Abstract
In modern times, caricatures are commonly found in newspapers, satirical magazines, illustrated books, or on the Internet. They are situated within different media and their positioning varies according to the particular type of media in which they are published. This is especially the case if they are situated in the virtual world of the Internet, where space and time take on another dimension. It is also true, however, that in our own time caricatures have tended to play a somewhat more marginal role, as they represent only one among the whole host of possibilities for leisure, amusement, or critique. Nonetheless, in recent years caricatures have once again begun to attract attention, especially in relation to the Mohammed cartoons controversy that was caused by the publication of twelve caricatures in the Danish newspaper Jyllands-Posten.1 Such controversy is in keeping with the history of the European caricature, as caricatures were often involved in conflicts, particularly in nineteenth-century France, when they were constrained by censorship.2
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Notes
For literature concerning the Mohammed cartoons controversy, cf.: Ursula Baatz, Hans Belting, and Isolde Charim, eds., Bilderstreit 2006: Pressefreiheit? Blasphemie? Globale Politik? (Wien: Picus, 2007);
François Boespflug, Caricaturer Dieu? Pouvoirs et dangers de l’image (Paris: Bayard, 2006);
Bernhard Debatin, ed., Der Karikaturenstreit und die Pressefreiheit, Wert- und Normenkonflikte in der globalen Medienkultur (Berlin: Lit Verlag, 2007);
Jeanne Favret-Saada, Comment produire une crise mondiale avec douze petits dessins (Paris: Les Prairies ordinaires, 2007);
Jytte Klausen, The Cartoons That Shook the World (New Haven, CT: Yale University Press, 2009);
Risto Kunelius and Elisabeth Eide, “The Mohammed Cartoons, Journalism, Free Speech and Globalization,” in Reading the Mohammed Cartoons Controversy, An International Analysis of Press Discourses on Free Speech and Political Spin, Risto Kunelius et al., eds (Bochum/Freiburg: projekt verlag, 2007);
Monkia Glavac, Der Fremde in der europäischen Karikatur, Eine Studie über das Spannungsfeld zwischen Belustigung, Beleidigung und Kritik (Göttingen: Vandenhoeck und Ruprecht, 2012).
On censorship in nineteenth-century France see Robert Justin Goldstein, Political Censorship of the Arts and the Press in Nineteenth-Century Europe (New York: St. Martin’s Press, 1989);
Justin Robert Goldstein, Censorship of Political Caricature in Nineteenth-Century France (Kent, OH: Kent State University Press, 1989).
See Jon Stobart, Andrew Hann, and Victoria Morgan, Spaces of Consumption, Leisure and Shopping in the English Town, c. 1680–1830 (New York: Routledge, 2007), 2.
Winfried Fluck, “Imaginary Space; or, Space as Aesthetic Object,” in Space—Place—Environment, Lother Hönnighausen, Julia Apitzsch, Wibke Reger, eds., (Tübingen: Stauffenburg Verlag, 2004), 27.
Cf. Wolfgang Kemp, “Kunstwissenschaft und Rezeptionsästhetik,” in Der Betrachter ist im Bild: Kunstwissenschaft und Rezeptionsästhetik, Wolfgang Kemp, ed. (Berlin: Dietrich Reimer Verlag, 1992), 22.
See Herbert M. Atherton, Political Prints in the Age of Hogarth, A Study of the Ideographic Representation of Politics (Oxford: Clarendon Press, 1974);
Diana Donald, The Age of Caricature, Satirical Prints in the Reign of George III (New Haven, CT: Yale University Press, 1996);
Cindy McCreery, The Satirical Gaze, Prints of Women in Late Eighteenth-Century England (Oxford: Clarendon Press, 2004); Glavac, Der Fremde in der Karikatur, Chapter 3.
On William Hogarth’s biography see Frederick Antal, Hogarth and His Place in European Art (London: Routledge & Kegan Paul, 1962);
Ronald Paulson, Hogarth, The Modern Moral Subject, 1697–1732: Vol. 1 (Cambridge: Lutterworth, 1992);
Ronald Paulson, Hogarth, High Art and Low, 1732–1750: Vol. 2 (Cambridge: Lutterworth, 1992);
Jennifer Uglow, Hogarth: A Life and a World (London: Faber and Faber, 1997).
For more information on the engraving Credulity, Superstition and Fanaticism. A Medley, see Bernd W. Krysmanski, Hogarth’s Enthusiasm Delineated, Nachahmung als Kritik am Kennertum, Eine Werkanalyse, 2 Bd (New York: Georg Olms Verlag, 1996);
Ronald Paulson, Hogarth’s Graphic Works (London: The Print Room, 1989), 177–78; Glavac, Der Fremde in der Karikatur, Chapter 3.
Cf. Karl-Heinz Kohl, “Die Magie des Okzidents: Europa in den Berichten arabischer und chinesischer Reisender,” in Der Orient im Okzident, Sichtweisen und Beeinflussungen, Irene A. Diekmann, Thomas Gerber, Julius H. Schoeps, eds. (Potsdam: Verlag für Berlin-Brandenburg, 2003), 79.
Cf. David Dabydeen, Hogarth’s Blacks: Images of Blacks in Eighteenth Century English Art (Mundelstrup: Dangaroo Press, 1985).
Cf. Henry Fielding, The History of the Adventures of Joseph Andrews, Adam Potkay, ed. (New York: Pearson/Longman, 2010).
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© 2014 Mark K. George and Daria Pezzoli-Olgiati
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Glavac, M. (2014). Spaces of Ridicule: Spatial Differentiation of the Caricature in Eighteenth-Century England from the Perspective of the Study of Religion. In: George, M.K., Pezzoli-Olgiati, D. (eds) Religious Representation in Place. Religion and Spatial Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137342683_11
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