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Journal articles on the topic 'Cartoons as historical sources'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Pinar, Maria Jesús. "Humour and intertextuality in Steve Bell's political cartoons." European Journal of Humour Research 8, no. 3 (2020): 16. http://dx.doi.org/10.7592/ejhr2020.8.3.pinar-sanz.

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The aim of this paper is to analyse 12 political cartoons published by Steve Bell in the left-wing oriented newspaper The Guardian to show how visual metaphors and metonymies and intertextual references are powerful strategies to present potent rhetorical depictions of political candidates and political issues. These devices are used to establish intertextual links across political cartoons and historical events, contemporary culture, paintings, literary works and illustrations. The themes that appear regularly in political cartoons have been identified, as well as a number of categories of source domains in visual metaphors. The analysis of the cartoons reveals that the interpretation of the cartoon and the appreciation of humour depend on the audience’s access to background knowledge, both of the political situation described in the cartoon and the intertextual references presented, on the audience’s ideology and on the decoding of the characteristics mapped onto the target of the metaphor.

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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (2020): 197. http://dx.doi.org/10.15421/26190214.

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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sources was formed according to the principle of informational correspondence to the goal and consists of newspaper articles – reviews by N. B. Gersevanov on military cartoons and an album of cartoons “The Adventures of the Novgorod resident Fedora Ivanovna”, published under the pseudonym “Durov”. The materials involved cover 1858–1860. both the critic and the creator of this genre convincingly demonstrate the place of caricature in journalism of N. B. Gersevanov. Using the methods of historiographic and source analysis and synthesis allowed us to identify the state of development of the issue in the historical literature and realize the goal. The main result was the identification of thematic variability of the cartoons of N. B. Gersevanov and the reactions of representatives of the military community to them. Based on the content analysis, the contents of the caricature album “Adventures of the Novgorod resident Fedora Ivanovna” were investigated. The texts and the cartoons published by Gersevanov were a reaction to harsh criticism by the public of the Russian army and military after the defeat of the Russian Empire in the Crimean War of 1853–1856. Since 1812, wars have become a powerful impetus for development for the Russian caricature tradition. The humorous genre was not inherent in the work of Gersevanov, moreover, he considered it dangerous for military discipline. Thus, the appeal to the caricature of the socio-political and literary issues was a kind of experiment for the author. Despite economic success, the final goal was not achieved, the vices were not overcome. Gersevanov became convinced of the futility of ridiculing as a method of education, therefore, he did not turn to the humorous genre anymore. The conclusion is that the hermeneutic analysis of the texts and the contexts of their appearance allowed us to significantly expand our understanding of the multifaceted activities of such a little-explored personality as N. B. Gersevanov and to reveal the informational potential of the cartoon as a historical source. The type of article: analytical.

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Sufian, Sandy. "Anatomy of the 1936––39 Revolt: Images of the Body in Political Cartoons of Mandatory Palestine." Journal of Palestine Studies 37, no. 2 (2008): 23–42. http://dx.doi.org/10.1525/jps.2008.37.2.23.

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This article analyzes body images in political cartoons during the 1936––1939 Arab Revolt. By deciphering the visual messages in the political cartoons of two newspapers——the Arabic Filastin and the Hebrew Davar——the article examines how body representations portray stereotypes of rivals and reveal assumptions about and relations between conflicting parties. Visual imagery maintained its impact by illustrating nationalist attitudes, critiques, and goals. In addition to being referents to a period not well documented in images, cartoons are also potent historical sources for reconstructing a sociopolitical history of Palestine.

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Lydin, N. N., and P. V. Ulyanov. "The Evolution of the Image of the Ottoman Empire on the Cartoons of the British Magazine «Punch» of the First World War Period." Izvestiya of Altai State University, no. 3(113) (July 6, 2020): 69–75. http://dx.doi.org/10.14258/izvasu(2020)3-11.

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This article discusses the development in the British society of the image of the Ottoman Empire, perceived as a ’’German ally“ during the First World War. English cartoons from the satirical magazine “Punch” were taken as historical sources. The peculiarity of this magazine was that during the period under study it was popular among representatives of the elite, intelligentsia, workers and some of the farmers due to the publication of various drawings and cartoons in it. The main goal of the authors of the article is to consider the development of the image of the Ottoman Empire, presented on graphic materials as an “ally of Germany”, using political caricatures as an example, and to reveal its features in British propaganda. The study allows us to conclude that the image of the Ottoman Empire was presented in satirical form, as it was aimed at discrediting the ”ally of Germany“. British artists sought to convey to the mass audience that the Ottoman Porta was embroiled in armed conflict and was used by Germany as a "puppet". On the example of the most striking English cartoons of the satirical magazine “Punch”, it can be noted that many stories about the “ally of Germany” reflected in their content the military-political dependence of the Ottoman Empire on the German one.

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Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere." Culture and Cosmos 21, no. 1 and 2 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0631.

