Political Caricature Research Articles

ЮМОР КАК ИНСТРУМЕНТАЛЬНАЯ ИДЕЯ ЯЗЫКОВОГО ОБРАЗОВАНИЯ В СФЕРЕ ПОЛИТИКИ И МЕЖДУНАРОДНЫХ ОТНОШЕНИЙ

Humor on the topic of politics is an indicator of the speed of reac- tions, knowledge and ability to understand the situation that causes it, in the general political situation. Linking the content of training with humorous im- ages, quotes of famous politicians, it is appropriate to attract students’ attention, better fix the information in memory, thanks to joining of figurative and linguistic metaphors and comparisons that cause students to evoke emotions and laughter. Thus, humor is an ideal “breeding ground” to learn the content. The criteria for selecting the material for the lesson are the level of students ‘ awareness in the field of international politics, their outlook; the level of language competence; the level of understanding of the specifics of foreign language culture. A good knowledge of the sources of one’s examples allows to influence the audience unobtrusively, demonstrating the discovery of new connections between the phenomena. There is only one limitation to the use of political texts that include humor: aggressive humor can harm and demotivate students. to diversify the les- son, you can include visual humorous material, namely, political caricature Based on national stereotypes, humor reflects the cognitive specifics of the mentality, so it is very important to learn how to adequately perceive the jokes of repre- sentatives of other cultures. German political humor focuses on the individual characteristics and behavior of politicians. In Germany, comics, humorous TV shows, and political cartoons are popular. Witty statements of German politi- cians are recorded by media representatives on audio discs, in printed materials.

Fransız dövri mətbuatında Covid 19 pandemiyası mövzulu karikaturalarda ironiyanın ifadə vasitələri

The article is devoted to the study of irony on the material of cartoons in the French periodical press on the topic of the COVID epidemic 19. The authors of the article examine the political cartoons used on the pages of French newspapers, magazines and the Internet, their genre features, functions. Caricatures - satirical drawings with verbal accompaniment, transmitting an assessment of political events, social phenomena, etc. - are an important visual-informative element of the press. The nature of the process of perceiving a political caricature is analyzed, the authors of the article come to the conclusion that caricatures are an important element of the French press and touch upon the burning topics of modern life and perform various functions.

Political Caricature and Satire among Egyptian Royalties and Foreigners in the Egyptian Art

Political Caricature and Satire among Egyptian Royalties and Foreigners in the Egyptian Art

Flaubert et la caricature : l’exigence de la modernité

Quelquefois caricaturé par ses contemporains, Flaubert suscite les réactions dans l'outrance, lui qui ose dans sa Correspondance abonder dans la caricature selon ses humeurs et ses opinions en excellant dans l'hyperbole et l ’emphase. Un mot de son cru le résume : « hénaurrrme ». Au demeurant, ses personnages les plus mémorables sont des caricatures : de l'amour avec Emma, de la bêtise avec Bouvard et Pécuchet, de la bonté avec Félicité d'Un Cœur simple… Dans la fabrique flaubertienne, l'incarnation est intrinsèquement liée à la déformation, elle-même dégradée en parodie. Car la caricature chez Flaubert est partie prenante d'une pensée nihiliste : le romancier participe d'une déconstruction généralisée de la société bourgeoise par une caricature évidemment politique même si l'écrivain se défend d ’utiliser l'œuvre comme une tribune, au nom de l'autotélisme de l ’art. Au fond, c'est la modernité de Flaubert qui justifie le goût et l'usage de la caricature.

THE INFLUENCE OF CARICATURE ARTS ON THE ELECTION OF THE PRESIDENT OF FRANCE 2017

The tradition of political caricature in the culture of France, its influence on the specifics of worldview and analysis of phenomena by society is analyzed. Mass, clarity, accessibility of content as characteristic features of the phenomenon of caricature in French art is considered. The uniqueness of the phenomenon and its dynamics in terms of time is emphasized. The author studies the art of satire and caricature as an active tool in the political struggle, its impact on the outcome of the 2017 election campaign in France. After researching this topic, the author comes to some conclusions. The phenomenon of political caricature actually finds a response in modern French society and is an extremely important, accessible and mass source of information. The real phenomenal nature of this phenomenon evidenced by the situation with the 2017 election process. The roots of trust and understanding of society go back to the Middle Ages, in the XII century, namely during the period of active development of the art of book miniature. During the reign of Napoleon Bonaparte, the French Revolution, acute sociopolitical affairs in the life of the country, the First and Second World Wars and the post-war period, political caricature received significant incentives for development and spread.The key quality of political caricature is the transfer of the real and the fantasy, through metaphor - a metaphorical process, which is realized in visual manifestation, through grotesque and satirical stylistic means. The polychrome nature of the caricature with the development of publishing houses and mass circulation ceases to be a significant factor in its implementation, but during the development of political caricature within the poster graphics, the color returns to its influence. Caricature in the history of France is a reflection of exciting processes in the country, society and his life. France is one of the few countries where the satirical and caricature tradition still has fans and is a relevant cultural phenomenon that needs to be studied.

