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Готові списки джерел за темами / Cartoon affair

Добірка наукової літератури з теми "Cartoon affair"

Автор: Grafiati

Опубліковано: 7 липня 2024

Оновлено: 7 липня 2024

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Статті в журналах з теми "Cartoon affair":

1

Göktürk, Deniz. "Jokes and Butts: Can We Imagine Humor in a Global Public Sphere?" PMLA/Publications of the Modern Language Association of America 123, no. 5 (October 2008): 1707–11. http://dx.doi.org/10.1632/pmla.2008.123.5.1707.

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In his essay titled “Drawing Blood” for Harper's magazine in June 2006, written as a response to the Muhammad cartoon affair, Art Spiegelman argued convincingly that a cartoon is, first and foremost, a cartoon. It sounds straightforward, but is it really? Following Spiegelman, we can define caricatures as charged or loaded images that compress ideas into memorable icons, namely clichés. A cartoon must have a point, and a good cartoon can change our perspective on the ruling order. Spiegelman opens his discussion with classical caricatures such as Honoré Daumier's 1831 depiction of King Louis-Philippe as Gargantua and George Grosz's 1926 attack on the “Pillars of Society” (“Stützen der Gesellschaft”) as beer-drinking, pamphlet-reading, swastika-wearing men without brains. Spiegelman acknowledges these cartoonists as “masters of insult,” who often had to face trial or imprisonment for their transgressions (45). The question is whether the twelve cartoons of Muhammad, published by the Danish newspaper Jyllands-Posten on 30 September 2005, are in any way compatible with the great tradition of caricature.

2

Eko, Lyombe, and Lea Hellmueller. "One meta-media event, two forms of censorship: The Charlie Hebdo affair in the United Kingdom and Turkey." Global Media and Communication 16, no. 1 (February 22, 2020): 75–101. http://dx.doi.org/10.1177/1742766519899118.

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This study analyses British and Turkish media conceptualizations of the Charlie Hebdo affair. Editorial decisions to republish or not to republish the Mohammed cartoon cover reflected the politico-cultural pressures on the journalistic fields in both countries. The controversy demonstrated that the editorial autonomy of the British media outlets enabled them to engage in ‘eclectic neutrality’, the right to decide to republish or not to republish the cartoons. Despite the severely constrained journalistic environment of Turkey, where expectations of respect for religion take precedence over freedom of expression, the Turkish media engaged in symbolic acts of resistance in furtherance of freedom of expression.

3

Powers, Shawn. "Examining the Danish cartoon affair: mediatized cross-cultural tensions?" Media, War & Conflict 1, no. 3 (December 2008): 339–59. http://dx.doi.org/10.1177/1750635208097050.

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4

Modood, Tariq, Randall Hansen, Erik Bleich, Brendan O'Leary, and Joseph H. Carens. "The Danish Cartoon Affair: Free Speech, Racism, Islamism, and Integration." International Migration 44, no. 5 (December 2006): 3–62. http://dx.doi.org/10.1111/j.1468-2435.2006.00386.x.

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5

Lægaard, Sune. "The Cartoon Controversy: Offence, Identity, Oppression?" Political Studies 55, no. 3 (October 2007): 481–98. http://dx.doi.org/10.1111/j.1467-9248.2007.00685.x.

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If the publication of twelve drawings of the Prophet Mohammad in the Danish newspaper Jyllands-Posten, which sparked the ‘cartoon controversy’, was wrong, why might this be the case? The article considers four arguments advanced in relation to the quite similar Rushdie affair for judging such publications to be wrong, and asks whether they provide plausible moral reasons against such publications, and whether they justify legal restrictions on freedom of speech. The arguments concern: (a) the consistent extension of group defamation legislation to cover Muslims; (b) offence to religious sensibilities; (c) issues of identity; and (d) oppression. The article also considers whether such arguments can be acknowledged within a liberal model of toleration. It is argued that versions of several of the arguments may in fact be thus accommodated, but that they nevertheless do not provide strong reasons for judging the kind of publications under consideration to be morally wrong or suitable objects for legal restrictions. The argument from oppression is different, however, in pointing to different kinds of factors, but its applicability is limited both by a number of conditions for when oppression provides the right kind of reasons, and by empirical constraints. The suggested conclusion is that the publication of the Mohammad cartoons was not wrong, at least not all things considered, for any of the noted reasons, but that there might be other kinds of factors that are not captured by traditional liberal models of toleration, which might provide reasons for moral criticism of this and similar publications.

