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Journal articles on the topic 'Women cartoonists'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Degand, Darnel, and Annika Tyson Grier. "‘WAIT! Isn’t cartooning supposed to be fun?!’: Little Barbara Brandon’s earliest lessons." Studies in Comics 15, no. 1 (2025): 119–45. https://doi.org/10.1386/stic_00121_1.

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This publication features a creative presentation of findings from interviews conducted with Barbara Brandon-Croft, the first African American woman to have a nationally syndicated newspaper comic strip in the United States, Where I’m Coming From (1989–2005). This article begins with an introduction to the historical contributions of women and Black American cartoonists. Afterward, it presents a detailed overview of (Barbara’s father) Brumsic Brandon, Jr.’s works as an activist, animator, cartoonist and television personality on numerous concurrent projects. Next, a similar review of Barbara B

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2

Galvan, Margaret. "Making Lesbians Visible: Recovering the Social History of the 1990s Lesbian Comics Boom." Feminist Formations 37, no. 1 (2025): 178–205. https://doi.org/10.1353/ff.2025.a962235.

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Abstract: In the early 1990s, young feminists and queer individuals embraced zines, a DIY self-publishing format with no editorial rules or restrictions, building epistolary networks which spread the word about the riot grrrl and queercore subcultures and formed them into internationally known movements. Paralleling but also independent of these movements, lesbian and bisexual women cartoonists also formed a tight-knit community through zines, expanding their publishing opportunities and facilitating an unprecedented but little-remembered boom in lesbian comics publishing. This article traces

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Samson, Andrea C., and Oswald Huber. "The interaction of cartoonist's gender and formal features of cartoons." Humor – International Journal of Humor Research 20, no. 1 (2007): 1–25. http://dx.doi.org/10.1515/humor.2007.001.

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AbstractThe present study investigates gender differences in the use of formal features of cartoons, like the amount of text, the number of panels, or the application of color. For the analysis, 300 cartoons (150 each by female and male cartoonists) were selected randomly from the works of 1519 cartoonists. Twenty-one formal features were analyzed. On average, female cartoonists use more text, include text more frequently, and also draw more panels. These differences were expected, because Differential Psychology has shown for a long time in a variety of cultures that, on average, women tend t

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4

Nasser, Aisha K. "A generation of resistance." International Journal of Cultural Studies 20, no. 4 (2016): 377–94. http://dx.doi.org/10.1177/1367877916629731.

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Over the last few years in Egypt, female cartoonists have ventured into the traditionally male-dominated arena of political cartoons. For the first time, a group of female cartoonists has emerged, and is expressing its opinions about global, local, and female-related issues. This article discusses the works of young Egyptian female cartoonists and some of the initiatives in which they have participated. I explore their works as sites of resistance that challenge the power hierarchies within the patriarchal structure in post-revolution era Egypt. I use Karl Mannheim’s concept of generation styl

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Tamás, Ágnes. "Caricatures as propaganda weapons during the First World War." European Journal of Humour Research 12, no. 2 (2024): 18–35. http://dx.doi.org/10.7592/ejhr.2024.12.2.869.

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This study examines a specific segment of visual propaganda from the First World War, the caricatures of comic papers (German: Kladderadatsch; Austrian: Figaro, Kikieriki, Wiener Caricaturen and Die Muskete; Hungarian: Borsszem Jankó and Mátyás Diák). It focuses on the visual tools used by cartoonists to depict the enemy, how they employed visual propaganda, and whether this met the criteria of effective propaganda. By way of comparison, it also briefly discusses some elements of the self-image. The symbols of the First World War cartoons still closely followed 19th century trends: cartoonists

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Cunnally, John. "Before the Babe and After: Counting Women Cartoonists in the Underground Comix." Source: Notes in the History of Art 40, no. 1 (2020): 44–54. http://dx.doi.org/10.1086/711343.

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Miller, Rachel R. "Drawn to Purpose: American Women Illustrators and Cartoonists by Martha H. Kennedy." Inks: The Journal of the Comics Studies Society 3, no. 2 (2019): 221–23. http://dx.doi.org/10.1353/ink.2019.0021.

