Vaccines: a Hot Topic Once Again
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Caricature: the Loaded Drawing
Caricature: The Loaded Drawing The taste of the day leans entirely to caricature. We have lost our relish for the simple beauties of nature. We are no longer satisfied with propriety and neatness, we must have something grotesque and disproportioned, cumbrous with ornament and gigantic in its dimensions Morning Chronicles 1 1, August, 1796 Exaggeration in visual expression is found in nearly all cultures and throughout most historical periods. What this paper will discuss is the use of caricature to communicate satirical/humorous content in visual genres of Western Europe and specifically 18th Century England by highlighting the work of James Gillray. Caricature of Libyan leader Caricature is a form of visual exaggeration/distortion Muammar Gaddafi held by that generally pertains to the human face and/or figure drawn protestors on 2. 27. 2011. Source: NY Times online for humorous, critical or vindictive motives. As the title suggests, a particular facial part is exaggerated to catch the viewers’ attention and relate that quality to underlying aspects of the personality – hence a caricature is a portrait that is loaded with meaning rather than mere description. The centuries old premise to this interpretation is that outward appearances belie personality traits. A second interpretation of caricature - and the one this paper focuses on - combines the transformative aspects of caricature rendering techniques with satire to produce graphic images that provoke meaning in political, social and moral arenas. A verbal cousin to visual caricature is satire. Satirizing the human condition is as universal as exaggeration, and while found in early Greco- Roman art and literature wanes through the medieval period. -
Vaccine Hesitancy
WHY CHILDREN WORKSHOP ON IMMUNIZATIONS ARE NOT VACCINATED? VACCINE HESITANCY José Esparza MD, PhD - Adjunct Professor, Institute of Human Virology, University of Maryland School of Medicine, Baltimore, MD, USA - Robert Koch Fellow, Robert Koch Institute, Berlin, Germany - Senior Advisor, Global Virus Network, Baltimore, MD, USA. Formerly: - Bill & Melinda Gates Foundation, Seattle, WA, USA - World Health Organization, Geneva, Switzerland The value of vaccination “The impact of vaccination on the health of the world’s people is hard to exaggerate. With the exception of safe water, no other modality has had such a major effect on mortality reduction and population growth” Stanley Plotkin (2013) VACCINES VAILABLE TO PROTECT AGAINST MORE DISEASES (US) BASIC VACCINES RECOMMENDED BY WHO For all: BCG, hepatitis B, polio, DTP, Hib, Pneumococcal (conjugated), rotavirus, measles, rubella, HPV. For certain regions: Japanese encephalitis, yellow fever, tick-borne encephalitis. For some high-risk populations: typhoid, cholera, meningococcal, hepatitis A, rabies. For certain immunization programs: mumps, influenza Vaccines save millions of lives annually, worldwide WHAT THE WORLD HAS ACHIEVED: 40 YEARS OF INCREASING REACH OF BASIC VACCINES “Bill Gates Chart” 17 M GAVI 5.6 M 4.2 M Today (ca 2015): <5% of children in GAVI countries fully immunised with the 11 WHO- recommended vaccines Seth Berkley (GAVI) The goal: 50% of children in GAVI countries fully immunised by 2020 Seth Berkley (GAVI) The current world immunization efforts are achieving: • Equity between high and low-income countries • Bringing the power of vaccines to even the world’s poorest countries • Reducing morbidity and mortality in developing countries • Eliminating and eradicating disease WHY CHILDREN ARE NOT VACCINATED? •Vaccines are not available •Deficient health care systems •Poverty •Vaccine hesitancy (reticencia a la vacunacion) VACCINE HESITANCE: WHO DEFINITION “Vaccine hesitancy refers to delay in acceptance or refusal of vaccines despite availability of vaccination services. -
Britain's Defeat in the American Revolution: Four British Cartoons, 1782
