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The article focuses on political cartoons in the Netherlands from 1880-1920. It mentions Cartoonists had to realize that images work faster on the emotions and prompt action faster than words and extension of the electoral law. It also mentions Dutch political cartoons the comparison with French and English satire from that time are not possible endured is undeniable.

In the 1960s, Australian political cartoons were transformed by three events: the arrival of Les Tanner at The Bulletin after Donald Horne was put in charge by Frank Packer; the radically new style and content of Bruce Petty's cartoons during The Australian's first decade; and the later development of a stable of cartoonists at The Age. In this period, the now common assumption that cartoonists are 'always left-wing' came into being - an obvious irony given the career arcs of proprietors like Packer and Rupert Murdoch. This article focuses on the middle part of this narrative, the impact of Bruce Petty's visually and politically radical cartooning for The Australian from day one. In what ways does Petty's work incarnate the anti-establishment 'ethos' of the young newspaper? What were the visual and political consequences for other broadsheets? How did this 'left-wing' impetus end at The Australian and live on in other papers?. [ABSTRACT FROM AUTHOR]

On 25 November 1905, three hundred soldiers from Barcelona's garrison, incensed by the publication of a cartoon by Joan Junceda, attacked the offices of the Catalan satirical weeklyCu-Cut!and those of its sister daily,La Veu de Catalunya, beating employees and torching typewriters in the street. The incident, known as the “fets deCu-Cut!,” sparked a chain of events that profoundly marked Catalan twentieth-century history. This article introduces readers to the start of the Golden Age for Catalan satirical production, and it offers a content analysis of Junceda's cartoon with a discussion of the power of cartoon humor to both reflect and shape its sociopolitical context. [ABSTRACT FROM PUBLISHER]

Metaphor is one of the primary ways we accommodate and assimilate information and experience into our conceptual organization of the world. The present study investigates the internal cognitive mechanisms of multimodal-metaphor construction in the television genre of animated political cartoons. Taking a cognitive-semantic approach, we analyze how zoomorphs are constructed by the audience when they first appear. The study concludes by describing the potential of multimodal-metaphor analysis as a methodological tool. [ABSTRACT FROM AUTHOR]

This article explores the mental operations people undertake when they encoun-ter a visual metaphor. First, an integrated theoretical model of visual metaphor processing is proposed. The model is then empirically evaluated: in a think aloud task, six participants were presented with twelve pictures containing visual metaphor and asked to verbalize their thoughts as they looked at the pictures. The experimental materials represented four different genres: political cartoons, magazine advertisements, educational illustrations and paintings. The findings enable a more precise description of what happens when people attempt to reach understanding of visual metaphor. The results have implications for building theory around visual metaphor processing, as well as empirical research on the interpretation of visual metaphor. [ABSTRACT FROM AUTHOR]

In the last thirty years the development of the Conceptual Metaphor Theory has led to a great amount of research into metaphor. Although the research focus has been on verbal metaphor, other types of metaphor such as pictorial metaphor (i.e. metaphor occurring in pictures) and multimodal metaphor (i.e. metaphor occurring in diverse modes) have been investigated. In contrast, metonymy has attracted less attention, and its presence in specialized genres has not been considered. The present contribution provides a corpus-based analysis of visual metaphors and metonymies in French political cartoons by Plantu. The following issues are addressed: (i) description of the image shown in the cartoon; (ii) identification of the metaphors and metonymies in terms of target and source; and (iii) the interaction between metaphor and metonymy. It is argued that metaphor and metonymy play a central role in the interpretation of political cartoons. [ABSTRACT FROM AUTHOR]

The article features "The Rhode Collusus" cartoon of Edward Linley Sambourne as the greatest political cartoon published in "Punch." It reviews the career of the real Cecil John Rhodes and examines how Sambourne composed the drawings that revealed the cultural, professional and political underpinnings of comic art production in Great Britain in the 19th century. It also notes the pun linked to the famous Rhodes surname that has become an iconic image.

A biography is presented of Samuel Wilson, regarded as the sole tangible link to what became a ubiquitous American symbol, Uncle Sam. Born in Massachusetts in 1766, he moved to Troy, New York with his brother where they became meat packers. It narrates how the joke that the U.S. stood for Uncle Sam Wilson spread and became a legend, as well as its link to the patriotic image of a man dressed in the flag in a political cartoon of 1832 to become the embodiment of the iconic Uncle Sam.

The article explores the picture-politics of British political cartoonist Sir Francis Carruthers Gould. Gould has contributed political cartoons to such publications as the "Pall Mall Gazette," "Vanity Fair's," and "Westminister Gazette." He also founded his own monthly journal, "Pictire Politics." Gould was celebrated for his caricatures of Liberal Prime Minister Lord Roseberry, the Devonian Archibishop Temple, and the Liberal Unionist leader Joseph Chamberlain.

