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カリカチュアの黄金時代 : 19世紀フランスの政治と社会
https://nitech.repo.nii.ac.jp/records/6187
https://nitech.repo.nii.ac.jp/records/618718dfd668-c18f-493b-9b7b-b42300b94a6e
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
本文_fulltext (2.1 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper_04(1) | |||||||||
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| 公開日 | 2018-02-13 | |||||||||
| タイトル | ||||||||||
| タイトル | カリカチュアの黄金時代 : 19世紀フランスの政治と社会 | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| その他（別言語等）のタイトル | ||||||||||
| その他のタイトル | The Golden Age of French Caricature : From the 1830s to the End of the Nineteenth Century | |||||||||
| 著者 |
高木, 勇夫
× 高木, 勇夫
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| 著者別名 | ||||||||||
| 姓名 | Takagi, Isao | |||||||||
| 書誌情報 |
名古屋工業大学紀要 巻 55, p. 51-63, 発行日 2004-03-31 |
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| 出版者 | ||||||||||
| 出版者 | 名古屋工業大学 | |||||||||
| ISSN | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 0918595X | |||||||||
| 書誌レコードID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN10389180 | |||||||||
| 著者版フラグ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| 論文ID（NAID） | ||||||||||
| 40006264784 | ||||||||||
| https://ci.nii.ac.jp/naid/40006264784 | ||||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | The history French caricature had its origins on the walls of Romanesque cathedrals and in the folios of the Medieval Age. The sense of the grotesque or the technique of exaggeration, impersonation, and a certain humor, survived into the modern political world. After Albrecht Diirer, Jacques Callot, the Lorraine man, exposed the misery of war in the 1630s, much as Honore Daumier did in the atmosphere of belligerence in the 19th century. The dignity of royal portraits was expressed in such figures as Jean II (anonymous), Charles VII (by Jean Fouquet), Frangois I^<er> (by Jean Clouet), and Louis XIV (by Charles Le Brun). All of these were penetrated by a self-confidence seen in the painters and in the faces of the sovereigns as well. Arrogance and imbecility are easily found in the depicted figures. The French Revolution of 1789 turned conventions upside down. Louis XVI was drawn as a wild bore (anonymous), while Napoleon was treated as an ogre (by James Gillray, an English caricaturist). The July Revolution of 1830 guaranteed a free press, and Charles Philipon immediately published la caricature and le charivari, the illustrated journals, in which he molded Louis-Philippe into a pear with the words in the frontispiece. This essay comments on the works of Daumier, Grandville, Monnier, Gavarni, Travies, Cham, and some others in the second half of the 19^<th> century. Although the pencil or crayon for the lithograph is mightier than the sword, humorists could hardly escape their own charge. That is why several of these went mad in mid career. Generally speaking, political caricature ceased in 1835 on account of the attack by la machine infernale to the cortege of Louis-Philippe, and moral treatment replaced it. Whether political or not, satire with a touch of humor represented the nation's temperament. The real regression of creativity was to be found in the 1880s, when the revolutionary minds among the Parisian populace had been totally extinguished. | |||||||||
| フォーマット | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | application/pdf | |||||||||
