Paul M. Sniderman, Michael Bang Petersen, Rune Slothuus, and Rune Stubager
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691161105
- eISBN:
- 9781400852673
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161105.001.0001
- Subject:
- Political Science, Democratization
In 2005, twelve cartoons mocking the prophet Mohammed appeared in the Danish newspaper Jyllands-Posten, igniting a political firestorm over demands by some Muslims that the claims of their religious ...
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In 2005, twelve cartoons mocking the prophet Mohammed appeared in the Danish newspaper Jyllands-Posten, igniting a political firestorm over demands by some Muslims that the claims of their religious faith take precedence over freedom of expression. Given the explosive reaction from Middle Eastern governments, Muslim clerics, and some Danish politicians, the stage was set for a backlash against Muslims in Denmark. But no such backlash occurred. This book shows how the majority of ordinary Danish citizens provided a solid wall of support for the rights of their country's growing Muslim minority, drawing a sharp distinction between Muslim immigrants and Islamic fundamentalists and supporting the civil rights of Muslim immigrants as fully as those of fellow Danes—for example, Christian fundamentalists. Building on randomized experiments conducted as part of large, nationally representative opinion surveys, the book also demonstrates how the moral covenant underpinning the welfare state simultaneously promotes equal treatment for some Muslim immigrants and opens the door to discrimination against others. Revealing the strength of Denmark's commitment to democratic values, the book underlines the challenges of inclusion but offers hope to those seeking to reconcile the secular values of liberal democracy and the religious faith of Muslim immigrants in Europe.Less
In 2005, twelve cartoons mocking the prophet Mohammed appeared in the Danish newspaper Jyllands-Posten, igniting a political firestorm over demands by some Muslims that the claims of their religious faith take precedence over freedom of expression. Given the explosive reaction from Middle Eastern governments, Muslim clerics, and some Danish politicians, the stage was set for a backlash against Muslims in Denmark. But no such backlash occurred. This book shows how the majority of ordinary Danish citizens provided a solid wall of support for the rights of their country's growing Muslim minority, drawing a sharp distinction between Muslim immigrants and Islamic fundamentalists and supporting the civil rights of Muslim immigrants as fully as those of fellow Danes—for example, Christian fundamentalists. Building on randomized experiments conducted as part of large, nationally representative opinion surveys, the book also demonstrates how the moral covenant underpinning the welfare state simultaneously promotes equal treatment for some Muslim immigrants and opens the door to discrimination against others. Revealing the strength of Denmark's commitment to democratic values, the book underlines the challenges of inclusion but offers hope to those seeking to reconcile the secular values of liberal democracy and the religious faith of Muslim immigrants in Europe.
Ben Brubaker, Daniel Bump, and Solomon Friedberg
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691150659
- eISBN:
- 9781400838998
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150659.003.0008
- Subject:
- Mathematics, Combinatorics / Graph Theory / Discrete Mathematics
This chapter introduces a method of marking up a short Gelfand-Tsetlin pattern based on inequalities between its entries, that encodes the effect of the involution t 7 → t′ and the boxing and ...
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This chapter introduces a method of marking up a short Gelfand-Tsetlin pattern based on inequalities between its entries, that encodes the effect of the involution t 7 → t′ and the boxing and circling of its accordion. This will have another benefit: it will lead to the decomposition of the pattern into pieces called episodes that will ultimately lead to the reduction to the totally resonant case. The proof is easily checked using standard properties of Gauss sums. To define the cartoon, the chapter takes a slightly more formal approach to the short Gelfand-Tsetlin patterns. The vertices of the cartoon will be the elements of the substrate Θ, and the edges must be defined.Less
This chapter introduces a method of marking up a short Gelfand-Tsetlin pattern based on inequalities between its entries, that encodes the effect of the involution t 7 → t′ and the boxing and circling of its accordion. This will have another benefit: it will lead to the decomposition of the pattern into pieces called episodes that will ultimately lead to the reduction to the totally resonant case. The proof is easily checked using standard properties of Gauss sums. To define the cartoon, the chapter takes a slightly more formal approach to the short Gelfand-Tsetlin patterns. The vertices of the cartoon will be the elements of the substrate Θ, and the edges must be defined.
Ben Brubaker, Daniel Bump, and Solomon Friedberg
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691150659
- eISBN:
- 9781400838998
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150659.003.0012
- Subject:
- Mathematics, Combinatorics / Graph Theory / Discrete Mathematics
This chapter introduces the Knowability Lemma, which explains when products of Gauss sums associated to elements of a preaccordion are explicitly evaluable as polynomials in q, the order of the ...
