Jason Jacobs
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198742340
- eISBN:
- 9780191695018
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198742340.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book explores the formative period of British television drama, concentrating on the years 1936–55. It examines the continuities and changes of early television drama, and the impact this had ...
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This book explores the formative period of British television drama, concentrating on the years 1936–55. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent ‘golden age’. In particular, it questions the caricature of early television drama as ‘photographed stage plays’ and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques. It also explores the often competing definitions about the form and aesthetics of early television drama both inside and outside the BBC. Given the absence of an audio-visual record of early television drama, the book uses written archive material in order to reconstruct how early television drama looked, and how it was considered by producers and critics, whilst also offering a critical examination of surviving dramas, such as Rudolph Cartier's Nineteen Eighty-Four.Less
This book explores the formative period of British television drama, concentrating on the years 1936–55. It examines the continuities and changes of early television drama, and the impact this had upon the subsequent ‘golden age’. In particular, it questions the caricature of early television drama as ‘photographed stage plays’ and argues that early television pioneers in fact produced a diverse range of innovative drama productions, using a wide range of techniques. It also explores the often competing definitions about the form and aesthetics of early television drama both inside and outside the BBC. Given the absence of an audio-visual record of early television drama, the book uses written archive material in order to reconstruct how early television drama looked, and how it was considered by producers and critics, whilst also offering a critical examination of surviving dramas, such as Rudolph Cartier's Nineteen Eighty-Four.
Sonya Stephens
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198158776
- eISBN:
- 9780191673351
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198158776.001.0001
- Subject:
- Literature, European Literature, Poetry
The aim of this book is to offer a new reading of Baudelaire's Petits Poèmes en Prose that demonstrates the significance of ironic otherness for the theory and functioning of the work and for the ...
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The aim of this book is to offer a new reading of Baudelaire's Petits Poèmes en Prose that demonstrates the significance of ironic otherness for the theory and functioning of the work and for the genre of the prose poem itself. The book considers Baudelaire's choice of this genre and the way in which he seeks to define it, both paratextually and textually. It examines the ways in which the prose poem depends on dualities and déboublements as forms of lyrical and narrative difference which, in their turn, reveal ideological otherness and declare the oppositionality of the prose poem. Finally, the book demonstrates a relationship between these forms of otherness and Baudelaire's theory of the popular comic arts and, in doing so, proposes that the prose poems should be read as literary caricature.Less
The aim of this book is to offer a new reading of Baudelaire's Petits Poèmes en Prose that demonstrates the significance of ironic otherness for the theory and functioning of the work and for the genre of the prose poem itself. The book considers Baudelaire's choice of this genre and the way in which he seeks to define it, both paratextually and textually. It examines the ways in which the prose poem depends on dualities and déboublements as forms of lyrical and narrative difference which, in their turn, reveal ideological otherness and declare the oppositionality of the prose poem. Finally, the book demonstrates a relationship between these forms of otherness and Baudelaire's theory of the popular comic arts and, in doing so, proposes that the prose poems should be read as literary caricature.
Ceri Sullivan
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199547845
- eISBN:
- 9780191720901
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199547845.003.0008
- Subject:
- Literature, 17th-century and Restoration Literature
Each element in the syllogism of the conscience has been tested and found faulty, and each breakdown has been expressed through an alteration in the poet's flesh. Though under Christian theology an ...
