- Title Pages
- List of Figures
- List of Contributors
- 1 Questioning the Democratic, and Democratic Questioning
- 2 Against the ‘Democratic Turn’
- 3 The Divided Legacy of <i>Politikon</i>
- 4 A Democratic Turn in the Reception of the Roman–Dutch Law of Treason in South Africa?
- 5 Labour and the Classics
- 6 Appropriations of Cicero and Cato in the Making of American Civic Identity
- 7 Classics as a Weapon
- 8 Civilization and Savagery at the 1893 World’s Columbian Exposition
- 9 The Expansion of Tragedy as Critique<sup>1</sup>
- 10 Investigating American Women’s Engagements with Graeco-Roman Antiquity, and Expanding the Circle of Classicists
- 11 The Democratic Turn in (and through) Pedagogy
- 12 Classics in West African Education
- 13 Back to the <i>Demos</i>
- 14 Can ‘Democratic’ Modern Stagings of Ancient Drama be ‘Authentic’?
- 15 Demotic Power to the People
- 16 Aristophanic Performance as an All-inclusive Event
- 17 Constructing Bridges for Peace and Tolerance
- 18 <i>The Silence of Eurydice</i>
- 19 Ovidian Metamorphoses in the Fiction of A. S. Byatt
- 20 Catullus and Lesbia Translated in Women’s Historical Novels
- 21 Female Voices
- 22 Heroes or Villains
- 23 Democracy and Popular Media
- 24 Practising Classical Reception Studies ‘in the Round’
- 25 In Search of Ancient Myths
- 26 Truth, Justice, and the Spartan Way
- 27 A ‘Democratic Turn’ at the Ashmolean Museum
- 28 All Mod Cons? Power, Openness, and Text in the Digital Turn
Democracy and Popular Media
Democracy and Popular Media
Classical Receptions in Nineteenth, Twentieth, and Twenty-First Century Political Cartoons—Statesmen, Mythological Figures, and Celebrated Artworks1
- (p.319) 23 Democracy and Popular Media
- Classics in the Modern World
Alexandre G. Mitchell
- Oxford University Press
There is much debate today on who reads classics. There are some who assume that only the elites had or have access to classics, but what should we make of the many thousands of caricatures in prominent newspapers and propaganda leaflets, from the nineteenth century to today, which use classical references, whether they are visual myths, events, or statesmen, and much more, to mock current affairs? Did everyone understand the references? Who was or is mocked? The contemporary politician or Herakles? More importantly, why would a cartoonist need a reference to Nero, Herakles, Caesar, or the statue of the Laocoon to mock a nineteenth or twenty-first-century politician? Does everyone understand these references today? Newspapers: the material is cheap—paper—it has to ‘please’ the public, at least in its design if not in the information it contains, and newspapers thrive in democracies. Political cartoons, as individual and powerful images, crystallize a number of different gazes all within a democratic context.
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