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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]

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]

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]

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 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]

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]

In the waning days of autumn 1941, readers of Chicago's top morning and evening papers read about what appeared to be two different wars: one the United States needed to join and one it desperately needed to avoid. By the time the presses rolled after the attack on Pearl Harbor December 7, only one war was reported. This content analysis of editorial cartoons in the weeks before and after Pearl Harbor explores the themes emphasized by these bitter newspaper rivals—one run by President Roosevelt's harshest critic in the press and the other by Roosevelt's Navy secretary. Results suggest that even when the newspapers rallied around the flag, they often rallied around two different flags. [ABSTRACT FROM AUTHOR]

Yomihon (reading-book) was a popular form of literature in Shogun- arc Japan, between late seventeenth and early nineteenth centuries. They are illustrated wood-cut publications, and were often, but not always, contrasted with ehon (picture books). Both reading and picture books were published in the same format and dealt closely with the lives of common city dwellers and their worldview. Their identities rested on the basis of the number of illustrations, and there was no clear distinction in their contents. They both became important sources of urban entertainment in pre-modern Japan along with kabuki theatre. The variety of these forms of popular literature in the Edo Period was immense. This paper examines their forms and contents and explores why the yomihon could be considered a precursor of modem comic books. Of special interest is a series of `vulgar' literature known as `yellow coven', published toward the end of the Shogunate period. Specific contents and features of this vulgar literature partially illustrates how the popularity of illustrated books had contributed to the sophistication of ukiyo-e woodcut printing technology in pre-modem Japan. The manner in which these publications were produced, distributed and appreciated will be the focus of this paper. The author maintains the perspective that cultural aesthetics which enable the development of a specific form of popular entertainment withstand historical forces and technological revolution. This paper thus attempts to understand the deeper historical sources that support the immense popularity of comics in contemporary Japan. [ABSTRACT FROM AUTHOR]

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]

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]

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]

In the 1970s and 1980s, American mainstream comic-book publishers actively sought out new markets to exploit their content. This paper examines a pivotal series in this transition, Marvel Comics’ initial graphic novels, and demonstrates the many overlapping contexts that encouraged and enabled this particular move from newsprint pamphlet-bound monthlies to glossy, spine-bound original novels, a move that weighed heavy on the art and business of the comic-book industry. Borrowing from the production of culture approach, this paper holistically accounts for the many facets involved in the manufacturing of comic books and how they were altered in this important series, investigating the distribution system of the books; the organization of creative workers; the rights accorded to and esteem held for comic artists; the mechanical reproduction of printed colour; and the content norms for mainstream comic books. [ABSTRACT FROM PUBLISHER]

This paper considers the Senegalese national football team, Les Lions de la Teranga (Lions of Hospitality), and its successful participation at the 2002 African Cup of Nations in Mali and the FIFA World Cup in Korea/Japan. By analysing Senegalese newspaper cuttings, advertising and football comics and cartoons published before and during the international tournaments, it explores the visual worlds created around the national football team in 2002. The first part of the paper demonstrates how Senegalese cartoons, advertising and press covering constructed a ‘Senegalese football epic’ around the national team which was imbued with historical meaning. The second part reflects on how football comics and cartoons, in particular, commented on the political implications of the Senegalese football ‘success story’ on an international level (around the opening match against France) and in domestic politics (in relation to the Senegalese government which tried to take advantage of the public euphoria, but was criticized). [ABSTRACT FROM AUTHOR]

Cartoons can be useful teaching tools in helping students examine stereotypes and discrimination. Cartoons engage students and reflect popular culture, which often makes them good examples of societal stereotypes. Stereotypes are popular beliefs students can hold about their social world and often lead to discrimination. This reflective essay illustrates how one teacher used an episode of South Park, a popular animated cartoon series, to help students examine their preconceived beliefs about gay people. The paper gives examples of how the cartoon provided elements of humor and relief to a potentially touchy subject. The cartoon also opened possibilities for students to voice their prejudices by projecting them onto cartoon characters, rather than calling attention to themselves. Finally, the paper warns teachers not to focus on superficial stereotypes to the detriment of helping students overcome stereotypes with more dire social and political consequences. [ABSTRACT FROM AUTHOR]

