Journal articles: 'Comics and caricature'

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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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Gilbert, Christopher J. "Caricature and the Colonization Machine: The Nib's “Empire” Issue as a Comic Stretch of the Imagination." Studies in American Humor 7, no. 2 (October 1, 2021): 347–76. http://dx.doi.org/10.5325/studamerhumor.7.2.347.

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Abstract To see comicality in the reach of imperialism is to see the rhetorical force of empire itself in collective imaginations. This article approaches matters of empire through the lens of caricature. More specifically, it frames caricature as a rhetorical counterforce to images and ideas of imperialism. Comics publication the Nib put out an “Empire” issue in 2019. In an effort to figure out how a comic stretch of the imagination represents empire across histories, geographic locations, and cultural milieus for what it is—a mechanism of disimagination—I explore several standout comics and editorial cartoons in the issue. Looking at themes of monumentality and the taint of collective memory, historical revisionism and historiographical ridicule, and cultural dominion, I argue that caricature in the Nib's “Empire” issue reimagines imperialism, comically, as a complex (even if reductive) way of organizing a lack of imagination.

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Plekhanov, A. A. "The magazine Krokodil as a space of the Soviet comic strip in the 1940s." Shagi / Steps 9, no. 3 (2023): 192–217. http://dx.doi.org/10.22394/2412-9410-2023-9-3-192-217.

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The article is devoted to the history of Soviet comics in the 1940s through the example of the Krokodil magazine. The first part discusses stereotypes about the history of comics in the USSR, analyses the concept of the comic strip as the main form of comics in the Soviet period, and considers the use of Media studies as a framework. The purpose of the article is to examine the work of Krokodil as a space for the development of the Soviet comic strip, through R. Duncan’s and M. J. Smith’s communication model of the comic book. The second part explores the process of work of the magazine’s artists, the censorship by various gatekeepers’ actors, the typical features of the visual language of the Soviet comic strip, the distribution and perception of comic strips and the magazine itself. It is especially noted that the distinction between caricature and comic strip is not typical for the 1940s, and it will emerge only by the 1960s. The article also provides a parsing of a corpus of diaries from the 1940s, in which memories of Krokodil are highlighted. The hypothesis of H. Alaniz about the special role of comics during the Great Patriotic War is verified and questioned.

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Beaty, Bart. "Comics and American Cultural Policy." American Literary History 35, no. 3 (June 28, 2023): 1346–52. http://dx.doi.org/10.1093/alh/ajad148.

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Abstract This review considers the contributions of two 2021 monographs—Christopher J. Gilbert’s Caricature and National Character: The United States at War and Paul Hirsch’s Pulp Empire: A Secret History of Comic Book Imperialism—each of which examines the role of cartooning in shaping attitudes towards warfare, imperialism, and nationalism in the US in the twentieth century.The highly repetitive and remarkably codified nature of the comic-book story is . . . the thing that made it attractive for propagandistic purposes.

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Alhreashy, Fouzia Abdulaziz, Arwa Abdulelah Mobeirek, Osama Abdulelah Mobeirek, Salem Dakheel Al-Suwaidan, Nawal Mohammed AlRajeh, and Monirh Abdulaziz Alhorishi. "Caricature-based Antenatal Breastfeeding Education Trial: A Randomized Controlled Trial." Journal of Nature and Science of Medicine 7, no. 2 (April 2024): 73–81. http://dx.doi.org/10.4103/jnsm.jnsm_136_23.

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Abstract Objectives: Cartoons, comics, and caricatures have been incorporated in health education. This trial aimed to evaluate the effectiveness of caricature-based breastfeeding education at improving breastfeeding knowledge, attitudes, self-efficacy, and practice among pregnant women. Materials and Methods: A randomized controlled clinical trial was carried out at Riyadh First Health Cluster in Saudi Arabia. A total of 85 pregnant women were randomly assigned to the intervention group (n = 41) or the control group (n = 44). The intervention was two caricature-based versus one standard online lecture in breastfeeding. The participants were followed up for 3 months postpartum. The primary outcome was full breastfeeding (predominant and exclusive breastfeeding) by the time infants were 3 months old. The secondary outcomes were prenatal and postnatal breastfeeding self-efficacy, Iowa Infant Feeding Attitude Scale (IIFAS) scores, and satisfaction with the education. Results: The participants were mostly Saudi (97.6% vs. 90.9%) and housewives (79% vs. 86.4%) for the intervention and control groups, respectively. The full breastfeeding rate at 3 months postpartum was 32.5% for the intervention and 31.6% for the control (P = 0.808; 95% confidence interval 0.539–1.965; relative risk = 1.029). Prenatal breastfeeding, postnatal self-efficacy, and IIFAS scores were compared between the intervention and control groups; no statistically significant difference was found (P > 0.05). In both arms of the study, participants’ experiences with the health education were satisfactory. Conclusion: Caricature use in antenatal breastfeeding education was a pleasant experience, but its effect on self-efficacy, attitudes, and behavior could not be determined from this trial. Large-scale, multi-center, multi-component research is recommended.

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Soper, Kerry. "Performing ‘Jiggs’: Irish Caricature and Comedic Ambivalence toward Assimilation and the American Dream in George McManus's Bringing Up Father." Journal of the Gilded Age and Progressive Era 4, no. 2 (April 2005): 173–213. http://dx.doi.org/10.1017/s1537781400002565.

