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Journal articles on the topic 'Satirical and political cartoons'
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1
Marston, John. "Em Sokha and Cambodian Satirical Cartoons." Asian Journal of Social Science 25, no. 1 (1997): 59–77. http://dx.doi.org/10.1163/030382497x00040.
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AbstractThe article examines the work of one Cambodian satirical cartoonist, Em Sokha, in the context of the historical background of cartooning in Cambodia and the developments in Cambodian print media since 1979. In particular, it looks at how Em Sokha's work has evolved in relation to alternating periods of freedom and control over the press during times of dramatic political change. It explores the implications of Em Sokha's use of distortion and the grotesque to express the violence of relations of power.
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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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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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Lydin, N. N., and P. V. Ulyanov. "The Evolution of the Image of the Ottoman Empire on the Cartoons of the British Magazine «Punch» of the First World War Period." Izvestiya of Altai State University, no. 3(113) (July 6, 2020): 69–75. http://dx.doi.org/10.14258/izvasu(2020)3-11.
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This article discusses the development in the British society of the image of the Ottoman Empire, perceived as a ’’German ally“ during the First World War. English cartoons from the satirical magazine “Punch” were taken as historical sources. The peculiarity of this magazine was that during the period under study it was popular among representatives of the elite, intelligentsia, workers and some of the farmers due to the publication of various drawings and cartoons in it. The main goal of the authors of the article is to consider the development of the image of the Ottoman Empire, presented on graphic materials as an “ally of Germany”, using political caricatures as an example, and to reveal its features in British propaganda. The study allows us to conclude that the image of the Ottoman Empire was presented in satirical form, as it was aimed at discrediting the ”ally of Germany“. British artists sought to convey to the mass audience that the Ottoman Porta was embroiled in armed conflict and was used by Germany as a "puppet". On the example of the most striking English cartoons of the satirical magazine “Punch”, it can be noted that many stories about the “ally of Germany” reflected in their content the military-political dependence of the Ottoman Empire on the German one.
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Etty, John. "The Legacy of 1917 in Graphic Satire." Slavic Review 76, no. 3 (2017): 664–74. http://dx.doi.org/10.1017/slr.2017.174.
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This essay explores political cartoons published in various journals in 1917, and investigates the legacy of that year's graphic satire. As many previous works have noted, the revolutions of 1917 brought struggles for the meaning of signs, and in political cartoons there were marked changes in subject matter and visual vocabulary. While previous studies have interpreted these developments as illustrations of political revolution, this essay, which is based on original research, will argue that the fundamental shift that began in 1917 was towards a kind of visual satirical discourse that possessed performative power. Proposing a new conceptual framework for analysis based on theories of performativity, the theoretical contribution of this essay will be to show how graphic satire reveals the performative force of cartoons, by arguing that Soviet graphic satire's aesthetic invites readers’ critical engagement with contemporary discourses, a vision that derives from the political cartoons of 1917.
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Virág, Ágnes. "Multimodal conceptual patterns of Hungary in political cartoons." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 222–53. http://dx.doi.org/10.1075/cogls.00055.vir.
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Abstract Conventionalized positive images of Hungary have been overemphasized in political caricatures ever since the nineteenth century (Tamás 2012, 2014). The present article explores the multimodal representations of hungary in cartoons in the period between 1989 and 1990, during which negative images of Hungary became prominent due to the weak financial situation of the country and the political system change. The corpus involves seventy-five cartoons from the satirical magazine Ludas Matyi. Two major claims are justified by adopting Paula Pérez-Sobrino’s (2017) multimodal identification procedure: (1) the interpretation of verbal elements (e.g., labels, verbal texts, and verbal symbols) in political cartoons influences the identification of multimodal conceptual patterns; (2) the dominant patterns that structure the representation of hungary in political cartoons are metonymy-based visual and multimodal metaphors, and both of them occur in metaphorical scenarios. The corpus analysis indicates that the two main target frames, financial crisis and political changes, appear through the sources of human body and object in metaphorical scenarios, such as ordinary scenes, motion, hospital, sport, tale, love, feast, stunt, begging, and church scenes. Apart from identifying the representations of Hungary, visual metonymies as well as textual cues need to be revealed in order to understand what metaphtonymy scenarios are intended in the cartoons.
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Glazier, Rebecca A. "Satire and Efficacy in the Political Science Classroom." PS: Political Science & Politics 47, no. 04 (October 2014): 867–72. http://dx.doi.org/10.1017/s104909651400119x.
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ABSTRACTPolitical satire has become increasingly prominent in recent years, leading some political science instructors to use satire in their courses. Yet, recent work suggests that political satire may encourage cynicism and decrease political efficacy. In this article, the author develops and tests an approach to teaching effectively with satire. Frequent use, source diversity, and critical evaluation engage students while allaying satire’s potential detrimental effects. The author evaluates this pedagogical approach through a classroom experiment using both in-person and online classes (student N = 163). Qualitative and quantitative data offer suggestive evidence that refutes the warning that satire fundamentally depresses political efficacy and indicates that students enjoy satire and endorse its use. By deliberately using diverse satirical sources, instructors can maximize the benefits of satire while minimizing potential drawbacks. For interested instructors, the author’s website contains a searchable catalog of satirical articles, video clips, and cartoons that can be used to teach specific political science concepts.
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Portnoy, Edward. "Mocking the Masters and Creating a Nation: The Yiddish Satirical Press in Late Imperial Russia." Experiment 19, no. 1 (2013): 117–48. http://dx.doi.org/10.1163/2211730x-12341244.
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Abstract This article considers the growth and development of Yiddish satire journals as a publishing phenomenon in the wake of the 1905 revolution, particularly in consideration of the unusual nature of the legal, political, and social positions of Jews in the Empire. Also considered is the proliferation of cartoons and their visual critiques of Jewish life.
