Search

This study explores the representation of scientists and politicians in editorial cartoons from three countries: Australia, South Africa and the United Kingdom. Of 466 cartoons collected from six Sunday newspapers (two from each country) over an 18-month period, 226 (49%) contained some reference to COVID-19. A qualitative analysis of cartoons highlights the politicisation of science and the relative absence of scientists in the cartoon discourse. Cartoonists focus on the political aspects of the pandemic, often portraying politicians as juggling competing demands, such as health needs versus personal freedom. However, they often miss the opportunity to address the reasons for the imposition of COVID-19-related restrictions or the effectiveness of health measures, instead portraying scientists as oppositional figures. In addressing COVID-19 in this way, cartoonists subtly suggest conflicts between the values of scientists, politicians and society. Cartoonists also tie the pandemic into broader political discourses in each country, for example, states' rights, corruption and Brexit in, respectively Australia, South Africa and the UK. This work provides insights into journalistic coverage of complex, science-related issues, with a particular focus on the ways that editorial coverage reflects public sentiment, policy responses and social attitudes. [ABSTRACT FROM AUTHOR]

Inquiry‐based learning, that is, developing student capacity to frame and answer significant questions, is at the forefront of twenty‐first century education. Expecting students to ask and solve genuine research questions creates a challenging teaching proposition that editorial cartooning can help solve. While the educational use of editorial cartooning is not a novel concept, asking our students to locate cartoons based on a topic of their choosing and to analyze the satirical debate across these cartoons serves as an accessible inquiry‐driven research project for first‐year college classes that introduces them to academic databases. This essay details the three‐step process used in the college classroom: first, to "mind the gap," that is, to apply specific rhetorical tools, like parody and juxtaposition, as a means of identifying and analyzing satire; second, to "mine the gap," that is, to contextualize the cartoons by researching articles about contemporary culture and politics; and third, to "make the gap known" — to share their information with others through an oral presentation and a written essay. This editorial cartoon project, by educating students in research‐encountering behavior, provides a genuine model of inquiry and analysis. [ABSTRACT FROM AUTHOR]

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow 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 study analyzed online editorial cartoons depicting the Israel-Palestine conflict through visual, symbolic, metaphorical, and textual analysis. The study reveals a prevailing anti-war sentiment across editorial cartoons, with a notable inclination towards supporting Palestine. This support was prominent in cartoons originating from the Global South, particularly Sub-Saharan Africa. However, there was a scarcity of such cartoons within mainstream Western media.

This study explored the main themes present in South African editorial cartoons related to Covid-19 published in 2020 to examine how they portrayed the societal discourse around the pandemic. Our data set of 1196 single-frame editorial cartoons, created by 19 cartoonists in three languages and published in 24 publications over the course of 2020, shows that Covid-19 was a pertinent topic for South African cartoonists. Thematically, "politics and government" dominated as broad themes, while other pertinent themes were "society and social consequences", "economic impacts" and "health". Politics and politicians were prominent, but science and scientists were represented only rarely. In terms of tone, the cartoons were predominantly negative, with fear as a frequently used emotional appeal. Very few cartoons contained educational messages, but most did depict the virus and face masks, which could have heightened public awareness about health-related issues. We conclude that editorial cartoons added to the media coverage of the pandemic, often adding to general media discourses of fear and anxiety, and therefore it is likely that these cartoons influenced public sentiment. Furthermore, through their focus on politicians, these cartoons added to the politicisation of the pandemic, but made only a minor contribution to public education and the combating of misinformation. [ABSTRACT FROM AUTHOR]

Using VISMIP to analyze three editorial cartoons on disinformation, this paper finds that cross-domain-ness between target and source domains does not occur binarily but does, in fact, occur in varying degrees vis-à-vis the presence of an overlapping hypernym and their relative sematic relationship with it. This study therefore proposes a spectral approach to cross-domain-ness, four types of which are identified: (1) absolute cross-domain-ness, where the target and source are totally distinct; (2) superior cross-domain-ness, where the target is semantically closer to the overlapping hypernym than the source; (3) inferior cross-domain-ness, where the target is semantically farther to the overlapping hypernym than the source; and (4) cohyponymic cross-domain-ness, where the target and source fall under the same hypernym and semantic layer. Ultimately, this paper also explores how VISMIP shows potential in furthering studies on Philippine media, the dearth of which proves appealing to future Filipino language scholars and metaphor analysts alike. [ABSTRACT FROM AUTHOR]