6

Yılmaz, Ferruh. "The Politics of the Danish Cartoon Affair: Hegemonic Intervention by the Extreme Right." Communication Studies 62, no. 1 (January 31, 2011): 5–22. http://dx.doi.org/10.1080/10510974.2011.533340.

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7

Pedrazzini, Ana, and Nora Scheuer. "Distinguishing cartoon subgenres based on a multicultural contemporary corpus." European Journal of Humour Research 6, no. 1 (June 13, 2018): 100. http://dx.doi.org/10.7592/ejhr2018.6.1.pedrazzini.

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A literature review reveals the lack of empirical and theoretical work dedicated to systematically grasping the diversity of cartoons. Most studies have focused on political and/or editorial cartoons and have neglected other subgenres, which however are gaining space in many forms of media—such as gag cartoons. Taking genre discursive studies as a starting point, this paper is aimed at distinguishing cartoon subgenres considering their modal, thematic, pragmatic and rhetorical features. The corpus is composed of 85 cartoons (51 multimodal and 34 solely visual) from 22 countries. This corpus was obtained by means of a questionnaire distributed over 2012-2016 in which cartoonists were asked to choose a cartoon that represented their style and to justify their choice. A combination of both qualitative and multivariate statistical techniques was applied. Results allowed us to distinguish four cartoon subgenres based mostly on thematic and pragmatic features: Daily political; Timeless political; Daily media, arts and sports; and Playful cartoons. From a rhetorical standpoint, Timeless political cartoons showed the highest semiotic density (8-12 resources per cartoon), Daily political cartoons an intermediate density (5-7 resources per cartoon) and Playful cartoons the lowest semiotic density (2-4 resources). This contrast might indicate a difference in the cognitive challenge posed to readers, with a major cognitive effort demanded by political cartoons (Timeless and Daily), in addition to the necessary awareness of current affairs. In line with previous research, metaphor appeared as a characteristic resource in political cartoons followed by irony, sarcasm and allusion. Modal analyses showed that political cartoons relied more on the verbal mode to build their messages than the other subgenres.

8

Williams, Ryan. "Is Violence Critique?" Religions 13, no. 11 (November 16, 2022): 1111. http://dx.doi.org/10.3390/rel13111111.

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The offence and violence surrounding episodes like the Salman Rushdie Affair and the Danish cartoon controversies have furnished Western critique of Islam. While important work has challenged this criticism of Islam by interrogating the secular foundations of critique, the relationship between violence and critique remains troubling. Through reflecting on an excerpt from an attempted murder trial following an attack in purported retaliation for offending Islam in an English prison, this article considers an expanded notion of violence that recognizes the structural conditions behind violence and the political stakes that prioritize the psychological and ideological drivers that service criticism of Islam. This article builds on scholarship that explored the State and the violent actions of non-State actors and the critical studies of hate crimes, Islamist extremism, and radicalization to reflect on the role of critique in the aftermath of violence and to ask: “Is violence critique?” It argues for an approach to violence-as-critique by recognizing how emotion and violence are not merely resident inside the fanatical body that protrudes outwards but are instead part of the wider, circulating, and unstable affective economies of structural violence where violences can be mutually reinforcing.

9

Witwer, David. "Unionized Teamsters and the Struggle over the Streets of the Early-Twentieth-Century City." Social Science History 24, no. 1 (2000): 183–222. http://dx.doi.org/10.1017/s0145553200010117.

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Two political cartoons from the 1905Chicago Tribuneportrayed how some elements in society viewed the rise of a powerful Teamsters Union.On 29 April 1905, the front page cartoon depicted a husky teamster engaged in a sympathetic strike while the caption read, “The Dictator in His Old Act of Blocking Commerce” (Figure 1). A month later, on 3 June 1905, a cartoon played on the coincidence of the June 1905 uprising in Russia and a grand jury investigation of Teamster strike leaders in Chicago. The title caption read, “The Grand Dukes of Russia and the Grand Dukes of Chicago” (Figure 2). Both cartoons emphasized the theme of irresponsible power—either that of a dictatorship or of an unprincipled grand duke. Teamster leaders were tyrants, these images said.The sphere in which this irresponsible power was wielded extended beyond the realm of union affairs, and the relay the true menace conveyed by these images.They asserted that Teamster leaders held it in their power to stop the flow of business activity in Chicago.