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Polli, Chiara, and Carlo Berti. "Framing right-wing populist satire: The case-study of Ghisberto’s cartoons in Italy." Punctum. International Journal of Semiotics 06, no. 02 (March 1, 2021): 29–55. http://dx.doi.org/10.18680/hss.2020.0020.
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Abstract Over the last few years, right-wing populism has increased its popularity and political weight, successfully merging with Euro-scepticism, nationalism, xenophobia, religious symbolism, and aggressive forms of conservatism (e.g., anti-feminism, homophobia, and, in general, patriarchal politics). Several studies have focused on the communication strategies of contemporary populism, examining the latter’s use of traditional and new media. So far, however, little attention has been paid to the role and language of right-wing populist satire. Our study draws on the ideational approach to populism to explore how right-wing populism is expressed in satirical cartoons. This approach perceives populism as a thin-centered ideology, based on a Manichean division between ‘good people’ and ‘evil elites,’ which regularly combines with other ideological components (e.g., nationalism, Euroscepticism, xenophobia). Our analysis focuses on the Italian cartoonist Ghisberto, known for his provocative and frequently controversial work. We examine a sample of Ghisberto’s vignettes using multimodal analysis tools and Greimas’s notion of isotopy. The aim is to investigate how right-wing populist satire constructs its different targets (the EU, left-wingers, migrants, NGOs, women, etc.) and how populist ideology exploits cartoons’ communicative resources and power.
10
Olesen, Thomas. "Contentious Cartoons: Elite and Media-Driven Mobilization." Mobilization: An International Quarterly 12, no. 1 (February 1, 2007): 37–52. http://dx.doi.org/10.17813/maiq.12.1.k10w8k727g445gx1.
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This article analyzes the so-called Muhammad cartoons conflict that started on September 30, 2005, when a Danish newspaper, Jyllands-Posten, published twelve satirical cartoons of the prophet Muhammad. I examine how the conflict moved from the national level of Denmark to become a full-blown instance of transnational contention. The guiding argument of the article is that institutional elites and media were the prime movers in the transnational escalation of the conflict. Institutional actors, mainly the Egyptian government and the Organization of Islamic Conferences, were active from the beginning as brokers. These actors spent months preparing the ground before the conflict escalated in late January and early February 2005. Their efforts were partly supported by certification from key international institutions. The evidence also suggests that transnational news channels in the Arab and Muslim world, Al-Jazeera and Al-Arabiya, and to a lesser degree, national media, played a significant part as diffusers and brokers in the escalation.
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Iskandar, Iskandar. "Metafora dalam Kartun Bertema Korupsi Karya G.M. Sudharta." INVENSI 3, no. 1 (July 18, 2018): 15–22. http://dx.doi.org/10.24821/invensi.v3i1.2103.
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Kartun merupakan salah satu bentuk dialektika tanda dalam kategori bahasa verbal
dan nonverbal, yang membuat dirinya unik adalah karena karakternya yang
menyimpang, lucu, bersifat satir atau menyindir, baik terhadap orang atau
tindakannya. Sebagai salah satu bahasa politik, kartun telah menjadi instrumen
pokok untuk menceritakan realitas, segala tindakan dalam kartun merupakan studi
tentang tanda. Penelitian ini bertujuan untuk mengetahui metafora yang digunakan
dalam kartun bertema korupsi. Metodologi penelitian yang digunakan adalah
metodologi kualitatif, dengan pendekatan deskriptif, yaitu dimana data yang
dikumpulkan adalah karya visual kartun G.M. Sudharta yang dibuat tahun 2012
untuk koran Kompas, dan yang dipublikasikan pada media sosial Facebook-nya.
Hasil penelitian ini menunjukkan bahwa terdapatnya metafora yang sangat dominan
dan beragam dalam kartun bertema korupsi yang menandakan terdapatnya proses
yang kritis dalam memandang budaya komunikasi. Setiap kartunis menciptakan
tokoh kartun fiktif sebagai identitas yang mewakili dirinya untuk menyampaikan
opini, kritik, dan olok-olok terhadap sesuatu yang sedang berlaku dalam realitas
sehari-hari. Selain itu, setiap kartunis memiliki keunikan dalam menyampaikan
pesan, hal tersebut merupakan gaya yang dipengaruhi oleh latar belakangnya
masing-masing.
Cartoon is a form of dialectic sign in the category of verbal and nonverbal
language, which makes it unique is that deviant character, humorous, satirical or
sarcatic, either against the person or his actions. As one of the political languages,
cartoons have become a staple instrument to communicate the reality, every action
in cartoon are the study of signs. This study aims to determine the metaphor used in
cartoons with the theme of corruption. The research methodology used is qualitative
methodology, with descriptive approach, that is where the data collected is a visual
work of cartoon G.M. Sudarta made in 2012 for Kompas newspaper, and published
on social media Facebook. The results of this study indicate that there is a very
dominant and varied metaphor in a corruption-themed cartoon that signifies the
existence of a critical process in viewing the culture of communication. Each
cartoonist creates a fictitious cartoon character as an identity representing
him/herself to convey opinions, criticisms, and banter towards something that is
prevailing in the everyday reality. In addition, each cartoonist is unique in
conveying the message, it is a style influenced by their background.
12
Stewart, Ronald. "Post 3-11 Japanese Political Cartooning with a Satirical Bite: Non-Newspaper Cartoons and Their Potential." Kritika Kultura, no. 26 (April 12, 2016): 179–221. http://dx.doi.org/10.13185//kk2016.02611.
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Frisch, Robin. "“Fraudonomics”: Cartooning against Structural Adjustment in Togo." International Review of Social History 66, S29 (March 10, 2021): 139–60. http://dx.doi.org/10.1017/s0020859021000171.
