Thus, censors refused to allow the phrase “the rich, in the design of God, are only the treasurers of the poor” from an 1853 play, and banned from Victor Sejour’s 1860 Les Adventuriers the comment that, “If a rich man wants to go hunting or dancing they rollout a carpet for him lest he weary his feet.”21, 21Altogether, during the 1835-1847 period, of a total of 8,330 plays submitted to the French censorship, 219 (2,6%) were completely banned and another 488 (5,6%) underwent enforced modifications. This is especially clear in 1835, when the government of King Louis Philippe successfully proposed re-introducing prior censorship of both caricature and the theater in the same laws (the so-called “September Laws”) even though censorship had theoretically been abolished forever in France in the 1830 constitution adopted in the wake of the July Revolution of that year. . 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. Caricature 1 (clique ici ) 1. Cessez le feu 3. 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. Les autorités françaises au XIXe siècle craignaient particulièrement le pouvoir des caricatures et du théâtre, davantage encore que celui du mot imprimé. 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. Thus, an 1822 dispatch from the minister of interior to the prefects urged them to examine with “particular care” all illustrations which could present some character of “immorality, irreligion or of outrage upon the king,” and a 1879 document directed the censors to refuse “absolutely” drawings which were directed “against the head of state” and to authorize only “with the greatest circumspection concerning the legislative chambers, the magistrates, the army, religion or the clergy.” According to 1829 guidelines from the interior minister, religion must be protected “from all direct or indirect offense, including all fiction or allusion which could wound them,” and no attacks could be made upon “legitimate authority,” including those which subjected the “royal majesty and to the august dynasty of the Bourbons” to “attacks or allusions of whatever kind,” as well as similar attacks upon “foreign monarchs,” as the “sovereigns are reciprocally supportive of one another with regard to all which could attack their sacred character.” Two of the most famous caricatures which ran into censorship trouble in nineteenth-century France portrayed French monarchs extremely unfavorably. Souvent humoristique, la caricature est un type de satire graphique quand elle charge des aspects ridicules ou déplaisants. 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. (ed. 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. Caricatures: La colère anti-Macron s’étend dans le monde musulman. 7Speaking of the power and impact of drawings, the French minister of the interior told his prefects in a September 8, 1829 communication that “engravings or lithographs act immediately upon the imagination of the people, like a book which is read with the speed of light; if it wounds modesty or public decency the damage is rapid and irremediable.” Seven years earlier, the interior minister warned his prefects that, “If the licensing of the press has always been a powerful auxiliary of the facts, the license of engraving is even more dangerous, because it acts directly upon the people and could lead them to revolt, or at least to scorn for the most respectable things.”7, 8Similarly, another French interior minister, Charles Duchatel, told the French legislature during the 1835 legislative debate on censorship of caricature that “there is nothing more dangerous, gentlemen, than these infamous caricatures, these seditious designs” which produce “the most deadly effect” and that there was “no more direct provocation to crimes which we all deplore” than those posed by subversive drawings. Goldstein, R. J. Les États-Unis, la Russie, la Syrie. Editorial illustration, caricature and children's picture books. Il assure que sa décision n'a pas été prise à cause de l'affaire Gorce. According to French Minister of Justice Jean-Charles Persil, however, the 1830 constitutional provisions applied to censorship of the printed word only, while drama and caricature were media so different than print and so far more powerful that they could justifiably be subjected to entirely different legal treatment, including prior censorship. 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. Le dessin de Xavier Gource publié dans le journal Le Monde, puis supprimé © Xavier Gource Désavoué pour cette caricature controversée, un dessinateur de presse quitte Le Monde 23 Although censorship of caricature was abolished for good in 1881, it remained for the theater until 1906. Studying the massive censorship archives, she concluded, provides a “marvelous witness to the preoccupations, mentalities, reflexes, struggles, fears, consciences and knowledge of people of the century” as they document a “strange ballet, with the appearance and disappearance of censorship, entering and leaving at more or less regular intervals.”3, 3Studying censorship of caricature and the theater in nineteenth-century France simultaneously as examples of censorship of the visual arts can be justified in many ways: both involved a mixture of text (caricature captions and literary scripts) and visual presentation, both tended to arouse the same fears of the authorities and, above all, both tended to be treated essentially the same by the