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Many fans and scholars of newspaper comics have observed that an excellent way to chart a social history of American culture in the twentieth century is to look at the mainstream comic strip page. This may be especially true of the first half of the twentieth century when comic strips were avidly followed by readers from almost all age, class, and ethnic demographics. Because of this breadth of popularity, the comics page was a fairly accurate reflector (and occasionally, shaper) of fashions, fads, humor, politics, and racial prejudices. Early cartoonists' ability to place their fingers on the American pulse can largely be attributed to the industry's eagerness to please readers: as a lowbrow entertainment that targeted broad audiences through street corner sales, and later, national syndication, it tried to anticipate the characters, comedy, and ideological content that would attract and retain devoted readers. A few iconoclastic cartoonists such as Al Capp (Li'l Abner) and George Herriman (Krazy Kat) challenged readers with topical satire or appealed to niche audiences with quirky humor and aesthetics; but even the most innovative work in the medium relied on a sort of call and response between core readers, syndicates, editors, and artists—a back and forth that insured that the cartoonist's work resonated with, or spoke for, its fans.

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Al-Ajlan, Afrah. "Visual Rhetoric and Its Arguments in Caricature: The Speech of Saudi Women in Manal Al-Rasini's Drawings as an Example." Journal of Umm Al-Qura University for Language Sciences and Literature, no. 31 (June 1, 2023): 47–60. http://dx.doi.org/10.54940/ll28300488.

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This study is concerned with a rhetorical approach to the visual discourse, and it shows its argumentative dimensions through a theoretical glossary that deals with the concept of visual rhetoric, its significance, the sections of the visible sign, its functions, and levels of analysis, then standing on the discourse of Saudi women in drawing (caricature) through two topics: The first is strengthening the position of Saudi women in society, and the other is women and families of violence. The study led to the richness of non-linguistic sign systems, their understanding of the eloquence of the phrase, and the mechanisms of arguments and their connecting links. It recommended the need to open up to other visual arts towards formation (comics), conceptual photography, and to study their rhetorical techniques and their argumentative foundations that guide awareness and action.

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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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Cabut, Jean (Cabu). "Cabu Reporter." European Comic Art 2, no. 1 (January 1, 2009): 131–51. http://dx.doi.org/10.3828/eca.2.1.8.

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French editorial cartoonist and comic-strip artist Cabu (pen name of Jean Cabut) is interviewed by Tanitoc, French cartoonist and contributing artist to European Comic Art. They talk about the evolution of political caricature in France, differing reactions of people to being caricatured by a cartoonist or being filmed, and the use of archetypes in caricature. Cabu also discusses the influences of other cartoonists on his own art, the high points of his cartooning career, his cartoon reportages, and various book publications of his work

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Feuer, M. "Everybody is a Star: The Affirmation of Freaks and Schlemiels through Caricature in the Comics of Drew and Josh Friedman." MELUS: Multi-Ethnic Literature of the United States 32, no. 3 (September 1, 2007): 75–101. http://dx.doi.org/10.1093/melus/32.3.75.

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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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Voronova, Svetlana A. "HUMOR AS AN INSTRUMENTAL IDEA OF LANGUAGE EDUCATION IN THE FIELD OF POLITICS AND INTERNATIONAL RELATIONS." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 3 (2021): 50–63. http://dx.doi.org/10.28995/2073-6398-2021-3-50-63.

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Humor on the topic of politics is an indicator of the speed of reac- tions, knowledge and ability to understand the situation that causes it, in the general political situation. Linking the content of training with humorous im- ages, quotes of famous politicians, it is appropriate to attract students’ attention, better fix the information in memory, thanks to joining of figurative and linguistic metaphors and comparisons that cause students to evoke emotions and laughter. Thus, humor is an ideal “breeding ground” to learn the content. The criteria for selecting the material for the lesson are the level of students ‘ awareness in the field of international politics, their outlook; the level of language competence; the level of understanding of the specifics of foreign language culture. A good knowledge of the sources of one’s examples allows to influence the audience unobtrusively, demonstrating the discovery of new connections between the phenomena. There is only one limitation to the use of political texts that include humor: aggressive humor can harm and demotivate students. to diversify the les- son, you can include visual humorous material, namely, political caricature Based on national stereotypes, humor reflects the cognitive specifics of the mentality, so it is very important to learn how to adequately perceive the jokes of repre- sentatives of other cultures. German political humor focuses on the individual characteristics and behavior of politicians. In Germany, comics, humorous TV shows, and political cartoons are popular. Witty statements of German politi- cians are recorded by media representatives on audio discs, in printed materials.

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Derkachova, Olga, Oksana Tytun, and Solomiya Ushnevych. "EDUCATIONAL AND CULTURAL POTENTIAL OF INCLUSIVE COMICS." Mountain School of Ukrainian Carpaty, no. 26 (April 26, 2022): 16–22. http://dx.doi.org/10.15330/msuc.2022.26.16-22.