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8

Masinde, Moses Wanyama, Masibo Lumala, and Jared Obuya. "How Journalists and Civil Society View Gender Portrayal in Editorial Cartoons in Kenya’s Daily Nation and Standard Newspapers." Journal of Linguistics, Literary and Communication Studies 1, no. 2 (2022): 1–7. http://dx.doi.org/10.58721/jltcs.v1i2.73.

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Diverse views by scholars, policy makers as well as readers of newspapers and magazines, point to one critical issue that the media have of late become conduits for gender stereotyping not only in Kenya but the world over. This fact has been affirmed by public uproar against specific media houses in recent years after publishing cartoons that appeared offensive to sections of society. In some cases, such protests and reactions were very violent and claimed lives besides causing the destruction of property. Hinged on the Agenda setting theory, this paper refers to Kenya’s Daily Nation and Stand

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9

Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.

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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salv

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Schmidt, Bonnie Reilly. "“The Greatest Man-Catcher of All”: The First Female Mounties, the Media, and the Royal Canadian Mounted Police1." Journal of the Canadian Historical Association 22, no. 1 (2012): 201–43. http://dx.doi.org/10.7202/1008962ar.

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The arrival of the first female Royal Canadian Mounted Police (RCMP) officers disrupted the highly masculinized image of a police force that was closely connected to ideal Canadian manhood and the formation of the nation. The absence of women from the historical record allowed the figure of the manly and heroic male Mountie to continue its dominance in official, academic, and popular histories of the police force. Both the print and broadcast media were complicit in disseminating these representations. When the first female Mounties were hired in 1974, editorial cartoonists and journalists fre

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11

Rodrigo Villena, Isabel. "El arquetipo de mujer pintora en la prensa gráfica española: El caso de Blanco y Negro (1891-1936)." Imafronte, no. 30 (June 7, 2023): 149–67. http://dx.doi.org/10.6018/imafronte.507581.

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The representation of women artists in the Spanish graphic press in the first third of the 20th century is a field of research that has hardly been approached, which has undoubted value for its contribution to the analysis of the reception of plastic artists in the period in which women began to make their way into the art system. This work analyzes the construction and meanings behind the archetype of the female painter in the particular case of the magazine Blanco y Negro (1891-1936), which was a pioneer in the modernization of the illustrated press in Spain as well as emblematic for its cov

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Dozier, Ayanna. "Wayward Travels." Feminist Media Histories 4, no. 3 (2018): 12–29. http://dx.doi.org/10.1525/fmh.2018.4.3.12.

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Golden Age cartoonist Jackie Ormes created dramatic narratives in her comic strip Torchy in Heartbeats (Pittsburgh Courier, 1950–54) that were unique, in that they were created by a Black woman cartoonist for Black women readers. Ormes skillfully manipulated the typical strip's narrative structure to creatively depict a single Black woman freely traveling the world in the era of Jim Crow. This essay examines two specific Torchy in Heartbeats strips from 1951–52 to reveal how Ormes worked within the then-dominant framework of respectability politics—not to challenge it, but to present a Black w

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Caswell, Lucy Shelton. "Edwina Dumm: Pioneer Woman Editorial Cartoonist, 1915 - 1917." Journalism History 15, no. 1 (1988): 2–7. http://dx.doi.org/10.1080/00947679.1988.12066657.

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Mackinlay, Elizabeth. "“I Am Woman Hear Me Draw”." Departures in Critical Qualitative Research 6, no. 2 (2017): 25–47. http://dx.doi.org/10.1525/dcqr.2017.6.2.25.

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“I am woman hear me draw,” wrote Australian feminist cartoonist Judy Horacek in 2002, whose work draws attention to the capacity of cartoons to de/story masculinist versions of the world. Taking a critical autoethnographic approach, a series of black-and-white line drawings are explored in this paper as the kind of l'ecriture feminine (feminine writing) work that Hélène Cixous speaks of—writing that aims to release the subject away from the stagnant confines of phallocentric thought to create new forms of feminist post-academic writing.

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Edward Brunner. "Jackie Ormes: The First African American Woman Cartoonist (review)." American Periodicals: A Journal of History, Criticism, and Bibliography 19, no. 1 (2009): 102–4. http://dx.doi.org/10.1353/amp.0.0022.