authorities, with censorship of caricature and theater usually introduced and abolished at the same time under the same justifications. Dans sa newsletter "Le Brief du monde" du mardi 19 janvier, le quotidien du soir a publié un dessin du caricaturiste Xavier Gorce, où un petit manchot questionne un autre, plus âgé, sur l'inceste. Il existe de nombreux musées consacrés à la caricature dans le monde, notamment le Museo de la Caricatura de Mexico, le Muzeum Karykatury de Varsovie, le Caricatura Museum Frankfurt de Francfort, le Wilhelm Busch Museum de Hanovre et le Cartoonmuseum de Bâle. Daumier’s 1831 “Gargantua,” depicting King Louis Philippe as sitting on a toilet throne excreting boodle to his courtiers while extracting graft from the poor people of France led to a six-month jail term during a period when prior censorship of caricature was not in effect, while Gill’s 1867 “Rocambole” which snuck by the censors with its portrayal of Emperor Napoleon III as a half-dandy, half-bandit, eventually led to the banning of La Lune, the journal in which it appeared. Que ce soit le pied gauche de Cavani, l’argent à flot dans le monde du football, l’actualité sportive, des scandales dans … 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. 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. 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. Caricature du Prophète Mohamed en Grande-Bretagne : La position du ministre de l’Education qui choque le monde musulman Publié le 26/03/2021 à 12:33 - Mis à jour le … 9 C. Bellanger et al., Histoire générale de la presse francaise, II, Paris, PUF, 1969, p 352. Thus, historian Jules Lermina has characterized the impact of his drawings during the 1860s by declaring that Gill cleverly targeted the “weak point in our political adversaries” and thus “served as one of the most useful artisans of the fall of the [Second] Empire of Napoleon III.” Referring to Gill’s attacks upon the so-called “monarchist republic” of the 1871-77 period, one Paris journal wrote in 1881 that Gill had “established the republic with a series of improvised masterpieces”, while a fellow caricaturist declared in 1895 that “all Republican Paris remembers that unforgettable period during which his incisive and biting crayon” struck “terrible blow against the monarchist republic.”11. Ma détente, lorsque j'étais à Matignon, était de lire le grouillement du microcosme dans Le … Goldstein R. J. écrire un commentaire. 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. On sait toutefois que la caricature anti-napoléonienne se développe dans les pays opposés à sa politique, le principal étant l’Angleterre. 12 “Madame Anastasie” by André Gill, July 19, 1874 L’Éclipse. 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 … 10 P Thureau-Dangin, Histoire de la monarchie du juillet, Paris, Pion, 1888, p 575; C. Baudelaire, The Painter of Modern Life, New York, Phaidon, 1964, p 172; H. Heine, French Affairs, New York, Heinemann, 1893, p 142, 331. Si tel est le cas, alors la caricature joue sans doute un rôle clé dans l’avènement de l’art moderne. 2 Journal Officiel (JO), June 8, 1880, 6214. 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. In 1875, one liberal republican caricature journal, Le Grelot, suffered 67 censorship rejection under the rule of the “monarchist republic,” while in 1880 under a moderate republican regime, the monarchist caricature journal Le Triboulet suffered 42 caricature bans. 2. 5Although these dates are not identical they are certainly close enough to suggest, along with Persil’s parallel argument, that theater and caricature were viewed quite similarly by the authorities in the threats that they were perceived as posing. La caricature antisémite dans le monde arabe 31 min. 3. 1. cit., p 15, 240; W. D. Howarth, Sublime and Grotesque: A Study of French Romantic Drama, London, Harraps, 1975, p 306; C. O’Neill, “Theatrical Censorship in France, 1844-1875: The Experience of Victor Sejour,” Harvard Library Bulletin, number 26, 1878, 434. ), The War for the Public Mind: Political Censorship in Nineteenth-Century Europe, Westport, CT. Praeger, 2000. Retour sur la place et le rôle de la caricature en France, de la Révolution à Charlie Hebdo. 5 The hatred of caricaturists for censorship was boundless. L a caricature poli tique jette un regard. Une caricature de Pascal Élie. Goldstein, Robert Justin. 14 O. Krakovitch, Hugo censuré: la liberté au théâtre au XIXe siècle, Paris, Calmann-Levy, 1985, p 83. La caricature est un art compliqué. 26 août 2019 - Explorez le tableau « Caricatures Plantu le monde !!!! ), The Frightful Stage: Political Censorship of the Theater in Nineteenth-Century Europe, New York, Berghahn, 2009, p 70-129. Au sommaire : la censure d'une caricature d'un des dessinateurs du Monde. House, “Manet’s Maximilian: Censorship and the Salon,” in E. Childs (ed. Yale University Press has kindly granted permission to reprint it here. Krakovitch O., “Les ciseaux d’Anastasie: le théâtre au XIXe siècle,” in Censures: de la Bible aux larmes Eros, Paris, Centre Georges Pompidou, 1987. Goldstein R. J. 15 D. English, Political Uses of Photography in the Third French Republic, 1871-1914, Ann Arbor, MI, UMI, 1984, p 16. 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. Justifie. 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. P olitical cartoons provide a fa scinating. Censorship of Caricature and the Theater in Nineteenth-Century France: An Overview. Face aux nombreuses critiques, Le Monde a décidé de s'excuser pour la publication de ce dessin. 