Mid-nineteenth-century representations of childhood varied enormously according to the audience--adult or child--at which they were aimed, but one element they all had in common was the problem of creating a voice for the protagonist child that would promote a degree of autonomy, while retaining at the same time the sense of the child as domestic and subject to adult authority. This problem was exacerbated when the child figure in question was also the focus of public discourse. One such figure was the young crossing-sweeper whose occupation of public territory was productive of much adult unease. This paper considers a range of representations of the street-sweeper as expressed through the mute inadequacy of Dickens's Jo in Bleak House , the incisive verbal impudences of Punch's cartoon constructions and the idealised, domesticised voice of Froggy in Froggy's Little Brother , by 'Brenda'. The paper contends that the tension between the public and the domestic lives of these children was played out through reassessment of the child voice, whereby domesticity promoted muteness as much as it protected childhood, but that survival in the public sphere necessitated the adoption of a voice at the expense of being accepted as a 'real' child. [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]

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]

During the Pacific War, Japanese cartoons, as with other types of print media, were subject to regulation under the Total Mobilisation Law. Because of a restructuring of media and a shortage of paper, the number of newspapers and magazines, including cartoon magazines, decreased drastically in 1940 Consequently, only limited outlets were left for cartoonists, they were restricted to producing cartoons primarily in three categories. The history of the modern cartoon magazine in Japan begins with a humour magazine, "The Japan Punch" notes that the creation of this magazine marked the beginning of Japanese cartoons as a mass medium. Once Japan opened its borders to foreign trade in the 1 850s-after nearly 300 years of seclusionism-the Japanese were profoundty influenced by rapidly imported Western technologies as well as the many Western visitors.

This article analyses wartime images created by civilian internees during their incarceration in 1914/1915. Their paintings, sketches and photographs are used to create a sense of a civil community and challenge stories about relentless hostility. As the juxtaposed images from the Ruhleben Camp near Berlin and the Rottnest Island Internment Camp in Australia show, cross-cultural encounters between Germans and Australians were experienced and depicted with striking similarities. Generally, descriptions and discussions of civilian and POW internment were over-determined by propaganda and censorship, but this paper seeks to highlight a more private and humane side of internment, as captured by pen, paint and camera. [ABSTRACT FROM PUBLISHER]

This article features the history of the newspaper, The Drivers' Mirror, published for the British military from 1942 to 1943. The editorial of the first number of the newspaper, published by 129 Infantry Brigade Company on November 9, 1942, quoted a reporter in the Daily Express who said: Troops all over the country are rebelling against the flood of official and private enterprise journalism with which they are being swamped. They want publications reflecting their own thoughts and feelings rather than scores of papers published for profit by outside interests. The newspaper began publication at a camp near Canterbury and ran for 26 weekly issues in a small format of about newspaper size until May 26, 1943. In June 1943 the format was changed to more than twice the size. Each issue of the paper contained an editorial which commented on the work of the editorial staff. The sports features were regular and comprehensive. Football was fully reported and comments made if necessary. There were illustrations in each issue. Some were original cartoons and some pictures cut out of magazines. It is notable that there were no pin-ups and no sexy features. The standard of journalism was high. Even the serious news items were written in straightforward plain language which could be followed by all.

