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Journal articles on the topic 'Caricatures'
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1
Brennan, Susan E. "Caricature Generator: The Dynamic Exaggeration of Faces by Computer." Leonardo 40, no. 4 (August 2007): 392–400. http://dx.doi.org/10.1162/leon.2007.40.4.392.
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The author has researched and developed a theory of computation for caricature and has implemented this theory as an interactive computer graphics program. The Caricature Generator program is used to create caricatures by amplifying the differences between the face to be caricatured and a comparison face. This continuous, parallel amplification of facial features on the computer screen simulates the visualization process in the imagination of the caricaturist. The result is a recognizable, animated caricature, generated by computer and mediated by an individual who may or may not have facility for drawing, but who, like most human beings, is expert at visualizing and recognizing faces.
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Mbatia Kinyanjui, Benjamin. "Visual analysis of the big four agenda caricature as portrayed in new media: A case of the Gadocartoons.com." Journal of Media and Communication (JMC) 1, no. 1 (September 22, 2022): 37–46. http://dx.doi.org/10.51317/jmc.v4i1.257.
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This paper focuses on the Visual analysis of the Big Four Agenda as portrayed in the new media caricature. The study aims to depict the sociopolitical and economic context after the 2017 election, focusing on visual communication as embedded in political caricature. This study seeks to unearth such hidden meanings embedded in the Big Four Agenda caricature. The study adopted a qualitative method to arrive at descriptive findings. The researcher applied a semiotic analysis paradigm to analyse the sampled data by interpreting the signs system through connotative and denotative aspects entrenched in the caricatures. The researcher purposively sampled Three caricatures published by Godfrey Mwampembwa, a Tanzanian, Kenyan-based caricaturist. The results established that Gaddo's caricatures deployed various stylistic devices to criticise the socioeconomic and political plight of the Kenyan people. The devices included puns, codemixing, facial expressions, and gestures. The major themes derived from this caricature were Corruption, Leniency, Selfish economic Interest and Short-lived socioeconomic promises. This study concludes that in as much as a caricature is used as a means of humour, it most significantly conveys messages that require interpreting sociopolitical and ideological knowledge.
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Abdulallah, Lect Dr Rafid Jihad. "Satirical Caricatures in the Andalusian Poetry." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 137–54. http://dx.doi.org/10.36473/ujhss.v221i1.428.
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Satirical caricature is deemed one of the critical topics that occupied a central position in the poetry of Andalusia through the ages, and it gained momentum during The Almoravids’ (“al-Murabitun’s”) times, and this is especially the case as their poetry seemed to have been more concerned with the satirical depictions of the jurists and the judges. The present research paper has fallen into two major divisions: the first one is treating of the political satirical caricature, while the second one is mainly concerned with the social satirical caricature. The first division branches out into three sections, as follows:
Section One: Satirical Caricatures of Ministerial Members.
Section Two: Satirical Caricatures of the Statesmen.
Section Three: Satirical Caricatures of the Judges.
As for the second division, it branches out into two sections, as follows:
Section One: Satirical Caricatures of the Jurists.
Section Two: Satirical Caricatures of the Misers.
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Lewis, Michael B., and Robert A. Johnston. "Understanding Caricatures of Faces." Quarterly Journal of Experimental Psychology Section A 51, no. 2 (May 1998): 321–46. http://dx.doi.org/10.1080/713755758.
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Lateral caricatures are transformed faces like caricatures but the transformation is orthogonal (in the face-space, Valentine, 1991) to the direction of caricaturization. It has been reported that lateral caricatures are more difficult to recognize than anti-caricatures (Rhodes & Tremewan, 1994). To investigate this effect, oblique caricatures (transformed obliquely to caricaturing) were generated by morphing between a veridical face and a reference face. Two experiments used a forced-choice similarity task to find which images are perceived to have the least change from the veridical. An advantage for caricatures over anti-caricatures was found, but none was found between oblique and anti-caricatures. Performance of theoretical lateral caricatures was extrapolated from the oblique caricature data. These lateral caricatures would be perceived as more similar to the veridical faces than were the anti-caricatures.
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Rhodes, Gillian, Graham Byatt, Tanya Tremewan, and Anthony Kennedy. "Facial Distinctiveness and the Power of Caricatures." Perception 26, no. 2 (February 1997): 207–23. http://dx.doi.org/10.1068/p260207.
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Caricatures, which increase the distinctiveness of faces, are generally recognised at least as well as undistorted images of those faces. However, caricatures seem to facilitate recognition more for some faces than others. An investigation was made into whether the effectiveness of caricaturing depends on a face‘s initial distinctiveness. In experiments 1–3, subjects learned names for unfamiliar faces (photographs) that varied in distinctiveness, and were tested on recognition of caricatures, anticaricatures, and undistorted images of those faces. The test images were line drawings in experiments 1 and 2 and photographic images in experiment 3. Experiments 1 and 2 were identical except that subjects had more exposure to the study photographs in experiment 1. In all three experiments, distinctive faces were recognised (named) more accurately than less-distinctive faces, and caricatures were recognised at least as accurately as undistorted images and better than anticaricatures. However, distinctiveness and caricature level did not interact. Nor did a face's initial distinctiveness correlate with the degree of recognition facilitation produced by caricaturing (experiments 1–3) or with the caricature level chosen as the best likeness (experiment 4). The effectiveness of caricatures varied across faces and experimental conditions, but these differences did not relate to differences in initial distinctiveness. These results prompted a more careful analysis of the expected relationship between initial distinctiveness and the power of caricatures, which indicated that the relationship may be curvilinear rather than linear. In addition, it was found that line-drawing caricatures functioned as superportraits (recognised better than undistorted images—experiment 1) but photographic caricatures did not (experiment 3), suggesting that the forensic potential of caricatures may be limited.
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Salnikova, A. A., and K. A. Korniushkina. "Cariсature as a Source of the Soviet Childhood History (Based on the “Pionerskaya Pravda” Newspaper in the Second Half of the 1920s)." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, no. 6 (2020): 194–209. http://dx.doi.org/10.26907/2541-7738.2020.6.194-209.