WHO AM I: STRATEGY OR ACCIDENT? : COMPUTER BASED CONTENTS ANALYSIS OF CARTOONS AND MEMES OF V. ZELENSKY

The rapid development of social media in recent years has led to the emergence of new forms of political communication, in particular visual communication, represented by the genres “cartoons” and “memes”. These genres are the subject of many different disciplines: cultural studies, communication/media studies, media linguistics, political science, political linguistics, cognitive linguistics, semiotics. The paper deals with analysis of more than 600 political cartoons and memes of President Zelensky. Methodology includes computer based content analysis (MAXQDA 2018) and multimodal discourse analysis. The combination of quantitative and qualitative methods for the analysis of multimodal genres not only expands the methodological tools of researchers of humorous discourse, but also ensures the reliability of the results. The caricatures and memes included in the research corpus come from Ukrainian and foreign open sources: (https://www.facebook.com/ PerecRepublic/), (https://www.facebook.com/ProtsyshynOfficial), (https:// www.facebook.com/babaandkit), (https://www.facebook.com/gonimem), (h tt ps: // www.f ac ebo ok .co m/ per sh pri va tn ame ma rny a),(h tt ps :/ / www.radiosvoboda.org/z/752), інтернет-галереї https://janson- karikatur.de/, https://www.cagle.com/, https://www.gocomics.com/comics/ political. A code system consists of formal and semantic codes. Formal codes include “cartoon / meme type” with subcodes “with text”, “without text”, “individual”, “group”, “impersonal” and “hybrid”. The semantic codes in include “humorous techniques” and “levels of communication”, as caricatures and memes are a genre of humorous discourse and at the same time a multimodal text in which verbal and nonverbal components are combined and interact. Any multimodal text of humorous discourse functions in a specific social context, which has been analyzed on the basis of the code “chronotope”, which included the following subcodes: “election campaign and elections”, “inauguration”, “100 days”, “domestic policy”, “foreign policy”, “year in power”. As results of quantitative analysis the individual cartoon/meme type dominates (335 documents), which is 54% of the total number of analyzed documents. Quantitative analysis of humorous techniques showed that the most frequent are satire (62,4 %), association (49,7%), parody (39,2 %) and contradiction (31,3 %). The analysis of political caricatures and memes, which cover certain aspects of Volodymyr Zelensky’s activity as president, showed that his activity was and is the object of rather sharp criticism, which finds its expression in humorous genres.

The Power of Caricature: The Metamorphosis of Citizen King Louis-Philippe into Pear King

Bu araştırma makalesi, La Caricature dergisinde yayımlanan bir karikatür nedeniyle yargılanan Charles Philipon’un mahkemede basın ve ifade özgürlüğünü savunurken argümanını örneklemek amacıyla kullandığı armut imgesi, bu imgenin nasıl kral Louis-Philippe ile eş anlamlı hâle geldiğini ve tüm Fransa’ya yayıldığını incelemeyi hedeflemektedir. Mahkemede yaptığı savunmasındaki benzerlik argümanının ve armut imgesinin doğuşunun inceleneceği bu makale, karikatürün 19. yüzyıl Fransa’sında muhalif bir ifade aracı olarak siyasi gücünün ne denli aşkın boyutlara ulaşabildiğini göstermesi ve taş baskının dönemin siyasi karikatürlerinin yayılmasına yaptığı katkıları ortaya koyması açısından önemlidir. Araştırma makalesinde yöntem olarak nitel araştırma modeli kullanılmıştır. Philipon’un La Caricature dergisinde mahkeme savunmasıyla ve armutla ilgili kaleme aldığı makaleler başta olmak üzere, literatürde konuyla bağlantılı mevcut kaynaklar taranmıştır. Araştırma sonucunda, Philipon’un yarattığı armut imgesinin kısa sürede tüm Fransa’ya yayıldığı, Yurttaş Kral olarak bilinen Louis-Philippe’nin Armut Kral’a dönüştüğü ve bu tasvirin katı sansürlere rağmen Fransa halkının zihnine kazındığı gözlenmiştir. Philipon’un bir kişiyi krala hakaret suçuyla suçlarken kraliyetle ilgili sembol ya da nişanlar yerine dış görünüşün/benzerliğin temel alınması durumunda yaşanacaklara dair öngörülerinin tamamen gerçeğe dönüştüğü görülmüştür. Ayrıca taş baskı karikatürlerin etki gücünün kendileri için son derece tehlikeli olduğunun bilincinde olan Louis-Philippe yönetiminin armutla uzaktan yakından bağlantılı her türlü imgeyi sakıncalı bulduğu görülmüştür.

