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In 1964, when the "living" theatre appeared to be dying in New York, theater in Italy began changing from an author-oriented to a performance-oriented, nonliterary form. The articles in this document trace the historical development of Italian theatre and analyze current dramas which demonstrate the diversity of approaches and the energy and commitment of Italian theatrical art. The topics discussed include the "adriani lazzi" of the "commedia dell'arte," the theatre of the grotesque, contemporary Italian Theatre, the theatre of Meme Perlini, and the post avant-garde theatre movement. The following dramas are analyzed individually: Giuliano Vasilico's "Proust," Group Altro's "ICS,""Ostal" by Cfr. (an Italian experimental group), Spazio Zero's "To Salvatore Giuliano," Ouroboros's"The Death of Geometry," Stran'amore's "City Lights,""La Gaia Scienza," and Il Carrozzone's "Presages of the Vampire." The scenery, acting style, theme, and plot are described for each drama and numerous photographs of actual presentations accompany the articles. The document also includes an interview with Dario Fo, a well-known Italian actor who began acting in the postwar years, and reviews of nine new books on the dramatic arts. (MAI)

Discusses Chaplin's use of satire in his films "Modern Times,""City Lights," and "Limelight" and how these were perceived and misunderstood by his audiences. (JMF)

Art students made sketches of their subject area teachers and created life-sized caricatures of some of them. They then created biographies for their figures and explored their reasons for the stereotypes they developed. (KC)

Caricatures of Nizhny Novgorod architect Alexander Khudin are considered from the point of view of art history analysis. It is shown that the style of the caricatures gravitates towards minimalism. The basics of true minimalism are also considered in comparison with fakes. It is shown that true minimalism is characterised by such style-forming features as brevity while being filled with meanings and allusions, elegance, sincerity and objectivity.

This study examines a specific segment of visual propaganda from the First World War, the caricatures of comic papers (German: Kladderadatsch; Austrian: Figaro, Kikieriki, Wiener Caricaturen and Die Muskete; Hungarian: Borsszem Jankó and Mátyás Diák). It focuses on the visual tools used by cartoonists to depict the enemy, how they employed visual propaganda, and whether this met the criteria of effective propaganda. By way of comparison, it also briefly discusses some elements of the self-image. The symbols of the First World War cartoons still closely followed 19th century trends: cartoonists commented on the events of the war by depicting and exaggerating ancient myths, biblical stories, women representing countries and men and animals representing nations. This study will attempt a systematic analysis of these motifs and symbols. [ABSTRACT FROM AUTHOR]

This article examines the role and the function performed by Voz Operária during the Brazilian military dictatorship. Despite not abandoning its ideological principles, the monthly emerged in this period as a catalyst for a culture of resistance and democracy, appealing to a composite readership. By highlighting the rhetorical and visual stratagems employed by its editors, this article reveals how the interaction of narrative, caricatures, and woodcuts generated a common emotional realm, unifying the different souls of the opposition front

