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The Parody, the Pastiche and the Caricature – the Three Satirical and Humoristic Freedoms of Expressions in the Transformation of an Original Work

Parodia, pastișa și caricatura – cele trei libertăți de expresie satirico-umoristice ale transformării unei opere originale

Author(s): Nicoleta Rodica Dominte / Language(s): Romanian / Issue: 3/2014

Keywords: copyright; parody; pastiche; caricature; exception

This article is a small radiography of the juridical regime of parody, pastiche or caricature as exceptions of copyright at the European level. Article 5, paragraph 3 letter k) from Directive 2001/29/CEE stipulates that „Member States may provide for exceptions or limitations to the rights provided for in Articles 2 and 3 in the following cases: ...(k) use for the purpose of caricature, parody or pastiche;... “. The transposition of this article is not a unitary into the national legislation of European Union Member States.

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THE IMAGES OF ENEMY AT THE BEGINNING OF SLOVAK POLITICAL CARICATURE

OBRAZ NEPRIATEĽA V POČIATKOCH SLOVENSKEJ POLITICKEJ KARIKATÚRY Vizuálne stereotypy v časopise Černokňažník v rokoch 1861 – 1910

Author(s): Eva Krekovičová,Zuzana Panczová / Language(s): Slovak / Issue: 1/2013

Keywords: visual stereotypes; caricatures; political caricatures; images of enemy; images of Slovaks; Jews and Hungarians; discourse of hatred

The goal of this work is to follow both the persistence and the concrete transformation of ethnic and ethic-related stereotypes and their public representations in the processes of Slovak nationalism in the multinational Hungarian Kingdom in the second half of the 19th century and the first decade of the 20th. In our article we focused on the visual form of depicting representatives of collective (especially ethnic) identities. We worked on the assumption, that this visual form occupies a specific position in the process of spreading stereotypes and fixing them over time. Especially rewarding objects of investigation for such research are caricatures. As the source material we chose political caricatures published in the popular Slovak humour magazine of this period, Černokňažník [The Wizard]. Through this caricatures we study images of „enemies“(especially in role of „traitor“ or „alien“) in the eyes of Slovak national patriots. In this sense we pay special attention to the figure of the Jew and „maďarón“ – Slovak term for someone who was (sometimes only supposedly) not „native“ Hungarian, but who was defending Hungarian political interests directed against Slovak national emancipation.

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EU – a Caricature of an International Actor? How The Economist Imagines EU Actorness

EÚ – karikatúra medzinárodného aktéra? Predstavy o aktérstve Európskej únie podľa týždenníka The Economist

Author(s): Daniela Chalániová / Language(s): Slovak / Issue: 4/2011

Keywords: European Union; political caricature; actorness; discourse analysis; The Economist

Constructivist attempts to focus on analysis of the European identity, including the foreign policy dimension, rely almost exclusively on textual and verbal discourse. But discourse as such is not limited to textual and verbal acts; graphics and visuals, including political caricatures, constitute an integral component of discourse as well. The aim of this contribution is to analyse how the European Union’s identity as an actor of international relations could be imagined by studying a sample of political cartoons from The Economist. Based on the analysis, I conclude that although the European Union is not imagined as an antithesis to a standard international actor, The Economist still imagines it as a player that is not entirely equal to other players.

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Between caricature and irony in chosen paintings by Quentin Metsys

