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Academic literature on the topic 'Political Humor (Books)'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2024

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Journal articles on the topic "Political Humor (Books)"

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Surahmat, Surahmat, I. Dewa Putu Wijana, and Suryo Baskoro. "Humor as a Political Act: Study of Indonesian Presidents’ Humor." Journal of Language and Literature 23, no. 1 (March 23, 2023): 125–39. http://dx.doi.org/10.24071/joll.v23i1.5097.

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This study aims to explain the use of humor by Indonesian presidents for political communication. Presidents’ use of humor is an interesting phenomenon, given that they are social subjects who wield great power within a country. Their social position leads to different characteristics and social impacts due to the humor used. This research uses a qualitative descriptive approach. Data was collected from books, news sites, and YouTube channels documenting the humor of the three Indonesian presidents. Data were then analyzed using pragmatic analysis. The results show that presidential humor varies according to personal preferences, speech objectives, and contexts. Presidents use joke, conversational humor, and pun to joke, tease, praise, satirize, criticize, and delegate power. Joking, teasing, and praising are used on friends and political allies. Meanwhile, satirizing and criticizing are applied to political opponents. Humor is a middle ground for presidents, enabling them to achieve speech objectives without explicitly expressing their intention. Politically, humor functions to (1) represent oneself positively and represent opponents negatively, (2) build relationships and positioning with opponents and allies, and (3) exercise control and discipline. However, the relationship between form, style, and illocutionary of presidential humor is often ambiguous. Such conditions seem related to political relations' dynamic and equal nature, where friends and foes are not always crystal clear.
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Dowaidar, Ibrahim. "Political Humor in Ibn Mammātī's Kitāb al-Fāshūsh fi Aḥkām Qarâqûsh (The Decisions of Qarâqûsh)." Open Linguistics 6, no. 1 (October 16, 2020): 482–511. http://dx.doi.org/10.1515/opli-2020-0029.

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AbstractThis study is an attempt to investigate medieval humor in the Ayyubid period (1171–1250). In a period of constant wars, terrible plagues, and turmoil, Ibn Mammātī wrote a pamphlet entitled Kitāb al-Fāshūsh fi Aḥkām Qarâqûsh (stupidity, or the decisions of Qarâqûsh). It is a small volume which contains words and actions that Qarâqûsh could have said or done. The book is written as an attempt to ridicule one of the most important political leaders of the Ayyubid state Emir Qarâqûsh Ibn ‘Abd Allāh al-Asadī (surnamed as Bah’āaddīn Qarâqûsh) (n.d. – April 1201). The book is so influential that historical facts are overshadowed, and overwhelmed by the humorous anecdotes that branded Qarâqûsh forever as a symbol of a lunatic tyrant. This manuscript, however, is believed to be one of the oldest books on political humor in the Egyptian history (Al-Najjār 1978: 56). Therefore, using a critical discourse analysis perspective, the study seeks to examine and analyze humor and jokes in selected anecdotes from Ibn Mammātī’s book. I have drawn upon the three-dimensional model of discourse analysis developed by Norman Fairclough (1992a, 1995a, 1995b, 2001, 2003). The study aims to prove that this pamphlet has been used in the entire Islamic world in different epochs as a defense mechanism against all the ruthless sultans, kings, rulers, and presidents. I claim that these jokes have served as a sort of recreation for the people, as a means of peaceful protest, and as a silent cry against oppression and tyranny.
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Shafi, Uzma. "Postmodernist Literary Movement: A Comprehensive Study of Technique in Vonnegut’s Novels." International Journal of English Literature and Social Sciences 2, no. 4 (2017): 203–12. http://dx.doi.org/10.22161/ijels.2.4.24.

