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Single-panel gag cartoons are behavioral records of the comic in society, or of how people manage what they find anxiety producing, annoying, or dismaying in their everyday affairs by transforming these experiences into humor, which is then used as a vehicle to manage difficult feelings and imagine new ways of conceptualizing their situation. Cartoons, thus, are products of the jokes and comic wit that are endemic in everyday life. Because most humor is evanescent, social scientists have not accorded the comic the full attention it deserves, conceiving it as merely a response to social forces – a type of situational adjustment – rather than acknowledging it as a social force in its own right produced by unconscious psychological dynamics that alert people to those aspects of the world, which invite attention and foster anxiety. Cartoons, therefore, are of value to social scientists not only as records of what large audiences in modern societies have found amusing at a given point in time, but also provide insight into various situations in mass society that create anxiety, and how people imagine defining and managing that anxiety. [ABSTRACT FROM AUTHOR]

• White crusts on the oil paintings created by Edward poynter in 1897 shows a wide variety of deterioration products including sulphates, oxalates, carboxylates and carbonates. • Metal ions in the ground layers have migrated via amorphous metal carboxylates in the paint layer, the metal carboxylates with a broader spectral band of ν as (COO−) leading to white crusts. • Crystallinity and quantity of CaCO 3 as a degradation product in the white crusts by evaluating the peak shift and calculating the integrated absorbance in the ATR-FTIR spectra. The formation of white crusts on the surface of oil paintings can affect both the physical and aesthetic values of the artwork. Characterisation of these white crusts enables better identification of methodologies and solutions when performing conservation treatments of oil paintings. In this paper, micro Attenuated Total Reflection-Fourier Transform Infrared (ATR-FTIR) spectroscopic imaging was used to investigate the white crusts and metal carboxylates and its relationship to the migration of lead elements, with analysis focused on two cartoons by Edward Poynter from the Heritage Collections at UK Parliament. The white crusts may be linked to the metal ion migration via metal carboxylates to the surface of the painting, resulting in the interaction between the metal ions and air pollutants. The results show that the white crusts on the Poynter cartoons are heterogenous, containing three different components (sulphates, oxalates and carbonates). This information has offered conservator guidance for cleaning treatments of the white crusts. Furthermore, metal carboxylates with different crystallinity (crystallised and amorphous) and with different metal ions (lead and zinc) were successfully characterised and their distribution were revealed in ATR-FTIR chemical images. These chemical images shed light on possible degradation process associated with relocation of lead and calcium from ground layers, and invasion of calcium from the air, to form the white crusts. In the ATR-FTIR spectra, qualitative analysis of one of the degradation products (CaCO 3) was combined with quantitative analysis, conducted by evaluating the peak shifts calculating the integrated absorbance. This enabled the authors to evaluate the crystallinity and formation directions of CaCO 3 in the white crusts. It is hoped that these results of the case study and advancement of knowledge in this paper can aid the development of scientifically supported and improved conservation strategies. These results can be used as a trigger for further investigation into the degradation mechanisms related to white crusts and pigments/binding media used in the paintings. [Display omitted] [ABSTRACT FROM AUTHOR]

Since 1989, Russia's "first business newspaper," Kommersant, worked to cultivate a new kind of collective post‐socialist subject, a "vanguard group" of "New Russians." How did Kommersant imagine this subject? Who were its antagonists and why, and how would the New Russian triumph over them? This article examines the 1992–93 issues of Kommersant Daily, its glossy monthly supplement Domovoi, and Kommersant's recurring cartoon character of the post‐Soviet everyman "Petrovich," drawn by Andrei Bil'zho. Through these examples, I show how the Kommersant team convinced its audience to feel elite superiority over other newly rich Russians, and to feel having morally overcome the brutish egalitarian past shared by the "vanguard class" with its former late Soviet peers among the educated, urbanized masses. I argue that both objectives were achieved through didactic, disciplinary means, integrated both into the messaging of Kommersant and into its style and editorial policies. Moreover, by analyzing Bil'zho's Petrovich, I conclude that playful, ironic "reflective nostalgia" (Svetlana Boym's term) vis‐à‐vis the Soviet past was one such disciplinary tool which helped convince New Russians to maintain power at all costs, and thereby prevent the bloody return of neo‐Soviet socialism, which their Petrovich‐like neighbors supposedly desired. [ABSTRACT FROM AUTHOR]

The article argues that the alien monster of Jordan Peele's Nope (2022) should be read as part of the long legacy of capitalist monster octopuses, and that identification and recognition of the monster octopus in this context allows for a greater understanding of Peele's specifically gothic critique of capitalism within the film. The article reviews the history of the monster octopus in literature, art, cinema, and political cartoon, outlines Nope's relationship to and development of these earlier texts, and then examines how the film uses the monster octopus to highlight capitalism as a monstrous system that we can neither survive nor afford to look away from. Critical perspectives explored in the article include Gothic Studies, Financial History, and Critical Race Theory, and Nope is examined as an example of the Economic Humanities in contemporary horror cinema. [ABSTRACT FROM AUTHOR]

