By Ted Gournelos
A Decade of darkish Humor analyzes ways that renowned and visible tradition used humor-in a number of forms-to confront the assaults of September eleven, 2001 and, extra particularly, the aftermath. This interdisciplinary quantity brings jointly students from 4 nations to debate the influence of humor and irony on either media discourse and tangible political truth. moreover, it demonstrates that laughter is concurrently an road by which social matters are deferred or obfuscated, a manner within which neoliberal or neoconservative rhetoric is challenged, and a way of forming replacement political ideologies.The volume's members conceal a large variety of media productions, together with information parodies (The day-by-day convey with Jon Stewart, The Colbert document, The Onion), television roundtable exhibits (Politically unsuitable with invoice Maher), comedian strips and cartoons (Aaron McGruder's The Boondocks, Jeff Danzinger's editorial cartoons), tv drama (Rescue Me), lively satire (South Park), photograph novels (Art Spiegelman's within the Shadow of No Towers), documentary (Fahrenheit 9/11), and different productions.Along with reading the rhetorical equipment and aesthetic ideas of those productions, the essays position every one in particular political and journalistic contexts, exhibiting how agencies, information retailers, and political associations answered to-and occasionally co-opted-these sorts of humor.
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Additional resources for A Decade of Dark Humor: How Comedy, Irony, and Satire Shaped Post-9 11 America
1-14) Antony has made a career out of denying he is anything but Antony, but we have seen him drifting to and fro between the Roman and the Egyptian worlds. Now the watery instability of his own shape strikes him numb, though in a few moments he will hasten back to his old serpent of Nile. The capacity to change necessarily implies the capacity to be changed. Shape-shifters cannot always maintain a desired shape; once such energies are released, only the gods seem able to control them. The greatest danger in this power has been dramatized, again, by Spenser in the perversions of Archimago: He then devisde himselfe how to disguise; For by his mightie science he could take As many formes and shapes in seeming wise, As ever Proteus to himselfe could make: Sometime a fowle, sometime a fish in lake, Now like a foxe, now like a dragon fell, That of himselfe he ofte for fear would quake, And oft would flie away.
120-3) In fact, most of the play's famous "supposes" are generated by this power of love, or the intrigue to achieve it, and some even become self-generating, as Tranio explains: I see no reason but supposed Lucentio Must get a father, called "supposed Vincentio," And that's a wonder. Fathers commonly Do get their children, but in this case of wooing A child shall get a sire if I fail not of my cunning. 400-4) Each "suppose" is a temporary transformation which is usu ally also an "exchange" with someone else; a similar effect is generated by the mode of doubling in The Comedy of Errors and Twelfth Night.
Such self-consciousness functions as a reminder of the theatricality of life as well as the life of theatricality. Every play, after all, takes place in a twilight zone created by the constant resurrection and transgression of boundaries. The theater is itself such a place, though in the case of Christopher Sly nothing has worked. Another form of metamorphosis, invoked to ease Sly's own change, is found in the several allusions to Ovid in the In duction. These allusions to the Metamorphoses do not occur in the anonymous play, The Taming of A Shrew—one of Shakespeare's major sources for The Shrew—nor do others cited elsewhere in the play.
A Decade of Dark Humor: How Comedy, Irony, and Satire Shaped Post-9 11 America by Ted Gournelos