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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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Makombe, Rodwell. "Images of a nation in crisis." Communicare: Journal for Communication Studies in Africa 37, no. 1 (October 13, 2022): 56–73. http://dx.doi.org/10.36615/jcsa.v37i1.1582.
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Political cartoonists have, in recent years, faced victimisation for daring to speak truth to power.In December 2010, South African cartoonist, Jonathan Shapiro (Zapiro) was sued for portrayingformer President Zuma as a rapist. In February 2018, his contract of over ten years with TheSunday Times was abruptly terminated. These developments show that cartoons can be effectivetools of undermining and resisting power. This article critically analyses Zapiro’s Rape of LadyJustice cartoons in the context of South African politics under Zuma’s presidency. The ANC-ledgovernment under Jacob Zuma was perceived as corrupt and gravitating away from the ideals ofa democratic state. Underpinned by Bal et al.’s (2009) model of caricature, this article seeks toexamine, firstly, how the cartoon, as a medium of expression, pokes fun at its object of caricature,and secondly, how the broader socio-political context of Zuma’s presidency inspired Zapiro’sLady Justice cartoons.
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Denisova, Galina L. "Valuation Сomponent of Metaphor UP vs. DOWN in German Political Cartoon." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 3 (October 3, 2021): 559–75. http://dx.doi.org/10.22363/2313-2299-2021-12-3-559-575.
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In German political cartoon the metaphor UP vs. DOWN introduces oppositions GOOD vs. BAD, MORE vs. LESS, UNREALIZABLE vs. PRACTICABLE. The paper describes their valuation components accenting the positive or negative sign of oppositions and its base in lexicon of the German language personality. Complex nature of cartoons, which are polycode texts, and their appeal to the language personality allow application of cognitive linguistics and methods of traditional linguistics. The paper demonstrates that political cartoons different realizations of this metaphor are visualized by levels: earth surface, above it, and below it. Certain valuation signs are fixed in realizations that gravitate towards the metaphor GOOD IS UP - BAD IS DOWN based on the human idea of levels structure of the world, which is a specific cognitive model reflected in German phraseology, inner form of words, traditional word combinations. Deviation from this model takes place by realization of the opposition UNREALIZABLE IS UP - PRACTICABLE IS DOWN, which is based on everyday pragmatism fixed in German phraseology. In this case the cartoonist creates special supports for the addressee to achieve correct understanding of his message. Distribution of signs in the opposition MORE IS UP - LESS IS DOWN is determined by the employed valuation grade, used by the cartoonist in his play with valuation signs to influence addressees opinion. Forming valuation signs of oppositions, the cartoonist bases on ideas reflected in the lexicon of the German language personality. This feature characterizes all realizations of metaphor UP vs. DOWN in political cartoons.
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N. Prokhorova, Olga, Ekaterina F. Bekh, Olga V. Dekhnich, Ekaterina V. Seredina, and Natalia V. Fisunova. "APPROACHES OF INFORMAL AND CASUAL COMMUNICATION IN POLITICAL CARTOONS." Revista de Investigaciones Universidad del Quindío 34, S2 (June 14, 2022): 42–48. http://dx.doi.org/10.33975/riuq.vol34ns2.877.
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The current study tries to investigate approaches to communication, including dysphemism and euphemisms in political cartoons. Free expression of public opinion and personal, political cartoon humor and got an essential part of the information and data arena. That makes the political cartoons genre more related and remarkable than before. This given cartoon comprises visual and verbal components, making the selection of communication means in the text particularly challenging. That defines the problem of our survey. The paper has investigated political cartoons published in the USA media. Making use of the content analysis method, we chose 174 dysphemisms and euphemisms, split into lexical-semantic classifications. As a consequence, euphemisms are utilized more commonly in political cartoon than dysphemisms, which stemmed from the genre specificity; hence, the ironic impact is attained by the contrast between the visual and verbal components.
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Adeoti, Oluwatomi. "Pragmeme of political humour in selected political cartoons in Nigerian newspapers." Journal of Languages, Linguistics and Literary Studies 3, no. 2 (July 1, 2023): 78–88. http://dx.doi.org/10.57040/jllls.v3i2.452.
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Several studies have been conducted regarding the object of humour based research but few attention has been given Cartoon Motivated humour (CMH) in Nigerian discourse. Thus, this study explores a pragmatic study of political humour in selected political cartoons. It investigates humour that reflect the corruption, embezzlement, economic and health challenges in Nigeria shared through the selected political cartoons. The theoretical framework adopted is Jacob Mey's Pragmatic Act Theory. A total of Twelve (12) data were purposively selected from three different newspapers (The Punch, The Daily Trust and The Vanguard). The paper found out that the humour in political cartoon is to evoke laughter with the intention to correct the societal ills of the political leaders. This is achieved through the practs of informing, castigating, ridiculing, exposing, blaming, etc. The paper also revealed that pragmatic elements such as inference, (INF), Relevance (REL), Reference (REF) and Shared Situational Knowledge (SSK) were used to expose the hidden messages in the selected political cartoons. The study also examines the use of language in political humour and the study employs qualitative method of research. The study reveals the inference, reference, inferred alongside the Shared Situational Knowledge meaning of the data used which played a crucial role in understanding the interpretation of the pract performed in political cartoon. The paper concludes that the humour in political cartoon doesn't only evoke laughter but correct societal ills and the way language is used by political leaders in Nigeria.
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Permana, Yan Reiza. "ANALYSIS OF POLITICAL CARTOON IN JAKARTA POST E-PAPER." Journal of Languages and Language Teaching 7, no. 1 (January 6, 2020): 6. http://dx.doi.org/10.33394/jollt.v7i1.1435.
