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The article presents the discussion on interpreting musical and symbolic language. Topics include tinsel-clad Christmas tree, the flag of Pakistan, and a carving imitates West Coast Indigenous material culture; and white student sociability constructed from caricatures of Indigenous protocol, ceremony, and language.

The debate about whether women can be as funny as men pervades the popular press, and research has sometimes supported the stereotype that men are funnier (Mickes et al. 2011). The goal of the present research was to determine whether this gender difference can be explained by differences in beliefs about one's capability for humor ("humor self-efficacy"). Male and female U.S. undergraduates (n = 64) generated captions for 20 cartoons and rated their own humor self-efficacy. Subsequently, an independent sample of 370 Amazon Mechanical Turk (MTurk) users evaluated these captions in a knockout-style tournament in which pairs of captions were presented with each of the cartoons. Each participant was randomly assigned to evaluate captions which were authored by men and women selected to be either low or high in humor self-efficacy. In the initial round of the tournament, each caption was authored by a man and a woman matched for comparable levels of self-identified humor self-efficacy. In subsequent rounds, the remaining captions were paired randomly. MTurk users, unaware of the captioners' gender, selected the captions of men as funnier only under the low self-efficacy condition and those of women as funnier under the high self-efficacy condition. These data suggest that self-efficacy may be a critical determinant of the successful performance of humor. When people say that women are not funny, they may be relying on an unfounded stereotype. We discuss how this stereotype may negatively affect perceptions of women in the workplace and other settings. [ABSTRACT FROM AUTHOR]

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 criticises primitivist caricatures of the Baining in Melanesia as a society that lacks exegesis, symbolic logics, religion, structures of power and control, and even an interest in play. The mytho‐poetics of gender and procreation in Mali Baining society are documented by focusing on how art and sexuality are traced onto each other. The formative power of painting, barkcloth, dancing masks, netbags and music are merged with the formative power of women. Art and sexuality are made to inform each other's generative potential, and even each other's aesthetic charm. These fertile mytho‐poetic practices also underpin Mali political practices. Mali indigenous identity is celebrated as local control over the original powers of creation, which continue to reside in the earth, in the local landscape and, above all, in that which underpins all creation, women's procreative bodies with their creative potential to bring forth something new. The Mali localise creative processes so as to empower and revalue themselves within a culture of resistance to the hegemony of colonialism, modernity, settlers and regional ethnic elites. [ABSTRACT FROM AUTHOR]

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

This article discusses the illustrative material found within the Paris Commune Collection held in the Special Collections of The University of Sussex, and focuses on how values and opinions were communicated through the use of sartorial cartoons and caricatures. Approaches from a range of disciplines including art, librarianship, archives and education have been employed, highlighting the value of cartoons as both pieces of art and valuable communication devices, alongside the importance of the collection for teaching, and wider importance of using archive material within teaching. [ABSTRACT FROM AUTHOR]

In this article, we will conduct a detailed review on the topic of hairiness in the prehistoric area during the late 19th century. We will endeavour to understand its way of self-representation, or lack thereof, as a space where poetic, scientific and ontological matiers are at stake. This will allow us to develop an epistemocritical point of view concerning this imagery, built both on scientific and popular productions. Based on a repertory of pictural and textual representations, originating from both pop culture as well as erudite and elitist sources, but also caricatures and teratological exhibitions referring more or less expressly to prehistoric times, we will study the potential concepts of humanity grasped by this issue, and we will analyze the poetical, aesthetical but also ideological and philosophical challenges raised in the process. [ABSTRACT FROM AUTHOR]

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

In an analysis based upon an original cartoon image by artist Michael Scalzo, this sociological essay proposes an allegory of critical consciousness within the context of our contemporary sociocultural landscape. Likening the role of critical consciousness to that of an oxygen tank for a fish surrounded by polluted water, I draw upon theoretical literature engaging critical epistemological and pedagogical praxis, as well as Marxist, critical race, feminist, and queer sociological theories to frame the role of critical pedagogy in elucidating the relationships between hegemonic ideology and structural oppression. [ABSTRACT FROM AUTHOR]

The article explores the distinguishing characteristics of puppet films in the context of the plastic arts in the China. It discusses several techniques in the process of creating puppet films, along with information on several problem or challenges related to screenwriting in the puppet film making.

