Entertainer or agent provocateur? The modern Canadian political cartoonist, historically speaking, possesses a split identity. The Gazette cartoonist Terry Mosher---a.k.a. Aislin---in his experience, career and involvement in the fall 1988 fight against free trade, illustrates the tension inherent in the identity of the modern Canadian political cartoonist. Mosher's experience offers a theory as to what circumstances might compel a cartoonist to break the cartoonist's compromise---an informal promise not to use their powerful platform to advance a coherent, systematic and specific political agenda or aim in exchange for editorial independence, journalistic "status," and proper financial remuneration---a state of affairs modern cartoonists are, under normal circumstances, happy to accept.

Thesis (Ph. D.)--University of Adelaide, 1990. / Typescript. Includes bibliographical references (in v. 3).

Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003. / Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 221-230).

Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003. / Includes abstract and vita. Includes bibliographical references (leaves 143-152).

Thesis (M.A.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 89-94).

Thèse (M.A.)--Université Laval, 2009. / Bibliogr.: f. 194-208. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Made available in DSpace on 2017-07-10T17:55:34Z (GMT). No. of bitstreams: 1 Andre_Gustavo_Ubinski.pdf: 2242753 bytes, checksum: 2ffe374d09a52a77a194566c6dc18500 (MD5) Previous issue date: 2014-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This article is a research result conducted from the newspaper Folha de São Paulo during the two first years of the Brazilian military dictatorship. The time frame aims to give visibility to the first years of the military government and the speech built by the newspaper caricature .. The newspaper Folha de São Paulo arose from the junction of three smaller titles. Therefore, the publication got a single way and the Folha became one of the greatest representatives of the national press. From the foundation of the company in 1921, several changes took place, and the caricatures as text opinion to address policy have always been used abundantly. Therefore, the importance of this type of graphic had in this journal was perceived, and it is also noticeable the construction of a discourse from these prints. Thus, based on the analysis of this art, from the Nelson Mattos Coletti and Orlando‟s drawings, the intention was to analyze the discourse of the newspaper on the national political life. The military coup that overthrew President João Goulart has brought significant changes in the political life of the country, besides being marked by a history of violence against human rights and freedom restrictions. Therefore, the participation of the Folha de São Paulo while forming public opinion has a great importance in the impressions that the press tried to pass to its readership. Thus understanding the importance of the caricature during the period of dictatorship as politically engaged discursive practice, brings this research out. The year 1964 was marked by coups and adjustments by the Constitution and the military government, the search for the organization of the country was the subject of the caricatures found in the newspaper Folha de São Paulo. The construction of the speeches that aimed at discovering ideals enemies as communists and corrupt issues were very present in the caricatures, as well as the action of the military government, shown in the Figure of Castelo Branco, as a reformer and savior of the country attended the caricatures analyzed. In 1965 the understanding of conflicts within the power and the cracks involving the coup government's has already made the Fake Democracy character appear, building an ambiguous discourse on government practices and conflicts of interest within the military government / A presente dissertação é resultado de pesquisa realizada a partir do jornal Folha de São Paulo durante os dois primeiros anos da ditadura militar brasileira. O recorte temporal busca dar visibilidade aos primeiros anos do governo militar e os discursos que o jornal construiu através da charge. A partir da criação da empresa, em 1921, várias modificações ocorreram, mas as charges como texto de opinião para tratar de política sempre foram utilizadas de maneira abundante. Até a década de 1960 a empresa Folha, era constituída por três periódicos, a Folha da Manhã, Folha da Tarde e Folha da Noite, que nesse mesmo ano foram unificados e deram origem ao jornal Folha de São Paulo. Diante disso, a publicação passou a ganhar um corpo único e a Folha tornou-se um dos grandes representantes da imprensa nacional. Portanto, tendo como base a análise de charges, a partir dos desenhos dos chargistas Nelson Coletti e Orlando Mattos, a intenção consistiu em problematizar os discursos presentes no periódico sobre a vida política nacional. O Golpe Militar que depôs o presidente João Goulart acarretou significativas mudanças na vida política do país, além de estar marcado por uma trajetória de violência contra os direitos humanos e restrições à liberdade. Diante disso, a participação da Folha de São Paulo enquanto formadora de opinião pública tem grande peso nas impressões que a imprensa procurou passar para seu público leitor. O ano de 1964 foi marcado pelo Golpe e pelos ajustes a Constituição e ao governo militar, a busca pela organização do país foi tema das charges encontradas no jornal Folha de São Paulo. A construção de discursos que visavam descobrir inimigos ideais como os comunistas e os corruptos foram temáticas muito presentes nas charges, bem como a ação do governo militar, apresentado na figura do general presidente Castelo Branco, como reformador e salvador do país. Já no ano de 1965 a compreensão de conflitos dentro do poder e as fissuras que envolviam o governo golpista fizeram aparecer a personagem da Falsa Democracia, construindo um discurso ambíguo sobre as práticas governamentais e os conflitos de interesses dentro do governo militar

