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Dissertations / Theses on the topic 'Satirical and political cartoons'
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Tomé, Cristina Maria de Sousa 1963. "Entre o burlesco e o sublime-a sátira gráfica de William Hogarth e James Gillray." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Instituto Letras e Ciências Humanas, 2000. http://dited.bn.pt:80/29407.
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McGlade, Rhiannon. "Seriously funny : towards an interpretative framework for an analysis of Catalan satirical cartoons in the twentieth century." Thesis, University of Sheffield, 2013. http://etheses.whiterose.ac.uk/3725/.
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Gordon, Jon Clair. "International political cartoons as rhetoric : a content analysis /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487676847116104.
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Bush, Lawrence Ray. "More than Words: Rhetorical Devices in American Political Cartoons." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/3924.
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This thesis argues that literary theory applied to political cartoons shows that cartoons are reasoned arguments. The rhetorical devices used in the cartoons mimic verbal devices used by essayists. These devices, in turn, make cartoons influential in that they have the power to persuade readers while making them laugh or smile. It also gives examples of literary theorists whose works can be applied to political cartooning, including Frederick Saussure, Mikhail Bakhtin, and Wolfgang Iser. Not only do those theorists' arguments apply to text, they also apply to pictorial representations.
This thesis also discusses changes in the cartoon art form over the 250 years that American political cartoons have existed. Changes have occurred in both the way text and pictorial depictions have been presented by artists. This thesis makes some attempt to explain why the changes occurred and whether they have been for the better.
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Heinrich, Brittany Nicole. "Satirical imagery of the grotesque body of Louis XIV : pushing the corporeal limits of France." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98929.
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The establishment of the French Absolutism under King Louis XIV depended in part on pictorial representation generated by the French Academy. As a vehicle and institute of the state, the Academy created a canon of imagery, which was known throughout Europe. This enabled Louis XIV's image to be reversed by the creators of the satirical images. The makers of the reverse image appropriated the institutionalized styles and genres of royal portraiture to create innovative satirical images of the monarch using the very canon Louis XIV sanctioned. In its analysis of a small body of satirical imagery, the thesis draws on various theories about the body of the king proposed by Jean-Marie Apostolides, Ernst Kantorowicz and Louis Marin. A comparison of satirical images with official images of the king demonstrates the successful strategies of satirical imagery and the collective need for these kinds images in the seventeenth century.
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Arroues, Ben Selma Ophélie. "Yaʿqûb Ṣannûʿ, du théâtre au journalisme : L’écriture théâtrale dans Abû Naẓẓâra." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF022.
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Yaʿqûb Ṣannûʿ(1839-1912), auteur polémique de la Nahḍa, est un des pionniers du théâtre et dujournalisme arabes. La thèse se propose d’analyser, à partir des premières années de son journal AbûNaẓẓâra (1878-1910), la relation entre écriture théâtrale et écriture journalistique, l’une servant de relaisvers la seconde qui s’invente entre le patrimoine littéraire arabe et la presse européenne du XIXème siècle.Ṣannûʿ s’inspire de formes théâtrales arabes anciennes pour créer des pièces « théatro-journalistiques »qui s’emparent de l’actualité. Par ailleurs, dans Abû Naẓẓâra, le dialogue s’affirme comme genre autonomeet mode principal de traitement de l’actualité. Dès lors, on doit considérer que l’ensemble du journal seconstruit sur le modèle du texte théâtral. L’écriture dramatique est mise au service du projetjournalistique : le théâtre participe de la dynamique satirique tandis que le dialogue a une visée didactiqueen direction du lecteur de la presse. Abû Naẓẓâra prétend se faire le porte-parole du peuple égyptien. Lepolitique y est approché à travers le prisme de la métaphore théâtrale et présenté comme une grandecomédie. La pièce de théâtre, conçue pour être lue collectivement et jouée, fait du lecteur un acteur de lascène politiqueYaʿqûb Ṣannûʿ (1839-1912) is a controversial author of the Nahḍa and one of the pioneers of Arabic theatreand journalism. This thesis, based on the first years of Ṣannûʿ's magazine, Abû Naẓẓâra (1878-1910),intends to analyze that interplay between dramatic writing and journalistic writing. The first has a bridgingfunction leading to the second that emerges from the interactions between the Arabic literary heritage andthe 19 th century European press. Ṣannuʿ draws inspiration from the ancient Arabic theatrical forms inorder to write "dramatic journalistic" stage plays that capture the news. Furthermore, in Abû Naẓẓâra, thedialogue becomes an autonomous genre in itself as well as the main news-making means. Therefore, onemust consider that the whole magazine builds up on the model of the play. Dramatic writing serves thejournalistic purpose: theater takes part in the dynamics of satire while the dialogue takes on a didactic rolefor the press readers. Abû Naẓẓâra claims to be the voice of the Egyptians. Politics is perceived throughtheatrical metaphor and depicted as a farce. The play, initially intended to be read and performedcollectively, turns the reader into an actor of the political stage
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Orihuela-Gruber, Daniella. "Political cartoons and graphic novels a study of political and social commentary in comics /." Click here to view, 2009. http://digitalcommons.calpoly.edu/joursp/7/.
