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Cartoons in French The Construction of “the Turk” and Entextualization of Historical Stereotypes Political Cartoons in French by Senem Öz M.A. (Sociolinguistics), Simon Fraser University, 2013 B.A., Boĝazici University, 1992 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of French Faculty of Arts and Social Sciences Senem Öz 2014 SIMON FRASER UNIVERSITY Spring 2014 Approval Name: Senem Öz Degree: Master of Arts (French) Title of Thesis: The Construction of “the Turk” and Entextualization of Historical Stereotypes in Political Cartoons in French Examining Committee: Chair: Dr. Jorge Calderon Associate Professor Dr. Cécile B. Vigouroux Senior Supervisor Associate Professor Dr. Gaëlle Planchenault Supervisor Associate Professor Dr. Alexandre Duchêne External Examiner Professor of Sociology of Language and Multilingualism Université de Fribourg Date Defended/Approved: February 18, 2014 ii Partial Copyright Licence iii Abstract This thesis explores the metaphorical/stereotypical construction of “the Turk” depicted in the discourse of the political cartoons relating to the accession of Turkey to the European Union. Through a multimodal semiotic analysis of selected cartoons disseminated on the web between 2001-2013, this thesis aims to unfold how “re- contextualizing” a vast repertoire of historical metaphors and stereotypes represents the Turks and Turkey. From a theoretical perspective, this thesis also aims to reflect on the role of caricature in the construction of the Turkish image and the part it plays in the formation of an anti-Turkish discourse. Keywords: Turkish image in the political cartoons; entextualization; historical stereotypes; Turkey’s EU membership; multimodal semantic analysis; anti-Turkish discourse iv Dedication To my mom Ȕlku Işın, whose encouragement and constant unconditional love have sustained me throughout my life and gave me inspiration to “reach for the stars.” To Dr. Cécile B. Vigouroux, who introduced me to the wonderful world of Sociolinguistics and taught me how to spread my wings. To Canada, who offered me “freedom” and endless academic opportunity. v Acknowledgements Although only my name appears on the cover of this thesis, a great many people have contributed to its production. I would like to express my sincere gratitude to my supervisor and mentor Dr. Cécile Vigouroux who always got the best out of me, with her encouragement, insightful criticism, immense knowledge, and role modeling. Without her, this thesis would have remained a dream. I would like to thank Dr. Gaëlle Planchenault, whose stimulating suggestions, questions, and comments helped me to focus my ideas and complete my research. I am grateful to all my professors, Dr. Catherine Black, Dr. Jie Yang, Dr. Rejean Canac- Marquis, and Linda Bruneau for their untiring effort in encouraging me to pursue professional and academic growth. In addition to my supervisors and professors, I would like to acknowledge the academic and financial support of Simon Fraser University and the French Department. I would like to offer my special thanks to my husband Mark Rowlands for his patience and support. vi Table of Contents Approval ................................................................................................................... ii Partial Copyright Licence ........................................................................................ iii Abstract ................................................................................................................... iv Dedication ................................................................................................................ v Acknowledgements ................................................................................................. vi Table of Contents ................................................................................................... vii List of Figures ........................................................................................................ viii 1. Introduction ............................................................................................................ 1 2. Theoretical Framework .......................................................................................... 5 2.1. Political Cartoons and Multilayered Semiosis .................................................. 5 2.2. Toward a “Taxonomy of Graphic Discourse” ................................................... 7 2.3. Travelling Cartoons through Time, Space and Contexts ................................ 11 2.4. The Data ....................................................................................................... 13 2.4.1. The Internet as a Research Medium .................................................. 13 2.4.2. The Corpus of Analysis ...................................................................... 15 3. Analysis ................................................................................................................ 22 3.1. Road Metaphors: Turkey’s Long Journey to the EU ...................................... 22 3.2. Container Metaphors: Turkey’s Knocking on the Door ................................... 31 3.3. Entextualization of “Generic” Cartoons ......................................................... 50 3.4. Islamophobic Cartoons .................................................................................. 60 3.4.1. Flag Metaphors .................................................................................. 61 3.5. Turks vs. Europeans ..................................................................................... 66 3.5.1. Turkish Men ....................................................................................... 70 3.5.2. Turkish Women .................................................................................. 72 3.6. Entextualization of the Historical Stereotypes and Symbolism of the Red Fez ........................................................................................................ 76 3.7. Topos of Turkish Fear: The Image of “The Terrible Turk” ............................... 79 3.8. Topos of European Superiority: Ottomans as the “Sick Man of Europe” ........ 81 4. Conclusions .......................................................................................................... 84 References ................................................................................................................... 87 Appendix: Entextualization of the cartoons ........................................................... 101 vii List of Figures Figure 3.1. Izel Rosental, 2005 ................................................................................... 24 Figure 3.2. Janusz Majewski (MAYK), 2008 ................................................................ 25 Figure 3.3. Slavomir Svitalsky, 2009 ........................................................................... 27 Figure 3.4. Plantu, 2005 .............................................................................................. 28 Figure 3.5. Nicolas Vadot, 2004 .................................................................................. 30 Figure 3.6. Niels Bobojesen, 2005 .............................................................................. 32 Figure 3.7. Ali Dilem, 2007 .......................................................................................... 34 Figure 3.8. Janusz Majewski, 2010 ............................................................................. 35 Figure 3.9. Plantu, 2005 .............................................................................................. 37 Figure 3.10. Door-maze metaphors by Plantu and Arikan ............................................. 38 Figure 3.11. Patrick Chapatte, 2009 .............................................................................. 43 Figure 3.12. Plantu, 2009 .............................................................................................. 44 Figure 3.13. NO AUTHOR ............................................................................................ 45 Figure 3.14. © Bastion n°67 de Janvier 2003 ................................................................ 49 Figure 3.15. Bergolix (Steph Bergol) ............................................................................. 52 Figure 3.16. Bergolix (Steph Bergol) ............................................................................. 55 Figure 3.17. Bergolix (Steph Bergol) ............................................................................. 57 Figure 3.18. Cox & Forkum, 2007 ................................................................................. 62 Figure 3.19. Bergolix (Steph Bergol) ............................................................................. 63 Figure 3.20. Hasan Bleibel, 2010 .................................................................................. 65 Figure 3.21. Bergolix (Steph Bergol) ............................................................................. 65 Figure 3.22. Cristina Sampaio, 2006 ............................................................................. 71 Figure 3.23. Helder Oliviera, 2011 ................................................................................ 71 Figure 3.24. Plantu, 2005 .............................................................................................. 73 Figure 3.25. Plantu, 2005 .............................................................................................
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