Art Spiegelman’s graphic novels are arguably the most canonical and widely studied publications in the field, attracting the attention of scholars working in literature, holocaust studies and psychoanalysis. Yet his work for children, which often straddles the line between comics and picture books, remains relatively underappreciated. This is remarkable since Spiegelman’s fascination with childhood and picture books forms a thread that connects his early creative works (as theGarbage Pail Kidsand theWacky Pages) to his later work as an editor of and contributor to theLittle LitandToon Bookseries, and his critical essays on classic picture-book artists, such as Dr. Seuss and Maurice Sendak. While Spiegelman himself claims a didactic impulse behind these latter books (they aim to teach children literacy), this paper proposes the argument that there may be a more fundamental link between the theme of childhood and Spiegelman’s interest in visual storytelling. Analysing both Spiegelman’s creative work and his criticism (among which his book-length study of Jack Cole), I demonstrate how his work is engaged in an investigation into our emotional attachment to images from our childhood, and the specific role of the comics in the radical redefinition that the notion of childhood underwent in the second half of the twentieth century. [ABSTRACT FROM AUTHOR]

While professional wrestling is a form of moving image media most commonly associated with television, its origins date back to the earliest experiments in American cinema. This article traces out the early history of wrestling films over the period 1892–1911, during which, despite widespread national popularity, the legitimate wrestling contest failed to catch on as viable cinematic genre. In tracing wrestling’s shift from the ‘shoot’ film of the early 1900s to the ‘worked’ style that would come to dominate in the televisual era following the financial failure of films of legitimate contests, this essay offers an important counterpoint to largely ahistorical definitions of wrestling as an inherently melodramatic or spectacular mode. Despite the seemingly close parallels between the sports of wrestling and boxing at the turn of the last century, this paper asserts that television wrestling should rather be understood as a mode akin to early cinema genres like slapstick comedy and cartoons, genres that film theorists have long understood as having a privileged relationship to the reconfiguration of the modern sensorium wrought by the introduction of cinema. [ABSTRACT FROM AUTHOR]

This article examines the history of the lightning cartoon act, which rose to prominence in British music halls in the 1880s, continued in popularity into the early twentieth century, and played a key role in the development of animation, the act having been performed by a number of important figures in its early history, including J. Stuart Blackton and Winsor McCay in the US, George Méliès in France, and Walter Booth in the UK. This paper considers the ways in which this act anticipated animation, featuring qualities such as transformation, the movement of line drawings, and the desire to bring drawings to life. It also examines the perceptual play that was central to the act’s aesthetic and which continued into early films of lightning cartoonists performing, as stage performers such as Tom Merry and Walter Booth transferred and played an important role in early British filmmaking. [ABSTRACT FROM PUBLISHER]

In this paper, a novel algorithm for image decomposition is proposed, based on the perception dictionary. It can separate images into different morphological parts under the complicated background. The main idea is the use of two appropriate perception dictionaries, one for the representation of textures, and the other for the cartoon parts assumed to be piecewise smooth. The approach towards the candidate dictionaries is to pick known transform for representing well either texture or cartoon parts. The local ridgelet transform has been shown to be optimal for representing the local geometric structure (cartoon part). We use the perception mechanism of the human visual system to devise the Gabor function for constituting the texture dictionary. The use of the Basis Pursuit algorithm with the two chosen dictionaries makes the original image to the desired separation, along with noise removal as a byproduct. The experiment results show that the image decomposition by this algorithm is close to the human visual system. [ABSTRACT FROM AUTHOR]

Humour and cartoons are commonly perceived as practices of innocent entertainment, but the crisis following the publishing of twelve cartoons of the prophet Muhammed in the Danish newspaper Jyllands-Posten finally proved what serious matters popular culture, cartoons and humour can be. One repercussion of this notorious cartoon crisis was the publication in Kaltio, a minor cultural journal produced in northern Finland, of a comic strip in which various questions concerning the Muhammed cartoon episode and the political hypocrisy of the Finnish government were discussed satirically. This precipitated another, albeit minor, crisis which was noted widely around the world. Through these two interlinked incidences, the present paper discusses how humour functions as a 'tool' giving impetus to various forms of geopolitical processes and discussions in a range of contextual circumstances and at different spatial levels, resulting in both politically affirmative and destructive effects. It also discusses how the geopolitical order, discourses and codes can divert the reception and interpretation of humour. [ABSTRACT FROM AUTHOR]