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Jenkins, Earnestine. "Jackie Ormes: The First African American Woman Cartoonist (review)." American Studies 50, no. 1 (2009): 218–19. http://dx.doi.org/10.1353/ams.2011.0007.

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E. Frances White. "Jackie Ormes: The First African American Woman Cartoonist (review)." Biography 32, no. 3 (2009): 548–50. http://dx.doi.org/10.1353/bio.0.0111.

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Díaz Cano, Coral Anaid. "Splitting Selves: Crip Time and the Temporalities of Disability in Georgia Webber’s Dumb: Living Without a Voice." Canada and Beyond: A Journal of Canadian Literary and Cultural Studies 11 (October 21, 2022): 9–30. http://dx.doi.org/10.14201/candb.v11i9-30.

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In the graphic narrative Dumb: Living Without a Voice (2018), Canadian cartoonist Georgia Webber explores her acquired physical disability after a severe vocal injury leaves her voiceless. As a talkative, social young woman working as a café server, Georgia’s life is interrupted when she is forced to adapt herself to a different way of navigating the world. Previous scholarly work has analyzed Dumb to articulate a connection between comics theory and disability rhetoric (Dolmage and Jacobs 2016) and explored its fruitful linkage between voice/voicelessness and identity (Venkatesan and Dastidar

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Robbins, Trina, and Jennifer K. Stuller. "Focus on Trina Robbins." Feminist Media Histories 4, no. 3 (2018): 119–34. http://dx.doi.org/10.1525/fmh.2018.4.3.119.

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This interview with Trina Robbins took place during a panel at the 2016 Comics Arts Conference conducted by Jennifer K. Stuller. Robbins, known both for her work as a groundbreaking cartoonist and for her histories of female comics creators, discusses her early days in New York during the 1960s, owning a clothing boutique and writing comics for the East Village Other; the creation of It Ain't Me, Babe, the first all-female comic compilation, and Wimmen's Comix, the long-running feminist underground comix series; and her work both as a “herstorian,” uncovering the overlooked role of women in co

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Precup, Mihaela. "Of monsters and women: Gender, sexual violence and the logic of familiarity in Drawing Power." Studies in Comics 15, no. 1 (2025): 55–72. https://doi.org/10.1386/stic_00118_1.

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This article examines Drawing Power, a collection of autobiographical comics about ‘sexual violence, harassment, and survival’, with contributions from more than sixty comics creators from a variety of racial, sexual, cultural and social backgrounds, edited by American underground cartoonist Diane Noomin and published by Abrams Comic Arts in 2019. I argue that the accumulation of stories from Drawing Power seems to rely on a logic of familiarity – as the attackers are familiar figures such as family members, friends, neighbours and co-workers, who assault women in familiar environments such as

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Punit. "EVOLUTION OF CARYL CHURCHILL AS A TRENDSETTING FEMINIST DRAMATIST." International Journal of Multidisciplinary Research and Modern Education (IJMRME) 9, no. 1 (2023): 82–84. https://doi.org/10.5281/zenodo.7806057.

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Caryl Churchill was born on September 3, 1938 to Robert Churchill, apolitical cartoonist and Jan, a model and film actress. Hence, Caryl had a fair understanding of dramatic feelings and socio political scenario. Churchill, Caryl once said, “Cartoons are really so much like plays,”… “an image with somebody saying something. I grew up with his cartoons of the war of Goebbels and Mussolini.”However, at the time of her birth no one could actually foretell how amazingly the child was going to revolutionize the world of theatre with her radical perspectives and projec

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Romero-Otero, Sara. "“UNSEEMLY WOMAN IN A SEEMING MAN”: UN ESTUDIO DE LA MASCULINIDAD COMO CONFLICTO EN ROMEO Y JULIETA." ODISEA, no. 24 (March 18, 2024): 128–40. http://dx.doi.org/10.25115/odisea.vi24.9280.