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This paper deals with the phenomenon of newspaper caricature and its influence on the life of Soviet children. Caricatures were widely used by the Soviet authorities as a means of official propaganda, in children’s periodicals as well. For children, they were employed to create an image of the “standardized” Soviet child, through cartooning and criticism of antipodes. The analysis of caricatures from the pages of the “Pionerskaya Pravda” newspaper dating back to the second half of the 1920s revealed the ways by which various archetypes developed in the satirical ideological images. Their strong impact on children was demonstrated. The caricatures for young readers of “Pionerskaya Pravda” were considered as a creolized text (binary – verbal–non-verbal) with categorical, simplified, political, and educational purposes. A classification of caricature images based on their genre and content was developed. The value of newspaper caricatures as a source for reconstruction of children’s “sovetization” in the USSR during the second half of the 1920s was discussed.
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Cerić, Haris, and Ešref Kenan Rešidagić. "Strip i karikatura u nastavi politilogije." Obrazovanje odraslih/Adult Education, no. 2 2019 (2020): 39–54. http://dx.doi.org/10.53617/issn2744-2047.2019.19.2.39.
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The intention of the authors is to demonstrate the utilisation of comictrips and caricature in political science teaching at university level. The kinship of comics and caricatures is reflected in the fact that they, as visual and verbal - visual media, form their own ''visual language''. In teaching in general, including higher education, comic strips and caricatures have a provoking value(scandalon), hence they represent an excellent motivational tool for learning. Certanly, the selection of appropriate comics and caricatures in crucial, therefore the paper provides examples of some comics and caricatures that can be used in political science teaching. Also, the readers are reffered to relevant theoretical starting points which can justify the use of comics and caricatures in teaching as visual and (or) verbal-visual media.
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Hiba Nadhim Jebur, Jebur, and Prof. Hashim Aliwy Mohammed Al-Husseini (Ph.D.). "A Pragmatic Analysis of Coronavirus Pandemic in Selected Iraqi Caricature Posters." Journal of Education College Wasit University 48, no. 1 (August 1, 2022): 555–68. http://dx.doi.org/10.31185/eduj.vol48.iss1.2910.
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A caricature is a drawing, the artist who draws it is a creative person who tries to send messages in a sarcastic way. This study is dedicated to investigate some selected Iraqi caricatures as one of the effective tools that have implied or hidden meanings. This study also tries to fill in the gap of the misunderstanding of the aims of the caricatures that have been taken from Iraqi newspapers. It also aims at identifying and explaining the elements of the pragmatic level of analysis for the selected coronavirus caricature posters. The researchers adopt Hymes’ SPEAKING model (1974), Grice’s Implicature theory (1975), and Yule’s Presupposition theory (1996). The study uses a qualitative method in collecting and analysing data. The selected data that will be analysed are three caricatures. The study concludes the importance of the pragmatic aspects in revealing the meaning of the texts in caricature posters by using different theories of pragmatics.
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Jaashan, Hasan Mohammed Saleh. "Decoding Sense in Caricatures: A Study in Semio-stylistics." Journal of Language Teaching and Research 10, no. 5 (September 1, 2019): 954. http://dx.doi.org/10.17507/jltr.1005.06.
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Icon, index, and symbol are the trichotomy parts of sign proposed by Peirce. The relationship between sign and object in them generates more and different interpretants. These parts focus primarily on non-verbal communication. Part of that nonverbal genre is caricaturing. Caricatures draw the attention of readers because caricaturists concretize the intended meaning in an overstatement style of drawing. This paper seeks to investigate how Peirce's terms of the sign; icon, index, and symbol are integrated into each caricature to complement the intended meaning of the caricaturists. Stylistically, it asks what are the foregrounding and de-familiarization features of these caricatures? It concludes that caricatures are mere connection between signs and objects results in formulating specific perception about the highlighted phenomena. Moreover, in caricatures there are some idiosyncratic aspects that make them de-familiarized and foregrounded. The researcher collected samples of caricatures from different newspapers to support his arguments.
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Poyet, Thierry. "Flaubert et la caricature : l’exigence de la modernité." Quêtes littéraires, no. 10 (December 30, 2020): 66–77. http://dx.doi.org/10.31743/ql.11533.
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Quelquefois caricaturé par ses contemporains, Flaubert suscite les réactions dans l'outrance, lui qui ose dans sa Correspondance abonder dans la caricature selon ses humeurs et ses opinions en excellant dans l'hyperbole et l ’emphase. Un mot de son cru le résume : « hénaurrrme ». Au demeurant, ses personnages les plus mémorables sont des caricatures : de l ’amour avec Emma, de la bêtise avec Bouvard et Pécuchet, de la bonté avec Félicité d'Un Cœur simple… Dans la fabrique flaubertienne, l'incarnation est intrinsèquement liée à la déformation, elle-même dégradée en parodie. Car la caricature chez Flaubert est partie prenante d'une pensée nihiliste : le romancier participe d ’une déconstruction généralisée de la société bourgeoise parune caricature évidemment politique même si l ’écrivain se défend d ’utiliser l'œuvre comme une tribune, au nom de l'autotélisme de l ’art. Au fond, c'est la modernité de Flaubert qui justifie le goût et l'usage de la caricature.
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Smith, Adam, and Michael Mateas. "Computational Caricatures: Probing the Game Design Process with AI." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 7, no. 3 (October 9, 2011): 14–18. http://dx.doi.org/10.1609/aiide.v7i3.12478.
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We propose the creation of computational caricatures as a design research practice that aims to advance understanding of the game design process and to develop the reusable technology for design automation. Computational caricatures capture and exaggerate statements about the game design process in the form of computational systems (i.e. software and hardware). In comparison with empirical interviews of game designers, arguments from established design theory, and the creation of neutral simulations of the design process, computational caricatures provide more direct access to inquiry and insight about design. Further, they tangibly demonstrate architectures and subsystems for a new generation of human-assisting design support systems and adaptive games that embed aspects of automated design in their runtime processes. In this paper, we frame the idea of computational caricature, review several existing design automation prototypes through the lens of caricature, and call for more design research to be done following this practice.
