Thesis (M.S.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis (M.A.)--Texas State University-San Marcos, 2006. / Vita. Includes bibliographical references (leaves 102-107).

No description available.

The thesis examines the role that Australian graphic satirists play in the theatre of public life. The main focus of the thesis is on newspaper cartoonists but for the purposes of comparative analysis, there is a discussion of a representative selection of satiric texts across different media (essentially, television and radio) since the mid-1960s, and also an historical survey of the development of graphic satire from its origins during the Protestant Reformation in Europe. Apart from a small number of references, this study does not venture into the vast field of on-line satire, a topic more properly addressed in a separate scholarly investigation. Graphic satire in the medium of the newspaper is of particular interest because of its consistent production and wide circulation, its relative freedom from censorship and libel laws, and the ability of the cartoon image to condense and concentrate issues which would be too complex or defamatory in print or on television. Political cartooning as it is understood today emerged during the early nineteenth century, at about the same time as the modern newspaper and the profession of journalism, but graphic satire also has links with a venerable tradition of the artist as social critic and has historically been associated with movements for social justice and democracy. It is in the context of these latter associations that I consider political cartoonists as belonging to the sphere of the public intellectual. The discussion of cartoonists as public intellectuals is framed against a discourse of decline that has been circulating for more than a decade, acquiring an urgency in this country during the later years of the Howard administration. This declinist narrative covers a number of areas of cultural and political life and is not confined to the Australian context; as British writer Helen Small points out, it is “an increasingly transnational conversation” (02:1). Briefly outlined, there is a perception that the terms of public debate have narrowed; that citizens have become disengaged from the democratic process; that between the ‘celebrity intellectual’ and the tenured academic, the life of the mind is not what it used to be, and even political satire itself has been seen by some commentators as being in terminal decline. The different arguments about cultural and social decline can be placed under the more encompassing subject heading of an ongoing debate about democracy and in particular, whether it is functioning as well as it should. With the adoption of neo-liberalism as an overarching political ideology by most western governments in the early 1980s, anxieties about whether the principles of democracy were gradually being usurped or even eroded by the primacy of market values have gathered momentum during the past two decades. The volume of these concerns has been amplified in the aftermath of September 11, 2001 and the subsequent ‘war on terror’, with the state’s increased emphasis on security and control of its citizens being interpreted as threats to some of the basic tenets of the democratic system, such as free speech and the rule of law. In contrast to the various narratives of decline, my thesis proposes that democracy is still very well served by the kind of vigorous and long-standing practice of dissent that the public intellectual represents, and more specifically, the embodiment of this tradition in contemporary newspaper cartoonists. By definition, graphic satire questions and challenges the status quo and at least since Hogarth in the eighteenth century, it has always been a public art-form. Hogarth’s personal involvement in many of the social issues and philanthropic schemes of his day (such as anti-gin legislation and state care for orphans) also exemplifies an important aspect of the extra-professional work of graphic satirists which further links them to the public intellectual. A commitment to social activism and making use of the different platforms available (for example, public speaking and donating work to charities) in order to support, publicise or promote issues of social justice began with Hogarth and continues with contemporary Australian cartoonists.

The thesis examines the role that Australian graphic satirists play in the theatre of public life. The main focus of the thesis is on newspaper cartoonists but for the purposes of comparative analysis, there is a discussion of a representative selection of satiric texts across different media (essentially, television and radio) since the mid-1960s, and also an historical survey of the development of graphic satire from its origins during the Protestant Reformation in Europe. Apart from a small number of references, this study does not venture into the vast field of on-line satire, a topic more properly addressed in a separate scholarly investigation. Graphic satire in the medium of the newspaper is of particular interest because of its consistent production and wide circulation, its relative freedom from censorship and libel laws, and the ability of the cartoon image to condense and concentrate issues which would be too complex or defamatory in print or on television. Political cartooning as it is understood today emerged during the early nineteenth century, at about the same time as the modern newspaper and the profession of journalism, but graphic satire also has links with a venerable tradition of the artist as social critic and has historically been associated with movements for social justice and democracy. It is in the context of these latter associations that I consider political cartoonists as belonging to the sphere of the public intellectual. The discussion of cartoonists as public intellectuals is framed against a discourse of decline that has been circulating for more than a decade, acquiring an urgency in this country during the later years of the Howard administration. This declinist narrative covers a number of areas of cultural and political life and is not confined to the Australian context; as British writer Helen Small points out, it is “an increasingly transnational conversation” (02:1). Briefly outlined, there is a perception that the terms of public debate have narrowed; that citizens have become disengaged from the democratic process; that between the ‘celebrity intellectual’ and the tenured academic, the life of the mind is not what it used to be, and even political satire itself has been seen by some commentators as being in terminal decline. The different arguments about cultural and social decline can be placed under the more encompassing subject heading of an ongoing debate about democracy and in particular, whether it is functioning as well as it should. With the adoption of neo-liberalism as an overarching political ideology by most western governments in the early 1980s, anxieties about whether the principles of democracy were gradually being usurped or even eroded by the primacy of market values have gathered momentum during the past two decades. The volume of these concerns has been amplified in the aftermath of September 11, 2001 and the subsequent ‘war on terror’, with the state’s increased emphasis on security and control of its citizens being interpreted as threats to some of the basic tenets of the democratic system, such as free speech and the rule of law. In contrast to the various narratives of decline, my thesis proposes that democracy is still very well served by the kind of vigorous and long-standing practice of dissent that the public intellectual represents, and more specifically, the embodiment of this tradition in contemporary newspaper cartoonists. By definition, graphic satire questions and challenges the status quo and at least since Hogarth in the eighteenth century, it has always been a public art-form. Hogarth’s personal involvement in many of the social issues and philanthropic schemes of his day (such as anti-gin legislation and state care for orphans) also exemplifies an important aspect of the extra-professional work of graphic satirists which further links them to the public intellectual. A commitment to social activism and making use of the different platforms available (for example, public speaking and donating work to charities) in order to support, publicise or promote issues of social justice began with Hogarth and continues with contemporary Australian cartoonists.

