جستجوی مقالات مرتبط با کلیدواژه « کاریکاتور » در نشریات گروه « علوم اجتماعی »

This article aims to study how China is represented and how it is constructed as Other in cartoons published by the Western discourse during the Corona crisis. In this study, 45 cartoons have been selected and evaluated and analyzed by social semiotics using three Representational, Interpersonal, and Compositional meanings of Kress and Van Leeuwen. To analyze the research results, labeling theory by Edgar and Sedgwick, representation theory Stuart Hall as well as cultural schema theory have been used. By examining cartoons related to China's role in the corona prevalence, the politics of representation in these cartoons can be divided into two general categories: "the abject other; Representation of the yellow peril" and "the power-hungry other; Representation of the red threat." The cartoons in the first category represent China as the potential enemy and abject other that needs to be trained and followed by the West. In contrast, in the cartoons fall into the second category, China is portrayed as a threat to the world in a way that induces the need for control policies and the preservation of Western hegemony. Based on the results of this study, it can be said that the media (here, published cartoons) by reproducing pre-existing stereotypes about China and equating this country with peril and threat, pave the way for people to believe in a negative bias towards China’s issues. This bias can infiltrate intercultural relations through racist actions and even pave the way for possible military confrontations.

Although satire is not a new issue in Iran's social history, it enjoys a shorter background in the realm of media. Naturally, the presence of this newcomer in newspapers, has brought new issues alongside itself. Experts have considered two main features or purposes for satire. One is criticism and the other modification. The latter can be considered the result of the first, if everything ends up fruitfully. These two purposes can be thought of as the most effective functions for satire, though overgeneralization cannot be done in this regard either. However, a satirist should be familiar with media ethics, freedom of press, and privacy. He should also know the functional concept of satire and apply criticism and modification principles to his writings. In the present research, we have discussed the effect and role of media ethics in the field of written satire of nationwide journals so as to have paid the due attribute from this viewpoint as well. Media theories, the fundamental theories of ethics and media, and normative theories of media have been used in this research. The research method was measurement and the means of data collection was questionnaire. The statistical community which has been considered totally consists of 84 members composed of journal satirists and caricaturists throughout the country.

Editorial cartoons, as critical-artistic expressions functioning in media contexts, potentially can enrich our understanding of the cultural aspects in a society. Through methodological integration of Kress and Van Leeuwen’s social semiotics framework and Fairclough’s Critical Discourse Analysis methodology, this study aims to explore those characteristics that are associated to dialogue in editorial cartoons in the context of first ten years after Constitutional Revolution. Furthermore, the article intends to identify different aspects of the pattern of verbal communications between Iranians.
We selected 25 editorial cartoons were from three satirical newspaper namely Bohloul, Tanbih and Ayine-e-ghaib Nama as our samples. Our analysis shows that while changing throughout the course of time, the pattern of verbal communication in this decade had been monological. Our findings indicate that in this decade dialogue should be characterized with a variety of elements including eliminating the “other”, imposing silence by using violence against the “other”, extremism (by excommunicating, accusing and spreading rumor). Hypocrisy, conformation, flattering and prejudicing, and questioning the oppressor are other dialogue characteristics

Islamic fundamentalism is the product of political modernity in the Middle East. This formation is due to the orientalist representation of the Islamic world. In the center of the West’s Representation policies, the political Islam and its embodied violence have been saw as the essential of Islam and considered as the collective spirit of Muslims. The outcome of this process is de-historicizing of Islamic world and myth-making out of it. One of the means of myth-making in the Islamic world is media reflection. The West has a widespread hegemony over publishing media images, one of the main media focuses of Islam and Muslims and consequently proliferating Islamophobia policies is publishing caricatures related to the Islam Prophet in recent years. Barthe’s mythology provides us with a critical outlook by means of which we can decode myth in the present time and decipher the basci ideology of it. This study, by taking into account the presupposition that images have social-historical implications, tries to semioticize the caricatures of the Prophet in the light of a mythological system. Finally, the latent myths in these caricatures have been revealed and their social-historical implications have been decoded. Islamic terrorism, the clash of civilizations and the end of history are myths propagated by these caricatures and naturalize the political Islam. The aim behind these myths is to defamiliarize the process of capital flow under the cover of war against terrorism and defense of expression freedom. These hegemonic images are process of systematic de-politicizing from global ravage and plunder which is guided by populist and conservative currents.

This paper studies the issue of freedom of expression through the editorial cartoons displayed in Toofigh satire weekly which have been published between 1301 and 1350(Hijri calendar) in Iran. Authors divid the mentioned half a century into two periods of centralized and decentralized periods of power, and they found that the total number of cartoons accessible during the targeted 50 years reach 296 items. A discourse analysis of 40 items of these cartoons indicated a difference between two periods of power. The study found gender confrontations, a main theme in cartoons displayed in the centralized period, are diminished in the decentralized period. By the same token, the prevalence of sexual words, references, and drawings, in the decentralized period is less than the centralized years. In the centralized period, foreign policy is more salient than the interior policy and criticism doesn’t go beyond high prices, poverty, transportation problems, and educational costs. In contrast, during the centralized period, the high circle in political power is characterized as sacred and immune from criticism. This holiness decreases when the authors face the decentralized years. These findings are consistent with the media dependency theory. According to this theoretical explication, the amount of information and its worthiness, as well as the degree of freedom of expression, are dependent upon the surrounding social structure.

The politics of England in Iran are very complicated during the process of petroleum up to nationalization of petroleum and it is necessary to study of all acpects. The influence of these ominous politics on the society and economy of Iran during this process, has studied several times before this and It has been analyzed in different points of view and also different political approaches, but we can claim that the study of this historical and political period have not done base on the humorous newspaper and their criticism, or if it has done, it had been very slight and limit. We can say these publications and newspaper basically asked all eastern suffering people to be aware. They also ask the governments to perform the rules and laws and justice in societies. Perhaps nowadays in humour publications and newspaper. In addition to humorous poem and writing which they nick on their authoritarian their sharpen pens, we can find hundreds of caricatures which help suffering people and general people and also the necessity of awareness of eastern people peopleand also Iranian against dictators and absolutism and colonialism of Russia and England. In verse and pross and pictures all these needs introduce as metaphor and ironic and symbol. The aim of thinking of presenting this subject is an influence on these newspaper and publication on enlightenment of all nations of the people and reveals all greediest politics of England about petroleum of Iran in this period.

From the postcolonial viewpoint، the western picture of eastern knowledge is distorted، which in its turn can push the west to mistaken actions. Art is no exception when it comes to differentiating between oneself and «the other» as discussed in orientalism. «The other» is always neglected in artistic performances. In visual arts، for example، it is taken for granted that one''s picture is the whole truth، hence not the subject of scrutiny and criticism. In this research we have decoded the cartoons drawn by non-Muslims depicting Muslim woman، after translating the given pictures into statements which can be labeled as true or untrue. The most abstract and humorous type of visual art i. e cartoon is thus interpreted from the postcolonial perspective. The result is that these pictures depict an otherness which is passive، ignorant، backwarded، and a sexual object، which can horribly alienate Muslim woman، and by extension the totality of Muslims، from the international community.