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Copyright of Restaurator is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: While the ubiquity of social media as a mode of communication, collaboration, connection and creativity has been widely adopted in journalism, entertainment, healthcare and others, the field of education has been more reticent to integrate social media for teaching and learning purposes. This paper aims to summarize research on how social media may support educational aims with specific reference to large classrooms. In addition, the authors provide practical tips on using Twitter from the experience teaching in a typical higher education setting: a large, undergraduate course in a public university. Finally, the authors offer conclusions about how instructors can use social media to support increased engagement, professional development and digital literacy skills. Design/methodology/approach: This paper presents a real-life "case study" of using Twitter in an educational context common to many in higher education: a large, undergraduate lecture class over the course of one semester. This course focused on the foundations of educational technology and was a requirement of receiving a teaching credential at a large public institution in the Midwest. As a required course, students from a number of different majors were enrolled in the course, including biology, chemistry, mathematics, English, history, world languages, physical education and many more. While these majors were grouped by content-area groups (Science, Technology, Engineering, and Math; the humanities; and physical education), for this paper the authors will focus on the part of the course where students were all together in lecture format. Guided by the research above, and pedagogical practices discussed elsewhere (Greenhow and Gleason, 2012), it was decided to use Twitter for a number of different pedagogical purposes, including in-class discussion, increase student engagement with course material, expand student interaction and develop student presence. Findings: The use of Twitter was found to increase student participation, help facilitate conceptual understanding, to foster students' "social presence," and to increase interactions with "real world experts." Twitter provided a way, for example, for students in a large lecture course to participate, and roughly 90 per cent of students did so with Twitter. Likewise, instructors used Twitter as a way to bridge learning across different experiences (i.e. lab activities, lecture and online lesson), while also providing a way to support social presence (letting students share humorous pictures). Finally, Twitter facilitated interaction with content experts including historians, during a lesson on global collaboration. Research limitations/implications: Overall, integrating Twitter into a large, lecture course seemed to suggest a number of positive learning outcomes, including presenting opportunities for student voice and expression, visible participation, the development of social presence and tools to connect different course activities (e.g. lecture, in-class activities and lab activities). For example, much research in this field has begun to explore the educational outcomes associated with social media use, and this study contributes to this emerging field. Here, the authors advocate for using social media to support interactive, collaborative and social learning. [ABSTRACT FROM AUTHOR]

Copyright of Restaurator is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, we propose the first sketching system for interactively personalized and photorealistic face caricaturing. Input an image of a human face, the users can create caricature photos by manipulating its facial feature curves. Our system first performs exaggeration on the recovered 3D face model, which is conducted by assigning the laplacian of each vertex a scaling factor according to the edited sketches. The mapping between 2D sketches and the vertex-wise scaling field is constructed by a novel deep learning architecture. Our approach allows outputting different exaggerations when applying the same sketching on different input figures in term of their different geometric characteristics, which makes the generated results “personalized”. With the obtained 3D caricature model, two images are generated, one obtained by applying 2D warping guided by the underlying 3D mesh deformation and the other obtained by re-rendering the deformed 3D textured model. These two images are then seamlessly integrated to produce our final output. Due to the severe stretching of meshes, the rendered texture is of blurry appearances. A deep learning approach is exploited to infer the missing details for enhancing these blurry regions. Moreover, a relighting operation is invented to further improve the photorealism of the result. These further make our results “photorealistic”. The qualitative experiment results validated the efficiency of our sketching system. [ABSTRACT FROM AUTHOR]

This paper focuses on the persistent use of a particular term, "Voodoo Doll," to classify certain artifacts and argues that it is both fundamentally misleading in its history of applications and especially egregious in the current debate over the openness of classics to people of color. Voodoo Doll not only exploits caricatures of Afro-Caribbean religion, it maintains a fundamental error in the interpretation of ancient ritual figurines: that is, the assumption of a primitive "law of sympathy." This paper reviews current scholarship on ancient ritual figurines and then discusses the category Voodoo Doll and its modern origins, with an argument for its abandonment. [ABSTRACT FROM AUTHOR]

