Caricature (Visual Studies)

Le 29 mai 1956, Le Devoir dresse le bilan de l’Union nationale. À la une, paraissent deux caricatures de Robert La Palme. « 1936 » : Maurice Duplessis transperce le dragon qu’est Louis-Alexandre Taschereau; « 1956 » : Maurice Duplessis est désormais le dragon, et occupe toute la scène. Dans ces caricatures, Robert La Palme met en scène les liens étroits entre passé, présent et futur. À l’aube de la Révolution tranquille, l’enjeu est d’articuler les temps historiques en fonction d’un futur qui soit autre que ce présent renié, désavoué. Il s’agit là d’une opération complexe qui éclaire l’apport du caricaturiste dans cette période charnière de l’histoire du Québec.

On May 29, 1956, Le Devoir captured the essence of the Union Nationale, a former Quebec political party. On its front page, the paper published two caricatu- res by Robert La Palme : 1936, showing Maurice Duplessis slaying a dragon repre- senting Louis-Alexandre Taschereau ; and 1956, showing Maurice Duplessis, now the dragon and in command of the entire scene. With these caricatures, Robert La Palme illustrated the direct links between the past, present, and future. At the dawn of the Quiet Revolution, the challenge was to express certain times in history in view of a future that would be other than the present that was being rejected and defied. The complexity and skillfulness of La Palme’s artistry demonstrate his contribution to this crucial period in the history of Quebec.

This article is a reflection on the Hispanic imperial visual archive, that is, the thousands of images produced in the Spanish American viceroyalties in order to document, communicate, and transport claims about the New World in pictorial form. It examines the role of images as evidence, arguing for the continued importance of visual epistemology as a technique for producing and circulating knowledge from the sixteenth to the eighteenth centuries. The essay focuses on visual epistemology and mobility, addressing the capacity of images to embody information and objects and to transport them from one place to another. Its goals are thus: (1) to highlight the active generation of scientific knowledge in the Hispanic world, often connected to imperial and administrative practices; (2) to present transregional channels of circulation, demonstrating the connected histories of the viceroyalties and the Iberian Peninsula and the multidirectional trajectories in which information and knowledge moved; and (3) to point out the deep connections between the earlier and later colonial periods, which often remain disconnected in the historiography. This article also explores the potential of images as historical sources, suggesting that the high status of images in the early modern Hispanic world resulted in an enormous pictorial archive that historians have failed to consider with the attention and rigor they have lavished on the textual archive.

La caricature est un médium de plus en plus employé, au Québec, comme ailleurs, pour mettre en images la société qui se fait. Ces dernières années, la caricature a été (re)découverte comme source pour étudier la société qui, par l’intermédiaire de ces éditorialistes de l’image à l’humour acéré et caustique, se bâtit des représentations qui l’inspirent, la font jaser, la provoquent ou l’amusent et, sur cette base, l’amènent à se changer, à se confirmer ou tout simplement à se moquer ou à pleurer d’elle-même. Dans ce texte, nous revenons sur ces éléments pour ensuite dresser un bilan des études sur la caricature au Québec, depuis les travaux pionniers de Raymond N. Morris, pour terminer avec la présentation des articles qui composent ce numéro.

Culture and Digital History Journal, Vol 5, No 2 (2016)
Political caricature from a XXIth iberoamerican century. A cultural history of present time
En una coyuntura adversa a la libertad de opinión en el espacio público tanto en Europa como en América Latina y desde la perspectiva de la historia del tiempo presente, este estudio analiza el significado que habrá tenido desde y para América Latina una de las “últimas catástrofes” como lo fue el atentado en contra del periódico satírico Charlie Hebdo en París en enero de 2015. La caricatura política aparece en efecto como el revelador no sólo de un acontecer traumático sino también de una cultura política compartida a través de unas prácticas republicanas y democráticas. Ahora bien, el imaginario político que conlleva se ve cuestionado y hasta rebatido por opciones ideológicas autoritarias en un continente democratizado pero que se enfrenta todavía con unas memorias divididas o con el pasado traumático de las dictaduras. Una figura asoma en ambas posturas (la democrática y la autoritaria) y en los imaginarios afines: la de las víctimas, que dentro de esta relación al pasado o régimen de historicidad, tiende no sólo a sustituir a “la era de los testigos” ejemplificada por la historia del tiempo presente sino también a integrarse en un registro emocional instrumentalizado de que se deriva una visión sesgada de la historia.

