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Relevant bibliographies by topics / Political cartoons

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Academic literature on the topic 'Political cartoons'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Political cartoons"

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Chakraborty*, Prasun, and Anirban Chowdhury. "Study of Acceptance of Indian Political Cartoons in Facebook Landscape." International Journal of Innovative Technology and Exploring Engineering 10, no. 10 (August 30, 2021): 137–42. http://dx.doi.org/10.35940/ijitee.j9450.08101021.

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Indian society changed after digitalization and economical reformation. Currently, the Facebook is the most popular social media in India. The political cartoonist took that platform as an opportunity to share their thoughts and raise socio-political issues through their cartoons. The aim of the paper is to study responses (likingness and affective) to political cartoons in respect to responsiveness towards cartoons, gender, and socio-economic status. The study was conducted among 875 Indians from different parts of India including males and females with various socio-economic backgrounds. The data captured in the form of sentiments (love, sadness, angry and happiness emotions) for each cartoon shared in the Facebook timeline. Then, relevant descriptive statistics were computed using IBM SPSS 20.0 software. Results showed that maximum Facebook users expressed their thoughts about political cartoons through emoticons in terms of like, sad, angry, and happiness. It is found that male user are more likely to be expressive to political cartoons than female user. Mostly user from low and middle socio-economic backgrounds relate themselves with the cartoon scenarios and shown interest than users from higher class of the society. Hence, political socio-political scenarios can be communicated effectively using political cartoons in Facebook as the people of India are relating themselves with various cartoons.

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Vásquez León, David. "Political Cartoon in Ecuador." Politikon: The IAPSS Journal of Political Science 25 (December 15, 2014): 95–119. http://dx.doi.org/10.22151/politikon.25.6.

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Cartoonist Xavier Bonilla and El Universo newspaper were sanctioned in 2014 after publishing a cartoon which, according to the sanction, motivated social agitation and was inaccurate. Against a backdrop of continuous friction between Rafael Correa’s government and private media in Ecuador, the text examines if the sanction created an environment of fear or self-censorship (chilling effect) in other cartoonists in Ecuador. For the analysis, 81 cartoons from three newspapers were monitored and analyzed during the month following the February 23th elections in Ecuador, in which the results were not as favorable for the government as in several previous elections. The results the paper shows signal there is no chilling-effect influencing how cartoonists draw cartoons or how they choose what to draw. On the other hand, it evidences that El Telégrafo, tough a public newspaper, eschews publishing cartoons portraying Correa or members of the majoritarian political party in Ecuador, Alianza País.

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Oluremi, Tolulope. "Pragmeme of Political Humour in Selected Nigerian Political Cartoons." Journal of Language and Education 5, no. 4 (December 20, 2019): 66–80. http://dx.doi.org/10.17323/jle.2019.9682.

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Political humour is a recurring element in print media and other genres, touching various areas of Nigerian political discourse. A number of research studies have investigated political humour in contemporary Nigerian political discourse. The political humour deployed in responding to some prominent political events in 2016, however, is relatively unexplored. This current endeavour, therefore, attempts to examine the pragmeme of humour in selected 2016 political events that are remediated in political cartoons. These include political matters such as Nigeria’s 56th Independence Anniversary, the crusade against corruption, which Muhammadu Buhari commenced when he became the President of Nigeria, and the alleged 2016 budget padding scandal that rocked the House of Representatives. The frameworks for the study comprise Flamson and Barrett’s Encryption Theory of Humour and Mey’s Pragmeme Theory. The six political cartoons that were subjected to discourse interpretations were culled from Aprokotoons Media, Nigeria’s foremost internet-based cartoon journal with a large collection of relevant cartoon resources for print and electronic media. The results revealed that audiences who were well informed on these political activities were able to decrypt the cartoons because they shared the same key political knowledge as the cartoonist. Thus, honest laughter is produced, but on the other hand, the cartoons’ essential features are subordinated to the pragmeme of humour of idle campaign promises and Nigeria’s hopeless condition at 56; self-centred leadership, lawmakers who are lawbreakers, and that the worst form of corruption is selective justice. Hence, these findings enhance the public perception of the country’s political actors, and underscore the need for rethinking the sensibility of political acts, promises, and decisions.

