Humour And The Performance Of Power In South Asia

This book critically examines the role and politics of humour and the performance of power in South Asia. What does humour do and how does it manifest when lived political circumstances experience ruptures or instability? Can humour that emerges in such circumstances be viewed as a specific narrative on the nature of democracy in the region? Drawing upon essays from India, Sri Lanka and Bangladesh, this volume discusses many crucial historical and contemporary themes, including dance-drama performances in northern India; caste and stand-up comedy in India; cartoon narratives of citizens’ anxieties; civic participation through social media memes in Sri Lanka; media, politics and humorous public in Bangladesh; the politics of performance in India; and the influence of humour and satire as political commentaries. The volume explores the impact of humour in South Asian folklore, ritual performances, media and journalism, and online technologies. This topical and interdisciplinary book will be essential for scholars and researchers of cultural studies, political science, sociology and social anthropology, media and communication studies, theatre and performance studies, and South Asian studies.

This innovative collection spotlights the role of media crossovers in humour translation and how the latter is conveyed through new means of communication. The volume offers an in-depth exploration of the entanglements of film, theatre, literature, TV, the Internet, etc., within the framework of transmediality and their influence on the practice of translating humour. Chapters focus on the complex web of interrelationships shaped by and shaping the process(es) of transformation and adaptation that take place across media and across languages and cultures. Situating translation practices and innovations within an interdisciplinary context, the volume underscores the hybrid nature and complex semiotics of humour and the plurality of possibilities for new insights that contemporary approaches offer driven by technological advancements in the industry. The book will be of particular interest to scholars and researchers in the fields of Translation Studies, Humour Studies, Audiovisual Translation, Media Studies, and Adaptation Studies.

Humour As A Competence Inherent In All Human Beings Defies Description. Its Variety Of Manifetations, In Contrast, The Countless Faces And Forms Of Humour Have Always Engendered Curiosity. For Centuries They Have Inspired People To Attempt To Pinpoint The Essence Of Humour. The Contributors To This Volume, However, Are Somewhat More Modest In Their Endeavors. Their Topic Is Humour In The Written And Oral Literatures Of South Asia. This Volume Contains A Broad Spectre Of Essays On Humour In Modern And Pre-Modern, In Classical And Folk, And In Written And Oral Literatures From Almost All Corners Of The Subcontinent. The Essays Treat The Subject From A Multitute Of Perspectives And Before The Background Of Different Theories Of Humour. Besides Promising An Enjoyable And Informative Reading, This Volume Is Also Expected To Draw More Attention To An Hitherto Neglected Field In South Asian Studies, And To Stimulate Further Research.

The goal of this book is to show the role of TikTok as a tool for political purposes. To this end, the authors analyse the messages posted on this social medium by political figures and institutions such as politicians and political parties, their impact on political landscapes, as well as the transformation of political communication techniques in order to suit the platform’s features. In the last two years, the exponential growth of TikTok has led an increasing number of politicians and institutions to incorporate it into their communication strategies. The platform displays some very different features from other social media that determine the way in which the content is presented. In addition, it manages to reach an audience that normally does not access or share political messages. Within this context, the volume pursues two main objectives. First, to examine how the communication techniques and the peculiarities of this social medium – where short videos with actors in informal attitudes prevail – affect the political message. A second objective is to analyse the influence of the messages distributed through TikTok that redefine political scenarios, and of the relationships of politicians and parties with voters. The core of the book comprises case studies that are organised into three parts, with nine chapters in all. The authors are scholars and practitioners of political communication, with diverse geographical representation, who approach the topics from a range of methodological perspectives. The first part addresses the state of the art and the influence of TikTok features on the way political communication is performed. The second part discusses the influence of TikTok on electoral scenarios and political culture in India, Bangladesh, the United States, and Ecuador. Finally, in the third part, TikTok is analysed as an instrument for promoting far right politicians and parties in Europe, as in the case of Matteo Salvini in Italy, and AfD in Germany and Vox in Spain. The volume is oriented to both scholars and communication professionals, such as journalists, communication consultants, and speechwriters, who want to become familiar with the platform, learn about its political impact, or wish to deepen their understanding of transformations in communication techniques and their adaptation to this growing social medium.

