Provides lessons on the art of cartooning along with information on terminology, tools, techniques, and theory.

Chinese animation of the beginning of the XXI century shows significant progress. A number of cartoons and animated series have been released. The hypothesis of the study is that their imagery, plots, and artistic features differ from foreign cartoons and gradually acquire a national identity. This process began in the 2000s, and its pace is only increasing, while it arouses interest from foreign studies, including Russian ones. The typological analysis of the images of the characters of famous Chinese (...) cartoons created at the beginning of the XXI century, as well as the analysis of stylistic and artistic features used by the authors to convey the uniqueness of the character, as well as to emphasize its belonging to Chinese culture, is the main problem of the article. The purpose of this research is to study the specifics of modern Chinese cartoon characters, to identify the features of the development process and the formation of their individual traits in accordance with national characteristics. Chinese animators tend to use the language of traditional art, attributes and symbols characteristic of the national culture. An appeal to the analysis of modern cartoon pictures allows us to highlight the main features of animated characters "with Chinese specifics". In addition, it is of interest to compare the features of the formation of images associated with China in foreign animated films and the characteristic features of characters appearing in the works of modern Chinese animators. (shrink)

Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What is the proper reaction to these kinds of provocative jokes once the (...) possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 530-543, May 2022. Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What (...) is the proper reaction to these kinds of provocative jokes once the possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? (shrink)

An illustrated introduction to the major subjects of Western philosophy, guided by Heraclitus.

This paper offers a novel interpretation of the 1890 British Ultimatum, by bringing to the front of the stage its techno-diplomatic dimension, often invisible in the canonical diplomatic and military narratives. Furthermore, we use an unconventional historical source to grasp the British–Portuguese imperial conflict over the African hinterland via the building of railways: the cartoons of the politically committed and polyvalent Portuguese artist and journalist Rafael Bordalo Pinheiro (1846–1905), published in his journal Ponto nos iis, from the end of (...) 1889 and throughout 1890. We argue that the Ponto nos iis cartoons played a so far overlooked role in the unfolding of British–Portuguese affairs, as they shaped at a distance a diplomatic exchange with the British satirical journal Punch. Attacking and counterattacking his fellow cartoonists in Britain, Pinheiro surged into the role of informal diplomat. This cartoon visual and public diplomacy unfolded in the pages of both journals and was tied to the two countries’ colonial conquests in Africa, where the Portuguese and British empires were competing to dominate the African hinterland through large technological systems. Hence the cartoons made visible to wider audiences the otherwise hidden role that technologies played in the two countries’ affairs. In turn, the cartoons aimed at persuading the Portuguese public and ruling classes alike that only regime change, from monarchic to republican, would restore the wounded Portuguese national pride. (shrink)

Political Cartooning Mocking Mussolini's Opposition: The Left Targeting Itself The paper discusses the socialist/leftist political humour during Mussolini's ascendance to power. I am especially concerned with the part of political satire that was drawn by the Left mocking the Left itself. This type of political satire has a specificity very challenging and interesting at the same time. It makes evident the limits of the fascist censor and draws the line between political satire and crude political propaganda. I will analyse political (...) cartoons of the aforementioned period and Gramsci's theory of hegemony will shed light both to the reading of this humorous discourse and the left's political practices. The paper is divided into four sub-themes discussing the representation of socialism with the bourgeoisie, the Biennio Rosso, the Socialist fragmentation and the Aventino. The narrative across these major events reveals the counter-hegemonic project of the Left to the fascist ascendance together with their share of responsibility for the latter's power. (shrink)

Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What is the proper reaction to these kinds of provocative jokes once the (...) possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? (shrink)

Philosophical debate over the infamous Danish cartoons of Muhammad continues.

The analysis of legal communication has almost exclusively been the domain of discourse analysts focusing on the ways that the linguistic system is used to realise legal meanings. Multimodal discourse analysis, where visual forms in combination with traditional linguistic expressions co-occur, is now also an area of expanding interest. Taking a Systemic Functional Linguistics “social semiotic” perspective, this paper applies and critiques an analytical framework that has been used for examining intersemiotic complementarity in various types of page-based multimodal texts by (...) analysing a cartoon satirizing the demands that verdict deliberations can make on a citizen jury seated in a Crown Court. While the multimodal analysis reveals that a straightforward application of this analytical framework is useful in and of itself, it is argued that the framework needs to be extended to also account for further and more complex layers of represented meaning. The analysis is also situated in the wider legal social semiotic, and draws attention to international debates on the efficacy of the jury system itself. (shrink)

