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Journal articles on the topic 'Literary caricature'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Smith, Gail. "Madam and Eve: A Caricature of Black Women's Subjectivity?" Agenda, no. 31 (1996): 33. http://dx.doi.org/10.2307/4066261.

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12

Haywood, Ian. "David Francis Taylor. The Politics of Parody: A Literary History of Caricature, 1760-1830." Review of English Studies 70, no. 294 (2018): 373–76. http://dx.doi.org/10.1093/res/hgy111.

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13

Ferguson, Olivia. "The Politics of Parody: A Literary History of Caricature, 1760-1830. By David Taylor." Essays in Criticism 70, no. 3 (2020): 376–82. http://dx.doi.org/10.1093/escrit/cgaa012.

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14

Andrès, Philippe. "Aa. Vv., Baudelaire, du dandysme à la caricature." Studi Francesi, no. 146 (XLIX | II) (November 1, 2005): 437–38. http://dx.doi.org/10.4000/studifrancesi.34997.

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15

Andrès, Philippe. "Av. Vv., Baudelaire, du dandysme à la caricature." Studi Francesi, no. 145 (XLIX | I) (July 1, 2005): 191–92. http://dx.doi.org/10.4000/studifrancesi.36517.

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16

Kelley, Theresa M. "J. M. W. Turner, Napoleonic Caricature, and Romantic Allegory." ELH 58, no. 2 (1991): 351. http://dx.doi.org/10.2307/2873372.

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17

Smith, S. M. "Barbaric Intercourse: Caricature and the Culture of Conduct, 1841-1936." American Literature 76, no. 2 (2004): 396–97. http://dx.doi.org/10.1215/00029831-76-2-396.

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18

Meyer, Ben F. "A Caricature of Joachim Jeremias and His Scholarly Work." Journal of Biblical Literature 110, no. 3 (1991): 451. http://dx.doi.org/10.2307/3267782.

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19

Rich, Paul, and Guillermo De Los Reyes. "Mexican Caricature and the Politics of Popular Culture." Journal of Popular Culture 30, no. 1 (1996): 133–45. http://dx.doi.org/10.1111/j.0022-3840.1996.00133.x.

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20

Devereux, Jo. "The Rise of Victorian Caricature by Ian Haywood." Victorian Periodicals Review 53, no. 3 (2020): 455–57. http://dx.doi.org/10.1353/vpr.2020.0038.

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21

Apter, Emily. "Alphabetic Memes: Caricature, Satire, and Political Literacy in the Age of Trump." October 170 (October 2019): 5–24. http://dx.doi.org/10.1162/octo_a_00366.

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Memes are an increasingly omnipresent political technology in the age of Trump, weaponized by troll armies, while at the same time reviving oppositional genres of caricature and satire that are in turn conducive to new forms of political literacy. As a medium, the meme is a mechanism of transliteration, translating affects into icons that read out visually and orthographically, as alphabet, cipher, rebus, anagram, tag, GIF, secret message. In their antidepressant function, memes are salves for solitary souls. They are community-builders connecting solo agents to social networks and political c

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22

Kruitbosch, Holly. "The Politics of Parody: A Literary History of Caricature 1760–1830 by David Francis Taylor." Eighteenth-Century Fiction 33, no. 1 (2020): 132–34. http://dx.doi.org/10.3138/ecf.33.1.132.

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23

Finnigan, Robert. "The Politics of Parody: A Literary History of Caricature, 1760–1830 by David Francis Taylor." Eighteenth-Century Studies 54, no. 2 (2021): 515–17. http://dx.doi.org/10.1353/ecs.2021.0031.

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24

Leduc, Jean-Jacques. "L'image de la ville dans la caricature indonésienne." Archipel 36, no. 1 (1988): 113–24. http://dx.doi.org/10.3406/arch.1988.2446.

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25

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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26

Bryan, Mark Evans. "Yeoman and Barbarians: Popular Outland Caricature and American Identity." Journal of Popular Culture 46, no. 3 (2013): 463–80. http://dx.doi.org/10.1111/jpcu.12036.

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27

McPherson, Heather. "Caricature, Cultural Politics, and the Stage: The Case ofPizarro." Huntington Library Quarterly 70, no. 4 (2007): 607–31. http://dx.doi.org/10.1525/hlq.2007.70.4.607.

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28

Katz, Maya Balakirsky. "Photography Versus Caricature: "Footnotes" on Manet's Zola and Zola's Manet." Nineteenth Century French Studies 34, no. 3 (2006): 323–37. http://dx.doi.org/10.1353/ncf.2006.0026.