MAKING THE REVOLUTION: AMERICA, 1763-1791 PRIMARY SOURCE COLLECTION __BRITAIN’S DEFEAT IN THE AMERICAN REVOLUTION: FOUR BRITISH CARTOONS, 1782__ * The rattlesnake as a symbol of the American colonies originated with Benjamin Franklin’s Join or Die cartoon of 1754, which he printed above his newspaper essay urging unity among the colonies for defense against the French and Indians on the frontier. So in 1782, as Britain was reeling from defeat and maneuvering through treaty negotiations with the U.S. and its allies, English cartoonists relished portraying the U.S. as a vengeful and menacing rattlesnake. Europeans had long been fascinated by accounts of the rattlesnake’s threat and prowesswhich translated into “deceitful foe”and yet the cartoonists’ awe of the coiled muscular reptile is evident. The United States was a power to contend with, period, and the standard symbol of an Indian princess for America was no longer apt. Rarely printed in newspapers at the time, political cartoons were usually published by printmakers as large etchingsthe four in this selection average 9 x 13½ inches. They were called satires or caricatures; the term cartoon was not commonly applied to such illustrations until the mid 1800s. What impressions do the cartoonists give of the U.S. and Britain in these satires? How do they characterize the nations’ new The American Rattle Snake, London, 12 April 1782 relationship in 1782? How do they The British Lion engaging Four Powers, London, 14 June 1782 acknowledge that the U.S. is, in- deed, a nation among nations? The American Rattlesnake presenting Monsieur Franklin’s cartoon in his Philadelphia Paradice Lost [sic], London, 10 May 1782 his Ally a Dish of Frogs, London, 8 November 1782 Gazette, 9 May 1754 * ® Copyright © National Humanities Center, 2010/2013. -
The King Falls Into the Hands Ofcaricature
Originalveröffentlichung in: Kremers, Anorthe ; Reich, Elisabeth (Hrsgg.): Loyal subversion? Caricatures from the Personal Union between England and Hanover (1714-1837), Göttingen 2014, S. 11-34 Werner Busch The King Falls into the Hands of Caricature. Hanoverians in England Durch die Hinrichtung Karls I. auf Veranlassung Cromwells im Jahr 1649 wurde das Gottesgnadentum des Konigs ein erstes Mai in Frage gestellt. Als nach dem Tod von Queen Anne 1714 die Hannoveraner auf den englischen Thron kamen, galten diese den Englandern als Fremdlinge. 1760 wurde mit Georg III. zudem ein psychisch labiler, spater geisteskranker Konig Regent. Als 1792 der franzdsische Konig Ludwig XVI. inhaftiert und spater hingerichtet wurde, musste das Konigtum generell um seinen Fortbestand fiirchten. In dieser Situation bemdchtigte sich die englische Karikatur endgilltig auch der koniglichen Person. Wie es schrittweise dazu kam und welche Rolle diesfilr das konig- liche Portrat gespielt hat, wird in diesem Beitragzu zeigen sein. If I were to ask you how you would define the genre of caricature, then you would perhaps answer, after brief reflection that Caricature is basically a drawing reproduced in newspapers or magazines that comments ironically on political or social events in narrative form and both satirises the protagonists shown there by exaggerating their features and body shapes on the one hand and by reducing them at the same time to a few typical characteristics on the other hand characterising them unmistakably. Perhaps you would then add that the few typical characteristics of well-known peo ple become binding stereotypes in the course of time and as such are sufficient to let the person become instantly recognisable. -
Satirical Epitaph for King George III After the Defeat of Britain
MAKING THE REVOLUTION: AMERICA, 1763-1791 PRIMARY SOURCE COLLECTION * This 1782 broadsidea satirical “epitaph” for King George III after Britain’s defeat in the Revolutionwas published by the noted Philadelphia printer, Francis Bailey. As official printer for Congress and Pennsylvania during the war, Bailey had published many official documents including the Declaration of Independence. His press poured forth annual almanacs, editions of the New Testament, a newspaper The Freeman’s Journal, and a monthly magazine entitled The United States Magazine. Known as a fervent Patriot (and later anti-Federalist), Bailey may have penned this scathing and provocative condemnation of George III and