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Background: Learning media is a component which takes place in the learning process for the education level. With the development of sophisticated technology, everyone in the education field is demanded to be able to apply the use of digital technology media for the learning process because of the unseparated use of technology in education. Objective: This activity aims to give a short course about making cartoon learning media using the makebeliefscomix.com web for learning activities for KB-RA Muslimat students. Method: This activity was carried out at KB-RA Muslimat Surabaya for 2 days to 8 teachers. The team provided material and created learning media using makebeliefscomix.com web and continued with material about marketing used as a theme in making cartoons. Results: The difficulties in creating learning media are in operating laptops, signing up, using email, determining topics, and incompatibility of material topics. However, all participants were able to complete the media creation well and enthusiastically and stated that this media is useful. Conclusion: All teacher participants were able to follow the instructions well, use and create interesting dialogue on the topic of marketing a product using Makebeliefscomix media even though they experienced several obstacles at the beginning of production. [ABSTRACT FROM AUTHOR]

This article studies animal imagery published in pre-WWII British editorial cartoons offering constant updates about India's Civil Disobedience movement (1930s) against British colonialism to uncover the processes through which the event and the people participating in it, both Indian political leaders and British administrators, were designated a particular animal symbol that popularly became associated with their identities in the long run. In other words, the article looks into the question of how animal images affect the iconography of historical personalities. The article will be an insight into defamiliarizing/deconstructing the events and people from this movement and then analyse how animals were used as substitutes for defining, explaining, and debating a concept, a human, an event, or a nationality in the cartoons published in British newspapers in those times. Consequently, I will explore satirical representations of everyday politics during the Civil Disobedience movement, thus offering the cultural history of the Raj in those times. As these editorial cartoons are published almost at the same time as the actual occurrence of events in the 1930s, they also give an insight into the prevalent colonial stereotypes, traditions, beliefs, humour, tolerance level, as well as 'domestic politics, social themes,' of the existing society (Kemnitz). [ABSTRACT FROM AUTHOR]

Image decomposition is an important problem in image processing, which aims at decomposing a given image into structural components and oscillatory components. Although existing learning-based methods can get better structural features, they require a large number of samples for training, which are not present in cartoon-texture decomposition problems. Deep image prior (DIP) is a typical unsupervised deep learning method, which avoids collecting a large number of training samples. In this paper, we aim to boost DIP by adding an explicit prior of Regularization by denoising (RED), which can enrich the overall regularization effect in order to lead to better decomposition results. Our work shows how DIP and RED can be merged into a image decomposition model, and how the new model is solved efficiently. Finally, the experimental results are reported to show the visual qualities compared with some state-of-the-art methods. [ABSTRACT FROM AUTHOR]

Copyright of International Primary Education Research Journal is the property of International Primary Education Research 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.)

Copyright of Journal of Selçuk University Social Sciences Vocational School is the property of Journal of Selcuk University Social Sciences Vocational School 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.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University 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.)

Copyright of Mediterranean Journal of Gender & Women's Studies (KTC) / Akdeniz Kadın Çalışmaları ve Toplumsal Cinsiyet Dergisi is the property of Mediterranean Journal of Gender & Women's Studies (KTC) 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 Cartoon Introduction to Climate Change (Revised Edition) is a unique and engaging overview of climate science and its impact on the planet. The product of a creative collaboration between illustrator Grady Klein and Yoram Bauman called "the world’s first and only stand-up economist,” the book is a valuable contribution to the literature on climate change. The first edition, published in 2014, was a breakthrough in offering an entertaining, illustrated guide to the global crisis. The 2022 Revised Edition has been updated with the latest scientific data from the Intergovernmental Panel on Climate Change (IPCC). Despite the daunting statistics on the dire state of our changing world, the humorous and informative cartoons engage and entertain the reader, allowing us to become familiar with critical concepts in climate science, projections, and policy.

