Graphic Satire Research Articles

O consumo da política na Revista da Semana entre 1910 e 1914: a sátira gráfica e o colunismo social como componentes de um mesmo projeto afetivo-editorial

A partir do mapeamento das características composicionais da produção imagética na área de política da Revista da Semana, no período entre 1910 e 1914, o objetivo do presente artigo é estudar a estruturação do pathos político mobilizado pela publicação a partir da mediação dos afetos em seu projeto editorial. A temática da política ao longo desse período esteve estruturada como colunismo social e como sátira gráfica, compondo um mesmo projeto afetivo-editorial. O objetivo do artigo é estudar as estratégias a partir das quais o jornalismo da Revista da Semana mobilizou mecanismos de convocação na mediação de cadeias de afetos que validam formas de vida e o delineamento dos possíveis discursivos no campo da política.

The practice of caricature in 18th-century Britain

This essay offers a survey of critical studies of caricature—as in the art of physiognomic exaggeration and distortion—in 18th-century Britain. It reviews scholarship that has grappled with such questions as: what is caricature and how do we recognize it? Why caricature? How does caricature make itself felt within the hierarchies of 18th-century British culture? When and why does it emerge in Britain as a dominant mode of visual satire? What, in this cultural matrix, is its politics, if it can be said to have a politics at all? And can we speak of caricature as a verbal practice as much as a graphic one? This essay begins with a consideration of early efforts to formulate a theory of caricature before turning to more recent contributions to the field that have sought to map the cultural politics of caricature's presence within 18th-century graphic satire. In a final section, it then considers the work undertaken to trace practices of caricature on stage and in the novel.

Catholic Identity and the Revolt of the Netherlands 1520-1635. By Judith Pollmann. Pp. xvii, 239, Oxford, Oxford University Press, 2011, £55.00. Calvinists and Catholics during Holland's Golden Age: Heretics and Idolators. By Christine Kooi. Pp. ix, 246,

The Heythrop JournalVolume 58, Issue 3 p. 465-467 BOOK REVIEW Catholic Identity and the Revolt of the Netherlands 1520-1635. By Judith Pollmann. Pp. xvii, 239, Oxford, Oxford University Press, 2011, £55.00. Calvinists and Catholics during Holland's Golden Age: Heretics and Idolators. By Christine Kooi. Pp. ix, 246, New York, Cambridge University Press, 2012, £65.00. Graphic Satire and Religious Change: The Dutch Republic, 1676-1707. By Joke Spaans. Pp. xii, 288, Leiden, Brill, 2011, €99.00. Alastair Hamilton, Alastair Hamilton The Warburg Institute, LondonSearch for more papers by this author Alastair Hamilton, Alastair Hamilton The Warburg Institute, LondonSearch for more papers by this author First published: 07 April 2017 https://doi.org/10.1111/heyj.12515Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume58, Issue3May 2017Pages 465-467 RelatedInformation

The Legacy of 1917 in Graphic Satire

This essay explores political cartoons published in various journals in 1917, and investigates the legacy of that year's graphic satire. As many previous works have noted, the revolutions of 1917 brought struggles for the meaning of signs, and in political cartoons there were marked changes in subject matter and visual vocabulary. While previous studies have interpreted these developments as illustrations of political revolution, this essay, which is based on original research, will argue that the fundamental shift that began in 1917 was towards a kind of visual satirical discourse that possessed performative power. Proposing a new conceptual framework for analysis based on theories of performativity, the theoretical contribution of this essay will be to show how graphic satire reveals the performative force of cartoons, by arguing that Soviet graphic satire's aesthetic invites readers’ critical engagement with contemporary discourses, a vision that derives from the political cartoons of 1917.

