In conversation with… Ian Hislop

Ian Hislop, satirist, broadcaster, historian, and editor of Private Eye, chats to Roehampton’s Dr Mary L. Shannon about his new radio play ‘Trial by Laughter’ (co-written with Nick Newman) which dramatizes the trial of William Hone for libel in 1817, press freedom, and the importance of satirical images in the nineteenth century.

Click here to access the podcast and to get the full story.

Mary L. Shannon and Ian Hislop Private Eye

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CFP. Abusing Power: The Visual Politics of Satire

AbusingPowerAbusing Power: The Visual Politics of Satire
23rd Sep 2016 9:00am – 24th Sep 2016 6:00pm
Brighton Museum and Pavilion

A conference organised by the University of Brighton in association with the Royal Pavilion and Brighton Museum. Abstracts due: 9th May 2016 

 

http://arts.brighton.ac.uk/research/c21/events/events-calendar2/abusing-power-the-visual-politics-of-satire

Speakers include:

Steve Bell, political cartoonist
Martin Rowson, political cartoonist
Professor Ian Haywood, University of Roehampton
The Curator of the Cartoon Museum, London
The Curator of Fine Art at the Royal Pavilion Museums

In January 2015, 12 of France’s most familiar cartoonists were shot dead in Paris. The aftermath of the attack on Charlie Hebdo raises significant questions about the status and the potential impact of an image and gives this conference a political urgency. The events in Paris underline both the power of the political cartoonist and the dangers of causing offence to political and religious sensibilities.

In 1820, George Cruikshank and his brother Robert were summoned to Brighton Pavilion by George IV, in an attempt to buy them off from reproducing their salacious satirical cartoons. They were paid off, but continued to produce scurrilous images of the royal family and political figures. The Royal Pavilion now houses one of the best collections of Cruikshank, Hogarth and Gillray in the world, three of the most eminent caricaturists in visual history.

The city of Brighton and the University have a long history of association with cartoon and caricature. This conference offers the opportunity to celebrate the rich history of caricature and cartoons associated with Brighton and to address the important ethical questions that now confront the contemporary cartoonist. It celebrates the rich collections of Cruikshank, Gillray and Hogarth at the Brighton Pavilion and brings together the expertise of practitioners, curators, academic historians and cultural analysts. The conference draws upon the research expertise of the University, on the curatorial experience of museum staff and on cartoonists who currently practice.

This conference is organised by three research groupings from the College of Arts and Humanities at the University of Brighton, the Centre for Applied Philosophy Politics and Ethics, the Centre for Research in Memory, Narrative and Histories and C21: Research in Twenty-First Century Writings, which allows for the interdisciplinary focus that the subject merits.

We invite proposals (c300 words) for both papers and panels on topics which may include, but are not limited to:

Comedy and ethics – what are the responsibilities of a cartoonist? || The curation of cartoons – what should be kept? || How far can you go? Are there limits to what a cartoonist can lampoon? || The legacies of Cruikshank, Gillray and Hogarth || Religion and caricature || Representations of history through cartoon || The impact of caricature on popular ideas of politics || Celebrity and caricature || In what contexts does satire flourish and why? || Is satire necessary?

DEADLINE: Email your proposal and short bio to C21Writings@brighton.ac.uk by 9th May 2016 

Hone and Cruikshank: BBC Radio 4 Drama by Ian Hislop ‘Trial by Laughter’ now on iplayer

The Gamecock of Guildhall

BBC Radio 4 drama ‘Trial by Laughter’ is now available on iplayer for just over 20 days.

Written by Ian Hislop (the editor of Private Eye and a team captain on ‘Have I got News for You’) and his long-term collaborator Nick Newman (a satirical cartoonist for The Sunday Times and Private Eye), ‘Trial by Laughter’ is a  comedy drama based on the real transcripts of the trial of William Hone in 1817.

William Hone is the forgotten hero of free speech in Britain. He was a bookseller, publisher, printshop-owner and satirist – George Cruikshank was his friend and collaborator . In 1817, he stood trial for ‘impious blasphemy and seditious libel’. His crime was to be funny. Worse than that he was funny by parodying religious texts. And worst of all, he was funny about the despotic government and the libidinous monarchy.

