The growing influence of the visual media in contemporary society is quite alarming; hence, learning to explicate them is inevitable. This is a paradigm shift from verbal argumentation to visual argumentation. The aim of this article is to contribute to the understanding of visual analysis and visual literacy, a part of discourse analysis. Visuals employ a number of rhetorical devices; however, understanding the effectiveness of these devices is still a challenge. Adopting Visual Argumentation Theory, the article analyzes argumentation in (...) class='Hi'>cartoons on the post-election violence that rocked Kenya in 2007/2008. From the analyses, it is concluded that visuals can argue as simply and forcefully as their verbal counterparts. The blending of caricature and portraiture makes them even more explicit as portraiture denotes the characters so that we can recognize who they are; caricature ridicules them, analogy attributes actions to them in a satirical or sarcastic way, and cultural memory is needed to access the reference to the analogies. Visuals are designed to make the reader think not only about the event or the people being portrayed but also about the message being communicated. This means visuals have the ability to stretch the truth beyond caricature or mere amusement. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 544-555, May 2022. Despite growing evidence that production of cartoons and caricatures of Muhammad causes deep hurt to Muslims across the world, European leaders are refusing to restrict their publication in the name of free speech. This article questions this position on three counts: one, the hurt these cartoons cause to the Muslims and the resulting frictions between Europe and leaders of the Muslim countries; two, the harm they (...) cause to European societies by increasing the tension between Muslims and ordinary citizens and the state at a time when Islamophobia and anti-immigrant feelings are already high; and, three, the need to question the intent of those publishing the cartoons given the overwhelming evidence on the first two counts. The article also questions the legitimacy and usefulness of labelling attacks triggered in response to these publications as ‘Islamic terrorism’ when the profiles of those perpetuating these attacks show criminal and deviant behaviour than evidence of religious devotion. The usefulness of using labels that make actions of a few taint whole of Islam, and Muslims as a collective, needs to be debated. (shrink)

Despite growing evidence that production of cartoons and caricatures of Muhammad causes deep hurt to Muslims across the world, European leaders are refusing to restrict their publication in the name of free speech. This article questions this position on three counts: one, the hurt these cartoons cause to the Muslims and the resulting frictions between Europe and leaders of the Muslim countries; two, the harm they cause to European societies by increasing the tension between Muslims and ordinary (...) citizens and the state at a time when Islamophobia and anti-immigrant feelings are already high; and, three, the need to question the intent of those publishing the cartoons given the overwhelming evidence on the first two counts. The article also questions the legitimacy and usefulness of labelling attacks triggered in response to these publications as ‘Islamic terrorism’ when the profiles of those perpetuating these attacks show criminal and deviant behaviour than evidence of religious devotion. The usefulness of using labels that make actions of a few taint whole of Islam, and Muslims as a collective, needs to be debated. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 544-555, May 2022. Despite growing evidence that production of cartoons and caricatures of Muhammad causes deep hurt to Muslims across the world, European leaders are refusing to restrict their publication in the name of free speech. This article questions this position on three counts: one, the hurt these cartoons cause to the Muslims and the resulting frictions between Europe and leaders of the Muslim countries; two, the harm they (...) cause to European societies by increasing the tension between Muslims and ordinary citizens and the state at a time when Islamophobia and anti-immigrant feelings are already high; and, three, the need to question the intent of those publishing the cartoons given the overwhelming evidence on the first two counts. The article also questions the legitimacy and usefulness of labelling attacks triggered in response to these publications as ‘Islamic terrorism’ when the profiles of those perpetuating these attacks show criminal and deviant behaviour than evidence of religious devotion. The usefulness of using labels that make actions of a few taint whole of Islam, and Muslims as a collective, needs to be debated. (shrink)

Gossip is rarely praised. There seems little virtuous that is about talking behind someone’s back. Whether there is anything virtuous about gossip, however, depends on the kind of gossip. Some gossip is idle, but some evaluative gossip promulgates and enforces norms. When properly motivated, such gossip effects positive change in society and counts as gossiping well. The virtue of gossiping well even includes some kinds of false gossip, namely the sort that exaggerates a pre-existing trait, thereby creating a caricature of (...) a person’s character in order to establish a moral exemplar (or anti-exemplar). (shrink)

Thalēs -- Pythagoras -- Parmenidēs -- Dēmokritos -- Empedoklēs -- Prōtagoras -- Sōkratēs -- Platōn -- Aristotelēs -- Diogenēs Epikouors -- Markos Aurēlios -- Chenkel -- Nitse.