In-service teacher development continues to be a challenge of curriculum reform in South Africa. In spite of previous interventions that have been used, visual literacy continues to challenge many in-service teachers. Visual literacy involves the development of competencies that a person needs in order to understand a combination of linguistic, visual, audio, gestural and spatial design elements. This paper proposes that change laboratory workshop methodology can transform in-service teacher development of visual literacy. Change laboratory workshop methodology develops from Cultural Historical Activity Theory's principles of contradictions and expansive learning, and is used to implement change. This paper uses an illustrative example of a cartoon in English First Additional Language in Grade 11. Data were collected from a change laboratory workshop of nine participants who met for four sessions of two hours each. Lesson video clips and transcript and a cartoon were used for double stimulation and reflexivity. Insights from Cultural Historical Activity Theory and the Newfield Framework were used to analyse this data. The main finding of this intervention is opening of a dialogical space in which participants took initiatives to develop their visual literacy and reconfigure the multi-layers of interpreting cartoons. [ABSTRACT FROM AUTHOR]

Copyright of Librosdelacorte.es is the property of Instituto Universitario "La Corte en Europa" - IULCE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Comunicación Social is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cartoons Naji Al-Ali reveal the complexities of Palestinian identity in the period between the resignation following Palestinian defeats in 1948 and 1967 and the first Intifada in 1987. The present paper to add to the limited literature on Al-Ali's cartoons through examining a unique subset of them that join Christ with the artist's child-caricature Handhala. The image of Christ allowed Al-Ali to universalise his message, mapping the Palestinian experience onto a recognisable figure while strengthening an inchoate moral critique against Israeli occupation. Examining these illustrations provides us with a better understanding of this transitory period in Palestinian history. [ABSTRACT FROM AUTHOR]

Firstly, this paper aims to analyze how verbal and visual modes contribute to build two basic components of cartoons: the referenced situation and the fictional situation. Secondly, it aims to unravel the semiotics of this discursive genre by offering a fine-grained picture of modal variations and continuities of the rhetorical resources deployed, by means of which the fictional situation is displayed. The corpus is composed of 50 multimodal cartoons chosen by cartoonists of 22 nationalities as the most representative of their work in the frame of a wide questionnaire. Category analysis and non-parametric statistics were applied. We identified and fleshed out four different types of modal functioning of resources: visual preference, verbal preference, modal flexibility, and genuine multimodal functioning. Even if visual and multimodal metaphor were often in charge of transferring meaning from fiction to the referenced situation, results show that other resources such as antithesis, irony, and syllepsis can become the key resources of cartoons. Findings highlight the multilayered functioning of cartoons, among which plastic features can play a significant role, and provide further evidence in favor of the hyperdetermination of humor hypothesis proposed by Attardo. [ABSTRACT FROM AUTHOR]

Example-based caricature synthesis techniques have been attracting large attentions for being able to generate attractive caricatures of various styles. This paper proposes a new example-based caricature synthesis system using a feature deviation matching method as a cross-modal distance metric. It employs the deviation values from average features across different feature spaces rather than the values of features themselves to search for similar components from caricature examples directly. Compared with traditional example-based systems, the proposed system can generate various styles of caricatures without requiring paired photograph–caricature example databases. The newly designed features can effectively capture visual characteristics of the hairstyles and facial components in input portrait images. In addition, this system can control the exaggeration of individual facial components and provide several similarity-based candidates to satisfy users' different preferences. Experiments are conducted to prove the above ideas. [ABSTRACT FROM AUTHOR]

