Pub Date : 2021-12-30DOI: 10.7592/ejhr2021.9.4.560
J. Chey
As Chinese people engaged with the Australian cultural scene in recent years, two posts about its humour attracted considerable attention from netizens in the People’s Republic of China. The post authors believed that their firsthand accounts of events demonstrated how Australians used humour to overcome awkward situations and regarded this as an essential national characteristic. In each case, other interpretations were possible if cultural factors had been taken into account, including the contemporary culture of China, Putonghua language usage and the Anglo-centrism that is common to cross-cultural studies. This exploratory generalist textual study concludes that the authors’ interpretations were largely determined by their cultural bias and by traditional regard for ‘face’ and politeness, and reflect the fact that, ultimately, the extent of cross-cultural communication is governed by international politics.
{"title":"Overcoming awkwardness","authors":"J. Chey","doi":"10.7592/ejhr2021.9.4.560","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.4.560","url":null,"abstract":"As Chinese people engaged with the Australian cultural scene in recent years, two posts about its humour attracted considerable attention from netizens in the People’s Republic of China. The post authors believed that their firsthand accounts of events demonstrated how Australians used humour to overcome awkward situations and regarded this as an essential national characteristic. In each case, other interpretations were possible if cultural factors had been taken into account, including the contemporary culture of China, Putonghua language usage and the Anglo-centrism that is common to cross-cultural studies. This exploratory generalist textual study concludes that the authors’ interpretations were largely determined by their cultural bias and by traditional regard for ‘face’ and politeness, and reflect the fact that, ultimately, the extent of cross-cultural communication is governed by international politics.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71370809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.523
S. Ödmark
Humour has a unique way of delineating social boundaries, and comedy can function as a double-edged sword; it can strengthen bonds and bring people together, or divide through provocation and violation of social norms. As a consequence, humour controversies are telling events that contain the possibility of highlighting cultural and political sensibilities – even more in the current political landscape, with increasing media fragmentation. This study analysed four humour functions through the theoretical lens of media framing, via three cases of humorous content that caused controversies in the Swedish news media. These cases were one divisive radio roast of a politician, one TV satire segment that was received as racist, and one audio podcast with young women who challenged a Swedish political consensus climate. Framing is the power of media to select and highlight certain aspects of issues, and by extension, shape public opinion. By subjecting the media coverage of these three controversies to a qualitative content analysis, the framing was examined and discussed in the light of four humour functions: identification, clarification, enforcement, and differentiation (Meyer 2000). Furthermore, the study examined the media context and the role it played in the framing of the controversies. One main finding was that the most uniting humour function of identification could be transformed into the most dividing humour function of differentiation through a shift in media context.
{"title":"De-contextualisation fuels controversy: the double-edged sword of humour in a hybrid media environment","authors":"S. Ödmark","doi":"10.7592/ejhr2021.9.3.523","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.3.523","url":null,"abstract":"Humour has a unique way of delineating social boundaries, and comedy can function as a double-edged sword; it can strengthen bonds and bring people together, or divide through provocation and violation of social norms. As a consequence, humour controversies are telling events that contain the possibility of highlighting cultural and political sensibilities – even more in the current political landscape, with increasing media fragmentation. This study analysed four humour functions through the theoretical lens of media framing, via three cases of humorous content that caused controversies in the Swedish news media. These cases were one divisive radio roast of a politician, one TV satire segment that was received as racist, and one audio podcast with young women who challenged a Swedish political consensus climate. Framing is the power of media to select and highlight certain aspects of issues, and by extension, shape public opinion. By subjecting the media coverage of these three controversies to a qualitative content analysis, the framing was examined and discussed in the light of four humour functions: identification, clarification, enforcement, and differentiation (Meyer 2000). Furthermore, the study examined the media context and the role it played in the framing of the controversies. One main finding was that the most uniting humour function of identification could be transformed into the most dividing humour function of differentiation through a shift in media context.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46251487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.531
Yomna Elsayed
The Arab Spring offered Egyptians a brief opportunity for political freedom of expression; it also offered many creative youths a chance to experiment with their newfound digital talents. However, this was soon followed by a state crackdown on public forms of dissent; subsequently, creative expression had to find other platforms and modalities to continue its practices of playful dissent. Through Mikhail Bakhtin’s (1984) theory of Carnivalesque, this paper examines how Egyptian youths managed to create alternate spaces, other than the highly scrutinised political square, to challenge officialdom and generate their own folk culture through laughter and creative digital arts. This research is based on interviews conducted with administrators and fans of Facebook pages that offer satirical content in the form of memes and remix videos. Fans of these pages mostly belong to the 1980s and 1990s generations, but they also include younger adults whose formative years were those of the Arab Spring. This study argues that, like Bakhtin’s carnival, laughter and everyday comedy was a means by which creative artists could continue to express their opinions and indirect dissent amid intensifying state surveillance. These spaces, therefore, constituted third spaces away from polarised politics, where fans could playfully discuss the comedy away from the heat of events. They were spaces where youths could exercise control over the objects of laughter and challenge established institutions. Like the carnival, youths exercised Carnival practices of both reversal and renewal to craft a new folk culture of their own that did not have to abide by the rules of patronising politics.
