Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article analyzes, from a comparative perspective, the aims and the characteristics of two types of caricature: Honoré Daumier’s graphic caricature and Villiers de l’Isle-Adam’s literary one. For the purposes of his satiric revenge on bourgeoisie, Villiers resorted, by means of irony, to Daumier’s method, even trying to overshadow him. In their way of presenting the world of bourgeoisie and selected social groups (journalist and artistic ones), this draughtsman and this writer worked out their own means of the use of caricature. Without stopping stigmatising the vices of society, Daumier proposed a peculiar kind of caricature (in which an explanation played a secondary role) and developed the ludic aspect of his art, whereas Villiers was focused on mockery, even though his caricatures were often ambiguous. Villiers’ caricature, which even became a literary genre, connects a distorted portrait with a linguistic and situational caricature, by which means it makes the sense, formed by Daumier’s image, broader.

The paper discusses the relationship between Marcel Proust and Jean Cocteau in connection with the problem of their “visibility” (Nathalie Heinich) based on Jean Cocteau’s portrait (1922) of Marcel Proust and Claude Arnaud’s biographical essay (2013). In this context, Cocteau’s drawing, which conveys Marcel Proust’s extravagant character, could nowadays be considered not only a caricatural representation of the author of In Search of Lost Time, but also a demythologizing one, especially in contrast to the image of invisible Proust created by structuralist interpretations. Also, in the mediatic and theoretical contemporary context, Cocteau’s visual representation of Proust could be used to reflect on Proust ’s action (conduite) which, combined with his narrative discourse, defines the “posture” (Jérôme Meizoz) of the author of In Search… within the literary field.

This article studies the tools and strategies employed in the creation of caricature in one of the prototypical works of the European exotic discourse. Le Jardin des Supplices is indeed an important milestone in the formation of stereotypes about China; however, this representation, far from seeking to develop a realistic depiction of China, or even to point out its supposed barbarity, aims, on the contrary, at producing a caricature of its counterpart, Europe, while using verbal and figurative exacerbation as main devices. Le Jardin des Supplices acts as a mirror in which the West recognizes itself in the described phantasmagorical utopia; in this sadistic farce, we will therefore identify both a parody of European institutional structures and a pastiche of the characteristic features of literary decadence. Notwithstanding, Le Jardin des Supplices provides a lasting and ironical view of the representation of China and the Chinese in the collective unconscious.

The first albums of the cartoonist Jean Bruller propose an original social caricature by combining text and image. La danse des vivants (1932-1938) aspires to illustrate the human comedy of the 20th century with a caricature of customs and a universalist tone; Visions intimes et rassurantes de la guerre (1936) is anchored in the interwar years to develop a social criticism strongly influenced by the threats of war. This article offers an in-depth analysis of the aesthetics of Jean Bruller’s two works, marked by a particularly wry and ironic humour and some pessimism. This analytical approach will also be complemented by an account of the dialogue between the work and the artist’s thinking, as well as of the dialogue between his production and the historical-social context.

By its mimetic exaggeration, the caricature could seem incompatible with the aesthetics of realism, which seeks to give an image faithful to reality. Yet the ironist Maupassant often applies caricature in his portrayals in order to highlight the exaggerated features of the character. By establishing firm links between the portrait of the character and the unfolding of the story, which illustrates the negative consequences of this extravagance, Maupassant reveals the danger of deviating from a moderate behaviour. The realism resides in the coherence between the caricatural portrayal of a character and their acts. It also derives from the application of a rational scheme to depreciate the caricatured character, whose extravagance, often in the form of a passion, provoke a misunderstanding of the objective reality. The impossibility of applying such a normative framework, as in the fantastic genre, could indicate the need to abandon partially the realist aesthetics and embrace other forms of writing.

During the Belle Époque, the writer’s novel gradually replaces the painter’s novel and forms a platform for asking questions about the role of the author in bourgeois society and the causes of their distress. Through this work, the author thus conveys an axiological portrait of himself which, implicitly referring to the difficulty of creation, gives an account of the values shaping the end of the century. The resulting modelling incorporates caricature, which becomes omnipresent in the 19th century, not only for the parodical load that characterises it, but for the accepted power that exaggeration, distortion and joke hold in the interpretation of reality. From Huysmans to Gide, from Lorrain to Gourmont, from Dumur to Mauclair, Mirbeau or Céard, the writer’s novel makes caricature and the devaluation a guarantee of the authenticity of the fictional self-projection.

