Satirical Journalism

2020 ◽  
pp. 556-573
Author(s):  
Felix M. Larkin ◽  
James Whitworth
Keyword(s):  
Twentieth Century ◽  
Political Cartoons ◽  
Wyndham Lewis ◽  
Daily Mail ◽  
Visual Form ◽  
History Of ◽  
Innovative Work ◽  
Private Eye ◽  
Mainstream Press ◽  
Rich History

This chapter discusses satire, in both literary and visual form, as an element in British and Irish journalism in the twentieth century. It reviews specifically anti-establishment journals such as Dublin Opinion and Private Eye, but also considers the work of notable individual satirical journalists in the mainstream press such as D.B. Wyndham Lewis and J.B. Morton (‘Beachcomber’) in the Daily Express and Brian O’Nolan (‘Myles na gCopaleen’) and Donal Foley in the Irish Times. There is particular emphasis on political cartoons, perhaps the most popular and influential form of satirical journalism in the twentieth century. There is a rich history of cartooning in Britain and Ireland, starting with the innovative work of W.K. Haselden in the Daily Mirror and Percy Fearon (‘Poy’) in the Daily Mail, and with many outstanding later practitioners of the art – for example, David Low, Osbert Lancester, Charles E. Kelly, Gerald Scarfe, Mel Calman, Peter Brookes, Steve Bell, Nicola Jennings and Martyn Turner.

The Modern City

2009 ◽  
Author(s):  
DIANE E. DAVIS
Keyword(s):  
Twentieth Century ◽  
Mexico City ◽  
Political Alliances ◽  
The Social ◽  
Shifting Balance ◽  
History Of ◽  
The Rich ◽  
The City ◽  
Rich History

What constitutes modern Mexico? Is there a clear distinction between the historic and modern Mexico City? And if there are, does this distinctions hold up throughout the twentieth century, when what is apparent is a mix of legacies coexisting overtime? This chapter discusses the semiotics of history and modernity. It discusses the struggle of the Mexico City to find its own image including its struggle to preserve historic buildings amidst the differing political alliances that either promote change or preserve the past. However, past is not a single entity, hence if the preservation of the rich history of Mexico is pursued, the question arises as to what periods of history represented in the city are to be favoured in its future development. In this chapter, the focus is on the paradoxes of the Torre Bicentenario and on the pressures to preserve Mexico’s past, the ways they have been juxtaposed against the plans for its future and how the balance of these views has shifted over time. It determines the key actors and the institutions who have embraced history as opposed to progress, identifies the set of forces that dominated in the city’s twentieth-century history, and assesses the long-term implications of the shifting balance for the social, spatial and built environmental character of the city. The chapter ends with a discussion on the current role played by the cultural and historical authorities in determining the fate of the city.

Performing ‘Jiggs’: Irish Caricature and Comedic Ambivalence toward Assimilation and the American Dream in George McManus's Bringing Up Father

2005 ◽  
Vol 4 (2) ◽  
pp. 173-213
Author(s):  
Kerry Soper
Keyword(s):  
Twentieth Century ◽  
Social History ◽  
Comic Strip ◽  
Comic Strips ◽  
Call And Response ◽  
History Of ◽  
Innovative Work ◽  
Street Corner ◽  
Newspaper Comics ◽  
Almost All

Many fans and scholars of newspaper comics have observed that an excellent way to chart a social history of American culture in the twentieth century is to look at the mainstream comic strip page. This may be especially true of the first half of the twentieth century when comic strips were avidly followed by readers from almost all age, class, and ethnic demographics. Because of this breadth of popularity, the comics page was a fairly accurate reflector (and occasionally, shaper) of fashions, fads, humor, politics, and racial prejudices. Early cartoonists' ability to place their fingers on the American pulse can largely be attributed to the industry's eagerness to please readers: as a lowbrow entertainment that targeted broad audiences through street corner sales, and later, national syndication, it tried to anticipate the characters, comedy, and ideological content that would attract and retain devoted readers. A few iconoclastic cartoonists such as Al Capp (Li'l Abner) and George Herriman (Krazy Kat) challenged readers with topical satire or appealed to niche audiences with quirky humor and aesthetics; but even the most innovative work in the medium relied on a sort of call and response between core readers, syndicates, editors, and artists—a back and forth that insured that the cartoonist's work resonated with, or spoke for, its fans.