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Kurt Vonnegut is an integral part of the postmodernist literary movement and a master of satire, gallows humor, and science fiction. The uniqueness of Vonnegut's works is that in addition to having excellent themes, the novels are also technically accomplished and colorful. Vonnegut refuses to confine himself to a single form of fiction, which is something that is certainly clear from a review of his books. In reality, modal diversity is demonstrated in each of his works. Vonnegut, a man of profound vision, tries to experiment with brilliant techniques in his novels, including science fiction, comic science fiction, black humor, dark humor, morbid humor, gallows humor, meta-fiction, satire, political satire, postmodernism, dark comedy, war novels, absurdist fiction, modes of absurdity, and semi-autobiographical writing. In his works, he deftly weaves these strategies around his theme. He draws attention to the numerous social defects, the atrocities of war, and the sorrows of modern man. He imagines a society free of societal ills, where people are not enslaved by technology. This essay aims to analyze the literary devices used by Vonnegut in his works.
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Pérez, Raúl. "Racism without Hatred? Racist Humor and the Myth of “Colorblindness”." Sociological Perspectives 60, no. 5 (August 2, 2017): 956–74. http://dx.doi.org/10.1177/0731121417719699.

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Critical Race scholars contend that the current period of “race relations” is dominated by a “color-blind” racial ideology. Scholars maintain that although individuals continue to hold conventional racial views, today people tend to minimize overt racial discourse and direct racial language in public to avoid the stigma of racism. This essay identifies racist humor as a discourse that challenges such constraints on public racist discourse, often derided as “political correctness,” in ways that reinforce everyday and systemic forms of racism in an ostensibly color-blind society. While humor research generally highlights the “positive” aspects of social humor and celebrates the possibilities of humor to challenge and subvert dominant racial meanings, the “negative” aspects of racist humor are often overlooked, downplayed, or are viewed as extreme and fringe incidents that occur at the periphery of mainstream society. Moreover, race scholars have largely ignored the role of humor as a “serious” site for the reproduction and circulation of racism in society. I contend that in a post-civil-rights and color-blind society, where overt racist discourse became disavowed in public, racist humor allows interlocutors to foster social relations by partaking in the “forbidden fruit” of racist discourse. In this article, I highlight the (re)circulation of racist jokes across three social contexts (in mass market joke books, on the Internet, and in the criminal justice system), to illustrate that racist humor exists not in a bygone past or at the margins of society but is widely practiced and circulated today across various social contexts and institutions in an ostensibly color-blind society.
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Panichelli, Christophe, and Stéphanie Panichelli-Batalla. "Humorous sublimation of a dying Cuban writer in Reinaldo Arenas’ The Color of Summer." HUMOR 31, no. 4 (September 25, 2018): 623–43. http://dx.doi.org/10.1515/humor-2017-0052.

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Abstract How does a human being deal with suffering? How can we emotionally cope with the vicissitudes of life, especially in times where they suddenly multiply themselves? In this study, we present an innovative interdisciplinary study on the use of coping mechanisms by career writers dealing with difficult life events. We focus in particular on the use of humor and sublimation, two creative mental mechanisms that contribute to the lowering of anxiety while at the same time dealing constructively with the external stressors. Never before have these mechanisms been studied in a complementary way in the context of a literary study. This paper offers an in-depth analysis of Reinaldo Arenas’ The Color of Summer. In this novel, this Cuban author introduces an autobiographical perspective of the Cuban sixties and seventies, intending to present a facet of history that would never appear in Cuban history books. The combination of both coping mechanisms, which we call humorous sublimation, offers a novel that not only helped the author cope with his tormented life, but also allowed the reader to gain an understanding of a dark period of Cuban history by means of a very funny and surreal reading.
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Nason, James O. H. "Wit and Humor from Old Cathay. Translated by Jon Kowallis. [Beijing: Panda Books, 1986. 210 pp. $1.65.]." China Quarterly 112 (December 1987): 683. http://dx.doi.org/10.1017/s0305741000027375.

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brau, lorie. "Oishinbo's Adventures in Eating: Food, Communication, and Culture in Japanese Comics." Gastronomica 4, no. 4 (2004): 34–45. http://dx.doi.org/10.1525/gfc.2004.4.4.34.

