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This article builds on observations made in its author's book The Hero's Life - Choice (2023) and examines four nineteenth-century cartoons by John Doyle and his son Richard. It shows how the concetto underlying their title 'a famous actor between Tragedy and Comedy' descends from an eighteenth-century painting by Joshua Reynolds of the Shakespearean actor Garrick between the same two female personifications. This painting itself parodied the parable 'Heracles at the Crossroads' or 'The Choice of Heracles between Virtue and Pleasure', by the fifth-century bc Greek sophist Prodicus. The three earliest cartoons show two politicians on either side of, respectively, a personification of England, a king of England, and a Prime Minister of England. They may thus be interpreted as adumbrating the present-day conviction that politics is merely performative theatre. The appearance of Prime Minister Robert Peel in the latest of John Doyle's cartoons chimes with the independently attested view by some contemporaries of his career as that of an actor-manager. A final section attempts to explain the unexpected reappearance of the 'famous actor' trope in two twentieth-century political cartoons and its definitive disappearance thereafter. [ABSTRACT FROM AUTHOR]

This article critically analyzes the term "whitexican," a neologism (white + Mexican) used to provide satirical and/or critical commentary about the online behaviors of the White, wealthy classes in Mexico. I build on theories of race and language in Latin America to propose reading whitexican not only as a social media vernacular but also as a heuristic to examine more widespread struggles over class, race, and indigeneity as they take shape across new media platforms in Mexico. My analysis presents three related sources of evidence: user-generated content satirized by the Cosas de Whitexicans account, political cartoons that reference the term, and celebrity posts that use the term in anti-racist activism or that express backlash against it. Through this analysis, I demonstrate an emergent vernacular conception of Whiteness connected to yet distinct from US–European contexts and illustrate how online media interactions continue to shape the process of racialization in different national contexts. [ABSTRACT FROM AUTHOR]

Political cartoons are employed by the major Chinese news organisations to present critical viewpoints on global sociopolitical matters. This study draws on the theory of grammatical metaphor to investigate the grammatical demetaphorization observed in the translation of titles accompanying these cartoons. Both ideational and interpersonal demetaphorization are identified. Through a multimodal discourse analysis, it is found that these two types of demetaphorization interact with the cartoons' verbal-visual elements and thereafter affect the semantic focus, political meaning construction and information arguability of the cartoons. This phenomenon of grammatical demetaphorization in translation reflects translators' active role in political dissemination. Considering the sociopolitical context in China, we argue that translators' activism is influenced by their institutional affiliations with the news organisations. [ABSTRACT FROM AUTHOR]

Newspaper political cartoons, known for their satirical nature, employ semiotic and linguistic techniques to comment on or criticise political leaders and events humorously. While previous studies on Nigerian newspaper political cartoons have focused on ideological issues and discourse frames, little attention has been given to the linguistic investigation of semiotic humour techniques in these cartoons. This study, therefore, investigates these humour techniques, utilising Salvatore Attardo and Victor Raskin’s General Theory of Verbal Humour (GTVH) as the framework within a descriptive design. Three newspapers – Punch, The Guardian, and Daily Trust – were purposively selected for their regular publication of cartoons, criticising Nigeria’s politics. Eleven political cartoons were purposively selected for their semiotic and humorous depictions of Nigeria’s politics, and subjected to linguistic analysis. Six semiotic humour techniques were identified in the cartoons: exaggeration, humorous metaphor, distortion of formulaic expressions, neologism, innovative collocation, and sarcasm. These techniques were employed to satirise three governance issues in Nigeria – misgovernance, corruption and insecurity.

This article uses the methodology of multimodal discourse analysis, applied to a sample of 277 political cartoons from around the world, categorizing the most commonly used resources in constructing the Western message. For this purpose, 33 cognitive subframes have been established, covering a period extending beyond the first year of the conflict, from the days preceding the invasion to the assassination of Yevgueni Prigozhin, leader of the Wagner Group. [ABSTRACT FROM AUTHOR]

