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Dissertations / Theses on the topic 'Political cartoons'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ciaravolo, Beth A. "The Bear, the Bomb, and Uncle Sam: The Evolving American Perception of "Russians" Viewed Through Political Cartoons." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337885598.

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12

Bogansky, Amy Elizabeth. "The Devil's servants satire in colonial America and the visual language of conflict (Pennsylvania) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.51 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435863.

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13

Hardy, Dominic Llywelyn. "Drawn to order, Henri Julien's political cartoons of 1899 and his career with Hugh Graham's Montreal Daily Star, 1888-1908." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30215.pdf.

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14

Duran, James Manuel. ""Are We Supposed to be the Guy on the Horse?" A Case Study on the Use of Political Cartoons in the American History Classroom." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4474.

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Recent reports on the media saturation experienced by the twenty-first century student have brought about an increased interest in focusing attention on the issue of visual literacy in today's schools. Concepts such as instructional personalization, where approaches to curriculum design and instruction are created to concentrate on the individual strengths of the learner, have been promoted by some as a path to improving overall student performance. Many believe that the content of the Social Studies classroom easily lends itself to a visually stimulating approach and as such is an ideal laboratory to test hypotheses on such an approach. This study examines the use of one such visual tool in the Social Studies content arena, the political cartoon. Political cartoons are believed to be ideally suited to appeal to the visually oriented characteristics of the millennial student in the form of a potentially content rich primary source document. Described within the pages of this paper are the unique experiences with using political cartoons from the perspective of both middle school American History students and their teacher. The qualitative data uncovered through the collection of these experiences clearly illustrates a noticeable disparity between teacher and student experiences with cartoons from the present and their counterparts from the past. While present day cartoons covering various recent events in the news elicited an impressive level of informational recall and personal connections to the topics covered, the results were considerably less spectacular when political cartoons from the distant past were utilized. Those older images were more difficult for the students to grasp the artist's intent and failed as an opportunity for the students to demonstrate their mastery of content knowledge. It was concluded through an examination of interviews from both teacher and student that the differences observed between the older and newer images may be a function of several factors. Chief among these possible explanations from the point of view of the student was the lifelong collection of experiences that each child brought with them to the process of analyzing a political cartoon. The unique cultural capital possessed by each student as a result of their daily, almost nonstop exposure to all forms of media created a personal connection to the modern material that could not be matched by the content from the past. It was also revealed to be possible that a portion of the blame for the difficulties experienced with the materials from the past could be the result of the day to day decisions made by this one particular classroom teacher. The time and dedication to the mastery of the content knowledge and procedural skills necessary to decipher political cartoons from the past may have been insufficient to the task at hand. Conclusions drawn from the information collected in these interviews focus on decreasing the discrepancy between the two forms of visual material by taking steps that include considerable work on the part of the teacher and student to improve upon the background content knowledge and processing skills necessary to consistently decipher the information contained within the political cartoons. Such steps may prove to be impractical given the nature of the already jam-packed curriculums and time-strapped teachers that populate today's Social Studies classrooms. Additional studies would be necessary to determine if the experiences viewed here are common to those encountered in other parts of the nation or if they are indeed uniquely characteristic of this one situation. Accordingly, the results of those additional studies would possibly initiate a reevaluation of the conclusions drawn here.
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15

Stoker, Gillian Patricia. "Sir John Tenniel : a study of his development as an artist, with particular reference to the book illustrations and political cartoons." Thesis, King's College London (University of London), 1994. https://kclpure.kcl.ac.uk/portal/en/theses/sir-john-tenniel--a-study-of-his-development-as-an-artist-with-particular-reference-to-the-book-illustrations-and-political-cartoons(705818d6-26cb-419f-9af9-34ba5446dad2).html.

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16

Todd, Phillip. "Breaking bones in political cartooning : Aislin and the free trade fight of 1988." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79981.

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Entertainer or agent provocateur? The modern Canadian political cartoonist, historically speaking, possesses a split identity. The Gazette cartoonist Terry Mosher---a.k.a. Aislin---in his experience, career and involvement in the fall 1988 fight against free trade, illustrates the tension inherent in the identity of the modern Canadian political cartoonist. Mosher's experience offers a theory as to what circumstances might compel a cartoonist to break the cartoonist's compromise---an informal promise not to use their powerful platform to advance a coherent, systematic and specific political agenda or aim in exchange for editorial independence, journalistic "status," and proper financial remuneration---a state of affairs modern cartoonists are, under normal circumstances, happy to accept.
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17

Newman, Melissa. "The Pictorial Stylings of Louis Raemaekers and Sir David Low: A Comparison of Anti-German Cartoons from World War I to World War II." Wittenberg University Honors Theses / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1534161003102886.

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18

宮翠棉 and Chui-min Koon. "The politics of popular culture: a study of aHong Kong comic strip, McMug." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B43894884.

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19

Sabater, i. Garcia Jordi. "Regionalisme i federalisme: la consolidació del catalanisme polític (1895-1905)." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/442970.