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Thesis (B.S.)--California Polytechnic State University, 2009.Project advisor: Patrick Munroe. Title from PDF title page; viewed on Apr. 19, 2010. Includes bibliographical references. Also available on microfiche.
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Baires-Varguez, Ricardo. "Another mask of Mexico and its people through Jorge Ibarguengoitia's Satirical prose /." Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1480.html.
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Thesis (M.A.)--Central Connecticut State University, 1997.Thesis advisor: Dr. Lilián Uribe. " ... in partial fulfillment of the requirements for the degree of Master of Arts in Modern Language (Spanish)." Includes bibliographical references (leaves 152-156).
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Chiu, Sau Wan Anne Terry. "An analysis of the humor in political comic strips in Hong Kong newspapers." HKBU Institutional Repository, 2005. http://repository.hkbu.edu.hk/etd_ra/643.
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Luce, Russell Ralph. "President George W. Bush a portrayal of the Iraq War through cartoons /." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1134156853.
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Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2005.Title from first page of PDF document, author statement from p. [i]. Document formatted into pages; contains [1], iv, 40 p. : ill. Includes bibliographical references (p. 35-37).
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Murray, Brett. "A group of satirical sculptures examining social and political paradoxes in the South African context." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/15885.
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Bibliography: pages 99-101.My proposal was to produce a group of satirical sculptures thematically embracing paradoxes within the broad South African context. My intention was to work within the tradition of social and political satire. Strict definitions of satire were to be expanded to include both comedy and tragedy. By satirising particular stupidities, abuses and "evils of all kind" within South African society, I hoped to address the same in a broader context by implication. By discussing some artists who have worked within this tradition my intention was to determine an art-historical context within which to place my work, to extract elements of a shared experience and to attempt to define the nature of satire.
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Niaz, Aina S. "Representations of US Acts of Extra-Territoriality as Illustrated in Pakistani-English Political Cartoons." DigitalCommons@USU, 2015. https://digitalcommons.usu.edu/etd/4282.
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The geopolitical significance of Pakistan in the Global War on Terror has led to multiple instances of the US acting in an extra-territorial manner. Repeated territorial intrusion by the US strains US-Pakistan relations because extra-territoriality is viewed as a violation of Pakistan’s sovereignty. This study analyzes Pakistani-English political cartoons to examine the ways the US extra-territoriality is represented. Approximately 2940 political cartoons are collected from four Pakistani-English newspapers: Dawn, The Express Tribune, The Nation, and The News. Wallerstein’s world-system theory provides the theoretical backdrop to demonstrate the explicit (military) and implicit (economic, cultural, and political/diplomatic) means a hegemonic-core power can act extra-territorially towards a state in the periphery. A combination of content analysis and social semiotic analysis methodologies is used. Content analysis reveals a total of 323 US-related political cartoons that are classified into themes of economic, cultural, military, and political/diplomatic depictions in political cartoons. A visual social semiotic analysis deconstructs the visual rhetoric of extra-territoriality as expressed in the various themed political cartoons. The outcome of these two methodologies provides a holistic illustration of the ways US extra-territoriality in a sovereign but periphery state like Pakistan is viewed.
