Use Of Caricature Research Articles

Caricature in Palestinian very Short Stories Written by Diasporic Writers

This article studies the caricature techniques used in Palestinian very short stories written by writers living in the diaspora. This study includes three examples of very short stories in which caricature is manifested in events, characters and language. This technique is used in order to try to find the link between the harsh reality of post-1948 war and the changes it created, and the effects it had on society, politics and economics. I monitored the subjects that Palestinian authors write about in very short stories, and intend to expose the varied use of caricature in its different techniques. This study reveals how caricature is used in very short stories to expose the inhumane conditions, worsening relationships between human beings, and the way people turn to violence in an attempt to solve their problems. This violence surrounds people from all sides and defines their relationships, whether with other people, their leaders or their enemies.

The Politics of the Poison Pen: Communism, Caricature, and Scapegoats in Ralph Ellison’s Invisible Man

Ralph Ellison’s depiction of the Communist Party in Invisible Man has often been criticized as unfair or formulaic. This article, however, argues that Ellison’s depiction of the Communist Party can be read productively when considered in light of the novel’s use of caricature, violence, and the scapegoat motif. By observing the Invisible Man’s role as both victim and perpetrator of violence, the reader becomes aware of the dangerous cycle of scapegoating in the novel.

Black Cultural Production: After Civil Rights ed. by Robert J. Patterson

Reviewed by: Black Cultural Production: After Civil Rights ed. by Robert J. Patterson Katherine Karlin (bio) Patterson, Robert J., Ed. Black Cultural Production: After Civil Rights, Champaign: University of Illinois Press, 2019. 282 pp. ISBN: 9780252084607. $26.00 Paperback. It would be difficult to think of a moment in which Black Cultural Production: After Civil Rights, edited by Robert J. Patterson, would land with greater resonance. The volume arrives during a season of widespread protests against police violence, a significant shift in public opinion on the connection between law enforcement and implicit bias, and a substantive debate on reform versus defunding. What began as a grass-roots effort to dismantle racist iconography—particularly statues of Confederate soldiers—has been taken up by municipal governments, which have ordered the removal of these Jim Crow-era relics by city workers, sometimes under cover of night. In the wake of these sustained protests, cultural organizations have been issuing apologies for blind spots in their diversity efforts, and a period of soul-searching—at least some of which seems to be in good faith—has begun in the fields of literature, entertainment, and the arts. On June 19, 2020, the commemoration of Juneteenth, an astonishing array of Black writers, performers, and artists gathered under the banner of Black Artists for Freedom issued a statement calling for commitments from the institutions they work with, not only to sever ties with the police, but to advance opportunities and representation. "No more stereotypes," the statement reads. "No more tokenism. No more superficial diversity. We will no longer watch Black culture be contorted into a vehicle for self-congratulation, complacency, guilt relief, experiential tourism, fetishism, appropriation, and theft" (Black Artists for Freedom). The moment of reckoning for the culture echoes the decade of the 1970s that Black Culture examines, an explosion of artistic and political activity following the conclusion of the Civil Rights era, and its eradication of Jim Crow laws. The passage of the Voting Rights and Civil Rights Acts left huge areas of institutionally embedded racism untouched, in housing, employment, education, and healthcare. "The post-civil rights era retrenchment of a de facto segregations revealed how white supremacy and antiblack racism were interconnected, intertwined, interrelated, and deeply embedded in America's values and institutions. Neither legislative acts nor a naïve belief in the general goodness of the American people could undo their historical and emotional sentience" (Patterson, 2). The political fight shifted from Civil Rights to Black Power; demands for institutional measures like affirmative action found their footing; and the culture, in all its manifestations, reflected the push to continue the struggle against racism on a new stage. Although the accomplishments of the Civil Rights Movement were finite and fulfilled, the [End Page 324] struggle had also instilled a momentum that continued into the cultural sphere long after its legislative battles had concluded. The cover of Black Cultural Production features a photo of actress Cicely Tyson, brandishing the two Emmys she won in 1974 for her lead performance in the television miniseries The Autobiography of Miss Jane Pittman (Tyson was awarded the best actress award and a special citation as "Actress of the Year"). The gleam of Tyson's smile and the shiny awards suggest a promise of a new period in the arts, one in which Black stories could be told without the use of caricature or of white interpreters. Three years after Jane Pittman established the receptivity of white audiences, as well as Black, for stories of Black lives, the miniseries Roots was a cultural juggernaut, with 100 million viewers, a record that remains, as Lisa Woolfork in her essay on "Generations" states, unbroken (59). Mainstream television comedies like "Sanford and Son," "Good Times," and "The Jeffersons" portrayed Black families in a range of socioeconomic circumstances. The theater and poetry of the Black Arts Movement was shaking up the intellectual world. In the movies, Blaxploitation, which began as a low-budget response to the erasure of Black lives from action films, grew into a multimillion-dollar industry. Women novelists like Gayl Jones, Alice Walker, and Octavia Butler began to publish highly personal and experimental fiction, and the editor who nurtured many of these...

