Search results for: caricature in All Content

NATIONAL IDENTITIES AND IDEOLOGIC CONFLICT IN THE CARICATURES AND THE GRAPHICS OF THE COLD WAR (1950-1955)

IDENTITĂŢI NAŢIONALE ȘI CONFLICT IDEOLOGIC ÎN CARICATURILE ȘI GRAFICA RĂZBOIULUI RECE (1950-1955)

Author(s): Paul Nistor / Language(s): Romanian / Issue: 27-29/2011

Keywords: -

In order to determine what was the contribution of graphics in shaping national identities in the Romanian post-war imagery, we chose approximately 100 caricatures (mainly) and political graphics from “Scânteia” newspaper, the Romanian Communist Party’s offi cial newspaper. Th e images were selected from within the period 1950-1955 and refer to political and social issues which comprised the core of visual propaganda of the communist regime. Th e paper follows several directions of analysis: the number of images (percentage) showing the enemy and if real or symbolic characters representing Romania, USSR or the Eastern block were caricaturized, to what extent positive cartoons presenting Romania’s Western rivals appeared, what were the major themes addressed in the visual propaganda from “Scânteia” newspaper, what characters/countries were preeminent in such images and which was the aggressiveness dose induced by the images loaded with ideological symbolism. The analysis of this type of political graphic leads to the idea that otherness was brought to front only through diff erent tactics of cultural violence. It is understandable that these cartoons organized and directed the hostility of the masses, creating illusions and forging national psychosis. In order to display their superiority, the Romanians used ample distinctions such as “us and others”, where the others were portrayed in an entirely negative registry. Th e violence of the Romanian imaginary, ideologically strengthened, allowed the demonization of the foreigners and the launching of false national, professional or “class” stereotypes.

Perfect Place for Misery

Perfect Place for Misery

Author(s): Damir Karakaš / Language(s): English / Issue: 3-4/2012

Madame!” I display a caricature of Woody Allen above my head. “A caricature!” That is my ad caricature. At first I didn’t have it, then I saw almost all of the caricaturists in front of the Pompidou had one. Most of them cunningly use photocopied caricatures from magazines; I drew my own. First I bought a movie magazine, read it carefully, looking for a suitable photo of someone famous.

Representing Of Cartoon Crisis In Turkish Press: Samples Of Vakit, Cumhuriyet And Posta Dailies

Karikatür Krizinin Türk Basınındaki Sunumu: Vakit, Posta ve Cumhuriyet Gazeteleri Örnekleminde

Author(s): Şule Yüksel Özmen / Language(s): Turkish / Issue: 35/2012

Keywords: cartoon crisis; freedom of press; Islam in Turkish media

This paper is included analyzes of caricature crisis news in Turkish press On 30-9- 2006, Danish Newspaper Jyllands-Posten published 12 cartoons mocking Prophet Mohammed (pbuh). The repercussions of these offensive caricatures are big in the Muslim world and people. Because of insulting caricatures of the Prophet Mohammed and their subsequent republication by some other European newspapers and at the violent acts that have occurred in reaction to them. Turkey expresses yourself is a bridge in West and East. It is also secular and modern but in the same manner a traditional Muslim country. In this frame how have Turkish press approached caricature crisis? In these studies Turkish newspapers Vakit which is known as Radical Islamic Daily, Posta, which is the bestseller daily, and Cumhuriyet which is known secular standpoint are sample. The news included caricature crisis in these newspapers published between 30th September 2006 and 30 March 2007 is analyzed. Results are commented in the view of Mohammed Arkoun’s perspective to Islam: radical, traditional and reformist.

