Search results for: satire

Authors: Yousef Barahmeh

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There is a wide cultural belief that Jordanians are po-faced and unable to produce humour and satire. However, in the light of the harbingers of the Arab Spring in the early 2011, socio-political satire has thrived notably in social media as a rigorous act of critique and dissent against the institutionalized discourse. This paper seeks to explore the case study of Ahmad Hassan al-Zou’bi’s satirical articles and Facebook posts in the context of theories of satire and digital politics. Al-Zou’bi is the most prominent and prolific Jordanian satirist who rose to prominence after the Arab Spring. The analysis shows that his satirical articles provide a vintage point to the rhetoric behind the socio-political and economic reform programs as much as the adverse impact of neoliberal governments in the modern history of Jordan.

Keywords: Arab Spring, digital politics, humour and socio-political satire

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Authors: Sally Barsoum

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This paper is providing a significant insight into the role of satire in Egyptian politics and how it has been received from the government and viewer’s point of view. It mainly sets out to test whether Bassem Youssef’s satirical program has played a significant role in Egypt recent politics and to investigate what is the nature and extent of this role. In order to test this hypothesis, the researcher chose to critically analyze one episode of Bassem Youssef’s satirical show, El Bernameg. This paper goes further to highlight that the aims of satire is to invite citizens to analyze, criticize and question people in power and the realm of politics rather than remain as untouched subjects by combining humor with critique in order to enhance citizens’ political awareness and perhaps even political engagement. Moreover it identifies that Bassem Youssef’s satire is to use laughter as a medium to communicate his political message. By first informing the public and secondly engaging them through laughter, satire plays a very constructive political role, which have been argued finally that Bassem Youssef has indeed played an important part in the Egyptian political scene of today and this can be measured by the degree of censorship that he has been subject to and the level of international and domestic reaction towards his satirical show. At the end, this paper is suggesting that the measure of a strong government is its ability not only to accommodate satire but also to learn from it.

Keywords: political satirist, Bassem Youssef, capital broadcasting center, TV channel, muslims brotherhood regime, ONTV Egyptian TV channel

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Authors: Ng Ziyi Zoe, Yow Wei Quin

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Humor plays a pivotal role in our interaction with people. According to the age-related positivity effect, older adults (OA) demonstrate more positive emotions and are better able to modulate negative emotional states than younger adults (YA), suggesting an increase in humor appreciation with age. However, different types of humor might show different patterns of change in appreciation with age (e.g., incongruity-resolution humor, aggressive humor, self-vs.-other-deprecating humor). Thus, we aim to explore age-related effects in the perception of different types of humor in a single study, including the impact of local slang in humor appreciation. Twenty OA aged 60-and-above and 24 YA aged 13-20 were watched four short videos (i.e., benign, violent, satire+local slang, and others-deprecating humor) and rated how funny the videos were (from a scale of 1-not funny-at-all to 5-very funny). Participants were also asked to rank the videos in the order of most- to least-entertaining. Repeated measures of ANOVA found significant main effects of age, F(3,39)=12,88, p < .001, where OA gave higher ratings than YA (M=3.20 vs. 2.63), and humor type, F(3,123)=19.66, p < .001. Post-hoc analyses revealed a significant linear contrast where benign and violent humor had the lowest ratings while others-deprecating humor had the highest ratings. No significant interaction effect was found. The distribution of ranking ratings also differed between OA and YA (e.g., preferred satire+local slang and others-deprecating humor vs. overwhelmingly preferred other-deprecating humor, respectively). Overall, OA displayed a greater appreciation across various types of humor than YA. Humor perception will be discussed in the larger context of cognitive, societal, and cultural implications.

Keywords: humor, older adults, perception, age differences

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Authors: Yuli Widiana

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The study of implicature which is one of the discussions of pragmatics is an interesting and challenging topic to discuss. Implicature is a meaning which is implied in an utterance which is not the same as its literal meaning. The rapid development of information technology results in social networks as media to broadcast messages. The broadcast messages may be in the form of jokes which contain implicature. The research applies the pragmatic equivalent method to analyze the topics of jokes based on the implicatures contained in them. Furthermore, the method is also applied to reveal the purpose of creating implicature in jokes. The findings include the kinds of implicature found in jokes which are classified into conventional implicature and conversational implicature. Then, in detailed analysis, implicature in jokes is divided into implicature related to gender, culture, and social phenomena. Furthermore, implicature in jokes may not only be used to give entertainment but also to soften criticisms or satire so that it does not sound rude and harsh.

Keywords: implicature, broadcast messages, conventional implicature, conversational implicature

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Authors: Yuzhi Ruan

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This paper investigates the dual functionality of gossip in shaping the action of the comic character, Mrs. Cyrus Packard, in the play “He Said, She Said” by the Chicago playwright Alice Gerstenberg. During the American Little Theater Movement in the early 20th century, when small experimental centers of drama were established, Alice Gerstenberg challenged gender inequality through the use of social satire in her play. Incorporating textual evidence from the play, this study demonstrates that Mrs. Packard is both empowered and disempowered by her gossiping habit in terms of her self-perception and her social relationships within the play. It argues for the dramatic and satirical representation of female identity through the pragmatics of discourse analysis. These perspectives are evident in combining linguistics and literature.