In recent years, the COVID-19 pandemic has been studied extensively through the lens of conceptual metaphor theory. However, only one study has focused on the metaphorization of the COVID-19 pandemic in a strictly Philippine milieu. None so far has published on pandemic- related multimodal metaphors in Philippine media, let alone shed light on these through a diachronic perspective. Using conceptual metaphor theory and visual metaphor identification procedure, this study analysed 203 pandemic-related editorial cartoons published by a Philippine national publication from December 2019 to February 2022. It investigated the diachronic conceptualizations of the conceptual domain COVID-19 VIRUS in the Philippines as captured by the neutralizing or 'de-monstering' of the virus from the COVID-19 IS A MONSTER to the COVID-19 IS A LIVING ENTITY multimodal metaphor. It argued that the trends of metaphorization correlate with the shifting sociocultural and political attitudes towards the COVID-19 pandemic as a global and local healthcare crisis. Essentially, this study not only explored the dynamics between media and cognition, but it also analysed how the multimodal metaphorizations of COVID-19 reflect Filipino socio-political realities and cultural underpinnings during turbulent times. [ABSTRACT FROM AUTHOR]

The author reviews the past-to-present academic literature on cartoon studies (mainly editorial and political cartoons), that reflects the functional crisis of the cartoon associated with the development of the media space and new challenges. Some of the main trends, taxonomies, and approaches to date in political cartoon research are shown, and some of the weaknesses and strengths in the present field as well as aspects that are underdeveloped or have yet to be explored are highlighted. The articles in English published between 2017 and 2022 were reviewed to provide an understanding of the current state of the matter in various areas. The corpus was gathered by searching publications in international database Scopus. Each paper was classified based on its publication date, place of origin, subject of research, and frequency of citations. The quantitative approach employed enables the tracking of advancement in the field of cartoon studies over a given timeframe. Six distinct aspects pertinent to research in the field of political cartoons are suggested in a holistic approach, although this categorization is by no means all-inclusive and there is substantial overlap. The study of political cartoons during chosen period was more comprehensive and extensive than the study of editorial cartoons. Several proposals for further research in this field were put forward.

• Mainstream media, such as newspapers, play a critical role during a public health crisis by shaping public perceptions and behaviors. • Analyzing editorial cartoons is useful to rapidly gather information on public opinion. • We analyzed editorial cartoons on COVID-19 vaccines over 32 months of the pandemic. • There was a shift in attitudes toward COVID-19 vaccination from high hopes to disenchantment. • Recent editorial cartoons illustrate vaccine fatigue, which can be a challenge to maintaining confidence and high vaccination rates. In Canada, the first COVID-19 vaccine was approved for use in December 2020, marking the beginning of a large vaccination campaign. The campaign was not only unprecedented in terms of reach, but also with regards to the amount of information about vaccines that circulated in traditional and social media. This study's aim was to describe COVID-19 vaccine related discourses in Canada through an analysis of editorial cartoons. We collected 2 172 cartoons about COVID-19 published between January 2020 and August 2022 in Canadian newspapers. These cartoons were downloaded and a first thematic analysis was conducted using the WHO-EPIWIN taxonomy (cause, illness, treatment, interventions, and information). From this, 389 cartoons related to COVID-19 vaccines were identified under the treatment category. These were subjected to a second thematic analysis to assess main themes (e.g., vaccine development, campaign progress, etc.), characters featured (e.g., politicians, public figures, public) and position with respect to vaccine (favorable, unfavorable, neutral). Six main themes emerged: Research and development of vaccines; Management of the vaccination campaign; Perceptions of and experiences with vaccination services; Measures and incentives to increase COVID-19 vaccine uptake; Criticism of the unvaccinated; and Effectiveness of vaccination. Our analysis revealed a shift in attitudes toward COVID-19 vaccination from high hopes to disenchantment, which may reflect some vaccine fatigue. In the future, public health authorities could face some challenges in maintaining confidence and high COVID-19 vaccine uptake. [ABSTRACT FROM AUTHOR]

This interpretive visual study expands the scholarship on editorial cartoons by relying on the neo-archetypal theory to understand what archetypes emerge throughout more than 500 drawings published during the lame duck period of the Trump presidency, how they are visually constructed, and what stories they tell during the 79-day period. The visual rhetorical analysis identifies the ruler, the hero, and the sidekick as the archetypes that shape the narrative arc of the cartoons. It also reveals an archetypal transfiguration of the ruler into the outlaw, illustrating how social shaming performed by the cartoons serves as a political tool of punishment. [ABSTRACT FROM AUTHOR]