The paper examines the perspective of Slovakian mainstream dailies on religion through an analysis of their cartoons. Using a sample of 168 cartoons from three newspapers (SME, Denník N, Pravda), collected in the years 2015‒2022, the author applies a quantitative‑qualitative analysis based on attribution theory. She asks what characteristics and motivations caricaturists attribute to their objects. She relies on one of the principles of humour, which through typification represents the beliefs and prejudices of the wider community. She uses categories of attributes that emerged from her previous research on media attribution processes in relation to religion, the Church and believers. [ABSTRACT FROM AUTHOR]

Gerrymandering has affected U. S. politics since at least 1812. A political cartoon that year decried this tactic by then Massachusetts Governor Elbridge Gerry. (Gerrymandering is manipulating the boundaries of districts to benefit a group unfairly.) [ABSTRACT FROM AUTHOR]

Metaphors and metonymies are considered complex phenomena dependent on various factors. This paper looks at genre (as one of the many factors) to verify to what extent the subjective descriptions of a highly controversial and complex social topic such as whaling can be driven by discourse type. The whaling discourse was chosen because antiwhaling activist NGOs' have had great success with their extensive social campaigns worldwide, while it is a highly controversial and politically charged topic. These unique features resulted in the emergence of advertising and political cartoons. By examining the similarities and differences between metaphors, metonymies, and other meaning-making tropes such as irony and hyperbole, the observed difference concerns both the intention behind the selection of source domains and a preference for favoring certain evaluative metaphorical expressions in one genre as opposed to another to have a distinct impact on its intended audience. [ABSTRACT FROM AUTHOR]

The present paper explores how the issue of the current energy crisis in the wake of the Covid-19 and Ukraine war was constructed by political cartoons. Adopting Critical Multimodal Metaphor Scenario Analysis, this paper focuses on the disease metaphor scenario, one of the most recurring scenarios in political cartoons on this topic, and specifically emphasizes how the method of treatment, one of the structural elements in the scenario, is represented. The analysis reveals that two predominant scenarios constitute the representations of the method of treatment: narcotic scenario and medicine scenario. They differ in entailments: one frames fossil energy as detrimental narcotic while the other frames it as therapeutic medicine. By means of the two scenarios, these cartoons convey strong criticism of the major involvers in the energy crisis, namely, the E.U., Russia, and the U.S. The cartoons make full use of the dynamic interplay of visual and/or verbal metonymy, metaphor, and narrative to elicit associations, assumptions and evaluations in the viewers, helping facilitate understanding and constructing a view of the crisis reality. The present analysis sheds light on the way cartoonists reshape the public point of view in the framing of specific event(s).

This study represents a research project done at the crossroads of political, multimodal and cognitive linguistics. In focus is the Russia-Ukraine war featured in March – May, 2022 by the English edition of the Global Times, a Chinese media outlet, one of the voices of pro-Russia Chinese state propaganda. The analyzed articles contain political cartoons and thus can be defined as multimodal texts. Together, they mold a narrative, or ‘story’ addressed to international readers and intended to shape their worldview beneficial for Russia. Out study of this narrative aims to reconstruct the mental image it portrays and to expose the ways in which the verbal and visual modes interact to implant this image into the readers’ minds. To fulfil this task, we propose a cognitive linguistic methodology which, applied algorithmically, enables building cognitive ontologies that structure information rendered verbally and visually. The constituents of each ontology have factual and emotive salience, dependent of the number of descriptions provided by empirical texts. We demonstrate how an overlap of the ontologies boosts salience of the key emotively connoted message targeted at the audience. In the study, the interplay between verbal and visual modes in individual texts is characterized in terms of accentuation, elaboration, extension, questioning, and combining considered as universal ways of ‘stretching’ information, which are trackable far beyond the metaphoric domain where they were previously identified by Lakoff and Turner (1989).

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 discusses the Nation of Islam's use of the press as an instrument to develop critiques of Black life in the United States and present viable alternatives. Political artists in the Nation of Islam, having shared the same Great Migration life paths as their leader Elijah Muhammad, were key in the organization's reach, supporting the Nation of Islam in building a national network of distribution sites and a committed membership, which helped the organization to grow and claim membership of over two hundred thousand. By focusing on the Nation's midcentury publication Muhammad Speaks and its use of political cartoons, this essay explores art as a means to reorient Black geographic thought and political action. Overall, this essay suggests that the Muslim-organized Black press of the 1960s and 1970s played an important role as a counterpublic institution, providing space for Black communities to share experiences and connect their local political struggles to global anticolonial liberation movements. [ABSTRACT FROM AUTHOR]