Między karykaturą a ironią w wybranych obrazach Quentina Metsysa

Author(s): Artur Strug / Language(s): Polish / Issue: 04/2013

Keywords: irony; caricature; ugliness; humor; Quentin Metsys

For centuries the face has been considered an important part of the human body. Since ancient times until the present day a close connection with a man's inner (spiritual, psychological) properties has been ascribed to his face. The individual character of a person that finds its reflection in his/her physiognomy is a domain of interest of the portrait as a separate genre in art. The meanings that have been ascribed to the face have to a certain degree determined the ways it has been presented in European visual arts. The image of an ugly face has become one of the variants of presentation of this part of the body. Ugliness of the human face may have various forms. We know of presentations of deformed physiognomies, which resulted from experiencing strong emotions, as well as of images of evil figures to whom ugliness is ascribed as a feature resulting from the moral appraisal. One of the kinds of portrait compositions using deformed shapes of the face is caricature. It aims at ridiculing the presented person by deforming and magnifying its chosen features. Ugliness is in a way connected with humor. This connection can be seen, among others, in caricature that arouses amusement. Among the presentations that provoke laughter several varieties of humor may be distinguished. One of its kinds is irony. The main motif of the present paper is searching for this kind of humor, in which the element of criticism and of ridiculing another person can be seen. Two Quentin Metsys’s paintings were analyzed: „Ecce homo” from the Palazzo Ducale in Venice and „A Grotesque Old Woman” from the National Museum in London. Some traits of irony that are suggested in these works are an inspiration for further studies in this field.

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Ukrainian caricature as a form of reflecting the international situation of the country

Украинские карикатуры как форма отображения внешнеполитической ситуации страны

Author(s): Olga Mikhailuta / Language(s): / Issue: 1/2014

Keywords: Ukraine; foreign policy; caricature

The paper deals with the foreign policy of Ukraine using cartoons from the modern Ukrainian news and analysis magazines. In particular, the author examines the themes of the cartoons and their function. Cartoons as a journalistic genre actively respond to events in the foreign policy of Ukraine. The cartoonists tried to show their vision for Ukraine’s prospects in the European Union and Customs Union.

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IMAGE OF "RUSSIAN BEAR" IN THE PATRIOTIC CARICATURE DURING THE FIRST WORLD WAR (JULY 1914 - FEBRUARY 1917)

ОБРАЗ «РУССКОГО МЕДВЕДЯ» В ОТЕЧЕСТВЕННОЙ КАРИКАТУРЕ ПЕРИОДА ПЕРВОЙ МИРОВОЙ ВОЙНЫ (ИЮЛЬ 1914 – ФЕВРАЛЬ 1917)

Author(s): D. Tsykalov / Language(s): Russian / Issue: 4/2013

Keywords: “Russian bear”; relations Russia and Europe; the First World War; the Russian caricature; the press; the popular culture; the Russian identity; the image of enemy;

The article discusses the prerevolutionary history of reception of image of the “Russian bear” in Russia. The author points out that the image was negative in years the Crimean War and ambivalent in the revolution 1905 – 07, but during World War I (pre-February period) the figure of “Russian bear” served as a patriotic symbol.

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Political caricature as a source material for the research on the history of the Second Polish Republic. Research suggestions

Karykatura polityczna jako ģródão do badač nad historiû Drugiej Rzeczypospolitej Postulaty badawcze

Author(s): Tomasz Sikorski / Language(s): Polish / Issue: 1/2009

Keywords: karykatura polityczna; wizerunek polityczny; II RP;

In this article author presents his research (methodological) suggestions concerning the political caricature, considered as the source material for the research on the history of the Second Polish Republic. It is hard to overvalue the role of cari¬cature as an iconographic and visual source. Caricature teaches, warns, amuses, but also creates a catalogue of typical behavior. It can become a weapon in political fight. The author has indicated the following functions of caricature: entertaining, sociological, creating and organizing the socio-political reality, psychological and communicative. Every researcher is entitled to present his own methodological proposals. In author’s opinion, a number of elements can be distinguished in the research on cari¬cature. At first, the sender of the information should be defined - "who speaks?” Secondly, the researcher has to answer the question "what?” and "when?” the caricature says (the content of the information). Thirdly, the question "who does it speak to?” (the receiver of the information) should be asked. The last essential question to be answered is: "What is the result?” (the outcome of this communication process). The issues addressed in Polish political caricatures in the period of the Second Polish Republic, presented a very broad spectrum, ranging from the current domestic policy to the International affairs. We are still waiting for the in-depth and complex analysis of the Polish political caricature (1918-1939).