Copyright of Mehmet Akif Ersoy University Journal of Education Faculty is the property of Mehmet Akif Ersoy Universitesi Egitim Fakultesi Dergisi 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.)

During the First World War, harsh anti-alliance propaganda was made by publishing cartoons directly targeting Ottoman-German Alliance on covers of Le Cri de Paris and Le Rire, two important humor magazines of French humor. Considering that both magazines served as France's propaganda tools during this period, it can be said that magazines' anti-Ottoman-German Alliance cartoons were important in terms of reflecting France's view of the Ottoman-German Alliance. The study aimed to determine how French humor magazines presented both countries in their propaganda against the Ottoman-German Alliance in the First World War and what messages they gave against both countries. For this purpose, in the study, cartoons on the subject were examined using semiotic method in the light of Roman Jakobson's Communication Functions. In the study, it was found that Le Cri de Paris pointed out that Germany used Ottoman Empire in line with its interests and that Ottoman Empire wasn't happy with alliance, while Le Rire pointed out that Ottoman Empire came under the direct control of Germany with the alliance and that alliance was to the detriment of Ottoman Empire. In this way, it was concluded in the study that both magazines mainly targeted Germany through anti-alliance propaganda. [ABSTRACT FROM AUTHOR]

Copyright of Ataturk Yolu Journal / Atatürk Yolu Dergisi is the property of Ataturk Yolu Journal / Ataturk Yolu Dergisi 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.)

Copyright of Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal of Social Sciences 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.)

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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 praxis article is devoted to the study of educational cartoon as an interactive method of teaching legal disciplines. The purpose of the article is to argue the usefulness of this methodology for the educational process (e.g., the development of critical thinking, increasing the activity of students when discussing educational tasks on the basis of cartoons, clarification of complex terms), to improve the image of the university (use of educational cartoons in universities during the week of the Faculty of Law), and explain how we assessed the effectiveness of this methodology through quantitative and qualitative methods. While it is a new approach in Russian Law schools, we draw attention to the universality of this methodology; as educational cartoons can be used in schools and across different university departments, and to the specificity of modeling of educational tasks in law, by providing specific examples of such educational tasks. We propose three variants of development of educational cartoons for the educational process at law faculties: placing an order for special production of educational cartoons; use of fragments of already existing cartoons; creation by the teacher of oral tasks on the motives of national fairy tales. The results of our research substantiate that the greatest effect of the proposed methodology can give only in the case of using for the preparation of educational cartoons national content, which is closest to the culture and mentality of students of a particular university. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Interdisciplinary Educational Research / Disiplinlerarası Eğitim Araştırmaları Dergisi is the property of Interdisciplinary Education & Research Association / Disiplinlerarasi Egitim ve Arastirma Dernegi 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.)

Culture is the whole of tangible and intangible elements such as values, beliefs, food habits, social lives, visual arts, proverbs and idioms that distinguish one society from another and are shared by the people living in that society. Cultural elements are transmitted from generation to generation in various ways, including cartoons. In this context, the cartoon named "Alpman", which is one of the cultural cartoons, was discussed. In the cartoon examined within the scope of the study, answers are sought to the questions of which elements of Turkish culture are conveyed, which cultural elements are processed more and how these elements are depicted. In line with the purpose and questions determined in the study, in-depth interview method as well as mixed analysis in which content and discourse analysis methods are used together are used. As a result of the study, it is seen that in addition to material items such as tents, horses, arrows, bows, carpet weaving in the cartoon, intangible items such as stories, proverbs and folk medicine are also included. It is seen that the participants generally know the horse, archery, mangala game, wrestling, tent, shadow play and zerde dessert of Turkish culture. In particular, horse riding, archery and tent living seem to be the most well-known cultural elements. Another striking result is that shadow play is also known, and especially the play called Hacivat and Karagöz comes to mind first. However through the Alpman cartoon, it was learned that the lynx animal is important in Turkish culture and that the game of Çevgen is a cultural game. It is one of the valuable features of the cartoon that it reminds the cultural elements that are about to be forgotten in each episode. It is suggested that the number of cartoons about cultural elements should be increased. [ABSTRACT FROM AUTHOR]

Copyright of Gümüshane Üniversitesi Saglik Bilimleri Dergisi is the property of Gumushane University, Faculty of Health Sciences 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.)