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Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cartoon for Mars is part of the collection of drawings at the Birmingham Museum of Art, UK, and the drawing Morning Star is located at Lady Margaret Hall in Oxford, UK. In the creation of the Planets cycle, Burne-Jones was inspired by cultural events of the time, such as British scientific astronomical discoveries and British and Italian humanistic sources in literature and visual arts portraying astronomy. This essay examines – art historically and iconographically – only one of the eight planets, the cartoon of Luna (The Moon) as an astral planetary formation and a celestial sphere. This study is composed of two sections. The first section discusses the history of the artistic commission and the second section explains some of Burne-Jones’s cultural sources for the Planets cycle and the Moon, both of which partake of heavenly and terrestrial realms.

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Vagapova, Firdaus G. "The Architecture of Kazan in Graphics of the Tatar Satirical Magazines “Yashen” and “Yalt-Yult”." Observatory of Culture 16, no. 3 (2019): 290–99. http://dx.doi.org/10.25281/2072-3156-2019-16-3-290-299.

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One of the positive phenomena of modern culture is its tendency to study and preserve urban space, which is especially important for historical cities. The appeal of researchers to the study of urban landscapes, made by artists of previous eras and left for descendants to see the views of large and small cities, contributes to the process of lost monuments reconstruction. The importance of studying images of cities through visual sources is determined by the fact that cities are territories connected with lives of people, who are involved in creation of their architectural monuments. Cities are the habitat of people that reflects their daily life. The article, for the first time, explores the features of the Kazan urban art of the early 20th century reflected in graphic works of the Tatar satirical magazines “Yashen” (“Lightning”) and “Yalt-Yult” (“Sparkle”), published in the early 20th century. The drawings presented in “Yashen” and “Yalt-Yult” are illustrations to articles and feuilletons.Most of the drawings are made in the genre of cartoons, which is predetermined by the studied magazines’ subject matter. Mainly, architectural objects depicted in the cartoons of “Yashen” and “Yalt-Yult” magazines do not have an independent meaning, they are only “present” in picture’s composition in order to show an event from the city’s life more clearly. Another group of the Tatar satirical magazines’ drawings represents the images of the architectural structures that illustrate texts of advertisements. In this group’s graphics, depiction of architectural monuments is characterized by careful elaboration of details due to the reconstruction of the architectural structure’s image through visual memory. Because of the fact that at the beginning of the 20th century, the main part of the Tatar population of Kazan lived on the territory of the Old and New Tatar Slobodas, the authors of articles, feuilletons and cartoons in the magazines mainly reflected the life of those parts of the city.The research is based on the study of fundamental works and publications of Russian scientists and the analysis of the body of sources: articles and drawings from the magazines “Yashen” and “Yalt-Yult”, archival materials.

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Lyubimova, Natalya S. "Образ Японии в России – старые элементы в новом оформлении". Вестник антропологии (Herald of Anthropology) 51, № 3 (2020): 153–67. http://dx.doi.org/10.33876/2311-0546/2020-51-3/153-167.

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This article compares the image of Japan in Russia in two periods of time: at the end of XIX – beginning of the XX c. and in modern days. It reviews the images existing in the European part of Russia. Chronological periods were chosen for comparison based on some shared traits: both economical and political relations between the two countries are relatively weak, so the mass-media potential for propaganda is only used at times when a certain political problem becomes relevant (Russan-Japanese war/ the peace treaty problem and the Kuril Islands dispute), while there also is a fashion for Japanese or pseudo-Japanese products (japonisme in art, incl. decorative arts and literature/ Japanese cuisine, cartoons etc.). The image of Japan at the beginning of the XX c. is described based on literature with the use of journalistic and scientific publications. In addition, the author used pulp fiction as a source, which has not been previously done in research by Russian scholars. Analysis of the modern image of Japan is based on the results of a questionnaire survey, conducted via Internet in June 2019, and supplemented by the non-formalized content analysis of the on-line mass media. Image of Japan as special case of an image of the Other has one permanent trait – it is exotic. This exoticism comes from the notion of Japanese traditionalism as well as from perceiving Japan as a futuristic land. Both of these aspects can have negative or positive connotations. The historical part of this research shows how these connotations shift depending on the historical context and views of a particular author. The 2019 survey demonstrated the predominance of positive characterizations in the modern image of Japan and also that mass-media have little effect on this image.

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8

Heitzman, Wm Ray. "Sources of Political Cartoons." Social Studies 79, no. 5 (1988): 225–27. http://dx.doi.org/10.1080/00220973.1945.11019922.

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9

Muroya, Daiki, Kazuhisa Seta, and Yuki Hayashi. "Semantically Enhanced Historical Cartoons Promoting Historical Interpretation." Information and Technology in Education and Learning 1, no. 1 (2021): Reg—p002—Reg—p002. http://dx.doi.org/10.12937/itel.1.1.reg.p002.

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10

Wu, Yejun. "Indexing Historical, Political Cartoons for Retrieval." KNOWLEDGE ORGANIZATION 40, no. 5 (2013): 283–94. http://dx.doi.org/10.5771/0943-7444-2013-5-283.