With their increasing global dissemination, visuals have assumed an important role in international political communication. The crisis sparked by Muhammad cartoons that swept the globe in early 2006, re-emerging two years later with the republication of the cartoons, testifies to the global conflict potential of visuals. Language barriers still set limits to global textual communication, yet visuals transgress those barriers and evoke different responses in different cultural contexts. In this paper we compare three connected cases of cartoon controversies in the year 2006: the cartoon conflict triggered by the publication of 12 cartoons in a Danish newspaper depicting Muslim prophet Muhammad; the follow-up event of a cartoon competition initiated by the Iranian government, ridiculing the Holocaust; and “free-riding” on the global impact of the Muhammad cartoons, and 12 cartoons published in Bulgaria, depicting Libyan leader Khadafi in the context of a trial of Bulgarian nurses, accused of deliberately infecting Libyan children with HIV1. [ABSTRACT FROM AUTHOR]

On 7 June 1742, Christian Goldbach wrote a letter to Leonhard Euler, suggesting that any even number greater than 4 is expressible as the sum of two odd primes. Goldbach's conjecture has served as a springboard, providing me with inspiration for a prolonged series of artworks. The patterns produced that were inspired by this simple statement are tiled patterns with an even number of tiles that are partitioned into two sets. Each set consists of a prime number of tiles. These arrangements are cartoons, i.e. preparatory designs, drawings or paintings, used for the task of constructing aesthetically interesting artworks using traditional and non-traditional materials. [ABSTRACT FROM AUTHOR]

This paper starts from the observation that particularly rewarding parts of a set of research interviews were all accompanied by laughter. The interviews in question inquired into organizational practice as sites for individual and collective ‘becoming’, conceived as a set of ongoing authoring acts situated in everyday work. The research interview should be considered amongst those events where such authoring takes place. Interviews constitute events of understanding within the hermeneutics of becoming. Based on two exemplifying strips of dialogues from my interviews, I identify and discuss three kinds of laughter. ‘Positioning laughter’ has the function of affirming authoring acts, welcoming elaboration and creating a general atmosphere of trust. ‘Resonating laughter’ addresses a form of pattern recognition that I suggest amounts to the tuning-in to an unutterable ‘we’. The function of resonating laughter is that it marks and celebrates this emerging understanding and plants the seeds of a prolonged interpretive effort. ‘Liberating laughter’ addresses and potentially releases from constraints in the event of understanding: whether that be in patterns of the interview as a social event, in prior understanding or in investments into self-conceptions. The overall function of laughter is that it may enhance implicit interpretation and maintain an open dialectic in understanding; both qualities of particular relevance in becoming interviews. [ABSTRACT FROM AUTHOR]

This paper identifies and examines recent developments (broadly, the 1990s) in the use in political caricature and advertising of imagery derived from French classical templates, including Géricault's ‘Le Radeau de la Méduse’ and, notably, Delacroix's ‘Liberty Leading the People’, perhaps the most emblematic exemplar of the revolutionary ‘Marianne’. Taking its illustrations from contemporary British, French and international sources, it analyses their instrumental, denotative significance in an evolving political context and the extent to which, by reworking a familiar iconographical tradition, they function as vectors of cultural transfer and marketing devices. [ABSTRACT FROM AUTHOR]

Newspapers provided a significant portion of the political education that farmers received during the 1890s. Most were small, highly partisan, and run on a shoe-string budget. To supplement local news and activities, Populist editors frequently purchased 'boiler plate' syndications that contained national news, party propaganda, and cartoons. The messages in these illustrations could be cutting, controversial, or even poignant. They probably left a stronger impression than the editorials, particularly among those tired from a long day's work or with questionable reading skills. These cartoons provide us with a window into the world of Populist politics in the 1890s. [ABSTRACT FROM AUTHOR]

