Caricature Research Articles

Amour et Gibelotte, ou l'appétit des titres

Dans le Salon de 1859, Baudelaire s'interroge sur le titre d'un tableau qu'il n'a pas vu: Amour et Gibelotte, et fait des hypothèses sur ce qu'il pouvait représenter. Un scène d'idylle? une caricature? une allégorie? Ce tableau n'ayant jamais été retrouvé, on peut poursuivre l'interprétation du titre après Baudelaire, en s'aidant des renseignements disponibles sur son auteur, le peintre Ernest Seigneurgens, ainsi que sur les pratiques de l'époque dans l'usage des titres. Il en résulte un dossier qui invite à la réflexion sur les modalités de représentation et notamment sur les rapports entre comique et réalisme dans la pensée et la pratique littéraires de Baudelaire.

Stereotypes about the Chinese in Mexico: From Caricatured Images to Internet Memes

Stereotypes about the Chinese in Mexico: From Caricatured Images to Internet Memes

Kokkang Art Studio : Structure and Function of Passing Down Potentials of Caricature Through Generation

Caricature is a picture which is distorted to send a satirical or funny message. It is portrayed in a printed media with a function of becoming a social control or a sword of opinion. This research has several objectives. First, it discusses the structure and function of KOKKANG art studio. Second, it reviews the learning of intergenerational caricature of KOKKANG art studio in Kaliwungu, Kendal. This research used descriptive qualitative design assisted with the approach from the theory of modern sociology. The supporting data were collected from observation, interview, and documentation. Triangulation of sources and data were used to validate the findings. Then, the data were analysed under the steps of data reduction, presentation, and conclusion (verification). There are some points from the findings of the research. First, the functional structure of KOKKANG art studio is interrelated to other structure. Some function in each position of the organization has worked as their job description. Thus, it impacts the inheritance of drawing caricature which is done by the education section of the organization. Second, the non-formal learning pattern done by the studio is friendly and familiar, thereby it produces the cadres of cartoonists which can maintain their existence. Based on the findings, there are some suggestions to be proposed. First, KOKKANG studio should actively promote and regenerate to keep the existence of it in the future. Second, the teenagers in Kaliwungu should actively participate in the part of the community by joining or following the agenda. Third, local government should be involved in supporting the studio whether morally or materially to continue its existence.

A STRUCTURAL STUDY on the IMAGE of the TURK in the BRITISH CARICATURES

Karikaturun temel araci “cizgi”dir. Karikatur oncelikle cizgi yoluyla figurleri bicimlendirir ve mesajini uretir. Cizgi, renk ve doku gibi gorsel kompozisyon araclarinin yani sira karikatur figurlerinin kompozisyon duzlemine yerlestirilmesi, figurlerin birbirleriyle olan iliskileri gibi gorsel kompozisyon ilkeleri karikature ozgu anlamin uretilmesini saglar. Iletinin az aracla, hizli bir sekilde ve mizahi yonu baskin olacak sekilde uretilmesini amaclayan karikatur, gorsel ve sozel olarak kaliplasmis imgeler olusturmak veya halihazirda var olan imgeleri kullanmak zorundadir. Karikatur cizeri, karikaturunu uretirken kullandigi araclarin gramerini bilir. Cizgileri nasil kullanacagi, figurleri nereye yerlestirecegi ve birbirlerine gore nasil konumlandiracagi gibi genel gorsel gramerin yani sira karikature ozgu figuratif bozma, abartma ve indirgeme gibi ozel kullanimlarin da bilincindedir. Karikaturde bir figurun hangi folklor / edebiyat 280 unsurlardan olusacagindan cok o figurun hangi yonunun on plana cikarilacagi, o figurle ilgili icerikleri vurgulayacak anlam araclarinin secilmesi ve fazlaliklarin atilmasi daha onemlidir. Tum bu cabalar, karikaturdeki insan tiplerinin, nesnelerin, duygu ve dusuncelerin gorsel olarak kaliplastirilmasi ve aktarilmasi surecidir. Bu kalipsal dilin cozumlenmesinin amaclandigi bu calismada, gorsel kompozisyon araclarindan oncelikle cizginin kullanimi incelenmis ve figurler kaliplasma yonunden ele alinmistir. Karikaturde, tek basina bir cizginin dikey veya yatay konumlandirilmasi veya cizginin dairesellik, egrilik, kiriklik gibi bicimsel ozellikleri karikatur okuyucusunun zihninde farkli cagrisimlar uyandirma isleviyle karikaturun icerigine katki saglar. I. Dunya Savasi sirasinda Ingiltere’de yayimlanan Punch dergisinden derlenen alti karikatur, ozellikle gorsel kompozisyonun bicimsel araclarindan hareketle ele alinmis ve su sorulara yanit aranmistir; Ingiltere karikaturlerindeki cizgilerle nasil bir Turk imgesi olusturur? Karikaturun sozel icerigi ve gorsel icerigi nasil bir iliski icerisindedir? Turk imgesinin olumlu ve olumsuz icerigini olusturan alt icerikler nelerdir?

