Political Caricature

Zgrade fakulteta šumarstva i drvne tehnologije imaju dva zimska vrta koji su trenutno neuređeni. Ovaj završni rad obuhvaća prezentaciju idejnog rješenja uređenja tih površina te sadrži nacrte i skice koje će biti predstavljene Upravi fakulteta

Originally produced by Topps Chewing Gum, Inc. (Brooklyn, New York), a localized version of Garbage Pail Kids sticker cards was distributed in Israel between 1987 and 1988. Although intended as a children's product, the Israeli version of Garbage Pail Kids had a significant impact on local political discourse. The Hebrew translation, "Havurat HaZevel," became a coined term frequently used by publicists and Israeli parliament members to describe the ultimate "other"-be it a movement, group, party, or a faction within the coalition or opposition. Choosing "Havurat HaZevel" as a model for political satire, the artists aimed to express their aversion to what they perceived as wrong, loathsome, and shameful. This paper highlights how the use of "Havurat HaZevel" in the Israeli political arena has led to several spin-offs. The emergence of these creative initiatives over the past three decades reflects political conditions, particularly related to Knesset (Israeli Parliament) and Prime Minister elections, as well as expressions of political dissent and protest. Analyzing both the visual and textual elements employed by illustrators and art directors reveals insights into the public image of Israeli politicians and the political events depicted.

Au lieu de se livrer à des festivités qui les laisseront « sans pain le lendemain », la communauté anarchiste parisienne invite ses militants à manifester en plein centre de la capitale à la veille de Noël 1922. Sur le qui-vive, la police écourtera avec fracas la mobilisation.

Research on censorship and self-censorship in Croatia is focused on political cartoons and caricatures in the period of communist system (1945–1990) until the breakup of Yugoslavia, and on the recent period of independent Republic of Croatia. The research provides documented examples of censorship and self-censorship that have been found in archives and literature and obtained from authors directly. During the period of Yugoslavia some authors bypassed censorship barriers in various creative ways, risking arrests and prosecutions, while in Republic of Croatia they risk their jobs and livelihood. This paper documents the stages and forms of the censorship and self-censorship through specific examples of political cartoons and caricatures in Croatia over the seventy-year period, with reference to recent global circumstances that indicate that the political cartoon is endangered.

L’expression satirique se trouve au cœur des débats actuels en France sur la liberté d’expression. Si la pratique satirique n’est jamais allée de soi, un retour sur son histoire permet d’en souligner l’ambivalence : tantôt émancipatrice, tantôt instrument de persécution. C’est que, comme le rappelle Henri Bergson, « notre rire est toujours le rire d’un groupe ». La satire s’inscrit ainsi pleinement dans le champ des rapports de pouvoir entre groupes sociaux, dont elle révèle parfois crûment les contours.

Handovers, which has critical importance at qualified nursing care and patient safety are functional process' that are used by nurses between shift exchanges every day. Information about patients is transferred systematically by nurses to another nurse during shift exchanges at handovers. The main target of handovers is transferring the information betvveen shift crews correctly, clearly and systematically for nursing. Thus, the information about the patients are not let to be forgotten orgotten lostand thepercentage ofadverse events can be kept at lowlevels. During this process, the general conditions of patients are reviewed and incomplete missions are transferred to next shift. Besides, handovers are one of the increasing factors ofpatient's happiness.Handovers are generally made orally. For that reason, the communication betvveen nurses has a key role on this process. Lack of communication at clinical handover may cause unnecessary and misinformation to be transferred an...

Este libro constituye la segunda entrega de una genuina y exclusiva historia contemporánea de España relatada desde la caricatura política. Sus variadas contribuciones dan cuenta de lo acaecido en España desde la Restauración de la monarquía en la figura de Alfonso XII, en el ocaso mismo del año 1874, hasta que se produjo el golpe de Estado por parte del General Primo de Rivera en 1923. Un período jalonado por momentos históricos de honda impronta en la sociedad española, como la pérdida de las últimas colonias en 1898, la irrupción de los nacionalismos, o guerras como la de Marruecos que incluyeron episodios tan traumáticos como el desastre de Annual. La obra es una invitación a recorrer la historia desde una perspectiva diferente, donde la imagen y la cultura visual que los medios de comunicación trasladaron al público nos ofrecen otra mirada a la España de la Restauración. Un valor adicional del libro son las más de 300 imágenes originales, incluidos códigos QR, que permiten al lector disfrutar de los múltiples detalles empleados por los dibujantes de las caricaturas para lograr toda una rica narrativa visual que lograba al tiempo llamar la atención y conformar el imaginario de sus contemporáneos.