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El catalanisme polític es consolida en el període que va entre la crisi de finals de segle i la constitució de la Solidaritat Catalana. La plena participació en la política institucional ve acompanyada d’una reelaboració doctrinal i de la configuració d’una cultura política pròpia, que han de conviure amb les opcions, tradicions i cultures republicanes i federals. En un nou escenari marcat per l’emergència de la societat de masses, la necessitat de mobilitzar l’opinió pública portarà a una lluita de relats i imaginaris en la qual la premsa humorística política, que gaudia d’una gran popularitat, tindrà un paper fonamental. L’estudi dels setmanaris republicans La Campana de Gràcia i L’Esquella de la Torratxa i del catalanista el ¡Cu-cut! ens permeten conèixer millor la relació entre regionalisme, federalisme i republicanisme en el procés de consolidació del catalanisme polític i confrontar les visions d’uns i altres sobre els esdeveniments ocorreguts entre la guerra de Cuba i l’assalt al ¡Cu-cut!.
Political catalanism is consolidated in the period between the crisis of the end of century and the constitution of Catalan Solidarity. The participation in institutional politics is accompanied by a doctrinal reworking and the configuration of an own political culture, which must coexist with republican and federal options, traditions and cultures. In a new scenario characterized by the emergence of mass society, the need to mobilize public opinion will lead to a struggle of tales and imaginaries in which the political humoristic press, which enjoyed a great popularity, will play a fundamental role. The study of republican magazines La Campana de Gràcia and L'Esquella de la Torratxa and the catalanist ¡Cu-cut! allow us to know better the relationship between regionalism, federalism and republicanism in the process of consolidating political catalanism and to confront the visions of both about the events that took place between the Cuba’s war and the military assault on ¡Cu-cut!
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20

Bianchi, Alessandro. "Their swords were brushes : instances of political satire in eighteenth-century Japan." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709168.

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21

Nothnagel, Ignatius. "Conceptual metaphors in media discourses on AIDS denialism in South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1653.

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Thesis (MA (General Linguistics))--University of Stellenbosch, 2009.
According to Nattrass (2007:138), the denial and questioning of the science of HIV/AIDS at government level by, amongst others, Thabo Mbeki (former State President) and Manto Tshabalala-Msimang (former Minister of Health) resulted in an estimated 343 000 preventable AIDS deaths in South Africa by 2007. Such governmental discourse of AIDS denialism has been the target of criticism in the media and by activist groups such as the Treatment Action Campaign. This study investigates the nature of this criticism, specifically considering the critical use of metaphor in visual texts such as the political cartoons of Jonathan Shapiro, who works under the pen name of “Zapiro”. The purpose is to determine whether the nature of the criticism in visual newspaper texts differs from that of corresponding verbal newspaper texts, possibly providing means of criticism not available to the verbal mode alone. A corpus of texts published between August 1999 and December 2007 that topicalise HIV/AIDS was investigated. This includes 119 cartoons by Zapiro, and 91 verbal articles in the weekly newspaper Mail & Guardian. The main theoretical approach used in the analyses is Conceptual Metaphor Theory, developed by Lakoff and Johnson (1981), and its extension to poetic metaphor, developed by Lakoff and Turner (1989). Because of the socio-political nature of the problem of HIV/AIDS, the study also draws on Critical Discourse Analysis, including complementary concepts from Systemic Functional Linguistics. The study reveals that visual and verbal texts make use of similar sets of conventional conceptual metaphors at similar frequencies, which confirms the predictions of Conceptual Metaphor Theory. The study further reveals that the cartoons enrich these metaphors through four specific mechanisms of poetic metaphor, which the verbal articles do not. This indicates a significant difference between the two types of texts. Furthermore, it is found that the use of such poetic metaphors directly contributes to the critical power of the political cartoons. The study indicates that multi-modality in cartoons, which triggers single metaphoric mappings, adds a dimension to the critical function of the text that is absent in the verbal equivalent. The finding that the visual texts enable a form of cognition that is not available to verbal texts, poses one of the most significant avenues for future research. Thus, cartoons apparently achieve a type of criticism that is not found, and may not be possible, in the verbal texts alone. This makes the political cartoon a text type with an important and unique ability to articulate political criticism.
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22

Awad, Ali A. Y. "Images of the west as portrayed in the political cartoons of the United Kingdom-based Arab media. A survey of the stereotypes and images exchanged between the Arab world and the west with an analysis of the United Kingdom-based Arab media's presentation of the west." Thesis, University of Bradford, 1992. http://hdl.handle.net/10454/4393.

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DESCRIPTION: The research is divided into five chapters (plus an introduction and a conclusion) as follows: INTRODUCTION, in which the work is introduced, the problem is identified, and the need for the research. is presented. CHAPTER ONE: The image of the Arab in the West (from the old sources up to the present time). CHAPTER TWO: The Arab view of the West, The development and the changing approach in viewing the World from pre- Islamic Arabia including the contemporary schools of thought in the Arab world. CHAPTER THREE: Political cartoons as a medium of communication, their influence and role in opinion changing and image making. CHAPTER FOUR: UK-Based Arab Owned Mass Media. A survey of the newspapers and the magazines published in the United Kingdom and owned by Arab personalities, companies, governments and political parties. That includes the 38 daily, weekly, monthly and quarterly publications. This chapter studies the attitudes and presentations of the Arab media in a definite period of time, in regard to the West. (from Dec. 1987 till March 1991) CHAPTER FIVE : The Case Study. The image of the West in the Arab-owned press through political cartoons (four London-based daily newspapers). The findings of the field work, categorising and analysing the main features and elements of the image. CONCLUSION: Room for Improvement. Recommendations for better understanding, presentation and improvement in the Arab-West International relations and presentations. The major, original, part of the thesis has been devoted to surveying the Britain-based Arab press, as well as an analysis of the coverage of some of these papers and magazines of the West, using the political cartoon as indicators of the public perceptions of the West. The research also makes an attempt to trace the main outline of the historical development of perceptions of the West in the Arab mind. Appendices; Appendix(A): Arab Political Cartoonists. Appendix(B): Cartoons of Arabs in the Western Media. Appendix(C); Cartoons of the West in the Arab Media. Bibliography
Hariri Foundation
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23

Allison, Kate. "A comparative study of the Boer War conveyed in the 1901 political cartoons of Edward Linley Sambourne in Punch and Jean Veber in L'Assiette au Beurre." Thesis, University of Lincoln, 2015. http://eprints.lincoln.ac.uk/19811/.