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The article deals with the research on comics' educational and cultural potential, particularly inclusive comic books, and their influence on inclusive culture formation. Inclusive graphic stories have long been part of the readership abroad. Gradually, this tradition is becoming popular in the Ukrainian cultural space. The chronology of the implementation of inclusive education in Ukraine is established, a brief overview of the regulatory framework is given. There is more and more inclusive literature on the Ukrainian book market: it is both translations and works of domestic writers, it is literature for the youngest, teenagers, adults, and it is fiction and nonfiction. In 2019 the first inclusive comic book "Friends 2.0" appeared. It was published with the support of the Ukrainian Cultural Foundation within the framework of the Inclusive Art program. The comic book "Friends 2.0" is an illustrative material for the analysis. The given research identifies the features of inclusive literature and clarifies its role in forming a tolerant society. The main evolutionary steps of comics are conveyed (Egyptian drawings in the burial chambers, "Ocelot's Claw", The Bayeux Tapestry, William Hogarth’s caricatures, stories in drawings by Rodolphe Töpffer, "Max und Moritz" by Wilhelm Busch, "The Yellow kid" by Richard Outcault and others). The basic terms and concepts of comic book culture are explained, taking into account the specifics of their translation. The history of Ukrainian comics is written daily, undergoes great changes, forms the main slogans and ideas in which it operates and develops. Currently, Ukrainian comics are established as a separate literary and art genre. Inclusive "Friends 2.0". comics are five stories based on real events. Every story is a story of struggle and victory. These are the first inclusive stories in the Ukrainian cultural space. They proclaim that everyone in the world is important, that disability is not a sentence, the importance of adaptation and inclusion, faith and dreams that come true. The article highlights the structural and semantic components of the stories in the comic book "Friends 2.0", analyzes the role of the motto in the content of the stories of this book, the background of panels, characters, and more. The analysis of inclusive comic strips as achievements of comic book culture and as examples of graphic texts in which the inclusive component dominates is offered. It helps to identify a special type of superhero in "Friends 2.0". The educational potential of such comics and their influence on the context of inclusive culture are identified. Keywords: inclusive literature, inclusive comics, comic book, diegesis, narrative, encapsulation, motto, superhero.

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Davis, Jim. "‘They Shew Me Off in Every Form and Way’: The Iconography of English Comic Acting in the Late Eighteenth and Early Nineteenth Centuries." Theatre Research International 26, no. 3 (October 2001): 243–56. http://dx.doi.org/10.1017/s0307883301000335.

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Comic actors in the late eighteenth and early nineteenth centuries, such as John Liston and Joseph Munden, were familiar not only on stage but also iconographically. Critical writing on both performers indicates their strong visual impact. Some critics accused them of caricature, but references to Hogarth in accounts of these actors by Lamb and Hazlitt imply that they followed Hogarth's own emphasis on observation rather than caricature. Indeed, illustrations of comic actors or inspired by comic actors often hover on the borders of caricature, but ultimately avoid it. In performance the live body of the actor often counters or uses gestically the degradation implicit in caricature, although iconography sometimes fixes the actor in poses and expressions where caricature predominates.

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Lecomte, Guillaume. "Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes." European Comic Art 10, no. 1 (March 1, 2017): 41–57. http://dx.doi.org/10.3167/eca.2017.100105.

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The comic book series La Vie secrète des jeunes is a sardonic account of French young people’s behaviours witnessed from the voyeuristic viewpoint of its author-illustrator, Riad Sattouf. Despite its caricatural and non-photorealistic visual style, the work conveys a strong sense of authenticity, mixing truth claims borrowed from established non-fiction traditions (journalism, autobiography and documentary). It is also a rare example of a non-fiction comic turned into live action. This article considers the comic and its TV adaptation, and discusses film’s ability to adapt an account of truth rooted in comics ontology. The article first provides a theoretical structure that details the intricacy of repeating the truth from comic to film. Second, it highlights the way in which the comic develops its authenticity by constantly reaffirming Sattouf’s presence and subjectivity. The article aims to show that the adaptation anonymises this viewpoint in order to re-construct the authenticity of its reality.

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Tamás, Ágnes. "Caricatures as propaganda weapons during the First World War." European Journal of Humour Research 12, no. 2 (June 26, 2024): 18–35. http://dx.doi.org/10.7592/ejhr.2024.12.2.869.

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This study examines a specific segment of visual propaganda from the First World War, the caricatures of comic papers (German: Kladderadatsch; Austrian: Figaro, Kikieriki, Wiener Caricaturen and Die Muskete; Hungarian: Borsszem Jankó and Mátyás Diák). It focuses on the visual tools used by cartoonists to depict the enemy, how they employed visual propaganda, and whether this met the criteria of effective propaganda. By way of comparison, it also briefly discusses some elements of the self-image. The symbols of the First World War cartoons still closely followed 19th century trends: cartoonists commented on the events of the war by depicting and exaggerating ancient myths, biblical stories, women representing countries and men and animals representing nations. This study will attempt a systematic analysis of these motifs and symbols.

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Rezvukhina, Anna I. "“Crouching Tiger, Hidden Dragon”: the Representation of the Far East Countries in the Russian Caricatures of 1890-1905." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 174–98. http://dx.doi.org/10.46539/gmd.v3i3.189.

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This article is devoted to the zoomorphic images of China and Japan in the caricatures published in the Russian periodical press from 1890 to 1905. The aim of the study is to analyze the mechanisms of building images of the Other by creating a comic effect, as a strategy for overcoming cultural aphasia. The study focuses on the caricature technique of zoomorphism, or giving the Other an animalistic form. Within the framework of the article, we examined the possibilities of caricature as a means of political communication and analyzed its tools for expressing the changing political situation, including opportunities for the actual transformation of the image. In addition, the reception of zoomorphism as a shift in the natural/innate domain in the gradation from “prey”, “noble animal” to “beast” was examined. According to the results of the study, the image of China as a dragon and the images of Japan as a dog or monkey as well as the symbolism of the yellow color and exotization as a method of alienation are of most interest. Furthermore, the issues of the imperial discourse of the Russian Empire, which was formed, among others, under the influence of the colonial discourse of the leading European powers of that time, the problem of orientalism as well as the question of self-identification of Russia within the framework of the “East-West” opposition, were discussed. The article is intended for everyone who is interested in the history of the development of political caricature in Russia and those who study the theoretical and practical issues of creation of the image of the Other.

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McDaniel, Shawn. "Breaking the Graphic-Sonic Barrier: Abril Lamarque's Intermedial Lines in Cuban New York." Cuban Studies 53, no. 1 (2024): 91–109. http://dx.doi.org/10.1353/cub.2024.a930639.