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AbstractThis article offers a sensitive reading of oppositional political cartoons in Togo in the early 1990s, during the period of structural adjustment, which was accompanied by the swift reversal of democratizing trends and the restoration of authoritarian rule. Togolese satirists perceived this moment as a moment of “fraudonomics”, thus contesting rampant corruption and clientelism in politics. They poked fun at the president, local politicians, businesspeople, and bureaucrats of the international institutions. The article begins by examining the making of satirical newspapers with a focus on the biographies of the satirists. As students, they started out on the adventure of publication with their own money and learned most of their drawing and printing techniques as work progressed. Secondly, an analysis of the readership shows that, although the satirical newspapers were a crucial element of the media in the early 1990s, it was mostly an elitist and urban phenomenon. The third section analyses the changing visual repertoire of contention through in-depth analysis of four selected caricatures.
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Ryabova, Galina Nikolaevna. "Humour and satire in everyday life in 1920s Soviet society." European Journal of Humour Research 9, no. 1 (April 3, 2021): 136–54. http://dx.doi.org/10.7592/ejhr2021.9.1.ryabova.
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In the Soviet society of the 1920s, humour and satire existed on two levels: official and unofficial. They have rather diverse forms. At the official level, there were, first of all, satirical articles, humoresques, and cartoons in the newspapers. Newspapers were an integral part of Soviet everyday life. Secondly, there were the performances of propaganda teams (the «Blue Blouse» in particular). These performances took place at any venues: in working clubs and village halls, on the factory floors, in different offices. The repertoire of propaganda teams always included satirical couplets directed against «internal and external enemies». At the unofficial level, there were witty-ditties, funny couplets, and anecdotes. They have various contents: from everyday and romantic issues to political problems. Therefore, at this level humour and satire expressed a critical attitude to the government and popular protest. At each level, humour and satire had their own goals and fulfilled various functions: from ideological to relaxational.
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Kozlov, A. E. "Satirical Weekly “Iskra”: Post-Folklore, Post-Irony and Post-Modern." Vestnik NSU. Series: History and Philology 20, no. 6 (August 11, 2021): 19–34. http://dx.doi.org/10.25205/1818-7919-2021-20-6-19-34.
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Purpose. The reputation of the satirical weekly Iskra is traditionally determined by the political context of the Russian Empire in 1860s. Despite the fact that in the first years of its existence, the publication attracted writers of various fractions, views, and convictions, Iskra was perceived as a radical magazine, “…another department of Sovremennik”. Moreover, Iskra’s defamations and attacks against provincial and capital officials, and writers have become an inte gral part of the everyday life of the 1860s. Individual articles and whole issues have been banned and censored, though this policy only promoted and strengthened the reputation of weekly. Later, reflecting the importance of the magazine, the Soviet literary criticism established a typological relationship between Iskra by Kurochkines brothers and the left-wing newspaper of the same name published by V. I. Lenin at the beginning of the 20th century. This article attempts to reinterpret Iskra, implying a “weakening” of the sociological and political aspects of interpretation in favor of the aesthetic ones.Results. The article put forward a hypothesis that publications such as Charivari, Punch, and Iskra can be considered from perspective of modern discursive practices: post-folklore (the phenomenon of variable text and multiple authorship), post-modernity (discrediting the classical heritage or its carnival rethinking) and post-irony (deconstruction of modern leaders of opinion, self-exposure). Based on the study of prosaic and poetic parodies and satire, graphic texts - cartoons and serials (comics), the author analyzes the specificity of the construction and presentation of Russian reality as an anti-world. The article contains fragments of prose and poetic feuilletons by D. D. Minaev, V. P. Burenin, and M. Stopanovsky, many of which are published for the first time.Conclusion. Iskra as a product of the polemical journalism of the Russian Empire in 1860s displayedan experience of a new aesthetics (a kind of anti-aesthetics), synthesizing schoolchildren (cartoons) and decadent subcultures (Baudelaire translations). Apparently, the 8000 subscribers included not only a radical and democratic reader but also a general audience, equally tired of the official tone of government periodicals and the moralizing of the progressive camp. Demonstrating Russian life as the so-called ‘antiworld’, Iskra proposed a version of “carnival liberation”, which was probably reflected in the poetics of many contemporaries: M. E. Saltykov-Shchedrin, N. S. Leskov, F. M. Dostoevsky. In this regard, the issue of post-folklore, post-modernism, post-truth, and post-irony on the pages of Iskra rather remained unresolved. However, the change in perspective, it seems to us, enables reinterpretation of the previously collected data, allowing us to give a new interpretation.
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Schritt, Jannik. "The “Protests against Charlie Hebdo” in Niger: A Background Analysis." Africa Spectrum 50, no. 1 (April 2015): 49–64. http://dx.doi.org/10.1177/000203971505000104.
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In many Muslim countries in West Africa and beyond, “protests against Charlie Hebdo” occurred when citizens went out on the streets following Friday prayers on 16 January 2015. However, only in Niger did these protests turn extremely violent. This report analyses the social, political and religious workings behind the protests in Niger. In doing so, it shows that the so-called “protests against Charlie Hebdo” are only superficially linked to the Muhammad cartoons by the French satirical magazine. Similarly violent protests have occurred in Niger – often in the town of Zinder – for quite different reasons and on different occasions in recent years. The report therefore argues against simplistic notions of religious fundamentalism and shows that the protests can be explained more appropriately in terms of politics and socio-economic exclusion.
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Hryshchenko, Kateryna. "Caricatures in russian publicism of the second half of the 19th century: by the materials of N. B. Gersevanov." Universum Historiae et Archeologiae 2, no. 2 (October 12, 2020): 197. http://dx.doi.org/10.15421/26190214.
