklaidoje ir nustatyti, kokios reakcijos, požiūriai atsispindi žodžio laisvės problematikoje.
Iš pradžių, tikslui pasiekti gilinamasi į pačios demokratiškos žiniasklaidos sampratą, žodžio laisvę ir esminius jų pokyčius moderniųjų technologijų amžiuje. Toliau, siejant žodžio laisvę su politinių karikatūrų žanru, atskleidžiamas jų prieštaringas santykis. Tuo pačiu supažindinama su pranašo Mahometo karikatūrų atveju ir reakcijomis užsienio žiniasklaidoje. Galiausiai, pateikiama įvykio analizė Lietuvos spaudos ir internetinės žiniasklaidos priemonėse, išskiriant savitus bruožus iš kitų užsienio šalių ir nustatant dominuojančią poziciją žodžio laisvės aspektu.
Pagrindinis darbo objektas – Mahometo karikatūrų atvejis Lietuvos žiniasklaidoje – yra tiriamas taikant kiekybinės ir kokybinės turinio analizės metodą. Toks pasirinkimas suteikia galimybę plačiau ir giliau pažvelgti į konkrečios žiniasklaidos priemonės indėlį formuojant tarptautinį įvykį, skatinant tarptautines diskusijas, o taip pat palyginti duomenis tarptautiniame kontekste.
Gautos tyrimo išvados parodo, kad Mahomedo karikatūrų... [toliau žr. visą tekstą]The latest local and international conflicts forced to look back to the democratic society’s value – freedom of speech. Different conceptions become an axis of the conflict, so the role of media is very important in constructing and presenting it. That’s why this work’s goal is to research specific international event, Mohammed’s cartoon controversy in Lithuanian media, and to define the reactions and opinions which reflect the freedom of speech problematic. At first, the research was concentrated on democratic media conception, freedom of speech and there fundamental changes in modern technology age. Further, looking for the connection between freedom of speech and political caricature genre, it is tried to reflect the controversial connection. At the same time, I try to present the Mohammed’s cartoon controversy and reactions of it in foreign media. Last, this international event is analyzed in certain Lithuanian press and internet media, trying to characterize certain attributes from other countries and determine the dominated position in freedom of speech frame. The basic work’s object is Mohammed’s cartoon controversy in Lithuanian media. The investigation is made by using quantity and quality content analyzes. This type of this method gives the ability to look deeper in certain media tools and there affect to construction of international event, trying to stimulate international discus and compare data in international context. General research conclusions show that... [to full text]
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Richard, Sara. "La production satirique illustrée du caricaturiste montréalais Joseph Charlebois (1872-1935)." [S.l. : s.n.], 2006.
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Ege, Konrad. "Karikatur und Bildsatire im Deutschen Reich : "Der wahre Jacob", Hamburg 1879-1880, Stuttgart 1884-1914 : Mediengeschichte, Mitarbeiter, Chefredakteure, Grafik /." Münster : Lit Verl, 1992. http://catalogue.bnf.fr/ark:/12148/cb376366394.
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Brisson, Réal. "La représentation d'Oka : une crise vue par la caricature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0004/NQ36241.pdf.
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Pissarra, Mario. "Criticism and censorship in the South African "alternative" Press with particular reference to the cartoons of Bauer and Zapiro (1985-1990)." Bachelor's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/14749.
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Includes bibliography.Cartooning is an extremely heterogeneous practice whose genealogy can be traced back to caricature. This paper does not concern itself with the diversity that can be found in the cartoons of Derek Bauer and Jonathan Shapiro (Zapiro), but rather chooses to focus on the potential of cartooning as a critical art practice. Given that the "flipside" of criticism is censorship, the effects of censorship on cartooning together with cartooning's response to censorship will also be examined. Cartoons published in the alternative press after the 1985 declaration of a State of Emergency, but preceding the unbanning of political organisations in February 1990, which comment directly on press or political censorship, as well as those which raise issues pertinent to censorship, provide the basis for examining the converse notions of criticism and censorship. Having said this it should also be stated at the outset that whilst this paper focuses on particular cartoons produced in specific historical circumstances, it is also intended that this paper will have broader implications for the development of a contemporary critical art practice. This paper proceeds from the premise that criticism and censorship are oppositional and antagonistic concepts which seldom appear alone. Criticism, particularly when expressed publicly and directed at specific interest groups (eg. a ruling elite) frequently evokes censorship, whilst censorship and repression in turn breed criticism and resistance.
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Álvarez, Chávez Roland. "La masculinidad figurada la representación del significado social de la virilidad en las ilustraciones de humor de la prensa limeña /." Lima : Fondo Editorial de la Facultad de Ciencias Sociales, UNMSM, 2005. http://www.cybertesis.edu.pe/sdx/sisbib/envoi?dest=file:/d:/cybertesis/tesis/production/sisbib/2004/alvarez_chr/xml/../pdf/alvarez_chr.pdf&type=application/pdf.
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Master's thesis in sociology (2004), Universidad Nacional Mayor de San Marcos (Peru); directed by Mg. Guillermo Nugent Herrera.Title from ebook home page (viewed on nov. 20, 2009). Includes bibliographical references (p. 166-173). Also available in print.
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Uzcanga, Meinecke Francisco. "Sátira en la Ilustración española. : analisis de la publicacion periodica El Censor (1781-1787) /." Frankfurt am Main : Vervuert, 2004. http://catalogue.bnf.fr/ark:/12148/cb39963909q.
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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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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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Le, Meur Jegou Monique. "Forme et nature comparées de la caricature dans les romans anglais et français du XIXe siècle." Paris 3, 2000. http://www.theses.fr/2000PA030107.
