Newspaper Cartoons Research Articles

Educational issues in cartoons in the Saudi press: القضايا التربوية في رسوم الكاريكاتير في الصحافة السعودية

The main objective of the study was to identify the educational issues in Saudi journalism cartoons. Content analysis method (both qualitative and quantitative) has been used to identify the themes contained in the cartoons. Three Saudi newspapers were selected to be the study sample (okaz newspaper, Aljazeerah newspaper and Arriyadh newspaper). They published 210 cartoons about education during 2014. The results of the study showed that educational cartoons in Saudi newspapers only represented 6.433% that indicates low levels of concern on education issues in Saudi journalism cartoons. 48.571% of them discussed issues related to students, 26.667% discussed issues related to teachers, 13.333% discussed issues related to learning environment, and 6.190% discussed issues related to curriculum. Most of the cartoons portrayed male characters. Most of them were critical. The majority of the educational cartoons in Saudi newspapers came with comments or dialogues. Most of them were colored. The study recommended Saudi cartoonists to focus more on educational issues. The study suggested studying the role of cartoons in setting educational agenda.

MULTIMODALITY AND THE CONSTRUAL OF REALITY IN POLITICAL CARTOONS – THE CASE OF SERBIA-EU RELATIONSHIP

Complementing the broad framework of Conceptual Metaphor Theory (Lakoff & Johnson 1980; Johnson 1987; Benczes, Barcelona, & Ruiz de Mendoza Ibanez 2011; etc.) and Critical Metaphor Analysis (Charteris-Black 2004; Musolff 2006) with research on multimodality from a cognitive viewpoint (Forceville 1996, 2008; Forceville & Urios-Aparisi 2009; Bounegru & Forceville 2011; etc.), in this paper we address the topic of Serbia-EU relations unfolded in pictorial and multimodal discourse in news media in order to explore how this topic is communicated via metaphors and other cognitive instruments in newspaper cartoons. The data collection for our analysis consists of 15 cartoons published in the Serbian daily newspaper Politika in the period 2009-2015, which depict the concept of the EU in relation to Serbia and the varied political and social issues associated with it. Modelling our method of analysis on Bounegru and Forceville (2011), we try to show not only how pictorial and multimodal metaphors reveal the underlying metaphor scenarios, those of journey, school, sport and liquid, but also how multimodal discourse becomes a powerful tool of conveying different evaluative content and rhetorical impact when set within a specific socio-political context.

Маньчжурская чума 1910–1911 гг. в газетных карикатурах (часть 2)

Маньчжурская чума 1910–1911 гг. в газетных карикатурах (часть 2)

Manchurian Plague of 1910–1911 in newspaper cartoons (part 2)

Manchurian Plague of 1910–1911 in newspaper cartoons (part 2)

Маньчжурская чума 1910–1911 гг. в газетных карикатурах (часть 1)

Маньчжурская чума 1910–1911 гг. в газетных карикатурах (часть 1)

Маньчжурская чума 1910–1911 гг. в газетных карикатурах (часть 1)

Маньчжурская чума 1910–1911 гг. в газетных карикатурах (часть 1)

Post 3-11 Japanese Political Cartooning with a Satirical Bite: Non-Newspaper Cartoons and Their Potential

Japanese political cartooning is widely considered to be weak: lacking in number and scope, and importantly, lacking in the aggression necessary to produce biting satire. A major reason for this low assessment is that the most publicly visible forum for political cartoons, the national daily newspapers, have, particularly since the 1980s, reduced the number and prominence of the cartoons they carry, and settled into using primarily mild, non-offensive cartoons. Yet there are political cartoons to be found elsewhere in Japan, in smaller circulation magazines and on the Internet. The aim of this paper is to examine these less viewed political cartoons as an alternative source of critical cartoon commentary. To do this a comparison is made of how these “alternative cartoons” and political cartoons in the major dailies responded to a single news event of national significance—Japan’s triple disaster of March 11, 2011 and problems arising in its wake—over a four-month period. The paper begins with a brief sketch of the state of Japanese newspaper political cartooning, and then a discussion of the function of political cartoons in general. This background serves to contextualize and theoretically ground the comparison between newspaper and alternative cartoons that follows. The paper finds that political cartoons outside of newspapers are much more aggressive in their satirical comments, employ a more diverse range of styles, and offer criticism on a broader range of problems. The paper concludes that for these reasons, they are potentially more effective than newspaper cartoons at contributing to public debate, framing, and drawing attention to important issues.