Figures in Bulgarian Cartoons: Alexander Bozhinov as an Editor of Bulgaran weekly (1904-1909)

Личности в българската карикатура – Александър Божинов като редактор на вестник Българан (1904-1909)

Author(s): Milena Georgieva / Language(s): Bulgarian / Issue: 4/2012

Alexander Bozhinov was the most popular name in Bulgaran weekly, an emblematic contributor and leader of the bohemian artistic group of the same name of the early twentieth century. His contribution of a cartoonist has not been studied thoroughly for the time being due, most probably, to his huge lifework. He enjoyed a long and relatively happy life, working hard all along and gaining recognition and was looked up to by all Bulgarian cartoonists. He had a number of followers and many admirers due to the unbelievable popularity he had acquired over the years. Alexander Bozhinov set the beginning of modern Bulgarian cartoons, which strived to match contemporary European models. It was not a coincidence that during his lifetime he was styled the founder of Bulgarian cartoon. The articles is of culturological nature, reconstructing the relationship of Alexander Bozhinov in his capacity of a leading editor of the weekly with its contributors, mostly artists, but also writers of which there are extant sources and visual documents. These were Peter Morozov, Peter Paspalev, Aneta Chodina-Čermakova, Ivan Slavov, Elin Pelin, Dimiter Andreev-Andro, Christo Silianov, Peter Neikov, Serbian painter Beta Vukanović, Andrei Protich, Al- exander Balabanov, indirectly Jules Pascin (Simplicissimus satirical magazine), etc. The article outlines the circle of the Bulgaran group and particularly, of Bozhinov’s closest collaborators in publishing the newspaper of the same name to explicate the unifying role and skilful artistic management of its editor-in-chief, Alexander Bozhinov.

Announcement: FORMESTH - Aesthetic Formalism in Central Europe in the Nineteenth and Twentieth Centuries (Aesthetics in Central Europe)

Announcement: FORMESTH - Aesthetic Formalism in Central Europe in the Nineteenth and Twentieth Centuries (Aesthetics in Central Europe)

Author(s): Tomáš Hlobil / Language(s): English / Issue: 1/2011

Announcing FORMESTH, a three-year multi-disciplinary research project (2009–12) on central European aesthetic formalism originating with Johann Friedrich Herbart (1776–1841) and Bernard Bolzano (1781–1848).

Fashion pictures and women pictures in French women magazine. Normative parades or strategic masquerade?

Images de mode et images de femmes dans la presse magazine féminine française. Parades normatives ou mascarade stratégique?

Author(s): Justine MARILLONNET / Language(s): French / Issue: 01/2014

Keywords: stereotype; women's magazine; image; semiology; gender paradigm; masquerade

This article proposes to study the fashion pictures within a representative sample of French women magazines. Based on the method of "sémiologie des indices", used to analyze a corpus of woman's body and fashion staged, this paper addresses the issue of new functions grated to the stereotiping process. Starting to the assumption of a contract between audience and media, this analysis shows that the gender stereotype may be prescribed, up to a caricature of the womanhood, to the female readers identified as co-producers of the media discourse. Demonstrating both the co-existence of a plurality of gender representations in its pictures and their variability, this work proposes the concept of strategic masquerade to apprehend the possible new fonctions for the process of gender stereotyping in media.

Tudor Arghezi and N. D. Cocea – Famous Pamphleteers of Romanian Journalism

Tudor Arghezi and N. D. Cocea – Famous Pamphleteers of Romanian Journalism

Author(s): Odette Arhip / Language(s): English / Issue: 2/2015

Keywords: pamphlet; journalism; satire; style; polemic

Having its origin in Antiquity (Aristophanes, ancient orators), the pamphlet is a border- genre. Paradoxically, it is not acknowledged even by the authors of journalism textbooks as belonging to their specific field. The pamphlet pictures the meddling of literature, social context and individual thinking. The present contribution focuses on different kinds of definitions in world literature and Romanian literature as well. The principal aims of this paper is to highlight the means used to render the epoch from a historical, social and political point of view. The journalistic pamphlets have definitely literary bonds especially when Tudor Arghezi and N. D. Cocea are representatives. Their authors act for the new literary and political Romanian consciousness at the end of the 19th century and the beginning of the 20th century. One of the main intents is to discuss upon text and pre-text (several empiric events re-designed in the discourse). The event is presented as an effect of the discursive force. The text evaluates the events due to moral constraints of the authors and true specific social inferences. The authors′ personalities and visions are also mirrored in vocabulary, figures of speech and the syntactic topics. They are virulent opponents of art as an art aesthetic formula. Due to these two already mentioned writers, the pamphlet is devoted to a literary genre, winning the right of being a constant presence in the Romanian literature. It has also preserved its artistic actuality re-emerging with new valences and it has an irrefutable documentary value.