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Each element in the syllogism of the conscience has been tested and found faulty, and each breakdown has been expressed through an alteration in the poet's flesh. Though under Christian theology an enquiry into the body is also an enquiry into the godhead that it images, the form mirrored by the poems is not flawless. In Donne, Herbert, and Vaughan, the body is forced into a grotesque shape by the divine pressure to speak. The psychological costs of maintaining a conscience are the aetiolated attitudes of boredom, irony, and opportunistic agreement. They appear in a caricature of a body which is tortured, particulated, involuted, written, on and wrung out. It is thus never wholly the poets' own as it utters someone else's intruded words. Though poems murmur about techniques of control, the devices of grace force disgruntled ejaculations from them. They are more than they mean to say. Such a consciously inadequate use by the poets must shake the position which metaphysical poetry has held for two decades, through Lewalski's scholarly vigour, of being a solely and stoutly Protestant poetics of the Word. Indeed, Stuart writers show that the torques produced by enigma, aposiopesis, subjectio, antanaclasis, and chiasmus engineer the conscience with perhaps a little discomfort in a prosthetic poetics.Less
Each element in the syllogism of the conscience has been tested and found faulty, and each breakdown has been expressed through an alteration in the poet's flesh. Though under Christian theology an enquiry into the body is also an enquiry into the godhead that it images, the form mirrored by the poems is not flawless. In Donne, Herbert, and Vaughan, the body is forced into a grotesque shape by the divine pressure to speak. The psychological costs of maintaining a conscience are the aetiolated attitudes of boredom, irony, and opportunistic agreement. They appear in a caricature of a body which is tortured, particulated, involuted, written, on and wrung out. It is thus never wholly the poets' own as it utters someone else's intruded words. Though poems murmur about techniques of control, the devices of grace force disgruntled ejaculations from them. They are more than they mean to say. Such a consciously inadequate use by the poets must shake the position which metaphysical poetry has held for two decades, through Lewalski's scholarly vigour, of being a solely and stoutly Protestant poetics of the Word. Indeed, Stuart writers show that the torques produced by enigma, aposiopesis, subjectio, antanaclasis, and chiasmus engineer the conscience with perhaps a little discomfort in a prosthetic poetics.
Henry B. Wonham
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195161946
- eISBN:
- 9780199788101
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195161946.003.0001
- Subject:
- Literature, African-American Literature
This chapter describes the rise of caricature in American newspapers and periodicals during the 19th century, linking this history to technological and economic developments in the printing industry. ...
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This chapter describes the rise of caricature in American newspapers and periodicals during the 19th century, linking this history to technological and economic developments in the printing industry. It explores the popularity of ethnic caricature in particular, especially the vogue for “coon” images in songs and graphic publications during the 1880s and 1890s. The chapter offers examples of graphic caricatures depicting Jews, the Irish, African Americans, Native American, Germans, and representatives of other groups.Less
This chapter describes the rise of caricature in American newspapers and periodicals during the 19th century, linking this history to technological and economic developments in the printing industry. It explores the popularity of ethnic caricature in particular, especially the vogue for “coon” images in songs and graphic publications during the 1880s and 1890s. The chapter offers examples of graphic caricatures depicting Jews, the Irish, African Americans, Native American, Germans, and representatives of other groups.
Henry B. Wonham
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195161946
- eISBN:
- 9780199788101
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195161946.003.0002
- Subject:
- Literature, African-American Literature
This chapter examines William Dean Howells' theoretical defence of realism as a representational mode suited to America's democratic sensibilities. Working with this understanding of realism's social ...
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This chapter examines William Dean Howells' theoretical defence of realism as a representational mode suited to America's democratic sensibilities. Working with this understanding of realism's social commitments, this chapter attempts to account for Howells's frequent and seemingly contradictory use of ethnic caricatures in his fiction. The discussion focuses on two novels, A Hazard of New Fortunes and An Imperative Duty, as well as Howells' collection of critical essays, Criticism and Fiction, and his Suburban Sketches. It is argued that the democratic politics associated with Howells' realist aesthetic coexist with nativist anxieties that inspire his use of ethnic caricature.Less
This chapter examines William Dean Howells' theoretical defence of realism as a representational mode suited to America's democratic sensibilities. Working with this understanding of realism's social commitments, this chapter attempts to account for Howells's frequent and seemingly contradictory use of ethnic caricatures in his fiction. The discussion focuses on two novels, A Hazard of New Fortunes and An Imperative Duty, as well as Howells' collection of critical essays, Criticism and Fiction, and his Suburban Sketches. It is argued that the democratic politics associated with Howells' realist aesthetic coexist with nativist anxieties that inspire his use of ethnic caricature.
