Suchergebnisse

Las expectativas políticas y la consiguiente voluntad de influir en la moral social colectiva, en periodos cruciales de la discontinua revolución liberal española, producen núcleos intermitentes de polarización satírica en la prensa que se inicia con ímpetu utópico y suelen disolverse en la acomodación o en el desencanto cuando las ilusiones iniciales se frustran. Bajo la implícita sujeción a esta hipótesis, el presente artículo se aproxima a la secuencia histórica de 1832-1845, cuando la prensa satírica debe acomodar su inicial forma literaria al contrapunto intermediático de la ilustración gráfica y la caricatura. ; The political expectations and consequent desire to influence collective social morals at crucial moments of the discontinuous Spanish liberal revolution produced intermittent foci of satirical polarization in the press, which started with utopian impetus and usually faded into compromise or disenchantment after initial hopes were thwarted. In the implicit frame of this hypothesis, this paper takes a look at the period 1832-1845, when the satirical press had to accommodate its early literary form to the inter-media counterpoint of graphic illustration and caricature.

What is feminism? Why are we still talking about it, and what can it tell us about ourselves, our societies and prejudices? In this unique, illustrated introduction, we'll explore the early history of conscious struggle against sexist oppression, through the modern "waves" of feminism, up to present-day conversations about MeToo, intersectional feminism, and women's rights in the Middle East. We'll look at critical theory, popular action and the social and cultural forces that affect attitudes toward gender, women's lives and the struggle for equality. And we'll hear about the contributions of pioneers like Mary Wollstonecraft, Simone de Beauvoir and Kimberlé Crenshaw. As we'll see, feminism is at once global, local and individual. Written by Cathia Jenainati with illustrations from Judy Groves and Jem Milton, Feminism: A Graphic Guide engages with the heated debates taking place in our homes, workplaces and public spaces -- and the work still to be done.

Anne Franks Tagebuch, weltbekannt und geliebt, liegt jetzt in einer völlig neuen Fassung vor: 'Das Tagebuch der Anne Frank: Graphic Diary. Umgesetzt von Ari Folman und David Polonsky' ist eine einzigartige Kombination aus dem Originaltext und lebendigen, fiktiven Dialogen, eindrücklich und einfühlsam illustriert von Ari Folman und David Polonsky. Beide bekannt für ihr Meisterwerk 'Waltz with Bashir', das u.a. für den Oscar nominiert war. So lebendig Anne Frank über das Leben im Hinterhaus, die Angst entdeckt zu werden, aber auch über ihre Gefühle als Heranwachsende schreibt, so unmittelbar, fast filmisch sind die Illustrationen. Das publizistische Ereignis zum 70. Jahrestag der Erstveröffentlichung, autorisiert vom Anne Frank Fonds Basel.

Gold Winner of the Midwest Book Award in the self-help category from the Midwest Independent Publishers Association! Through rich illustration and narrative, Sobriety: A Graphic Novel offers an inside look to recovery from the perspectives of five Twelve Step group members, each with a unique set of addictions, philosophies, struggles, and successes while working the Steps. Larry, an "old-timer" in recovery circles, believes in the powerful, rich traditions of the Big Book in helping people reinvent themselves. Alex is a Londoner of African descent, gay and an atheist who decided to go to treatment in the States when his Ecstasy and heroin addictions landed him in the hospital. Debby, a single mother in her twenties, is on her third round of treatment. A dreamer, she's finally owned up to being an addict and wants to live a sober life, but hasn't quite grasped how much work that's going to take. At nineteen, Matt is what some might call a "tough case" with Meth his drug of choice. He's deeply lonely but has developed a tough outer shell for protection. Hannah was adopted as a baby and grew to be a smart, high-achiever. Now a college freshman, her rebellious side has taken over, her grades are suffering, and she also struggles with bulimia. The fact that they are all seeking help for addiction is the one thing that ties them together. But their approaches to recovery are as diverse as their backgrounds. As their stories unfold through their interactions as a Twelve Step group, we gain an intimate look at the challenges faced by those in recovery--and at the boundless power of working the Steps in helping people find strength in one another as they reach for a clean-and-sober life.