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Prabha P, Lakshmi, and Dr Abhishek Das. "Conceptual Blending in Indian Political Cartoon Discourse." Indian Journal of Mass Communication and Journalism 3, no. 2 (December 30, 2023): 32–38. http://dx.doi.org/10.54105/ijmcj.c1065.123223.

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Conceptual blending theory has been used by scholars to study various genres of texts. Scholars studying cartoons in particular have used it to study how metaphors and metaphorical blending are used in cartoons to construct meaningful texts. This paper studies selected Indian political cartoons using the Conceptual Blending Theory of Fauconnier and Turner. The themes of the cartoons chosen for the study focused on various social issuesthat were part of the media discourse in contemporary times. The study was conducted to understand how cartoons depicting social issues used metaphoric blending to visualise an issue. The paper found that the graphic form of the political cartoon mediates the understanding of a communicative event through the use of cognitive devices like metaphoric blends. It was found that novel metaphoric blends were created in a cartoon text depending on the nature of the issue and that these metaphorical blends are regulated by context and background knowledge regarding the event being represented. It was also observed that the novelty of metaphoric blends in Indian editorial cartoons depended on the social, political and cultural context. Meanwhile, the metaphoric blends also draw into it everyday objects and scenarios that structure the meaning potential of the political cartoon. Another relevant finding is regarding how certain cartoon texts had more than one conceptual blend, forming a network of blends that worked in conjunction with each other. Furthermore, it was observed how conceptual blends in cartoons aided in anchoring the meaning of the cartoon and prevented polysemic confusion. The findings of the research prove that cognitive devices are prevalent in cartoon texts and could significantly direct their interpretation and use.

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Pedrazzini, Ana, and Nora Scheuer. "Distinguishing cartoon subgenres based on a multicultural contemporary corpus." European Journal of Humour Research 6, no. 1 (June 13, 2018): 100. http://dx.doi.org/10.7592/ejhr2018.6.1.pedrazzini.

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A literature review reveals the lack of empirical and theoretical work dedicated to systematically grasping the diversity of cartoons. Most studies have focused on political and/or editorial cartoons and have neglected other subgenres, which however are gaining space in many forms of media—such as gag cartoons. Taking genre discursive studies as a starting point, this paper is aimed at distinguishing cartoon subgenres considering their modal, thematic, pragmatic and rhetorical features. The corpus is composed of 85 cartoons (51 multimodal and 34 solely visual) from 22 countries. This corpus was obtained by means of a questionnaire distributed over 2012-2016 in which cartoonists were asked to choose a cartoon that represented their style and to justify their choice. A combination of both qualitative and multivariate statistical techniques was applied. Results allowed us to distinguish four cartoon subgenres based mostly on thematic and pragmatic features: Daily political; Timeless political; Daily media, arts and sports; and Playful cartoons. From a rhetorical standpoint, Timeless political cartoons showed the highest semiotic density (8-12 resources per cartoon), Daily political cartoons an intermediate density (5-7 resources per cartoon) and Playful cartoons the lowest semiotic density (2-4 resources). This contrast might indicate a difference in the cognitive challenge posed to readers, with a major cognitive effort demanded by political cartoons (Timeless and Daily), in addition to the necessary awareness of current affairs. In line with previous research, metaphor appeared as a characteristic resource in political cartoons followed by irony, sarcasm and allusion. Modal analyses showed that political cartoons relied more on the verbal mode to build their messages than the other subgenres.

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Manning, Haydon, and Robert Phiddian. "The political cartoonist and the editor." Pacific Journalism Review : Te Koakoa 11, no. 2 (September 1, 2005): 127–50. http://dx.doi.org/10.24135/pjr.v11i2.1056.

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New Zealand Herald cartoonist Malcolm Evans was dismissed from the newspaper after he refused to follow his editor's instruction to cease cartooning on the Israeli-Palestinian conflict. Members of the Jewish community were upset by a number of his cartoons, drawn during the first half of 2003. Evans is not alone among cartoonists to attract the anger of Jewish community lobbies and the hesitation of their editors when presenting cartoons dealing with the activities of the Israeli government. Cartoonists Tony Auth (Philadelphia Inquirer) and Michael Leunig (The Age) have also presented controversial cartoon commenting on the Israeli Government and, with Evans, defend their work on the grounds that while cartoons may offend an audience the content is not necessarily wrong. Cartoonists fiercely defend their licence to mock politicians, governments and states. This article examines this defence and the space within which cartoonists examine political subjects. We analyse the parameters within which mass circulation newspaper editors operate, principally in the Australian context. We defend a wide licence for cartoonists and argue that this licence represents an important measure of free speech in an era when the threat of terrorism looms large on national political agendas.

