Relevant bibliographies by topics / Literary caricature

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  2. Dissertations / Theses
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Academic literature on the topic 'Literary caricature'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Literary caricature"

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Guinand, Cécile. "La Caricature littéraire : L’Éducation sentimentale de Flaubert." Quêtes littéraires, no. 5 (December 30, 2015): 65–77. http://dx.doi.org/10.31743/ql.239.

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In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of l
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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 techniq
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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, ima
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Nasir, Muhammad Saeed, Muhammad Riaz, and Barirah Nazir. "The Representation of Social Reality in Saraiki Dramas Roshan Zameer and Qatil e Hamsheer." Global Language Review VI, no. I (2021): 186–96. http://dx.doi.org/10.31703/glr.2021(vi-i).20.

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The Genre of Drama had always been reflective of social life. The history of drama is as old as of humans on earth. Saraiki drama is believed to be developed from undeveloped but organized expressions of caricatures; such kind of organized caricature is found still in the local area. It is a tradition that people of the lower caste named Bhaands. This kind of art was established by the people who were very poor, and they used to caricature the rich and gentry to amuse them and other people. The present study is aimed to trace the social realities and their representation in Saraiki Drama. Two
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Thind, Rajiv. "For the common weal." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (2018): 69–83. http://dx.doi.org/10.1177/0184767818788086.

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While much of recent Hamlet criticism is heavily invested in foregrounding Catholic-nostalgic aspects in the play, I argue that the purgatorial Ghost can also be read as a caricature. Comedic and parodic depictions of Roman Catholic doctrine and beliefs were fairly common in the popular writings of Shakespeare’s age. I situate Shakespeare’s Hamlet within contemporary Protestant culture and its literary aesthetics as well as populist appeal. Finally, I read Hamlet’s mocking of the Ghost at the end of Scene 1.5 along with a popular pamphlet, Tarltons Newes out of Purgatorie (1590). Both, I argue
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Rodríguez Carranza, Luz. "Don Juan and the Nymph: Caricature and Theory of the Image in Diana o la cazadora solitaria." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 715–19. http://dx.doi.org/10.1632/s0030812900123028.

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A barbed article by Rafael Lemus on Carlos Fuentes and his work appeared in Letras libres in November 2006. The article offers a fierce critique, but, as Lemus often does, he sees what others do not. His most penetrating remarks about Fuentes, in my view, are the ones that address caricature and, with it, specific work on the image. Thus, “Fuentes returns to his themes and resources, which are classical, and in an effort to sum them up, he caricatures them.” His recent stories “have something anachronistic about them,” and his way of dealing with reality “no longer produces anything but cadave
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Lansdown, Richard. "Romanticism and Caricature. Ian Haywood." Wordsworth Circle 45, no. 4 (2014): 327–28. http://dx.doi.org/10.1086/twc24311857.

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Guédron, Martial. "L'ombre révélatrice. Caricature, personnification, allégorie." Romantisme 152, no. 2 (2011): 61. http://dx.doi.org/10.3917/rom.152.0061.

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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 (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-P
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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (2020): 197. http://dx.doi.org/10.15421/26190214.

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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sou
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Dissertations / Theses on the topic "Literary caricature"

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Ferguson, Olivia Mary. "Literary forms of caricature in the early-nineteenth-century novel." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31529.

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This thesis examines the status of caricature in the literary culture of early-nineteenth- century Britain, with a focus on the novel. It shows how the early-nineteenth- century novel developed a variety of literary forms that negotiated and remade caricature for the bourgeois literary sphere. Case studies are drawn primarily from the published writings and manuscript drafts of Thomas Love Peacock, Jane Austen, Mary Shelley, and Walter Scott. The first chapter elucidates the various meanings and uses of 'caricature' in the eighteenth and early nineteenth centuries, when the term was more ambig
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Santos, Larissa Pereira da Silva. "A charge em sala de aula : reflexo e refração étnicas /." Assis, 2016. http://hdl.handle.net/11449/147074.