Henry B. Wonham
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195161946
- eISBN:
- 9780199788101
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195161946.003.0004
- Subject:
- Literature, African-American Literature
This chapter assesses the exaggerated ethnic imagery Henry James employs in The American Scene in relation to the outlandish racist comedy that appeared in the era's magazines and newspapers. Moving ...
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This chapter assesses the exaggerated ethnic imagery Henry James employs in The American Scene in relation to the outlandish racist comedy that appeared in the era's magazines and newspapers. Moving from The American Scene to The Golden Bowl, this chapter argues that a modified logic of ethnic caricature informs James' fictional technique as well. The Golden Bowl's Italian Prince Amerigo and the novel's Jewish antiquarians constitute some of the period's most provocative examples of ethnic caricature.Less
This chapter assesses the exaggerated ethnic imagery Henry James employs in The American Scene in relation to the outlandish racist comedy that appeared in the era's magazines and newspapers. Moving from The American Scene to The Golden Bowl, this chapter argues that a modified logic of ethnic caricature informs James' fictional technique as well. The Golden Bowl's Italian Prince Amerigo and the novel's Jewish antiquarians constitute some of the period's most provocative examples of ethnic caricature.
Henry B. Wonham
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195161946
- eISBN:
- 9780199788101
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195161946.003.0005
- Subject:
- Literature, African-American Literature
This chapter explores Edith Wharton's ambivalent attitude toward the social conventions that structure her fictional world. It argues that caricature allows Wharton to challenge categories of class ...
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This chapter explores Edith Wharton's ambivalent attitude toward the social conventions that structure her fictional world. It argues that caricature allows Wharton to challenge categories of class and ethnic organization even as she underwrites their authority more firmly in the realm of ethnic representation. The chapter focuses on Rosedale, the “impossible Jew” of The House of Mirth, and on Lily Bart, herself a caricature of the white woman of fashion.Less
This chapter explores Edith Wharton's ambivalent attitude toward the social conventions that structure her fictional world. It argues that caricature allows Wharton to challenge categories of class and ethnic organization even as she underwrites their authority more firmly in the realm of ethnic representation. The chapter focuses on Rosedale, the “impossible Jew” of The House of Mirth, and on Lily Bart, herself a caricature of the white woman of fashion.
Paul Baines and Pat Rogers
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780199278985
- eISBN:
- 9780191700002
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199278985.001.0001
- Subject:
- Literature, 18th-century Literature
Edmund Curll was a notorious figure among the publishers of the early eighteenth century: for his boldness, his lack of scruple, his publication of work without authors' consent, and his taste for ...
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Edmund Curll was a notorious figure among the publishers of the early eighteenth century: for his boldness, his lack of scruple, his publication of work without authors' consent, and his taste for erotic and scandalous publications. He was in legal trouble on several occasions for piracy and copyright infringement, unauthorised publication of the works of peers, and for seditious, blasphemous, and obscene publications. He stood in the pillory in 1728 for seditious libel. Above all, he was the constant target of the greatest poet and satirist of his age, Alexander Pope, whose work he pirated whenever he could and who responded with direct physical revenge (an emetic slipped into a drink) and persistent malign caricature. The war between Pope and Curll typifies some of the main cultural battles being waged between creativity and business. The story has normally been told from the poet's point of view, though more recently Curll has been celebrated as a kind of literary freedom-fighter. This book seeks to give a balanced and thoroughly-researched account of Curll's career in publishing between 1706 and 1747, untangling the mistakes and misrepresentations that have accrued over the years and restoring a clear sense of perspective to Curll's dealings in the literary marketplace. It examines the full range of Curll's output, including his notable antiquarian series, and uses extensive archive material to detail Curll's legal and other troubles, telling what is known about this strange and awkward figure.Less
Edmund Curll was a notorious figure among the publishers of the early eighteenth century: for his boldness, his lack of scruple, his publication of work without authors' consent, and his taste for erotic and scandalous publications. He was in legal trouble on several occasions for piracy and copyright infringement, unauthorised publication of the works of peers, and for seditious, blasphemous, and obscene publications. He stood in the pillory in 1728 for seditious libel. Above all, he was the constant target of the greatest poet and satirist of his age, Alexander Pope, whose work he pirated whenever he could and who responded with direct physical revenge (an emetic slipped into a drink) and persistent malign caricature. The war between Pope and Curll typifies some of the main cultural battles being waged between creativity and business. The story has normally been told from the poet's point of view, though more recently Curll has been celebrated as a kind of literary freedom-fighter. This book seeks to give a balanced and thoroughly-researched account of Curll's career in publishing between 1706 and 1747, untangling the mistakes and misrepresentations that have accrued over the years and restoring a clear sense of perspective to Curll's dealings in the literary marketplace. It examines the full range of Curll's output, including his notable antiquarian series, and uses extensive archive material to detail Curll's legal and other troubles, telling what is known about this strange and awkward figure.
