The opening of the Estates General in 1789 came at a time of momentous national crisis. France’s separate Three Estates were summoned to meet and collectively decide about how best to remedy France’s many ills. However, the initial collegial spirit between the privileged First and Second Estates and the assertive Third Estate quickly evaporated. Antipathy towards certain nobles, particularly those perceived as corrupt and debauched, quickly crystalized in 1789 into hostile attacks on the entire Second Estate, who were all labeled dangerous “aristocrats”. The rapid disempowerment of one of Europe’s strongest élites is difficult to interpret without discussing the important role of widely produced anti-noble caricatures that targeted France’s nobility. Anti-noble caricatures, ranging from the malicious to the comical, were an essential component in the rapid sidelining and demonization of the nobility. From approximately 1789-1793 anti-noble caricatures constantly degraded and demonized their targets, in unrelenting and accessible imagery, marking them out as traitorous enemies. Caricatures not only helped convince the public that nobles were not only inhuman, but so dangerous in fact, that persecution and violence became options in order to purge France of its alleged aristocratic fifth columnists. / Graduate

Thesis (Ph. D.)--Columbia University, 1989. / eContent provider-neutral record in process. Description based on print version record.

Thesis (Ph. D.)--Columbia University, 1989.

No description available.

La lecture joue un grand rôle dans le processus d’enseignement-apprentissage. Elle constitue une base solide de la formation didactique de l’apprenant pour s’adapter à la société. Il existe quatre niveaux de compréhension en lecture : littérale, inférentielle ou interprétative, critique et créative. Les habiletés de ces quatre niveaux de compréhension sont organisées selon la hiérarchie de la taxonomie de Bloom. Notre recherche portait sur le niveau de la compréhension critique en lecture : la lecture critique. À la suite d’une recension de la littérature scientifique, nous avons constaté que les recherches connues à ce jour appuient l’importance de s’intéresser à la didactique de la lecture en classe de français. Cependant, les résultats semblent peu concluants à l’égard de la lecture critique, malgré son importance. La problématique de notre recherche consiste au fait que les apprenants du Français Langue Étrangère (FLE) éprouvent des difficultés en lecture critique. Ils tendent vers une compréhension globale du texte sans chercher ni comprendre le sens implicite. D’une part, différents auteurs ont montré que les raisons de ces difficultés ne sont pas dues seulement aux étudiants eux-mêmes mais aussi aux méthodes d'enseignement non appropriées à enseigner la lecture critique en FLE. Dans le domaine de l'enseignement des langues étrangères aux locuteurs d'autres langues, certains auteurs préconisent également la didactique de la lecture critique où les enseignants ne font pas juste enseigner aux étudiants les compétences linguistiques de base ou de former leurs habiletés de communication, mais aussi le besoin de développer la conscience critique chez les apprenants qui leur permettent de poser des questions plutôt que d'accepter passivement l'information qu'ils trouvent. D’autre part, la recension a montré que l’enseignement basé sur la caricature semble motivant et amène les apprenants à réfléchir, mais que ce support didactique n’a pas été utilisé auprès d’apprenants de français, surtout au niveau universitaire. Des études ont prouvé l’efficacité de la caricature dans l’enseignement de l’histoire, les sciences et la littératie visuelle et politique. Aucune étude, d’après notre recension d’écrits, n’a porté sur la caricature en didactique de FLE. D’ailleurs c’est un domaine peu investigué. Notre recherche exploratoire voulait intégrer la caricature dans l'enseignement de la lecture critique en FLE. En définitive, notre recherche visait à répondre à la question générale suivante : Quelle est la contribution de la caricature comme support didactique au développement des habiletés de la lecture critique chez les apprenants du FLE ? De cette question découlent les questions spécifiques suivantes : 1- Quel est le rôle de la caricature comme support didactique dans le développement de la lecture critique chez les apprenants du FLE ? Et 2- quelles sont les perceptions des apprenants ciblés à l’égard de la caricature ? Pour ce faire, notre recherche a impliqué l’élaboration d’un dispositif didactique au cœur duquel figurait la caricature. Afin de recueillir les données, nous avons choisi un échantillon volontaire parmi des étudiants adultes qui apprennent le FLE, à l’Université de Sherbrooke. Notre expérimentation didactique consistait à leur faire vivre des activités de lecture critique de textes basés sur la caricature en trois séances complémentaires. Les outils de collecte de données étaient les suivants : des prétests qui précédaient chaque séance du dispositif didactique pour diagnostiquer le niveau des étudiants en lecture critique, des posttests en lecture critique qui suivaient chacune des séances, des entrevues pour identifier les perceptions et les productions des participants. Nous avons analysé l'ensemble des données. Il s’agissait d’une analyse évaluative des réponses des participants dans les pré/posttests; d’une analyse thématique du verbatim des entrevues afin d’identifier les perceptions des participants ; et d’une analyse du contenu des caricatures produites par les participants pour appuyer les résultats obtenus. Les résultats de l’analyse ont indiqué que la caricature a contribué au développement de la lecture critique chez les apprenants du FLE : grandement chez les débutants et les intermédiaires et partiellement chez les avancés. En parallèle, la caricature était positivement perçue par tous les participants. Ceux-ci ont avancé que la caricature était pour eux une expérience originale, motivante et transférable. Ces résultats combinés avec ceux des recherches antérieures dans le même domaine laissent entrevoir que la caricature comme support didactique pourrait favoriser la compréhension en lecture en général chez les apprenants adultes. / Abstract: Reading plays an important role in the teaching / learning process. It constitutes a solid basis for the didactic training of the learner to adapt to society. There are four levels of reading comprehension: literal, inferential or interpretive, critical and creative. The skills of these four levels of understanding are organized according to the hierarchy of Bloom's taxonomy. Our research focused on the level of critical reading comprehension: critical reading. Following a review of the scientific literature, we found that the research known to date supports the importance of taking an interest in reading literacy in French. However, the results seem inconclusive with regard to critical reading, despite its importance. The problem of our research is that the learners of the French Foreign Language (FFL) have difficulties in critical reading. They tend towards a global understanding of the text without going further in the implicit sense. On the one hand, different authors have shown that the reasons for these difficulties are not only due to the students themselves but also to the teaching methods not appropriate to teach critical reading in FFL. In the field of foreign language teaching to speakers of other languages, some authors also advocate the teaching of critical reading where teachers do not just teach students basic language skills or train their communication skills, but also the need to develop critical awareness in learners that allow them to ask questions rather than passively accepting the information they find. On the other hand, the review showed that teaching based on caricature seems motivating and leads learners to think, but that this didactic support was not used with learners of French, especially at the university level. Studies have proven the effectiveness of caricature in the teaching of history, science and visual and political literacy. No study, according to our review of writings, has focused on the caricature in didactics of FFL. Besides, it is a little investigated field. Our exploratory research wanted to integrate caricature into the teaching of critical reading in FFL. As a conclusion, our research aimed to answer the following general question: What is the contribution of caricature as a didactic medium to the development of the skills of critical reading in the learners of the FFL? From this issue arise the following specific questions: 1- What is the role of caricature as a didactic medium in the development of critical reading in the learners of the FFL? And what are the perceptions of targeted learners about caricature? To do this, our research involved the development of a didactic system at the heart of which caricature was included. In order to collect the data, we chose a sample of adult learners who were studying at the University of Sherbrooke. Our didactic experimentation consisted in making them live the activities of critical reading of texts based on caricature in three complementary stages. The data collection tools included pre-tests that preceded each stage of the didactic experimentation to diagnose the participant’s level in critical reading; post-tests that followed each stage; interviews to identify their perceptions, and drawings produced by them. We analyzed all the data. This was an evaluative analysis of the students' responses in pre / posttests; a thematic analysis of the interview verbatim in order to identify their perceptions; and an analysis of the content of the caricatures produced in support of the results obtained. The results of the analysis showed that caricature has greatly contributed to the development of critical reading in FFL among the beginners and intermediates and partially among the advanced students. At the same time, the caricature was positively perceived by all participants. These ones argued that caricature was an original, motivating and transferable experience. These results, combined with previous research in the same field, suggest that caricature as a didactic medium could promote reading comprehension in adult learners in general.