More
This chapter introduces the Knowability Lemma, which explains when products of Gauss sums associated to elements of a preaccordion are explicitly evaluable as polynomials in q, the order of the residue class field. It considers an episode in the cartoon associated to the short Gelfand-Tsetlin pattern and the three cases that apply according to the Knowability Lemma, two of which are maximality and knowability. Knowability is not important for the proof that Statement C implies Statement B. The chapter discusses the cases where ε is Class II or Class I, leaving the remaining two cases to the reader. It also describes the variant of the argument for the case that ε is of Class I, again leaving the two other cases to the reader.Less
This chapter introduces the Knowability Lemma, which explains when products of Gauss sums associated to elements of a preaccordion are explicitly evaluable as polynomials in q, the order of the residue class field. It considers an episode in the cartoon associated to the short Gelfand-Tsetlin pattern and the three cases that apply according to the Knowability Lemma, two of which are maximality and knowability. Knowability is not important for the proof that Statement C implies Statement B. The chapter discusses the cases where ε is Class II or Class I, leaving the remaining two cases to the reader. It also describes the variant of the argument for the case that ε is of Class I, again leaving the two other cases to the reader.
William Kostlevy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195377842
- eISBN:
- 9780199777204
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195377842.003.0005
- Subject:
- Religion, Church History
First noted for its demonstrative worship, the MCA’s periodical the Burning Bush employing the standard practices of early twentieth century muckraking journalism such as printing legal documents, ...
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First noted for its demonstrative worship, the MCA’s periodical the Burning Bush employing the standard practices of early twentieth century muckraking journalism such as printing legal documents, private correspondence and most notable cartoons critical of Holiness Movement, public religious and political figures had become notorious by 1903. Other religious institutions followed. These included a camp meeting, a Bible School orphanage, and sending of evangelists across the Midwest and the North East. At the Buffalo Rock Camp Meeting of 1902, MCA leaders’ first public embraced the practice of giving up personal property. As 1902 ended, an MCA campaign in New England resulted in the conversion of prominent New England holiness radicals, such as African American Susan Fogg to the MCA.Less
First noted for its demonstrative worship, the MCA’s periodical the Burning Bush employing the standard practices of early twentieth century muckraking journalism such as printing legal documents, private correspondence and most notable cartoons critical of Holiness Movement, public religious and political figures had become notorious by 1903. Other religious institutions followed. These included a camp meeting, a Bible School orphanage, and sending of evangelists across the Midwest and the North East. At the Buffalo Rock Camp Meeting of 1902, MCA leaders’ first public embraced the practice of giving up personal property. As 1902 ended, an MCA campaign in New England resulted in the conversion of prominent New England holiness radicals, such as African American Susan Fogg to the MCA.
Kerry D. Soper
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496817280
- eISBN:
- 9781496817327
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817280.001.0001
- Subject:
- Literature, Comics Studies
This book explores Gary Larson’s unlikely career as the creator of the groundbreaking, syndicated panel cartoon, The Far Side. To help contemporary readers understand the controversial qualities and ...
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This book explores Gary Larson’s unlikely career as the creator of the groundbreaking, syndicated panel cartoon, The Far Side. To help contemporary readers understand the controversial qualities and cultural significance of Larson’s work, the author recreates the historical context in which The Far Side first emerged: the early 1980s when “family-friendly” mainstream mediums like the newspaper comics page were largely intolerant of alternative worldviews or irreverent brands of comedy. As a self-taught cartooning auteur with a morbid sense of humor and subversively scientific perspective on life, Larson resisted or bypassed most of the established rules about “appropriate” art and comedy on the Funnies Page. That independence allowed him to introduce a set of innovative aesthetic devices, comedic tones, and philosophical frames that challenged and delighted many readers, while upsetting and confusing others. In sum, this book reminds old fans and new readers of the ways that Larson’s iconoclastic work and career effectively broadened the culture’s palate for alternative comedy, profoundly shaping the worldviews and comedic sensibilities of a generation of cartoonists, comedy writers and every day readers.Less
This book explores Gary Larson’s unlikely career as the creator of the groundbreaking, syndicated panel cartoon, The Far Side. To help contemporary readers understand the controversial qualities and cultural significance of Larson’s work, the author recreates the historical context in which The Far Side first emerged: the early 1980s when “family-friendly” mainstream mediums like the newspaper comics page were largely intolerant of alternative worldviews or irreverent brands of comedy. As a self-taught cartooning auteur with a morbid sense of humor and subversively scientific perspective on life, Larson resisted or bypassed most of the established rules about “appropriate” art and comedy on the Funnies Page. That independence allowed him to introduce a set of innovative aesthetic devices, comedic tones, and philosophical frames that challenged and delighted many readers, while upsetting and confusing others. In sum, this book reminds old fans and new readers of the ways that Larson’s iconoclastic work and career effectively broadened the culture’s palate for alternative comedy, profoundly shaping the worldviews and comedic sensibilities of a generation of cartoonists, comedy writers and every day readers.