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.

La caricature entre image et parole : Villiers de l’Isle-Adam rival d’Honoré Daumier

L'article propose d'analyser, dans une optique comparatiste, les objectifs et les spécificités de la caricature graphique d'Honoré Daumier et de la caricature littéraire de Villiers de l'Isle-Adam. Par son projet de vengeance satirique sur les bourgeois, Villiers de l'Isle-Adam se réclame de la méthode de Daumier, fondée sur l'ironie, et envisage de dépasser le dessinateur. Dans la présentation de l'univers bourgeois et des milieux choisis (journalistique, artistique) le dessinateur et l'écrivain élaborent leurs propres façons d'exploiter les ressources de la caricature. Tout en dénonçant les vices de la société, Daumier propose un type particulier de comique (dans lequel la légende joue un rôle secondaire) et développe l'aspect ludique de son art, tandis que Villiers se concentre sur la raillerie violente, même si sa caricature relève souvent de l'ambiguïté. Érigée en genre littéraire, la caricature villiérienne relie le portrait déformé à la caricature langagière et celle de situation, en élargissant ainsi les sens véhiculés par le dessin de Daumier.

The Racial Other's Dancing Body in El milagro de anaquillé (1927): Avant-Garde Ballet and Ethnography of Afro-Cuban Performance

El milagro de anaquillé (1927), a ballet project with libretto by Alejo Carpentier and music by Amadeo Roldán, originated at the intersection of avant-garde art, afrocubanismo, and ethnography. Inspired by the aesthetic experimentation of Les Ballets Russes and Les Ballets Suédois in Europe, Carpentier and Roldán adopted ballet as a vehicle for introducing avant-garde trends in Cuba. Their work referenced two revolutionary ballets: Rite of Spring and, more important, Parade. Seeking to restage an Abakuá ritual, their project illustrated the artistic output of afrocubanismo as well as the movement's ethnographic approach to the study of black culture. The libretto, which depicted a conflict between a US filmmaker and a group of Abakuá celebrants, critiqued the colonialist caricatures of the racial other's dancing body in cinema and ballet. In doing so, it contributed to a concurrent repudiation of colonialist films in Latin American intellectual circles. Amid pivotal changes in cultural anthropology, the libretto also alluded to the ideological entanglement of anthropology and coloniality. It obliquely represented the lopsided interactions—mediated by class, race, and education—between ethnographers and subjects. In formulating such political messages, Milagro made adept use of caricature, irony, metatheatricality, nonrealist representation, and other techniques from the avant-garde tool kit for critical interrogation of reality.

La Caricature littéraire : L’Éducation sentimentale de Flaubert

In the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of lithography, in which the figures move like puppets, on the model of ball scenes by Gavarni. He then adds a caption that emphasises their comical scope. Finally, he skillfully practices caricatural portrait on the model of Daumier through the accentuation and reduction of traits. Characters and narrator thus fashion and allow a satirical view of society through the use of caricature. However, Flaubert’s "romanesque" poetics aims not to conclude. As such, the sharp judgment specific to caricature is not satisfactory to him. The author will redirect the intention in the wake of Daumier in order to mitigate its satirical scope and develop its ludic aspect. He will thereby superimpose the different voices of the characters to preserve the narrative’s polyphony. Flaubert as well as Daumier take some distance in order to avoid any definitive moral conclusion.

