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[en] I SAW LOBATO THROUGH EMÍLIA: ILLUSTRATED EMÍLIAS FOR LOBATO`S THREE MOMENTS / [pt] VI LOBATO, ATRAVÉS DE EMÍLIA: EMÍLIAS ILUSTRADAS PARA TRÊS FASES DE LOBATORENATA VILANOVA LIMA 18 October 2005 (has links)
[pt] Esta dissertação sugere um ponto de vista acerca da
ilustração no livro infantil. Tem por objeto de análise as
visões de ilustradores sobre uma mesma personagem e
como esta pôde ser transformada nas mãos de cada autor
de imagens.
O objeto de estudo é Emília, personagem escolhida
como ponto de partida para entender um pouco mais sobre
o universo da ilustração em livro.
Simultaneamente, Emília também favorece um
maior entendimento sobre Monteiro Lobato, grande autor
de obras da literatura infantil e importante peça para a
construção de um parque editorial no Brasil.
A pesquisa pôde encontrar outras facetas do
escritor, que justificavam o apuramento técnico dos seus
livros e a exigência com relação à sua visualidade. Lobato
exerceu um papel de designer, escolhendo artistas
conceituados de sua época para ilustrar seus livros. E para
cada uma das três fases da personagem boneca, escolheu
um ilustrador diferente, que mais se adequava ao momento
de Emília na narrativa. Proporcionou, com isso, um
amadurecimento da boneca não apenas pelo texto escrito,
mas também pelas metáforas visuais suscitadas pelas
ilustrações.
Analisou-se várias imagens de Emília(s) e algumas
fases do escritor, para, através de comparações entre as
mesmas, entender melhor sobre a personagem complexa
que conhecemos hoje. Tal metodologia mostrou-se
bastante adequada a nosso propósito.
Observou-se que devido a certa herança visual e às
aberturas propostas pelos neologismos da boneca e pela
liberdade que Lobato lhe delegou, Emília carrega muitos
valores e mensagens contidos no texto escrito e nas
ilustrações que o acompanham.
Conclui-se que todas essas fases que promoveram a
construção de um mosaico extremamente rico que constitui
tanto a boneca quanto a vida de Lobato. / [en] This research holds a point of view about children`s
book illustration. It aims at analyzing some illustrators`
views
concerning one single character, and how this character
came to be transfomed through such views.
Emília, a rag doll, is the chosen character. As an icon
of Brazilian children literature, it helped us to better
understand the process of book illustration in this
country. It
also helped us to understand its author, Monteiro Lobato,
himself an acclaimed children`s writer and a key figure in
Brazil`s book industry.
The research identified other Lobato`s facets, which,
in our opinion, respond for his books` fine aesthetics.
Actually, the writer acted more like a designer when he
chose important artists to illustrate his books. Emília had
three moments, as far as illustration is concerned, each
carried out by a different artist. Lobato defined them
according to Emília`s moment in the story, thereby causing
the character`s evolution via visual metaphors.
We have selected several Emília`s drawings and
some of Lobato`s biographic moments. We, then, made
comparisons in order to understand the complex character
as we came to know nowadays. This methodology proved
fairly adequate to our purposes.
We have also observed that Emília`s symbolic values
and messages, as presented by both image and text in
Lobato`s books, are due to a certain visual heritage and
the openess provided by the character`s neologisms and the
freedom with which Lobato granted it.
All these phases, thus, promote the extremely rich mosaic
that makes up both the doll`s and Lobato`s own lives.
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Karikatura časopisu Dikobraz 1945 - 1968 / The caricature in the Dikobraz Magazine 1945 - 1968Vaverová, Martina January 2016 (has links)
This diploma thesis entitled The caricature in the Dikobraz Magazine 1945 - 1968 deals with the artistic creation of the only satirical magazine in Czechoslovakia since its founding until the crucial year 1968. The thesis explores how caricatures deal with domestic and foreign events. It covers the work of selected cartoonists for the journal, as well as their free production. The thesis also focuses on the editors of the magazine due to their importance for its artistic production. Nevertheless, this part of the thesis is limited due to the limited amount of trustworthy sources.