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YÜCEL DAĞ, Manolya, and Mehmet Fatih TAŞAR. "More Interactive Historical Vignettes." International Journal of Learning and Teaching 8, no. 1 (2016): 53. http://dx.doi.org/10.18844/ijlt.v8i1.526.

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One of the main components of science education, science literacy entails possessing the conception of the nature of science (NOS). One way of teaching the NOS is to make use of the history of science. Interactive historical vignettes (IHV) that are based on the history of science, through which students can find many opportunities for discussion and that are prepared on the basis of the life stories of scientists can be used as an effective technique in the instruction of the NOS. The purpose of the current study is to see how effective enhanced with concept cartoons and visuals are in teaching of the NOS and in contributing to students’ scientific thinking and argumentation.IHV enhanced with concept cartoons to develop the conception of the NOS were studied with 23 fifth graders for five weeks. The development in the students’ conception of the NOS was analyzed by examining video recordings and IHV documents.The findings show that the students’ conception of the NOS developed as a result of the application. Improvement was observed in the conception of the NOS of 19 students out of 23. Of these 19 students, 13 participated more in the discussions related to IHV and started to use statements more in compliance with the NOS over time.This is believed to be because the enrichment of IHV with concept cartoons and visuals enabled the students to think more scientifically and thus improved the discussion atmosphere in the class and as result it is believed to be effective in focusing students on the elements of the NOS existing in IHV and in developing their conception of the NOS. Keywords: Nature of science, Interactive historical vignettes, Concept cartoons, Middle school

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12

Mahamood, Muliyadi. "The Development of Malay Editorial Cartoons." Asian Journal of Social Science 25, no. 1 (1997): 37–58. http://dx.doi.org/10.1163/030382497x00031.

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AbstractThis essay examines the development of Malay editorial cartoons by focusing on styles and themes used since their first publication in the press of the 1930s. The discussion is based on the nature of the press and its historical background, factors that have influenced the form and content orf the cartoons. By analysing pre-independence and post-independence cartoons, the essay also demonstrates the influence of cultural and political factors on the development of the styles and themes of Malay editorial cartoons.

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13

HSIEH, CHIA-CHUAN. "PUBLISHING THE RAPHAEL CARTOONS AND THE RISE OF ART-HISTORICAL CONSCIOUSNESS IN ENGLAND, 1707–1764." Historical Journal 52, no. 4 (2009): 899–920. http://dx.doi.org/10.1017/s0018246x09990355.

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ABSTRACTIn studies of English artistic culture of the first half of the eighteenth century, the notion of art-historical consciousness has attracted little attention, in contrast to an immense interest in issues of picture consumption and taste. This article provides a new perspective on the rise of art-historical consciousness by examining publications associated with the Raphael Cartoons, then at Hampton Court. Through a wide range of engraved reproductions and written commentaries, the Cartoons not only came to be the most visible Old Master paintings in England in the period, but also became central to an on-going process whereby ideas about painting were formulated in terms of artistic standards and historical development. The Cartoons publications illustrate a trend in which works of art formerly enjoyed privately by royal or aristocratic collectors became increasingly accessible to wider audiences. In consequence, ideas associated with these works penetrated diverse levels of society and art-historical consciousness assumed a public value.

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14

Alentieva, T. V. "American Political Cartoon as a Historical Source for the Study of the «Jacksonian Era»." American Yearbook 2019, no. 2018 (2019): 121–33. http://dx.doi.org/10.32608/1010-5557-2019-2018-121-133.

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Marston, John. "Em Sokha and Cambodian Satirical Cartoons." Asian Journal of Social Science 25, no. 1 (1997): 59–77. http://dx.doi.org/10.1163/030382497x00040.

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AbstractThe article examines the work of one Cambodian satirical cartoonist, Em Sokha, in the context of the historical background of cartooning in Cambodia and the developments in Cambodian print media since 1979. In particular, it looks at how Em Sokha's work has evolved in relation to alternating periods of freedom and control over the press during times of dramatic political change. It explores the implications of Em Sokha's use of distortion and the grotesque to express the violence of relations of power.

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Aazam, Fareeha, Tanveer Baig, Amna Azam, and Zainab Azam. "Discourse of Fear and Economic Crisis: A Multimodal Analysis of Pakistani Newspaper’s Political Cartoons of COVID-19." Linguistics and Literature Review 6, no. 2 (2020): 35–45. http://dx.doi.org/10.32350/llr.v6i2.952.

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The study investigates COVID-19 language of fear and phobia in Pakistani newspaper's political cartoons. These cartoons are a powerful medium for visual communication of any current and significant scenario as one image depicts the whole story. The editorial cartoons are also used to convey a specific meaning behind visual features. The present study is mainly concerned with the coronavirus, which affected life all over the world, and it is observed how newspapers are reporting this pandemic through political cartoons. Data is collected from 'The Dawn' newspaper. The research is qualitative. Machin's (2007) multimodal analysis is adapted for data analysis. Images denote and connote to convey a specific meaning according to the social and historical contexts. The study reveals that these political cartoons disseminate fear and mental illness among the people. However, they are also mocking and criticizing the official authorities for the economic crisis by highlighting the financial problems of the masses, as they did not make the wise decisions on time to control this pandemic.