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Political cartoons as headline representation are in effect a combination of artistic licence and a critical version of the truth. Linley Sambourne and Jean Veber’s 1901 cartoons on the Boer War for Punch and L’Assiette au Beurre create tensions and dialectic not only on British and French feeling about foreign policy in South Africa and at home, but also indicate fine points on each publication’s editorial remit. This comparative study is a mirroring synthesis of these approaches that sets the Boer War forty five cartoons in context. Whereas Punch’s cartoons are set within a text layout and L’Assiette’s are the text themselves, both transmit set ideas on The Boer War as ‘sight bite’ news and opinion pieces. Veber’s cartoons offered swift knee-jerk reactions against the ruling elite and the horrors of British cruelty toward Boer prisoners as coverage of the war escalated in 1901. His extreme capturing of the zeitgeist followed the magazine’s editorial bent, but they also reflected his brave counter-hegemonic stance towards a French government seeking an alliance with its British counterpart. With this in mind, Antonio Gramsci’s theory on hegemony as applied to journalism allows the scholar to look at the media from a cultural perspective. This focus is used to show cartoons as representative of conflicts in the fight for power, but this time publicly conveyed to the readership. Thus, types of truth enhancements in each set of cartoons indicate the cartoonists’ respective entrenchment with, or detachment from, Imperial institutions, thereby signalling emerging attempts of the attitudinal persuasion of the reader toward Punch or L’Assiette’s political leanings. The inclusion of political cartoons in editorial pages was part of the cult of visual attention-grabbing news values that had become professionalised, industrialised and popularised by the early Twentieth Century. Cartoons can be decoded using Ernst Gombrich’s six-point filter in order to identify the cartoonist’s method of compressing messages about people and events. A publication’s politics are reflected in the telescoping of exaggerated opinions – an effective way to pass on an authoritatively saturated message to the readership. Gombrich recognised the power of conveying messages to the audience through seemingly incongruous placement of figures in odd situations within cartoons. His methodology acts as visual shorthand for images designed to elicit a desired response to a reported situation as the publication saw it. In the context of the history of journalism, his psychologically analytical approach is appropriate in the appreciation of cartoons’ extremes, often made more acute by the partisan politics of war.
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24

Thomas, Julie George. "Information Censorship: A Comparative Analysis of Newspaper Coverage of the Jyllands-Posten Editorial Caricatures in Cross-Cultural Settings." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31550/.

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The identification and examination of cultural information strategies and censorship patterns used to propagate the controversial issue of the caricatures in two separate cultural contexts was the aim of this dissertation. It explored discourse used for the coverage of this topic by one newspaper in a restrictive information context and two newspapers in a liberal information context. Message propagation in a restrictive information environment was analyzed using the English daily Kuwait Times from the Middle East; the liberal information environment of the US was analyzed using two major dailies, the New York Times and the Philadelphia Inquirer. The study also concurrently identifies and elaborates on the themes and frames through which discourse was presented exposing the cultural ideologies and premises they represent. The topic was approached with an interdisciplinary position with the support and applicability testing of Chatman's insider-outsider theory within information science and Noelle-Neumann's spiral of silence theory and Herman and Chomsky's propaganda model based in the area of mass communication. The study has also presented a new model of information censorship - circle of information censorship, emphasizing conceptual issues that influence the selection and censorship of information.
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25

Awad, Ali Abdel-Rahman Younes. "Images of the west as portrayed in the political cartoons of the United Kingdom-based Arab media : a survey of the stereotypes and images exchanged between the Arab world and the west with an analysis of the United Kingdom-based Arab media's presentation of the west." Thesis, University of Bradford, 1992. http://hdl.handle.net/10454/4393.

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DESCRIPTION: The research is divided into five chapters (plus an introduction and a conclusion) as follows: INTRODUCTION, in which the work is introduced, the problem is identified, and the need for the research. is presented. CHAPTER ONE: The image of the Arab in the West (from the old sources up to the present time). CHAPTER TWO: The Arab view of the West, The development and the changing approach in viewing the World from pre- Islamic Arabia including the contemporary schools of thought in the Arab world. CHAPTER THREE: Political cartoons as a medium of communication, their influence and role in opinion changing and image making. CHAPTER FOUR: UK-Based Arab Owned Mass Media. A survey of the newspapers and the magazines published in the United Kingdom and owned by Arab personalities, companies, governments and political parties. That includes the 38 daily, weekly, monthly and quarterly publications. This chapter studies the attitudes and presentations of the Arab media in a definite period of time, in regard to the West. (from Dec. 1987 till March 1991) CHAPTER FIVE : The Case Study. The image of the West in the Arab-owned press through political cartoons (four London-based daily newspapers). The findings of the field work, categorising and analysing the main features and elements of the image. CONCLUSION: Room for Improvement. Recommendations for better understanding, presentation and improvement in the Arab-West International relations and presentations. The major, original, part of the thesis has been devoted to surveying the Britain-based Arab press, as well as an analysis of the coverage of some of these papers and magazines of the West, using the political cartoon as indicators of the public perceptions of the West. The research also makes an attempt to trace the main outline of the historical development of perceptions of the West in the Arab mind. Appendices; Appendix(A): Arab Political Cartoonists. Appendix(B): Cartoons of Arabs in the Western Media. Appendix(C); Cartoons of the West in the Arab Media. Bibliography
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26

Daza, Stephanie Lynn. "Local responses to globalizaton policy, curricula, and student cultural productions at a Colombian public university /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148644072.

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27

Nulud, John Patrick Bulseco. "The Violence of the White Man's Burden: the case of the Philippines and the United States." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21317/.

