This two-part article reconsiders the legacy of Dr. Seuss as presented in the new Dr. Seuss Museum in Springfield, against the author's little known wartime cartoon representations of the Japanese. It represents important questions about the representation of writers, heroes, even the beloved, in their finest and least memorable moments.

Roderick Chisholm (1916–1999) was among the most creative and influential figures in twentieth-century American philosophy. This essay considers how Chisholm’s cartooning contributed to his philosophical charisma.

Since the 2005 Jyllands-Posten controversy, both far right and Islamist actors have employed Muhammed cartoons to construct a radical frontier between Muslims and non-Muslims. This article aims to provide a better understanding of the linkages between two opposing forms of popular identification by looking at the utilization of the Muhammed cartoons to crystallize a multitude of (conflicting) subjects, affects, and demands. Following a vantage point of mutual relations, the article investigates the discursive performances of the Dutch branch of the transnational Islamist party Hizb ut-Tahrir and the far right Party for Freedom with respect to the Jyllands-Posten affair, the 2015 Charlie Hebdo attacks, and the 2020 killing of a French schoolteacher. Considering its cultural and political foundations of mutual respect and tolerance, the Dutch case is pertinent for examining the tension between the right to free speech and support for extremist and popular forms of (far right and Islamist) identification.

Millions of immigrants arrived in the United States during the Gilded Age, drastically altering the ethnic character of the American citizenry. This dramatic social change was met with mixed reactions from the native-born population that were vividly communicated in the popular press. Cartoonists for newspapers and magazines across the country developed a language of caricature to identify and distinguish among ethnic groups and mocked new arrivals in imagery that ranged from mild to malicious. One might assume that the masses of Eastern European Jews flooding into the country (poor, Yiddish-speaking, shtetl-bred) would have been singled out for anti-Semitic attack, just as they were in Europe at the time. However, Jews were not the primary victims of visual insults in America, nor were the Jewish caricatures wholly negative. Further, the broader scope of popular imagery, which, in addition to cartoons, includes a plethora of illustrations as well as photographs, presents a generally positive attitude toward Jewish immigrants. This attitude aligned with political rhetoric, literature, newspaper editorials, and financial opportunity. This article will propose a better alignment of the visual evidence with the scholarly understanding of the essentially providential experience of Jews in America during this period.

Tony Gentile’s photograph of Giovanni Falcone and Paolo Borsellino is one of the most reprinted Italian photographs of the twentieth century. Deriving a special status from its connection to the lost dead bodies of the judges, Gentile’s photograph is a cultural icon, which makes demands on viewers in the present like an uncanny revenant from 1992. This paper considers examples of ways the photograph has been visually, symbolically and materially manipulated by social agents in the years since the judges’ assassinations, to reflect on the polysemous power of the photograph. Considering visual adaptations of the photograph from anti-mafia demonstrations to monuments, and commemorative stamps; from football stadiums to political cartoons, this paper will show how Gentile’s photograph has become the quintessential visual symbol representing the struggles over the memory and meaning of the war against the mafia in contemporary Italy.