Women politicians have long experienced gendered and often sexist portrayals within the mainstream media that reproduce and reinforce the heteronormative gender binary. Though the media overwhelmingly support binary notions of gender, the way in which they portray women politicians, intentionally or not, also has the potential to unsettle notions of sex/gender. Political cartoons have been widely and historically used by newspapers to communicate certain messages to the reader, drawing from cultural norms and stereotypes, often in ways that would be regarded as unacceptable if written in the text of the article. However, little research has examined gender stereotypes in political cartoons of women political leaders and those that do largely focus on the "feminine". This paper will address that gap by analyzing how "masculine" stereotypes are used in political cartoons of four women Prime Ministers from English speaking Westminster Democracies: Julia Gillard (Australia), Margaret Thatcher (UK), Jenny Shipley (NZ) and Helen Clark (NZ). Drawing from Judith Butler's idea of gender performativity and utilizing a feminist semiotic methodological analysis of selected political cartoons, I explore how masculine stereotypes are used to ridicule these leaders for their supposed gender subversion while also inadvertently unsettling the gender binary. [ABSTRACT FROM AUTHOR]

Accused of being self-centred or disconnected from the needs of the nation or society, surrealism as a movement was given short shrift by some of the more Left-leaning members of the Chinese art world during the Republican era. Rather than Wei rensheng er yishu ('Art for life's sake'), surrealist artists (and modern oil painting in China generally at this time) were associated with the philosophy of Wei yishu er yishu ('Art for art's sake') by politically engaged commentators and roundly criticized. However, this article demonstrates that surrealist themes and images in the work of artists Cai Ruohong (1910–2002) and Bide (likely Huang Shiying, n.d.) were in fact found in the pages of Manhua Shenghuo (Cartoon Life) and the magazine that continued its mandate, Manhua he Shenghuo (Cartoons and Life), and were effective vehicles for the dissemination of pointed Leftist social critique. [ABSTRACT FROM AUTHOR]

The humour of political cartoons is studied in multiple disciplines, and African political cartoons are no exception to academic scrutiny. Their satire, however, is prone to Western models of analysis. One subsequent gap is the dismissal of important postcolonial realities, such as African political cartoonists' caricature of world news and not just domestic matters. To contribute theoretically to the study of humour in African political cartoons, I apply postcolonial translation theory to explore a selection of POV's political cartoons, which address both domestic and world news. I argue that the political cartoonist is a translator, not of languages, but of ideas about foreign affairs, transposed through translation strategies to convey meanings for local audiences. African humour in political cartoons, therefore, is not restricted to domestic matters. African cartoonists' engagement with foreign news invites the question about whether the humour is framed for Western audiences. I conclude that the occasional engagement with foreign ideas does not render an African political cartoon's satire inauthentic or less African. Instead, it is possible to reconcile the translation strategies of foreignisation and domestication, ensuring the humour of these political cartoons – visually translated for African contexts – is inclusive for local audiences and welcoming of foreign ideas. [ABSTRACT FROM AUTHOR]

The effectiveness of satirical political cartoons, especially in times of strict censorship, may be explained through their use of linguistic quips that complement the brevity and immediacy of the visual medium well. Several techniques within linguistic quips may be understood through the theories of Henri Bergson and Arthur Koestler that are drawn upon in this paper. However, it is through an analysis of the subjects and objects of these linguistic quips that we understand the subversive nature of the laughter produced through these quips. Linguistic quips, in addition to providing at least a minor, though inconsistent, protection from censorious authorities play a more vital role of exposing social and political hierarchies of power in the society. This paper locates the subversive potential of political cartoons and specifically of linguistic quips in exposing these hierarchies. The subversive laughter with its pin-pointed target, often asks for the participation of the readers/viewers in such a way as to create a space for the degradation of the target and vindication of the participant viewer. This paper demonstrates these ideas through an exploration of the cartoons of Abu Abraham during the Emergency Years in India (1975-77) when major restrictions were imposed on the freedom of the press by the government. In doing so, the paper tangentially comments on the role that satirical political cartoons play in the public sphere. [ABSTRACT FROM AUTHOR]