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Warburton, Terry. "Political cartoons and education in the UK press : the visual representation of education narratives." Thesis, Lancaster University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286977.
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Lopez, Alixandria Gabriela. "The elephant in the room| Examining visual metaphors of Chris Christie in political cartoons." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591634.
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New Jersey governor Chris Christie has gained widespread media attention for his aggressive public persona, his involvement in the Bridgegate scandal, and for weighing almost 400 pounds at the beginning of his political career. In this thesis, I conduct a metaphor analysis on political cartoons featuring Christie. By alternately focusing on his weight and his Italian heritage, cartoons utilize body-centric attacks to transform Christie into monsters, inanimate objects, manual laborers, women, and other entities, inextricably tying Christie's politics to his physicality. I argue that Christie's body is heavily gendered throughout the cartoons, reinforcing the conservative masculinist script and hegemonic masculinity. Thus, I end this thesis by exploring how the denigration of Christie's body could prove damaging to Christie's career and aid in the construction of non-normative bodies in the public sphere.
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Basel, Barbara Edith. "The use of chiastic configurations as a satirical tool in selected works by Pieter-Dirk Uys." Pretoria : [s.n], 2005. http://upetd.up.ac.za/thesis/available/etd-12212005-135715/.
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Chen, Shangyu. "Popular art and political movements an aesthetic inquiry into Chinese pictorial stories /." online access from Digital dissertation consortium, 1996. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9701484.
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Brookes, Rod. "The politics of the 'little man' : Sidney Strube's Daily Express cartoons and languages of Conservatism c.1929-35." Thesis, University of East Anglia, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303014.
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Basel, Barbara Edith. "The use of chiastic configurations as a satirical tool in selected works by Pieter-Dirk Uys." Thesis, University of Pretoria, 2001. http://hdl.handle.net/2263/30474.
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The focus of this thesis is Pieter-Dirk Uys's use of the rhetorical trope chiasmus as a satirical tool, an aspect of his work that has, to date, received little attention. The multiple nuances of 'chiasmus' are examined, pointing to the performer/persona relationship in terms of ‘ “1" create Image; Image makes "I" , (Breytenbach, 1985) and the related 'semiotic richness of stage sign-vehicles' (Elam, 1980). The primarily semiotic analyses of chiastic configurations are supported by close textual analyses throughout. Pieter-Dirk Uys's chiastic admix of his satirical pleasure/pain principle (entertainment! censure) is analysed in one newspaper article, one prose work and two revues. Uys's satire is contextualised against the background of the development of satire. The inherently chiastic mode of satire and various techniques and writing styles are explored. Contemporary society lacks definitive moral, social and political norms, and the study attempts to show how Uys entertains by decoding 'the absurdities of contemporary reality' (Fletcher, 1987:ix) as a response to the amorphous experience of living in South African society from the early 1980s until 2001. Uys's use of female characters to articulate his dissatisfaction with South Africa's socio¬political climate during the last quarter of the twentieth century is explored in a selection of three plays, four prose works and ten revues. The focus falls on his creation of female personae, particularly the sustained portrayal of his popular persona, Evita Bezuidenhout. Uys's use of 'real' and 'false disguise' (Baker, 1994) is discussed. The transvestite persona's roles of both an 'intervener' who challenges thestatus quo and alerts the public to 'cultural, social or aesthetic dissonance' and an 'interventor' or 'enabling fantasy' (Garber, 1992:6) are considered. The focus then shifts to Uys's deployment of various non-verbal sign-vehicles in his dramatic productions. Non-verbal and verbal signs are jointly responsible for the production of meaning in the theatre. Because 'theatrical signs ... acquire qualities ... that they do not have in real life' (Bogatyrev, 1938:35-6), audiences must utilise 'theatrical competence' (Elam, 1980: 87). A study of electronic recordings of eight revues reveals that Uys's non-verbal signs are as chiastic as his verbal ones. Uys's perpetuation of the Evita 'myth' as/or 'legend' is traced from her beginnings as a newspaper 'voice', to popular theatre and television personality, to the recipient of prestigious awards. Evita's current and possible future roles are considered. Uys's fabrication of Evita's family and her 'biography' is also examined as contributory to the legend, exploring Evita's metamorphosis from a housewife to a political figurehead who conflates fictional and real life exploits with South African politicians - a strategy through which Uys appears to align himself with current feminist issues. The slippage between fact and fiction has interesting consequences for Uys's level of control over his Evita persona, who seems occasionally to control him. This thesis concludes with a review of the aims and rationale of the study, providing a broad synopsis of the main findings and looking at its limitations. Finally, it suggests possible areas for further research.Thesis (DLitt (English))--University of Pretoria, 2001.