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 ». Thus, even the president of the French Society of Dramatic Authors, Baron Isidore Taylor, supported censorship in testimony before an 1849 state inquiry, declaring that those watching the stage experienced a “sort of electric communication, even more seductive for the masses than a speech, and one thousand times more dangerous than the most vehement article in the daily press.” As with caricature, the clearest evidence that such fears were widespread and directly related to the visual spectacle of the stage rather than to fear of captions or literary texts is that drama censorship was not abolished in France until 1906, while the censorship of the written word ended in 1822. - Jim Watson - AFP L'élection mardi du 45e président des Etats-Unis a inspiré une vague de caricatures à travers le monde. La « caricature de personne » utilise l'exagération de caractères physiques c… Krakovitch’s work is the best overall summary of nineteenth-century French theater censorship For an extended English-language summary, see R. J. Goldstein, “France,” in R. J. Goldstein (ed. cit., p 206, 217; J. Allen, In the Public Eye: A History of Reading in Modern France, Princeton, NJ, 1991, p 94; AN F18 2342, 2363. authentifiez-vous à OpenEdition Freemium for Books. 6What about drama and drawings made the authorities fear them so much more than writing, which we know was the case, not only because of arguments such Persil’s in 1835 but, above all, because the printed word was never subject to prior censorship in France after 1822. cit., p 5, 6, 12. Donald Trump dans le bureau Ovale, le 10 novembre 2016. Dans le dessin à découvrir dans le journal d’aujourd’hui, on peut Cécile Duflot devant son ordinateur et victime du bug. It is in that sense that it was said that censorship could never be reestablished. 4. cit., p 224, 248-249, 286-287 ; J. Parrain, “Censure, théâtre et Commune, 1871-1914,” Mouvement Social, no 79, 1972, p 327-342 ; R. J. Goldstein, Censorship, op. As John House notes in a study of French censorship of images during the 1860s, while the authorities were in general “particularly wary of the potency of visual experience in the form of a print or a stage representation or a performance of a popular cafe concert song,” the “question of class-of determining what types of materials should be permitted for which social groups-seems to have been the most fundamental concern.”17, 17As a result, the severity of the French theater censorship partly depended upon the perceived class nature of the intended audience, and as French theater historian Odile Krakovitch sums up, “The more modest and popular the theater the harsher the censors’judgments and the more numerous the required modifications.” Thus, plays which were approved for “legitimate” state-sponsored theaters typically patronized by the upper and middle classes were often barred from the popular stage. 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. The most common theme expressed in attacks on caricatures were that they denigrated government officials, created disrespect for the established order, demoralized society, often bordered on obscenity and even played at revolution and/or assassination. Dessin: Pascal Élie 4 juin 2012. [...] glimpse into the people, events and issues of the past. 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. [...] fascinant sur les gens, les événements et les enjeux du passé. In studying refused drawings and authorized drawings, we know exactly what the government fears and what it encourages, we have a clear revelation of its intimate thoughts.”2, 2French historian Odile Krakovitch reached a similar conclusion about studying theater caricature in nineteenth-century France, especially with regard to how the repeated implementation and cancellation of the censorship helps to illuminate our knowledge of the times. 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. Dessin: Pascal Élie. À la conférence de Genève, Suisse. Each of them by themselves is sweet, innocuous, sometimes fearful; but bring them together and you are faced with a group that is bold and noisy, often wicked. 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. Une autre raison pour traiter ensemble les domaines de la caricature et du théâtre est que les autorités les mettaient « dans le même sac » et que les changements qui les affectèrent intervinrent souvent au même moment, dans le même texte législatif. Page 1/1 Citations caricature. 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. 22 O. Krakovitch, Hugo censuré, op. Dans Le Monde du 30 mai, le dessinateur Xavier Gorce qui croque des pingouins publie une caricature de 24 mai 2013. The topics of theater and caricature are treated together here also because the authorities often lumped them together and changes in their regulation often were handed down at about the same time, or even in the same legislation. Si Le Monde estime que le dessin polémique "n'aurait pas dû être publié", il ne le censure pas pour autant. It would clearly go beyond that goal if the charter were interpreted to accord the same protection to opinions converted into actions. Votre pseudo * Titre de votre commentaire * 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.
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