This article studies the representation of China in caricatures in printed publications of the Russian Empire based on material of the
Boxer Rebellion. The study of journal materials of various kinds contributes to understanding the mechanisms of comprehending
Another (Chinese) culture and its subsequent representation. The author reviews research on the subject of caricature and describes
the context in which stereotypic ideas about China were constructed and communicated in the early 20th century. Caricature is studied
in the context of political propaganda. The choice of visual research tools, which the author proposes for working with visual images,
allows us to identify clichés and stereotypes that were formed in relation to the Chinese.

Le déclenchement du conflit avec la Prusse en octobre 1806 va offrir aux satiristes français l’occasion de déployer leur verve contre le couple royal prussien, notamment la reine qui a l’outrecuidance d’accompagner son mari à l’armée. Portées par la réduction à néant des espoirs de paix, mais aussi par la propagande officielle, les caricatures vont largement participer au processus de décrédibilisation politique de Louise de Mecklembourg-Strelitz, tour à tour présentée comme une furie belliqueuse, une épouse infidèle et une mauvaise souveraine.

This paper aims at pointing out relevant questions on the analysis of the work of nineteenth-century cartoonist Ângelo Agostini, as well as to present pertinent arguments on the analysis of images in the historiographical field. To this end, the text locates the artist's production in contextual terms, as an heir to an art tradition that has in the nineteenth century its first golden age: the political and social cartoon. Then, after a brief consideration of the analysis of images in historical studies, two cartoons produced by Agostini on the great theme of abolitionism are interpreted as exemplary analysis.

KOPSAVILKUMS
Pirmā pasaules kara laikā lielākoties tiek publicēti dzejas un īsprozas darbi, kuros nereti tiek runāts arī par bada situācijas aktualizēšanos kara laikā, akcentējot ne tikai fiziskā, bet arī emocionālā un intelektuālā bada draudus. Kara laika tekstos, kuros tiek pieminēts bads, vienlaikus konstatējams gan individuālā pārdzīvojuma atainojums, gan ideoloģiski
ietonēti propagandas vēstījuma kodi – zemnieka un karavīra tēla pretstatījums, morāli ētisko vērtību apdraudējums. Vēstot par dalīšanos ar ēdienu un līdzcietības izrādīšanu karavīriem, tiek aktualizēts cilvēcības saglabāšanas jautājums kara apstākļos. Spilgtus literāros tekstus, kuros aplūkota bada tēma, radījuši, piemēram, Kārlis Skalbe, Edvarts Virza, Vilis Plūdons u. c. Atsevišķi izdalāmi feļetonu teksti un prozas darbi, kuros bada situācija uzlūkota caur ironijas un komisma prizmu.
Atslēgvārdi: Kārlis Skalbe, Edvarts Virza, Vilis Plūdons, ironija, ideoloģija, dalīšanās ar ēdienu.

Les premiers albums du dessinateur Jean Bruller proposent une caricature sociale originale par la combinaison du texte et de l’image. Si La danse des vivants (1932-1938) aspire à illustrer la comédie humaine du XXe siècle par la caricature de mœurs et un ton universaliste, Visions intimes et rassurantes de la guerre (1936) s’ancre dans la période de l’entre-deux-guerres pour développer une critique sociale fortement influencée par les menaces de guerre. Cet article propose une analyse approfondie de l’esthétique de ces deux ouvrages brulleriens, marqués par un humour particulièrement mordant et ironique et par un certain arrière-goût pessimiste. Cette approche analytique se nourrira de même du dialogue entre l'œuvre et la pensée de l’artiste, ainsi que du dialogue entre sa production et le contexte historico-social.