Cartoons, since they combine written text and visual content, has a major role in conveying different messages about Covid-19. This significance has typically come from the power of images and words that occurred in the cartoons and their impact on receivers' response thereafter. In translation, cartoon creates difficulty because of the cultural aspects and ideas that are created for a specific audience and community. Hence, in this paper, the focus will be specifically on analysing the language of selected cartoons and the translation approaches of the cartoonists' language in the Covid-19 era in Iraq, and this analysis is attained by adopting Norman Fairclough's model of critical discourse analysis. The researcher has categorised cartoons as follows: rhetorical, idiomatic, narrative, and rhymed, so this paper will concentrate on the analysis of the message behind each category that is employed to influence the audience and how it can be translated, especially if it encompasses idioms related to the Iraqi culture, musical rhyme, rhetoric, and pun. Accordingly, analysis of the constituent aspects of the cartoons necessarily takes place on linguistic and cultural levels so as to distinguish how each cartoonist represents the denotative and connotative meanings of the lexical items that are associated with cartoons drawings. [ABSTRACT FROM AUTHOR]

Copyright of Kadim Academy Journal of Social Sciences / Kadim Akademi Sosyal Bilimler Dergisi is the property of Kadim Academy Association 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.)

Copyright of International Journal of Language Academy is the property of Rota Kariyer 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.)

Copyright of Turkish Journal of Primary Education (TUJPED) is the property of Turkish Journal of Primary Education (TUJPED) 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.)

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Intentional or unintentional littering, especially among young people, poses a threat to the marine environment. It is, therefore, necessary to enhance awareness of marine environmental protection among youth groups. This study explored the interaction between visual image types (photograph vs. cartoon), message framing (positive vs. negative), and psychological distance (human vs. turtle). A three-way analysis of variance (ANOVA) and regression analysis were used to verify the hypotheses. The key findings of the research were as follows: (1) Among the eight information construction methods, cartoons combined with turtles and presented with positive outcomes were the best way to communicate, i.e., cartoons showing animals in a friendly and positive way were the most effective form of marine garbage recycling for young people, and (2) Young people's preference for information will promote their self-efficacy in marine garbage recycling. The implications of these findings for developing marine protection information communication education for youth groups are also proposed.

The inclusion of cartoons in medical education can facilitate the learning process among medical students. This can be attributed to the active engagement, joyful learning experience, and encouragement of critical thinking among medical students. A number of factors must be given due attention to ensure that cartoons can facilitate the learning process among medical students. Thus, there is an immense need to identify the potential challenges that can impact the planning and implementation process and adopt a comprehensive approach to overcome them and thereby facilitate learning.

Copyright of Kranion is the property of Publicidad Permanyer SLU 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 contrast to the war scene, where it unleashed hostilities and maintained the initiative on several fronts at the same time, the National Socialist regime was hardly able to match the Allied countries in the political use of animation, despite the exceptional importance it attached to propaganda. In view of this failure, the article explores the causal framework and delves into a field of forces where institutions compete with companies and talented figures with opportunists in the development of films of very uneven tone and quality that quickly fell into oblivion but which, given their documentary value, should be taken into account in the general framework of the history of animation. [ABSTRACT FROM AUTHOR]

This research is motivated by two inter‐related arguments. Humour and cartooning in children are useful means to (1) address sensitive socio‐political issues and (2) foster empathic concern and perspective‐taking. Humorous cartoons and multimodal narratives were created by 10–13‐year olds in school workshops about social inequality and social empathy. Students made cartoons related to concrete situations of economic, gender, racial and ethnic inequality. Children showed empathic concern towards the victims depicted, evidenced by representing positive empathy between characters or by denouncing a lack of empathy. This research suggests that composing humorous multimodal narratives can favour immersive experiences, perspective‐taking, empathy and pro‐sociality. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Modern Turkish History Studies / Cumhuriyet Tarihi Araştırmaları Dergisi (CTAD) is the property of Ataturk Institute for Modern Turkish History 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.)