Modern European Languages
unrestricted
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Kazerooni, Franccesca. "'Did You Get It?' - The Effects of Understanding (or Not Understanding) a Satirical Piece of Humor." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/329.
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The effects of knowing or not knowing the satirical nature of a piece of humor were examined and compared to the effects of disparaging humor. One hundred and twenty-six heterosexual undergraduate students (male: n = 43; female: n = 83) were randomly assigned a satirical or an offensive comic about gay men. Some of those who read the satirical piece were told of the satirical intentions of the author. Some of the predicted hypotheses were partially supported. Low SDO participants found the satirical comic, regardless of whether the author’s satirical intentions were explicitly told or not, less humorous and more offensive than high SDO participants. On the other hand, high SDO participants found the disparaging comic to be more humorous and less offensive than low SDO participants. The implications of these findings as well as the difficulties with measuring the effects of satire are addressed.
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Carroll, Heather Nicole. "Visualising elite political women in the reign of Queen Charlotte, 1761-1818." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23380.
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This thesis examines the visual representations of elite women, who wielded and were seen to transgress, gendered political roles through their activity in the elite socio-political spheres of eighteenth-century and early nineteenth-century Britain. In analysing the portraits and satirical prints of this select breed of women, this study questions the common bifurcation of gender debates in existing secondary literature, which include, but are not limited to, the porosity of traditionally conceived public and private spheres, contested masculine and feminine identities, and the gendering of morals and vices. The study will explore how predominantly male artists represented these women alongside an examination of how elite women were able to manipulate and choreograph their own portrayal. As such, it will probe how these political women utilised portraiture as a crucial means of self-fashioning; and likewise how their satirical representation was routinely subjugated to the male gaze. In doing so, it will reveal the varieties, vagaries and subtleties of the political power held by women and how this could be iterated, celebrated, or criticised in the visual culture of late-eighteenth and early-nineteenth century Britain. Four case studies form this examination. The first, argues that three women from Rockingham-Whig social networks, Lady Elizabeth Melbourne, Georgiana, Duchess of Devonshire, and Hon. Anne Damer, used portraiture as a form of self-fashioning to both celebrate their friendship and declare their burgeoning political agency. Chapter two revisits the 1784 Westminster election, to probe the theme of rivalry in satirical prints representing female canvassers. It argues that the visual vocabulary expressed in such prints pertains to wider cultural debates concerning class and gender that crucially came to a head during this political event. The third chapter introduces the dialogues between portraiture and satirical prints through its examination of the visual media that politicised Scottish Pittite hostess, Jane, Duchess of Gordon. Whilst the duchess used painted portraiture to proclaim her adherence to culturally-inscribed gender roles, satirical prints attacked her for her perceived political access, acquired through her daughters’ marriages and through her close proximity with prominent members of the Pittite government. The thesis concludes with a study of arguably the most political woman in the period of study: Queen Charlotte, consort of George III. This chapter revisits her reputation, arguing that a close examination of visual culture reveals that the queen, long thought to be an uncontroversial figure, became deeply problematic after the king’s bout with ‘madness’. In seeking to connect the visual aspects of women’s political engagement, this thesis expands on previous work in gender, social, cultural, and art histories such as those by Elaine Chalus, Cindy McCreery, Marcia Pointon, and Kate Retford to further our understanding of women’s political activity and eighteenth-century visual culture.