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Strzelczyk, Agata. "Dyplomata, Polak, minister spraw zagranicznych. Agenor Gołuchowski młodszy w karykaturze wiedeńskich pism satyrycznych." Galicja. Studia i materiały 7 (2021): 238–64. http://dx.doi.org/10.15584/galisim.2021.7.12.
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The aim of the article is to analyze the image of Agenor Gołuchowski in the light of caricatures published in Viennese satirical magazines (1895–1906). Agenor Gołuchowski the younger (1849–1921) was the only Pole in the position of the Minister of Foreign Affairs of Austria- Hungary (1895–1906). More than once, he became the object of mockery in newspapers such as “Kikeriki!”, “Wiener Caricaturen”, or “Der Floh”. The article focuses on how Gołuchowski was portrayed in caricatures and on what aspects of his identity they were focused. Caricatures are a contribution to reflection on racial and national stereotypes in Viennese satire and the mentality of the late nineteenth century.
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Pham, Thi Binh, Thi Hao Truong, and Duc Hieu Ta. "Designing and applying caricatures to teaching population geography at high school." Ministry of Science and Technology, Vietnam 65, no. 10 (October 25, 2023): 34–38. http://dx.doi.org/10.31276/vjst.65(10).34-38.
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Teaching material is necessary and plays an important role in the teaching and learning process. Caricature or cartoon is one of the most effective visual materials in teaching geography in high school. Caricature itself not only transmits information and knowledge but also helps the teacher to develop the student’s critical thinking skills in teaching geography. Nowadays, geography teachers can collect or design caricatures themselves by using various online applications or caricatures by hand. Caricature can be an important material for many geography teachers to design lesson plans and learning activities for students to discover new understandings in different topics. Applying caricature in teaching geography will greatly contribute to teaching innovation, combining different methods and teaching techniques, etc, especially in competent learning and teaching processes. This article briefly focuses on introducing the basic process of designing a caricature and ways to apply it effectively in teaching population geography at high school, bringing knowledge of joy to our students in each geography lessons.
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Mohammed, Maha Bakir, and Hiba Saad Abduljabbar. "Exploring the Importance of Contextual Factors in Translating Islamophobia Caricatures." JOURNAL OF LANGUAGE STUDIES 8, no. 2 (February 29, 2024): 230–44. http://dx.doi.org/10.25130/lang.8.2.11.
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This study sheds light on the role of the contextual factors in rendering the islamophobia caricatures to identify which of these factors is highly effective. The study aims at examining the importance of the speech events of the caricatures in question by the virtue of Hymes’ classification of contextual factors. It also aims at identifying which translation strategy is highly used by the translators in rendering the islamophobia caricatures. Consequently, the current study hypothesizes that ‘participants’ is the most effective factor that may affect the translation process. It also hypothesizes that the translation of this type of caricature is communicatively oriented. Eventually, the study draws two main conclusions that are: (1) identifying both addressors and addressees in the caricatures helps the translators reach the exact meaning of the caricaturists, and (2) the communicative strategy of free procedure has been adopted by the majority of translators.
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George, Leigh-Michil. "“Mind Is Revealed in the Countenance”: Subversive Laughter and Caricature in The Woman of Colour." Eighteenth-Century Fiction 35, no. 1 (January 1, 2023): 43–64. http://dx.doi.org/10.3138/ecf.35.1.43.
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Throughout The Woman of Colour (1808), Olivia Fairfield, the Black mixed-race heroine, ridicules the “fair sex” bodies of white female characters who irrationally judge the heroine as inferior because of the colour of her skin. In this article, I extend Lyndon J. Dominique’s reading of Olivia’s subversive gaze and laughter found in Imoinda’s Shade (2012). In building on Dominique’s insights, I show how Olivia paradoxically uses caricatural tropes of fat versus thin and young versus old to envision caricature on her own terms: to challenge and resist anti-Black stereotypes. When the novel is examined within the context of contemporary visual caricatures that depict the Black female body as grotesque, one recognizes that Olivia’s defensive use of verbal caricature is a rhetorically strategic attempt to challenge England’s racial hierarchy, by reaffirming her own femininity and “fairness.”
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Loshchilov, I. E., and A. B. Ustinov. "“The Heavy Lyre”: Around One of Bronislav Malakhovsky’s Cartoons." Studies in Theory of Literary Plot and Narratology 17, no. 1 (2021): 208. http://dx.doi.org/10.25205/2410-7883-2021-1-190-208.
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The essay is dedicated to the caricature of Nikolai Zabolotsky by the famous Leningrad graphic artist Bronislav Malakhovsky (1902–1937), the author of numerous “writer’s caricatures.” The development of this genre in the Soviet press of the 1930s is related to the artistic practices of the pre-revolutionary magazine “Satyricon,” where caricatures also served as an artistic expression of corresponding epigrams or literary parodies. In the Soviet times, this genre was used for the purposes of ideological assessment of any type of artistic creativity, giving “writer’s caricatures” an ominous meaning. An example of such work was Anatoly Spesivtsev’s imaginary portrait “Zabolotsky through the Eyes of an Artist.” On the contrary, Malakhovsky’s drawing is distinguished by sympathy and deep knowledge of the poetry of Zabolotsky. The authors of the essay restore the context of the caricature against the cultural background of the era, in particular, the so-called “Discussion about Formalism” of 1936. They demonstrate the connection of this drawing with Zabolotsky’s poetry, and also with tragic events in his and Malakhovsky’s lives in the late 1930s.
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Smith, Callum D. "Low Art, ‘Skits’, and ‘Pot-boilers’?" European Comic Art 17, no. 1 (March 1, 2024): 50–90. http://dx.doi.org/10.3167/eca.2024.170104.
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Abstract This article re-evaluates Thomas Rowlandson, and his historic dismissal as a ‘hack caricaturist’ (Gatrell), by quantitatively analysing his political caricatures from 1780–1827, exploring their range, political affiliations, and satirical techniques. Qualitative analysis of selected prints provides context and showcases his effectiveness and distinctive style of attack. A unique focus is placed on Rowlandson's publishers and their potential influence. The article aims to reposition Rowlandson as a prominent caricaturist of the medium's ‘golden age’, highlighting the value in his satirical artistic output and challenging the assertion that his caricatures were ‘pot-boilers, which cannot bear artistic comparison with his watercolours’ (Bryant and Heneage, eds.).