시사만화 『고바우 영감』에 표현된 복식의 상징성

Abstract Popular culture has symbolic meaning and has been constructed through different mass media. Newspa-pers played a significant role in 1950s and 1960s public culture. In particular, editorial cartoons in news-papers expressed social aspects of the age implicitly through satire and criticism. This study examines deli-vered culture by reflecting the past social aspects and inquiring on clothing featured in the editorial cartoon『Gobau』. As for a research method, literature research was conducted on clothing of the age with a reviewof『Gobau』. As for a research range, examination was done based on the complete works of Gobau com-posed of 5 volumes published as a first edition by Hankookmunhwasa on November, 1973. Early『Go-bau』cartoons from 1951-1963 were published in 5 volumes; therefore, research was conducted for the erafrom 1950s to the early 1960s. Clothing expressed in『Gobau』were reviewed, classified into formative cha-racteristics and internal meaning. Internal meaning was examined by dividing into the expression of socialaspects and criticism of society. The research findings are as follows. First, clothing in『Gobau』reflectedcharacteristic in direct manner. There was a coexistence of Hanbok and western-styled, clear distinctionbetween men's trousers and women's skirt. Besides, various kinds of women's western-styled dress appearedin the 1960s. Second, they showed the dress culture that reflected past social aspects. Many aspects wereincluded to reconstruct old and worn clothes due to scarce resources after the Korean War, and cherishingclothes, buying fabric directly to making clothes, making clothes from dressmaking shop, and restrictionson imported goods and luxury items. Third, the study also examined the social norms for fashion. It con-tained negative perspectives on women wearing pants, short skirts, and new hair styles (like perms) fromwestern culture as well as lipstick.Key words: Gobau, Symbolism, Korean clothing, Western-styled dress, Fashion; 고바우 영감, 상징성,한국 복식, 양장, 유행

Preaching and cartooning: An exploration of the processes involved in developing a sermon and a newspaper cartoon

This article explores the similarities and differences between the process followed to develop a sermon and that followed to develop a cartoon. It first examines the representation of the jester or clown in some recent publications by homileticians before describing the process of development of a sermon, as proposed by three homiletic sources from namely North America, South Africa and The Netherlands, respectively. The article describes the process followed in the development of a cartoon in a similar way. The article concludes by presenting some observations on the preacher as cartoonist with reference to the process followed in the development of a cartoon. It argues that the cartoonist may currently be viewed as a metaphor for a preacher that could enrich existing images of the preacher such as the clown or jester, especially because of the similarities in the processes for writing/preparing a sermon and drawing a cartoon.

Wide Awake in Slumberland: Fantasy, Mass Culture, and Modernism in the Art of Winsor McCay by Katherine Roeder (review)