The growing influence of the visual media in contemporary society is quite alarming; hence, learning to explicate them is inevitable. This is a paradigm shift from verbal argumentation to visual argumentation. The aim of this article is to contribute to the understanding of visual analysis and visual literacy, a part of discourse analysis. Visuals employ a number of rhetorical devices; however, understanding the effectiveness of these devices is still a challenge. Adopting Visual Argumentation Theory, the article analyzes argumentation in (...) class='Hi'>cartoons on the post-election violence that rocked Kenya in 2007/2008. From the analyses, it is concluded that visuals can argue as simply and forcefully as their verbal counterparts. The blending of caricature and portraiture makes them even more explicit as portraiture denotes the characters so that we can recognize who they are; caricature ridicules them, analogy attributes actions to them in a satirical or sarcastic way, and cultural memory is needed to access the reference to the analogies. Visuals are designed to make the reader think not only about the event or the people being portrayed but also about the message being communicated. This means visuals have the ability to stretch the truth beyond caricature or mere amusement. (shrink)

The controversy that accompanied the publication and reprinting of cartoons depicting the Prophet Muhammed as part of a 2005 editorial in the Danish newspaper Jyllands-Posten has been widely interpreted as yet another illustration of an ineliminable tension between multiculturalism and liberalism. Such an interpretation would have us believe that what is at issue in defending the cartoons is our commitment to civil liberties as a mainstay of liberal democracy. But is this really what is at issue? A closer (...) examination suggests that what is actually being defended in this case is not civil liberty but civil privilege. In particular, what is at issue is the privilege to exclude and define Muslims. (shrink)

Prosocial cartoon is characterized by helping others solve difficulties, including helping, donating, sharing, comforting, and cooperating. The current study examined whether viewing a prosocial cartoon decreases aggression immediately upon exposure and the potential mediating role of aggressive motivation. Participants involve 168 children nominated by teachers as aggressive from three Chinese kindergartens. Children in the treatment group watched a prosocial cartoon, while children in the control group watched a nonprosocial cartoon. Afterward, the Hot Sauce Task was employed to assess aggressive behavior, (...) and Aggressive Motivation Questionnaire was employed to assess aggressive motivation. Results revealed that viewing a prosocial cartoon did reduce children’s aggression immediately upon exposure. Specifically, males showed less aggressive behavior than females upon prosocial cartoon exposure, while males showed more aggressive behavior than females upon nonprosocial cartoon exposure. Mediational analysis suggested that the prosocial cartoon effect on aggression was partially mediated by aggressive motivation, especially for males. Consistent with general aggression model, findings of the study indicated that short-term exposure to a prosocial cartoon decreased children’s aggression by reducing aggressive motivation. (shrink)

Our aim in this essay is to take a look at cartoons under philosophical light. What are some of the similarities between philosophy and the art of cartooning? In what ways can cartoons be helpful to philosophy? What are some of the problems cartoons pose for philosophy? Perhaps the most basic philosophical question concerning cartoons is, “What is a cartoon?”. We argue that it is not easy to pin down necessary and sufficient conditions for something being (...) a cartoon. We defend the view that cartoons form a class whose members are interconnected with the Wittgensteinian “family resemblance” relations. We then look into the problems involved in finding a connectionist parallel-processing correlate of the Wittgensteinian notion in the context of cartoons. (shrink)

Un jeu subtil associant les dimensions visuelles, culturelles ou sociales s’établit entre l’utilisateur de la règle et son destinataire. L’étude des différentes méthodes employées met en lumière cette dynamique du discours juridique. Cette nécessité de spécifier les rôles, de montrer les visages multiples a pour vocation de rendre sensible et conscient le locuteur au pluralisme organisé dans le discours juridique. C’est dans la multiplicité que le discours peut s’avérer fragile, susceptible de rupture dans la compréhension de sens.

Should publishing decisions be influenced by the potential for violent reactions?

This essay concerns itself with the Lawyer cartoon, a thematic subgenre of the “The New Yorker Magazine” cartoon, which focuses on the legal profession in the US context. An examination of the cultural meaning of this phenomenon is carried out on the strength of ethnography of communication, which discloses the cartoon as a cultural, social and rhetorical artifact. Among the findings of this study are the structural components, functions, and the rules of configuring the Lawyer cartoon toward it becoming a (...) matter of “risibility” as well as a matter of cultural symbolism. By presenting the attorney as an abnormal character with excessive and hypocritical characteristics, the Lawyer cartoon points to the ascriptions of a disrupted self, making the profession appear as fundamentally inauthentic. (shrink)

