Magisterarbeit--Institut fur Kunstgeschichte der Universität Regensburg, 2003. / Bibliogr. p. 173-182.

M.A. / Political satire in the print news media is a significant part of irony that specializes in gaining entertainment from politics. Jonathan Shapiro (alias Zapiro), and his Lady Justice cartoons of Jacob Zuma, which were published in the Sunday Times on 7 September 2008 and in the Mail & Guardian on 12 September 2008, has brought this function to the foreground in South Africa. This study focuses on the ‘Jester’s Space’ in the print media in relation to The Lady Justice cartoons because of their controversial nature and the possible effects they had on the print news media agenda. The goal of the study was to examine the debates that ensued in select print news media in Gauteng between 24 August 2008 and 31 December 2008. In order for the study to explore the role of the political cartoonist in the South African context, it considers the development of political cartooning globally and in South Africa. It draws on the Agenda-Setting theory. This theory postulates that the media audiences accept guidance from media for determining what information is most important and worthy of attention (Graber, 1984). This study makes use of qualitative and quantitative content analysis in order to analyse the Agenda-Setting function of the Lady Justice cartoons in selected Gauteng English and Afrikaans newspapers – chosen because they represent different media houses, which would ensure a range of editorial and public views. The study successfully shows that Zapiro’s cartoons were able both to frame and set the agenda for the debate themes that were discussed in the public sphere.

The mass media have been widely studied because of their pervasiveness and effect on society. The comic strips, as part of the newspaper, are widely read. By their very existence and pervasiveness they mold our culture. The purpose of this study was to examine marriage and the family and how it is portrayed in the comic strips. A historical overview of significant family comic strips was done using comic strip texts. A content analysis of contemporary family strips was also done. The strips were analyzed to determine how often demonstrated affection and/or abuse occurred. In addition, the strips were analyzed to determine the quality and quantity of parent-child, sibling, and husband-wife relationships. Two month samples of 15 different comic strips were analyzed. The comic strip family emerged as a stereotyped group that was white, lower-middle class, with a father who worked at a white collar job and a mother who was a housewife. The family included several school-aged or teen-aged children. Neither demonstrated affection nor abuse was found to occur often in comic strip families. Parent-child interactions and interactions among siblings were judged to be more positive than negative. Husband-wife interactions were more often negative than positive, although there was a wide variance among individual strips. Interactions about leisure time and its use occurred more often than any other category. Household tasks, food, finances, in-laws or parents, dress and health comprised the other major categories of interactions. / Master of Science

In the last decade of apartheid (1985-1994), South African cartoonists demonstrated a range of responses to the political imperatives of the day. While some worked in support of the status quo, the cartoonists who are the subject of this study opposed it. Like practitioners in other areas of cultural activity during this period, oppositional cartoonists were passionately engaged with the political process and participated in the articulation and dissemination of discourses of resistance. This study situates South African cartooning both in the context of South African resistance discourse, and in the historical and discursive context of cartooning as a form of international popular culture. It presents an argument as to how cartooning should be defined and studied - as a cluster of signifying practices that produce a range of forms in a variety of media. In terms of this definition, anti-apartheid cartooning in South Africa is identified as a specific historical category, within which distinct streams of cartooning are identified. The study locates the various activities of South African cartooning within these streams, and examines the ideological and educational functions they performed during the 1985-1994 period. The study positions cartooning within the broad theoretical field of cultural and media studies, and examines some theoretical problems that are specific to the analysis of visual culture. A language of exposition appropriate to the study of cartooning is developed, borrowing terms from the sometimes widely variant traditions of art history, literary criticism and cultural studies. A methodology for the interpretation of symbolic forms is derived from the work of British cultural theorist, John B. Thompson (1990), whereby selected cartooning texts are subjected to a combination of textual interpretation, socio-historical analysis and discursive analysis, reinforced by insights derived from conversations with 15 selected South African cartoonists. Textual analysis of selected cartooning texts from the 1985-1994 period clearly demonstrates that oppositional cartoonists gave visual expression to discourses of resistance that existed in the anti-apartheid movement, and amongst the broader public, at that time. In so doing, they contributed to the disruption of the hegemony of the apartheid state, to the legitimation of the anti-apartheid struggle and to the provision of symbols and icons that ordinary South Africans were able to utilise in 'rethinking' their own lives in relation to the demands of a rapidly transforming society. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2004.

