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In this article, we propose the first geometry and texture (double) referenced interactive two-dimensional (2D) and 3D caricature generating and editing method. The main challenge of caricature generation lies in the fact that it not only exaggerates the facial geometry but also refreshes the facial texture. We address this challenge by utilizing the semantic segmentation maps as an intermediary domain, removing the influence of photo texture while preserving the person-specific geometry features. Specifically, our proposed method consists of two main components: 3D-CariNet and CariMaskGAN. 3D-CariNet uses sketches or caricatures to exaggerate the input photo into several types of 3D caricatures. To generate a CariMask, we geometrically exaggerate the photos using the projection of exaggerated 3D landmarks, after which CariMask is converted into a caricature by CariMaskGAN. In this step, users can edit and adjust the geometry of caricatures freely. Moreover, we propose a semantic detail preprocessing approach that considerably increases the details of generated caricatures and allows modification of hair strands, wrinkles, and beards. By rendering high-quality 2D caricatures as textures, we produce 3D caricatures with a variety of texture styles. Extensive experimental results have demonstrated that our method can produce higher-quality caricatures as well as support interactive modification with ease. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Computer Engineering & Applications is the property of Beijing Journal of Computer Engineering & Applications Journal Co Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2004/5 the Aboriginal and Torres Strait Islander Commission was abolished after 15 years of operation. The longest running and most innovative representative body in the postwar era, its abolition has reverberated to this day. This article explores the role of the media in its abolition. It shows how the non-Indigenous media created an image of Indigenous dysfunction such that ATSIC's abolition was understood as the only viable option. It did so by perpetuating untruths about Indigenous capacity for governance and leadership, suggesting that ATSIC's alleged failure was self-inflicted. Such representation, including deeply offensive caricatures, worked to support government aims and amounted to institutional bullying. By situating this representation within the wider policy landscape, I show how the media not only created ideational frameworks necessary to project ATSIC as unfit but also helped to deflect attention from the government's own non-accountability in this space. As a counterpoint to what became a dominant view about ATSIC, I recover the representation of its abolition in the Indigenous media, allowing Indigenous views to be heard for the first time. This case study is of critical importance in the context of today's concern with both truth-telling and truth-denying. [ABSTRACT FROM AUTHOR]

Examining the vernacular lives of Punjabi language in Pakistan, this essay considers the question: what is the life of a language undesired in a hostile politicolinguistic ecology? By way of an answer, it employs the term paindoo to argue that Anglo-Urduphile postcolonial Pakistan reduces Punjabi to a lingual and visual accent that is caricatured, embodied, and gendered. This reductive accent is produced not by the speaker, but rather through the accented -perception of the listener. [ABSTRACT FROM AUTHOR]

Copyright of Archaeologiai Értesítő is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The use of memes has become increasingly widespread in political discourse. However, there is a dearth of philosophical discussion on memes and their impact on political discourse. This paper addresses this gap in the literature and bridges the divide between the empirical and philosophical work on memes by offering a functionalist account which allows for a more in-depth analysis of the role memes play in political discourse. We offer a taxonomy of the eight key characteristics of memes: 1. humor; 2. fostering in-group identity; 3. caricatures; 4. replicability; 5. context collapse; 6. hermeneutical resources; 7. low reputational cost; 8. signaling. On the positive side, the propensity memes have to foster in-group identity and to function as a hermeneutical tool for people to make sense of their own experiences are a boon especially to marginalized communities. On the flipside, the creation of an in-group/out-group dynamic can also be exploited by sinister political actors, especially since the low reputational cost of circulating memes allows for plausible deniability. We use the analysis in this paper to jumpstart a discussion of how we should understand memes and debate which norms should govern the novel speech act of posting a meme given its impact on political discourse. Based on our findings, we end with a call to adopt stricter norms for the act of posting a meme. [ABSTRACT FROM AUTHOR]

Arbitrary power is often understood as bearing some kind of relation to tyrannical rule, a relation that is thought to explain why arbitrary power is objectionable. But what is tyrannical rule? What precisely is the relationship between arbitrary power and tyranny? Why (if at all) is arbitrary power objectionable? Arbitrary power, this paper argues, is best understood through the figure of the tyrant. The figure of the tyrant is a caricature with stock character traits, usually of a disliked other, who is, or is thought to be, powerful. Arbitrary power, the paper argues, is power that is constituted to express, or enable the expression of, caricatured tyrannical traits. Arbitrary power is bad or objectionable (if and when it is) for mimetic reasons. Understanding arbitrary power in this way allows us to see problems with how it is deployed, understood and communicated and has advantages over standard accounts. [ABSTRACT FROM AUTHOR]