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THE “MOTHERLAND” IN THE REVOLUTIONARY CARICATURE OF EARLY XX C.: LEGITIMATION AND DELEGITIMATION OF POWER

«РОДИНА-МАТЬ» В РЕВОЛЮЦИОННОЙ КАРИКАТУРЕ НАЧАЛА XX В.: ЛЕГИТИМАЦИЯ И ДЕЛЕГИТИМАЦИЯ ВЛАСТИ

Author(s): Oleg Vjacheslavovich Riabov / Language(s): Russian / Issue: 2/2017

Keywords: the symbol of Motherland; legitimation of power; the Russian Revolution of 1905-1907; the February Revolution of 1917; the October Revolution of 1917; Russian satirical journals; caricature;

The article, focusing on Russian satirical journals research, dwells upon role of the symbol of the Motherland in discourses of Russian revolutions of 1905 and 1917. The author points out that the symbol was exploited by majority of political forces. The authorities employed it in maintaining legitimacy of power. The author discerns two modes of delegitimation of power with the help of the symbol. The first one implies symbolic struggle for possessing the symbol, for the right to speak on behalf of the Motherland. It is based on the populist (the narodnik) image of the Mother Russia as a victim of the Russian state. The second, that was connected with the Bolshevik and liberal ideologies, implies devaluation and desacralization of the symbol.

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NASREDDIN HOCA IMAGE in TODAY'S CARICATURE MAGAZINES and CHILDREN BOOKS

GÜNÜMÜZ ÇOCUK KİTAPLARI VE KARİKATÜR DERGİLERİNDE NASREDDİN HOCA İMGESİ

Author(s): Müzeyyen Sağlam / Language(s): Turkish / Issue: 38/2017

Keywords: Nasreddin Hoca; anecdotes; oral culture; humor magazines;

Nasreddin Hoca who is one of the important figure in folk culture is known by his character and anecdotes with different names and reflections in so wide geographies. Nasreddin hoca anecdotes which take their resource from social memory experience the change by separating to variations and variants even though they keep their sustainability via both written resources and electronic devices (radio, television, phone etc.) by pass to secondary oral culture period. These anecdotes have grown away from original case and became utterly different texts by being reproduced with intertextual relations method in either electronic and pressed culture environment or today's humor magazines especially by effect of popular culture. However this situation is not valid for all written resources that Nasreddin Hoca anecdotes exist in. For example, generally known format of Nasreddin Hoca anecdotes are kept in today's primary secondary school books or children books that have these. Humor magazine re-interpret the known texts of Nasreddin Hoca anecdotes according to today's humor perception and provide to resuscitate and maintain cultural memory in reader by adding funny visuals to them. Whereas in children book, radical changes have not been done on anecdote texts although catchy visuals later with anecdotes exist in. When audience which humor magazines and children book are presented is took into consideration, difference of approach to Nasreddin Hoca and Nasreddin Hoca anecdotes is inevitable in both resources. While children books are first texts that children meet written and visual case of oral culture; humor magazines that are reflection of popular culture provide to transmit oral culture to next generations by re-producing it and keep cultural memory alive. In this workout, Uykusuz, Penguen and Leman that are leading humor magazines in today and Nasreddin Hoca image in children books will be compared; usage of anecdote texts related with Nasreddin Hoca in both resources will be examined.

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Caricature, lyrics and electoral posters Forms of Partisan Conflict in the 1937 General Elections

Caricatura, lirica și afișele electorale ca forme ale confruntărilor partizane în alegerile generale din 1937 din România

Author(s): Mihai Chirvăsuță / Language(s): Romanian / Issue: 3/2018

Keywords: electoral caricature; electoral discourse; the parliamentary elections of 1937; the National Peasant Party; the National Liberal Party; the National Christian Party;