This article appraised the use of political cartoons in communicating messages to the public using The Guardian newspaper, The Punch newspapers and The Sun newspapers; particularly, between June 2022 and February, 2023. The paper adopted media intrusion theory propounded by Dennis Davis in 1990. And framing theory propounded by Gregory Bateson in 1972. Comment: take the deleted details to the body of the paper. The paper adopted content analysis and in-depth interview with key informants. The units of analysis included: image of corruption, image of responsibility, image of brutality, image of cruelty, image of terrorism, and image of political failure. The findings indicate that the impact and significance of cartoons in the information age cannot be over emphasize. That cartoons are very attractive to mostly children and it influences their perception of the world and value system in their upbringing, and that people read cartoons for different reasons. Political cartoons aim to make people laugh about current political situations or issues, while at the same time enabling readers to critically think about issues in a new way. Findings also indicate that cartoons have help to expand media scope and content by adding cartoons varieties from every field or disciplines. It is therefore, recommended among others that, the media should be granted true or practical freedom to perform it functions the public and more cartoons should be employed in articles, news or stories that are sensitive or important since it make reading more appealing thereby enhancing retention of messages. [ABSTRACT FROM AUTHOR]

Although a few historians have discussed the influence of Peronism in Chile, research has been guided mostly by diplomatic studies and political history, which, though important, are less convincing for historians interested in logics of media representation, particularly from the satirical press. This article explores visual representations of Argentina’s president Juan Perón (1946–1955) in the Chilean magazine Topaze. By discussing and contextualizing a series of images produced by Chilean cartoonists, this study provides new insights into the important role played by the press in shaping anti-Peronist sensibilities and discrediting Perón within Chilean domestic politics. Studying the impact of Peronism in the region—particularly in neighboring countries such as Chile—is useful for thinking about Peronism as a transnational phenomenon with multiple meanings outside Argentina. [ABSTRACT FROM AUTHOR]

The 1973 oil crisis, a period marked by tensions following the Yom Kippur War and the subsequent Arab oil embargo, was a pivotal, global event with far-reaching economic and political consequences. Political cartoons played a significant role in influencing public opinion and shaping Western perspectives about Arabs and the Muslim world during this time. Many of these depictions resorted to negative stereotyping and vilifying Arabs. This research examines these portrayals by analyzing sixty-eight political cartoons from twenty-nine Western newspapers and magazines. These depictions, conceptualized here, characterized Arabs as violent, arrogant, rich, and indifferent to humanity, contributing to the propagation of long-standing stereotypes. The cartoons also depicted oil as a weapon wielded by Arabs, reinforcing biased perspectives that contrast starkly with the complex reality of Arab societies. This study highlights the influential role of media in shaping public perspectives and underscoring the need for balanced, nuanced portrayals in media representations. [ABSTRACT FROM AUTHOR]

"ASIAN POLITICAL CARTOONS" by John A. Lent, published in 2023, is a comprehensive exploration of political cartoons in Asia, covering countries from Japan to Iran. The book includes hundreds of illustrations and photographs, showcasing the diverse platforms and styles of cartoon art in the region. Lent's research highlights the historical and contemporary significance of political cartoons in critiquing, exposing, and satirizing political events and figures, while also addressing challenges such as censorship and persecution faced by cartoonists. [Extracted from the article]

The article "TRIBE AND STATE IN ASIA THROUGH TWENTY-FIVE CENTURIES" by Sumit Guha explores the historical evolution of tribes in Asia over 25 centuries, emphasizing their fluid and dynamic nature in response to state weakness and expanding empires. Guha argues that tribes were decentralized political formations that varied in size and structure, distinct from centralized states. The text also discusses the impact of colonialism on tribal identities and the ongoing challenges faced by Indigenous peoples in the face of resource expropriation and cultural imperialism. [Extracted from the article]

Political cartoons are valuable cultural artifacts which not only capture moments in time but also offer the illustrator's insight into those moments. This essay examines how three of Israel's Religious Zionist cartoonists have illustrated the first three months of the 2023 nationwide protests and the judicial overhaul that sparked them. Shay Charka, Or Reichert, and Reut Bortz all self-identify as members of the Religious Zionist community but their cartoons show diverse reactions to the protests and proposed legislation. Examining their works provides insight into how the cartoonists themselves are navigating significant changes in their own society and also what messages are being conveyed to the Religious-Zionist readership. What emerges from this analysis are thematic overlaps in which the artists draw upon common visual tropes and themes but offer distinct readings of the judicial overhaul and the protests that ensued. The value of analyzing the three cartoonists' work in this way is that it provides insight into the messages that are disseminated to the wider Religious Zionist community given their role as figures who shape and construct Religious Zionist ideology and mentality. [ABSTRACT FROM AUTHOR]