Der Beitrag „Karikaturen als Ausdruck der kollektiven Solidarität während der Pandemie. Referenzielle Perspektivierung" analysiert die Erfahrung der kollektiven Resilienz anhand der Untersuchung von humoristischen Bildern, Karikaturen, Wortwitzen und Fotomontagen, die das Leben in der Pandemie thematisieren und in den Jahren 2020 und 2021 im Netz erschienen sind. Die Frage nach einer Alternative zwischen der visuellen kommunikativen Erinnerung und der kulturellen Ära aus denen diese Karikaturen stammen, stand am Anfang der Untersuchung. Durch den Prozess der Fotomontage und der Entfremdung machen sich diese Texte und Bilder eine populäre visuelle Erinnerungskultur zu eigen, die illustrierte Bücher, Comics und Gemälde neu interpretiert und zugleich Zeuge einer Zeit wird, die durch restriktive Maßnahmen geprägt wurde. Der Beitrag stellt zwei Formen der Referentialität fest, die eng miteinander verbunden sind: der Bezug auf die Konjunktur durch den Hinweis auf die Covid-Krise sowie der Rückgriff auf die dauerhafte visuelle Erinnerung. Die Analyse der Art und Weise, wie sich das Korpus in einer gemeinsamen kulturellen Erinnerung einfügt, verdeutlicht die Verflechtung der sozialen Zusammenhänge in einer Zeit sozialer, ökonomischer und politischer Umbrüche. L'article „les caricatures comme manifestations de solidarité csollective face au virus. Enjeux et perspectives de leur valeur référentielle" thématise l'expérience de résilience collective à travers l'étude des images humoristiques et caricatures, blagues, jeux de mots et photomontages ayant pour thème le vécu en contexte pandémique apparues sur le net en 2020 et 2021. La question initiale posée était celle d'une alternative entre la mémoire visuelle communicationnelle et l'aire culturelle respective dont dépendent ces caricatures. Par le biais du détournement et du montage, ces textes et images se réapproprient une culture populaire visuelle qui revisite livres illustrés, bandes dessinées et œuvres picturales classiques tout en se faisant témoins d'une période marquée par les mesures restrictives en période de crise sanitaire. L'article fait le constat de deux formes de référentialité étroitement liées : les références à la conjoncture à travers la référence à la crise du Covid et sa temporalité et le recours à la mémoire visuelle durable. L'analyse de la manière dont le corpus se réinscrit dans une mémoire culturelle commune démontre comment se retisse le lien social dans une période de bouleversements des rapports sociaux, économiques et politiques. The article „Caricatures as an expression of collective solidarity. Issues and referential" deals with the experience of collective resilience through the analysis of humoristic pictures and caricatures, jokes, play on words and photomontage about the life in the pandemic context which appeared on the internet in 2020 and 2021. Initially the question was about an alternative between the visual communication memory and the cultural aera from which these caricatures depend. Through montage and diversion these texts and pictures suit a visual popular culture which reinterpret illustrated books, comic strips, classical works of art while witnessing the period of restrictive measures through the pandemic. The article comes to the conclusion of the existence of two kinds of referentiality: the references about the Covid-Crisis and its temporality and the use of long-lasting visual memory. The analysis of how the corpus reintegrates a common cultural memory shows how social cohesion rise again in a period of political economic and social changes. [ABSTRACT FROM AUTHOR]

Drawing on extensive newspaper accounts of reform processions this article seeks to analyse the portraits, caricatures and other representations of political leaders carried on such occasions. By emphasising the respectability of their leaders through formal portraits, radicals lent a respectable air to proceedings, as if their public actions were sanctioned by these respected men. These portraits also created connections between the marchers and parliament, with captions below portraits cementing the national focus of these local activities. Equally, though, these formal portrayals of political leaders were drawn into wider ideologies of freedom, unity, and resistance to tyranny. Consistent through each of these representations was an attempt to draw upon the gentleman leader for legitimacy, relating local acts to a unified national political movement. Less formal images in the form of cartoons also drew political leaders into these ideologies, placing them in sometimes quite elaborate and highly symbolic situations. [ABSTRACT FROM AUTHOR]

This study examines the impact of COVID-19 on Jordanians’ beliefs, perceptions, and practices. The selected 26 caricatures and memes were analyzed in terms of their denotative, connotative, and semiotic resources and discussed in light of Barthes’ semiotic theory. The analysis reveals that such cartoonic representations constitute a type of social discourse that reveals several social, health, economic, and political issues on digital platforms and warns people about the negative consequences of this pandemic and how to cope with it. These issues are life and economic disruption, people’s bad psychological state, the unfair hold of the COVID-19 vaccine diffusion, and the world’s fiasco in handling the pandemic. The cartoons and memes also represent effectively, with the help of particular linguistic techniques (i.e., metaphors, intertextuality, and ironic, sarcastic expressions), people’s thoughts and beliefs, real situations, events, personalities, and identities, as well as the whole world, by humorously demonstrating critically shared global issues.

Caricatures are depictions, whether written or visual, that emphasize or exaggerate particular traits or attributes of a person, thing, or circumstance. This research is concerned with analyzing caricatures pragmatically. This research aims to investigate the illocutionary and perlocutionary acts of some selected caricatures according to Searle’s (1979) and Leech (1983) classifications, as well as the types of implicatures used by the cartoonists and the Grice’s maxims violated by them. The researchers hypothesize: First, pragmatic aspects are important in interpreting and understanding caricatures. Second, the ideas included in the texts and images of the caricatures are interpreted and understood differently by different readers. The data used in this research are selected from different English newspapers, magazines and websites. Finally, researchers have concluded that pragmatics is very important for the interpretation of caricature art, and a single caricature may have different interpretations and different effects on the readers. [ABSTRACT FROM AUTHOR]