Popery, politics, and play: visual culture in succession crisis England

ABSTRACTThis article assesses the place of graphic satire in the burgeoning news culture of late seventeenth-century England. It argues that historians who have used visual sources as typical of party positions in a manner similar to modern political posters underestimate the sophistication of their interventions into politics. Graphic satires did not simply distil already existing ideologies into easily digestible images, but made significant contributions to political culture: through the repetition of key images from the Popish Plot (1678–1682) Whig graphic satire created a narrative which asserted control over the interpretation of events in a bitterly contested news culture. In response, Tory satirists developed sophisticated visual strategies to undermine that narrative, and it is argued that the graphic element of graphic satire – the skilful playfulness with which it parodied, commentated upon, or mocked other elements of news culture – was vital to its unleashing biting political commentary.

Currency from Opinion: Imitation Banknotes and the Materiality of Paper Currency in Britain, 1782–1847

Paper money, graphic satire, and imitation banknotes comprised a vibrant part of visual culture in Britain over the long nineteenth century, collectively shaping belief in paper credit. Artists, entrepreneurs, and politicians competed with each other to assign value to the unfixed sign of paper money and stabilize the social relationships it represented. Satirists seized on the unstable form of paper money as an ideal medium for social criticism and whimsical jokes, while others used the form for advertisement. Based on surviving examples, this essay gives the first history of this virtually unknown genre of prints, imitation banknotes, and demonstrates their complex relationships to the acceptance of paper as a medium fit to carry value.

Cutting the cake: the Congress of Vienna in British, French and German political caricature

Although the Congress of Vienna was not a main topic for political caricature, it was anything but ignored. During the first five months of 1815, while monarchs and diplomats were deliberating on Europe’s future, caricaturists in Great Britain, France and the German-speaking states depicted the Congress as a major or minor subject in 20 satirical prints. Together these caricatures provide a multi-perspectival view of the way contemporaries assessed the diplomatic deliberations taking place in Vienna. To obtain an insight into this important part of contemporary public opinion on the Congress, the corpus of graphic satire was submitted to close scrutiny in two ways. Firstly, a context analysis ascertained the artists who produced them; how the prints were published and brought to public attention; and for what audiences they were intended. Secondly, a content analysis explored the political messages that the caricatures on the Vienna Congress tried to convey and the persuasive techniques that were applied to visualise these points of view. Notwithstanding different national origins and opposite political views, the message is a negative one: the satires denounce the territorial greed of the Great Powers and their disregard for the demands and aspirations of the peoples they seek to incorporate.

Erotic Attachment, Identity Formation and the Body Politic: The Woman-as-nation in Canadian Graphic Satire, 1867-1914

Using depictions of ‘Miss Canada’ in editorial cartoons and political campaign posters published in English Canada between 1867 and 1914 as a case study, this article argues that the repetitive deployment of feminised and eroticised images of the nation summoned particular gender, sexual and political identities into being and entangled viewers’ psychic investments in masculine, heterosexual and nationalist subjectivities. It also considers how Miss Canada's normative representation as white conflated racial whiteness and Canadian-ness, and how images hailed viewers into racial subjectivities that were leashed to national identity. Rather than querying how or why the woman-as-nation trope elicited nationalist sentiment in an already-constituted subject, this analysis examines how imagery provoked viewers’ identification with subject positions that were co-constituted with nationalism. Impassioned and even violent nationalism becomes more comprehensible when we consider that the woman-as-nation was capable of producing attachments to national identity that, for some, were inseparable from and tantamount to psychic investments in gender, sexual and racial identities. While Canadian scholars have recognised that Miss Canada was a significant popular culture icon during the long nineteenth century and acknowledged this icon's embeddedness in gender, sexual and national discourses, studies have tended to describe Miss Canada's role in consolidating hegemonic ideologies and power relations and underestimate visual culture's constitutive capacities. The extent of Miss Canada's hetero-erotic coding has also largely escaped historians’ notice. Although a few scholars have explored visual culture's role in Canadian national identity formation during this era, this study makes a unique contribution by foregrounding the productive work of popular imagery in co-constituting and entwining national and sexual subjectivities.

