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"Parody."
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COVID-19 memes going viral
Advancing the concept of multimodal voicing as a tool for describing user-generated online humour, this paper reports a study on humorous COVID-19 mask memes. The corpus is drawn from four popular social media platforms and examined through a multimodal discourse analytic lens. The dominant memetic trends are elucidated and shown to rely programmatically on nested (multimodal) voices, whether compatible or divergent, as is the case with the dissociative echoing of individuals wearing peculiar masks or the dissociative parodic echoing of their collective voice. The theoretical thrust of this analysis is that, as some memes are (re)posted across social media (sometimes going viral), the previous voice(s) – of the meme subject/author/poster – can be re-purposed (e.g. ridiculed) or unwittingly distorted. Overall, this investigation offers new theoretical and methodological implications for the study of memes: it indicates the usefulness of the notions of multimodal voicing, intertextuality and echoing as research apparatus; and it brings to light the epistemological ambiguity in lay and academic understandings of memes, the voices behind which cannot always be categorically known.
Journal Article
Oppositional Mirror on the Wall: Discursive Practices of Humorous IPashkevilim/I in Israel’s Ultra-Orthodox Community
Pashkevilim, printed wall notices posted around Jewish ultra-Orthodox neighborhoods, serve as one of the religious community’s popular communication channels. The Pashkevilim mostly deal with controversial intra-community issues and feature a unique style, extremist rhetoric, and vocabulary derived from the religious literature. Humorous imitations of the genre arose over the years, which circulated in the community and outside of it, posing a challenge to the rabbinic hegemony. Although humorous Pashkevilim have likely been present for as long as Pashkevilim themselves, there is currently a lack of research investigating them. By adopting a critical discourse analysis approach, the current study aims to address this gap by identifying the predominant types of humorous Pashkevilim and analyzing the discursive practices they employ. The findings indicate three main discursive practices that characterize humorous Pashkevilim: parody, satire, and irony. While parody exaggerates the formal characteristics of the genre and mocks them, satire and irony criticize the content and topics discussed in traditional Pashkevilim, especially on the subject of Jewish law and religious stringency. These practices express an oppositional reading of the genre, which challenges its function as well as its socio-cultural, political, and religious significance.
Journal Article
Beyond a joke : parody in English film and television comedy
Explores the variety of ways British film culture has used forms of parody, from the 1960s to the present day. It provides a contextual and textual analysis of a range of works that, while popular, have only rarely been the subject of serious academic attention from Morecambe and Wise to Shaun of the Dead to the London 2012 Olympics' opening ceremony. Combining the methodologies of both film history and film theory, Beyond a Joke locates parody within specific industrial and cultural moments, while also looking in detail at the aesthetics of parody as a mode. Ultimately, such works are shown to be a form of culturally specific film or televisual product for exporting to the global market, in which 'Britishness', shaped in self-mocking and ironic terms, becomes the selling point. Written in an accessible style and illustrated throughout with a diverse range of examples, Beyond a Joke is the first book to explore parody within a specifically British context and makes an invaluable contribution to the scholarship on both British and global film culture.
Book
On the enregisterment of Szekler. Communicational stereotypes recreated in the sketch Úgy-e, Magdi? by Open Stage
The article aims at unfolding the key linguistic aspects of nowadays’ stereotypical Szekler-representations through a case study on a satirical representation of regional communicative practices in the locally well-known sketch Úgy-e, Magdi? (‘Right, Magdi?’) by Open Stage. The research is mainly centred around the concept of enregisterment, thus the work is meant to be a contribution to the scarce literature on the enregisterment of Szekler (and Hungarian dialects in general) and on regional communicative practices. After providing a brief overview of the key areas and aspects along which the Szekler dialect has been enregistered so far in public discourse and in linguistics, the article tries to capture the main attributes which create the authentic Szekler voice for Hungarian speakers through analyzing the plot, the characterological figures and the linguistic repertoire conveyed by the sketch, as well as the online reactions to it given by viewers. Besides examining the most prominent phonological/phonetic, lexical and grammatical phenomena construed as characteristic to Szekler, the article also touches upon some regional conversational features depicted through stylization by the sketch.
Journal Article
On the enregisterment of Szekler. Communicational stereotypes recreated in the sketch Úgy-e, Magdi? by Open Stage
The article aims at unfolding the key linguistic aspects of nowadays’ stereotypical Szekler-representations through a case study on a satirical representation of regional communicative practices in the locally well-known sketch
(‘Right, Magdi?’) by Open Stage. The research is mainly centred around the concept of enregisterment, thus the work is meant to be a contribution to the scarce literature on the enregisterment of Szekler (and Hungarian dialects in general) and on regional communicative practices. After providing a brief overview of the key areas and aspects along which the Szekler dialect has been enregistered so far in public discourse and in linguistics, the article tries to capture the main attributes which create the authentic Szekler voice for Hungarian speakers through analyzing the plot, the characterological figures and the linguistic repertoire conveyed by the sketch, as well as the online reactions to it given by viewers. Besides examining the most prominent phonological/phonetic, lexical and grammatical phenomena construed as characteristic to Szekler, the article also touches upon some regional conversational features depicted through stylization by the sketch.
Journal Article
The Weight of Lightness: Italian Opera and Parody in Congress Vienna
Recent scholarship at the crossroads of opera and Habsburg studies has emphasised the centrality of Italian opera within the political agenda of the Congress era (1814–22). It was a particularly effective means to project prestige, cosmopolitanism and belonging within a new geopolitical order, as the Kingdom of Lombardy–Venetia was integrated under the Habsburg Crown. While much attention has been given to performances of Italian opera at the Viennese court theatres, the role of suburban venues has so far been largely neglected. This article aims to demonstrate the ‘weight’ that the so-called ‘light’ genres carried within the cultural life of the capital and across the Habsburg lands. Two parodies written by Adolf Bäuerle for the Theater in der Leopoldstadt in Vienna – Tankredi (1817, music by Wenzel Müller) and Die falsche Prima Donna in Krähwinkel (1818, music by Ignaz Schuster) – serve as case studies for a discussion of the fluidity of genres, operatic voices and audiences, and the role of such singers as Gentile Borgondio, Angelica Catalani and Ignaz Schuster as ‘aural ambassadors’ of the Habsburg cultural project.
Journal Article