Women's breakthroughs in public office provide a stage for the symbolic re-enactment of ideas about women's political presence and about gendered social constructions related to women's and men's leadership qualities. Drawing on gendered mediation studies in print media and using content and discourse analysis, we investigate the symbolic representation in editorial cartoons of women occupying for the first time historically male-dominated political offices. Our empirical analysis of the Spanish case finds no systematic symbolic annihilation of these historic firsts. Women's political breakthroughs are more often acknowledged than omitted but their portrayal is not free from trivialization, particularly by conservative cartoonists, who are also more likely to condemn trailblazers to scandalize gender quotas. In a more positive light, gendered mediation seems to present a decreasing trend, thanks to both the normalization of women's political presence and the rising public prominence of the feminist movement. [ABSTRACT FROM AUTHOR]

Various cognitive linguistic studies (e.g. Riad & Vaara, 2011; Riad, 2019; cf. Feng, 2017) indicate that the conceptual metonymy national building for the inst itutional leaders hip or a population1 can emotively frame activities and facilitate the creation of stereotypes and political attitudes. The article reconsiders this assessment by evaluating a multimodal corpus of editorial cartoons that depict the parliamentary lions that are usually personified and express emotions to voice different positions. Fifty-one editorial cartoons were retrieved from Hungarian dailies and coded according to their political topics, the related emotions they depict and the tropes (metonymy, metaphor, and irony), as well as their evaluative functions. Overall, the compression of part for the whole and member for category metonymies occurs; thus, the parliamentary lions st and for the hungarian parliament that st ands for politicians/the government or the people/the minority. These emotionally saturated metonymies cooperate with metaphorical and ironical processes by supporting the identification of those whose voice can be heard, but at the same time it also reduces the responsibility of the persons or the group hidden in the form of the lion. [ABSTRACT FROM AUTHOR]

An editorial is presented on Canadian literature focusing on Canadian comics that can be traced back to various origins, such as, European and colonial visual storytelling, or editorial cartoons in newspapers. It is inspired by "The 80 Years and Beyond: A Virtual Symposium on Canadian Comics" ,which aims to expand the field by recognizing different traditions. It mentions that the intergenerational transfer of knowledge and cultural significance of Indigenous comics has been underrecognized.

The targeting of religion in editorial cartoons has become a source of controversy. Particular tensions emerged following the publication of the Danish cartoons, a set of cartoons representing the Prophet Mohammed, published in Jyllands-Posten in September 2005. This research analyses cartoons from a different source, the satirical magazine Private Eye, with an eye towards the varied treatment of religion in this publication and the Jyllands-Posten cartoons. It focuses on the way the Bible features in Private Eye cartoons, and uses the semantic tool, the General Theory of Verbal Humour (GTVH), to analyse the way humour works in these cartoons, the target they aim at and the way the Bible features in the intertextual references of the reader. Analysing the targeting of such cartoons it concludes that there is a difference between the use of the Bible as a means of targeting other subject matter, as is evident in Private Eye examples, and the targeting within the Danish cartoons.

The Critical Discourse Analysis (CDA) of carefully chosen editorial cartoons have been critically analyzed to expose the hidden, estimated and intended meaning, which are veiled in the discourse used in editorial cartoons. Its analysis clarifies the ideology and its social relevance to its people. The interpretation, tool, text analysis and social analysis are enough to expose the inequality as in the language among the highly placed over the lowly placed. Thus, the use of language reflects injustice, dominance, power, and inequality. Critical Discourse Analysis has been an extensive discipline from the last few decades to analyze diverse sides of the various current discourses in the society through newspapers, media and movies and so forth. The editorial cartoons in "The times of India" have been analysed to depict the elements of framing and multi-modality in the cartoons in which the relationship of Inter-Services Intelligence (ISI) with terrorists has been established to foreground the strings among these power sectors in Pakistan. [ABSTRACT FROM AUTHOR]

Since the 2016 US presidential election, a number of political cartoons have been produced that depict Donald Trump as an infant or toddler. He is drawn in diapers and with any number of objects we associate with young children, as well as engaging in behaviours such as crying, whining, and melting down. As a genre, the political cartoon offers complex readings, yet this particular phenomenon, in its repeated renderings, seems to signal just as much, if not more, animosity toward children than toward Trump. The question is, who is the real object of critique in these visual displays? What are the assumptions that cartoonists have about children, and how is the child deployed in and through these images? In this work, we examined thirty political cartoons depicting Trump as an infant or toddler, along with related artifacts, dating from 2015 to 2018. We discuss the ways that the cartoonists rely on stereotyped affects and behaviours of childhood to express purportedly progressive notions of equity. The effect of this growing archive of images, however, may betray those objectives, instead enacting power over the figure of the child. Keywords: children; childhoods; political cartoons; visual discourse; aesthetics; Donald Trump; USA; borders, In May 2017, columnist David Brooks of The New York Times wrote an opinion piece entitled 'When the World Is Led by a Child.' The title implicates US president Donald [...]