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Art qui exagere a partir du reel, la caricature se differencie du grotesque. C'est un art, en effet, que de resumer d'un trait un etre ou une situation a l'idee que l'on veut exprimer. La caricature est un langage double qui scelle sa signification par le mot d'esprit. Ses intentions sont donc satiriques. Caricaturer dans quel but ? d'abord pour rire. Et aussi pour montrer, denoncer, accuser. A l'origine, la caricature est graphique, jeu avec les formes, pour s'opposer au beau a la renaissance. Litterature et peinture usent du meme langage, symboles, allegories, emblemes, dont s'accommode le langage double de la caricature. William hogarth (1697-1764) reste le modele des relations de sens verbal et visuel. Charles dickens (1812-1870), william. Makepeace thackeray (1811-1863) en angleterre, guy de maupassant (1850-1893), gustave flaubert (1821-1880) en france, caricaturent les memes maux. Les themes de la caricature restent traditionnellement politiques et sociaux. Dickens et thackeray sont impregnes de la satire graphique de leur temps. Maupassant et flaubert sont les heritiers du realisme et du naturalisme que rejette avec horreur l'angleterre. L'art, aux yeux des contemporains, doit etre moral. La fantaisie de dickens lui permet de caricaturer pour faire rire. Thackeray voile ses sarcasmes d'ironie comme flaubert. Maupassant se contente de demontrer. Le realisme est une convention, l'illusion de la representation du reel dont fait partie la caricature.
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Maillard, Sophie. "Pharmacie, pharmacien et médicament à travers le dessin de presse (1950-2000)." Bordeaux 2, 2000. http://www.theses.fr/2000BOR2P098.
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Stephens, Russell James. "Slanging the emperor : Honoré Daumier’s Le Monde illustré caricatures of the 1867 Exposition Universelle." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43378.
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Cras, Pierre. "Archétypes, caricatures et stéréotypes noirs du cinéma d'animation américain du XXe siècle (1907-1975)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA153.
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Cette thèse porte sur les notions d'archétypes, caricatures et stéréotypes et leurs applications aux personnages noirs dans le film d'animation américain du XXe siècle. C'est en 1907 qu'est diffusé aux Etats-Unis le tout premier film d'animation mettant en scène un personnage noir. Ce dernier, appelé coon, était l'héritier d'une longue tradition de représentations péjoratives qui visaient à maintenir les Noirs dans une position d'altérité et d'infériorité face aux Blancs. Les premiers exemples de ces représentations se retrouvent notamment dans le comic strip américain dont les artistes ont d'abord été dessinateurs, puis « animateurs ». Toutefois, une grande partie des traits physiques et de l'idéologie qui sous-tendent à la création de ces personnages avait déjà été déterminée au XIXe siècle par des disciplines pseudo scientifiques consacrant « l'infériorité » des Noirs sous couvert d'une fausse science, surtout la physiognomonie et la phrénologie, des disciplines émettrices de ce type d'observations et de dessins qui connurent un succès important aux Etats-Unis après avoir été diffusées en Europe. Une autre source d'influence dans l'édification des stéréotypes noirs des films d'animation est celle du spectacle vivant, en particulier les numéros de vaudeville et du Blackface (spectacles populaires de la fin du XIXe siècle aux années 1960 durant lesquels des comédiens blancs grimés en Noirs parodiaient ces derniers). Les personnages noirs du cinéma d'animation reprenaient ces trois influences dont les traces sont largement perceptibles jusqu'aux années 1940. Les représentations péjoratives des Noirs dans l'animation évoluent lentement à partir de 1941 et la conscription des soldats Africains-Américains durant la Seconde Guerre mondiale. Bien qu'une majorité de films d'animation continuent de mettre en scène des personnages caricaturaux, des changements commencent à poindre légèrement, notamment à travers l'exploitation de la musique bebop. L'après-guerre marque une transition définitive entre anciennes caricatures et nouvelles représentations. La montée des revendications des Africains-Américains en faveur d’une égalité de traitement créé une ambivalence entre leurs velléités réformatrices et la persistance d'archaïsmes dépréciatifs dans le cinéma d'animation. Au gré des avancées sociales obtenues par le Mouvement pour les Droits Civiques et du combat mené par les partisans du Black Power, les personnages noirs du cinéma d'animation, puis du dessin animé télévisuel intègrent ces nouvelles dynamiques positives mais également conformistes, parfois déconnectées des réalités des Africains-Américains. Les représentations les plus en adéquation avec leur époque proviennent finalement du milieu du film d'animation underground des années 1970 où se côtoient prostituées et bonimenteurs autour d'un sous-texte social inéditThis thesis focuses on the notions of archetypes, caricatures and stereotypes as well as their application to black characters in twentieth-century American animated films. In 1907, the very first animated film depicting a black character, “Coon”, was screened. “Coon” came from a long tradition of pejorative depictions that targeted African Americans and defined them down as “others” and “inferiors”. The first regular examples of these representations emerged in American comic strips and were drawn by cartoonists who soon became “animators”. A large part of the ideology and physical representations leading to the creation of these characters was inspired by pseudo-scientific theories that sanctioned black people “inferiority”, graphically and ideologically in the name of pseudo-sciences, including first and foremost physiognomy and phrenology, which first gained influence in Europe before reaching the United States. Vaudeville and Blackface Minstrelsy performances – popular shows that lampooned Black people and were performed by white actors in make-up from the end of the nineteenth century to the 1960s – also played a significant role in the creation of black otherness. The black characters in animated films were a reflection of these three cultural influences and remained unchanged until the 1940s. The negative depictions of African Americans in animated films began to evolve slowly when the United States entered World War II. Slow changes were perceptible through the use of bebop music in such films, although the vast majority of those films remained full of caricatures of Black people. Irrevocable changes rose in the post-war period, from old caricatures to new representations. Increasing demands by African Americans for equal rights created an ambiguity between their integrationist aspirations and the remaining visual traces going back to the period of slavery. The gradual legal gains achieved through their fight in the Civil Rights and Black Power movements led to a new televisual and cinematic imagery, which showed more positive sides of Blackness, despite the persistence of a conformist tone, sometimes out of touch with African American reality. The most faithful reflections of African American experience ultimately came from underground animated movies in the 1970s, in which prostitutes and hustlers added to a new social subtext
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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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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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Delépine, Marie-Pierre. "Présidents et chanceliers dans les caricatures politiques : représentation et symbolique du couple franco-allemand (1950-1998)." Paris 3, 2007. http://www.theses.fr/2007PA030066.