The article discusses the exhibition "1898: US Imperial Visions and Revisions" at the Smithsonian National Portrait Gallery in Washington, DC. The exhibition explores American territorial expansion through portraiture and visual culture, focusing on the year 1898 when the US acquired territories through war and annexation. It showcases a variety of artifacts, including portraits, landscape paintings, quilts, maps, toys, and coins, to highlight the complexity of American involvement in the Philippines, Hawai'i, Cuba, Puerto Rico, and Guam. The exhibition challenges the homogeneity of imperial narratives by presenting conflicting viewpoints and emphasizing the role of Indigenous agency. It also uses portraiture to humanize the geopolitical context and prompt new discourses on American empire. The exhibition is organized thematically and geographically, with an emphasis on perspective and diversity of sources. It encourages viewers to question the motivations of different actors and understand the limitations of perspective in historical narratives. The exhibition is accessible and provides verbal descriptions of items, with well-lit cases for fragile objects. Overall, it successfully presents a revised and varied field of gazes on US empire, inviting viewers to think about the intersections of history, art, politics, and culture in everyday life. [Extracted from the article]

This article examines the history and characteristics of Nigerian cartoons, emphasizing the importance of understanding their cultural and temporal context. It discusses the origins of cartoons in Nigeria, the influence of early cartoonists, and the growth of the industry. The article also highlights the use of digital media and social media in the dissemination of Nigerian cartoons. It calls for further scholarly exploration of the formal elements of Nigerian cartoons to deepen our understanding of this art form. Additionally, the article analyzes the categorization of Nigerian cartoons based on their formal characteristics and themes, and explores the different styles and techniques used by Nigerian cartoonists, including the combination of words and pictures, the use of perspective, and the use of panels. It concludes by acknowledging the recent advancements in technology and the wider reach of Nigerian cartoons. [Extracted from the article]

This article situates John Keats's 1817 sonnet 'On Seeing the Elgin Marbles' within the context of 1816–1819's climate catastrophe and subsistence crisis. Countering received readings of Keats's sonnet as about artistic vocation; I argue that it is more about the opportunity cost of expending public funds on ancient art during a climate-exacerbated economic crisis. This reading emerges by placing the poem in dialogue with a political cartoon by George Cruikshank, 'The Elgin Marbles! or John Bull buying stones at the time his numerous family want bread!!' that critiques the British Government's purchase of the Parthenon sculptures in these terms. I contend that both sonnet and cartoon stage the purchase of the sculptures not in terms of their artistic merits, but instead in terms of the opportunity cost of public relief and the potential 'waste' status of art in the face of a depressed labour market and skyrocketing grain prices. [ABSTRACT FROM AUTHOR]

Yom HaZikaron, Israel's Remembrance Day, has received considerable scholarly attention, with research published about how the country's youth understand the day but there has been no comparable data from diaspora Jews. This article presents findings about how a cohort of Canadian Jewish teenagers participating in a gallery walk of Israeli political cartoons provided new ways of thinking about and relating to Yom HaZikaron. The data revealed that students care about Yom HaZikaron but struggle to form a connection to the day. Political cartoons that depicted personal loss led students to form new insights into the day and to new associations and connections with Israelis. [ABSTRACT FROM AUTHOR]

The debate about whether the sexes communicate and behave differently continues. The stereotype that women are not funny or that their language or behavior is more "ladylike" is very widespread and has been current for decades, if not centuries. Gender differences in politeness and humor were also frequently reported by early anthropologists, sociolinguists, and cognitivists, but many modern linguists are far from convinced by such findings. Examining multimodal communication, a development phase within many fields, may help us find evidence to support or undermine a sociocognitive hypothesis such as women are more polite or are naturally less funny than men. Using a corpus of political cartoons, this study identifies whether there are gender differences in the use of taboo language and humor, putting special emphasis on impolite metaphor and metonymy. The results of this research show no differences between male and female cartoonists in the use of taboo or impolite metaphors and metonymies. Rather, individual variations are reported. This analysis, then, offers a new window on an age-old question about how men and women think, communicate, and behave. [ABSTRACT FROM AUTHOR]