This article argues that the common satirical technique of parody does not only mock the formal qualities of genres and media, but also functions as a tool for social criticism. This view is illustrated by means of a Dutch satirical case from the late eighteenth century, the almanac-like periodical De Lantaarn
(1792–1801) by Pieter van Woensel. It is shown that De Lantaarn’s parody of the almanac, a genre that had strong educational and ‘Enlightening’ connotations at the time, can be interpreted as a critique on contemporary (ab)uses of the
Enlightenment discourse. This ‘social criticism through parody’ is what makes satires like De Lantaarn subversive.

Tall Women and Fat Men: Caricature as a Stylistic Device in Karen Blixen's Short Stories. Visual art is one of the fundamental inspirational influences in the work of Karen Blixen and it is reflected not only on the thematic level, but also in the technical construction of the text. One of its manifestations is the use of the caricature technique. Not only does Blixen thematize the substance of caricature on the textual level, she also uses it to describe the characters, overemphasizing one of the character's particular physiognomic features. The overemphasized part often gains a symbolic meaning in relation to the character or even to the theme of the story. In addition, certain characteristic features can be found in more characters appearing in different stories; when comparing the meaning of the given feature across stories, we can reveal archetypal features of Blixen's heroes and heroines, who are often depicted by means of caricature.

This article examines the narrative virtualities of pictorial representation in caricature. In accord with the concept of ‘aspectuality’, it departs from the example of the fixity of subjects in pictorial portraiture and highlights suggestions about the momentary states of things represented through such fixity. The article focuses on the morphology of humour in caricature, distinguishing these visual forms from the strict recognitional functionality of depiction. Finally, it discusses some hypothetical connections between the stylistics of caricature and the poetics of laughter, thus entailing pictorial representation and visual narrativity.

Charlie Hebdo became a global name following the tragic events of 7 January 2015 in Paris. Following this, two competing, somewhat reductive forms of commentary on Charlie Hebdo rapidly emerged in the global media. Could Charlie Hebdo effectively be sidelined as a case of egregiously irresponsible and offensive satire, even if the attacks per se were inexcusable? Or could its cartoonists instead be championed as martyrs to free speech, having proved to have a backbone of conviction and courage that had been lacking elsewhere in the media? This article argues that a dual set of tensions have come to the fore through Charlie’s vertiginous global exposure. These are tensions between the local and the global, and between the ethics of conviction and the ethics of responsibility. It looks to highlight how Charlie Hebdo’s contributors have been engaging with these tensions, both in the ‘survivor’s issue’ of 14 January 2015 and in other spaces of commentary.

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Cet article met en lumière la pluralité de la caricature : acte humoristique, journalistique et artistique. Il analyse l’engagement de ceux qui exercent le métier de caricaturiste dans un contexte politique non démocratique. Tout d’abord, cette contribution explore l’histoire de la caricature en Algérie et son développement en lien direct avec celui de la bande dessinée et celui de la presse. Elle traite notamment des contraintes auxquelles font face les caricaturistes depuis l’indépendance du pays jusqu’à nos jours. La deuxième partie de cette contribution révèle les ressorts et l’enjeu critique des caricatures à partir de l’étude d’un corpus d’œuvres de Dilem et Hic consacrées à la harga (la migration « irrégulière »).

Consacrée aux Physiologies, un ensemble d’environ cent trente textes illustrés de petit format dont la parution est concentrée sur quelques années de l’histoire culturelle française, la thèse s’emploie à penser leur inscription dans une épistémologie de la recherche en littérature, selon une méthode conciliant la démarche poéticienne avec l’étude des modes de production et de sophistication du medium en tant que dispositif esthétique et technique. En six chapitres et à l’aide de plusieurs approches – la sociologie des champs, l’analyse du discours, l’étude du discours social et l’épistémocritique –, il s’agit de resituer ce genre dans l’espace des possibles (P. Bourdieu) formels de la Monarchie de Juillet.