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Abdel-Tawwab Sharaf Eldin, Ahmad. "A Pragmatic Study of Political Cartoons in Al-Ahram Weekly Newspaper." British Journal of Translation, Linguistics and Literature 2, no. 2 (June 22, 2022): 25–48. http://dx.doi.org/10.54848/bjtll.v2i2.33.

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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.

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Denisova, Galina. "Text categories of messages in the form of a political cartoon." SHS Web of Conferences 69 (2019): 00031. http://dx.doi.org/10.1051/shsconf/20196900031.

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The article deals with the political cartoon as a creolized text consisting of two parts (verbal and visual) and identifies the potential of verbal and visual means to express text categories in messages under study. The author comes to a conclusion that political cartoons are characterized with the same text categories as a homogeneous verbal text. The text categories of a political cartoon are expressed with verbal and visual means organized in personal, local, temporal and modal structures of the message. Analysis of Walter Hanel's cartoons proves the following: (1) the cartoonist expresses his own opinion using constituents of the personal structure; (2) narration perspective of the message causes its emotional tinge and subjective evaluation (the artist uses verbal means, which have certain connotations or develop ones in connection with the picture, and advantages of visual means, constituents of the modal structure); (3) constituents of the local structure function as direct and indirect local references, indicate place of action and create space of a cartoon; (4) using advantages of both codes and appealing to addressee's background knowledge, the cartoonist can specify time actual for the message, introduce traces of the past into the present and look into the future. The author of the article inclines to the opinion that verbal and visual means are equal in their contribution to the message in the form of a political cartoon

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Mokrushina, Amalia A. "Arab Political Cartoon as a Response to the Foreign and Domestic Policies of the State." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 3 (2022): 577–90. http://dx.doi.org/10.21638/spbu13.2022.312.

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An analysis of the phenomenon of Arabic cartoons could provide rich material not only for orientalists, but also for specialists in different fields. Today, Arab cartoons are experiencing a revival. The Internet greatly affects the form and quality of information material. The study of Arabic cartoons assumes a versatile approach: we are interested not only in the content of the cartoon, but also in its additional characteristics. In a cartoon the reader receives information as quickly and concisely as possible. The most indicative and interesting for the researcher is the analysis of the material in a certain time frame. Through cartoon, we can observe how the initial image of a particular politician or party forms and how public perception of them changes over time. Political cartoons are interesting to observe in dynamics. An analysis of cartoons as a response to a political situation should be conducted in accordance with the scheme: a political situation - the pro-government and/or oppositional reaction of society - the appearance of cartoons covering this topic. To fully understand political cartoons, the reader must possess an understanding of the general political situation in the world and be aware of the details of the foreign and domestic policies of individual countries

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Pinar, Maria Jesús. "Humour and intertextuality in Steve Bell's political cartoons." European Journal of Humour Research 8, no. 3 (October 12, 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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Dissertations / Theses on the topic "Political cartoons"

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Gordon, Jon Clair. "International political cartoons as rhetoric : a content analysis /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487676847116104.

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Bush, Lawrence Ray. "More than Words: Rhetorical Devices in American Political Cartoons." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/3924.

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This thesis argues that literary theory applied to political cartoons shows that cartoons are reasoned arguments. The rhetorical devices used in the cartoons mimic verbal devices used by essayists. These devices, in turn, make cartoons influential in that they have the power to persuade readers while making them laugh or smile. It also gives examples of literary theorists whose works can be applied to political cartooning, including Frederick Saussure, Mikhail Bakhtin, and Wolfgang Iser. Not only do those theorists' arguments apply to text, they also apply to pictorial representations. This thesis also discusses changes in the cartoon art form over the 250 years that American political cartoons have existed. Changes have occurred in both the way text and pictorial depictions have been presented by artists. This thesis makes some attempt to explain why the changes occurred and whether they have been for the better.