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[en] HOW ABOUT THOSE IN FAVELA?: THE CONSTRUCTION OF THE NOTION OF FAVELA THROUGH HUMOUR IN THE FIRST REPUBLIC / [pt] QUE TAL OS DA FAVELA?: A CONSTRUÇÃO DA NOÇÃO DE FAVELA A PARTIR DO HUMOR NA PRIMEIRA REPÚBLICAMAYRA CRISTINE PESSOA ANTAS 19 December 2023 (has links)
[pt] A cidade do Rio de Janeiro passou por inúmeras mudanças durante a
Primeira República. A então capital do país, vivia profundas mudanças, tais como
a abertura da Avenida Central ou a derrubada do morro do Castelo. Foi o
momento também da formação das primeiras favelas, que se tornaram elemento
incontornável para pensar a cidade. As revistas ilustradas descreveram essa nova
cidade que se desenhava com seus valores burgueses. A presente tese identificou
o conjunto de caricaturas e charges publicadas pelas revistas O Malho, Careta,
Fon Fon, Para Todos, D. Quixote e Tagarela, que, de alguma forma, abordaram
direta ou indiretamente as favelas durante a Primeira República. Tais revistas
descreveram e representaram a realidade desses espaços e de seus moradores.
Esse trabalho buscou compreender o papel do humor no processo de construção
das favelas como realidade urbana do Rio de Janeiro. / [en] The city of Rio de Janeiro underwent numerous changes during the First
Republic. The then capital of the country was experiencing profound changes,
such as the opening of Avenida Central or the demolition of Morro do Castelo. It
was also the moment for the formation of the first favelas, which became an
unavoidable element in thinking about the city. The illustrated magazines
described this new city that was designed with its bourgeois values. This thesis
identified the set of caricatures and cartoons published by the magazines O
Malho, Careta, Fon Fon, Para Todos, D. Quixote and Tagarela, which, in some
way, directly or indirectly addressed the favelas during the First Republic. Such
magazines described and represented the reality of these spaces and their
residents. This work sought to understand the role of humor in the construction
process of favelas as an urban reality in Rio de Janeiro.
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Turmoil & SinceritySchievink, Hannes January 2024 (has links)
Dissecting the interplay between esotericism, capitalism, theatrics, and vulnerability within illustration and performance-installation. Trying to get closer to my audience through combining my artistic practice with my practice as a tarot-reader.
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I väntan på hufvudpersonen : Identitet och identifikation i svensk skämtbild 1870-1900 / Waiting for the main character : Identity and identification in Swedish cartoons 1870–1900Rossholm, Elisa January 2016 (has links)
In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis. The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.
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La caricature antihitlérienne dans la presse satirique allemande de 1923 à 1933Rouquier, Viviane 19 November 2012 (has links) (PDF)
Cette étude comprend l'analyse et le commentaire de quelques cent-trente-cinq caricatures qui ont pour but de tenter de répondre à la question sur l'éventualité d'une reconstitution historique au travers des caricatures antihitlériennes de la presse satirique de la République de Weimar. Elles illustrent la montée du national-socialisme, du moins par le biais de la critique, puis de l'opposition et de la révolte, que ce dernier a pu susciter au cours des années 1923-1933. Ce travail a nécessité la recherche de faits politiques précis auxquels chaque caricature faisait référence et la comparaison de la représentation proposée par la caricature avec les informations et les jugements donnés rétrospectivement par les historiens. Ce jeu de va-et-vient entre le document-source et l'arrière-plan référentiel a aidé à proposer une estimation de l'écho suscité ou non par l'événement politique en question. Ce choix de caricatures a permis par exemple de voir quelles avaient été les apparitions de Hitler sur la scène politique qui avaient le plus déchaîné les passions. Toutefois il reste difficile de concevoir une histoire de la montée du national-socialisme et de l'opposition à Hitler avant 1933 à partir des seules caricatures.
