Analysis Of ' Animal Subjects Of The Graphic Novel '

The cartoonist uses the rhetorical and literary devices of symbolism and allusion to depict that technology and media rules over society’s opinions and decisions. The political cartoonist uses symbolism to indirectly state

Dogs are what their owners make of them, they are shere products of their environments and feed off of how their owners treat them. For example, in America pit bulls, over the years have been portrayed as harmful or aggressive. These views have lead to manying uncompassionate acts towards this lost breed. Such as, selling the dogs for drugs to people who could care less about them to forcing pitbulls in harmful dog fights. In America’s society today some often view pitbulls as just a way of breeding dogs. This means that they essentially are not taking part in what it actually means to have a pet. People are suppose to provide, feed, care, and love their dogs and in some cases that’s not their important objective. The underlying issue that

“Juana moved to the entrance and looked out. She peered like an owl from the hole in the mountain …” Page 37

Chapter 1: Monsters and Marvels; Images of Animals from the New World Most explorers from European countries had different perceptions about the New World, which is America. Sir Walter Ralegh notes in his book that the European descriptions of animals and the natural environment of the New World were full of fictions (Bissell, 2004, p. 1). The images of animals in the book reflect significant changes of the European perceptions about the New World. When the Europeans envisioned the New World, there was a shift from mysticism to realism because the New World was different from what they thought before. Some of the most important features that portray change in Europeans perceptions include the tones, descriptions and presentation in images.

Cartoons have been use for many years and its modern usage refers to a typically non-realistic or semi-realistic drawing or painting intended for satire, caricature, or mock different things. John Backderf, known as Derf, is a famous and recognized cartoonist “who works out of an unheated, attic studio in his Cleveland home, grew up in a rural, small town in Ohio and went to high school with serial killer Jeffrey Dahmer” (“Bio”). He drew a cartoon in 1995 in which he presents an implicit theory about how and why things evolve to be “cool”. This paper will elaborate on explaining what Derf’s theory actually is, an interpretation of the meaning presented in the cartoon, and a fad or style that follows Derf’s theory.

Man’s best friend: you would think that that title would conjure up images of humans, or even our closest cousins in the animal kingdom, such as monkeys, apes, and chimpanzees. However, the first image that enters most humans head is the same image that would have induced fear hundreds of years ago, the not so distant heir to the wolf: dogs. The same creatures that we feuded with for survival now take up a huge part of our lives and make up a large portion of the images littering the internet. Dogs take part in everything from movies to family gatherings, to search and rescue and emotional or physical service. Nearly fifty percent of American households alone have at least one dog, and between all of us we own 83.3 million dogs, a number not to be trifled with. The place our four-legged canine companions claim is undisputed and easily backed up.

The authors first cartooning job was for The Griffin, the weekly student newspaper at Canisius College Honor Program. Mr. Zyglis is the Pulitzer Prize winning cartoonist, his cartoons have appeared in many publications around the world: The Washington Post, USA Today, The New York Times, and the Los Angeles Times. Mr. Zyglis’s work also appeared in 3 different magazines: The Week, The Time, and MAP Magazine. The author’s work was so great at the newspaper, in 2003 he won first place National Award from the Associated Collegiate Press and the Universal Press Syndicate Awards known as “National Headliner Award,” were given to the author in 2007, 2011, and 2015, the author was also awarded The Grambs Aronson Cartooning with a conscience award in 2015. The author was sponsored by the Atlanta City Press Club for the recognition of his cartoons. Every week the Mr. Zyglis releases 5 cartoons images that he made for the newspaper. The author published this image in 2012 and some of his awards were in 2015, it only comes to show the audience how much more credibility is given to Mr.

Why are comics not appreciated as much as the dry narratives of novels in the literary world? A comic is composed of symbols to express concepts shared by all people in their own social environment, and provide more tools than conventional art to truly show artistic intention.