Keywords: discursive power, female identity, feminism in little theater movement, gossip

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Authors: Alena Radina

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On the global stage, national image is shaped by historical memory of wars and alliances, government ideology and particularly media stereotypes which represent countries in positive or negative ways. News magazine covers are a key site for national representation. The object of analysis in this paper is the portrayals of the US, Germany, China, and Russia in the front pages and cover stories of “Time”, “Der Spiegel”, “Beijing Review”, and “Expert”. Political comedy helps people learn about current affairs even if politics is not their area of interest, and thus satire indirectly sets the public agenda. Coupled with satirical messages, cover images and the linguistic messages embedded in the covers become persuasive visual and verbal factors, known to drive about 80% of magazine sales. Preliminary analysis identified satirical elements in magazine covers, which are known to influence and frame understandings and attract younger audiences. Multimodal and transnational comparative framing analyses lay the groundwork to investigate why journalists, editors and designers deploy certain frames rather than others. This research investigates to what degree frames used in covers correlate with frames within the cover stories and what these framings can tell us about media professionals’ representations of their own and other nations. The study sample includes 32 covers consisting of two covers representing each of the four chosen countries from the four magazines. The sampling framework considers two time periods to compare countries’ representation with two different presidents, and between men and women when present. The countries selected for analysis represent each category of the international news flows model: the core nations are the US and Germany; China is a semi-peripheral country; and Russia is peripheral. Examining textual and visual design elements on the covers and images in the cover stories reveals not only what editors believe visually attracts the reader’s attention to the magazine but also how the magazines frame and construct national images and national leaders. The cover is the most powerful editorial and design page in a magazine because images incorporate less intrusive framing tools. Thus, covers require less cognitive effort of audiences who may therefore be more likely to accept the visual frame without question. Analysis of design and linguistic elements in magazine covers helps to understand how media outlets shape their audience’s perceptions and how magazines frame global issues. While previous multimodal research of covers has focused mostly on lifestyle magazines or newspapers, this paper examines the power of current affairs magazines’ covers to shape audience perception of national image.

Keywords: framing analysis, magazine covers, multimodality, national image, satire

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Authors: Nagwa Abouserie Soliman

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The Victorian era, which started with the reign of Queen Victoria from June 1837 to January 1901, could be considered as one of the most significant eras that had a crucial impact which formed contemporary British life despite the fact that with the rise of the British empire many negative aspects surfaced, namelysocial inequalities such as class differences, child labor, population increase and poverty due to the industrial revolution. Charles Dickens was one of the most prominent writers of the Victorian era who perceived the hypocrisy of the Victorian mores. The appropriate researchstyle that was chosen for this literary analysis is a qualitative research method in which the researcher used the conceptual approach to analyse theDickensian characterisation andwriting style through diction, narrative voice, and images. The aim of this paper is to argue that Charles Dickens inGreat Expectations (1861) was highly satirical of the Victorian mores, as he uses a lot of sharp irony-to satirize various Victorian traditions such as class divisions, the justice system, the poor working class, and the upper-class snobbery that he thought are inhumane and unjust.

Keywords: victorian, child labour, poverty, class division, snobbery

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Authors: Francia Martinez

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This study documents and demonstrates the profound impact of the high status of American English and culture in Colombian commercial landscape due to the globalization and commodification of English. It also documents and describes how Colombian advertisers make use of various language and visual mechanisms in the commercial linguistic landscape to convey messages, create an image with which the target audience can identify, and build a relationship with that target audience. The data (in the form of pictures) were collected in different cities in Colombia and were classified and organized into different categories for the reliability and validity of the analysis. The research questions were: do the ubiquity and high status of American English and culture play a major role in the Colombian commercial linguistic landscape? If so, how?, what roles do national and local culture and language (Spanish) play in the commercial linguistic landscape?, and what different linguistic and visual strategies do Colombian advertisers employ to reach their target audience? Based on data analysis and results, American and local culture and icons play a major role when Colombian advertisers create and design their commercial logos and ads to get consumers’ attention and establish a rapport with them in a successful way. In order to achieve their objectives, Colombian advertisers rely on creative linguistic and visual techniques in their ads, such as puns, humor, irony, comparisons, metaphors, mocking, exaggeration, parody, personification, sarcasm, satire, allusion, onomatopoeias, and imitation (copycat or cloning).