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Regards de Sergueï Eisenstein sur l'oeuvre d'Honoré Daumier : une réception méconnueAckerman, Ada 12 1900 (has links)
Cette thèse a été effectuée en cotutelle entre l'Université Paris-Ouest-Nanterre-La Défense et l'Université de Montréal. Elle a été réalisée avec le logiciel LateX. / Cette thèse se donne pour ambition d'éclairer un aspect méconnu de l'oeuvre et de la pensée de Sergueï Eisenstein, en se concentrant sur la relation privilégiée qu'il entretient durant toute sa vie avec l'art de Daumier. Tout en traversant l'oeuvre graphique, théâtrale, cinématographique et théorique d'Eisenstein, cette recherche entend également révéler Daumier sous un nouveau jour, en faisant découvrir la réception dont il jouit en Russie et en U.R.S.S. Il s'agira par la même occasion d'exposer et d'interroger le regard stimulant et original qu'Eisenstein porte sur l'art de Daumier. Ce parcours se voudra nécessairement transdisciplinaire. / The aim of this PhD thesis is to cast a new light on Eisenstein's work and thought, by focusing on his privileged relationship with Daumier's art. As we will come across Eisenstein's graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier's still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein's challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar.
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Hidden in Plain Sight: Image, Text, and Social Commentary in Victor Ekpuk's Cartoons for The Daily Times of Nigeria, 1989-1998Jewell, Kaleb W 01 January 2016 (has links)
This thesis provides an analysis of the cartoons produced by Victor Ekpuk for The Daily Times newspaper of Nigeria from 1989 through 1998 and the artist’s use of ancient nsibidi script to “hide in plain sight” his social commentaries on sociopolitical and economic issues in Nigeria. Victor Ekpuk’s original cartoons within the permanent collection of the Smithsonian Institution’s National Museum of African Art are examined in the context of indigenous masking practices and other indirect methods employed by indigenous comedians to protect themselves. Moreover, the cartoons’ use of caricature and their nsibidi scripts within are argued to provide a connotative and denotative dichotomy which allowed the artist to work more freely during a period of oppression.
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[en] SETH: THE SINGULAR CHAPTER IN A BRAZILIAN CARICATURE / [pt] SETH: UM CAPÍTULO SINGULAR NA CARICATURA BRASILEIRALUCIO PICANCO MURUCI 05 January 2007 (has links)
[pt] O objetivo desta tese é o estudo da obra do desenhista
Seth (1891-1949),
um dos mais importantes caricaturistas brasileiros da
primeira metade do século
XX, percebendo sobretudo a singularidade de sua
contribuição, no tocante a
criação de personagens negros, e procurando um amplo
levantamento documental,
biográfico e artístico de sua carreira, buscando analisar
sua trajetória no meio
artístico do Rio de Janeiro entre as décadas de 1910 e
1940, seu percurso
intelectual. A presente pesquisa trabalha com um número
expressivo de desenhos
produzidos durante esse longo período, no qual se destacam
obras da caricatura de
costumes como Quando a morena passa, O democrático bonde,
Dois
desejos, da série Flagrantes Cariocas, entre outras. O
trabalho objetiva ainda o
estudo das inovações que Seth trouxe para a publicidade
com os cartazes da série
Casa Mathias. E procura entender como Seth encontrou na
participação na
política de propaganda cívica do regime Vargas um caminho
para a expressão de
suas crenças nacionalistas, observando sua relação com os
valores do Estado
Novo. / [en] This proposition try to bring lights about Seth (1891-
1949) - one of the
most importants brazilians caricaturists in the first half
of the XX century, talking
about the singularity of his contribution, at the concern
of his black people
characters creations and the searching to enlarge the
documental, biographic and
artistic aspects of his career, analyzing his trajectory
in the middle of the artistic
environment in Rio de Janeiro, between 1910 and 1940
decades, his intellectual
journey. The present research works with au expressive
numbers of drawings,
produced along this period, showing works of the customs
drawings likes the
ones The Brunette´s Walks; The Democratic Streetcar; Two
Desires, all
frow the Cariocas Flagrants series, between others. This
researchs will focus
either the study of publicity innovations introduced by
Seth for Casa Mathias
Magazines calendars and posters. The proposition seeks to
understand how the
artist founded at the civic propaganda in the Vargas
govern times, a way to
express his nacionalistics believes, in the craddle of the
Estado Novo values.