Dogs dramatically impact the lives of people in numerous aspects. Not only do they work for humans tirelessly, but they do it with a smile on their face and a wag in their tail, and they are non-judgmental towards people with disabilities. People utilized the help and companionship dogs provided even hundreds of years ago. However, many people see dogs as futile, considering training, money, time, and work that is put into owning a dog, let alone having it specifically trained to do a certain job. It is also risky putting so much time and effort into a dog, being aware that they are very capable of making mistakes just as humans are. Also, many people do not know the depth of the work that dogs provide, or

When reading a story with animals as the main focus, human characteristics are either found in or projected onto the characters in order to make them relatable. “Man’s best friend” -a.k.a. dogs- are relatively easy to relate to for this reason; people see their dogs as one of the family, talking to and sometimes

The dog functions as a more complex symbol in the story because it simultaneously represents both humanity and nature. On one hand, the dog is clearly affiliated with humanity, due to its signature, “man’s best friend” status in most cultures as well as the fact that it is recognized by the house as the family pet in the story. However, the dog is still an animal that, in the absence of its masters, has reintegrated back into the natural order, coming back to the house after weeks living as a beast of the nuclear wasteland. Despite the concepts of man and nature often dichotomously each other throughout the story, the dog symbolizes the same fate for both. Despite their differences, man and beast have both suffered at the hands on misused technology. The shift of the dog’s status from “large and fleshy” to “gone to bone and covered with sores” shows how the nuclear war has harmed both humanity and nature. When people unleash technology recklessly, humans and animals alike go from a healthy state to a decaying, dying state, just as the dog

The use of animal imagery in Greek literature initially appears easy to understand as it is one of the simplest types of comparison found in poetry from European tradition. In fact, Western culture seems to encourage us to contrast the human world with that of the animal. This habit makes it easy to assume that no profound meaning can truly be drawn from such a clichéd analogy. I have not found this to be the case however when analysing the use of animal imagery to describe women in the Classical period. Animal imagery, particularly that relating to birds and horses, is used ingeniously across the period to dissect and often criticise the base nature of women. Women were seen as closer to the natural realm than men and something to be feared but is it an overgeneralization to suggest that all Greek authors utilise animal imagery when describing women to negative effect? In this essay I will attempt to illustrate Greek authors’ reasons for using animal imagery to describe women and whether Walcott is right to suggest attitudes towards women in literature and in the Greek world in general were ‘conditioned by man’s fear of women’s sexuality’ (1984: 45).

For being man’s supposed best friend, humans too often make choices to benefit themselves instead of dogs. People decide what traits make a dog cute and disregard what traits make them healthy. Dog breeding is a harmful practice for dogs both biologically and culturally due to superficial standards. These dogs are bred to be cute, but that cuteness can inadvertently carry a gene that can lead to disease, or even the cuteness itself could be debilitating, such as with the poster pug’s flat face makes breathing significantly more difficult. Dogs are living, breathing creatures and the standards set for their reproduction should factor their well-being into the standard of the dog.

(R) This comic within a comic provides ample background on what I believe to be the principal source of conflict and strife for Artie’s remaining family: his mother’s suicide. Moreover, it shows the inherent selfishness of suicide and the lasting trauma it can precipitate. Not only were Artie and his father left to mourn an irreplaceable loss, but family and friends questioned the validity of their affection. Apart from that, it took me some time to comprehend the presence of human beings as characters as opposed to mice. This decision makes the progressive descent into madness clearly recognizable. For example, Artie’s facial features prior to the news are conventionally depicted. Afterwards, on the other hand, his face is disfigured into haphazard lines and geometric figures. I wonder, if the entire book were to keep this human typecast, would I enjoy it more?

When an artist claims to be using the “aesthetic alibi”, they justify their usage of “politically incorrect” or “offensive” language as a means to make an artistic statement. (Jay, 1972, p.14). This artist then has the ability to manipulate language in a variety of different ways, with the capacity to both empower and oppress. Because art is subjective, it is difficult to specify the point where an artistic statement or perspective becomes oppressive or hate speech. This can be attributed to the difficulty in knowing the motive of artists, as well as the intended message of the work. Hence, the use of the aesthetic alibi in satirical works transfers control of language to the artist.