The First World War (1914-1918) in deltiology

Primul Război Mondial (1914-1918). Contribuţii cartofilice

Author(s): Ana Griţco / Language(s): Romanian / Issue: 2/2015

Keywords: World War One; museum collection; postcards

This article is the result of research of the museum's collection of postcards on the theme of the First World War, which was carried out in connection with the centenary since the war began. At the present stage of the evolution of historical science a special role belongs to the documentary sources that had previously been "less required", including illustrated postcards. At the beginning of the 20th century postcards know peak of their evolution. Being very popular, mobile and accessible, during the war they fulfilled several functions. In addition to performing the functions of postal items, they become an accessible form of propaganda and a source of supplementing military budget.

Bulgaria and the Ottoman Empire in the First Decades of the 20th Century in the Cartoons of Georges d’Ostoya (Jerzy Soszynski)

България и Османската империя през първите десетилетия на ХХ век в карикатурите на Жорж д’Остоя (Йежи Сошчински)

Author(s): Stanislava Stoytcheva / Language(s): Bulgarian / Issue: 1/2015

Keywords: Bulgaria; Ottoman Empire; Jerzy Ostoja-Soszynski; Georges d’Ostoya; “La Caricature”; “L’Assiette au beurre”; Bulgarian national question; cartoons; independence of Bulgaria; Young Turk revolution; “Le

The study is devoted to Georges d’Ostoya (Joseph Boleslaw Jerzy Ostoja-Soszynski) – former legionnaire in the French Foreign Legion, writer, translator of Russian classics, artist, antimilitarist and Polish patriot, part of the Polish emigrants in France. J. Ostoja-Soszynski is an artist who left his mark imposing his own literary and visual patterns. He is undoubtedly one of the greatest political poster artists and cartoonists in France at the time. This article is an attempt to update his biography and also an overview of his work as a translator and military historian. With regards to his cartoons in the French humorous press, the paper presents an overview and basic inventory of his cartoons in over 20 magazines published in Paris in 1899-1928. The study focuses precisely on this group with an accent to the magazines “Le Rire”, “La Caricature” and “L’Assiette au beurre”, where he mainly releases until 1912. Special attention is paid to his cartoons in the Turkish magazine “Kalem” issued in Istanbul during the Young Turk revolution. On this basis, the paper presents the views of George d’Ostoya for Bulgaria, the Ottoman Empire and the Bulgarian national question until the Balkan Wars (1912-1913). The analysis shows that George d’Ostoya demonstrates a serious interest in the Balkans and the fates of the Balkan peoples. The focus of his cartoons is placed on the views of the “great powers” on the Balkans, on the experience of the Balkan countries to implement national policies and territorial claims in respect of European Turkey, and on the political situation in the Ottoman Empire. Within the latter, a serious attention is paid to the fate of the Macedonian Bulgarians, and the independence of Bulgaria. Quite a few of these cartoons became emblematic.

“Offence to the Eye”: Farinelli as an actor on Opera stage. Case from anthropology of theatre

“Offence to the Eye”: Farinelli as an actor on Opera stage. Case from anthropology of theatre

Author(s): Małgorzata Lisecka / Language(s): English / Issue: 2/2018

Keywords: castrato; Farinelli; Neapolitan opera; theatre; acting;

The article discusses an issue of relationship between vocal scenic practice and theatrical art in Neapolitan opera. Issue in question was broadly discussed in the theory of vocal performance of those days (e.g. by Pier Francesco Tosi). The particular example of my analysis of this phenomenon will be figure of excellent castrato, Carlo Broschi, known as Farinelli. This perfect singer, the world-famous performer of the Neapolitan opera was criticized and even mocked because of his poor acting. This text contains analysis of this historical topic on the example of selected sources: diaries, handbooks, sketches, paintings, press news and another. Aforementioned sources give us picturesque description of Farinelli, which was not only a singer and musical performer, but also a personage of the stage. They also reveal the imperfections of this excellent artist, exposing his not so much statuesque image. The analysis contained in the article is an attempt to capture the overall phenomenon of Farinelli, aspiring to be the greatest opera serial' hero of his time.