This article examines David Low's depiction of unemployment in his cartoons during the interwar period, as a case study of the political cartoon as journalism. In doing so, it highlights the instability of journalism as a genre or, put more positively, the self-conscious blurring of generic forms. Even as the word “journalist” shed its mid-nineteenth-century opprobrium, late nineteenth-century voices had argued over the competing claims of reporters, leader-writers, and proprietors to the title of “journalist” (Hampton 2005). Low, while claiming his caricature as “art”, simultaneously asserted his identity as a journalist and the status of caricature as journalism. This articulation constituted, among other things, a response to contemporary debates about the New Journalism. In an era in which cultural traditionalists and leftist political writers both lamented what they saw as the debasement of public discourse through a popular journalism that was incapable of grappling with complexity, and in which, they argued, the yielding of the word to image was one of its gravest failings, Low used caricature to offer systemic critiques of British political and economic arrangements. Accordingly, while the interwar popular press was commonly dismissed as lacking in serious political content—a dismissal that has generally been echoed by historians (Bingham 2012)—Low's political cartoons demonstrated the capacity for conveying serious political messages within an entertaining medium. [ABSTRACT FROM PUBLISHER]

The 1960s witnessed the emergence of the greatest Afghan cartoonist, Abdul Rahim Nawin, during a time of fundamental change. The ratification of a new constitution in 1964 allowed unprecedented freedom of expression and paved the way for the emergence of independent newspapers and political parties. As a result Afghan society became rapidly politicized. Nawin established the newspaper "TarjomānorInterpreter," the country's first satirical newspaper. He published a great number of cartoons depicting the current political system and its success and shortcomings. This article examines Nawin's contribution to the establishment of political cartooning in Afghanistan set against the period of the Constitutional Decade and its institutions and how they operated. [ABSTRACT FROM PUBLISHER]

The purpose of this study was to investigate how concept cartoons, together with other diagnostic and scaffolding tools, could be used in formative assessment, to stimulate talk and argumentation among students in small groups, as part of peer-assessment and self-assessment; and to provide diagnostic feedback about students' misconceptions to the teacher for teaching towards conceptual change. Two classes of Primary 5 and 6 students worked in small groups to discuss the opposing viewpoints posed by the cartoon characters, using scaffolding tools to guide their discussions and to evaluate, challenge, and document each others' ideas. Students also used drawings to depict their ideas. The conversation from one group was audio-taped. These tools provided a record of students' thinking in a form that was accessible to the teacher for monitoring and feedback purposes. Findings showed dialogic talk and interactive argumentation among students where they made their reasoning visible. Students' assertions and questions had formative potential as they encouraged exploratory and reflective discourse by drawing upon each others' ideas. The teacher's discursive practices, as well as her role in designing scaffolding structures for supporting 'assessment conversations' when using concept cartoons and in devising strategies that take into account students' conceptual and epistemic thinking, are emphasised. [ABSTRACT FROM AUTHOR]

American political cartoons offer a rich resource for the study of American culture and the development of magazines and newspapers. This article, based on an introduction to the resources held at the British Library, provides an overview of the development of American political cartooning and its historiography and argues that cartoons need to be studied within the context of wider print history. It concludes with a guide to the major reference resources and secondary literature, and several institutional holdings. [ABSTRACT FROM AUTHOR]

The Zulu people in South Africa are masterful composers of onomastic caricatures, both in the home and work environment. Names in African societies go beyond expressing the individual character of a person, they may also serve as Finnegan (1970:470) has pointed out, as a way of 'working out tension', or for their social function in 'minimizing friction' or even more importantly in the context of this paper, as a useful form 'for providing a means of indirect comment when a direct one is not feasible' (Finnegan 1970:470). Suzman (1994:268) makes the point that 'Name giving provides an outlet for the regulation of social relations in the intense social interaction of small communities. It allows to communicate their feelings indirectly, without overt confrontation and possible conflict.' [ABSTRACT FROM AUTHOR]

Cartoons are composed of sign systems that speak a universal visual language that can be highly persuasive and manipulative. The social influence of political cartoons is evident in many countries. This paper reports a study of 89 political cartoons directed at communism within recently communist countries. The visual symbology is analyzed and categories are explained. [ABSTRACT FROM AUTHOR]

Discusses the change in newspaper caricatures between 1815 and 1841. How the style of caricatures changed as readers views and opinions changed: How caricatures were geared towars the lower classes of society.

