Thesis (M.S.)--University of Wisconsin--Madison, 1949 -(Dept. of) History. / Bibliography: 5 leaves at end of volume.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1951. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 552-558).

Bien plus que l’expression d’un style dans l’art du dessin politique au XXème siècle, David Low, caricaturiste britannique d’origine néo-zélandaise, s’érigea en conscience face à la montée des périls totalitaires en Europe et dans le reste du monde. Son rôle d’artiste engagé s’inscrit dans l’histoire politique de la Grande-Bretagne contemporaine. Le travail de cette recherche est articulé sur deux axes principaux. D’une part, allant au-delà d’un exercice de lecture et d’interprétation sur l’image et la représentation des caricatures de Low, il analyse les relations de l’artiste avec le pouvoir politique, entre les années 1930 et l’émergence du national-socialisme allemand, jusqu’à la victoire finale des Alliés contre le Troisième Reich, en mai 1945. D’autre part, il étudie le rôle du caricaturiste en tant que « résistant » artistique, à la fois dans son propre pays, contre les effets des politiques « d’apaisement », et sur la scène internationale dans la lutte contre l’Axe. Comment s’est déclenchée cette forme de contestation ? Quelles en furent les caractéristiques ? Comment son opposition s’est-elle organisée ? Quelle en fut l’évolution au cours de la décennie de « paix froide » et pendant la guerre ? Ainsi, s’agira-t-il de préciser la nature et l’importance des cadres dans lesquels l’artiste a oeuvré pendant plus de quinze ans, puis d’évaluer la réalité des contraintes auxquelles il dut faire face, dans son combat contre Hitler et le national-socialisme. / More than the expression of a style in the art of political cartoons during the twentieth century, David Low, British cartoonist, New-Zealander by birth, set up himself as a conscience against the rise of the risks of totalitarianism in Europe and in the rest of the world. His role as committed artist is inscribed on the political history of contemporary Great-Britain. The study of this research is organized into two main thrusts. On the one hand, beyond the reading and the interpretation both of the image and the representation in Low’s cartoons, it analyses the relationship between the artist and the political power, from the 1930’s and the emergence of National Socialism in Germany, to the final victory of the Allies against the Third Reich, in May, 1945. On the other hand, it studies the role of the cartoonist as an artistic “freedom fighter”, both in his own country, against the effects of the “appeasement” policies, and on the international scene in his fight against the Axes. How did this kind of objection start? What were its main characteristics? How was his opposition organized? What was its evolution during the decade of “cold peace” and during the war? Thus, the aim will be to precise the nature and the importance of the environment in which the artist worked during more than fifteen years, and to estimate the reality of the constraints he had to face, in his fight against Hitler and National Socialism.

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Basil Hall Chamberlain and Lafcadio Hearn were two of the best known western interpreters of Meiji Japan. In their correspondence as well as published writings, they commented on the conclusion of the Aoki-Kimberley treaty of 1894 and the subsequent end of the "unequal treaties" and the treaty port system in Japan. Chamberlain, a resident in Tokyo for over two decades, was most concerned with the fate of foreigners in Japan who would be adversely affected by the end of extraterritoriality and the favourable commercial privileges which they had enjoyed since 1858. He was critical of the jingoism of the nationalistic reaction which developed during the course of treaty negotiations. Hearn, in contrast, praised this national or "racial" spirit and credited it with Japan's success at the negotiation table. Partial to ideas of racial difference and conflict, Hearn viewed the new treaty as evidence of the resurgence of an oriental race against the forces of western imperialism.

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