Mode of access: World Wide Web. / Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 217-239). / Electronic reproduction. / Also available by subscription via World Wide Web / xv, 239 leaves, bound ill., map 29 cm

Thesis (MA (General Linguistics))--University of Stellenbosch, 2009. / According to Nattrass (2007:138), the denial and questioning of the science of HIV/AIDS at government level by, amongst others, Thabo Mbeki (former State President) and Manto Tshabalala-Msimang (former Minister of Health) resulted in an estimated 343 000 preventable AIDS deaths in South Africa by 2007. Such governmental discourse of AIDS denialism has been the target of criticism in the media and by activist groups such as the Treatment Action Campaign. This study investigates the nature of this criticism, specifically considering the critical use of metaphor in visual texts such as the political cartoons of Jonathan Shapiro, who works under the pen name of “Zapiro”. The purpose is to determine whether the nature of the criticism in visual newspaper texts differs from that of corresponding verbal newspaper texts, possibly providing means of criticism not available to the verbal mode alone. A corpus of texts published between August 1999 and December 2007 that topicalise HIV/AIDS was investigated. This includes 119 cartoons by Zapiro, and 91 verbal articles in the weekly newspaper Mail & Guardian. The main theoretical approach used in the analyses is Conceptual Metaphor Theory, developed by Lakoff and Johnson (1981), and its extension to poetic metaphor, developed by Lakoff and Turner (1989). Because of the socio-political nature of the problem of HIV/AIDS, the study also draws on Critical Discourse Analysis, including complementary concepts from Systemic Functional Linguistics. The study reveals that visual and verbal texts make use of similar sets of conventional conceptual metaphors at similar frequencies, which confirms the predictions of Conceptual Metaphor Theory. The study further reveals that the cartoons enrich these metaphors through four specific mechanisms of poetic metaphor, which the verbal articles do not. This indicates a significant difference between the two types of texts. Furthermore, it is found that the use of such poetic metaphors directly contributes to the critical power of the political cartoons. The study indicates that multi-modality in cartoons, which triggers single metaphoric mappings, adds a dimension to the critical function of the text that is absent in the verbal equivalent. The finding that the visual texts enable a form of cognition that is not available to verbal texts, poses one of the most significant avenues for future research. Thus, cartoons apparently achieve a type of criticism that is not found, and may not be possible, in the verbal texts alone. This makes the political cartoon a text type with an important and unique ability to articulate political criticism.

CAPES / O estudo busca analisar tiras cômicas na internet, a partir de três autores diferentes: Carlos Ruas, criador do "Um Sábado Qualquer", André Farias, do "Vida de Suporte", e William Leite, autor do "Willtirando". O debate engloba a relação entre quadrinhos e tecnologia, esmiuçando o sentido das tiras. Essa discussão qualitativa é agregada por dados quantitativos, através dos quais o trabalho evidencia possíveis desdobramentos para a linguagem das tiras cômicas online, tais como a tendência de expansão no formato; a crescente hibridação com imagens de variados tipos; e o fenômeno de aproximação entre as esferas autor/leitor no suporte digital. Também foram discutidas produções de um tipo mais incomum: as tiras digitais, que incorporam animação em sua narrativa. Ao fim do estudo, discutimos um protótipo de tira cômica online a partir dos formatos mais utilizados pelos autores, a fim de reiterar a natureza deste gênero discursivo: uma narrativa breve, cujo desfecho é inesperado e resulta no humor. / The study aims to analyze comic strips on the internet, from three different artists: Carlos Ruas, creator of "Um Sábado Qualquer", André Farias, of "Vida de Suporte," and William Leite, author of "Willtirando". The discussion covers the relationship between comics and technology by analyzing the comic strip and the construction of its meaning. The qualitative reflection is aggregated by quantitative data, through which the work shows possible outcomes for the language of the online comic strips, such as the expansion in the format; increased hybridization with various types of images; and the approach phenomenon between the spheres author/reader in digital format. Productions of a most unusual kind also were discussed: the digital comic strips, that incorporate animated effects on its narrative. At the end of the study, we present an online comic strip prototype from the most popular formats used by the authors, in order to reiterate the nature of the comic strips: a brief narrative whose outcome is unexpected and results in humor.

