The aim is to examine how students with attention difficulties may demonstrate their mathematical understanding through visual representations. A curiosity about how students think about mathematics, national tests and Concepts cartoons has also permeated the study.   With help of observations combined with interviews and actively work for a week, the study shows an idea of how visual representations can help students with concentration difficulties to stay focused on their tasks.   I chose a selection of pupils to do some mathematical tasks from the national tests which they had not been able to solve before. Now in the form of Concepts cartoons, which I designed, they managed to solve the same mathematics data. In my study treatment and interaction reveals as key pillars for a successful educational work with the students with concentration difficulties. Thus, all pupils who previously have been unable to solve these assignments on the National test were now able to show their mathematical understanding supported by visual representations. / Syftet var att undersöka hur elever med koncentrationssvårigheter kan visa sin matematiska förståelse med hjälp av visuella representationer inspirerade av Begreppsbubblor. En nyfikenhet kring hur elever tänker om matematik, nationella prov och Begreppsbubblor har också genomsyrat studien. En av mina frågeställningar rör även hur lärare bemöter koncentrationssvaga elever i verksamheten.   Med hjälp av observationer och intervjuer med undervisande lärare fick jag en bild av hur visuella representationer kan hjälpa koncentrationssvaga elever att behålla fokus på sina uppgifter och vilken roll lärarens bemötande har.   Jag valde att låta ett urval elever göra om några textuppgifter från de nationella proven, som de inte klarat tidigare, men nu med stöd av Begreppsbubblor, som jag själv konstruerat. I studien framkommer bemötande och interaktion som viktiga grundpelare för ett lyckat pedagogiskt arbete med koncentrationssvaga elever. Samtliga elever som inte klarat av de valda textuppgifterna på det nationella provet kunde med stöd av visuella representationer visa sin matematiska förståelse och därmed lösa uppgifterna.

This paper explores the way Hong Kong independent comics encapsulate the essence of the city. Independent comics are distinguished from mainstream comics by their specific mode of production. More significantly they demonstrate an emphasis on subjective personal creativity and craftsmanship, which stands out sharply in the pervasive objective culture in modern society. Adopting an anthropological approach in representing local ways of living, these comics attempt to map an identity of Hong Kong in a way that is free from confusing influences of her postcolonial history, her political subordination to China and the global capitalist forces. The artists of independent comics embrace the essence of local culture by focusing on space and cultural memory and thereby rediscovering the truth and characteristics of life in Hong Kong. As a form of popular cultural text, Hong Kong independent comics package the local identity and history into fashionable goods for cultural consumption. Together with this, the articulation of a shared past creates forces of cohesion that binds the community together and offers a way for the people to negotiate their identity. / published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

This dissertation is a historical- anthropological account of political cartooning in colonial and postcolonial India. Through a focus on representational politics and biography I have situated the history and practice of cartooning in India to unfold the link between politics, the making of a moral aesthetic and modernity. I am attentive to the shifts in this link by tracing the movement in three historical phases: colonial, nationalist, and postcolonial. These three interconnected parts of my dissertation span a period from the 1870s when vernacular versions of the British Punch began to be produced in colonial India and contemporary neo- liberal India that is seeing a profusion of pocket cartoons in local newspaper editions. In organizing the narrative in three political frameworks - the colonial, nationalist, and postcolonial I discuss the circuits of global interconnectedness through which a shifting moral aesthetic of the cartoon came to be formulated at different times and places in Indian politics. As an everyday cultural production, a focus on the cartoon in terms of "what the cultural consumer makes" as "a production of poiesis - but a hidden one" (de Certeau 1984) illuminates the liminal (Turner) dimension of the cartoon. Additionally, by situating the cartoon as a discursive site (Terdiman 1985) I want to draw attention to new analytical spaces it generates for the discussion and construction of democracy, secularism, minority rights and the modern state. In order to grasp the generative and interpretive dimension of the cartoon I point to three concepts: liminal form, moral aesthetic, and tactical modernity. These concepts open a space to think through the hegemonic processes that come into play at the cultural site of the cartoon and enable and analysis of the cartoon as a site generative of hegemonic processes. This attention to the cartoon as a discursive site in the public sphere highlights the transformative circuit from laughter to debate, from visual to written, and a moral aesthetic that gets switched on through the interpretive dilemmas and representational practices of the cartoon. / text