Si le traitement des identités nationales par la caricature a, de longue date, fait l'objet de nombreuses analyses, le passage à l'échelle régionale et locale est dans une large mesure un angle mort de la recherche sur la satire visuelle. Dans un contexte de résurgence des identités locales et de consolidation des identités régionales, en particulier dans une Europe qui dilue les clivages nationaux, ce numéro entend interroger les interactions entre l'art de la caricature et ces identités protéiformes. Cette interaction sera abordée sous trois angles complémentaires : les identités comme objets de caricatures, les identités comme créatrices d'images satiriques, et la caricature comme productrice et destructrice d'identités.

La historia política de Colombia se caracterizó a finales del siglo XIX y la primera mitad del siglo XX, por las constantes disputas entre liberales y conservadores por el afán de estos por alcanzar el dominio del poder Estatal. Así, la rivalidad ideológica de ambos partidos afectaba el cotidiano vivir de los colombianos, provocando que estos se identificaran en términos políticos con el color insignia, en este caso -rojo o azul- del partido al cual se adherían ideológicamente. En este sentido, el presente ensayo tiene como objetivo, explicar los orígenes del Frente Nacional (FN) para entender la mecánica ideológica de rojos y azules en la recuperación del poder estatal en el periodo abordado en el contexto colombiano.

Durante el Sexenio democrático fueron publicadas en los semanarios satíricos El Caos y El Lío cinco caricaturas que recuerdan, al menos formalmente, a las cabezas compuestas que pintase en el siglo XVI Giuseppe Arcimboldo. En el presente artículo se estudian las circunstancias en las que aparecieron los cinco dibujos y se comparan con las pinturas del artista del Cinquecento a través de la lectura que de las cabezas compuestas originales hiciese el filósofo Roland Barthes. El objetivo que subyace en este ejercicio de equiparación es el análisis del procedimiento y de los recursos de los que pudieron valerse los dos autores de las caricaturas.

La caricatura es un producto cultural en proceso de adquirir reconocimiento historiográfico como espacio de socialización política  popular. El presente texto analiza el impacto que esta tuvo en la  configuración del rechazo generalizado hacia el clero que se hizo evidente durante el Bienio Revolucionario (1835-1837). Para ello se estudian treinta caricaturas producidas y/o circuladas en Barcelona durante el período  1833-1837, etapa de debate e inestabilidad política determinada por la  Primera Guerra Carlista (1833-1839/40). Este análisis pone de manifiesto  la instrumentalización propagandística de la caricatura anticlerical por  parte del sector liberal, al mismo tiempo que evidencia la independencia en práctica y discurso del anticlericalismo popular. En conclusión, la  caricatura se entiende como espacio de socialización y se considera  asimismo que la adaptación del discurso anticlerical al formato gráfico satírico auspició un anticlericalismo de matriz popular.

Podemos perceber claramente na história e na crítica da arte, a existência de hierarquizações de delimitam a distância entre arte e artesanato. Estas formas de categorizações definem os artistas originários das classes sociais populares, muitas vezes autodidatas, como primitivos ou naïf, ocorrendo assim, os dispositivos de colonialidade. Sobre esta perspectiva, apresentamos neste artigo o artista João Sebastião Francisco da Costa. Suas produções possuem fortes elementos culturais, mitos, lendas, histórias contadas pelos pescadores da comunidade ribeirinha, que aparecem em formas de telas, esculturas em cerâmica, desenho sobre papel e estamparias em tecidos. Essas imagens iconográficas criadas pelo artista, representam a cultura de Mato Grosso, sendo referenciais inspiradores para muitos outros artistas que apontam no cenário das artes no estado.

Latvijas Nacionālais vēstures muzejs laidis klajā rakstu sērijas 24. sējumu "Ceļā uz latviešu tautu". Muzeja direktors Arnis Radiņš priekšvārdā atgādina, ka šis ir pēdējais darbs 1996. gadā aizsāktā projekta "Latviešu saknes" ietvaros. Projekta gaitā tapušas izstādes, kas veltītas Latvijas sentautām, notikušas konferences, izdoti rakstu krājumi. Projektā piedalījušies arī kaimiņvalstu zinātnieki-īpaši jau lietuvieši. 2016. gadā Latvijas Nacionālais vēstures muzejs jau izdevis rakstu krājumu ar identu nosaukumu, 1 tiesa, tas neietilpst muzeja rakstu krājumu sērijā, raksti tulkoti arī angļu valodā un līdz ar to izdevumam ir arī otrs nosaukums angļu valodā, arī šī izdevuma sastādītājs ir Vitolds Muižnieks, autoru loks ir nedaudz atšķirīgs-tie ir tikai Nacionālā vēstures muzeja speciālisti, tomēr identie nosaukumi var radīt pārpratumus un apgrūtina vajadzīgā meklējumus. Latvijas Nacionālais vēstures muzejs nekad nav atteicies no pētījumiem par baltu tautu etnoģenēzi. Pētījumi par latviešu tautas izveidi ir loģisks projekta noslēgums. Krājumā iekļauti 15 raksti, kas vispirms nolasīti kā referāti zinātniskā konferencē. Autoru loks ir izvēlēts atbilstošs-bez jau tradicionāli šī projekta realizācijā iesaistītajiem arheologiem (Heiki Valks, Vitolds Muiž