A caricature can reveal an aspect of its subject that a more faithful representation would fail to render: by depicting a slow and clumsy person as a monkey one can point out such qualities of the depicted subject, and by depicting a person with quite big ears as a person with enormous ears one can point out that the depicted person has rather big ears. How can a form of representation that is by definition inaccurate be so representationally powerful? Figurative (...) language raises a similar puzzle. Metaphors, taken at face value, are usually false: men are not wolves. The same goes for hyperbolic talk: Putnam did not change his position one billion times in his career. Still, figurative language is expressively powerful: by saying that human beings are wolves or that Putnam changed his position one billion times in his career one conveys, in a very vivid way, some true information about the world (something concerning the facts that human beings are cruel and that Putnam frequently changed opinion). Kendall Walton (1993) provides an elegant explanation of the expressive utility of figurative language by linking metaphor and prop oriented make-believe. We explore the hypothesis that the theory of prop oriented make-believe can also explain the representational efficacy of caricatures. (shrink)

Our aim in this essay is to take a look at cartoons under philosophical light. What are some of the similarities between philosophy and the art of cartooning? In what ways can cartoons be helpful to philosophy? What are some of the problems cartoons pose for philosophy? Perhaps the most basic philosophical question concerning cartoons is, “What is a cartoon?”. We argue that it is not easy to pin down necessary and sufficient conditions for something being (...) a cartoon. We defend the view that cartoons form a class whose members are interconnected with the Wittgensteinian “family resemblance” relations. We then look into the problems involved in finding a connectionist parallel-processing correlate of the Wittgensteinian notion in the context of cartoons. (shrink)

Un jeu subtil associant les dimensions visuelles, culturelles ou sociales s’établit entre l’utilisateur de la règle et son destinataire. L’étude des différentes méthodes employées met en lumière cette dynamique du discours juridique. Cette nécessité de spécifier les rôles, de montrer les visages multiples a pour vocation de rendre sensible et conscient le locuteur au pluralisme organisé dans le discours juridique. C’est dans la multiplicité que le discours peut s’avérer fragile, susceptible de rupture dans la compréhension de sens.

Quantum theory is one of science's most thrilling, challenging and even mysterious areas. Scientists such as Planck, Einstein, Bohr, Heisenberg and Schrödinger uncovered bizarre paradoxes in the early 20th century that seemed to destroy the fundamental assumptions of 'classical physics' - the basic laws we are taught in school. Notoriously difficult, quantum theory is nonetheless an amazing and inspiring intellectual adventure, explained here with patience, wit and clarity.

Teksten van 12 moderne filosofen over de mens.

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 269-292.

This anthology is divided into two parts: religious laughter and laughing at religion. Caricature of religion through cartoons and the consequent politics is also examined through an analysis of Greek history. That guilelessness and simplicity are core spiritual values and spirituality has a close connection with humour is well established through this work.

This article explores the distinctive artistic form of caricature and the philosophical treatment it receives in the work of Karl Rosenkranz (1805–1879), who gives it a central role in the context of his remarkable book The Aesthetics of Ugliness (Die Ästhetik des Hässlichen). Rosenkranz’ legacy on this score is not much discussed (certainly in Anglo-American philosophical circles), but its importance for the development of post-eighteenth-century aesthetics—in particular, for an aesthetics that stretches beyond the conventional concerns with the beautiful and the (...) sublime—can hardly be overstated. After a presentation of Rosenkranz’ project on the aesthetics of ugliness, this article examines his take on caricature and its relation to philosophy (as well as philosophy’s relation to caricature), and then takes up some pressing contemporary questions that arise for caricature’s use of stereotypes. (shrink)

Provides lessons on the art of cartooning along with information on terminology, tools, techniques, and theory.