In his three novels, commonly referred to as the German trilogy, Céline evokes the story of his dangerous exodus to Germany, from 1944 to 1945, then to Denmark from 1945 to 1951. Our purpose is not to take the whole journey back, but to dwell on his stay in Sigmaringen where almost all the outstanding figures of the Collaboration are depicted and caricatured by Céline in a tone of contempt particular of him and of his exceptional singularity. We will use a few examples to show how the writer amplifies his characters’ features, to strengthen his descriptions. Céline paints their portraits, exaggerating their characteristics or, sometimes, endowing them with ridiculous attitudes. By hilarious, burlesque, comical details, Céline manages to caricature certain figures of the Vichy government in an atmosphere where absurdity, chaos and decadence mingle.

The present paper analyzes the relationship between the caricature and the women’s fashion of the second half of the 19th century. The period was favorable for fashion caricature, because, while reflecting the political, economic and social transformations of the time, the clothing trends endorsed at the time by fashion magazines were based on the exaggeration and distortion that we identify among the weapons of humorists. The first part of the paper focuses on the graphical representation of fashion, in particular of the crinoline, and aims to discover the messages hidden in those illustrations. The second part analyzes the motif of the fashion and the clothing in the Bertall’s satirical text, Comédie de notre temps, and tries to define the image of the woman at that time and her role in the French bourgeois society.

Este artículo propone una perspectiva literaria sobre la dictadura militar de 1976 en La Rioja. Para ello se propone como modelos literarios dos novelas: Libro de navíos y borrascas (1983) de Daniel Moyano y A fuego lento (1998) de Mario Paoletti. A través de estos modelos será posible explorar una perspectiva que se aleja de la tradición historiográfica, para poner en discusión los hechos históricos registrados y las vivencias de los propios autores. Veremos cómo ambas novelas adoptan una experiencia y por lo tanto una visión diferente respecto a lo sucedido durante la dictadura. Mientras que Moyano experimenta el exilio, Paoletti experimenta la cárcel. Las diferentes experiencias nutrirán el material literario poniendo a disposición de los lectores dos formas de vivir la dictadura. Abstract This article proposes a literary perspective on the 1976 military dictatorship in La Rioja. For this, two novels are proposed as literary models: Libro de navíos y borrascas (1983) by Daniel Moyano and A fuego lento (1998) by Mario Paoletti. Through these models it will be possible to explore a perspective that moves away from the historiographic tradition to discuss the historical events recorded and the experiences of the authors themselves. We will see how both novels adopt an experience and therefore a different vision regarding what happened during the dictatorship. While Moyano experiences exile, Paoletti experiences jail. The different experiences will nourish the literary material by making available to readers two ways of living the dictatorship.Keywords: La Rioja; Military dictatorship; Mario Paoletti; Daniel Moyano; exile.

Las Arbovirosis en general y las enfermedades transmitidas por el Aedes aegypti en particular, se han convertido en los últimos 25 años en un importante y creciente problema de Salud Pública en el mundo, en el continente americano, en nuestro país y desde 2015 en nuestra región. Objetivo: Demostrar la influencia de los factores socio - demográficos sobre los Conocimientos, Actitudes y Prácticas de las enfermedades trasmitidas por Aedes aegypti en el Centro Poblado Nueva Esperanza – IV Etapa del distrito de SaIas, provincia de Ica en 2016.Material y Métodos: Investigación aplicada, de tipo correlacional, diseño observacional, corte transversal, en una muestra de 123 personas (Tasa muestral: 20,5%), seleccionados por muestreo aleatorio sistemático circular, aplicando un instrumento estructurado para la investigación y estadística descriptiva univariada, bivariada e inferencial utilizando la prueba Chi cuadrado para establecer asociación estadística entre variables a un nivel de significancia p<0,05. Resultados: se halló un nivel mediano de conocimientos sobre arbovirosis del 61,0%, actitudes positivas del 93,50% y prácticas adecuadas en el 69,11%; se halló asociación estadística significativa entre conocimientos moderados y educación secundaria completa (p<0,01) y no contar con cisterna y/o tanque elevado para disponibilidad de agua potable dentro del domicilio (p<0,01); se determinó asociación estadística significativa entre actitudes positivas y vivir en hacinamiento (p<0,01), no contar con servicio de agua potable dentro del domicilio las 24 horas del día (p<0,05) y no contar con cisterna y/o tanque elevado para disponibilidad de agua potable dentro del domicilio (p<0,05); se halló asociación estadística significativa entre prácticas adecuadas con estudios de secundaria completa (p<0,05), no contar con servicio de agua potable dentro del domicilio las 24 horas del día (p<0,005), no contar con cisterna y/o tanque elevado para disponibilidad de agua potable dentro del domicilio (p<0,001) y utilizar protectores en ventanas y/o puertas contra vectores (p<0,01). Conclusiones: Los factores socio - demográficos influyen sobre los Conocimientos, Actitudes y Prácticas de las enfermedades trasmitidas por Aedes aegypti en el Centro Poblado Nueva Esperanza, IV Etapa del distrito de SaIas, provincia de Ica en 2016.