Amartya Sen's critique of the concept of need and his case for the superiority of capability as a measure of advantage have been highly influential. However, Sen perpetuates a caricature. Needs are not necessarily mere instrumental resource requirements achieving ends; the valuable ends of people's lives can themselves constitute needs, as can freedoms. Indeed, these ideas are already present in basic needs theory. Moreover, official disavowals notwithstanding, expansive notions of need are implicitly present in certain important theories of capabilities and other advantages. Objections to need can be undermined in part by showing how this is the case. Aversion to need is unfortunate, because the concept offers powerful theoretical resources that could be better exploited if negative preconceptions were overcome and need were explicitly embraced. However, this proposal is friendly. It is not that need should replace, but that it can augment, other concepts. Drawing on need may assist with: selecting important capabilities or dimensions of advantage; marking a distinction of seriousness between these and relatively trivial advantages (and buttressing claims to the ethical or political priority of the former); explaining the incommensurability/non-substitutability of certain capabilities and dimensions of advantage, and; defining notions of sufficiency. [ABSTRACT FROM AUTHOR]

This article analyses political cartoons that depict contemporary populist politicians in Denmark, Finland, and Sweden between 2005 and 2015, a period which focuses on the electoral successes of these movements. The hypothesis is that by analyzing cartoons we can explore the underlying moral and normative confrontations linked to current political populism in the Nordic liberal democracies, which arose during the insurgent phase of the domestic right-wing parties. In total, 60 political cartoons are analyzed by means of content categorization and visual semiotics. The most popular caricatures in the cartoons depicted the leaders of the populist parties, while the most common signifiers linked the populism in the cartoons explicitly to fascism, Nazism, nativism, and racism. In this, the cartoons differed from news journalism, reflecting the specific role of cartoons in public opinion discourse and indicating special characteristics that derive from particular political contexts and also the cartoonists' own perspectives. [ABSTRACT FROM AUTHOR]

This article examines the little-known Scottish born caricaturist William Charles and focuses specifically on a period of great activity by Charles in America, between 1812 and 1815, during the War of 1812. Charles arrived in America in 1806, bringing with him caricatures prints from London and he soon introduced to an American market a new model for regularly publishing caricature prints. [ABSTRACT FROM AUTHOR]

The author assesses young children's abilities to recognize cigarette brand advertising symbols and to identify adults as the appropriate target market for cigarettes. She used nonverbal measures in interviews with children three to eight years of age to assess how recognition of cigarette brand advertising symbols is related to age, cognitive developmental level, children's affect toward cigarettes, children's evaluation of cigarettes, and children's ability to identify adults as the appropriate target market for cigarettes. The results show that recognition of cigarette brand advertising symbols increases with age, as does overall recognition of brand advertising symbols in general. Regardless of age, cognitive developmental level, or recognition scores, children reported not liking cigarettes, believing cigarettes are "bad for you" and finding children to be an inappropriate target market for cigarettes. Findings are discussed in terms of social science and public policy, and in terms of the implications for cognitive development. [ABSTRACT FROM AUTHOR]

This study employed content analysis to examine animation and animated spokes-characters in television advertising. The majority of spokes-characters observed in this study were humans, animal personifications, or product personifications. Characters were more likely to speak for the product than provide visual demonstration although they did both in more than half the cases. There were far more non-celebrity than celebrity spokes-characters, and a large majority of them were male. Significant differences were found in the use of animation across dayparts, program types, product classes and product categories. Although no increase was evident in the use of animation since the last study was completed, there was evidence to suggest that the role of animation has been changing in the past decade. Findings indicate that animated spokes-characters are being used more often to present high involvement products to adult audiences. [ABSTRACT FROM AUTHOR]