The article discusses the concept of multisensuality in the satirical prints of the Georgian era in England, focusing on how the sensory perception enhances the visual humor. Drawing upon historical and cultural contexts, this study investigates how English caricaturists employed various sensory elements, such as sight, sound, smell, taste and touch to convey satire and provoke emotional responses among viewers. Ten satirical prints by five different authors were chosen for the analysis. [ABSTRACT FROM AUTHOR]

This study explores a particular interface between fine art and mass culture: how cartoonists reimagined a well-known or lesser-known painting or illustration. I analyse political cartoons based on these reworkings in four selected Budapest comic papers (Bolond Istók, Borsszem Jankó, Kakas Márton and Üstökös) between 1890 and 1910. In the present study, I analyse only those drawings whose originals feature the leader Árpád or a ruler as the protagonist and relate the paintings to their actions. The caricaturists replaced them with political figures, thus updating the message of the paintings. First I will present the actualised metamorphoses of Árpád, then the transformations of the rulers of later periods, followed by the reimagined representations of the contemporaries, Franz Joseph and Elisabeth. I close the analysis with an example from abroad. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, we aimed at finding differences between event-related potentials (ERPs) associated with creating titles for artistic images different in content and style. We had 36 adolescents (16 males and 20 females aged 15.9 ± 1.1 years) take part in two studies and used images from three categories ("caricatures," "story sketches," and "paintings") full of metaphors and symbols as the stimuli. We considered creating titles for caricatures and story sketches of modern artists as a convergent creative task, whereas creating the titles for paintings was viewed as a more open and divergent creative task. During creating titles for the story sketches vs caricatures, the ERP's amplitude on intervals 116–208 and 492–656 ms was higher in parietal-occipital and frontal, central, and parietal areas of the left hemisphere, respectively. While creating titles for the paintings in the author's style vs realistic paintings differences in the ERP's amplitude were found in occipital areas (152–264 ms), frontal and occipital areas bilaterally (208–440 ms), and in frontal, temporal, central, and parietal areas with maximum in the left hemisphere (544–600 ms). A late positive wave was found in two studies: story sketches vs caricatures (with the latency of 492–656 ms) and author's style vs realistic images (with the latency of 544–600 ms) and may be connected with the extraction and analysis of the metaphorical meaning and symbols in the images for creating the verbal interpretations (titles). Only in performing a convergent creative task (closely related to the interpretation of the artist's idea), finding the answer was accompanied by a smaller amplitude of late differences in the interval of 1300–1650 ms (more than 1500 ms before the moment when the answer was marked as found), whereas there were no significant differences between finding and not finding the answer in the second study. With the same instruction, the authors suggested that in the first study, finding an answer was accompanied by a more pronounced process of comparing one's own ideas with a certain (implied by the artist) meaning, which was expressed in late differences between the conditions for finding and not finding answering, while in the second study, in the context of a divergent task, the process of comparing one's own meaning and inherent one was less pronounced and was not reflected in a number of later differences. [ABSTRACT FROM AUTHOR]

Languages continue to develop, modify, and reshape during unprecedented situations (Paton, 2020). Language fluidity and its flexible nature tend to be weapons in the hands of linguists and artists to cope with unprecedented difficult times. The current situation caused by the COVID-19 pandemic is posing significant socio-cultural challenges globally and specifically in Pakistan. The present study attempted to explore the role of the caricature genre in COVID-19 media discourse in terms of expressing humour through different verbal and visual elements of language. The sample was selected from four Pakistani newspapers The Nation, The Express Tribune, Dawn, and Pakistan Today (January 2020 to April 2020) by purposive sampling. The data was qualitatively analyzed under the framework of GTVH proposed by Attardo & Raskin (1991). The study revealed that skilled integration of innumerable verbal and visual rhetoric not only functions in terms of persuading the reader through implicit humour prevailing in caricature discourse but also communicates thoughtful information with the use of various literary devices like satire, irony, symbolism, analogy, etc. In this way, media discourse strengthens and motivates individuals and governments to confront the grim situation caused by coronavirus with ultimate laughter. This study will provide insights for future researchers to explore the element of humour prevalent in social media discourse like Twitter, Instagram, and Memes by unveiling implied meanings to better relate to the Pakistani context.