Original music by Conrad Nelson
Director/Producer Gary Brown

For clips, the cast list, and background information on the trial, see http://www.bbc.co.uk/programmes/b071h2x6.

Click here to read Nick Newman’s article on Cruikshank and Hone for the BBC website.

For information on the William Hone collection at Adelphi University, USA, see http://libraries.adelphi.edu/archives-and-special-collections/special-collectionsfinding-aids/hone-collection/.

Image of the Month: Caricature of Darwin and the crew of the Beagle

painting-depicting-charles-darwin

Lot 10, ‘English Literature, History, Childrens’ Books and Illustrations’ Sale, 15 December 2015, Sotheby’s London. Earle, Augustus (attrib.) CARICATURE GROUP PORTRAIT ON BOARD HMS BEAGLE Watercolour, entitled “Quarter Deck of a Man of War on Diskivery [sic] or interesting Scenes on an Interesting Voyage”, depicting Darwin together with ten other figures, all crew members of HMS Beagle, including Robert FitzRoy and three other officers, shipboard with fossils, botanical and mineralogical specimens, some with captions, several figures with nautical and surveying instruments, each figure with a speech bubble with words written above in black ink, single sheet (340 x 205 mm), watercolour and ink on paper (Whatman Mill watermark, undated), [Bahía Blanca, Argentina, on or around 24 September, 1832]; some creasing and light staining, mounted. http://www.sothebys.com/en/auctions/ecatalogue/2014/english-literature-history-childrens-books-illustrations-l15408/lot.10.html

Last month, Sotheby’s in London sold for £52,500 the only known painting of the naturalist Charles Darwin aboard the HMS Beagle.

The watercolour, painted by Augustus Earle (1793–1838) was offered in the English Literature, History, Children’s Books and Illustrations sale in London. Darwin (giving a long-winded description of an insect), Captain Robert Fitzroy, and various officers and sailors are all depicted: it captures the bustle of Darwin’s historic expedition, while the speech bubbles hint at in-jokes and standing jokes from the voyage. An officer, thought to be 1st Lt John Clements Wickham, complains: “There is no such thing as walking the deck for all these cursed specimens!”

zoomable digital image of the caricature is available on Sotheby’s website, along with an article on the caricature on Sotheby’s rare books blog Bibliofile.

 

 

CFP: ‘Romanticism and the Arts’ SAMLA, Durham, North Carolina, USA (13-15 Nov. 2015)

Call for Papers
‘Romanticism and the Arts’
an affiliated session of the Keats-Shelley Association of America South Atlantic Modern Language Association Conference
Durham, North Carolina, USA (13-15 Nov. 2015)
Deadline: 15 May 2015

This panel seeks papers related to second-generation Romantic-era British writers and/or their literary circles, so proposals addressing the works of John Keats, Percy and Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt will receive priority. Proposals that engage with the conference theme (“In Concert: Literature and the Other Arts”) are especially welcome. Subjects to be considered might include (but are not limited to) Romantic literature in relation to music, concerts, songs, painting, engravings, caricatures, drawings, panoramas, book arts, calligraphy, dance, theatre, opera, architecture, sculpture, china, pottery, ceramics, textiles, and, in later contexts, electronic art, film, and photography.

Please send a 250-word abstract, bio or CV (one page only), and audio-visual requests to Ben P. Robertson, Troy University, (bprobertson@troy.edu) by 15 May 2015.

CFP – “Visual Print Culture in Europe 1500-1850”, Venice, December 2015

Visual Print Culture in Europe: techniques, genres, imagery and markets in a comparative perspective, 1500-1850

University of Warwick at: Palazzo Pesaro Papafava, Venice, Italy

December 5-6, 2015

Call for Papers – closing date June 1, 2015

universalmonarchie

Under Napoleon’s Empire we find London acting as a hub for printing caricatures of Napoleon in a range of languages, and with a number of distinctive styles.  The above print, Die Universalmonarchie, for example, claims to have been published by Boydell & Co. in London in 1815, but the Boydells were based at Cheapside, not – as the print states – at Pall Mall (once the location of the late Josiah Boydell’s famous Shakespeare Gallery). The publication information would seem to be spurious and the British Museum suggests that it was likely published in Paris. Is this print, then, German, French, or even possibly English? Who exactly is its market? How far is its imagery tailored to a particular “national” audience and in what ways might it be distinctively comprehensible to such an audience? Besides London, what other European hubs were important, at what moments and why?