latviešu kultūrā ir labi zināma kā dramatiķe, prozaiķe, liriķe, bet, līdzīgi kā daudzi latviešu rakstnieki, arī viņa devusi savu artavu citās kultūras un sabiedriskās dzīves norisēs. Tā A. Brigadere ir sastādījusi un rediģējusi latviešu pasaku krājumus, kā arī strādājusi laikrakstu redakcijās un darbojusies publicistikā. 1 1 Latviešu kultūras vēsture par Annas Brigaderes publicistiku rakstījis Peteris Ermanis literāri biogrāfiskajā studijā par A. Brigaderes dzīvi un daiļradi [sk. 3].

São os professores primários intelectuais? Este artigo visa a discutir a atuação e a constituição da professora primária como intelectual da cidade a partir da trajetória da professora BotyraCamorim, que atuou no campo educacional paulista na primeira metade do século XX. Para tanto, lançarei mão dos livros de memória, romances, contos e artigos por ela produzidos. Essas fontes permitem investigar, pelo estudo do conteúdo e da forma das obras, as estratégias que Botyra engendra para intervir na sociedade como professora e intelectual (SIRINELLI, 1996). Para este estudo, a operação metodológica consistiu em analisar não somente o conteúdo, mas a forma das publicações de Botyra por entender que esse procedimento permite perscrutar os lugares de sociabilidade (GOMES, 1999) que tornam possíveis a emergência e a divulgação das obras e dos saberes, bem como as estratégias de reconversão para intervenção na escola e na sociedade.

La « chapellerie poli que » dans la caricature française au XIX e siècle. Réflexions sur trois usages symboliques de couvre-chefs. Une bou que dont l'enseigne indique « chapellerie poli que » : tel est le sujet central d'une lithographie de Charles Vernier que le quo dien sa rique Le Charivari publie le 22 mars 1849 dans la série « Croquades poli ques ». À la droite du bou quier qui se ent assis devant la porte sont exposés des « chapeaux reacs », et à sa gauche des « chapeaux redemosoc [sic] », au premier rang desquels figure le chapeau tyrolien à large bord caractéris que des gardiens de Paris 1. Ce chapelier aux longs favoris, lui-même coiffé d'un haut-de-forme orné de la cocarde tricolore, n'est autre que Louis-Philippe. Chassé du pouvoir par la révolu on de février 1848, il ironise sur le cours sinueux des événements alors que le procès chargé de juger les 17 accusés compromis dans la manifesta on du 15 mai 1848 se ent devant la Haute Cour de jus ce réunie à Bourges (7 mars-3 avril 1849) : « J'ai bien fait tout d'même de n'pas vendre aux chiffonniers mes vieux chapeaux d'sergens d'ville… ça va resservir !... par exemple faut que j'ôte la poussière, il y a juste un an qu'ils ont été brossés !... ». Cet art du recyclage et de la métamorphose pourrait-il se résumer dans la formule lapidaire : dis-moi quel chapeau poli que tu portes, je te dirai qui tu es 2 ? C'est un immense sujet que l'on traitera ici modestement à travers trois usages symboliques de couvrechef dans la caricature française.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L’archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d’enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Bref survol des théories du comique Jean-Charles Chabanne