Cultural Action and Comic Description

L'Agir culturel et la description comique

Author(s): Hassiba Chaibi / Language(s): French / Issue: 1/2019

Keywords: cultural action; humor; caricature; linguistic diversity; school:

This article sets the objective of reflecting on cultural action and its interpretative grid on a daily basis and addressing the question of cultural and linguistic diversity in the Algerian school context in order to explain the cultural phenomena identified in the discursive practices of learners. The analysis that we propose targets the strategies of developing cultural action in a having chosen support - the caricature. This aims at exploiting the facts evoked in a humorous way by the means of the theater of the situation which answers a contract established on the basis of iconographic entertainment by treating a didactic sequence namely the nursery rhyme.

Irony and its discursive forms in the critical reception of the work of Marguerite Duras

L’ironie et ses formes discursives dans la réception critique de l’œuvre de Marguerite Duras

Author(s): Daniela Cătău-Vereș / Language(s): French / Issue: 29/2020

Keywords: critical reception; irony; parody; press; Marguerite Duras;

In literary creation, as well as in the critical reception of a work, specific writing processes are used which create different effects, depending on the reaction that the author seeks to trigger in the reader. The writer and the critic each uses a certain register, according to their intentions, their own vision of the world and the work. If, especially in the 80s and until his death in 1996, Duras wrote without worrying about the reactions of the critics, even adopting a defiant attitude towards reception, by completely refusing traditional writing, critical reception reserves a welcome turned to mockery and exhaustion, fully using all the means associated with satirical register and irony. Acid and mocking press articles, caricatures, puns and parody about Marguerite Duras and her writing appear in the 80s and 90s one after the other in the pages of newspapers or in bookstores, to denounce a writing that blurs the boundaries between reality and fiction, passing for real what exists only in the imagination of the writer, or to denounce thematic recycling. Patrick Rambaud’s parodies imitate Durassian writing to make the reader laugh and to better criticize it.

The flu as a “mal à la mode”: caricatural glimpses of an epidemic in the French press between 1830 and 1848

Prendre la grippe comme on prend les eaux : variations caricaturales sur un mal à la mode entre 1830 et 1848

Author(s): Marie-France De Palacio / Language(s): French / Issue: 10/2020

Keywords: influenza; epidemics; caricature; Physiologies; types; press

Under the reign of King Louis-Philippe, 1830-1848, France was severely visited by a number of epidemics, namely, influenza, which were regularly reported in the press. Although the effects of such epidemics were methodically undervalued, the flu was frequently caricatured as offering analogies with the political, social and cultural life of the time. It was often endowed with the characteristics of a rational being, she-devil, woman of distinction or termagant of a wife! In 1858, Cham will even call it “the lioness of the day”. The flu will be found congenial with such social assemblies as carnivals or balls, which it either disrupted or embellished. The present paper deals with the satirical purport of the flu, whether underrated or exaggerated, showing at the same time how it became typified as a “mal à la mode” akin to Physiologies, a widely-discussed topic at that time.

“Jerome at the BBC”:

“Jerome at the BBC”:

Author(s): Dalbir S. Sehmby / Language(s): English / Issue: 2/2014

Keywords: Three Men in a Boat; Jerome K. Jerome; BBC; Tom Stopard; Tim Curry ; Michael Palin; Stephen Moore; Robinson Crusoe; Sherlock Holmes; James Bond;

Through characters who openly express distress over imagined pains, “Jerome at the BBC” treats BBC’s Three Men in a Boat as a playful critique of heroic masculinity, or what the paper defines as confident cognisant agency. Air ing in 1975, BBC’s ad aptation is released after the media ascension of James Bond and in the heyday of tough Hollywood heroes, bold figures who refuse to complain about, let alone give in, to physical pain unlike Jerome’s men. Jerome’s original and its BBC adaptation are lay ered comical texts. By channelling Jerome’s critique of the colonial, seafaring male into contemporary notions of the Hollywood hero type, this paper examines the BBC film’s boisterous lack of masculine agency, the quiet parody of action sequences, and the gingerly movement towards a conclusion that does not bang, but whimpers. Moreover, the paper asserts that the humour also functions on a less grand level, by being an effective caricature of human behaviour a healthy dose of cultural self mockery. Furth ermore, through revealing moments, by the telefilm’s end, the characters do not simply remain caricatures to be laughed at, but become identifiable and relatable human beings.