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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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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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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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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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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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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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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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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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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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Hedenmo, Fanny. "If you don't push them, they will push you : A qualitative study on how six satirical journalists relate to the Moroccan majority media." Thesis, Södertörns högskola, Journalistik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33437.
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The present thesis is constructed upon the findings of a two month long field research, a Minor Field Study (MFS), in Casablanca, Morocco between February and April 2017. The aim is to understand how Moroccan satirical journalists can be understood in relation to the Moroccan media, and seeks out to answer the following research questions: 1) how can the relationship between Moroccan satirists and the majority media be theorized, and 2) how do the satirists relate to journalistic ideals in regard to the truth? The thesis was conducted by applying semi-structured interviews with six satirical journalists. The analysis is based on theories on public spheres, counterpublics, juxtaposition and journalistic ideals, and evolves as a discussion that intertwines the Moroccan and global media arena and the rise of a subjective narrative in global journalism. This thesis concludes that the Moroccan satirists are driven by ideals that are substantially in line with that which we connect to journalism. And while there are reasons to believe that the satirists of this thesis are countering the Moroccan media – a conclusion supported by factors such as hegemony, expression and content – I argue that it is more accurate to define the relationship between satirist and the dominant media as a juxtaposition. This is supported by the way the satirists view their work – accentuating the need to be truthful, responsible, and by acting as the public's surrogate when interrogating and questioning the power elite.
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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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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.
BibliographyHariri Foundation
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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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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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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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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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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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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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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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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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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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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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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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Rouquier, Viviane. "La caricature antihitlérienne dans la presse satirique allemande de 1923 à 1933." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00844378.
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Cette étude comprend l'analyse et le commentaire de quelques cent-trente-cinq caricatures qui ont pour but de tenter de répondre à la question sur l'éventualité d'une reconstitution historique au travers des caricatures antihitlériennes de la presse satirique de la République de Weimar. Elles illustrent la montée du national-socialisme, du moins par le biais de la critique, puis de l'opposition et de la révolte, que ce dernier a pu susciter au cours des années 1923-1933. Ce travail a nécessité la recherche de faits politiques précis auxquels chaque caricature faisait référence et la comparaison de la représentation proposée par la caricature avec les informations et les jugements donnés rétrospectivement par les historiens. Ce jeu de va-et-vient entre le document-source et l'arrière-plan référentiel a aidé à proposer une estimation de l'écho suscité ou non par l'événement politique en question. Ce choix de caricatures a permis par exemple de voir quelles avaient été les apparitions de Hitler sur la scène politique qui avaient le plus déchaîné les passions. Toutefois il reste difficile de concevoir une histoire de la montée du national-socialisme et de l'opposition à Hitler avant 1933 à partir des seules caricatures.
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TSAI, CHIA-WEN, and 蔡佳文. "The research on Satirical Cartoons in the Early 20th Century." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/2u6y9e.
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碩士國立臺南大學
視覺藝術與設計學系碩士在職專班
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Satirical culture is ubiquitous in all types of art and media, and the most common form of disclosure today is the political cartoons column of newspapers and magazines and online media. How did the cartoons come from? How to develop it? It is understood from the literature that cartoons began to be ridiculed by Leonardo Da Vinci's exaggerated characters in the fifteenth century. In the era of low literacy, with the invention of printing, people used image interpretation ideas to spread and communicate with groups. Consciousness has created a rich and diverse history of cartoons in Europe. In the 19th century, Japan and China were forced to open to the outside world in response to the invasion of Western powers. The acceptance of Western information and images opened up the exploration of its own satirical culture. This study can affect Taiwan’s vast countries through Japan and China. This study period can understand the roots of Taiwan's satirical culture through the development of satirical cartoons in the 19th and 20th centuries in Japan and China, which have affected Taiwan.
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Landbeck, Chris. "Issues in Subject Analysis and Description of Political Cartoons." 2008. http://hdl.handle.net/10150/105595.