Reviewed by: Wide Awake in Slumberland: Fantasy, Mass Culture, and Modernism in the Art of Winsor McCay by Katherine Roeder Matt Johnston Roeder, Katherine. 2014. Wide Awake in Slumberland: Fantasy, Mass Culture, and Modernism in the Art of Winsor McCay. Jackson: University Press of Mississippi. $60 hc. 221 pp. Over the past few decades, scholars in a range of disciplines have increasingly directed their attention to various mass cultural productions emerging in the modern era, seeing them as worthy objects of study in their own right. Rather than adopting a Baudrillard-like perspective that tends to see mass culture as an undifferentiated accumulation of simulacra, merely brute tools or unreflecting symptoms of industrialization and commercialization, they have taken its varieties seriously as quasi-artistic forms with complex modes of expression. However, in analyzing this artistry, such studies often problematically identify a self-conscious and critical authorial voice usually associated with modernist high art forms. If such a voice is accorded to a maker of popular films or advertisements, does this identification detract from an understanding of the work as a distinctly mass cultural form? Conversely, if such a voice is ignored or denied, how can the producer of popular entertainments be understood to offer any special insight into his or her world? As Bill Brown observes in A Sense of Things: The Object Matter of American Literature (2003), analyses addressed squarely at the “things” of mass culture, engaging with the objects of mass culture on their own terms, might paradoxically leave “things behind, never quite asking how they become recognizable, representable, and exchangeable to begin with” (4). Katherine Roeder’s Wide Awake in Slumberland: Fantasy, Mass Culture, and Modernism in the Art of Winsor McCay (2014) is an admirable attempt to resolve this dilemma. Best known for his strip Little Nemo in Slumberland, which ran from 1905 to 1914 (and briefly from 1924 to 1927), McCay is an acknowledged founding figure of the modern-day newspaper cartoon. But, as Roeder points out, although his work has been reissued numerous times and he invariably finds his place in cartoon and comic anthologies, “no study as of yet gives critical, art historical attention to his work” (5). More specifically, though, Roeder wants to foreground “the modernist sensibility present in McCay’s comics, in an effort to position mass culture and modernist art in conjunction” and thereby avoid “the false dichotomy between mass culture and modernism” (5). In other words, [End Page 178] her study endeavors to uncover McCay’s modernist authorial voice while simultaneously being attentive to the specificity of the conventions of the medium in which he worked and which he helped put into place. Although Roeder runs into some substantial, perhaps unavoidable, methodological problems (discussed below), her book brings a needed complexity of analysis to McCay’s cartoons in terms of their own internal mechanics and the way they intersect with other popular entertainments of the time. The study enacts a valuable model of interpretation that should be of interest to other scholars of mass culture. Many of the details of McCay’s life, including his pioneering work with not only newspaper cartoons and illustrations but also vaudeville performance and animated shorts, has been covered in John Canemaker’s Winsor McCay: His Life and Art (1987). While acknowledging this useful source and being careful to cite it when she covers similar aspects of McCay’s career, Roeder makes a substantial addition from a research standpoint by more fully exploring how McCay’s cartoons intersect with a variety of early twentieth-century entertainment and commercial forms, conveniently organized into separate chapters. Thus, one chapter is devoted to “popular amusements,” including not just vaudeville but also circus performance and amusement parks. A real strength of Roeder’s approach lies in her close analysis of McCay’s pictorial choices in individual cartoons, married to an equally sensitive examination of the emerging conventions of these “popular amusements,” including the kinds of print advertising used to promote them. (Unfortunately, the original size of the cartoons makes it difficult to reproduce them clearly, although the 8 1/2 × 11 format used in Roeder’s book minimizes this loss of detail.) A similarly nuanced chapter looks at...

The Free Republican Party in the political cartoons of the 1930s

AbstractThe Free Republican Party (FRP; Serbest Cumhuriyet Fırkası), founded and dissolved in 1930, represented the second attempt to transition to a multi-party system in Turkey, following the formation of the Progressive Republican Party (Terakkiperver Cumhuriyet Fırkası) in 1924. In contrast to the oppositional establishment of the latter, the FRP seemed to be a state-originated project whose establishment was decided upon by the elites of the day, led by Mustafa Kemal Atatürk. Its representation in contemporary cartoons is deemed important today given the political cartoon’s ability to simplify complex political messages into understandable symbols and metaphors and to address or reach those who may not be literate. Taking into account the social structure of society during this period, this aspect of the reach of cartoons becomes particularly important. Political cartoons’ ability to both support the text in a newspaper and penetrate historical memory through stereotypes is also significant in terms of the representation of personalities and events. This article will attempt to analyze the formation of the FRP and the depiction of its elites through newspaper cartoons. Three prominent and pro-Republican People’s Party (Cumhuriyet Halk Partisi) newspapers of this period—namely Cumhuriyet, Milliyet, and Vakit—will provide the material for the content and thematic analysis of the study.

The Past and Present War: Political Cartoons and the Memory of the First World War in Britain

This article examines the image of the First World War in British political cartoons, from the aftermath of the conflict to the present day, as an active process of remembrance. Through an analysis of cartoons in newspapers and periodicals in Britain, this study assesses how a distinct vision of the war is formed within society as a means of addressing contemporary concerns beyond the events of 1914–1918. The use of such war imagery in television, film and fiction has been recently critiqued by scholars who have lamented the way in which this popular memory obscures the history of the conflict. However, a study of political cartoons reveals that rather than constituting a cliché, specific representations of the war, namely the image of the battlefields, the trenches and suffering soldiers, acquire new meanings and constitute a dynamic process of remembrance which uses the past to critique and assess the present.

The situations of culture: humor and the limits of measurability

This article develops a theory of humor and uses it to assess the attempt to measure meaning-structures in cultural sociology. To understand how humor operates, researchers need to attend to two layers of cultural competencies: general typifications and situation-specific know-how. These cultural competencies are then invoked in ways that define humor as a specific form of experiential frame—the bi-sociation of meaning, its condensation, and resonance with experienced tensions in the social world. I show the usefulness of this theorization through the empirical case of AIDS humor in Malawi, a small country in South-East Africa. Using conversational diaries, everyday interactions, and newspaper cartoons, I argue both that such humor is widespread and that it reveals important facets of life in a country ravaged by the pandemic—what it means for the shadow of AIDS to be ever-present. Through this case, I then turn back to the question of measurement, arguing that although measuring tools may be able to identify large-scale semantic shifts, they necessarily miss forms of interaction such as humor, that are based on allusion, condensation, and what is left unsaid.