The Clamart Salon

2020 ◽  
pp. 55-62
Author(s):  
T. Denean Sharpley-Whiting
Keyword(s):  
Twentieth Century ◽  
Political Culture ◽  
Short Story ◽  
Atlantic World ◽  
Black Atlantic ◽  
Ground Zero ◽  
History Of ◽  
Literary Salon ◽  
Literary Output ◽  
Rich History

This essay explores the Nardal sisters’ literary output and the twentieth-century literary salon as ground zero for debates about the multi-layered identity that is Frenchness, over and against French memory and sites of historical memorialization, histories of Negritude, and the history of French salons. It examines questions of French identity, exclusion and appropriation, gender, assimilation, and political culture as they relate to conversations at the Clamart salon and the writings of its hosts. The contrast between Frantz Fanon’s famous ‘Look a Negro!’ and its precursor found in a Paulette Nardal short story highlights the need to locate the sœurs Nardal into the long and rich history of Black France, but also to situate the salon in the broader ethos of race consciousness emergent in the Black Atlantic world of its time.

Exhibiting Russia

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 142-157
Author(s):  
Roann Barris
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Public Support ◽  
Visual Artists ◽  
Russian Art ◽  
Avant Garde ◽  
The Soviet Union ◽  
History Of ◽  
Theater Directors ◽  
Rich History

Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.

The Outline of the History of Mounting Art on Paper in Poland in the 19th and 20th Centuries

2019 ◽  
Vol 40 (3-4) ◽  
pp. 173-195
Author(s):  
Katarzyna Garczewska-Semka
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Historical Context ◽  
National Library ◽  
Visual Form ◽  
Historical Collections ◽  
Early Twentieth Century ◽  
Starting Point ◽  
History Of

Abstract The National Library of Poland holds three historical collections with a unified visual form. The arrangement of the Wilanów collection was carried out in the first half of the nineteenth century, whereas the Krasiński collection was arranged in the early twentieth century respectively the 1950’s or 1960’s in the case of drawings by Norwid. This contribution describes the structure of mountings found in these collections, as well as the historical context in which they were created. It serves as a starting point to provide an outline of the history of conservation methods and preservation of prints’ and drawings’ collections in Poland.

Queen Elizabeth

2017 ◽  
Author(s):  
Victoria Duckett
Keyword(s):  
Twentieth Century ◽  
William Shakespeare ◽  
Visual Arts ◽  
Late Nineteenth Century ◽  
History Painting ◽  
Feature Film ◽  
History Of ◽  
Late Nineteenth ◽  
Paul Delaroche ◽  
Rich History

This chapter examines the 1912 feature film Queen Elizabeth as a reflection of Sarah Bernhardt's roles in the late nineteenth century and her insistence that these could remain relevant to audiences in the twentieth century. In histories of the cinema, Queen Elizabeth is a film consistently referred to as an example of “filmed theater.” The chapter considers the cinematic practices that Queen Elizabeth reveals and how the film draws upon the long and rich history of Queen Elizabeth's appearance in the theater, the visual arts, and the popular presses. It argues that Queen Elizabeth was an intelligent and creative response to the theatrical possibilities of the cinema and to the tastes and fashions of Bernhardt's day. It also discusses how Bernhardt brings to film the same practices and processes that Paul Delaroche had earlier brought to history painting. Finally, it shows how Queen Elizabeth establishes a link between Elizabeth and William Shakespeare, thus presenting itself as film that animates history.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

Sign in / Sign up

Export Citation Format

Share Document