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The aim of the study was the desire to determine the place of the visual artistic and satirical component in the creative heritage of N. B. Gersevanov and the consideration of the caricature as a genre of journalism and a historical source in public opinion research of the 1850–1860s. Historiography. The history of the caricature was mainly of interest to art critics and artists. The sociocultural and political context of their appearance was considered, but in passing. The question of the place of caricature in the work of N. B. Gersevanov is raised for the first time. Sources. The set of sources was formed according to the principle of informational correspondence to the goal and consists of newspaper articles – reviews by N. B. Gersevanov on military cartoons and an album of cartoons “The Adventures of the Novgorod resident Fedora Ivanovna”, published under the pseudonym “Durov”. The materials involved cover 1858–1860. both the critic and the creator of this genre convincingly demonstrate the place of caricature in journalism of N. B. Gersevanov. Using the methods of historiographic and source analysis and synthesis allowed us to identify the state of development of the issue in the historical literature and realize the goal. The main result was the identification of thematic variability of the cartoons of N. B. Gersevanov and the reactions of representatives of the military community to them. Based on the content analysis, the contents of the caricature album “Adventures of the Novgorod resident Fedora Ivanovna” were investigated. The texts and the cartoons published by Gersevanov were a reaction to harsh criticism by the public of the Russian army and military after the defeat of the Russian Empire in the Crimean War of 1853–1856. Since 1812, wars have become a powerful impetus for development for the Russian caricature tradition. The humorous genre was not inherent in the work of Gersevanov, moreover, he considered it dangerous for military discipline. Thus, the appeal to the caricature of the socio-political and literary issues was a kind of experiment for the author. Despite economic success, the final goal was not achieved, the vices were not overcome. Gersevanov became convinced of the futility of ridiculing as a method of education, therefore, he did not turn to the humorous genre anymore. The conclusion is that the hermeneutic analysis of the texts and the contexts of their appearance allowed us to significantly expand our understanding of the multifaceted activities of such a little-explored personality as N. B. Gersevanov and to reveal the informational potential of the cartoon as a historical source. The type of article: analytical.
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Salisu Ogbo, Usman, and MomohTairu Nuhu. "Satire as Tool of Political Cartoons in the Nigerian National Dailies: A Critical Discourse Analysis." European Scientific Journal, ESJ 12, no. 29 (October 31, 2016): 124. http://dx.doi.org/10.19044/esj.2016.v12n29p124.
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This work is an analysis of the use of satire as a form of imagery to depict some political issues in cartoons as featured in the Nigerian national dailies. Survey method of research design was adopted as a means of sampling copies of national dailies from which political cartoons were selected, while Critical Discourse Analysis (CDA) was adopted for the analysis of data gathered. Findings reveal images of corruption, official responsibility, political failure and brutality/cruelty/suffering as the dominant concerns of the cartoons featured by the papers. While the corrupt postures of those who have links with the past government are dominant in the image of corruption portrayed, both those in and out of government are subjected to some satiric expose in respect of official responsibility, failure in politics and brutality/cruelty/suffering. At the end, it is recommended, among others, that more searchlight should be focused on the corrupt tendency of those still in power, and that more research efforts be devoted to the use of political cartoons to encourage citizen participation in national discourse.
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Nicholls, Christine. "Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch of the Coronavirus." Text Matters, no. 10 (November 24, 2020): 274–318. http://dx.doi.org/10.18778/2083-2931.10.17.
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From the onset of the indefinite deferral of our previously taken-for-granted lives, an abundance of humorous online cartoons, jokes, memes, videos and other satirical material relating to the COVID-19 outbreak—and its consequences—has emerged. Humorous responses to this dire global pandemic proliferate irrespective of location, nationality, ethnicity, age, gender and/or socio-political affiliations. Against a background of enforced lockdowns, quarantine, and sometimes gross political ineptitude, with a mounting daily global death toll, humour referencing this scourge continues to blossom. This may seem counterintuitive or inappropriate at a time of heightened anxiety and fear apropos of an invisible killer-virus, known only in diagrammatic—and, ironically, aesthetically pleasing—visual form. Online humour evoking the COVID-19 crisis is expressed recursively via intertextuality referencing literary, visual, written, oral or other “texts.” Interpictoriality is evident with memes that reconfigure renowned visual artworks. The internet enables copious discourse related to the COVID-19 eruption/disruption.
Embedded in this article are examples to support the article’s theoretical basis, with intertextuality its major focus. Discussion follows, with speculation as to why humour, absurdity and wit are able to prosper in an environment of radical uncertainty and why joking about our parlous global predicament acts as a vital coping mechanism.
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Nataliya Andreevna, Kuzina. "Reflection of social and political conflicts in cartoon on the example of the Barcelona satirical press of the 60-70s of the XIX century." Latin-American Historical Almanac 29 (March 26, 2021): 147–64. http://dx.doi.org/10.32608/2305-8773-2021-29-1-147-164.
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This article is dedicated to the Catalan caricature of the mid-19th century. The thematic field is being investigated to which artists have been addressing for 20 years. After all, political, social and cultural shifts within Spanish society are reflected in the cartoons of the Barcelona press, for example, El Pájaro verde, El Pájaro azul, El Diablo suelto, La Flaca, La Madeja, La Campana de Gràcia, La Esquella de la Torratxa. The work identifies three periods: 1) from the 1860s to 1868, 2) The six democratic or revolutionary years, 3) the first years after the Restoration. 1860-1868 is the period when caricature was born and developed in Catalonia. It was in the 1860s that such great illustrators as Tomas Padro and José Luis Paleser emerged. In the Catalan satirical press, the period of The six democratic years was a time of creative upsurge and development of the genre of caricature, when artists could openly denounce the authorities and honestly talk about problems.
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Ogazie, Charles. "Editorial Cartoons as Mirror of the Nigerian Nation: The Example of New Telegraph." International Journal of Language and Literary Studies 2, no. 2 (June 9, 2020): 220–30. http://dx.doi.org/10.36892/ijlls.v2i2.259.