This paper offers a novel interpretation of the 1890 British Ultimatum, by bringing to the front of the stage its techno-diplomatic dimension, often invisible in the canonical diplomatic and military narratives. Furthermore, we use an unconventional historical source to grasp the British–Portuguese imperial conflict over the African hinterland via the building of railways: the cartoons of the politically committed and polyvalent Portuguese artist and journalist Rafael Bordalo Pinheiro (1846–1905), published in his journal Ponto nos iis , from the end of 1889 and throughout 1890. We argue that the Ponto nos iis cartoons played a so far overlooked role in the unfolding of British–Portuguese affairs, as they shaped at a distance a diplomatic exchange with the British satirical journal Punch. Attacking and counterattacking his fellow cartoonists in Britain, Pinheiro surged into the role of informal diplomat. This cartoon visual and public diplomacy unfolded in the pages of both journals and was tied to the two countries' colonial conquests in Africa, where the Portuguese and British empires were competing to dominate the African hinterland through large technological systems. Hence the cartoons made visible to wider audiences the otherwise hidden role that technologies played in the two countries' affairs. In turn, the cartoons aimed at persuading the Portuguese public and ruling classes alike that only regime change, from monarchic to republican, would restore the wounded Portuguese national pride. [ABSTRACT FROM AUTHOR]

Memes have become a unique way of conveying messages and sharing experiences in today's social media era. The FIFA World Cup is one of the biggest sporting tournaments in the world, and its audience, which is divided into various regions and circles, has attracted researchers to make it an object. The aims of this semiotic analysis study are to determine the signifier and the signified, as well as the denotation and connotation, as well as the meaning of FIFA World Cup Qatar 2022 memes. The descriptive qualitative method is being used in the study. To analyze the data, the researchers applied Roland Barthes' theory. Memes are classified as signifiers and signified, which can be expressed verbally or visually. The researchers also explained the denotative and connotative interpretations of the 2022 FIFA World Cup in Qatar. The writers selected four memes for this analysis that talked about watching experiences, trolling the fans and players, and giving thoughts about the FIFA World Cup 2022 Qatar tournament. The results show that the signifiers in the memes were very random and unique, such as the heartbeat display in the first image, scientists in the second image, actors in the third image, scientists, and cartoon characters with flags in the last image. These signs certainly have objective or literal meanings (denotation) and subjective or other meanings (connotation). Most of the connotational meaning from memes that have been analyzed focuses on sharing the experience of watching the FIFA World Cup 2022 competition and also trolling the football supporters or even the players that participated. [ABSTRACT FROM AUTHOR]

This study analyzes 30 cartoons depicting the Deal of the Century as envisaged by two Jordanian cartoonists. Conceptual Blending Theory (Fauconnier and Turner [2008, Cambridge handbook of metaphor and thought , Cambridge University Press, 53–66]) and Multimodal Metaphor Theory (Forceville, 2008) are adopted as theoretical frameworks. The results reveal that the target domain the Deal of the Century was conceptualized mainly through layered metaphors that have metonymic basis and event metaphors/allegories. Five groups were identified: object or a situation involving objects, situations involving humans/hybrids of humans and objects, an animal or situation involving animal, hybrids of weapons and humans, and event metaphors used to build a story/allegory. The results demonstrate that the most widely used configuration to construe the metaphors was cross-modal of the type pictorial source–verbal target in line with Lan and Zuo (2016, Metaphor and the Social World 6, 20–51). This was probably due to the greater conceptual density and concreteness of visual representation as the target is better captured verbally because of its abstractness. In contrast, the source domains were mainly concrete and thus perceivable pictorially rather than verbally. The study mainly demonstrates the effect that metaphor and metonymy found in political cartoons can have on the perception of the target domain by the audience and by extension their attitude toward it. [ABSTRACT FROM AUTHOR]

Copyright of Turcology Research is the property of Ataturk University Coordinatorship of Scientific Journals 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.)

Offense lurks behind the political cartoon like its shadow, capable of creating mixed reactions in the target. In terms of offense-giving, cartoonists are sometimes cautious and at other times cavalier, thereby causing intentional and inadvertent offense, respectively. This article examines the aspects of the political cartoon that facilitate the performance of offense, which is predominantly visual in nature. The article takes the position that there must be an earnest attempt at delimiting offense-giving. In order to emphasize this ethical turn, the authors attempt a delimitation exercise by experimenting with a select controversial cartoon. [ABSTRACT FROM AUTHOR]