Après un chapitre de contextualisation déterminant la place du paradigme physiologique par rapport à la discipline médicale expansive et au règne médiatique de la "connaissance utile", un second chapitre interroge les orientations intellectuelles qui ont infléchi l’étude de l’objet textuel en lien avec la littérature panoramique (W. Benjamin), ainsi que les raisons qui font du corpus un ensemble de productions "mineures". L’étude des modes de diffusion culturelle montre la réappropriation par la Physiologie de son opérativité sémiotique (plans symbolique et social) et logistique (plan technique), en particulier dans les représentations textuelles affichant un lectorat associé au type traité, une figure d’éditeur en entrepreneur impérieux et un illustrateur en co-énonciateur. L’étude des principaux invariants du genre s’attache ensuite à plusieurs caractéristiques récurrentes telles que le développement d’une fiction d’actualité, la structure taxinomique, le projet éditorial sériel, la composante réflexive et l’usage contre-idéologique du stéréotype.


Le chapitre consacré aux auteurs revient sur leurs trois profils principaux, situables entre la participation aux équipes rédactionnelles du Charivari et de La Caricature, la pratique mêlée du feuilleton, du vaudeville, du roman populaire et la fondation répétée de petites feuilles politiques et littéraires. L’investissement non-exclusif de ces pratiques explique la position d’amateur souvent revendiquée dans les scénographies auctoriales. Un positionnement de groupe se manifeste moins par l’effet d’un phénomène générationnel que par le procédé du panthéon parodique, consolidé par une intertextualité spécifique qui permet aux auteurs de s’entre-désigner en tant que "spirituels collaborateurs".

L’avant-dernier chapitre développe une lecture discursive du laboratoire des identités d’auteurs. La cohésion éditoriale favorise les stratégies de distinction chez des auteurs désireux de particulariser leur contribution à une production surcodée et de recréer, entre petits, les valeurs de l’originalité portées au même moment par la littérature reconnue. L’identité discursive du physiologiste repose sur des scénographies déceptives qui vont au-delà d’un effet dysphorique de lecture et concernent l’économie du dispositif d’énonciation. Le sixième chapitre examine le projet de textualisation du social qui rapproche la Physiologie de l’émergence de certaines formes de proto-sociologie. Les représentations de la vie littéraire sont l’occasion d’observer la fabrique de la consécration dans le champ littéraire français des années 1840-1842 et montrent que le traitement de la référence littéraire se double d’une valorisation par la négative permise par la comparaison qui disqualifie, la référence secondaire qui déclasse, la caricature écrite et le pastiche satirique.

La thèse a eu pour objectif de penser cet objet atypique comme sujet de recherche littéraire et de recherche en littérature. Non seulement le genre parle (de) la littérature et représente le monde littéraire, mais il constitue lui-même un dispositif formel qui a eu des effets dans le champ et il développe des scénarios, des identités et des figures énonciatives qui constituent la richesse d’une littérature en train de se faire et de se dire.

Depicting the charged theme of a king’s imminent death, Delacroix’s work issued from a visual culture in which representation of the royal body was highly susceptible to attacks, slanderous interpretations, and seditious acts.  The artist’s choice of the legendary last king of Assyria, famous for his sensual indulgence, suggestively conjured up a carnal ruling body, not the sacral body envisioned by the Bourbons.  More specifically, French literary and political texts had long explicitly defined princely misrule as “sardanapalien.”  Delacroix’s image drew on traditional tropes of anti-royal protest evoking a disordered, irrational, perverse and gender-confused royal body, tropes that were revived in the Restoration, particularly during the crisis of Charles X’s reign.

De 1943 à 1951, Robert La Palme présente sa vision caustique de l’actualité à travers des milliers de caricatures au sein du Canada, un journal d’élite. Ses caricatures paraissent alors que les femmes investissent l’espace public et obtiennent des droits politiques au Québec. Dans son théâtre, le caricaturiste fait intervenir une panoplie d’acteurs, dont les femmes, lesquelles sont représentées sous la forme de femmes ordinaires, de personnages symboliques, et de caricatures grotesques de responsables politiques. Pour rejoindre un lectorat d’élite, soit La Palme adopte leur langage, soit il adapte le sien au leur. Aussi, le caricaturiste met-il en scène des rapports de genres conventionnels dans son oeuvre, où prime l’idéal domestique de la femme. Certains métiers, certains rôles de la femme sont ainsi valorisés, d’autres dévalorisés, voire ignorés. En fait, certains types de femmes n’apparaissent tout simplement pas dans le champ de vision du caricaturiste, comme si elles n’existaient pas.

