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role of humor
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According to Paul Simpson, author of, ‘On the Discourse of Satire: Towards a Stylistic Model of Satirical Humour,’ the successful projection of satire must accomplish “simultaneously a number of humorous functions” (p. 4). In the introduction to his argument, Simpson states that satire as discourse should be understood “as a level of language organization that supersedes that of the sentence and as a type of meaning potential that arises out of the interaction between text and context” (p.1). The juxtaposition that Simpson describes here between text and context, indicates how satire as a literary tool relies heavily on both interpretation and topicality; whereby, satirical references must entertain current, local and relatable interests of its’ audience, so that the significance of what is being said is not lost. Simpson’s argument is constructed around what is called the ‘model of humour’ (Ziv 1988: 225; see also Ziv 1984), which describes five functions as being the key elements of humour: the sexual, the defensive, the aggressive, the social and the intellectual function. There are three, however, deemed by Simpson as being, “most directly relevant to satirical discourse:” (p.3) the aggressive, the social, and the intellectual. By extracting from Ziv’s model of humour only three of the five elements— overlooking the sexual and defensive functions in satirical discourse—Simpson’s overall argument that “satire is multi-functional in character” is weakened. By examining the works of classic satirists Sheridan, Pope, and Swift, who readily engage with the sexual and defensive functions of satirical discourse, it becomes apparent that Simpson overlooks the strengths of the sexual and defensive functions. The works of these authors ...
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... her heart. /Amazed, confused, he found his power expired, /Resigned to fate, and with a sigh retired.
Though both Sheridan and Pope engage the three functions Simpson argues as being the most relevant to satirical discourse—the social, the aggressive, and the intellectual— the sexual function can easily be determined as the dominant mode of discourse.
Works Cited
“On the Discourse of Satire: Towards a Stylistic Model of Satirical Humour.” Simpson, Paul. John Benjamins Publishing Company, November, 2003. Web. 24 Feb. 2011.
“Juvenalian satire.” Encyclopaedia Britannica. Encyclopedia Briannica Online. Encyclopedia Britannica, 2011. Web. 24 Feb. 2011. http://www.britannica.com/EBchecked/topic/308986/Juvenalian-satire
“The Norton Anthology of English Literature”. Eighth eidition. W.W. Norton & Company Ltd., Castle House, 75/76 Wells Street, London. 2006.
Harris, Robert. "The Purpose and Method of Satire." VirtualSalt 20 Aug. 1990. 13 April 2001. <http://www.virtualSalt.com/satire.htm>
One form of satire that particularly stands out is his use of diction. Both speakers are so focused on oppresing on the other group that they allow emotions to invade their arguments. For example in
Satirical writing allows the author to express his or her opinion about a problem in society. A writing must follow three rules in order for it to be classified as satirical. First, a continuous focus on one’s subject’s faults. Secondly, instead of telling the reader directly, information must be given indirectly. Thirdly, the writing must have a variety of satirical techniques in general (Festa). With these simple guidelines, an author can demonstrate his beliefs of what he thinks needs to be changed in society.
The films Young Frankenstein and One Flew over the Cuckoo’s Nest can be viewed as a critical analysis of society’s issues and dysfunctions in the form of satire and parody using humor. While Young Frankenstein, Mel Brooks cinematic version of the gothic novel, Mary Shelley’s Frankenstein, uses parody in the form of Horatian satire, which is achieved through gentle ridicule and using a tone that is indulgent, tolerant, amused and witty. The film One Flew over the Cuckoo’s Nest, the adaptation of the Ken Kesey novel, uses a form of satire called Juvenalian satire which is demonstrated in the form of attacks on vice and error with contempt and indignation. Horatian satire will produce a humor response from the reader instead of anger or indignation as Juvenalian satire. Juvenalian satire, in its realism and its harshness, is in strong contrast to Horatian satire (Kent and Drury).
In Alain de Botton’s book, Status Anxiety, he argues that the aim of humorists is not solely entertainment, but also to convey a message that isn’t always okay to state directly. There are many places where his argument can apply. Even with humor, some topics are still too controversial to joke about; However, in most cases, humor can lighten things up and make it easier to discuss topics that otherwise would not be as easy to talk about without heavy arguments. There are many cases that would make his argument true. There are many examples that support his argument, and that help to show the importance of humor in arguing, including cartoons, comics, works of literature, and also when thinking of hosts of television programs.