Ben Brubaker, Daniel Bump, and Solomon Friedberg
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691150659
- eISBN:
- 9781400838998
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691150659.003.0011
- Subject:
- Mathematics, Combinatorics / Graph Theory / Discrete Mathematics
This chapter divides the prototypes into much smaller units called types. It fixes a top and bottom row, and therefore a cartoon. For each episode ε of the cartoon, the chapter fixes an integer ...
More
This chapter divides the prototypes into much smaller units called types. It fixes a top and bottom row, and therefore a cartoon. For each episode ε of the cartoon, the chapter fixes an integer κsubscript Greek small letter epsilon. Then the set of all short Gelfand-Tsetlin patterns with the given top and bottom rows is called a type. Thus two patterns are in the same type if and only if they have the same top and bottom rows (and hence the same cartoon), and if the sum of the first (middle) row elements in each episode is the same for both patterns. The possible episodes may be grouped into four classes: Class I, II, III, and IV.Less
This chapter divides the prototypes into much smaller units called types. It fixes a top and bottom row, and therefore a cartoon. For each episode ε of the cartoon, the chapter fixes an integer κsubscript Greek small letter epsilon. Then the set of all short Gelfand-Tsetlin patterns with the given top and bottom rows is called a type. Thus two patterns are in the same type if and only if they have the same top and bottom rows (and hence the same cartoon), and if the sum of the first (middle) row elements in each episode is the same for both patterns. The possible episodes may be grouped into four classes: Class I, II, III, and IV.
Jerome Neu
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780195314311
- eISBN:
- 9780199871780
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195314311.003.0008
- Subject:
- Philosophy, Philosophy of Language
The Danish Muhammad cartoons enflamed much of the Muslim world. What does respect for another religion require? Must non‐believers follow all of its dictates? Which? Why? Heresy by fellow believers ...
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The Danish Muhammad cartoons enflamed much of the Muslim world. What does respect for another religion require? Must non‐believers follow all of its dictates? Which? Why? Heresy by fellow believers depends on the content of the beliefs. Is it the manner or matter of disagreement and/or disregard that makes for the disrespect in blasphemy? Some of the history of blasphemy law in England and the United States is considered.Less
The Danish Muhammad cartoons enflamed much of the Muslim world. What does respect for another religion require? Must non‐believers follow all of its dictates? Which? Why? Heresy by fellow believers depends on the content of the beliefs. Is it the manner or matter of disagreement and/or disregard that makes for the disrespect in blasphemy? Some of the history of blasphemy law in England and the United States is considered.
Paul M. Sniderman, Michael Bang Petersen, Rune Slothuus, and Rune Stubager
- Published in print:
- 2014
- Published Online:
- October 2017
- ISBN:
- 9780691161105
- eISBN:
- 9781400852673
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691161105.003.0001
- Subject:
- Political Science, Democratization
This introductory chapter sets out the book's purpose, which is to analyze the political controversy generated by the publication of twelve cartoons, some satirizing the prophet Mohammed, by Danish ...
More
This introductory chapter sets out the book's purpose, which is to analyze the political controversy generated by the publication of twelve cartoons, some satirizing the prophet Mohammed, by Danish newspaper Jyllands-Posten in 2005. The reactions of some Middle Eastern governments and religious leaders outside Denmark, not to mention those of some Danish politicians, could not have been better calculated to provoke a backlash against Muslims in Denmark. But there was no backlash, which is, by orders of magnitude, the most important finding. The chapter then explains the present study offers that its many predecessors have not and explains underlying concepts, including the role of categorization in political judgments, the notion of opposing forces, and the paradoxical ethos of liberal democracy.Less
This introductory chapter sets out the book's purpose, which is to analyze the political controversy generated by the publication of twelve cartoons, some satirizing the prophet Mohammed, by Danish newspaper Jyllands-Posten in 2005. The reactions of some Middle Eastern governments and religious leaders outside Denmark, not to mention those of some Danish politicians, could not have been better calculated to provoke a backlash against Muslims in Denmark. But there was no backlash, which is, by orders of magnitude, the most important finding. The chapter then explains the present study offers that its many predecessors have not and explains underlying concepts, including the role of categorization in political judgments, the notion of opposing forces, and the paradoxical ethos of liberal democracy.
Daniel Goldmark
- Published in print:
- 2005
- Published Online:
- May 2012
- ISBN:
- 9780520236172
- eISBN:
- 9780520941205
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520236172.003.0007
- Subject:
- Music, History, American
With the demise of the animation units run by or for major Hollywood companies, the power shifted to independent animation studios that could supply the seemingly insatiable demand for children's ...