Between 1943 and 1951, Robert La Palme presented his caustic vision of the news through thousands of caricatures published in Le Canada, an elite newspaper. His caricatures appeared at a time when women were entering the public sphere and were gaining political rights in Quebec. Through his art, the caricaturist called on a broad range of actors, including women, who were presented as ordinary women, symbolic figures and grotesque caricatures of political figures. To reach an elite readership, La Palme could either adopt the language of the elites or adapt his own to theirs. Also, the caricaturist portrayed conventional gender relationships in his work, above all the domestic ideal of the woman. Certain professions, certain roles for women were thus promoted, and others discouraged, if not entirely ignored. In fact, certain types of women simply did not appear in the caricaturist’s field of vision, as if they didn’t exist.

This chapter concentrates principally on ‘Shanghai Puck’, a cartoon monthly first published in 1918, which, as will be demonstrated below, is a typical product of multidirectional transcultural exchange. In exploring the visual world of ‘Shanghai Puck’ and its ‘models’, the chapter will deliberate the following questions: How did ‘Shanghai Puck’ relate to foreign satirical cartoon magazines? Here, the focus will not only be on the London Punch but the American Puck as a possible template as well. This chapter also investigates ‘Shanghai Puck’s’ global agency: What does the intervisuality observed on the pages of Chinese, Japanese and foreign satire magazines and pictorials tell us about the anxieties of the respective journals’ readers and the emotions triggered by such images? How were China and the Chinese, as well as foreigners, portrayed and transformed pictorially on the pages of the ‘Shanghai Puck’? What strategies did ‘Shanghai Puck’ apply when it came to raising China’s global position?

"Nur wenige Jahre (1807–1813) bestand das Königreich Westphalen unter der Regierung von Jérôme Bonaparte. Die Beherrschung der französischen Sprache erhielt dort einen ganz besonderen Stellenwert. Trotz gelegentlich heftiger Thematisierung der Sprachbarriere verlief die Kommunikation zwischen Deutsch- und Französischsprachigen offenbar so ›normal‹, dass ihre Überlieferung eher zufällig ist. Claudie Paye untersucht, wer in Westphalen »der französischen Sprache mächtig« war und wie die Zeitgenossen mit Überwachung und Zensur umgingen. Sie rekonstruiert anhand von Polizeiakten die Mediennutzung der Westphalen, die über die gängigen Druckmedien weit hinausging und auch Mimik, Gerüchte, Briefe, Druckgrafiken, Karikaturen und symbolische Handlungen einbezog. Sie führt so in die westphälische Alltagswirklichkeit ein und veranschaulicht die Politisierung breiterer Gesellschaftsschichten.
Le royaume de Westphalie, gouverné par Jérôme Bonaparte, ne fut pas de longue durée (1807–1813). La maîtrise de la langue française y prit une valeur bien particulière. Malgré la mise en avant occasionnelle da la barrière linguistique, la communication entre les citoyens de langue française et ceux de langue allemande semble y avoir été si ›normale‹ qu’il est difficile de la reconstruire en détail. Claudie Paye étudie qui, dans ce contexte, était »maître de la langue française« et comment les contemporains se déjouaient du contrôle policier et de la censure. Elle reconstruit sur la base des archives policières l’utilisation des médias par les Westphaliens, allant au-delà des médias imprimés pour prendre en considération les mimiques, les rumeurs, les lettres, les gravures, les caricatures et les actions symboliques. Elle introduit ainsi dans le quotidien westphalien et montre la politisation de larges couches sociales de cette société. "