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Culture in Japanese Comics Millions of Japanese, including adults, read manga--comic books. Reproducing every popular genre from humor to horror, manga both entertain and educate their readers on subjects as varied as sports, corporate life, the literary classics, and sex. Japanese also learn about food and cooking from gurume (gourmet) or ryori (cooking) manga. One of the most popular is Oishinbo, serialized since 1983. Oishinbo's hero Yamaoka is a newspaper journalist with an unparalleled knowledge of food and a developed palate. Along with his female sidekick Kurita, who shares his culinary sensitivities, Yamaoka seeks dishes for an "ultimate menu" to bequeath to the future. In the process, the pair turns to food to solve a host of interpersonal and social problems, sometimes on an international political level. Oishinbo not only provides information about foreign and local cuisines and recipes, it also propounds an ideology regarding the relationship between food and human relations that contributes toward the construction of Japanese cultural identity.
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Sobrevilla Perea, Natalia. "Alfredo Villar (ed.), Búmm! Historieta y humor gráfico en el Perú, 1978–1992 (Lima: Reservoir Books, 2016), hb." Journal of Latin American Studies 51, no. 1 (February 2019): 224–26. http://dx.doi.org/10.1017/s0022216x19000178.

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Moroz, Nina A. "“Dr. Seuss of Beasts and Men: the Cartoonist’s Experience and the Illustrated Tales of the 1930–1950s." Literature of the Americas, no. 15 (2023): 250–75. http://dx.doi.org/10.22455/2541-7894-2023-15-250-275.

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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.
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Feith, Michel. "“The United States of Lyncherdom”: Humor and Outrage in Percival Everett’s The Trees (2021)." Humanities 12, no. 5 (October 20, 2023): 125. http://dx.doi.org/10.3390/h12050125.

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An oeuvre as redolent with the spirit of satire and humor as Percival Everett’s can be said to represent, at the same time, an anthology of humorous devices—a “humorology,” so to speak—and a self-reflexive meditation on the existential, philosophical and/or metaphysical implications of such an attitude to language and life. The Trees (2021) is a book about lynching, in which a series of gruesome murders all allude to the martyrdom of Emmett Till. Even though such subject matter seems antinomic to humor, the novel is rife with it. We propose an examination of the various guises of humor in this text, from wordplay and carnivalesque inversion to the more sinister humour noir, black or gallows humor, and an assessment of their dynamic modus operandi in relation to political satire, literary parody and the expression of the unconscious. The three axes of our analysis of the subversive strategies of the novel will be the poetics of naming, from parody to a form of sublime; the grotesque, macabre treatment of bodies; and the question of affect, the dual tonality of the novel vexingly conjugating the emotional distance and release of humor with a sense of outrage both toned down and exacerbated by ironic indirection. In keeping with the ethos of Menippean satire, humor is, therefore, both medium and message.
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Books on the topic "Political Humor (Books)"

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Franken, Al. Rush Limbaugh is a big fat idiot and other observations. Thorndike, Me: Thorndike Press, 1996.

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Barry, Dave. Dave Barry hits below the Beltway: A vicious and unprovoked attack on our most cherished political institutions. New York: Random House Large Print, 2001.

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Barry, Dave. Dave Barry hits below the Beltway: A vicious and unprovoked attack on our most cherished political institutions. New York: Random House, 2001.

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Osgood, Charles. A funny thing happened on the way to the White House: Humor, blunders, and other oddities from the presidential campaign trail. Waterville, Me: Thorndike Press, 2008.

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Marankos, Tasos. Adespota skitsa: Vivlio prōto. Athēna: Ekdoseis KPSM, 2016.

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Kuch, Michael. Common monsters of the United States, as observed & limned. [Hadley, Mass.]: Double Elephant Press, 2004.

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Mcgruder, Aaron. All the rage: The Boondocks past and present. New York, USA: Three Rivers Press, 2007.

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Jerm. Comedy club. Johannesburg: Penguin, 2014.

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Franken, Al. Lies: And the lying liars who tell them : a fair and balanced look at the Right. New York: Dutton, 2003.

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1952-, White Mack, and Groth Gary, eds. The Bush junta: Cartoonists on the Mayberry Machiavelli and the abuse of power. Seattle, Wash: Fantagraphics Books, 2004.

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Book chapters on the topic "Political Humor (Books)"

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Merziger, Patrick. "‘German Humour’ in Books: The Attractiveness and Political Significance of Laughter during the Nazi Era." In Pleasure and Power in Nazi Germany, 107–31. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306905_6.