THE IMAGOLOGICAL BESTIARY IN THE POLITICAL CARICATURE AT THE TURN OF THE XIX–XXTH CENTURY, 1890-1905: ZOOPHISIOGNOMY AS THE INSTRUMENT OF VISUAL RHETORIC

The article researches political caricatures that was published by the RussianEmpire magazines and newspapers during the period since 1890 until 1905. Special object of study is complex of caricatures where image of the Strange was zoomorphically presented and the Strange itself was another country (people) such as Germany, Great Britain, Austrian-Hungary Empire, Japan, Turkey. There is described no concrete caricature in the paper because iconography of the Strange is implied that the images are common for all satiric and humoristic media-resources including foreign ones. According to the article, showing the anthropomorphic person as animal (bestie) is the trope of the visual rhetoric and caricature is its genre. Despite some variation in representations, the main zoomorphic images of States are still used in caricature and other genres of mass culture. These visual markers are the lion for Great Britain, the bear for Russia, the rooster for France, the dragon for China, and the bald eagle for the US. The attached illustrations allow the reader to see how the principles described in the article were implemented in practice.

The Game of Chance: Marcel Duchamp’s Large Glass and Nineteenth-Century French Political Caricatures

The Bride Stripped Bare by Her Bachelors, Even (1915–1923), also known as The Large Glass, is one of Marcel Duchamp's most complex works and has elicited a wealth of scholarly suggestions as to its meaning and sources of inspiration. Nevertheless, although it is recognized that Duchamp’s early practice as a maker of cartoons paved the way for an oeuvre replete in wit and wordplay, the inspiration Duchamp drew from well-known French caricatures received almost no attention. To fill this void, the present article proposes that The Large Glass was based on the caricature A New Game of Rings, issued by Charles Vernier on the eve of the 1848 presidential elections for the Second Republic. Upon close inspection, Vernier's satirical cartoon suggests not only the composition of The Large Glass, but also themes that are central to Duchamp’s oeuvre: games, absurdity, and hilarity; chance, whether uncontrolled or controlled; and the dichotomy between male and female, reality and idea. Moreover, the political scenario presented in the mid-nineteenth century caricature had considerable relevance for the situation of the Third Republic when Duchamp created his work. Thus the tragicomedy of the Bride and her Bachelors represented in The Large Glass may be said to epitomize the changing relationship between Marianne – the female personification of the Republic – and the French people during the turmoil of the First World War.

Semiotics of Elections in Political Caricature of Online Newspaper: A Case Study of 2018 Presidential Egyptian Elections

This study argues that caricatures convey subtle messages that the written word may not be able to communicate. The gestures and signs used by the artists respond to the Egyptian culture and tradition and can get through to the Egyptian imagery. The cartoons used visual expressions of popular images and cultural symbols to effectively convey the journal’s message to readers about current events. It is also apparent that the cartoons focused mainly on the pre-voting stage, critiquing possible candidates, voter's performance and reactions. There was little said about the voting process or the final results. This may reflect the Egyptian political space and its limitations. It should be underlined the prevalence of negativity in the cartoons of Al-Tahrir. Not a single cartoon presented a positive message about the election. This is expected as the journal affiliates itself with the opposition. The caricature is a popular art that transcends the barrier of culture to reach more people. It is related to issues that concern citizens such as poverty, unemployment, marginalization, politics and society ... etc. The caricature deals with people’s concerns through sarcasm, satire and irony. It is an art that assesses circumstances, tracks problems, and transforms them into a serious debate. There are some key ideas that appear in the Tahrir newspaper but are absent in Al-Ahram newspaper such as the need for the 25,000 signatures to run in the elections, several attempts of many people to participate in the elections and then withdrawing, the general performance of the electorate. Al-Tahrir newspaper criticized all of these situations sharply, by showing the pain of the citizen. Al-Tahrir Newspaper did not display any positive image of the election and that is because it belongs to the opposition. Also it didn't provide caricature for the final result of the election. On the other hand, Al-Ahram Newspaper did not mention any negative thoughts about the election and only focused on the positive image with enthusiasm. It encouraged people toward political participation considering it the way to achieve democracy and a better future in favor of the nation. The readers are continually desirous of receiving knowledge from the caricature to create their own critical opinion. The cartoons focused on some traditional cultural symbols like the genie and the lamp, the devil, or representing Egypt in the form of an Egyptian farmer.