El artículo ofrece un breve análisis de la caricatura desarrollada en performances de los artistas contemporáneos James Luna, Guillermo Gómez Peña y Roberto Sifuentes, con el fin de identificarla y proponerla como referente y objeto particularmente especial para los estudios sociales interculturales. La importancia de la caricatura para estos estudios radica en que estos performances develan que la caricaturización hecha no sólo sobre el sujeto intercultural sino también por él mismo, nos ofrece la confesión y el testimonio como dinámicas clave que hacen posible este sujeto como interlocutor en los diálogos interculturales.
Palabras clave:
caricatura, performance, sujeto intercultural, estudios interculturales, testimonio, confesión

This paper discusses the criticisms of one of the most important elements of contemporary Spanish artistic culture — the National Fine Arts Exhibitions — to be found in the satirical weekly Gedéon (1897-1912). Texts, drawings and cartoons by such caricature artists as Sileno, Sancha or Xaudaró comment frivolously or ironically on art works, artists, prizes and their panels of judges, and to this end they parodied the most notable paintings, using them for the purpose of political satire. This is naturally limited and period-specific as a means of criticism, but it is nevertheless interesting to observe and forms a useful aspect of the study of Spanish contemporary art and history.

The French satirical newspaper, Charlie Hebdo, which originally ran from 1969 to 1982, pending a revival in 1992, distinguishes itself through its 'bête et méchant' (stupid and nasty) humorous heritage, defined in its parent publication Hara-Kiri, as the freedom to make jokes on potentially any subject, however taboo.

While this satirical ethos predominated in Charlie Hebdo up to 1982, its enduring place in the publication has become more ambiguous since 1992, with the abrupt sacking of Siné in July 2008 seemingly belying its vigorous defence of provocative humour in the context of the 2006 Danish caricature affair.

An important underlying continuity nonetheless remains in Charlie Hebdo and transcends the 'bête et méchant' project: that of negotiating a space for satirical expression that has continuously engaged with both elements of bande dessinée and the rich tradition of polemical editorial cartooning and caricature.

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Toute société et tout groupe social crée leurs propres monstres, des créatures anormales qui provoquent la peur ou simplement le refus. Les différents courants du péronisme des années soixante-dix inventent également les leurs, dans le cadre d’un climat d’intolérance politique et de forte violence. Dans cet article, nous cherchons à identifier ces figures rejetées à travers l’étude de fictions illustrées, notamment des bandes dessinées publiées dans la revue de la Jeunesse péroniste Doña Robustiana, mais en évoquant également des caricatures tirées d’autres publications. Ces vignettes, utilisant l’humour pour alléger la tension, s’appuient sur le mythe politique du péronisme et font appel au plaisir du rire pour critiquer leurs adversaires. Nous proposons dans ce travail des pistes de réflexion sur la construction d’un imaginaire de la monstruosité, associé, dans ces documents, à l’immoralité et à l’impérialisme.

« Toé, tais-toé! » aurait lancé Maurice Duplessis à Antoine Rivard, à l’été 1958. Dans cette formule se cristallisent trois idées-forces du mythistoire de la Grande Noirceur duplessiste, soit l’autoritarisme de Duplessis, l’asservissement de ses collaborateurs et un climat malsain pour la presse. Or, il s’agit d’un faux, le caricaturiste Robert La Palme étant le premier à lui mettre ces mots à la bouche. Dans cet article sont étudiés les processus par lesquels le pouvoir évocateur de l’image a permis à la formule de s’imposer dans un court laps de temps dans le discours social. Il s’agit de voir comment s’est effectué ce passage d’une formule à une autre et d’un état, d’un média à un autre, en quoi le format même de la caricature a pu favoriser ces différents passages et permis au fictif de passer pour vrai dans le Québec d’après-guerre.

“Toé, tais-toé!” Maurice Duplessis is reported to have hurled at Antoine Rivard in the summer of 1958, brusquely ordering him to “shut up.” This stock phrase encapsulates three of the key aspects of the historical myth surrounding the “Great Darkness” of the Duplessis era, namely the premier’s authoritarianism, the subservience of his entourage, and the unhealthy climate that reigned for the media. However, this incident is in fact a fiction, with caricaturist Robert La Palme being the first to put these words into his mouth. This article examines the processes by which the evocative power of the image propelled this phrase into the social discourse within a short period of time. The focus is on determining how shifts from one phrase to another and one state and media to another occurred and how the caricature format itself promoted these different shifts and allowed the fictional to be perceived as true in postwar Quebec.