The Possibility of the Poetics of Caricature -By using J. F. K. Rosenkranz's theory-

본 논의는 캐리커처가 특정 시대를 지시하는 풍자적 인물화(그림)를 벗어나, 시인들의 언어에 의해서도 그 형상성을 갖출 수 있다는 점에 주목하여 시학적 가능성으로서 `캐리커처` 미학을 기반으로 김언희, 장정일, 서정주, 김기택 등의 시에 대한 분석을 시도하였다. 이를 위해 주로 `추의 미학`을 면밀하게 이론화한 카를 로젠크란츠의 이론을 중심으로 무엇을 캐리커처로 확정할 것인가라는 문제에 초점을 맞추었다. 이러한 연구 작업은 본질적으로 시 해석의 지평을 확대하고자 하는 데 그 목적이 있다. 시 해석의 지평 확대를 위해 캐리커처에 주목한 까닭은 그것이 풍자나 알레고리, 패러디보다 더욱 강화된 추를 건드린다는 데 있다. 캐리커처의 본질은 캐리커처 미학을 결정화하는 가장 중요한 요소라할 수 있는데 그것의 핵심은 대상을 `과장`적으로 표현하는 것이라 할 수 있다. 카를 로젠크란츠는 과장의 양적 한계를 제한할 것을 강조하고 있는데 이는 캐리커처가 성립되기 위해서는 원이미지를 떠올릴 수 있는 형상적 계기가 변형된 이미지에 남아있어야 함을 뜻하는 것이다. 아울러 그는 과장적 표현이 단순한 확대· 강화 혹은 단순한 축소·약화 등과 구분된다는 사실을 통해서 추의 변위를 생산해내는 캐리커처의 과장이 대상의 총체성과 부분 사이에서 발생하는 `불균형`, `비틀림`이어야 함을 그 성립요건으로 밝히고 있다. 한편 카를 로젠크란츠는 캐리커처의 근본적 생산 방식을 `개체화`와 `찬탈`, `하향화`라는 세 가지 방식으로 요약하고 있다. `개체화`란 원이미지와 비튼 이미지 사이에 발생하는 캐리커처가 구체적인 형상을 통해 전달되어야 한다는 것을 의미한다. 즉 개념이나 추상적 의미를 반영한것이 캐리커처가 아님을 뜻하는 것이다. 한편 캐리커처의 생산 방식으로서 `찬탈`과 `하향화`는 부족한 능력을 과장적으로 부풀리고 이미 있는 능력을 과장적으로 격하시키는 것을 의미한다. 이와 같은 캐리커처는 `공격의 언어`라는 기능을 가지고 있다. “근대의 캐리커처는 실제 인물이나 인식 가능한 사회적 범주에 대한 논쟁적도구로서 탄생”했다는 움베르토 에코의 말처럼 그것은 한 인물의 `사회화`와 관련한다. 그것은 기형화된 `추(醜)의 형상을 통해 우리 삶의 이면에 감추어진 현실의 추를 자유롭고도 유머러스하게 들추어낸다. 여기에는 궁극적으로 인간의 위대함과 고뇌를 우회적으로 보상받고자 하는 긍정의 꿈이 담겨 있다.