{"title":"Egyptian Facebook satire: a post-Spring carnivalesque","authors":"Yomna Elsayed","doi":"10.7592/ejhr2021.9.3.531","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.3.531","url":null,"abstract":"The Arab Spring offered Egyptians a brief opportunity for political freedom of expression; it also offered many creative youths a chance to experiment with their newfound digital talents. However, this was soon followed by a state crackdown on public forms of dissent; subsequently, creative expression had to find other platforms and modalities to continue its practices of playful dissent. Through Mikhail Bakhtin’s (1984) theory of Carnivalesque, this paper examines how Egyptian youths managed to create alternate spaces, other than the highly scrutinised political square, to challenge officialdom and generate their own folk culture through laughter and creative digital arts. This research is based on interviews conducted with administrators and fans of Facebook pages that offer satirical content in the form of memes and remix videos. Fans of these pages mostly belong to the 1980s and 1990s generations, but they also include younger adults whose formative years were those of the Arab Spring. This study argues that, like Bakhtin’s carnival, laughter and everyday comedy was a means by which creative artists could continue to express their opinions and indirect dissent amid intensifying state surveillance. These spaces, therefore, constituted third spaces away from polarised politics, where fans could playfully discuss the comedy away from the heat of events. They were spaces where youths could exercise control over the objects of laughter and challenge established institutions. Like the carnival, youths exercised Carnival practices of both reversal and renewal to craft a new folk culture of their own that did not have to abide by the rules of patronising politics.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48096843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.538
Mark J Rolfe
A considerable body of academic literature has lauded political satirists as rebellious defenders of democracy and free speech against an establishment. Although satire is not always rebellious, this reputation of satirists and of satire may itself be the object of partisan capture. In this article, it is the object of capture by right-wing populists. In that respect, satire and the meta-discourse about satire can be used like any political rhetoric in gathering like-minded allies, claiming standards, and fighting opponents. With the Danish cartoons crisis of 2005-2006 and the Charlie Hebdo massacre of 2015, proponents of culture wars rhetoric added satire to their list of Western cultural legacies that needed defence against Islamic terrorism as well as left authoritarian elites who suppressed free speech through political correctness. They constructed simplistic global political dichotomies about satire, free speech, and civilisation and lifted events out of local contexts in a process of global framing. The culture war rhetoric was absolutist in support of free speech and satire on the international level. But the national level reveals the hortatory and partisan side to this rhetoric and the complexities that belie the absolutist stand. Nations are the arenas where struggles over free speech and political humour are played out.
