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This article discusses the relationship between caricatures and its potential in the writing process of history. We will discuss issues related to the study of images as historical sources, the construction of laughter as historiographical object and specifically their integration in the caricature drawing. In a second step, we will present arguments in favor of a holistic view of caricatures considering them contiguously as instruments of humor and criticism. The Bruno Paul, Louis Raemaekers and Emmanuel Poiré works served us as case studies to elucidate some questions and show the operational capabilities of the presented theoretical assumptions. [ABSTRACT FROM AUTHOR]

This article discusses the relationship between caricatures and its potential in the writing process of history. We will discuss issues related to the study of images as historical sources, the construction of laughter as historiographical object and specifically their integration in the caricature drawing. In a second step, we will present arguments in favor of a holistic view of caricatures considering them contiguously as instruments of humor and criticism. The Bruno Paul, Louis Raemaekers and Emmanuel Poiré works served us as case studies to elucidate some questions and show the operational capabilities of the presented theoretical assumptions. [ABSTRACT FROM AUTHOR]

The representation of cars in comic reviews in the early 20th century is provided. Representations are strategies and social practices linked to determined historical and cultural contexts such as political, symbolical, economical and aesthetic disputes. The charges that problematize and ironize technological innovations show a type of conservationism and technological determination, coupled to new dimensions of uses in the daily milieu. The pessimistic aspect seems to design the spatial and temporal gap between the several rhythms of the city, social hierarchies and asymmetries in accessing the new technological products. [ABSTRACT FROM AUTHOR]