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29

Tortonese, Paolo. "Amour et Gibelotte, ou l'appétit des titres." Nottingham French Studies 58, no. 2 (2019): 210–25. http://dx.doi.org/10.3366/nfs.2019.0249.

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In the Salon of 1859, Baudelaire wonders about the title of a painting he had not seen: Amour et Gibelotte, and formulates hypotheses about what it could represent: An idyllic scene? a caricature? an allegory? This painting being lost, we can carry on the interpretation of the title after Baudelaire, with the help of the available information about its creator, the painter Ernest Seigneurgens, and the practices of the time in the use of titles. The outcome is a dossier that prompts a reflection on the modalities of representation and, particularly, on the relationship between comedy and realis

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30

Hiddleston, James A. "Les poèmes en prose de Baudelaire et la caricature." Romantisme 21, no. 74 (1991): 57–64. http://dx.doi.org/10.3406/roman.1991.5816.

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31

Stoliarova, A. G. "REGIONAL DEVELOPMENT OF A POETICAL TRADITION: FOREIGN INCLUSIONS AS A LITERARY DEVICE (stylistic aspect)." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (2020): 1008–13. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1008-1013.

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Scottish alliterative poetry, which can be regarded as a regional variety and at the same time the final step in the evolution of the alliterative tradition in England and Scotland, was composed in the second half of the 15th century, the period that marked the gradual decline of the tradition. In Scotland the alliterative verse was mainly employed for ironic or satirical purpose. The Buke of Howlat by Richard Holland, the earliest Scottish poem, can provide an example of using alliterative style in allegory and parody. The paper deals with how elements of a foreign language, as well as imitat

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32

Wolf, Sarah. "“Haven't I Told You Not to Take Yourself outside of the Law?”: Rabbi Yirmiyah and the Characterization of a Scholastic." AJS Review 44, no. 2 (2020): 384–410. http://dx.doi.org/10.1017/s0364009420000112.

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AbstractThe paper looks at several episodes in which R. Yirmiyah is rebuked for questions that are portrayed as epistemologically destabilizing to the rabbinic legal project. I argue that R. Yirmiyah is portrayed as a caricature of late rabbinic scholastic thought, and that his characterization enables the writers of the Bavli to hold their own scholastic tendencies up to critique while also drawing protective boundaries around the analytical direction their legal culture has taken. I also read the passages together to demonstrate that the Bavli functions as a unified literary work in previous

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33

Conrad, Eric. "Am I Not a Man and a Poet?: A Recently Recovered Whitman Caricature." Walt Whitman Quarterly Review 27, no. 3 (2010): 159–64. http://dx.doi.org/10.13008/2153-3695.1915.

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34

Wonham, Henry B. "Amerigo's Miraculous Metamorphosis: or, the Logic of Ethnic Caricature in The Golden Bowl." Henry James Review 26, no. 2 (2005): 130–46. http://dx.doi.org/10.1353/hjr.2005.0015.

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35

Wonham, H. B. ""I Want a Real Coon": Mark Twain and Late-Nineteenth-Century Ethnic Caricature." American Literature 72, no. 1 (2000): 117–52. http://dx.doi.org/10.1215/00029831-72-1-117.

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36

Aguilar, Julia VanLoan. "Humor in Crisis: Guadalupe Loaeza's Caricature of the Mexican Bourgeoisie." Journal of American Culture 20, no. 2 (1997): 153–58. http://dx.doi.org/10.1111/j.1542-734x.1997.2002_153.x.

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37

Davis, Gregson. "Ait Phaselus: The Caricature of Stylistic Genre (Genus Dicendi) in Catullus Carm. 4." Materiali e discussioni per l’analisi dei testi classici, no. 48 (2002): 111. http://dx.doi.org/10.2307/40236217.

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38

Leary, Patrick. "Comedy, Caricature and the Social Order, 1820–50 by Brian Maidment." Victorian Periodicals Review 47, no. 1 (2014): 146–50. http://dx.doi.org/10.1353/vpr.2014.0005.

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39

Scott, R. ""Marmoreal darling of the Few": Henry James, Max Beerbohm, and the Spirit of Caricature." Literary Imagination 15, no. 1 (2013): 124–44. http://dx.doi.org/10.1093/litimag/imt008.

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40

Baker, T. C. "The (Neuro)-Aesthetics of Caricature: Representations of Reality in Bret Easton Ellis's Lunar Park." Poetics Today 30, no. 3 (2009): 471–515. http://dx.doi.org/10.1215/03335372-2009-003.