{"title":"The Danish Cartoons, Charlie Hebdo and the culture wars: satiric limits in comparative national and transnational perspectives","authors":"Mark J Rolfe","doi":"10.7592/ejhr2021.9.3.538","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.3.538","url":null,"abstract":"A considerable body of academic literature has lauded political satirists as rebellious defenders of democracy and free speech against an establishment. Although satire is not always rebellious, this reputation of satirists and of satire may itself be the object of partisan capture. In this article, it is the object of capture by right-wing populists. In that respect, satire and the meta-discourse about satire can be used like any political rhetoric in gathering like-minded allies, claiming standards, and fighting opponents. With the Danish cartoons crisis of 2005-2006 and the Charlie Hebdo massacre of 2015, proponents of culture wars rhetoric added satire to their list of Western cultural legacies that needed defence against Islamic terrorism as well as left authoritarian elites who suppressed free speech through political correctness. They constructed simplistic global political dichotomies about satire, free speech, and civilisation and lifted events out of local contexts in a process of global framing. The culture war rhetoric was absolutist in support of free speech and satire on the international level. But the national level reveals the hortatory and partisan side to this rhetoric and the complexities that belie the absolutist stand. Nations are the arenas where struggles over free speech and political humour are played out.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43818799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr.2021.9.3.664
Conal Condren
Introductions to fields of studies are almost a sub-genre in their own right, but are often resistant to direct comparison. The essay discusses four recent introductions to humour published by university presses, and what more broadly they may signify about disciplinary advertisement and consolidation. It emphasises a range of difficulties endemic to the study of humour arising from its interdisciplinarity, recent establishment, the variable range of humour and its putative universality; in which context it pays attention to Austinian performatives, puns and their translation, and to the shared propensity in these introductions to mythologise the history of humour theory. Most critical attention is paid to the studies that form almost polar opposites: Nilsen & Nilsen, The Language of Humour and Attardo, The Linguistics of Humour.
{"title":"Mapping the contours of humour: reflections on recent introductory studies","authors":"Conal Condren","doi":"10.7592/ejhr.2021.9.3.664","DOIUrl":"https://doi.org/10.7592/ejhr.2021.9.3.664","url":null,"abstract":"Introductions to fields of studies are almost a sub-genre in their own right, but are often resistant to direct comparison. The essay discusses four recent introductions to humour published by university presses, and what more broadly they may signify about disciplinary advertisement and consolidation. It emphasises a range of difficulties endemic to the study of humour arising from its interdisciplinarity, recent establishment, the variable range of humour and its putative universality; in which context it pays attention to Austinian performatives, puns and their translation, and to the shared propensity in these introductions to mythologise the history of humour theory. Most critical attention is paid to the studies that form almost polar opposites: Nilsen & Nilsen, The Language of Humour and Attardo, The Linguistics of Humour.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47077994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/EJHR2021X.9.3.527
D. Chiaro, Nikita Lobanov
{"title":"Fandom versus citizenship: the “weirdisation”of politics","authors":"D. Chiaro, Nikita Lobanov","doi":"10.7592/EJHR2021X.9.3.527","DOIUrl":"https://doi.org/10.7592/EJHR2021X.9.3.527","url":null,"abstract":"","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47088495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.527
D. Chiaro, Nikita Lobanov
This paper examines occurrences of humour in Twitter-fed celebrity-follower communities. Using a small, one-month sample of the Twitter feeds of 12 British celebrities, we examined political and humorous content of celebrity tweets and the first five responses from their followers. From this preliminary study, we found that the notion of “weirdisation” strongly emerges, together with the new conceptual tool of “shards of humour”.
{"title":"Fandom versus citizenship: the “weirdisation” of politics","authors":"D. Chiaro, Nikita Lobanov","doi":"10.7592/ejhr2021.9.3.527","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.3.527","url":null,"abstract":"This paper examines occurrences of humour in Twitter-fed celebrity-follower communities. Using a small, one-month sample of the Twitter feeds of 12 British celebrities, we examined political and humorous content of celebrity tweets and the first five responses from their followers. From this preliminary study, we found that the notion of “weirdisation” strongly emerges, together with the new conceptual tool of “shards of humour”.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48085933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.525
Jennalee Donian, Nicholas Holm
This article takes up the transnational comedy career of Trevor Noah as a way to explore how the political work of racial comedy can manifest, circulate and indeed communicate differently across different racial-political contexts. Through the close textual analysis of two key comic performances –“The Daywalker” (2009) and “Son of Patricia” (2018), produced and (initially) circulated in South Africa and the USA, respectively – this article explores the extent to which Noah’s comic treatment of race has shifted between the two contexts. In particular, attention is paid to how Noah incites, navigates and mitigates potential sources of offence surrounding racial anxieties in the two contexts, and how he evokes his own “mixed-race” status in order to open up spaces of permission that allow him to joke about otherwise taboo subjects. Rejecting the claim that the politics of Noah’s comedy is emancipatory or progressive in any straightforward way, by means of formal analyses we argue that his comic treatment of race does not enact any singular politics, but rather that the political work of his racial humour shifts relative to its wider political contexts. Thus, rather than drawing a clear line between light entertainment and politically meaningful humour, this article argues that the political valence of racial joking can be understood as contingent upon wider discourses of race that circulate in national-cultural contexts.
