Among the masters of the nineteenth-century comic strip, Gustave Doré has been much neglected. For his illustrations to literary classics, he earned an unsurpassed reputation and corresponding ...scholarly attention. Doré himself repudiated his early work, and similarly critics and biographers have given short shrift to his beginnings as a caricaturist. These caricatures are herein rescued entirely for the first time in English by the renowned comics scholar David Kunzle.
Doré's caricature is known to a few specialists, but virtually no one has pointed out that his mastery of the comic strip particularly marks him as an entirely original figure in the post-Töpffer era of revolutionary, mid-century France. Doré, remarkably, created these comic strips when he was between fifteen and twenty-two years old, for Charles Philipon'sJournal pour Rire(The Laughter Journal), virtually dominating its seven-year (1848-55) history. He also did three fairly long, separately published albums, which show him at his very best. They are consistently funny, often ludicrous, and illustrate a graphic inventiveness unmatched until the twentieth century. In these graphic stories, Doré parodies an ancient fable, the discomforts of life in the country, the perils of artistic ambition, the absurdities of mountaineering and travel, as well as the antics of schoolboys.
This book provides a context for Doré's caricatures, focusing on his comic strips in theJournal pour Rire, the character of the journal, and the three comic strip albums he created while he worked there. Kunzle's analysis reveals Doré's debts to his predecessors, Töpffer, Cham, and Nadar. None of Doré'sJournalstrips has ever been republished. Some of the albums were republished, reduced and incomplete, in German and French. This edition includes facsimiles of the twelve most significant comic strips and the first translation into English of the captions.
En 1862 Gustave Doré ilustra el cuento de Barba Azul para la recopilación de cuentos realizada por Perrault, un relato didáctico dirigido por el discurso patriarcal. En 1985 Cindy Sherman hace la ...interpretación según la versión de los hermanos Grimm publicada como Fitcher´s Bird (1992). Sherman da un giro al relato y rompe el hechizo que oculta la realidad. La base teórica parte de la crítica de Jacques Rancière quien nos invita a ser espectadores activos para reconocer el viraje ético de la estética y la política, y de Jack Zipes, interesado en la fantasía y la magia de estos relatos, y cómo a través de ellos, se ha potenciado la ignorancia, lo que Rancière llama «la máquina óptica que forma las miradas en la ilusión y en la pasividad». Asimismo, teóricas feministas como Amelia Valcárcel o Iris Marion Young, son una ayuda indispensable para revalidar la crítica hacia la sociedad machista.
In this provocative book, Nicholas Daly tracks the cultural effects of the population explosion of the nineteenth century, the 'demographic transition' to the modern world. As the crowded cities of ...Paris, London and New York went through similar transformations, a set of shared narratives and images of urban life circulated among them, including fantasies of urban catastrophe, crime dramas, and tales of haunted public transport, refracting the hell that is other people. In the visual arts, sentimental genre pictures appeared that condensed the urban masses into a handful of vulnerable figures: newsboys and flower-girls. At the end of the century, proto-ecological stories emerge about the sprawling city as itself a destroyer. This lively study excavates some of the origins of our own international popular culture, from noir visions of the city as a locus of crime, to utopian images of energy and community.
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