10

GOLDIE, MARK. "VOLUNTARY ANGLICANS Restoration, reformation, and reform, 1660–1828: archbishops of Canterbury and their diocese. By Jeremy Gregory. Oxford: Oxford University Press, 2000. Pp. 355. ISBN 0-19-820830-8. £45.00. The church in an age of danger: parsons and parishioners, 1660–1740. By Donald A. Spaeth. Cambridge: Cambridge University Press, 2000. Pp. 279. ISBN 0-521-35313-0. £40.00. The Quakers in English society, 1655–1725. By Adrian Davies. Oxford: Oxford University Press, 2000. Pp. 262. ISBN 0-19-8280820-0. £40.00. Hawksmoor's London churches: architecture and theology. By Pierre de la Ruffinière du Prey. Chicago: University of Chicago Press, 2000. Pp. 179. ISBN 0-226-17301-1. £26.50 (hb); 2003. ISBN 0-226-17303-8. £17.50 (pb). The national church in local perspective: the Church of England and the regions, 1660–1800. Edited by Jeremy Gregory and Jeffrey S. Chamberlain. Woodbridge, Suffolk: Boydell Press, 2003. Pp. 315. ISBN 0-85115-897-8. £50.00." Historical Journal 46, no. 4 (December 2003): 977–90. http://dx.doi.org/10.1017/s0018246x03003388.

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The historiography of the eighteenth-century Church of England remains peculiarly preoccupied with vindicating that institution from the condemnation heaped upon it by Anglo-Catholics and Evangelicals in the nineteenth century. The chapters of Jeremy Gregory's Restoration, reformation, and reform characteristically begin with quotations from Victorians on the somnolence and negligence of the Hanoverian Establishment. The starting point is, as it were, a Hogarth cartoon of a corpulent curate and a snoozing congregation. In part this preoccupation is indicative of how little has been done on the subject since the Victorians. Norman Sykes, writing between the 1930s and 1950s, remains an almost solitary beacon for the church's institutional history, though much of his work was biographical, dwelling on clerical high politics rather than on the social fabric of the church in the parishes. About the Hanoverian parish we know little, and probably care less, because without Reformation or Revolution – or nuns or witches – there is little to move the secular-minded to take an interest. It would not, of course, be true to say that nothing has recently been done. There has been something in the field of intellectual history. One thinks of Brian Young's fine Religion and enlightenment in eighteenth-century Britain (1998), a filling out of John Pocock's sketch of an English ‘clerical Enlightenment’ – though most intellectual history of that era prefers the wilder shores of deism, freethinking, and the radical assault on priestcraft. There have been valuable probings of the early eighteenth-century politics of religion (the Sacheverell affair, the charity school movement, the Societies for the Reformation of Manners) and of the late Hanoverian roots of nineteenth-century high churchmanship.

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Дисертації з теми "Cartoon affair":

1

Bazin, Maëlle. "Dessiner la liberté d'expression face au terrorisme : sémiotique et sociologie des pratiques graphiques en hommage aux victimes des attentats de « Charlie Hebdo » (France, janvier 2015)." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0078.

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Croisant les apports de la sémiotique des images, de l'anthropologie de l'écrit et des sciences de l'information et de la communication, cette recherche procède à l'analyse d'un corpus de plusieurs centaines de dessins produits en réaction aux attaques terroristes islamistes de janvier 2015 en région Île-de-France. Elle établit dans quelle mesure le dessin, en tant qu'auxiliaire et sujet de discours des mobilisations populaires, constitue un vecteur de cohésion entre les Français ·es. La première partie de la thèse montre en quoi les attentats de janvier 2015 constituent un moment charnière dans les pratiques mémorielles en France et explicite les filiations et l'originalité de cette recherche doctorale. En s'inscrivant dans la continuité de travaux en sociologie des attentats, ce travail fait le choix de s'intéresser avant tout à la dimension visuelle des messages, un aspect jusqu'ici encore peu exploré. La deuxième partie examine le traitement médiatique des attentats et rend compte du poids du cadrage d'une atteinte à la liberté d'expression sur les dispositifs et les procédés d'implication du public déployés par la presse et la télévision françaises. La troisième partie analyse un grand nombre de matériaux empiriques issus de plusieurs archives françaises, publiques et privées. Elle rend compte de la pluralité des pratiques graphiques et des formes de politisation selon trois dispositifs communicationnels spécifiques : les mémoriaux éphémères de trois villes de province, les murs de la capitale et les courriers adressés à la rédaction de Charlie Hebdo
Combining contributions from the semiotics of images, the anthropology of the written word and media studies, this research focuses on a corpus of several hundred drawings produced in response to the Islamist terrorist attacks of January 2015 in the Île-de-France region. It establishes the extent to which the drawing, as an auxiliary and subject of discourse of popular mobilisations, constitutes a vector of cohesion between French people. The first part of the thesis shows how the attacks of January 2015 constitute a pivotal moment in remembrance practices in France and explains the connections and originality of this doctoral research. Following on from work on the sociology of the attacks, this thesis focuses primarily on the visual dimension of the messages, an aspect that has been little explored until now. The second part examines the media treatment of the attacks, looking at how the framing of an attack on freedom of expression affects the ways in which the French press and television engage the public. The third part analyses a large amount of empirical material from a number of French public and private archives. It takes account of the plurality of graphic practices and forms of politicization in three specific communication devices: ephemeral memorials in three provincial towns, walls in the capital and letters sent to the editorial staff of Charlie Hebdo