Parliament. It’s quite a piece: in one page it encapsulates the history of the Revolutionary period, voices the Patriots’ utter contempt for British leadership, and celebrates in verbal fireworks and graphic flourish the triumph of the “thirteen glorious republics.” [See annotated text on the following pages.] * ® Copyright © National Humanities Center, 2013. AMERICA IN CLASS : americainclass.org/. Broadside (40 x. 29 cm.) reproduced by permission of the Library Company of Philadelphia. Complete image credits at americainclass.org/sources/makingrevolution/imagecredits.htm. EPITAPH __Broadside published by Francis Bailey, printer, Philadelphia, 1782; 40 x 29 cm. (15.7 x 11.4 in.) __ __TEXT OF EPITAPH__ __ANNOTATIONS__ INDIGNANT Reader, Library of Congress Whoever thou art, more especially an AMERICA N, Lift up thine eyes, be thankful, rejoice, and behold! On a level with former Tyrants, Knock’d down and tumbled in the dust like his equestrian statue at New-York. Relinquished, utterly rejected, and deposited, French depiction of the destruction of the statue of King George III in New York City, July 9, 1776; 177-, detail. -
Emma and “The Children in Brunswick Square” : U
y y Emma and “the children in Brunswick Square” : u : LAURIE KAPLAN Laurie Kaplan, Professor of English and Academic Director of George Washington University’s England Center, has published essays on Jane Austen, Tom Stoppard, Paul Scott, and women writers of the First World War. She is a former editor of Persuasions . “‘To give up one’s child! ’” I C O J A ’ Emma , on the evening of Miss Taylor’s marriage to Mr. Weston, when Emma and her father are feeling abandoned and bereft, Mr. Knightley arrives at Hartfield “directly from their mutual con - nections in London . to say that all were well in Brunswick-square” (9). 1 A contemporary reviewer of Emma “commended” Austen in The Champion for her choice of John and Isabella Knightleys’ neighborhood : “ when we are occa - sionally transported to London, our authoress has the originality to waive Grosvenor or Berkeley-squares, and set us down in humble Brunswick- square ” ( qtd. in Cronin and McMillan 534). While Austen’s syntax empha - sizes “Brunswick-square,” critics have commented upon the airy neighb orhood where Mr. Knightley’s brother and Emma’s sister live only in the broader con - text of London. Yet, Austen repeats Brunswick Square so many times (eleven, in fact) that the square functions as an iconic (perhaps ironic) motif . But how does this notch in a corner of Bloomsbury resonate in the context of a novel that seems to focus more specifically on Hartfield and Highbury? What is Brunswick Square to Emma , and what is Emma to Brunswick Square? The recurring reference to Brunswick Square may be one of the reasons Jane Austen was reluctant to dedicate her novel to the Prince Regent. -
British Humour Satirical Prints of the Eighteenth and Nineteenth Centuries
British Humour Satirical Prints of the Eighteenth and Nineteenth Centuries Comics and caricatures were born in eighteenth-century Europe. While the Enlightenment8 gave rise to a culture of criticism, the bolder art of ridicule can be credited to innovative artists responding to great social changes of the eighteenth and early nineteenth centuries. This exhibition focuses on three generations of British satirists pioneering this new form: William Hogarth, James Gillray and Thomas Rowlandson, and George Cruikshank. Hogarth, the “grandfather of the political cartoon,” lampooned the mores and behaviors of the ruling class, but no class, station, or profession was above his reproach. Following his example, Gillray and Rowlandson became thorns in the sides of aristocratic and public leaders by styling a new form of caricature with exaggerated features and proportions. Cruikshank, from a family of satirists, was able to imitate the style of Gillray so closely that Gillray’s publisher, Hannah Humphrey, hired him to complete projects the older artist left unfinished, and he was hailed in his lifetime as a “Modern Hogarth.” But comedy is serious business, because it speaks truth to power. These artists were at turns threatened, bullied, and