This study proposes an analysis of how the National Liberal Party (PNL), the National Peasant Party (PNT) and the National Christian Party (PNC) used caricatures, lyrics or electoral posters to build a more favorable image of their own party or compromise the opponent. Based in particular on the sources existing in the official party press and the so-called independent one, we proceeded to a description of the three elements, including the meanings and messages intended for the electorate. With a predominantly rural population (over 80%), poorly educated in regard to civic issues, caricature and electoral lyrics were used in particular by the PNT and the so-called independent press to attack the ruling party, as well as the formation of A. C. Cuza and Octavian Goga, and to target those with a nationalist-peasant affiliation. Through the three types of confrontation, the parties in our study have endeavored to transmit as effectively as possible the eccentric populist and manipulative messages aimed at attracting thousands of voters. Although both the national and the nationalist-peasant press used caricature and versification as a political weapon, there are immense differences between the contents of the two camps, the caricaturist Petrică Lazar and the anti-Semitic poet Vasile Militaru -known also under the pseudonym of Radu Barda -preferring the construction of satirical images and poems that contained huge doses of grotesque, beliefs and prejudices about the Jewish minority.

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Caricature in the Case Law of the Czech Constitutional Court: Protection of Dignity versus Freedom of Expression

Karikatura v judikatuře Ústavního soudu: ochrana důstojnosti versus svoboda projevu

Author(s): Jan Broz / Language(s): Czech / Issue: 3/2018

Keywords: Caricature; Human Dignity; Freedom of Expression.

Political caricature represents a highly specific form of the realisation of freedom of expression, the adequate reflexion of which requires a specific preunderstanding of the addressee concerning the meaning and aim of the caricature. In this regard we can consider caricature as culturally conditioned. Its current usage is therefore increasingly confronted with the limits consisting in the cultural diversity of society as well as with the expanding limitation on freedom of expression due to the emphasis on the importance of other conflicting rights, notably the right to human dignity. This paper analyses the presence of the latter limit in the case law of the Czech Constitutional Court by comparing this case law with decisions of the German Federal Constitutional Court and the US Supreme Court. Despite the fact that the case law of both foreign courts can be considered as substantially different, it in both cases reflects deeper normative ideas on the substance of human dignity of public persons participating in the political discourse. To the contrary, the Czech case law can be considered as inconsistent and leading from one extreme interpretation to another. Such an approach is generally objectionable due to the violation of the principle of consistency and foreseeability of judicial decision-making. In the case of political caricature, the inconsistency is amplified by the fact that judicial decision-making influences the scope and form of political discussion, usually in a way that disadvantages those who try to strengthen their otherwise weaker voice in the public discourse by an expressive feature: caricature. However, this limitation casts doubt on the basic premise of democracy, i. e. communicative rationality of citizens.

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Romanian spirituality mirrored in “Three Musical Caricature - Soldiering” by Paul Constantinescu

Spiritualitatea românească oglindită în „Trei caricaturi muzicale - Din Cătănie” de Paul Constantinescu

Author(s): Daniela Cojocaru / Language(s): Romanian / Issue: Music/2018

Keywords: music; folklore; modal structures; Paul Constantinescu;

Going through the historical stages of the Romanian musical culture in the last 100 years, we can observe a wide palette of stylistic orientations and directions, some of them connected with the traditional music, others linked with the idea of musical avant-garde through the great diversity and complex aesthetic. The Romanian composition school brought out musicians who marked decisive moments in the progress of the national musical culture. Paul Constantinescu is part of the generation that contributed, together with George Enesco, to the fulfillment of the ideal of building the real Romanian musical school. His entire musical works are marked by a language in which he combined in a special way elements of traditional music with those of Byzantine music. ‘Three Musical Caricature - Soldiering” is especially distinguished by the fact that it takes over the urban folklore (in this case, the soldier song that has spread widely in the interwar period) to which it attributes satirical connotations through original and particular forms of processing.

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Tall Women and Fat Men: Caricature as a Stylistic Device in Karen Blixen’s Short Stories

Høje kvinder og fede mænd: Karikatur som et stilistisk virkemiddel i Karen Blixens fortællinger

Author(s): Radka Stahr / Language(s): Norwegian / Issue: 3/2019

Keywords: Karen Blixen; Danish literature; caricature; literary caricature; archetype

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, over-emphasizing one of the character’s particular physiognomic features. The over-emphasized 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.