Images and Representations of the Rudnytskyi Family: The Case of Ukrainians in Galicia Between the Wars

Images and Representations of the Rudnytskyi Family: The Case of Ukrainians in Galicia Between the Wars

Author(s): Illia Chedoluma / Language(s): English / Issue: 18/2020

Keywords: Images; Galicia; Interwar period; the Rudnytskyi family; Jews

Caricature journals in the interwar period had a special genre niche, giving the masses, through funny cartoons, a simplified understanding of internal and external political processes. Zyz and Komar were the largest Ukrainian satirical humor journals in interwar Galicia. They mainly covered the internal political life in the Second Polish Republic and international relationships. These journals are primarily intended for people from the countryside, and the editors and owners of these journals used anti-Semitism for the political mobilization of the rural population. I use elements of Serge Moscovici’s theory of social representations to track these processes.A key aspect here is how the image of the Rudnytskyi family was shaped on the pages of these journals. The family was of mixed Ukrainian-Jewish origins, and its members became prominent figures in various spheres of Ukrainian social and political life in interwar Galician Ukrainian society (in politics, literature, music, and the women’s movement). The behavior of the Rudnytskyi family was explained to the readers through their Jewish origins. Zyz and Komar both created an image of the Rudnytskyis as an integral Jewish group occupying different spheres of Ukrainian life. The study of visual caricature images thus enables us to explore the channels of the formation and spread of anti-Semitic images of Jews and the use of the image of “the Jew” in the Galician Ukrainian society in interwar Poland.

The Unknown Masterpiece of Georgian Silent Cinema (In Connection with the 90th Anniversary of the Film “My Grandmother”)

The Unknown Masterpiece of Georgian Silent Cinema (In Connection with the 90th Anniversary of the Film “My Grandmother”)

Author(s): Zviad Dolidze / Language(s): English / Issue: 2/2019

Keywords: Constantin Mikaberidze; satirical comedy; cinematographic caricature; genial conditions; cinematic language;

The article is dedicated to the Georgian film My Grandmother unknown to the general public because it has been on the index for almost forty years. The film was created in 1928 by director Constantin (Cote) Mikaberidze and immediately banned, being classified as an anti-Soviet work. Later, after being restored and released on screens, it is considered as a true masterpiece, in which bureaucracy and protectionism are ironized. It has enjoyed success at several international festivals. It is important that this satirical comedy, launched by a debutant director, who successfully introduced elements of documentary film and animation, is still current today. It retains its caustic spirit and shapes the genius conditions of a cinematic caricature – a genre rarely encountered in the history of film art.

ADRIAN POP - IN SEARCH OF A LONG LOST SMILE

ADRIAN POP - IN SEARCH OF A LONG LOST SMILE

Author(s): Ecaterina Banciu / Language(s): English / Issue: 2/2021

Keywords: Adrian Pop; Wilhelm Busch; Max und Moritz; Unkle Fritz; musical act;

An anniversary, especially in the case of a generation colleague, the renowned composer Adrian Pop, generates the remembrance of a long series of musical events that have become notorious, with works included in the national and international concert repertoire. The avoidance of nostalgic memories made that a stage miniature be chosen for the present paper, an incursion of the author into the naive world of childhood reading. The result was a modern, glamorous musical transposition of a sequence with Max and Moritz, the playful heroes created by the famous humorist and cartoonist Wilhelm Busch in the middle of the 19th century. The musical act Onkel Fritz by Adrian Pop was first performed in Cluj in 2016, on October 22, on the occasion of his previous anniversary, within the Cluj Musical Autumn Festival. The graceful performers of the act, presented under the title “Anniversaries at the Festival, Adrian Pop compositional portrait”, were soprano Mihaela Maxim, in the role of Max and pianist Eva Butean, in the role of Moritz. How did composer Adrian Pop manage to musically enliven a 150 years old humorous story? The author of the following text will try to answer this question.