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Orihuela-Gruber, Daniella. "Political cartoons and graphic novels a study of political and social commentary in comics /." Click here to view, 2009. http://digitalcommons.calpoly.edu/joursp/7/.

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Thesis (B.S.)--California Polytechnic State University, 2009.
Project advisor: Patrick Munroe. Title from PDF title page; viewed on Apr. 19, 2010. Includes bibliographical references. Also available on microfiche.

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Chiu, Sau Wan Anne Terry. "An analysis of the humor in political comic strips in Hong Kong newspapers." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/643.

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Luce, Russell Ralph. "President George W. Bush a portrayal of the Iraq War through cartoons /." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1134156853.

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Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2005.
Title from first page of PDF document, author statement from p. [i]. Document formatted into pages; contains [1], iv, 40 p. : ill. Includes bibliographical references (p. 35-37).

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Niaz, Aina S. "Representations of US Acts of Extra-Territoriality as Illustrated in Pakistani-English Political Cartoons." DigitalCommons@USU, 2015. https://digitalcommons.usu.edu/etd/4282.

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The geopolitical significance of Pakistan in the Global War on Terror has led to multiple instances of the US acting in an extra-territorial manner. Repeated territorial intrusion by the US strains US-Pakistan relations because extra-territoriality is viewed as a violation of Pakistan’s sovereignty. This study analyzes Pakistani-English political cartoons to examine the ways the US extra-territoriality is represented. Approximately 2940 political cartoons are collected from four Pakistani-English newspapers: Dawn, The Express Tribune, The Nation, and The News. Wallerstein’s world-system theory provides the theoretical backdrop to demonstrate the explicit (military) and implicit (economic, cultural, and political/diplomatic) means a hegemonic-core power can act extra-territorially towards a state in the periphery. A combination of content analysis and social semiotic analysis methodologies is used. Content analysis reveals a total of 323 US-related political cartoons that are classified into themes of economic, cultural, military, and political/diplomatic depictions in political cartoons. A visual social semiotic analysis deconstructs the visual rhetoric of extra-territoriality as expressed in the various themed political cartoons. The outcome of these two methodologies provides a holistic illustration of the ways US extra-territoriality in a sovereign but periphery state like Pakistan is viewed.

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Warburton, Terry. "Political cartoons and education in the UK press : the visual representation of education narratives." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286977.

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Lopez, Alixandria Gabriela. "The elephant in the room| Examining visual metaphors of Chris Christie in political cartoons." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591634.

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New Jersey governor Chris Christie has gained widespread media attention for his aggressive public persona, his involvement in the Bridgegate scandal, and for weighing almost 400 pounds at the beginning of his political career. In this thesis, I conduct a metaphor analysis on political cartoons featuring Christie. By alternately focusing on his weight and his Italian heritage, cartoons utilize body-centric attacks to transform Christie into monsters, inanimate objects, manual laborers, women, and other entities, inextricably tying Christie's politics to his physicality. I argue that Christie's body is heavily gendered throughout the cartoons, reinforcing the conservative masculinist script and hegemonic masculinity. Thus, I end this thesis by exploring how the denigration of Christie's body could prove damaging to Christie's career and aid in the construction of non-normative bodies in the public sphere.

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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.

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Brookes, Rod. "The politics of the 'little man' : Sidney Strube's Daily Express cartoons and languages of Conservatism c.1929-35." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303014.

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Books on the topic "Political cartoons"

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Turnbloom, Dean P. Prizewinning political cartoons. 2nd ed. Gretna: Pelican Pub. Co., 2010.

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P, Turnbloom Dean, ed. Prizewinning political cartoons. 2nd ed. Gretna, La: Pelican Pub., 2008.

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Turnbloom, Dean P. Prizewinning political cartoons. 2nd ed. Gretna: Pelican Pub. Co., 2012.

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P, Turnbloom Dean, ed. Prizewinning political cartoons. 2nd ed. Gretna: Pelican Pub. Co., 2010.

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Boyle, Frank. Boyling point: Political cartoons. Glendaruel, Argyll, Scotland: Argyll, 2006.