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This article explores the interpretative possibilities offered by William Shakespeare’s Romeo and Juliet regarding its manifestations of masculinity within the context of the early modern period through two of its characters: Romeo and Mercutio. The former goes from perceiving romantic love as a perpetuation of the familial order to regarding it, through his love for Juliet, as a way of questioning the very roots of the aforementioned order, whereas Mercutio, whose complexity as a character firmly settles him in an ambiguous standpoint, can be read as “the mask of what may be a repressed homoe

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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 (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 p

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Bolles, A. Lynn. "ReviewNancy Goldstein, Jackie Ormes: The First African American Woman Cartoonist. Ann Arbor: University of Michigan Press, 2008. Pp. 240. Cloth $35.00." Journal of African American History 95, no. 1 (2010): 110–12. http://dx.doi.org/10.5323/jafriamerhist.95.1.0110.

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Anavisha, Banerjee. "The Satirical Caricatures of Gaganendranath Tagore." postScriptum: An Interdisciplinary Journal of Literary Studies 3, no. 2 (2018): 33–52. https://doi.org/10.5281/zenodo.1318932.

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Gaganendranath Tagore is known as the first cartoonist in early twentieth century colonial India. Although his artistic talent ranges from being a landscape artist to a cubist painter, he is best known for his caricatures which were given the status of a work of art rather than be simply seen as illustrations in magazines. The article analyses his satirical sketches from different volumes of his work. The main focus is to look at the satirical representations of middle and upper class Bengali women, bhadramahila and anglicized Bengali men, babus, within the colonial context. The article will t

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Hall, Leo, and Simon Grennan. "Literary and Historic Flâneuses: Observation, Commentary, Enterprise and Courage in Late-Nineteenth-Century Women’s Professional Lives." Journal of Victorian Culture 24, no. 3 (2019): 380–97. http://dx.doi.org/10.1093/jvcult/vcy070.

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Abstract Discussions of the conception of that exemplar of late-nineteenth-century and early-twentieth century urban modernity, the flâneur, have focused on both critique of the figure’s masculinity and more radical and nuanced conceptions of women’s flânerie. This article considers both the re-gendering and ungendering of flânerie in the character of three flâneuses in fiction published in the 1870s, 1880s and 1910s: Madame Sidonie, Henrietta Stackpole, and Elsie Bengough, and related dissonances and synergies in the career and work of London actress and cartoonist Marie Duval, active 1869–18

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Ayaz Ali Jarah, Dr. Shazra Hussain та Perwaiz Ahmed. "رضیہ سجاد ظہیر اور عصمت چغتائی کی خاکہ نگاری کا موازنہ". GUMAN 7, № 2 (2024): 158–64. https://doi.org/10.63075/guman.v7i2.795.

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Razia Sajjad Zaheer and Ismat Chughtai are both big names in Urdu literature. And has an important place. As much as they have gained popularity among people, most women have not been able to make their name and place alive and immortal in this way in literature. Razia Sajjad Zaheer was born in Ajmer on 15th October 1918. She was a member of Progressive movement and was a writer of a very high standard, etc. and succeeded in bringing her name to the front page in every genre. She was honored with the Sovietland Nehru Award and the Uttar Pradesh Sahitya Akademi Award. Razia Sajjad Zaheer died i

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Pieniążek-Marković, Krystyna. "Augusta Cesarca (nie)realistyczny portret przygłuchej Tonki." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 173–93. http://dx.doi.org/10.14746/pss.2020.18.10.

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In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman

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Costa, Luciana Miranda, and Raissa Lennon Nascimento Sousa. "O OUTRO DO OUTRO: SERENA WILLIAMS E A CONSTRUÇÃO DA IMAGEM DA MULHER NEGRA NA MÍDIA." Aturá - Revista Pan-Amazônica de Comunicação 3, no. 1 (2019): 87–102. http://dx.doi.org/10.20873/uft.2526-8031.2019v3n1p87.

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O artigo propõe uma análise da charge publicada no jornal australiano Herald Sun, no dia 10 de setembro de 2018, de autoria do cartunista Mark Knight, que ironiza a tenista Serena Williams após perder a final do campeonato Us Open. A reflexão compreende aspectos dos estudos de comunicação, gênero e questões raciais, afim de analisar a construção da imagem da mulher negra na mídia e a repercussão da charge na imprensa brasileira. Concluímos que a ilustração apresenta a atleta de maneira exagerada e grotesca, reforçando o esteriótipo da mulher negra como “raivosa” e “agressiva”. Deste modo, ente

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Thomas, Basil, and Gem Cherian. "SCRIBBLING WITH MALE EGO: ANALYSING THE MALE GAZE IN THE PORTRAYAL OF WOMEN IN CARTOONS." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2.2023.602.