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Lent, John A., and John A. Lent. "China." In Asian Political Cartoons, 15–25. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496842527.003.0002.

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This chapter is an exploration of Chinese political cartoons. Visual humor through caricature, satire and parody, and wit and playfulness has a long, rich history in dynastic China. Modern cartooning—usually meaning coming from the West—entered China at the juncture of the nineteenth and twentieth centuries through cartoon/humor magazines, pictorial magazines, newspapers, and lianhuanhua (palm-size narrative picture books). Major catalysts for this transformation were the growing dissatisfaction with the Qing Dynasty and increased contact with the outside world. In addition to the history of political cartoons in China, the chapter also explores contemporary government regulation and censorship of cartoons and comics. It also explores the state of cartooning under the Xi Jinping presidency. The chapter concludes with some remarks on the differences between political and news cartoonists.
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Lent, John A., and John A. Lent. "Japan." In Asian Political Cartoons, 41–54. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496842527.003.0004.

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This chapter turns to Japanese political cartooning. It begins with a historical overview, illustrating Japan's especially rich tradition of caricature, satire, and narrative. Indeed, Japanese culture has long brimmed with caricature, satire/parody, humor/playfulness, and narrative/sequence, though the latter is not as important in the realm of political cartoons. However, as the chapter shows, generally, the single-panel political cartoon lost its edge and was marginalized with the postwar rise of story comic books (manga), whose lucrative market attracted most of the skilled cartoonists at a time when some cartoon-friendly periodicals were dying. Not to mention that the increasing indecisiveness of politicians made for uninteresting drawings. These trends had a lot to do with the weakening of Japanese political cartoons, which led to the present state of the profession.
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Lombardini, John. "Introduction." In Politics of Socratic Humor, 1–26. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291034.003.0001.

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The introduction begins with a case study of Demosthenes 54, Against Konon, which illustrates the political dimensions of humor that are the focus of the book. The second section of the introduction outlines the book’s methodological approach to the study of Socratic humor, while also providing evidence for the claim that there was a debate concerning the nature and purpose of Socratic humor during the classical period and beyond. This claim is developed through a brief analysis of Plato’s Euthydemus, focusing on the evidence that dialogue provides for a rivalry between Plato and the Megarian school concerning the legacy of Socratic humor. The introduction concludes with an overview of the arguments of each chapter.
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Conners, Carrie. "Introduction." In Laugh Lines, 3–18. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496839534.003.0001.

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The introduction shows that humor became a powerful political tool during the last half of the 20th century for poets who fought, or at least scoffed at, the establishment and dominant cultural narratives. Poets, like many stand-up comics working contemporaneously, voiced controversial issues, spoke for marginalized people, and encouraged others to explore difficult subjects through their humor. For grounding, it surveys different types of poetry widely recognized as political and offers a brief synopsis of how theories of humor facilitate analysis of political critiques. The introduction posits that the interplay between humor and poetic genre creates special opportunities for political critique as poetic genres invoke the social constructs that the poets deride. It concludes that integral to the humor in the poetry analyzed in the book is the hope that if we laugh at what is wrong with our world and ourselves, we might be inspired to try and make things right.
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Jacobs, Lanita. "Humor, Me." In To Be Real, 132—C5.P19. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190870096.003.0006.

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Abstract The concluding chapter explores the politics, stakes, and merits of examining race and authenticity in anthropology and the broader public sphere. In particular, I describe my fraught experiences as the sudden[?] subject of veiled and explicit humor—think: “when the anthropologist becomes data.” I also attempt to wrest meaning, a literal means to survive and thrive, by putting these ah-ha! moments in critical if not literal conversation with the late Zora Neale Hurston (who had to move after contending with a treacherous and consequential lie and inspired me to do the same) and Toni Morrison (whose bold critique of the literary canon’s shifty handling of race compelled me like a steady outstretched hand). Ultimately, these experiences and epiphanies helped to cement this book’s take-home point: “a” real Black matters and is worth fighting for to help us all—hopefully—toward a shared groove we can all dance to.
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Jones, Peter J. A. "Conclusion." In Laughter and Power in the Twelfth Century, 179–82. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843542.003.0006.