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Constable, Mike. Line crimes: Political cartoons. Toronto: Streetcar Editions, 1990.

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Boyle, Frank. Boyling point: Political cartoons. Glendaruel, Argyll, Scotland: Argyll, 2006.

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Hill, Draper. Political asylum: Editorial cartoons. Windsor, Ont: Art Gallery of Windsor, 1985.

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Jane, Newton, and University of Kent at Canterbury. Centre for the Study of Cartoons and Caricature., eds. Political cartoons of 1998. London: Politico's Pub., 1998.

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Boyle, Frank. Boyling point: Political cartoons. Glendaruel, Argyll, Scotland: Argyll, 2006.

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Book chapters on the topic "Political cartoons"

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Balakrishnan, Vinod, and Vishaka Venkat. "Performance of Humour in Political Cartoons." In The Language of Humour and Its Transmutation in Indian Political Cartoons, 35–57. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-32836-7_2.

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Marín-Arrese, Juana I. "Chapter 7. Metaphorical creativity in political cartoons." In Performing Metaphoric Creativity across Modes and Contexts, 153–73. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/ftl.7.07mar.

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Tilley, Elizabeth. "Irish Political Cartoons and the New Journalism." In Ireland and the New Journalism, 81–98. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137428714_5.

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Lennon, Henry W., and Laura Kilby. "A Multimodal Discourse Analysis of ‘Brexit’: Flagging the Nation in Political Cartoons." In Political Communication, 115–46. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60223-9_5.

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Wu, I.-Wei. "Illustrating Humor: Political Cartoons on Late Qing Constitutionalism." In The Humanities in Asia, 15–37. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4960-6_2.

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Feteris, Eveline T., Leo Groarke, and H. José Plug. "Strategic maneuvering with visual arguments in political cartoons." In Keeping in touch with Pragma-Dialectics, 59–74. Amsterdam: John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/z.163.05fet.

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Virág, Ágnes. "Multimodal conceptual patterns of Hungary in political cartoons." In Benjamins Current Topics, 231–62. Amsterdam: John Benjamins Publishing Company, 2022. http://dx.doi.org/10.1075/bct.124.10vir.

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Vanaik, Anish, Dwaine Jengelley, and Rolfe Peterson. "Political Cartoons and the Black Lives Matter Movement." In Race/Gender/Class/Media, 119–21. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351630276-26.

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Pinto, Jeremy, and Fauzan Mustaffa. "Zunar’s Political Cartoons: An Analysis of Rhetorical Devices." In 2nd International Conference on Creative Multimedia 2022 (ICCM 2022), 266–72. Paris: Atlantis Press SARL, 2022. http://dx.doi.org/10.2991/978-2-494069-57-2_28.

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Lent, John A., and John A. Lent. "Introduction." In Asian Political Cartoons, 3–12. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496842527.003.0001.

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This introductory chapter discusses the definitions, functions, and significance of political cartoons. Besides its function as a watchdog of government and the political system, the chapter also shows that the political cartoon is also a social consciousness-raising instrument that can bring attention to social problems and then campaign to change them. Furthermore, in nearly every region of the world, the purposes political cartoons serve are heavily dependent upon the processes by which they are created and sanctioned. The chapter turns to the “freedom to cartoon.” In very rare cases, and virtually nowhere in Asia, does the cartoonist have “complete” freedom, from idea conception to appearance in print. To that end, the chapter lays out the scope of Asian political cartoons to be discussed in the succeeding chapters, outlining structural, orientational, geographical, and research dimensions; common themes; and limitations and partial solutions.

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Conference papers on the topic "Political cartoons"

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Wu, Yejun. "Searching Digital Political Cartoons." In 2010 IEEE International Conference on Granular Computing (GrC-2010). IEEE, 2010. http://dx.doi.org/10.1109/grc.2010.158.

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Rykova, Olga V. "Multimodal Metaphor In American Political Cartoons." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.97.

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Arkhipova, Y. V. "Metaphor in political discourse: a multimodal analysis." In Новое поколение: достижения и результаты молодых ученых в реализации научных исследований. Новое поколение: достижения и результаты молодых ученых в реализации научных исследований, 2024. http://dx.doi.org/10.18411/npdrmuvrni-01-2024-03.