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Hershey, David R. "SOURCES OF PLANT HUMOR FOR USE IN HORTICULTURAL EDUCATION." HortScience 25, no. 9 (1990): 1115b—1115. http://dx.doi.org/10.21273/hortsci.25.9.1115b.

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Research indicates that humor is an effective method to reinforce learning, yet humor is rarely used in horticultural textbooks. Use of humor in horticulture is easier than in many disciplines because humor dealing with plants is less likely to offend specific population segments since plants, not people, are usually the butt of the jokes. A large collection of plant humor has been assembled, including the following: Edward Lear's 32 line drawings of “Nonsense Botany”, e.g. Manypeeplia upsidonia; Gary Larson's macabre Far Side cartoons dealing with plants, e.g. the “Venus kidtrap”; periodic tables of vegetables and of fruits & nuts; Arcimboldo's Renaissance paintings of faces composed of flowers, vegetables, and plant parts and their modern imitations; Robert Wood's book, How to Tell the Birds From The Flowers, containing drawings and poems; Axel Erlandson's fantasticly grafted trees; plant movies like the two versions of Little Shop of Horrors, which is set in a flower shop; Joke Fountains of the Renaissance; and numerous cartoons from science periodicals.

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Andreeva, Galina. "THE IMAGE OF THE CONSTITUTION IN THE FORM OF A BOOK IN WORKS OF FINE ART." Herald of Culturology, no. 3 (2020): 8–29. http://dx.doi.org/10.31249/hoc/2020.03.01.

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The image of the constitution in the form of a book is common in works of art, easily recognizable, has deep historical traditions, rich religious and cultural context. In terms of the purposes of the Constitution, three main groups are identified: works that glorify the Constitution, relatively neutral works and works aimed at depicting the shortcomings of the constitutional order, the content of the Constitution or the insufficient implementation of its provisions (cartoons). In terms of reflecting legal ideas, cartoons are most informative.

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Hajjaj, Duaa. "The Use of Body Language in Jordanian Cartoons: A Semiotic analysis." Advances in Language and Literary Studies 9, no. 3 (2018): 19. http://dx.doi.org/10.7575/aiac.alls.v.9n.3p.19.

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This paper presents a semiotic analysis of visuals used in 10 Jordanian cartoons. The cartoons, which were drawn by a number of cartoonists, were collected from online and print media sources. The visuals were examined using the Barthes’ (1967) model of signs, which provides a model for analyzing the connotative meanings communicated by the visuals. The results showed the connotative meaning revealed through the use of body language.

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Winfield, Betty H., and Doyle Yoon. "Historical Images at a Glance: North Korea in American Editorial Cartoons." Newspaper Research Journal 23, no. 4 (2002): 97–100. http://dx.doi.org/10.1177/073953290202300411.

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Wang, Guoyan, Lingfei Wang, and Jiafei Shen. "Food to politics: Representations of genetically modified organisms in cartoons on the Internet in China." Public Understanding of Science 30, no. 3 (2021): 274–84. http://dx.doi.org/10.1177/0963662520983564.

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Controversies around genetically modified (GM) food have become particularly prevalent in China. To understand the situation, 257 GM cartoons were collected from various Chinese online sources. We found that China’s GM cartoons peaked during controversial social events from the end of 2012 to 2016, which is consistent with the Baidu Media Index on GM headline news. About 85% of the cartoons involve GM food and more than half of cartoons share scary information. The mainstream media is more neutral and not only presents the dilemma in choice but also promotes genetically modified organisms (GMOs). However, social media inclines toward a more pessimistic view, providing scary information and focusing on health risks and conspiracy theories. Controversial topics have fueled the spread of political conspiracy theories. Generally, scientists supporting GMOs have been criticized under suspicion of betraying their country, and the issue of GM food in China reflects strong political views.

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Saito, Hayato, and Wen-yu Chiang. "Political cartoons portraying the Musha Uprising in Taiwan under Japanese rule." Metaphor and the Social World 10, no. 1 (2020): 76–99. http://dx.doi.org/10.1075/msw.19009.sai.