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The Conclusion draws attention to three major arguments that have been developed throughout the book, suggesting that laughter’s transcendent power in twelfth-century texts produced a unique crossover between political and religious ideals of authority; situating humor in the lived experience of twelfth-century English politics; and reflecting on the implications of this research for our wider understanding of the development of medieval Europe. The rise of powerful laughter appears as a component in the evolving importance of the body in Christian devotion and equally, the escalating capital of humor in courtly society reveals something of the changing social nature of high political circles. This emerging power, ultimately, reveals modes of resistance to new forms of governance and political control. Both the laughing king and the laughing saint offered a resilient challenge to the networks of bureaucracy, law, codes, and protocols that were rapidly coming to dominate the rhythms of European life.
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Jones, Peter J. A. "Introduction." In Laughter and Power in the Twelfth Century, 1–16. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843542.003.0007.

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The Introduction discusses how, towards the end of the twelfth century, enigmatically powerful images of laughing kings and saints began to appear in texts circulating at the English royal court. At the same time, contemporaries began to celebrate the humor, wit, and laughter of King Henry II (r.1154–89), and his martyred archbishop of Canterbury, Saint Thomas Becket (d.1170). This introductory chapter briefly explores the potential intellectual, literary, social, religious, and political roots for these images, outlining the framework of the book as a whole. Along with a critical overview of existing scholarship on medieval humor, the politics and government of Henry II, and the sainthood of Thomas Becket, the chapter indicates for the reader how a study of the relationship between laughter and power may have implications for how we understand the political and religious reforms of the twelfth century more generally.
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Bryant, John. "The Anxieties of Humor." In Melville and Repose, 131–45. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195077827.003.0007.

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Abstract Melville’s first book is really three. Or rather, one must read Typee with triple vision. Typee is unique in the Melville canon, first because it is one of the few texts for which extensive manuscripts exist. Second, it is the only Melville book to go through several significant editions during the author’s life, so that the changes from one edition to the next provide a fascinating record of Melville’s writing process. And third, one such edition, the heavily expurgated ‘‘ American Revised,’’ affords a special glimpse at Melville’s anxious interaction with his earliest audience. Typee is as much an event as it is a text. In stressing the creative phases of this event, a trifocal reading of Typee reveals the anxieties of that creation. Melville had seen “strange and romantic” sights during his four years at sea; he had witnessed political horrors; he had exposed himself to liberated sexual practices—aboard ship, in port, on the islands—that few could reconcile with Victoria’s world. He had become an enthusiast for other worlds. And he had messages: Primitive life was not savage but amiable; imperialists were forcing islanders to commit savageries that allowed Westemers to call them savage and rationalize their extermination; missionaries were destroying Eden in the name of God. Just as he was coming to see what it was he wanted to say, Melville was also rushing to make his mark in the literary world. He had appalling messages, but a public to please. He added chapters at his British editor’s insistence; he sacrificed others for America. Melville was also learning his craft: how to dramatize, how to transform experience into art, how to transcribe another culture, how to translate himself for readers. To gain a fuller sense of the triple “event” of Typee—its inchoate ideologies, emerging aesthetics, and experimental rhetoric—we must know the way Melville created it, from manuscript to first edition to revised. Reading Typee three ways illuminates how an American forged ideology out of real and aesthetic experiences in the midst of the literary marketplace.
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Trousdale, Rachel. "Introduction." In Humor, Empathy, and Community in Twentieth-Century American Poetry, 1–39. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895714.003.0001.

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The introduction examines three major theories of humor: superiority theory, incongruity theory, and release theory. Considering these models with the work of feminist and anti-racist scholars in mind, we see that each is also a theory of what it means to be human, carrying ethical and political implications far beyond any immediate analysis of joking. While incongruity theory is probably the best model from which to approach the poets discussed in this book, no one theory satisfactorily describes their work, and certainly not the human experience of laughter as a whole. A better approach may be to draw on theories of empathy, which many philosophers see as opposed to laughter, to define a new category: “constructive humor.” This form of laughter promotes mutual understanding among joker, listener, and the target of the joke.
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