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This study expands on multimodal metaphors in political cartoons viewed as instances of multimodal discourse, adding evidence to the assumption that the fundamental principles of Conceptual Metaphor Theory by G. Lakoff and M. Johnson can also be applied to the multimodal metaphors‘ analysis in a relevant and operational manner. A special emphasis is put on the cognitive process of (de)focusing that makes either a verbal and or a pictorial element of a multimodal text foregrounded or backgrounded in discourse. Different models of metaphorical mappings are analyzed.

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Chen, Xiaojin. "Analysis on the Interpersonal Meaning of Western Political Cartoons in the Perspective of New Visual Grammar." In 2020 Conference on Education, Language and Inter-cultural Communication (ELIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201127.141.

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Kayaoglu, Turan. "PREACHERS OF DIALOGUE: INTERNATIONAL RELATIONS AND INTERFAITH THEOLOGY." In Muslim World in Transition: Contributions of the Gülen Movement. Leeds Metropolitan University Press, 2007. http://dx.doi.org/10.55207/bjxv1018.

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While the appeal of ‘civilisational dialogue’ is on the rise, its sources, functions, and con- sequences arouse controversy within and between faith communities. Some religious lead- ers have attempted to clarify the religious foundations for such dialogue. Among them are Jonathan Sacks, the Chief Rabbi of the United Hebrew Congregations of Britain and the Commonwealth, Edward Idris, Cardinal Cassidy of the Catholic Church, and Fethullah Gülen. The paper compares the approach of these three religious leaders from the Abrahamic tra- dition as presented in their scholarly works – Sacks’ The Dignity of Difference, Cardinal Cassidy’s Ecumenism and Interreligious Dialogue, and Gülen’s Advocate of Dialogue. The discussion attempts to answer the following questions: Can monotheistic traditions accom- modate the dignity of followers of other monotheistic and polytheistic religions as well as non-theistic religions and philosophies? Is a belief in the unity of God compatible with an acceptance of the religious dignity of others? The paper also explores their arguments for why civilisational and interfaith dialogue is necessary, the parameters of such dialogue and its anticipated consequences: how and how far can dialogue bridge the claims of unity of God and diversity of faiths? Islam’s emphasis on diversity and the Quran’s accommodation of ear- lier religious traditions put Islam and Fethullah Gülen in the best position to offer a religious justification for valuing and cherishing the dignity of followers of other religions. The plea for a dialogue of civilizations is on the rise among some policymakers and politi- cians. Many of them believe a dialogue between Islam and the West has become more urgent in the new millennium. For example following the 2005 Cartoon Wars, the United Nations, the Organization of the Islamic Conferences, and the European Union used a joint statement to condemn violent protests and call for respect toward religious traditions. They pled for an exchange of ideas rather than blows: We urge everyone to resist provocation, overreaction and violence, and turn to dialogue. Without dialogue, we cannot hope to appeal to reason, to heal resentment, or to overcome mistrust. Globalization disperses people and ideas throughout the world; it brings families individuals with different beliefs into close contact. Today, more than any period in history, religious di- versity characterizes daily life in many communities. Proponents of interfaith dialogue claim that, in an increasingly global world, interfaith dialogue can facilitate mutual understanding, respect for other religions, and, thus, the peaceful coexistence of people of different faiths. One key factor for the success of the interfaith dialogue is religious leaders’ ability to provide an inclusive interfaith theology in order to reconcile their commitment to their own faith with the reality of religious diversity in their communities. I argue that prominent leaders of the Abrahamic religions (Judaism, Christianity, and Islam) are already offering separate but overlapping theologies to legitimize interfaith dialogue. A balanced analysis of multi-faith interactions is overdue in political science. The discipline characterises religious interactions solely from the perspective of schism and exclusion. The literature asserts that interactions among believers of different faiths will breed conflict, in- cluding terrorism, civil wars, interstate wars, and global wars. According to this conven- tional depiction, interfaith cooperation is especially challenging to Judaism, Christianity, and Islam due to their monotheism; each claims it is “the one true path”. The so-called “monothe- istic exclusion” refers to an all-or-nothing theological view: you are a believer or you are an infidel. Judaism identifies the chosen people, while outsiders are gentiles; Christians believe that no salvation is possible outside of Jesus; Islam seems to call for a perennial jihad against non-Muslims. Each faith would claim ‘religious other’ is a stranger to God. Political “us versus them” thinking evolves from this “believer versus infidel” worldview. This mindset, in turn, initiates the blaming, dehumanizing, and demonization of the believers of other reli- gious traditions. Eventually, it leads to inter-religious violence and conflict. Disputing this grim characterization of religious interactions, scholars of religion offer a tripartite typology of religious attitude towards the ‘religious other.’ They are: exclusivism, inclusivism, and pluralism. Exclusivism suggests a binary opposition of religious claims: one is truth, the other is falsehood. In this dichotomy, salvation requires affirmation of truths of one’s particular religion. Inclusivism integrates other religious traditions with one’s own. In this integration, one’s own religion represents the complete and pure, while other religions represent the incomplete, the corrupted, or both. Pluralism accepts that no religious tradi- tion has a privileged access to religious truth, and all religions are potentially equally valid paths. This paper examines the theology of interfaith dialogue (or interfaith theology) in the Abrahamic religions by means of analyzing the works of three prominent religious lead- ers, a Rabbi, a Pope, and a Muslim scholar. First, Jonathan Sacks, the Chief Rabbi of the United Hebrew Congregations of Britain and the Commonwealth, offers a framework for the dialogue of civilizations in his book Dignity of Difference: How to Avoid the Clash of Civilizations. Rather than mere tolerance and multiculturalism, he advocates what he calls the dignity of difference—an active engagement to value and cherish cultural and religious differences. Second, Pope John Paul II’s Crossing the Threshold of Hope argues that holiness and truth might exist in other religions because the Holy Spirit works beyond the for- mal boundaries of Church. Third, the Turkish Islamic scholar Fethullah Gülen’s Advocate of Dialogue describes a Muslim approach to interfaith dialogue based on the Muslim belief in prophecy and revelation. I analyze the interfaith theologies of these religious leaders in five sections: First, I explore variations on the definition of ‘interfaith dialogue’ in their works. Second, I examine the structural and strategic reasons for the emergence and development of the interfaith theologies. Third, I respond to four common doubts about the possibility and utility of interfaith di- alogue and theologies. Fourth, I use John Rawls’ overlapping consensus approach to develop a framework with which to analyze religious leaders’ support for interfaith dialogue. Fifth, I discuss the religious rationales of each religious leader as it relates to interfaith dialogue.

