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Looking Awry at Georgian Caricature

Lacan and the Satirists

David Morgan

what we witness in the art of caricature is the visual enactment of an excitement ( jouissance ) in the slippage and malleability of visual signs and tokens associated with the political state: with the Symbolic order itself. When the caricaturist

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Drawing Stereotypes

Europe and East Asia in Russian Political Caricature, 1900–1905

Zachary Hoffman

is playing both sides. 1 Figure 1. S. F. Sokolovskii, “A triple alliance,” Novoe vremia , 13 June 1903. The caricature primarily pokes fun at Japan's ambitions in the Far East. It also expresses a deeper discomfort with the ways this newly

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Edward Lear

A Life in Pictures

Marco Graziosi

comical caricatures Lear used in the poem illustrations, and even more so from the radically simplified style that characterises the limericks and the later picture stories: the figures have evidently been sketched in haste, but they maintain a clearly

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Guillaume Lecomte

characters are stylised rather naïvely, their physical traits being distorted and exaggerated in a caricatural fashion. It illustrates the contradictio in terminis , in the words of Pascal Lefèvre, of ‘factual comics’ that convey a truth by building a

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Alain Vaillant

sur la culture (en principe, du moins), intégrant des éléments graphiques (des caricatures, le plus souvent), et jouant systématiquement sur des effets de connivence à l’intérieur de la bohème. On peut y voir l’ancêtre de la presse underground . Dans

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Caroline Rossiter

This article analyses the production of caricatures in post-revolutionary Paris, specifically the role of publishers and artists and the constraints of censorship within society of that time. By considering such factors in the light of English caricature production, we will outline the exchanges that took place between London and Paris at the turn of the nineteenth century and demonstrate that the two cities' comic print productions were subject to reciprocal influences.

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The Crown and the Crowd

Sublimations of Monarchy in Georgian Satirical Prints

David Morgan

Hunt observes: At the beginning of the reign, satires almost exclusively emphasised the monarch’s political role as head of government and the traditional guardian of the people’s welfare. By its end, however, caricatures almost universally portrayed

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Michael G. Vann

André Joyeux's La Vie large des colonies ['The Colonial Good Life'] is an insider's portrait of the French colonial encounter in Southeast Asia. Published in Paris in 1912 but most likely penned in Saigon, the collection of cartoons explores the racial order of the colony. Although the artist critiques many aspects of the colony and highlights certain gross injustices, such as the coloniser's sexual predation and physical violence, he also articulates many of the bluntly racist French stereotypes of the Vietnamese, Chinese and other Asians in the colony. Joyeux, as an artist and as an art teacher, contributed to the development of cartoon and caricature as a medium in Vietnam, which would eventually be used in the anti-colonial, nationalist and communist movements. La Vie large des colonies is of importance as a primary source in the study of empire.

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John Moores

The German journal London und Paris called James Gillray 'the foremost living artist in his genre, not only amongst Englishmen, but amongst all European nations'. Despite the scholarly attention he has attracted, many of Gillray's individual works have yet to receive rigorous analysis. One such neglected print is National Conveniences (1796), assumed to be a crude, straightforward expression of national supremacy. However, a closer reading shows Gillray employing the ideas of Jean-Jacques Rousseau both to undermine notions of English superiority and to assail a particular personal adversary. With this reading in mind, we can reassess references to Rousseau in Gillray's other prints, and propose a new direction from which to approach his greater oeuvre.

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Review Article

Simon Grennan, Roger Sabin and Julian Waite, Marie Duval (Oxford: Myriad Editions, 2018)

David Kunzle

With Marie Duval, virtual creator of the ineffable Ally Sloper (first appearance 1867) and mainstay of a new magazine named Judy founded that year, we find a new kind of cartoon character, a new kind of caricature and a new kind of journal