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The aim of this work is to present the reader with a description of the history of misrepresentation of Filipinos in war political cartoons and photographs at the time of the Philippine-American War: how these worked together towards the reinforcement of the White Man’s Burden, a mission that justified the conquest and the violence used in the Philippines, and how those misrepresentations can help in making, in particular, both Americans and Filipinos aware of a forgotten and gruesome chapter of their history and in making people reflect on the cultural pluralism of the United States and its values.
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28

Farmer, Gina M. "Center Stage: How Theodore Roosevelt and the Roosevelt Family Captivated America, 1884-1909." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1372802929.

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29

Llorens, García Alfredo. "La realidad hipertrofiada. Modos de representación de lo ridículo en la escultura y en la obra propia." Doctoral thesis, Universitat Politècnica de València, 2020. http://hdl.handle.net/10251/157636.

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[ES] La presente tesis doctoral se desarrolla, de modo autoetnográfico, como aportación de resultados de una investigación artística propia pretendiendo generar conocimiento a través de una objetivación de lo subjetivo. En ella abordamos el tema de lo ridículo en la escultura, entendida en el sentido expandido del término. Partiendo de una contextualización conceptual e histórica previa, procederemos a deconstruir recursos y estrategias, siempre enfocadas en torno al concepto de lo ridículo, de nuestra propia trayectoria artística. Desarrollaremos de este modo, con especial atención, el concepto de hipertrofia como complejo recurso expresivo de exageración selectiva, tanto a nivel formal como conceptual y perceptivo. La hipertrofia como modo de expresar pero también de percibir y procesar la realidad, para una mayor intensidad comunicativa, tanto en la expresión de lo ridículo como en cualquier otro ámbito. La presente tesis doctoral recoge los resultados de veinticinco años de investigación artística propia en el campo de la escultura y la instalación. Aborda el tema de lo ridículo en la escultura, tema central en nuestra investigación, entendida en el sentido expandido del término y más concretamente la descripción de recursos, tanto formales como conceptuales, para su representación. Comenzamos el trabajo, dividido en dos partes, realizando una semblanza de lo ridículo como lenguaje. Relacionamos el término con otros que le son afines, como humor, desafío o absurdo e introducimos la hipertrofia, concepto que más tarde desarrollamos más extensamente, como medio para su consecución. Desarrollamos después lo ridículo desde la forma en su representación mediante la aplicación en parámetros formales tales como la escala, el material o la proporción, de la referida hipertrofia. Pasamos luego a realizar una breve panorámica histórica, focalizada en la representación de lo ridículo a lo largo de distintas épocas, aportando ejemplos a modo de contextualización temporal de nuestro trabajo, hasta llegar a la actualidad, de la cual realizamos una selección de obras y autores que, de un modo u otro, pueden ser entendidos como influencia o, al menos, como coincidencia en nuestros montajes. Una vez desarrollado el contexto pasamos, ya en la segunda parte, a referirnos ya directamente a nuestro trabajo y a su carácter como expresión de lo ridículo, mencionando las figuras retóricas y otros recursos comunicativos que usamos en la obra propia. Definimos, llegados a este punto, la hipertrofia como aportación central de nuestra investigación, del modo ya mencionado como recurso expresivo, pero también como modo de percepción selectiva para la creación, entre otros, en el ámbito de lo ridículo. Planteamos pues la hipertrofia como un recurso creativo extenso, más bien un modo de relacionarse con la realidad y proyectarse sobre ella en una fructífera interacción. Desarrollamos finalmente, a modo de ejemplo, la hipertrofia a través de sus múltiples aplicaciones como concepto fundamental que vertebra nuestra obra de búsqueda de lo ridículo desde enfoques diversos.
[CAT] La present tesi doctoral es desenvolupa, de manera autoetnográfica, com a aportació de resultats d'una investigació artística pròpia pretenent generar coneixement a través d'una objectivació del que és subjectiu. Hi abordem el tema del ridícul en l'escultura, entesa en el sentit expandit de el terme. Partint d'una contextualització conceptual i històrica prèvia, procedirem a deconstruir recursos i estratègies, sempre enfocades al voltant de el concepte del ridícul, de la nostra pròpia trajectòria artística. Desenvoluparem d'aquesta manera, amb especial atenció, el concepte d'hipertròfia com complex recurs expressiu d'exageració selectiva, tant a nivell formal com conceptual i perceptiu. La hipertròfia com a manera d'expressar però també de percebre i processar la realitat, per a una major intensitat comunicativa, tant en l'expressió del ridícul com en qualsevol altre àmbit. La present tesi doctoral recull els resultats de vint i cinc anys d'investigació artística pròpia en el camp de l'escultura i la instal·lació. Aborda el tema del ridícul en l'escultura, tema central en la nostra investigació, entesa en el sentit expandit del terme i més concretament la descripció de recursos, tant formals com conceptuals, per a la seva representació. Comencem el treball, dividit en dues parts, fent una semblança del ridícul com a llenguatge. Relacionem el terme amb altres que li són afins, com humor, desafiament o absurd i introduïm la hipertròfia, concepte que més tard desenvolupem més extensament, com a mitjà per a la seva consecució. Desenvolupem després el ridícul des de la forma en la seva representació mitjançant l'aplicació en paràmetres formals com ara l'escala, el material o la proporció, de la referida hipertròfia. Passem després a fer una breu panoràmica històrica, focalitzada en la representació del ridícul al llarg de diferents èpoques, aportant exemples a mode de contextualització temporal del nostre treball, fins arribar a l'actualitat, de la qual vam realitzar una selecció d'obres i autors que, d'una manera o altra, poden ser entesos com a influència o, al menys, com coincidència en els nostres muntatges. Un cop desenvolupat el context passaem, ja a la segona part, a referir-nos ja directament al nostre treball i al seu caràcter com a expressió del ridícul, esmentant les figures retòriques i altres recursos comunicatius que fem servir en l'obra pròpia. Definim, arribats a aquest punt, la hipertròfia com a aportació central de la nostra investigació, de la manera ja esmentat com a recurs expressiu, però també com a mode de percepció selectiva per a la creació, entre d'altres, en l'àmbit del ridícul. Plantegem doncs la hipertròfia com un recurs creatiu extens, més aviat una manera de relacionar-se amb la realitat i projectar-se sobre ella en una fructífera interacció. Desenvolupem finalment, a manera d'exemple, la hipertròfia a través dels seus múltiples aplicacions com a concepte fonamental que vertebra la nostra obra de cerca del ridícul des d'enfocaments diversos.
[EN] This doctoral thesis is developed, in an autoethnographic way, as a contribution of the results of our artistic research, trying to generate knowledge through an objectification of the subjective. In it we address the issue of the ridiculous in sculpture, understood in the expanded sense of the term. Starting from a previous conceptual and historical contextualization, we will proceed to deconstruct resources and strategies, always focused around the concept of the ridiculous, of our own artistic trajectory. In this way, we will develop, with special attention, the concept of hypertrophy as a complex expressive resource of selective exaggeration, both at a formal, conceptual and perceptual level. Hypertrophy as a way of expressing but also of perceiving and processing reality, for greater communicative intensity, both in the expression of the ridiculous and in any other field. This doctoral thesis collects the results of twenty-five years of own artistic research in the field of sculpture and installation. It addresses the issue of the ridiculous in sculpture, a central theme in our research, understood in the expanded sense of the term and more specifically the description of resources, both formal and conceptual, for its representation. We begin the work, divided into two parts, making a semblance of the ridiculous as a language. We relate the term to others that are related to it, such as humor, defiance or absurdity, and we introduce hypertrophy, a concept that we later develop more extensively, as a means of achieving it. Later we develop the ridiculous from the form in its representation through the application in formal parameters such as scale, material or proportion, of the referred hypertrophy. We then proceed to carry out a brief historical overview, focused on the representation of the ridiculous throughout different periods, providing examples as a temporary contextualization of our work, up to the present, from which we make a selection of works and authors that, in one way or another, can be understood as an influence or, at least, as a coincidence in our montages. Once the context has been developed, we proceed, in the second part, to refer directly to our work and its character as an expression of the ridiculous, mentioning the rhetorical figures and other communication resources that we use in our own work. We define, at this point, hypertrophy as the central contribution of our research, in the way already mentioned as an expressive resource, but also as a selective perception mode for creation, among others, in the field of the ridiculous. We therefore propose hypertrophy as an extensive creative resource, rather a way of relating to reality and projecting ourselves onto it in a fruitful interaction. Finally, we develop, as an example, hypertrophy through its multiple applications as a fundamental concept that backs up our work of searching for the ridiculous from different approaches.
Llorens García, A. (2020). La realidad hipertrofiada. Modos de representación de lo ridículo en la escultura y en la obra propia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/157636
TESIS
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Francisco, Luciano Vieira. "Ziraldo: análise de sua produção gráfica n\'O Pasquim e no Jornal do Brasil (1969-1977)." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-30042010-193910/.