Entrepreneurship is an elusive phenomenon and its meaning has been vigorously debated. This study seeks to contribute to critical perspectives on entrepreneurship by investigating how entrepreneuring participates and intervenes in the dominant discourse, and thus, in the practices that constitute meaning. To explore this crucial question, I use the framework of entrepreneuring as a mode of critical engagement. This perspective is supplemented by the performative notion of provocation, which helps in conceptualizing entrepreneuring and its artefacts as critical participants of the discourse. Next, I build a case around a video game as an artefact produced by an entrepreneurial venture. The findings reveal three practices that emerge from entrepreneuring: caricaturing, metaphorizing, and devaluing. I develop a model that illustrates how entrepreneuring provokes (i.e. problematizes and establishes) different versions of entrepreneurship. This study contributes to entrepreneuring and its critical capacity by theorizing entrepreneuring as provocation. Provocation highlights the various practices of critical engagement, draws attention to the involved material artefacts, and informs our understanding of the implicated ethics. [ABSTRACT FROM AUTHOR]

Martin Mulsow's Knowledge Lost is a magnificent contribution to early modern intellectual history and the history of knowledge. In the hope of stimulating further discussion, this article asks several questions, most of them circling around one meta question: have we perhaps overly caricatured early modern ‘orthodoxy’, and underestimated the plurality of its intellectual output?. [ABSTRACT FROM AUTHOR]

It has been suggested that caricaturing enhances esthetic appeal, by making an image more strongly stimulate those areas of the brain encoding the subject's distinctive features than does the subject itself. However, some experimental work suggests that people prefer faces with proportions closer to average, or closer to a particular template. It might be that familiarity with the face is important if caricaturing is to increase the esthetic appeal of a likeness. Here we examined how automated caricaturing of photographs of nominal celebrities influenced judgments of esthetic appeal, and how familiarity with the celebrities affected these. Caricaturing monotonically decreased the esthetic appeal of the celebrity photographs, with subjects' familiarity with the celebrity not influencing this relationship. The degree to which caricaturing influenced esthetic appeal was not correlated with judgments of relative spatial dimensions for a simple shape, either in a discrimination threshold experiment or a peak-shift experiment. [ABSTRACT FROM AUTHOR]

Статья посвящена исследованию портретов работы омского художника Николая Яковлевича Третьякова (1926–1989), хранящихся в фонде графики Омского областного музея изобразительных искусств имени М.А. Врубеля. Н.Я. Третьяков — один из самых значительных мастеров изобразительного искусства Омска второй половины ХХ века. Живописец, график, художник монументально-декоративного искусства, он оставил необычайно важный след в художественной и культурной жизни города. Произведения мастера находятся в музейных собраниях нескольких сибирских городов, наиболее полно его творчество представлено в собрании Омского музея имени М.А. Врубеля. Актуальность проведенного исследования определена подготовкой каталога графических произведений художника. Материалом послужили портреты, созданные в различных техниках рисунка, акварели, а также в наиболее востребованной художником смешанной технике. В статье рассматриваются в хронологической последовательности избранные работы, характеризующие творчество Н.Я. Третьякова на разных этапах. Они сгруппированы по жанрам и темам портретных изображений (натурные рисунки и акварели, станковые композиции, выполненные в цвете, шаржи; портреты близких людей, казахстанские мотивы, образы детей, портреты современников, автопортрет). Очерчен круг людей, выступающих в качестве моделей, приведены найденные сведения о некоторых из них. Выявлены различные подходы в решении образов, прослеживаются изменения, происходившие в художественном языке мастера, связанные как с общими тенденциями в отечественном искусстве, так и с внутренней логикой эволюции творчества Н.Я. Третьякова и особенностями его индивидуального видения.