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Orientador: Karin Adriane Henschel Pobbe Ramos<br>Banca: Rozana Aparecida Lopes Messias<br>Banca: Altamir Botoso<br>Resumo: A presente pesquisa tem como objeto de estudo o gênero discursivo charge como possibilidade de trabalho pedagógico para os alunos das séries finais do Ensino Fundamental II. A escolha do gênero em questão se deu por se tratar de um gênero atrativo, aceito pelos alunos de forma imediata, por suscitar a criticidade e possibilitar o acesso a questões polêmicas da vida em sociedade. A pesquisa é oriunda da seguinte questão: de que modo o gênero discursivo charge pode ser trab
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Ysasi, Alonso Alejandro. "La obra gráfica de Pedro Quetglas “Xam” (1915-2001): la riqueza de un patrimonio." Doctoral thesis, Universitat de les Illes Balears, 2014. http://hdl.handle.net/10803/284394.

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És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realit
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Books on the topic "Literary caricature"

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Transmutations: Understanding literary and pictorial caricature. University Press of America, 1991.

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Playing the races: Ethnic caricature and American literary realism. Oxford University Press, 2004.

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John, Updike, ed. Pens and needles: Literary caricatures. Dorset Press, 1989.

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Simmonds, Posy. Literary life. Jonathan Cape, 2003.

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This literary life. Coffee House Press, 1991.

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The Smurfs. Publications International, 2011.

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Olivia. PI Kids/Publications International, 2011.

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Nikolaus, Heidelbach, and Klink Vincent, eds. Liebe. DuMont, 2012.

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Mawhinney, Art. Royal wedding. Publications International, 2012.

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Mawhinney, Art. Best-loved classics. Publications International, 2012.

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Book chapters on the topic "Literary caricature"

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Correoso-Rodenas, José Manuel. "The (Literary) Caricatures of Flannery O’Connor’s Short Fiction 1." In Painting Words. Routledge, 2020. http://dx.doi.org/10.4324/9780429242601-11.

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Jendza, Craig. "From Rags to Drag." In Paracomedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190090937.003.0004.

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This chapter proposes that for some twenty years, Aristophanes and Euripides were engaging in a cross-generic dialogue about the appropriate use and effectiveness of dramatic costuming, which concerned the costume choices of dressing a royal in rags and dressing a male character in women’s clothes. It argues that Aristophanes’s Acharnians caricatured Euripides’s tendency to stage heroes in rags and that some years later, Euripides’s Helen reacted by depicting Menelaus as Aristophanes’s caricature of a Euripidean hero in rags. The chapter then suggests that the following year, Aristophanes’s Women at the Thesmophoria mocked Euripides by dressing him, his Kinsman, and his fellow tragedian Agathon in women’s clothes and that Euripides’s Bacchae responded by making Pentheus participate in the same kind of cross-dressing scene that Aristophanes used in Women at the Thesmophoria. The chapter analyzes these reappropriations as a type of literary rivalry aimed at achieving poetic supremacy.
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Taylor, David Francis. "The Literariness of Graphic Satire." In The Politics of Parody. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300223750.003.0001.

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This introductory chapter discusses the literariness of graphic satire. First applied to visual satire in the mid-nineteenth century, the term graphic satire problematically implies a straightforward formal equivalence between the modern editorial cartoon and the political caricature of the Georgian period, which was published and disseminated as a single-sheet etching. However, the fallacy that such images yield their meaning directly and near instantaneously is an old one. To speak of the literariness of caricature is to recognize and attend to its syntactical and narrative structures: structures that are themselves constituted through the enmeshing of images and words; the appropriation and parody of literary scenes and tropes; and often-dense networks of allusions to other cultural texts, practices, and traditions. It is also necessary to acknowledge that a print's meaning and sociopolitical orientation comes into focus only when seen in relation to the cultural constellation of which it was a vital and highly self-conscious constituent.
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Golden, Catherine J. "Caricature and Realism." In Serials to Graphic Novels. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062297.003.0005.