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With the demise of the animation units run by or for major Hollywood companies, the power shifted to independent animation studios that could supply the seemingly insatiable demand for children's television programming. In the 1970s and 1980s, Hanna-Barbera, Filmation, DIC, Ruby-Spears, and other film studios paid little attention to (or money for) such luxuries as unique sound effects or original music. At the same time, there was an explosion of cartoons featuring rock bands, including Pebbles and Bamm-Bamm, Josie and the Pussycats, and Jabberjaw. A renaissance in cartoon production occurred in the late 1980s. Reawakened interest in the now-classic Warner Bros. cartoons led Steven Spielberg to produce Tiny Toon Adventures, based on Warner stars and cartoons. At the same time, networks and cable channels commissioned entirely novel series, including Rugrats, Animaniacs, Batman, and Doug. Moreover, contemporary popular music has become a fundamental element in contemporary cartoons. And, of course, we cannot overlook the road map for cartoon music drawn by Carl Stalling and Scott Bradley some seventy-five years ago.Less
With the demise of the animation units run by or for major Hollywood companies, the power shifted to independent animation studios that could supply the seemingly insatiable demand for children's television programming. In the 1970s and 1980s, Hanna-Barbera, Filmation, DIC, Ruby-Spears, and other film studios paid little attention to (or money for) such luxuries as unique sound effects or original music. At the same time, there was an explosion of cartoons featuring rock bands, including Pebbles and Bamm-Bamm, Josie and the Pussycats, and Jabberjaw. A renaissance in cartoon production occurred in the late 1980s. Reawakened interest in the now-classic Warner Bros. cartoons led Steven Spielberg to produce Tiny Toon Adventures, based on Warner stars and cartoons. At the same time, networks and cable channels commissioned entirely novel series, including Rugrats, Animaniacs, Batman, and Doug. Moreover, contemporary popular music has become a fundamental element in contemporary cartoons. And, of course, we cannot overlook the road map for cartoon music drawn by Carl Stalling and Scott Bradley some seventy-five years ago.
Anne Norton
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691157047
- eISBN:
- 9781400846351
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691157047.003.0002
- Subject:
- Political Science, Political Theory
This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm ...
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This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm of religion, custom, and tradition, has long been part of spectacles in the Western public sphere. Ayatollah Khomeini gave new life to these civilizational theatrics when he issued a fatwa calling for the assassination of Salman Rushdie, whose The Satanic Verses became the center of a controversy that cast freedom of speech as a Muslim question. However, the martyr to free speech was not Rushdie but Theo van Gogh, the murdered producer of the film Submission. The chapter shows how the dramas surrounding Rushdie, van Gogh, the Danish cartoons and the satirical magazine Charlie Hebdo's copycat cartoon provocations mark Muslims as the enemies of free speech.Less
This chapter examines how the Muslim question has been linked to the question of freedom of speech. A clash of civilizations that saw the West as the realm of enlightenment, and Muslims in the realm of religion, custom, and tradition, has long been part of spectacles in the Western public sphere. Ayatollah Khomeini gave new life to these civilizational theatrics when he issued a fatwa calling for the assassination of Salman Rushdie, whose The Satanic Verses became the center of a controversy that cast freedom of speech as a Muslim question. However, the martyr to free speech was not Rushdie but Theo van Gogh, the murdered producer of the film Submission. The chapter shows how the dramas surrounding Rushdie, van Gogh, the Danish cartoons and the satirical magazine Charlie Hebdo's copycat cartoon provocations mark Muslims as the enemies of free speech.
Ivan Hare and James Weinstein (eds)
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199548781
- eISBN:
- 9780191720673
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199548781.001.0001
- Subject:
- Law, Human Rights and Immigration
A commitment to free speech is a fundamental precept of all liberal democracies. However, democracies differ significantly when addressing the permissibility of laws regulating certain kinds of ...
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A commitment to free speech is a fundamental precept of all liberal democracies. However, democracies differ significantly when addressing the permissibility of laws regulating certain kinds of speech, especially extreme speech. In the United States, for instance, the commitment to free speech has been held by the Supreme Court to protect the public expression of even the most noxious racist ideology. In contrast, in almost every other democracy governments enjoy considerable leeway to restrict racist and other types of extreme expression. What accounts for the marked differences in attitude towards the constitutionality of hate speech regulation? Does hate speech regulation violate the core free speech principle constitutive of democracy? Or do values such as the commitment to equality or individual dignity legitimately override the right to free speech in some circumstances? In attempting to answer these and other questions, this book focuses on highly topical issues such as homophobic speech, Holocaust denial, incitement to terrorism, veiling controversies, and the Danish cartoons depicting the Prophet Muhammad. It includes interdisciplinary perspectives from law, philosophy, history, psychology, and literature, and provides comparative perspectives from experts in various countries including Australia, Canada, France, Germany, Hungary, and Israel, as well as from the United States and the United Kingdom.Less
A commitment to free speech is a fundamental precept of all liberal democracies. However, democracies differ significantly when addressing the permissibility of laws regulating certain kinds of speech, especially extreme speech. In the United States, for instance, the commitment to free speech has been held by the Supreme Court to protect the public expression of even the most noxious racist ideology. In contrast, in almost every other democracy governments enjoy considerable leeway to restrict racist and other types of extreme expression. What accounts for the marked differences in attitude towards the constitutionality of hate speech regulation? Does hate speech regulation violate the core free speech principle constitutive of democracy? Or do values such as the commitment to equality or individual dignity legitimately override the right to free speech in some circumstances? In attempting to answer these and other questions, this book focuses on highly topical issues such as homophobic speech, Holocaust denial, incitement to terrorism, veiling controversies, and the Danish cartoons depicting the Prophet Muhammad. It includes interdisciplinary perspectives from law, philosophy, history, psychology, and literature, and provides comparative perspectives from experts in various countries including Australia, Canada, France, Germany, Hungary, and Israel, as well as from the United States and the United Kingdom.