Medical discourse as an institutional discourse is considered simultaneously in several aspects: genre palette; discourse participants and their communicative strategies and speech behaviour; forms of communication between patient and doctor; methods and material for transmitting medical information; linguistic means of monocode, polycode and multimodal text of medical discourse; visual means of polycode and multimodal tests; functions implemented by texts of different types. The very identification of the boundaries of medical discourse will remain relevant. The objects of analysis are Russian-language memes, demotivators, which we understand as a type of Internet memes, caricatures on a medical topic, printed advertisements for medical drugs, services and events, and medical posters. The subject of the study are iconic signs, index signs and symbols of medicine. The novelty of the proposed study is the appeal to these elements of a polycode text as a system of signs that are subject to decoding to recognize the author’s intention; their use is not obligatory, while their quality of generalization allows expressing a larger volume of meanings, and the recipient of the text relies on them to identify the text as belonging to medical discourse. The research material are polycode (with verbal and iconic series) texts with a total volume of 500 examples obtained by continuous sampling from the Internet. The study showed that the semiotic system should be recognized as an important element of polycode texts of medical discourse, since each of the three types of signs is noted in the five genres under consideration and performs summarizing, attractive, organizing, replacing and comic functions in the text. As an object of decoding in polycode texts on medical topics, we examined individual examples of the use of precedent phenomena. The algorithm for analyzing the semiotic system of medical discourse can be used to analyze the semiotic system of other types of institutional discourse.

The humour of political cartoons is studied in multiple disciplines, and African political cartoons are no exception to academic scrutiny. Their satire, however, is prone to Western models of analysis. One subsequent gap is the dismissal of important postcolonial realities, such as African political cartoonists' caricature of world news and not just domestic matters. To contribute theoretically to the study of humour in African political cartoons, I apply postcolonial translation theory to explore a selection of POV's political cartoons, which address both domestic and world news. I argue that the political cartoonist is a translator, not of languages, but of ideas about foreign affairs, transposed through translation strategies to convey meanings for local audiences. African humour in political cartoons, therefore, is not restricted to domestic matters. African cartoonists' engagement with foreign news invites the question about whether the humour is framed for Western audiences. I conclude that the occasional engagement with foreign ideas does not render an African political cartoon's satire inauthentic or less African. Instead, it is possible to reconcile the translation strategies of foreignisation and domestication, ensuring the humour of these political cartoons – visually translated for African contexts – is inclusive for local audiences and welcoming of foreign ideas. [ABSTRACT FROM AUTHOR]

This short piece provides background context on the issue's cover image, a series of seven caricatures of Bernard Shaw by J. H. Dowd published in Punch on 4 July 1928. [ABSTRACT FROM AUTHOR]

The article "Life Without God: An Outsider's Look at Atheism" by Rik Peels explores the motivations and causes behind atheism, aiming to understand the perspectives of atheists and their reasons for adhering to atheism. Peels challenges the polarized debate between new atheists and their opponents, delving into topics such as independent thinking, scientific heroes, traumatic experiences, and moral aversion to religious ideas. The text also discusses atheistic frameworks, the presumption of atheism, and arguments against belief in God, ultimately encouraging readers to engage in the adventure of seeking the truth about God. [Extracted from the article]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Sino-German coproduction Mouzhong leisi yu wode didong: xinshi pianduan explores the medical process of a heart transplant and its aftermath through the Foucauldian theoretical framework of the "clinical gaze." The doctors' "biomedical reductionism" is caricatured for its lack of humanness; patients' physical and emotional agony denies the possibility of peaceful coexistence of the human self and technology. Cynical irony is one way of coping with the identity loss, pain, and techno-human condition of organ-transplant survivors. [ABSTRACT FROM AUTHOR]

This review article assesses three new books on the "Golden Age" of caricature in Britain and the United States: Tim Clayton's James Gillray: A Revolution in Satire  (2022), Amanda Lahikainen's Money and Materiality in the Golden Age of Graphic Satire  (2022), and Alison M. Stagg's Prints of a New Kind: Political Caricature in the United States, 1789-1828  (2023). The article considers how satirical cartoons simultaneously educated and entertained the public about important issues, such as political corruption, nation building, and the perils of a credit economy based on paper money. [ABSTRACT FROM AUTHOR]

