Made available in DSpace on 2016-04-27T19:32:47Z (GMT). No. of bitstreams: 1 Washington Kuklinski Pereira.pdf: 6682505 bytes, checksum: 9e4374868c402ff5ba2dc1ec1892db6a (MD5) Previous issue date: 2010-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The propose of this research is to study the historical process that resulted in the end of Brazilian slave work force, from the analysis of the caricatures produced by Ângelo Agostini on Revista Ilustrada (Ilustrated Magazine), from 1884 to 1888. The political caricatures that allow people to understand the process which resulted in the elaboration, approval and applicability of the Lei do Sexagenário (Sexagenarian Law) is analyzed. Ângelo Agostini made the abolitionist campaign from Ceará public, he also noticed errors on the law, he used to speak ironically about politicians who expected to be benefited by the slaves proprietors and ridiculate the minister Saraiva, considered by artists as the defender of the attempt to postpone the abolition of the slavery. The relation between the Catholic Church and the Brazilian State about the slavery is analyzed; and how Ângelo Agostini, with the caricatures, used to denounce the torture applied to the slaves by their proprietors and by the police, being ignorated by Brazilian Bishops silence The change of the Imperial Family position about the servile element, like the requirement of the elaboration, approval of the Áurea Law by the Senate, were mentioned by Ângelo Agostini in his caricatures, that magnified the Princess Isabel image as the biggest responsible for the abolition of the slavery in Brazil, admired by the whole Brazilian population, mainly by the free slaves / A proposta deste trabalho é, a partir da análise das caricaturas produzidas por Ângelo Agostini, na Revista Illustrada, entre os anos de 1884 e 1888, estudar o processo histórico que culminou no fim do uso de mão-de-obra escrava no Brasil. São analisadas caricaturas políticas que possibilitaram entender o processo que resultou na elaboração, aprovação e aplicação da Lei do Sexagenário. Ângelo Agostini divulgou a propaganda abolicionista cearense, apontou falhas nas propostas da lei, ironizou políticos que buscavam benefícios aos senhores de escravos e zombou do Ministro Saraiva, considerado pelo artista como o defensor da tentativa de postergação da abolição da escravidão. É estudada a relação entre a Igreja Católica e o Estado Brasileiro na questão do escravismo; e como Ângelo Agostini, através das caricaturas, denunciava as torturas aplicadas aos escravos por seus senhores e pela polícia, sendo ignoradas pelo silêncio dos Bispos brasileiros. A mudança de postura da Família Imperial sobre a questão do elemento servil, como a solicitação da elaboração e aprovação pelo Senado da Lei Áurea, foi relatada por Ângelo Agostini em suas caricaturas, que exaltaram a figura da Princesa Isabel como grande responsável pela abolição da escravidão no Brasil, admirada por toda população brasileira, principalmente pelos escravos libertos

Typescript. Bibliography: in v. 3.

Thesis (MA (Research Psychology))--University of Pretoria, 2003. / Includes bibliographical references.

Thesis (MPhil (Journalism))--University of Stellenbosch, 2008. / The media plays a fundamental role in shaping societies’ opinions about topical issues. Most human beings depend upon either the print media (newspapers/magazines), television or radio as their sources of news. The advent of the internet since the 1990s revolutionised the media world and created an immediacy on the impact of news like no other previous medium could provide, as it had a combination of audio and visual material. The most effective demonstration of such immediacy would be that of the impact of the September 11 attacks in the USA in 2001. The aftermath of the media’s impact still resonates throughout the world today, especially its impact on those who follow the Islamic faith. This paper aims to explore the impact of the media on this newly derived concept of Islamophobia, especially post 9/11. It includes a case study of the Islamophobic Danish cartoon controversy that occurred in February 2006. This paper discusses the concept of Islamophobia and anti-Islamism, as well as how the events of 9/11 and its media coverage contributed towards the worsening of this sentiment across the globe. The conclusion reached is that instead of the media acting as a mediator between Western society and the global Muslim community and creating an atmosphere of each understanding the other, it acted negatively against Islam, the world’s fastest growing religion.

Bibliography / Thesis (MPhil (Journalism))--Stellenbosch University, 2010.

The aim of the paper is to explore the dominating perception of the Other after the conflict regarding the Danish Mohammed caricatures. How Swedish newspapers have portrayed Arabs, which role they have been given in society and what problems they are struggling with is going to be the focus of this thesis. As methodological approach I chose discourse analysis, since it presents a view where language defines and structures our understanding of reality. Through the study of various Swedish newspaper articles, this essay tries to illustrate the implicit yet existent negative image of the Arabs as a group and potential alternative ways of understanding the Other. The perception of Arabs is a product of a necessary imaginary foe, a mirror image of the bad and strange in contrast to the idyllic and safe Swedish nationality. The rhetoric’s of the discourse are therefore constructed between a politics of acknowledgement and a will to culturally dominate the Other. To challenge this view the citizens of a nation must accept it as nothing more than an imaginary design.

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.