Can Landscape be created like a caricature? How can the key characteristics of a site be celebrated in different ways through design? Can potential design possibilities be generated through celebrating the key characteristics of a site's contexts? My research started with the idea of 'Identity', as the existing Central Plaza copies the physical form of an adjacent park (People's Park) in a simplistic way without considering its own unique key contexts, and I think every location and context is different. Careful consideration of both physical and cultural contexts is what a landscape architect undertakes as an essential part of developing a design, however, how can a stronger or more interesting idea be created for a specific site? One day, the idea of CARICATURE suddenly occurred to me when I was having a shower. What I find inspirational about caricature is the aspect of 'Celebration' which it encourages. Just as a site has unique characteristics and each of them can be celebrated differently, each caricature celebrates the particular physical and emotional characteristics of a single, unique original identity. Each successful caricature can be related clearly to the key characteristics of its own identity, so you can still recognize the person and you are encouraged to have fun as well in that game of recognition. By 'Celebration' I mean the carefully chosen, positive exaggeration, intensification and emphasis of key characteristics which reveal how good, how important, or how unique the site is. 'Celebration' is an act of revealing and sharing the positive potential qualities of a site. In terms of landscape design, what I sought to do is to reinforce the key qualities of my site through design or designs which would emphasize. If landscape is thought about and designed like caricatures are created, interesting or potential possibilities could be generated for design responses. Before celebrating, it is necessary to make sure that the site contexts have been fully analyzed and understood. After that, we can celebrate particular qualities through design. I have produced three different designs based on the conceptual idea of 'caricature'. They are called Topopark, Occupark and Tocopark. Topopark started from a focus on one of the physical context of the site - that is, its topography. It celebrates the topographic context as well as the relationship of the activities between and beneath Central Plaza and People's Park. Occupark focuses on the celebration of the various types of occupation activities which take place. Tocopark started around the possibility of generating the plaza's organisation from the organization of circulation systems and combines to celebrate both topography and active occupation. Although Tocopark is more intensive than Topopark and Occupark in terms of the idea of celebration, all three have different strengthens and weaknesses. Like the example of the caricatures of Ronaldinho, the same identity is celebrated in different ways, but you still can recognize him in each one and enjoy them equally as well, because all of them relate to t he key characteristics of his appearance and personality.

