Карикатура как форма подражания
The article deals with the phenomenon of the political satire as a unique type of art and also investigates the problems of translation and interpretation connected with it. The authors present a summary of the discussion upon the nature and types of transformations used in the translation and interpretation process and analyze the transformations used in the translation of the British TV series "Yes, Minister!"
The article shows that the artistic image is inseparable from the content, in relation to which it acts as a form. The nature of images is determined not only by peculiarities of language and artistic conception, embody means of language, but of the reality.The author describes how the official propaganda in every way slighted private owners, forming in the public consciousness the image of the exploiter and the class enemy. And at the end of the 1920s there was a unification of the satirical approaches because of the worsening foreign policy situation, the struggle against the Soviet bureaucracy and the advent of private owners around the "socialist front".
The article aims to understand the phenomenon of perhaps the most provocative satirical newspaper in France - Charlie Hebdo. Politics and policymakers are the principal objects of ridicule in the cartoons, comic strips and editorials created by the journalists and artists at Charlie, the weekly newspaper evidently an organ of satirical comment. The article analyses verbal methods which Charlie uses to maintain its provocative satirical edge.
What is it to be a work of art? Renowned author and critic Arthur C. Danto addresses this fundamental, complex question. Part philosophical monograph and part memoiristic meditation, What Art Is challenges the popular interpretation that art is an indefinable concept, instead bringing to light the properties that constitute universal meaning. Danto argues that despite varied approaches, a work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation. Danto crafts his argument in an accessible manner that engages with both philosophy and art across genres and eras, beginning with Plato’s definition of art in The Republic, and continuing through the progress of art as a series of discoveries, including such innovations as perspective, chiaroscuro, and physiognomy. Danto concludes with a fascinating discussion of Andy Warhol’s famous shipping cartons, which are visually indistinguishable from the everyday objects they represent.