This article examines the works of Bronisław Linke (1906-1962), a graphic artist who produced propaganda materials for the Polish communist government in the 1950s. The author focuses upon Linke's unique conception and usage of "linguistic tissue" (Linke’s own coined term) and its rendering in his artworks--pieces that often evinced harsh, twisted double-meanings of spoken or printed statements in visual form. The author notes that Linke merged images and words seamlessly because any demarcation between the two seemed illusory in the artist’s perspective. The author critiques and analyzes 16 of Linke’s works, positing that his unique merging of words with visual imagery might someday give rise to a new definitional category for unique representation of word and picture.

The article discusses political cartoons, satire, and ridicule targeting Puritans, commenting on supposed notions of Puritans' hypocrisy, self-righteousness, and prudery. It examines a number of cartoons depicting Puritans, including ones concerning U.S. Presidents Bill Clinton and Richard Nixon. Puritans have also been invoked in cartoons depicting Christian fundamentalism and the foreign policy of U.S. President George W. Bush. Myths and imagery surrounding U.S. President George Washington and American patriot Paul Revere are also analyzed.

The article discusses how the 1779 English caricature "The Liberty of the Subject" by James GIllray represents of a new form of eighteenth century caricature. The artwork presents a London, England street scene featuring a press-gang being attacked by two women attempting to physically thwart efforts to impress a tailor. The author feels the print portrays popular sentiments regarding press gangs and English liberty with a high degree of verisimilitude. The author argues that the 1779 murder trial of Mary Adey for her attack on a press-gang member was the inspiration for Gillray's political satire. An overview of the British government's policies regarding impressment is presented.

Copyright of Brocar: Cuadernos de Investigación Histórica is the property of Universidad de la Rioja, Servicio de Publicaciones 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.)

Political cartoons published by the daily press represent a relatively neglected field of Communication Studies, in spite of their popularity and relevance. This article focuses on the image of women transmitted by those cartoons during the Spanish transition to democracy. At this point in time, pro-democracy and pro-autonomy political movements coincided with an uprising in the feminist movement after Franco's dictatorship. In order to achieve relevant conclusions, cartoons published by five newspapers have been selected, according to circulation and political representativeness. [ABSTRACT FROM AUTHOR]

The article discusses the purpose and history of political cartoons. Designed to convey a specific point of view understandable to all, political cartoons have been around since the days of King Narmer in Egypt. Cartoonists who made Sir Robert Walpole a frequent target of abuse during the latter's premiership in Great Britain helped usher in the age of modern political cartoons.

The article provides a systems-theoretical analysis of the Cartoon Crisis and the way the Danish Prime Minister, Anders Fogh Rasmussen, responded to the expectations of Muslim groups in particular and the business community. The analysis shows that the Prime Minister followed a single strategy throughout the crisis, namely, insisting on a secular understanding of the separation of politics and religion. Religion, in this view, should not interfere in politics, and politics should not interfere in religion. The main outline of the analysis shows that Prime Minister Rasmussen, paradoxically, found himself using a theological distinction in order to make a political argument. In doing so, Rasmussen shows, in contrast to his former argumentations, that modern, so-called 'secular' politics is actually based on a religious Protestant understanding of the separation of the two realms, though the use Rasmussen made of this separation remains political. [ABSTRACT FROM AUTHOR]

Using a small-scale pilot study of readers' responses to three British newspaper cartoons as an example, this article explores the ways in which readers make sense of these multimodal texts. The findings of the study, which also included interviews with the three creators of the cartoons, suggest that interpreting cartoons is a complex process that requires people to draw on a whole range of different literacies. These include a broad knowledge of past and current events, a familiarity with the cartoon genre, a vast repertoire of cultural symbols, and experience of thinking analytically about real-world events and circumstances. [ABSTRACT FROM AUTHOR]

The article presents information on the many ways American political cartoonists reference artistic conventions and traditions in their work. For years art historians and curators have recognized and investigated ways in which fine art incorporates, alters, or appropriates aspects of comic art and other forms of popular culture. Cartoonists have borrowed freely from famous works of fine art, creating variations on specific compositions, iconography, and stylistic choices.

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]

The article discusses the depiction of the Popular Front movement in the comic strips published in the "New York Daily Worker." A debate on the usefulness of the Popular Front policy initiated by Communist leader Earl Browder comprised most of the pages of the periodical in the summer of 1945 in the U.S. Most of the arguments favored comic strips that satirized middle-class idiosyncrasies over strips that promoted fantasy superheroes. Strips such as "Pinky Rankin," "Red Builder Tales," "The Daley Family" and "Little Lefty" were analyzed on their social relevance.

The article reports on how Garry Trudeau's "The Long Road Home," which contains a compilation of "Doonesbury" comic strips, expresses his unique style on political cartooning. It is noted that by telling a long-form story with the short-form punch of a comic strip, he develops awareness of the potential consequences of not dealing with internal emotional struggles. Another reason "Doonesbury" comic strips appeal to many is because of its intersection of humor and pain and creation and reportage. His drawings and words relates pain with humor, fiction with fact to reach a degree of sincerity that can be felt.