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La présente thèse propose une analyse des mécanismes de réception des relations franco-allemandes depuis la Seconde Guerre mondiale dans les dessins de presse et les caricatures politiques ; ceci autour de la notion centrale de « couple franco-allemand ». Elle aborde ainsi les relations bilatérales dans leur rapport aux symboles, à l’image en général, en particulier à l’image satirique. Elle établit un lien entre la terminologie officielle et les mises en scène et en image proposées par les dessinateurs des deux pays. Ce travail s’efforce de souligner l’interaction féconde entre ces deux systèmes rhétoriques. Après une partie consacrée à la terminologie des relations franco-allemandes (définition, polysémie du terme de « couple », personnalisation du discours franco-allemand), la thèse présente une rétrospective de la caricature franco-allemande c’est-à-dire des regards croisés entre les deux nations, ainsi qu’une approche comparative de la situation actuelle du dessin de presse en France et en Allemagne (dynamisme, rapport au pouvoir). Enfin, ce travail cherche à montrer l’adaptation de la rhétorique officielle par les dessinateurs (polyvalence et évolution des représentations du couple, conséquences de la perte de l’ennemi héréditaire et de la réconciliation, continuité et bilatéralité). Il présente notamment les images doubles, celles qui évoquent à la fois les périodes de crise et d’harmonie et offre une approche monographique (travail d’un seul dessinateur sur un couple) avant de s’attacher à l’étude d’une nouvelle icône de la caricature franco-allemande : le mano a mano de Verdun en 1984This dissertation analyses the mechanisms through which Franco-German relations have been addressed in press cartoons and political caricature since the Second World War, focusing on the central idea of the « Franco-German couple ». It tackles the interplay in bilateral relations between symbols, images in general, and more particularly satirical images; it establishes a link between the official terminology and the depiction by cartoonists in both countries. This study seeks to highlight the fruitful interplay between these two rhetorical systems. Firstly, the thesis focuses on the terminology relating to Franco-German relations (definition, polysemic nature of the expression « couple » and personalization of the Franco-German discourse), before making a retrospective presentation of Franco-German caricature and the view each nation has of the other, as well as a comparative analysis of the current status of press cartoons in France and Germany (dynamics, relation to power). Finally, this study aims at showing how cartoonists have adapted official rhetoric (versatility and evolution in depictions of the couple, consequences of the loss of the traditional enemy and of reconciliation, continuity and bilateralism). In particular, it presents dual images, those conjuring up both times of crisis and harmony, and takes a monographic approach -using the work of a single cartoonist on the couple, prior to examining a new icon of Franco-German caricature : leaders hand-in-hand in Verdun in 1984
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Meindl, Christine. "Zeichnungen zur Münchner "Jugend" : Originale der Sammlung Dachs, 1896-1932 : [Begleitband zu einer Ausstellung vom 13. 04. 05 bis zum 04. 05. 05 im Foyer der Zentralbibliothek der Universität Regensburg /." Regensburg : Museen der Stadt Regensburg, 2005. http://catalogue.bnf.fr/ark:/12148/cb41127595s.
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Farhat, Amina. "Figures du discours critique : la réception humoristique des Rougon-Macquart de Zola (Pastiches et Caricatures)." Paris 3, 2007. http://www.theses.fr/2007PA030161.
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Considérés pendant longtemps comme des moyens de dérision et de moquerie grivoise et insensée, les pastiches et les caricatures adressés à l’œuvre zolienne avaient été souvent relégués au rang de critique « légère », marginale et inutile. Or notre travail consiste à démontrer, supports humoristiques à l’appui, que tout en étant comique et dérisoire, cette manière un peu particulière de présenter le texte littéraire était un moyen efficace de lire, comprendre, analyser et critiquer l’œuvre zolienne. Ainsi et tout en tournant en dérision le chef naturaliste et ses ouvrages, pasticheurs et caricaturistes étaient les premiers sinon les seuls à pénétrer le sens profond de la pensée et de la création zoliennes, à voir les différentes nuances du style et de l’imaginaire zoliens et à pouvoir rendre compte de la spécificité d’une œuvre à la fois une et multiple. Pastiches et caricatures s’avèrent ainsi des moyens d’institutionnalisation qui, en reprenant la norme zolienne et en la perpétuant, avaient participé à constituer l’œuvre raillée comme création littéraire incontournable et donc à la réhabiliter en tant que texte littéraire à part entière. Ainsi, tout en faisant du rire et de l’exagération les fondements même de sa lecture critique, cette réception humoristique s’avère être l’une des figures les plus importantes sinon la plus importante et la plus « sérieuse » de la réception naturaliste du XIXème siècleConsidered during a long time as means of derision and smutty and insane mockery, lampoons and caricatures addressed to zolien’s work had often been relegated to the rank of light, marginal and useless critic. However our work consists in demonstrating that while being comic and desidory, this manner a few particular to present the literary text was a means efficient to read, to understand, to analyse and to criticize zolien’s work. So and as turning in derision the naturalistic chief and his works, caricaturists were the first otherwise the alone to penetrate the deep sense of the thought and zolien’s creation, to see the diffrent nuances of the style and the zolien’s imaginary and to be able to return account of the specificity of a work one at a time and multiple. Lampoons and caricatures prove to be thus of institutionalization means that, while taking zolien’s norm and while perpetrating it, had participated in to constitute the work laughed at like creation literary therefore to clear it as fully-fledged literary text. Thus, and all while doing of the laughter and the exaggeration the same foundations of his readings, this humorous receipt proves to be one of the most important faces otherwise the more important and most serious of the naturalistic receipt to the XIXth century
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Fraixanet, Pierre. "Buenos aires 1900. Les caricatures de "caras y caretas" (vie politique et sociale 1898-1900)." Toulouse 2, 1990. http://www.theses.fr/1990TOU20053.