‘Visual Print Culture in Europe 1500-1850’ aims to draw together scholars with a range of disciplinary skills to discuss the methods, representational forms, and distribution of and audience for visual print media in Europe between 1500 and 1850.  Its seeks to de-nationalize the study of visual print culture, and to explore the extent to which interactions between engravers and printers, artists and consumers in Europe, and a range of common representational practices produced a genuinely European visual print culture – with local modulations, but nonetheless with a common core.

Papers can draw on a range of disciplinary backgrounds in exploring the exchange of techniques and processes, the analysis of imagery, and the identification of markets, and in analysing the conditions under which particular generic forms crossed or failed to cross national boundaries.  Although the emphasis is on European visual print culture, the impact of that culture on, and its interaction with, the wider world is also of interest.

The conference language will be English.

The Conference will be held at the University of Warwick’s Palazzo and conference centre in Venice, December 5-6, 2015.

The Conference organisers, acting under the European History Research Centre are:
Mark Philp, History, EHRC Director, Warwick  (mark.philp@warwick.ac.uk)
Kate Astbury, French Studies, Warwick
Mark Knights, History, Warwick
David Taylor, English, Warwick

Proposals for papers should be submitted to t.smith.2@warwick.ac.uk by June 1st 2015 but please feel free to contact Mark Philp in advance with any queries.

The conference may be able to provide some financial assistance to those whose home institutions are unable to support their attendance, especially postgraduate students.

CFP: ‘James Gillray@200: Caricaturist without a Conscience?’ Oxford, March 2015

http://www.new.ox.ac.uk/james-gillray200-caricaturist-without-conscience

James Gillray@200: Caricaturist without a Conscience?

The Ashmolean Museum, Oxford & New College, Oxford present:
A one-day symposium to be held at the Ashmolean Museum
Saturday 28 March 2015

CFP deadline: 15 November 2014

Programme will be announced: 21 November 2014

James Gillray’s reputation in the two centuries since his death has been as varied and layered as his prints. Trained at the Royal Academy, he failed at reproductive printmaking, yet became, according to the late-eighteenth-century Weimar journal London und Paris, one of the greatest European artists of the era. Napoleon, from his exile on St Helena, allegedly remarked that Gillray’s prints did more to run him out of power than all the armies of Europe. In England, patriots had hired him to propagandize against the French and touted him as a great national voice, but he was an unreliable gun-for-hire. At a large public banquet, during the heat of anti-Revolutionary war fever, he even raised a toast to his fellow artist, the regicide, Jacques-Louis David. Gillray produced a highly individual, highly schooled, and often outlandish body of work with no clear moral compass that undermines the legend of the caricaturist as the voice and heart of the people, so that the late Richard Godfrey described him as a caricaturist without a conscience. Following 2001 and 2004 retrospectives in London and New York, and fuelled by scholarship of a new generation of thinkers, our era’s Gillray is just now coming into focus.

To commemorate the 200th anniversary of Gillray’s death, and in conjunction with the Ashmolean Museum’s exhibition, Love Bites: Caricatures of James Gillray (26 March-21 June 2015), based on New College’s outstanding collection, we are organising a one-day conference at the Ashmolean Museum to hear and see the latest Gillray scholarship.

We seek proposals for papers that address any aspect of Gillray’s work or that consider artistic duty or purposeful negligence of duty in the period around 1800. Comparative, formal, contextual, and theoretical approaches to Gillray and our theme are all welcome. Proposals should be a maximum of 200 words and be accompanied by a short biographical statement.

Organised by Todd Porterfield, Université de Montréal; Martin Myrone, Tate Britain; and Michael Burden, New College, Oxford; with Ersy Contogouris, Université de Montréal.

All enquiries should be addressed initially to the New College Dean’s Secretary, Jacqui Julier, jacqui.julier@new.ox.ac.uk, to whom all abstracts should be submitted by:
15 November 2014

The programme will be announced on 21 November 2014.