Thesis (M.A.)--Miami University, Dept. of Speech Communication, 2005. / Title from first page of PDF document, author statement from p. [i]. Document formatted into pages; contains [1], iv, 40 p. : ill. Includes bibliographical references (p. 35-37).

Thesis (Ph. D.)--Ohio State University, 2006. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 May 26

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.

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DESCRIPTION: The research is divided into five chapters (plus an introduction and a conclusion) as follows: INTRODUCTION, in which the work is introduced, the problem is identified, and the need for the research. is presented. CHAPTER ONE: The image of the Arab in the West (from the old sources up to the present time). CHAPTER TWO: The Arab view of the West, The development and the changing approach in viewing the World from pre- Islamic Arabia including the contemporary schools of thought in the Arab world. CHAPTER THREE: Political cartoons as a medium of communication, their influence and role in opinion changing and image making. CHAPTER FOUR: UK-Based Arab Owned Mass Media. A survey of the newspapers and the magazines published in the United Kingdom and owned by Arab personalities, companies, governments and political parties. That includes the 38 daily, weekly, monthly and quarterly publications. This chapter studies the attitudes and presentations of the Arab media in a definite period of time, in regard to the West. (from Dec. 1987 till March 1991) CHAPTER FIVE : The Case Study. The image of the West in the Arab-owned press through political cartoons (four London-based daily newspapers). The findings of the field work, categorising and analysing the main features and elements of the image. CONCLUSION: Room for Improvement. Recommendations for better understanding, presentation and improvement in the Arab-West International relations and presentations. The major, original, part of the thesis has been devoted to surveying the Britain-based Arab press, as well as an analysis of the coverage of some of these papers and magazines of the West, using the political cartoon as indicators of the public perceptions of the West. The research also makes an attempt to trace the main outline of the historical development of perceptions of the West in the Arab mind. Appendices; Appendix(A): Arab Political Cartoonists. Appendix(B): Cartoons of Arabs in the Western Media. Appendix(C); Cartoons of the West in the Arab Media. Bibliography / Hariri Foundation

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A monografia recupera o humor gráfico de Ziraldo, artista tão popular, mas, curiosamente, tão pouco estudado, durante a ditadura militar brasileira. A pesquisa se baseou na descrição pré-iconográfica de seus desenhos em dois periódicos cariocas, um a cada período recortado: de junho de 1969 a junho de 1971, nO Pasquim, e de agosto de 1976 a dezembro de 1977, no Jornal do Brasil (JB) para, posteriormente, realizar uma interpretação iconológica dessa produção, cotejando-a ao levantamento bibliográfico dos principais teóricos sobre o Estado autoritário e as censuras política e moral. A relevância do tema emerge quando ponderamos que, mesmo entrincheirados pela censura, os dois jornais representaram diferentes propostas temáticas, estruturas editoriais e gestão administrativa: liberalista e comercial no caso do JB, cogestão participativa e descompromissada nO Pasquim. Observou-se que no caso dO Pasquim, há preponderância de desenhos sem maiores preocupações diretamente políticas, em que Ziraldo recorreu a variações temáticas acerca da sexualidade, crítica dos costumes e expressões idiomáticas. Sem necessariamente representar um vazio no embate com o regime militar, tais alegorias nos dão sinais da restrição imposta naquela ocasião aos motes políticos, em que o senso moral da classe média passou a ser o alvo, e a censura política, o claustro. Posteriormente, no JB, Ziraldo assume uma postura mais ofensiva à perspectiva política, atacando contradições tanto do cenário internacional, quanto da própria conjuntura interna, seus agentes e instrumentos de cerceamento. Nesse sentido, o trabalho de Ziraldo nos serve como tese, ao evidenciar a grande soma de ataques gráficos por ele desferidos ao regime político entre os editoriais do JB, tendo como suporte um periódico sugestivamente inclinado às questões comerciais e empático a algumas direções econômicas e políticas dos militares. Por outro lado, a relação de seus trabalhos com temas políticos foi quase nula durante os anos duros do mais agressivo ato institucional o 5º ; nesse caso, desenhando sobre sexualidade e costumes da classe média, denunciando justamente sua apatia, tendo como suporte um tablóide recordado como o mais resistente representante da imprensa alternativa no País, O Pasquim. / The monograph recovers Ziraldos graphic humor, such a popular artist, but, surprisingly, so little studied, during the Brazilian military dictatorship. The research was based on the iconography description of his drawings in two carioca newspapers, each one to each period: from June 1969 to June 1971 in Pasquim and from August 1976 to December 1977 in Jornal do Brasil (JB) for, later, accomplishing an iconology interpretation of such a production, comparing it to the bibliography of the main theorists in authoritarian state and the politic and moral censorships. The relevance of the theme emerges when we meditated that, even entrenched by censorship, both newspapers represented different proposed thematic, structures editorials and administration: liberal and commercial in the case of JB, co-administration and unworried in Pasquim. It was observed that in the case of the Pasquim, there is preponderance of drawings with no directly political concerns, in which Ziraldo fell back upon thematic variations concerning sexuality, critic of habits and idiomatic expressions. Without necessarily representing an emptiness in the collision with military dictatorship, such allegories give us signs of the restriction imposed on that occasion to the political mottos, in which moral sense of the middle class became the objective, and the political censorship the confinement. Later, in JB, Ziraldo assumes a more offensive posture to the political perspective, attacking both the international scenery and the very internal conjuncture contradictions, its agents and restriction instruments. In that sense, Ziraldo\'s work serves us as thesis when evidencing the great sum of graphic attacks he did in relation to the political regime among the editorials of JB, having as support a newspaper suggestively tilted to the commercial subjects, and favorable to some economical and political directions of the military. On the other hand, the relationship of his works with political themes was almost null during the hard years of the most aggressive Institutional Act the 5th ; in that case, drawing on sexuality and habits of the middle class, denouncing justly its apathy, having as support a tabloid remembered as the most resistant representative of the alternative press in the country, O Pasquim.

Thesis (Ph. D.)--University of California, Riverside, 2009. / Includes abstract. Title from first page of PDF file (viewed February 9, 2010). Includes bibliographical references (p. 339-346). Issued in print and online. Available via ProQuest Digital Dissertations.