Across her many works of fiction, Ali Smith at once laments the breakdown of civic conversation and, in what seems a paradoxical move, draws stark ethical demarcations between characters who represent different political orientations. This tension is acute in her Seasonal Quartet, and especially the first of the four novels, Autumn. Hailed on publication as the first serious literary response to Brexit, 'Autumn' gives vivid account of the 'end of dialogue' at a time when 'all across the country, there was misery and rejoicing.' On one hand, in Autumn and elsewhere, Smith laments the consequences of the 'end of dialogue' between citizens and populates her fiction with sympathetic characters who notice, with alarm, that 'people [are] saying stuff to each other and none of it ever actually becom[es] dialogue.' Yet on the other hand, her work is itself partisan, specifically in its tendency to draw caricatures of complacently xenophobic middle-class Britons. This article argues that this tension is in fact crucial to the political outlook suggested in Smith's work, which hints at a positive, post- or nonliberal vision according to which neither novels, nor politics, draw democratic power from empathetic exchange or dialogue, but rather through world-affirming judgment. The specific sort of judgment Smith endorses, I argue, is rooted in Autumn's 'collage' aesthetic, and its significance crystallizes when read alongside Hannah Arendt's account of political judgment. For both Smith and Arendt, the foremost threat to contemporary political life is not partisanship, but rather, the fragility of the 'common world,' and Smith proposes that the collage aesthetics of work like hers play a specific function in helping restore the 'common world.' This article thus proposes that Smith, read alongside Arendt, articulates an original, political purpose for art in the contemporary era. [ABSTRACT FROM AUTHOR]

This article focuses on Swinburne’s unpublished manuscript The Flogging Block and its 2011 transcription produced by Mark McDougal. Caricaturing the corporeal punishment at Eton, Swinburne’s poem integrates touch, sound, and sight in the text. However, the transcription seems to compromise this multimodality in a print medium. McDougal hopes that his inadequate rendering of Swinburne’s hands could be completed by future interested readers with higher technologies. My article is an interested response to this hope and reads McDougal’s adaptation as a haptic mediation of Swinburne’s multimodal poetics. Through the lens of Sara Ahmed’s disorientation theory, I argue that Swinburne’s poem disorients readers’ sensory experience of language, critiques his contemporary ideological repression of body, and rebuilds a community based on bodily connections. The first part of the article conducts a reversed reading that first examines McDougal’s haptic mediation of Swinburne’s manuscript and then explores Swinburne’s techniques of sensory disorientation. The second part relates this sensory disorientation to Swinburne’s republican project of building a community through appropriating pornographic techniques and through stressing the role of rhyme. Both McDougal’s adaptation and Swinburne’s manuscript endeavour to recover our lost intimacy with language, with one another, and with the world. [ABSTRACT FROM AUTHOR]

Adriana Bisi Fabbri (Ferrara, 1881 – Travedona Monate, 1918) risked being remembered by artistic historiography especially as a cousin of the painter Umberto Boccioni and the wife of the journalist and writer Giannetto Bisi. Only recently, also thanks to the study and organization of his archive deposited at the Museo del Novecento in Milan, her nonconformist and anti-academic figure has been rediscovered and enhanced. The contribution reconstructs her fulminant and frantic career, divided between painting, caricature and graphic activity, highlighting her contribution to feminist activism in Italy, at the beginning of the twentieth century. With the series of temperas of 1912 The occupations of women in the family, Bisi Fabbri starts an original ironic reflection on the social role of women and on female stereotypes (animal woman, intellectual woman, congresswoman, thug…). The wish for redemption erupts instead from the thick sequence of pictorial self-portraits, where the action of excavation and self-analysis returns rebellious and libertarian states of mind. The disguise with male clothes and the masculinized pseudonym "Adrì" are tools to manage the family, the professional activity and the drama of the pressing tuberculosis with greater detachment. Finally, it will be seen how emancipation and visibility also pass through the channels of the art system, from the International Women's Exhibition of Fine Arts in Turin, organized by the magazine "La donna", to the exhibitions in the Clubs of Florence, Rome and Milan of the Lyceum feminine association.

