Bibliografías temáticas / Sex role – Cartoons and comics

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Literatura académica sobre el tema "Sex role – Cartoons and comics"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Sex role – Cartoons and comics"

1

Pratama, D. M., and K. Kasmana. "The Indonesian Government Imagery in the Instagram Comic strip with Covid-19 Themed." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 1 (December 1, 2020): 693–701. http://dx.doi.org/10.34010/icobest.v1i.232.

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At the beginning of 2020, there has been the spread of the deadly Covid-19 virus to various countries resulted in a pandemic. Indonesia is one of the countries affected, so the government provides a policy that is expected to reduce the number of Covid-19 cases. The policy issued has drawn criticism from various parties, one of which is the cartoon mice comic, this comic is one of the comics that often comments on social life and the Indonesian government with its comic strips posted on Instagram. This study aims to find the image and role of the government depicted in mice cartoon comics in overcoming Covid-19 in Indonesia, therefore there is a need for analysis and research with descriptive methods and critical discourse analysis approaches to see how the image of the Indonesian government in comic mice cartoons. The results of the analysis of the two comics concluded that the image of the government displayed in the comic strip did not only come from the author's idea but also based on the news that emerged from the government's response to the spread of the Covid-19 virus in Indonesia, with an image style that was distinctive from mice cartoon comics. With this research, the researcher hopes that it can become a recommendation in making comic narratives, especially those discussing social life and government, and can be a reference for research that has the same object.
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2

Keane, David. "Cartoons, Comics and Human Rights after the Charlie-Hebdo Massacre." Religion and Human Rights 10, no. 3 (2015): 229–43. http://dx.doi.org/10.1163/18710328-12341290.

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This short comment assesses the situation of cartoons, comics and human rights after the Charlie Hebdo massacre. It engages questions on the meaning and history of cartoons, as well as freedom of expression, to find a new pathway beyond the parameters of the current debate. In particular, it asks why the protection of freedom of expression on Europe became contingent on drawing cartoons of the Prophet Mohammad. Rather than assigning a role for law in preventing such cartoons, or for freedom of expression in protecting them, it argues that desisting from drawing them would have no discernible impact. It highlights other means by which cartoons and comics can advance the human rights discourse, including pioneering comics authors in this regard. In conclusion it argues for an end to the largely dysfunctional terms of the debate and envisages a more progressive horizon.
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3

Masuchika, Glenn. "Japanese Cartoons, Virtual Child Pornography, Academic Libraries, and the Law." Reference & User Services Quarterly 54, no. 4 (2015): 54. http://dx.doi.org/10.5860/rusq.54n4.54.

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Many academic libraries are adding comics and cartoon in print form to their collections. Japanese comics, called "manga," are a large part of this collecting. However, in some of these items, there are drawn images of people seemingly under eighteen years of age engaged in highly graphic, uncensored, sex acts. The purpose of this paper is to discuss whether collecting such materials may violate anti-obscenity laws of the United States and expose the collection developer and the library to criminal liabilities. It also suggests that these concerns can lead librarians to self-censorship in their collection development duties.
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4

Jones, James W. "Cartoons and AIDS: Safer Sex, HIV, and AIDS in Ralf König's Comics." Journal of Homosexuality 60, no. 8 (2013): 1096–116. http://dx.doi.org/10.1080/00918369.2013.776422.

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Miranda-Barreiro, David. "From Pioneer of Comics to Cultural Myth." European Comic Art 11, no. 1 (2018): 66–86. http://dx.doi.org/10.3167/eca.20178110105.

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The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
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Miranda-Barreiro, David. "From Pioneer of Comics to Cultural Myth." European Comic Art 11, no. 1 (2018): 66–86. http://dx.doi.org/10.3167/eca.2018.110105.

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The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
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7

Miranda-Barreiro, David. "From Pioneer of Comics to Cultural Myth." European Comic Art 11, no. 1 (2018): 66–86. http://dx.doi.org/10.3167/eca.2018110105.