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41

Merello, Ida. "La Ville d’eaux à la loupe: de la dégénérescence à la caricature." Studi Francesi, no. 185 (LXII | II) (August 1, 2018): 225–33. http://dx.doi.org/10.4000/studifrancesi.12573.

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42

Thuynsma, Peter N. "Esk'ia Mphahlele remembered." Tydskrif vir Letterkunde 46, no. 1 (2018): 213–16. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.4298.

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The phrase ‘affable to a fault’ could well be the severest understatement to characterise Esk’ia Mphahlele. He related warmly to everyone and did so with a natural and consummate ease. People meant everything to him and life was forever ripe with metaphor and analogy. He would cradle experiences, mull them over, toss them about, prod here and tickle there to extract and savour. All this coupled with a comical gait of flaying arms and a thunderous laughter made of him both a delightful caricature and a sage!

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43

Morgan, Jack. "The Irish in John Ford's Seventh Cavalry Trilogy: Victor McLaglen's Stooge-Irish Caricature." MELUS 22, no. 2 (1997): 33. http://dx.doi.org/10.2307/468133.

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44

Sharp, Carolyn. "Ironic Representation, Authorial Voice, and Meaning in Qohelet." Biblical Interpretation 12, no. 1 (2004): 37–68. http://dx.doi.org/10.1163/156851504322887672.

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AbstractThe book of Qohelet presents a literarily noteworthy double voicing and differing perspectives by means of the sage "Qohelet" and the Epilogist. Interpreters have responded with redactional schemas, on the one hand, and with literary defenses of the rhetorical unity of the book, on the other. Aligned with literary studies that discern a rhetorical purpose underlying the fictional character of the sage, the present essay argues for a governing metanarratological irony mediated by the construction of the persona of "Qohelet." Building on appraisals of key functions of irony by Kierkegaar

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45

Thériault, Patrick. "Outrance et outrage poétiques chez le dernier Baudelaire : Les Amoenitates Belgicæ et le poème-caricature." Les Lettres Romanes 73, no. 3-4 (2019): 437–58. http://dx.doi.org/10.1484/j.llr.5.119892.

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46

SNOWDON, A. P. "Review. Baudelaire's 'Argot Plastique': Poetic Caricature and Modernism. McLees, Ainslie Armstrong." French Studies 45, no. 4 (1991): 476. http://dx.doi.org/10.1093/fs/45.4.476.

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47

McCarthy, Dennis. "Harvey’s 1593 ‘To Be and Not To Be’." Critical Survey 31, no. 1-2 (2019): 87–100. http://dx.doi.org/10.3167/cs.2019.31010207.

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Ever since the discovery of the first quarto of Hamlet (Q1) in 1823, it has generated fierce debate among scholars about its origin. Recently, Terri Bourus has written a powerful book-length argument that Q1 was indeed by Shakespeare, as its title page states, and that he wrote it by 1589. The present article bolsters Bourus’s conclusion with a careful look at its title page claims as well as the literary satires of Thomas Nashe, Gabriel Harvey and Ben Jonson. Specifically, Q1’s title page and apparent allusions to Hamlet in the early 1590s pamphlet war of Nashe and Harvey independently confir

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48

Chaney, M. A. "Heartfelt Thanks to Punch for the Picture: Frederick Douglass and the Transnational Jokework of Slave Caricature." American Literature 82, no. 1 (2010): 57–90. http://dx.doi.org/10.1215/00029831-2009-069.

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49

MARTIN, FRANCIS. "To Ignore Is to Deny: E. W. Kemble's Racial Caricature as Popular Art." Journal of Popular Culture 40, no. 4 (2007): 655–82. http://dx.doi.org/10.1111/j.1540-5931.2007.00429.x.

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50

Widiawati, Harfiyah, Aris Masruri Harahap, and Lambok Hermanto Sihombing. "The Contrapuntal Reading of Colonial Logic and the Play of Caricature in “Houseboy + Maid” by Pramoedya Ananta Toer." Language Circle: Journal of Language and Literature 15, no. 1 (2020): 50–58. http://dx.doi.org/10.15294/lc.v15i1.25657.

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Pramoedya Ananta Toer’s works are highly distinguished for their strong realist characteristic and profound analysis of interactions among pre- and post- colonial human beings and their place in society. One of the works that portray such characteristics is “Houseboy + Maid”, the first story in Toer’s collection Tales from Djakarta: Caricatures of Circumstances and Their Human Beings. In this research, post-colonialism and contrapuntal reading proposed by Edward Said are used as methods to interpret a literary work whose narration is about two characters who live in post-colonial Indonesia, or

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