Le Musée pour rire. Dessins par tous les caricaturistes de Paris:

No more published?

The world's wit and humor; an encyclopedia of the classic wit and humor of all ages and nations.

Each volume has special t.p. dated 1906.

Wippchen's sämmtliche berichte.

The frontispiece in v.1 is a caricature of the author.

Russkai︠a︡ karikatura.

[1] V.F. Timm.--2. Otechestvennai︠a︡ voĭna: Terebenev, Venet︠s︡īanov, Ivanov.--3. A.O. Orlovskiĭ.

Les humoristes;

"Liste des journaux humoristiques du front" : p. [191]-197.

Social pictorial satire : reminiscences and appreciations of English illustrators of the past generation /

Mode of access: Internet.

Principes de caricatures : suivis d'un essai sur la peinture comique /

Mode of access: Internet.

Die karikatur der europäischen völker vom altertum bis zur neuzeit;

Mode of access: Internet.

Essays speculative and suggestive /

v. 1. The philosophy of evolution. On the application of evolutionary principles to art and literature. On some principles of criticism. The provinces of the several arts. On the relation of art to science and morality. Realism and idealism. The model. Beauty, composition, expression, characterisation. Caricature, the fantastic, the grotesque. Notes on style: History and usage of the word; National style.-v. 2. Notes on style: Personal style; The art of style. Democratic art, with special reference to Walt Whitman. Landscape. Nature myths and allegories. Is poetry at bottom a criticism of life? A review of Matthew Arnold's selection from Wordsworth. Is music the type or measure of all art? The pathos of the rose in poetry. A comparison of Elizabethan with Victorian poetry. Appendix.

O riso em Bufólicas: o incompossível se fez ordem

O presente trabalho tem por objetivo a análise da obra Bufólicas, da escritora Hilda Hilst. Por intermédio do emblema dos contos de fadas, a escritora constrói sete poesias que narram a passagem da vida das personagens de cunho feérico. Observa-se que nelas surge uma visão de mundo peculiar, suscitando um riso multifacetado, demiúrgico, criador, existencial, de modo a zombar dos valores primordiais cultuados pela sociedade ocidental contemporânea. Assim, analisaremos as personagens com base na descrição de suas características marcantes, as quais são pautadas pela obscenidade, tendência à caricatura e tons de risibilidade. Tais características rompem com paradigmas na medida em que reinventam as histórias canônicas que fazem parte do imaginário ocidental. Esse estudo estrutura-se em três planos: no primeiro deles, a poeta é apresentada conjuntamente com a peculiaridade de sua obra, enfatizando-se os momentos mais representativos de sua escrita. A seguir, faremos a análise das obras que tratam do riso. Ao evocar os conceitos que remetem ao riso de zombaria, definido por Vladímir Propp e a comicidade carnavalizada, teorizada por Mikhail Bakhitin, a intenção é a de demonstrar a sua inter-relação assim como a complementaridade. E por fim, adentraremos no mundo de Bufólicas, de forma a investigar a leitura paródica elaborada pela autora, que expulsa a linguagem do seu espaço celestial e instaura o caos, com suas múltiplas possibilidades de leitura nas tessituras cômico-sérias.

Hugh MacDiarmid’s Impossible Community.

This chapter suggests two main related points. The overarching contention is that Hugh MacDiarmid was a poetic, political, polemical, and metaphysical impossibilist (rather than merely the extremist of caricature). More particularly, in an attempt to escape the impossible community of the Kailyard – provincial, retrogressive, Christian, Scotland-as-Brigadoon – MacDiarmid fashioned an equally impossible if conflicting community, profoundly singular yet ultimately spiritual, that nonetheless contained residual Kailyard archetypes. The argument is traced through examination of MacDiarmid’s attitude to the Kailyard; work relating to the small communities in which he lived and wrote, and to cities; and the question of his anti-Englishness.

A crítica às mulheres no fr. 7 de Semónides de Amorgos

O poema de Semónides de Amorgos sobre as mulheres (Fr. 7 West) é o mais extenso fragmento preservado da poesia iâmbica grega da época arcaica. Nele o poeta apresenta uma reflexão pessimista de cariz misógino sobre o carácter feminino, numa narrativa original que cataloga dez tipos de mulher, oito baseadas em modelos animais (a porca, a raposa, a cadela, a burra, a doninha, a égua, a macaca e a abelha) e dois em elementos da natureza (a terra e o mar). Pretende-se demonstrar, neste estudo, que essa caracterização tipológica era inovadora e respondia a uma dupla finalidade: satírica e humorística. Uma vez que o poema se destinaria a um contexto simpótico, um espaço tipicamente masculino, a mulher e a sua natureza constituiriam uma temática que levaria o homem a reflectir, de um modo simultaneamente sério e divertido, sobre a sua própria condição.