"""Two thousand classic cartoons from the pages of Punch magazine 1841 – 1992 give a unique perspective on the social history of Britain through the 19th and 20th centuries. The cartoons are grouped by eras, including the Victorians, WW1, WW2 and the post-war world to the 1990s. Special features showcase favourite themes from the Great Exhibition of 1851 and Early Motoring to the Space Race, as well as major artists like John Leech, George du Maurier, E H Shepard, Fougasse, Pont and Thelwell. Reissued October 2013.

Sunday Times 'Must Read'

"A remarkable collection" Ian Burrell, The Independent

"A fascinating insight into the changing face of British humour and as a social history of Britain from the 1840s to the 1990s ... a cherishable present" Christopher Hudson, The Daily Mail

“Four years ago The New Yorker published a huge tome of its complete cartoons, including two CDs containing all 68,647 cartoons ever published in the magazine... Being British we usually follow in America's wake, so now we have The Best of Punch. Being British it is, of course, more modest in size, but still pretty big, with 2,000 cartoons. Funnier though, because the chaff has been winnowed by Helen Walasek, the editor of Punch Cartoon Library and a former curator of the Punch Archive and Collection. Punch died twice (in 1992 and 2002) and this makes a splendid memorial.” Peter Brookes, The Times

“handsomely thorough” The Guardian

"It is almost impossible to meaningfully criticise this collection. Destined to be a classic, this indispensable, carefully-selected anthology belongs in the collection of anyone with an interest in English humour" Isabel Taylor, Albion Magazine Online """

This article analyzes Nadar’s portraits of George Sand in multiple media. With an emphasis on the famous 1854 lithograph, Panthéon-Nadar, in which Sand is represented in the form of a sculptural bust – a notable instance of nineteenth-century intermediality – it traces inter-relations between Nadar’s images of Sand in lithography, caricature drawing, and photography, against the wider background of his innovative artistic and journalistic practices. It argues for the significant influence of biographical writing, as a form of textual portraiture, on Nadar’s trans-medial visual depictions of Sand and other well-known writers, resulting in influential text-and-image representations of modern celebrity.

This paper examines the relationship between politics and the supernatural in nineteenth-century Spain through the figure of Sor Patrocinio: a stigmatized nun and advisor to Queen Isabel II of Spain. I introduce Sor Patrocinio as an example of a “wonder nun”: a type of ultra-charismatic, supposedly supernaturally gifted religious woman who influenced the political agenda of their countries. During Sor Patrocinio’s rise to fame, she lost control of her public image. In their efforts to dethrone Isabel II, Spanish republicans transformed Sor Patrocinio into a politico-religious symbol; a living reminder of the anti-liberal and neo-Catholic tendencies attributed to Isabel II and her clique. On the one hand, her case exemplifies the struggle of liberalism to form modern nations in Europe. On the other, it shows how some religious women obtained power through their experience of the supernatural during the “culture wars” of the period, reflecting how such experience was shaped by political affairs.

Apart from Eduard Fuchs, there has been little Marxist scholarship on caricature and satire. This is a glaring omission, especially in light of the work of John Heartfield, whose photomontages were viewed across the political spectrum as well as across class boundaries. To discover how Heartfield’s photomontages interpellate their subject as a politically engaged viewer, this article investigates the mechanisms by which satire addresses its audience, how it communicates its message, and to what degree we might judge its effectiveness as a means of persuasion. A Benjaminian analysis of the Verfremdungseffekt produced by montage, the alienating distanciation of unexpected juxtapositions, contributes to the construction of a true dialectical image of satire, which allows us to plot the oppositional axes of satire and to extrapolate the characteristics of other forms of mass persuasion such as state propaganda. In this way we can trace how mass persuasion results in political action.

This essay considers how caricature aesthetics, which feature overloading, incongruity, and animation, undermine caricature functionality, which includes economical representation, the perpetuation of stereotypes, and the affirmation of pre-held beliefs and opinions. Analyzing this contradictory logic assists in theorizing contemporary media environments that suffer from “hypernormalization,” that rely on the condensation and acceleration of information, and that explicitly use caricatural logics in political satire, news media, and social media more broadly. This essay’s analysis of caricature theories and practices builds on what Wittgenstein referred to as “seeing as” and demonstrates the critical value of reflecting on perceptual and conceptual entanglement.