This article analyses media representations of Joyce Banda, Malawi's first female president, by newspaper editorial cartoons. A total of 50 cartoons were collected, comprising Point of Order and Puludzu, from The Nation and The Daily Times newspapers, spanning the period 2012 to 2014. Using theories of feminism and representation, this paper reveals how the editorials, as unique visual forms of communication, offer an opportunity for deep reflection on attitudes concerning female, presidential leadership. The findings suggest that both cartoon series depict President Banda as an indecisive, inefficient, clueless and weak politician based on ingrained gender stereotypes of women, rather than on her actions as a president governing the country. This study regards cartoonists as social critics who have brandished Banda's motherhood characteristics at every occasion to represent female presidency as a failure in Malawi. It is shown that the graphic artists were largely absorbed in the ideologies that trivialise women as being only suitable for domestic roles. Their relentless scrutiny of "gender" eccentricities, infirmities and frailties regarding Banda effectively destroyed her power consciousness and fuelled misogynistic perceptions that, by extension, no woman can ever be suitable for electoral leadership positions, especially not as Malawi President. [ABSTRACT FROM AUTHOR]

Although editorial cartoons occupy an integral place on the editorial pages of most newspapers, they have seldom been a topic of research, especially First Nations cartoons. Editorial cartoons offer readers clarity and humour and quickly present a point of view. Everett Soop, of the Blackfoot First Nation and contributor to the Kanai News, fits the description of Trickster through his often ironic and satirical politically charged editorial cartoons. This paper provides an introduction to issues surrounding Indigenous/Mainstream relations in Canada during 1969-70 by unpacking several of Soop's editorial cartoons. During this period in Canadian history Trudeau's Liberal government produced an assimilationist policy document levelled at Canada's First Nations and titled the White Paper, which sparked a united voice of resistance among Canada's Indigenous peoples and eventually led to the withdrawal of the proposed changes to the Indian Act. Everett Soop's cartoons from this period provide a discerning analysis of this affair. [ABSTRACT FROM AUTHOR]

The article discusses editor Edward E. Cooper and periodical "Freeman". Topics discussed include African American visual art, African American artists and black periodicals. Other topics such as black caricatures, African American viewers of periodical cartoons and racial and intraracial relations of African Americans are also discussed.

Aristotle's Sophistical Refutations (= Soph. el.) seeks to uncover the workings of apparent deductive reasoning, and is thereby largely devoted to the caricature of dialectic that the ancients called eristic (ἐριστική), the art of quarrelling. Unlike antilogy (ἀντιλογία), which refers to a type of argumentation where two arguments are pitted against each other in a contradictory manner, eristic takes on in Aristotle an exclusively pejorative meaning, as is made clear, for example, by this passage from Soph. el.: 'For just as unfairness in a contest is a definite type of fault, and is a kind of foul fighting, so the art of contentious reasoning is foul fighting in disputation.' [ABSTRACT FROM AUTHOR]

The Russo-Japanese War of 1904-1905 captured the imagination of reading publics around the world and in Britain spawned a breadth of products aimed at a domestic audience, including cigarette cards, illustrated magazines and newspaper cartoons. This essay investigates the commentary on and interpretation of the war offered by cartoons appearing in the British Sunday paper the News of the World and the Welsh daily paper the Western Mail. Editorial cartoonist J. M. Staniforth drew over 70 cartoons documenting the war for both papers, and the degree to which these visual images complemented or diverged from the editorial line expressed in leader columns is considered. The importance of distinguishing between cartoons and editorials and of taking into account the identity and career of the cartoonist is stressed. The visual codes for communicating conflict are also investigated, revealing in the process something of the intellectual horizons of both cartoonist and audience. [ABSTRACT FROM AUTHOR]