The study explores the relationship between caricatures, soft power, and the Palestinian cause, considering it a humanitarian issue before being moulded into politically and religiously charged narratives. This is especially important given the ongoing changes and escalating circumstances in Gaza, which have included blatant Israeli massacres and violations. The focus is on the role of cartoonists in this context, as cartoon art has become a non-violent digital struggle used to enhance resilience and advocate for the Palestinian cause. The research adopts a qualitative approach, employing a semiological method. The researcher utilizes a coding sheet as a research tool to examine the relationship between the visual and symbolic elements used and the messages conveyed by the artist "Alaa Al-Laqta" through his cartoons published on his personal Facebook page. The study yields several results, highlighting that caricatures serve as an expressive tool reflecting lived reality in a contrasting approach to serious or comic forms of expressive arts. They demonstrate narrative and informative effectiveness as a counterforce to Western and Arab media content, portraying the pain of the Palestinian people and presenting to the public a reality that diverges from Israeli narratives propagated by various traditional and digital media channels. Keywords: Caricature, Humanitarian Issues, Palestinian Cause, Digital Resistance, Soft Power
تبحث الدراسة في العلاقة بين الصور الكاريكاتيرية والمقاومة الناعمة والقضية الفلسطينية باعتبارها قضية إنسانية قبل أن تُقولب في قوالب مؤدلجة سياسيا ودينينا سيما مع تزامن التغيرات وتسارع الأحداث التي تشهدها غزة اليوم من مجازر وانتهاكات إسرائيلية صارخة، مع التركيز على دور الرسامين الكاريكاتيرين في هذا السياق من منطلق أن الرسم الكاريكاتيري بات يشكل نضالا وقوة رقمية ناعمة غير عنيفة تستخدم لتعزيز الصمود ومناصرة القضية الفلسطينية.
تنتمي الدراسة إلى البحوث الكيفية، حيث وظف الباحث المنهج السيميولوجي مستعينا بورقة الترميز coding sheet كأداة بحث تمكّنه من الوقوف على العلاقة بين العناصر البصرية والرمزية المستخدمة والرسالة التي يحاول الفنان "علاء اللقطة" نقلها من خلال رسوماته المنشورة على صفحته الشخصية عبر تطبيق Facebook، فيما توصلت الدراسة إلى جملة من النتائج أبرزها: أن الصور الكاريكاتيرية تشكل أداة  تعبيرية تعكس الواقع المعاش وفق نهج مغاير تماما مقارنة مع الأشكال والفنون التعبيرية الجادة منها أو الهزلية، وقد أظهرت فعاليتها السردية والخبرية كقوة مجابهة للمضامين الإعلامية الغربية منها والعربية لتحاكي آلام الشعب الفلسطيني وتصور للرأي العام حقيقة ما هو كائن بعيدا عن الروايات الإسرائيلية التي يروج لها مختلف الوسائل والقنوات الإعلامية التقليدية والرقمية.

Este texto tem como objetivo analisar o significado da trajetoria social da primeira professora rural do municipio de Tangara da Serra – MT, identificando-a como uma das pessoas responsaveis na dinâmica da efetivacao da politica de (re)ocupacao da fronteira agricola mato-grossense, no caso da localidade de Tangara da Serra, a partir dos anos 60 do seculo XX. Metodologicamente o texto foi construido com a leitura de fontes escritas (atas e documentos escolares), fontes iconograficas e orais. Foram realizadas e utilizadas entrevistas ja gravadas com Iracema da Silva Machado Casagrande. O texto tem como referencial teorico o pensamento historiografico de Charter (1990) e de Farge (2011), neste contexto foram construidas analises sobre a trajetoria de vida de Iracema Casagrande, destacando a sua infância, a sua escolarizacao, a migracao para Mato Grosso, e o fazer-se professora. Conclui-se que, o fazer professora, mesmo sem habilitacao, em regiao de colonizacao recente de Mato Grosso, f...

"One may add that it is a loss for non-Nordic researchers with an interest in Nordic cultural history that only a few of Lena Johannesson's many texts are available in English. Books such as 'Mörkrum och transparens' and 'Ellen Keys vänstra öga' (Ellen Key's left eye) should, in English translation, and with some adaptation of parts where a common national Swedish frame of reference is implied, be of interest to an international readership."