Multimodal conceptual patterns of Hungary in political cartoons

AbstractConventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012,2014). The present article explores the multimodal representations ofhungaryin cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventy-five cartoons from the satirical magazineLudas Matyi. Two major claims are justified by adopting PaulaPérez-Sobrino’s (2017)multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation ofhungaryin political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames,financial crisisandpolitical changes, appear through the sources ofhuman bodyandobjectin metaphorical scenarios, such asordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging,andchurch scenes.Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.

Estado del arte para la construcción de una Didáctica de la Historia Reciente

La presente producción intelectual constituye un recorrido por el Estado del Arte sobre tesis doctorales cuyo foco de atención ha sido la Didáctica, la Historia Reciente como disciplina historiográfica, y el análisis de las Caricaturas Políticas con fines distintos a la opinión periodística o el interés artístico. El propósito de la investigación es explorar, a modo de antecedentes, los aportes de estos trabajos para el desarrollo de una Didáctica de la Historia Reciente, como constructo dialéctico-interpretativo de las caricaturas políticas de Zapata, título bajo el cual se inscribe un trabajo doctoral de propia autoría, actualmente en desarrollo. El método utilizado corresponde a las técnicas de investigación documental. El corolario de este ensayo refleja las principales contribuciones recogidas en los documentos bajo escrutinio, en donde destacan la necesidad de incentivar la creatividad del docente y los alumnos en su labor didáctica, la importancia del currículo como base de las prácticas educativas, los problemas de aprendizaje de la Historia, el valor de la memoria en el abordaje de la Historia Reciente, y por último, el creciente interés del estudio de las caricaturas políticas con fines historiográficos.

The Evolution of the Image of the Ottoman Empire on the Cartoons of the British Magazine «Punch» of the First World War Period

This article discusses the development in the British society of the image of the Ottoman Empire, perceived as a ’’German ally“ during the First World War. English cartoons from the satirical magazine “Punch” were taken as historical sources. The peculiarity of this magazine was that during the period under study it was popular among representatives of the elite, intelligentsia, workers and some of the farmers due to the publication of various drawings and cartoons in it. The main goal of the authors of the article is to consider the development of the image of the Ottoman Empire, presented on graphic materials as an “ally of Germany”, using political caricatures as an example, and to reveal its features in British propaganda. The study allows us to conclude that the image of the Ottoman Empire was presented in satirical form, as it was aimed at discrediting the ”ally of Germany“. British artists sought to convey to the mass audience that the Ottoman Porta was embroiled in armed conflict and was used by Germany as a "puppet". On the example of the most striking English cartoons of the satirical magazine “Punch”, it can be noted that many stories about the “ally of Germany” reflected in their content the military-political dependence of the Ottoman Empire on the German one.

THE DISCOMFORT OF THE JULY MONARCHY WITH DAUMIER’S GARGANTUA

Gargantua, a lithograph created by Honoré Daumier in 1831, portrayed the French king Louis-Philippe as a gluttonous giant who devours the labor of his people while sitting in a toilet-like throne, and attacked the king’s person and his government with a satirical manner. Apart from its portrayal of the king as a social cannibal, Gargantua also had a scatological humor by representing the king in defecating. For this reason, this lithograph was by no means tolerated by the July Monarchy that struggled to control over the press by censorship throughout its reign. In this research paper that aims to study the meanings and reasons behind Daumier’s portrayal of king Louis-Philippe as a ravenous giant in Gargantua, it will be discussed why this caricature, which the government both censored and sentenced Daumier to imprisonment and fine penalty, discomforted the king and his government so much. In this context, it will be briefly reviewed the political, economic and social conditions in France before and after the 1830 July Revolution in order to get a better understanding on the political atmosphere during the time when Daumier started to draw satirical caricatures for the journal, La Caricature. Later, it will be discussed Gargantua’s literary references, its implications to king Louis-Philippe and his government, the domestic politics in 1831, and the impact of lithography on increasing power of the press in France. Keywords: Honoré Daumier, Gargantua, lithography, political caricature, printmaking