bribed; they became part of the very debates they depicted and derided. Each succeeded because they created and then fulfilled the demands of a highly engaged citizenry, which is part of any democratic society valuing freedom of debate and expression. Modern counterparts, from editorial cartoons to The Daily Show, continue their tradition. William Hogarth (British, 1697–1764) The complete series Marriage à la Mode, 1745 Etching and engraving on paper Prints made by Gérard Jean-Baptiste Scotin II Gift of Museum Associates (2008.16.1-6) Hogarth’s Marriage à la Mode was his first series of satirical images that focused on elite British society. -
Vaccine-Grabenstein-Article.Pdf
Vaccine 31 (2013) 2011–2023 Contents lists available at SciVerse ScienceDirect Vaccine jou rnal homepage: www.elsevier.com/locate/vaccine Review What the World’s religions teach, applied to vaccines and immune globulins ∗,1 John D. Grabenstein Merck Vaccines, 770 Sumneytown Pike, WP97-B364, West Point, PA 19426, USA a r t i c l e i n f o a b s t r a c t Article history: For millennia, humans have sought and found purpose, solace, values, understanding, and fellowship Received 20 October 2012 in religious practices. Buddhist nuns performed variolation against smallpox over 1000 years ago. Since Received in revised form Jenner developed vaccination against smallpox in 1796, some people have objected to and declined 21 December 2012 vaccination, citing various religious reasons. This paper reviews the scriptural, canonical basis for such Accepted 7 February 2013 interpretations, as well as passages that support immunization. Populous faith traditions are considered, Available online 26 February 2013 including Hinduism, Buddhism, Jainism, Judaism, Christianity, and Islam. Subjects of concern such as blood components, pharmaceutical excipients of porcine or bovine origin, rubella strain RA 27/3, and Keywords: Religion cell-culture media with remote fetal origins are evaluated against the religious concerns identified. Beliefs The review identified more than 60 reports or evaluations of vaccine-preventable infectious-disease Vaccines outbreaks that occurred within religious communities or that spread from them to broader communities. Antibodies In multiple cases, ostensibly religious reasons to decline immunization actually reflected concerns about Immune globulins vaccine safety or personal beliefs among a social network of people organized around a faith community, rather than theologically based objections per se. -
Grosvenor Prints Catalogue
Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 110 Item 50. ` Cover: Detail of item 179 Back: Detail of Item 288 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rainment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. [A country lane] A full length female figure, etched by Eugene Gaujean P.S. Munn. 1810. (1850-1900) after a design for a tapestry by Sir Edward Lithograph. Sheet 235 x 365mm (9¼ x Coley Burne-Jones (1833-98) for William Morris. PSA 14¼")watermarked 'J Whatman 1808'. Ink smear. £90 275 signed proof. Early lithograph, depicting a lane winding through Stock: 56456 fields and trees. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. Stock: 56472 2. [A water mill] P.S. Munn. [n.d., c.1810.] Lithograph. Sheet 235 x 365mm (9¼ x 14¼"), watermarked 'J Whatman 1808'. Creases £140 Early pen lithograph, depicting a delapidated cottage with a mill wheel. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. -
James Gillray's Representation of King George Iii in Monstrous Craws at a New Coalition Feast (1787)
SEAT OF POWER, SITE OF SATIRE: JAMES GILLRAY'S REPRESENTATION OF KING GEORGE III IN MONSTROUS CRAWS AT A NEW COALITION FEAST (1787) By LORA REMPEL B.A., University of British Columbia, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Fine Arts) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May 1992 ©Copyright Lora Rempel, 1992 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. (Signature) Department of FINE ARTS The University of British Columbia Vancouver, Canada Date MAY 25. 1992 DE-6 (2/88) ABSTRACT Two features that were viewed by Britons as distinguishing their nation from other Western countries in late-eighteenth century were its Constitutional Monarchy and the comparative freedoms enjoyed by the press. Graphic political satire lies at the juncture of these two features. This thesis examines the dual role that graphic caricatures of King George III played as satirical commentary and as political critique on the unique political stage of "out-of-doors" politics in the 1780s. -