Anthony Harkins
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195189506
- eISBN:
- 9780199788835
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189506.003.0005
- Subject:
- History, Cultural History
This chapter explores the consequences of the 1934 emergence of three cartoons that would shape the graphic image of the hillbilly for decades to come: Paul Webb's Mountain Boys cartoon in Esquire ...
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This chapter explores the consequences of the 1934 emergence of three cartoons that would shape the graphic image of the hillbilly for decades to come: Paul Webb's Mountain Boys cartoon in Esquire magazine, Billy DeBeck's character “Snuffy Smith” in his Barney Google comic strip, and Al Capp's Li'l Abner. This explosion of hillbilly imagery reflected not only Depression-era public fear of economic collapse and social disintegration, but also the sudden fascination with mountain ways of life. Each of these works crystallized long-developing conceptions of mountaineer backwardness and social degeneracy; but they also presented a more sanguine vision of the durability of the American people and spirit and celebrated traditional values and culture. They thus mirrored the complicated mix of emotions and attitudes of Depression-era audiences in urban centers, as well as in the Southern mountain regions where the word-image was both repudiated and embraced.Less
This chapter explores the consequences of the 1934 emergence of three cartoons that would shape the graphic image of the hillbilly for decades to come: Paul Webb's Mountain Boys cartoon in Esquire magazine, Billy DeBeck's character “Snuffy Smith” in his Barney Google comic strip, and Al Capp's Li'l Abner. This explosion of hillbilly imagery reflected not only Depression-era public fear of economic collapse and social disintegration, but also the sudden fascination with mountain ways of life. Each of these works crystallized long-developing conceptions of mountaineer backwardness and social degeneracy; but they also presented a more sanguine vision of the durability of the American people and spirit and celebrated traditional values and culture. They thus mirrored the complicated mix of emotions and attitudes of Depression-era audiences in urban centers, as well as in the Southern mountain regions where the word-image was both repudiated and embraced.
Jessica Milner Davis and Jocelyn Chey (eds)
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9789888139231
- eISBN:
- 9789888180837
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139231.001.0001
- Subject:
- Society and Culture, Asian Studies
This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and ...
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This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and educational humour. The second of two multidisciplinary volumes on humour in Chinese life and letters, this text also explores the relationship between the political control and popular expression of humour, such as China and Japan's exchange of comic stereotypes. It advances the methodology of cross-cultural and psychological studies of humour and underlines the economic and personal significance of humour in modern times.Less
This volume covers modern and contemporary forms of humour in China's public and private spheres, including comic films and novels, cartooning, pop songs, internet jokes, and advertising and educational humour. The second of two multidisciplinary volumes on humour in Chinese life and letters, this text also explores the relationship between the political control and popular expression of humour, such as China and Japan's exchange of comic stereotypes. It advances the methodology of cross-cultural and psychological studies of humour and underlines the economic and personal significance of humour in modern times.
David Francis Taylor
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199642847
- eISBN:
- 9780191738869
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199642847.003.0008
- Subject:
- Literature, Drama, 18th-century Literature
In this conclusion, I use graphic satires by the likes of James Gillray, Isaac Cruikshank, and William Dent as a means of both reaffirming and problematizing Sheridan’s ‘theatrical politics’. ...