Wiz Kids, nuclear bombs, and Marvel’s Hazmat

In my paper ‘Postmodern Chinoiserie in Gene Luen Yang’s American Born Chinese’ (2014, Literature Compass 11 (1): 1–14), I propose that existing scholarship on the portrayal of Asians and Asian Americans in American comics has largely focused upon racist newspaper cartoons from the nineteenth and early twentieth centuries and modern Asian-American alternative comics. There exists a small but growing body of academic literature on the depiction of Asian Americans in modern mainstream comics. In this essay I seek to develop the scholarship by analysing Marvel’’s character Hazmat (Jennifer Takeda) in the context of modern depictions of Asians and Asian Americans in American comic books and the postmemory of Nagasaki Hiroshima, and the Japanese internment camps. This paper is organised in two parts. The first focuses upon the ways in which Asians and Asian Americans have historically been depicted (or, in many cases, not depicted) in American comics. The argument includes an examination of the ways in which the Marvel character Hazmat has been written in relation to those stereotypes. The second half of the essay considers the ways in which Hazmat embodies (quite literally) the violence towards Japanese civilians during World War II, and the ethics of exploring the history of genocide through the superhero genre.

BETWEEN BLASPHEMY AND CRITIQUE: FREEDOM OF RELIGION AND FREEDOM OF SPEECH

On Valentine's Day, 1989, novelist Salman Rushdie was driven into hiding in England by a fatwa issued by the Ayatollah Khomeini in Iran decrying his 1988 novel,The Satanic Verses, as “blasphemy against Islam” and demanding Rushdie's execution. Twenty years later, Yale University Press refused to publish cartoon representations of the Prophet Muhammad in political scientist Jytte Klausen's book,The Cartoons That Shook the World.That book analyzed the controversy spawned by a Danish newspaper's publication of the cartoons in 2005 and the republication of the cartoons in several European newspapers in 2008, which led to protests by Muslims around the world. In 2010, Terry Jones, a Christian pastor in Florida, announced plans to publicly burn a Qur'an on the anniversary of the September 11, 2001, terrorist attacks on the United States. Under protest, he cancelled his book-burning plans for the 9/11 anniversary, but he made good on his promise six months later in March 2011, in an incident whose online video dissemination around the world is said to have motivated riots in Afghanistan that resulted in the deaths of twelve people. Throughout this period, with the regularity of a drumbeat, the Organization of Islamic Cooperation (OIC) (formerly the Organization of the Islamic Conference), a coalition of majority Muslim nations at the United Nations, introduced resolutions each year—first in the Human Rights Council (HRC) from 1999 forward and then in the General Assembly from 2005 forward—on “combating defamation of religions” at the UN and in wider global discourse.

Clark Kerr's World of Higher Education Reaches the 21st Century ed. by Sheldon Rothblatt (review)