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ABSTRACT: This article surveys the early intermedial work of Abril Lamarque, a Cuban illustrator, graphic designer, and art director in New York, who created the first comic strip in Spanish for newspapers in Latin America ( Monguito , 1925–1933) and the first caricature broadcast over the radio, a genre he called the "radio-cature" (1926). The article tracks the inter-American routes of the young artist between Santiago de Cuba and New York, examines the development of his caricature in print cultures and on airwaves in Cuba and the United States, and highlights the transnational networks and reading and listening publics, as well as infrastructures of empire, that his work brings into sharper relief. The following analysis of Lamarque's unparalleled genre innovations illuminates the visual and sonic imprints of Cuban diasporic cultural production in New York in the 1920s and 1930s and enhances, while also reorienting, a broader landscape of graphic modernity in the Americas. RESUMEN: En este artículo, se sondea la temprana obra intermedial del cubano Abril Lamarque, dibujante, grafista y director de arte en Nueva York que creó la primera tira cómica en español para periódicos en América Latina ( Monguito , 1925–1933), así como la primera caricatura transmitida por la radio, un género que él llamó la radiocatura (1926). Este estudio rastrea las rutas interamericanas del joven artista entre Santiago de Cuba y Nueva York, examina el desarrollo de su caricatura en la cultura impresa y en las ondas de radio tanto en Cuba como en los Estados Unidos y subraya las redes transnacionales y los públicos lectores y oyentes, así como las infraestructuras de imperio, que su obra pone de relieve. El siguiente análisis de los géneros innovadores de Lamarque ilumina las huellas visuales y sónicas de la producción cultural de la diáspora cubana en Nueva York durante las décadas de los 1920 y 1930 y, además, amplía, al mismo tiempo que reorienta, un panorama de la modernidad gráfica en las Américas.

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Dziuba, Elena V., Svetlana A. Eremina, and Yulia V. Rogozinnikova. "Precedent Names from Russian Literature in English-Language Cartoon." Вопросы Ономастики 20, no. 1 (2023): 202–22. http://dx.doi.org/10.15826/vopr_onom.2023.20.1.012.

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The paper analyzes precedent names of Russian origin in polycode texts of pictorial caricature genre, published in American magazines and available in the licensed cartoonstock.com database. The particular focus is made on the names of Russian writers and poets (Dostoevsky, Tolstoy, Chekhov, Pasternak, Solzhenitsyn), and the titles of Russian-language literary works featured in American caricature (War and Peace, Crime and Punishment, The Karamazov Brothers, Cherry Orchard, The Three Sisters and The GULAG Archipelago). Methodologically, the study is based on cognitive, linguo-semiotic, linguo-axiological, and contextual analysis. It is noted that the cartoons convey stereotypical ideas about the works of Russian writers: the intimidating large volume of Tolstoy’s works, and the conciseness of Chekhov’s are both treated ironically; stylistic features (Chekhov’s attention to detail; Dostoevsky’s psychological tension) are ridiculed. Content references are often superficial and only touch upon the most mundane, utilitarian issues, overlooking more complex social and psychological problems (generation gap, internal conflicts). In a truly caricatured light, the authors are depicted as money-makers, and their characters turn into comic figures of popular computer games. Some works of Russian writers are presented in an axiologically deflated way: Anton Chekhov’s plays were turned into sports competitions and ice shows, Alexander Solzhenitsyn’s GULAG Archipelago became a musical. The authors conclude that in English-language polycode texts, Russian precedent literary onyms are predominated with ironic evaluative semantics, and the general irony is accompanied by a tendency towards a simplified, formalized perception of works of Russian literature.

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Yurgeneva, A. L. "Comic Images in Lithuanian Photography and Graphics of the 1970s-1980s." Art & Culture Studies, no. 1 (March 2024): 350–81. http://dx.doi.org/10.51678/2226-0072-2024-1-350-381.

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The article analyses the material of a series of comic photography exhibitions held from 1973 to 1981 in Vilnius. The author of the article considers the phenomenon of the interaction between Lithuanian photography and caricature in the context of Soviet culture and reveals the similarities and differences in the approaches to creating a comic effect emerging from documentary images. Comic photography demonstrates the ability to detect the unpredictable, standing out against the stable concepts of everyday life, or to see irrational signs accompanying a person in life. A drawing is born on a blank sheet; like a photograph, it is based on a real fact but has the freedom of interpretation in time and space, in building projections. It is emphasized that from the point of view of the audience’s reception, in a photo the very moment of shifting meanings is present, while in a caricature this stage is already overcome and the audience sees the result. For the artistic culture of the Soviet period, it was important to move away from standard thinking and applied purpose. This was especially significant for caricature and photography, which for a long time were in the service of ideology.

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ALEINIKOV, S. S. "THE IMAGE OF "OWN" AND "OTHER" IN THE FRENCH CARICATURE OF THE EARLY XX CENTURY (ON THE EXAMPLE OF ILLUSTRATIONS OF A SATIRICAL MAGAZINE "L’ASSIETTE AU BEURRE")." Scientific Notes of Orel State University 2, no. 99 (June 26, 2023): 7–11. http://dx.doi.org/10.33979/1998-2720-2023-99-2-7-11.

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The article is devoted to the study of tools for constructing images of «one’s own» and «the other» through caricature of thefirst decade of the 20th century. The study is based on the analysis of satirical plots of the comic magazine L’ assiette au Beurre. The author considers the distinctive features of an illustrative publication, analyzes the main forms of displaying the key elements of comic plots, identifies the basic artistic techniques and methods for conveying the semantic component of visual material to the viewer. On the basis of the studied materials, an attempt is made to determine the influence of the domestic political process and the international situation on the transformation of caricature images of the era.

