Eighteenth-century satire’s deep immersion in and articulation of the prevailing visual epistemology of the Enlightenment has often been noted. But in the case of graphic satire the question of satire’s proximity to the optical metaphors, practices, and technologies of the period is especially complex. Graphic satire is, by definition, visual; its language is that of the image, or, more accurately, of an image-text imbrication. When we look at satirical prints the very matter of looking is always especially present for us. This essay is concerned with how graphic satire sees itself or, more precisely, how it sees itself seeing. Through readings of caricatures by the likes of James Gillray, James Sayers, and George Cruikshank, it asks what it might mean to take seriously the notion of ‘satire’s eye’, not simply as a rhetorical figure but as a more literal description of what satire is and does.

中文翻译：

---

图形讽刺和启蒙运动的眼睛

18 世纪的讽刺作品对启蒙运动盛行的视觉认识论的深刻理解和阐释经常被注意到。但在图形讽刺的情况下，讽刺与那个时期的光学隐喻、实践和技术的接近性问题尤其复杂。根据定义，图形讽刺是视觉的；它的语言是图像的语言，或者更准确地说，是图像-文本的重叠。当我们看讽刺版画时，看的问题总是特别存在。这篇文章关注的是图形讽刺如何看待自己，或者更准确地说，它是如何看待自己的。通过阅读 James Gillray、James Sayers 和 George Cruikshank 等人的漫画，它询问认真对待“讽刺之眼”的概念可能意味着什么，