This paper provides a semiotic analysis of political cartoons published in Jordan prior to and during the 2013 elections. It seeks to depict the sociopolitical context after the 2011 Arab Spring and focuses on the changes to people's practices and stances toward politics and politicians. The data consist of political cartoons by the Jordanian cartoonist Imad Hajjaj drawn during the parliamentary election campaigns in 2007, 2010, and 2013. This paper argues that the humor generated in cartoons conveys strong messages that require an analysis of the interaction between the different signs in cartoons and their social and ideological implications. A model of analysis derived from Barthes' perception of denotation and connotation theories is adopted. This model is comprised of three types of messages: linguistic, literal, and symbolic. The analysis identifies different messages in the cartoons before and after 2011. Unlike the cartoons from 2007 to 2010, the linguistic and denoted messages in the cartoons of 2013 connoted a sense of salvation, achievement, victory, freedom, dignity, and democracy, merits that had rarely been highlighted in previous cartoons. This attitude is reflected by themes such as the positive image of the young, public awareness of political and national issues, and resistance towards corruption. The study sheds light on this neglected area of visual communication in the Arab world and hopes to provide new insights into the fields of semiotics, pragmatics, multimodal analysis, and critical discourse analysis. [ABSTRACT FROM AUTHOR]

The production of caricatures is a particularly interesting field of art, because it aims to highlight the very essence of a given face. Caricature generation systems traditionally rely on two approaches: they either follow extracted rules through learning algorithms, or follow rules that were directly programmed by experts. This paper attempts to reduce the reliance on heuristic methods, by proposing a novel method that provides a set of well-defined rules, which can be put to use for the purpose of caricature generation. The method is based on the notion of anti-face in conjunction with unbiased distortions. In addition, we indicate the usefulness of the anti-face as a means to perceive, for our own sake, the degree to which our face seems peculiar to others. Finally, we deploy a reverse variant of the method in order to attain beautification. [ABSTRACT FROM AUTHOR]

The article discusses Henry Edward Doyle has published a popular series of satirical political drawings, including previously undescribed sketch of Charles and Catherine Dickens. It mentions Doyle collection at Carbondale comprises pen-and-ink portraits on 11 sheets of paper of irregular size used on both sides. It also mentions images of all of the identified subjects of the Carbondale sketches are present in the Dublin collection.

Extracting balloons has been a challenge in digital comics, in particular for complex comic books. In fact, current algorithms are seemingly adequate for simple comics, but not for complex ones. This paper proposes an algorithm based on the Sobel operator plus a modified flood fill operator to identify and extract balloons in comic book pages. Unlike other approaches, our algorithm applies to any sort of comics, no matter they are simple or complex comics, without making any assumptions regarding the line continuity of the image, color depth of the image, orientation of the text, and language. Experimental results show that our algorithm significantly improves the rate of correctly detected balloons, and simultaneously decreases the number of false positives, when compared to other algorithms. [ABSTRACT FROM AUTHOR]

How does the introduction of information technology (IT) influence production systems? This paper reveals two important changes by introducing information technology (IT) into a production system in the case of the Japanese anime industry. In particular, it focuses on the production system and the relationship between outsourcing and in-house production. Given this objective, this research explores each process and technology of the production system. The processes that are focused in this research are the art production process, painting process and the process that follows. In addition, it examines three-dimensional computer graphics and digital sakuga (drawing) in the technology. The results of the paper elucidate the following. First, companies in Japan cannot attain successful introduction of IT until IT achieve low cost or/and high quality. Second, the process of choosing in-house production or outsourcing depends upon the following factors. Realizing the integration of multiple processes or enhancing the flexibility of the production process leads to the transition from outsourcing to in-house production. On the other hand, realizing lower cost by the delivery of digitalized data through storage media or the Internet results in the transition from in-house production to outsourcing. [ABSTRACT FROM AUTHOR]

The article presents a study on the use of violence news items in three newspapers "The Chicago Tribune," "Atlanta Constitution," and "New York Times" from 1924-1973 in the U.S. The study measures the type of violence emphasized in the article, source of violence item, and photos, drawings, and cartoons. Results of tn study reveal that in the three pages for 50-yeas span of the newspapers, 3,453 violence items were found out of 16.66% of the total front page content. It adds that "Chicago Tribune" used news stories on violence for 19.27% of its stories, 15.92% for "Atlanta Constitution, and 15.42% for "New York Time."

