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David Morgan

depicts in a surreally visceral manner. As such, Bell follows in a long tradition of visual and political satire in Britain. Neither satire nor caricature were British inventions, yet the political cartoon found a lively market in the eighteenth- and

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Offshore Desires

Mobility, Liquidity and History in Shakespeare’s Mediterranean

Rui Carvalho Homem

rather the communality of comedy, and how it can be modally inflected by romance and satire. I am interested in addressing how in The Comedy of Errors and Pericles Shakespeare (partly determined by his sources) dislocates transactions observed in the

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Women's Liberation

Swedish Feminist Comics and Cartoons from the 1970s and 1980s

Anna Nordenstam and Margareta Wallin Wictorin

, depicting some kind of humorous and/or political situation which is generally accompanied by a caption. Humour and satire, including irony, as strategies to challenge the patriarchy and prejudiced men are used in many of the comics, in some cases to contest

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Political Comedy as Fuel for Populist Rhetoric?

Representations of Politicians and Institutions in the German TV Shows “Eichwald MdB” and “Ellerbeck”

Niko Switek

questions of legitimacy), address different levels of government (national parliament and city hall), and employ widely used tropes (recurring literary and rhetorical devices) common to political comedy and satire in Germany. Do the two shows promote

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Ann Miller

quite mischievous without dislodging the reader, whereas Livestock as a satire on the world we live in now—even with fantastical elements—needed to remain more closely anchored in reality and more visually representative. Less arthouse, more

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The Crown and the Crowd

Sublimations of Monarchy in Georgian Satirical Prints

David Morgan

that is accepted by its citizens. In the case of eighteenth- and nineteenth-century metropolitan Britain, one way in which this function was vividly fulfilled was by means of the ‘efflorescence’ of visual satire that appeared in the print shops of

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Impolite Interventions?

English Satirical Prints in the Presence of the Academy, c. 1750–1780

Danielle Thom

This article examines the reciprocity between satirical and academic modes of image making, and locates that relationship within the context of an emergent bourgeois public sphere. The cultural and commercial imperatives of that sphere enabled its inhabitants to engage with conflicting modes of cultural output, consuming grotesque and bawdy satire as an exercise in political autonomy, while simultaneously emulating 'elite' politeness. In particular, the commercial growth and increasing visibility of satirical prints challenged the polite hierarchy of art as it was understood by the nascent academies and societies of art established in the same period. This process of establishment needs to be re-framed in the context of satirical intervention, and will be examined via two paintings that provoked distinct satirical responses: Benjamin West's The Death of Wolfe and Francis Hayman's The See-Saw. Correspondingly, satirical print culture itself can be reframed in light of its use (and parody) of academic visual tropes and techniques.

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Local Laughter, Global Polemics

Understanding Charlie Hebdo

Jane Weston Vauclair

Charlie Hebdo became a global name following the tragic events of 7 January 2015 in Paris. Following this, two competing, somewhat reductive forms of commentary on Charlie Hebdo rapidly emerged in the global media. Could Charlie Hebdo effectively be sidelined as a case of egregiously irresponsible and offensive satire, even if the attacks per se were inexcusable? Or could its cartoonists instead be championed as martyrs to free speech, having proved to have a backbone of conviction and courage that had been lacking elsewhere in the media? This article argues that a dual set of tensions have come to the fore through Charlie's vertiginous global exposure. These are tensions between the local and the global, and between the ethics of conviction and the ethics of responsibility. It looks to highlight how Charlie Hebdo's contributors have been engaging with these tensions, both in the 'survivor's issue' of 14 January 2015 and in other spaces of commentary.

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Ridiculous Empire

Satire and European Colonialism in the Comics of Olivier Schrauwen

Robert Aman

of satiric writing. According to Milan Kundera, satire is a politically informed kind of humour, often relying on pastiche and parody. ‘If I had made their talk ridiculous, by exaggerating its excesses, I would have produced what is called satire

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Pranks in Contentious Politics

An Interview with Pauline Pantsdown (AKA Simon Hunt)

Ben Hightower, Scott East, and Simon Hunt

informed by my filmmaking. I have been utilizing Photoshop, collage, and cut-up to create content that plays with new media consumption patterns. Sometimes, I will simply share text, rather than images, and the satire and humor will come through in the way