Description, together with narration, consists of one of the two elements of a novel. Authors generally describe the events, or elements that they want to pay attention in their novels. Together with this, the function in the descriptions may vary from one ecole to other or one author to other. Whereas the basic function of description in the works of romantic authors' descriptions is to describe the feelings and passions, the basic function of description in the works of realist and naturalist authors' descriptions is to reflect the societies circumstances and people's stances. It is clearly seen that in the descriptions in New Novel Ecole, emerging after 1950s, the aims are different in the descriptions and has different extents. In other words, the nature of descriptions and functions have changed. Alain Robbe-Grillet, who is among the authors and the pioneers in New Novel Ecole, gives wide publicity to descriptions. In his opinions, writing a narrative novel without making any descriptions is more difficult than writing a descriptive novel without narration. To put it in short, he is one of the pioneers that emphasizes the importance of descriptions. In the novel of Labirentte (Dans le Labyrinthe), Robbe-Grillet gives a place to descriptions along with the novel. He does not describe just one time at the beginning of the novel, rather, he makes descriptions about the same object and person in many times with repetitions. This means that there are changeable and variable descriptions, not just a stabile description of a person or object. The location of an object or person is the focus of the descriptions. It can be said that the author in the works gives importance on the object descriptions. While describing the objects, Robbe-Grillet presents them together with their forms, colour, material, but he tries to avoid putting symbolic or functional meaning on them. For this reason, home materials and clothes are described since they do not carry much importance. When it comes to the descriptions of subjects, the author tries to present the protagonists' family ties, physical portrays, characters, statues and life conditions. Along with the novel, the introduced people, without a name, are described with consciousness stages, not with their psychological stances or passions. The characters are described like they are formal or caricature than a normal alive people. The unity of person-subject, which is generally in the traditional novel descriptions, is came across in Labirentte novel. The descriptions of objects do not include any function on the owners' socio-economic conditions. It is seen that while Robbe-Grillet makes the object or person descriptions, he follows the understanding of modern reality. [ABSTRACT FROM AUTHOR]

Failed humour in conversational exchanges has received increasing attention in humour research (see Bell 2015; Bell & Attardo 2010). However, tensions between what constitutes successful and failed humour have yet to be fully explored outside conversational humour. Drawing on Hay's (2001) classification of humour stages and using a socio-cognitive approach to pragmatics to examine responses from Spanish L1 and L2 users to differing combinations of structural and content features in cartoons, the present study aims to explore what factors contribute to successful and failed responses to multimodal humour. Previous research has predominantly investigated the role of caricature as one of the prototypical features of cartoons affecting humour communication, suggesting that this feature plays an active role in the recognition of the humoristic genre (Padilla & Gironzetti 2012). Findings from the present study indicate that caricature operates not only in the recognition, but also in the understanding and appreciation stages. In particular, our results point to two other roles of caricature as a secondary incongruity and as a factor that can trigger appreciation through empathy and/or a sense of superiority. Importantly, this investigation indicates that the presence of secondary incongruities can compensate for a partial lack of understanding, highlighting the relevance that this type of incongruity has in humour appreciation. [ABSTRACT FROM AUTHOR]

Studying cartoons in Romanian humorous news is a great way to underline the diversity of humour's mechanisms and construction. The common topic of cartoons in Romanian media is politics, but there are also a great number of cartoons exploring subjects such as art, science, society or famous people. Unlike verbal humour, wherein incongruities are text-based, in cartoons, incongruities can emerge through the interaction of image and text, between two elements in the image, or even between the texts in the balloons (Hempelmann & Samson 2008). The present study aims at analysing how humour emerges differently, depending on their topic, in cartoons created by the Romanian humorous media websites Times New Roman and Academia Catavencu, as these have been the two of the most controversial humorous news websites for quite some time. I intend to argue that, when it comes to political cartoons, the methods of humour are quite complex, equally relying on the image and the text, using polysemy, paronymy or syllepsis to create humour, while cartoons about society or gossip are usually based on implicitness and exaggeration, mostly found in images and symbols, as the targeted topics or people do not require such a complex background in order to make readers laugh. I have also observed that cartoons that rely less on text have more powerful symbols, which are full of various significations that help the readers make all the necessary connections to correctly interpret the image. [ABSTRACT FROM AUTHOR]