Copyright of Journal of the Royal Asiatic Society Hong Kong is the property of Royal Asiatic Society Hong Kong and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In April 1921, J.H. Thomas, the Labour Party MP and National Union of Railwaymen (NUR) leader, initiated libel proceedings against the Communist—journal of the Communist Party of Great Britain. He cited defamation in the form of cartoons and words depicting the events of ‘Black Friday’—when he allegedly betrayed the locked-out Miners' Federation by leading the withdrawal of NUR solidarity. To Thomas, the framing of his image by indigenous Bolsheviks threatened to fatally define his character and career within popular imagination, and undermine Labour's rise. In this paper, I argue that during the domestic and international crises surrounding the First World War, innovative left-wing editors and cartoonists tested the boundaries of newspaper cartooning, and gave dissident cartoons renewed menace before the Law. The case was the first for over a century in which graphic satires of a national political figure were successfully prosecuted. [ABSTRACT FROM PUBLISHER]

Purpose – The purpose of this paper is to explore the potential of incorporating visual methods in the study of identity and identity work. Design/methodology/approach – Scholars have proposed a range of approaches to the study of identity. However, studies have typically relied on interviews or surveys with little exploration of the dynamic narrating of self-in-situ inherent to identity and identity work. The paper reviews the aforementioned methods, builds on the power of visual approaches, and proposes a method involving figurative character image-elicitation (FCI). FCI uses personal, contextual cartoon-style images to mobilize and encourage the narration of identity. The paper details the development of the approach, drawing on a pilot study, and reports its use in an exploratory study of employee identity. Findings – The results suggest that the use of FCI provides a situated focus for the narration of identity with the signifying – self-insitu – nature of the images providing room for participants to position themselves as subject. These features are also suggested to provide a safe distance for a more in-depth and expressive discussion which transcends impression management. Originality/value – The use of FCI has highlighted the power of visual methods in the exploration of identity and identity work. The approach is personally engaging and contextually adaptable providing methodological opportunities for a range of organizational and societal studies. [ABSTRACT FROM AUTHOR]

The article examines the context and production of early Chinese cartoons in Singapore relative to Tong Meng Hui and its successor, the Kuomintang. Early Chinese cartoons were introduced in 1907 by members of the Singapore branch of the Tong Meng Hui. These were widely used by reformist papers in the country since they saw the potential of cartoons in getting their message to the public. Chinese cartoons were also used as one of the most powerful propaganda tools in the anti-Japanese campaign.

In a revolutionary Vienna in October 1848, several cartoons depicting in an unambiguous situation Archduchess Sophie, the wife of the heir apparent, Archduke Franz Karl, and Jelačić, the Ban of Croatia, were published. Even though the March revolution had eroded the prudish general taste of the Biedermeier period, the publication of these satirical drawings could still be considered unusual. What can explain the fact that the member of the ruling house so popular in the spring of 1848 became the target of such public hatred by October 1848 in the imperial city? How were these cartoons related to Jókai's hiding in 1849? The paper examines these questions. In the spring of 1848, Archduchess Sophie, the wife of the heir apparent, Archduke Franz Karl, was very popular in Hungary as she was reported to have played a part in overthrowing State Chancellor Metternich. However, this popularity quickly turned into unpopularity after June 1848. The reason was that, even though he had been dismissed by the Hungarian government, the Ban of Croatia, Josip Jelačić got an ostentatiously warm welcome from the archduchess in Innsbruck. At the end of September 1848, news was spreading that among Jelačić's intercepted letters there was one written to the archduchess. (At the current state of research this cannot be excluded.) All this led to the publication of the above-mentioned obscene cartoons. The story was even versified in a satirical epic poem by Mór Jókai. This may have been one of the reasons why, at the end of August 1849, he thought he had better go into hiding. He only returned to Budapest when the first waves of retaliation had abated. One of the most beautiful pieces of his self-created legends is related to his hiding. According to this, he could return to the capital city only because his wife, Róza Laborfalvy got him a travel warrant, a so called Geleitschein, issued to the members of the castle guard of Komárom. However, Jókai's description is so confused that we can be certain that he never possessed, probably never even seen, such a travel warrant. [ABSTRACT FROM AUTHOR]