Bien plus que l’expression d’un style dans l’art du dessin politique au XXème siècle, David Low, caricaturiste britannique d’origine néo-zélandaise, s’érigea en conscience face à la montée des périls totalitaires en Europe et dans le reste du monde. Son rôle d’artiste engagé s’inscrit dans l’histoire politique de la Grande-Bretagne contemporaine. Le travail de cette recherche est articulé sur deux axes principaux. D’une part, allant au-delà d’un exercice de lecture et d’interprétation sur l’image et la représentation des caricatures de Low, il analyse les relations de l’artiste avec le pouvoir politique, entre les années 1930 et l’émergence du national-socialisme allemand, jusqu’à la victoire finale des Alliés contre le Troisième Reich, en mai 1945. D’autre part, il étudie le rôle du caricaturiste en tant que « résistant » artistique, à la fois dans son propre pays, contre les effets des politiques « d’apaisement », et sur la scène internationale dans la lutte contre l’Axe. Comment s’est déclenchée cette forme de contestation ? Quelles en furent les caractéristiques ? Comment son opposition s’est-elle organisée ? Quelle en fut l’évolution au cours de la décennie de « paix froide » et pendant la guerre ? Ainsi, s’agira-t-il de préciser la nature et l’importance des cadres dans lesquels l’artiste a oeuvré pendant plus de quinze ans, puis d’évaluer la réalité des contraintes auxquelles il dut faire face, dans son combat contre Hitler et le national-socialisme. / More than the expression of a style in the art of political cartoons during the twentieth century, David Low, British cartoonist, New-Zealander by birth, set up himself as a conscience against the rise of the risks of totalitarianism in Europe and in the rest of the world. His role as committed artist is inscribed on the political history of contemporary Great-Britain. The study of this research is organized into two main thrusts. On the one hand, beyond the reading and the interpretation both of the image and the representation in Low’s cartoons, it analyses the relationship between the artist and the political power, from the 1930’s and the emergence of National Socialism in Germany, to the final victory of the Allies against the Third Reich, in May, 1945. On the other hand, it studies the role of the cartoonist as an artistic “freedom fighter”, both in his own country, against the effects of the “appeasement” policies, and on the international scene in his fight against the Axes. How did this kind of objection start? What were its main characteristics? How was his opposition organized? What was its evolution during the decade of “cold peace” and during the war? Thus, the aim will be to precise the nature and the importance of the environment in which the artist worked during more than fifteen years, and to estimate the reality of the constraints he had to face, in his fight against Hitler and National Socialism.

La investigación plantea como objetivo principal el análisis del lenguaje visual de la caricatura política peruana desde 1978 a 1982 para representar la realidad del país durante la transición de poder del gobierno militar al democrático. Por esta razón, se buscó identificar si se desarrolló un lenguaje visual para representar situaciones coyunturales y personajes en las caricaturas, y si tuvo influencia en la percepción y legitimidad de la clase política. De este modo, se realizó un análisis de contenido de un total de 20 caricaturas publicadas en la revista Monos y Monadas y el diario Oiga, durante el periodo acotado, el cual se basó en un estudio denotativo y connotativo de cada elemento dentro de la pieza visual. Adicionalmente, se entrevistó a un caricaturista contemporáneo de la época para profundizar el panorama de la investigación. Entre los principales resultados se observó el uso frecuente de recursos retóricos como la metáfora y la oposición, la utilización del zoomorfismo y la personificación, así como la representación de personajes políticos a través de animales como perros y gorilas en estado salvaje e irracionales. Finalmente, el análisis de cada muestra permitió concluir que, durante el periodo delimitado, la opinión y crítica propia de la caricatura política se consolidó al punto de construir su propio lenguaje visual para representar la realidad del país. / The research has as its main objective the analysis of the visual language of the Peruvian political cartoon from 1978 to 1982 to represent the reality of the country during the transition from the power of the military government to the democratic one. For this reason, it was sought to identify if a visual language was developed to represent short-term situations and characters in the cartoons, and if it had an influence on the perception and legitimacy of the political class. Thereby, a content analysis was performaced of a total of 20 cartoons published in the magazine Monos y Monadas and the newspaper Oiga was made during the limited period, which was based on a denotative and connotative study of each element within the visual piece. Additionally, a contemporary cartoonist of the time was interviewed to deepen the research landscape. Among the main results are the frequent use of rhetorical resources such as metaphor and opposition, the use of zoomorphism and personification, as well as the representation of political characters through animals such as dogs and gorillas in the wild and irrational state. Finally, the analysis of each sample allowed us to conclude that, during the defined period, the opinion and criticism of the political cartoon was consolidated to the point of building its own visual language to represent the reality of the country. / Trabajo de investigación

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