Download Free Catalan Cartoons Book in PDF and EPUB Free Download. You can read online Catalan Cartoons and write the review.

First ever English language book on 20th century cartooning and humour production in Catalonia Offers both broad history as well as close analysis of cartoon examples of the time Engages with academic debates on the power of humour, humour and identity and applies them to the Catalan context Offers contextualisation of the Catalan cartooning tradition within a broader socio-political context of Catalonia and Spain
In a world increasingly dominated by visual sensation, our understanding of the role and influence of comics and cartoon humour in popular culture has become essential. This book offers a critical and cognitive focus that captures the changing fortunes of Catalan humour production against the shifting political landscape in the period 1898–1982. It considers how Catalan satire has been influenced by periods of relative calm as well as censorship, violence, war and dictatorship, and among its key features is its presentation of a continued cartooning tradition that was not ended by the installation of the Franco dictatorship, but which rather continued in a number of adapted forms, playing its own role in the evolution of the period. Thus, as well as introducing the most representative cartoonists and publications, the Catalan example is used to explore broader aspects of this complex communication form, opening new avenues for cultural, historical and socio-political research.
A collection of studies offering an up-to-date analysis of official policies to promote Catalan in a democratic framework in each of the main Spanish regions where it is spoken: Catalonia, Valencia and the Balearic Islands.
Comics are a pervasive art form and an intrinsic part of the cultural fabric of most countries. And yet, relatively little has been written on the translation of comics. Comics in Translation attempts to address this gap in the literature and to offer the first and most comprehensive account of various aspects of a diverse range of social practices subsumed under the label 'comics'. Focusing on the role played by translation in shaping graphic narratives that appear in various formats, different contributors examine various aspects of this popular phenomenon. Topics covered include the impact of globalization and localization processes on the ways in which translated comics are embedded in cultures; the import of editorial and publishing practices; textual strategies adopted in translating comics, including the translation of culture- and language-specific features; and the interplay between visual and verbal messages. Comics in translation examines comics that originate in different cultures, belong to quite different genres, and are aimed at readers of different age groups and cultural backgrounds, from Disney comics to Art Spiegelman's Maus, from Katsuhiro Ōtomo's Akira to Goscinny and Uderzo's Astérix. The contributions are based on first-hand research and exemplify a wide range of approaches. Languages covered include English, Italian, Spanish, Arabic, French, German, Japanese and Inuit. The volume features illustrations from the works discussed and an extensive annotated bibliography. Contributors include: Raffaella Baccolini, Nadine Celotti, Adele D'Arcangelo, Catherine Delesse, Elena Di Giovanni, Heike Elisabeth Jüngst, Valerio Rota, Carmen Valero-Garcés, Federico Zanettin and Jehan Zitawi.
Spanish comics represent an exciting and diverse field, yet one that is often overlooked outside of Spain. Spanish Comics offers an overview on contemporary scholarship on Spanish comics, focusing on a wide range of comics dating from the Francoist dictatorship, 1939-1975; the Political Transition, 1970-1985; and Democratic Spain since the early 1980s including the emergence of the graphic novel in 2000. Touching on themes of memory, gender, regional identities, and history, the chapters in this collection demonstrate the historical and cultural significance of Spanish comics.
In a media-saturated world, humour stands out as a form of social communication that is especially effective in re-appropriating and questioning architectural and urban culture. Whether illuminating the ambivalences of metropolitan life or exposing the shock of modernisation, cartoons, caricature, and parody have long been potent agents of architectural criticism, protest and opposition. In a novel contribution to the field of architectural history, this book outlines a survey of visual and textual humour as applied to architecture, its artefacts and leading professionals. Employing a wide variety of visual and literary sources (prints, the illustrated press, advertisements, theatrical representations, cinema and TV), thirteen essays explore an array of historical subjects concerning the critical reception of projects, buildings and cities through the means of caricature and parody. Subjects range from 1750 to the present, and from Europe and the USA to contemporary China. From William Hogarth and George Cruikshank to Osbert Lancaster, Adolf Loos' satire, and Saul Steinberg's celebrated cartoons of New York City, graphic and descriptive humour is shown to be an enormously fruitful, yet largely unexplored terrain of investigation for the architectural and urban historian.
The collection of articles in Discourse Studies in Public Communication illustrates that public communication is a fascinating, evidence-based storehouse for research in discourse analysis. The contributions to this volume — in the spheres of political rhetoric, gender and sexuality, and corporate and academic communication — provide good evidence of contemporary social structure, social phenomena, and social issues. In this way, following the parameters of different analytical frameworks (critical discourse analysis, cognitive metaphor theory, appraisal theory, multimodality, etc.), the contributors address not only the linguistic aspects of texts but also, and more importantly, the cultural and cognitive dimensions of public communication in a range of real life communicative contexts and kinds of discourse. Although the volume is addressed, first and foremost, to readers with diverse interests in English linguistics, it may also prove valuable to scholars in other non-linguistic research fields like communication studies, social theory, political science, or psychology.
Since the early 20th century, animated Christmas cartoons have brightened the holiday season around the world--first in theaters, then on television. From devotional portrayals of the Nativity to Santa battling villains and monsters, this encyclopedia catalogs more than 1,800 international Christmas-themed cartoons and others with year-end themes of Hanukkah, Kwanzaa and the New Year. Explore beloved television specials such as A Charlie Brown Christmas, theatrical shorts such as Santa's Workshop, holiday episodes from animated television series like American Dad! and The Simpsons, feature films like The Nutcracker Prince and obscure productions such as The Insects' Christmas, along with numerous adaptations and parodies of such classics as A Christmas Carol and Twas the Night before Christmas.
This book brings together scholars from across a variety of disciplines who use different methodologies to interrogate the changing nature of Russian culture in the twenty-first century. The book considers a wide range of cultural forms that have been instrumental in globalizing Russia. These include literature, art, music, film, media, the internet, sport, urban spaces, and the Russian language. The book pays special attention to the processes by which cultural producers negotiate between Russian government and global cultural capital. It focuses on the issues of canon, identity, soft power and cultural exchange. The book provides a conceptual framework for analyzing Russia as a transnational entity and its contemporary culture in the globalized world.
In the aftermath of major violent events that affect many, we seek to know the ‘truth’ of what happened. Whatever ‘truth’ emerges relies heavily on the extent to which any text about a given event can stir our emotions – whether such texts are official sources or the ‘voice of the people’, we are more inclined to believe them if their words make us feel angry, sad or ashamed. If they fail to stir emotion, however, we will often discount them even when the reported information is the same. Victoria Carpenter analyses texts by the Mexican government, media and populace published after the Tlatelolco massacre of 2 October 1968, demonstrating how there is no strict division between their accounts of what happened and that, in fact, different sides in the conflict used similar and sometimes the same images and language to rouse emotions in the reader.