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Aritonang, Agusly Irawan. "KRITIK SOSIAL DALAM KARIKATUR (Analisis Semiotika Terkait Kritik Sosial dalam Postingan Instagram Gejayan Memanggil)." Scriptura 12, no. 2 (January 17, 2023): 122–32. http://dx.doi.org/10.9744/scriptura.12.2.122-132.
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Social criticism arises when there is no satisfaction with an existing order. In the political context, social criticism is often conveyed when the government system doesn’t run optimally and ideally. Many parties can convey social criticism and many ways how to to convey social criticism. The emergence of social media makes it easier to convey social criticism. Caricatures have long been known as a form of conveying social criticism, both in the form of satire and sarcastic statements. This paper seeks to see how social criticism is conveyed through the form of caricatures. Using Pierce's semiotics method, tracking the combination of icons, indexes, and symbols that appear from the caricatures posted by the @gejayanmemanggil account. The chosen caricature is a caricature that is the result of the creation by @gejayanmemanggil account admin, not a reposted caricature because it is the result of someone else's creation. As a result, criticism emerged targeting President Joko Widodo and his circle including his ministers as being the contradictive, anti-criticism and stifling freedom of expression. Criticism to members of the Council was also conveyed for not immediately ratifying the law that was deemed important as well as criticism of the Omnibus Law. In addition, a post related to Marsinah was raised as a reminder and a moral gesture to urge solve of her case.
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Bailey, Sandra S. "Training with Images: Real and Representational." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 38, no. 18 (October 1994): 1168–72. http://dx.doi.org/10.1177/154193129403801805.
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A total of 60 subjects (24 males and 36 females) participated in a study to determine if a caricature's accentuation of critical cues results in improved recognition of handshapes used in the American Sign Language manual alphabet. Each subject was randomly assigned to one of two training groups. One group trained with photographs of the handshapes and the other group used caricatures. Once mastery of the alphabet was demonstrated, their ability to recognize the handshapes shown in four different modes (positive and negative photographs, and positive and negative caricatures) was tested. In the unrestricted condition, the duration of exposure was not artificially constrained. In the restricted testing condition, the handshapes were displayed at 320 msec, 500msec and 700 msec. Both speed and accuracy were equally emphasized in the training and in the testing. The findings did not support the superfidelity hypothesis of caricatures. In the unrestricted condition, those trained with photographs responded significantly faster, regardless of mode, than those trained with caricatures. As predicted in the most restrictive display time (320msec), mean response time was significantly faster with caricatures. This study has direct implications regarding the media used to train American Sign Language. The findings support the use of photographs to depict and to train novices in the ASL handshapes. Further research is needed to determine if these findings hold true as the complexity of the handshape increases.
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Benson, Philip J., and David I. Perrett. "Visual Processing of Facial Distinctiveness." Perception 23, no. 1 (January 1994): 75–93. http://dx.doi.org/10.1068/p230075.
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Three experiments are reported in which the role of facial distinctiveness in line-drawing representations of famous faces has been examined. In the first subjects were asked to select their impressions of best likeness interactively from a continuous range of drawings generated in real-time. On average, 42% of caricatures were considered to be the best likeness of famous individuals. The distinctiveness of the target faces related by independent observers correlated with the degree of exaggeration faces received to produce an optimal likeness. More distinctive faces required less caricaturing. In the second experiment caricature levels chosen as best likenesses were investigated. Caricatures of famous faces were recognised more quickly (by 36% of subjects) and more accurately (by 28%) than the true veridical drawings. Thus caricature enhancement can improve recognition in terms of both speed and accuracy. In the third experiment the role of distinctiveness and its interaction with external and internal facial features was investigated. The external (outer) hairline present in the previous experiment was found to provide a powerful frame of reference for the perceptual assessment of individuals' appearances; estimations of best likeness without external features present were, on average, veridical. It is concluded that accurate line drawings of even highly familiar faces are poor at conveying identity. Distinctiveness enhancement improves their likeness and their recognisability. Such caricatured drawings provide improved access to memories of famous faces, which lends strong support to models of human-face memory and processing based on norm-based coding. When required to decide upon the veracity of line drawings based only upon internal features subjects were able to make accurate judgments of veridicality. As well as validating the interaction approach to best-likeness judgments, this result further indicates the difficulty in making judgments of identification based on piecemeal and sparse configural information.
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Baltodano Román, Gabriel. "Fisiognomía y fealdad cómica en la caricatura política de Enrique Hine (Physiognomy and Comic Ugliness in the Political Cartoons of Enrique Hine)." LETRAS 1, no. 59 (February 6, 2017): 155. http://dx.doi.org/10.15359/rl.1-59.7.
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Este artículo trata la caricatura política; en particular, el significado ideológico construido mediante dos procedimientos empleados en la sátira política de combate contra el liberal Ricardo Jiménez Oreamuno, a saber: la comparación fisiognómica (con figuras míticas y animales) y la fealdad cómica (Bergson) como rigidez mental, moral e intelectual. Se centra en las caricaturas del artista gráfico Enrique Hine Saborío, editor del periódico humorístico El Cometa.This article addresses political cartoons, and focuses on the ideological meaning constructed using two procedures found in political protest satire against the Costa Rican liberal Ricardo Jiménez-Oreamuno. They include the physiognomical comparison (with mythical figures and animals) and comic ugliness (Bergson) as mental, moral and intellectual rigidity. This study examines on the caricatures of the graphic artist Enrique Hine-Saborío , editor of the comic Costa Rican newspaper El Cometa.
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Churchill, Larry R. "Market Meditopia A Glimpse at American Health Care in 2005." Hastings Center Report 27, no. 1 (January 2, 1997): 5–6. http://dx.doi.org/10.1002/j.1552-146x.1997.tb00009.x.