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A comédia satânica de Honoré Daumier: a caricatura política na aurora da comunicação de massas / -Rosa, Pollyana Ferreira 01 December 2014 (has links)
Destacaremos nessa pesquisa alguns aspectos da obra de Honoré Daumier na França no período da Monarquia de Julho (1830-1848) e da Segunda República (1848-1851). Mais especificamente: como o artista analisou e representou o período de 1830-35 e seus principais personagens e acontecimentos, momento de luta política aberta graças à liberdade de imprensa e caricatura; aspectos da \"estética antiburguesa\" de Daumier diante da forte censura, de 1835 a 1848, nos casos do personagem Robert Macaire e de cenas de contraposição trabalhador x burguês; e, o personagem Ratapoil, alegoria da ideologia bonapartista, durante o curto espaço da República, 1848-1851. Dado que esse período é marcado pelo processo de formação da consciência de classe dos trabalhadores franceses, bem como pela difusão da litografia como meio de reprodução imagens - a partir de então aptas a comentar o cotidiano como a imprensa escrita -, sugerimos que a caricatura, cuja função seria mostrar \"o outro lado\" do que retrata, tenha se tornado uma das armas políticas em condições de influenciar não apenas os debates, mas a mobilização política. Pois, durante tal processo, Daumier não apenas tomou parte ao lado dos movimentos trabalhadores e republicanos de maneira coerente. Mais que isso, desenvolveu uma estética caricatural realista ao extremo - sem fundar-se na representação mimética. Uma caricatura realista no sentido de calcada nos acontecimentos históricos e na introdução, nas imagens, de elementos reais que remetem a tais fatos ou personagens recentes, e apresenta-se em imagens alegóricas de fácil leitura. Tal desenvolvimento da caricatura ter-se-ia dado no intuito de comunicar ideias e análises políticas de modo claro e preciso e, assim, tentar inverter as versões e discursos \"oficiais\", ou ainda, \"contra-comunicar\". / This dissertation highlights aspect of the work of Honoré Daumier in France during the July Monarchy (1830-1848) and the Second Republic (1848-1851). Particular emphasis was placed on: how the artist analyzed and represented the period from 1830 to 1835, the main characters and events of these years, a time of open political struggle thanks to freedom of press and thanks to the use of caricature; aspects of the \"anti-bourgeois aesthetic\" of Daumier and its strong opposition to censorship from 1835 to 1848, with the character Robert Macaire and scenes of conflict between the bourgeoisie and the proletariat; and aspects of the character Ratapoil, an allegory of the Bonapartist ideology, during the short period of the Republic, 1848-1851. Considering the fact that this period is marked by the formation of class consciousness of the French workers as well as by the spread of lithography as a means of image reproduction -- henceforth fit to comment on daily life as the written press was - it is suggested that caricature, which has the function of showing \"the other side\" of what it portrays, became one of the political weapons able to influence not only the political debates, but the political mobilizations. That is so because during such process Daumier not only took part alongside the workers movement and the Republicans, but he also developed a extremely realistic cartoon aesthetic -- not based in mimetic representational forms. His caricature was realistic in the sense that it was grounded in historical events and the use of real elements that made reference to events or characters of the time, and is presented in allegorical pictures of easy reading. This could be the result of the artist\'s intention to communicate ideas and political analyzes in a clear and precise manner, and thus invert \"official\" discourses and versions, or even \"counter-communicate\".
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