Notice bibliographique
Résumé
Some of the most powerful and memorable images from the First World War are by cartoonists. From the earliest days of the war, British cartoonists such as Alfred Leete, Bruce Bairnsfather, William Heath Robinson and Donald McGill were at the forefront of propaganda battles aimed at bolstering the war effort, ridiculing the enemy and sustaining the nation through the four long years of conflict. Alfred Leete’s famous recruiting cover for London Opinion featuring Lord Kitchener was never an official poster but remains one of the abiding images of the Great War and inspired numerous other designs. For many Bruce Bairnsfather’s grumbling but steadfast soldier ‘Old Bill’ became the face of the long-suffering Tommy in the trenches. Criticised in parliament as ‘vulgar caricatures of our heroes’, Bairnsfather’s down-to-earth drawings were loved by the men at the front. They were reproduced on plates and cards and inspired stage shows and films. The exhibition includes Bairnsfather’s ‘Well, if you knows of a better ’ole, go to it’, widely regarded as the most famous cartoon of the war. Postcards of Bert Thomas’s ‘’Arf a ‘Mo’ Kaiser’, showing a cheeky Tommy pausing to light his cigarette, raised £200,000 for the soldiers’ tobacco fund. The cartoons by the Dutch artist Louis Raemaekers were exhibited three times in London, reproduced around the world and widely credited with helping persuade the Americans to enter the war. Never Again! World War I in Cartoon and Comic Art brings together over 300 images, ranging from political and joke cartoons from newspapers and magazines to colourful comic postcards by the likes of Donald McGill and Douglas Tempest on a huge range of subjects, including life in the trenches, popular songs, food shortages and air raids. There are also children’s comics such as Picture Fun and Comic Life, cigarette cards and maps. Also on display are rare German and French postcards, and trench publications produced by serving soldiers, many of which featured cartoons, which have been extensively researched by Professor Jane Chapman from the University of Lincoln, who has contributed to the exhibition.Many cartoons feature national symbols such as John Bull, the Russian Bear and the French Cockerel. Leaders such as Kitchener and the Kaiser who often appeared with his son in Haselden’s ‘Big and Little Willie’ ? were also popular subjects. There are ‘hate cartoons’ by Edmund J. Sullivan which demonise the Germans, but others by Heath Robinson and Haselden that acknowledge the humanity shared by both sides. The impact of modern warfare, air raids and women’s war work all appear as subjects, as do conscription and conscientious objectors. The exhibition also features some more recent material such as Ralph Steadman’s reworking of Leete’s famous Kitchener design; Charley’s War, the classic 1980s comic strip by Pat Mills and Joe Colquhoun, which depicts the horrors of trench warfare; and drawings from the ‘Horrible Histories’ book The Frightful First World War by Terry Deary and Martin Brown.Artists in the exhibition include H. M. Bateman, Bruce Bairnsfather, Martin Brown, Oscar Cesare, Will Dyson, George Halkett, W.K. Haselden, William Heath Robinson, David Low, Donald McGill, Bernard Partridge, E.T. Reed, Edmund J. Sullivan, Ralph Steadman, Douglas Tempest, F. H. Townsend, Bert Thomas and Tom Webster.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,155 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; les deux têtes enseignantes s’accordent sur ce qui est montré ici.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».