), Out of Sight: Political Censorship of the Visual Arts in 19th-Century France, Yale French Studies, number 122, 2012. Thus, one of the famous “poire” caricatures (from Philipon’s La Caricature of December 22, 1831) portrays a crowd of people examining caricatures displayed at the office of his printer, Aubert, near the Palais Royale, while one man faces the reader and proclaims, “You have to admit the head of government looks awfully funny.” Fears of the impact of theater upon its always collective audience were naturally even stronger than were fears of the immediate impact of a perceived dangerous caricature: one French prison director even proclaimed, “When they put on a bad drama, a number of young new criminals soon arrive at my prison.” Throughout the nineteenth century, advocates of theater censorship cited the widespread (but highly exaggerated) belief that the Dutch opera La Muette de Portici had triggered the successful 1830 Belgian revolution against Dutch rule, while the French theater censor Victor Hallays-Dabat wrote in 1862 that several plays presented in the 1840s had effectively provided a “sort of dress rehearsal” for the 1848 revolution. Censorship of French cafe-concerts were especially harsh due to their heavily working class audience during the late nineteenth-century, with about 10% of all songs proposed for such venues banned, a percentage far exceeding that for plays.19, 19In addition to fearing the perceived special power of caricature and drama and their accessibility to the poor and illiterate, as compared to the written word, the French authorities also especially feared drawings and the theater because they posed the special danger of attracting a collective audience which might be incited to immediate disorder, as compared to reading, which was typically conducted in the privacy of a (preferably middle class) home. Caricature and the theater were feared more than the printed word because: 1) they were seen as far more powerful in impact than print; 2) because they were accessible to the especially feared “dark masses” who were often illiterate and thus could not understand printed matter; and 3) because caricatures and theater were often viewed in a collective manner which was especially feared as possibly touching often immediate disorders, whereas print was far more likely to be consumed in private in the homes of the more “reliable” middle classes. 9 C. Bellanger et al., Histoire générale de la presse francaise, II, Paris, PUF, 1969, p 352. Ma détente, lorsque j'étais à Matignon, était de lire le grouillement du microcosme dans Le … Here in “The Ball,” caricaturist Alfred Le Petit likens trying to be a caricaturist under censorship to working with a ball and chain, surmounted by Anastasie, the old hag withe huge scissors who personified the censorship, attached to his leg. La première caricature 2. Publié le 28/10/2020 à 07:43 - Mis à jour le 28/10/2020 à 07:45. For extensive treatments of the “poire”, see D. Kerr, Caricature and French Political Culture, 1830-1848, Oxford, Oxford University Press, 2000; E. Kenney and J. Merriman, The Pear: French Graphic Arts in the Golden Age of Caricature, Mt Holyoke, MA: Mt Holyoke College Art Museum, 1991; Sandy Petrey, In the Court of the Pear King: French Culture and the Rise of Realism, Ithaca, NY, Cornell University Press, 2005; and A. Forbes, The Satiric Decade: Satire and the Rise of Republicanism in France, 1830-1840, New York, Lexington, 2010; F. Erre, Le Règne de la poire, Seyssel, Champ Vallon, 2011; L. O’Brien, The Republican Line: Caricature and French republican Identity, 1830-1852, Manchester, Manchester University Press, 2015. écrire un commentaire. (Ed.). (ed. About 40 plays were banned in the aftermath of the 1871 Commune between 1870 and 1874, although thereafter theater interdictions became quite rare, with only about 20 plays banned between 1874 and the end of theater censorship in 1906 (including Zola’s famous Germinal and Sardou’s Thermidor, the first anathema to the left and the second to the right).22, 22The censors rejected and/or prosecuted thousands of caricatures between 1820 and 1881, including over 200 each in several years, including 1864, 1875, 1877 and 1880. Une caricature est un portrait peint, dessiné ou sculpté qui amplifie certains traits caractéristiques du sujet. mccord-museum.qc.ca La littérature française censurée par le Saint-Siège, depuis la Res... Les aventures d’Anastasie au Québec : censure cléricale et littérat... http://books.openedition.org/pur/docannexe/image/44954/img-1.jpg, http://books.openedition.org/pur/docannexe/image/44954/img-2.jpg, http://books.openedition.org/pur/docannexe/image/44954/img-3.jpg, http://books.openedition.org/pur/docannexe/image/44954/img-4.jpg, http://books.openedition.org/pur/docannexe/image/44954/img-5.jpg. Le prestigieux journal français Le Monde a sélectionné l’une de ses caricatures pour ouvrir une compilation des meilleurs dessins pour illustrer la crise de la COVID-19. Si tel est le cas, alors la caricature joue sans doute un rôle clé dans l’avènement de l’art moderne. 