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Buenos aires 1900 retrace l'histoire de l'argentine et de sa capitale d'octobre 1898 a decembre 1900 a travers les caricatures politiques de la revue "caras y caretas". L'etude se limite exclusivement a ces dates. Elle comporte aussi une evocation de la naissance de "caras y caretas" et la presentation de ses fondateurs. Le corpus se decompose en deux parties: "scenes et portraits 1898-1900", qui regroupe toutes les couvertures comportant des caricatures, du 8 octobre 1898 au 29 decembre 1900: "le livre ,d'or de caras y caretas" qui regroupe lui-meme une serie de portraits commencee en janvier 1900. Le bur de ce travail est d'interpreter ces caricatures, de reconnaitre les personnages et de restituer l'evenement evoque a travers ces dessinsBuenos aires 1900 traces the history of argentina and its metropolis from october 1898 to december, through the political caricatures of the magazine "caras y caretas". The study is exclusively limited within these two dates. It also contains a picture of the birth of "caras y caretas", and an introduction to its creators. This corpus is made up of two parts: scenes and portraits 1898-1900, wich groups together all the covers with caricatures from october 8, 1898, down to december 29, 1900, "the golden book of caras y caretas" which contains a series of portraits begun in january 1900. The aim of this worth is to give an interpretation of these caricatures, to recognize characters and place the events evoked through these drawings
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Dang, Nguyen Doan Thuc. "Le dessin de presse en France et au Vietnam : approche comparative du Canard enchaîné et du Tuổi Trẻ Cười." Rouen, 2010. http://www.theses.fr/2010ROUEL021.
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Le dessin d'humour dans la presse a un lien indissociable avec la culture. Par son aspect médiatique, il cherche à transmettre un message, qui met l'accent sur un problème ou un dysfonctionnement de la société. Par son aspect linguistique, il se présente comme unité spatiale au sein de laquelle interagit une variété de signes composants. Cette étude compare les représentations dans le dessin de presse de deux sociétés qui sont rapprochées par leur histoire commune mais néanmoins que tout oppose. Elle aboutit à une analyse comparative qui portera sur l'observation des dessins provenant des deux journaux choisis comme objet d'étude : le Canard enchaîné et le Tuoi Tre CuoiPress humoristic drawing is inseparably linked to culture. His media dimension makes it try to send a message focusing on a social problem or on a social dysfunction. On his linguistic side, it appears as a unit of space where a variety of signs interacts. This study compares press humoristic drawing representations of two societies sharing a common history nevertheless utterly different. It ends up to a comparative analysis dealing with the observation of drawings from two newspapers chosen as objects of study : the Canard enchaîné and the Tuoi Tre Cuoi
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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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Ortner, Mathias. "Processus ponctuels marqués pour l'extraction automatique de caricatures de bâtiments à partir de modèles numériques d'élévation." Phd thesis, Université de Nice Sophia-Antipolis, 2004. http://tel.archives-ouvertes.fr/tel-00189803.
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Cette thèse se place dans un cadre de reconstruction urbaine et propose un corpus algorithmique pour extraire des formes simples sur les Modèles Numériques d'Elévation. Ce type de données décrit le relief d'une zone urbaine par une grille régulière de points à chacun desquels est associée une information de hauteur. Les modèles utilisés reposent sur l'utilisation de processus ponctuels marqués. Il s'agit de variables aléatoires dont les réalisations sont des configurations d'objets géométriques. Ces modèles permettent d'introduire des contraintes sur la forme des objets recherchés dans une image ainsi qu'un terme de régularisation modélisé par des interactions entre les objets. Une énergie peut être associée aux configurations d'objets et la configuration minimisant cette énergie trouvée au moyen d'un recuit-simulé couplé à un échantillonneur de type Monte Carlo par Chaîne de Markov à sauts réversibles (RJMCMC). Nous proposons quatre modèles pour extraire des caricatures de bâtiments à partir de descriptions altimétriques de zones urbaines denses. Chaque modèle est constitué par une forme d'objet, une énergie d'attache aux données et une énergie de régularisation. Les deux premiers modèles permettent d'extraire des formes simples (rectangles) en utilisant une contrainte d'homogénéité pour l'un et une détection des discontinuités pour l'autre. Le troisième modèle modélise les bâtiments par une forme polyhédrique. Le dernier modèle s'intéresse à l'apport d'une coopération entre des objets simples. Les algorithmes obtenus, automatiques, sont évalués sur des données réelles fournies par l'IGN (MNE Laser et optiques de différentes qualités).