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Abstract This study analyzes five political cartoons published in the Taiwan Nichinichi Shinpo (Taiwan Daily Newspaper) depicting the Musha Uprising, an indigenous rebellion against Japanese colonial rule that occurred in Taiwan in 1930. The study has produced two important findings and theoretical implications. First, two of the political cartoons deployed The Great Chain of Being multimodal metaphor, and the artist’s conceptual blending of Japanese kabuki stories with the Musha Uprising dramatically portrayed the colonizers as humans and the colonized as animals. We analyze the social and historical context to explain why these cartoons used the boar as a metaphor representing the indigenous people. Second, our results reveal paradoxical and ambivalent perspectives in the cartoons. On one hand, the metaphor of Human vs. Animal reproduced the unequal hierarchical relations between the colonizers and the colonized. On the other hand, the cartoonist also portrayed the rulers in a critical and satirical way. Finally, the research relates the content of this analysis with the post-colonial theorizing of Edward Said. In sum, the study makes a contribution to interdisciplinary research by applying metaphor theory to the analysis of political cartoons and colonial discourse, as well as revealing the hierarchical colonial thinking and racial prejudice lurking behind the metaphors.

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Flores Borjabad, Salud Adelaida. "Ciberactivismo árabe: del papel a la red." IROCAMM-International Review Of Communication And Marketing Mix 1, no. 4 (2021): 33–42. http://dx.doi.org/10.12795/irocamm.2021.v01.i04.03.

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SActivism in the Arab world have been represented in hiding. One of the most important forms has been political cartoons which have been an important tool that has been consolidated over time be-cause cartoonists were able to become activists thanks to the use of symbols. However, the devel-opment of cyberspace translated cartoons into the network, by making them even more important as they transmitted ideas in a more direct way and developed a form of virtual activism. Therefore, the aim of this research is to study and analyze the history of the Arab political cartoons to see how it has consolidated in a form of revolutionary activism. Additionally, the attempt to this research is to reflect how a virtual community has been generated around that figure. As a result, a qualitative methodology has been used to carry out this research. A historical method has been used to collect information about the history of cartoons in the Arab world. Then, an ethnographic visual method has been developed to study the use of cartoons used. The results and discussion are to demonstrate that the cartoon is a form of revolution and activism which has strengthened itself with the use of the internet.

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Ringel, Paul. "Schoolhouse Rock! for a New Generation." Public Historian 43, no. 1 (2021): 82–101. http://dx.doi.org/10.1525/tph.2021.43.1.82.

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The animated Schoolhouse Rock! shorts that ABC ran between Saturday morning cartoons from 1973 through 1985 (and again in the 1990s) formed many children’s understanding of civics and US history. The Schoolhouse Rock! cartoons, however, were better at celebrating the accomplishments of the United States than presenting varied perspectives or addressing difficult historical issues. So what lessons can this program offer to twenty-first century historians seeking to offer children a more inclusive and nuanced story of the past? This article uses oral histories, promotional materials, and corporate records to examine the process of making these wildly popular models of public history. It also hypothesizes how a Schoolhouse Rock! for the 2020s could bridge scholarly and public discussions about the relationship between civics and history, while simultaneously creating diverse and critical historical narratives that are (hopefully) as engaging and memorable to young consumers as the original series was for their parents.

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Virág, Ágnes. "Multimodal conceptual patterns of Hungary in political cartoons." Cognitive Linguistic Studies 7, no. 1 (2020): 222–53. http://dx.doi.org/10.1075/cogls.00055.vir.

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Abstract Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present article explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventy-five cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.

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Myers, Cayce. "Copyright and Historical Sources." American Journalism 34, no. 4 (2017): 470–81. http://dx.doi.org/10.1080/08821127.2017.1382299.

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GODLEWSKA, ANNE. "COMPILATION FROM HISTORICAL SOURCES." Cartographica: The International Journal for Geographic Information and Geovisualization 25, no. 1-2 (1988): 88–121. http://dx.doi.org/10.3138/m653-6l17-n032-8652.

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Holvoet, Axel. "Sources for historical imperatives." Acta Linguistica Hafniensia 50, no. 1 (2018): 36–51. http://dx.doi.org/10.1080/03740463.2018.1432205.

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Başaran İnce, Gökçen. "The Free Republican Party in the political cartoons of the 1930s." New Perspectives on Turkey 53 (November 2015): 93–136. http://dx.doi.org/10.1017/npt.2015.20.

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AbstractThe Free Republican Party (FRP; Serbest Cumhuriyet Fırkası), founded and dissolved in 1930, represented the second attempt to transition to a multi-party system in Turkey, following the formation of the Progressive Republican Party (Terakkiperver Cumhuriyet Fırkası) in 1924. In contrast to the oppositional establishment of the latter, the FRP seemed to be a state-originated project whose establishment was decided upon by the elites of the day, led by Mustafa Kemal Atatürk. Its representation in contemporary cartoons is deemed important today given the political cartoon’s ability to simplify complex political messages into understandable symbols and metaphors and to address or reach those who may not be literate. Taking into account the social structure of society during this period, this aspect of the reach of cartoons becomes particularly important. Political cartoons’ ability to both support the text in a newspaper and penetrate historical memory through stereotypes is also significant in terms of the representation of personalities and events. This article will attempt to analyze the formation of the FRP and the depiction of its elites through newspaper cartoons. Three prominent and pro-Republican People’s Party (Cumhuriyet Halk Partisi) newspapers of this period—namely Cumhuriyet, Milliyet, and Vakit—will provide the material for the content and thematic analysis of the study.

