Academic literature on the topic 'Explicit cartoon'

Editorial Cartoons have shaped public opinions on societal issues over the years, usually resulting in reverberating consequences. In 2015, twelve people were killed in the Charlie Hebdo magazine offices attack in Paris. In 2017, Bala, an India journalist was jailed, while Triveldi, another journalist was arrested and jailed earlier in 2012 for cartoon related issues. These and other events like it show that cartoons are a potent force in depicting societal issues. This study examines the role played by cartoons columns in depicting the social mood in Nigeria. Some random three cartoons in October, 2017 are analyzed and explicated, using the tools of presupposition and context to explicate the mood of each cartoon, thus determining the language use. The analysis carried out reveals that cartoon columns reflect the mood of disbelief, dejection, and despair. The existential presupposition is prominent, thus affirming cartoons play important role in documenting, and shedding light on social issues.

During the past century, political cartoons were considered as the most extreme form of expression in newspapers, as they were not committed to any norm of journalistic objectivity, or even the domain of objective reality. Some cartoonists consider political cartoons as historical sources of satirical critique of the political status quo. Generally speaking, there are various forms of cartoons, such as political, social, and humorous cartoons. Each one has a different function.
 The function of political cartoons lies in making a real change in a society in favor of suppressed classes through criticizing the status quo and unjust practices in political life. In addition, cartoons help newspapers and magazines look better by taking some space among columns of words which might be boring for the reader. At the same time, political cartoons have real contributions in affirming the role newspapers play as means of communication between a reader and a cartoonist. Political cartoons are also capable of bold dealing with different societal problems as they can escape different types of censorship. Thus, political cartoons have the mechanisms to correct the negatives of a society faster than written words, especially they are easily understood by readers.
 As cartoons are viewed as methods of communication, pragmatics is also concerned with determining the elements of communicational content, which are essential to interpretation. It is quite common for an utterance to display a number of pragmatic features. Hence, it is clear that pragmatics plays a key role in the interpretation of the communication process represented by the cartoons' language. This communication process, whether verbal or non-verbal, includes expressions and recognition of intentions. From this perspective, pragmatic interpretation is simply an exercise in which a reader infers a cartoonist’s intended meaning from his cartoon.
 Within this framework, this study tries to discuss the aspects of the implicit meanings in the language of political cartoons. The importance of the study is obviously shown by shedding light on the role of the language that can be employed to convey explicit and also implicit meaning by pragmatic devices. This study, therefore, attempts to clarify the role of pragmatic devices in explaining the hidden meaning in political cartoons. In doing so, it tries to emphasize the importance of implicature in the language of political cartoons, whether it abides or flouts Gricean’s maxims with its effect to convey the meaning. Also, it attempts to figure out why cartoonists frequently use this aspect of pragmatics in writing the language. Another goal of this study is to explain the role of speech acts, whether used directly or indirectly, and why a cartoonist sometimes uses the literal and sometimes prefers to use non-literal speech acts.
 Moreover, this study underscores the importance of the distinction between language use and linguistic meaning. Besides, it asserts a parallel distinction between speaker's reference and linguistic reference, which provokes the assumption to what extent linguistic expressions refer independently to speaker's use of them. In addition, this thesis attempts to consider the politeness phenomenon as a pragmatic device, and its role in understanding the meaning. 
 Given the distance between a cartoonist and his addressees, this study sheds light on how language users sometimes depart from the conditions of optimal information exchange which may cause confusion. In addition, this thesis emphasizes the function of deictic expressions and the role of presupposition with its relation to the implicature. In short, it shows the linguistic insights of implicit meanings employed in cartoons and attempts to discover whether or not cartoonists succeed in conveying the meaning to the addressees by employing pragmatic devices.

Three native speakers of Swedish learning French and three native speakers of French learning Swedish were asked to retell a cartoon both in their first and second language, and their use of gesture as a communication strategy was investigated. The quantitative difference between the NNS groups was found to be due to different proficiency levels rather than to the influence of LI, since no quantitative difference could be found in gesture use between the NSs of French and NS of Swedish. All speakers used more gestures per clause as NNSs, but the type of gestures used and their distribution was very similar across Lis. All NNSs use iconic and metaphoric gestures to compensate for lexical deficits, exploiting and illustrating features of the referent. Attempts to manage discourse result in deictic gestures to establish explicit co-reference and coherence. The same gestural behaviour could be found in all NSs, again irrespective of LI. It is suggested that the difference between strategic behaviour in LI and L2 is mainly a matter of degree.

The exceptional generative capability of text-to-image models has raised substantial safety concerns regarding the generation of Not-Safe-For-Work (NSFW) content and potential copyright infringement. To address these concerns, previous methods safeguard the models by eliminating inappropriate concepts. Nonetheless, these models alter the parameters of the backbone network and exert considerable influences on the structural (low-frequency) components of the image, which undermines the model's ability to retain irrelevant concepts. In this work, we propose our Dual encoder Modulation network (DuMo), which achieves precise erasure of inappropriate target concepts with minimum impairment to non-target concepts. In contrast to previous methods, DuMo employs the Eraser with PRior Knowledge (EPR) module which modifies the skip connection features of the U-NET and primarily achieves concept erasure on details (high-frequency) components of the image. To minimize the demage to non-target concepts during erasure, the parameters of the backbone U-NET are frozen and the prior knowledge from the original skip connection features is introduced to the erasure process. Meanwhile, the phenomenon is observed that distinct erasing preferences for the image structure and details are demonstrated by the EPR at different timesteps and layers. Therefore, we adopt a novel Time-Layer MOdulation process (TLMO) that adjusts the erasure scale of EPR module's outputs across different layers and timesteps, automatically balancing the erasure effects and model's generative ability. Our method achieves state-of-the-art performance on Explicit Content Erasure (detecting only 34 nude parts), Cartoon Concept Removal (with an average LPIPS_da of 0.428, 0.113 higher than SOTA at 0.315), and Artistic Style Erasure (with an average LPIPS_da of 0.387, 0.088 higher than SOTA at 0.299), clearly outperforming alternative methods.