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This study was concerned on the way the author explores the hidden meaning and message in semiotics signification of President Jokowi cartoons in Jakarta Post e-paper. The writer focused on five cartoons of President Jokowi published by Jakarta Post e-paper and wanted to know about the hidden meaning and message that tried to convey by the Jakarta Post e-paper. Furthermore, this research covered an interdisciplinary study that scopes semiotics and Critical Discourse Analysis (CDA, in which the researcher tried to unhook the messages and explain the linguistic means of that construct the hidden message and ideology of the cartoons. In conducting the research, the researcher used Peirce's semiotic and Van Dijk's ideological square model. The researcher used purposive sampling in taking data. The total of the data analyzed was five cartoons. From the analysis, the message conveyed in the first cartoon criticizes to President Jokowi’s decision which is rated as indifference. The second cartoon also criticizes President Jokowi rated as pretend to against china's exploration. Furthermore, the third cartoon criticizes President Jokowi controlled by some political parties. Meanwhile, the fourth cartoon criticizes President Jokowi as a President uneasily defeated in a political term, but ignoring the humanity, and the last cartoon criticizes about President Jokowi and Prabowo similarities with previous President in terms of attitudes. The researcher also got the linguistic as means of used to convey the message such as the choice of a figure of speech.
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Sulistyowati, Lilis, Didin Nuruddin Hidayat, Alek Alek, and Dadan Nugraha. "The Discourse of Satire in Indonesia Political Cartoons At “Poliklitik.comâ€." English Education Journal 10, no. 4 (December 23, 2020): 643–53. http://dx.doi.org/10.15294/eej.v10i4.38092.
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A specific cartoon is commonly used to lead public opinion to a particular phenomenon. It is created to realize or to ask people opinions or thought on political issues. This study analyzed the satire of political cartoons selected in the themes of “ Rancangan Undang-Undang Kitab Undang-Undang Hukum Pidana †(RUU KUHP) or The Draft of the Book of Criminal Law relating three articles on human right, livestock, and land in Indonesia in September 2019. This study identified the satirical messages delivered by cartoonists based on the verbal and visual as text analysis, discourse practices analysis on the netizens’ comments in cartoon column, and sociocultural analysis becoming the backdrop of these political cartoons. This study employed a descriptive qualitative method using a framework by Fairclough (2000). The findings showed that these political cartoons were used to satire the government and the House of Representatives to reject several drafts considered detrimental to society. This research is expected to be a useful input for the community to understand that cartoons can be used to convey social criticism. Also, people will realize that political cartoons are not only just fun for the humour, but also understand the message expressed by cartoonists in their work. For related media, cartoons can be used to convey social criticism by promoting its benefits for all levels of society.
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Shakeel, Zoya, and Muhammad Farooq Alam. "Multimodal Genre Analysis of Political Cartoons during Pakistan's Economic Crisis." Global Digital & Print Media Review VI, no. I (March 30, 2023): 290–97. http://dx.doi.org/10.31703/gdpmr.2023(vi-i).23.
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This article analyzes the genre of political cartoons through the prism of multi-modality, focusing on editorial cartoons published in the Dawn newspaper during the 2023 economic crisis in Pakistan. The purpose of the study is to evaluate the visual and linguistic strategies used by cartoonists to convey political messages in a humorous way and analyze how these messages are interpreted by the audience. The research design utilizes a qualitative methodology that involves a deep evaluation of linguistic elements of cartoons and Kress and Leeuwen's framework for analyzing visual grammar. The findings of this study imply that political cartoons use various visual and linguistic elements, including exaggeration, contrast, framing, metaphors, and irony, to convey critical commentary on social and political issues. Overall, this study adds to the body of knowledge in the field of political cartoon analysis and sheds light on the genre traits and communicative techniques utilized in political cartoons.
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Zarifian, Mohsen. "Literary studies of political caricature: a quantitative analysis of publications indexed in the Scopus." RUDN Journal of Studies in Literature and Journalism 28, no. 1 (March 30, 2023): 146–56. http://dx.doi.org/10.22363/2312-9220-2023-28-1-146-156.
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The author reviews the past-to-present academic literature on cartoon studies (mainly editorial and political cartoons), that reflects the functional crisis of the cartoon associated with the development of the media space and new challenges. Some of the main trends, taxonomies, and approaches to date in political cartoon research are shown, and some of the weaknesses and strengths in the present field as well as aspects that are underdeveloped or have yet to be explored are highlighted. The articles in English published between 2017 and 2022 were reviewed to provide an understanding of the current state of the matter in various areas. The corpus was gathered by searching publications in international database Scopus. Each paper was classified based on its publication date, place of origin, subject of research, and frequency of citations. The quantitative approach employed enables the tracking of advancement in the field of cartoon studies over a given timeframe. Six distinct aspects pertinent to research in the field of political cartoons are suggested in a holistic approach, although this categorization is by no means all-inclusive and there is substantial overlap. The study of political cartoons during chosen period was more comprehensive and extensive than the study of editorial cartoons. Several proposals for further research in this field were put forward.
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Belyaeva, E. V. "The concept and the essence of political cartoon in the modern world." Communicology 11, no. 4 (January 5, 2024): 162–70. http://dx.doi.org/10.21453/2311-3065-2023-11-4-162-17.
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The paper is dedicated to the analysis of the theoretical component of political cartoon, its essence and concept. Attention is focused on the importance of political cartoons in modern political and legal reality with the rapid development of information systems and technologies. The author notes that the topic of political cartoons in the modern world is relevant and requires comprehensive research. A political cartoon is an important element of state, political and legal processes, since it acts as a vivid expression of public opinion regarding certain important situations in the global and intrastate field. The significance of a political caricature necessitates an in-depth approach to the analysis of the doctrinal foundations of the phenomenon under study, and therefore the paper represents the review of various approaches to understanding the concept and essence of a political caricature. In conclusion, the author notes that despite the widespread prevalence of political cartoons and the presence of a large number of studies on this topic, the problem of the place of political cartoons in the system of the humanities remains significant, as well as the lack of uniformity in the understanding of this phenomenon.