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The multifaceted Galician artist, writer and politician Alfonso Daniel Rodríguez Castelao (1886–1950) has been considered a pioneer of Galician comics, or banda deseñada. This is because of his key role in the development of the medium from his early comic strips in the magazine Vida gallega [Galician life] (1909), to the cartoons that he published in the press in the 1920s and 1930s. Furthermore, Castelao has become a comics character in several graphic biographies since the end of the 1970s. This article not only addresses the reasons for the recurrent presence of Castelao in Galician comics, but it also looks at how the latter have contributed to the mythologisation of this important figure of Galician culture. In aesthetic terms, it will reveal the overlaps between adaptation, biography and comics by analysing all three of them as networks.
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8

Høigilt, Jacob. "EGYPTIAN COMICS AND THE CHALLENGE TO PATRIARCHAL AUTHORITARIANISM." International Journal of Middle East Studies 49, no. 1 (2017): 111–31. http://dx.doi.org/10.1017/s0020743816001161.

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AbstractAdult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of the marginalization of women and broader gender dynamics in Egyptian society. Through frank humor, a playful style, and explicit graphics, they give voice to the concerns of young Egyptians. Connecting comics to other art forms such as music, graffiti, and political cartoons, I situate them within a critical cultural movement that came to the fore with the Egyptian uprising of 2011.
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9

Kowalczyk, Marcin. "The specificity of the prop in the comic book on the example of Andi Watson’s The Book Tour." Przestrzenie Teorii, no. 40 (December 29, 2023): 187–204. http://dx.doi.org/10.14746/pt.2023.40.10.

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In comics, similar to theatre or film, props play a crucial role in storytelling. However, in the comic medium, the function of a prop as a meaningful element takes on a distinct character. Cartoons not only depict objects but also give them specific significance through artistic representation. The article aims to explore this phenomenon by examining the graphic novel The Book Tour by Andi Watson. The analysis draws upon the insights of renowned comics scholars but also refers to broader conceptual frameworks. Thus additional links to theoretical proposals on the semiotics of visual representations and semiotics of the stage. Throughout the discussion, the paper presents artistic techniques used by Andi Watson that contribute to the unique nature and the way of functioning of comic props.
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10

Brabant, Sarah, and Linda Mooney. "Sex role stereotyping in the sunday comics: Ten years later." Sex Roles 14, no. 3-4 (1986): 141–48. http://dx.doi.org/10.1007/bf00288245.

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Tesis sobre el tema "Sex role – Cartoons and comics"

1

Maser, Verena [Verfasser], and Hilaria [Akademischer Betreuer] Gössmann. "Beautiful and Innocent: Female Same-Sex Intimacy in the Japanese Yuri Genre / Verena Maser ; Betreuer: Hilaria Gössmann." Trier : Universität Trier, 2015. http://d-nb.info/1197701850/34.

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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.

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Libros sobre el tema "Sex role – Cartoons and comics"

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Mortensen, Lori. The end zone. Stone Arch Books, 2009.

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2

Maya, Rosewood, ed. Princess knight. Vertical, 2011.

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3

Mabala, Richard. Sara: The special gift. UNICEF-ESARO, 1996.

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4

Papas, Be. Revolutionary Girl Utena: To Sprout. Viz, 2003.

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5

Gender and activism in a little magazine: The modern figures of the Masses. Ashgate Pub. Co., 2011.

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6

Nakajō, Hisaya. Hana-Kimi: For you in full blossom. VIZ, 2004.

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7

William, Flanagan, and McMurray Mark, eds. W Juliet. Viz, 2005.

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8

Emura. W Juliet. Viz Media, 2005.

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Emura. W Juliet. Viz, 2005.

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10

Emura. W Juliet. Viz Media, 2007.

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Capítulos de libros sobre el tema "Sex role – Cartoons and comics"

1

Howard, Sheena C. "BLK Cartoons." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall and Jonathan Warren. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841346.003.0016.