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Bumatay, Michelle. "Comics as commemoration?" Francosphères 10, no. 1 (June 1, 2021): 63–77. http://dx.doi.org/10.3828/franc.2021.5.

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Drawing on previous research about the ubiquity of the Banania logo, this article considers the recent trend of commemorating the tirailleurs sénégalais via bandes dessinées through a chronological comparison of bandes dessinées produced in France and Senegal since 2003 about the tirailleurs sénégalais and World War I. As an important part of popular visual culture in France and Belgium, bandes dessinées have long been vehicles for teaching and disseminating mainstream values and dominant ideology, thus the choice of medium for recounting the tirailleurs’ history works against colonial-era caricatures. Though each of the bandes dessinées attempts to engender empathy in the reader while educating them about the tirailleurs, critical engagement with their legacy varies as a function of who produced the text. State-sponsored accounts avoid critiques of colonialism and its attendant violence in favour of honouring the tirailleurs’ courage and loyalty, which bolsters the continuity of republican values. Conversely, texts produced as a result of personal connections to the tirailleurs foreground their participation in colonial violence and demonstrate the psychological complexity of their experiences.

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Marra, Kim, and Barbara Clayton. "Phallocracy and Phallic Caricature: Re-Viewing the Iconography of Greek Comedy." Theatre Survey 34, no. 1 (May 1993): 5–21. http://dx.doi.org/10.1017/s0040557400009728.

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The characteristic costume of Greek comic actors has been widely represented iconographically in statuettes and vase paintings from the fifth and fourth centuries B.C. Theatre historians instantly recognize the grotesquely distorted expressions on the masks, the rotund shapes formed by ill-concealed padding, and, most distinctively, the comic phallus. A “dangling leather symbol… red at the tip, swollen,” the comic phallus, of course, represents male genitalia.

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Brian Maidment. "Caricature and the Comic Image in the 1830s." Yearbook of English Studies 48 (2018): 54. http://dx.doi.org/10.5699/yearenglstud.48.2018.0054.

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Maidment, Brian. "Caricature and the Comic Image in the 1830s." Yearbook of English Studies 48, no. 1 (2018): 54–81. http://dx.doi.org/10.1353/yes.2018.0005.

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SOPER, KERRY. "From Swarthy Ape to Sympathetic Everyman and Subversive Trickster: The Development of Irish Caricature in American Comic Strips between 1890 and 1920." Journal of American Studies 39, no. 2 (August 2005): 257–96. http://dx.doi.org/10.1017/s0021875805009710.

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Observed from a distance, the prevalence of ethnic stereotyping in late nineteenth-century and early twentieth-century cartooning in the United States is disturbing. All one can see, initially, is that turn-of-the-century readers seemed to enjoy seeing blacks, Native Americans, and non-Anglo immigrants reduced to simplistic caricatures and made to say and do outrageously stupid things. The Distorted Image, the Balch Institute's exposé on the evils of ethnic caricature, agrees with this assessment, suggesting that “the strips from the early years of this century [the twentieth] are inevitably suffused with crude, even gross stereotypes” in which blacks and ethnic immigrants are “maligned and mistreated with blithe insouciance.” However, a closer inspection of particular characters, mediums, and creators, reveals that there was greater complexity to these “crude” images – a rich history, in fact, of shifting meanings and uses. There were, of course, some blatantly racist depictions of ethnic minorities in cartoons and comic strips during this period, but there was also a complex spectrum of ethnic characters who played out shifting comedic and social roles. By properly contextualizing some of these cartoons – considering how meanings and uses changed according to where the cartoons appeared, who created them, and who read them – many images that initially seem just like more entries in a long line of gross stereotypes begin to reveal layered, ambivalent, and even sympathetic codings.

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Проскурина, И. Ю. "A. K. GLAZUNOV IN JOKES AND CARICATURES." Music Journal of Northern Europe, no. 4(32) (March 22, 2024): 44–62. http://dx.doi.org/10.61908/2413-0486.2022.32.4.44-62.

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Статья посвящена шуточным рецепциям А. К. Глазунова, оставленным современниками в вербальных и визуальных вариантах. В статье собраны юмористические изображения, шуточные ситуации и анекдоты о композиторе, начиная с 1880-х годов и вплоть до 1930-х, как в Петербурге, так и вне России. Приводятся данные из эмигрантских источников, архивных документов и редких изданий. The article is devoted to the comic receptions of A. K. Glazunov, left by contemporaries in verbal and visual versions. The article contains humorous images, comic situations and anecdotes about the composer from the 1880s up to the 1930s, both in St. Petersburg and outside of Russia. Data from the emigrant sources, archival documents and rare editions are provided.

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Lee, Judith Yaross. "Comic Empires: Imperialism in Cartoons, Caricature, and Satirical Art." Studies in American Humor 8, no. 1 (April 1, 2022): 193–97. http://dx.doi.org/10.5325/studamerhumor.8.1.0193.

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TAMÁS, ÁGNES. "OLD-NEW ENEMIES IN HUNGARIAN AND YUGOSLAV CARICATURES AFTER THE SECOND WORLD WAR (1945–1947)." ИСТРАЖИВАЊА, no. 28 (December 27, 2017): 171–88. http://dx.doi.org/10.19090/i.2017.28.171-188.

