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The Global ETD Search service is a free service for researchers
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 1 to 10 of 11 (0.023 seconds)| 1 |
Towards a Theory of Postmodern Humour: South Park as carnivalesque postmodern narrative impulseFranklyn, Blair Scott January 2006 (has links)
The philosopher Martin Heidegger describes humour as a response to human 'thrownness' in the world. This thesis argues that there is a form of humour which can be usefully described as postmodern humour and that postmodern humour reflects the experience of being 'thrown' into postmodernity. Postmodern humour responds to and references the fears, fixations, frameworks and technologies which underpin our postmodern existence. It is further contended that South Park is an example of postmodern humour in the way that it exhibits a carnivalesque postmodern narrative impulse which attacks the meta-narrative style explanations of contemporary events, trends and fashions offered in the popular media. South Park's carnivalesque humour is a complex critique on a society in which television is a primary instrument of communication, a centre-piece to many people's lives, and a barometer of contemporary culture, while at the same time drawing attention to the fact that the medium being satirised is also used to perform the critique. A large portion of this thesis is devoted to examining and interrogating the discursive properties of humour as compared to seriousness, an endeavour which also establishes some interesting links to postmodern philosophical discourse. This can be succinctly summarized by the following: 1. Humour is a form of discourse which simultaneously refers to two frames of reference, or associative contexts. Therefore humour is a bissociative form of discourse. 2. Seriousness is a form of discourse which relies on a singular associative context. 3. The legally and socially instituted rules which govern everyday life use serious discourse as a matter of practical necessity. 4. Ambiguity, transgression and deviancy are problematic to serious discourse (and therefore the official culture in which it circulates), but conventions of humorous discourse. 5. Humorous discourse then, challenges the singularity and totality of the official discourses which govern everyday life. Subsequently, humour has been subjected to a variety of controls, most notably the 'policing the body' documented in the writings of Norbert Elias and Michel Foucault. 6. Humour can therefore be understood to function in a manner similar to Jean-Fran ois Lyotard's concept of little-narrative's, which destabilize the totality of official meta-narratives. Furthermore, this thesis proposes strong links between the oppositional practices of the medieval carnival, as outlined by Mikhail Bakhtin, and the produced-for-mass-consumption humour of South Park. However, it also demonstrates that although South Park embodies the oppositional spirit of the carnival, it lacks its fundamentally social nature, and therefore lacks its politically resistant potency. More specifically it is argued that the development and prevalence of technologies such as television, video/DVD, and the internet, allows us to access humour at any time we wish. However, this temporal freedom is contrasted by the spatial constraints inherent in these communication/media technologies. Rather than officially sanctioned times and places for carnivalesque social gatherings, today, individuals have the 'liberty' of free (private) access to carnivalesque media texts, which simultaneously help to restrict the freedom of social contact that the carnival used to afford. Further to this, it is argued that the fact that South Park, with its explicit derision of authority, is allowed to circulate through mainstream media at all, implies asymmetric conservative action on the part of officialdom. In this sense it is argued that postmodern humour such as South Park is allowed to circulate because the act of watching/consuming the programme also acts as a deterrent to actual radical activity.
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O discurso politicamente incorreto e do escracho em South Park /Gruda, Mateus Pranzetti Paul. January 2011 (has links)
Orientador: José Sterza Justo / Banca: Rafael Siqueira de Guimarães / Banca: Nelson Pedro da Silva / Resumo: Neste trabalho fazemos uma análise do humor politicamente incorreto e escrachado do desenho animado estadunidense South Park tendo como norte: (1) que embora a comicidade na contemporaneidade esteja neutralizada e abrandada pelo humorismo light e politicamente correto, o discurso humorístico propagado por nosso corpus de estudo pode estar em sintonia com as características mais essenciais e inerentes a este gênero da linguagem (crítica, acidez, sarcasmo, caricatural, escatológico, grotesco); (2) e que quando o texto Southparkiano (episódios compostos por narrativas, diálogos e imagens) inverte os discursos hegemônicos possibilitaria reflexões acerca destes, atentando para que tanto esses discursos contra-hegemônicos, quanto os discursos hegemônicos, são infalíveis, não sendo estritamente corretos e/ou verdadeiros. / Abstract: In this work we do an analysis of politically incorrect humor of the American South Park cartoon with a north: (1) although the comic discourse in contemporary is neutralized and softened by the light humor and the politically correct, the humorous discourse propagated by the corpus of our study can be in keeping with the essential features and inherent to this genre language (critic, acidity, sarcasm, caricature, scatological, grotesque); (2) and that when the South Park's text (episodes composed narratives, dialogues and images) reverses the hegemonic discourses it could enable reflections about them, paying attention to these counter-hegemonic discourses and hegemonic discourses are both infallible, not strictly correct and/or true at all. / Mestre
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Serious Play: Evaluating the Comedic, Political and Religious Relationships Between The Daily Show, The Colbert Report and South ParkSpringer, Noah Jerome 01 August 2011 (has links)
The goal of this paper is to create a framework through which the television programs The Daily Show, The Colbert Report and South Park can be evaluated collectively. The framework of "serious play" permits the analysis of the relationship between the three programs, specifically regarding their comedic, political and religious functions. This textual analysis proposes that when examined together through serious play, The Daily Show, The Colbert Report and South Park are best visualized through a legal analogy which is supported by serious play.