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Male cartoonists dominated the cartoon industry of Keralam in the second half of the twentieth century. Women stereotypes are highlighted in the discourse of cartoons, probably like any other artform in the world. This paper is an attempt to analyse the representation of women folk in the cartoons of Keralam, during the post independent period of India. The cartoons of veteran male cartoonists namely Cartoonist Toms, Cartoonist Yesudasan and Cartoonist Thomas have been analysed for the study. The misrepresentation of women characters in their cartoons are analysed. The ‘domineering wife’ stere

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Chung, Erika. "A History of Women Cartoonists." Canadian Journal of Communication 46, no. 2 (2021). http://dx.doi.org/10.22230/cjc.2021v46n2a4045.

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Masinde, Moses Wanyama, Masibo Lumala, and Jared Obuya. "The Nature of Gender Portrayal in Editorial Cartoons: Analysis of Kenya’s Daily Nation and Standard Newspapers." Journal of Linguistics, Literary and Communication Studies 1, no. 1 (2022). http://dx.doi.org/10.58721/jltcs.v1i1.70.

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Visual images often have lasting memory with the capacity to reveal the anguish of a tormented soul. It can stimulate sexual passion as well as generate intense feelings and excitement to the level of driving people to the bravery and barbaric acts. These images evoke responses in people based on their interpretation of meanings informed by common beliefs and values. In most cases, the victims are subjected to gender-based humiliation in the public eye. This paper investigates the nature of gender portrayal through selected editorial cartoons. This study is anchored on the relativist/interpret

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Domínguez, Martí, and Lucía Sapiña. "She-Coronavirus: How cartoonists reflected women health workers during the COVID-19 pandemic." European Journal of Women's Studies, October 18, 2021, 135050682110484. http://dx.doi.org/10.1177/13505068211048402.

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Women account for 70% of healthcare workers, so their role has been – and still is – fundamental in addressing and managing the current pandemic event caused by the SARS-CoV-2 coronavirus. Far from being an opportunity to highlight the importance of women in the field, the healthcare crisis, together with lockdown policies and care responsibilities, have contributed to increase the gender gap. To study the depiction of women healthcare professionals, this paper analyses 401 cartoons on the COVID-19 pandemic that depict healthcare workers. Most represent doctors as men and nurses as women, in r

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Labidi, Lilia. "State, institutional and symbolic violence against women: the struggle since the «Arab spring» and the contribution of Arab women cartoonists." Feminismo/s, no. 26 (2015). http://dx.doi.org/10.14198/fem.2015.26.08.

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Larson, Katie. "Katie MJ Larson. Review of "Drawn to Purpose: American Women Illustrators and Cartoonists" by Martha H. Kennedy." caa.reviews, April 26, 2019. http://dx.doi.org/10.3202/caa.reviews.2019.38.

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Dunbar, Robin I. M., and Emma Stirling-Middleton. "Why cartoons make (some of) us smile." HUMOR, January 5, 2024. http://dx.doi.org/10.1515/humor-2023-0111.

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Abstract Pocket cartoons are a regular feature of most contemporary newspapers and magazines. As such, they represent a way of conveying complex social and political commentary in a simple visual form. How well we enjoy verbal (oral) jokes depends on the number of mindstates in the joke, and here we ask whether this is also true of visual cartoons. We use survey data from a sample of 3,380 participants attending a public exhibition of published print media cartoons by well-known cartoonists to determine the extent to which viewers’ ratings of cartoons are determined by the mentalizing content

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Zakaria, Suraya Hani, Mohammad Pu’ad Bebit, and Mohd Sawari Rahim. "TANDA, PENANDA, DAN PETANDA DALAM KARTUN EDITORIAL JAMDIN BUYONG." Jurnal Penelitian Humaniora 24, no. 1 (2020). http://dx.doi.org/10.21831/hum.v24i1.31302.