Robert Macaire apparaît en 1823 dans le mélodrame L’Auberge des Adrets sur la scène du Théâtre de l’Ambigu-Comique. Cette pièce marque l’histoire du mélodrame grâce à l’interprétation qu’en fait Frédérick Lemaître. Il crée un costume extravagant et improvise sur scène, transformant alors ce personnage secondaire en héros. Notre thèse met en lumière les modifications apportées dans l’oeuvre initiale grâce au jeu du comédien et recontextualise l’histoire des premières représentations. Le personnage apparaît de nouveau en 1834 dans Robert Macaire. Il devient un témoin emblématique des travers de la société de l’époque et héraut des contestations sociales et politiques de la monarchie de Juillet. Le succès est tel que le personnage réapparaît dans de nombreuses suites et avatars, donnant naissance au « macairisme ». Il s’attire ainsi les foudres de la censure. Au-delà du théâtre, il se transpose dans les caricatures et la littérature, devenant une figure archétypale et mythique. Il reste néanmoins fortement attaché à Frédérick Lemaître avec lequel il constitue un couple symbiotique justifiant l’analyse de l’impact du comédien dans la transfiguration du personnage de théâtre en un type social médiatisé. À travers cette étude, nous analysons le succès de Robert Macaire et les différentes utilisations du personnage et de ses implications politiques afin de comprendre comment et pourquoi ce personnage théâtral est devenu type social. Aborder la question de Robert Macaire à travers le couple qu’il forme avec Frédérick Lemaître permet d’interroger les véritables enjeux de l’esthétique macairienne dans l’affirmation du théâtre populaire. / Robert Macaire appears in 1823 in L’Auberge des Adrets melodrama on the stage of the L’Ambigu-Comique Theater. This play celebrates the melodrama’s history, thanks to the interpretation created by Frédérick Lemaître. He creates an extravagant costume and improvises on stage, transforming this secondary character in heroe. Our thesis highlights changes in the initial work through the actor’s play and re-contextualizes the history of the firsts performances. The character appears again in 1834 in Robert Macaire. He became an emblematic witness of the society of that time and herald for the social and political challenges of the “monarchie de Juillet”. Due to the success, the character reappears in many suites and avatars giving birth to the “Macairisme”. He thus, attracted the wrath of censorship. Beyond the theatre, he transfers in cartoons and literature, thus becoming an archetypal and mythic figure. Nevertheless, he remains strongly attached to Frédérick Lemaître with whom he creates a symbiotic couple justifying the study of the impact of the comedian in the transfiguration of the theatre in a publicized social type character. Through this study, we do analyze the success of Robert Macaire and the different uses of the character and its political implications in order to understand how and why this theatrical character has become a social type. Addressing the issue of Robert Macaire through the couple formed with Frédérick Lemaître, allows querying the real issues of “the macairienne esthetic” in the claim of the popular theatr

During Zimbabwe’s 2008 harmonised elections the country’s media laws had a direct impact on the way editorial cartoonists expressed themselves. Although the online newspapers were unregulated and the print media published under Zimbabwe’s media laws, Public Order and Security Act and Access to Information and Protection of Privacy act - the editorial cartoons from both sources show deliberate bias towards one candidate and contempt towards the main rival. The study contextualises the understanding of the editorial cartoon, as practised in an environment of freedom of speech and defined by the four categories identified by Press (1981) and Manning and Phiddian (2004), and delineates the effect of media laws on the newspaper industry in Zimbabwe. The four categories of editorial cartoons identified are descriptive editorial cartoons, laughing satirical editorial cartoons, destructive satirical editorial cartoons, and savage indignation editorial cartoons. The study reviews eight editorial cartoons, read using a semiotic framework investigating non-verbal communication, as defined and suggested by Du Plooy (1996), and a text and language grid, as suggested by Leech (1974), according to the criteria of symbols/metaphors, exaggeration/distortion, stereotypes, caricature, irony, captions, and background knowledge, as developed by Fetsko (2001). A comparative analysis of the cartoons reveals that objectives and functions of the unregulated zimonline.co.za and the regulated the Herald newspapers are the same. They constitute propagandistic representations of Zimbabwean politics that are more an extension of political ideology than they are a reflection of the country’s sociopolitical landscape.

In 1776, war broke out in the Colonies of New England between British Subjects, colonists, and those emplyed by the crown to uphoald law and order across the Atlantic. The union that wuld emerge from the war would have to develop what the colnial powers they migrated from had been adding on for centuries: an understanding of national character. The colonists occupied territory to which they had no historical inheritance before European colonization, and their customs, language, and societal structure were of British origin. However, the decleration of indpendence testifies that the United States were an exceptional republic amongst monarcies.  Providing ideas, and a popular elaboration of society has been the task of many artists at any time and place. Our different perceptions of nationhood might discard of accept such visual interpretations, but they are nonetheless subjected reflections of of selected realities. As such, political cartoons, the source material for this thesis, can provide a detailed view of the particular process of picturing national identity, for a new nation that rescently had existed within the bounduries of their own empire.