English

Teaching vocabulary in teaching Turkish as Foreign language is important. Different methods are employed in teaching vocabulary. In this study the pre- and post-test results of experimental group where caricatures were used to teach vocabulary and control group where vocabulary items were taught without use of caricatures  when teaching Turkish vocabulary items to foreign students are compared statistically. Two groups are compared at the end of the application and a statistically significant difference in favor of experimental group was found out. This difference indicates that use of caricature in teaching Turkish vocabulary to foreign students increase students’ success. Key words: Caricatures, Turkish vocabulary, visual art, teaching.

Caricature and headache

The authors comment on the use of caricature to represent a migraine sufferer and show a caricature of a woman with migraine drawn by an artist from Goiânia, Goias State, Brazil.

Recursos literarios en la prensa de fin de siglo: función de la ironía y función de la sátira en La Ilustración Popular y Don Quijote (1893-1904)

La cultura desempeña un papel fundamental en la prensa de finales del siglo XIX. Se trata de educar al pueblo y de plasmar de forma eficaz un mensaje político. La importancia de la literatura explica la presencia de poemas tanto en La Ilustración popular como en Don Quijote. Estos últimos permiten expresar críticas aceradas desde una postura irónica. La ironía ofrece un espacio de libertad que se verá ensanchado por la utilización de caricaturas: estas últimas permiten comunicar con un público amplio y a la vez solicitan la colaboración de un lector dispuesto a activar los sentidos. Estas revistas fueron fundamentales para crear y fomentar la existencia de una «opinión».

The Sweet Tooth of Slavery

This past spring and summer, in an installation by artist Kara Walker, a sugarcoated sphinx gazed upon visitors with a blank and inscrutable stare in the defunct Domino Sugar Factory in Brooklyn. At the entrance to the installation, thirteen statues of brown children, made of resin and coated with molasses, toted the sugar to construct the giant statue. This display drew upon stereotype and caricature—the sphinx sporting a headkerchief and exaggerated lips and butt, the children’s swollen heads copied from racist figurines—but this grotesquerie did not mitigate, but rather heightened, the unease that the installation inspired. Through the contrast between these figures, one monumental and thirteen diminutive, one dusted with refined sugar and the baker’s dozen oozing molasses, Walker suggested that the empire that erected and displayed the sphinx also excreted wounded black bodies. Late nineteenth-century Northerners attempted to overlook the origins of their refined sugar by eschewing molasses (and, implicitly, the brown bodies that both produced and consumed it). Walker’s installation reminds us that it is still easy in hipster Williamsburg, for example, to ignore the global labor exploitation and racism that facilitates the circulation of sugar. On the website for the exhibition, Edwidge Danticat writes about the terrible conditions and child labor in contemporary sugar cane harvesting. This misery provides a stark counterpoint to the triumphalism of the sphinx. This figure, which Walker called the Marvelous Sugar Baby, crystallized the power of whiteness, much like the elaborate sugar sculptures in medieval banquets from which Walker drew the first part of the exhibition’s title, A Subtlety. The Sugar Baby’s prominent vulva signaled the sweetness of her sexual availability for white slave-holders, but Walker’s use of caricature undermined the grandiosity of their empire-building project. While both the awe-inducing architectural grandeur of the sphinx and her sugary veneer reflected the illusion of Both works insist upon the centrality of sweetness and sugar to the exploitation of black bodies in the pursuit of white pleasure. The slave body becomes a kind of candy.