David Francis Taylor
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642847
- eISBN:
- 9780191738869
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642847.003.0008
- Subject:
- Literature, Drama, 18th-century Literature
In this conclusion, I use graphic satires by the likes of James Gillray, Isaac Cruikshank, and William Dent as a means of both reaffirming and problematizing Sheridan’s ‘theatrical politics’. ...
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In this conclusion, I use graphic satires by the likes of James Gillray, Isaac Cruikshank, and William Dent as a means of both reaffirming and problematizing Sheridan’s ‘theatrical politics’. Sheridan appeared in close to 500 political caricatures during his life, and a survey of these prints—which frequently appropriated the characters and vocabularies of his own plays, of Shakespeare’s works, and of the pantomime—shows how entrenched tensions between the propriety of parliament and the supposed impropriety of the playhouse provided a constant impediment to Sheridan’s political aspirations. The language of drama deployed in caricatures of Sheridan was powerfully charged with particular social and moral values: theatrical politics becomes, in such graphic satire, a lower-class politics of insincerity.Less
In this conclusion, I use graphic satires by the likes of James Gillray, Isaac Cruikshank, and William Dent as a means of both reaffirming and problematizing Sheridan’s ‘theatrical politics’. Sheridan appeared in close to 500 political caricatures during his life, and a survey of these prints—which frequently appropriated the characters and vocabularies of his own plays, of Shakespeare’s works, and of the pantomime—shows how entrenched tensions between the propriety of parliament and the supposed impropriety of the playhouse provided a constant impediment to Sheridan’s political aspirations. The language of drama deployed in caricatures of Sheridan was powerfully charged with particular social and moral values: theatrical politics becomes, in such graphic satire, a lower-class politics of insincerity.
David Francis Taylor
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300223750
- eISBN:
- 9780300235593
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300223750.001.0001
- Subject:
- Literature, Criticism/Theory
This book explores how the works of William Shakespeare, John Milton, Jonathan Swift, and others were taken up by caricaturists as a means of helping the eighteenth-century British public make sense ...
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This book explores how the works of William Shakespeare, John Milton, Jonathan Swift, and others were taken up by caricaturists as a means of helping the eighteenth-century British public make sense of political issues, outrages, and personalities. The first in-depth exploration of the relationship between literature and visual satire in this period, the book explores how great texts, seen through the lens of visual parody, shape how we understand the political world. It offers a fascinating, novel approach to literary history.Less
This book explores how the works of William Shakespeare, John Milton, Jonathan Swift, and others were taken up by caricaturists as a means of helping the eighteenth-century British public make sense of political issues, outrages, and personalities. The first in-depth exploration of the relationship between literature and visual satire in this period, the book explores how great texts, seen through the lens of visual parody, shape how we understand the political world. It offers a fascinating, novel approach to literary history.
Catherine J. Golden
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780813062297
- eISBN:
- 9780813053189
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062297.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of ...