Reviewed by: Clark Kerr's World of Higher Education Reaches the 21st Century ed. by Sheldon Rothblatt Cristina González Sheldon Rothblatt (Ed.). Clark Kerr's World of Higher Education Reaches the 21st Century. Dordrecht, The Netherlands: Springer, 2012. 249 pp. Hardcover: $129.00. ISBN: 978-94-007-4257-4. The distinguished historian of higher education Sheldon Rothblatt, author of such fine books as The Modern University and Its Discontents: The Fate of Newman's Legacies in Britain and America (Cambridge, England: Cambridge University Press, 1997) and Education's Abiding Moral Dilemma: Merit and Worth in the Cross-Atlantic Democracies, 1800-2006 (Oxford, England: Symposium Books, 2007), has recently published this edited volume on Clark Kerr and his times. Kerr was perhaps the most famous American academic leader of the 20th century due to his role as author of the California Master Plan for Higher Education. This plan coordinated student admissions for the University of California, the California State University, and the state's community colleges, promising a place in one of the three systems to every state resident who wanted to engage in postsecondary studies. Kerr also was the author of very influential writings, including The Uses of the University (1963/rpt., Cambridge, MA: Harvard University Press, 2001), a work in which he offered a poignant view of the problems facing this increasingly complex institution, which he called the "multiversity." In this interesting volume, which includes a foreword by former Brown University President Vartan Gregorian, Rothblatt and his co-authors reflect on Kerr's ideas and career. In particular, the volume focuses on the impact of Kerr's most notable achievement, the California Master Plan for Higher Education, on university systems in other states and countries. In Chapter 1, Rothblatt addresses Kerr's dramatic dismissal from the presidency of the UC system when Ronald Reagan became governor of California. Rothblatt notes that Kerr had a large wall display of newspaper cartoons about this episode in his home. This anecdote sets the tone for the rest of the chapter and the book, which presents Kerr as a forward-looking and courageous thinker, whose twin pursuits of quality and equality were expressed in the master plan, which "rode into the world on a wave of hope" (p. 25). In Chapter 2, Arthur Levine chronicles Kerr's adventures as chair of the Carnegie Commission and Council, a job that was offered to him, and which he accepted, within twenty-four hours of his dismissal from the UC presidency. Levine highlights Kerr's most important accomplishments in this position, including the impact that his report about affirmative action had on the Supreme Court's 1978 landmark decision in Regents of the University of California v. Bakke, allowing consideration of race as a "plus" factor in the college admissions process. In Chapter 3, Patrick M. Callan examines the master plan, a solution crafted more than 50 years ago, which he thinks has contributed to today's difficulties because of its rigidity. According to Callan, California is a much bigger and far more complex state than it was in 1960, and it needs to expand and improve educational opportunities for its diverse population. Chapter 4, by David W. Breneman and Paul E. Ligenfelter, reviews the influence of the master plan on other states around the country, concluding that its direct impact was limited. While its structure was not copied by other states, however, the master plan inspired them to conduct their own strategic thinking, an activity that was also encouraged by the Carnegie Commission and Council led by Kerr. Chapter 5, by Michael Shattock, Chapter 6, by Guy Neave, and Chapter 7, by Thorsten Nybom, offer an overview of the reception of the master plan in Europe. While studied and admired, the master plan was not replicated, due to the very different circumstances and philosophies prevalent in the United Kingdom, France, Germany, Sweden, and other European countries, which have modified their systems of higher education a number of times since 1960, while the master plan has remained unchanged. Chapter 8, by Ted Tapper and David Palfreyman, is an in-depth examination of Kerr's project to establish a collegiate university in Santa Cruz, a campus...

Gandhi and the Satyagraha of Newspaper Cartoons

Newspaper cartoons are significant because their inherent ambiguity withstands scrutiny as historical and anthropological texts. This article focuses on Gandhi's writings and analysis of newspaper cartoons published in the South African press. Addressing the Indian community in a period of growing resistance, Gandhi situated cartoons as a part of the necessary vocabulary for understanding the British mind. Serving a pedagogical role, through his translation and interpretation, Gandhi also urged his readers to see what the whites were already seeing. Engaging Gandhi as an interlocutor in the colonial visual milieus he inhabited shows the newspaper cartoons’ intimate connections with colonialism and resistance.

American newspaper comics: an encyclopedic reference guide

From its earliest appearance in the 1890s, the newspaper comic strip has told the story of America, from the Irish ghetto of the Yellow Kid to flappers, war heroes, hippies, and today's office drones and soccer moms. American Newspaper Comics is the first comprehensive, authoritative reference work to document this fascinating history, listing over 7,000 different comic strip and cartoon features from American newspapers. While previous books have typically concentrated on the most popular comic strips and panel cartoon series, American Newspaper Comics is designed to be all-inclusive, providing detailed information on important but previously overlooked artists and features. The result of more than twenty years of meticulous research, American Newspaper Comics provides the most complete picture to date of the evolution of newspaper cartoon features and corrects misinformation that has circulated for years in other references. American Newspaper Comics offers a wealth of information, including the start and end dates of features, their format, frequency, creators and distribution companies. The book also includes handy cross-indexes and a guide to book-length compilations of newspaper cartoons and comics. In addition, the book includes a CD with samples of more than 2,000 cartoon features, including some that may be new to even the most ardent fan or collector.