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At the fin de siècle, the Victorian illustrated book experienced what some critics consider a decline and others call a third period of development. “Caricature and Realism” examines the validity of both viewpoints. Publishing trends and intertwining economic and aesthetic factors led to the decline of newly released, large-circulation fiction during the final decades of the nineteenth century in England. These include the waning of serial fiction, cost factors, a rise in literacy, the changing nature of the novel, new developments in illustration, and competition from other media. However, the Victorian illustrated book thrived in several areas—certain serial formats, artists’ books, children’s literature, and the U.S. market—and in some of these forms of material culture, we witness a reengagement with the caricature tradition as well as a continuation of the representational school. This chapter surveys late Victorian illustrated fiction marketed to different audiences according to social class, age, gender, and nation. This chapter also foregrounds two fin-de-siècle author-illustrators—Beatrix Potter, best known for The Tale of Peter Rabbit, and George Du Maurier, who gained fame with Trilby—to demonstrate continuity in the arc of the illustrated book and a media frenzy of Pickwickian magnitude.
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Paul, Helen J. "John Law, the South Sea Bubble, and Dutch Satire." In Comedy and Crisis. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622201.003.0005.

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This chapter examines the financial history behind the Bubbles of 1720, with a special focus on their effects in the Netherlands, by offering a number of observations and speculations concerning two economic comedies penned by Pieter Langendijk in 1720, collected in Het groote Tafereel der dwaasheid [The Great Mirror of Folly], and now published in this volume in English translation. As well as examining what the plays can tell us about the financial knowledge of Langendijk’s audiences, this essay explores how literary critic and historian C.F.P. Meijer attempted to explain economic history to a new readership in his 1892 edition of the plays. Dutch familiarity with finance and share trading is evidenced in Langendijk’s use of sophisticated financial language, indicating that his audience understood the world he was satirising. That Langendijk could, or thought he could count on a certain familiarity with finance on the part of his Dutch viewers stands in contrast, for example, to what we may extrapolate from English plays of the same period, which merely caricature stock market activity, likening it to gambling. This chapter shows that Langendijk painted a more nuanced view of finance than his English contemporaries, and argues that, while Quincampoix and Harlequin Stock-Jobber share some common themes with English plays (such as anti-Semitism and the humbling of the nouveau riche), Langendijk, like many in his Dutch audience, was no financial neophyte.
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Taylor, David Francis. "Looking, Literacy, and the Printshop Window." In The Politics of Parody. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300223750.003.0002.

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This chapter examines the satirical print. The single-sheet satirical print was fundamentally a social form; it was designed to be seen, enjoyed, and lingered over by the group far more than the solitary reader. As the sites of display and modes of engagement that structured the culture of caricature make abundantly clear, prints not only invited but were in many ways predicated on practices of communal reading and consumption. Most obviously, the exhibition of engravings, satirical and otherwise, in the shopwindows of London's print sellers—a ubiquitous custom by the midcentury—ensured that prints were part of the texture of everyday pedestrian experience in Georgian London. Equally, within the home, especially the houses of the gentry and aristocracy, graphic satire was principally to be found in the communal space and rituals of the drawing room.
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Spiropoulou, Angeliki. "Orlando Famoso: Obscurity, Fame and History in Orlando." In Sentencing Orlando. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414609.003.0009.

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The spectres of past and future imagined literary spaces pervade Angeliki Spiropoulou’s chapter. Drawing on classical and Renaissance constructions of the hero and the poet, Spiropoulou addresses ideas of literary fame and immortality in Orlando. From the caricatured writer Nick Greene, who extols ‘La Gloire’ above material gain while simultaneously seeking patronage, to the gender politics of anonymity and obscurity, Spiropoulou interrogates the traditional ways in which biography builds fame. Her chapter explores the historically bound nuances of writing for glory, and considers Woolf’s own complex relationship to fame in light of Orlando’s popular success.
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Fitzpatrick, Andrew P. "Druids: Towards an Archaeolog." In Communities and Connections. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199230341.003.0025.

