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Pip Gregory
My PhD research addressed humour in British cartoons from the First World War looking at how the humour interacted with the public and was received by combatants and civilians alike, developing memories for later generations.
I blame my interest in cartoons on my father for always presenting me with the Times daily cartoon whenever I am at home, but beyond this my path towards PhD studies in visual culture has been formed by a patchwork of academic choices and experiences.
Whilst at Kent University, I have been the first president for a new starting section of ISHA (International Students of History Association) in Kent, which has become a thriving success at both Kent and Canterbury Christ Church Universities.
I completed an MA in Modern History 1500-2000 at Kent, passed with distinction in August 2012 for which the dissertation looked more specifically at women in British cartoons also from the First World War. Prior to that, I have been a teacher of Religious Education for three years completing my PGCE RE at Bristol University in 2008. Whilst teaching RE I was also able to teach some History and English lessons and also completed my GCSE History in 2011 along with my students. I have now also completed a PGCAP at Canterbury Christ Church University and hold an HEA Fellowship to add to my teaching qualifications.
Further academic qualifications I hold include another MA in Medieval Studies from Bristol in 2007, for which the dissertation looked at amorous punishment and rewards in the French Tristan and Iseult stories. Before that, I started my university career with a BA in Theology and Religious Studies also completed in Bristol in 2005, and the dissertation for this made a comparison of the characters and symbolism of Krishna as the Cow Herd and Warrior in religious devotional literature.
So as you can see, a patchwork, but with many linking features of characterisation through text and image to make sense of the culture and time periods surrounding the image or text.
Supervisors: Dr Stefan Goebel and Dr Peter Donaldson
I blame my interest in cartoons on my father for always presenting me with the Times daily cartoon whenever I am at home, but beyond this my path towards PhD studies in visual culture has been formed by a patchwork of academic choices and experiences.
Whilst at Kent University, I have been the first president for a new starting section of ISHA (International Students of History Association) in Kent, which has become a thriving success at both Kent and Canterbury Christ Church Universities.
I completed an MA in Modern History 1500-2000 at Kent, passed with distinction in August 2012 for which the dissertation looked more specifically at women in British cartoons also from the First World War. Prior to that, I have been a teacher of Religious Education for three years completing my PGCE RE at Bristol University in 2008. Whilst teaching RE I was also able to teach some History and English lessons and also completed my GCSE History in 2011 along with my students. I have now also completed a PGCAP at Canterbury Christ Church University and hold an HEA Fellowship to add to my teaching qualifications.
Further academic qualifications I hold include another MA in Medieval Studies from Bristol in 2007, for which the dissertation looked at amorous punishment and rewards in the French Tristan and Iseult stories. Before that, I started my university career with a BA in Theology and Religious Studies also completed in Bristol in 2005, and the dissertation for this made a comparison of the characters and symbolism of Krishna as the Cow Herd and Warrior in religious devotional literature.
So as you can see, a patchwork, but with many linking features of characterisation through text and image to make sense of the culture and time periods surrounding the image or text.
Supervisors: Dr Stefan Goebel and Dr Peter Donaldson
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Each of these artists uses comedy in different ways, whilst often to the same end. To this degree, comparisons will be drawn looking at how the comedy in their cartoons is specifically utilised to challenge public perceptions, or political ideas, along with the form of humour commandeered. Here there will be particular reference to Dyson’s more malicious commentary on political society as opposed to Poy and Haselden’s lighter reflections. Conclusions will be reached that comedy in carton was used by so many artists, but that their emphasis on it differs significantly. Ultimately, it could be said that overall cartoons serve as a form of critique against society and political matters relating to the war.
This paper explores some of the cross-overs between static and performative visual humour from the Great War. A case study will be addressed specifically to the Bystander cartoon by Bruce Bairnsfather, ‘The Better ‘Ole’, and how this image was developed by Bairnsfather and Arthur Eliot into first a play and then later a film starring Sydney Chaplin. This study will consider the reception of each work by its prospective audiences, as can be determined through newspaper reports and theatrical publications. In addition to the material itself, problems of how the historian might address such material and the manner in which it related to different areas of study will also be considered. There are clear advantages to developing cross-curricular study as this will open up awareness to a wider audience, but it does not come without its own set of issues as well. Through this examination, conclusions will be drawn as to the impact of humour during a time of war for the British public viewing both the performative aspects of theatre and the static elements of the daily newspaper cartoon. Similarly conclusions will be reached in terms of cross-curricular research and study.