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MAKXIMOVITZ, CLAUZEMIR. "THE FACE OF GOD AND HIS CARICATURES: A THEOLOGICAL STUDY ON LIMITS OF LANGUAGE ABOUT GOD." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30387@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
BOLSA NOTA 10
A pergunta acerca das imagens de Deus questiona vários pressupostos da fé e da tradição. A compreensão de Revelação talvez seja a primeira e mais importante. Daí decorre um itinerário que esse trabalho quer abordar apontando algumas consequências para a fé e a vivência dessa fé. Não é mais possível alimentar um discurso fantasioso como justificação ou legitimação de um agir egoísta. Não se nos atermos à transformação necessária na imagem de Deus, que não castiga, interfere ou escolhe apenas alguns. A superação dos limites de um deus externo e interventor gera uma postura nova naquele que crê. Essa pesquisa segue esse caminho, de libertação dos conceitos acerca de Deus apontando como consequências o diálogo, com Deus e com o outro, a autonomia e liberdade do ser humano e a responsabilidade que disso advém em relação ao mundo e à realidade criada. Para tanto este trabalho confronta diversos autores sobre os assuntos tratados, concedendo, contudo à reflexão de Andrés Torres Queiruga um espaço maior.
The question about the images of God challenges several pillars of faith and tradition. Perhaps the undestanding of Revelation is the first and most important one. Considering that, an itinerary arises, and this work intends to follow it, pointing few consequences for the faith and for the experience of this faith. There is no possibility anymore to strenghten a fantastic speech as justification or legitimization for a selfish acting. Not if we focus on the necessary transformation of the God s image, that doesn t punish, doesn t interfere, doesn t select only a few ones. Overcoming the limits of an external and intervenor god generates a new attitude from that one who has faith. This research, follows this path for to release the concepts about God, by pointing as consequences the dialogue with God and with each other, the human autonomy, freedom and the responsabily that comes from that, about the worl and all reality created by God. For that purpose, this dissertation compares and analyses different authors about the subjects matters, granting a large space to reflection of Andrés Torres Queiruga.
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Ngo, Regina Pearl. "Francis Poulenc's Les Soirees De Nazelles| A Motivic Analysis of the Preambule and Its Corresponding Caricatures." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785842.
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Although Francis Poulenc wrote majority of his most alluring piano works as accompaniments for other solo instruments, Les Soirées de Nazelles represents one of his greatest accomplishments for piano. This analysis examines the Préambule as a compilation of the variations that subsequently follow it, grafted together to create an opening that collectively glues together the overall work. It will take into consideration Francis Poulenc's use of keys, rhythms, dynamics, articulations, and overall character choices within the variations, and subsequently draw relevant correlations that flow into his treatment of the Préambule, proving that it is a graft of those compositional elements.
The concept of analyzing works as "grafts" was developed by music theorist René Rusch in order to examine closely related pieces. This analysis takes the concept of grafting out of its original musical context of analyzing multiple pieces, and instead applies it to one multi-movement work.
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Ortner, Mathias Zerubia Josiane. "Processus ponctuels marqués pour l'extraction automatique de caricatures de bâtiments à partir de modèles numériques d'élévation." [S.l.] : [s.n.], 2004. http://tel.archives-ouvertes.fr/tel-00189803/fr.
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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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Poletto, Caroline. "Tão perto ou tan lejos? Caricaturas e contos na imprensa libertária e anticlerical de Porto Alegre e de Buenos Aires (1897-1916)." Universidade do Vale do Rio dos Sinos, 2011. http://www.repositorio.jesuita.org.br/handle/UNISINOS/3057.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação pretende analisar as caricaturas e contos de alguns periódicos e suplementos libertários e anticlericais de Buenos Aires e de Porto Alegre que circularam nessas cidades durante os anos de 1897 a 1916, procurando abordar as variadas maneiras e estratégias de que tais veículos da pequena imprensa se utilizavam para contestar, denunciar e, possivelmente, efetivar ações em prol de uma nova realidade. Utilizar-se-á da comparação para contrapor um contexto social a outro, para apontar diferenças e semelhanças entre as diversas publicações aqui estudadas, bem como ao que concerne à análise das caricaturas e dos contos, realizando aproximações e distanciamentos entre o discurso visual e o verbal de tais elementos. As caricaturas serão tratadas enquanto representações, pois se acredita que a dimensão das imagens é sempre uma (re) criação, uma (re) interpretação de um possível real e, no caso em questão, as imagens serão consideradas ainda como um instrumento de luta, uma arma de combate. Já os contos serão considerados elementos pedagógicos preciosos para a conscientização dos leitores, uma vez que a brevidade dos mesmos tencionava transmitir sem complexidade a mensagem a que se propunham. Além disso, supõe-se que tanto as caricaturas, quanto os contos apresentam um alcance maior do que as matérias extensas, ou seja, atingem um número maior de leitores, o que tanto justifica seu estudo como alude à importância desses elementos para a formação dos seus leitores. Os periódicos utilizados para o exame serão o La Protesta de Buenos Aires e os gaúchos A Luta e Lúcifer, somando-se a esses os suplementos La Obra e o Suplemento de La Protesta de Buenos Aires.
This essay intends to analyze caricatures and tales of some libertarian and anti-clerical journals and supplements from Buenos Aires and Porto Alegre which circulated in these cities during the years 1897 to 1916, in an attempt to portray the many ways and strategies used by those small press vehicles in order to contest, denounce and, possible, implement actions to promote a new reality. Comparison will be used in order to oppose a social context to another, pointing out differences and similarities between the several publications addressed in this study, as well as what concerns the analysis of the caricatures and tales, carrying out similarities and differences between visual and verbal discourse of such elements. The caricatures studied here will be treated as representations, since it is believed that the dimension of the images is always a (re) creation, a (re) interpretation of a possible reality, which in this case, the images are seen as a class struggle tool, a combat weapon. The tales, on the other hand, are considered valuable pedagogical elements in the promotion of the readers awareness, since its briefness had the intention to convey the message without complexity. Moreover, it is assumed that both the caricatures and the tales have a broader range than the longer materials, i.e., they reach a greater number of readers, which justifies this study and alludes to the importance of these elements in the formation of its readers. The periodicals that are going to be used for the analysis are La Protesta, from Buenos Aires and A Luta and Lúcifer, both from Porto Alegre, and also the supplements La Obra and Suplemento de La Protesta from Buenos Aires.