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A comparison of the first and fourth editions of the magisterial survey and synthesis of Iron Age Communities in Britain shows how much our understanding changed, and improved, between 1974 and 2005. Many of the changes are directly due to Barry Cunliffe’s own work, published promptly and accessibly. Woven through many of those works have been the strands of the interplay between history and archaeology, and between civilization and barbarism. One area in which there has been little change, however, is in the study of religious authority, where our understanding is restricted almost entirely to literary evidence about Druids in Gaul (Cunliffe 2004: 109–11; 2005: 572–4). There are the merest of hints from the funerary data, from a consideration of which the quotation above is taken. It will be argued here that there is rather more evidence for people with religious knowledge and skills in Iron Age Britain than has been thought previously, but that there is little evidence for a specialist priesthood and these roles were combined with others. The evidence is often elusive, but the history of the study of Iron Age religious authority has also militated against its recognition. In order to appreciate this, it is necessary to review briefly the sources of the modern caricature that is the white-robed Druid at Stonehenge. During the Renaissance it was gradually realized that some monuments in the landscape had been made by the ancient inhabitants of the British Isles. With the ‘discovery’ of what were thought to be ‘primitive’ peoples or ‘savages’ in the Americas, Renaissance thinkers were provided with the physical and intellectual materials to create an image of a barbarian antiquity. This antiquity was one where little changed; the past was essentially a time either before or after the biblical Deluge. It was related to the present by origin myths that related modern nations and their mythical founders to Noah and the Garden of Eden.
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Neele, Adriaan C. "Sources of Christian Homiletics." In Before Jonathan Edwards. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199372621.003.0003.

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That Edwards assumed a Puritan style of homiletics is questioned in view of the Christian tradition of preaching. The chapter argues that if the homiletic labors of the preacher of Northampton are “statements on the full range of his thought,” one must situate Edwards’s sermons, both in form and structure, in terms of continuity and discontinuity with Christian preaching. The caricatures and commendations of Puritan preaching must be set aside, so that a broader context of long-standing trajectories of Christian homiletics throughout the ages can be discerned and brought into view. Although Edwards resided on the outskirts of the colonial world, his intellectual endeavors in framing his homiletic discourses resonated strongly with the trajectories of Christian homiletics of earlier centuries—though mediated through the early modern period. Edwards’s sermons, then, as literary devices or discourses with their rhetorical particularities, must be situated in the history of preaching.
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Golden, Catherine J. "The Pickwick Papers and the Rise of the Serial." In Serials to Graphic Novels. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062297.003.0002.

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Beginning in April 1836 and concluding with a double number in November 1837, Charles Dickens’s The Posthumous Papers of the Pickwick Club—a sequence of comic adventures with caricature-style illustrations initially by Robert Seymour and subsequently by Hablot Knight Browne (Phiz)—came out in nineteen illustrated instalments for the cost of a shilling each. An unprecedented publishing phenomenon, Pickwick Papers attracted fans across the social classes, generated a host of Pickwick-related products, and earned glowing reviews. “The Pickwick Papers and the Rise of the Serial” offers a synthetic reading of reviews by Dickens’s contemporaries and work by past and recent critics who have acknowledged Pickwick’s importance to the rise of the illustrated serial. Chapter one examines interwoven factors that contributed to Pickwick’s popularity, including the growth of commodity culture, a rise in literacy, new printing technologies, serialization, and the appeal of reading pictures, particularly humorous ones. The blend of comic appeal, theatricality, and social commentary led to the serial’s success, and, in the process, created a mass market for new fiction with illustration.
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