The reverse caricature effect for faces caricatured in shape or texture

The reverse caricature effect for faces caricatured in shape or texture

Book Review: Christel R. Devadawson, Out of Line: Cartoons, Caricature and Contemporary India

Christel R. Devadawson, Out of Line: Cartoons, Caricature and Contemporary India, Delhi, Orient BlackSwan, 2014, xiv + 278 pp., ₹650, ISBN: 9788125055136.

Military Intervention in Africa

During the Nigerian civil war. Punch published a four-panel cartoon whose simplicity elegantly portrayed a common view of Africa’s future. The first panel depicted an outline map of the continent; the second showed another outline map, this one inscribed with colonial frontiers. Panel 3 contained the outline map, crisscrossed with a crazy-quilt of borders. The final panel showed a heap of fragments at the bottom, the continent having disintegrated. Cartoonists enjoy the liberty to lampoon or to caricature, yet their exaggerations must be based on fact, or on a shared perception of fact. By the year 2000, will the cartoonist’s version, widely shared when printed, have become reality?

Evoluzione e persistenza dell’iconografia di Primo Carnera nella cultura popolare italiana: mitopoiesi plebea e propaganda fascista

This essay focuses on the process of entrechment in the Italian collective imagination of the figure of Primo Carnera, World Heavyweight Champion from 1933 to 1934, and on the evolution of his image from the years of his first wins to the beginning of XXI century. More specifically, the essay makes visible how the mythization of Carnera had spontaneously developed long before the Italian press started to extol the successes of the boxer, and how the Fascism subsequently tried to appropriate the image of Carnera – modifying some of its fundamental traits – in order to use it as a powerful tool of regime’s propaganda, especially during the war years. In the end, the essay shows how the figure of Carnera regained favour after the fall of the fascist regime reappropriating (or, more rarely, being distorted of) its original traits. The study has been carried out through the comparison of a selection of cartoons, caricatures and illustration from the popular press dedicated to Carnera, official portrayals of him during the fascist regime and comic books more or less expressely inspired by the figure of the boxer.

L’Afrique entre « malédiction des ressources » et « émergence » : une bifurcation ?

Les représentations des dynamiques de développement africaines peinent à se défaire des postures caricaturales afro-pessimistes ou afro-optimistes. Les premières sont fortement influencées par la « malédiction des ressources naturelles ». Les secondes voient dans la croissance économique et l’essor numérique de classes moyennes une promesse d’émergence. À partir d’une analyse de l’impact des investissements récents dans les activités extractives en Afrique sahélo-soudanienne, nous défendons l’hypothèse que la convergence de dynamiques internes (croissance démographique et urbaine, démocratisation) et externes (circulation de capitaux, mais aussi de normes) est favorable à l’ouverture d’espaces de bifurcation hors de la trajectoire politico-économique de longue durée reposant sur l’exportation de matières premières brutes vers le système mondial. La matérialisation de ces nouvelles trajectoires dépendra largement des dynamiques et luttes internes aux sociétés africaines.