This paper explores some of the cross-overs between static and performative visual humour from the Great War. A case study will be addressed specifically to the Bystander cartoon by Bruce Bairnsfather, ‘The Better ‘Ole’, and how this image was developed by Bairnsfather and Arthur Eliot into first a play and then later a film starring Sydney Chaplin. This study will consider the reception of each work by its prospective audiences, as can be determined through newspaper reports and theatrical publications. The lasting impact on the viewing public will be considered as well since it is an almost forgotten play, yet the original image has been consistently reproduced by other artists throughout the rest of the twentieth century. Through this examination, conclusions will be drawn as to the impact of humour in a time of war for the British public viewing both the performative aspects of theatre and the static elements of the daily newspaper cartoon.
William K Haselden, the contributors to Punch and other cartoonists alongside their specific cartoons will be consulted when addressing how the military were depicted humorously through this period of war. There is a growing ‘common knowledge’ of the sometimes dark and satirical humour that the soldiers were famous for that developed into a general mockery of the administration and officers controlling them. At home the comedy presented was of a different nature, authority was still mocked, but in a gentler manner, that sought to raise a laugh and not become outrageously slanderous towards particular people. This paper ultimately seeks to assess how soldiers were used within Home Front cartoon depictions and the accompanying text
that surrounded them in newspapers through the Great War. Assessing the types of humour surrounding such images and how they may contrast with the soldiers own brands of humour in the trenches will serve to offer a clearer picture of wartime humour.
–
Satirical and Allegorical Icons.
This paper seeks to address allegorical images used in satirical cartoons through the First World War.It will look at figures used to represent greater aspects of human nature and deific qualities acrossthe period, considering who is most commonly depicted, the role they played and how they wereutilised through newspaper print culture.There will be discussion of the types of people and animals that were created allegorically as manyof these have deistic roots through Greco-Roman stories of the gods. Otherwise metaphysicalaspects of character such as Victory and Liberty are personified again in deistic form, compared tocomportment of Bravery, Strength or Cunning which are created through animal depictions.Such a mixture of animals and deities will be assess contextually in the period, for example, howdeities could imply aspects of faith and belief in a nation during times of war which may have beenused to help unify, or help motivate them.Use of any allegorical representation will always comport layers of understanding for differentviewers, and this is a further development that will be discussed through the paper identifying levelsof understanding that may be reached working through the iconographical range.""
Papers by Pip Gregory
Each of these artists uses comedy in different ways, whilst often to the same end. To this degree, comparisons will be drawn looking at how the comedy in their cartoons is specifically utilised to challenge public perceptions, or political ideas, along with the form of humour commandeered. Here there will be particular reference to Dyson’s more malicious commentary on political society as opposed to Poy and Haselden’s lighter reflections. Conclusions will be reached that comedy in carton was used by so many artists, but that their emphasis on it differs significantly. Ultimately, it could be said that overall cartoons serve as a form of critique against society and political matters relating to the war.
This paper explores some of the cross-overs between static and performative visual humour from the Great War. A case study will be addressed specifically to the Bystander cartoon by Bruce Bairnsfather, ‘The Better ‘Ole’, and how this image was developed by Bairnsfather and Arthur Eliot into first a play and then later a film starring Sydney Chaplin. This study will consider the reception of each work by its prospective audiences, as can be determined through newspaper reports and theatrical publications. In addition to the material itself, problems of how the historian might address such material and the manner in which it related to different areas of study will also be considered. There are clear advantages to developing cross-curricular study as this will open up awareness to a wider audience, but it does not come without its own set of issues as well. Through this examination, conclusions will be drawn as to the impact of humour during a time of war for the British public viewing both the performative aspects of theatre and the static elements of the daily newspaper cartoon. Similarly conclusions will be reached in terms of cross-curricular research and study.