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Images of the future are usually only caricatures of the present. Perhaps this picture of the future of medical care will also prove to be a caricature. Whether it does depends on choices that Americans have still to make.—Paul StarrThe Social Transformation of American Medicine
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Turgeon, Alexandre. "La Palme présenteDisplicuit Nasus Tuus : quand la caricature sert de discours politique au Québec." Journal of the Canadian Historical Association 25, no. 1 (August 28, 2015): 107–42. http://dx.doi.org/10.7202/1032800ar.
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Le 29 juin 1944, le gouvernement libéral d’Adélard Godbout déclenche des élections au Québec. Affaibli par son appui à Mackenzie King, le Parti libéral provincial se tourne vers le caricaturiste Robert La Palme pour la production d’une brochure intitulée La Palme présente Displicuit Nassus Tuus – du latin « Ton nez a déplu », en référence au nez de Maurice Duplessis, chef de l’Union nationale. Cette brochure ne contient que des caricatures. Si l’usage de la caricature dans ce contexte n’est pas particulier, on ne peut en dire autant de la place qui lui est accordée dans ce document. Pour étudier cette brochure, nous nous intéresserons aux stratégies électorales employées ainsi qu’aux caricatures choisies, afin de faire ressortir les thématiques et les enjeux privilégiés par le Parti libéral provincial. Dans cette brochure, il semble en fait y avoir confusion des genres entre caricature et discours politique. Cet article montre que la caricature sert de discours politique dans la brochure La Palme présente Displicuit Nassus Tuus, pavant la voie à la stratégie libérale contre Duplessis dans les années à venir. Les effets dépasseront le camp libéral pour se faire ressentir dans le discours antiduplessiste qui commence à prendre forme.
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Ibrahim, Ulfat Zakir, and Imran Elkhan Guliyev. "The means of expression of irony in caricatures on the subject of the Covid 19 pandemic in the French periodic press." Scientific Bulletin 2 (2021): 38–47. http://dx.doi.org/10.54414/ffaj1483.
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The article is devoted to the study of irony on the material of cartoons in the French periodical press on the topic of the COVID epidemic 19. The authors of the article examine the political cartoons used on the pages of French newspapers, magazines and the Internet, their genre features, functions. Caricatures - satirical drawings with verbal accompaniment, transmitting an assessment of political events, social phenomena, etc. - are an important visual-informative element of the press. The nature of the process of perceiving a political caricature is analyzed, the authors of the article come to the conclusion that caricatures are an important element of the French press and touch upon the burning topics of modern life and perform various functions.
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Djordjevic, Ena. "Caricatures." Colorado Review 46, no. 1 (2019): 107. http://dx.doi.org/10.1353/col.2019.0012.
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Teive, Hélio A. G., Gustavo L. Franklin, Plínio Lima, Francisco M. B. Germiniani, Carlos Henrique F. Camargo, and Olivier Walusinski. "The Art of Charcot: An Outstanding Caricaturist." European Neurology 84, no. 1 (2021): 49–52. http://dx.doi.org/10.1159/000513677.
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Jean-Martin Charcot is considered the father of modern neurology; alongside his work as a physician, professor, and researcher in this area, he was also artistically gifted with a taste for caricature. This historical note summarizes 8 caricatures by Charcot that exhibit a mixture of humor, satire, irony, and sarcasm.
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Rahmawati, Fadhilah. "Sikap Masyrakat Arab terhadap Perancis Pasca Kemunculan Karikatur Nabi Muhammad Saw dalam Majalah Charlie Hebdo Edisi September Tahun 2020: Studi Fenomenologi Edmund Husserl." JURNAL Al-AZHAR INDONESIA SERI HUMANIORA 7, no. 1 (March 30, 2022): 1. http://dx.doi.org/10.36722/sh.v7i1.561.
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<p><em>Abstract</em> -<strong> The purpose of this article is to describe the attitude of the Arab Arab community towards France after the appearance of the caricature of the Prophet Muhammad in the September 2020 edition of Charlie Hebdo Magazine based on the perspective of Edmund Husserl's phenomenological study. The problems that will be investigated are: (1) how did the caricature of Prophet Muhammad (PBUH) appear in Charlie Hebdo magazine?: and (2) how was the attitude of the Arab community towards France after the appearance of the caricature of the Prophet Muhammad in the September 2020 edition of Charlie Hebdo Magazine? The object studied is in the form of national and international online news media. The research method used is qualitative. Data collection using the watch and note technique. Then the data were analyzed by descriptive analysis technique. To validate the data, the technique used is the triangulation technique. The results of this research are (1) the appearance of caricatures of the Prophet Muhammad in Charlie Hebdo magazine starting in 2006 which is a reprint of the Danish magazine Jyllands-Posten. Chalie Hebdo magazine has published caricatures of the Prophet Muhammad four times in the vulnerable time between 2006 and 2020: and (2) the publication of caricatures of the Prophet Muhammad in the September 2020 edition of Charlie Jebdo magazine has raised angry attitudes from the Arab Muslim community towards Franc, through the condemnation of many countries, demonstrations of the Arab Muslim community, to the boycott of French products.</strong></p><div class="WordSection1"><p><strong><em>Keywords</em></strong> – <em>Cartoon of Prophet Muhammad, Charlie Hebdo, Arab-France Coflict, Phenomenolog</em></p></div>
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Sonina, Elena S. "The Literary Canon in the Russian Magazine and Newspaper Cartoons of the late 19th - early 20th centuries." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 122–50. http://dx.doi.org/10.46539/gmd.v3i3.194.
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An enormous amount of research has been devoted to studying the Russian classics. Nevertheless, the issue of reflecting social ideas about the writers whose works were included into the Russian literary canon has been insufficiently studied, especially with regard to satirical graphics. Caricature in the legitimate press is considered to be a popular visual art, with the image of a Russian writer demonstrating the attitude of society towards his work.
The purpose of this paper is to study the frequency of the portrayals of Russian writers in the satirical graphics of the early 20th century, which are viewed as a reflection of the established (and constantly updated) literary canon of Russia. Our objectives include identifying the images of Russian writers found in the satirical graphics, comparing the visualization techniques used to portray the authors in the caricatures of the 19th and early 20th centuries, highlighting the visual motifs used to contrast the literature of the past and the contemporary magazine issues and pointing out the persistent satirical characterizations and tropes of the images of famous writers, depending on the periodical.