Media Coverage of Visual arts from 1990 until 1995 – on the Example of the City of Zadar in the Republic of Croatia

Media Coverage of Visual arts from 1990 until 1995 – on the Example of the City of Zadar in the Republic of Croatia

Author(s): Vesna Kalajžić / Language(s): English / Issue: 63/2019

Keywords: Homeland War; visual arts; culture; local newspapers; content analysis;

The last decade of the 20 century is characterized by political changes, the transition from a socialist to a democratic political system and the reflection of these changes to almost all areas of human life and action. The hardest years during this period were brought by the Homeland War, which has left a particular mark on the first half of the nineties of the last century. With the fight for survival and existence, and other social issues in that very hard time, it was also important to preserve spiritual life. Therefore, culture and cultural activity have a special meaning in the period of war and the post-war period. Visual arts is an important segment of the culture, which is also implemented in the programme of the Cultural Policy of the Republic of Croatia, together with literature and publishing, music, performing arts, movies, media and cultural heritage. Visual arts creation and visual arts events present a contribution to the culture and cultural life which has a special value during war times. The goal of this paper is to analyse the media coverage of visual arts on the basis of articles published in the local newspapers in Zadar, Narodni list and Zadarski list. Special attention is given to the analysis of the themes of articles on visual arts. The paper applies methods of qualitative and quantitative content analysis. Corpus of the research consists of 316 articles published in Fokus, Zadarski list and Narodni list.

THE UNREMEBERED GOLDEN ERA: MACEDONIAN ANIMATED FILM 1971-1991

THE UNREMEBERED GOLDEN ERA: MACEDONIAN ANIMATED FILM 1971-1991

Author(s): Zharko Ivanov / Language(s): English / Issue: 2/2022

Keywords: Animation; film history; audiovisual archives; Skopje school of animated film; project Macedonian animated film 1971-1991

Macedonian animated film in the last century would have its most fruitful period from 1971 until 1991. During this time, its greatest achievements were attained as witnessed by the steady flow of awards and recognitions bestowed by the most relevant festivals and critics thus earning it the epithet Skopje School of Animated Film. The Project Macedonian Animated Film 1971-1991 evidence this period reviewing materials from the past analogous times: thorough archival research, detection of material for restoration and digitization for its further protection and consolidation, and its open, work in progress concept leaves room for new research and additions to the already rich digital archive.

Anti-American political cartoons as propaganda published in Rudé Právo in 1951

Anti-American political cartoons as propaganda published in Rudé Právo in 1951

Author(s): Philip Katz / Language(s): English / Issue: 2/2022

Keywords: audience reception; Cold War; political cartoons; propaganda; visual rhetoric;

Political cartoons have the power to entertain, inform and persuade. Their humour makes sometimes abstract or complicated topics more acceptable to readers. This study uses a methodology based on work by Medhurst and DeSousa and Ray Morris, to examine the rhetoric and symbols used by Communist controlled media in 1951 Czechoslovakia and decodes the visual and contextual elements of anti-American political cartoons published in Rudé právo (in English Red Law). The analysis shows consistent use of condensation to simplify complex issues with a clear bias towards portraying Czechoslovakia (and countries in the Soviet sphere of influence) as having a better quality of life under the Soviet Union. ‘Othering’ is accomplished through combination, undermining the credibility and humanity of any actors the state perceives as undesirable, compelling the reader to visualise them as horrible and animalistic. Another prominently displayed feature in the majority of political cartoons of the era is the use of Nazi symbols and caricatures used to associate the U.S. with the Nazi regime facilitating the continued feelings of outrage and hate to be transferred to the U.S. despite the relative feelings of goodwill and friendship developed in previous years. This propaganda proved effective for the Communist party in 1950’s Czechoslovakia. Of the 64 cartoons analysed, eight are included as a representative sample detailing the elements and topics depicted.