The theological turn in continental philosophy has beckoned several new possibilities for theoretical discourse. More recently, the question of the absence of a political theology has been raised: Can an ethics of alterity offer a more substantive politics? In pursuing this question, the article considers the late work of Jacques Derrida and John D. Caputo. It argues that, contrary to caricatures of Caputo's "theology of event," his notion of theopoetics evinces a "materialist turn" in his mature thought that can be considered the beginning of a "radical political theology." This position is not without its challenges, however, raising concerns over deconstruction's ability to navigate the immanent but necessary dangers of politics. In order to attempt to speak of a form of "radical political theology"-- i.e. a movement from theopoetics to theopraxis--the article turns to some of the political writing of Simon Critchley. It is argued that a much desired "political viscerality" for a radical political theology is supplied by Critchley's anarchic realism. The latter is neither conceived as utopian nor defeatist, but as a sustained program of inventive and creative political interventions, which act as responses to the singularity of the situation. [ABSTRACT FROM AUTHOR]

The article focuses on cartoons and caricatures in opening title sequences. Topics inlcude the animated images exhibiting varying degrees of technical and narrative complexity, the most notable thing they have in common is that the caricatures of the actors has been instantly recognizable for contemporary audiences, and the plethora of cartoon images on their movie posters and other marketing materials links closely with the caricatures.

Horsman's essay revisits discussions about the allegedly blasphemous nature of Charlie Hebdo's cartoons of the Prophet Muhammad by tracing the history of the journal in the French tradition of comics rather than of political cartoons. By distinguishing the cartoon figure (the petit bonhomme) of the comics from caricatures and portraits, he aims to outline the precise nature of the journal's sense of humour and its implicit critique of religion. [ABSTRACT FROM AUTHOR]

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

In the introduction, the author looks for a connecting element of populism, xenophobia, nationalism and anti-Semitism. It points out that this is their incompatibility with Christianity. But he must nonetheless state their glaring presence in the mental landscape of Polish Catholicism, which also infiltrates pastoral practice and raises significant concerns for him about the changes in the Polish Church. Then he discusses, through the prism of the Polish experience, populism or a false panacea for problems; xenophobia or a caricature of the order of love; nationalism or a charity begins at home; and anti-Semitism or guilt not entirely acknowledged. In conclusion, the author notes that the rising influence of populism, xenophobia, nationalism and anti-Semitism is leading Polish society to a crossroad. If the idea of solidarity dies, it can cause a serious crisis both political and spiritual. [ABSTRACT FROM AUTHOR]

Autonomy, or self-determination, is a key ingredient in promoting relationship flourishing. Although autonomy has long been an important concept in the family therapy field (labeled differentiation; Family therapy in clinical practice, 1978), definitional confusions and the ascendency of attachment theory and attachment-based clinical approaches to treating couples have relegated autonomy to a minor role at best and a caricature of rugged individualism and antirelational separateness at worst. Given recent research showing the importance of autonomy for the development of secure attachment in children and the key role autonomy plays in healthy intimate partner functioning, the concept of autonomy needs to take a more central role in our research and clinical practice with couples. [ABSTRACT FROM AUTHOR]

Britain's withdrawal from the European Union ("Brexit") in June 2016 has been one of the biggest issues in British politics and has received wide media coverage because of its consequences for both the UK and the European Union. This article explores the visual representation of Brexit in political cartooning through the analysis of a corpus of digital cartoons. The analysis yields two findings: (1) Brexit is shaped on the basis of a set of metaphors that can be subsumed within metaphor scenarios—the family scenario or the journey scenario; (2) the metaphors used to conceptualize this issue are used either to provide a justification for Brexit or evaluate UK's withdrawal from the EU positively or negatively. [ABSTRACT FROM AUTHOR]