The thesis examines the role that Australian graphic satirists play in the theatre of public life. The main focus of the thesis is on newspaper cartoonists but for the purposes of comparative analysis, there is a discussion of a representative selection of satiric texts across different media (essentially, television and radio) since the mid-1960s, and also an historical survey of the development of graphic satire from its origins during the Protestant Reformation in Europe. Apart from a small number of references, this study does not venture into the vast field of on-line satire, a topic more properly addressed in a separate scholarly investigation. Graphic satire in the medium of the newspaper is of particular interest because of its consistent production and wide circulation, its relative freedom from censorship and libel laws, and the ability of the cartoon image to condense and concentrate issues which would be too complex or defamatory in print or on television. Political cartooning as it is understood today emerged during the early nineteenth century, at about the same time as the modern newspaper and the profession of journalism, but graphic satire also has links with a venerable tradition of the artist as social critic and has historically been associated with movements for social justice and democracy. It is in the context of these latter associations that I consider political cartoonists as belonging to the sphere of the public intellectual. The discussion of cartoonists as public intellectuals is framed against a discourse of decline that has been circulating for more than a decade, acquiring an urgency in this country during the later years of the Howard administration. This declinist narrative covers a number of areas of cultural and political life and is not confined to the Australian context; as British writer Helen Small points out, it is “an increasingly transnational conversation” (02:1). Briefly outlined, there is a perception that the terms of public debate have narrowed; that citizens have become disengaged from the democratic process; that between the ‘celebrity intellectual’ and the tenured academic, the life of the mind is not what it used to be, and even political satire itself has been seen by some commentators as being in terminal decline. The different arguments about cultural and social decline can be placed under the more encompassing subject heading of an ongoing debate about democracy and in particular, whether it is functioning as well as it should. With the adoption of neo-liberalism as an overarching political ideology by most western governments in the early 1980s, anxieties about whether the principles of democracy were gradually being usurped or even eroded by the primacy of market values have gathered momentum during the past two decades. The volume of these concerns has been amplified in the aftermath of September 11, 2001 and the subsequent ‘war on terror’, with the state’s increased emphasis on security and control of its citizens being interpreted as threats to some of the basic tenets of the democratic system, such as free speech and the rule of law. In contrast to the various narratives of decline, my thesis proposes that democracy is still very well served by the kind of vigorous and long-standing practice of dissent that the public intellectual represents, and more specifically, the embodiment of this tradition in contemporary newspaper cartoonists. By definition, graphic satire questions and challenges the status quo and at least since Hogarth in the eighteenth century, it has always been a public art-form. Hogarth’s personal involvement in many of the social issues and philanthropic schemes of his day (such as anti-gin legislation and state care for orphans) also exemplifies an important aspect of the extra-professional work of graphic satirists which further links them to the public intellectual. A commitment to social activism and making use of the different platforms available (for example, public speaking and donating work to charities) in order to support, publicise or promote issues of social justice began with Hogarth and continues with contemporary Australian cartoonists.

Thesis (M.A.)--Georgia State University, 2007. / Title from file title page. Marian Meyers, committee chair; Layli Phillips, Amira Jarmakani, committee members. Description based on contents viewed June 3, 2008. Includes bibliographical references (p. 120-123).