21 O. Krakovitch, Hugo censuré, p 150, 244-245, 227, 286; A. Cahuet, Histoire, fonctionnement et discussion de la censure dramatique, op. [...] glimpse into the people, events and issues of the past. 23 Although censorship of caricature was abolished for good in 1881, it remained for the theater until 1906. Thus, prior censorship of caricature was abolished along with changes in regime in 1815, 1830, 1848 and 1870 (and for good in connection with the consolidation of the “republican republic” in 1881) and reinstated in 1820, 1835, 1852, and 1871, due either to changes in regime or, as with the September Laws, of a drastic shift in the political atmosphere. www.solarnavigator.net - Casablanca, starring Humphrey Bogart and Ingrid Bergman and the best feature films amd cartoons ever made listing top 1 - 100, 100 - 200 and 200 - 300 movies. Although by definition the theater was consumed collectively, many caricatures, which took on the character of large posters when displayed in shop windows, kiosks and newsstands, also attracted a collective audience, as is evidenced by many surviving caricatures themselves which depict crowds examining them. Si Le Monde estime que le dessin polémique "n'aurait pas dû être publié", il ne le censure pas pour autant. Et oui, la caricature s’attaque à bien des sujets, sans oublier le sport ! 12 “Madame Anastasie” by André Gill, July 19, 1874 L’Éclipse. Jai ensuite eu un sentiment de réconfort, plus tard dans la journée, à la lecture du Monde daté dhier. Les tendances GG: Le Monde censure une caricature de l'un de ses dessinateurs - 20/01. Thus, according to an analysis of over 200 censorship and prosecutorial decisions involving plays, newspapers and novels undertaken by four different French regimes between 1815 and 1870, about 55% of all such actions were based on perceived challenges to existing political and social authorities, with the balance almost all involving offense to the “moral” order. This is perhaps the single most famous caricature of Anastasie, the personification of the censorship (private collection). 26 In this famous caricature, “Authentic Picture of Rocambole,” published in the November 17, 1867 La Lune, Andre Gill depicts Emperor Napoleon III as half bandit and half dandy as can be seen if a line is drawn vertically through the face. Censorship of the theater was abolished in 1830, 1848, 1870 and permanently in 1906 and re-implemented in 1835, 1850 and 1871. 23Although specific censorship guidelines for the caricature censors are rare, they are generally quite similar to those provided to the theater censors. Ce forum est modéré a priori : votre contribution n’apparaîtra qu’après avoir été validée par un administrateur du site. ), The Frightful Stage: Political Censorship of the Theater in Nineteenth-Century Europe, New York, Berghahn, 2009, p 70-129. 18 O. Krakovitch, “Robert Macaire ou la Grande Peur des Censeurs,” Europe : Revue litteraire mensuelle, no 65, 1987, p 55-56 ; J.-M. Thomasseau, “Le Mélodrame et La Censure sous la Premier Empire et la Restauration,” Revue des sciences humaines, no 162, 1976, p 179 ; O. Krakovitch, Hugo, p 114, 131, 140. Retour sur la place et le rôle de la caricature en France, de la Révolution à Charlie Hebdo. 25 R. J. Goldstein, Censorship, p 11-12; E. Childs, “Big Trouble: Daumier, Gargantua, and the Censorship of Political Caricature,” Art Journal, number 51, 1992, p 26-37. Des feuilles, une table, les contours, de la Syrie. La caricature et le théâtre étaient plus redoutés que le mot imprimé parce que : 1) leur impact était considéré comme plus important 2) ils étaient accessibles aux « masses obscures » qui étaient souvent illettrées et ne pouvaient donc comprendre ce qui était écrit 3) les caricatures et le théâtre étaient souvent perçus comme susceptibles de déclencher des troubles à l’ordre public, tandis que l’écrit donnait plutôt lieu à une consommation dans le cadre domestique des classes moyennes jugées plus « sûres ». Par auteurs, Par personnes citées, Par mots clés, Par géographique, Par dossiers. Caricatures: La colère anti-Macron s’étend dans le monde musulman. 16 AN F18 2342; JO, June 8, 1880, p 6212-6213. 1 This essay was originally published, under the same title, as part of a collection in R. J. Goldstein (ed. (ed. Du coronavirus au « séparatisme » en passant par l’élection présidentielle américaine, « Le Monde » republie les dessins de Plantu qui ont rythmé l’année écoulée. Goldstein R. J. 19 C. Condemi, Les Cafés-Concerts, Paris, Quai Voltaire, 1992, p 39 ; E. Kimminich, “Chansons étouffées : Recherche sur le café-concert au XIXe siècle,” Politix, no 4, 1991, p 19-26. 3 O. Krakovitch, “Les ciseaux d’Anastasie: le théâtre au XIXe siècle,” in Censures: de la Bible aux larmes Paris, Centre Georges Pompidou, 1987, p 56, 63. 