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Political cartoons are not meant to record visual evidence of an event as a photo might, neither are they created to act as icons for the events that they speak to. Rather, they treat the events of their day with an acknowledged slant in the point-of-view, draw correlations between events when such correlations might exist only in the mind of the artist, or deride (or, rarely, admire) individuals or organizations. In all cases, political cartoons fall far more on Fidelâ s Object pole than they do on her Data pole (1997).
Indexing political cartoons offers a unique challenge in the larger realm of indexing images. But while subject access has been the focus of image indexing research in recent years, and is a robust and active topic of discussion and debate, it has rarely been turned to the realm of indexing opinion, visual or otherwise. Will Armitage and Enserâ s Panofsky-Shatford mode/facet matrix (1997) be more useful in such work than Jorgensenâ s 12 classes (1994), or will an entirely new measure of subject need to be developed? This paper asks questions within this realm of image indexing as it pertains to political cartoons.
Do the subject indexing needs of political cartoons change if the focus is a social or historical issue rather than a political one? There are times when a political cartoonist will choose to address an issue that has less to do with political action or intrigue and more to do with a social ill or trend (such as teen pregnancy), or a historical event of a limited nature (such as the death of a statesman). Does this focus change the needs and requirements of providing subject access to cartoons from that needed for images of a more political nature? Is this a part of the â biographyâ of an image (Roberts, 2001)?
Is the event (or events) that inspired a cartoon the de facto subject(s) of it? Proceeding from the proposition that some sort of newsworthy events are the progenitors of political cartoons, do those events serve as the subject elements in cartoon indexing schemes? Is Svenoniousâ subject/predicate model (1994) complete enough? Is the subject of a cartoon determined by what must be known to â get itâ ?
Can a cartoon have more than two subjects? Some cartoons make their point though the juxtaposition of disparate items. If a cartoon uses two disparate news items to make a point, are there two subjects? If so, is there a hierarchical relationship â superordinate/subordinate, major/minor, primary/secondary â between them? Is Mai (2005) correct in saying that the meaning of a document changes, depending on the question being asked of it? On the opposite end of the spectrum, can a cartoon refer to something that is not useful as a subject descriptor?
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Hung, Mao-Yuan, and 洪茂源. "Aesthetic daggerACreative Discussion of Mao-Yuan Hung's Political Cartoons." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/wcrpmk.
Full textAbstract:
碩士長榮大學
美術學系碩士班
106
Abstract Political cartoons are different from general drawings in that they contain timely records and sarcasm that are presented in a humorous way. Political cartoons mainly tackle issues that are close to life experiences and the public. They can be used to produce propaganda effects and are powerful tools for censuring current events. In Taiwan’s democratic process, political cartoons played the crucial role of promoter and recorder. During this period, Taiwan also produced a lot of outstanding cartoonists who, on the one hand, recorded the background of its democratic growth process during that time and, on the one hand, became promoters of democratization and social reform. Their cartoons not only became tools for future generations to trace back history but also possess great artistic value for people to appreciate. The main structure of this thesis is as follows. The first chapter, Introduction, contains the motives and aims, the research methods and theories, as well as the explanation of keywords.The second chapter, Literature, discusses the origin of political cartoons and their social relevance, the encoding of the cartoonists and the decoding of the readers.The thirdchapterthe process of Taiwan’s democratization, the background of the era when political cartoons started to appear in Taiwan, the political issues contained in Taiwan’s political cartoons, and the analysis of each political cartoonist’s style.The fourth chapter, the creations of the author. The author tires to present the theories of political cartoons by the personal creations of the author concretely. These cartoons talk about the domestic and international political events in recent 3-4 years. They are the personal view of these events. The author expects the readers to observe the politicians and political events more objectively, not merely by the personal political position. The fifth chapter summarizes the conclusions made by the author in the thesis as well as the interpretation of and future expectations regarding political cartoons.
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Wu, Bo-yi, and 吳柏毅. "Art as a Weapon- George Grosz''s Political and Satirical Images." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/5w8rc9.