J. M. Staniforth was a popular cartoonist working (from the early 1890s until his death in 1921) for the Cardiff Western Mail and the Sunday News of the World. Himself an Anglican, he took a keen interest in the religious politics of the day, particularly those which involved Nonconformist and Liberal attacks on the position of the Established Church. Recognized as an important commentator by both opponents (such as David Lloyd George) and fellow Anglicans (including a number of Anglican clerics), Staniforth's cartoons challenged the assumptions which governed the arguments in favour of disestablishment and disendowment, as well as critiquing the motives and ethics of their proponents. A study of his work affords fascinating insights into the visual culture of some of the most hardfought debates of late Victorian and Edwardian Wales. [ABSTRACT FROM AUTHOR]

This article analyzes how two Latinx cartoonists, Eric J. García and Alberto Ledesma, use the single-panel form to critique and reshape national discourses of immigration, citizenship, and the US-Mexico border. By distilling non-fictional referents and triangulating multiple perspectives, the single-panel cartoon is uniquely positioned to portray the complex epistemological stakes of immigration and documentation. García's pointed editorial cartoons offer a structural critique of the policies and laws that create the category of "undocumented" to exploit and criminalize immigrants. Ledesma's cartoons draw from personal narrative to highlight the more intimate effects of this status and how it gives undocumented individuals a critical awareness of the systems and institutions they navigate. Through the single-panel cartoon, these artists bring the material realities of the U.S.-Mexico border and the U.S.'s criminal and criminalizing immigration policies into view for their reader and, in doing so, help to reshape their perspective on these issues. [ABSTRACT FROM AUTHOR]

The article offers information related to the works of Josy Ajiboye, a Nigerian artist and cartoonist. Topics discussed include use of realism to comment on cultural, political and social issues in Nigeria; displays of elitism by Ajiboye for the corrupt officials and the wealthy tycoons; and cartooning in Nigeria evolved as to include color and computerized technology. It mentions about the Art history in general and African art history.

The cartoons Naji Al-Ali reveal the complexities of Palestinian identity in the period between the resignation following Palestinian defeats in 1948 and 1967 and the first Intifada in 1987. The present paper to add to the limited literature on Al-Ali's cartoons through examining a unique subset of them that join Christ with the artist's child-caricature Handhala. The image of Christ allowed Al-Ali to universalise his message, mapping the Palestinian experience onto a recognisable figure while strengthening an inchoate moral critique against Israeli occupation. Examining these illustrations provides us with a better understanding of this transitory period in Palestinian history. [ABSTRACT FROM AUTHOR]

During the 2008 presidential campaign of Barack Obama, elite political cartoonists on both the left and right expressed dismay and disgust at both Obama's "messianic" rhetoric and journalists' obsequious coverage through editorial cartoons. Cartoonists' images, as this textual analysis will show, coalesced around common themes in their critiques of media coverage and journalists themselves depicting Obamamania and Obama-as-American-savior. Rooted in semiotics and discourse analysis, this study finds more than a dozen professional cartoonists satirized journalists who covered Obama along three themes: casting journalists as clandestinely "in the tank" for Obama, as being groupies or fawning sycophants, and as portraying him in their coverage as a political Messiah who transcended politics. [ABSTRACT FROM AUTHOR]

Conceptual metaphor theory highlights that metaphor is a matter of thinking. This assumption indicates that metaphors exist not only in language, but also in other modes. This study examines uses of visual and visual-verbal metaphors in 50 Chinese editorial cartoons conceptualizing serious haze problem, with the intention of eliciting implicit meaning conveyed by visual signs alone or together with verbal texts. Both conceptual and critical discourse analysis of the metaphors are conducted. The study finds that the way a metaphor is realized visually and verbally in a cartoon determines the features mapped onto the topic, and further implicitly expresses a critical stance toward the topic under discussion. The metaphors in the cartoons evoke a general understanding of haze problem by activating the war scenario and familiar cultural or social context in viewers. It is found in this corpus that visual fusion and visual replacement are the most frequent kinds of visual metaphors. The study further affirms that visual metaphors are better in conveying rich and implicit conceptual and affective meaning, and can be direct manifestation of the conceptual metaphor without the mediation of language. In sum the study suggests the need for an integrated approach to visual metaphoric representation in multimodal analysis. [ABSTRACT FROM AUTHOR]