Copyright of International Primary Education Research Journal is the property of International Primary Education Research 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.)

Copyright of Fe Journal: Feminist Critique / Fe Dergi: Feminist Elestiri is the property of Ankara University, Women's Studies Center (KASAUM) 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.)

Цель исследования заключается в рассмотрении поликодового текста как инструмента, который с помощью вербальных и невербальных компонентов отражает явление дефицита. Материалом исследования выступили обложки выпусков популярного сатирического издания Советского Союза и Российской Федерации – журнала «Крокодил» – за первую половину 1991 г. В качестве основных методов исследования использованы интерпретативный, понятийный, лингвокультурологический и коммуникативно-прагматический подходы. Практическая значимость настоящего исследования заключается в описании лингвистическими инструментами феномена дефицита, поскольку поликодовый текст включает символьный ряд, отражающий исторический контекст. Проведенный авторами анализ может быть использован как образец исследования социальной проблемы или определенного исторического периода, отраженных в поликодовом тексте.

The purposes of this research were to 1) develop the 2D animation cartoon: Primal Hunter, 2) study the perception of the sample group after watching the 2D animation cartoon: Primal Hunter, and 3) study the satisfaction of the sample group after watching 2D animation cartoon: Primal Hunter. The sample group consisted of 56 elementary school students from Ban Nong Buakham School, Nakhon Ratchasima province, selected using a group sampling method. The tools used to collect data were 1) 2D animation cartoon: Primal Hunter, 2) Quality assessment questionnaire for 2D animation cartoon: Primal Hunter, 3) Perception assessment questionnaire for the sample group after watching 2D animation cartoon: Primal Hunter, and 4) Satisfaction measurement questionnaire for the sample group after watching the 2D animation cartoon: Primal Hunter. The statistics used in the data analysis were: percentages, mean, and standard deviations. The study's findings revealed that 1) 2D animation cartoon: Primal Hunter had a very good overall quality, with an average rating of 4.69. 2) The perception level of the sample group after watching the 2D animation cartoon: Pyramol Hunter was found to be 85.36%, indicating a very high level of perception. 3) The satisfaction survey results of the sample group after watching the 2D animation cartoon: Pyramol Hunter showed that the sample group had the highest level of satisfaction, with an average rating of 4.68. บทคัดย่อ: การวิจัยในครั้งนี้มีจุดประสงค์เพื่อ 1) พัฒนาการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ 2) ศึกษาระดับการรับรู้ของกลุ่มตัวอย่างหลังชมการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ 3) ศึกษาความพึงพอใจของกลุ่มตัวอย่างหลังชมการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ โดยมีกลุ่มตัวอย่างคือ นักเรียนระดับชั้นประถมศึกษา โรงเรียนบ้านหนองบัวคำ จังหวัดนครราชสีมา จำนวน 56 คน โดยวิธีการเลือกกลุ่มตัวอย่างแบบกลุ่ม เครื่องมือที่ใช้รวบรวมข้อมูล คือ 1) การ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ 2) แบบประเมินคุณภาพการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ 3) แบบประเมินการรับรู้ของกลุ่มตัวอย่างหลังชมการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ 4) แบบวัดความพึงพอใจของกลุ่มตัวอย่างหลังชมการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ สถิติที่ใช้ในการวิเคราะห์ข้อมูล ได้แก่ ร้อยละ ค่าเฉลี่ย และส่วนเบี่ยงเบนมาตรฐาน ผลการวิจัยพบว่า 1) การ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ มีคุณภาพโดยรวมอยู่ในระดับดีมาก มีค่าเฉลี่ย 4.69 2) ผลการวัดระดับการรับรู้ของกลุ่มตัวอย่างหลังชมการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ พบว่า กลุ่มตัวอย่างมีการรับรู้อยู่ที่ร้อยละ 85.36 มีการรับรู้อยู่ในระดับมากที่สุด 3) ผลการสำรวจความพึงพอใจของกลุ่มตัวอย่างหลังชมการ์ตูนแอนิเมชันสองมิติ เรื่อง ไพรมอล ฮันเตอร์ พบว่า กลุ่มตัวอย่างมีความพึงพอใจอยู่ระดับมากที่สุด มีค่าเฉลี่ยที่ 4.68

