Andere Kunden interessierten sich auch für
![O dito e o não dito e a relação com o silêncio no humor gráfico]( "O dito e o não dito e a relação com o silêncio no humor gráfico")
O dito e o não dito e a relação com o silêncio no humor gráfico55,99 €![Das Gesagte und das Ungesagte und die Beziehung zum Schweigen im grafischen Humor]( "Das Gesagte und das Ungesagte und die Beziehung zum Schweigen im grafischen Humor")
Das Gesagte und das Ungesagte und die Beziehung zum Schweigen im grafischen Humor84,90 €![Le dit et le non-dit et le rapport au silence dans l'humour graphique]( "Le dit et le non-dit et le rapport au silence dans l'humour graphique")
Le dit et le non-dit et le rapport au silence dans l'humour graphique55,99 €![The Cartoon History of the Modern World, Part II]( "The Cartoon History of the Modern World, Part II")
The Cartoon History of the Modern World, Part II24,99 €![Il detto e il non detto e il rapporto con il silenzio nell'umorismo grafico]( "Il detto e il non detto e il rapporto con il silenzio nell'umorismo grafico")
Il detto e il non detto e il rapporto con il silenzio nell'umorismo grafico55,99 €![Vlado Kreslin, Slovenia and Me]( "Vlado Kreslin, Slovenia and Me")
Vlado Kreslin, Slovenia and Me20,99 €![The Daily Show with Jon Stewart Presents America (the Book)]( "The Daily Show with Jon Stewart Presents America (the Book)")
The Daily Show with Jon Stewart Presents America (the Book)24,99 €
This paper focuses on the production of political cartoons made by cartoonists Jorge Braga and Mariosan in Goiânia and published by the newspaper O Popular in the period between 2008 and 2009, with reference to the main events in national and international politics. The objective of this research is to elucidate how the political cartoon creates multiple points of view regarding the treatment of political issues, the behavior of its representatives, using humor to build a critical discourse and as a mechanism of projection of an ideology. Through these relations, problematizations emerge about the formation of meaning in the charge and about its configuration as a journalistic genre and pictorial satire or simply as an artistic genre. Considering the charge as an iconographic language and a discursive and ideological practice, we seek to identify in the analyses performed its historical function revealing a critical positioning of a power of persuasion mediated by humor.