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

This article deals with the most frequent character types depicting models of womanhood in medieval Korean literature. However, Korean literature does not offer only didactic characters, even though they were preferred and are prevalent as a result. In literati genres intended for entertainment, especially p'aesŏl and yadam literature, the spectrum of characters is broader. We document this fact in an analysis of the Ch'ŏnyerok, an anthology of stories written by Im Pang in the early eighteenth century. In it women are surprisingly dominant; their activities even compensate for their male counterparts' passivity and incompetence. Nevertheless, these narratives accept the established Confucian models for their protagonists. Therefore, we also aim to discuss the most popular female character types contained in the stories of the Ch'ŏnyerok in the context of kodae sosŏl and p'ansori tales that came later. Some present caricatures of the era, whereas others present everlasting ideals. Two stories about women demonstrate absolute female dominance; traditional gender roles are reversed and the female characters mock male vanity. [ABSTRACT FROM AUTHOR]

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

The problem of determining particularities of the effect of media texts on schoolchildren is relevant due to the active involvement of modern children in the media world. Cartoons are the core product of media consumption in the younger age group, while the mechanisms and methods for determining their developmental potential or psychologically destructive effects on children are under-investigated. The article presents a psychological analysis of animated films on the subject of insomnia: A Well-Tried Remedy (Vernoye sredstvo) (1982) and Insomnia from the Mi-Mi-Bear (Mi-mi-mishki) series (2015). The results of a comparative empirical study of the perceptions of the characters of those cartoons by younger and older schoolchildren were described. 44 people participated in the research: young schoolchildren of the second grade (N=21,x¯ ==8.4 y/o) and eleventh graders (N=23, x¯= 17.5). It was revealed that cartoons, similar in plot and characters, produce varied psychological effect on younger schoolchildren due to differences in the means of artistic mediation of communicated meanings. Judgment about less critical perception of younger schoolchildren than that of the older ones was empirically substantiated. [ABSTRACT FROM AUTHOR]

Because forms of enacting and telling stories such as drama, fiction, and film present a caricature of social life, they inevitably describe people's good and evil deeds and their conflicts. In the world history of art over two thousand years, numerous works of drama, fiction, and film have done so from a position of correct or at least relatively correct morality. In this sense, artistic justice is an eternal theme for arts of stories, and the theory of artistic justice should have been well established. However, in the present-day, works on artistic justice are mostly published by scholars in the field of "law and literature", rather than literature or other forms of art. Because the generic structure, generating reasons, social effects, and methodology of artistic justice remain largely under researched, scholars' understandings of this theory are relatively vague. This article analyzes the generic structure of artistic justice, in the hope of promoting studies of this theory. [ABSTRACT FROM AUTHOR]

The assessment of conceptual knowledge presents a challenge, particularly at the university level, at which large class size precludes individual assessment for assessment through multiple-choice examinations. This practitioner essay sets forth an alternative format: the use of cartoon illustration as a tool for the assessment of students' conceptual knowledge. The context is an upper-division (third- and fourth-year students) psychology class at an American public research university. Student artwork is included, past research is discussed, and implications for the future are considered. [ABSTRACT FROM AUTHOR]

The purpose of this study was to analyze the socio-cognitive strategies of elderly about satirical journalistic interpretation. Participated in the qualitative research four people aged over 60 years, two male and two female, with an average of ten years of schooling that are part of the "Faculty for Third Age. Three newspaper caricatures were presented to the subjects for being interpreted. The procedure was first present for each subject one satirical journalistic requesting an each time them to spoke "what you intend to say that figure" and if they knew the matter in satirical journalistic. The analysis was to identify the socio-cognitive strategies used in the processing of interpretation of satirical texts. This research was relevant to describe the linguistic and cognitive process referred to in intertextuality process of satirical caricatures for elderly subjects. The prospect was better understand the language-cognition relationship in the aging process and study the nature and the involvement of language in this context. Finally, the results show that there are differences in the sociocognitive linguistic pathway performed by each elderly person in the cognitive-linguistic understanding through the interpretation of cartoons. The elderly can maintain good performance in understanding, as long as they keep active their encyclopedic knowledge and world. [ABSTRACT FROM AUTHOR]