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O discurso politicamente incorreto e do escracho em South ParkGruda, Mateus Pranzetti Paul [UNESP] 16 June 2011 (has links) (PDF)
Made available in DSpace on 2014-06-11T19:29:01Z (GMT). No. of bitstreams: 0
Previous issue date: 2011-06-16Bitstream added on 2014-06-13T20:58:59Z : No. of bitstreams: 1
gruda_mpp_me_assis.pdf: 741050 bytes, checksum: 2c4c9e7a078c7baa8e463304f18ad9c6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste trabalho fazemos uma análise do humor politicamente incorreto e escrachado do desenho animado estadunidense South Park tendo como norte: (1) que embora a comicidade na contemporaneidade esteja neutralizada e abrandada pelo humorismo light e politicamente correto, o discurso humorístico propagado por nosso corpus de estudo pode estar em sintonia com as características mais essenciais e inerentes a este gênero da linguagem (crítica, acidez, sarcasmo, caricatural, escatológico, grotesco); (2) e que quando o texto Southparkiano (episódios compostos por narrativas, diálogos e imagens) inverte os discursos hegemônicos possibilitaria reflexões acerca destes, atentando para que tanto esses discursos contra-hegemônicos, quanto os discursos hegemônicos, são infalíveis, não sendo estritamente corretos e/ou verdadeiros. / In this work we do an analysis of politically incorrect humor of the American South Park cartoon with a north: (1) although the comic discourse in contemporary is neutralized and softened by the light humor and the politically correct, the humorous discourse propagated by the corpus of our study can be in keeping with the essential features and inherent to this genre language (critic, acidity, sarcasm, caricature, scatological, grotesque); (2) and that when the South Park’s text (episodes composed narratives, dialogues and images) reverses the hegemonic discourses it could enable reflections about them, paying attention to these counter-hegemonic discourses and hegemonic discourses are both infallible, not strictly correct and/or true at all.
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The Rhetoric of <i>South Park</i>Stewart, Julie M. 05 October 2007 (has links)
No description available.
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South Park: (des)construção iconoclasta das celebridadesOliveira, Érico Fernando de 08 October 2012 (has links)
Made available in DSpace on 2016-04-26T18:12:08Z (GMT). No. of bitstreams: 1
Erico Fernando de Oliveira.pdf: 5223723 bytes, checksum: 1749e79bae5a6d85c540c5a643463e3b (MD5)
Previous issue date: 2012-10-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The reason of this research is studying the contemporary and social construction of the
celebrities as well as the role that it exerts at the mediatic civilization. Therefore we focused
on the American TV show South Park, an animation that is dedicated at caricature them. We
worked with the hypothesis that the idol is a simulacrum that doesn t resist to humor
desecrate. In order to do that we adopted as the main investigative theorist reference the
concepts of dispositive and profanation from Giorgio Agamben s philosophy, to whom
the caricature present on the cartoons reveals the human and ordinary character of the idols,
taking off the phantasy veil which sacralizes it. But we also mobilize as other conceptual
operators the lacanian real , once that by definition he doesn´t let himself lose from the
imaginary as well as the symbolic and cynical subject notion, as developed by Slavoj i ek,
which takes us to elaborate another hypothesis, the one that the engaging at the modalization
defiler of the show might not occur because of the cynical reception of its audience. The
corpus selected to analysis constitutes of 71 episodes of 22 minutes duration selected among
more than 200 of the previously mentioned TV show, aired between 1997 and 2011, as well
as the feature film South Park: bigger, better and uncut (1999). The selection was made
mostly based on the purpose of what we intend to show / O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem
como o papel que ela exerce na civilização midiática. Para tanto, debruçamo-nos sobre o
programa televisivo norte-americano South Park, uma animação que se dedica a caricaturálas.