Too Much Fun: Shakespeare’s Entertainment Unconscious

Too Much Fun:Shakespeare’s Entertainment Unconscious Donald Hedrick My title, including the word “fun,” is willfully ahistorical in relation to Shakespeare, since Shakespeare never uses the word and since it is not even recorded in the Oxford English Dictionary until the late seventeenth century. But its significance and even its own history are pertinent here, for I intend to find in this concept, perhaps perversely attended to, what I term the “entertainment unconscious” of Shakespeare’s plays. This terrain registers the tectonic shift produced by the Elizabethan-Jacobean commercial theater and London’s entertainment industry, constituting what might be considered, moreover, as the entertainment revolution of the early modern era. “Play” is certainly a more academically respectable concept than “fun,” especially since it can trace an intellectual heritage that includes such prominent figures as Johan Huizinga and Mikhail Bakhtin. Whether we privilege Huizinga’s universalizing move in Homo Ludens to consider play as part or even the foundation of human nature, or the more historicized view by Bakhtin in The World of Rabelais of a localized social process of “carnival” that serves to “uncrown” sovereignty, authority, and hierarchy, play’s elasticity as a concept renders it a broad, research-generating paradigm across philosophy, literature, sociology, political theory, and history. “Fun,” by contrast, appears impossibly amorphous, untheorizable, and simple. An affect as well as an activity, the concept—if it is a “concept”—is at the same time stigmatized by readily tipping its hat in the direction of commercial culture and leisure. “Fun” is even more elastic as a reference than as a concept. It has become our [End Page 17] perennial value term: an individual’s judgment about what is “fun” is a common response from the earliest years of life onward, a chief marker of consumerist choice, adjusting every field and discipline, from journalism and politics to education. For all these reasons, and despite or because of its ubiquity, it would seem the shabbiest of candidate terms available for identifying cultural change and historical social formations, in the way that Raymond Williams famously did with other terms in his Keywords. Instead, it might loosely stand in for entertainment culture or the “culture industry” which was the Frankfurt School’s famous object of attack, for which Adorno and company are too often caricatured as basically anti-fun, although his rhetoric may often make the charge stick: “Fun is a medicinal bath. The pleasure industry never fails to prescribe it. It makes laughter the instrument of the fraud practiced on happiness” (Adorno and Horkheimer 39). Being against fun, if we could identify where this occurs, would perhaps be an even more fundamental prejudice than the “anti-theatrical prejudice” whose history Jonas Barish brilliantly catalogued. As if itself making similar theoretical talking points by illustration, a recent newspaper cartoon strip, cryptically titled “Fun Is Bad” (Griffith), is worthy of analysis for use in a present consideration of early modern, Shakespearean fun. Created by the cartoonist of “Zippy the Pinhead,” Bill Griffith, the strip calls comic attention both to the word and to its popular usage, in the exemplary postmodern fashion of this cartoonist. The visuals to this cartoon, not reproduced here, hardly help explicate the virtually incoherent exchange of two characters (the “pinhead” Zippy and his wife, Zerbina), the three frames of which follow here: “FUN IS BAD” Zippy the Pinhead, by Bill Griffith Kansas City Star, Preview, Thursday, June 2, 2011, p. 39. Zerbina: “Zippy, are we a FUN COUPLE? Because I really want us to be a FUN COUPLE … I want us to have a FUN COUPLE persona.” [End Page 18] Zippy: “We ARE a FUN COUPLE, Zerbina! I mean, is there a more FUNNER couple than us??” Zerbina: “I don’t know, Zippy. BOWLING without actually RELEASING th’ ball may not be considered a FUN COUPLE THING to do …” Zippy: “You want me to RELEASE th’ ball? … Because, I WILL if you want it!” Zippy: “… Oh, Zerbs … Let’s put aside this silly ARGUMENT … What do you say we TEAR UP th’ environment in this hot-wired DUNE BUGGY?” Zerbina: “You’re RIGHT! Let’s ditch FUN and go for LIFE-THREATENING!!” While the spoof on the trendiness...

A trajetória do Avaí Futebol Clube no Campeonato Brasileiro 2009: leitura de charges jornalísticas

Este trabalho oferece aos professores de Educação Física um respaldo teórico-crítico sobre análise semiótico-discursiva de charges jornalísticas de futebol nos veículos impressos da Grande Florianópolis. Trata-se de uma leitura do desempenho do Avaí F. C. no Campeonato Brasileiro de 2009, a partir das charges produzidas de maio a dezembro daquele ano por Zé Dassilva (Diário Catarinense), Mendes (Notícias do Dia) e Adorno (Hora de Santa Catarina). O percurso analítico leva em conta uma escolha peculiar de charges, dispostas cronologicamente, que se destacam por evidenciar alguns fenômenos e elementos constituintes dos processos semiósicos e discursivos das narrativas da performance do Leão, ao longo do campeonato, como metaforização e metonimização.