2

Whitcher, Gary Frederick. "'More than America': some New Zealand responses to American culture in the mid-twentieth century." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/6304.

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This thesis focuses on a transformational but disregarded period in New Zealand’s twentieth century history, the era from the arrival of the Marines in 1942 to the arrival of Rock Around the Clock in 1956. It examines one of the chief agents in this metamorphosis: the impact of American culture. During this era the crucial conduits of that culture were movies, music and comics. The aims of my thesis are threefold: to explore how New Zealanders responded to this cultural trinity, determine the key features of their reactions and assess their significance. The perceived modernity and alterity of Hollywood movies, musical genres such as swing, and the content and presentation of American comics and ‘pulps’, became the sources of heated debate during the midcentury. Many New Zealanders admired what they perceived as the exuberance, variety and style of such American media. They also applauded the willingness of the cultural triptych to appropriate visual, textual and musical forms and styles without respect for the traditional classifications of cultural merit. Such perceived standards were based on the privileged judgements of cultural arbiters drawn from members of New Zealand’s educational and civic elites. Key figures within these elites insisted that American culture was ‘low’, inferior and commodified, threatening the dominance of a sacrosanct, traditional ‘high’culture. Many of them also maintained that these American cultural imports endangered both the traditionally British nature of our cultural heritage, and New Zealand’s distinctively ‘British’ identity. Many of these complaints enfolded deeper objections to American movies, music and literary forms exemplified by comics and pulps. Significant intellectual and civic figures portrayed these cultural modes as pernicious and malignant, because they were allegedly the product of malignant African-American, Jewish and capitalist sources, which threatened to poison the cultural and social values of New Zealanders, especially the young. In order to justify such attitudes, these influential cultural guardians portrayed the general public as an essentially immature, susceptible, unthinking and puritanical mass. Accordingly, this public, supposedly ignorant of the dangers posed by American culture, required the intervention and protection of members of this elite. Responses to these potent expressions of American culture provide focal points which both illuminate and reflect wider social, political and ideological controversies within midcentury New Zealand. Not only were these reactions part of a process of comprehension and negotiation of new aesthetic styles and media modes. They also represent an arena of public and intellectual contention whose significance has been neglected or under-valued. New Zealanders’ attitudes towards the new cinematic, literary and musical elements of American culture occurred within a rich and revealing socio-political and ideological context. When we comment on that culture we reveal significant features of our own national and cultural selves.

Книги з теми "Cartoon affair":

1

Cliteur, Paul. Theoterrorism v. Freedom of Speech. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463722728.

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The Rushdie Affair, the Danish Cartoon Affair, the assault on Charlie Hebdo, and the earlier Carrell Affair, are examples of religious fanatics' extreme reactions to religious satire and criticism. Perpetrators of these actions consider themselves as true believers. This book aims to understand their motives by means of the concept of theoterrorism: terrorism grounded in religious zealotry.

2

John, Morris. Funny business: Cartoons. Cleveland: Business Humour, 1992.

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3

Gorrell, Bob. Affairs of state. Gretna, La: Pelican Pub. Co., 1995.

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4

Hergé. The Calculus affair. London: Mammoth, 1990.

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5

Hergé. The Calculus affair. London: Egmont Books, 2003.

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6

Hergé. The Calculus affair. [Boston]: Little, Brown, 2004.

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7

Wright, Patrick. Affairs of the heart. London: Heinemann, 1985.

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8

Hergé. L' affaire Tournesol. Tournai: Casterman, 1994.

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9

Dombrowski, André. The image affair: Dreyfus in the media, 1894-1906. Philadelphia, PA: University of Pennsylvania, Department of the History of Art, 2015.

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10

1964-, Dudley William, ed. Watergate. San Diego, Calif: Greenhaven Press, 2002.

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Частини книг з теми "Cartoon affair":

1

Wu, I.-Wei. "Participating in Global Affairs: The Chinese Cartoon Monthly Shanghai Puck." In Asian Punches, 365–87. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-28607-0_15.