Trabalhamos com a hipótese de que o ídolo é um simulacro que não resiste à profanação
do humor. Nesse sentido, tomamos como principal referencial teórico-investigativo os
conceitos de dispositivo e profanação de Giorgio Agamben, para quem a caricatura
presente nos cartoons desvela o caráter humano e ordinário do ídolo, removendo o véu da
fantasia que o sacraliza. Mas mobilizamos também, como outros operadores conceituais, o
real lacaniano, uma vez que, por definição, ele não se deixa desprender nem do imaginário
nem do simbólico e também a noção de sujeito cínico, conforme desenvolvido por Slavoj
i ek, o que nos leva a elaborar uma outra hipótese, a de que o engajamento na modalização
profanatória do programa pode não ocorrer em razão justamente dessa recepção cínica por
parte de sua audiência. O corpus selecionado para análise constitui-se de 71 episódios de 22
minutos de duração, selecionados dentre mais de 200 do referido programa, exibidos entre
1997 e 2011 e também o longa-metragem, South Park: maior, melhor e sem cortes (1999). A
seleção recorta principalmente os episódios que se prestam particularmente ao que se pretende
demonstrar
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En intersektionell studie av populära TV-seriers didaktiska potentialVan Der Kaay, David, Öhlund, Peter January 2010 (has links)
<p>Validerat; 20101217 (root)</p>
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Grab Them By The Laugh : An analysis of South Park’s satire on Donald J. Trump and his Presidential CampaignHangvar, Kristoffer, Norgren, Christian January 2018 (has links)
The purpose of this bachelor’s thesis is to analyse how the American adult cartoon sitcom South Park (Parker & Stone, 1997) is criticising Donald J. Trump and his presidential campaign through the use of satire and the relative tools of satire. The show prominently features arguably bizarre plotlines and themes, with usually unexpected outcomes. The subject South Park and satire, both together and separated, has a fair share of previous research in articles and literature. However, South Park’s well-known, sharp, ruthless and absurd satire, in this case, towards Donald J. Trump has shown to be rather under-researched, probably due to the topic being still relatively fresh. Therefore, looking at how South Park effectively uses one of their own original characters, Mr. Garrison, to represent and satirise Donald J. Trump and his presidential campaign is motivated. The thesis is limited to only analysing two episodes from South Park season 19 (S19E02 & S19E08) and South Park season 20 including all ten episodes. South Park episodes does most of the times have two to three plot lines running simultaneously, thus this thesis also imitates itself to only analyse and focus on satire towards Donald J. Trump and his presidential campaign, and not analysing, for example the internet troll controversy based story, known as Skankhunt42. To be able to do a satirical analysis, this bachelor’s thesis has on forehand established a theory on what satire is, before analysing the satire. This is due to the term satire being a very loose and complex term, difficult to determine and encapsulate. This bachelor’s thesis is the result of a satirical analysis the satire of South Park towards Donald J. Trump and his presidential campaign, by uniquely using their original character Mr. Garrison to act as a satirical representation. It has through the analysis come to conclude that South Park as a show creates a solid satirisation throughout second, and eight episode of season 19, and every episode of season 20 until episode seven, Oh, Jeez!, where Donald J. Trump had only managed to become president-elect, but in the show, Mr. Garrison had actually become president. Making the satire redundant from that point.
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Entre risas y ofensas : cómo el humor transgrede lo políticamente correcto con aceptación en South Park, Louis C.K. 2017 y PewDiePieGuevara Romantchouk, Rouslan 14 October 2021 (has links)
¿Qué pasa cuando la comedia se burla de los menos afortunados o utiliza términos que
algunos grupos consideran ofensivos? Esta investigación busca comprender las estrategias
que utilizan diversos comediantes para tratar temas políticamente incorrectos con aceptación
en el público. Para ello se centra en tres casos particulares provenientes de distintas
plataformas: “Louis C.K.”, el controversial comediante de stand-up; “South Park”, la exitosa
serie animada para adultos y “PewDiePie”, el youtuber más popular de internet a la fecha. La
tesis señala los elementos que tienen en común los comediantes de cada caso y cómo
consiguen tener éxito con su respectiva audiencia. Asimismo, contrasta sus casos de éxito con
casos donde han generado polémica y reacciones negativas como respuesta a chistes
políticamente incorrectos. De esta manera se puede apreciar cómo el humor es una
herramienta funcional en la comunicación de mensajes que abordan temas controversiales y
las técnicas que se utilizan para hacerlos más accesibles al público en general.
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Embracing LOLitics: Popular Culture, Online Political Humor, and PlayTay, Geniesa January 2012 (has links)
The Internet, and Web 2.0 tools can empower audiences to actively participate in media creation. This allows the production of large quantities of content, both amateur and professional. Online memes, which are extensions of usually citizen-created viral content, are a recent and popular example of this. This thesis examines the participation of ordinary individuals in political culture online through humor creation. It focuses on citizen-made political humor memes as an example of engaged citizen discourse. The memes comprise of photographs of political figures altered either by captions or image editing software, and can be compared to more traditional mediums such as political cartoons, and 'green screens' used in filmmaking. Popular culture is often used as a 'common language' to communicate meanings in these texts. This thesis thus examines the relationship between political and popular culture. It also discusses the value of 'affinity spaces', which actively encourage users to participate in creating and sharing the humorous political texts. Some examples of the political humor memes include: the subversion of Vladimir Putin's power by poking fun at his masculine characteristics through acts similar to fanfiction, celebrating Barack Obama’s love of Star Wars, comparing a candid photograph of John McCain to fictional nonhuman creatures such as zombies using photomanipulation, and the wide variety of immediate responses to Osama bin Laden's death. This thesis argues that much of the idiosyncratic nature of the political humor memes comes from a motivation that lies in non-serious play, though they can potentially offer legitimate political criticism through the myths 'poached' from popular culture.
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