Political cartoonists challenge the government, question societal norms, and contribute to public discussion. They may show the public instances of injustice and help society to understand our own roles and responsibilities within the community. Yet, cartoonists are facing significant challenges in modern society. As the newspaper industry has struggled financially, fewer news organizations have continued to maintain a staff cartoonist. The shootings at France’s satirical newspaperCharlie Hebdoserved as a reminder of the dangers that cartoonists can face if they publish controversial cartoons. Through applications of John Rawls’ political liberalism and communitarianism, this paper examines what cartoonists contribute to societal justice and their role in the community. It argues that society owes cartoonists the liberties that they need to continue upholding justice, but that cartoonists have responsibilities to the community. [ABSTRACT FROM AUTHOR]

Between 1889 and 1922, John Møller (1867–1935), the first professional Greenlandic photographer, produced more than 3000 glass plate negatives documenting life in Western Greenland around the turn of the twentieth century. Rooted in an internal understanding of self, Møller’s photographs played an important part in the formation of a contemporary image of Greenlandic indigenous identity. At the same time, Møller’s photographic practice was arguably entangled in and delimited by a historical reality that was structured by colonial relations of power. This paper examines the social and art-historical contexts of Møller’s work, focusing in particular on a selection of his formal studio portraits. My reading of these portraits suggests a case in which conflicting impulses coincide. On the one hand, Møller produced images that played out the “ethnographic convention”, a European form of representation dating back to the sixteenth century used for the documentation of non-Western indigenous peoples as specimens. However, in acting out that convention, Møller’s photographs hint at a subtle, progressive building-up of identity that reclaimed images of Greenlanders for themselves, and turned an originally negative, external image of indigeneity into a positive sense of self. [ABSTRACT FROM AUTHOR]

Copyright of Restaurator is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Several Hollywood adaptations of comic books have attempted to emulate source comics very closely, with substantial portions of their dialogue and mise-en-scène transposed directly from the panels of the original comics. Directors such as Zack Snyder (300,Watchmen) and Robert Rodriguez with Frank Miller (Sin City) have, to a significant extent, utilised the panels of the source graphic novels as story boards for the film productions. These films raise a number of potential issues regarding intermedial adaptation, one of the most intriguing of which is the fundamental relationship between time, space and movement in cinema as opposed to within the sequential art characteristic of comic books. Using the film theory of Gilles Deleuze and the structural-semiotic analysis of comics by Thierry Groensteen, among other critical sources, this paper argues that one cannot conceptualise the cinematic frame in terms of the comics panel, or vice versa. Instead, one must attend to the divergent acts of framing constitutive of each medium, and the highly different manifestations of rhythm that are thereby produced. [ABSTRACT FROM PUBLISHER]

The political cartoon became a settled part of the British daily press early in the twentieth century. The cartoon is an editorial in pictures, working with a traditional armoury of images and often including caricature and humour. Cartoonists typically enjoy high status and long tenure. Using the resources of the University of Kent Cartoon Centre database, this article analyses the depiction of party leaders in the 1997 general election and categorises the dominant images employed. The future of this cartoon tradition is explored in the light of changes in the size and design of newspapers and the development of television. Increasingly cartoonists thrive in the broadsheet papers more than the tabloids. The impact of a changing political culture is illustrated by Steve Bell's underpants motif in cartoons of John Major, and by tracing the growth of uninhibited cartoon treatment of royalty. The cartoon's unique ability to convey the unsayable through graphic images ensures that it will continue to flourish. [ABSTRACT FROM AUTHOR]

This paper reports on the initial stages of research that is investigating the geographical content of cartoons from the First World War, and particularly those cartoons that relate to the Gallipoli campaign of April 1915 – January 1916. Cartoons from this period are being investigated to ascertain their potential value as alternative, more personal, sources of information about the perceptions of the geography of the Gallipoli Peninsula of soldiers in the field, their commanders, politicians and the media. The cartoon differs from the map in that it is a non-traditional representational artefact, which disassociates the source of information from the actual display of that information. On the other hand, the map benefits from a design, development, fabrication and consumption process that has enabled them to be used effectively and efficiently. In this way, maps have traditionally provided information about space but we can argue that with cartoons and other non-traditional artefacts, information about ‘PLACE’ as well as ‘SPACE’ can be visualised. [ABSTRACT FROM PUBLISHER]