The Use of Caricatures in Teaching Verbs1

The aim of this study is to prove that teaching the verbs through caricatures has a great effect on the success of the students in the Turkish lessons. In the study, pre test-post test controlled group model was used. The sample of the study were 80 7 th grade students who were attending a secondary school in Bursa during the education years of 2012-2013. The students were seperated into two groups, each group consisting of 40 students. After having been taught the subject the students were taken to post-test to measure their success. With the experimental group the verbs were taught through caricatures but with the control group the same topic was processed with the classical and traditional teaching methods. At the end of the study the outcomes were compared by considering the sex of the samples towards the Turkish lesson. According to the data obtained, the conclusion was that teaching the verbs through caricatures increases the success in Turkish lessons and it affects the attitudes towards the lesson positiveley. In addition, it was observed that the rate of post- test scores of male students who learned the vebs by means of caricatures was higher than that of post-test scores of female students.

Science Theatre at School: Providing a context to learn about socio‐scientific issues

Science theatre is recognised as a method for teaching socio‐scientific issues (SSI), but is largely under‐researched. The essence of science theatre at school is to shape a contextualisation for science and technology and its relationships to individuals and society at large, with the aim to trigger the imagination, raise questions and stimulate debate among the audience to increase their understanding of the SSI at stake. To further the theoretical basis of science theatre at school, we investigated students’ experiences in coherence with the views from experts about the play’s possibilities and limitations, in the context of a performance about food science and technology. The play dramatised dilemmas that were related to science as a knowledge‐producing process, and through its consumer products. Our study indicated that the societal context for staging science and technology, through consumers’ dilemmas to eat healthy, raised interest among the students to a larger extent than the subject of science and technology per se. According to both students and experts, the level of scientific complexity and the use of caricature to portray scientists may have hampered the possibilities to reach the audience. An alternative to contextualisation on an individualised level is to make scientific controversy and its relationship to various social interests, the heart of the matter. The discussion after the play was considered crucial and appreciated, although the students were critical about the nature of the theses. Exploring the moral positions involved in dilemmas could provide an alternative perspective of understanding to the audience.

The ‘envers du décor’ of Suffragette Imagery: Anti-Suffrage Caricature

The visible historical discourse that surrounds ‘the woman question’, and more specifically speaking, the acquisition of the women’s right to vote, most frequently evokes the question from the Suffragette or the Suffragist point of view. Articles, books, photographs and exhibits centre on the unrelenting combat waged for sexual equality, the vote on the ‘same terms as men’. A recent exhibit has revealed the photos taken by the police of the Suffragettes in prison.Faced with Suffragette ‘publicity’, those opposed to ‘the Cause’ for women were forced to take a stand and create a movement against women’s suffrage. They launched a counter attack using numerous propaganda techniques. Among those were representations of the Suffragette and her goals, which they satirised by caricatures in their newspaper, The Anti-Suffrage Review, posters designed for their campaign and postcards.The specific aspect of the anti-suffrage campaign that I will examine in this paper is the use of caricature. Anxious to increase the support and the interest of its readership the Anti-Suffrage Review adopted this approach to criticize the Suffragettes and their tactics. In addition, they had posters and postcards designed to reinforce their campaign. However, the opposition to women’s suffrage was not confined to the organizations. Editors of popular postcards, quite in vogue at the time, also added their contribution to anti-suffrage propaganda. Indeed what could be funnier than to mock a man doing ‘woman’s work,’ while the wife and mother of the house was attending a political meeting? These are indeed the ‘envers du décor’ of the Suffragette imagery that could be found in newspapers and postcards printed in favour of ‘The Cause’.Before dealing with the campaigns’ caricatures, this paper will define the historical context: of the women’s movement and the formation of Suffragist and Suffragette (militant) organizations, and evoke the foundation of the Anti-Suffrage Leagues. This will be followed by the examination of the Anti-Suffragists’ utilization of caricature in contrast with Suffragette imagery.A study of this imagery enables the historian to analyze the values and convictions that were behind the anti-suffrage movement. They were those held dear not only by the eminent Victorians and Edwardians but by a majority of the average citizens as well.