Since the conspicuously broad and vague definition of terrorism in the USA PATRIOT Act, signed into legislation on October 26, 2001 to increase governmental power in domestic security procedures, legal doctrine and normative practices of free speech have become sites of struggle over the meaning of both terrorism and freedom of expression. In 2005, twelve cartoonists drew the Prophet Muhammad for the Danish newspaper Jyllands-Posten. The subsequent reprints and republications led to boycotts, protests, and riots in over 27 countries culminating in at least 139 deaths. Now known as the Danish cartoons controversy, news and entertainment sources alike narrate a story about protecting a fundamental characteristic of American identity—free speech—in the face of a terrorist threat. In American universities, David Horowitz’s proposed legislation, the Academic Bill of Rights, targets Left academics, who, according to Horowitz, “influence, in a negative way, America’s war on terror.” In August 2008, protesters at the Republican National Convention were formally charged with conspiracy to riot in furtherance of terrorism. In this dissertation, I explore how the rhetoric of free speech is a naturalizing and legitimating ideology employed to organize people around particular interests and mobilize them toward particular political ends. My research is guided by the question: How has the ideological terrain of the First Amendment—specifically, the right to free speech—changed since September 11, 2001, and why? I argue that rhetoricians should approach the traditional free speech narrative as part of an instrumental political act, as opposed to a universal principle. Cast as a discursive tool in a hegemonic struggle, the traditional free speech narrative offers the potential to open up spaces of protest and infuse ordinary citizens with political agency. Using the method of ideology critique, I develop and test these arguments through three case studies of free speech since the terrorist attacks of September 11, 2001: the Danish cartoons controversy, David Horowitz’s Academic Freedom Campaign, and protests during the 2008 Republican National Convention. / text

The establishment of the French Absolutism under King Louis XIV depended in part on pictorial representation generated by the French Academy. As a vehicle and institute of the state, the Academy created a canon of imagery, which was known throughout Europe. This enabled Louis XIV's image to be reversed by the creators of the satirical images. The makers of the reverse image appropriated the institutionalized styles and genres of royal portraiture to create innovative satirical images of the monarch using the very canon Louis XIV sanctioned. In its analysis of a small body of satirical imagery, the thesis draws on various theories about the body of the king proposed by Jean-Marie Apostolides, Ernst Kantorowicz and Louis Marin. A comparison of satirical images with official images of the king demonstrates the successful strategies of satirical imagery and the collective need for these kinds images in the seventeenth century.

The purpose of this thesis was to examine the ways in which the constructions of heterosexuality and gender in three Disney movies about princesses affect the power relations between men and women in the movies, and how discourses on gender and heterosexuality have changed over time. Research questions were: How do characters in the movies talk about gender and heterosexuality? How does the interplay between gender and heterosexuality affect the power relations between men and women in the movies? What are the likenesses and differences between movies from different time periods? Discourses were mapped out using a model based on Ernesto Laclau and Chantal Mouffe’s political theories. These discourses were then analyzed with a theoretical framework consisting of Yvonne Hirdman’s concept of gender system and gender contracts, Judith Butler’s view on the heterosexual matrix and an understanding of power relations based on Michel Foucault. Results showed that the construction of gender and heterosexuality are intimately connected, as the main character’s desire or lack of desire for the prince was central to the plot in all three movies. Results also indicate that the most recent film was the most subversive in terms of constructions of gender and heterosexuality. Power relations between men and women remained relatively stable through all three movies, since most expressions of opposition did not really challenge patriarchal norms.  My conclusion is that the development of gender portrayal in popular culture is going in the right direction, since women and girls now have access to a wider spectrum of gender expressions as exemplified in this study. But the lack of men venturing into areas and displaying behaviour traditionally associated with women suggests a reinforcement of a patriarchal structure where masculinity is viewed as preferable to femininity. This view is limiting men’s possibilities of expressing themselves, as well as downgrading women who express femininity.

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

Entertainer or agent provocateur? The modern Canadian political cartoonist, historically speaking, possesses a split identity. The Gazette cartoonist Terry Mosher---a.k.a. Aislin---in his experience, career and involvement in the fall 1988 fight against free trade, illustrates the tension inherent in the identity of the modern Canadian political cartoonist. Mosher's experience offers a theory as to what circumstances might compel a cartoonist to break the cartoonist's compromise---an informal promise not to use their powerful platform to advance a coherent, systematic and specific political agenda or aim in exchange for editorial independence, journalistic "status," and proper financial remuneration---a state of affairs modern cartoonists are, under normal circumstances, happy to accept.

Thesis (Ph. D.)--University of Adelaide, 1990. / Typescript. Includes bibliographical references (in v. 3).

Applied research project (D. Min.)--School of Theology and Missions, Oral Roberts University, 2003. / Includes abstract and vita. Translated from Korean. Includes bibliographical references (leaves 221-230).