On the basis of a selective scan of 25 thin magazines and two newspapers published from 1877 to 1917, more than 200 caricatures and satirical cartoons were identified, including benevolent and spiteful caricatures of Alexander Pushkin, Nikolai Gogol, Nicolai Nekrasov, Leo Tolstoy, Maxim Gorky and many others. The cartoons held the readers’ interest in their literary work, forming the people’s attitude towards the human qualities of the writers and highlighting their personality among the rest of their peers. The prevalence of humor or satire was directly related to the historical context, either to the works of a particular writer, the editorial policy of publications or the position of a caricaturist. The cartoons of the early 20th century reflect the social atmosphere of the Silver Age: creative, critical, nervous and overthrowing the idols of the bygone eras. The article would prove useful for literary critics, historians of journalism and visual content researchers interested in the Russian pre-revolutionary press.
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Hardy, Dominic. "Les collections d’imprimés et les fonds d’archives de banq : des ressources importantes pour l’histoire de la caricature et de la satire graphique québécoises avant 1960." Revue de Bibliothèque et Archives nationales du Québec, no. 4 (August 28, 2012): 96–109. http://dx.doi.org/10.7202/1012099ar.
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Pour toute étude sur l’histoire de la caricature et de la satire graphique au Québec avant 1960, les fonds et les collections de Bibliothèque et Archives nationales du Québec (BAnQ) sont d’une richesse exceptionnelle. Ce texte présente les collections d’imprimés et les fonds d’archives utiles à la recherche en deux temps. Nous examinons d’abord les lieux de publication des documents pour faire ressortir les grandes étapes de l’évolution de la pratique caricaturale sur le territoire québécois. Ensuite, nous décrivons deux fonds d’archives pour indiquer comment des corpus très différents, composés de caricatures et d’autres documents, peuvent être utiles aux chercheurs. Premièrement, un fonds de 3600 caricatures originales signées par Albéric Bourgeois (1876-1962), véritable témoignage de l’avènement de la modernité culturelle au xx e siècle. Ensuite, un ensemble de documents associés au peintre Louis Dulongpré (1759-1843) qui montre comment la circulation de caricatures est étroitement liée aux débuts de la vie démocratique de la collectivité. Ainsi, BAnQ est riche de documents divers – originaux et reproductions – qui permettent de voir comment artistes et éditeurs ont été les artisans d’une forme d’expression qui a longtemps été au coeur de polémiques dans la société québécoise.
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Adascalita, Lucia. "The plastic expression of everyday life in the satirical graphics of the artist Glebus Sainciuc." Arta 32, no. 1 (September 2023): 93–99. http://dx.doi.org/10.52603/arta.2023.32-1.13.
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Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.
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Isaikova, Oleksandra. "«We don’t believe you, Nicolas»: royalist publicism as a source of French anti-Napoleonic caricature." Text and Image: Essential Problems in Art History, no. 2 (2020): 94–108. http://dx.doi.org/10.17721/2519-4801.2020.2.06.
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The article refers to the connection between royalist publicism and anti-Napoleonic caricature through the example of two etchings from the Khanenko Museum collection. The task of royalist propaganda was to undermine the authority of Napoleon Bonaparte and, at the same time, to set society in favor of the Bourbon restoration. This causes the specifics of the anti-Napoleonic pamphlets and caricatures, which were usually focused on creating of the repulsive images of the emperor. At the same time, it is easy to notice that the authors of texts and images operated with a common set of motifs, images, as well as they used similar techniques. Therefore, the analysis of pamphlets provides better understanding of the subject of studied etchings and helps to clarify the meaning of certain details. Furthermore, taking into account that caricature was often secondary to the texts, author strived to find the literary sources of the studied caricatures and came to the conclusion that Charon’s famous engraving “The Height of Cannibalism” was strongly influenced by the François-René Chateaubriand’s “Report on the State of France” (1815). The matching texts, as well as the general consonance of the caricature “Arrival of Nicolas Buonaparte in Tuileries on January 20, 1815” with Rougemaitre’s popular anti-Napoleonic pamphlet “Life of Nicolas” (1815) suggests that the latter was among the caricaturist’s sources of inspiration at least.
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Ishtia, Dr Moaz. "The Symbolic Dimensions of the Child’s Image in Naji Al-Ali’s Caricatures." Thi Qar Arts Journal 3, no. 45 (March 31, 2024): 24. http://dx.doi.org/10.32792/tqartj.v3i45.559.
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There is no doubt that there are many studies and researches that have taken care of researching Naji Al-Ali’s caricatures; however, the researcher often finds that they focused more on the contents and themes rather than delving into their artistic structure. These studies addressed the issues that Al-Ali was concerned with without researching the dimensions behind these issues. Hence, this study comes to explore the symbolic dimensions that contribute to deepening the vision expressed by the caricature image of Naji Al-Ali. This research direction contributes to the textual analysis of the caricature panel, without entering into general judgments. The caricature discourse, like many creative discourses, comes loaded with human, cultural, political, and social dimensions, and uncovering these connotations can only be through researching the caricature text as coherent elements of symbols represented by visual, linguistic, and numerical systems.
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Khrushcheva, Daria. "Карикатура и пропаганда: образ современной Украины в изображении пророссийских СМИ (2014–2018)." Studia Rossica Posnaniensia 47, no. 1 (June 27, 2022): 143–62. http://dx.doi.org/10.14746/strp.2022.47.1.10.
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The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.
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Brooks, Jeffrey. "Caricature and Print Culture in Late-Imperial Russia." Experiment 28, no. 1 (December 21, 2022): 44–70. http://dx.doi.org/10.30965/2211730x-12340024.