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The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.Less
The Victorian illustrated book is a genre that came into being, flourished, and evolved during the long nineteenth century and finds new expression in present-day graphic novel adaptations of nineteenth-century novels. This history of the Victorian illustrated book focuses on fluidity in styles of illustration across the arc of a genre diverse enough to include serial instalments, British and American periodicals, adult and children’s literature, and—most recently—graphic novels. The caricature school of illustration, popular in the 1830s and 1840s, was not a transient first period in the history of the illustrated book. In the 1870s, Academy-trained artists for the Household Edition of Dickens’s work refined characters created by George Cruikshank and Hablot Knight Browne for an audience that appreciated realism in illustration, but their illustrations carry the imprint of caricature. At the fin de siècle—which some critics consider a third period of the Victorian illustrated book and others call the genre’s decline—book illustration thrived in certain serial formats, artists’ books, children’s literature, and the U.S. market where we again witness a reengagement with the caricature tradition as well as a continuation of the realistic school. The Victorian illustrated book finds new expression in our time; the graphic novel adaptation of Victorian novels, referred to as the graphic classics, is a prescient modern form of material culture that is the heir of the Victorian illustrated book.
J. A. Hiddleston
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198159322
- eISBN:
- 9780191673597
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159322.003.0004
- Subject:
- Literature, European Literature
This chapter develops, in a ‘Baudelairean’ manner, the suggestive quality of the works he admires. Wherever relevant, it also indicates the relationship of the art criticism to his other writings, in ...
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This chapter develops, in a ‘Baudelairean’ manner, the suggestive quality of the works he admires. Wherever relevant, it also indicates the relationship of the art criticism to his other writings, in particular Les Fleurs du Mal and Le Spleen de Paris.Less
This chapter develops, in a ‘Baudelairean’ manner, the suggestive quality of the works he admires. Wherever relevant, it also indicates the relationship of the art criticism to his other writings, in particular Les Fleurs du Mal and Le Spleen de Paris.
WALTER REDFERN
- Published in print:
- 2008
- Published Online:
- October 2011
- ISBN:
- 9780199237579
- eISBN:
- 9780191696749
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199237579.003.0008
- Subject:
- Literature, European Literature
In all French dictionaries, blague means ‘bag’ (from Dutch balg, a sack), and secondarily, a joke. By association, blague came to signify windbag, joker. The blague is polysemous, jack-of-all-trades. ...
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In all French dictionaries, blague means ‘bag’ (from Dutch balg, a sack), and secondarily, a joke. By association, blague came to signify windbag, joker. The blague is polysemous, jack-of-all-trades. Probably his most sustained blague, Vallès began on the slant with his provocative text L'Argent. If rhetoric is the art of persuasion, Vallès's variety is seldom hidden persuasion. To bridge, perhaps shakily, the gap between oblique and straight-up modes of the blague, this chapter passes to sentimentality, which is both head on (it assails our emotions) and devious (it has designs on us). It is the other side of the would-be hard-faced blague. In caricature, that visual blague usually isolates a part of a whole and amplifies it, not always with cruel intent. Black (or sick, gallows, calamity, graveyard, doomsday) humour is thumbscrew humour. In the medical sense, ‘sardonic’ refers to a death-grimace, a rictus. Gallows humour is the last laugh.Less
In all French dictionaries, blague means ‘bag’ (from Dutch balg, a sack), and secondarily, a joke. By association, blague came to signify windbag, joker. The blague is polysemous, jack-of-all-trades. Probably his most sustained blague, Vallès began on the slant with his provocative text L'Argent. If rhetoric is the art of persuasion, Vallès's variety is seldom hidden persuasion. To bridge, perhaps shakily, the gap between oblique and straight-up modes of the blague, this chapter passes to sentimentality, which is both head on (it assails our emotions) and devious (it has designs on us). It is the other side of the would-be hard-faced blague. In caricature, that visual blague usually isolates a part of a whole and amplifies it, not always with cruel intent. Black (or sick, gallows, calamity, graveyard, doomsday) humour is thumbscrew humour. In the medical sense, ‘sardonic’ refers to a death-grimace, a rictus. Gallows humour is the last laugh.
Louis Rose
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780300221473
- eISBN:
- 9780300224252
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300221473.001.0001
- Subject:
- History, European Modern History
The book presents a vivid portrait of two remarkable twentieth-century thinkers and their landmark collaboration on the use and abuse of caricature and propaganda in the modern world. In 1934, ...
