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Social Criticism through Humour in the Digital Age

Multimodal Extension in the Works of Aleix Saló

Javier Muñoz-Basols and Marina Massaguer Comes

Abstract

Numerous authors of comics and graphic novels have used the economic crisis in the Iberian Peninsula as a narrative frame for social criticism. Prominent amongst them is the Catalan cartoonist Aleix Saló, who burst onto the comics scene with his animated YouTube video Españistán, a book trailer for his graphic novel Españistán: Este país se va a la mierda [Españistán: This country is going to hell] (2011). This article shows how Saló offers a humorous and didactic portrait of the devastating effects of the economic crisis: he does this through multimodality (using specific shapes, colours, fonts and components of orality) and through creating ‘multimodal extensions’, intertextual relations between published books and book trailers. This analysis presents a case study of the multimodal techniques that authors use to shape and develop their work in the context of the powerful relationship between text and image in the digital age.

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Sanaz Nasirpour

further information. The outline of the article is as follows: it begins with a brief background study of the opportunities and limitations the digital age brings for women. The article continues to examine the online efforts of Iranian women in the

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The Mobilization of Appropriation

Comment on the Special Section on Cultural Appropriation

Carsten Schinko

“Appropriation“ is a complex term used in many different realms, and an almost ubiquitous phenomenon. Conceptually linked to questions of mobility, appropriation has both a social and physical dimension. This essay delineates the term's employment in key political and academic discourses, and interrogates its inherent logic with regard to possession, the attribution of purpose and value, and the social reciprocity of the parties involved in the act. Starting off with questions of just distribution in modern nation-states, the argument then traces appropriation in contemporary debates on copyright in a digital age, and provides a sketch of the larger political imaginary informing acts of appropriation.

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Thomas K. Hubbard

Adolescent sexuality has been at the forefront of the recent “Culture Wars,” as is clear from the many news stories and political battles over issues such as sex education, teen pregnancy and STDs, Child Sexual Abuse, enhanced legal regulation of sex offenders, pedophiles on the internet, “sexting” and child pornography. On the one hand adolescents today are more sexually mature than at most historical periods: physical puberty occurs ever earlier (Moller, 1987), while children’s capacity to access the same media as adults grows ever more sophisticated. Already in 1982, Neil Postman presciently observed that electronic media had obliterated the historical technological superiority of literate adults relative to not‐yet‐fully-literate children (Postman, 1982). At that point, he was thinking mainly of television, but his observation has become even more true in the digital age, when adolescents are often the ones teaching their parents and grandparents. 1982 had not yet grasped what would be the ubiquity of MTV or cheap, highly graphic visual pornography in many parents’ closets, or if not there, on their kids’ computer screens. Children have become the most clever at accessing media at precisely the time when popular media culture is more saturated with verbal, musical, and visual images of sexuality than ever before.

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Matthew Screech, Susan Slyomovics, Armelle Blin-Rolland, and Ana Merino

evening panel discussing Hergé’s legacy for the digital age with Michael Farr, Paul Gravett and others brings Tintin scholarship up to date. What is more, there are plenty of previously unpublished exhibits to satisfy hardened Tintinophiles. These include

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Anne Magnussen

criticism. In ‘Social Criticism through Humour in the Digital Age: Multimodal Extension in the Works of Aleix Saló’, Javier Muñoz-Basols and Marina Massaguer Comes analyse how the comics artist Saló uses different media in his critical, humorous and

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Instrumentalising Media Memories

The Second World War According to Achtung Zelig! (2004)

Maaheen Ahmed

, 2011). 10 José van Dijck, Mediated Memories in the Digital Age (Stanford, CA: Stanford University Press, 2007), 2. 11 Thierry Smolderen, The Origins of Comics: From William Hogarth to Winsor McCay , trans. Bart Beaty and Nick Nguyen (Jackson

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J. Cammaert Raval

-standing Luo-Kikuyu power politics; and how an uncut man, once discovered, can face immediate emasculation by his community. Forced circumcisions of the uncut have taken on new forms in the digital age, as the sensationalized Twitter handle #gocutmyhusband has

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Online Documents of India’s Past

Digital Archives and Memory Production

Katja Müller

. Princeton, NJ : Princeton University Press . Frisch , Michael , and Douglas Lambert . 2012 . “ Mapping Approaches to Oral History Content Management in the Digital Age .” In Oral History in the Digital Age , ed. Doug Boyd , Steve Cohen , Brad

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Integrating Research and Collections Management

The Ho‘omaka Hou Research Initiative at the Bishop Museum

Mara A. Mulrooney, Charmaine Wong, Kelley Esh, Scott Belluomini, and Mark D. McCoy

collaborative research efforts with these collections address the challenges of bringing archaeological collections into the digital age, and we hope that this work prompts archaeologists working in academia and commercial archaeology to start thinking about