This article aims to show the special status of Cuban comics within the Americas. As the article argues, the special status derives primarily from Cuba’s particular political situation – the revolution of 1959 and its political, social, economic, and cultural repercussions being perhaps the most decisive factor – as well as from the ways in which cartoonists, artists, and writers have handled these repercussions. This article begins by tracing this tradition and history from the republican period to the revolution and its aftermath through the Período Especial and to the present. The authors then take stock of contemporary Cuban comics and their culture, which are more dynamic than they may seem at first glance and which belie attempts to reduce them to emanations of scarcity, hardship, political uniformity, and cultural conformism. [ABSTRACT FROM AUTHOR]

A picture is worth than a thousand words. Political cartoons are an important genre in media content and can be used as a tool for propaganda in peace and war times. Permanent hostilities and rising media outlets in the region between India and Pakistan increased the importance of media to cool down hostilities. This study attempts to explore the role of political cartoons in escalated tensions between India and Pakistan, due to the Uri base and Pathankot terrorist attacks in 2016. Therefore, two daily newspapers – DAWN from Pakistan and Times of India from India – published from 1 July 2016 to 31 December 2016 were selected for frame analysis. Findings revealed that both newspapers published 82 cartoons relevant to the study, 29 in DAWN and 53 in Times of India. Analysis of the data reveals that five themes are present in the cartoon content: blame game, Kashmir conflict, role of international actors, peace efforts and dialogue, and water dispute. Blaming the other is dominant in the Times of India and peace efforts and dialogue in DAWN. The Times of India mostly supported Indian government and DAWN rejected the Pakistani stance in cartoon coverage regarding Pak–India relations. [ABSTRACT FROM AUTHOR]

The paper deals with the discursive dimension of two episodes of the Russo–Ukrainian war: The rebellion of Yevgeny Prigoshin (founder of the Wagner private military company) on 23 June 2023, and his death in an airplane crash on 23 August 2023. This dimension is implemented in Ukrainian and Russian political humor. Political satire, as a form of Humorous Media Political Discourse, can be described by its target, focus and setting. Political cartoons and memes, as genres of Humorous Media Political Discourse, can be defined by their goals, frame of reference and means. These corresponding parameters (goal–target, frame of reference–focus, means–setting), as well as the correlation between the discursive dimension and social context, provide the analytical framework for the paper. The methodology is based on the discourse and multimodality theories. Special attention is paid to the interaction of verbal and nonverbal elements in cartoons and memes, as well to similarities and differences in Ukrainian and Russian cartoons and memes depicting Yevgeny Prigoshin’s rebellion and his death.

Caricature is a form of visual communication wherein messages are conveyed through exaggerated and often humorous distortions of characters, serving as a critique of societal issues. Caricature often serves to critique various aspects of society, including social, cultural, economic, legal, and political conditions. Similarly, the political landscape surrounding the 2024 general election has intensified, fostering active and diverse discussions through both direct and indirect media channels. Mass media visualizes the very busy pros and cons of the Indonesian future successors. The proponents and the supported people are arguing and the one that can represent them will be the leader of government in 2024-2029. Funny, amusing, and intriguing caricature images in National Mass Media are interesting to study to see how the interpretation on the form of a caricature object is using the meaningful visual signs. This research was limited to caricature images by a cartoonist, Kang Yuyun, that was published in TEMPO National mass media in January-June 2023. The object of illustrative image was limited using a purposive sample that is considered representing the objective of research. The data mining was carried out through observation, interview, document, and literature. Observation was conducted directly in Tempo's Office, Jakarta; interview was conducted online with the cartoonist; document included the caricature images that have been published on Sunday; and literature came from scientific works such as journal, proceeding, and books. All data were collected to be validated using triangulation and then analyzed using Roland Barthes' semiotic theory about denotation, connotation, and myth. The findings reveal that Kang Yuyun's caricature images in TEMPO mass media during the 2024 General Election depict three groups supporting Ganjar Pranowo, Prabowo Subianto, and Anis Bawesdan as potential successors, emphasizing unity in nation-building and promotion. [ABSTRACT FROM AUTHOR]