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Penelitian ini bertujuan menganalisis isu sosial dengan lebih terperinci dalam karya kartun editorial Jamdin Buyong yang telah terbit dalam koranSabah Times pada tahun 1967. Kajian ini menggunakan pendekatan kualitatif yang bersifat deskriptif. Dalam penyelidikan ini, pendekatan kualitatif akan digunakan dalam menganalisis kandungan (content analysis). Pengumpulan data dilakukan berdasarkan 3 sumber yaitu sumber primer, sekunder, dan sumber lisan. Sumber primer dalam penelitian ini adalah kartun editorial Jamdin Buyong. Sumber sekunder diperoleh darisumber-sumber berbentuk koran, buku-buku sej

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Basundhara, Chakraborty. "No Woman's Land: Women, Nation and Dystopia in Manjula Padmanabhan's Escape." postScriptum: An Interdisciplinary Journal of Literary Studies ISSN: 2456-7507 5, no. 1 (2020). https://doi.org/10.5281/zenodo.3700302.

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Manjula Padmanabhan has been one of the most potent literary voices in contemporary India. An artist, cartoonist, playwright, short story writer, journalist, children’s author, novelist, she has always pursued us to rethink what it means to be a woman in modern nation state and to interrogate women’s relationship with technology and state power. My paper will do a textual analysis of one such work by her – Escape (2008), her first attempt at writing fiction for adults. The novel is a dark dystopian fable which introduces the reader to a post-apocalyptic scenario in which wome

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Kabir, Nahid. "Depiction of Muslims in Selected Australian Media." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2642.

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    Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties. —John Milton (1608-1674)   Introduction  The publication of 12 cartoons depicting images of Prophet Mohammed [Peace Be Upon Him] first in Denmark’s Jyllands-Posten on 30 September 2005, and later reprinted in European media and two New Zealand newspapers, sparked protests around the Muslim world. The Australian newspapers – with the exception of The Courier-Mail, which published one cartoon – refrained from reprinting the cartoons, a

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Ringo, Cecilia. "Better than Cheesecake." New Errands: The Undergraduate Journal of American Studies, April 30, 2021. https://doi.org/10.59236/ne81-263363.

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Like many others, I have long been fascinated by the beautiful, cartoonish drawings of women that find their way onto the sides of motorcycles, inked onto the arms of men and women, and posted on the walls of bars and billiard halls. Always gorgeous, these women laugh and wink at the viewer, revealing their legs, chest, or behind in a kind of staged, voyeuristic “accident” that they are clearly enjoying. I have often wondered where these images come from, why they are so popular, and how they are able to create a stronger sense of sexuality and playfulness than some of the more explicit materi

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Basil Thomas & Dr. Krishnan Namboothiri. "Appy Hippie: The Unsung Hero Battered by the Bigotry of Mainstream Culture." Samyukta: A Journal of Gender and Culture 5, no. 2 (2020). http://dx.doi.org/10.53007/sjgc.2020.v5.i2.59.

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Cartoonist Toms’ mischievous characters Boban and Molly are two domestic names in the households of Keralam for over 50 years, chiefly through the pages of the Malayala Manorama Weekly. He introduced the character Appy Hippie for the first time in “Bobanum Mollyum” in the Malayala Manorama Weekly in 1971. Appy Hippie is a village hippie portrayed as a jobless youth who is quite obsessed with the ‘company of women’. Hippies distinguish themselves in their appearance from social etiquettes of attire and grooming. Consequently, a binary opposition is created between the hippie and the mainstream

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Cherian, Gem, and Basil Thomas. "THE POLITICS OF CUISINE: PORTRAYAL OF FOOD CULTURE IN THE CARTOONS OF TOMS." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.329.

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Culture is a way of living encoded in dress, food, religion, values, and more subjectively practised in a human society. As a medium of portraying the everyday cultural and social happenings in the society, cartoons serve as a subtle and satiric critique of the same. Cuisine is a multisensory experience, inevitable as a daily need but often undervalued in the semiotic signification it entails. Food defines communal as well as territorial or regional identity. It is a potent symbol of the dynamics of gender, space, and identity. The social, cultural, and economic aspects of a society influence

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Jacobs, Katrien, Degel Cheung, Vasileios Maltezos, and Cecilia Wong. "The Pepe the Frog Image-Meme in Hong Kong." Journal of Digital Social Research, February 6, 2023, 130–50. http://dx.doi.org/10.33621/jdsr.v4i4.131.