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In this paper I analyse caricatures of Hungarian and Yugoslav comic papers (Jež, Ludas Matyi, Új Szó, and Pesti Izé) between 1945 and 1947. I chose this source since the analysis of caricatures can demonstrate the functioning of communist propaganda. After the presentation of sources and goals of the paper, I analyse the depiction of war criminals, the perception of democracy and the Western states, and the representation of democrats and German enemies within the country in Hungary. Then I analyse the depiction of the self of the communists and finally, before the conclusions, the Peace Treaty of Paris in caricatures. The analysed propaganda caricatures documented well the views and propaganda methods of the Communist Parties regarding the above-mentioned topics.

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SUNDASARI, Witakania, and Ferli HASANAH. "LITTLE BONEY, GROSSE MENACE : UNE ANALYSE DE L’IMAGE." FRANCISOLA 2, no. 2 (December 31, 2017): 202. http://dx.doi.org/10.17509/francisola.v2i2.9412.

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RÉSUMÉ. Exprimant un message, une image est utilisée comme moyens de communication. Malgré son effet comique, une caricature politique construit indispensablement un discours politique. En 1804 James Gillray a lancé un dessin satirique qui dénonce Napoléon Bonaparte ainsi que les idées républicaines de la Révolution de 1789 pour sensibiliser le public Britannique par ses regards royalistes contre la France révolutionnaire et napoléonienne. La présente recherche s’insère sur l’étude sémiologique de l’image publiée pendant cette période turbulente et l’analyse s’effectue en appliquant les lectures dénotative et connotative sur les signes linguistiques, iconiques et plastiques. Cette analyse a pour but de montrer comment cette caricature communique ses messages et comment l’artiste communique son engagement politique. Les résultats montrent que l’artiste a transmis son message par les parallélismes ainsi que par les oppositions que tous les signes reposent sur l’image. Mots-clés : analyse d’image, angleterre, caricature, révolution française. ABSTRACT. Expressing a message, an image is used as a tool of communication. Despite its comic effects, a political caricature unavoidably constructs a political discourse. In 1804, James Gillray launched a satirical drawing that denounced Napoleon Bonaparte and the Republican ideas of the Revolution of 1789 to alert the British public through his royalist point of view against revolutionary and Napoleonic France. This research is based on the semiological study of the image which was published during this turbulent period and the analysis is carried out by applying the denotative and connotative readings on linguistic, iconic and plastic signs. This research aims to show how this caricature transfers its messages and how the artist declared communicate his political commitments. The results show that the artist sent his message through the parallelism as well as the oppositions that all the signs rest on the image.Keywords: caricature, caricature analysis, England, French revolution.

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Kotick, Andrew. "Le Rire and the Meaning of Cartoon Art in Fin-de-Siècle France." French Politics, Culture & Society 41, no. 2 (June 1, 2023): 1–25. http://dx.doi.org/10.3167/fpcs.2023.410201.

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Abstract As the foremost organ of the French satirical and illustrated press, the weekly Le Rire captivated a broad reading public in the final decade of the nineteenth century. At the crossroads of commercial entertainment and mass media, Le Rire sought to champion caricature and comic illustration as art forms worthy of serious merit and to make humor a powerful tool for political, cultural, and social commentary. This article aims to assess the periodical's impact in its time, and furthermore, contends that Le Rire was a determinative force in reshaping public mores toward comedy and satire, carrying the legacy of nineteenth-century developments in the history of French caricature into novel modes of expression and consumption at the turn of the twentieth.

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Lawrence-Doyle, Georgia. "From Arlecchino to Wertmuller: modern Italian archetypes in the commedia all’italiana." Modern Italy 22, no. 3 (June 15, 2017): 275–89. http://dx.doi.org/10.1017/mit.2017.30.

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This article explores the trajectory of the Italian comic archetype, ‘The Opportunist’, and how it illuminates, and allows us to draws connections between, numerous junctures of modern Italian history. The caricature ‘Arlecchino’, deriving from the masked ‘types’ of the commedia dell’arte of the fifteenth and sixteenth centuries, is an historic exemplar of the Italian ‘everyman’ who simultaneously evades and exploits the established order in order to ‘get by’, ‘get ahead’ and survive. Filmmakers of la commedia all’italiana such as Mario Monicelli, Dino Risi and Lina Wertmuller, employed this caricature of the wily – yet ultimately harmless – petty crook in their work. They did so not in order to reinforce prejudices of Italians as self-serving and apathetic, but in order to examine what it meant to ‘survive’ 20 years of Fascism and the socio-political turmoil of post-war Italy. Examining how this caricature has historically evolved according to its ever-shifting social milieu illuminates not only certain defining moments of Italian history, but also how this archetype has contributed to popular understandings about Italy’s past and its people.

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Štěpánek, Kamil. "On the Topic Role Models for Young People in Visual Media and History Education: Czechoslovakia 1948–1989." Czech-polish historical and pedagogical journal 12, no. 1 (2020): 25–34. http://dx.doi.org/10.5817/cphpj-2020-003.

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The text of the paper aims to analyse selected educational patterns from contemporary visual media (Czechoslovakia 1948–89) – postage stamps, posters, comics or caricatures aimed at the target group of young people. For the totalitarian communist regime, the youth represented an easily educated bearer of ideas and the prospects of maintaining the regime in the generations to come. The didactic application of these patterns in history education represents a suitable alternative to media education.

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Lloyd, Rosemary, and Michele Hannoosh. "Baudelaire and Caricature: From the Comic to an Art of Modernity." Comparative Literature 47, no. 4 (1995): 356. http://dx.doi.org/10.2307/1771329.

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Hardy, Jennifer K. "The Caricature Of The Irish In British And U.S. Comic Art." Historian 54, no. 2 (December 1, 1991): 283–88. http://dx.doi.org/10.1111/j.1540-6563.1992.tb00853.x.