AbstractIn this paper, consideration is given to contemporary culture’s impact on language and its communicative potential. Drawing on psychoanalytic understanding of the human herd instinct, particularly in time of strife, this essay outlines what the “talking cure” has to offer as counterpoint to group think and as a means to enter into all that is idiosyncratic and individual in the use of language. [ABSTRACT FROM AUTHOR]

This article studies the political caricature in the Mexican press, presenting a detailed quantitative and qualitative analysis of the scenarios, dynamics, and behaviours within the world of print media during the last three decades of the 19th century and the first of the 20th century. It also provides explanatory factors that aid in understanding the journalistic phenomenon. Throughout its pages, the article proposes analytical routes to contemplate and comprehend the role played by printed materials, focusing on the movements related to their creation, circulation, and cessation. It identifies the periods of greatest and least dynamism and examines the governmental policies developed in relation to journalism. Issues such as freedom of expression, official pressure and unofficial repression, censorship, legal processes, co-optation, subsidies, partisan interests, objectives and goals of journalistic projects, individual agency, and dissemination, among other topics, are addressed to explain the behaviour of prints featuring political satire. The study includes consultations with primary and secondary sources, enabling the portrayal of key figures and situations, thus contributing to the construction of a historical narrative. [ABSTRACT FROM AUTHOR]

When representing high-level stimuli, such as faces and animals, we tend to emphasize salient features—such as a face's prominent cheekbones or a bird's pointed beak. Such mental caricaturing leaves traces in memory, which exaggerates these distinctive qualities. How broadly does this phenomenon extend? Here, in six experiments (N = 700 adults), we explored how memory automatically caricatures basic units of visual processing—simple geometric shapes—even without task-related demands to do so. Participants saw a novel shape and then immediately adjusted a copy of that shape to match what they had seen. Surprisingly, participants reconstructed shapes in exaggerated form, amplifying curvature, enlarging salient parts, and so on. Follow-up experiments generalized this bias to new parameters, ruled out strategic responding, and amplified the effects in serial transmission. Thus, even the most basic stimuli we encounter are remembered as caricatures of themselves. [ABSTRACT FROM AUTHOR]

2D caricature editing has shown superior performance. However, 3D exaggerated caricature face (ECF) modeling with flexible shape and texture editing capabilities is far from achieving satisfactory high-quality results. This paper aims to model shape and texture variations of 3D caricatures in a learnable parameter space. To achieve this goal, we propose a novel framework for highly controllable editing of 3D caricatures. Our model mainly consists of the texture and shape hyper-networks, texture and shape Sirens, and a projection module. Specifically, two hyper-networks take the texture and shape latent codes as inputs to learn the compact parameter spaces of the two Siren modules. The texture and shape Sirens are leveraged to model the deformation variations of textural styles and geometric shapes. We further incorporate precise control of the camera parameters in the projection module to enhance the quality of generated ECF results. Our method allows flexible editing online and swapping textural features between 3D caricatures. For this purpose, we contribute a 3D caricature face dataset with textures for training and testing. Experiments and user evaluations demonstrate that our method is capable of generating diverse high-fidelity caricatures and achieves better editing capabilities than state-of-the-art methods. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Plautus' Mostellaria , the enslaved Tranio covers up the young Philolaches' purchase of the meretrix Philematium's freedom by telling Philolaches' father Theopropides that his son blew a fortune on the house next door. Though Philematium is hidden out of sight for much of the play, her body materializes in the feminizing language through which Tranio, Theopropides, and the owner Simo describe this house. Their conversation at the threshold transforms Theopropides into the literary trope of the meretrix 's excluded lover and calls to mind both the disempowerment of meretrices through the process of aging and the power they wield through pregnancy. [ABSTRACT FROM AUTHOR]

In chapter 3.3 of Cyropaedia , Xenophon offers a wide-ranging meditation on the role of speech in arousing enthusiasm for battle. He emphasizes the uselessness of general exhortations, arguing that being prepared in body and mind is the crucial factor not only for being capable of fighting but also for stirring the right emotions. Although pre-battle exhortations have little utility, however, Cyrus does not condemn their use altogether: he only denies that they are a substitute for rigorous training. The very need for an exhortation implies a lack of readiness on the part of the soldiers and a lack of confidence in them by the leader, and therefore, aside from being superfluous, an exhortation may have a negative effect on the soldiers. The King of Assyria provides a caricature of a bad exhortation by threatening and scaring his soldiers with ill-conceived and inappropriate exhortatory tropes. [ABSTRACT FROM AUTHOR]

