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  1. Searching for the 'popular' and the 'art' of popular art.Theodore Gracyk - 2007 - Philosophy Compass 2 (3):380–395.
    Philosophy of art presupposes differences between art and other cultural activity. Philosophers have recently paid more attention to this excluded activity, particularly to the range of cultural production known as popular art. Three issues have dominated these discussions. First, there is debate about the basis of the distinction. Some philosophers contend that fine art is essentially different from popular art, but others hold that the distinction is entirely social in origin. Second, philosophers disagree on the degree of continuity or discontinuity (...)
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  • Cowboy and misanthrope: a critical (discourse) analysis of Bush and bin Laden cartoons.Bahaa-Eddin M. Mazid - 2008 - Discourse and Communication 2 (4):433-457.
    The article investigates the political cartoon construction of two major `players' on the contemporary political stage, and the semio-linguistic and visual rhetorical tools used to achieve this construction, through an analysis of semiotic-discursive aspects of a small corpus of political cartoons in English and Arabic, all about the two `players' — George W. Bush and Osama bin Laden — in the aftermath of 9/11 and within the ongoing `war on terror', followed by a more detailed analysis of two political cartoon (...)
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  • The Illustrated Rand.Chris Matthew Sciabarra - 2004 - Journal of Ayn Rand Studies 6 (1):1 - 20.
    This article surveys the exponential increase in Rand references in scholarly and popular sources to illustrate her cultural ascendancy as an iconic figure. Special attention is paid to Rand's impact on popular literature, television, cartoons, and illustrated media, including comics. Rand's own involvement in illustrated presentations of her ideas is explored, as is her influence on such comic artists as Steve Ditko, Frank Miller, and others. Nathaniel Branden's insights on the role of comics in projecting heroic values are also addressed.
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  • The Philosophy of Comics.Aaron Meskin - 2011 - Philosophy Compass 6 (12):854-864.
    Comics have been around since the 19th century, but it is only just recently that they have begun to receive philosophical attention as an art form in their own right. This essay begins by exploring the reasons for their comparative neglect by philosophers of art and then provides an overview of extant work on the philosophy of comics. The primary issues discussed are the definition of comics, the ontology of comics, the relationship between comics and other art forms, the relationship (...)
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  • The origin of editorial images: Recycling, culture, and cognition.Ahmed Abdel-Raheem - 2020 - Semiotica 2020 (236-237):319-348.
    This article investigates the origin of editorial images, with a focus on the mental processes that enable cartoonists and illustrators across cultures to come up with novel ideas. It provides the most compelling evidence to date that recycling, where artists regularly recycle pictorial and compositional ideas they have developed earlier, is the origin of ideas. Recycling theory is thus compatible with a variety of ongoing research programs. Among these are Turner’s work on blending (2014), Musolff’s research on scenarios (2016), Langacker’s (...)
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  • The Visiocracy of the Social Security Mobile App in Australia.Lyndal Sleep & Kieran Tranter - 2017 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 30 (3):495-514.
    This paper examines the forms of life established through the visual governance of the Australian social security mobile app —the Express Plus Centrelink app. It is argued that the app exceeds established accounts of juridical and administrative power. The app involves a seeing that is not public, a responding that is not writing and a de-materialisation of an institution and its disciplinary apparatus. It is argued that the app creates proto-literate subjects that are required to respond to a real-time sequence (...)
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  • Tra Lichtenstein e Warhol.Tiziana Andina - 2015 - Rivista di Estetica:75-80.
    Pop Art is one of the most prominent artistic movement of the Nineteenth century whose legacy is very influent also in this century. After a brief historical reconstruction of the origins of Pop Art in Great Britain and in the United State, the paper will offer a comparison between the Warholian way of interpreting Pop Art — a realistic way — the Lichtensteinian way, which is fantastic, and the personal interpretation offered by Ugo Nespolo whose Pop is fabulist and fabulous.
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