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In this conclusion, I use graphic satires by the likes of James Gillray, Isaac Cruikshank, and William Dent as a means of both reaffirming and problematizing Sheridan’s ‘theatrical politics’. Sheridan appeared in close to 500 political caricatures during his life, and a survey of these prints—which frequently appropriated the characters and vocabularies of his own plays, of Shakespeare’s works, and of the pantomime—shows how entrenched tensions between the propriety of parliament and the supposed impropriety of the playhouse provided a constant impediment to Sheridan’s political aspirations. The language of drama deployed in caricatures of Sheridan was powerfully charged with particular social and moral values: theatrical politics becomes, in such graphic satire, a lower-class politics of insincerity.Less
In this conclusion, I use graphic satires by the likes of James Gillray, Isaac Cruikshank, and William Dent as a means of both reaffirming and problematizing Sheridan’s ‘theatrical politics’. Sheridan appeared in close to 500 political caricatures during his life, and a survey of these prints—which frequently appropriated the characters and vocabularies of his own plays, of Shakespeare’s works, and of the pantomime—shows how entrenched tensions between the propriety of parliament and the supposed impropriety of the playhouse provided a constant impediment to Sheridan’s political aspirations. The language of drama deployed in caricatures of Sheridan was powerfully charged with particular social and moral values: theatrical politics becomes, in such graphic satire, a lower-class politics of insincerity.
Joe Sutliff Sanders (ed.)
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781496807267
- eISBN:
- 9781496807304
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496807267.001.0001
- Subject:
- Literature, Comics Studies
Hergé, the creator of Tintin, is one of the most important and influential figures in the history of comics. His style popularized what has become known as the “clear line” in cartooning, but these ...
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Hergé, the creator of Tintin, is one of the most important and influential figures in the history of comics. His style popularized what has become known as the “clear line” in cartooning, but these thirteen scholars show how his life and art were actually very complicated.
The book includes analyses of Hergé’s aesthetic techniques, including studies of his efforts to comprehend and represent absence and the rhythm of mundanity between panels of action. Broad views of his career explain how Hergé navigated changing ideas of air travel, and narrow readings of his life and work during Nazi occupation explain how the changing demands of the occupied press transformed his understanding of what comics could do. Other chapters explore the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these comics scholars from around the world attempt to answer a question Hergé himself never could: where his own legacy would fall between high art and low art. The book also reexamines Hergé’s place in the history of cartooning, considering how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a widely praised Chinese-American cartoonist and on to Turkey, where Tintin has been reinvented into something more specifically meaningful to an audience Hergé probably never anticipated.
With authors from five continents drawing on a variety of critical methods, the chapters of The Comics of Hergé show how rich comics can become when the lines blur.Less
Hergé, the creator of Tintin, is one of the most important and influential figures in the history of comics. His style popularized what has become known as the “clear line” in cartooning, but these thirteen scholars show how his life and art were actually very complicated.
The book includes analyses of Hergé’s aesthetic techniques, including studies of his efforts to comprehend and represent absence and the rhythm of mundanity between panels of action. Broad views of his career explain how Hergé navigated changing ideas of air travel, and narrow readings of his life and work during Nazi occupation explain how the changing demands of the occupied press transformed his understanding of what comics could do. Other chapters explore the fraught lines between high and low art. By reading the late masterpieces of the Tintin series, these comics scholars from around the world attempt to answer a question Hergé himself never could: where his own legacy would fall between high art and low art. The book also reexamines Hergé’s place in the history of cartooning, considering how the clear line style has been reinterpreted around the world, from contemporary Francophone writers to a widely praised Chinese-American cartoonist and on to Turkey, where Tintin has been reinvented into something more specifically meaningful to an audience Hergé probably never anticipated.
With authors from five continents drawing on a variety of critical methods, the chapters of The Comics of Hergé show how rich comics can become when the lines blur.
Talal Asad, Wendy Brown, Judith Butler, and Saba Mahmood
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780823251681
- eISBN:
- 9780823252862
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823251681.001.0001
- Subject:
- Religion, Philosophy of Religion
This book interrogates settled ways of thinking about the seemingly interminable conflict between religious and secular values in our world today. What are the assumptions and resources internal to ...
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This book interrogates settled ways of thinking about the seemingly interminable conflict between religious and secular values in our world today. What are the assumptions and resources internal to secular conceptions of critique that help or hinder our understanding of one of the most pressing conflicts of our times? Taking as its point of departure the question of whether critique belongs exclusively to forms of liberal democracy that define themselves in opposition to religion, the book considers the case of the “Danish cartoon controversy” of 2005. It offers accounts of reading, understanding, and critique for offering a way to rethink conventional oppositions between free speech and religious belief, judgment and violence, reason and prejudice, rationality and embodied life. The book, first published in 2009, has been updated for the present edition with a new Preface by the authors.Less
This book interrogates settled ways of thinking about the seemingly interminable conflict between religious and secular values in our world today. What are the assumptions and resources internal to secular conceptions of critique that help or hinder our understanding of one of the most pressing conflicts of our times? Taking as its point of departure the question of whether critique belongs exclusively to forms of liberal democracy that define themselves in opposition to religion, the book considers the case of the “Danish cartoon controversy” of 2005. It offers accounts of reading, understanding, and critique for offering a way to rethink conventional oppositions between free speech and religious belief, judgment and violence, reason and prejudice, rationality and embodied life. The book, first published in 2009, has been updated for the present edition with a new Preface by the authors.