Helping the cognitive system learn: exaggerating distinctiveness and uniqueness

AbstractThe caricature advantage demonstrates that performance is better when exaggerated stimuli are presented rather than a faithful image. This can be understood with respect to a theoretical framework in which caricaturing maximises the distinctiveness and thus minimises any perceptual or representational confusion. In this study we examine the possibility to harness caricatures to enhance learning. Thus, during learning the caricatures help the cognitive system pick up the unique and distinctive features of the learned material. This in turn helps to construct representations that correctly direct attention to the critical information. We trained 113 participants to identify aircraft across any orientation and found that the use of caricature is advantageous. However, the caricature advantage was most effective in complex learning where it is difficult to differentiate among different aircraft. Furthermore, the caricature advantage for subsequent recognition is attenuated when over‐learning has been achieved. These results are discussed in terms of the learning situations in which caricatures can be most effective in enhancing learning. Copyright © 2007 John Wiley & Sons, Ltd.

L'Ecriture comique de J.-K. Huysmans (review)

Reviewed by: L’Ecriture comique de J.-K. Huysmans Robert Ziegler Bonnet, Gilles. L’Ecriture comique de J.-K. Huysmans. Paris: Champion. 2003. Pp. 332. ISBN2-7453-0794-0 A work of considerable erudition, Gilles Bonnet's L'Ecriture comique de J.-K. Huysmans surpasses by its richness the scope of the study as suggested in its title. Bonnet's occasionally overwritten semiotic analysis of Huysmans's use of caricature, parody, pastiche, satire, fantaisie, irony, black humor, and palinode concludes with a satisfying synthesis of the whole of Huysmans's œuvre, one often still subjected, as Jean Borie complains, to arbitrary, mutilating cuts into successive "periods" or "stages." Noting that the comic is always an "art parasitaire," "un vampire qui rit en mordant" [End Page 207] (75), Bonnet stresses the self-referentiality of Huysmans's text which, in pointing to itself, also delivers "une pluralité de significations au lecteur attentif" (304). Emphasizing the anti-social, misanthropic, reclusive character of Huysmans's heroes, Bonnet begins by distinguishing between the satirist/caricaturist, distanced from the world he ridicules, and the humorist who, like the oblate, "s'inclut dans la communauté sur laquelle il porte pourtant un regard distancié" (13). For the caricaturist whole people are disintegrated into fragments, exaggerated features, distorted body parts resembling animals or plants - affording the writer a "régression infantile aux joies premières des essais de combinaisons" (45). In Bonnet's felicitous analogy, satirists who hold themselves above the being whose vices they contemptuously regard are like the gargoyles of Notre-Dame, who, as Huysmans writes in Certains, "ricanent, grincent, prundent sans pitié pour les affreuses détresses qui clament [...] sous leurs pieds, dans les hôpitaux voisins." Bonnet's carefully nuanced description of Huysmans's humor enables him to differentiate between the author's early view of the grotesque, which elicits mockery and amazement, and a post-conversion attitude, in which ugliness provokes pity or compassion. Similarly, the same Huysmans who mischievously delights in the polysemic elusiveness of his works also longs for a source of unchanging, transcendent meaning. In a point on which Bonnet might have elaborated, he notes that "la Parole du Père," explicated and codified in the liturgical language of the Church, affords Huysmans an escape from the ambiguity which characterizes his writing, allowing him to rise above the "arbitraire du signe" on which Decadence is predicated. Thus, for Huysmans, the convert, reality is not resolved into the scintillation of innumerable meanings. Rather, as the symbol becomes the thing, there comes "[une] disparition de ]a sémiotique" (102). Readers of Huysmans will recognize the aptness of Bonnet's description of the author as one whose work offers "une dramaturgie des petites misères": threadbare pants, undarned socks, the frayed wick of a lamp. Exaggerating the gravity of quotidian vexatious. Huysmans's hero is "un vieil enfant" whom the reader regards as would a "juge amusé des maladresses de sa progéniture" (145). Bonnet's analysis is the finest when he focuses on the acerbity of Huymans's humour noir. According pride of place to Pierrot sceptique, a pantomime Huysmans coauthored with Léon Hénnique, Bonnet maintains that the humor of the work "repose avant tout sur une pulsion scopique sadique" (185). As pantomime's celebration of the absurd turns death into an occasion for laughter, black humor incorporates cadavers as material. Bonnet's insightful commentary on Jacques Marles's reverie on ptomaines leads him to assert that eating death means killing death, by permitting the subject "de s'en approprier les propriétés" (167). Focusing on the humor that endeared Huysmans to the Surrealists, Bonnet offers a perceptive interpretation of another of Huysmans's neglected texts, La Retraite de Monsieur Bougran. There, the unemployed functionary, adrift without the structuring requirements of his work routine, subjects himself to the same rules, performs the same stultifying tasks, imagines serving under the same unintelligible godsupervisor [End Page 208] in order to undergo voluntarily "la douleureuse expérience de la nécessité sans cause, fondement de l'absurde schopenhauérien" (199). The final section of Bonnet's book, while less rewarding, still yields valuable insights into Huysmans's self-sabotaging fictions, dialogic narratives...