Concept cartoons, in relationship with Realistic Mathematics Education (RME), not only serve as a dynamic platform for problem-solving but also intricately weave mathematical concepts into the fabric of real-world scenarios, creating a harmonious fusion of theory and practical application. By using relatable characters and presenting ideas through engaging narratives, students are encouraged to tackle problems within the given context. The aim of this study was to investigate the measurement estimation strategies used by students when exposed to concept cartoons specifically designed for RME. A qualitative research methodology was followed, involving 46 fourth-grade students from a primary school. The data collection instrument utilized was "RME-Supported Concept Cartoons." Descriptive analysis was employed to analyze the collected data. The concept cartoon activities incorporated measurement estimation strategies such as prior knowledge, unit iteration/separation, segmentation/chunking, and comparison, which students could potentially prefer. However, it was observed that students predominantly utilized division into unit iteration/separation and segmentation/chunking strategies over other estimation strategies. Furthermore, the frequency of strategy use did not exhibit significant variations based on gender. When examining the strategies developed by the students, it is noteworthy that the presence of "another solution-oriented option" and "irrelevant answers" was prominent. [ABSTRACT FROM AUTHOR]

In the 1970s, a folk revolution took place in Moroccan popular culture led by young people. The movement began in the working-class neighborhoods of Casablanca, where a group of actors and musicians formed the folk band Nass el Ghiwane. They created a new style of music by blending regional genres and religious idioms, which resonated with Moroccan listeners. This movement, known as the Band Phenomenon, challenged the dominant music industry and political commitments of the time. The article presents a collection of cartoons that both mock and reflect the anxieties surrounding the success and popularity of the Band Phenomenon. Despite attempts by the state to co-opt their legacy, the impact of Dhahira music continues to be felt in contemporary Moroccan music. [Extracted from the article]

This article investigates single-panel cartoons portraying official corruption in China's longest- running state-owned cartoon newspaper Cartoon Weekly (Fengci yu youmo). A total of 433 cartoons are identified as relating to corrupt officialdom between 2012 and 2019 in the wake of Xi Jinping's anti-corruption signature policy. In contrast with the individualizing critique of political cartooning in liberal democracies, the corpus of corruption cartoons investigated in this article is argued as a didactic form of visual schematization in a pseudo-self-critical discourse typically buttressed by verbal reading instructions. To support this claim, the article addresses its politics of visual discourse by employing Peircean hypoiconicity, consisting of direct resemblance, diagrammatic schematization and metaphoric displacement. Accordingly, the article identifies three major features of corruption cartoons as anonymization of direct resemblance, visual schematization of policy and metaphoric displacement of conventional symbols. [ABSTRACT FROM AUTHOR]

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Drawing upon a multimodal corpus consisting of 48 farmer-themed cartoons retrieved from the China News Cartoon Network, this research aims to undertake a comprehensive analysis of farmers' images constructed through the utilization of various multimodal metaphors and metonymies in news cartoons. A multimodal critical metaphor / metonymy analysis approach will be adopted to lay bare the hidden evaluative attitudes that underlie these tropes. Thorough scrutiny, incorporating both quantitative and qualitative methodologies, the study reveals the existence of five primary stereotypical media images of farmers in the Chinese news media. These include the depiction of farmers as economically disadvantaged laborers, powerless takers reliant on protection, contrasting figures to urban citizens, poorly educated criminals, and beneficiaries of agricultural policies. The predominantly one-dimensional, weakened, and biased images are intentionally (or unintentionally) crafted by the media through the use of metaphorical and metonymic mappings, which involve highlighting certain aspects while concealing others. The negative attitudes, discrimination, and stigmatization toward the least powerful members of Chinese society unveil the underlying unequal power dynamics, social hierarchy, and economic duality. [ABSTRACT FROM AUTHOR]

An arts-based qualitative research study was conducted to study the use of political cartoons in Israel education in a high school class. Data analysis revealed that students' initial interest in the cartoons coupled with the diversity of representations of Israeli society on display in the cartoons facilitated an Israel education experience that afforded students the opportunity to engage in meaningful text-to-self connections that also deepened their understanding of the complexity of Israeli society. [ABSTRACT FROM AUTHOR]

