Reading a partisan cartoon: the parable of a dog’s ears and teeth
The last two graphics, at least, are extremely offensive, and I would like to offer another graphic here — one which also uses our “puppet master” theme — as a visual equivalent of offering a glass of water to cleanse the palate:
I’ll be addressing this My Fair Lady poster from a very different angle, in a later post in my “form is insight” series — this one on “dolls within dolls”, the “world stage which we have dotted with stages of our own devising” and “turtles all the way down”…
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Having hopefully reduced the emotional freight which some of the cartoons above must surely have carried with them, I would now like to offer you some background which seems relevant to me. Characteristically, perhaps, it comes from a very different field of knowledge.
EC Zeeman‘s April 1976 article Catastrophe Theory in the Scientific American was my introduction to the mathematician Rene Thom’s remarkable body of work, an introduction which sailed mostly over my head — but one of Zeeman’s points, which he illustrated with the graphic below, made perfect sense to me.
The annotation to this illustration read in part:
If an angry dog is made more fearful, its mood follow* the trajectory ‘A’ on the control surface. The corresponding path on the behaviour surface moves to the left on the top sheet until it reaches the fold curve; the top sheet then vanishes, and the path must jump abruptly to the bottom sheet. Thus the dog abandons its attack and suddenly flees. Similarly, a frightened dog that is angered followes the trajectory ‘B’. The dog remains on the bottom sheet until that sheet disappears, then as it jumps to the top sheet it stops cowering and suddenly attacks.
My translation:
A dog that reaches the point where its ears are fully pinned back, indicating full-on fear, and its teeth are also fully bared, indicating full on rage, will behave differently depending on whether its fear level or its rage level was the first to be raised to “full”.
Just as a dog’s reaction to a full on mix of rage and fear may depend on which stimulus came first, so — I am suggesting — our own reaction to the cartoon in question — inherently antisemitic, or merely critical of a particular Israeli operation — may depend on our previous exposure to cartoons, politics, the Israeli-Palestinian conflict, or antisemitism.
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We now have several levels of ease or difficulty in reading graphics. The Zeeman graphics are hard to read because they’re too small to be legible — but put them in the context of Zeeman’s article, and view them full size as originally published, and the only problem might be in following Zeeman’s text, itself a popularization and simplification of Rene Thom‘s work.
The Bart Simpson graphic is fairly straight forward, and regular viewers of the show would “read” it in line with hundreds of similar frames in which Bart writes repeated lines on a classroom chalkboard, from Season 1 episode 2’s “I will not waste chalk” to Season 23’s “There’s no proven link between raisins and boogers”.
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