Satire is a great tool used by many writers and actors since ancient times. The earliest example that we know about is a script from 2nd millennium BC in Ancient Egypt (Definition: Satire) and since then has evolved into a great part of our society. Satire is used to point out the faults of human vice in order for change and reform in either of two ways. There is a very bitter Juvenalian or a mild and light Horatian. In order to fully understand these forms of satire, method, purpose, and applications will be addressed.
Brown, Earl B., Jr. "Kosinski's Modern Proposal: The Problem of Satire in the Mid-Twentieth Century." Ebscohost. N.p., 1980. Web. Mar.-Apr. 2014.
Steve Almond’s “Funny is the New Deep” talks of the role that comedy has in our current society, and most certainly, it plays a huge role here. Namely, through what Almond [Aristotle?] calls the “comic impulse”, we as a people can speak of topics that would otherwise make many of uncomfortable. Almond deems the comic impulse as the most surefire way to keep heavy situations from becoming too foreboding. The comic impulse itself stems from our ability and unconscious need to defend and thus contend with the feeling of tragedy. As such, instead of rather forcing out humor, he implies that humor is something that is not consciously forced out from an author, but instead is more of a subconscious entity, coming out on its own. Almond emphasizes
Thoughtful laughter is a technique used frequently in satirical pieces in literature. It allows for the audience to enjoy the wittiness of a work, later ponder on the meaning, and then apply the message to reality. Thoughtful laughter is often an inner experience that can only be achieved by authors who write meticulously. Two examples of satirical works in literature that display this concept explicitly are Voltaire’s Candide and C.S. Lewis’ The Screwtape Letters. Both authors explore the depths of satire and simultaneously deliver an important message to readers through skillful technique.
The satirical humor expresses the social criticism on issues about politics. “Satire features a heightened sense of irony, highlighting contradictions, inconsistencies, absurdities, mining them for their humor, and even highlighting flaws and fakeries to people (Day 256).” Satirical humor involved media about politics so it can gain the audience's attention.The satirical humor reveals everything about the hypocrisy and foolishness of
While the tone may range from playful to angry, satire generally criticizes in order to make a change. Exaggeration, parody, reversal, and incongruity are satirical devices. Author’s use satirical devices to strengthen their central idea.
According to Everything’s an Argument by Andrea A. Lunsford and John J. Ruszkiewicz, “Humor has always played an important role in argument…” (38). Humor itself is something that activates amusement or laughter. Moreover, in popular culture satire is a tool that is used to point out things in our society. Satire opens the minds of people to philosophies they might completely deny, using humor. There are many elements of satire that identify flaws within our society. A couple of satire elements that will be discussed are irony and exaggeration. In addition, a parody is used in popular culture as a way to mock or mimic situation or person.
This essay by Jeff Jacoby illustrates an authors use of ironic sarcasm otherwise known as satire to defend and illustrate his platform on his position. Jacoby uses in this essay verbal irony (persuasion in the form of ridicule). In the irony of this sort there is a contrast between what is said and what is meant.
James Conroy argues that laughter in serious topics has been regarded through the ages as dangerous, deviant, and subversive; yet equally as refreshing, challenging, and constructive. Political humor is extensively used in almost all countries, but political satire is perceived differently from one country to another. The research question is as follows: what factors make political satire an effective tool that affects politics and policy? I argue that humor is more influential when blended with serious topics, such as international relations or politics. Laughter is a great means to put serious topics under the lenses of critical thinking. The use of humor, and political satire specifically can bring about serious political change. Humor can play all sorts of roles in the political process through being informative, educational and influential while keeping its captive entertaining
Though each of the above works varies in the degree of satire employed, the pattern among them accentuates how satire can best be understood not only as a lens of criticism, but also in captivating the audience into considering their own role in the criticism. Often times, as has been shown, the authors’ utilize the end-states of protagonists to emphasize critique made throughout the literary work. Yet, the degree of ambiguity serves to engage the audience, which leads to a greater effectiveness of the satire. Therefore, returning to Swift’s quote on satire, the most effective satires not only allow for beholders to discover everybody else’s face, but through degrees of ambiguity, they also are able to discover their own.