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Hewitson, Mark. "The Violent Art: Caricatures of Conflict in Germany." Cultural History 6, no. 1 (April 2017): 57–79. http://dx.doi.org/10.3366/cult.2017.0135.

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War furnishes a – perhaps the – classic case of ‘black humour’, which is understood here in the broad sense, not merely as the humour of the gallows or the cheating of death, but humour deriving from a confrontation with suffering or death, either as a victim or a perpetrator. War cartoons relied on the manipulation of images for comic effect, which – at least until the absurdist experiments of the Dada and Surrealist movements during and after the First World War – appeared impossible in photography, painting and cinematography. Caricature permitted artists simultaneously to conjure up, simplify and undermine reality. The selection and exaggeration of character traits and circumstantial detail, which was fundamental to caricature, revealed graphically how cartoonists perceived the social and political world in which they lived. This chapter examines how such selection and exaggeration worked in extreme conditions during wartime.

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Kunzle, David. "Review Article." European Comic Art 12, no. 2 (September 1, 2019): 106–13. http://dx.doi.org/10.3167/eca.2019.120206.

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With Marie Duval, virtual creator of the ineffable Ally Sloper (first appearance 1867) and mainstay of a new magazine named Judy founded that year, we find a new kind of cartoon character, a new kind of caricature and a new kind of journal aiming, unlike Punch, at a female and lower-class audience. The moment was propitious: after two decades of national prosperity during which the GNP almost doubled, the demand (a push from below) was felt for some cultural irreverence and novelty. Maybe the 1850s and 1860s were the first ‘Age of Leisure’ rather than the succeeding one, that of Duval, proposed by the authors here (7); the later age, of Duval, was that of increased and lower-class leisure, for sure. This caricaturist and artist is a quite recent discovery: before the late 1980s and 1990, she was virtually unknown. She was Europe’s first female professional exponent of caricature (as distinct from a few sisters in conventional cartooning), and her initials and name took credit for the long-term development of an extraordinary artistic property, which quickly became a new sociological phenomenon: a dissolute trickster called Ally Sloper. He attained wild popularity in the 1870s and 1880s, and beyond. He was the first of many British comic characters to become a household name, and the first such comic character to be widely commercialised.

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Burge, Daniel J. "Genocidal Jesting." Pacific Historical Review 91, no. 2 (2022): 163–89. http://dx.doi.org/10.1525/phr.2022.91.2.163.

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In the nineteenth century, writers such as James Fenimore Cooper and Henry Wadsworth Longfellow wrote best-selling works that shaped popular perceptions of Native American men. Historians and literary scholars have argued that literary characters representing Native men can be classified into two broad categories: Noble Savages and Bloody Savages. This article examines the literary origins and emergence of a third figure: the Comic Indian. Beginning with the various parodies of Longfellow’s Hiawatha in 1855, and continuing through the western humor of Bill Nye, this article examines how writers crafted comic characters that burlesqued stereotypical Native Americans. By the end of the century, the Comic Indian had become standard fare in U.S. literature. Understanding this history helps to explain why certain comic caricatures of Native men have persisted into the present and illustrates that humor can be used to justify genocidal policies.

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Maidment, Brian. "Comic Empires: Imperialism in Cartoons, Caricature and Comic Art ed. by Richard Scully and Andrekos Varnava (review)." Victorian Periodicals Review 56, no. 2 (June 2023): 312–14. http://dx.doi.org/10.1353/vpr.2023.a912323.

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Vinnik, Julia. "PECULIARITIES OF COMIC DIALOGISM CONVEYANCE (ON THE MATERIAL OF FRENCH POLITICAL CARICATURE)." Гуманитарные и юридические исследования, no. 1 (2021): 187–94. http://dx.doi.org/10.37493/2409-1030.2021.1.25.

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Lee, Judith Yaross. "The Content of Our Caricature: African American Comic Art and Political Belonging." Studies in American Humor 7, no. 2 (October 1, 2021): 382–88. http://dx.doi.org/10.5325/studamerhumor.7.2.382.

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Hamrick, Stephen. "Antiracism in Othello sketch comedy, 1967-1999." European Journal of Humour Research 10, no. 1 (April 14, 2022): 3–21. http://dx.doi.org/10.7592/ejhr2022.10.1.596.

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Despite Shakespeare’s rejection of comic, racist stereotypes in Othello, minstrel shows offered racist blackface caricatures of slaves and others of African descent that filtered through British Music Hall and Variety to television sketch comedy. Analyses of twenty-five screened appropriations of Othello provide a cultural history of racism for 1967-1999. The article recovers an antiracist tradition overlooked in comedy studies.

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Thalhah, Abdullah Ibnu. "Visual Metaphor of Javanese Cartoon: The Interpretation of Cultural Socio-Politic in Goenawan Pranyoto’s Comic Cartoon Mbeling “Ande Ande Lumut” (1951-2014)." Harmonia: Journal of Arts Research and Education 16, no. 1 (December 26, 2016): 24. http://dx.doi.org/10.15294/harmonia.v16i1.6767.

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<p>A comic cartoon is a communication media that is widely enjoyed and accepted by people. As a literary and journalistic work, the comic cartoon also captures the surrounding cultural situation. The modern and traditional cultural sign, fact and imagination, realist pattern and cartoon or caricature are used in a combination that seems contra versed (it is called double code discourse in postmodernism discourse), to show metaphor pattern relationship. The metaphor is applied through the transformation and play of the signs in the past and the future. They were spread, combined, and also transformed as a tool to show the creator’s expression. In this research, it was found that there was a very close relationship between the use of metaphoric signs and Indonesia’s social-politic situation in 1983. On one hand, Metaphor in comic cartoon Mbeling was a tool created to insinuate and criticize the corrupt and feudal Orde Baru authoritarian. It insinuated the violence involving the government officers in every aspect of the people’s life. On the other side, the comic cartoon also becomes the representation of contemporary Javanese culture that was open to other culture and acculturation.</p>

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McBeath, Michael K., and Ty Y. Tang. "Basketball Hoop Illusion Verified both Empirically and through Comic Strip Caricatures." Journal of Vision 19, no. 10 (September 6, 2019): 199b. http://dx.doi.org/10.1167/19.10.199b.