House of Lords Library: Gillray Collection
Library: Special Collections House of Lords Library: Gillray Collection The House of Lords Library Gillray collection was acquired in 1899 as a bequest from Sir William Augustus Fraser (1826–1898). The collection consists of eleven folio volumes, retaining Fraser’s fine bindings: half red morocco with elaborate gold tooling on the spines. Ownership bookplates on the verso of the front boards show Fraser’s coat of arms and some of the prints bear his “cinquefoil in sunburst” collector’s mark. The volumes are made up of leaves of blue paper, on to which the prints are pasted. Perhaps surprisingly, given the age of the paper and adhesive, there is no evident damage to the prints. Due to the prints being stored within volumes, light damage has been minimised and the colour is still very vibrant. The collection includes a few caricatures by other artists (such as Thomas Rowlandson) but the majority are by Gillray. It is possible that the prints by other artists were mistakenly attributed to Gillray by Fraser. Where Fraser lacked a particular print he pasted a marker at the relevant chronological point in the volume, noting the work he still sought. These markers have been retained in the collection and are listed in the Catalogue. The collection includes some early states of prints, such as Britania in French Stays and a few prints that are not held in the British Museum’s extensive collection. For example, Grattan Addresses the Mob is listed in Dorothy George’s Catalogue as part of the House of Lords Library’s collection only.1 Volume I includes a mezzotint portrait of the author by Charles Turner, and two manuscript letters written by Gillray; one undated and addressed to the artist Benjamin West; the other dated 1797 and addressed to the publisher John Wright. -
Effects of Faith Actor Engagement in the Uptake and Coverage of Immunization in Low- and Middle-Income Countries (Lmics)* Phase 1 Global Landscape : Evidence Summary
Effects of faith actor engagement in the uptake and coverage of immunization in low- and middle-income countries (LMICs)* Phase 1 Global Landscape : Evidence Summary Faith Based Engagement Team: Sara Melillo (Consultant), Doug Fountain, Mona Bormet, and Carolyn O’Brien MOMENTUM Country and Global Leadership| JUNE 2021 *With a focus on USAID priority MNCH and FP/RH countries Contents SECTION 01 SECTION 05 Background and Methods Annexes SECTION 02 01 Methods Findings 02 Literature Review Findings SECTION 03 03 Suggestions for Further Research Summary of Evidence and Gaps 04 Specific Faiths and Vaccine Hesitancy 05 Current and Recent Projects SECTION 04 Promising Practices for Engaging Faith 06 Bibliography Communities on Immunization 2 SECTION 01 Backgroundt and Methods Photo: Karen Kasmauski/MCSP Why Is a Global Landscape Analysis on Faith Engagement in Immunization Necessary? • There is limited information on (and understanding of) how faith actors impact the uptake and coverage of immunizations in LMICs. • Vaccine hesitancy among faith communities increasingly threatens coverage of routine immunization. • Faith engagement in the promotion of the COVID-19 vaccine(s) will be critical to uptake in 2021 and beyond. 4 The polio experience showed us that one word from a religious leader just upset the apple cart. You had another 10 years of fighting polio and billions of dollars spent. Key Informant Interviewee (KII) on the acute danger of vaccine hesitancy among religious leaders Guiding Questions for Global Landscape Analysis 1. How do religious leaders and faith-based organization (FBOs) impact the uptake and coverage of immunization in LMICs? • What effects do local faith actors (LFAs) have in contributing to vaccine hesitancy? 2.