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"The cartoons in this, the second, volume of Political Caricatures, cover the principal political events and the salient features of the political situations arising day by day during the year from December 1903 up to a recent date, and have been selected from those which have appeared in the pages of the Westminster Gazette" -- preface. ; Mode of access: Internet.

"The cartoons in the following pages are a selection from those which have appeared from day to day in the Westminster gazette." ; Mode of access: Internet.

This article examines the definition of political caricature in modern realities, notes its characteristic features, functions and scope of functioning. In addition, the author analyzes the importance of political caricature as a means of communication between the government and society. The article reveals the images of Russian and American political elites in the field of view of the authors of cartoons, their features and influence on the image of the state. In the framework of the study of Russian political elites, special attention is paid to the image of V. Putin and D. Medvedev, their relationship and the influence of the USSR on the modern interpretation of the political reality of Russia in foreign cartoons. The study of the image of D. Trump is based on the evolutionary features of his policy. The main significant events that influenced the image of the political leader and their reflection in the political caricature of the state are considered. In addition, a special interest in the study of the image of D. Trump in modern political cartoons is based on the fact that the political elite was directly connected with the Capitoline riot in early 2021. In this regard, this paper also analyzes the impact of this event on the modern political caricature.

The aim of this text is to present an activity with politically engaged image in a classroom of university law students, level B2 of the CEFR. The objective of work with image as a classical instrument to incite spontaneous speech becomes in a class of LSP in a university context becomes more complex – tasks are oriented by a double focus: not only on language but also on the content. The language becomes an instrument of thought and a creativity vehicle while pursuing a particular extra-linguistic goal. ; The aim of this text is to present an activity with politically engaged image in a classroom of university law students, level B2 of the CEFR. The objective of work with image as a classical instrument to incite spontaneous speech becomes in a class of LSP in a university context becomes more complex – tasks are oriented by a double focus: not only on language but also on the content. The language becomes an instrument of thought and a creativity vehicle while pursuing a particular extra-linguistic goal.

Although the Congress of Vienna was not a main topic for political caricature, it was anything but ignored. During the first five months of 1815, while monarchs and diplomats were deliberating on Europe's future, caricaturists in Great Britain, France and the German-speaking states depicted the Congress as a major or minor subject in 20 satirical prints. Together these caricatures provide a multi-perspectival view of the way contemporaries assessed the diplomatic deliberations taking place in Vienna. To obtain an insight into this important part of contemporary public opinion on the Congress, the corpus of graphic satire was submitted to close scrutiny in two ways. Firstly, a context analysis ascertained the artists who produced them; how the prints were published and brought to public attention; and for what audiences they were intended. Secondly, a content analysis explored the political messages that the caricatures on the Vienna Congress tried to convey and the persuasive techniques that were applied to visualise these points of view. Notwithstanding different national origins and opposite political views, the message is a negative one: the satires denounce the territorial greed of the Great Powers and their disregard for the demands and aspirations of the peoples they seek to incorporate.

"Late Georgian England was a period of great social and political change, yet whether this was for good or for ill was by no means clear to many Britons. In such an era of innovation and revolution, Britons faced the task of deciding which ideals, goals and attitudes most closely fitted their own conception of the nation for which they struggled and fought; the controversies of the era thus forced ordinary people to define an identity that they believed embodied the ideal of 'Britishness' to which they could adhere in this period of uncertainty. Defining John Bull demonstrates that caricature played a vital role in this redefinition of what it meant to be British. During the reign of George III, the public's increasing interest in political controversies meant that satirists turned their attention to the individuals and issues involved. Since this long reign was marked by political crises, both foreign and domestic, caricaturists responded with an outpouring of work that led the era to be called the 'golden age' of caricature. Thus, many and varied prints, produced in response to public demands and sensitive to public attitudes, provide more than simply a record of what interested Britons during the late Georgian era. In the face of domestic and foreign challenges that threatened to shake the very foundations of existing social and political structures, the public struggled to identify those ideals, qualities and characteristics that seemed to form the basis of British society and culture, and that were the bedrock upon which the British polity rested. During the course of this debate, the iconography used to depict it in graphic satire changed to reflect shifts in or the redefinition of existing ideals. Thus, caricature produced during the reign of George III came to visually express new concepts of Britishness."--Provided by publisher.