A Satirical Image against Jean-Baptiste Greuze: Celebrity, Printmaking, and the Public Woman

This article analyzes an anonymous satirical image against the French genre painter Jean-Baptiste Greuze. This image acts as a diagram to advance an argument for the decline of Greuze’s reputation. In particular, it suggests that Greuze’s wife, Anne-Gabrielle Babuty, catalyzed this decline by encouraging Greuze to succumb to greed and to employ illegitimate and speculative publishing practices in the production of reproductive engravings. Through an analysis of the ways in which celebrity, the public woman, and print commerce intersect, this article demonstrates the value of integrating graphic satire into our study of celebrity culture and the art world.

The Politics of Drunkenness: John Henry Walker, John A. Macdonald, and Graphic Satire

John A. Macdonald, le premier premier ministre du Canada, fut le sujet de plusieurs portraits officiels peints ou photographiés. Dans cet article, nous examinons les représentations satiriques de Macdonald qui le représentent buvant ou ivre. Notre objet principal d’analyse est la gravure sur bois peu connue de l’artiste montréalais John Henry Walker intitulée The Pipe versus the Bottle, qui est apparue dans le journal comique Grinchuckle en 1869. Cette estampe montre Macdonald en train de boire en compagnie du rédacteur et défenseur du mouvement de tempérance John Dougall, ce dernier tenant ce qui semble être une boisson non alcoolique. Nous plaçons Walker dans une longue lignée d’auteurs de satires graphiques, dont James Gillray, qui ont raillé politiciens et monarques au travers d’un discours portant sur l’ivrognerie et, plus généralement, sur l’excès de consommation. À partir d’une étude d’archives au Musée McCord de Montréal, notre analyse montre que Walker fut inspiré par l’artiste satirique anglais George Cruikshank, qui a produit de nombreuses gravures représentant l’ivrognerie. Nous développons le concept du « grim chuckle » (petit rire sombre) afin d’explorer les relations complexes entre satire, rire et consommation d’alcool.

Pulled Tight and Gleaming: The Stocking’s Position within Eighteenth-Century Masculinity

This article examines the cultural significance of the stocking as an essential accessory of an eighteenth-century man’s attire. Rooted in a material understanding of the stocking through extant garments and archival accounts, this discussion broadens to consider the stocking as a form of cultural currency that spanned visual and popular culture in the eighteenth century. An analysis of the stocking’s visual representation in painted portraiture and graphic satire reveals how it acted as a barometer for British masculinity and subsequently as a visual indicator for the health of the nation, which directly correlated with the stocking’s position and pattern of wear on the leg.

Punch's use of Graphic Satire for Middle Class Scientific Engagement, 1889–1914

Punch was the foremost satirical publication of the nineteenth and early twentieth century, engaging thoughtfully and seriously with the world of science. This article examines three of Punch's graphic satires concerning medical innovation. As Punch relied heavily on topical humour, many of its satires can trace their roots to occurrences reported in the popular press, which help to put the cartoons in context for an accurate reading of Punch's motives.Punch's method, to educate and engage its loyal readers in debates about the role of medicine and doctors whilst making them laugh, would seem to be unique.

“Some Species of Contrasts”: British Graphic Satire, the French Revolution, and the Humor of Horror

AbstractPartly in response to the French Revolution, British political satirists in the 1790s re-imagined some visual techniques found in earlier European graphic art, including contrast, incongruity, and distortion, but with the addition of irony and violence. These satires demonstrate the deep structural similarity of humor with emotions often considered its opposites, such as horror, fear, and disgust, and visualize a phenomenon that was also theorized by philosophers of incongruity such as Joseph Priestley and Francis Hutcheson. The humor of art-horror grew in both theory and practice during the latter half of the eighteenth century and indicates the importance of incongruity in assessing modern life. These satires exemplify an obsession with death and offer an important precedent for modern political satires that engage violence and victimization for humorous effect. Extreme incongruity invites a range of different viewer responses and gives modern satire an uneasy edge.