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Denisova, Galina L. "CONTRAST IN POLITICAL CARTOONS OF THE GREAT PATRIOTIC WAR." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 75–91. http://dx.doi.org/10.17223/22220836/42/7.
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The article has for an object to determine themes of the Great Patriotic War cartoons based on the contrast between of two pictures and to detect and describe aims that cartoonists try to achieve with help of the political cartoons under study. The author conducts research of the Great Patriotic War cartoons created by Kukryniksy, a group of caricaturists, which M.V. Kupriyanov, P.N. Krylov, and N.A. Sokolov belonged to. They often involved S.Ya. Marshak in the work on the verbal part of their political cartoons. Some of the political cartoons under study give an example of wholeness of his rhymes and the painter’s pictures. The author treats the political cartoon of the Great Patriotic War as a message that is addressed to the Russian language personality and is a polycode one, which presupposes that information, which caricaturists code into the cartoon, is a result of cooperation between iconic and verbal means. Using Yu.N. Karaulov’s idea about the structure of the language personality, the author describes the encoding-decoding process of political cartoons meaning, in forming of which codes of different semiotic systems take part, as projections onto different levels of the language personality where these projections activate a certain string of associative links. The analysis of the political cartoons under study made it possible to detect five themes discussed in them: change of the state of things, change of personage’s emotional state, personage’s intention and results of its realization, action-and-reaction, personage’s mask and his real identity. Describing the political cartoons, the author ascertains that, combining two pictures based on the contrast within the bounds of a political cartoon, the caricaturists fulfill specific range of tasks. (1) The contrast of pictures, which contain both similar and different elements, furthers directing and holding of addressee’s attention. The caricaturists stimulate the addressee of the message to an active search for similar and different elements on those pictures, which diverts the addressee. (2) The contrast in the political cartoon can produce comical effect or increase it. The more cloudless the situation is for the personage on the first picture, the clearer it is to everyone how abased he is on the second one. (3) The contrast of situations with different characteristics (the one in the past and another in the present / the real situation and its hypothetical projection) in a message in the form of a political cartoon can have an explanatory function. The evil depicted on the first picture serves as proof of rightfulness and necessity of counteraction to it. If the form of such counteraction is shown on the second picture, the message contains an indirect appeal to the addressee for his active counteraction to this evil. (4) The usage of contrast for discussion of the theme “personage’s mask and his real identity” enables to show the true face of him, to give his personality a certain estimate and to form addressee’s opinion of the characterized person.
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Movchan, Diana, Iryna Ushchapovska, and Alina Savchuk. "Cartoons in the Genre Spectrum of Political Discourse." Fìlologìčnì traktati 15, no. 2 (2023): 101–8. http://dx.doi.org/10.21272/ftrk.2023.15(2)-11.
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The article examines cartoons as an effective means of political influence aimed at changing the emotional state and behaviour of the addressee, restructuring certain elements of their ideology, modifying the value hierarchy, and forming extralinguistic activity motives. The research theoretically substantiates the cartoons' multimodal nature, as their verbal and non-verbal components form a single visual, structural, semantic, and functional whole aiming at a complex pragmatic impact on the recipient. This article emphasizes that a cartoon not only appeals to the mind and aesthetic beliefs of a person but also the sense of humour, thus creating a comic effect often in the form of sharp, caustic satire.Having analyzed various examples from American and British media the research proves that political cartoons have a wide range of techniques and means for creating a comic effect, namely, irony, sarcasm, hyperbole, metaphor, and symbols. Individually or together, these techniques and means add a special colour to the cartoon, reveal the author's dissatisfaction with political realities, and enhance the emotional impact on the addressee.Having the ability to encourage the audience to abandon the automatic perception of reality and look at certain political decisions, events, or facts from an unexpected angle, political cartoons serve as an effective means of manipulation and persuasion.
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Bamigboye, Omolade, and Samuel Adebayo Omotunde. "Stylistic Foregrounding in The Socio-Political Commentary of Selected Guardian Cartoons." Journal of Language and Literature 19, no. 2 (October 1, 2019): 98. http://dx.doi.org/10.24071/joll.v19i2.2134.
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<p><em>The paper investigates the role of textual foregrounding in the understanding of cartoons in The Guardian, a Nigerian daily newspaper. To achieve this aim, Bally’s stylistics of humor is used as theoretical basis. Bally’s theory claims that there is a connection between language and the thoughts and feelings of its user. It also espouses the idea that as human beings, we respond emotionally in one way or the other to how a language is crafted in a particular context and by a particular user. This is especially the case for structures that are deemed humorous. Using a purposive data selection method, selected cartoon pieces from The Guardian about the 2015 general elections in Nigeria were collated, with a view to subjecting them to stylistic investigation. The eight selected cartoons are analyzed methodically, bringing out the stylistic use of foregrounding by the cartoonists. Findings reveal that through a shared body of world knowledge and current affairs, the cartoonist and his audience communicate via the short, witty and didactic cartoons in the overall interest of probity, decency, and accountability in the Nigerian public place. The artist highlights sensitive information he wishes to emphasize, by bringing such to the fore, through foregrounding. The conclusion and contribution to existing literature is that textual foregrounding, as a stylistic tool, is of immeasurable importance to the cartoonist in the daily execution of his art</em><strong> </strong></p><p><strong>Keywords</strong>: <em>cartoon, foregrounding, stylistics, humour</em></p><p>_________________________________________</p><p>DOI > <a href="https://search.crossref.org/?q=10.24071%2Fjoll.2019.190210">https://doi.org/10.24071/joll.2019.190210</a></p><p><em><br /></em></p>
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Evans, Malcolm. "The political cartoonist’s right to freedom of expression." Pacific Journalism Review : Te Koakoa 10, no. 2 (September 1, 2004): 71–80. http://dx.doi.org/10.24135/pjr.v10i2.805.