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The book presents a vivid portrait of two remarkable twentieth-century thinkers and their landmark collaboration on the use and abuse of caricature and propaganda in the modern world. In 1934, Viennese art historian and psychoanalyst Ernst Kris invited his mentee E.H. Gombrich to collaborate on a project that had implications for psychology and neuroscience, and foreshadowed their contributions to the Allied war effort. Their subject: caricature and its use and abuse in propaganda. Their collaboration was a seminal early effort to integrate science, the humanities, and political awareness. In this fascinating biographical and intellectual study, this book explores the content of Kris and Gombrich's project and its legacy.Less
The book presents a vivid portrait of two remarkable twentieth-century thinkers and their landmark collaboration on the use and abuse of caricature and propaganda in the modern world. In 1934, Viennese art historian and psychoanalyst Ernst Kris invited his mentee E.H. Gombrich to collaborate on a project that had implications for psychology and neuroscience, and foreshadowed their contributions to the Allied war effort. Their subject: caricature and its use and abuse in propaganda. Their collaboration was a seminal early effort to integrate science, the humanities, and political awareness. In this fascinating biographical and intellectual study, this book explores the content of Kris and Gombrich's project and its legacy.
TIM FARRANT
- Published in print:
- 2002
- Published Online:
- January 2010
- ISBN:
- 9780198151975
- eISBN:
- 9780191710247
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151975.003.0005
- Subject:
- Literature, European Literature
Balzac began the Scènes de la vie privée in 1829, the same year when it was just becoming possible to publish short fiction in the press. For all the importance of that first cycle of stories, ...
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Balzac began the Scènes de la vie privée in 1829, the same year when it was just becoming possible to publish short fiction in the press. For all the importance of that first cycle of stories, Balzac’s fiction owes much to his numerous contemporary articles and narratives in four newspapers in particular: La Mode, La Silhouette, La Caricature, and Le Voleur. This chapter shows that writing for the press was to mark a vital new stage in his fiction — to develop his handling of brief articles, of pen-portraits, satire, and the fantastic, within the confines of house style; and, in some of his most dramatic narratives, El Verdugo, Adieu, and Le Réquisitionnaire, to face him with the fitting of fiction to the demands of the press. It would open new horizons, but impose new constraints.Less
Balzac began the Scènes de la vie privée in 1829, the same year when it was just becoming possible to publish short fiction in the press. For all the importance of that first cycle of stories, Balzac’s fiction owes much to his numerous contemporary articles and narratives in four newspapers in particular: La Mode, La Silhouette, La Caricature, and Le Voleur. This chapter shows that writing for the press was to mark a vital new stage in his fiction — to develop his handling of brief articles, of pen-portraits, satire, and the fantastic, within the confines of house style; and, in some of his most dramatic narratives, El Verdugo, Adieu, and Le Réquisitionnaire, to face him with the fitting of fiction to the demands of the press. It would open new horizons, but impose new constraints.
Dominic Janes
- Published in print:
- 2016
- Published Online:
- September 2019
- ISBN:
- 9780226358642
- eISBN:
- 9780226396552
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226396552.001.0001
- Subject:
- History, British and Irish Modern History
Lawyers representing Oscar Wilde claimed that the Marquess of Queensberry had libelled their client by scrawling a phrase on a card that the latter had left at the Albemarle Club in London. At the ...