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A monografia recupera o humor gráfico de Ziraldo, artista tão popular, mas, curiosamente, tão pouco estudado, durante a ditadura militar brasileira. A pesquisa se baseou na descrição pré-iconográfica de seus desenhos em dois periódicos cariocas, um a cada período recortado: de junho de 1969 a junho de 1971, nO Pasquim, e de agosto de 1976 a dezembro de 1977, no Jornal do Brasil (JB) para, posteriormente, realizar uma interpretação iconológica dessa produção, cotejando-a ao levantamento bibliográfico dos principais teóricos sobre o Estado autoritário e as censuras política e moral. A relevância do tema emerge quando ponderamos que, mesmo entrincheirados pela censura, os dois jornais representaram diferentes propostas temáticas, estruturas editoriais e gestão administrativa: liberalista e comercial no caso do JB, cogestão participativa e descompromissada nO Pasquim. Observou-se que no caso dO Pasquim, há preponderância de desenhos sem maiores preocupações diretamente políticas, em que Ziraldo recorreu a variações temáticas acerca da sexualidade, crítica dos costumes e expressões idiomáticas. Sem necessariamente representar um vazio no embate com o regime militar, tais alegorias nos dão sinais da restrição imposta naquela ocasião aos motes políticos, em que o senso moral da classe média passou a ser o alvo, e a censura política, o claustro. Posteriormente, no JB, Ziraldo assume uma postura mais ofensiva à perspectiva política, atacando contradições tanto do cenário internacional, quanto da própria conjuntura interna, seus agentes e instrumentos de cerceamento. Nesse sentido, o trabalho de Ziraldo nos serve como tese, ao evidenciar a grande soma de ataques gráficos por ele desferidos ao regime político entre os editoriais do JB, tendo como suporte um periódico sugestivamente inclinado às questões comerciais e empático a algumas direções econômicas e políticas dos militares. Por outro lado, a relação de seus trabalhos com temas políticos foi quase nula durante os anos duros do mais agressivo ato institucional o 5º ; nesse caso, desenhando sobre sexualidade e costumes da classe média, denunciando justamente sua apatia, tendo como suporte um tablóide recordado como o mais resistente representante da imprensa alternativa no País, O Pasquim.
The monograph recovers Ziraldos graphic humor, such a popular artist, but, surprisingly, so little studied, during the Brazilian military dictatorship. The research was based on the iconography description of his drawings in two carioca newspapers, each one to each period: from June 1969 to June 1971 in Pasquim and from August 1976 to December 1977 in Jornal do Brasil (JB) for, later, accomplishing an iconology interpretation of such a production, comparing it to the bibliography of the main theorists in authoritarian state and the politic and moral censorships. The relevance of the theme emerges when we meditated that, even entrenched by censorship, both newspapers represented different proposed thematic, structures editorials and administration: liberal and commercial in the case of JB, co-administration and unworried in Pasquim. It was observed that in the case of the Pasquim, there is preponderance of drawings with no directly political concerns, in which Ziraldo fell back upon thematic variations concerning sexuality, critic of habits and idiomatic expressions. Without necessarily representing an emptiness in the collision with military dictatorship, such allegories give us signs of the restriction imposed on that occasion to the political mottos, in which moral sense of the middle class became the objective, and the political censorship the confinement. Later, in JB, Ziraldo assumes a more offensive posture to the political perspective, attacking both the international scenery and the very internal conjuncture contradictions, its agents and restriction instruments. In that sense, Ziraldo\'s work serves us as thesis when evidencing the great sum of graphic attacks he did in relation to the political regime among the editorials of JB, having as support a newspaper suggestively tilted to the commercial subjects, and favorable to some economical and political directions of the military. On the other hand, the relationship of his works with political themes was almost null during the hard years of the most aggressive Institutional Act the 5th ; in that case, drawing on sexuality and habits of the middle class, denouncing justly its apathy, having as support a tabloid remembered as the most resistant representative of the alternative press in the country, O Pasquim.
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McGuire, Kathleen Diane. "The transatlantic Paddy the making of a transnational Irish identity in nineteenth-century America /." Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3359906.