When the quip hits the fan: What cartoon complaints reveal about changes in societal attitudes to race and ethnicity

A study of editorial cartoons published over the last 40 years, that have been the subject of complaint to the New Zealand Press Council or the Race Relations Conciliator, Human Rights Commission, offers insight into changes in taste and societal attitudes. Offence can be taken not only over the message of the cartoon but at the way it is visually expressed. The focus of this paper is on a selection of complaints of racism and racial stereotyping which together track an increase in sensitivity to racism in society as well as the changes in the race or ethnicity of the alleged subjects of discrimination. Although the Press Council sets a high bar to protect freedom of expression, allowing scope to cartoonists to express very strong, even unpopular viewpoints, the growing diversity of society, with many new immigrants to New Zealand from countries where there is not the same tradition of provocative graphic satire, is raising new questions as to where the boundaries of acceptability lie. Further pressure on editors is being placed by the immediacy of condemnation via social media of cartoons considered offensive short-circuiting the slower, standard complaint procedures which afford time for thoughtful deliberation. Cartoons are considered to be “Opinion” and, although this visual comment must have some factual basis, their key value is being able to say what in other forms is unsayable. If this means reflecting racist attitudes within society, surely, it is better that such attitudes are expressed in order that they can be addressed .

“Eating, Drinking and Sleeping”: Exploring Thomas Rowlandson’s Peter Plumb’s Diary

By close visual and verbal commentary with the focus on Peter Plumb’s Diary (1810), my essay takes issue with Ronald Paulson’s long established belief that Thomas Rowlandson’s graphic satires never tell “more than the simplest anecdote that is least in need of commentary.” A contextual examination of this particular print shows that it is replete with historical and linguistic echoes, which reveal a surprising inventiveness and depth of vision on the part of Rowlandson. His comedic art joyously captures the spirit of the age by finding humour in the everyday aspects of bourgeois life in Regency London. A widening of the frame of reference allows us to see a reiteration of his vis comica in a selection of other works by Rowlandson. The discussion ends with the plea that twenty-first-century art historians and critics should take advantage of the open access to many major collections that digitization allows and endeavour to construct an online and fully searchable catalogue raisonné of Rowlandson’s satires.

Edgeworth’s Belinda and the Gendering of Caricature

Vital parts of the narrative of Maria Edgeworth’s Belinda (1801) hinge on the disastrous personal consequences that attend one woman’s caricaturing of another. Critics, however, have yet to pay attention to graphic satire in their readings of this novel. In this article, I offer a close reading of the key episode in Belinda in which Lady Delacour caricatures Mrs Luttridge, a satirical act that leads to a duel and, subsequently, to Lady Delacour sustaining a seemingly cancerous wound to her breast. I apply critical pressure to the representation of graphic satire as a gendered cultural practice, a “masculine” discourse that offers another means by which Lady Delacour transgresses the mores of polite womanhood. In particular, I consider the specific significance of introducing caricature—a form that deals in a grammar of physiognomic distortion and disfigurement, and in which bodies, not least women’s bodies, are invested with complex moral and political symbolism—into a scene that culminates in the infliction of injury and into a novel that is centrally concerned with the vexed relations between a woman and her body.

From still life to the screen: print culture, display, and the materiality of the image in eighteenth-century London

From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in raree-shows and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience.