The so-called Kulturkampf, the conflict between the German Reich and the Catholic Church in the 1870s and 1880s, is one of the most important ideological conflicts of the late nineteenth century and reveals a political theological dynamic characteristic of the modern (German) nation state. This paper analyzes the paradoxes of this conflict along the lines with Eric Santner's analysis of political representations. During the Kulturkampf, Catholic citizens were publicly suspected of not being loyal Germans, and the Catholic Church is widely figured as an (inner) enemy in the liberal press and in modern caricatures. In these polemics, numerous political theological figures emerge: images of a gendered relation of domination of the (female) church by the (male) state, phantasies of the body politic and its precarious unity as well as of its purification respectively of the extermination of its others that continue to determine other ideological conflicts in the twentieth century. [ABSTRACT FROM AUTHOR]

Caricature is a form of visual communication wherein messages are conveyed through exaggerated and often humorous distortions of characters, serving as a critique of societal issues. Caricature often serves to critique various aspects of society, including social, cultural, economic, legal, and political conditions. Similarly, the political landscape surrounding the 2024 general election has intensified, fostering active and diverse discussions through both direct and indirect media channels. Mass media visualizes the very busy pros and cons of the Indonesian future successors. The proponents and the supported people are arguing and the one that can represent them will be the leader of government in 2024-2029. Funny, amusing, and intriguing caricature images in National Mass Media are interesting to study to see how the interpretation on the form of a caricature object is using the meaningful visual signs. This research was limited to caricature images by a cartoonist, Kang Yuyun, that was published in TEMPO National mass media in January-June 2023. The object of illustrative image was limited using a purposive sample that is considered representing the objective of research. The data mining was carried out through observation, interview, document, and literature. Observation was conducted directly in Tempo's Office, Jakarta; interview was conducted online with the cartoonist; document included the caricature images that have been published on Sunday; and literature came from scientific works such as journal, proceeding, and books. All data were collected to be validated using triangulation and then analyzed using Roland Barthes' semiotic theory about denotation, connotation, and myth. The findings reveal that Kang Yuyun's caricature images in TEMPO mass media during the 2024 General Election depict three groups supporting Ganjar Pranowo, Prabowo Subianto, and Anis Bawesdan as potential successors, emphasizing unity in nation-building and promotion. [ABSTRACT FROM AUTHOR]

The article is devoted to the pictorial scene «Ship of Faith», which appeared in Russia at the cusp between the Middle Ages and the Early Modern Period. The image depicts a ship steered by Christ being attacked by the enemies of the Church - unrighteous rulers and heretics. The article examines the European prototypes of this scene, who date back to the Reformation period, and puts forward a hypothesis about the connection between this story and two works by St Symeon of Thessalonica - «Sacred Rituals and Sacraments of the Church» and «Dialogue in Christ against all Heresies ». Russian translations of these works made a huge influence on Russian theology. A late manuscript of Symeon's works contains a miniature of this image, while its printed edition features an engraved version of the same miniature. The end of the 20th century was marked by a renewed interest in the scene in question due to the discussions about the development paths of the Church. The image of the church ship and heretics could now be used as a caricature of opponents. [ABSTRACT FROM AUTHOR]

In this series of drawings commissioned by Thomas Ray Willis, Portrait Artists in Times Square depict their pandemic-affected environment. In a project statement, Thomas Ray Willis provides his experience sitting with artists.

This article asserts that one of the most popular plays of the era, George Alexander Stevens's Lecture on Heads (1764), was so successful in its use of objects, mimicry, and other deverbalizing techniques that historians have subsequently misinterpreted its satirical purpose. The wooden and papier maché heads Stevens exhibited were anything but generic: they were skillfully crafted representations of recognizable public figures. Targeting these figures with keen precision, Stevens engaged his audiences in a complex "gazing game" that required deep knowledge of 1760s court gossip, political intrigue, mezzotint imagery, and the semiotics of print caricature. This article plays that game through close analysis of caricatures, etchings, engravings, mezzotints, oil paintings, and other visual sources, aided by contemporary accounts of the Lecture , and various (unauthorized) publications of Stevens's script. [ABSTRACT FROM AUTHOR]