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Culbertson, Tom. "The Golden Age of American Political Cartoons." Journal of the Gilded Age and Progressive Era 7, no. 3 (2008): 277–95. http://dx.doi.org/10.1017/s1537781400000724.

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[Note: What follows is a selection from a recent exhibition on Gilded Age political cartooning at the Rutherford B. Hayes Presidential Center in Fremont, Ohio, a sponsoring institution of Shgape and this journal from their inception. As the essay explains, the Hayes Center's first-rate research library includes many sources for scholarship on this craft, which thrived during the late 1800s. In this illustrated essay, Hayes Center director Tom Culbertson, an avid scholar of political cartooning, provides background information on major personalities of Gilded Age political cartooning, their publications, politics, mindset, and techniques. Appearing in weekly magazines, frequently filling a full page and printed in color, drawn in copious detail and finely engraved, Gilded Age cartoons represented a lavish, at times gaudy form of political expression to which this six-by-nine inch, black-and-white journal cannot do justice. Teachers and scholars routinely use such cartoons to illustrate other points without much thought to the circumstances of their drawing and printing. Superficially familiar, these cartoons take on new life when seen in their original form and setting.]

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Vukičević, Marko. "Depiction of the Enemy in Croatia During World War I." Eikon / Imago 9 (July 3, 2020): 341–61. http://dx.doi.org/10.5209/eiko.73327.

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The aim of this paper is to analyse and compare the visual representation and iconography in works depicting the enemy in Croatian visual arts during World War I. The article encompasses research on unpublished archival sources and contemporaneaous press. The works of renowned Croatian artists, who were enlisted or volunteered for frontline duty are analysed, as are the works of art presented to the Croatian general public through graphics, cartoons and caricatures in the then popular press. Comparison of war-themed images shows differences in the visualisation of the enemy. The generally accepted belief that the enemy was visually satanised and ridiculed actually only applies to caricatures and cartoons.

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Кузьменко, Анастасія. "Zoonymic Peculiarity in Feature Cartoons for Children." PSYCHOLINGUISTICS 26, no. 2 (2019): 190–207. http://dx.doi.org/10.31470/2309-1797-2019-26-2-190-207.

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Objective. The object of studying is the English texts of feature cartoons for children, while its subject is psycholinguistic peculiarity of zoonyms in feature cartoon texts. The main goal of the research is to find out the psycholinguistic organization of zoonyms in the English language feature cartoons for children. The objectives are to classify zoonyms’ origin, to differentiate sphere-sources and motivation of zoonym nomination, to highlight stylistic peculiarities of zoonyms. Materials & Methods. Specific methods and techniques are determined by the purpose and material to be analyzed, such as induction and deduction, analysis and synthesis, abstraction and concretization; longitudinal, processing and interpretation methods; psycholinguistic analysis; method of context-semantic analysis; the procedures of quantitative-qualitative calculations and the method of integral choice. Materials for the research are gathered from Paramount Pictures production, Dream Works animation, Universal Studio, Walt Disney production and the selection is the English feature cartoons for children, such as ‘The Lion King’, ‘Balto’, ‘Kung Fu Panda’, ‘Madagascar’, ‘Alpha and Omega’, ‘Shreck’, ‘Ferdinand’, ‘Puppy Dog pals’, ‘Ice Age’ etc. Results. The article dwells upon the psycholinguistic aspect of zoonyms in the English language feature cartoons for children. In the sense of changing the direction of linguistics from language to speech and communication, it is impossible to consider linguistics excluding the anthropological factors such as mentality, culture, behaviour and development of a man individually and of mankind as a whole. In this paper, the ways of forming a world view of a man are presented, which is also formed by a linguistic world view, fauna is distinguished as an emerging element of knowledge influencing on human’s cognition. Taking into account the fact that the world view about fauna is formed in the person’s mind from the first days of life observing nature, listening to the lullabies, watching cartoons, the object of this study is feature cartoons for children, and the subject is zoonyms. In the course of the research, methods and techniques such as induction and deduction, analysis and synthesis, abstraction and concretization, the method of material sampling, quantitative calculation procedure are used to determine the frequency of this phenomenon usage. As a result, it is found that in the English language feature films for children, the names of the English, Scottish, Spanish, French, Italian, German, Chinese, Latin and Greek origins are used in zoonymy. Spheres-sources of zoonymy are multi-anthroponyms, single anthroponyms, toponyms, names of products, fitonyms and actual names of breeds and classes of animals. Nominative motivation is outlined by external features, behaviour, application of an animal, its breed and class. Stylistic peculiarities of zoonymy in the English language feature cartoons for children are such figures as the epithet, the metaphor, the personification and the euphony. Conclusion. The article is the basis for further research in linguistics, anthropological linguistics, psycholinguistics, sociolinguistics, biovital linguistics and onomastics.