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This paper examines how Pepe the Frog, a cartoon character originally created by American cartoonist Matt Furie, and currently a global digital image-meme of online activism, was adopted and adapted in Hong Kong during the 2019 Anti-Extradition Bill and Law Movement (??????????; faan deoi tou faan tiu lai sau ding wan dung) (hereafter: anti-ELAB Movement) on one of the most prevalent protest platforms, the LIHKG forum (LIHKG??). We combined a computational big data analysis of the posts’ metadata and a qualitative analysis of the Hong Kong Pepe image-meme to examine how it contributed to highl

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Maguire, Emma. "Home, About, Shop, Contact: Constructing an Authorial Persona via the Author Website." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.821.

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Introduction Let me start by telling you about my “first-world problem”: I study girls’ autobiographical practice in digital spaces but the conceptual tools in my field have been developed chiefly in order to read and analyse printed books. Girls’ digital engagements with self-representation—such as web comics and blogs—are fascinating texts and I want to know what they can tell us about how girls’ written selves connect in complex ways to broader cultural constructions of girlhood. The Greek roots of the word autobiography autos, bios, and graphe (self, life, writing) inform the kinds of appr

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Sivak, Allison. "Darkest Light by H. Goto." Deakin Review of Children's Literature 2, no. 2 (2012). http://dx.doi.org/10.20361/g2630j.

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Goto, Hiromi. Darkest Light. Toronto: Razorbill Canada, 2011. Print. Darkest Light is a sequel, of sorts, to Goto’s 2009 fantastic allegorical work Half World. However, Darkest Light takes on a more nuanced approach to its characters’ struggles, asking the question, ‘Can a person who has done wrong rehabilitate himself?’ Half World drew its lines of good and evil in a more traditional way, with an outcast heroine battling an evil force living in the world between the dead and the living. In contrast, Darkest Light slowly unravels the mystery of the life of its protagonist, Gee. We see the recu

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Flowers, Arhlene Ann. "Swine Semantics in U.S. Politics: Who Put Lipstick on the Pig?" M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.278.

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Swine semantics erupted into a linguistic battle between the two U.S. presidential candidates in the 2008 campaign over a lesser-known colloquialism “lipstick on a pig” reference in a speech by then Democratic presidential candidate, Barack Obama. This resulted in the Republicans sparring with the Democrats over the identification of the “swine” in question, claiming “sexism” and demanding an apology on behalf of then Governor Sarah Palin, the first female Republican vice presidential candidate. The Republican Party, fearful of being criticised for its own sexist and racist views (Kuhn par. 1)

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Kanai, Akane. "WhatShouldWeCallMe? Self-Branding, Individuality and Belonging in Youthful Femininities on Tumblr." M/C Journal 18, no. 1 (2015). http://dx.doi.org/10.5204/mcj.936.

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As the use of social networks becomes increasingly commonplace, scholars have observed that associated requirements arise relating to how one’s digital self is practised, worked on, and disseminated (Cover; Miller; Papacharissi). Since the earliest forms of online interaction, scholars have tracked the importance of the question of “realness” in identity and social groupings (Burkhalter; Donath; O’Brien). More recently, as people become more connected, connect-able and subject to peer (as well as corporate and government surveillance) (van Zoonen), digital media cultures have increasingly dema

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Morse, Nicole Erin. "Authenticity, Captioned: Hashtags, Emojis, and Visibility Politics in Alok Vaid-Menon’s Selfie Captions." M/C Journal 20, no. 3 (2017). http://dx.doi.org/10.5204/mcj.1240.

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IntroductionWithin social media visibility campaigns, selfie captions usually work to produce coherent identity categories, linking disparate selfies together through hashtags. Furthering visibility politics, such selfie captions claim that authentic identities can be made visible through selfies and can be described and defined by these captions. However, selfie captions by the trans artist Alok Vaid-Menon challenge the assumption that selfies and their captions can make authentic identity legible. Through hashtags, emojis, and punning text, Vaid-Menon’s selfie captions interrogate visibility

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