The aim of this study is to examine the studies on cartoons and value education by systematic compilation method. In the study, 14 articles and 14 theses published between 2013-2022 were examined. Researches; publication year, publication type, purpose, method/pattern, sample level, sample size, watched cartoons, number of episodes, data collection tools, data analysis method, results and suggestions were examined in accordance with the themes. According to the reviews, it was concluded that the researches were concentrated in 2019 and that they were similar in terms of publication type, purpose, pattern, data collection tools and the cartoons examined. Results; showed that positive values ​​were more dominant and negative values ​​were less. According to the results obtained, suggestions were made to parents, teachers, researchers and publishers.

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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.)

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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.)

Copyright of Methodical Perspectives / Metodički Vidici is the property of Faculty of Philosophy, University of Novi Sad 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, consisting of 31 illustrations with annotation, presents the result of an artistic research project revolving around the question of how to use one's power as a creator of humour. The reader/viewer is presented with insight into the life and thinking of cartoonist/artistic researcher Self-reflexive Steve, who engages in self-investigation because he is conscious of the virtues as well as the dangers of humour. In a globalised, diverse, and democratic world, it is important to consider different sensibilities within society. Self-reflexive Steve always regarded humour as a form of connecting communication, because when people are able to laugh together, they understand each other. However, Self-reflexive Steve increasingly wonders whether he has achieved his set targets, as he primarily acts for a captive audience and creates his humorous drawings from a safe stand-off in his ivory tower. His publications are always endorsed by the editorials of the magazines he is working for and this within a society where humour makers are protected and esteemed. However, in today's society humour is frequently used to divide. As a cartoonist/researcher, Self-reflexive Steve explores the limits of his medium, deliberately going off the rails at times. As a humour maker he seeks to reclaim the right to use fantasy, lies, distortions, exaggerations and wild associations from those in power who deploy these qualities of humour to divide and rule. [ABSTRACT FROM AUTHOR]

The aim of this research is to investigate the role of pictorial metaphors in expressing and conveying the message of citizenship cartoons. To achieve this goal, in the form of a case study, seven cartoons published in Persian-language websites were extracted and analyzed in the framework of conceptual metaphor theory (Lakoff & Johnson, 1980, 1999; Lakoff, 1993) and multimodal metaphor theory (Forceville, 1996; 2008; 2009). The subject of all these cartoons is ‘the environment’ and the main question of the research is what conceptual metaphors and what pictorial metaphors have been used to express the importance and necessity of environmental protection and what are the source and target domains of these metaphors? The results show that cartoons are divided into two categories in terms of their source domain. In one category, the source domain refers to negative and unpleasant concepts (such as smoke and garbage), and their underlying conceptual metaphor is ‘pollution is death’. In the other category, the source domain refers to positive and pleasant concepts (such as respiratory aids) and is based on the conceptual metaphor of ‘tree is life’. Thus, the conceptual contrast between the tree and pollution on the one hand, and between the concepts of life and death on the other, form the main basis of the cartoons message.