1On September 20, 1874, the French caricature journal L’Éclipse declared, “One could one day write an exact history of the liberty which we enjoy during this era by writing a history of our caricatures.” Similarly, during an 1880 legislative debate on caricature censorship, the French deputy Robert Mitchell told his colleagues that a close examination of caricatures could be enormously revealing about governmental preferences and fears: “Drawings which displease the government are always forbidden. Une caricature de Pascal Élie. 4- Cette caricature de 2009 reflète encore une réalité en 2016, car les moyens et l’économie ne s’est pas vraiment amélioré dans le monde en général. For a recent French book on the subject, see J.-M. Renault, Censure et caricatures: les images interdites et de combat de l’histoire de la presse en France et dans le monde, Paris, Pat a Pan, 2006. Vous pouvez suggérer à votre bibliothèque/établissement d’acquérir un ou plusieurs livres publié(s) sur OpenEdition Books.N'hésitez pas à lui indiquer nos coordonnées :OpenEdition - Service Freemiumaccess@openedition.org22 rue John Maynard Keynes Bat. Citation caricature Sélection de 9 citations sur le sujet caricature - Trouvez une citation, une phrase, un dicton ou un proverbe caricature issus de livres, discours ou entretiens.. 1. OpenEdition est un portail de ressources électroniques en sciences humaines et sociales. La « caricature de personne » utilise l'exagération de caractères physiques c… La caricature fait référence à la conférence de Genève où ils ont discuté de la Syrie dans le future. Even the extremely hostile account by French historian Paul Thureau-Dangin concedes that Philipon’s caricatures were “perhaps even yet more dangerous” for the regime than the printed word because they had “such audacity, such importance, a power so destructive, that history cannot neglect those illustrated papers, which from other points of view it would be tempted to scorn.” The English writer William Thackeray wrote that everyone who visited Paris during the 1830s “must remember the famous ‘poire’ which was chalked upon all the walls of the city and which bore so ludicrous a resemblance to Louis Philippe” and German author and political exile Heinrich Heine wrote that Paris was festooned with “hundreds of caricatures” hanging “everywhere” and that the “pear, and always the pear, is to be seen in every caricature” and the “glory from [the king’s head] hath passed away and all men see in it is but a pear.”10, 11Contemporary observers gave similar credit during the 1865-1875 period to the opposition caricatures of André Gill. authentifiez-vous à OpenEdition Freemium for Books. mccord-museum.qc.ca. Face aux nombreuses critiques, Le Monde a décidé de s'excuser pour la publication de ce dessin. ), Out of Sight: Political Censorship of the Visual Arts in 19th-Century France, Yale French Studies, number 122, 2012. ), The Frightful Stage: Political Censorship of the Theater in Nineteenth-Century Europe, New York, Berghahn, 2009. Goldstein R. J. Justifie. That is more than the expression of an opinion, that is a deed, an action, a behavior, with which article seven of the charter is not concerned.”4. Une caricature qui fait directement référence à l'affaire Olivier Duhamel. Thus, in 1869 a Rouen bureaucrat informed his superiors in Paris that: “The great Parisians newspapers play role in the movement of public opinion, but that which dominates it especially and entertains it is the small, acrimonious press, denigrating, ironic, which freely spreads each day scorn and calumny on all that concerns the government… The weekly newspapers, the illustrated [i. e. caricature] journals of opposition sell many more examples and are read much more than the serious organs of the same opinion. Censorship of Caricature and the Theater in Nineteenth-Century France: An Overview. cit., p 148-185. L a caricature poli tique jette un regard. @hm #freeouïghours #freeuyghurs #esclavage #coton @raphaelglucksmann @antogriezmann #ouïghours #islam #muslim #Chine #FranceforUyghurs #genocide #humanrights #medias #silence #humanity #europe @nike @zara @apple #xinjiang #peace #freedom #cartoon #art @dilnur_reyhan. “Censorship of Caricature and the Theater in Nineteenth-Century France: An Overview”. 13 O. Krakovitch, Les Pieces de théâtre soumises à la censure (1800-1830), Paris, Bibliothèque nationale, 1982, p 14. 