Resumen: A pesar de los debates que a partir de 1839 enfrentaron al daguerrotipo con las artes tradicionales, fotografía y caricatura iniciaron tempranamente una fructífera relación, que se extendería al nuevo siglo. En este artículo estudiamos algunas particularidades de este fenómeno en la prensa argentina, focalizándonos en la revista Caras y Caretas, cuyo carácter pionero y modélico sentó las bases para muchas publicaciones locales posteriores. Analizando las diversas formas de interacción entre fotografía y caricatura, mostramos el rápido proceso de sofisticación y entrenamiento visual que propiciaron estas tempranas revistas ilustradas.


Abstract: Despite the debates that, towards 1839, confronted the daguerreotype with the traditional arts, photography and caricature began a fruitful relationship that would extend well into the new century. In this paper, we analyze this phenomenon in the Argentine illustrated press, focusing particularly on pioneering and exemplary Caras y Caretas magazine, which somehow laid the foundation for most of the subsequent local publications. By analyzing the different ways in which caricature interacted with photography, we intend to show the role these pioneering magazines played in the quick process of sophistication and visual training of the local public.

Between 1815 and 1819, from the fall of the Empire to the second Restoration, a number of caricatures derived from Jacques-Louis David's 1784 Oath of Horatii were produced. Visually and textually, these prints assert their relationship with the famous picture while using the devices of quotation (the recycling and adaptation of an iconic figure) and parody (the burlesque imitation of a serious work). In addition to confirming the effectiveness and immediate intelligibility of David's composition, these prints somehow equate to it in their shared goal of revealing an underlying truth, through the exaggeration of caricature. David's work and the ensuing satirical prints belong, each in their respective historical context, to a culture of opposition. In adapting themselves to dominant culture, they convey it in a new visual language and address a new type of audience in the social arena, sites such as the Salon under the Ancien Régime or the print-shop window under the Restoration. Within the context of the Restoration and the regicidal artist's political exile, the parodies of the Horatii participate in the critical reception of Davidian aesthetics. Moreover, the caricatures inspired by the Horatii satirize the political and social topics of the day, by delegitimizing the return of reactionary ideology, by denouncing allegiance reversals towards power, or by criticizing superficial civic values. Diverting from the virtuous rhetoric of David's picture, the caricatures exploit the ironic mode by using antitheses: loyalty and opportunism, luminous reason and obscurantism, martial strength and decrepitude, frugality and gluttony, austerity and bourgeois materialism. It is through the density of allusion to the represented historical moment and to the adopted point of view that intertextuality emerges between the picture of the Horatii and the satirical prints. Figure 4. [Serment des Calicots], 1817, lithographie coloriée, 31,4 x 45,5 cm, Ottawa, Carleton University Art Gallery (crédit photographique : Carleton University Art Gallery).

A lo largo del siglo XIX, el discurso normativo, basado en gran medida en el discurso de la domesticidad, fue instaurando y definiendo los contornos de lo masculino y de lo femenino en una oposición complementaria y exclusiva. El cuerpo, la conducta, la sociabilidad, las responsabilidades hacia la sociedad y la familia estuvieron polarizados por el concepto de división de las esferas. Cada parcela del individuo y de su actuación social se relaciona con las demás para fortalecer el conjunto. A una conducta honrosa corresponde un cuerpo contenido, una reserva, unos espacios concretos. Entre las imágenes reproducidas en la prensa ilustrada, las composiciones satíricas destacan por su peculiar uso y sistema semiológico. En la segunda mitad del siglo XIX emerge la caricatura como arma política y reclamo imprescindible para promocionar una revista satírica. Como sustituto de la caricatura política y luego como género aparte, nace y cobra especial relevancia la caricatura costumbrista. Recursos tan propios de la caricatura como la feminización y la virilización llaman la atención en el contexto de afirmación del edificio normativo sobre el cuerpo y los cometidos de la mujer y del hombre. La feminización es una herramienta de degradación en la caricatura política como la infantilización, la animalización y la vegetalización. Su presencia está reflejada a lo largo de toda la segunda mitad del siglo a pesar de los cambios políticos y de las distintas leyes de imprenta.