Sufism Caricatured in Orhan Pamuk’s “The New Life”

Yeni Hayat, Sufi deneyimi ile alay etmektedir. Tasavvufun temel konulari, romanda mevcut olarak gorulmektedir. Osman, Canan ve melegi bulmayi umut ettigi yolculuguna bir Sufi Dervisi gibi baslar. Tasavvuf edebiyatinda, kadin (ask) varolusu ve Tanriyi simgelemektedir, ancak, Osman'in Canan'a olan aski, ruhani olmaktan cok bedenseldir. Yolculuk ilerledikce, Pamuk, Tanriyi aramaktan cok intikam pesinde kosan bir yolcuyu alaycilikla gosterir. Sufi gelenegiyle alay etmek, yeni hayatin arayisinin bir inanctan, saplantiya donusumuyle, oykulemede daha belirgin hale gelir. Pamuk'un, sufi yolcuyla alay etmesi, Osman'in, yolculugun sonunda, aradigi melegin sahte oldugunu anlayarak, yasadigi hayal kirikligi icinde olmesi ile sonlanmaktadir.

The Jewish Anti-Gospels: Jewish caricatures of Jesus of Nazareth

Els jueus medievals van elaborar i redactar unes obres que parodiaven Jesús de Natzaret i d’altres personatges dels evangelis i de la religió cristiana. Aquestes biografies insultants porten per nom Maassé Iesu o Toledot Iesu, ço és, Fets de Jesús o bé Històries o Genealogies de Jesús, però, pel seu contingut i per la manifesta voluntat de capgirar la versió oficial dels textos canònics cristians, poden ser descrits com uns purs antievangelis. Aquests textos, que circularen de mà en mà en forma de pamflets, prengueren una forma definitiva a l’edat mitjana amb elements del Talmud i de les llegendes populars jueves, però existeixen dos fragments de versions primigènies d’època bizantina que, descoberts a la guenizà del Caire i escrits en llengua aramea, ens revelen aspectes nous d’aquesta literatura que tant va escandalitzar les autoritats eclesiàstiques de totes les èpoques. Aquí n’oferim la traducció catalana.

Peel in Caricature: The “Political Sketches” of John Doyle ed. by Richard A. Gaunt and Fintan Cullen (review)

Peel in Caricature: The “Political Sketches” of John Doyle ed. by Richard A. Gaunt and Fintan Cullen (review)

Conflicten over Haagse Stadsbeelden : Van Willemspark tot Spuiforum

Conflicten over Haagse Stadsbeelden : Van Willemspark tot Spuiforum

Conflicten over Haagse stadsbeelden

Conflicten over Haagse stadsbeelden

Correcting the Caricature: God and Kant

Correcting the Caricature: God and Kant

"Marmoreal darling of the Few": Henry James, Max Beerbohm, and the Spirit of Caricature

"Marmoreal darling of the Few": Henry James, Max Beerbohm, and the Spirit of Caricature

Effects of spatial caricaturing and anti-caricaturing on face learning

Introduction The learning of facial identities can be influenced by several factors. In addition to the learning situation and individual abilities of the observer, the face stimulus itself can facilitate or impede learning. According to Multidimensional Face Space (MDFS [1]) Models, faces can vary on several dimensions and are characterized by their individual position in this n-dimensional space (for a simplified example, see Fig 1). Similar faces lie close to each other and typical faces cluster around an average or the origin. Distinctiveness refers to the fact that a face lies outside this cluster, due to its deviation on one or more dimensions, and therefore pops out. Distinctiveness can be artificially manipulated by spatial caricaturing [2] or anticaricaturing, which increases or decreases spatial differences relative to an “average” face. As the processing of familiar and unfamiliar faces is supposed to be qualitatively different [3], and distinctiveness seems to improve especially the processing of unfamiliar faces [4], we aimed at exploring the effects of increased and decreased spatial distinctiveness on unfamiliar face learning and its neural correlates (ERPs). To measure real face learning instead of picture learning, we used different pictures of the same person at learning and test.

The Efflorescence of Caricature, 1759‐1838 – Edited by Todd Porterfield

The Efflorescence of Caricature, 1759‐1838 – Edited by Todd Porterfield

Amelia Rauser. Review of "The Efflorescence of Caricature, 1759–1838" by Todd Porterfield.

Amelia Rauser. Review of "The Efflorescence of Caricature, 1759–1838" by Todd Porterfield.