Representation of Ideology in Political Caricatures, from the Persian Constitutional Revolution to the Contemporary with a Sociological Approach [In Persian]

Caricature is a visual and humorous art form used for media and communication. In caricature, meaning and wit are derived from two semiotic expressions, either verbal and visual or solely visual. The three language techniques of exaggeration, contradiction, and metaphor contribute to creating humor in caricatures, which result from the interaction of verbal and visual elements and the use of visual metaphor. Another abundant source of non-linguistic metaphor representation is the caricature. By examining the phenomena of language, art, politics, and religion, as well as other objective manifestations of metaphor, it is possible to uncover ideology and the human cognitive system. In contrast, the theory of critical analysis of speech seeks to investigate caricature as a social action related to power, ideology, and discourse. Due to caricatures' content compression, brevity, and interaction between language and image, caricatures are quick and straightforward methods to process a message. The audience's unanimity in receiving the message causes them to adopt the desired perspective. Through the use of humor and image literacy, the audience's self-awareness and conceptual literacy will be enhanced. The representation of ideology in political caricatures is founded on two sociological perspectives and linguistic analysis. This study examined the depiction of ideology in political caricatures from the Persian Constitutional Revolution to the present, focusing on significant events such as the July 21, 1952 uprising, Iran's Islamic Revolution, the Iran-Iraq War, nuclear energy and sanctions, and resistance to the economy. The beginning of the Persian Constitutional Revolution, the concepts of freedom, awakening in front of the sleep and decline of the nations, in the form of conflict between good and evil forces, blowing horn and the resurrection of the dead, nationalization of the Iranian oil industry, concepts of independence, and drawing the occupier in the minds like a captive anima have been conceptualized in political caricatures based on the findings of this study. In verbal-visual political caricatures from the beginning of the Persian Constitutional Revolution, the formation of the caricature is based on a humorous poem and the concept of an auction, a mosque with large rocket domes, and a nuclear bomb symbol representing religion and imposed war. In the first group of images, which contained pictorial metaphors, the symbols of freedom, the symbolic symbols of the occupation's encroachment on Iran's hydrocarbon resources, and the symbols of impertinent and unintelligible representatives are depicted. In the reader's consciousness, the relationship between origin and destination is formed by combining the concepts of origin and destination and unexpectedly filling part of a schema. In the group of verbal-visual caricatures, the same relationships and the stabilizing function of inflated writing map the relationship between the concepts of war's origin and destination.