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Caricature in the “Zarnitsy” almanac as a source of perception of the white Russian emigration life in Turkey

Карикатуры в альманахе «Зарницы» как наглядность эмигрантской прессы в Турции

Author(s): Sevinç Üçgül / Language(s): Russian / Issue: XXIV/2019

Keywords: “Zarnitsy”; caricature; “white Russians”; in Istanbul; V.F. Kadulin

The purpose of the present article is to highlight and analyse the publishing activity and peri-odical press of the “white Russians” in Istanbul on the basis of a description of the certain material – caricatures of the painter V. Khadulin (1883/84–1957) in the “Zarnitsy” almanac published in Constantinople in 1920s.The relevance of the given topic is defined by the place taken by caricatures in the illustrative highlighting of the daily as well as social-political aspects of the emigrants’ life.Painter V.F. Kadulin was successful in demonstrating the information of events, phenomenon, processes and problems of the white emigration in Turkey and, in particular, in İstanbul as well as in Bolshevik Russia through his political and socio-everyday caricatures in a visual satiric image-artis-tic form. In the article, we also give detailed information about the painter himself.

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Art, caricature, the cultural audience and the general public. Notes on the Vienna Secession

Umění, karikatura, publikum a veřejnost: Poznámky k vídeňské Secesi

Author(s): Roman Prahl / Language(s): Czech / Issue: 2/2019

Keywords: art exhibitions; Artists’ House Vienna; cartoons of art; Der Floh; Figaro; Genossenschaft der bildenden Künstler Wiens; Kikeriki!; periodicals of humor and satire; Ver sacrum; Vereinigung der bildende

This study deals with the most relevant Viennese magazines of humour and satire (Der Floh, Figaro, Kikeriki! and Wiener Caricaturen), published at the time of the emergence and early years of the Vienna Secession movement. Its aim is to ascertain the nature of their mediation between the modernist tendencies in art and the local general public. The main focus is on these periodicals’ positions in their contemporary polemic around modernism. In dealing with this polemic, the author also refers to the use of elements of humour by protagonists and advocates of the Vienna Secession movement, most notably in the periodical Ver sacrum.

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NEW DRAWINGS of TURKISH CARICATURE ART in EARLY REPUBLIC PERIOD: RAMIZ GOKCE

ERKEN CUMHURİYET DÖNEMİ TÜRK KARİKATÜR SANATININ YENİ ÇİZGİLERİ: RAMİZ GÖKÇE

Author(s): Cem Güzeloğlu / Language(s): Turkish / Issue: 47/2020

Keywords: Caricature; Graphic Humour; Ramiz Gökçe; Humour; Art;

The humor press, which had gained acceleration in the last periods of the Ottoman Empire with the Tanzimat (Reorganization, the period of reform in the Ottoman Empire) in particular, exhibited more expansion after the declaration of The Second Constitutional Era. During this period, many humorous newspapers and cartoon magazines were published, and especially with the proclamation of the Republic, it is seen that also liberation in this area increased. Although many cartoonists produced several works during these periods, Ramiz Gökçe (1900-1953) appears to be the cartoonist who produced the most works. Having made important contributions to Turkish cartoon art, Ramiz Gökçe, with his bold drawings, also undertakes a task of an important memory that tells about social change and conveys periodic events in the transition period from the Ottoman Empire to the Republic of Turkey. In addition to these, he popularized and imposed the cartoon to the Turkish people. In this study, a descriptive analysis was made on the art life of Ramiz Gökçe, one of the period masters who influenced the early period of the Republic of Turkey with his drawings, with the method of systematic organization of data.

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"The Political Mythology" of Paul Hadol: figures of power as Greek mythological characters in caricature at the beginning of the Third Republic (1871-1872)

La Mythologie politique de Paul Hadol : des figures du pouvoir à l’épreuve des mythes grecs dans la caricature au début de la Troisième République (1871-1872)