CAPES / No presente trabalho serão analisadas representações de feminilidades em dois periódicos distintos: as Melindrosas na revista Para Todos... e a coluna Garotas na revista O Cruzeiro. Os recortes compreendem os anos de 1922 a 1930 para as Melindrosas e de 1938 a 1946 para as Garotas, privilegiando uma sequência entre décadas subsequentes, de modo a entender como as representações de feminilidades se modificaram ou se mantiveram. Interessa também investigar de que maneira o humor e a visualidade contribuíram para normatizar papéis e relações entre gênero, em conjunto com políticas públicas. As revistas visavam trazer a identificação com discursos hierarquizantes, atuando como pedagogia de gênero. Contudo, percebe-se que o humor buscou, nas fissuras das representações, a dupla moral, na qual as mulheres negociavam espaços de atuação e liberdade. Tanto Melindrosas quanto Garotas possuíam táticas de convencimento e de sedução que as levaram a realizar desejos e a conquistar alguns de seus objetivos. Elas questionaram e enfatizaram as contradições e tensões das respectivas décadas. Por vezes, indicavam pretextos para pensar nas mudanças sociais, de comportamentos e no modo como os homens se colocavam neste quadro. / In the present work femininity representations will be analyzed in two separate journals: the Flappers in the magazine Para Todos... and the Garotas column in the magazine O Cruzeiro. The cuts include the period from 1922 to 1930 for the Flappers and 1938-1946 for Garotas, favoring to a sequence of subsequent decades, in order to understand how representations of femininity have changed or remained. We also want to investigate how the mood and visuality contributed to standardize roles and relationships between gender, together with public policy. Magazines aimed to bring identification with hierarchized speeches, acting as gender pedagogy. However, we notice that humor sought in the fissures of the representations, the double standard, in which women were negotiated spaces of action and freedom. Both the Flappers and the Garotas used tactics to convince and seduction that led them to grant wishes and achieve some of their goals. They questioned and emphasized the contradictions and tensions of their respective decades. Sometimes indicated pretexts to think about the social changes of behavior and how men were placed in this board.

CAPES / No presente trabalho serão analisadas representações de feminilidades em dois periódicos distintos: as Melindrosas na revista Para Todos... e a coluna Garotas na revista O Cruzeiro. Os recortes compreendem os anos de 1922 a 1930 para as Melindrosas e de 1938 a 1946 para as Garotas, privilegiando uma sequência entre décadas subsequentes, de modo a entender como as representações de feminilidades se modificaram ou se mantiveram. Interessa também investigar de que maneira o humor e a visualidade contribuíram para normatizar papéis e relações entre gênero, em conjunto com políticas públicas. As revistas visavam trazer a identificação com discursos hierarquizantes, atuando como pedagogia de gênero. Contudo, percebe-se que o humor buscou, nas fissuras das representações, a dupla moral, na qual as mulheres negociavam espaços de atuação e liberdade. Tanto Melindrosas quanto Garotas possuíam táticas de convencimento e de sedução que as levaram a realizar desejos e a conquistar alguns de seus objetivos. Elas questionaram e enfatizaram as contradições e tensões das respectivas décadas. Por vezes, indicavam pretextos para pensar nas mudanças sociais, de comportamentos e no modo como os homens se colocavam neste quadro. / In the present work femininity representations will be analyzed in two separate journals: the Flappers in the magazine Para Todos... and the Garotas column in the magazine O Cruzeiro. The cuts include the period from 1922 to 1930 for the Flappers and 1938-1946 for Garotas, favoring to a sequence of subsequent decades, in order to understand how representations of femininity have changed or remained. We also want to investigate how the mood and visuality contributed to standardize roles and relationships between gender, together with public policy. Magazines aimed to bring identification with hierarchized speeches, acting as gender pedagogy. However, we notice that humor sought in the fissures of the representations, the double standard, in which women were negotiated spaces of action and freedom. Both the Flappers and the Garotas used tactics to convince and seduction that led them to grant wishes and achieve some of their goals. They questioned and emphasized the contradictions and tensions of their respective decades. Sometimes indicated pretexts to think about the social changes of behavior and how men were placed in this board.