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On 11 August 2003, after producing some 1600 cartoons, Malcolm Evans was controversially dismissed from his position as editorial cartoonist at The New Zealand Herald because he had refused to accept that the editor had the right to dictate the subjects he might address. This invited commentary for Pacific Journalism Review is published to further debate. Evans argues: ‘While I have always respected the editor’s right to reject a cartoon, he can never have the right to direct it – an understanding that was mutually agreed as a condition of my hire when I took the Herald job six years earlier. Rejection is an editor’s prerogative – direction is censorship. Although I have moved on personally as a professional cartoonist, I am concerned that the precedent set has the potential to affect the work of others.’
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Prokhorova, Olga N., Ekaterina F. Bekh, Olga V. Dekhnich, Ekaterina V. Seredina, and Natalia V. Fisunova. "Means of informal communication in political cartoons." LAPLAGE EM REVISTA 7, Extra-D (July 10, 2021): 28–34. http://dx.doi.org/10.24115/s2446-622020217extra-d1063p.28-34.
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This article attempts to analyze means of communication such as euphemisms and dysphemisms in a political cartoon. Free expression of personal and public opinion, political humor and political cartoon became an important part of the information sphere. This makes the genre of political cartoon more relevant than ever. The cartoon consists of verbal and visual components, which make the choice of communication tools in the text especially difficult. This determined the problem of our study. We have analyzed political cartoons published in the American media. Using the method of content analysis, we selected 174 euphemisms and dysphemisms, which we divided into lexical-semantic categories. As a result, euphemisms are used frequently in political cartoon than dysphemisms, which, is caused by the genre specificity, thus, the ironical effect is achieved by the contrast between the verbal and visual components.
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Bickford III, J. H. "Examining Original Political Cartoon Methodology: Concept Maps and Substitution Lists." Social Studies Research and Practice 6, no. 3 (November 1, 2011): 67–82. http://dx.doi.org/10.1108/ssrp-03-2011-b0005.
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Previous research on classroom uses for political cartoons identified two negative trends: creative stagnation (as teachers utilized them solely for interpretation) and age limitation (as researchers suggested they fit best with gifted and older students). Recent scholarship has addressed both trends by enabling young adolescent students to creatively express newly generated understandings through construction of original political cartoons. During such authentic assessment activities, students demonstrated high levels of criticality by using effective and efficient technologies to create original political cartoons, which then elicited constructive whole class interpretative discussions. This prior research did not detail specific methodological steps that positively influenced students’ original political cartoons. This paper compares students’ original political cartoons generated from two methodological approaches that differ in two small, yet consequential steps. One teacher required students to utilize concept maps and substitution lists prior to original political cartoon construction while the other did not. Based on the collected data, these two steps enabled the former teacher’s students to more effectively incorporate intricate and complex encoded messages through the use of abstract symbolism and complementary textual statements. The findings prove meaningful for teachers and researchers interested in enabling students’ creative and critical expressions of historical thinking.
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Genova, Dafina Ivanova. "Grasping political cartoons? Not an easy matter." European Journal of Humour Research 6, no. 1 (June 13, 2018): 85. http://dx.doi.org/10.7592/ejhr2018.6.1.genova.
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The article focuses on the interpretation of political cartoons and the means of expression a cartoonist uses to convey a message: visual metaphors, visual metonymies as well as metaphors inferred from the image and/or text. The metaphors and visual metonymies in the cartoons are analyzed from the point of view of Conceptual Metaphor and Metonymy Theory. In the analysis, visual and inferential metaphors are viewed as incongruities; there are also incongruities as a result of the interaction between image, title and/or caption. Political cartoons can have more than one focal (visual) incongruity that enables the introduction of a Logical Mechanism from the General Theory of Verbal Humour (GTVH) to (partially) resolve the incongruity/ies. Visual metonymies and images can also function as enablers of a Logical Mechanism. Image and/or text can contrast with or reinforce a Logical Mechanism. Additionally, visual metaphors and metonymies function as contextualization indexes in the interpretation of the cartoons. Humour is the means to get the cartoonist’s message across to the viewer/reader and not an end in itself.
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Genova, Dafina. "Complementarity of Image and Text in Political Cartoons: Three Case Studies." Anglica. An International Journal of English Studies, no. 27/2 (September 17, 2018): 143–58. http://dx.doi.org/10.7311/0860-5734.27.2.08.
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The article analyzes the complementarity of image and text in political cartoons taking into account the following parameters: Prior Text(s), Producer, Cartoon, and Viewer/ Reader. In the meaning-making process, the viewer/reader constantly alternates between image and text. The two modes of communication can convey the same message(s), each of the modes can strengthen the meaning of the other; the two might have nothing in common, yet, when combined, will produce a meaningful message. Visual metaphors and metonymies play an important role in the construction of meaning in political cartoons. They are analyzed from the point of view of conceptual metaphor and metonymy theory and its application in multimodal communication. Humour in political cartoons is also briefly discussed.
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Radina, N. K. "Multimodal Media Tools of Popular Geopolitics: Russian Politics in Foreign Media Cartoons." MGIMO Review of International Relations 15, no. 4 (September 8, 2022): 130–50. http://dx.doi.org/10.24833/2071-8160-2022-4-85-130-150.
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The article focuses on the political cartoons about Russia and analyzes the potential of multimodal media texts as the tools of popular geopolitics. The author also employs S. Hall’s concept of propaganda, considering the text of a caricature from semiotic perspective. The integration of the theoretical fields of popular geopolitics and propaganda is substantiated, since political cartoons not only form stereotypes about politics and international relations among media readers, but also perform propaganda functions, broadcasting the point of view of the information platform on Russian politics and Russia. The empirical base of the study embraces 242 political cartoons from Russian-language and English-language foreign media, posted in the public domain on the Internet in 2020-2021, the period of the COVID-19 pandemic. Political cartoons are analyzed with the method of expert evaluation and interdisciplinary classifier for the analysis of political cartoons. The obtained empirical results were subjected to statistical processing, including the identification of correlations. The results demonstrate that in foreign media political cartoons about Russia and Russian politics create two different images of Russia. The first description is typical for English cartoons where Russia appears in the context of international relations, mostly its ties with the United States; and the target character in English cartoon is the Russian president. Englishlanguage cartoons are more often focused on harsh criticism and the use of schematized images. Moderate criticism dominates in Russian-language cartoons of foreign media; the target characters are not only the president, but also other representatives of Russian society. Thematically, Russian-language cartoons are constructed in the context of Russia's internal political problems; the field of education is usually the most intentionally “negative”. According to the study, it is the Russian-language cartoons of foreign media that have the most complex and rich visual code and use Aesopian language. In conclusion, the author highlights the importance of further studies of the tools of popular geopolitics, as well as the need to improve the practice of creating multimodal media texts in the logic of the Russian understanding of geopolitics.