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Kim, Seri. "Les images absurdes : approche sémiologique d'un certain type de dessins humoristiques." Paris 1, 2008. http://www.theses.fr/2009PA010507.
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II est ici question d'exporter du domaine littéraire Ie mot et l'idée d'absurde ; ceci afin d'introduire ces derniers dans Ie domaine des images visuelles. Plus précisément, notre travail consiste a passer de l'étude des illustrations de textes absurdes (ou reputés tels) aux images absurdes en elles-mêmes. Compte tenu de la différence entre l'absurde et les notions qui en sont proches (incongru, fantastique etc. ), nous cherchons à établir un classement pouvant rendre compte du fonctionnement des images humoristiques. L' établissement de trois versus sémantiques permet de mener à bien une première catégorisation : comique / tragique, sens / non-sens et possible / impossible. Les images absurdes (aussi ambivalentes qu'ambiguës) trahissent-elles ainsi divers degrés de tension entre les termes des versus retenus. Chemin faisant, se dégage une nouvelle voie a explorer, en la matière, celIe du dissensus communis.
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Chatterjee, Apurba. "Imaging Royalty : A Study of the Representation of George III of Great Britain in hisPortraits and Caricatures." Thesis, Uppsala universitet, Historiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254026.
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Bogansky, Amy Elizabeth. "The Devil's servants satire in colonial America and the visual language of conflict (Pennsylvania) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.51 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435863.
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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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Maret, Pascale. "L'humour dans le ballet au XXe siècle." Paris 10, 1985. http://www.theses.fr/1985PA100085.
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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.
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Thomas, Julie George. "Information Censorship: A Comparative Analysis of Newspaper Coverage of the Jyllands-Posten Editorial Caricatures in Cross-Cultural Settings." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31550/.
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The identification and examination of cultural information strategies and censorship patterns used to propagate the controversial issue of the caricatures in two separate cultural contexts was the aim of this dissertation. It explored discourse used for the coverage of this topic by one newspaper in a restrictive information context and two newspapers in a liberal information context. Message propagation in a restrictive information environment was analyzed using the English daily Kuwait Times from the Middle East; the liberal information environment of the US was analyzed using two major dailies, the New York Times and the Philadelphia Inquirer. The study also concurrently identifies and elaborates on the themes and frames through which discourse was presented exposing the cultural ideologies and premises they represent. The topic was approached with an interdisciplinary position with the support and applicability testing of Chatman's insider-outsider theory within information science and Noelle-Neumann's spiral of silence theory and Herman and Chomsky's propaganda model based in the area of mass communication. The study has also presented a new model of information censorship - circle of information censorship, emphasizing conceptual issues that influence the selection and censorship of information.
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Ferguson, Olivia Mary. "Literary forms of caricature in the early-nineteenth-century novel." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31529.
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This thesis examines the status of caricature in the literary culture of early-nineteenth- century Britain, with a focus on the novel. It shows how the early-nineteenth- century novel developed a variety of literary forms that negotiated and remade caricature for the bourgeois literary sphere. Case studies are drawn primarily from the published writings and manuscript drafts of Thomas Love Peacock, Jane Austen, Mary Shelley, and Walter Scott. The first chapter elucidates the various meanings and uses of 'caricature' in the eighteenth and early nineteenth centuries, when the term was more ambiguous and broadly applied than literary criticism and print history have acknowledged. I counter the assumption that the single-sheet satirical print was central to conceptions and practices of caricature in this period, giving examples of the textual, dramatic, and real-life 'caricatures' that were more often under discussion. The second and third chapters consider the unstable distinction between textual caricature and satirical characterisation in early-nineteenth-century literary culture. They explain how the literary construction of textual caricature developed from two sources: Augustan rulings against publishing satires on individuals, and caricature portraits as a pastime beloved of genteel British society. I argue that Peacock and Austen adapted forms of 'caricaturistic writing' that were conscious of the satirical literary work's relation to caricature. Subsequent chapters turn to the thematic uses of caricature in the early-nineteenth- century novel. In the fourth chapter, I uncover the significance of caricature to deformity in Mary Shelley's fiction, presenting evidence that her monsters' disproportion was inherited from the 'real-life' caricatures diagnosed in philosophical and medical texts of the eighteenth century. The final chapter traces ideas about caricature through the writings of Walter Scott, and finds that Scott conceived of exemplary graphic and textual caricatures as artefacts of antiquarian interest.
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Leonardi, Eva. "La deuxième Intifada dans les caricatures éditoriales de quotidiens allemands, canadiens, américains, israéliens et palestiniens : une analyse comparative de la prise de position à travers les représentations visuelles." Thesis, Université Laval, 2005. http://www.theses.ulaval.ca/2005/22833/22833.pdf.
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Ce mémoire propose une analyse comparative de la caricature éditoriale dans des quotidiens de l’Allemagne, du Canada, des États-Unis, d’Israël et de la Palestine. L’étude examine la prise de position des dessins de presse pour ou contre une des parties impliquées dans la Deuxième Intifada du conflit israélo-palestinien. De plus, la recherche analyse la variation des représentations visuelles de nature politique et culturelle selon les quotidiens d’orientations politiques diverses et de différents types d’entreprise. L’étude s’est effectuée à partir d’une analyse de contenu des caricatures selon des méthodes quantitatives et qualitatives. Les résultats mettent en évidence que l’origine du pays de publication est plus décisive dans la prise de position de la caricature éditoriale que l’orientation politique ou le type d’entreprise du quotidien ; de plus, les représentations politiques sont plus fréquentes que celle de la culture, indiquant une vision de la Deuxième Intifada comme un conflit politique plutôt qu’ethnique.