The New Urbanism: Critiques and Rebuttals

Over the past two decades, the New Urbanism has emerged as a controversial alternative to conventional patterns of urban development. Although growing in popularity, it has received a sceptical reception in journals of planning, architecture and geography. This paper reviews criticisms of the New Urbanism and examines evidence and arguments on both sides of each issue. Critiques may be roughly divided into those involving empirical performance, ideological and cultural affinities, and aesthetic quality. While insufficient evidence exists in some cases to make final judgments, it is argued that the critical attack on the New Urbanism remains unconvincing. Much of the critical literature is flawed by the use of caricature, inadequate sampling of projects, deficient understanding of New Urbanist principles and practices, premature judgments, unrealistic expectations and ideological bias. While New Urbanists can learn from the critiques of their work, and research gaps need to be filled, the New Urbanism remains a resilient, practical and well-founded alternative to conventional land development practices.

Fractionation of the components of role play in a right-hemispheric lesioned signer

Role play, a narrative device relying critically on the linguistic reference system of American Sign Language (ASL), also appropriates extrasyntactic devices such as signing style idiosyncrasies and facial caricature for the linguistic purpose of differentiating roles. Whereas the spatialized grammatical reference system has been shown to make demands on left hemisphere processing, role play may require right hemisphere processing. To investigate this issue we analysed role play in a 38-year-old, ASL-fluent, female hearing signer (A. S.) with a right parietal–occipital lesion. A. S. correctly reassigned first person reference, signalling attempted use of role play at the sentence level, despite its spatialized realization in ASL. However, she had difficulty with pragmatically appropriate changes in gaze direction, and with the use of caricature and shifts in body position, to distinguish roles. Analysis of the deficits in this right-lesioned signer's use of a single linguistic construction that crucially requires both sentence-level and discourse-level devices helps us to refine our concept of the roles of the two cerebral hemispheres in language functions.

The role of caricature in medicine.

Syndromes are a combination of several symptoms or characteristics of disease which prompt doctors to respond with 'key' treatments and management protocols. The essential signs can be abbreviated by the use of caricature. This format may prove to be a valuable training tool in clinical observation.

The Georgian Political Print and Democratic Institutions

At the beginning of the long reign of George III, a new mass media outlet for political expression surfaced in England: the colored political and social print. These prints were first carried as a sideline at stationers and bookstores, but from the middle 1770s on their popularity was great enough to justify setting up special print shops.The Georgian print after 1760 was different in more than color from those that had preceded it, though the use of color was indicative of the change. Artistically they were less representational, more free in line, and made heavier use of caricature in both face and body action. In content their appeal was more populist and urban than aristocratic and rural. They were also more journalistic; they focused their comment increasingly on current and often trivial political and social events and were published soon after the event occurred. In an earlier period, comment was in response to events. After George III, the commentators became established professionals seeking out events which they could make the theme of their weekly or so caricature comment. The prints also continued to be unrestrained in ridicule, attacking not only political leaders, but royalty itself. If possible, they became more unfair and calumnious than the prints of the period of the first two Georges. The prints were a part of what was evolving, I will argue, as a new democratizing force in the politics of England: a stream of mass media criticism of current political practices.