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Bickford III, John H. "Students’ Original Political Cartoons as Teaching and Learning Tools." Social Studies Research and Practice 6, no. 2 (July 1, 2011): 47–59. http://dx.doi.org/10.1108/ssrp-02-2011-b0005.
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A meta-analysis of educators’ uses of political cartoons suggests they are mostly used for teaching interpretation skills and then usually only with gifted and older students. This demonstrates creative stagnation, limited elicitation of higher order thinking skills, and age bias. The researcher previously examined young adolescents’ use of effective and efficient technologies to express historical understandings through original political cartoon construction. This methodology elicited students’ higher order thinking as they expressed learning within their creations, which were then used as a teaching tool to facilitate constructive whole class interpretative discussions. The following questions extend previous research and guide this article: “How can one categorize students’ original political cartoons?” “Which categories illustrate most clearly student-creators’ learning?” “Which categories are the best teaching tools, as judged by elicitation of lengthy and healthy discussions?” To address the first question, the researcher categorized students’ original political cartoons and presented representative examples. To address the second question, the researcher triangulated students’ reflective descriptions of intended meanings, uses of historical content, and encoded symbolism and meanings. To address the third question, the researcher detailed how the original political cartoons impacted students’ thinking during class discussions in two dissimilar contexts.
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Krstić, Aleksandra, Giorgia Aiello, and Nebojša Vladisavljević. "Visual metaphor and authoritarianism in Serbian political cartoons." Media, War & Conflict 13, no. 1 (June 19, 2019): 27–49. http://dx.doi.org/10.1177/1750635219856549.
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This article examines how political cartoons reflected and mobilized resistance to growing authoritarianism and the personalization of power in contemporary Serbia. The focus is on the work of Dušan Petričić, the most influential political cartoonist in Serbia, which was published in daily Politika and weekly NIN between 2012 and 2017. Petričić’s cartoons offer interesting insights into a dramatic decline of press freedom and the rise of authoritarian personalist rule in terms of both their content and political impact. The authors draw on quantitative content analysis and qualitative multimodal analysis to examine the key representational and stylistic features of Petričić’s cartoons, both as a way to understand the relationship between his aesthetics and his political statements, and in order to critically assess some of the ways in which democratization conflicts may be expressed visually. Their analysis also draws on evidence from an in-depth interview with the author. In combining a systematic analysis of key visual patterns across a sample of cartoons with a comprehensive evaluation of how both visual and linguistic features work together to promote anti-authoritarian ideals and resistance, the article offers a framework to understand the political import of aesthetics in Serbia’s democratization process.
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Bello, Usman Muhammad. "Re-lexicalization and Over-lexicalization in Nigerian Political Cartoon Discourse on Facebook." Journal of English Language, Literature and Education 2, no. 02 (November 18, 2020): 1–20. http://dx.doi.org/10.54692/jelle.2020.020223.
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Political Cartoons provide an avenue for people across the political spectrum to present their reactions to current events in a relaxed atmosphere. While such discourses provoke laughter in the audience, critical messages lie underneath them. Such messages can be retrieved by a very careful audience. Two major ways in which serious information is presented in cartoons are re lexicalization and over-lexicalization. This paper, therefore, investigated these phenomena in Nigerian political cartoon discourse. The data for this study was purposively selected Facebook political cartoons in Nigeria. Their selection was, therefore, motivated by the political topics they treated as well as the period in which they were posted. Those cartoons were posted in the first half of 2019, the period which was important in the history of Nigeria, being a period that spanned through pre-election, election and post-election experiences of the country. A multimodal approach was taken in the study— not only the lexical items in the cartoons were important in such a kind of discourse, the images as well as their color also contributed to re-lexicalization and over-lexicalization phenomena in the context of the discourse. The study revealed that Nigerian cartoonists re-lexicalize and over-lexicalize the existing lexical items in a bid to share critical information without causing so much embarrassment to the audience or the subject of political discourse.
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Carrizales, Tony. "The Positive Image of Public Servants in Editorial Cartoons (1999 - 2003)." Public Voices 11, no. 1 (December 8, 2016): 51. http://dx.doi.org/10.22140/pv.101.
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The editorial cartoon has been a part of American culture since the beginning of the nation’s founding. The following review of editorial cartoons takes a specific look at public servants who are not in the political spotlight, such as teachers, police, fire and postal service men and women. Through a review of editorial cartoons from 1999-2003, it becomes apparent that there are positive images of public servants amid the numerous negative ones published daily. The selection of cartoons, most notably those following the attacks of September 11, 2001, highlights that heroism and service can be transcended through cartoons as with any other form of art.
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Conners, Joan L. "Popular Culture in Political Cartoons: Analyzing Cartoonist Approaches." PS: Political Science & Politics 40, no. 02 (April 2007): 261–65. http://dx.doi.org/10.1017/s1049096507070400.
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Saito, Hayato, and Wen-yu Chiang. "Political cartoons portraying the Musha Uprising in Taiwan under Japanese rule." Metaphor and the Social World 10, no. 1 (May 1, 2020): 76–99. http://dx.doi.org/10.1075/msw.19009.sai.