Reproduction de : Thèse de doctorat : Droit privé : Lyon 3 : 2006. / Titre provenant de l'écran-titre. Bibliogr.

Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comics are inherently and almost exclusively visual. Drawing on social definitions for its object, this study challenges that premise and asserts that comics is not just a visual medium. The study outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader's physical senses can be understood. A wide range of examples demonstrate how multisensory communication systems work in both commercial and more experimental contexts. The thesis concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by ocularcentric approaches.

AFRIKAANS: Hoewel die begrip "karikatuur" dikwels genoem word wanneer kritici die aanwesigheid van die satire, parodie en ironie in Etienne Leroux se romans bespreek, word dit nêrens omskryf of ontleed nie. Trouens, daar het tot op datum geen uitvoerige studie oor die karikatuur in die Afrikaanse letterkunde verskyn nie. Hierdie proefskrif is daarop afgestem om teoretiese helderheid te verkry oor wat ‘n karikatuur is, hoe dit as kunsgreep ontwikkel het, en hoe dit in die Leroux-kritiek neerslag gevind het. Die vertekening van bestaande modelle het reeds by primitiewe mense voorgekom en die ontwikkeling daarvan kan ook in die Antieke, die Middeleeue, die Renaissance en tot op hede nagespeur word. Hierdie vertekening het geskied deur ‘n verskeidenheid van tegnieke waarvan oordrywing, onderstelling, verwringing en vermenging die belangrikste is. Die "lag" in die een of ander vorm is altyd aanwesig in die karikatuur, hoewel dit soms afgeskaal kan wees tot ‘n blote grimmige gryns omdat die karikatuur ook tragiese, groteske en selfs grusame dimensies kan besit. Die beskouings van Mikhaïl Bakhtin, die Russiese literêre teoretikus, dien as vertrekpunt vir hierdie studie. Die begrip "karnaval" is die grondslag van die kollektiewe volkskultuur wat Bakhtin se teorie onderlê en die word ook behandel. Dit wys op die inherente behoefte by die mens om die bestaande orde om te keer en ook die vermoë om ‘n humoristiese alternatief van die konvensionele te skep. Studies oor die implementering van die karikatuur in die werk van vier erkende satiriese skrywers, belig die funksies, kwaliteit en aard van karikatuurskepping in die literatuur. Leroux se gebruik van karikature toon 'n noue ooreenkoms met die van bogenoemde skrywers. Dit behels dat die karikatuur dikwels 'n bestanddeel van satire is; dat daar naspeurbare verbande tussen die visuele en die literêre karikatuur bestaan; dat die tegnieke van vertekening en oordrywing essensieel aan die karikatuur is; dat dit bestaande aanvaarde grense en norme oorboord gooi en deurbreek; en dat korrekte begrip van 'n karikatuur by die leser tot 'n herinterpretasie van die werklikheid lei. Ontledings van die karikatuur in twee Leroux-romans, naamlik Die mugu en Sewe dae by die Silbersteins, het getoon dat die doel daarmee is om die hedendaagse samelewing as vals en kunsmatig aan die kaak te stel, maar ook om die Mens se swakhede en vergrype bloot te lê. Die mugu word as 'n karikatuur van die tradisionele ridderroman, soos dit veral rondom die hoofkarakter Gysbrecht Edelhart uitkristalliseer, in oënskou geneem. Dit ontbreek Gysbrecht aan die kenmerkende heroïese daadkragtigheid van die geïdealiseerde ridder. As 'n karikatuur van die ridder word Gysbrecht 'n anti-held, 'n verworde ridder in 'n verworde wêreld. In Sewe dae by die Silbersteins sluit Leroux aan by die middeleeuse karikatuurgenre, Die Dans van die Dood. Die idee van 'n reidans met die Dood as sentrale figuur om die lewendes oor die drumpel van die lewe na die dood te lei, word ook in genoemde roman aangetref met lady Mandrake as die doodsfiguur. Die oorblywende Leroux-romans sou in verdere studies op soortgelyke wyse ondersoek kon word. ENGLISH: Although the concept "caricature" is often mentioned by critics in their studies on satire, parody and irony in the novels of Etienne Leroux, definitions and analyses of and discussions on the concept are critically absent. In fact, to date no comprehensive study on caricature has appeared in the field of Afrikaans literature. This thesis aims to achieve theoretical lucidity on the exact nature of caricature, the origin and development of caricature in art, and the expression of caricature in Leroux's literature. The distortion of existing models was already found in primitive societies and the development thereof can be traced through Antiquity, the Middle Ages, the Renaissance and up to the present time. Distortion then comprised a wide variety of techniques the most important being exaggeration, understatement, and the contortion and intermingling of features. Laughter in one form or another is always present in caricature, although it may be scaled down to a mere grimace as caricature can also have tragic, grotesque and even gruesome dimensions. The views of Mikhaïl Bakhtin, the Russian literary theorist, serve as a point of departure in this study. The concept of the 11 carnival 11 is fundamental to the folk culture on which Bakhtin bases his theory and this is comprehensively discussed. This concept illustrates the inherent need in humans to overturn the conventional order and their ability to create a humoristic alternative to the norm. Studies on the implementation of caricature in the works of four known authors of satire enlighten the functions, qualities and nature of caricature in literature. Leroux's use of caricature shows a close resemblance to that of the above-mentioned authors. It embraces caricature as a component of satire; determines ascertainable connections between visual and literary caricature; claims that distortion and overstatement are essential elements of caricature; and finds that caricature incurses and discards existing and accepted norms and boundaries. Where the reader comprehends a caricature correctly it inevitably leads to a reinterpretation of reality. Analyses of two Leroux novels, Die mugu and Sewe dae by die Silbersteins indicate that caricature is used in satirical writing to reveal the present-day society as false and artificial, but also to expose the weaknesses and transgressions of Man. Die mugu is examined as a caricature of the traditional romance of chivalry with the main character Gysbrecht Edelhart, as central figure. Gysbrecht lacks the typical heroic chivalry and forcefulness of the idealized knight. As a caricaturized knight he becomes an anti-hero a perverted knight within a perverse society. Leroux implements The Dance of Death, a medieval genre of caricature, in Sewe dae by die Silbersteins. In the novel the idea of Death escorting the living over the threshold of life into death culminates in the figure of Lady Mandrake. The remaining Leroux novels could possibly be analysed in the same way in future studies. / Thesis (DLitt)--University of Pretoria, 2013. / Afrikaans / unrestricted