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Lawyers representing Oscar Wilde claimed that the Marquess of Queensberry had libelled their client by scrawling a phrase on a card that the latter had left at the Albemarle Club in London. At the ensuing trial this was taken to refer to posing as a sodomite. This implies that there was an identifiable way in which to behave and appear in public life as a being sexually interested in other men. But what then what did sodomites look like? And has the role of Wilde been over-emphasised? This study asks whether his example should be appreciated not so much for having revolutionised the ability of such men to appear visible to each other as for having made the general public think that they knew how to recognise a sexual deviant on the spurious grounds that all homosexuals were like Wilde. The implication of this is that this period may have seen not so much the creation of a social identity for men who desired sex with men as the crude imposition of a stereotype upon them. These concepts are explored through case studies of the interactions of dandyism and caricature in the construction of queer forms of masculinity from the mid-Georgian to the late Victorian periods.Less
Lawyers representing Oscar Wilde claimed that the Marquess of Queensberry had libelled their client by scrawling a phrase on a card that the latter had left at the Albemarle Club in London. At the ensuing trial this was taken to refer to posing as a sodomite. This implies that there was an identifiable way in which to behave and appear in public life as a being sexually interested in other men. But what then what did sodomites look like? And has the role of Wilde been over-emphasised? This study asks whether his example should be appreciated not so much for having revolutionised the ability of such men to appear visible to each other as for having made the general public think that they knew how to recognise a sexual deviant on the spurious grounds that all homosexuals were like Wilde. The implication of this is that this period may have seen not so much the creation of a social identity for men who desired sex with men as the crude imposition of a stereotype upon them. These concepts are explored through case studies of the interactions of dandyism and caricature in the construction of queer forms of masculinity from the mid-Georgian to the late Victorian periods.
David Francis Taylor
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300223750
- eISBN:
- 9780300235593
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300223750.003.0001
- Subject:
- Literature, Criticism/Theory
This introductory chapter discusses the literariness of graphic satire. First applied to visual satire in the mid-nineteenth century, the term graphic satire problematically implies a straightforward ...
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This introductory chapter discusses the literariness of graphic satire. First applied to visual satire in the mid-nineteenth century, the term graphic satire problematically implies a straightforward formal equivalence between the modern editorial cartoon and the political caricature of the Georgian period, which was published and disseminated as a single-sheet etching. However, the fallacy that such images yield their meaning directly and near instantaneously is an old one. To speak of the literariness of caricature is to recognize and attend to its syntactical and narrative structures: structures that are themselves constituted through the enmeshing of images and words; the appropriation and parody of literary scenes and tropes; and often-dense networks of allusions to other cultural texts, practices, and traditions. It is also necessary to acknowledge that a print's meaning and sociopolitical orientation comes into focus only when seen in relation to the cultural constellation of which it was a vital and highly self-conscious constituent.Less
This introductory chapter discusses the literariness of graphic satire. First applied to visual satire in the mid-nineteenth century, the term graphic satire problematically implies a straightforward formal equivalence between the modern editorial cartoon and the political caricature of the Georgian period, which was published and disseminated as a single-sheet etching. However, the fallacy that such images yield their meaning directly and near instantaneously is an old one. To speak of the literariness of caricature is to recognize and attend to its syntactical and narrative structures: structures that are themselves constituted through the enmeshing of images and words; the appropriation and parody of literary scenes and tropes; and often-dense networks of allusions to other cultural texts, practices, and traditions. It is also necessary to acknowledge that a print's meaning and sociopolitical orientation comes into focus only when seen in relation to the cultural constellation of which it was a vital and highly self-conscious constituent.
David Francis Taylor
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300223750
- eISBN:
- 9780300235593
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300223750.003.0002
- Subject:
- Literature, Criticism/Theory
This chapter examines the satirical print. The single-sheet satirical print was fundamentally a social form; it was designed to be seen, enjoyed, and lingered over by the group far more than the ...
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This chapter examines the satirical print. The single-sheet satirical print was fundamentally a social form; it was designed to be seen, enjoyed, and lingered over by the group far more than the solitary reader. As the sites of display and modes of engagement that structured the culture of caricature make abundantly clear, prints not only invited but were in many ways predicated on practices of communal reading and consumption. Most obviously, the exhibition of engravings, satirical and otherwise, in the shopwindows of London's print sellers—a ubiquitous custom by the midcentury—ensured that prints were part of the texture of everyday pedestrian experience in Georgian London. Equally, within the home, especially the houses of the gentry and aristocracy, graphic satire was principally to be found in the communal space and rituals of the drawing room.Less
This chapter examines the satirical print. The single-sheet satirical print was fundamentally a social form; it was designed to be seen, enjoyed, and lingered over by the group far more than the solitary reader. As the sites of display and modes of engagement that structured the culture of caricature make abundantly clear, prints not only invited but were in many ways predicated on practices of communal reading and consumption. Most obviously, the exhibition of engravings, satirical and otherwise, in the shopwindows of London's print sellers—a ubiquitous custom by the midcentury—ensured that prints were part of the texture of everyday pedestrian experience in Georgian London. Equally, within the home, especially the houses of the gentry and aristocracy, graphic satire was principally to be found in the communal space and rituals of the drawing room.