This problem's investigation deals with gauging the artistic influence, if any, pioneer editorial cartoonist John Knott had on his successors, Ficklen and McClanahan. Information was gathered through interviews and the pages of the Dallas Morning News. Organization is as follows: introduction, biography and art of Knott, biography and art of Ficklen, biography and art of McClanahan, summary and conclusion. The study found minimal artistic influence by Knott on the cartoons of Ficklen and McClanahan. Compared to Knott, Ficklen and McClanahan had different art backgrounds, cartoon styles, personal and political beliefs. Knott's successors admired different artists, drew during a different editorial page emphasis and had more freedom in cartoon selection than Knott did. Neither Ficklen nor McClanahan listed Knott as an artistic influence.

This dissertation examines the social, political and technological that enabled the creation of a private space for the work of cartoonists in print journalism in the state of Sergipe. More specifically, it is to investigate the social conditions that led agents with distinct origins and socialization to produce cartoons for print media Sergipe, which features are likely to be used to occupy a place in space chargismo this state and which importance of a trajectory marked by previous actions in newspapers to obtain such resources. To account for understanding the factors guide for the entry chargismo journalism, it was necessary to analyze the insertion of cartoonists in various spheres and how they enable the acquisition of resources that can be usable for entry into the world of the press in position cartoonist. The empirical universe that formed the basis for research and analysis performed here corresponds to a set of producers of cartoons that work or have worked in the press of the state of Sergipe. We considered both cartoonists who currently produce cartoons for newspapers but also very cartoonists referenced among journalists, but they are not active anymore. With respect to subdivisions, this dissertation is structured in three stages. First, we analyze the socio-historical conditions that led to the constitution of chargismo newspaper in Brazil. At this point, the focus is on career paths of cartoonists and the constant restructuring of newspaper companies to identify the resources linked to the insertion of the press cartoonists. Secondly, we stop on the analysis of social determinants hallmarks of occupying a place in space chargismo newspaper. In this step, we treat the forms of recruitment of cartoonists, or rather, we examine the game realized by cartoonists from the proceeds of inserts intra and extra-journalistic and recognition for the work as producer of cartoons for newspapers. Finally, at the last moment of our research is an analysis of the skills of newspaper cartoonists, as these skills are developed and the importance of experience within the world of journalism to develop such skills. This work showed that the activity of the newspaper cartoonist is a form of action in which the journalistic skills are blended with artistic design skills and that the criteria for entry into the "profession" are based on the conversion of resources from the inserts itself journalistic universe and experience with the production of artistic designs. / Esta dissertação analisa as condições sociais, políticas e tecnológicas que possibilitaram a constituição de um espaço próprio para a atuação dos chargistas dentro do jornalismo impresso no estado de Sergipe. Mais especificamente, trata-se de investigar os condicionantes sociais que conduziram agentes com origens e socializações distintas a produzirem charges para a mídia impressa sergipana, quais recursos são passíveis de serem utilizados para a ocupação de um lugar no espaço do chargismo deste estado e qual a importância de uma trajetória marcada pela atuação anterior em jornais para a obtenção de tais recursos. Para dar conta de entender os fatores balizadores da entrada no chargismo jornalístico, fez-se necessária a análise das inserções dos chargistas em esferas diversas e como elas possibilitam a aquisição de recursos passíveis de serem utilizáveis para a entrada no universo da imprensa na posição de chargista. O universo empírico que serviu de base para a investigação e análise aqui executada corresponde a um conjunto de produtores de charges que atuam ou já atuaram na grande imprensa do estado de Sergipe. Foram considerados tanto os chargistas que atualmente produzem charges para jornais como também chargistas muito referenciados no meio jornalístico, mas que não estão mais em atividade. Com relação às subdivisões, esta dissertação está estruturada em três momentos. Primeiramente, são analisadas as condições sócio-históricas que culminaram com a constituição do chargismo de jornais no Brasil. Nesse ponto, o foco recai sobre os percursos profissionais dos chargistas e o constante processo de reestruturação das empresas jornalísticas visando identificar os recursos ligados à inserção de chargistas na imprensa. Num segundo momento, nos detemos sobre a análise dos determinantes sociais balizadores da ocupação de um lugar no espaço do chargismo de jornais. Nesta etapa, tratamos das formas de recrutamento dos chargistas, ou melhor, examinamos o jogo realizado pelos chargistas entre os recursos advindos de inserções intra e extra-jornalísticas para a atuação e o reconhecimento enquanto produtor de charges para jornais. Por fim, no último momento de nossa investigação é realizada uma análise das competências dos chargistas de jornais, como essas habilidades são desenvolvidas e qual a importância de experiências dentro do universo jornalístico para o desenvolvimento de tais habilidades. Esta dissertação mostrou que a atividade do chargista de jornais é uma forma de atuação em que as competências jornalísticas se mesclam com as habilidades em desenho artístico e em que os critérios de entrada na profissão se baseiam na reconversão de recursos oriundos de inserções no próprio universo jornalístico e de experiências com a produção de desenhos artísticos.