Paul Marshall and Nina Shea
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199812264
- eISBN:
- 9780199919383
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199812264.003.0010
- Subject:
- Religion, Islam
Some of the larger and more famous recent attempts to export blasphemy restrictions from the Muslim world to the West have had such a complex and long lasting effect that they require particular ...
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Some of the larger and more famous recent attempts to export blasphemy restrictions from the Muslim world to the West have had such a complex and long lasting effect that they require particular examination. These are detailed in Chapter Ten and include the continuing affair of The Satanic Verses, renewed when author Salman Rushdie's was given a knighthood by the British government. The so-called “Danish Cartoons” crisis of 2005–2006 continues to reverberate when the images are republished or forbidden to be printed, as in 2009 when Yale University Press censored them and other images from a book detailing the cartoons crisis itself. Other examples include Newsweek's account of a Qur’an flushed down a toilet at Guantanamo, a report which was later disproved; Pope Benedict XVI's controversial speech at Regensburg; and Dutch Parliamentarian Geert Wilders's provocative film, Fitna. These upheavals frequently involved political manipulation. For example, the Danish cartoons were first published in September 2005 and republished, even in Egypt, Morocco, and Indonesia, without any outcry. Only in January 2006, following a decision by the OIC in its Mecca meeting to make an issue of the caricatures, did riots, violence and boycotts erupt and some 200 people die.Less
Some of the larger and more famous recent attempts to export blasphemy restrictions from the Muslim world to the West have had such a complex and long lasting effect that they require particular examination. These are detailed in Chapter Ten and include the continuing affair of The Satanic Verses, renewed when author Salman Rushdie's was given a knighthood by the British government. The so-called “Danish Cartoons” crisis of 2005–2006 continues to reverberate when the images are republished or forbidden to be printed, as in 2009 when Yale University Press censored them and other images from a book detailing the cartoons crisis itself. Other examples include Newsweek's account of a Qur’an flushed down a toilet at Guantanamo, a report which was later disproved; Pope Benedict XVI's controversial speech at Regensburg; and Dutch Parliamentarian Geert Wilders's provocative film, Fitna. These upheavals frequently involved political manipulation. For example, the Danish cartoons were first published in September 2005 and republished, even in Egypt, Morocco, and Indonesia, without any outcry. Only in January 2006, following a decision by the OIC in its Mecca meeting to make an issue of the caricatures, did riots, violence and boycotts erupt and some 200 people die.
John A. Lent
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781628461589
- eISBN:
- 9781626740853
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461589.001.0001
- Subject:
- Literature, Comics Studies
Asian Comics is the first book that covers the comics (comic books and magazines, humor/cartoon magazines, newspaper strips, graphic novels, and gag panels) of the continent − 16 countries in all. ...
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Asian Comics is the first book that covers the comics (comic books and magazines, humor/cartoon magazines, newspaper strips, graphic novels, and gag panels) of the continent − 16 countries in all. Broken into parts on East, Southeast, and South Asia, the book carefully surveys the history and contemporary status of comics, both from artistic and industrial perspectives and including main stream and alternative forms and points out trends, issues, and problems cartoonists face. Decades-long (more than 30 years) research was carried out through interviews with more than 400 comics-related individuals during about 60 trips to Asia for that purpose, observation in their studios/offices and homes, participation with cartoonists in many festivals, symposia, workshops, and lectures, and primary scrutiny of archives, government and other data. Interviewees included the fathers and an occasional mother of Asian comic art and the cream of the crop and some young cartoonists. The result is a structured blend of factual data, views of comics people, and fascinating anecdotes about how cartoonists broke in, their working habits and styles, and their contributions. Also interesting is the first chapter discussing the predecessors of contemporary Asian comic art in the form of paintings, sculptures, scrolls, and puppet drama that displayed caricature, wit and playfulness, satire, and sequential narrative. The book is enhanced by many illustrations and supported by a full bibliography and endnotes.Less
Asian Comics is the first book that covers the comics (comic books and magazines, humor/cartoon magazines, newspaper strips, graphic novels, and gag panels) of the continent − 16 countries in all. Broken into parts on East, Southeast, and South Asia, the book carefully surveys the history and contemporary status of comics, both from artistic and industrial perspectives and including main stream and alternative forms and points out trends, issues, and problems cartoonists face. Decades-long (more than 30 years) research was carried out through interviews with more than 400 comics-related individuals during about 60 trips to Asia for that purpose, observation in their studios/offices and homes, participation with cartoonists in many festivals, symposia, workshops, and lectures, and primary scrutiny of archives, government and other data. Interviewees included the fathers and an occasional mother of Asian comic art and the cream of the crop and some young cartoonists. The result is a structured blend of factual data, views of comics people, and fascinating anecdotes about how cartoonists broke in, their working habits and styles, and their contributions. Also interesting is the first chapter discussing the predecessors of contemporary Asian comic art in the form of paintings, sculptures, scrolls, and puppet drama that displayed caricature, wit and playfulness, satire, and sequential narrative. The book is enhanced by many illustrations and supported by a full bibliography and endnotes.