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It is very obvious that newspapers do not just report news, make known governmental policies or educate people on the happenings in societies among other things (Ogazie 2012). It however, serves as a watch dog in society. As the press beams its search light on the activities of government through its reportage, the public is made to participate in the process of governance and at the same time, aligns the governed to come to terms with the state of the nation. In a pluralistic nation like Nigeria where the heterogeneous populace is exposed to diverse media content, senders of information, especially those of the print media, convey socio-political, economic, educational coupled with religious messages in a unique, blunt, creative but satirical manner without naming names. This paper asserts that this unique function is best left at the door step of the editorial cartoonists who through their metaphorical codification sketches, drawings or impressions, tell a verisimilitude tale of the state of the nation. Through content analysis of selected cartoons in New Telegraph Newspaper, the paper concludes that editorial cartoons can be seen as a viable and powerful reflective medium via which national issues are raised in an imaginary court for public debate and as such erect a positive signpost towards reconstructing, developing and sustaining the polity for the betterment of all.
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Blazina, David, Erin Willoughby, and Robin Fretwell Wilson. "Reviews in Medical Ethics." Journal of Law, Medicine & Ethics 34, no. 4 (2006): 821–25. http://dx.doi.org/10.1111/j.1748-720x.2006.00103.x.
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In his deliciously funny book, Medicare Meets Mephistopheles, Professor David Hyman argues that Medicare corrupts our most base impulses. It urges us, for example, to grab for more than our fair share of benefits while offering providers “the prospect of staggering amounts of money – even as…actuaries were promising Congress that the Medicare program would be easily affordable.” Modeled on C.S. Lewis’ The Screwtape Letters, Professor Hyman's satirical examination of Medicare takes the form of a memo to Satan from an underling demon in the Department of Illness and Satanic Services (DISS), reporting on the success of Satan's diabolical plot to corrupt humanity. Sprinkled with political cartoons, absurd (but true) stories of Medicare's over-the-top fraud enforcement efforts, and a historical account of Medicare's genesis (replete with Congressmen and strippers), Medicare Meets Mephistopheles gives us a well-researched and easy-to-read primer on the biggest pot of gold in medicine.
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Thompson, Elizabeth. "PALMIRA BRUMMETT, Image and Imperialism in the Ottoman Revolutionary Press, 1908–1911 (Albany: State University of New York Press, 2000). Pp. 489. $86.50 cloth, $29.95 paper." International Journal of Middle East Studies 34, no. 1 (February 2002): 146–48. http://dx.doi.org/10.1017/s0020743802291060.
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The reader plunges into the whirlwind of revolution in this study of the satirical press that circulated after the Young Turks reinstated the Ottoman constitution in 1908. The brave new world depicted in the more than one hundred cartoons reprinted in this work is headed in unknown and often paradoxical directions: we see starving peasants confront fur-coated revolutionaries; dragon-headed despots leading Lady Liberty by the arm; cadaverous cholera victims patrolling the streets; and a woman steering an airplane above the revolutionary city of the future. The 1908 revolution will never look quite the same to readers familiar with the (still scant) treatment of the subject in the English language. Palmira Brummett addresses her innovative study not only to revisionist historians of the late Ottoman period, but also to a wider community of scholars interested in the history of publishing and the construction of identity in the Middle East, Europe, and elsewhere.
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Albinus, Lars. "Når værk bliver til vold." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 102–27. http://dx.doi.org/10.7146/kok.v36i105.22041.
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When Work is Violence:Drawing on examples as divergent as current Muslim responses to the Danish cartoons and German terrorism in the 70s, this article aims to show how a closed alliance between art, politics and religion carries the risk of inducing violence which, among other things, annuls the function of art as being inherently ambiguous.It is argued that the function of art in Islam is bound up with the inviolable authority of the prophet and is therefore basically unable to fulfil satiric purposes. Although satire and laughter were also confined to unofficial activities under the Roman Church in medieval times, it is claimed, along the lines of Bakhtin, that a ‘culture of laughter’ actually did survive in the European history of art and paved the way for the appreciation of the potential of satirical critique. Following Benjamin, it is further claimed that the post-auratic function of art joined up with the revolutionary hope for a new aesthetics of life contrary to the fragmentary world of urban capitalism. Finally, as its major case, the article discusses the sliding of aesthetic provocation into political activism in 70s Germany resulting in Urban terrorism. In this case, the function of art once again falls back into a totalitarian critique which merely acknowledges a singular picture of the world. In conclusion, it is pointed out that aesthetic expressions are only imbued with an anti-violent vitality due to a non-condemning, ambiguous openness.
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Chedoluma, Illia. "Images and Representations of the Rudnytskyi Family: The Case of Ukrainians in Galicia Between the Wars." Scripta Judaica Cracoviensia 18 (2021): 49–66. http://dx.doi.org/10.4467/20843925sj.20.004.13872.
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Caricature journals in the interwar period had a special genre niche, giving the masses, through funny cartoons, a simplified understanding of internal and external political processes. Zyz and Komar were the largest Ukrainian satirical humor journals in interwar Galicia. They mainly covered the internal political life in the Second Polish Republic and international relationships. These journals are primarily intended for people from the countryside, and the editors and owners of these journals used anti-Semitism for the political mobilization of the rural population. I use elements of Serge Moscovici’s theory of social representations to track these processes. A key aspect here is how the image of the Rudnytskyi family was shaped on the pages of these journals. The family was of mixed Ukrainian-Jewish origins, and its members became prominent figures in various spheres of Ukrainian social and political life in interwar Galician Ukrainian society (in politics, literature, music, and the women’s movement). The behavior of the Rudnytskyi family was explained to the readers through their Jewish origins. Zyz and Komar both created an image of the Rudnytskyis as an integral Jewish group occupying different spheres of Ukrainian life. The study of visual caricature images thus enables us to explore the channels of the formation and spread of anti-Semitic images of Jews and the use of the image of “the Jew” in the Galician Ukrainian society in interwar Poland.
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Mortensen, Mette. "Constructing, confirming, and contesting icons: the Alan Kurdi imagery appropriated by #humanitywashedashore, Ai Weiwei, and Charlie Hebdo." Media, Culture & Society 39, no. 8 (August 25, 2017): 1142–61. http://dx.doi.org/10.1177/0163443717725572.