From September 1914 to January 1915, the Empire Theatre in London staged what was billed as a patriotic ballet called Europe. In addition to its lengthy run in the capital, a second version of the show toured the country, appearing at theatres in Manchester, Newcastle, Glasgow, Sheffield, Liverpool, Bradford, Nottingham and Portsmouth. The show received unanimous praise in both national and regional newspapers. However, despite its reach, popularity and impact, Europe has been mostly forgotten. Since it was a dance-based performance, no script was submitted to the Lord Chamberlain's office. Although the piece did include music, it produced no hit songs captured on gramophone records or sheet music. Moreover, once the reality of the First World War began to hit home, the manner in which the show trivialised and glorified the conflict quickly fell out of step with public opinion. Therefore, when Europe's run ended, it was permanently shelved and assigned to the passing of time. Nevertheless, the show left an archival imprint scattered through newspapers, theatre programmes, magazines and autobiographies. The following article draws these fragments together to form a blueprint of this hitherto discarded piece of popular culture. This reconstruction reveals a strikingly complex and rich piece of theatre, both in terms of its technical construction and how cultural conventions were adapted to turn the war into entertainment. In its three short scenes, Europe featured national personifications inspired by political cartoons, virtuosic dances associated with European nations, a scenario lifted from a 40-year-old pamphlet on the Franco-Prussian War, and a giant decoupage map of Europe from which melodramatic villains, heroes and damsels in distress appeared. Through these tropes, archetypes and devices, Europe presented a story of the First World War to the masses, including who started it, what had happened so far and how it would end. The ballet also introduced the audience to a conception of Europe that simultaneously confirmed Great Britain's dominant position within the continental community while underlining the country's moral responsibility to defend the liberty of the nations within it. [ABSTRACT FROM AUTHOR]

This paper focuses on George Du Maurier's 'chinamania' cartoons that were published in the popular British satirical magazine Punch. Depictions of languid men and selfish women obsessed with blue and white china (the porcelain), a familiar symbol of China (the country), visualised anxieties over degeneration at a time when China was viewed as a regressive civilisation. By exploring late nineteenth century notions of decline, this paper argues that Du Maurier's series of cartoons simultaneously mocked English societal foibles while positioning China to serve as a visual warning of wider issues concerning the degeneration of society and by extension, the British nation and its standing in the international arena. [ABSTRACT FROM AUTHOR]

This article explores the vernacularization of the Belgian comic strip Tintin in the Indian state of West Bengal. The author analyzes the Bengali translations of Tintin by Nirendranath Chakravarty, focusing on how the titles of the albums were modified to fit into the Bengali adventure genre. The translations not only adapt the titles linguistically but also culturally, making Tintin more relatable to the Bengali audience. The article argues that the process of translation vernacularizes Tintin and contributes to the creation of a new literary-cultural sphere in Kolkata. [Extracted from the article]

Satire has gained increased scholarly traction across journalism and related fields. The genre increases the entertainment value of journalism and broadens its appeal. Satirical news also serves as a catalyst to pique the curiosity of ordinarily disinterested audiences in news, particularly political news. However, there are some concerns emerging from the weaponization of satire in this contemporary period, which is characterised by the proliferation of fake news and misinformation. From the Nigerian context, there have been minimal empirical spotlights placed on satirical journalism. We employed semi-structured interviews to explore the views of Nigerian print satirical journalists and cartoonists. Our finding broadens scholarship in the evolving area of satirical journalism. It demonstrates how the mainstreaming and the weaponization of satire have changed the texture of satire in Nigerian journalism. Although ethical concerns are admitted, we argue that cartoonists and satirical journalists have a responsibility to adjust to the dynamic media ecology, where satire continuously provides insightful critique and entertaining commentaries. [ABSTRACT FROM AUTHOR]

This pilot study analyzes student responses to two political cartoons which satirize racism in varying national contexts. Eight moderated focus groups viewed political cartoons then shared reactions via survey and discussion. We found that participants responded negatively to a French cartoon which they perceived endorsed racist attitudes. Participants had more positive responses to an American cartoon which they perceived to "punch up" at the racial hierarchy. A third, unanticipated set of findings relates to participants' spontaneous feedback that though they welcomed the use of popular comedy in teaching, political cartoons felt less engaging than other media formats. This left us with a new question to explore in a future second phase of our project: How can instructors consider generational differences regarding media preferences when selecting popular comedy materials for use in classroom discussions of racism? We speculate that memes, rather than political cartoons, may provide a more effective springboard for discussion. We plan to incorporate memes in the second phase of this project, a cross‐national study regarding the use of popular comedy materials as springboards to classroom discussions about racism. [ABSTRACT FROM AUTHOR]

Narrating Palestine begins with the material conditions of life in which Palestinians find themselves. The imaginary is expressed in multiple forms: novels, poems, short stories, memoirs, oral traditions, political cartoons, [...]