Romanticism and Caricature by Ian Haywood

268 BOOK REVIEWS informed Hebron’s and Denlinger’s exhibition at the NYPL: passing Ed­ ward Clark Potter’s marble lions on the way into the Stephen A. Schwartzman Building, one walks through the echoic Astor Hall to find “awed whispers” in the Sue and Edgar Wachenheinr in Gallery. The room is small and dim—sanctum-like—when contrasted to the white marble expanse of Astor Hall, and relics and manuscripts under glass line the walls and the spine of the room. From fragments of the poet’s skull that belonged to Ed­ ward John Trelawney to the holograph of “A Philosophical View of Re­ form,” from Harriet Shelley’s gold, turquoise, and diamond engagement ring to Percy’s gold and coral baby rattle, the objects and manuscripts on display can, indeed, not only elicit our hushed awe but also incite our fur­ ther reflection on the poet, the literary family, and their legacy. Matthew C. Borushko Stonehill College Ian Haywood. Romanticism and Caricature. Cambridge: Cambridge Univer­ sity Press, 2013. Pp. x+221. S95. Ian Haywood’s Romanticism and Caricature is an exciting and comprehensive study ranging in its attention from John Milton’s Paradise Lost and its radical (religious and political) ideas about monarchy and reform to the hunting down of traitors, the French Napoleonic Wars, the spectral presence of Tom Paine’s and Napoleon’s bodies, and the Reform Bill. Building on Haywood’s work on radical print culture, visual culture, and forgery, Romanticism and Caricature is the latest of a number of studies on spectacle and visual culture such as William Galperin’s The Return of the Visible in British Romanticism (1993), Gillen D’Arcy Wood’s The Shock of the Real (2001), Sophie Thomas’s Romanticism and Visuality (2010), and Peter Otto’s Multiplying Worlds (2011). Haywood draws on these works as well as Marcus Wood’s Radical Satire and Print Culture 1790—1822 (1994) and Vic Gatrell’s City of Laughter (2006). Haywood’s contribution to this con­ versation lies in his ability to generate a method of analysis which reevalu­ ates the cultural significance of caricature by reappraising its aesthetic quali­ ties and discursive potential in relation to specific political events, elevating prints into an important art form and topic ofRomantic studies. Haywood takes as a central concern, for example, the changes in visual consumption of the scene from Paradise Lost in which Sin tries to prevent Satan and Death from attacking each other. Their confrontation, used as a template for confrontation in European as well internal or party-political powerSi 'R, 53 (Summer 2014) BOOK REVIEWS 269 struggles, is the recurring configuration of the case studies Haywood dis­ cusses in individual chapters. As Haywood emphasizes, caricaturists were often deliberately unclear about their political allegiances, even as those trying to stop them were wary that suppression would boost rather than minimize public attention to the satires. Though direct personal attacks were rare in the Romantic pe­ riod (a notable exception being the work ofJames Gillray), graphic satire thrived alongside portraiture and a viewing public would have easily identified contemporary figures appearing in caricatures. Haywood stresses that, as narrative and the creation ofalternative realities became ever more important, style in caricature tended to matter as much as subject: “some­ where near the heart of caricature’s proliferating layers of intertextual and intervisual meaning is the self-reflexive ‘signature’ of the caricaturist, a vi­ sual imprint of the point at which history passes over into fantasy and phantasia through the transforming agency of the satirical imagination” (5). This kind of imagination chimes, of course, with the Romantic debate about the “transformative powers of the imagination” and its “unstable” aesthetics” (6). Chapter 1 discusses how Gillray’s Sin, Death and the Devil (1792) reorga­ nizes the familiar religious and political imagery coined by Milton. Haywood traces the imagery through a whole range of similar prints and argues that Sin, the evil female that used to embody “corruption, conspir­ acy and monstrous gestation” (21), comes to represent the output of the prolific radical press so that Gillray’s print can be read as “anti-Paineite propaganda” (29). Chapter 2, discussing Gillray’s Midas (1797) and Cruikshank ’s Bank...

Negotiating Differences: Word, Image and Religion in the Dutch Republic. By Els Stronks. Studies in Medieval and Reformation Traditions 155. Leiden, Netherlands: Brill, 2011. xx + 341 pp. $136.00 cloth. - Graphic Satire and Religious Change: The Dutch Republic, 1676–1707. By Joke Spaans. Brill's Series in Church History 53. Religious History and Culture Series 5. Leiden, Netherlands: Brill, 2011. xii

Negotiating Differences: Word, Image and Religion in the Dutch Republic. By Els Stronks. Studies in Medieval and Reformation Traditions 155. Leiden, Netherlands: Brill, 2011. xx + 341 pp. 136.00 cloth. - Volume 82 Issue 2

Joke Spaans, Graphic Satire and Religious Change: The Dutch Republic, 1676-1707

Joke Spaans, Graphic Satire and Religious Change: The Dutch Republic, 1676-1707