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Abstract This study analyzes five political cartoons published in the Taiwan Nichinichi Shinpo (Taiwan Daily Newspaper) depicting the Musha Uprising, an indigenous rebellion against Japanese colonial rule that occurred in Taiwan in 1930. The study has produced two important findings and theoretical implications. First, two of the political cartoons deployed The Great Chain of Being multimodal metaphor, and the artist’s conceptual blending of Japanese kabuki stories with the Musha Uprising dramatically portrayed the colonizers as humans and the colonized as animals. We analyze the social and historical context to explain why these cartoons used the boar as a metaphor representing the indigenous people. Second, our results reveal paradoxical and ambivalent perspectives in the cartoons. On one hand, the metaphor of Human vs. Animal reproduced the unequal hierarchical relations between the colonizers and the colonized. On the other hand, the cartoonist also portrayed the rulers in a critical and satirical way. Finally, the research relates the content of this analysis with the post-colonial theorizing of Edward Said. In sum, the study makes a contribution to interdisciplinary research by applying metaphor theory to the analysis of political cartoons and colonial discourse, as well as revealing the hierarchical colonial thinking and racial prejudice lurking behind the metaphors.
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Hameed, Ansa, and Haroon N. Alsager. "A Semiotic Study of Contemporary Middle Eastern Internal Dilemmas in Arab News Cartoons." World Journal of English Language 14, no. 1 (December 15, 2023): 472. http://dx.doi.org/10.5430/wjel.v14n1p472.
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Many parts of the Middle Eastern region have a history of persistent and long-term crises. The media, and particularly the news media, endeavors to highlight these issues in various forms. One established format among them is caricatures, or cartoonish representations, which retain a visually captivating quality for the intended audience. Undeniably, cartoons depict the bitter realities in candid yet convincing forms. In this regard, the present study aims to analyze the Arab News cartoons that depict the internal predicaments faced by the selected Middle Eastern countries. The primary objective of this study is to examine the intricate relationship between semiotics and socio-political intricacies in the selected regions. This study employs Barthes’ semiotic lens theory to investigate the methods employed by the cartoonist in conveying messages, creating narratives, and interacting with the socio-political environment. The results reveal that the caricatured representations effectually depict several underlying causes and conflicts that fuel the internal chaotic situation inside the region, using signs, symbols, and pictorial rhetoric. These findings help in understanding the essence of the challenges faced by the chosen Middle Eastern nations quite meritoriously. At the same time, the results endorse cartoons as an authentic medium for discussing such harsh realities.
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Başaran İnce, Gökçen. "The Free Republican Party in the political cartoons of the 1930s." New Perspectives on Turkey 53 (November 2015): 93–136. http://dx.doi.org/10.1017/npt.2015.20.
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AbstractThe Free Republican Party (FRP; Serbest Cumhuriyet Fırkası), founded and dissolved in 1930, represented the second attempt to transition to a multi-party system in Turkey, following the formation of the Progressive Republican Party (Terakkiperver Cumhuriyet Fırkası) in 1924. In contrast to the oppositional establishment of the latter, the FRP seemed to be a state-originated project whose establishment was decided upon by the elites of the day, led by Mustafa Kemal Atatürk. Its representation in contemporary cartoons is deemed important today given the political cartoon’s ability to simplify complex political messages into understandable symbols and metaphors and to address or reach those who may not be literate. Taking into account the social structure of society during this period, this aspect of the reach of cartoons becomes particularly important. Political cartoons’ ability to both support the text in a newspaper and penetrate historical memory through stereotypes is also significant in terms of the representation of personalities and events. This article will attempt to analyze the formation of the FRP and the depiction of its elites through newspaper cartoons. Three prominent and pro-Republican People’s Party (Cumhuriyet Halk Partisi) newspapers of this period—namely Cumhuriyet, Milliyet, and Vakit—will provide the material for the content and thematic analysis of the study.
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Altun, Hilal Oytun. "Multimodal Metaphors and Metonymies in Editorial Cartoons about Türkiye in Kathimerini." Perspektywy Kultury 45, no. 2 (February 6, 2024): 473–88. http://dx.doi.org/10.35765/pk.2024.4502.33.
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Political cartoon is a multimodal genre that mainly relies on metaphors and metonymies. The main characteristics of political cartooning are, first, to expose the negative; second, to condense multidimensional complexities down into simplified depictions. Kathimerini, one of the oldest newspapers in the Greek press, interprets the news with editorial cartoons, which it publishes regularly. In this study, editorial cartoons in Kathimerini’s online English edition and those related to Türkiye were studied from the perspective of conceptual mapping theory. Interculturally recognizable scenarios function as readyto-use metaphorical conceptualizations in the cartoons. The involved parties are represented via predefined metonymic relations in such drawings. In other words, the selected properties of the source domain are projected onto the target domain by metonymy. In general, the messages in the cartoons are transmitted through metonymic relations more frequently than other strategies. Thus, formulaic multimodal expressions based on metonymy are produced as a result of the images to cooccur in regular patterns in various contexts.
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Hidayatullah, Taufan. "The Meaning Of Indonesia’s-Foreign-Policy-Themed Political Cartoon Artwork During Demokrasi Terpimpin Era." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 3 (December 1, 2022): 490–96. http://dx.doi.org/10.34010/icobest.v3i.177.
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Mass media uses political cartoon as a strategy to convey opinion regarding an issue with humour or satirical approach. This research aims to understand the meaning of caricature artwork published in newspapers during Demokrasi Terpimpin (Orde Lama) that criticize Indonesia’s foreign policy. During the era, President Soekarno implemented a confrontative Indonesian foreign policy. To understand the meaning of those foreign-policy-themed political cartoon, an Iconographic theory by Erwin Panofsky using descriptive analysis method is used. The research conducted through several steps which include pre-iconographic description, iconographic analysis, and iconological interpretation. The discussion begins by describing the visual aspects of political cartoons. The next stage explains the visual analysis and ends by interpreting the visual metaphors of political cartoons.From the research, Indonesia’s foreign policy during Demokrasi Terpimpin era showed assertive and critical attitude towards (neo) imperialism and colonialism. The benefits of this research is to give a deeper understanding about Indonesia’s foreign policy especially during Demokrasi Terpimpin era through political cartoons artwork.
