The present paper explores how the issue of the current energy crisis in the wake of the Covid-19 and Ukraine war was constructed by political cartoons.Adopting Critical Multimodal Metaphor Scenario Analysis,this pape...The present paper explores how the issue of the current energy crisis in the wake of the Covid-19 and Ukraine war was constructed by political cartoons.Adopting Critical Multimodal Metaphor Scenario Analysis,this paper focuses on the DISEASE metaphor scenario,one of the most recurring scenarios in political cartoons on this topic,and specifically emphasizes how the METHOD OF TREATMENT,one of the structural elements in the scenario,is represented.The analysis reveals that two predominant scenarios cOnstitute the representations of the METHOD OF TREATMENT:NARCOTIC Scenario and MEDICINE scenario.They differ in entailments:one frames fossil energy as detrimental narcotic while the other frames it as therapeutic medicine.By means of the two scenarios,these cartoons convey strong criticism of the major involvers in the energy crisis,namely,the E.U.,Russia,and the U.S.The cartoons make full use of the dynamic interplay of visual and/or verbal metonymy,metaphor,and narrative to elicit associations,assumptions and evaluations in the viewers,helping facilitate understanding and constructing a view of the crisis reality.The present analysis sheds light on the way cartoonists reshape the public point of view in the framing of specific event(s).展开更多
In June 1950, Manhua magazine published its first issue in Shanghai. Until its closure in 1960, it remained the only national publication dedicated solely to the popularization and discussion of political cartoons. Te...In June 1950, Manhua magazine published its first issue in Shanghai. Until its closure in 1960, it remained the only national publication dedicated solely to the popularization and discussion of political cartoons. Terse cartoons were needed to promote the numerous mass campaigns initiated by the new government, remind readers of the continuing battle against enemies of the new Communist state, and rally the people in support of a new military conflict developing on the Korean peninsula. This article discusses key moments in the institutional history of Manhua and its artists. The magazine, I argue, played a crucial but often overlooked role in the contest over the form and content of popular cartooning in the first decade of CCP rule. In such, it was the satirical counterpart to the ever more popular lianhuanhua （serial comics）. Cartoonists believed their art might contribute to establishing socialism through well-intentioned and constructive criticism. This, however, did not harmonize with the increasingly fervent control mechanisms of the party-state＇s cultural bureaucracy. The history of Manhua magazine is therefore an example of the expanding political supervision of the popular arts throughout the 1950s. At the same time it is a study of an art that, though popular and political, never won the same political acclaim as its counterpart, lianhuanhua.展开更多
基金support from the China Ministry of Education,its Humanities and Social Sciences Fund,for the project"A Cognitive Critical Study of Multimodal Discourses of Energy Public Opinion"(grant number:21YJA740055).
文摘The present paper explores how the issue of the current energy crisis in the wake of the Covid-19 and Ukraine war was constructed by political cartoons.Adopting Critical Multimodal Metaphor Scenario Analysis,this paper focuses on the DISEASE metaphor scenario,one of the most recurring scenarios in political cartoons on this topic,and specifically emphasizes how the METHOD OF TREATMENT,one of the structural elements in the scenario,is represented.The analysis reveals that two predominant scenarios cOnstitute the representations of the METHOD OF TREATMENT:NARCOTIC Scenario and MEDICINE scenario.They differ in entailments:one frames fossil energy as detrimental narcotic while the other frames it as therapeutic medicine.By means of the two scenarios,these cartoons convey strong criticism of the major involvers in the energy crisis,namely,the E.U.,Russia,and the U.S.The cartoons make full use of the dynamic interplay of visual and/or verbal metonymy,metaphor,and narrative to elicit associations,assumptions and evaluations in the viewers,helping facilitate understanding and constructing a view of the crisis reality.The present analysis sheds light on the way cartoonists reshape the public point of view in the framing of specific event(s).
文摘In June 1950, Manhua magazine published its first issue in Shanghai. Until its closure in 1960, it remained the only national publication dedicated solely to the popularization and discussion of political cartoons. Terse cartoons were needed to promote the numerous mass campaigns initiated by the new government, remind readers of the continuing battle against enemies of the new Communist state, and rally the people in support of a new military conflict developing on the Korean peninsula. This article discusses key moments in the institutional history of Manhua and its artists. The magazine, I argue, played a crucial but often overlooked role in the contest over the form and content of popular cartooning in the first decade of CCP rule. In such, it was the satirical counterpart to the ever more popular lianhuanhua （serial comics）. Cartoonists believed their art might contribute to establishing socialism through well-intentioned and constructive criticism. This, however, did not harmonize with the increasingly fervent control mechanisms of the party-state＇s cultural bureaucracy. The history of Manhua magazine is therefore an example of the expanding political supervision of the popular arts throughout the 1950s. At the same time it is a study of an art that, though popular and political, never won the same political acclaim as its counterpart, lianhuanhua.