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This article argues that appropriations are central to the production and reception of visual icons: appropriations are instrumental in iconization processes as they confirm and consolidate the iconic status by recycling the image in question. Moreover, appropriations are vital to their reception as they help shape and delimit the publics and discourses surrounding visual icons. This article draws on existing research on icons and appropriations to develop a theoretical framework for how appropriations construct, confirm, and contest icons and how personification constitutes the main link between icons and their appropriations. Three sets of appropriations are analyzed of the iconic imagery of Alan Kurdi, the refugee boy drowning in the Mediterranean Sea in 2015. First, the numerous appropriations circulated under the Twitter hashtag #humanitywashedashore. Based on genre analysis of these appropriations, two overall modes are singled out: the appropriations decontextualize or recontextualize the figure of Kurdi. The two next analytical cases test the limits of decontextualization and recontextualization: Chinese artist Ai Weiwei decontextualizes the Kurdi imagery in a controversial reenactment, while a series of cartoons by French satirical weekly Charlie Hebdo inserted the photo into contested contexts to critique why and how this imagery was turned into an icon.
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Siddique, Salma. "Nigar Hai Toh Industry Hai: Notes on the Morale and Mortality of Pakistani Film." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 187–206. http://dx.doi.org/10.1177/09749276211006935.
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Combining archival and ethnographic fieldwork, this piece reflects on the scope of film publicity through the author’s conversations with the proprietor-editor of the oldest film magazine in Pakistan, The Nigar Weekly. Offering a larger view from post-colonial Karachi of political and national transitions, Nigar’s brand of film commentary in the 1950s and 60s, reveled in connecting and cohabiting the multiple film centers in South Asia: Karachi, Lahore, Dhaka and Bombay. Foregrounding the muhajir background of its founders and its self-styled relationship with the film industry, the piece draws attention to a distinctive characteristic of the publication: its satirical visual content. The magazine while borrowing select content from a Bombay film magazine in its early years, vividly commented on issues such as film trade with India, censorship and public morality in Pakistan, cross-border film intimacies, film exhibition practices, and local production strategies. The cartoons, while directly connected to the written content, could also exaggerate and provoke as can be expected of visual satire. And it is in this less restrained feature of Nigar that a cautionary critique and a calculated celebration of the Pakistani cinema emerges.
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Durand, André. "The Geneva Conference of August 1864 as seen by the Geneva press." International Review of the Red Cross 29, no. 271 (August 1989): 282–305. http://dx.doi.org/10.1017/s0020860400074490.
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The Geneva Conference of August 1864 was held behind closed doors. A drawing published in the satirical paper the Carillon de Saint-Gervais is indicative of the reaction of journalists to this decision. It depicts three characters, symbolizing three Geneva newspapers, the Journal de Genève, La Démocratic suisse and the Carillon de Saint-Gervais, locked out of the International Congress whose door bears a sign saying “no entry”. The caption translates as follows: Tribune open to the press, courtesy of the International Congress”. This was probably the first manifestation of a certain reserve which has been apparent on occasion in relations between the humanitarian agencies and the media. Happily, times have changed. Nowadays, information and dissemination have become essential components of the policy of the International Committee of the Red Cross, and it may safely be assumed that a cartoonist illustrating an International Conference would now show the doors wide open.
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Fontein, Joost. "Anticipating The Tsunami: Rumours, Planning and The Arbitrary State in Zimbabwe." Africa 79, no. 3 (August 2009): 369–98. http://dx.doi.org/10.3366/e0001972009000862.
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Using ethnographic material alongside newspaper and NGO reports, this article explores popular responses to ZANU PF's devastating Operation Murambatsvina, commonly dubbed Zimbabwe's tsunami, which targeted informal markets and ‘illegal’ housing across Zimbabwe between May and August of 2005, making an estimated 700,000 people homeless and indirectly affecting a quarter of Zimbabwe's population. The article argues that central to experiences of these dramatic events ‘on the ground’ (particularly in Harare's high- and low-density suburbs of Chitungwiza and Hatfield, where most of the ethnographic material was collected) was a profound tension between the resonances evoked by official appeals to a reassertion of ‘order’ and formal planning procedures, and the spectacle of ZANU PF's public demonstration of its ability to deploy state ‘force’ ruthlessly, and indeed ‘arbitrarily’; that is, as, when and how it chose. Although the brutal execution of the programme was widely condemned by observers and victims alike, less reported has been the way in which official justifications for the operation were sometimes recognizable and salient to people living in urban areas across Zimbabwe, resonating with memories of past clearances, or with longstanding and divergent aspirations for respectability, urban ‘order’, and a functioning, bureaucratic state. It is argued that in the ambiguity and uncertainty generated by this tension the political advantages of the operation for the ruling party become most apparent. Relating the plethora of rumours circulating at the time (about the ‘hidden agendas’ behind the operation) to Mbembe's work on post-colonial conviviality, the article argues that like Mbembe's satirical cartoons these rumours did not so much undermine or subvert the authority of ZANU PF as reinforce its omnipotent presence. However, unlike the pessimism of Mbembe's vision of all encompassing power, it is argued that if the rumours that circulated about Operation Murambatsvina are an example of the constant re-making of ‘stateness’ on the margins, then the uncertain ambiguity of such rumours can not only reinforce the omnipotent presence of the ‘state power’, but also illustrate the omnipresence of its fundamental insecurity.
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Magee, H. Reginald. "Doctors in satirical prints and cartoons." Medical Journal of Australia 187, no. 11-12 (December 2007): 696–700. http://dx.doi.org/10.5694/j.1326-5377.2007.tb01485.x.
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Hardukiewicz-Chojnowska, Joanna. "Storytelling in Satirical Drawings." Anglica Wratislaviensia 58 (November 13, 2020): 21–33. http://dx.doi.org/10.19195/0301-7966.58.2.