Although political cartoons have been read as criticism in Kenneth Burke's burlesque rejection frame, this article presents an alternative reading, to consider their potential for expressing attitudes of acceptance via comic framing. A Burkean vocabulary for studying cartoons is provided, including the mechanism of perspective by incongruity, the attitudinal alignments of acceptance and rejection, the genres of comic framing and burlesque, as well as the phenomenon of bureaucratization of the imaginative. South African cartoons featuring President Cyril Ramaphosa are then analyzed to illustrate how cartoons can potentially offer more nuanced political critiques when expressing comic discounting rather than burlesque debunking. The article concludes by reflecting on the civic potential of comic framing, as a constructive alternative to polemical cartooning. [ABSTRACT FROM AUTHOR]

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this interview, the political cartoonist Steve Bell reflects on his past career and work, seeing it against the wider tradition of British political cartoons, and in relation to the work of other artists whom he admires. He answers questions as to the fundamental nature of visual satire and speculates as to its likely future in an age of media fragmentation, and ideological polarisation and intolerance. Although we now live in turbulent and divisive political times and in an era where it becomes ever harder for satirical artists to find outlets for their work, Bell is by no means pessimistic as he looks to the future. His view is very much that artistic quality and sharp observational wit will continue to find appreciative audiences, whatever the means or media their makers employ. [ABSTRACT FROM AUTHOR]

Malaysia, home to a multiracial community consisting of Malay, Chinese, Indian and others, typically practise two or more languages as Malay language is the official national language and English is the second language. The use of translanguaging amongst Malaysians is regular in spoken as well as written discourse. This particular research examined the use of translanguaging in written discourse, specifically in a comic book by Malaysian cartoonist Ernest Ng titled If Malaysia was Anime: Covidball Z. This comic book addresses real Malaysian scenarios such as the recent Covid-19 pandemic and political scenes with an adoption of Malaysian style of spoken discourse in written form. This research aims to explore the use of translanguaging in the mentioned comic book and explore Malaysians' views of the use of translanguaging in this comic book through interviews. To determine the use of translanguaging in the comic book, this study adopted Jakobson's (1987) six language functions as the theoretical framework. The findings of this study revealed that out of the six language functions stated by Jakobson, five were found in the comic book excluding the phatic function. Most interviewees were also found to have positive perceptions towards the use of translanguaging in comic books as it could display Malaysians' unique plurilingual communication skills. [ABSTRACT FROM AUTHOR]

Illocutionary force indicating devices are something of a neglected topic in visual/multimodal intercultural pragmatics, although a number of scholars have observed that some non-verbal speech-act markers have the characteristic that by employing them in a certain way one can actually accomplish the speech act itself. These not only provide a "catalog" of salient types of visual interactions recognized in a given culture, but also represent the best way into a systematic examination of all the divergent types of performative image. Backed by naturally occurring multimodal data (political cartoons and op-ed illustrations), this article considers the problem of identifying and cataloguing pictorial acts, given some problematic features, such as their implicit character and non-one-to-one mapping onto images. I also address the question of whether pictorial act markers are universal or culturally specific. Finally, it is argued that the appropriateness conditions of (verbo) pictorial illocutionary acts (and of discourse generally) depend on the cognitive context models of the participants (picture makers/viewers). All in all, this research should benefit not only multimodal and intercultural pragmatics, which is still in its infancy, but also work in the speech-act domain, which has been largely off the linguistics agenda since the 1970s and 1980s. [ABSTRACT FROM AUTHOR]

Cartoons, which are one of the indispensable tools of children's daily life, continue to develop and remain impressive with technology. It is assumed that cartoons, one of the mass media, can be used as a teacher in many ways so that new generations can learn Turkish language and culture correctly in their education and daily lives. With the help of cartoons, children discover that the word can have more than one meaning in the mother tongue and that it can be used outside of its real meaning, and they develop their vocabulary with the metaphors they have acquired. The aim of this study; To examine and evaluate cartoons, one of the mass media, in terms of metaphorical use. In the research, among the cartoons shown on television, the “Rafadan Tayfa” cartoons, which are suitable for 16 themes in the 2019 Turkish Curriculum, were selected and the use of metaphors in 16 sections was examined according to content analysis from qualitative research. Cartoon contents were evaluated by systematic analysis. As a result of our research, 70 metaphors have been identified. According to the results obtained; Metaphors from vocabulary elements and cartoons from mass media can be added to children's vocabulary. [ABSTRACT FROM AUTHOR]

This article aims to show the different ethé of Our Lady of Aparecida represented in political cartoons. What justifies the analysis is that the images built for Our Lady by the cartoonists are unique and different from those commonly made by the faithful. The productions were broadcast on the day dedicated to the patron saint of Brazil, October 12th, 2022. On that date, politicians who were competing for the elections scheduled for that month were present at the Sanctuary. The candidates' attitude was seen as a campaign act. The press suggested this and exposed, more explicitly in political cartoons on the subject. This text considers two of them because they synthesize two frequent ethé in the analyzed drawings: the victim and the vigilante. The article articulates theoretical notions from comics, discourse, and humor. [ABSTRACT FROM AUTHOR]