This article presents the discourse analysis of a political cartoon, created by Vladdo (2011) and published in Semana magazine. It contains three sections. In the first one, there is a general description of the general features of the cartoon based on the discourse characterization by Dominique Mainguenaeau (2005). In the second part, an explanation of the cartoon is provided following Patrick Charaudeau's (1986, 1992) general setting-up of discourse frame. In the last section, the cartoon is analyzed from an enunciative perspective as outlined by Bajtín/Voloshinov (1998). Following an empirical-deductive methodology, this text aims at showing the strengths of these three analytical approaches, their convergent and divergent points, as well as their potential in the discursive study of language phenomena. ; Este artículo ilustra el análisis del discurso de una caricatura política y consta de tres partes centrales. Primero, la elucidación de las características generales de los fenómenos discursivos señaladas por Dominique Maingueneau (2005); luego, la caracterización general de la puesta en escena del lenguaje propuesta por Patrick Charaudeau (1986, 1992) y, finalmente, el abordaje sucinto de la enunciación desde la perspectiva de Bajtín/Voloshinov (1998). Para tal cometido, se toma como pretexto una caricatura política de Vladdo, publicada en 2011 en la revista Semana, y se emplea el método empírico- deductivo para la explicación de la misma. Conforme a su propósito, el artículo muestra la operatividad de estas tres perspectivas discursivas, sus convergencias y las diversas posibilidades que ofrecen para el estudio del lenguaje.

The purpose of the study is to identify and characterize social narratives in modern Ukrainian political cartoons («NV» and «Tyzhden.ua» web sites) for 2015–2020).Research methodology. In the course of the research the following methods were used: method of monitoring and analysis of documentary sources («NV» and «Tyzhden.ua» web sites in 2015–2020); descriptive method, structural-typological one in the study of genre-typological features of caricature; method of generalization to determine the patterns of modern political caricature development; elements of the classification method to characterize the image creation in a satirical drawing.Results. The visual and pictorial complex of print media has repeatedly been the subject of scientific research, but caricature as a pictorial genre of modern journalism, including features of image creation, mythologizing of public opinion, mechanisms of meanings incorporation – they do not yet have a deep thorough comprehension. The development of these issues will allow determining the main narratives of modern political caricature, to clarify the visual and thematic transformations in caricatures on political topics. Analyzing the socio-political «NV» and «Tyzhden.ua» media resources, we found the following patterns: the active use of grotesque cartoons of famous politicians, the use of allusions – borrowing and rethinking of images-symbols (Biblical, mythological, folklore, cinema ones, etc.). Modern visualization of political satire demonstrates the combination of classical artistic and visual means with the latest ideas and approaches to the content implementation. The main method of political satire is still the use of grotesque cartoon – a modified portrait of a famous politician. Caricatures use such artistic means as metaphor, personification, stereotyping, allusion, grotesque, etc. Important semantic elements in the cartoon are the symbols and images-symbols, which help to present the stand-alone information blocks concisely and clearly.Novelty. The article on the ...

General Egyptian historical background to 1914 -- The career of Saad Pasha Zaghlul and early post-war Wafd politics -- Political caricature and folk imagery in the 19th century : were European prototypes "transferable" to the non-European world? -- Punch satirical prototypes "exported" to culturally restricted audiences beyond Europe : the Awadh Punch in India, Egypt's Abou Naddara and Al-Siyøsah al Muawwarah -- "Real precedents" : popular non-political/non-satirical posters by Cairo Punch and lesser-known lithographers -- Wafd political posters between 1919 and 1923 : symbolism and folk imagery -- Conclusion : evolving stages of caricature by mid-century : sophisticated satirical comics and daily imagery.

"Die konstante Nachfrage nach Forschungsarbeiten mit Hilfe von Bildanalysen innerhalb der Geistwissenschaften hatte die zunehmende Entwicklung von Methoden und Theorien zur Unterstützung dieser Aufgabe zur Folge. Das hier vorgestellte dokumentarische Verfahren zählt zu den wichtigsten qualitativen Methoden in dieser Hinsicht. Es wurde von Ralf Bohnsack entwickelt und basiert auf Panofskys Theorien sowie auf Konzepten von Karl Mannheim und Pierre Bourdieu. Durch das dokumentarische Verfahren ist eine tiefere Analyse der Quellen möglich. Es vollzieht sich ein Wechsel des Recherchefokus von der Suche nach dem immanenten Sinn zu der Suche nach dem dokumentarischen Sinn. Auch die technischen Elemente spielen eine wichtige Rolle in der Interpretation. Hierbei dient die kunstgeschichtliche Theorie von Max Imdahl als Basis. In diesem Aufsatz wird die dokumentarische Methode zur Bildanalyse beschrieben und dann in beispielhafter Interpretation zweier politische Karikaturen der berüchtigten nationalsozialistischen Zeitung 'Der Stürmer' angewandt. Diese vergleichende Studie dient dazu, die Nutzbarkeit der Methode und ihre Ergebnisse zu verdeutlichen." (Autorenreferat)