Komiks edukacyjny jest popularnym gatunkiem artystycznym w kulturze dziecięcej, jego siła przekazu i oddziaływania tkwi w korelacji między warstwą werbalną i wizualną (ikonotekstowość). Jednakże nie tylko obraz i tekst mają decydujący wpływ na odbiór wspomnianego medium. Elementem kluczowym dla każdego komiksu jest bowiem postać bohatera (zob. Toeplitz, 1985), która w połączeniu z cartoonowością wpływa na ułatwienie identyfikacji młodym czytelnikom. Celem niniejszego artykułu jest zbadanie relacji pomiędzy postacią bohatera a przekazem wiedzy i utożsamieniem się z protagonistami. Klasyfikacja, która została przyjęta w rozważaniach, polega na wyróżnieniu czterech typów bohaterów obecnych w komiksach edukacyjnych dla młodych odbiorców: dziecięcego, dorosłego, zwierzęcego i fantastycznego. Analiza wykazała, że protagoniści są konstruowani w taki sposób, aby zmniejszyć dystans pomiędzy czytelnikiem a książką, a tym samym ułatwić młodemu odbiorcy identyfikowanie się z bohaterami. Kreacje postaci w znaczący sposób wpływają na proces lektury i emocje czytelnika, a tym samym dają możliwość poruszania różnych tematów i przekazywania skomplikowanych treści.

António Antunes é um dos mais relevantes cartoonistas mundiais. Apresenta uma produção com características muito próprias e com uma extensão significativa, quer nacional, onde colabora com o importante semanário Expresso, quer internacionalmente, com a publicação em periódicos de grande difusão e o averbamento de vários prémios. Ao longo da sua carreira não tem escapado a grandes polémicas, como a havida com Donald Trump, mas lutando sempre por causas que considera justas através da sua Arte.

Child sexual abuse material (CSAM) has become a global problem. With technological advancements, a sub-type of material has emerged: virtual child sexual abuse material (VCSAM). Despite the far-reaching harms of this material, little is known about VCSAM offenders. Research has found some disconnect between the perceived harmfulness of VCSAM and legislative definitions, compared with CSAM. Given the media's influential ability to shape public perceptions, this exploratory study aimed to: (1) identify the characteristics of VCSAM offenders and (2) explore whether the harms of VCSAM are represented in this reporting. For the most up-to-date data, the search spanned 1 January 2019 to 23 September 2022. Of the 160 newspaper articles that appeared, 25 met the inclusion criteria. Four themes emerged from the qualitative content analysis: (1) VCSAM is a form of CSAM, (2) potential for escalation in offending from viewing VCSAM, (3) offenders have preferences in specific types of VCSAM (with the sub-theme: written stories and documents are VCSAM too), and (4) offenders "didn't know" the material was illegal. Overall, these findings were positive; how cases were reported may broadly educate the public about VCSAM offending, with articles signifying the harms of this offending. The current findings have the potential to contribute to prevention and intervention efforts, with utility in policymaking, criminal justice, media, and psychology disciplines. [ABSTRACT FROM AUTHOR]

Copyright of Elementary Education in Theory & Practice 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 Çekirge humor newspaper, which was published twice a week on Mondays and Thursdays in March and April, 1911 and only had the opportunity to survive for 10 issues, generally reflected the political struggles shaped around The Committee of Union and Progress (the CUP). Especially people such as Lutfu Fikri Bey, Boso Efendi, Ismail Kemal Bey, Riza Tevfik Bey, who were known for their opposition to the CUP, and those representing the opposition called Hezb-i Cedit within the CUP became the focus of criticism. It is possible to see this attitude in literary genres such as poetry and dialogue, apart from "news and commentary" texts. In addition, the newspaper also allocated considerable part for evaluations on issues that affected social life and were on the agenda of the public, such as transportation, taxation, economic situation, education, fashion, the Baghdad railway project, the Reji administration, and the Balkan issue. In the study, the Çekirge humor newspaper's introduction section was first handled on the basis of its format features, author-illustrator staff and content, and then all the articles in the newspaper were classified on the basis of genre, and an analyzed index list consisting of the subheadings "News Commentary", "Telegraph", "Dialogue", "Story", "Poem", "Comedy", "Book Promotion", "Cartoon", "Picture", "Advertisement", "Announcement" was created, in which the content of each text was specified. In the selected texts and cartoons sections, texts and cartoons that have the ability to represent the period are included. Thus, it is aimed to contribute to the history of literature and press by analyzing the Çekirge humor newspaper, which has become a political, historical and sociological document for today. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, Faculty of Communication 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.)