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Mazurier, Stéphane. "Bête, méchant et hebdomadaire : une histoire de "Charlie Hebdo" ,1969-1982 /." Paris : Buchet Chastel, 2009. http://catalogue.bnf.fr/ark:/12148/cb41440157c.
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Svahn, Magdalena. "Women without Means : An analysis of Female Caricatures and Ironic Effect in Jane Austen's Emma and Pride and Prejudice." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-32184.
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Pereira, Washington Kuklinski. "O traço e a pena: a campanha abolicionista de Ângelo Agostini na Revista Illustrada (1884-1888)." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/13214.
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The propose of this research is to study the historical process that resulted in the end of Brazilian slave work force, from the analysis of the caricatures produced by Ângelo Agostini on Revista Ilustrada (Ilustrated Magazine), from 1884 to 1888. The political caricatures that allow people to understand the process which resulted in the elaboration, approval and applicability of the Lei do Sexagenário (Sexagenarian Law) is analyzed. Ângelo Agostini made the abolitionist campaign from Ceará public, he also noticed errors on the law, he used to speak ironically about politicians who expected to be benefited by the slaves proprietors and ridiculate the minister Saraiva, considered by artists as the defender of the attempt to postpone the abolition of the slavery. The relation between the Catholic Church and the Brazilian State about the slavery is analyzed; and how Ângelo Agostini, with the caricatures, used to denounce the torture applied to the slaves by their proprietors and by the police, being ignorated by Brazilian Bishops silence The change of the Imperial Family position about the servile element, like the requirement of the elaboration, approval of the Áurea Law by the Senate, were mentioned by Ângelo Agostini in his caricatures, that magnified the Princess Isabel image as the biggest responsible for the abolition of the slavery in Brazil, admired by the whole Brazilian population, mainly by the free slaves
A proposta deste trabalho é, a partir da análise das caricaturas produzidas por Ângelo Agostini, na Revista Illustrada, entre os anos de 1884 e 1888, estudar o processo histórico que culminou no fim do uso de mão-de-obra escrava no Brasil. São analisadas caricaturas políticas que possibilitaram entender o processo que resultou na elaboração, aprovação e aplicação da Lei do Sexagenário. Ângelo Agostini divulgou a propaganda abolicionista cearense, apontou falhas nas propostas da lei, ironizou políticos que buscavam benefícios aos senhores de escravos e zombou do Ministro Saraiva, considerado pelo artista como o defensor da tentativa de postergação da abolição da escravidão. É estudada a relação entre a Igreja Católica e o Estado Brasileiro na questão do escravismo; e como Ângelo Agostini, através das caricaturas, denunciava as torturas aplicadas aos escravos por seus senhores e pela polícia, sendo ignoradas pelo silêncio dos Bispos brasileiros. A mudança de postura da Família Imperial sobre a questão do elemento servil, como a solicitação da elaboração e aprovação pelo Senado da Lei Áurea, foi relatada por Ângelo Agostini em suas caricaturas, que exaltaram a figura da Princesa Isabel como grande responsável pela abolição da escravidão no Brasil, admirada por toda população brasileira, principalmente pelos escravos libertos
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Zaldívar, Peralta Trinidad. "Sonrisas de la memoria : la caricatura en Chile : imaginario nacional y representación política (1858-1891)." Paris 1, 2005. http://www.theses.fr/2005PA010714.
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Ce perpétuel film comique de l'histoire du Chili qu'offrent les caricatures de la presse entre 1858 et 1891, montre le visage d'un pays inconnu, différent de l'officiel, et d'autres manières de faire de la politique qui sont restées en dehors de l'historiographie nationale. L'univers des publications qui les contiennent paraît une excellente source pour reconsidérer cette période en montrant des aspects nouveaux des évènements politiques, sociaux et culturels du 19e siècle. . . .
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Turgeon, Alexandre. "Robert La Palme et les origines caricaturales de la Grande Noirceur duplessiste : conception et diffusion d'un mythistoire au Québec, des années 1940 à nos jours." Doctoral thesis, Université Laval, 2015. http://hdl.handle.net/20.500.11794/26424.