Chinese animation of the beginning of the XXI century shows significant progress. A number of cartoons and animated series have been released. The hypothesis of the study is that their imagery, plots, and artistic features differ from foreign cartoons and gradually acquire a national identity. This process began in the 2000s, and its pace is only increasing, while it arouses interest from foreign studies, including Russian ones. The typological analysis of the images of the characters of famous Chinese (...) cartoons created at the beginning of the XXI century, as well as the analysis of stylistic and artistic features used by the authors to convey the uniqueness of the character, as well as to emphasize its belonging to Chinese culture, is the main problem of the article. The purpose of this research is to study the specifics of modern Chinese cartoon characters, to identify the features of the development process and the formation of their individual traits in accordance with national characteristics. Chinese animators tend to use the language of traditional art, attributes and symbols characteristic of the national culture. An appeal to the analysis of modern cartoon pictures allows us to highlight the main features of animated characters "with Chinese specifics". In addition, it is of interest to compare the features of the formation of images associated with China in foreign animated films and the characteristic features of characters appearing in the works of modern Chinese animators. (shrink)

Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What is the proper reaction to these kinds of provocative jokes once the (...) possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 530-543, May 2022. Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What (...) is the proper reaction to these kinds of provocative jokes once the possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? (shrink)

Philosophical debate over the infamous Danish cartoons of Muhammad continues.

Political cartoons make meaning by drawing on scenarios that must be immediately recognizable by their intended audience. Crucial meaning-making mechanisms in these scenarios are verbo-visual ensembles of metaphors and metonymies. In this paper we investigate 69 Chinese and 60 American political cartoons published in 2018 and 2019 that pertain to the two nations’ trade conflict. By examining the cross-cultural similarities and differences between metaphors and metonymies, we chart how Chinese and American cartoonists portray this trade conflict. We end (...) by showing how a complete interpretation of the cartoons requires enrichment with insights provided by yet other analytical instruments. (shrink)

This paper offers a novel interpretation of the 1890 British Ultimatum, by bringing to the front of the stage its techno-diplomatic dimension, often invisible in the canonical diplomatic and military narratives. Furthermore, we use an unconventional historical source to grasp the British–Portuguese imperial conflict over the African hinterland via the building of railways: the cartoons of the politically committed and polyvalent Portuguese artist and journalist Rafael Bordalo Pinheiro (1846–1905), published in his journal Ponto nos iis, from the end of (...) 1889 and throughout 1890. We argue that the Ponto nos iis cartoons played a so far overlooked role in the unfolding of British–Portuguese affairs, as they shaped at a distance a diplomatic exchange with the British satirical journal Punch. Attacking and counterattacking his fellow cartoonists in Britain, Pinheiro surged into the role of informal diplomat. This cartoon visual and public diplomacy unfolded in the pages of both journals and was tied to the two countries’ colonial conquests in Africa, where the Portuguese and British empires were competing to dominate the African hinterland through large technological systems. Hence the cartoons made visible to wider audiences the otherwise hidden role that technologies played in the two countries’ affairs. In turn, the cartoons aimed at persuading the Portuguese public and ruling classes alike that only regime change, from monarchic to republican, would restore the wounded Portuguese national pride. (shrink)

Pedagogical situations require white lies: in teaching philosophy we make decisions about what to omit, what to emphasise, and what to distort. This article considers when it is permissible to distort the historical record, arguing for a tempered respect for the historical facts. It focuses on the rationalist/empiricist distinction, which still frames most undergraduate early modern courses despite failing to capture the intellectual history of that period. It draws an analogy with Michael Strevens's view on idealisation in causal explanation to (...) distinguish between myths and caricatures. Myths are distortions of the historical record that undermine students' understanding of the past, despite having other pedagogical benefits. Caricatures are distortions that either increase or are indifferent to understanding of the past. Mythmaking, the article argues, is unjustified. (shrink)

Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What is the proper reaction to these kinds of provocative jokes once the (...) possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? (shrink)

ABSTRACTTwo studies examined anger and shame, and their associated appraisals and behavioral intentions, in response to harm to an in-group's social-image. In Study 1, 37 British Muslims reported incidents in which they were devalued as Muslims. In Study 2, 108 British Muslims were presented with objective evidence of their in-group's devaluation: the controversial cartoons about Prophet Muhammad The appraisal of harm to social-image predicted anger and shame, whereas the appraisal of offense only predicted anger. Anger was a more empowering (...) response than shame, as anger predicted willingness for public confrontation, institutional punishment, and written disapproval. In contrast, shame only predicted written disapproval. Furthermore, independent of individual differences in identification as Muslim, a mediation model showed that individual differences in honor orientation pre... (shrink)

