Ugrás a tartalomra
mobile

L'Harmattan Open Access platform

  • Keresés
  • OA Gyűjtemények
  • L'Harmattan Archívum
Magyarhu
  • Englishen
  • Françaisfr
  • Deutschde
BejelentkezésRegisztráció
  • Kötet áttekintése
  • Oldal
  • Szöveg
  • Metaadatok
  • Kivágás
Előnézet
022_000056/0000

Competing Eyes. Visual Encounters with Alterity in Central and Eastern Europe

  • Előnézet
  • PDF
  • Metaadatok mutatása
  • Permalink mutatása
Tudományterület
Antropológia, néprajz / Anthropology, ethnology (12857), Kultúrakutatás, kulturális sokféleség / Cultural studies, cultural diversity (12950), Társadalomszerkezet, egyenlőtlenségek, társadalmi mobilitás, etnikumközi kapcsolatok / Social structure, inequalities, social mobility, interethnic relations (12525), Vizuális művészetek, előadóművészetek, dizájn / Visual arts, performing arts, design (13046)
Tudományos besorolás
tanulmánykötet
022_000056/0404
  • Kötet áttekintése
  • Oldal
  • Szöveg
  • Metaadatok
  • Kivágás
Oldal 405 [405]
  • Előnézet
  • Permalink mutatása
  • JPG
  • TIFF
  • Előző
  • Következő
022_000056/0404

OCR

402 Anna M. Rosner a synonym of an assimilated Jew and a reformer of the state and himself. The reform he conducted on himself is of course the change from being born in a Jewish immigrant family to being a well-educated and purposeful politician who managed to become a prime minister. The portraits showing him as a prime minister and not pointing out his origin gained in popularity with time and one of the best known caricatures representing Disraeli and focusing on his profession and not his breed is the one by Carlo Pellegrini, printed on 30 January 1869 in Vanity Fair (ill. 177) (catalog number: C 1986.5.11”). The magazine’s title could be explained as “a place or scene of ostentation or empty, idle amusement and frivolity.” The periodical was well known for both articles and pictures, which focused mainly on the most recent political issues. Vanity Fair did not support any of the parties; the journalists wrote their commentary on nearly any possible subject and made jokes about most things and people. Disraeli’s caricature was published during his first term in the office (February 1868-December 1868). The picture itself does not aim at hurting or offending anyone, the prime minister is dressed in the most fashionable manner: a smart coat, a top hat, and gloves—he is leaning on a long umbrella. The only Jewish feature by which his identity could be guessed is his dark, curly hair. He is clean-shaven and his expression represents calm and patience; his eyes show a desire to judge or observe, but surely not to cheat. Of course that does not represent a change in the perception of the Jewish minority in Great Britain. Similar expressions and judging looks are common in Victorian era cartoons of high-ranking politicians as representation of their position in the state. This particular caricature was designed as an opening image for a series of portraits of well-known political figures. Thomas Gibson Bowles, the founder of Vanity Fair, highly valued Disraeli and proved it in the caption following the picture. Bowles expressed his admiration of the man who had managed to become one of the greatest politicians of the era.” The final caption was cut short just to one last sentence of the original text: “He educated the Tories, and dished the Whigs to pass Reform; but to have become what he is from what he was is the greatest reform of all" For the readers of Vanity Fair, the punchline had more meaning than a presentation of Disraeli as a street merchant or a sweat-shop worker would. At this time Benjamin Disraeli was considered an important politician, an intelligent man, and a person whose role in the parliament should not be undervalued; but still his origin was pointed out on many occasions and never forgotten. Ihat was due to the fact that he was the first Jew to take over such an important position in the state. 23 heep://www.jewishmuseum.org.uk/search-our-collections-new?adlibid=17535 &offset=30 (accessed 04. 07. 2012). 24 hetp://www.vanityfair.com/magazine/vintage/oneclickhistory (accessed 04. 07. 2012). 5 In Vanity Fair, Roy T. Matthews and Peter Mellini, Scolar Press, 1982, London, p. 26. 76 € 2005.5.

Szerkezeti

Custom

Image Metadata

Kép szélessége
1852 px
Kép magassága
2769 px
Képfelbontás
300 px/inch
Kép eredeti mérete
1 MB
Permalinkből jpg
022_000056/0404.jpg
Permalinkből OCR
022_000056/0404.ocr

Linkek

  • L'Harmattan Könyvkiadó
  • Open Access Blog
  • Kiadványaink az MTMT-ben
  • Kiadványaink a REAL-ban
  • CrossRef Works
  • ROR ID

Elérhetőség

  • L'Harmattan Szerkesztőség
  • Kéziratleadási szabályzat
  • Peer Review Policy
  • Adatvédelmi irányelvek
  • Dokumentumtár
  • KBART lists
  • eduID Belépés

Social media

  • Facebook
  • Instagram
  • LinkedIn

L'Harmattan Open Access platform

BejelentkezésRegisztráció

Bejelentkezés

eduId Login
Elfelejtettem a jelszavamat
  • Keresés
  • OA Gyűjtemények
  • L'Harmattan Archívum
Magyarhu
  • Englishen
  • Françaisfr
  • Deutschde