Author(s): Sylvain Nicolle / Language(s): French / Issue: 10/2020

Keywords: political caritature; mythology; antiquity; Paul Hadol; Le Charivari

Between 1871 and 1872, the cartoonist Paul Hadol published in the satirical weekly Le Charivari, eleven loaded portraits forming a series entitled La Mythologie politique. This article first places the series against the backdrop of the pre-existing tradition of iconographic parody of antiquity that began in England at the end of the 18th century, before being adopted in France during the July Monarchy. We then question the biographical criteria for the selection of the caricatured celebrities, and the potential thematic coherence of the series based on the typology of mythological filters – the cycle of Troy, the Olympian deities, heroes, monsters. Finally, the more specifically semiotic analysis of the caricatures highlights the resumption of the process associating big-head and versified legend with the two series of the Charivaric Pantheon (1838-1841 and 1866-1867), the dimension of political rebus, and the game of artistic, literary and even musical quotes. The conclusion shows that the scope of the series can be considered from a political and artistic point of view, but also intellectually in relation to the time which it concerns.

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POLITICAL CARICATURE AND IMAGE OF "KHUEN'S SERBS" FROM THE END OF 19th CENTURY IN CROATIA

POLITIČKA KARIKATURA I SLIKA "KHUENOVIH SRBA" S KRAJA 19. ST. U HRVATSKOJ

Author(s): Natalija Rumenjak / Language(s): Croatian / Issue: 3/2000

Keywords: Political caricatures; Image of Khuen's Serbs; 19th century; Croatia; National stereotypes; Satirical magazines;

The political caricature in the 19th century in Croatia, as one of the richest sources in the creation of national stereotypes and formation of urban public opinion have scarcely been researched in the Croatian historiography. This article deals with the stereotype perception of the image of "Khuen 's Serbs" on basis of contemporary Croatian and Serb satirical magazines that were published during the twenty-year period of the rule of the Croatian banus (vice-roy) Karoly Khuen-Hedervary in Croatia (1883-1902). The article deals with the stereotype image of the elite group of the Serb ethnic minority, which through the Serbian Club and ruling People's Party in the Croatian Parliament had supported the pro-Hungarian and anti-Croatian regime in the mentioned period without any reservation.

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SEMIOTIC CONSTRUCTION OF THE CORONAVIRUS PANDEMIC AND CAMEROONIAN POLITICAL OPINION: AN ANALYSIS OF THE PRESS CARTOON

CONSTRUCTION SÉMIOTIQUE DE LA PANDÉMIE À CORONAVIRUS ET DE L’OPINION POLITIQUE CAMEROUNAISE : UNE ANALYSE DE LA CARICATURE DE PRESSE

Author(s): Hermann Atiobou Voukeng / Language(s): French / Issue: 31/2021

Keywords: press caricature; burlesque; ethics; crisis; Semiotics;

With the arrival of COVID-19 and the ideological confrontations observed during the elections in Cameroon, we are witnessing a media recovery of said events and their relaying through the prism of caricature. From then on, we observe an entanglement of functions, notably the burlesque, the satirical and the ideological. The caricatural image is thus conceived in a double language which, far from the iconic comic signs, involves ethical issues. It is from this observation that this article intends to analyse, with the tools offered by semiotics, the significance of press caricature. It must be postulated at the outset that this informational genre is multifunctional and suggests meanings based on entertainment, the representation of the social imaginary and the staging of political opinion.

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Caricature and propaganda: The image of today’s Ukraine in pro-Russian mass media (2014–2018)

Карикатура и пропаганда: образ современной Украины в изображении пророссийских СМИ (2014–2018)

Author(s): Daria Khrushcheva / Language(s): Russian / Issue: 1/2022

Keywords: political caricature; propaganda; mass media; Ukraine; Russia

The information policy of the official Russian and pro-Russian online media regarding the so-called Ukrainian crisis contributes to the formation of the image of a new “ideological enemy” in public consciousness. With the help of traditional techniques of political propaganda, persistent clichés, and vivid visual images, modern Russian cartoonists influence the emotional perception of the situation by the public and perpetuate new myths about Ukraine. This article examines how the formation and dissemination of the image of the “enemy” occurs through its representation in the genre of modern political caricature. Caricatures reflecting the attitude of Russian artists to the political and economic situation in the neighboring country, to the bilateral conflict, as well as to attempts to resolve it by influential world political actors are analyzed using examples of specific authors and the plots of their caricatures.

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