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| 1 |
ID:
092655
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| 2 |
ID:
092330
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| Publication |
2009.
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| Summary/Abstract |
Humour and cartoons are commonly perceived as practices of innocent entertainment, but the crisis following the publishing of twelve cartoons of the prophet Muhammed in the Danish newspaper Jyllands-Posten finally proved what serious matters popular culture, cartoons and humour can be. One repercussion of this notorious cartoon crisis was the publication in Kaltio, a minor cultural journal produced in northern Finland, of a comic strip in which various questions concerning the Muhammed cartoon episode and the political hypocrisy of the Finnish government were discussed satirically. This precipitated another, albeit minor, crisis which was noted widely around the world. Through these two interlinked incidences, the present paper discusses how humour functions as a 'tool' giving impetus to various forms of geopolitical processes and discussions in a range of contextual circumstances and at different spatial levels, resulting in both politically affirmative and destructive effects. It also discusses how the geopolitical order, discourses and codes can divert the reception and interpretation of humour.
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| 3 |
ID:
129604
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2014.
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| Summary/Abstract |
Humour is a manifold cultural institution through which society and space become politicised. In this paper, the political nature of humour is discussed by dissecting the IMDb film reviews of Sacha Baron Cohen's comedy, The Dictator (2012), a parody of democracy in which the topics of racism, political incorrectness and sexism, as well as their relationship to the discourses of Neo-Orientalism and the Global War on Terrorism, are present. The reviews are perceived as speech acts, which establish broader interpretative patterns through which audience may approach the questions related to the serious and political aspects of humour. The analysis focuses on how the 'humour is serious' claim and similar arguments are expressed in order to condemn or support the use of 'immature' and sophomoric humour within the context of politically sensitive issues. Similarly, the paper scrutinises how IMDb functions as a stage on which opportunity for political participation becomes accessible.
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