The paper concerns the specific transnational aspects of the ‘cartoons controversy’ over the publication of 12 drawings of the Prophet Muhammad in the Danish newspaper Jyllands-Posten. Transnationalism denotes the relationships that are not international or domestic. The paper considers whether the specifically transnational aspects of the controversy are normatively significant, that is, whether transnationalism makes a difference for the applicability or strength of normative considerations concerning publications such as the Danish cartoons. It is argued that, although some of (...) the usual arguments about free speech only or mainly apply domestically, many also apply transnationally; that standard arguments for multicultural recognition are difficult to apply transnationally; and that requirements of respect may have problematic implications if applied to transnational relationships. Keywords: civility; Muhammad cartoons; freedom of speech; global civil society; multicultural recognition; respect; transnational relations Citation: Ethics & Global Politics, Vol. 3, No. 2, 2010, pp. 101-121. DOI: 10.3402/egp.v3i2.1977. (shrink)

Autonomy is increasingly rejected as a fundamental principle by liberal political theorists because it is regarded as incompatible with respect for diversity. This article seeks, via an analysis of the Danish cartoon controversy, to show that the relationship between autonomy and diversity is more complex than often posited. Particularly, it asks whether the autonomy defense of freedom of expression encourages disrespect for religious feelings. Autonomy leads to disrespect for diversity only when it is understood as a character ideal that must (...) be promoted as an end in itself. If it by contrast is understood as something we should presume everyone possesses, it provides a strong basis for equal respect among people from diverse cultures. A Kantian conception of autonomy can justify the right to freedom of expression while it at the same time requires that we in the exercise of freedom of expression show respect for others as equals. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2016 Heft: 213 Seiten: 457-472.

According to Ernst Gombrich, cartoons provide us the chance to “study the use of symbols in a circumscribed context [and] find out what role the image may play in the household of our mind” (Gombrich 1973, 190). This paper looks at some underexplored implications and outcomes of Ernst Gombrich’s conceptual schemata when such a schemata is applied to cartoons. While we might easily avoid defamatory reference when picking out a subject in writing or speech, cartoon depictions, especially those (...) unaccompanied by speech bubbles or captions, often rely on a visual symbolism typified by the warping of some features the removal of others, and the manifestation of some visual trope or other, more easily lend themselves to defamatory reference. While harms to the referent are many in cases of defamatory cartoons, this paper focuses on the harms to the viewers of such cartoons by the depicter’s message and mode of representation, unique to the cartoon form. I will focus on the harms of misinformation of the viewer by the visual schemata (Gombrich 1960) present in certain cartoons, and the way this misinformative visual schemata (Ibid) may also restrict the possibility of conceptual revisions in its viewership. Harms of this kind come out uniquely in cartoons via norms of cartooning (as a particularly stylized and symbolic mode of visual representation) and the norms of interaction employed in the act of viewing a cartoon. As we’ll see in our case study of the infamous Jyllands Posten cartoons of Muhammad the Prophet, even in cases where a cartoon representation bears no visual similarity to its referent, viewers can easily and reliably pick out the referent by calling to mind, in our focal case, the defamatory stereotypes, stock figures and icons inextricably linked with the referent. I argue that the damage to viewers of these sorts of depictions lies not in the fact that the viewer manages to pick out the intended referent of the depiction but what tools they use to pick out the referent and how such tools of reference (mis)inform their understanding of the referent they’ve picked out. (shrink)

This article focuses on how biblical content and spiritualities can be communicated, probably more effectively, to (late) preschool children by using information technology, which has already been implemented successfully for years in secular and religious environments. Because children enjoy listening to stories, watching cartoons and playing every day, the approach in this research will be to propose a particular construct to communicate biblical content to preschool children. This construct comprises interactive storytelling, cartoon animation and educational gaming, which constitute a (...) trilogy for teaching biblical content and principles to preschool children. This should be done interactively. These three approaches have become fundamental designs and presentations in child education. Churches, Christian nurseries and other Christian educators, in general, are encouraged to develop computer programs according to the construct and strategy proposed in this article for the teaching of the Gospel to late preschool children. The approach in this article will be, firstly, to examine and explore the religious orientation of preschool children and, secondly, to validate and propose how computer technology can be implemented to communicate the biblical content to preschool children via the trilogy of interactive storytelling, cartoon animation and educational gaming in an uninterrupted experience. Contribution: This article argues that the use of interactive storytelling, cartoon animation and educational gaming should be used consecutively and uninterruptedly to communicate the biblical message to preschool children. This is probably the most effective way to keep the attention of these children and to affect their conduct. (shrink)