En 2016 conmemoramos el 150 aniversario del nacimiento de dos fi-guras fundamentales para la plástica en España, que desarrollaron sus respectivas trayectorias artísticas complementando su actividad creativa como pintores con iniciativas profesionales adicionales, pero no por ello menos relevantes: José Garnelo, como reformador educativo de las propias enseñanzas artísticas, como ensayista y promotor de revistas sobre arte; y Ángel Díaz Huertas, como pintor-ilustrador, en una época en la que, enlazando con los postulados del romanticismo y acomodándose a los nuevos posicionamientos estéticos, la prensa y las artes gráficas vivieron un auténtico auge, que fue esencial para la generalización y democratización de la cultura ; In 2016 we commemorated the 150th anniversary of the birth of two leading figures for visual arts in Spain, who developed their respective artistic careers complementing their creative activity as painters with additional, but not less relevant, professional initiatives: José Garnelo, as an instructive reformer of art education, as an essayist and promoter of art magazines; and Ángel Díaz Huertas, as a painter and illustrator, at a time when, connecting with romantic postulates and adapting to the new aest-hetic trends, the press as well as graphic arts reached a new height, which was essential for the generalization and the democratization of culture.

Traditional models for operating as a commercial illustrator are being affected by a rapidly changing media landscape and a reduction in commissioning budgets. Illustration as a discipline can use this time of financial uncertainty and change to reflect upon related fields in the creative industries and as well as referring back to its own core values, skills and objectives. In the context of fine art there have been a number of terms and practices discussed over the last decades that centre around social engagement and collaboration: relational aesthetics (Nicolas Bourriaud), new genre public art (Suzanne Lacy), connective aesthetics (Suzy Gablik) and dialogical aesthetics(Grant Kester). Similarly, design has seen a variety of initiatives and organizations that focus on engaging with communities in order to improve people's lives in meaningful ways while taking into account complex social, political and environmental challenges. Illustrators can use elements of these practices to expand their remit while continuing to take advantage of their core skill of giving visual form to externally given content for a particular audience. Taking responsibility for generating content through outward-facing engagement while also having a stake in the methods of distribution, opens up a wealth of opportunities that promise to be productive for the discipline.

This essay explores political cartoons published in various journals in 1917, and investigates the legacy of that year's graphic satire. As many previous works have noted, the revolutions of 1917 brought struggles for the meaning of signs, and in political cartoons there were marked changes in subject matter and visual vocabulary. While previous studies have interpreted these developments as illustrations of political revolution, this essay, which is based on original research, will argue that the fundamental shift that began in 1917 was towards a kind of visual satirical discourse that possessed performative power. Proposing a new conceptual framework for analysis based on theories of performativity, the theoretical contribution of this essay will be to show how graphic satire reveals the performative force of cartoons, by arguing that Soviet graphic satire's aesthetic invites readers' critical engagement with contemporary discourses, a vision that derives from the political cartoons of 1917.

Die englischsprachige Ausgabe von Marx for Beginners, einer in Comic-Form verfassten Einführung in das Leben und Werk von Karl Marx, war 1976 der Startschuss für ein neues Genre, das bis heute Hunderte von Büchern hervorgebracht hat: die sogenannten Comic-Sachbücher oder Graphic Guides, mit vielen Bildern illustrierte Theorieeinführungen. Dieser Aufsatz zeichnet nicht nur die Entstehung und Entwicklung der beiden wichtigsten, auseinander hervorgegangenen Serien dieses Genres, der "… for Beginners"- und der "Introducing"-Reihe nach, sondern widmet sich - vor dem Hintergrund theoretischer Überlegungen aus der Bildwissenschaft, Lorenzers Symboltheorie und der Comicforschung - zentral den Illustrationen in diesen Büchern und fragt nach dem spezifischen Erkenntnispotential, aber auch den Gefahrenpotentialen der mit seriellen Bildern versehenen Einführungswerke.

"A graphic biography of socialist labor legend Eugene V. Debs Eugene Victor Debs led the Socialist Party in the early twentieth-century to federal and state office across the country, helped to pioneer a fighting union politics that organized all workers, and became the beloved figurehead of American radicalism. Imprisoned for speaking out against World War I, Debs ran for president from prison, receiving over one million votes. Debs's story is the story of labor battles in industrializing America, of a socialist politics grown directly out of the American Midwest heartland, and of a distinctly American vision of socialism. With the campaign of Bernie Sanders, the rise of mass movements like Occupy and Black Lives Matter, and the Wall Street Crash of 2008, socialism has once again made itself felt in American politics. This graphic biography, published in collaboration with the Democratic Socialists of America--whose growing membership, spurred by Trump's election and Bernie Sanders' campaign, has reached heights not seen among socialist parties since the 1920s--is geared toward a new generation exploring socialist and working-class radicalism in the past and the present. Noah Van Sciver's dynamic illustrations are paired with short, accessible framing essays by Paul Buhle, noted historian of the U.S. left, with Dave Nance and Steve Max"--