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Mzhelskaya, Tatiana. "MAP ADVERTISEMENTS AS HISTORICAL SOURCES." Interexpo GEO-Siberia 5 (2019): 60–67. http://dx.doi.org/10.33764/2618-981x-2019-5-60-67.

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High research potential of maps and advertisements was recognized by scientists for a long time. The majority of research investigations contain analysis of separate documents. If a map contains an advertisement, it provides more opportunities for investigation. The purpose of the article is to reveal the research potential of maps containing advertisements. The author studied a map of Asian part of Russia and Turkestan Krai kept in the collection of Omsk State Library named after Alexander Pushkin. The research enabled the author to identify the time when the map was published (1901-1904), reveal the specifics of advertised goods and their manufacturers, and outline the supply geography and target audience of the advertised products. The author concludes that advertisements enhance the potential of maps as historical sources.

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Hawley, E. Haven. "Revaluing Mimeographs as Historical Sources." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 15, no. 1 (2014): 40–55. http://dx.doi.org/10.5860/rbm.15.1.414.

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Curators are partners with printing historians, collectors, and conservators, as well as with communities, in selecting, preserving, and interpreting cultural heritage. Uncovering the role of a technology such as mimeography reveals more than a history of a specific machine or technical process. It secures a better understanding about social experience by authenticating accounts about how diverse groups communicated with their own communities and to others. Special collections professionals need to be archaeologists to recover evidence from and to best preserve 20th-century publications. Current tools for studying recent print artifacts are insufficient. Thus, collaborating to generate methods for analysis is an . . .

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Sweeney, JF. "Historical research: examining documentary sources." Nurse Researcher 12, no. 3 (2005): 61–73. http://dx.doi.org/10.7748/nr2005.01.12.3.61.c5949.

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Scott, R. Neil. "Sources: Spaceflight: A Historical Encyclopedia." Reference & User Services Quarterly 50, no. 1 (2010): 85–86. http://dx.doi.org/10.5860/rusq.50n1.85.

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Trott, Garrett B. "Sources: Mormonism: A Historical Encyclopedia." Reference & User Services Quarterly 50, no. 4 (2011): 401. http://dx.doi.org/10.5860/rusq.50n4.401.2.

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HAYAMI, Akira. "Historical Demography-Establishment and Sources." Nippon Gakushiin kiyo 57, no. 3 (2003): 205–21. http://dx.doi.org/10.2183/tja1948.57.205.

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Piotrowski, Michael. "Historical Models and Serial Sources." Journal of European Periodical Studies 4, no. 1 (2019): 8–18. http://dx.doi.org/10.21825/jeps.v4i1.10226.

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Serial sources such as records, registers, and inventories are the ‘classic’ sources for quantitative history. Unstructured, narrative texts such as newspaper articles or reports were out of reach for historical analyses, both for practical reasons — availability, time needed for manual processing — and for methodological reasons: manual coding of texts is notoriously difficult and hampered by low inter-coder reliability. The recent availability of large amounts of digitized sources allows for the application of natural language processing, which has the potential to overcome these problems. However, the automatic evaluation of large amounts of texts — and historical texts in particular — for historical research also brings new challenges. First of all, it requires a source criticism that goes beyond the individual source and also considers the corpus as a whole. It is a well-known problem in corpus linguistics to determine the ‘balancedness’ of a corpus, but when analyzing the content of texts rather than ‘just’ the language, determining the ‘meaningfulness’ of a corpus is even more important. Second, automatic analyses require operationalizable descriptions of the information you are looking for. Third, automatically produced results require interpretation, in particular, when — as in history — the ultimate research question is qualitative, not quantitative. This, finally, poses the question, whether the insights gained could inform formal, i.e., machine-processable, models, which could serve as foundation and stepping stones for further research.

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Zhumadildayev, M. M. "Historical sources about Мaral Ishan". BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 127, № 2 (2019): 27–33. http://dx.doi.org/10.32523/2616-7255-2019-127-2-27-33.

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Tsimokh, Nataliia, and Krystina Chorna. "Historical Sources of Soviet Television." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 145–55. http://dx.doi.org/10.31866/2617-2674.2.2.2019.185688.

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Trone, John. "Print Sources for Historical Constitutions." International Journal of Legal Information 34, no. 3 (2006): 539–55. http://dx.doi.org/10.1017/s0731126500001748.

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This paper examines the print sources for English language texts of historical constitutions, both national and subnational. Some of these sources are still reasonably current at the time of writing, but they will be examined here because they will in due course become part of historical collections.

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Trimble, Stanley W. "Historical sources and watershed evolution." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 370, no. 1966 (2012): 2075–92. http://dx.doi.org/10.1098/rsta.2011.0606.

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Historical data, including structures, documents, photographs and eyewitness reports, allow changes in some drainage basins to be documented in fine detail over time periods ranging from a few days to several decades. The USA is rich in data sources that are freely available. Rates of bank erosion, meander migration, channel width, riparian vegetation and watershed land use and cover conditions can be assessed, which are especially valuable where there is controversy over the human contribution to erosion and deposition. Studies of Coon Creek and the southern Piedmont of the USA have yielded results that sometimes contradict established views.