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Sanathanan, Snehal P., and Vinod Balakrishnan. "Before the political cartoonist, there was the Vidusaka." European Journal of Humour Research 9, no. 4 (December 30, 2021): 91–109. http://dx.doi.org/10.7592/ejhr2021.9.4.571.
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Political cartooning was one among the many cultural products that colonial rule introduced in India. This British legacy has been used to produce narratives about the nature and history of Indian cartooning. However, these narratives have, invariably, overlooked the distinctly Indian cultural ethos as well as the Indian satirical tradition. The paper proposes an alternative model by positing that in the Indian satirical tradition, the Vidusaka – the comic figure in Sanskrit drama - has been an antecedent to the political cartoonist in terms of the social and political role as well as the nature and purpose of the humour. The paper also locates the principles of caricaturing in precolonial Indian visual arts, and presents the early vernacular cartoons as the point of convergence between the local satirical tradition and the western format of the political cartoon which laid the foundation for a modern yet specifically Indian sensibility
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Mahamood, Muliyadi. "THE ROLE OF CARTOON IN THE FORMATION OF ASIAN COMMUNITY: ART HISTORY ANALYSIS." Historia: Jurnal Pendidik dan Peneliti Sejarah 13, no. 1 (July 26, 2017): 27. http://dx.doi.org/10.17509/historia.v13i1.7703.
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Cartoon art is a form of visual communication that can effectively convey a message and social criticism. In the Malaysian context, the editorial cartoons have been proven as effective since the beginning of independence until now. Even so, the form and style of criticism have always been changing through the time and are influenced by environmental, socio-political, legal and media ownership factors. Through formalistic and contextual analysis of selected works from Malaysia, particularly in Lat cartoons, this paper seeks survey and examines the existence of Asian cartoon style role towards the formation of the Asian community.
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Liebel, Vinícius. "Ângelo Agostini and the Cartoons at the Imperial Twilight - Preliminary Notes on the Abolition in Brazil." Almanack, no. 11 (December 2015): 774–92. http://dx.doi.org/10.1590/2236-463320151111.
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Abstract This paper aims at pointing out relevant questions on the analysis of the work of nineteenth-century cartoonist Ângelo Agostini, as well as to present pertinent arguments on the analysis of images in the historiographical field. To this end, the text locates the artist's production in contextual terms, as an heir to an art tradition that has in the nineteenth century its first golden age: the political and social cartoon. Then, after a brief consideration of the analysis of images in historical studies, two cartoons produced by Agostini on the great theme of abolitionism are interpreted as exemplary analysis.
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Al-Dala’ien, Othman Aref, Yasser Al-Shboul, Issam M. Aldowkat, and Ayman Al-Takhayinh. "Visualising the Russia-Ukraine War: A Semiotic Analysis of Arab Social Media Cartoons." Theory and Practice in Language Studies 12, no. 12 (December 1, 2022): 2712–22. http://dx.doi.org/10.17507/tpls.1212.30.
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This study is a verbal-pictorial analysis of the Russia-Ukraine war in Jordanian cartoons. It examines socio-political contexts related to the Russia-Ukraine war through a semiotic analysis of selected political cartoons posted on the official Facebook accounts of two well-known Jordanian cartoonists, Emad Hajjaj and Osama Hajjaj, between January and September, 2022. These cartoons show the conflict through the eyes of Arabs, who may be considered neutral and distanced from the conflict. As such, the study provides novel insights for semiotics by analysing signs in verbo-pictorial entities and demonstrating how verbal and visual signs can work synergistically to connote powerful messages. Sixty-eight political cartoons were collected and classified into the themes of: negotiation, alliance, economic consequences (the food and energy crisis), the Russia-Ukraine war and COVID-19, the refugee crisis, Putin vs. peace, nuclear war, and the mocking of Putin’s policies. We selected a representative cartoon from each theme and analysed their messages via the Roland Barthes model (1967, 1977) according to three types of message: verbal (i.e., text), non-verbal (i.e., denoted visual signs), and symbolic. These verbal and visual signs were used to clarify and interpret the symbolic messages of the selected cartoons. The thematic findings reflect the views and attitudes of an Arab community (Jordanian, in this case) regarding the Russian-Ukraine war.
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Pozdnyakova, E. M., and O. A. Blinova. "Covid-19 Pandemic in Political Cartoons of the American Press: An Experience of Multimodal Analysis." Nauchnyi dialog, no. 1 (January 27, 2021): 48–62. http://dx.doi.org/10.24224/2227-1295-2021-1-48-62.
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An attempt is made to analyze the place of political cartoons in the current socio-political media discourse in the United States. The material was the cartoons published in the spring of 2020 from USA Today and Philadelphia Inquirer, the informational occasion for the creation of which was the Covid-19 pandemic. The definitions of political cartoons as a multimodal text with a complex coding system is considered in the article. It is noted that in this type of text, phenomenological cognitive structures are actualized both through linguistic projection and through visual-spatial images. Attention is paid to intertextuality as the basis of political cartoon: the authors proceed from the position that the decoding of meaning by the recipient depends on whether he and the author have common background knowledge. It is shown that the Covid-19 pandemic is thematically embedded in the broader socio-political agenda, whereby a successful interpretation requires the recipient to have background knowledge of the current socio-political challenges facing the United States, namely the domestic political agenda. It is stated that the studied cartoons are distinguished by their reliance on precedent, and the actualization of background knowledge occurs through a combination of the visual and verbal components of the text. It is concluded that among the linguistic means of creating a satirical effect, a play on words is distinguished based on the literal and figurative meaning of individual lexical units.