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Abstract Caricature became entrenched as a common form of social commentary in Russian visual culture in the latter half of the nineteenth century. Four prominent humor magazines: Iskra (Spark, 1859–1873), Budil’nik (Alarm Clock, 1865–1918), Strekoza (Dragonfly, 1875–1908), and Oskolki (Splinters, 1881–1916) promoted caricatures and built success largely on the public’s appetite for them. The editors and staff of these humor magazines made caricature a ready and effective tool of social criticism and helped develop a critical public familiar enough with the form to appreciate it. The rather gentle caricature of the early period and its benign social criticism established a foundation for a harsher partisan form of caricature as political advocacy during the revolution of 1905–1906.
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Rossomakhin, Andrey, and Vasily Uspensky. "“An Imperial Stride”: Two Hundred and Thirty Years of Transforming a Metaphor." Experiment 28, no. 1 (December 21, 2022): 3–23. http://dx.doi.org/10.30965/2211730x-12340023.
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Abstract This research traces the evolution and transformation of the metaphor of the “Imperial Step,” which signifies the expansionist ambitions of Russia’s Imperial, Soviet and Post-Soviet rulers from Catherine the Great to Vladimir Putin as expressed in caricatures and satirical cartoons appearing predominantly in Britain, France, and Germany. Following in chronological order, each section is devoted to the discussion of a pertinent example of the Imperial Step beginning with late 18th century British caricature satirizing Catherine the Great in the context of her “Greek Project” and concluding with a contemporary caricature with Putin as the principal protagonist.
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Vallon, Serge. "Sacrées caricatures." VST - Vie sociale et traitements 89, no. 1 (2006): 3. http://dx.doi.org/10.3917/vst.089.03.
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Pappas, Dennis G. "Targeted caricatures." Laryngoscope 119, no. 10 (July 31, 2009): 1932–36. http://dx.doi.org/10.1002/lary.20571.
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Infante Yupanqui, Carlos Rodrigo. "Crisis y desequilibrio político durante el régimen fujimorista. El papel de la caricatura política. 1998-2000." Desde el Sur 16, no. 1 (January 31, 2024): e0014. http://dx.doi.org/10.21142/des-1601-2024-0014.
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This article examines the role of Peruvian political caricature during the crisis of the Fujimori administration (1998-2000). The research also develops an approach to the connections between caricature and power. This reading, which links macro and micro sociology, is made from the processes of political imbalance of the Fujimori regime, a process that marked, at the same time, a moment of inflection within the political sphere and that reached the caricature, both officious and opposition. Following a qualitative approach with an interpretative perspective, the analysis includes a contextual reading of some caricatures by important Peruvian graphic humorists. As a result, we find that the opposition caricature played a critical role, characterized by the development of its erosive capacity; the same did not happen with the officious caricature that leaned towards a more functional role to the hegemonic power.
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Ningrum, Puspita, Ema Damayanti, and Dede Abdurrakhman. "MEANING OF CAREER AS A REALITY CONTRUCTION IN MICHEL FOUCAULT PERSPECTIVE." JLER (Journal of Language Education Research) 2, no. 3 (November 13, 2019): 22–34. http://dx.doi.org/10.22460/jler.v2i3.p22-34.
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Through Michel Foucault critical discourse analysis using qualitative descriptive methods. This study aims to describe aspects of the meaning of text and context simultaneously in expression. Three caricatures in the Kompas daily published on Sunday, December 2, 2018 became the object of research. The background of how the conceptual view of realism in a media contains the power and power behind these statements. The results of the analysis show that referential meanings in three caricatures have elements of language that are closely related to the environmental, social, and cultural conditions of the community that are taking place. The editorial team has not used a neutral point of view in choosing titles, news sources and news frames. News written and published impressed as a construction of reality that aims to influence and direct the perspective of society in addressing a social problem that occurs reflecting how the power of knowledge can imply subordinate people. keywords: Michel Foucault's Analysis, Caricature, Referential Meaning, Reality Construction
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Rossiter, Caroline. "Early French Caricature (1795-1830) and English Influence." European Comic Art 2, no. 1 (January 1, 2009): 41–64. http://dx.doi.org/10.3828/eca.2.1.4.
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This article analyses the production of caricatures in post-revolutionary Paris, specifically the role of publishers and artists and the constraints of censorship within society of that time. By considering such factors in the light of English caricature production, we will outline the exchanges that took place between London and Paris at the turn of the nineteenth century and demonstrate that the two cities' comic print productions were subject to reciprocal influences.
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Tayyab, Areeba. "Grotesque Literary Caricatures of Exotic Orientals in Tariq Ali's Play Iranian Nights." International Journal of Linguistics, Literature and Translation 3, no. 10 (2020): 140–47. http://dx.doi.org/10.32996/ijllt.2020.3.10.16.
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The paper analyzes grotesque literary caricature of the exotic Orientals in Tariq Ali and Howard Brenton's play Iranian Nights. The focus is to elucidate how the writer market margins by creating caricatural and exotic characters that generate laughter and comical wit for the international readership. The research has two folds i.e. on one level it will discuss the caricatural features in characters to understand the underline meaning for the use of such distorted and exaggerated art form in a modern play. On the other hand, the paper will have an investigative stance into the dramatic techniques used ancient grotesque plays to find out the significance of such a dramaturgy in the business of exoticism. The research broadens the scope as it presents an art form that depicts a grotesque caricature exoticizing the third world's other Orientals to market margins.
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Calder, A. J., A. W. Young, D. Rowland, D. R. Gibbenson, B. M. Hayes, and D. I. Perrett. "Perception of Photographic-Quality Caricatures of Emotional Facial Expressions." Perception 25, no. 1_suppl (August 1996): 28. http://dx.doi.org/10.1068/v96l1004.