The article investigates the political cartoon construction of two major `players' on the contemporary political stage, and the semio-linguistic and visual rhetorical tools used to achieve this construction, through an analysis of semiotic-discursive aspects of a small corpus of political cartoons in English and Arabic, all about the two `players' — George W. Bush and Osama bin Laden — in the aftermath of 9/11 and within the ongoing `war on terror', followed by a more detailed analysis of two political (...) cartoon texts from the corpus — one in Arabic about Bush and the other in English about bin Laden. A rationale for the combination of semiotics and critical discourse analysis and a discussion of the nature and functions of political cartoon are provided. These are followed by a review of the relevant literature with a focus on political cartoons. The analysis, drawing upon the `dispositive' model and the incongruity theory of humor, addresses the verbal and visual aspects of the cartoons, instances of blending, incongruity and visual metaphors therein. Some major notions in CDA, for example Van Dijk's ideological square and Chilton's legitimation and proximization, are also utilized in examining the sample cartoons. The detailed analysis of the two cartoons elaborates on the salient features and generic aspects of the sample, specifically on incongruity, blending and visual metaphor, toward an understanding of the messages of the cartoons, the tools used to convey these messages and how they contribute to the ongoing war of ideological misrepresentation. (shrink)

During the Danish cartoons controversy in 2005–2006, a group of ambassadors to Denmark representing eleven predominantly Muslim countries requested a meeting with the Danish Prime Minister, Anders Fogh Rasmussen, to protest against the cartoons. Rasmussen interpreted their viewpoint as one of demanding limits to freedom of speech and he ignored their request for a meeting. Drawing on this case study, the article argues that it is an appropriate, and potentially effective, moral criticism of anyone who is in a (...) position of political power—taking into account reasonable constraints of feasibility and practicality—that they have refused to receive information, ideas, or opinions from individuals, or their representatives, with dissenting viewpoints. The article also articulates one possible theoretical ground for such a moral criticism: that they could be violating a fundamental moral right of people to submit information, ideas, or opinions to those who wield power over them and to be meaningfully heard—a right which can span state borders. (shrink)

Autonomy is increasingly rejected as a fundamental principle by liberal political theorists because it is regarded as incompatible with respect for diversity. This article seeks, via an analysis of the Danish cartoon controversy, to show that the relationship between autonomy and diversity is more complex than often posited. Particularly, it asks whether the autonomy defense of freedom of expression encourages disrespect for religious feelings. Autonomy leads to disrespect for diversity only when it is understood as a character ideal that must (...) be promoted as an end in itself. If it by contrast is understood as something we should presume everyone possesses, it provides a strong basis for equal respect among people from diverse cultures. A Kantian conception of autonomy can justify the right to freedom of expression while it at the same time requires that we in the exercise of freedom of expression show respect for others as equals. (shrink)

A cartoon description of the goals of cognitive science and neuroscience might read respectively “How the mind works” and “How the brain works.” In this caricature, there would seem to be little overlap in the vocabularies employed by each domain. The cartoon cognitive scientist could speak at length about decision making and short‐term memory in a relatively self‐consistent manner, without any need to make reference to the language of neuroscience. Likewise, the cartoon neuroscientist could provide an immense body of physical (...) detail about the function of neurons, synapses, and their component parts. She could even build models about how collections of neurons work together, or even how they might have developed. (shrink)

This paper presents the first results of an ongoing semiotic research over TV series targeted to early childhood in Italy. In particular, it focuses on discussing and explaining the great success of the animated series Peppa Pig aired in Italy on the thematic channel Rai YoYo, by comparing it with other series available in the same channel, in the period of its first launch. Most of the programs taken into account refers to animals with the purpose of using them as (...) a mean to speak about manhood, in a simplified and appealing way. Nothing new. Fairy tales have always been filled with animals to mean vices and virtues of the humans. Aim of the paper is to reveal the complexity of such reference to animals in Peppa Pig’s stories. This goal will be achieved by comparing it to another series which references to pigs aired simultaneously in the same Italian network. Moreover, this paper will consider other animals embodying the bouquet of meaning proposals offered by Rai YoYo: a dog and some shapeless creatures known as Barbapapas. As a conclusion of such enquire a synthetic model which positions each of the series analyzed will be presented. (shrink)