This paper explores some of the cross-overs between static and performative visual humour from the Great War. A case study will be addressed specifically to the Bystander cartoon by Bruce Bairnsfather, ‘The Better ‘Ole’, and how this image was developed by Bairnsfather and Arthur Eliot into first a play and then later a film starring Sydney Chaplin. This study will consider the reception of each work by its prospective audiences, as can be determined through newspaper reports and theatrical publications. The lasting impact on the viewing public will be considered as well since it is an almost forgotten play, yet the original image has been consistently reproduced by other artists throughout the rest of the twentieth century. Through this examination, conclusions will be drawn as to the impact of humour in a time of war for the British public viewing both the performative aspects of theatre and the static elements of the daily newspaper cartoon.
William K Haselden, the contributors to Punch and other cartoonists alongside their specific cartoons will be consulted when addressing how the military were depicted humorously through this period of war. There is a growing ‘common knowledge’ of the sometimes dark and satirical humour that the soldiers were famous for that developed into a general mockery of the administration and officers controlling them. At home the comedy presented was of a different nature, authority was still mocked, but in a gentler manner, that sought to raise a laugh and not become outrageously slanderous towards particular people. This paper ultimately seeks to assess how soldiers were used within Home Front cartoon depictions and the accompanying text
that surrounded them in newspapers through the Great War. Assessing the types of humour surrounding such images and how they may contrast with the soldiers own brands of humour in the trenches will serve to offer a clearer picture of wartime humour.
–
Satirical and Allegorical Icons.
This paper seeks to address allegorical images used in satirical cartoons through the First World War.It will look at figures used to represent greater aspects of human nature and deific qualities acrossthe period, considering who is most commonly depicted, the role they played and how they wereutilised through newspaper print culture.There will be discussion of the types of people and animals that were created allegorically as manyof these have deistic roots through Greco-Roman stories of the gods. Otherwise metaphysicalaspects of character such as Victory and Liberty are personified again in deistic form, compared tocomportment of Bravery, Strength or Cunning which are created through animal depictions.Such a mixture of animals and deities will be assess contextually in the period, for example, howdeities could imply aspects of faith and belief in a nation during times of war which may have beenused to help unify, or help motivate them.Use of any allegorical representation will always comport layers of understanding for differentviewers, and this is a further development that will be discussed through the paper identifying levelsof understanding that may be reached working through the iconographical range.""
This dissertation looks at the humour within cartoons that depict women produced during the First World War. Humour is discussed from a predominantly historical perspective; however, due to the vast nature of the topic, this is done in consultation with philosophical, psychological and sociological studies. The study of women is separated into typologies through the chapters, and these are inclusive of the allegorical figurehead who is used to represent the nation or cultural themes that are relevant to the nation. The matronly persona who can be identified by any member of the viewing audience as a mother, grandmother or aunt is further used to create humour of superiority and derision. Then finally youthful women, who are further divided by intelligence into two categories. These women create humour through observed mockery and ridicule when they are seen to be of lesser intelligence, or are able to participate in the humour that they create when more aware women are depicted. The chapters are divided firstly into a study of humour, with reference to other studies of various genres, then cartoons, with deeper analysis of how cartoons create humour and where they may be placed in the context of the First World War. These are followed by more specific detail relating to typologies of women in the cartoons. Chapter three looks at the humour created by allegorical and matronly characters, and chapter four studies the more youthful characters at both ends of the intelligence spectrum. Alongside this material, facets of didacticism and agency in cartoons are considered particularly in the context of war and how such agency may seek to subvert or support authority. Additionally aspects of the business of publishing cartoons within newspapers through the Great War are also considered and the affect this could have on the cartoons produced.
For many, cartoons were their first contact with theatrical ideas, while for others it was a reminder of what had been before. The theatre could so often be adapted to suit the mood of the day. This paper therefore seeks to address the ways in which the theatre and war were incorporated into daily political struggles and their depictions in newspapers.
Looking at these cartoons can offer the historian insights into the ways in which the public viewed and interpreted the theatrical ideas they were presented with. Following in Scott McCloud’s theory of mental completion, it can be suggested that the images provide only a modicum of visual stimulus through which the viewing audience is anticipated to complete the picture and the idea that it presents with foreknowledge of the story being told.
In such a way deeper insights to the social structure, viewing public and perceptions that they had of the war and of the theatre may be inferred through close study of cartoon materials. Wider links may be made connecting specific officers and soldiers to theatrical production by way of these everyday cartoons.