Entre 1871 et 1872, le dessinateur Paul Hadol publie dans l ’hebdomadaire satirique Le Charivari onze portraits-charges formant une série intitulée La Mythologie politique. Cet article rappelle d'abord comment celle-ci s'inscrit dans une tradition préexistante de parodie iconographique de l'Antiquité qui naît en Angleterre à la fin du XVIIIe siècle avant d'être acclimatée en France à partir de la monarchie de Juillet.On interroge ensuite les critères de sélection biographique des célébrités caricaturées et la cohérence thématique possible de la série à partir de la typologie des filtres mythologiques – le cycle de Troie, les divinités olympiennes, les héros, les monstres. Enfin, l'analyse plus spécifiquement sémiotique des caricatures met en évidence la reprise du procédé associant grosse-tête et légende versifiée aux deux séries du Panthéon charivarique (1838-1841 et 1866-1867), la dimension de rébus politique, et le jeu de citations artistiques, littéraires voi...

Satirical art forms are fast becoming a potent media of expression among artists and the general populace. This powerful and potent art form has been used to stir laughter and also point to a potent message in the observer. Cartoons, paintings and sculptures have been used as media of expression in art to pass messages across to people on various societal issues. This paper is an attempt to explore the potential of satire in the various genres of plastic art to propagate messages. In Nigeria as other countries where the satirical genres of art have moved the people to action on state matters, founding fathers in the Nigerian art scene and other artists of repute have used satirical cartoons and other art forms to advance their positions on colonialism and other issues of national interest. Satirical art plays a great role in changing the psyche of the people toward various issues in the society and should be encouraged by all and sundry. Key words: Satire, Art, potency, media.

The existence of cartoons in a printing media is a supplement that can even show other side in delivering self mission as social condition indicator of society currenntly. In its development, a cartoon is not an illustration of this media only, but also more dedicated to an opinion and it can even be a promotion media from a product which would like to be presented in this printing media. Thus, the existence of cartoon, a media can improve its role by presenting a more complete menu within simple, humorous drawing language and can attract attention; even a cartoon can speak thousand words.

[Abstract] This work makes a comparative analysis of the discourses and arguments provided by a sample of Spanish citizens from different regions of the country in order to calibrate the effect of two satirical sketches taken from the television schedule in Spain. The sketches were chosen because of their different styles of humor-a more Horatian satirical humor vs. a Juvenalian humor-and because of their content, focused on parodying different ethnic and political groups, such as Basque and Catalan nationalism on the one hand, and immigrant and homosexual collectives on the other. Specifically, the article analyzes whether there are similarities and differences in the appreciation of these sketches, whether there are geographical differences in this appreciation, and what reasons are given by citizens to justify their enjoyment (or discomfort) with this type of satirical sketches. The conclusions note that people with a higher degree of enjoyment (and also people with a higher degree of discomfort) facing this type of satirical sketches, irrespective of their content, focus their attention on the formal questions of the sketch, while people with an intermediate degree of enjoyment are more likely to combine all the formal and substantive elements in making an evaluation.

This chapter considers political satire as a mode of visual representation. It focuses on a group of prints that were published in London between 1737 and 1741. When the prints were published, towards the end of Sir Robert Walpole’s premiership, they entered a dynamic market for locally produced and politically motivated imagery. Yet they stand out from contemporary production because they use animals to represent political arguments; in so doing, they offer a novel form of aesopian-inspired fable imagery.
The prints are known collectively as The European Race and they were designed to critique Walpole’s attitude to foreign policy. The animals are used to stand in for European nations and to act as spokesmen for their respective interests. Their choice (the lion, fox, eagle, bear, boar, and elephant) reveal their derivation from the Aesopian fable. Aesopian beastiaries offered graphic satirists a practical way of visualizing the complexities of international politics, yet art historians have traditionally downplayed their significance. Typically, the animal is understood as an emblem i.e. as a flat device that is symbolic of a fixed character. The chapter shows how aesopian animality offered imaginative and interactive forms that enhanced the satirical characterization of the figures they were associated with. The animal politicians provide subtle and witty codifications for the shifting alliances and competitive tensions operating between different European nations. Furthermore, the prints were sponsored by the Tories and their ‘dream-vision’ animal iconographies seem to be mediating a contemporary mode of political writing that was being channelled through the Tory press.
Overall, the prints offer fascinating perspectives on the ‘intermediality’ of British graphic satire in the mid-eighteenth century. They point to the flexibility of an established mode of political satire that had been popular in England since the late seventeenth century but which had circulated as unillustrated verses or pamphlets. Now though, with a lively public sphere stimulating the publication of cross-party graphic satire, satirical fables could make sense as satirical images and they could be successfully commodified by the print market. The appearance of the European Race during a period marked by the ascendancy of French power in Europe suggests that, rather than circulating as narrow national forms, aesopian related satire allowed local political tensions to be cast within an international frame of reference. Furthermore, the visual identity of the prints as refined and sophisticated graphic products that were designed by French and British artists, offer a further illustration of their cross-cultural connections. The chapter, therefore, explores intermediality and the satirical image, paying attention to ideas of movement across borders, across genres and across time.