David Francis Taylor
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300223750
- eISBN:
- 9780300235593
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300223750.003.0005
- Subject:
- Literature, Criticism/Theory
This chapter assesses John Milton's Paradise Lost as a source for graphic satire. The many graphic satirical parodies of Paradise Lost disclose the workings of two different political readings of the ...
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This chapter assesses John Milton's Paradise Lost as a source for graphic satire. The many graphic satirical parodies of Paradise Lost disclose the workings of two different political readings of the poem, readings that respectively function to attenuate and foster rather different conceptions of the Miltonic sublime. The first, and more familiar, regards Milton's epic as an anti-Whig allegory that warns readers of the dangers of opposing the constitutional authority of the sovereign. In contrast to this reading of Paradise Lost, one that looks to it as a political allegory of and for the present, a different and still more complex approach to the poem emerges in a number of James Gillray's mature caricatures. In a manner that is highly idiosyncratic, Gillray seems less interested in conscripting Milton's text as a cautionary tale of rebellion and more concerned with exploiting the generic peculiarities of Paradise Lost for satirical and political effect.Less
This chapter assesses John Milton's Paradise Lost as a source for graphic satire. The many graphic satirical parodies of Paradise Lost disclose the workings of two different political readings of the poem, readings that respectively function to attenuate and foster rather different conceptions of the Miltonic sublime. The first, and more familiar, regards Milton's epic as an anti-Whig allegory that warns readers of the dangers of opposing the constitutional authority of the sovereign. In contrast to this reading of Paradise Lost, one that looks to it as a political allegory of and for the present, a different and still more complex approach to the poem emerges in a number of James Gillray's mature caricatures. In a manner that is highly idiosyncratic, Gillray seems less interested in conscripting Milton's text as a cautionary tale of rebellion and more concerned with exploiting the generic peculiarities of Paradise Lost for satirical and political effect.
David Francis Taylor
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780300223750
- eISBN:
- 9780300235593
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300223750.003.0006
- Subject:
- Literature, Criticism/Theory
This chapter explores Jonathan Swift's Gulliver's Travels as a source for graphic satire, specifically considering James Gillray's King of Brobdingnag, and Gulliver (1803). In a parodic reimagining ...
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This chapter explores Jonathan Swift's Gulliver's Travels as a source for graphic satire, specifically considering James Gillray's King of Brobdingnag, and Gulliver (1803). In a parodic reimagining of Part 2, Chapter 7 of Gulliver's Travels, George III, dressed in military uniform, scrutinizes with his spyglass the diminutive, swaggering Napoleon standing on the palm of his outstretched right hand. It is one of the most reproduced and instantly recognizable political caricatures in British history, and it has come increasingly to be entwined in the cultural memory with the very text it adapts. Of course, the efficacy of this 1803 caricature lies in its striking simplicity—the juxtaposition of two profile figures, one small one large, against a plain background—but the question of how it orients itself in relation both to Gulliver's Travels and to the longer history of that text's adaptation and political appropriation is more complex.Less
This chapter explores Jonathan Swift's Gulliver's Travels as a source for graphic satire, specifically considering James Gillray's King of Brobdingnag, and Gulliver (1803). In a parodic reimagining of Part 2, Chapter 7 of Gulliver's Travels, George III, dressed in military uniform, scrutinizes with his spyglass the diminutive, swaggering Napoleon standing on the palm of his outstretched right hand. It is one of the most reproduced and instantly recognizable political caricatures in British history, and it has come increasingly to be entwined in the cultural memory with the very text it adapts. Of course, the efficacy of this 1803 caricature lies in its striking simplicity—the juxtaposition of two profile figures, one small one large, against a plain background—but the question of how it orients itself in relation both to Gulliver's Travels and to the longer history of that text's adaptation and political appropriation is more complex.