We investigated how decision-making is affected by the visual presentation of flood hazard information. We exposed participants to different formats of flood hazard information while they simulated selecting a property to purchase. We compared three flood hazard formats: (i) maps currently used by the UK Environment Agency, (ii) tables that present flood level and frequency information and (iii) graphical representations depicting the level-frequency combination using a cartoon house image as a physical referent. In the experiment participants were presented, via computer screen, side-by-side information about two houses in a series of trials. Participants made a forced choice preference judgement between 108 different pairs of houses to indicate which they would purchase. Our findings indicate that when hazard information is presented in map format, individuals are less accurate in selecting lower-hazard houses, compared to when the same information is presented as a graphic representation of a house or as a table. [ABSTRACT FROM AUTHOR]

Despite its visibility but in spite of its lack of materiality (or perhaps because of it), shadow has been a rich source of metaphor, both verbal and visual. Figurative extensions to the visual realms have been less explored; here, we present and analyze some figurative uses of shadow in a sample of visual jokes, cartoons, photographs, and paintings for insights into the nuanced senses of the concept. The visual domains allow for rich expressions of meaning not easily expressed in words. [ABSTRACT FROM AUTHOR]

An introduction is presented to articles within the issue that explore the portrayals of the Holocaust in various national contexts and through different kinds of graphic narratives, such as newspaper cartoons, educational pamphlets, short stories and graphic novels.

According to Moral Politics Theory (Lakoff, 1996, 2004, 2006, 2008), a portion of the U.S. population is biconceptual. These citizens subscribe to both the strict-father and nurturant-parent model in their reasoning about ideal families and therefore possess more flexible political attitudes that can shift depending on what family model is brought to the fore of their reasoning through the language used in public discourse. The present study examined whether visual issue framings in terms of a strict-father and nurturant-parent model result in short-term framing effects. Participants were exposed to strict-father and nurturant-parent framings of the issue of bailouts. The results showed that strict-father and nurturant-parent framings led to framing effects and that biconceptuals were susceptible to framings in terms of both models. Furthermore, the author demonstrated that presenting strict fathers with an antibailout argument framed in terms of strict-father values pushed them toward even stronger stances in line with their preheld beliefs (although see Chong & Druckman, 2007; Converse, 1974; Judd & Krosnick, 1982; Payne, 1951; Wehling, 2013; Wehling, Feinberg, Saslow, Melvaer, & Lakoff, 2014). In addition, the results confirmed that subtle changes in visual metaphoric constructions can exert an influence over people's political attitudes. [ABSTRACT FROM AUTHOR]

Background:A substantial review study of concept cartoons reports that few studies have indicated their functions. For this reason, the present study illuminates the extent to which concept cartoon-embedded worksheets (through constructivist context) accomplish these functions in conceptual learning. Purpose:The purpose of the study is to determine the effect of the concept cartoon-embedded worksheets on grade 9 students’ conceptual understanding of Newton’s Laws of Motion. Sample:Within a quasi-experimental research design with control group, the sample consisted of 102 grade 9 students (aged 15–16 years) enrolled in an Anatolian High School. They were randomly assigned to control (52 students) and experimental groups (50 students). Design and methods:While the control group followed the existing physics instruction, the experimental one was exposed to the concept cartoon-embedded worksheets. To collect data, two scales (Newton’s Laws of Motion Test –NLMT– and Interview about Instances –IAI) were employed. Results:The results indicated that the experimental group performed better than did the control group. Conclusions:It can be deduced that the concept cartoon-embedded worksheets are effective in improving grade 9 students’ conceptual understanding and in replacing their alternative conceptions with scientific ones. [ABSTRACT FROM AUTHOR]