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Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Title from first page of PDF file (viewed February 9, 2010). Includes bibliographical references (p. 339-346). Issued in print and online. Available via ProQuest Digital Dissertations.
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Tay, Geniesa. "Embracing LOLitics: Popular Culture, Online Political Humor, and Play." Thesis, University of Canterbury. Media and Communication, 2012. http://hdl.handle.net/10092/7091.

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The Internet, and Web 2.0 tools can empower audiences to actively participate in media creation. This allows the production of large quantities of content, both amateur and professional. Online memes, which are extensions of usually citizen-created viral content, are a recent and popular example of this. This thesis examines the participation of ordinary individuals in political culture online through humor creation. It focuses on citizen-made political humor memes as an example of engaged citizen discourse. The memes comprise of photographs of political figures altered either by captions or image editing software, and can be compared to more traditional mediums such as political cartoons, and 'green screens' used in filmmaking. Popular culture is often used as a 'common language' to communicate meanings in these texts. This thesis thus examines the relationship between political and popular culture. It also discusses the value of 'affinity spaces', which actively encourage users to participate in creating and sharing the humorous political texts. Some examples of the political humor memes include: the subversion of Vladimir Putin's power by poking fun at his masculine characteristics through acts similar to fanfiction, celebrating Barack Obama’s love of Star Wars, comparing a candid photograph of John McCain to fictional nonhuman creatures such as zombies using photomanipulation, and the wide variety of immediate responses to Osama bin Laden's death. This thesis argues that much of the idiosyncratic nature of the political humor memes comes from a motivation that lies in non-serious play, though they can potentially offer legitimate political criticism through the myths 'poached' from popular culture.
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Koon, Chui-min. "The politics of popular culture : a study of a Hong Kong comic strip, McMug /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25085542.

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Mushohwe, Knowledge. "An analysis of selected cartoons published during Zimbabwe's 2008 elections." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1609.

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During Zimbabwe’s 2008 harmonised elections the country’s media laws had a direct impact on the way editorial cartoonists expressed themselves. Although the online newspapers were unregulated and the print media published under Zimbabwe’s media laws, Public Order and Security Act and Access to Information and Protection of Privacy act - the editorial cartoons from both sources show deliberate bias towards one candidate and contempt towards the main rival. The study contextualises the understanding of the editorial cartoon, as practised in an environment of freedom of speech and defined by the four categories identified by Press (1981) and Manning and Phiddian (2004), and delineates the effect of media laws on the newspaper industry in Zimbabwe. The four categories of editorial cartoons identified are descriptive editorial cartoons, laughing satirical editorial cartoons, destructive satirical editorial cartoons, and savage indignation editorial cartoons. The study reviews eight editorial cartoons, read using a semiotic framework investigating non-verbal communication, as defined and suggested by Du Plooy (1996), and a text and language grid, as suggested by Leech (1974), according to the criteria of symbols/metaphors, exaggeration/distortion, stereotypes, caricature, irony, captions, and background knowledge, as developed by Fetsko (2001). A comparative analysis of the cartoons reveals that objectives and functions of the unregulated zimonline.co.za and the regulated the Herald newspapers are the same. They constitute propagandistic representations of Zimbabwean politics that are more an extension of political ideology than they are a reflection of the country’s sociopolitical landscape.
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Bryant, Mark. "Behind the thin black line : Leslie Illingworth and the political cartoonist in wartime." Thesis, University of Kent, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250295.

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Mascha, Efharis. "The political cartoon during Fascism's rise to power in Italy (1919-1925) : context, function and significance." Thesis, University of Essex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399982.

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Verster, Francois Philippus. "A critique of the rape of justicia, with emphasis on seven cartoons by Zapiro (2008 – 2010)." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/5171.

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Stewart, Julie M. "The Rhetoric of South Park." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1185373368.

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Novotná, Markéta. "Zahraničně politická dimenze postoje Dánska k imigrantům." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-113644.