Graphic satire and the rise and fall of the First British Empire: political prints from the Seven Years' War to the Treaty of Paris, c. 1756-1783

This thesis examines the early stages of the transformation of emblematic political prints into political caricature from the beginning of the Seven Years' War (1756) to the Treaty of Paris, which ended the American Revolutionary War (1783). Both contextual and iconographical issues are investigated in relation to the debates occasioned by Britain's imperial project, which marked a period of dramatic expansion during the Seven Years' War, and ended with the loss of the American colonies, consequently framing this thesis as a study of political prints during the rise and fall of the so-called 'First British Empire'. Previous studies of eighteenth-century political prints have largely ignored the complex and lengthy evolutionary process by which the emblematic mode amalgamated with caricatural representation, and have consequently concluded that political prints excluded emblems entirely by the end of the 1770s. However, this study emphasizes the significance of the Wilkite movement for the promotion and preservation of emblems, and investigates how pictorial political argument was perceived and received in eighteenth-century British society, arguing that wider tastes and opinions regarding the utilization of political prints gradually shifted to accept both modes of representation. Moreover, the marketplace, legal status, topicality, and manufacturing methods of political prints are analyzed in terms of understanding the precarious nature of their consumption and those that endeavoured to engage in political printmaking. The evolution, establishment, and subsequent appropriation of pictorial tropes is discussed from the early modern period to the beginning of the so-called Golden Age of caricature, while tracing the adaptation of representational models in American colonial prints that employed emblems already entrenched in British pictorial political debate. Political prints from the two largest print collections, the British Museum and the Lewis Walpole Library at Yale are consulted, along with a number of eighteenth-century newspapers and periodicals, to develop the earlier research by M. Dorothy George, Charles Press, Herbert Atherton, Diana Donald, Amelia Rauser, and Eirwen Nicholson.

Ochrona czci człowieka a satyra i karykatura jako element wolności sztuki – rozważania na gruncie polskiego i niemieckiego prawa karnego

Cześć człowieka jako dobro szczególnie często naruszane bez wątpienia zasługuje na ochronę w świetle prawa karnego. Z drugiej strony, każdemu człowiekowi przysługuje wolność swobody wypowiedzi, w tym artystycznej, która może się przejawić w formie satyry i karykatury. Rodzi się zatem pytanie, gdzie należałoby postawić granicę, ażeby wolność ta mogła być realizowana bez uszczerbku dla czci człowieka. W niemieckim kodeksie karnym tę kwestię reguluje § 193 StGB, który stanowi o ,,zachowaniu uprawnionych interesów”. Przepis ten jest swoistym rodzajem kontratypu, który pozwala przy spełnieniu szeregu warunków, na nieponiesienie odpowiedzialności karnej przez osobę która wygłasza wypowiedzi, mogące naruszyć cześć człowieka. Do warunków tych doktryna niemiecka zalicza także działanie w ramach wolności artystycznej.

Neuronal networks with gap junctions: A study of piece-wise linear planar neuron models

The presence of gap junction coupling among neurons of the central nervous systems has been appreciated for some time now. In recent years there has been an upsurge of interest from the mathematical community in understanding the contribution of these direct electrical connections between cells to large-scale brain rhythms. Here we analyze a class of exactly soluble single neuron models, capable of producing realistic action potential shapes, that can be used as the basis for understanding dynamics at the network level. This work focuses on planar piece-wise linear models that can mimic the firing response of several different cell types. Under constant current injection the periodic response and phase response curve (PRC) is calculated in closed form. A simple formula for the stability of a periodic orbit is found using Floquet theory. From the calculated PRC and the periodic orbit a phase interaction function is constructed that allows the investigation of phase-locked network states using the theory of weakly coupled oscillators. For large networks with global gap junction connectivity we develop a theory of strong coupling instabilities of the homogeneous, synchronous and splay state. For a piece-wise linear caricature of the Morris-Lecar model, with oscillations arising from a homoclinic bifurcation, we show that large amplitude oscillations in the mean membrane potential are organized around such unstable orbits.