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Reports on the topic "Political cartoons"

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Castañeda Zumeta, A., and P. Pineda-Martínez. The promotion of democracy in political cartoons. The themes of cartoons in the Basque newspaper Egin (1977). Revista Latina de Comunicación Social, March 2016. http://dx.doi.org/10.4185/rlcs-2016-1093en.

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SEREDINA, E. V., E. V. KISLITSYNA, and E. F. BEKH. JOE BIDEN’S NICKNAMES IN POLITICAL CARTOON. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2077-1770-2021-14-1-3-83-90.

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The article examines unofficial nicknames for Joe Biden, sitting president of the USA, in the light of political humour. All of the used nicknames express popular public opinion, highlighting the individual characteristics of the president and emphasizing his particular behavior. The common feature of the illustrated nickname is a mockery on the president constructed by adding vivid adjectives to his name.

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Villagómez, P., P. Romero, and T. Villalva. Caricatura política y agenda mediática en Ecuador Political cartoon and media agenda in Ecuador. Sociedad Latina de Comunicación Social, February 2020. http://dx.doi.org/10.4185/cac166-4.

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van Ginkel, Bibi, and Peter Knoope. How to respond to Quran desecrations? What we can learn from earlier incidents. ICCT, December 2023. http://dx.doi.org/10.19165/2023.2.06.

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In 2008, the Dutch government prepared a strategic communications campaign to prevent and to manage a potential fall out in terms of polarisation in society and rising security risks as a result of the broadcasting of the Islam-critical movie ‘Fitna’, produced by a Dutch politician. The Dutch government learned lessons from the response by the Danish government to the Mohammed cartoon riots in 2005 to inform its own strategic communication campaign. The authors of this Policy Brief reflect on the lessons of this successful campaign to offer recommendations to governments on how to respond to the recent Quran desecrations.

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