Keywords: Colombian ads, linguistic landscape, rhetorical devices, sociolinguistics

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Authors: O. F. Elkommos

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“Humour studies” is an interdisciplinary research area that is relatively recent. It interests researchers from the disciplines of psychology, sociology, medicine, nursing, in the work place, gender studies, among others, and certainly teaching, language learning, linguistics, and literature. Linguistic theories of humour research are numerous; some of which are of interest to the present study. In spite of the fact that humour courses are now taught in universities around the world in the Egyptian context it is not included. The purpose of the present study is two-fold: to review the state of arts and to show how linguistic theories of humour can be possibly used as an art and craft of teaching and of learning in EFL literature classes. In the present study linguistic theories of humour were applied to selected literary texts to interpret humour as an intrinsic artistic communicative competence challenge. Humour in the area of linguistics was seen as a fifth component of communicative competence of the second language leaner. In literature it was studied as satire, irony, wit, or comedy. Linguistic theories of humour now describe its linguistic structure, mechanism, function, and linguistic deviance. Semantic Script Theory of Verbal Humor (SSTH), General Theory of Verbal Humor (GTVH), Audience Based Theory of Humor (ABTH), and their extensions and subcategories as well as the pragmatic perspective were employed in the analyses. This research analysed the linguistic semantic structure of humour, its mechanism, and how the audience reader (teacher or learner) becomes an interactive interpreter of the humour. This promotes humour competence together with the linguistic, social, cultural, and discourse communicative competence. Studying humour as part of the literary texts and the perception of its function in the work also brings its positive association in class for educational purposes. Humour is by default a provoking/laughter-generated device. Incongruity recognition, perception and resolving it, is a cognitive mastery. This cognitive process involves a humour experience that lightens up the classroom and the mind. It establishes connections necessary for the learning process. In this context the study examined selected narratives to exemplify the application of the theories. It is, therefore, recommended that the theories would be taught and applied to literary texts for a better understanding of the language. Students will then develop their language competence. Teachers in EFL/ESL classes will teach the theories, assist students apply them and interpret text and in the process will also use humour. This is thus easing students' acquisition of the second language, making the classroom an enjoyable, cheerful, self-assuring, and self-illuminating experience for both themselves and their students. It is further recommended that courses of humour research studies should become an integral part of higher education curricula in Egypt.

Keywords: ABTH, deviance, disjuncture, episodic, GTVH, humour competence, humour comprehension, humour in the classroom, humour in the literary texts, humour research linguistic theories, incongruity-resolution, isotopy-disjunction, jab line, longer text joke, narrative story line (macro-micro), punch line, six knowledge resource, SSTH, stacks, strands, teaching linguistics, teaching literature, TEFL, TESL

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Authors: Rudy Ralph Martinez

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The 1960s provided us with some of the most iconic protest images of the late-20th century. This was the result of worldwide unrest and the proliferation of filmmaking equipment, which led to a flood of photos and films depicting war and activism. Many of these images and films played a pivotal role in shaping the ever-evolving discussions surrounding the ‘60s. However, too often, radical imagery finds itself subsumed by consumer culture, a degradation that flattens radical imagery and turns it into consumer products. With this in mind, the work that follows is an analysis of one of the little-discussed chapters of the 60s and 70s, and it is that of the New German Cinema movement and its relationship with the Rote Armee Fraktion, or Red Army Faction (RAF), an armed Marxist-Leninist group founded in West Germany in 1970. The RAF arose out of a milieu which included student activists protesting Western military involvement in the Vietnam War, civil rights activists, and third world guerillas. The actions undertaken by the group throughout their first decade in existence, including bombings, and assassinations, would create West Germany’s most dire political crisis since the Nazi era, culminating in a crisis of legitimation remembered as the German Autumn, which saw the suicides of several of the militants and the assassination of SS officer-cum-prominent industrialist, Hans Martin-Schleyer. Throughout the 1970s, young filmmakers associated with the New German Cinema sought to analyze the political situation as it was unfolding, their films contributing to the public discourse in concomitance with the government and the media. Four notable examples of these films are Volker Schlöndorff and Margarethe von Trotta’sDie Verlorene Ehre der Katharina Blum oder: Wie Gewaltentstehen und wohinsieführenkann (The Lost Honour of Katharina Blum, or: How Violence Develops and Where it Can Lead) (1975), a dark drama about the media’s role in forming public opinion, Deutschland im Herbst(Germany in Autumn) (1977), an experimental collective work released mere months after the German Autumn, Rainer Werner Fassbinder’s Die Dritte Generation (The Third Generation) (1979), a satire about an inept cell of radical militants, and Die bleierne Zeit (The Leaden Time, alt. title: Marianne and Juliane) (1981), an intimate portrayal about two sisters whose activism leads them down disparate paths. The filmmakers of the New German Cinema refused to underline their films with the Manichaean claims respectively espoused by the RAF and the government. These complex portrayals found offspring in films such as Christian Petzold’s Die innere Sicherheit(The State I Am In) (2000), a portrait of a family on the run after the reunification of Germany but were countered by glossy high-budget portrayals such as Uli Edel’s Der Baader-Meinhof Komplex(The Baader-Meinhof Complex) (2008). In focusing on the aesthetic structure of these films in relation to the political atmosphere of the late-60s and 70s West Germany, I hope to shed light on questions concerning spectatorship, surveillance, the role of journalism, and how politics disrupts personal relationships, and the kinship between artists and so-called terrorists.

Keywords: new german cinema, film history, red army faction, german cinema

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