La caricature de mœurs fait définitivement son apparition à Madrid dans Gil Blas. Elle s'empare d'abord de la question féminine en se penchant sur la différence des corps. Les caricaturistes dénoncent les apparences fallacieuses du corps de la bourgeoise dans un déshabillage qui met en perspective un discours masculin sur les dépenses associées aux toilettes et livre un discours en creux sur la condition masculine à travers la critique du mariage. Le corps des femmes des classes populaires est marqué par le travail, la précarité, la vulnérabilité, la solitude. Autant de circonstances qui font planer le danger de l'entrée dans la prostitution, signifiée aussi par la ritualisation du corps empruntée à la silhouette de la cocotte. La caricature de mœurs s'oriente vers le terrain de l'érotico-festif en multipliant les figures de cocottes boulevardières. Celles-ci manifestent le nouveau statut de l'image commerciale de la femme. L'épaisseur sociale du corps féminin disparaît. Aux scènes de séduction où le caricaturiste déjoue le jeu hypocrite du marché de la chair, succède une représentation de la séduction de l'image. La prééminence de la cocotte manifeste l'avènement des nouveaux usages de la consommation. Dans la pluralité des images de la femme qui circulent dans la deuxième moitié du siècle, les caricatures diffusées massivement occupent une place décisive. / Moral caricature definitely appears in Madrid in Gil Blas. It first focuses on the question of woman, scrutinising bodily differences. Caricaturists denounce the deceptive appearances of the bourgeois female body and uncover the male discourse about the spending on garments. Thus they indirectly offer a discourse on the male condition, through criticising marriage. The body of lower-class women is affected by work, precariousness, vulnerability and loneliness –circumstances meaning that the danger of prostitution is ever present. Prostitution is also indicated by the ritualisation visible in the body of the cocotte. Moral caricature becomes both erotic and humorous while showing more and more streetwalkers, who embody the status of the commercial image of woman. The social dimension of the female body disappears. Seduction scenes in which the caricaturist unveils the hypocrite game of the commerce of flesh are replaced by images which seduce. The predominance of the cocotte ushers in new habits of consumption. Among the many diverse images of woman that circulate in the second half of the 19th century, massively diffused caricatures play a decisive role.