Background: Tonsillectomy is a common painful surgery in children. One of the methods of pain relief is the use of non-pharmacological treatments. Aim: This study was performed with aim to determine the effect of distraction Techniques on pain intensity and acetaminophen received after tonsillectomy in children aged 5-12 years old. Method: This experimental study was conducted on 75 children aged 5-12 years old from September 2020 to March 2021. The subjects by random allocation method were divided into two intervention groups (1: watching cartoons, 2: listening to music) and one control group. Wong-Baker Faces Pain Rating Scale and the Numerical Pain Rating Scale (NRS) were used to report pain intensity. Data were analysed by SPSS software (version 25) and inferential statistical tests, such as Wilcoxon, kruskal-wallis, chi-square, and Mann-Whitney U. P

Comparison of two works benefits the understanding of both of them. The comparison finds the overlap between the works along with the standpoints that distinguish them. The interpretation of these works is broadened and also more distinctly delimited. The article examines the films of Estonia’s most accomplished animation director Priit Pärn for signs of existentialist thought, based on Albert Camus’s The Myth of Sisyphus. Close textual analysis was used to answer the research question: which existentialist traits appear in Priit Pärn’s films, and how they resemble and differ from Albert Camus’s view of existentialism. The research found numerous parallels between Priit Pärn’s filmography and Camus’s existentialist thought. One of the leitmotifs of Pärn’s films is the prevalence of preposterous totalitarian systems, where the prevailing situation is nearly identical to one in which the absurd man would discover the absurd. Various characters from these worlds have lost their human shape in a way that causes discomforting alienation in the viewer, which is one of the absurd discoveries mentioned by Camus. Though many of Pärn’s characters are similar to the absurd man, only in one of the films are they able to free themselves from the rigid routine conclusively. However, none of the characters recognize the absurdity of the system around them: they either live under its hardship or those who free themselves resemble the absurd man only in their actions, not in their mentality, because they do not act upon a logical discussion. Distinctive to Pärn’s style, the unrestricted approach to reality aligns with Camus’s reluctance about the mindset that treats humans and everything else as if they had a definite place and purpose in the world. Priit Pärn’s films have many similarities with Albert Camus’ existentialism. Although juxtaposing them reveals that while Camus concentrates on a mentality on how to interpret and embrace the absurd, Pärn’s films focus on the absurd and the absurd systems themselves, along with describing the burdens they bring about. Additionally, often in Priit Pärn’s films, the oppressive plight of the characters remains persistent. In contrast, Camus ends his essay in faith that even in a world burdened with absurd one may be happy.

The authors of the article explore how the cartoon characters are perceived in advertising products of famous brands among young people. To study this issue, focus groups were held, in which representatives of the youth audience took part. To demonstrate the stimulus material, 22 characters from animated films were selected (cartoons of the Soviet period, Disney studios cartoons and other foreign cartoons). For a large number of products, especially for children, the use of cartoon characters is logical and relevant in most cases. The level of popularity of Soviet cartoons is quite high, which gives brands the opportunity to use their characters in advertising communications. The most popular are the heroes of foreign cartoons (Disney studios and others). According to the results of the study, it was concluded that the use of cartoon characters in advertising communications of the brand contributes to its successful promotion, makes advertising bright and memorable, such advertising attracts the attention of the target audience and arouses its interest. At the same time, the authors point out that it is impossible to take the character out of the context of the cartoon, his image should be exactly the way people used to see him. In this case, advertising communication will be really successful. The results of the study can be used by brands when promoting goods and services using cartoon characters.