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In 2012 Jonathan Gottshall published a book entitled The Storytelling Animal. How Stories Make Us Human, in which he claims that what distinguishes man from other animals is that people have minds that are able to create stories. Moreover, Gottshall (106) mentions an experiment conducted in the 1940s by Heider and Simmel, whose results show that “if you give people random, unpatterned information, they have a very limited ability not to weave it into a story”. While in the aforementioned experiment the stimuli that triggered stories consisted of geometric figures, in the present article attention shall be paid to satirical drawings. They will be discussed with reference to selected mechanisms derived from cognitive linguistics that are applied in satirical drawings in order to activate the stories needed to interpret the given drawing. The paper is divided into two parts, one of which includes a brief theoretical overview of storytelling, and the second containing a description of selected mechanisms, i.e. metaphors, conceptual blending, and figure and ground distinction, that trigger the story-like interpretation of cartoons. Satirical drawings will be perceived here as examples of contemporary multimodal texts whose interpretation and creation involve the application of the storytelling properties of the human brain. References to both verbal and non-verbal aspects of cartoons will demonstrate that the cognitive mechanisms discussed here exceed the boundaries of verbal language.
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Tunde, Asiru Hameed, and Shamsuddeen Bello. "A Linguistic and Literary Analyses of Selected Cartoons on the Novel COVID-19 Pandemic in Nigeria." International Journal of Semiotics and Visual Rhetoric 5, no. 1 (January 2021): 28–44. http://dx.doi.org/10.4018/ijsvr.2021010103.
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The world is currently facing a global pandemic, named COVID-19, which is seriously wreaking a devastating blow on the world healthcare system. Since the first index case was reported in Lagos, Nigeria, in February, the federal and state governments have put measures in place to curtail the spread of the virus in the country. Some of the measures include the constitution of the presidential task force (PTF), provision of isolation and treatment centres for confirmed cases, and pronouncement of lockdown order by the president and some state governors. Amidst these measures, cartoonists (artists, or authors in literary context) have taken to the media to creatively present humorous and satirical depictions of the pandemic and social realities in the fight against it. This study thus analyses the humorous and satirical depiction of the pandemic in the Nigerian context using selected cartoons. These cartoons can be classified as graphic literary texts that can be subjected to different interpretations. The cartoons/texts are selected from the Facebook pages of popular Nigerian cartoonists/authors. A total of 10 cartoons/texts were randomly selected between March and April 2020. The study adopts two models/theories in interpreting the cartoons: Suls's incongruity resolution (IR) model operationalizes linguistic tool of lexicalization, re-lexicalisation, and shared sociocultural knowledge to explicate humour and satire in the cartoons, and Structuralism, which requires human behaviour (as represented in texts or cartoons) to be understood in the context of a broad social system (otherwise called structures) in which they exist. The study observed that the cartoons are not just independent texts or images but that they are products of the Nigerian social condition. It equally revealed that the cartoonists have deployed verbal and non-verbal incongruity to present comical images that show beliefs of Nigerians about the pandemic and the level of the country's preparedness in flattening the curve of the contraction of the virus.
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Godioli, Alberto, and Ana Pedrazzini. "Falling stars and sinking ships: Framing and metaphor in cartoons about Brexit." Journal of European Studies 49, no. 3-4 (August 13, 2019): 302–23. http://dx.doi.org/10.1177/0047244119859167.
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The present study provides a systematic analysis of 119 satirical cartoons on Brexit, published by European and non-European artists between 23 May and 30 June 2016. Particular attention is paid to the cartoonists’ use of ‘metaphor scenarios’ (Musolff, 2017) and their role in framing the causes and consequences of Brexit. Our analysis yielded the following key findings: (1) Most cartoons take a generic stance against or in favour of Brexit, without directly engaging with specific arguments. (2) Several Remain and Leave cartoons engage with the same scenarios, turning them against each other through the rhetorical strategy known as trumping. (3) Personification is far more frequently used to depict the UK than the EU; this may be due to the greater difficulty of representing the EU through one single character. (4) In most Remain cartoons, metaphor scenarios point towards extreme and irreversible outcomes for the UK, thus mirroring the hyperbolic rhetoric used by Leave supporters.
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Webster, Larry, Jo-Yun Li, Yicheng Zhu, Alex Luchsinger, Anan Wan, and Mark Tatge. "Third-Person Effect, Religiosity and Support for Censorship of Satirical Religious Cartoons." Journal of Media and Religion 15, no. 4 (October 2016): 186–95. http://dx.doi.org/10.1080/15348423.2016.1248183.
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Martens, Britta. "British satirical poems and cartoons about Louis-Napoleon Bonaparte: Deconstructing authenticity and aura." Nineteenth-Century Contexts 43, no. 1 (January 1, 2021): 1–18. http://dx.doi.org/10.1080/08905495.2021.1863109.
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Norris, Stephen M. "Pliuvium’s Unholy Trinity: Russian Nationhood, Anti-Semitism, and the Public Sphere after 1905." Experiment 19, no. 1 (2013): 87–116. http://dx.doi.org/10.1163/2211730x-12341243.
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Abstract This article focuses on anti-Semitic cartoons published in the right-wing, satirical, illustrated newspaper Pliuvium, which appeared in Russia after the 1905 Revolution. The illustrated journal represented one of the new, far-right media outlets in the wake of the events of 1905 and its editors sought to redefine Russia as a traditional monarchy, home to ethnic Russians. To accomplish this aim, Pliuvium employed caricaturists who drew contrasts between Russians and Jews, turning the latter into the antithesis of the nation. Through close readings of several anti-Semitic images from the newspaper, the author seeks to reveal the broader historical forces contained within them. In the end, these cartoons help us understand the “unholy trinity” comprising the ugly side of Russian nationhood, racism in Russian imperial culture, and the emergence of far-right publics by 1905.
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John, Richard R. "Robber Barons Redux: Antimonopoly Reconsidered." Enterprise & Society 13, no. 1 (March 2012): 1–38. http://dx.doi.org/10.1017/s1467222700010910.