Full textAbstract:
碩士國立中央大學
藝術學研究所
96
In the first half of the 20th century, western society has gone through a dramatic transition. The industrial civilization has made a great impact on human beings in all aspects, such as politics, society, economics and culture, and it is particularly embodied by the historical phenomena of two world wars. Being an active artist in this period, Grosz has connected his artistic activities closely with this specific historical condition. This kind of connection is especially shown in his political caricatures, traditional easel paintings and photomontages. In this specific context, we can perceive an entwined dialectical relationship between two different categories of human activities, “art” and “politics.” The relationship consists of art’s criticism of politics and politics’ control over art, which is also the central issue Grosz tries to deal with. This thesis tries to focus on Grosz’s different cultural subversion in three periods. They are respectively 1) In the time before 1920, Grosz’s style was influenced by German Expressionism and Italian Futurism. He depicted the confusion and anxiety of the people in the modern industrial society, such as the strong sensation provoked by the savageness shown in his paintings of the assaults between people in the urban jungle. Grosz also employed the mechanical reproduction method of photomontages by appropriating photos in mass media, commercial advertisements and political propagandas to criticize German capitalistic society after WWI. 2) During the time between 1920 and 1933, Grosz participated in the activities held by German communist party and conveyed the ideal of proletarian revolution in his political caricatures. He also issued several artistic criticisms to propagate the concept of “tendentious art”, claiming that artistic creativity should be in the service of a specific class, especially the proletariat, and criticized the idea of “art’s for art’s sake” espoused by expressionism. 3) In the time after 1933, Grosz turned away completely from the philosophy of art in the service of politics and returned to art itself as a standpoint to criticize every civilized system and dominant ideology. After being criticized by the communist party in the second half of 1920s, Grosz had developed an intimate relationship with some American anti-Stalinist intellectuals, which could be manifested in his later works published in Interregnum, where he denounced the efforts exercised by different political camps to control artistic activities. To sum up, based on the three periods of Grosz’s artistic life and the idea of cultural criticism, this thesis tries to explore the constructive critical spirit revealed in his criticisms either of some obvious political events or of the latent cultural society. For example, this spirit could be manifested in artist’s criticism of the fabrication of cultural fictions in a bourgeois society during two world wars, or of authoritarianism espoused by capitalism and communism in politics after 1933. Hence, Grosz’s spirit leads us to open a new field for reconsidering the interaction between art and society.
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Landbeck, Christopher Ryan Burnett Kathleen Marie. "The organization and categorization of political cartoons an exploratory study /." 2002. http://etd.lib.fsu.edu/theses/available/etd-06272003-144515/.
Full textAbstract:
Thesis (M.S.)--Florida State University, 2002.Advisor: Dr. Kathleen Burnett, Florida State University, School of Information Studies. Title and description from dissertation home page (viewed Oct. 3, 2003). Includes bibliographical references.
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Chan, kai-ho, and 詹凱賀. "Political cartoons in the shape of the research and creation figures." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/99w46a.
Full textAbstract:
碩士國立臺東大學
美術產業碩士學位在職進修專班
99
In the appearance of caricature modeling, the important characters of political caricatures shows figure modeling system, feature states, and the cultural behaviors controlled by the caricaturists. In the democratization of Taiwan, we consulted how western countries did. Whether they applied to need of people or not, they became reasonable gradually and brought about jokes. Political caricatures wanted to perform this point that the impression politicians gave to people with euphuistic ways. They hoped to create the politicians who can make readers grin with delight. Politicians modeling were created in ironic and exaggerative ways by creators. The works suggested not only the different points of view and imaginations, but also expresses that their feelings and imaginations in politics. Therefore, they can make readers bring out sympathy and delight. There are three parts in the research. The first is to discuss the definition of the political caricatures and histories. It will be analyzed through the records, “Single Politician Modeling”. The second part is the analysis of figures in political caricatures. They will be analyzed in model theories and painting styles, which include the caricatures authors’ descriptions about their published works and confer as well as classify politician modeling. I will put them into the basis of creating. Thirdly, creating political caricatures figures will take the analysis concluded in the second part into my own creative works.