La Ilustración de Madrid (1870-1871) (Enlightenment in Madrid) was a magazine that tried to unite political and cultural information with a delicate graphics presentation from Spanish artists. It was directed by Gustavo Adolfo Bécquer and promoted by Valeriano Bécquer in its graphic side. The magazine lost a big part of situation when the two brothers, Valeriano in September and Gustavo Adolfo in December of 1870, passed away. Even so it survived a year longer and it is considered one of the most fundamental journalistic publications of the study of the transition from romanticism to realism. ; La Ilustración de Madrid (1870-1871) fue una revista que trató de aunar información política y cultural con una presentación gráfica cuidada, realizada por artistas españoles. Dirigida por Gustavo Adolfo Bécquer e impulsada en su parte gráfica por Valeriano Bécquer, la revista perdió en gran parte su orientación cuando fallecieron los dos hermanos, Valeriano en septiembre y Gustavo Adolfo en diciembre de 1870. Aun así sobrevivió una año más y resulta hoy una de las publicaciones periódicas fundamentales para el estudio de la transición del romanticismo al realismo.

Abstract
Background
A patient charter is an explicit declaration of the rights of patients within a particular health care setting. In early 2020 the Save the Children Emergency Health Unit deployed to Cox's Bazar Bangladesh to support the establishment of a severe acute respiratory infection isolation and treatment centre as part of the COVID-19 response. We developed a charter of patient rights and had it translated into Bangla and Burmese; however, the charter remained inaccessible to Rohingya and members of the host community with low literacy.

Methods
To both visualise and contextualise the patient charter we undertook a graphic elicitation method involving both the Rohingya and host communities. We carried out two focus group discussions during which we discussed the charter and agreed how best to illustrate the individual rights contained therein.

Results
Logistical constraints and infection prevention and control procedures limited our ability to follow up with the original focus group participants and to engage in back-translation as we had planned; however, we were able to elicit rich descriptions of each right. Reflecting on our method we were able to identify several key learnings relating to: 1) our technique for eliciting feedback on the charter verbatim versus a broader discussion of concepts referenced within each right, 2) our decision to include both men and women in the same focus group, 3) our decision to ask focus group participants to describe specific features of each illustration and how this benefited the inclusivity of our illustrations, and 4) the potential of the focus groups to act as a means to introduce the charter to communities.

Conclusions
Though executing our method was operationally challenging we were able to create culturally appropriate illustrations to accompany our patient charter. In contexts of limited literacy it is possible to enable access to critical clinical governance and accountability tools.