Drawing Stereotypes

This article explores Russian political caricatures regarding the Boxer Uprising (1900) and the Russo-Japanese War (1904–5) that appeared in two of the empire’s largest newspapers, Novoe vremia (The new times) and Russkoe slovo (The Russian word). The article argues that caricaturists both poked fun at international politics and crafted visual identities for their readers of Russia’s European, Chinese, and Japanese neighbors. The images examined here sketch out the crowded and dangerous stage of global imperialism, while also pointing toward Russia’s place within it. In the process, they articulate stylized notions of Europeanness and Asianness that had important connotations for how each periodical depicted the actors in each conflict.

The Rise of Victorian Caricature by Ian Haywood

Reviewed by: The Rise of Victorian Caricature by Ian Haywood Jo Devereux (bio) Ian Haywood, The Rise of Victorian Caricature (London: Palgrave Macmillan, 2020), pp. vii + 296, $99.99/€83.19 hardcover, $79.99/€67.40 e-book. The Rise of Victorian Caricature seeks to overturn the widely held assumption that Punch was the first periodical to feature caricature in the nineteenth century. Ian Haywood presents "the caricature history of the period from the bottom up" and connects the development of caricature in the popular radical press of the early decades of the century to the political events and movements of the time (4). Focusing on the "caricature-sheet serial" amid other forms of visual and print culture, Haywood provides a richly detailed and scholarly examination of the carnivalesque images in periodicals such as Cleave's Gazette of Variety, Penny Satirist, and Odd Fellow (156). In the course of his study, he discusses the work of the caricaturist Charles Jameson Grant and explores caricature's response to subjects ranging from the rise and fall of Chartism in the 1830s and 1840s to the young Queen Victoria's coronation, marriage, and many children. In the first chapter, "Introduction: Graphic Arguments and Serial Offenders," Haywood uses the term "serial offender" to denote "a popular textual-visual mode" of reportage first seen in "William Hone and George Cruikshank's mock-newspaper, A Slap at Slop (1821)" (7). Hay-wood argues that this mode was further developed in the 1830s to reach a large and varied readership. He traces the initial joy at the passing of the Reform Bill in 1832 through the disillusionment that followed and the renewal of satire's "mission to hold the government to account," arguing that illustrated satirical broadsheets had the power, absent from the unillustrated radical press, to offer "iconoclasm though visual and textual fantasy" (7). [End Page 455] Chapter two, "Re-forming Caricature: Political Crisis and the Reinvention of the Satirical Image 1830–1832," addresses the presumed gap between the decline of political satire, such as Thomas Rowlandson's sketches, and the appearance of Punch in the 1840s (17–18). Citing recent scholarship by Celina Fox, Richard J. Pound, Brian Maidment, and Henry Miller, Haywood examines the "unprecedented counter-hegemonic visual force" that preceded Punch (19). Providing close readings of caricatures in Figaro in London and Thomas McLean's Looking Glass; or, Caricature Annual, he argues that by December 1832 these publications "had reconfigured caricature into a new type of populist, political reportage" using the woodcut, which was a cheaper, more democratic form than the lithograph (81). In the third chapter, "Everybody's Caricature: Charles Jameson Grant," Haywood endeavors to redress the lack of scholarship on this artist, whom he calls "the unsung hero of the radical remaking of caricature" (10). Grant was the most prolific caricaturist of the 1830s after Robert Seymour, taking up themes including the new queen in 1837, the Chartist movement, and the Condition of England question before Punch appeared in 1841. Hay-wood discusses Everybody's Album and Caricature Magazine (1834–35) in detail and then moves on to the less aesthetically pleasing Political Drama (1833–35). Primarily, his focus is on "the carnivalesque potency and pleasures of Grant's images"; he is most interested in the grotesque, Rabelaisian qualities of Grant's political caricatures (117). Chapter four, "The Reform Hurricane: Radical Satirical Broadsheets," examines Cleave's Weekly Police Gazette (launched 1834) in terms of its "radical cultural hybridity" and argues that this periodical's combination of popular entertainment with political activism was "an appealing melange of news, critique and fun" (157, 161). He then explores the Penny Satirist (April 1837–April 1846), which challenged the class hierarchy of the time through, for example, "powerful images of John Bull's continuing torments" (172). The third and "most short-lived" pro-Chartist satirical broadsheet was the Odd Fellow, which ran from January 5, 1839, to December 10, 1842 (175). As Haywood points out, the caricatures in these broadsheets are as grotesque and urgent as the verbal caricatures deployed by Jonathan Swift the century before. The fifth chapter, "The Chartist Carnival," is especially shaped by the Bakhtinian idea of the carnivalesque and includes previously...