{"title":"Trevor Noah and the contingent politics of racial joking","authors":"Jennalee Donian, Nicholas Holm","doi":"10.7592/ejhr2021.9.3.525","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.3.525","url":null,"abstract":"This article takes up the transnational comedy career of Trevor Noah as a way to explore how the political work of racial comedy can manifest, circulate and indeed communicate differently across different racial-political contexts. Through the close textual analysis of two key comic performances –“The Daywalker” (2009) and “Son of Patricia” (2018), produced and (initially) circulated in South Africa and the USA, respectively – this article explores the extent to which Noah’s comic treatment of race has shifted between the two contexts. In particular, attention is paid to how Noah incites, navigates and mitigates potential sources of offence surrounding racial anxieties in the two contexts, and how he evokes his own “mixed-race” status in order to open up spaces of permission that allow him to joke about otherwise taboo subjects. Rejecting the claim that the politics of Noah’s comedy is emancipatory or progressive in any straightforward way, by means of formal analyses we argue that his comic treatment of race does not enact any singular politics, but rather that the political work of his racial humour shifts relative to its wider political contexts. Thus, rather than drawing a clear line between light entertainment and politically meaningful humour, this article argues that the political valence of racial joking can be understood as contingent upon wider discourses of race that circulate in national-cultural contexts.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48011296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.534
Manuel Garin, Daniel Pérez-Pamies
This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called “serious” press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then framed within a figurative tradition that goes back to Spanish royal portraiture, from Velázquez to Goya, which employs common strategies for the visual depiction of power, including satirical and humorous attributes to push specific political agendas. This examination, based on the quantified study and the visual analysis of more than 7,500 front pages, is part of the national research project Visual Motifs in the Public Sphere: Production and Circulation of Images of Power in Spain, 2011-2017. In order to determine a useful procedural approach to satirical expressions in photographs, defining which front pages invoke a remarkable satirical content, this article also presents a comparative study and a categorisation based on formal (im)balances related to the concepts of visual motif and humour.
本文探讨了摄影和视觉母题在当代媒体中作为政治幽默形式的运用。通过研究2011年至2017年间西班牙前首相马里亚诺·拉霍伊在三家西班牙报纸(El Mundo, El País和La Vanguardia)头版上的表现，本文确定并质疑所谓“严肃”媒体中存在的权力与讽刺之间的联系，重点关注不同的摄影特征在布局，构图和手势方面如何反映意识形态选择。这种由印刷媒体发展起来的摄影讽刺，然后在一种可以追溯到西班牙王室肖像的具象传统中被框架起来，从Velázquez到戈雅，它采用了对权力的视觉描绘的共同策略，包括讽刺和幽默的属性，以推动特定的政治议程。这项研究基于对7500多个头版的量化研究和视觉分析，是国家研究项目“公共领域的视觉主题:2011-2017年西班牙权力图像的生产和流通”的一部分。为了确定一种有用的程序方法来处理照片中的讽刺表达，确定哪些头版引发了引人注目的讽刺内容，本文还提出了一项比较研究，并基于与视觉母题和幽默概念相关的形式(非)平衡进行了分类。
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Pub Date : 2021-11-01DOI: 10.7592/ejhr2021.9.3.635
Sammy Basu, M. Zekavat
This article introduces the themes of the special issue. It offers a provisional working conception of “political humour.” It then notes some of the tendencies and challenges for scholarship on political humour, namely, that political humour interacts contingently and conditionally with intentions, contexts, and audiences. The individual articles of the special issue are briefly summarized, and some concluding lessons drawn.
{"title":"Contingent dynamics of political humour","authors":"Sammy Basu, M. Zekavat","doi":"10.7592/ejhr2021.9.3.635","DOIUrl":"https://doi.org/10.7592/ejhr2021.9.3.635","url":null,"abstract":"This article introduces the themes of the special issue. It offers a provisional working conception of “political humour.” It then notes some of the tendencies and challenges for scholarship on political humour, namely, that political humour interacts contingently and conditionally with intentions, contexts, and audiences. The individual articles of the special issue are briefly summarized, and some concluding lessons drawn.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43045303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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