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2

Golubev, Nikita, and Alina V. Vladimirova. "Drawing Networks of Political Leaders: Global Affairs in The Economist’s KAL’s Cartoons." In Complex Networks and Their Applications VIII, 673–81. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-36687-2_56.

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3

"The Danish Cartoon Affair." In Theoterrorism v. Freedom of Speech, 97–122. Amsterdam University Press, 2019. http://dx.doi.org/10.2307/j.ctvd1c77t.8.

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4

"4. The Danish Cartoon Affair." In Theoterrorism v. Freedom of Speech, 97–122. Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9789048550272-006.

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5

Sherwood, Yvonne. "5. Blasphemy and minorities." In Blasphemy: A Very Short Introduction, 89–107. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198797579.003.0005.

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‘Blasphemy and minorities’ describes how ideas about blasphemy have changed with the increasingly visible presence of religious and ethnic minorities. Modern blasphemy laws tended to limit blasphemy to a crime that could only be committed by those educated as Christians against Christianity—with the result that Jews could not blaspheme, nor could Judaism be blasphemed against. Nevertheless, ‘Jews’ have been very present as images in blasphemy controversies. Today it is also very common for blasphemy to be represented as a Muslim problem. The first modern ‘blasphemous’ cartoon of Muhammad and Salman Rushdie’s novel The Satanic Verses (1988), as well as the Danish Cartoon Affair of 2005/2006, are fascinating examples of blasphemy and creativity.

6

"CHAPTER 10 The Narrative of “Incompatibility” and the Politics of Negative Dialogues in the Danish Cartoon Affair." In The Annoying Difference, 231–41. Berghahn Books, 2022. http://dx.doi.org/10.1515/9780857451019-016.

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7

Forceville, Charles. "Case Studies–Political and Non-Political Cartoons." In Visual and Multimodal Communication, 167–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190845230.003.0009.

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The genre of political cartoons purports to present a wittily critical visual or visual-plus-written-verbal commentary on politicians and states of affairs in the world. The genre is thereby of high interest for critical discourse analysts, as it lays bare a community’s ideological assumptions and does so in a pithy, easily accessible form. Moreover, the genre can get away with proposing ideas that, when presented in the verbal mode, would be unacceptably offensive or crude. From an RT perspective, it is clear that since cartoons typically appear in specific newspapers and magazine, cartoonists have a fairly precise idea of the target audience to whom they want to be optimally relevant. The chapter outlines the conventions of the cartoon genre in some detail, then examines four political and two non-political cartoons in the light of their communicative and informative intentions, aspects of reference assignment, implicated premises, and explicatures and implicatures. Other aspects that are briefly addressed are cartoons’ artist-dependent style, need for stereotypical depiction and caricaturization, deployment of metaphors, and loose use of visuals.

8

Carroll, William E. "Galileo Galilei and the Myth of Heterodoxy." In Heterodoxy in Early Modern Science and Religion, 115–44. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199268979.003.0005.

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Abstract On the occasion of the publication in March 1987 of the Catholic Church’s condemnation of in vitro fertilization, surrogate mother hood, and fetal experimentation, there appeared a cartoon in the Roman newspaper, La Repubblica, in which two bishops are standing next to a telescope. In the distant night sky, in addition to Saturn and the Moon, there are dozens of test-tubes. One bishop turns to the other, who is in front of the telescope, and asks: ‘This time what should we do? Should we look or not? ‘ The historical reference to Galileo was clear. In fact, at a press conference at the Vatican, Cardinal Ratzinger was asked whether he thought the Church’s response to the new biology would not result in another ‘Galileo affair ‘. The Cardinal smiled, perhaps realizing the persistent power, at least in the popular imagination, of the story of Galileo’s encounter with the Inquisition more than three hundred and fifty years before. The Vatican office which Cardinal Ratzinger headed, the Congregation for the Doctrine of the Faith, is the direct successor to the Holy Roman and Universal Inquisition. Or consider the recent remarks of the American philosopher Paul Kurtz who, in referring to ‘the intrusion of religion into science with a ban on cloning ‘, derided attempts to ‘censor scientific research in the name of religious morality ‘, by exclaiming: ‘Hark, hark back to the days of Galileo ‘.

9

Howard, Sheena C. "BLK Cartoons." In The LGBTQ+ Comics Studies Reader, edited by Alison Halsall and Jonathan Warren, 231–44. 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.

10

"3. Gender and Militarism in Foreign Affairs Cartoons." In Military Masculinity and Postwar Recovery in the Soviet Union, 77–117. University of Toronto Press, 2019. http://dx.doi.org/10.3138/9781442624719-007.

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