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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>
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.
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.
Satire is form of comedy in which flaws in people or society are chastised in order to prompt change in the objects of criticism. Regardless of how long ago comedy itself may have existed, the concept of satire was introduced by the Roman satirists, Juvenal and Horace. The tones conveyed in their writing characterize the main modes of satire, being Horatian and Juvenalian, and are still used in satire today. Presently, two popular forms of comedy that employ satirical elements include parody news sources and comedic performances. Although satirical writing has evolved throughout history, many aspects of satire are still apparent in both the articles of parody news sources, like The Onion, and the performances of professional comedians, like
In “Turkeys in the Kitchen,” an essay written by Dave Barry, humor is used as an aid to make a point about the usefulness of men after Women’s Liberation. “A Plague of Tics,” a personal narrative written by David Sedaris, uses a different kind of humor to explain the reasoning behind his behavior. Through these two essays and their author’s personal experiences, humor is presented as a device to captivate reader’s attention and declare the author’s intended meaning.
From these comedians, satirical humor expresses some opinions about political acts so people can view them more critically.
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).
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.
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.
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.
The Norton Anthology of English Literature, Volume 1c. New York: W.W. Norton & Co, 2006. Print. The.
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.