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emmainna [20.7K]
3 years ago
15

Plz help

English
2 answers:
Ghella [55]3 years ago
5 0

Coronavirus has devastated the world at all levels of our lives. Travel, jobs, and social lives have all been suspended. As people seek to find a cure, a magic potion that will bring their lives back to normal, there has been a lot of controversy and division regarding the wearing of masks to prevent the spread of Coronavirus. I chose two political cartoons that portray different views on whether Americans should wear masks or not. The first cartoon, "Guidelines" by Gary Varvel, portrays the source of confusion and distrust from Americans regarding coronavirus mask guidelines. The second cartoon, "NO! Don’t mask me!" by Pulitzer Prize-winning cartoonist Signe Wilkinson, contrasts the sacrifices Americans were willing to take during World War 2. 

In the first political cartoon, we observe 3 scientists coming up with mask guidelines for the Coronavirus. They are using a magic 8-ball to come up with their conclusion. The clearly inaccurate apparatus says "Reply Hazy. Try Again." The cartoon is referring to CDC's original inconsistencies regarding masks. At first, the CDC believed and mandated that masks only be worn by medical personnel. Then, they made a 180-degree turn in their policy, instead asking Americans to wear masks. This swift reversal in policy, coupled with the regrettable politicalization of the coronavirus, led to increasing skepticism amongst many Americans about the utilization of masks. While the CDC has maintained its stance on masks, many Americans continue to refuse to wear them, using the CDC's prior inconsistencies to discredit the organization's firm stance. 

In the second political cartoon, the artist contrasts two images- a caricature of Rosie the Riveter and an image of an American in 2020, refusing to wear a mask. The first image is a very famous propaganda poster from the Second World War. During the war, in order to win, Americans had to make a myriad of sacrifices in order to win the war. At home and abroad, Americans took big sacrifices, making big changes in their lives. In contrast, the second image in the cartoon shows Americans refusing to wear a mask. Even though, in November, experts said "if 95 percent of people wore a face mask, it could save nearly 130,000 lives between now[November 24, 2020] and March 1."(Healthline), many Americans have still refused to wear masks. In the cartoon, the artist aims to illustrate the selfishness of individuals who neglect to protect themselves and others by wearing masks. Through contrast, the artist is able to successfully convey her beliefs about masks in her political cartoon.

Faced with uncertainty during a difficult time, Americans failed. Instead of uniting, Americans became more divided, refusing to take minimal sacrifices to quell a global pandemic. The two cartoons, together, show how when Americans encountered unpredictability, they were unwilling to make sacrifices, unwilling to put aside their differences, and unwilling to put on a 10-gram piece of cloth in order to save lives. 

Works Cited:

Plater, Roz. “As Many as 130,000 Lives Could Be Saved the Next 3 Months If Everyone Wore a Mask.” Edited by Jennifer Chesak, Healthline, 24 Nov. 2020, www.healthline.com/health-news/as-many-as-130000-lives-could-be-saved-the-next-3-months-if-everyone-wore-a-mask#The-next-steps.

Varvel, Gary. Guidelines. 31 May 2020, newsadvance.com/opinion/cartoons/guidelines/article_de80b258-af36-11ea-89e9-4f56ef1213c9.html.

Wilkinson, Signe. “Political Cartoon: NO! Don't Mask Me!” Https://Www.inquirer.com, The Philadelphia Inquirer, 23 Nov. 2020, www.inquirer.com/opinion/cartoons/masks-coronavirus-rosie-the-riveter-20201122.html.

slavikrds [6]3 years ago
3 0

Answer:

The author provides results from a five-year case study that uses iconographic monitoring to trace Shepard Fairey's now-iconic Obama Hope image as proof of what this approach can afford.

The author also briefly presents a modern materialist approach to rhetorical research to help readers consider some of the hypotheses and philosophies that underpin the system of iconographic monitoring.

As a result, the author suggests new avenues for visual rhetorical research and dissemination studies in general.

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