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G Rhodes, S E Brennan, S Carey (1987 Cognitive Psychology19 473 – 497) and P J Benson and D I Perrett (1991 European Journal of Cognitive Psychology3 105 – 135) have shown that computer-enhanced (caricatured) representations of familiar faces are named faster and rated as better likenesses than veridical (undistorted) representations. Here we have applied Benson and Perrett's graphic technique to examine subjects' perception of enhanced representations of photographic-quality facial expressions of basic emotions. To enhance a facial expression the target face is compared to a norm or prototype face, and, by exaggerating the differences between the two, a caricatured image is produced; reducing the differences results in an anticaricatured image. In experiment 1 we examined the effect of degree of caricature and types of norm on subjects' ratings for ‘intensity of expression’. Three facial expressions (fear, anger, and sadness) were caricatured at seven levels (−50%, −30%, −15%, 0%, +15%, +30%, and +50%) relative to three different norms; (1) an average norm prepared by blending pictures of six different emotional expressions; (2) a neutral expression norm; and (3) a different expression norm (eg anger caricatured relative to a happy expression). Irrespective of norm, the caricatured expressions were rated as significantly more intense than the veridical images. Furthermore, for the average and neutral norm sets, the anticaricatures were rated as significantly less intense. We also examined subjects' reaction times to recognise caricatured (−50%, 0%, and +50%) representations of six emotional facial expressions. The results showed that the caricatured images were identified fastest, followed by the veridical, and then anticaricatured images. Hence the perception of facial expression and identity is facilitated by caricaturing; this has important implications for the mental representation of facial expressions.
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Göktürk, Deniz. "Jokes and Butts: Can We Imagine Humor in a Global Public Sphere?" PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1707–11. http://dx.doi.org/10.1632/pmla.2008.123.5.1707.
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In his essay titled “Drawing Blood” for Harper's magazine in June 2006, written as a response to the Muhammad cartoon affair, Art Spiegelman argued convincingly that a cartoon is, first and foremost, a cartoon. It sounds straightforward, but is it really? Following Spiegelman, we can define caricatures as charged or loaded images that compress ideas into memorable icons, namely clichés. A cartoon must have a point, and a good cartoon can change our perspective on the ruling order. Spiegelman opens his discussion with classical caricatures such as Honoré Daumier's 1831 depiction of King Louis-Philippe as Gargantua and George Grosz's 1926 attack on the “Pillars of Society” (“Stützen der Gesellschaft”) as beer-drinking, pamphlet-reading, swastika-wearing men without brains. Spiegelman acknowledges these cartoonists as “masters of insult,” who often had to face trial or imprisonment for their transgressions (45). The question is whether the twelve cartoons of Muhammad, published by the Danish newspaper Jyllands-Posten on 30 September 2005, are in any way compatible with the great tradition of caricature.
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Goodwin, James. "Boris Efimov’s Early Soviet Drawings and the Hazards of Political Caricature." Experiment 28, no. 1 (December 21, 2022): 245–73. http://dx.doi.org/10.30965/2211730x-12340030.
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Abstract The subject of this article is the evolution of Soviet political caricature as reflected in the work of artist Boris Efimov. The article focuses on the post-revolutionary period of Efimov’s career up to the eve of World War II, with particular attention to changes in his work following Stalin’s consolidation of dictatorial power by the early 1930s. While examining the nature of several key political caricatures by Efimov of the 1920s and 1930s, the article also considers the political context and circumstances surrounding Efimov’s work, especially the dramatic reversal of the official Communist Party attitude toward one of the Revolution’s principal leaders and heroes, Lev Trotsky. Based mainly on testimony in Efimov’s later memoirs, as well as two contemporaneous reviews of Efimov’s work by Trotsky and critic Viacheslav Polonsky, the article aims to demonstrate how political expediency compelled Efimov, who had received the support and patronage of these two influential figures, to alter both the content and style of his political caricatures for the purpose of attacking new imaginary enemies in Stalin’s Russia.
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Hoffman, Zachary. "Stepan Sokolovskii, Novoe vremia, and the Cartoons of Empire." Experiment 28, no. 1 (December 21, 2022): 71–89. http://dx.doi.org/10.30965/2211730x-12340025.
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Abstract Stepan Fedorovich Sokolovskii (pen name Coré) served as the primary caricaturist for the prominent St. Petersburg newspaper Novoe vremia (New Times, 1868–1917) in the late 1890s and early 1900s. While his vibrant style and prolific output have led his cartoons to appear frequently in scholarship, few studies examine his work specifically. Interestingly, his illustrations for Novoe vremia focus almost exclusively on international politics, and thus, prominently engage in national and ethnic stereotypes. These caricatures not only offered eye-catching and amusing visual depictions of foreign relations, they also showed Russia’s imperial rivals as buffoonish back-stabbers that represented the worst excesses of imperialist exploitation. In this way, Sokolovskii’s works offer an intriguing snapshot of popular attitudes towards Russia’s allies and enemies. This essay surveys the broad themes of Sokolovskii’s work and examines the ways his drawings encapsulated complex international conflicts and offered pithy visual representations of Novoe vremia’s loyalist and nationalistic take on foreign affairs. Further, it fills a gap in the scholarship by shedding light on the biography of this prolific artist and examining his views on political caricature as a medium.
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Burns, Kevin. "The Aesthetics of X-Junctions: Cognitive Constraints in the Art of Continuous-Line Caricature." Leonardo 53, no. 1 (February 2020): 81–82. http://dx.doi.org/10.1162/leon_a_01838.
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This article exposes cognitive constraints in production and perception of caricatures drawn with one continuous line. Constraints in production enable an artist to overcome the complexity of connecting all individual line segments of a conventional caricature. Constraints in perception enable an audience to overcome the complexity of inferring three-dimensional edges and shapes from two-dimensional line segments. In both production and perception, constraints exploit Xjunctions where the continuous line meets itself in crossing and tangent configurations that contribute to the aesthetics of these artworks.
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Melot, Michel. "Rire et caricatures." Nouvelles de l'estampe, no. 240 (September 1, 2012): 68–69. http://dx.doi.org/10.4000/estampe.984.
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Kaneko, Masahide. "Computerized Facial Caricatures." Journal of The Institute of Image Information and Television Engineers 62, no. 12 (2008): 1938–43. http://dx.doi.org/10.3169/itej.62.1938.
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Fara, Patricia. "Caricatures of Katterfelto." Endeavour 26, no. 3 (September 2002): 81–82. http://dx.doi.org/10.1016/s0160-9327(02)01439-4.
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KAHRAMAN, Mehmet Emin. "WATER THEMED CARICATURES." Journal of International Social Research 10, no. 49 (April 25, 2017): 218–21. http://dx.doi.org/10.17719/jisr.2017.1573.
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