Guernica, 15 May 2014 By Jonathan Guyer The country’s cartoonists find creative ways to defy censors. His face is almost everywhere. With a stoic gaze and a stately uniform, Field Marshal Abdul-Fattah Al-Sisi looks out from magazine covers displayed at Cairo’s corner newsstands and posters decorating gas stations in sleepy Red Sea towns. Following the military’s ouster of the Muslim Brotherhood-affiliated Mohammed Morsi last July, a nationalistic fervor has gripped Egypt, and media outlets have widely lionized the retired general.
14 August 2013, The New Yorker By Jonathan Guyer n Egypt, political cartoons leap off the page and into public places, from street art to high-class galleries, on leaflets and TV programs. At the Muslim Brotherhood’s sit-in at Rabaa al-Adawiya, in the Nasr City neighborhood of Cairo, where protesters spent more than a month protesting the ouster of President Mohamed Morsi, cartoons were a form of resistance. A tent hosted an improvised gallery of comics from Brotherhood-affiliated newspapers; canvas walls at the back entrance displayed demeaning caricatures of the military and Photoshopped images of figures like the Coptic Christian Pope.
22 May 2014, The New Yorker By Jonathan Guyer Everybody knows who Egypt’s next President will be. Elections are scheduled for May 26th and 27th, almost a year after Mohamed Morsi was ousted in a coup led by the retired general Abdel Fattah Al-Sisi, in what has been painted as a second revolution. With campaigning in overdrive, Sisi met with a delegation of artists on May 12th. According to local news reports, the candidate said that artists are “the heart and soul of the nation,” and its conscience.
ICWA: Institute of Current World Affairs Jonathan Guyer has contributed a chapter to Translating Dissent: Voices from and with the Egyptian Revolution, a forthcoming book from Routledge. His chapter focuses on the translation of Arabic political cartoons. Here is Jonathan’s abstract: This chapter reflects critically on the translation of Arabic political cartoons, both in broad and narrow terms. The questions I address include the following: How does one translate humour and satire?
Drawings of former French president Nicolas Sarkozy, proclaiming, “I have changed,” published in Charlie Hebdo, May 2, 2007 Tim Parks The New York Review of Books What does satire do? What should we expect of it? Recent events in Paris inevitably prompt these questions. In particular, is the kind of satire that Charlie Hebdo has made its trademark—explicit, sometimes obscene images of religious figures (God the father, Son, and Holy Spirit sodomizing each other; Muhammad with a yellow star in his ass)—essentially different from mainstream satire?