Kent Wisti is a new phenomenon who is successful in social media with his satire drawings. With a softly approach Wisti is questioning the opinions and reactions to current events. The aim of the research is to examine ways and means Wisti uses to form opinions. Today it is difficult to debate about sensitive topics because of the fear of not being considered politically correct, a racist or tied to the opinions that we do not want to be associated with. By examining the topos used and how Wisti speaks about racism and immigration I can thereby discern how Wisti creates enthymem. Therefore I examine the question: How is enthymem created in Kent Wistis drawings? This, in turn, I examine by studying how different topos are used to create enthymem. The research is based on Maria Wolrath Söderbergs method for topos, where I stake on the concepts of points for discussion, bases for discussion and operations for discussion to thereby examine how enthymem are created. The results clearly show that Wisti leaves much implicitly requiring the reader to become a co-creator of enthymem and hence their own convictions. This demands that the readers are well informed of the topics and have similar thought patterns to Wisti in order to fully understand the message. Wisti argues against including prejudices and racism through flaws in various doxa. There are contradictions between what we say and what we do, or between which we want to be and who we are. Doxa is simply something that binds together our decisions and actions with our thinking and reasoning. If these elements do not match, a persons overall impression ruptures.

The Restoration Era, 1660-1688, has long borne a reputation as an exceptionally debauched period of English history. That reputation is however a caricature, amplified from a handful of recognizable features. That rhetoric of debauchery originates in the Restoration’s own discourse, constructed as a language for opposing the rising French-style absolutism of the late Stuart kings, Charles II and James II. When Charles II was restored in 1660, enthusiastic panegyrists returned to the official aesthetics of his father Charles I, who had formulated power as abundance through pastoral, mythological, and utopian art. Oppositional satirists in the Restoration subverted that language of cornucopian abundance to represent Charles II and his court as instead excessive, diseased, and predatory. After the Glorious Revolution of 1688-9, Williamite satirists and secret historians continued to wield these themes against the exiled Jacobites. Gradually, the political facets of Stuart excess dulled, but the caricature of the debauched Restoration survived in eighteenth-century state poem collections and historiography. The authors most emphasized in this study are John Wilmot, Earl of Rochester, and Andrew Marvell. Works by John Milton, John Dryden, Edmund Waller, King Charles I, and Gilbert Burnet also receive sustained attention.

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The artist discusses his Master of Fine Arts thesis exhibition “the emotional plague” held at the Reese Museum in Johnson City, Tennessee from March 2nd through March 27th, 2020 in which he examines a number of literary and invented narrative subjects influenced by science fiction, Surrealism and the current political climate in an attempt to reconcile the social and the personal through the creative act. Largely improvisational in their conception, the paintings and drawings in this exhibition reflect ideas derived from writers, thinkers and artists including Wilhelm Reich, J.G. Ballard, W.S. Burroughs and Goya, all distilled through the uncertain territory of Raynolds’ personal, internal landscape. He utilizes an amalgam of characters, tropes, and stories as metaphorical expressions of social psychosis and decay.

Vicissitudes in the British-German relationship since the Second World War have been reflected in the social and political cartoons produced and published in Britain and Germany referring to the other and the European and international context of their relationship. This survey focuses primarily on press cartoons, analysing and interpreting their content along imagological lines. National stereotypes, symbols, and other imagery are identified and their origins, uses, and possible meanings investigated. The research shows that British cartoonists have often had easy recourse to imagery drawn from and connected with twentieth-century military conflicts and the experience of National Socialism, which they have been loathe to set aside even after fifty years of peace. Such imagery has come particularly to the fore during periods of tension between the two countries. On the other hand, German cartoonists have generally relied upon an older and less provocative palette of imagery. Towards the end of the twentieth century and after reunification, the German caricatural depiction of Britain and the British became less circumspect, with evidence of a sharper and more critical approach. Significant themes and topics in the depiction of the ´other´ are also identfied, such as each country´s position within the European Community, and their treatment is charted.

In a well-known verse Swedish eighteenth century writer Anna Maria Lenngren advise her fictive daughter to avoid reding, since it might distract her from her household chores. This paper intends to examine attitudes towards women’s reading in eighteenth century Sweden, using different kinds of sources: Satirical verses, conduct books for girls and young women and genre paintings by Swedish painter Pehr Hilleström, depicting bourgeoise and aristocratic interiors. In my analysis I make use of the public-private distinction formulated by Jürgen Habermas. Habermas describes the literary public debate as a first step towards a political public debate. The private sphere, in which women a supposed to remain, is in Habermas version divided in an economic and an intimate part, centered on the family and the home. In the satirical verses reading and books aren’t a prominent topic but is mentioned as one of many vices connected to conspicuous consumption and a life “à la mode”. The verses like to contrast the vane, modern woman to the ideal of the good householder. The conduct books give a more nuanced picture of reading as a part of an aristocratic or bourgeoise woman’s life. Reading can be seen as a useful pastime, preferable to playing cards or making idle gossip. According to the conduct books the main purpose of reading should be to inform and educate the reader, not just to entertain her. The paintings confirm the impression that reading was a well-established part of domestic life for women of the leisured classes, but some of them still allows for a more critical view, like the one seen in the verses. The written sources are consistent in the conviction that women’s reading shouldn’t lead to their participation in any public debate. Reading and the fruits of reading are seen to develop and expand the readers personality, and possibly make her more attractive to a future husband, but it is meant to be kept in the private, intimate sphere of the home.

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