Discute as interferências dos contextos de produção e de uso na análise documentária de charge, valendo-se de suas características linguísticas e informativas. Sob essa perspectiva, o uso frequente da charge como documento sugere a necessidade de refinamento de estudos sobre a análise documentária de charges. Esses estudos abrangem o desenvolvimento de metodologias e de instrumentos eficazes para e representação documentária de charge sob a perspectiva da Organização do Conhecimento. O presente estudo fundamenta-se na compreensão da charge como um gênero discursivo de uso híbrido de linguagens verbal e imagética, caracterizado pela temporalidade, pela sátira e pela crítica referente a determinado evento, em geral de natureza política. Apresenta a análise documentária como uma bordagem da Organização do Conhecimento e como conjunto de operações realizadas para representar o conteúdo de um documento de forma distinta da original, com o fim de facilitar a recuperação da informação. Defende que a análise documentária se configura de forma variada consoante às especificidades linguísticas e informativas do gênero de documento em foco. A partir da observação das especificidades linguísticas da charge, aponta para aspectos críticos nas operações da análise documentária e enfatiza a discussão sobre os contextos de produção e de uso da charge. Como principal abordagem teórico-metodológica, adota a Linguística Documentária apoiada em pressupostos epistemológicos da abordagem domínio-analítica na Organização do Conhecimento. Discute a noção de contexto, a partir da perspectiva sócio-cognitiva linguística, como restrição e condição para a interpretação do discurso e pensa o contexto de uso documentário da charge, o qual não é previsto pelo chargista, como determinante durante o processo de análise documentária. Finalmente, afirma ser a charge um potencial objeto de investigações para a Organização do Conhecimento na Ciência da Informação, visando à sua valorização como geradora de conhecimento.

This article discusses exoticism and self-exoticism in the representation of pre-revolutionary Cuban musicianship in two animated films: the 2010 Spanish/British co-production Chico and Rita and the 1985 Cuban film, Vampiros en la Habana. Within the similarly constructed animated archetypes on display, these films generate vastly different discursive outputs. Both texts are more interested in musicians as mythical figures than as comprehensive subjects, but where the mythology of Vampiros offers a dissenting, self-defined cultural identity, that of Chico and Rita employs a mythology of Otherness to reaffirm the cultural protagonism and hegemony of Euro- centric discourses. Although these films engage with similar archetypes, localities and representations of the exotic, the ways in which they do so evidence disparities in terms of intended audience, artistic intent, relationship to Cuba’s revolutionary project, and perspective towards Cuba’s cultural identity—all within the highly flexible, but highly codified and stigmatized, medium of animation.

En 1967, un año antes del golpe de estado del General Juan Velasco Alvarado que depone del poder al presidente Fernando Belaúnde Terry, una serie de caricaturas aparecen publicadas en varios medios de prensa. A pesar de las distintas tendencias políticas de estos periódicos y revistas, en todos ellos, el presidente de la República aparece representado como un líder débil, desorientado y poco apto a seguir dirigiendo el país. En este artículo, explico cómo estas caricaturas pudieron haber favorecido el golpe militar, creando un desafecto en la
población hacia la figura del presidente Belaúnde, así como por la democracia.

In 1967, a year before the coup d’état of General Juan Velasco Alvarado, that overthrew the President Fernando Belaúnde Terry, a series of cartoons were published in different medias.
Despite having different political opinions, all these newspapers and magazines depicted the president as a weak and disoriented leader that seemed unable to run the country. In this article, I explain how these cartoons had a decisive impact on the coup d’état, creating a general dislike towards the President Belaúnde and democracy.

This essay argues for the central importance of the ‘gag’ to Winslow Homer's early paintings, made during the American Civil War. As his entrée into the New York art world in these years Homer creates a form of visual deadpan that spoke to the ‘comical and coffinly’ circumstances of the war, resonated with the methods of the period's controversial platform comedians, and answered the critical call for a ‘higher sort of humor’ that moved beyond the antics of the antebellum comic mode of the 1850s.