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The freedom of movement is a human right concept that has always been confronted with some form of state regulation. I will focus on the international dimension of migration, especially immigration, which will be analyzed first on a general level and then on the example of Denmark. As this small European state is a typical activist in the field of human rights and a frequent participant in the humanitarian missions, one would say the Danish immigration policy can serve as an ideal example. However, this may not be true. My aim is to analyze the membership of Denmark in various international organizations dealing with immigration, EU in particular. Then, the relationship between the immigrants and Danish foreign policy with focus on Muslims will be considered. My research shows that the tendency of Denmark to restrict her immigration policy is a result of global development and has deep historical roots.
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Vokey, Scott Winston. "Noble workers and ugly overlords, class and politics in the editorial cartoons of three Toronto newspapers during the early 1930s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq36093.pdf.

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Walker, Joyce A. "The political cartoonist as historian : the League of Nations debate in the USA, 1918-1922 : a case study." Thesis, University of Aberdeen, 1999. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU113331.

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Political cartoons have largely been ignored as a research tool by historians. Where cartoons have bee used, it has simply been to enliven books and monographs, with little attention being paid the actual cartoon. By using cartoons as the primary resource to study a specific period in history, their true worth has been shown. In 1919 America declined to ratify the Treaty of Versailles and so rejected membership of the League of Nations, despite the American president, Woodrow Wilson, being the chief advocate and architect of the League. It has been possible to follow these events, from the cessation of hostilities in November 1918 until ratification of the Treaty was defeated in 1920 and beyond, through the medium of political cartoons published in newspapers and magazines of the day. The cartoonists were both didacts and proselytisers, seeking to educate the public as to what was happening, while trying to sway the public around to their particular point of view. This intention is important to those seeking to gauge public opinion and its formulation. Apart from the political history opening up before one's eyes in a uniquely lively fashion, and because the cartoonists filled their drawing with what they saw around them, cartoons are also of value to social historians, gender historians, and others. All of these features and attitudes are recorded and prove cartoons to be an invaluable resource for many types of historical research.
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Gaus, Annie. "A More Porous Postmodernity: Absurdity, Politics, Consumerism and the Cultural Authority of Spongebob Squarepants." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411126786.

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Ribot, Daniel. "Democratic discourse in an authoritarian state : methodological strategies for the analysis of the single-panel political cartoon in the Mexican press (1985-1995)." Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285754.

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Wagner, John D. "The Goldwater Presidential Campaign: A Comparative Study of How the Arizona Republic and Arizona Daily Star Provided Editorial, Column and Political Cartoon Coverage." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/292153.

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Bryant, Emi. ""I am Michi!" identity politics in Osamu Tezuka's Metropolis /." Diss., Connect to the thesis, 2006. http://thesis.haverford.edu/174/01/2006BryantE.pdf.

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Silva, Ivam Cabral da. "Humor gr?fico: o sorriso pensante e a forma??o do leitor." Universidade Federal do Rio Grande do Norte, 2008. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14297.

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This research investigates the graphic humor, in particular the political cartoon and the cartoon, texts characterized by mixing visual-oral language, and its contribution in the formation of the reader. Recovers the main theories about the comicality in general and verifies the presence of these concepts into the texts of graphic humor and how they articulate themselves within the process of seducing the reader. Grounded in the studies of Umberto Eco about the cultural industry products and its relations with the literary theories and the aesthetics reception. After analysing texts of graphic humor, the study concludes that the triad, image-word-humor reveal a sophisticated arrangement which allows the reader to practice effectively the political cartoons and cartoons of production, of sense, cooperating in such a singular manner to the formation of a reflexive reader
A pesquisa investiga o humor gr?fico, em particular a charge e o cartum textos caracterizados pela hibridez da linguagem visual-verbal, e sua contribui??o na forma??o do leitor. Resgata as principais teorias sobre a comicidade em geral e verifica a presen?a desses conceitos nos textos de humor gr?fico e como se articulam no processo de sedu??o do leitor. Fundamenta-se nos estudos de Umberto Eco sobre os produtos da ind?stria cultural e sua rela??o com a teoria liter?ria e a est?tica da recep??o. Ap?s analisar textos de humor gr?fico, o estudo conclui que a tr?ade imagem-palavra-humor revela um sofisticado arranjo que permite ao leitor das charges e cartuns um exerc?cio eficaz de produ??o de sentido, cooperando de modo singular para a forma??o do leitor reflexivo.
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Garcia, Sheila do Nascimento [UNESP]. "Revista Careta: um estudo sobre humor visual no Estado Novo (1937-1945)." Universidade Estadual Paulista (UNESP), 2005. http://hdl.handle.net/11449/93407.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Durante o período correspondente ao Estado Novo (1937 a 1945) uma série de aparatos institucionais de controle e repressão - já esboçados desde o início da década de trinta - foram aperfeiçoados, sendo a imprensa um dos principais alvos do novo regime. Ao reconhecer o caráter pedagógico das imagens de humor, bem como suas potencialidades para veiculação de posicionamentos críticos, o discurso oficial chegou a decretar a morte da caricatura política no período, sob a justificativa de identificação plena entre as propostas estatais e os anseios da população. Em meio ao cerco estabelecido à produção humorística brasileira, a revista carioca Careta representou a sobrevivência da verve crítica na imprensa, pois retratava diversas cenas da vida política e social por meio de boa dose de irreverência e criatividade. Discutir as estratégias adotadas pelo semanário para burlar as proibições impostas, assim como compreender quais leituras sobre o período foram engendradas pelas charges - rastreando as principais temáticas abordadas e sua respectiva forma de representação na revista - são as principais questões abordadas na presente dissertação.
During the Estado Novo period (1937 to 1945) an institutional apparatuses of control and repression - already sketched since the beginning of the decade of 1930- was improved, and the press remained as one of the main targets of the new political system. Recognizing the pedagogical character of the humor images, as well as their potentialities for dissemination of critical positions, the official speech came to decree the death of the political caricature, based on the justification of complete identification between the state proposals and the longings of the population. Amid the established surrounding to the Brazilian humorous production, the magazine Careta, from Rio de Janeiro, represented the survival of the criticism in the press, portraying several scenes of the political and social life through a considerable dose of irreverence and creativity. To discuss the strategies adopted by the weekly publication to outwit the imposed prohibitions, as well as to understand which readings on the period were originated by the political cartoons - tracking the main approached themes and their respective layout in the magazine - are the main subjects tackled in these dissertation.
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Dan, Matthew. "The politics of the limit : European identity, the Denmark cartoon debate and the development of new discursive communities in the online world." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31653.