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Dubcovsky, Alejandra. "Precontact Sources in Historical Narratives." Native South 7, no. 1 (2014): 108–21. http://dx.doi.org/10.1353/nso.2014.0008.

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Jaskot, Paul B., and Ivo van der Graaff. "Historical Journals as Digital Sources:." Journal of the Society of Architectural Historians 76, no. 4 (2017): 483–505. http://dx.doi.org/10.1525/jsah.2017.76.4.483.

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Historical Journals as Digital Sources: Mapping Architecture in Germany, 1914–24 demonstrates how historical journals can provide information for digital mapping and how mapping can tell us something new about the German construction industry in a moment of crisis. Digital maps can expand the art historical research process and raise fundamental art historical research questions. Paul B. Jaskot and Ivo van der Graaff developed a database from all issues of the German journal Deutsche Bauzeitung published in the period 1914–24 and visualized the evidence they collected using geographic information systems (GIS) technology. They assess how well the database works for historical analysis and GIS and discuss the indexical possibilities of the digital mapping of historical sources. The visualization of the database gives form to human actions and structural patterns that can redirect the art historical question from individual objects to what construction can tell us about society as a whole. In the process, such visualization allows us to see a much broader history of German architecture, 1914–24.

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Beins, Bernard C. "Teaching measurement through historical sources." History of Psychology 13, no. 1 (2010): 89–94. http://dx.doi.org/10.1037/a0018561.

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Umarov, I. "Ancient Bactria in Historical Sources." Bulletin of Science and Practice 7, no. 3 (2021): 354–59. http://dx.doi.org/10.33619/2414-2948/64/46.

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Ancient Bactria is a country where early urban planning traditions and foundations of statehood were formed in Central Asia. Historical sources give a lot of information about Ancient Bactria. In terms of development, the northern regions of Bactria were especially distinguished. Here, since the bronze age, agriculture, handicrafts, trade, culture, urban planning were highly developed and still attracts the attention of the world scientific community. This article provides information about the history of Ancient Bactria, its population, cities and historical regions based on Greco-Roman sources.

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Steiner, Evgeny S. "Hokusai Manga: Contextualisation of Its Title and Genre." Observatory of Culture, no. 2 (April 28, 2014): 68–77. http://dx.doi.org/10.25281/2072-3156-2014-0-2-68-77.

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Is devoted to Manga as the biggest and the bestknown work of Hokusai (北斎, 1760-1849). The paper discusses the phenomenon of Hokusai Manga and its place in the context of Japanese picture books. Was it a drawing manual or comic cartoons or perhaps a pictorial encyclopedia? What are the historical meanings and etymology of the word manga and its littleunderstood supraheading “Denshin Kaishu”?

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Norris, Stephen M. "Pliuvium’s Unholy Trinity: Russian Nationhood, Anti-Semitism, and the Public Sphere after 1905." Experiment 19, no. 1 (2013): 87–116. http://dx.doi.org/10.1163/2211730x-12341243.

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Abstract This article focuses on anti-Semitic cartoons published in the right-wing, satirical, illustrated newspaper Pliuvium, which appeared in Russia after the 1905 Revolution. The illustrated journal represented one of the new, far-right media outlets in the wake of the events of 1905 and its editors sought to redefine Russia as a traditional monarchy, home to ethnic Russians. To accomplish this aim, Pliuvium employed caricaturists who drew contrasts between Russians and Jews, turning the latter into the antithesis of the nation. Through close readings of several anti-Semitic images from the newspaper, the author seeks to reveal the broader historical forces contained within them. In the end, these cartoons help us understand the “unholy trinity” comprising the ugly side of Russian nationhood, racism in Russian imperial culture, and the emergence of far-right publics by 1905.

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Stein, Sarah Abrevaya. "Faces of Protest: Yiddish Cartoons of the 1905 Revolution." Slavic Review 61, no. 4 (2002): 732–61. http://dx.doi.org/10.2307/3090388.

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This article turns to an unexplored genre of Russian letters—the Yiddish cartoon—in order to consider how the most popular Russian Jewish newspaper of the early twentieth century participated in the Revolution of 1905-07. By exploring cartoons published in Derfraynd (St. Petersburg, 1903-1913, renamed Dos lebn February-July 1906) Sarah Abrevaya Stein reflects on how the Yiddish press reflected and shaped evolutions in Russian Jewish popular opinion: in particular, the temporary shift away from nationalist and toward opposition and socialist politics. This article also considers why the revolution ended in the world of Yiddish letters some months earlier than it did in the Russian, in the wake of the Bialystok pogroms of June 1906. This event, Stein demonstrates, catalyzed a redirection in the aesthetic and political tenor of popular Yiddish sources, prompting the cartoon to be replaced with the photograph and the politics of opposition with nationalism.

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