Objectives: Cartoons, comics, and caricatures have been incorporated in health education. This trial aimed to evaluate the effectiveness of caricature‑based breastfeeding education at improving breastfeeding knowledge, attitudes, self‑efficacy, and practice among pregnant women. Materials and Methods: A randomized controlled clinical trial was carried out at Riyadh First Health Cluster in Saudi Arabia. A total of 85 pregnant women were randomly assigned to the intervention group (n = 41) or the control group (n = 44). The intervention was two caricature-based versus one standard online lecture in breastfeeding. The participants were followed up for 3 months postpartum. The primary outcome was full breastfeeding (predominant and exclusive breastfeeding) by the time infants were 3 months old. The secondary outcomes were prenatal and postnatal breastfeeding self‑efficacy, Iowa Infant Feeding Attitude Scale (IIFAS) scores, and satisfaction with the education. Results: The participants were mostly Saudi (97.6% vs. 90.9%) and housewives (79% vs. 86.4%) for the intervention and control groups, respectively. The full breastfeeding rate at 3 months postpartum was 32.5% for the intervention and 31.6% for the control (P = 0.808; 95% confidence interval 0.539–1.965; relative risk = 1.029). Prenatal breastfeeding, postnatal self‑efficacy, and IIFAS scores were compared between the intervention and control groups; no statistically significant difference was found (P > 0.05). In both arms of the study, participants’ experiences with the health education were satisfactory. Conclusion: Caricature use in antenatal breastfeeding education was a pleasant experience, but its effect on self‑efficacy, attitudes, and behavior could not be determined from this trial. Large‑scale, multi‑center, multi‑component research is recommended. [ABSTRACT FROM AUTHOR]

The paper studies the Common Man political caricatures by R.K. Laxman, a staff cartoonist at the Times of India, to understand dominant political discourses in postcolonial India. It argues that constructs like the 'common man' and 'vote bank' through popular cultural discourse like caricatures have a critical impact on the political landscape of the country. While the former is associated with an urban English-educated middle class, the latter is used to denote the socially marginalised sections of the electorate voting en masse as a form of political assertion. The latter is perceived as an aberration in the modern secular democracy and its political voice is often delegitimised. Further, the former is associated with economic liberalisation, development and anti-corruption. The paper demonstrates how Laxman's Common Man is a proponent and mascot of these in the popular imagination. Thereby indicating that the popular cultural archive has indeed had a visible impact on the political, economic and sociological cartography of the nation. [ABSTRACT FROM AUTHOR]

André LeRoy Davis is best known as the creator of 'The Last Word,' a series of one-page comic illustrations that were featured on the last page of The Source magazine. They were published non-stop in countless issues of this Hip Hop periodical from September 1990 to January 2007. This article is a compilation of edited excerpts from an interview session conducted during the winter of 2020. It was held shortly after the Schomburg Center's Annual Black Comic Book Festival in Harlem, New York. The conversation focuses on how André's experiences during his formative and adult years inspire his comic art content. We discuss his family's origins in Barbados; his experiences growing up in Brooklyn, New York; the Hip Hop culture within the High School of Art & Design when he was a student; his earliest experiences as a professional freelance artist; and the evolution of his creative process. [ABSTRACT FROM AUTHOR]

This article discusses several of Franz Kafka's recently published drawings in the estate of Max Brod from the materialist perspective of the social art history of art, reflecting on their ideological possibilities and effective limits. It relates the form and iconography of these drawings to long-standing traditions of political representation and social critique in art history and visual culture, in particular the nineteenth-century image of the barricade and the culture of satirical caricature that flourished in Central Europe at the fin-de-siècle. It situates them within the framework or field of avant-garde practice in Prague, in which Brod was an important figure. It sees in them largely private evidence of Kafka's interests and ambitions as a largely auto-didactic, idiosyncratic amateur visual artist—a body of work that excited Brod, but failed to resonate in Prague's modernist artistic culture. While distinguishing these drawings quantitatively, qualitatively, and functionally from the work of contemporaneous professional modern artists, the article nonetheless concludes that Kafka's drawings can be fruitfully studied as visual expressions of Kafka's complex class and ethnic background, ideological sympathies and political diffidence, and all-too-hegemonic conception of sex, gender, and artistic creativity. [ABSTRACT FROM AUTHOR]