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With increasing cultural, ethnic and religious heterogeneity in European populations, new challenges are being posed to the "European Project" as its focus shifts from economic and juridical integration to social integration. In the wake of these challenges, traditional notions of European Identity and Europe's aspirations towards building a pluralistic society have increasingly come under attack. These tensions are exemplified through a number of struggles, including debates on the Islamic headscarf, and Turkey's pending accession to the European Union. This thesis examines one challenge facing Europe through a critical discourse analysis of weblog entries related to the September 30, 2005 publication of 12 cartoons depicting the Prophet Muhammad in Denmark's Jyllands-Posten newspaper. Central to this examination is a critique, of the modem, Habermasian concepts of republican citizenship and deliberative democracy, through Michel Foucault's work on power and knowledge. This study looks at how online discursive communities resist and challenge "Europe's" identity as well as its historical and contemporary construction of Islam and Muslims as its inherently violent, pre-modem oppositional "Other". This is carried out by examining the limits of tolerance and intolerance, selfhood and otherness, and finally, essentialism and de-essentialism.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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49

Praça, Kátia Cristina Fontes. "A intertextualidade e a interdiscursividade como estratégias argumentativas nas charges de Angeli e Glauco." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8752.

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Abstract:
Com base nos pressupostos teóricos da Linguística Textual e Análise do Discurso, esta dissertação pretende demonstrar que a intertextualidade e a interdiscursividade são elementos linguístico-discursivos fundamentais que atuam no gênero charge na construção de seu sentido, funcionando como importantes recursos argumentativos. Para tanto, o estudo buscará recuperar o contexto de produção das charges analisadas, estabelecer a estreita relação entre o verbal e o não verbal para construção do sentido desse gênero e reconhecer o discurso irônico como uma forma produtiva pela qual a intertextualidade e a interdiscursividade se marcam no gênero em questão, evidenciando o papel argumentativo desses mecanismos dialógicos. O trabalho é desenvolvido mediante pesquisa bibliográfica e análise de 20 charges de Angeli e Glauco referentes ao primeiro mandato do governo Lula. O recorte temporal justifica-se por ter sido um período de efervescência política muito grande, favorecendo a produção de charges bastante expressivas
Based on theoretical assumptions of Textual Linguistics and Discourse Analysis, this dissertation intends to demonstrate that intertextuality and interdiscursivity are fundamental linguistic-discursive elements operating in the political cartoon genre in the construction of meaning, functioning as important argumentative resources. Therefore, there is need to retrieve the context of production of the analyzed cartoons, establish the close relationship between the verbal and the nonverbal to build the meaning of this genre and recognize the ironic speech as a productive way the intertextuality and the interdiscursivity are marked in the genre studied, showing the argumentative role of these dialogic mechanisms. The study is developed through bibliographic search and analysis of 20 political cartoons by Angeli and Glauco related to the first term of the Lula government. The choice is justified because it was a very great political effervescense period, favoring the production of very expressive cartoons
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50

MacDonald, G. G. Vince. "The evolution of socio-political cartoon satire in the New Zealand press during the 19th and early 20th centuries : Its role in justifying the alienation of Maori lands." Thesis, University of Canterbury. History, 1995. http://hdl.handle.net/10092/6838.

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This thesis examines the evolution of socio-political cartoon satire and how it came to be used as a weapon in the Pakeha media campaign to facilitate the total alienation of Maori land in New Zealand in the nineteenth century and the first three decades of the Twentieth century. The thesis begins by examining the role of key media controllers and relevant elements of their backgrounds. Outstanding from among these elements is the initial overlap of the business and political interests of the key players. Intrinsic to this overlap is the split which occurred from about the 1860s. This split saw certain media controllers divorce themselves from direct political involvement in order to pursue an agenda which necessarily included the unfettered and total alienation of Maori land and the resouces contained on, in and around them. In particular, the thesis focuses on Wilson and Horton, leading Auckland provincial as well as national media controllers who, by 1900, were pushing the message of total land alienation through two publications: the daily New Zealand Herald on the provincial level and the weekly Auckland Weekly News on both a provincial and national basis. The evolution and rise of socio-political cartoons and their use in the above and other publications will be discussed in depth - particularly the work of artist Trevor Lloyd over the period 1902 to 1930. Lloyd, who produced a prolific supply of cartoons, dramatically encapsulated Wilson and Horton's campaign to justify the total alienation of Maori land. Lloyd's work was used to drive home the message that Maori were, apparently, not able to manage their own affairs and that their lands would be better managed by the Pakeha. Trevor Lloyd's replacement by Gordon Minhinnick in 1930 will be shown to coincide with the shift in attention by Wilson and Horton, and the media generally, away from land alienation toward socialism and unions as virtual alienation of Maori land had been achieved by 1930. The core economic elite, therefore, turned to confront that more considerable threat to the fulfilment of the larger agenda which is identified within the thesis.
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