This article contains an introductory presentation of the medieval text Vision of Tnugdalus, a description of the context of its emergence and its discursive genre, and a theoretical reflection on its content from the Bakhtinian concept of carnivalization and other concepts of historical approach that are part of the reflection of scholars who describe medieval popular culture and the phenomena correlated with this text. The part of the Vision of Tnugdalus that narrates the visionary's passage through hell is exclusively delimited. In this study, the synchronic aspect stands out and the proposed discussion applies to the depth of the imaginary, to the cultural phenomenon that manifests itself in the narrative. From the Cassirerian cultural point of view, on which Bakhtin is based, texts of this kind, very common in the Middle Ages, represent a symbolic resource to overcome the fear of death, which is intrinsically part of the cosmovision of the human being endowed with culture. [ABSTRACT FROM AUTHOR]

The study focuses on the anti-Jewish caricatures published in the newspaper Porunca vremii (Commandment of the Times), aiming to recuperate the religious portrait ascribed to the Jew. How are Jewishness and Judaism framed in these caricatures? What do the caricatures tell us about the anti-Jewish stereotypes shared by the public? What are the consequences of this stereotypical thinking. [ABSTRACT FROM AUTHOR]

Islamophobia is an expression of prejudice and enmity toward Muslims. After 9/11, it became more prevalent in western society, especially in Sweden, where two hundred occurrences with overtly anti-Islamic overtones were registered in 2007 and the number increases so on if other western countries are included in the list. Hate speech against Islam and Muslim immigrants, and publication of caricatures of Prophet Muhammad (PBUH) were counted as freedom of speech. (Davison, 2022), (Gruber & Shalem, 2014), (Parfitt & Egorova, 2005), (Kincheloe & Steinberg, 2004) and many other scholars have discussed the issue in various aspects and suggested ways to encounter it but the practical situation has not changed yet as print and electronic media highlights the issue in a negative mode. This paper aims to present a brief history of caricatures, their real causes, the role of media in spreading islamophobia, and the reaction of the Muslim community towards it and concludes that this issue cannot be resolved until the basic issues i.e; the conflict of views about the personality of Prophet Muhammad (PBUH), his teachings, Islam and Muslim Community, are highlighted and awareness about these is spread among people through media positively. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Karagöz newspaper, which took its name from the character of Karagöz in the Turkish shadow play, owned by Ali Fuat Bey, started its publication life on 10 August 1908 with the slogan "It is a political, humorously illustrated public newspaper that comes out on Mondays, and Thursdays". News is the storage of images related to past events and images. It is important to perceive and interpret the visual and current image. The experience of perception is like the distribution of a newspaper. Based on this similarity, the subject of this study is to examine the cartoons selected from the issues of Karagöz newspaper published between 13 August 1908 and 14 September 1908, about the modernization process, in terms of theories of visual perception. Selected cartoons were examined in the context of modernity, from the standpoint of Gestalt, Marr's theories of visual perception, probabilism, direct perception, neurophysiological, and constructive visual perception. [ABSTRACT FROM AUTHOR]

This article focuses on the representation of Black characters in the French comic series Astérix. Written by René Goscinny and illustrated by Albert Uderzo, the series first appeared in 1959, during the wars of decolonization in the last remnants of the French Empire. Although Astérix is meant to entertain, it is still a product of its time, especially in its portrayal of characters of African descent. The series is populated with Black men as pygmies, cannibals, or with obvious ape-like characteristics. Almost all have distorted small skulls, enormous red lips, and speak in grotesque accents. Although the colonial and racist imagery of the early Franco-Belgian bande-dessinée has been the subject of scrutiny, the racist caricatures of Astérix have received surprisingly little academic criticism. This article addresses the origins of these colonial influences, provides examples of racial stereotypes, and discusses the persistence of such portrayals in contemporary albums. [ABSTRACT FROM AUTHOR]

Many caricaturists get the idea for their caricature from current issues of society. The philosophy of the caricature lies in the opinion it presents, which discusses society's goals, culture, and crises, and it is represented in an ironic way to deliver its visual message. The fight for women's rights, inequality, and discrimination are examples of issues concerning Saudi women that have been represented by several caricaturists. Hence, the aim of this paper is to investigate female and male caricaturists' linguistic and semiotic representation of Saudi women's challenging issues. Following (Kress and Van Leeuwen. 2006. Reading images: The grammar of visual design, 2nd edn. London: Routledge), a social semiotic multimodal approach to the analysis is adopted in this study, which is drawn from Halliday's social semiotic theory. Twenty caricatures were carefully selected based on the content and the issues that are being discussed in the caricatures with a consideration of their relation to the aim of the study. The present study contributes to enriching Saudi women's rights in relation to Saudi Vision 2030. The research is significant in that, in examining women/male caricaturists' representations of the challenges and opportunities of Saudi women empowerment prior/after Saudi Vision 2030 in the workplace, social life, it contributes to understanding the supportive caricature discourse, basic social values for Saudi women, the pressures they undergo, and the success they have achieved so far in attaining their rights. The study findings show that both the semiotic and verbal elements of the caricatures were significant in delivering the messages for women's rights in the new Saudi. [ABSTRACT FROM AUTHOR]