2. Le Grelot, July 30, 1873 (private collection). La Caricature et la parodie dans le monde romain antique : des originesà Juvénal Goldstein R. J. 20 A. Cahuet, Histoire, fonctionnement et discussion de la censure dramatique, Ulan Éditions, 2012 (1902), p 348; S. Slatin, “Opera and Revolution: Muette de Portici and the Belgian Revolution of 1830 Revisited,” Journal of Musicological Research, number 3, 1979, p 45-62; Hallays-Dabot, p 116. Officials during the Second Republic and Second Empire directed the drama censors to specifically eliminate “attacks against the principle of authority, against religion, the family, the courts, the army, in a word against the institutions upon which society rests” and especially to ban all scenes imbued with a “revolutionary spirit” or which presented “social ideas” or inspired “class antagonism,” as well as “all forms of factionalism, based on the principle that the theater must be place of repose and of distraction and not an overt arena of political passions.” Among the specific examples reflecting such principles effected by the theater censorship, Victor Hugo’s Marion de Lorme was banned because it unfavorably depicted Charles X’s long-dead ancestor Louis XIII and Alfred de Musset’s 1861 Lorenzaccio, a play about Renaissance Italy, was forbidden on the grounds, as the censors put it that, “The discussion of the right to assassinate a sovereign whose crimes and iniquities, even including the murder of the prince by his parents, cry out for vengeance… is a dangerous spectacle to present to the public.” Similar sensitivities led to frequent bans on materials which were seen as mocking even low-level governmental officials or inciting class conflict. House, “Manet’s Maximilian: Censorship and the Salon,” in E. Childs (ed. 5 The hatred of caricaturists for censorship was boundless. The courage or rather the cowardice of anonymity is such a powerful force!”20, 20The goals of the French theater and caricature censorship were always clear, even if specific guidelines were sometime vaguely stated: the protection of the existing political, social, economic and moral order. Le Monde Emma Stone Caricatures De Célébrités Film Personnages Fictifs Photos Princesse Disney Personnage La La Land Informations complémentaires ... Enregistrée par Jean-Marc Borot Thus, 50% of all army recruits in the 1830s were illiterate, and while fewer than 10% were illiterate by 1900, only 2% had completed secondary school, so as historian Donald English has noted, throughout the century France “remained a nation of semiliterate people” for whom the image remained a “more easily understandable and accessible medium” than print.15, 15The French police minister made his understanding of this point clear in an 1852 directive to his subordinates in which he declared that “among the means employed to shake and destroy the sentiments of reserve and morality which are so essential to conserve in the bosom of a well-ordered society, drawings are one of the most dangerous,” because “the worst page of a bad book requires some time to think and a certain degree of intelligence to understand, while the drawing communicates with movement and life, as to thus present spontaneously, in a translation which everyone can understand, the most dangerous of all seductions, that of example.” This not-so-subtle reference to the ability of drawings to communicate with “everyone” (i. e. even the poorly educated and illiterate) was made even clearer during an 1880 legislative debate on caricature censorship, when deputy Emile Villiers declared that while press freedom posed “problems and dangers,” the “unlimited freedom of drawings presents many more still,” since a drawing startles not only the mind but the eyes and was “a means of speaking even to the illiterate, of stirring up passions, without reasoning, without discourse.” The especial dangers posed by making seditious drawings available to the poor and illiterate was also made clear in an 1829 interior ministry directive, in which the French prefects were informed that “in general, that which can be permitted with difficulty when it is a question of expensive illustrations, or lithographs intended only to illustrate an important [i. e. expensive] work would be dangerous and must be forbidden when these same subjects are reproduced in engravings and lithographs at a cheap price.”16, 16The same fear about the accessibility of drawings to the illiterate was clearly also a factor in view of French officials about the special dangers posed by the stage. En 1987, la caricature de Plantu dans Le Monde, à propos de l'affaire Gordji, affecte durablement Gilles Boulouque, le magistrat instructeur des attentats de 1986 [5]. 9This argument that caricatures left an especially powerful impact upon public opinion is well supported by contemporary observers. Elaborating on his basic argument that drawings and drama were entirely different media than the printed word, Justice Minister Persil maintained during the 1835 debate that it would “force the meaning of words to consider drawings the same as opinions” or to “establish a parallel between writings which address themselves to the mind and illustrations which speaks to the senses” because the “vivacity and popularity of the impressions” left by caricatures created a “special danger which well-intentioned legislation must prevent at all costs.” Legislative deputy Eugene Janvier echoed Duchatel in proclaiming that drawings “don’t address opinions, they address passions” and “deprave those who observe them, degrade intelligence, address themselves only to the low chords of the heart, play with crime and frolic with assassination!”8.
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