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From 1988 to 1994, BLK, the monthly American newsmagazine for African-American LGBTQ+ readers, regularly featured single-panel comics that visualized the lives of Black lesbians. In pages that mingled investigative journalism, news coverage, and profiles of major contemporary Black LGBTQ+ figures, BLK magazine addressed a void in comics’ representation of Black lesbians with comics that depicted Black lesbians’ dating and flirting, pregnancy, activism, conversations about safe sex, and referring to other queer people. BLK magazine’s comics affirm their characters’ lesbian selfhood through specific engagements with their 1980s and 1990s contexts to help show that queerness inheres in everyday social registers of social interaction: from familiarity, alienation, or interest to perturbation or bemusement.
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Streeten, Nicola. "Women’s Cartoons and Comics in the Twenty-First Century." In Critical Directions in Comics Studies. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828996.003.0008.

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Streeten draws on Simone Lia’s graphic novel Fluffy (2005, Jonathan Cape) to demonstrate how humor combines with the comics form to address and quietly challenge assumptions around childcare, parenting, and masculinity. Streeten’s consideration is part of her wider thesis that the humorous cartoon and comic has been an essential element of feminist activism in the UK, supporting serious political messages. Her claim is that the structures built by feminist activity have made the buoyant position and visibility of women cartoonists in the UK today possible. The role of humor in this history, has been an essential, yet little recognized aspect.
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Abate, Michelle Ann. "Chirping’Bout My Generation." In Blockheads, Beagles, and Sweet Babboos. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496844170.003.0007.

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Chapter Six spotlights Snoopy’s comedic sidekick and feathered friend, Woodstock. More specifically, it ponders his most stubbornly elusive feature: his name. While previous critics have concluded that there is no clear, direct, or obvious reason that Schulz chose to name his little yellow bird after the historic musical festival that took place in upstate New York in August 1969, this chapter makes a case that the moniker is highly resonant. By naming the character after the well-known event, Schulz invites his readers to see him as a metaphor or even metonym for it. At the same time, and perhaps even more importantly, the cartoonist is also encouraging them to see Woodstock as an embodiment of the era’s young people, the Woodstock Generation. Reexamining Schulz’s Woodstock through this lens changes our perception of him along with his role in the comic. The little bird is Snoopy’s best friend and comedic sidekick, but he is also a conduit for socio-political issues. When Peanuts debuted on October 2, 1950, the comic strip offered a pointed commentary on U.S. children and childhood. Twenty years later, in June 1970 when Schulz names his little bird Woodstock, he revisits this interest for the new generation of young people. With the decision to name a character Woodstock, the comic strip takes up questions of youth and youth culture once again.
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Litwack, Avi, and Jason S. Link. "Perspective Chapter: Visual Science Communication – Complexity to Comprehension of Marine Ecosystems." In Comics and Graphic Novels - International Perspectives, Education, and Culture [Working Title]. IntechOpen, 2024. http://dx.doi.org/10.5772/intechopen.1004273.

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In the realm of science communication, challenges occur in translating intricate concepts into easily digestible information. This paper delves into the pivotal role of visual presentations in this process, drawing from the psychology of image processing which posits that a picture can convey volumes of information more efficiently than the proverbial thousand words. We examine tools like cartoons, infographics, and other visual depictions in summarizing and synthesizing complex scenarios within marine ecosystem science. This paper offers a nuanced exploration of the power of visual science communication in bridging the gap between complexity and comprehension. Through illustrative examples, we juxtapose text with imagery, documenting the scientific message and the diverse reactions evoked. This paper recommends best practices to establish guidelines and recommendations for visual scientific communication.
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5

Alaniz, José. "How Many Trees Had to Be Cut down for This Essay?" In The Comics of R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0005.

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Despite a reputation for unsentimental, sardonic, sex-based satire, Robert Crumb has consistently voiced distress over the state of the natural world over the course of his career, and especially the role of modern consumerism in its destruction. As he told an interviewer in 2015, “all that stuff, the whole ecological crisis and all that. That worries me.” Part of an under-studied environmentalist strain in US underground comix, reflected in the work of, among others, Ron Cobb and Ron Turner’s series Slow Death Funnies (1970), Crumb’s “ecological angst” appears throughout his oeuvre, in both explicit and figurative forms. In this chapter, José Alaniz explores how Robert Crumb can be viewed as an ironic elegist for nature’s collapse in the Anthropocene.
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