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The antimonopoly critique of big business that flourished in the United States during the 1880s is a neglected chapter in the history of American reform. In this essay, a revised version of Richard R. John's 2011 Business History Conference presidential address, John shows how this critique found expression in a gallery of influential cartoons that ran in the New York City–based satirical magazines Puck and Judge. Among the topics that the cartoonists featured was the manipulation of the nation's financial markets by financier Jay Gould.
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Vagapova, Firdaus G. "The Architecture of Kazan in Graphics of the Tatar Satirical Magazines “Yashen” and “Yalt-Yult”." Observatory of Culture 16, no. 3 (July 19, 2019): 290–99. http://dx.doi.org/10.25281/2072-3156-2019-16-3-290-299.
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One of the positive phenomena of modern culture is its tendency to study and preserve urban space, which is especially important for historical cities. The appeal of researchers to the study of urban landscapes, made by artists of previous eras and left for descendants to see the views of large and small cities, contributes to the process of lost monuments reconstruction. The importance of studying images of cities through visual sources is determined by the fact that cities are territories connected with lives of people, who are involved in creation of their architectural monuments. Cities are the habitat of people that reflects their daily life. The article, for the first time, explores the features of the Kazan urban art of the early 20th century reflected in graphic works of the Tatar satirical magazines “Yashen” (“Lightning”) and “Yalt-Yult” (“Sparkle”), published in the early 20th century. The drawings presented in “Yashen” and “Yalt-Yult” are illustrations to articles and feuilletons.Most of the drawings are made in the genre of cartoons, which is predetermined by the studied magazines’ subject matter. Mainly, architectural objects depicted in the cartoons of “Yashen” and “Yalt-Yult” magazines do not have an independent meaning, they are only “present” in picture’s composition in order to show an event from the city’s life more clearly. Another group of the Tatar satirical magazines’ drawings represents the images of the architectural structures that illustrate texts of advertisements. In this group’s graphics, depiction of architectural monuments is characterized by careful elaboration of details due to the reconstruction of the architectural structure’s image through visual memory. Because of the fact that at the beginning of the 20th century, the main part of the Tatar population of Kazan lived on the territory of the Old and New Tatar Slobodas, the authors of articles, feuilletons and cartoons in the magazines mainly reflected the life of those parts of the city.The research is based on the study of fundamental works and publications of Russian scientists and the analysis of the body of sources: articles and drawings from the magazines “Yashen” and “Yalt-Yult”, archival materials.
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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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Whelehan, Niall. "Revolting Peasants: Southern Italy, Ireland, and Cartoons in Comparative Perspective, 1860–1882." International Review of Social History 60, no. 1 (March 23, 2015): 1–35. http://dx.doi.org/10.1017/s0020859015000024.
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AbstractPeasants in general, and rural rebels in particular, were mercilessly ridiculed in the satirical cartoons that proliferated in European cities from the mid-nineteenth century. There was more to these images than the age-old hostility of the townspeople for the peasant, and this article comparatively explores how cartoons of southern Italian brigands and rural Irish agitators helped shape a liberal version of what was modern by identifying what was not: the revolting peasant who engaged in “unmanly” violence, lacked self-reliance, and was in thrall to Catholic clergymen. During periods of unrest, distinctions between brigands, rebels, and the rural populations as a whole were not always clear in cartoons. Comparison suggests that derogatory images of peasants from southern Italy and Ireland held local peculiarities, but they also drew from transnational stereotypes of rural poverty that circulated widely due to the rapidly expanding European publishing industry. While scholarly debates inspired by postcolonial perspectives have previously emphasized processes of othering between the West and East, between the metropole and colony, it is argued here that there is also an internal European context to these relationships based on ingrained class and gendered prejudices, and perceptions of what constituted the centre and the periphery.
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Ibaragi, Masaharu. "The Election in Political Cartoons." Annual review of sociology 1990, no. 3 (1990): 107–18. http://dx.doi.org/10.5690/kantoh.1990.107.
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Chu, Yingchi. "Political Cartoons in Contemporary China." International Journal of Interdisciplinary Cultural Studies 8, no. 1 (2014): 1–9. http://dx.doi.org/10.18848/2327-008x/cgp/v08i01/59369.
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van Sickle, Alexa. "Political Cartoons: A Dying Art?" Survival 55, no. 5 (October 2013): 171–78. http://dx.doi.org/10.1080/00396338.2013.841819.
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Seymour-Ure, Colin. "The afterlife of political cartoons." British Journalism Review 8, no. 1 (March 1997): 17–22. http://dx.doi.org/10.1177/095647489700800103.
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Bedient, Douglas, and David Moore. "Student Interpretations of Political Cartoons." Journal of Visual Verbal Languaging 5, no. 2 (January 1985): 29–35. http://dx.doi.org/10.1080/23796529.1985.11674400.
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Swain, Elizabeth. "Analysing evaluation in political cartoons." Discourse, Context & Media 1, no. 2-3 (June 2012): 82–94. http://dx.doi.org/10.1016/j.dcm.2012.09.002.
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Shaoyang, Guan. "UNIQUE METAPHORS IN POLITICAL CARTOONS." Политическая лингвистика, no. 5 (2020): 193–200. http://dx.doi.org/10.26170/pl20-05-17.
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Lucie-Smith, Edward. "The satirical eye." Index on Censorship 29, no. 6 (November 2000): 32–39. http://dx.doi.org/10.1080/03064220008536831.
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Khorsandi, Hadi. "Six satirical pieces." Index on Censorship 15, no. 9 (October 1986): 24–25. http://dx.doi.org/10.1080/03064228608534158.
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Bezanson, Mary Elizabeth. "Political cartoons as epideictic: Rhetorical analysis of two of the Charlie Hebdo political cartoons." First Amendment Studies 51, no. 1 (January 2, 2017): 1–13. http://dx.doi.org/10.1080/21689725.2017.1301264.
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