A much discussed topic of border research today is, on the one hand, the relationship between cultural, social, economic and political boundaries, and on the other hand, the relationship of all of these to specifi c locations, that is, the correlation between space-be it geographical, cultural or social-and place. Whether we consider borders to be geographic areas that are defi ned or linked with dynamically changing cultural phenomena, ethnographic and cultural anthropological research studies the local societies that use, form, transform and interact with borders, as well as border phenomena and border processes. The volume of studies edited by Tünde Turai, "An Ethnographic Interpretation of Tri-Border Areas", was published by the Institute of Ethnology at the Research Centre for the Humanities of the Hungarian Academy of Sciences, as a culmination of a fouryear project (2011-2015) funded by the HSRF. 1 The study examined the impact of changes in the two decades after the regime change upon the populations of settlements located in the tri-border region, and embarked upon exploring the cultural, economic and social dimension of their relationship. To this end, researchers of the Institute of Ethnology, as well as associates of other Hungarian and foreign scholarly networks, employed questionnaire-based studies in addition to ethnographic fi eldwork, and visually documented, especially in the form of photographs and a documentary fi lm, the everyday life of border zones. The latter provided a basis for another volume edited by Tünde Turai and Csaba Mészáros, "An Ethnographic Perspective on Tri-Border Areas", which aims to interpret the tri-border situation from the perspective of visual anthropology. The studies of wide-ranging topics included in the volume edited by Turai actually accomplish analyzing many aspects of the Hungarian tri-borders (Hungarian-Austrian-Slovenian, Hungarian-Romanian-Serbian and Hungarian-Romanian-Ukrainian)-with the exception of the tri-border regions encompassing Hungary's northern neighbor (Hungarian-Slovakian-Ukrainian and Hungarian-Austrian-Slovakian). Presumably the researchers intend to investigate the tri-border areas concerning Slovakia as a continuation of the research-although at this point the reader may sense some defi ciency without knowing their justifi cation.

What do curators do in Latvia? What is at the centre of their attention? What are their strategies, methods, convictions and styles? The question is complicated, because the history of curating in Latvia remains unwritten. This essays is an attempt to trace the path of the curatorial profession in Latvia, looking for correlations and links between people, events, processes and discourses, as well as establishing potential reference points, which could become part of the history of Latvian curating over the past three decades. Owing to the complexity of this unexplored subject and as yet unwritten history, in this article I concentrate on the period of the 1990s, yet at the same time I draw parallels with the later decades of the 21st century. The nineties are an important time in the making of local curators’ histories: it has considerably shaped the understanding of curator’s work and role on the Latvian art scene, and we continue to deal with this understanding to this day.

This article investigates the political caricatures assembly of some major 'players' on the contemporary economic-political EU stage, and the semiotic-linguistic and visual rhetorical tools used to achieve this assembly. This is achieved through an intersemiotic analysis of the aspects of a small corpus of political caricatures in English and French newspapers that were republished in Greek newspapers in the aftermath of Greece's first memorandum in 2010 and within the ongoing discussion about the (un)predictability of Grexit terror. A rationale for the combination of intersemiotic and interlingual analysis and a discussion of the nature and functions of the semiotic complexity of political caricatures are provided. The analysis, drawing upon the notions of intersemiosis and (un)predictability in translation, addresses the verbal and visual aspects of the caricatures against a cross-cultural background. The analysis of four caricatures elaborates on intersemiotic aspects of the sample, specifically on verbal-visual interactions as these are juxtaposed on both the source and target culture, toward an understanding of the messages of the caricatures, the tools used to convey these messages and how they contribute to the ongoing discussion about the (un)predictable roles of Greece in/outside Europe.

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