Includes bibliography. / Cartooning is an extremely heterogeneous practice whose genealogy can be traced back to caricature. This paper does not concern itself with the diversity that can be found in the cartoons of Derek Bauer and Jonathan Shapiro (Zapiro), but rather chooses to focus on the potential of cartooning as a critical art practice. Given that the "flipside" of criticism is censorship, the effects of censorship on cartooning together with cartooning's response to censorship will also be examined. Cartoons published in the alternative press after the 1985 declaration of a State of Emergency, but preceding the unbanning of political organisations in February 1990, which comment directly on press or political censorship, as well as those which raise issues pertinent to censorship, provide the basis for examining the converse notions of criticism and censorship. Having said this it should also be stated at the outset that whilst this paper focuses on particular cartoons produced in specific historical circumstances, it is also intended that this paper will have broader implications for the development of a contemporary critical art practice. This paper proceeds from the premise that criticism and censorship are oppositional and antagonistic concepts which seldom appear alone. Criticism, particularly when expressed publicly and directed at specific interest groups (eg. a ruling elite) frequently evokes censorship, whilst censorship and repression in turn breed criticism and resistance.

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

Thesis (M.Arch.)--University of Hong Kong, 1996. / Includes special report study entitled : Cartoon sensation and technologies. Includes bibliographical references. Also available in print.

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Poster exhibited at GPSC Student Showcase, November 7th, 2014, University of Arizona. / Today’s language teachers find increasing resources online that allow greater variety of authentic material. With the opportunities offered by digital video, the traditional listening comprehension activity has reached new potential for incidental learning and learner’s autonomy (Robin, 2011). While conscious attention is on the message delivered by the audiovisual, learners assimilate new words from context without intending to do so, stimulating incidental vocabulary learning (Carlisle, 2007). Video’s inherent multimodality makes sensory information available in various semiotic codes, allowing to the comprehension of information via separate channels (Guichon & McLornan, 2008). This case study involves three students of advanced Italian at a large American University. It will argue in favor of video cartoons as a valuable tool to foster a constructive environment for the acquisition of the L2 (Bahrani, 2014). Specifically, we will look at British award-winning preschool cartoon Peppa Pig in its Italian version. The rationale for choosing this particular cartoon includes: 5 minutes of episode length, authentic interpersonal language and descriptive prose, slow pace of speech, familiar every-day and humorous stories, free online access and the possibility to activate captions. Furthermore, this cartoon may be used for listening comprehension for the 30 other languages in which it has been translated. Feedback from university-level students confirms the potential of this particular cartoon and will be presented in this poster. Students reported strong motivation due to the low affective filter environment (Rule & Ague, 2005) as well as improvement in areas like vocabulary, pragmatics and idiomatic expressions from contextual clues.