By Sharon Lockyer, Michael Pickering (eds.)
Humour is pervasive in modern tradition, and is mostly celebrated as a public reliable. but there are occasions while it really is felt to provide intolerance, false impression or maybe hatred. This e-book brings jointly, for the 1st time, contributions that contemplate the ethics in addition to the aesthetics of humour. The booklet specializes in the abuses and boundaries of humour, a few of which excite significant social stress and controversy. past a shaggy dog story is an exhilarating intervention, packed with not easy questions and issues.
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Extra resources for Beyond a Joke: The Limits of Humour
He illustrates his approach with close readings of two jokes involving Tory politicians, one as teller and one as butt, the former involving Ann Winterton and the jokes we have already introduced. In contravening private/public boundaries, Winterton on both occasions committed a breach of decorum and was appropriately penalised. Though hardly examples of instrumental or manipulative jokes in the way Morreall refers to them, they offer abundant evidence of the objectionable use of humour by a politician and show her incompetence in judging the broad public nature of the humour networks in which her comic offences were committed and through which they were communicated.
The choice of epithet used to describe the victims is not essential: the joke does not cease to be racist or violent if 'black' is used rather than 'nigger'. The variants of the joke contain four basic features that will be used as defining characteristics of the violent racist joke: 1 Racial/ethnic victim and context. The joke has a victim or victims who are identified by their race or ethnicity, and the joke is told either in an immediate or more general context of prejudice, discrimination and violence against that group.
Examples of each will be given. Fantasy racist violence. In some of the jokes, the violence appears as mythical, unreal or unlikely to occur in actual life. One joke on both the NJ and MNJ pages is a modern version of the pied-piper story. The joke tells of a man buying a brass sculpture of a rat in an antique store. Comic Racism and Violence 39 When he takes the sculpture out, he notices that rats start to run after his car. The man drives his car towards the river and jumps out at the last moment.
Beyond a Joke: The Limits of Humour by Sharon Lockyer, Michael Pickering (eds.)