[Scientists in cartoons: humanizing science]

Published daily from 1994 to 2002 in Correio Popular, a Campinas-based newspaper, Os cientistas (The scientists) comic strips produced by Brazilian researchers and journalists presented science critically and irreverently, exposing the insecurities and frustrations of scientists, as well as the conflicts between them and their communication difficulties with other groups, like journalists. This article shows the diversity of personalities, subjects, graphic styles, and potential meanings in a sample of comic strips published in the first four years.

Cartoons and AIDS: safer sex, HIV, and AIDS in Ralf König's comics

Ralf König is the best-selling author of comic book novels, and his stories of gay men coming to terms with contemporary society have resonated with hundreds of thousands of German readers and film-goers. König's characters, like the author himself, have great difficulty adhering to the demand that condoms be used. The article describes how König develops this theme through a variety of works from 1985 through 1999, and analyzes the intertwined relationships among the author, his characters, and the society that is both portrayed in his works and that reads his works.

Something black in the American Psyche: formal innovation and Freudian imagery in the comics of Winsor McCay and Robert Crumb

Winsor McCay’s Little Nemo in Slumberland anticipates Robert Crumb’s work. McCay’s innocent dreamscapes seem antithetical to the sexually explicit work of anti-capitalist Crumb, but Nemo looks forward to Crumb in subject and form. Nemo’s presentation of class, gender, and race, and its pre-Freudian sensibility are ironic counterpoints to Crumb’s political, Freudian comix.

"You are here": Missing links, chains of being, and the language of cartoons

Evolution cartoons served polemical and satirical purposes even before Darwin published On the Origin of Species, and they proliferated afterward. Yet even though Victorian evolution cartoons often pictured Darwin himself as a personification of his theory, by the time of the Scopes trial controversy in the 1920s cartoons about evolution had come to popularize ironically non-Darwinian views of evolution. Cartoons repeated, reflected, and perpetuated teleological views of evolution and often implicitly associated evolution with prevalent attitudes about race, gender, and social hierarchies. Cartoons drew on old iconographic traditions, expanding them to fit changing historical circumstances, forming a lasting cartoon lexicon. Though adaptable and protean, the language of evolution cartoons, like any language, carries its history with it, and in them we can read the history of the cultural context of evolution controversies.

Focus: Darwin as a cultural icon

Since his death in 1882, if not before, Charles Darwin has been a key icon of the modern era. The bearded sage of Down House has been invoked in a wide range of contexts in the English-speaking world, from eugenics and social policy to debates about the implications of science for religious belief. The essays in this Focus section explore the Darwinian image in an unusual diversity of media, examining portrait photographs, portable sculptures,newspaper caricatures, cartoons, after-dinner drinking songs, and long-playing records. They suggest that Darwin's celebrity needs to be understood not as the outcome of the unique qualities of his life and work, but as an aspect of the emergence of the idea of the scientist, a process closely tied to the developing communication and entertainment industries of the late nineteenth and early twentieth centuries.

Political cartoonists respond to Medicare

Debates about health care policy are a rich topic for editorial cartoonists. The 17 cartoons described here, from the period 1944 to 1986, cover the implementation of universal hospital and medical care insurance as well as the subsequent passage of the Canada Health Act. These cartoons by Canada's major cartoonists trace the issues arising from debates over Medicare with characteristic wit and vigour, as they draw on an existing repertoire of visual imagery relating to doctors, patients and health care.

[Drugs and pharmaceutical episodes in "Sazae-San": Japanese comic strips in 1940s-1970s]

This is a report on episodes with references to drugs and pharmaceuticals in one of the most famous Japanese comic strips, "Sazae-san", in the period from 1945 to 1974. There were 111 episodes of "Sazae-san" including references to drugs and pharmaceuticals in this period. In the period from 1945 to 1954, there were some references to pharmacists and pharmacies but only a small number of references in the period from 1965 to 1974. In the period from 1945 to 1954, there were references to disinfectants and insecticides in the hygienic chemistry field. However, in the period from 1965 to 1974, there were references to environmental problems, food additives and agricultural chemicals. As drug development has progressed, the number of references to practical drugs in "Sazae-san" has decreased over the period from 1945-1974.

Illustration of genetic syndromes in the nursery

Reading to children and storytelling has documented developmental benefits. Traditional Nursery Rhymes (Mother Goose tales in North America) encapsulate 'snapshots' of the people described and chronicle their customs, superstitions, and amusements. Art has long been employed to document the impact of human imperfections and diseases. We investigated whether illustrations accompanying nursery rhymes, suggest that any characters illustrated may have had or been based on recognized morphological abnormalities, and if this literature documents a role for grandmothers as storytellers. Archival materials were reviewed at the Victoria and Albert museum and Mary Evans picture library, and via the web. As early as 1695, Perrault included a frontispiece of a mature woman as storyteller in his book of fairytales. Similar scenes by various artists (Boilly, Cruikshank, Guy, Highmore, Maclise, Richter, and Smith) are found consistently from 1744 to 1908. Many illustrators (Aldin, Caldecott, Cruikshank, Doré, Dulac, Gale, Greenaway, Rackham, Tarrant, and Wood) portray infants, children, and adults who are dwarfed, giant, or whimsically grotesque. Many images certainly suggest genetic syndromes, and in some characters consistency of specific features is evident between artists. Our research confirms the wealth of children's nursery rhyme illustrations suggesting pathology; that an authoritative compilation of the morphologies depicted is lacking; and that historically, grandmothers have a central role as storytellers.

Congenital malformations and genetic diseases in comic books

Medical syndromes have often been represented in fine arts, but rarely have clinical diagnoses been discussed in comic book characters. Since their first appearance in Europe in the middle of the 19th century and in America in 1895, comic books have been considered as "the 9th art". In many comic books, the appearance and/or the behavior of central or support characters are suggestive of already well-defined medical disorders. The representation of five particular groups or clinical features: mental retardation, abnormal stature, abnormal hair, obesity, and cranial malformations is discussed from mostly European comic series. Whether comic authors intended to describe specific clinical entities while drawing their characters or whether such situations appeared by mere luck, is open to debate. In many series from the first half of the 20th century characters with remarkable clinical features were also painted as psycho-social deviants. Such stereotypes are found much less frequently nowadays. Writers of comic books, realizing the major impact of their work especially in adolescent age groups, have increasingly been using their series to actually promote issues of equity and well being for physically or mentally impaired people.

Selling and saving "mother Iran": gender and the Iranian press in the 1940s

The sensational nature of the Iranian press in the 1940s has been largely understood in political terms. In September 1941, occupying Allied armies forced Reza Shah Pahlavi (1879–1944, r. 1925–41) into exile, ending his tyrannical “twenty years” and unleashing a variety of political forces which vied with each other for public support in the press.3 The presence of Allied censors notwithstanding, so the argument goes, the Iranian press was momentarily free from effective government censorship—though not from the recurring cycle of censorship that has dominated scholarly interest in the Iranian press.4 But a closer look at the often violent and sexual political discourse in the Iranian press raises questions less about Iran's political history than about its cultural and economic history. Why was the content of the press so graphic in the 1940s? What economic and cultural trends sustained such content once it had been provoked by political events? How much did the overt sexuality of political discourse confirm or modify notions of gender in Iranian culture?