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Mikhailova, Yulia. "“Poor Cousins”: National Minorities in Latvia in Cartoons by S. A. Tsivinsky (1920s — 1930s)." ISTORIYA 14, no. 8 (130) (2023): 0. http://dx.doi.org/10.18254/s207987840027718-8.
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The article considers the activity of the cartoonist S. A. Tsivinsky (1895—1941), who closely cooperating with a number of Latvian newspapers during the period of the first independence. Не became the author of many political cartoons reflecting the social and political life of the country. Cartoons of S. A. Tsivinsky reflected the problem of the struggle of national minorities for their rights in the political and public spheres. He illustrated such aspects as the formation of ruling cabinets based on certain national minorities, the complex relationship between the title nation and those who until recently held a dominant position in Latvia (primarily the Baltic Germans and Russians), the gradual growth of nationalism and anti-Semitism in Latvia. Cartoons of S. A. Tsivinsky complement the material of the Latvian newspapers of the interwar period and serve as an interesting source illustrating the problems of social and political life in Latvia during the period of the first independence.
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Nurul Rahman, Adi Fadhilah. "Multiliteracy in the Millennial Generation: A Case Study of Political Cartoons on Instagram Tempodotco." PERSPEKTIF 11, no. 4 (October 4, 2022): 1291–300. http://dx.doi.org/10.31289/perspektif.v11i4.7312.
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This article aims to explore how the millennial generation understands multimodal texts. The problem is focused on how readers construct real-world references from cartoons, narrate cartoons, interpret respondents' facial expressions depicted, understand the relationship between text and images, and build metaphorical relationships between fictional cartoon scenes and political arguments. The data were collected through interviews with six people who were selected by year of birth as the millennial generation category and follow tempodotco on Instagram, but came from different backgrounds, and this data was analyzed qualitatively. This study concludes that political cartooning is a fairly complex process and requires one to draw from different literacies. The millennial generation's experience with various related events also affects them in dealing with them and the reader's familiarity with the cartoon genre, knowledge of cultural symbols, and the experience of analytical thinking about events and situations in the real world are also factors that determine readers.
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Flores Borjabad, Salud Adelaida. "Ciberactivismo árabe: del papel a la red." IROCAMM-International Review Of Communication And Marketing Mix 1, no. 4 (2021): 33–42. http://dx.doi.org/10.12795/irocamm.2021.v01.i04.03.
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SActivism in the Arab world have been represented in hiding. One of the most important forms has been political cartoons which have been an important tool that has been consolidated over time be-cause cartoonists were able to become activists thanks to the use of symbols. However, the devel-opment of cyberspace translated cartoons into the network, by making them even more important as they transmitted ideas in a more direct way and developed a form of virtual activism. Therefore, the aim of this research is to study and analyze the history of the Arab political cartoons to see how it has consolidated in a form of revolutionary activism. Additionally, the attempt to this research is to reflect how a virtual community has been generated around that figure. As a result, a qualitative methodology has been used to carry out this research. A historical method has been used to collect information about the history of cartoons in the Arab world. Then, an ethnographic visual method has been developed to study the use of cartoons used. The results and discussion are to demonstrate that the cartoon is a form of revolution and activism which has strengthened itself with the use of the internet.
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Moroz, Nina A. "“Dr. Seuss of Beasts and Men: the Cartoonist’s Experience and the Illustrated Tales of the 1930–1950s." Literature of the Americas, no. 15 (2023): 250–75. http://dx.doi.org/10.22455/2541-7894-2023-15-250-275.
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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.
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Abdulwahid, Huda Y. "Analyzing Iraqi Political Cartoons." Cihan University-Erbil Journal of Humanities and Social Sciences 6, no. 1 (February 16, 2022): 47–53. http://dx.doi.org/10.24086/cuejhss.v6n1y2022.pp47-53.
Full textAbstract:
Pictures have an essential effect on our thoughts and decisions. We have also noticed how these pictures produced in the form of cartoons affect our viewpoints. They do so since we are addicted to social media to the extent it can manipulate our thoughts unconsciously and obnoxiously. Besides, people don’t have the courage to express their viewpoints clearly, so they tend to use the satire to keep their face. This motivates the researcher to analyze the underlying structure of this satire presented in caricatures to read the message clearly. This research aims at revealing the way the political caricatures are produced and the main characteristics of political caricatures. Incorporating a methodology depending on selecting some samples, this paper is a semiotic analysis of political caricatures announced through the election campaign 2018 in Iraq. It concentrates on the format caricatures used as a communicative channel on net platform to come up with essential senses and prevailing political matters. This is carried out by adopting Barthes’ semiotic theory which is the first apparent semiotic approach. It is a good means to analyze the implied structure, including the dictionary and implied senses of creating influence of political caricatures. Besides, it provides us with a good means to interpret and understand political caricatures. This is quite important since political cartoons work as an approach to comprehend human consciousness.
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Heitzman, Wm Ray. "Sources of Political Cartoons." Social Studies 79, no. 5 (October 1988): 225–27. http://dx.doi.org/10.1080/00220973.1945.11019922.
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Khurana, Neha, and Reena Singh. "Cartooning Through Crisis: The Case of Abu in India’s Emergency Years 1975-77." 452ºF. Revista de Teoría de la literatura y Literatura Comparada, no. 29 (July 26, 2023): 211–31. http://dx.doi.org/10.1344/452f.2023.29.13.
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This paper is an attempt to understand the communicative potential of political cartoons in the face of censorship. The Emergency Years in India (1975-77) saw the most stringent censorship of mass media in the public sphere in independent India, and thus has been chosen as the period of study. The cartoonist Abu Abraham, who continued to draw cartoons for the national daily Indian Express throughout the period and claims to have not been disturbed much by censorious authorities becomes the axis of this analysis. Taking cues from theorists Judith Butler and Louis Althusser, the paper focusses on the techniques and strategies employed by Abraham in his cartoons that allowed most of his cartoons to pass through the censorship filters, and still make an impact on the general public.