This article examines the creation and meaning of American Indian savagery in editorial cartoons in New York City's Daily Graphic, the world's first illustrated daily newspaper. The research focuses on Indian images at two historical moments: before and after the Battle of the Little Bighorn. The Daily Graphic featured several ghostlike Indian spirits and comic caricatures before the battle. These figures were racially stereotyped but presented as harmless, even playful. Such images disappeared after the battle, when The Graphic published a number of inflammatory cartoons depicting dark, angry, and armed Indian warriors as threats to U.S. society. The Graphic soon moderated its imagery, however, and began depicting both hostile and peaceful Indians. The Daily Graphic's visual shifts demonstrate the nation's long-standing ambivalence toward Indians and their place in nineteenth-century American life. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Interactive graphics are commonly used in games and have been shown to be successful in attracting the general audience. Instead of computer games, animations, cartoons, and videos being used only for entertainment, there is now an interest in using interactive graphics for ‘innovative testing’. Rather than traditional pen-and-paper tests, audio, video and graphics are being conceived as alternative means for more effective testing in the future. In this paper, we review some examples of graphics item types for testing. As well, we outline how games can be used to interactively test concepts; discuss designing chemistry item types with interactive 3D graphics; suggest approaches for automatically adjusting difficulty level in interactive graphics based questions; and propose strategies for giving partial marks for incorrect answers. We study how to test different cognitive skills, such as music, using multimedia interfaces; and also evaluate the effectiveness of our model. Methods for estimating difficulty level of a mathematical item type using Item Response Theory (IRT) and a molecule construction item type using Graph Edit Distance are discussed. Evaluation of the graphics item types through extensive testing on some students is described. We also outline the application of using interactive graphics over cell phones. All of the graphics item types used in this paper are developed by members of our research group. [ABSTRACT FROM AUTHOR]

In this paper, it is proposed that some variations in generally fixed muscle tonus found in people are linked to postural patterns and personality. It is suggested that the pattern originates from, or at least matches, dorsal-ventral undulation, an evolutionarily early form of locomotion. Drawings demonstrate, with simple line, how muscle tonus patterns define whole bodies and individuals, much in the same way that cartooning does. In addition, whole-body mental imagery provides a kinesthetic experience of the concepts and types. New tools for dance movement therapy, body psychotherapy, and kinesthetically based postural reeducation could arise from the concepts. This variety of physical typology has not been previously proposed, though we notice the types in everyday life and in cartooning. [ABSTRACT FROM AUTHOR]

The creation and interpretation of humor in cartoons draws on various cognitive mechanisms, such as conceptual metaphor and metonymy, conceptual integration or blending, and cognitive and cultural models. The role that these mechanisms play in the humor process has been explored in relatively recent studies (Coulson 2002; Brne & Feyaerts 2003; Medubi 2003; Bergen 2004; Marn-Arrese 2003, 2005; Brne, Feyaerts & Veale 2006). The present paper examines humor in political cartoons in relation to the Referendum on the European Constitution, held in France on May 29, 2005, and the various perceptions and representations of the results in the English and Spanish press. The paper aims to: (a) explore some of the cognitive mechanisms involved in the construction of meaning, in particular metaphoric and metonymic reasoning and conceptual blending; and (b) reveal some of the common or contrasting features of cultural models in political cartoons in English and Spanish, and the role that these cartoons play in reinforcing or challenging social, cultural and political practices. The analysis reveals the ways in which humor is used as a form of criticism against the dominant ideology of French political elite, as well as an attack, especially in the Spanish press, against the government. [ABSTRACT FROM AUTHOR]