Dottorato di ricerca in Memoria e materia dell'opera d'arte attraverso i processi di produzione, storicizzazione, conservazione, musealizzazione ; Il progetto Gabriele Galantara. Illustratore, editore e grafico in Italia (1892 – 1937) propone l'analisi e la critica dell'attività italiana di Gabriele Galantara negli anni compresi tra il 1892 e il 1937. Esso ha origine dagli studi degli ultimi due decenni nel campo dell'illustrazione, caratterizzati da tagli cronologici, iconografici e stilistici e più raramente biografici. La monografia Gabriele Galantara. Il morso dell'Asino edita nel 1965 e i più recenti contributi hanno condiviso l'identificazione dell'autore con il periodico «l'Asino», da questi fondato, soffermandosi sugli accenti socialista ed anticlericale. Da questa focalizzazione e dall'assenza di un archivio personale è stata avviata l'indagine, imperniata su di una pluralità di punti di osservazione, anche antitetici. Si è effettuata la ricerca dei documenti procedendo alla loro successiva catalogazione e disamina e in parallelo si è operato filologicamente sia sulle fonti archivistiche che sul materiale figurato, per ricostruire il vissuto personale e i contesti artistici, culturali e politici. Si è rivelato un ampio orizzonte che ha reso necessaria una determinazione geografica e cronologica, pertanto sono divenute oggetto di trattazione le creazioni per il mercato italiano realizzate dal 1892, data del trasferimento romano, sino al 1937. Le collaborazioni estere e la precedente esperienza bolognese rappresentano i confronti e le fonti iconografiche e documentarie. A dispetto dell'omogeneità descritta in passato è emersa una ricchezza interdisciplinare e il materiale è stato diviso in tre sezioni: le prime due analitiche, dedicate alle differenti attività editoriali, e la terza critica, impostata sui raccordi iconografici e stilistici della produzione. Anzitutto si è operato l'approfondimento dell'appartenenza socialista, attraverso l'analisi della militanza attiva nella strutturazione romana del partito e della produzione per lo stesso e per il quotidiano «Avanti!» (almanacchi, manifesti e tessere). In seguito si è indagata la collaborazione con la Libreria Editrice Luigi Mongini ed infine si è ricostruita la vicenda della Libreria Editrice Podrecca & Galantara. Il secondo capitolo è un'analisi della produzione periodica illustrata realizzata durante i detti anni e destinata al mercato editoriale italiano, condotta su basi formali, in relazione a dimensioni, mise en page, connessione con i contributi e differenze linguistiche. Perciò si presentano come aree di investigazione: le copertine, le illustrazioni caricaturali, i pupazzetti, le vignette e le strisce satiriche. Nel terzo capitolo il materiale è stato sottoposto a una mappatura tematica che ha evidenziato categorie di soggetti utilizzati in modalità trasversale sui differenti media: la rappresentazione del proletariato, la trattazione della figura femminile, l'approccio con il concetto di alterità e il rapporto 4 con la religione cattolica. La disamina dei modelli proposti è basata su di una eterogeneità delle aree di interesse e di destinazione, dei supporti (con un focus sulla grafica pubblicitaria e di propaganda) e delle cronologie. L'obiettivo primigenio è stato realizzare una ricognizione il più ampia possibile, attraverso documenti noti, meno conosciuti e inediti, conservati presso istituzioni pubbliche e private. Secondo fine è stato dimostrare un'attività più composita di quanto sino ad ora proposto, della quale l'illustrazione satirica è risultata solo una porzione. Infine si è proposta una lettura trasversale della produzione presentata, evidenziandone l'omogeneità iconografica e linguistica. A fianco di ciò si sono proposti confronti e paragoni su scala nazionale e internazionale, sia fra i contemporanei sia attingendo alla storia dell'arte. ; The project Gabriele Galantara. Illustrator, publisher and graphic designer in Italy (1892 – 1937) deals with the analysis and the critic of Gabriele Galantara's italian activities in the years between 1892 and 1937. It arises from the studies over the past two decades in the field of illustration, researches marked out by chronological, iconographic and stylistic slants, and more rarely by biographical angles. The monograph Gabriele Galantara. Il morso dell'Asino (The bite of the Donkey), published in 1965, and some more recent essays have shared the author's identification with the newspaper he has founded, «l'Asino» («the Donkey»), focusing on socialist and anticlerical perspectives. Starting from these focuses and from the lack of the artist's personal archive, this work has been set on a multiplicity of point of view, even antithetical. On one hand, first of all the practice research of documents and then their classification and close examination; on the other hand, a philological study about archive sources and at the same time around the graphic materials, in order to recreate non only the personal life but also the artistic, cultural and political backgrounds. The research has recognised a large reference point and it has required a geographical and cronological determination, therefore only the creations for the italian market between 1892 (in connection with the roman transfer) and 1937 have been processed. The foreign collaborations and the previous experience in Bologna have become comparisons and iconographic sources. In spite of the uniformity welldescribed in the past, a cross-curricular profusion stands out, and the documents have been divided into three section: the first two sections are analytic and dedicated to different editorial activities, the third is a consideration above the iconographic and stilistic connections shared by the whole production. In the first chapter the socialist membership has been analyzed thanks to the examination of the political militancy in the roman organization of the party and to the production dedicated to this and to the newspaper «Avanti!» (such as almanacs, posters and cards). After that the collaboration with the Libreria Editrice Luigi Mongini (Bookshop Publisher Luigi Mongini) has been inquired and finally the problematic affair of the Libreria Editrice Podrecca & Galantara (Bookshop Publisher Podrecca & Galantara) has been retraced. The second chapter is an analysis of the illustrated periodical production for the italian market during the described years, realized through figurative features, dimensions, mise en page, interaction with subjects and style differences. The research areas are: covers, satirical illustrations, cartoons and satirical strips. In the last chapter the material has been examined through a subject mapping which has underlined some topics used across different media: the proletarian portrayal, the development of the female figure, the approach with the idea of otherness and the relationship with the catholic religion. The patterns belong to different destinations, supports, media (with a particular focus on commercial and political-propagandistic art) and times. The first aim has been a survey as broad as possible through famous, known, and unknown documents, preserved in public and private institutions. The second purpose has been disclosed a mixed production, different from the one described and exhibited since now, in order to show how the satirical illustration is only a portion of Galantara's complex universe. Finally a cross-out interpretation has been proposed, underlining an iconographic and linguistic homogeneity, also with national and international comparisons, both between contemporary artists and beloging to art history.