Hurricane Katrina was one of the most significant events of 2005, and one that was heavily attended to by political cartoonists. This essay examines the cartoons that emerged in the month after Hurricane Katrina hit the Gulf Coast. Analysis revealed seven specific functions these cartoons served in the aftermath of the crisis: 1) illustration and recording of the events of the crisis; 2) memorialization and mourning of heroes and victims; 3) questioning the authority of leadership; 4) critique of larger social issues; 5) reflecting of behaviors and choices before, during and after the crisis; 6) blaming and indicting of guilty persons and parties; and 7) contexualizing the crisis within world events. In this essay, these functions are further differentiated by their role in either the depiction or definition of the crisis, and characteristics of each category are outlined. [ABSTRACT FROM AUTHOR]

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.)

This essay introduces the Japanese political cartoons that satirized Japan–Korea relations during the late nineteenth and early twentieth centuries. By situating the cartoons within the development of print media and by re-presenting the popular gaze on Korea in particular and Asia in general, this essay argues that cartoon journalism made an artistic discovery in which equivalence between imperialist relations and everyday life was created. By the time of the annexation of Korea in 1910, it was widely believed in Japan that ‘pre-modern’ Korea must be absorbed into the control of ‘modern’ Japan. Setting the firm ground for the state to carry out imperialist projects, such popular consensus furnished continuous attention and participation on empire-building from Japanese society. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal 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 aim of this paper is to explore the changing aesthetic and ideological connotations of the representation of America as an Indian woman in the sixteenth-century engravings of the discovery and conquest of the New World and the late-eighteenth- century political cartoons of America's national conflict and eventual secession from mother England. In both cases, the male enterprise of colonization and nation-making is aesthetically expressed in the fetishistic and symbolic representation of the female body as the simultaneously alluring and devouring female, seductively naked before the white male European, and as the victim of political violence and the national struggle for independence. [ABSTRACT FROM AUTHOR]

Political cartoons are a unique form of media message; they offer voters an opinion on the campaign or candidates encapsulated typically in a single image. However, for those images to be comprehended and appreciated, cartoonists make reference to other events or images to allow readers to receive and digest the message quickly. This study examines representations of presidential candidates in political cartoons to identify how often references to nonelection themes are made, with particular attention to allusions made to factors from popular culture. [ABSTRACT FROM AUTHOR]

Political cartoons are a form of visual news discourse. Sociologists normally dismiss their ideological import on the grounds that cartoons simply offer newsreaders absurd accounts of putative "problem" conditions and are not likely to be taken very seriously. Nevertheless, it is through comedic conventions that cartoons seize upon and reinforce common sense and thus enable the public to actively classify, organize and interpret in meaningful ways what they see or experience about the world at a given moment. Informed by the interactionist theories of Goffman and Mead, two cartoons illustrating the recent "crisis" of "migrant waves" to Canada will be examined. [ABSTRACT FROM AUTHOR]

The article studies the portrayal of presidential campaigns by editorial cartoons in the U.S. The research involves the performance of a content analysis of 505 editorial cartoons taken from a national sample of newspapers during the presidential campaign in 1992. Research findings indicate that editorial cartoons are less interested in public policy and are more concerned with the nature of political campaigns and the personalities of political candidates. Also cited are the issues' implications for press and politics.

The article examines how artist Sidney Strube's cartoons dealt with unemployment in Great Britain from 1929 to 1931. Strube's cartoons for the "Daily Express" newspaper provided the man in the street a visual form, known as the Little Man. His cartoons represented political subjects through the common sense of the Little Man. As the voice of the people, Strube is seen as representing the character of that people. His political cartoons helped to produce a formidable kind of common sense about the unemployed.

The article focuses on the work of Cambodian satirical cartoonist, Em Sokha, relative to the historical background of cartooning in Cambodia and the developments in Cambodian print media since 1979. The investigation of any modern Cambodian institution inevitably frames itself around the cataclysmic years of the Democratic Kampuchea (DK) period (1975-1978), where many aspects of life were abandoned. A pre-DK tradition of political cartooning flourished at the time of the Indochinese war. The historical background of Cambodian cartooning is outlined.

The article examines political cartooning in Singapore. Cartoonist Cheah Sin Ann states in an unpublished interview that political cartooning is a waste of time in Singapore. Political cartoons are usually one-panel drawings that appear in the editorial or commentary pages of newspapers, providing a critical view of the day's issues. Three distinctive periods can be identified when tracing the history of local political cartoons in "The Straits Times" between 1959 and 1995: 1959-1961; 1979-1981; and 1991-1995.

Discusses how India's political cartoons have influenced the political revolution in the country. Themes commonly depicted in political cartoons; History of the emergence of the political cartoon as an opinion channel in the country; Influences behind the Indian political cartoons and humor; Challenges faced by newspapers and political cartoonists in relation to the status of censorship in the country; Role of the political cartoonists in the country's effort to gain independence; Famous political cartoonists in the country; Effect of World War II on political cartoonists in the area; Limitations imposed by authorities on the press.