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Sidwell, Keith. "Poetic Rivalry and the Caricature of Comic Poets: Cratinus' Pytine and Aristophanes' Wasps." Bulletin of the Institute of Classical Studies 40, Supplement_66 (July 1, 1995): 56–80. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02180.x.

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Hiddleston, J. A. "Baudelaire and Caricature: From the Comic to an Art of Modernity. Michele Hannoosh." Modern Philology 92, no. 2 (November 1994): 261–63. http://dx.doi.org/10.1086/392245.

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Baga, Sisean, Deden Ibnu Aqil, and Maria Magdalena Rosaline. "Caricatures and comics based on gender towards concept understanding: A learning media on environmental pollution." Biosfer 15, no. 1 (April 7, 2022): 134–46. http://dx.doi.org/10.21009/biosferjpb.25318.

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One crucial thing in environmental learning is how gender-based media is not yet used optimally to improve concept understanding in the classroom. Students will not develop pro-environmental concerns and behavior if they do not understand pollution and environmental issue. This study aims to prove the influence of learning media and gender on understanding environmental pollution concepts in a Secondary High School in Jakarta, Indonesia. The method used is an experiment with a 2 x 2 factorial design. The sample is taken based on the stratified random sampling technique that consists of 40 students with 20 males and 20 females from two Senior High Schools in Jakarta, Indonesia. The instrument used in this study was 32 multiple choice questions to measure students' understanding, consisting of translating, interpreting, and extrapolating dimensions. The data analysis interpretation shows an interaction effect between learning media and gender on understanding the environmental pollution concept. Therefore, this study recommends that teachers use various media such as caricatures and comics that are proven usable to accommodate gender differences and enhance conceptual understanding in the classroom.

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SNOWDON, P. "Review. Baudelaire and Caricature: From the Comic to an Art of Modernity. Hannoosh, Michele." French Studies 47, no. 4 (October 1, 1993): 479. http://dx.doi.org/10.1093/fs/47.4.479.

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Levitt, Marcus C. "Take No Prisoners Caricature: Nikolai Remizov and the Revolution of 1905." Experiment 28, no. 1 (December 21, 2022): 90–117. http://dx.doi.org/10.30965/2211730x-12340027.

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Abstract This article examines the brilliant caricatures by Nikolai Vladimirovich Remizov (Re-mi, born Vasil’ev, 1887–1975) for the Russian satirical journals of 1905–1907. This period marked the first stage of Remizov’s long career, when he emerged as one of the country’s most talented and well-known caricaturists. The article focuses on Remizov’s new, no-holds-barred satire depicting episodes of state-sponsored bloodletting. The satirical journals widely quoted the words of Dmitri Trepov to his troops during the October general strike “not to fire blanks and to spare no cartridges,” a phrase that became a tragi-comic mantra in the satirical journals. It also reflected the take-no-prisoners spirit of Remizov’s caricatures. Further, the article outlines Remizov’s subsequent participation in the few journals—in particular, Satirikon and Novyi Satirikon (New Satyricon)—that strove to keep the satirical tradition of 1905 alive. After the Bolshevik Revolution put a forcible end to these publications, Remizov emigrated, and later forged a long career in the United States as an art designer for stage, television and the big screen.

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Kidder, Orion Ussner. "Fire in the jungle: Genocide and colonization in Russell and Pugh’s The Flintstones." Studies in Comics 11, no. 2 (November 1, 2020): 305–20. http://dx.doi.org/10.1386/stic_00032_1.

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Mark Russell and Steve Pugh’s The Flintstones comic book (2016‐17) addresses US colonialism much more directly than most popular media but focalizes its story through a white, settler American. Thus, it represents an unwillingness and/or inability to think outside of that narrow perspective, i.e. while it is anti-colonial, it is not postcolonial. The book was published through a licensing agreement between Hanna-Barbara and DC Comics in which several Hanna-Barbera cartoons were combined with contrasting genres to create grim and/or mature stories. DC’s The Flintstones, in particular, takes on a collection of social issues, including religion as cynical manipulation, military-industrial propaganda, exploitation of foreign/immigrant labour and media depictions of the environmental crisis. However, it consistently undermines its own messages, often through visual jokes that end up confirming the ideas the book satirizes but also through sincere pronouncements that prevent the satirical critique from reaching a concrete conclusion. The overarching narrative of the series is about the lingering trauma of colonization. It equates the colonization of the land presently held by United States with that country’s war in Vietnam. This equation results from depicting the literal colonization of an Indigenous space and land but using imagery that reflects US media depictions of their war in Vietnam: colonialist soldiers in green fatigues use fire (i.e. napalm) to exterminate racist caricatures of Southeast Asian guerrilla fighters in order to clear a forest and expose the literal bedrock from which the Flinstone’s city will be built. Fred Flintstone, who represents a settler American, states quite directly that he ‘participated in a genocide’ as a soldier in that invasion, thus confirming an anti-colonialist critique. However, the book never takes on the perspective of the colonized peoples, who by then have been wiped out, which is why it stops short of a postcolonialist critique.

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Journal articles on the topic 'Comics and caricature'

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