Texte remanié de: Thèse de doctorat--Histoire culturelle--Berlin--Freie Universität, 2002. / Titre original de la thèse : "James Gillray - the juvenal of caricature" - Karikatur und Poetik. Bibliogr. p. 321-336.

Texte remanié de: Thèse de doctorat--Histoire--Lyon, 2007. Titre de soutenance : L'hebdo "Hara Kiri / Charlie Hebdo",1969-1982 : un journal des années soixante-dix. / Bibliogr. p. 485-492. Index.

Thèse de doctorat : Sciences politiques : Nancy 2 : 2002. / Bibliographie. Index.

Thesis (Ph. D.)--University of Chicago, Dept. of Political Science, June 1999. / Includes bibliographical references. Also available on the Internet.

Thèse (de maîtrise)--Université Laval, 2005. / Titre de l'écran-titre (visionné le 15 décembre 2005). Bibliogr.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-17T10:59:56Z No. of bitstreams: 1 liviafreitaspintosilva.pdf: 3220520 bytes, checksum: 086e7d6fe2687b9be2183cafd1f7f262 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-02-26T12:44:58Z (GMT) No. of bitstreams: 1 liviafreitaspintosilva.pdf: 3220520 bytes, checksum: 086e7d6fe2687b9be2183cafd1f7f262 (MD5) / Made available in DSpace on 2016-02-26T12:44:58Z (GMT). No. of bitstreams: 1 liviafreitaspintosilva.pdf: 3220520 bytes, checksum: 086e7d6fe2687b9be2183cafd1f7f262 (MD5) Previous issue date: 2014-05-12 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente pesquisa teve como objetivo primordial conhecer as representações sobre a população que habitava o Rio de Janeiro, então capital federal, através da análise das charges veiculadas na revista O Malho durante os primeiros anos do século XX, mais especificamente entre os anos de 1904 e 1908. Ao longo deste trabalho, procuramos analisar como os setores populares foram representados pelos chargistas do periódico, bem como examinar como essas crônicas humorísticas retrataram a participação da sociedade carioca durante a sua Belle Époque. Para tal, buscamos conhecer as imagens que nos mostraram o cotidiano dos diferentes grupos sociais que habitavam a cidade em vias de modernização, suas reações em face do “bota- abaixo”, do regulamento da higiene, da vacinação obrigatória contra a varíola e da crise imobiliária. Procuramos avaliar, também, o modo como esses atores sociais se comportaram diante das ações e medidas contempladas pelos governos de Passos e Souza Aguiar, no Executivo municipal e Rodrigues Alves e Afonso Pena, à frente do poder federal. O exame dessas fontes nos permitiu mergulhar no universo sócio- cultural da cidade e, ao mesmo tempo, fazer uma leitura da iconografia de humor político do Rio de Janeiro da Primeira República cuja tônica recaiu sobre a análise do comportamento popular. / This dissertation intends to study the representations of people who lived in Rio de Janeiro, federal district at the time, through the analysis of cartoons printed in the “O Malho” magazine, during the early years of the twentieth century, more specifically, between the 1904-1908 period. Throughout this research, we analyzed how brazilians coming from different economic and social strata were represented by press cartoonists, as well as examined how those humorous chronicles portrayed society´s participation during the Belle Époque. Therefore, we looked into the images that show the lives of different social groups who inhabited the city during its modernization, their reactions to the urbanization process, hygiene regulation, mandatory vaccination politic and the imobiliary crisis. We aim to study the reactions of these social actors to the measures took by city governments, such as Passos and Souza Aguiar, and national leaders, like Rodrigues Alves and Afonso Pena. The examination of these cartoons allowed us to delve into the city´s sociocultural environment and interpret the iconography of political humor in Rio de Janeiro during Brazil´s First Republic, regarding popular behavior.