Libby Murphy
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780300217513
- eISBN:
- 9780300225006
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300217513.001.0001
- Subject:
- Literature, Criticism/Theory
The Art of Survival: France and the Great War Picaresque is a new literary and cultural history of the First World War in France. It offers readers a fresh perspective on wartime popular culture, ...
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The Art of Survival: France and the Great War Picaresque is a new literary and cultural history of the First World War in France. It offers readers a fresh perspective on wartime popular culture, uncovering the attitudes and outlooks of the people who lived through the war one hundred years ago. The book develops a counternarrative to postwar interpretations of the infantryman as passive victim or active resister, focusing instead on the mechanisms through which soldiers and civilians resigned themselves to the war but imagined themselves as survivors. They were able to do so by reactivating a form of storytelling-the picaresque-whose central concern had always been the survival of a nonheroic protagonist in a hostile and chaotic world. During the Great War, French novelists, journalists, graphic artists, and cultural critics drew both consciously and unconsciously upon the long and rich European picaresque tradition. With its spirit of self-preservation as opposed to self-sacrifice and its affirmation of the value of life over death, the picaresque was a literary and cultural mode uniquely appropriate for expressing and attenuating the anxieties provoked by modern, industrialized warfare. The French reinvented the picaro as an apt hero for the modern age and positioned the picaresque as the dominant ethos of the modern cultural imagination.Less
The Art of Survival: France and the Great War Picaresque is a new literary and cultural history of the First World War in France. It offers readers a fresh perspective on wartime popular culture, uncovering the attitudes and outlooks of the people who lived through the war one hundred years ago. The book develops a counternarrative to postwar interpretations of the infantryman as passive victim or active resister, focusing instead on the mechanisms through which soldiers and civilians resigned themselves to the war but imagined themselves as survivors. They were able to do so by reactivating a form of storytelling-the picaresque-whose central concern had always been the survival of a nonheroic protagonist in a hostile and chaotic world. During the Great War, French novelists, journalists, graphic artists, and cultural critics drew both consciously and unconsciously upon the long and rich European picaresque tradition. With its spirit of self-preservation as opposed to self-sacrifice and its affirmation of the value of life over death, the picaresque was a literary and cultural mode uniquely appropriate for expressing and attenuating the anxieties provoked by modern, industrialized warfare. The French reinvented the picaro as an apt hero for the modern age and positioned the picaresque as the dominant ethos of the modern cultural imagination.
Janet Clare (ed.)
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780719089688
- eISBN:
- 9781526135872
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719089688.001.0001
- Subject:
- Literature, Criticism/Theory
This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and ...
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This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and cultural conditions before and after the restoration of church and monarchy. The volume marks a significant development in transdisciplinary studies, including, as it does, chapters on political theory, religion, poetry, pamphlets, theatre, opera, portraiture, scientific experiment and philosophy. Chapters show how unresolved issues at national and local level, residual republicanism and religious dissent, were evident in many areas of Restoration life, and recorded in plots against the regime, memoirs, diaries, historical writing, pamphlets and poems. An active promotion of forgetting, the erasing of memories of the Republic and the reconstruction of the old order did not mend the political, religious and cultural divisions that had opened up during the civil wars. In examining such diverse genres as women’s writing, the prayer book, prophetic writings, the publications of the Royal Society, histories of the civil wars by Clarendon and Hobbes, the poetry and prose of Milton and Marvell, plays and opera, court portraiture and political cartoons the volume substantiates its central claim that the Restoration was conditioned by continuity and adaptation of linguistic and artistic discourses.Less
This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and cultural conditions before and after the restoration of church and monarchy. The volume marks a significant development in transdisciplinary studies, including, as it does, chapters on political theory, religion, poetry, pamphlets, theatre, opera, portraiture, scientific experiment and philosophy. Chapters show how unresolved issues at national and local level, residual republicanism and religious dissent, were evident in many areas of Restoration life, and recorded in plots against the regime, memoirs, diaries, historical writing, pamphlets and poems. An active promotion of forgetting, the erasing of memories of the Republic and the reconstruction of the old order did not mend the political, religious and cultural divisions that had opened up during the civil wars. In examining such diverse genres as women’s writing, the prayer book, prophetic writings, the publications of the Royal Society, histories of the civil wars by Clarendon and Hobbes, the poetry and prose of Milton and Marvell, plays and opera, court portraiture and political cartoons the volume substantiates its central claim that the Restoration was conditioned by continuity and adaptation of linguistic and artistic discourses.