The authors present an analysis of the practice of forensic portrait examinations appointed on criminal and civil cases to the Russian Federal Centre of Forensic Science of the Ministry of Justice of the Russian Federation, the objects of which have been atypical. These have been human facial images performed in various techniques: engravings on stone, cartoons, caricatures, dolls made in workshops and author’s studios. The authors propose a new methodical approach, taking into account the technology of manufacturing such human images, they also consider their features.

A century ago, the Greek-Turkish War of 1919-1922 (Turkish War of Liberation/Asia Minor Campaign) was reaching its culmination point. The war was also fought in the pages of the Press. In this study, we look at the characteristics of the caricatures marshalled in the war effort by three publications. The Greek newspaper Skrip, and the Turkish satirical magazines Karagöz and Güleryüz. We find that most expectations based on semiotics and the concept of interstate rivalry are borne out. Depictions of the ‘Other’ are generally negative. That said we also find that Skrip dedicated the majority of its caricatures to targeting the internal ‘Other’, the Venizelist faction during the National Schism, in contrast to the more focused targeting of the Greek ‘Other’ by the Turkish publications. This finding indicates the dominance of domestic conflicts over the external conflict even during the inflation point of the Greek-Turkish Interstate Rivalry of 1866-1925.

A century ago, the Greek-Turkish War of 1919-1922 (Turkish War of Liberation/Asia Minor Campaign) was reaching its culmination point. The war was also fought in the pages of the Press. In this study, we look at the characteristics of the caricatures marshalled in the war effort by three publications. The Greek newspaper Skrip, and the Turkish satirical magazines Karagöz and Güleryüz. We find that most expectations based on semiotics and the concept of interstate rivalry are borne out. Depictions of the 'Other' are generally negative. That said we also find that Skrip dedicated the majority of its caricatures to targeting the internal 'Other', the Venizelist faction during the National Schism, in contrast to the more focused targeting of the Greek 'Other' by the Turkish publications. This finding indicates the dominance of domestic conflicts over the external conflict even during the inflation point of the Greek-Turkish Interstate Rivalry of 1866-1925. [ABSTRACT FROM AUTHOR]

This paper aims to study some selected caricatures from selected editorial sources undertaking COVID19 vaccine to signify how they are assembled to expose the messages and donate the social and political practices in the context. The World Health Organisation (WHO) has stated Coronavirus Disease 2019 (COVID-19) as a pandemic. A worldwide, systematic initiative is required in order to avoid even more dissemination of the virus which has been occurring over a large geographical region and affecting an exceedingly high percentage of the population. The caricatures which are going to be analysed are related to the lack of covid vaccine and the worldwide citizens‟ negative reactions agaist the authorities. Depending on the CDA and Semiotic models, the caricatures will be analysedbased on the linguistic messages (to cover the portrayal of the verbal descriptions relating to lexical choices), the literal denoted messages (to describe the nonlinguistic features) and the symbolic connoted messages (to interpret the link between the textual and denoted elements). [ABSTRACT FROM AUTHOR]

Despite growing evidence that production of cartoons and caricatures of Muhammad causes deep hurt to Muslims across the world, European leaders are refusing to restrict their publication in the name of free speech. This article questions this position on three counts: one, the hurt these cartoons cause to the Muslims and the resulting frictions between Europe and leaders of the Muslim countries; two, the harm they cause to European societies by increasing the tension between Muslims and ordinary citizens and the state at a time when Islamophobia and anti-immigrant feelings are already high; and, three, the need to question the intent of those publishing the cartoons given the overwhelming evidence on the first two counts. The article also questions the legitimacy and usefulness of labelling attacks triggered in response to these publications as 'Islamic terrorism' when the profiles of those perpetuating these attacks show criminal and deviant behaviour than evidence of religious devotion. The usefulness of using labels that make actions of a few taint whole of Islam, and Muslims as a collective, needs to be debated. [ABSTRACT FROM AUTHOR]