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Avec la Révolution tranquille, la Grande Noirceur occupe une place de choix dans l’imaginaire collectif des Québécois. Ces deux mythistoires articulent une conception dichotomique du passé québécois où l’année 1960 apparaît comme une fracture entre deux temps et deux mondes, entre l’Ancien et le Nouveau Régime. Cette thèse s’intéresse aux origines caricaturales de la Grande Noirceur duplessiste. Jusqu’ici, les chercheurs qui ont abordé la question des mythistoires constitutifs du Québec moderne se sont surtout arrêtés aux discours des intellectuels regroupés au sein du journal Le Devoir, de la revue Cité Libre et de la Faculté des Sciences sociales de l’Université Laval. Pour notre part, nous mettons en lumière la contribution du caricaturiste Robert La Palme dans la conception et la diffusion du mythistoire de la Grande Noirceur duplessiste au Québec. Robert La Palme est l’un des plus éminents caricaturistes que le Québec ait connus. Entre 1939 et 1962, à l’emploi des plus importants journaux canadiens-français de l’époque, il présente sa vision caustique de l’actualité. Au fil des ans, quantité de personnages de tous horizons et milieux politiques et culturels se sont retrouvés dans le grand théâtre qu’est son œuvre satirique. Mais nul n’a autant retenu l’attention de l’artiste que Maurice Duplessis, chef de l’Union nationale et premier ministre de la province de Québec de 1936 à 1939, puis de 1944 jusqu’à son décès survenu en 1959. Dans des centaines de caricatures, La Palme prend un malin plaisir à caricaturer l’homme et son « régime », ses idées et ses convictions, ses actes et ses prises de position. Ce faisant, le caricaturiste produit quelques-unes des images d’Épinal de la Grande Noirceur duplessiste. Par le truchement de l’œuvre du caricaturiste Robert La Palme, cette thèse étudie les processus de production et de circulation des discours ayant pour objet la Grande Noirceur duplessiste depuis les années 1940. Nous montrons que Robert La Palme tient un discours original sur la Grande Noirceur duplessiste. Sa contribution la plus importante à cet effet est certainement la formule « Toé, tais-toé! », que le caricaturiste est le premier à mettre dans la bouche de Maurice Duplessis. Cette formule est, depuis, devenue l’un des fleurons de ce mythistoire. D’autres discours sur la Grande Noirceur duplessiste ont recours aux caricatures de La Palme. Deux brochures électorales du Parti libéral provincial ainsi que des manuels scolaires, un événement commémoratif et une synthèse historique ont retenu notre attention. Dans les années 1940 et 1950, le Parti libéral provincial recourt aux caricatures de La Palme pour répondre à la démagogie de l’Union nationale. Quand la caricature ne sert pas carrément de discours politique, celui-ci prend les traits de la caricature. Depuis les années 1980 enfin, les caricatures de Robert La Palme ont été utilisées pour des motifs éducatifs, commémoratifs et historiques afin de renforcer le mythistoire de la Grande Noirceur duplessiste.Alongside the Quiet Revolution, the Great Darkness occupies a special place in the collective imaginary of the Quebeckers. Those two mythistories articulate a dichotomical conception of Quebec’s past where the year 1960 appears as a fracture between two distinct times and two worlds, between the Old and the New Regime. This thesis explores the caricatural origins of the Great Darkness of the Duplessis era. Up until now, researchers who have discussed the matter of the constitutive mythistories of modern Quebec were mostly interested in the discourses from intellectuals grouped at newspaper Le Devoir, journal Cité Libre and the Faculté des Sciences sociales of the Université Laval. As for us, we focus on the contribution of caricaturist Robert La Palme in the conception and diffusion of the mythistory of the Great Darkness of the Duplessis era in Quebec. Robert La Palme is one of the most prominent caricaturists that Quebec has ever known. Between 1939 and 1962, he worked at the most important French-Canadian newspapers of the time and presented his caustic view of current affairs. Throughout the years, a wide variety of characters from all political and cultural backgrounds found their way inside the great theatre which was his satirical comedy. No one else attracted the attention of the artist more than Maurice Duplessis, leader of the Union Nationale and Premier of the province of Quebec from 1936 to 1939, then from 1944 right until his death in 1959. In hundreds of caricatures, La Palme took malicious delight in drawing caricatures of the man and his “regime”, his ideas and his convictions, acts and position statements. By doing so, the caricaturist produced some of the iconic images of the Great Darkness of the Duplessis era. Carried out through the works of caricaturist Robert La Palme, this thesis studies the production process and flow of the discourses that referred to the Great Darkness of the Duplessis era since the 1940s. We show that Robert La Palme gave an original discourse on the Great Darkness of the Duplessis era. His most important contribution to this regard is the formula “Toé, tais-toé!”, that he first put over the mouth of Maurice Duplessis. This formula has since become one of the icons of this mythistory. Other discourses regarding the Great Darkness of the Duplessis era have also resorted to La Palme’s caricatures. Two electoral brochures of the provincial Liberal Party as well as schoolbooks, a commemorative event and an historical synthesis grabbed our attention. In the 1940s and 1950s, the provincial Liberal Party used La Palme’s caricatures in order to reply to the Union Nationale’s demagoguery. When the caricature did not serve as a political discourse, the latter took the traits of the caricature. Since the 1980s, Robert La Palme’s caricatures were finally put to use for educative, commemorative and historical purposes to enhance the mythistory of the Great Darkness of the Duplessis era.
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Delporte, Christian. "Dessinateurs de presse et dessin politique en France des années 1920 à la Libération." Paris, Institut d'études politiques, 1991. http://www.theses.fr/1991IEPP0007.
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Le présent travail cherche à la fois à valoriser le dessin de presse comme document d'histoire et contribue, par l'étude de ses auteurs - dans un cadre individuel et collectif -, à l'histoire des journalistes et du journalisme. L'entre-deux-guerres est marqué par une entrée massive du dessin dans la grande presse. Les caricaturistes, en se pliant à ses exigences, transformant leur profession, abandonnant leurs traditionnels caractères d'artistes pour devenir d'authentiques journalistes. Ils participent avec fougue aux polémiques de leur temps et font du dessin de presse une arme politique redoutable qui s'exprime avec une particulière violence dans les années 1930. De telle sorte que la caricature peut être considérée par l'historien comme un véritable instrument de mesure du débat politique. Le dessin de presse, négligé par Vichy, se distingue comme un outil de propagande privilégié de la collaboration parisienne. L'époque de la libération, enfin, s'inscrit dans l'histoire du dessin de presse et des caricaturistes, comme une période de profonde ruptureThe present article seeks to give weight to newspaper cartoons as historical documents and the same time to contribute, through a study of cartoonists - on an individual and collective basis - to the history of journalists and journalism. The interwar period is marked by the massive inclusion of cartoons in main newspapers. Caricaturists, bowing to the demands of the press, transform their profession and give up their traditional artistic spirit in order to become authentic journalists. They participate with spirit to the controversies of their era and transform newspaper cartoons into a fearsome political weapon which spoke out with particular violence in the 1930's. To such and extent that caricatures can be considered by historians as a genuine instrument of evaluation in the political debate. Newspaper cartoons, neglected by Vichy, stood out as privileged tool of propaganda for the Parisian collaboration movement. The period of liberation, at last, marks the history of newspaper cartoons and caricaturists, like a deep period of rupture