Prince's alter-ego Camille is an elusive character, not least because they never officially existed. Camille was an album created and test-pressed by Prince between September and November of 1986, which he planned to release without his name attached; all production, writing, and vocals were to be credited to the mysterious and fictional Camille. Though Prince abandoned the Camille album in November 1986, he continued to engage with the character for years afterward, composing more Camille songs, writing Camille into the original draft of Graffiti Bridge, and including Camille in the Lovesexy Tour booklet (1988-1989). Camille as a character is inherently liminal: they had no assigned gender, being referred to as he or she in different mediums; no corporeal body, as they existed only as a pitch-altered voice; and did not exist as an established character, because the Camille album was never officially released. In this paper, I argue that Prince's Camille exists as a trans* caricature, meaning the character inhabits multiple stereotypes attributed to trans people, specifically trans women and transfemmes. To do this, I delve into the construction of the character and compare their depiction to an historic trans* caricature, the character Alexina from Oscar Panizza's short story, "A Scandal at the Convent" (1893), based on real-life White intersex person Herculine Barbin. I compare these characters to show how they were both constructed as trans* caricatures similarly but with crucial differences due to Prince's and Camille's Blackness. I argue then that in Camille we can situate an echo of Prince, an unmastered version who is predatory, animalistic, and inhabits transphobic stereotypes, and who, crucially, was then subsumed into Prince's own canon. By understanding this construction of Camille, we can more fully understand the taboo ways in which Prince queered the boundaries of his performance, and of Black masculinity, throughout his career. [ABSTRACT FROM AUTHOR]

This article re-evaluates Thomas Rowlandson, and his historic dismissal as a 'hack caricaturist' (Gatrell), by quantitatively analysing his political caricatures from 1780–1827, exploring their range, political affiliations, and satirical techniques. Qualitative analysis of selected prints provides context and showcases his effectiveness and distinctive style of attack. A unique focus is placed on Rowlandson's publishers and their potential influence. The article aims to reposition Rowlandson as a prominent caricaturist of the medium's 'golden age', highlighting the value in his satirical artistic output and challenging the assertion that his caricatures were 'pot-boilers, which cannot bear artistic comparison with his watercolours' (Bryant and Heneage, eds.). [ABSTRACT FROM AUTHOR]

The special status of satire in France is examined historically from the French Revolution to the Fifth Republic. It is argued that satire in France functions with a normative reference to the secular, universalist Jacobin values (hostile to church, aristocracy, and monarchy) that underpinned the foundation of the French Republic. Since the French Revolution, French journalistic satire has, in different ways, perpetrated what can broadly be categorized as either lèse majesté or blasphemy. Given France's turbulent history over the past two centuries, satire has frequently been used as an instrument to reaffirm the Republic's values vis-à-vis authoritarian regimes with different characteristics. The symbolic connection between satire and the French Republic's founding mythology has conferred upon the idiom a special status that endures today. The Fifth Republic, however, has presented a unique challenge to satire because of its authoritarian institutional character with personal power in the hands of the head-of-state. Three case studies are examined: the newspapers Le Canard Enchaîné and Charlie Hebdo and the satirical television program Les Guignols de l'Info. Today satire has found expression on online social networks in the form of memes, gifs, and videos. This marks a shift from satire produced by journalistic elites to more diffused and socially distributed satirical mockery. [ABSTRACT FROM AUTHOR]

With the wide technological development in robot design and with its many applications in different fields and its appearance in the form of a personal assistant in many fields, homes, hospitals, commercial centers, and others, this creates a new field for the industrial designer in the design of the robot as an integral part of his work, so the great diversity in the design of robots has become an important part of the design because of the many and diverse areas of use in the present eraHence the inspiration of the research where we found that the art of caricature is one of the most important arts that can highlight the most important personality traits that paint and therefore it is one of the necessary inspirations for the industrial designer in the design of a product that expresses a job or carries features indicating the way it is dealt with or also carries features similar to the real personality that should have existed in this situation and then replaced by science with digital ones carrying the same tasks and expressions as well as perhaps qualities and bodies.The research concluded a set of conceptual designs for some of the simulated ideas of the art of caricature in the form of intelligent assistance to different places suggesting their appearance of place and function, which increases symbolic sympathy for the user or service recipient towards the design of a design designed to be as alternative as possible to man and expressed in some way. Thus, the product's embodiment of real characters in a way increases its ability to communicate with humans as it is essentially a product aimed at communication and interaction, which increases the direct awareness of user Immediate Awareness, which increases the ease and efficiency of dealing with the product through direct awareness of the aspects of the product's appearance and clarity of the way it is handled to get the job designed for it.