This study analyses whether narrative skill and the perception of values/countervalues among students in primary school vary according to the structure (narrative vs non-narrative) of the episodes of fiction viewed, the grade age (third and sixth, 8–12 years old), sex and attentional level. With this purpose in mind, quantitative and qualitative methodologies were implemented. The most noteworthy results include the higher narrative skill and perception of values/countervalues of students in the sixth grade of primary school and those who viewed an episode with a narrative structure. The conclusion is that when addressing narrative skills and the education in values/countervalues from the formal and informal spheres, special importance should be attached to the structure of the fiction contents, given that it can to some extent help students make the messages meaningful in terms of values and countervalues. [ABSTRACT FROM AUTHOR]

The article offers information on the caricatures of the French history painter François-André Vincent and others like them produced by his fellow "pensionnaires" at the French Royal Academy in Rome between 1770 and 1775. It mentions that the privileged status of royal pensioners fostered camaraderie amongst the single, twenty-something artists, was important to the formation of their masculine identity.

Fantoches was a weekly Venezuelan humorous icon of press freedom in the first decades of the 20th century. From the warlike conflict in Europe in September 1939 we came across varied caricatures of characters, settings and elements that identified the context of conflict in Europe, whose effects threatened the economic and social stability of the country. As a graphic testimony of a time of political, social and international changes, the images of the weekly reveal a Bolivarian and nationalist character to break into the moral and historical conscience of Venezuelans in favor of the protection of their socioeconomic and territorial interests before the outbreak of the war, being mainly critical of the economic effects of the neutral position proposed by the central government for the benefit of the country. For the development and interpretation of these expressions through these images, is necessary to do an analysis of political, economic and social documents in order to help link the caricatures of Fantoches with the Venezuelan reality of the time. [ABSTRACT FROM AUTHOR]

The article reviews the cartoon exhibition "A Mile and a Half of Lines: The Art of James Thurber" held at the Columbus Museum of Art in Ohio that was opened in August 2019 and will run through March 2019.

Although some research has examined the effects of animation in interactive advertisements, no research has investigated consumer responses to animated effects or cartoon spokespeople in print ads. Distinctiveness theory suggests that an ad can be considered distinctive if it has atypical traits that differentiate it from other marketing stimuli. Distinctiveness theory should be readily applied to advertising research, as advertising agencies and clients continuously strive to make their advertisements different, noticeable, and memorable to consumers. Our research applies distinctiveness theory to a creative caricature or cartoon spokesperson in print ads in a between-subjects experiment. Results of the study reveal that compared with a human spokesperson in the same advertisement, the creative use of cartoon spokespeople in print ads leads to more positive consumer advertising outcomes, including attitude toward the ad, attitude toward the brand, and purchase intention of the advertised brand. The implications for practitioners and directions for future creativity and distinctiveness research are discussed. [ABSTRACT FROM AUTHOR]

This essay examines what it is about comics and illustrated books that opens up areas of imagination and memory that would be inaccessible through words or single pictures alone. The author takes a look at medieval book artists and contemporary cartoonists who make use of the page to allow readers boundary-free thinking. The author uses the comic strip Calvin and Hobbes and a sheet of parchment illustrating the Old French tale "Parise la Duchesse." The essay also discusses the use of empty space in illustration to emphasize the theme of loss and recovery, the panel layout of comics, and the Luttrell Psalter, an illuminated manuscript.

This article studies the progress of sports media coverage through a new form of headline treatment: parody. It presents the analysis of a corpus including the "best of" from the satiric program Les Guignols de l'Info. This program has been broadcast each evening on the French television channel Canal+ since 1989. The study is based on 265 sketches from 1990 to 2006 and asks the central questions of caricatures in the sports world: what they represent and what they assess. A list of appearances of the various puppets on the show is presented. The central figure of the sports world at Les Guignols de l'Info is the champion who is finally judged--through his or her different attributed caricature traits--on the core value of his or her authenticity. Although it criticizes the world of sports, Les Guignols redeems these sport champions. [ABSTRACT FROM AUTHOR]