“The Long Middle Ages” in French Political Caricature of the 20th — 21st Centuries

“The Long Middle Ages” in French Political Caricature of the 20th — 21st Centuries

Margaret Thatcher in Spitting Image

The main ambition of this article is to pay tribute to Jacques Leruez whose work came to constitute a reference for British civilisation researchers focusing on the twentieth century. It provides a study of the representation of Margaret Thatcher’s political image in the British television show called Spitting Image. This TV show was broadcast on ITV from 1984 to 1996. As that period included six years of her premiership, it is not surprising that Margaret Thatcher was one of the main characters in the show. Its aim was to offer a political caricature necessarily consisting in a distortion of reality. In the late twentieth century and, more precisely, in the 1980s, television developed as a means of communication throughout Western Europe thanks to the creation of new channels and the general deregulation of this market. As a consequence, it was increasingly used as a means of political propaganda or advertising whether by politicians themselves or by the media. One main ambition behind Spitting Image was to ridicule British politicians like Margaret Thatcher. Did the TV show succeed in building an efficient criticism thanks to its satirical dimension ? This contribution will first highlight the different ways in which Margaret Thatcher was caricatured by Spitting Image. More precisely, it will focus on four different forms of representations which seemed to prevail in the show. As for the conclusion, it will be devoted to the ways in which her caricature was generally perceived by her fellow citizens.

Effeminate Edmund Burke and the masculine voice of Mary Wollstonecraft

ABSTRACTThis article focuses on the gendered and nationalist rhetorical strategies Mary Wollstonecraft used in her work The Vindication of the Rights of Man which was written as an open letter of response to Edmund Burke's Reflections on the Revolution in France . While a number of scholars note Wollstonecraft’s adoption of a masculine voice in her systematic feminizing of Burke, this article also pays attention to the ways in which Wollstonecraft impugns Burke with the taints of being crypto-Catholic, Irish, and quasi-French. We notice how Wollstonecraft’s masculine voice is rational, combative, righteously passionate, middle-class, patriotically English and critically Protestant. We compare the fashioning of Wollstonecraft’s voice with contemporary political caricatures of John Bull and the cartoon depictions of Edmund Burke that appeared as Wollstonecraft was composing her VRM. Wollstonecraft’s VRM gained her considered attention and her critique of Burke’s character, (and what this article claims is her misreading of his aesthetic treatise), have been remarkably influential even to the present day. The characteristics of the distinct voice created in Wollstonecraft’s first Vindication are also evident in her second and more famous Vindication of the Rights of Woman. However, the rhetorical commitments entailed in Wollstonecraft’s public voice created challenges for her arguments in the second Vindication that demand careful attention.

The Peace of Westphalia and nineteenth century German history painting

ABSTRACT The apparent dearth of official celebrations for the 200th anniversary of the Peace of Westphalia in Germany in the ‘revolutionary year’ of 1848, as well as of depictions of the Peace of 1648 by German history painters of that time, raises a variety of questions. Much has already been written on the political caricatures of 1848. This paper investigates links between the religious and the political spheres in paintings completed in or around 1848 in Germany that demonstrate interest in the history of the Thirty Years’ War or in its confessional and political legacies. These paintings include history paintings of the Thirty Years’ War by – amongst others – the artists Carl Friedrich Lessing (1808–1880) and Eduard Geselschap (1814–1878). Comparisons are also made with earlier history paintings and with other paintings worked upon in 1848 by J.P. Hasenclever (1810–1853) and the then Director of the Düsseldorf Academy of Art, Wilhelm von Schadow (1788–1862), as well as with one later ‘pro-Prussian’ depiction of the 1648 Peace for Münster by Fritz Grotemeyer (1864–1947).