This book identifies the significance of the body through a feminist reconceptualisation of laughter as a means of insight. It positions itself within the emerging scholarship on religion and humour but distinguishes itself by moving away from the emphasis on humour and instead focuses on the place and role of laughter. Through a feminist reading of laughter, which is grounded in the philosophical and psychological works of William James, this book emphasises the importance of the body to offer an exploration of laughter as a means of insight. In doing so, it challenges the classificatory orders of knowledge by recognising and arguing for the value of the body in the creation of knowledge and understanding. To demonstrate the centrality of the body for insight laughter, and thus the creation of knowledge, this book engages with laughter within three thematic areas: religious experience, gendered experiences of laughter, and the ethics of laughter. This book will be of interest to students and researchers in religious studies, theology, gender studies, humour studies, philosophy, and the history of ideas.

Part 2 of Volume 3 addresses in detail the conflicts between humor and cruelty, i.e., how cruelty can be unleashed against humor and, conversely, humor can be utilized against cruelty. Potent enmities to mirth and jollity are retrieved from a variety of socio-historical contexts, ranging from Europe’s medieval monasteries to the 2015 Charlie Hebdo massacre. Special attention is paid to the cruel humor and humorous cruelty arising thereof, insofar as such phenomena can reveal critical aspects of today’s neoliberal socio-economic order. In parallel, settings where humor has been used as an instrument to cope with suffered cruelty, whether natural or human in origin, are also retrieved and discussed. These also vary greatly and encompass domains such as hospital wards, 20th-century Jewish ghettoes, and contemporary funeral homes. A set of concluding reflections is then offered on the psychological, theological, ethical, and metaphysical roots of humor—and its cruel rejection.

This book explores comic performance in Pakistan through the vibrant Indo-Muslim tradition of the Punjabi bhānd which now holds a marginal space in contemporary weddings. With irreverent repartee, genealogical prowess, a topsy-turvy play with hierarchies and shape shifting, the low-status bhānd jostles space in otherwise rigid class and caste hierarchies. Tracing these negotiations in both historical and contemporary sites, the author unfolds a dynamic performance mode that travels from the Sanskrit jester and Sufi wise fool, into Muslim royal courts and households, weddings, contemporary carnivalesque and erotic popular Punjabi theatre and satellite television news. Through original historical and ethnographic research, this book brings to life hitherto unexplored territories of Pakistani popular culture and Indo-Muslim performance histories.

This innovative book traces the impact of tradition on modern humour across several Asian countries and their cultures. Using examples from Japan, Korea, Indonesia and Chinese cultures in Mainland China, Hong Kong and Taiwan, the contributors explore the different cultural rules for creating and sharing humour. Humour can be a powerful lubricant when correctly interpreted; mis-interpreted, it is likely to cause considerable setbacks. Over time, it has emerged and submerged in different periods and different forms in all these countries but today’s conventions still reflect traditional attitudes to and assumptions about what is appropriate in creating and using humour. Under close examination, Milner Davis and her colleagues show how forms and conventions that differ from those in the west can also be seen to possess elements in common. With examples including Mencian and other classical texts, Balinese traditional verbal humour, Korean and Taiwanese workplace humour, Japanese laughter ceremonies, performances and cartoons, as well as contemporary Chinese-language films and videos, they engage with a wide range of forms and traditions. This fascinating collection of studies will be of great interest to students and scholars of many Asian cultures, and also to those with a broader interest in humour studies. It highlights the increasing importance of understanding a wider range of cultural values in the present era of globalized communication and the importance of reliable studies of why and how cultures that are geographically related differ in their traditional uses of and assumptions about humour.

This volume demonstrates that television comedies are conduits through which we might resist normative ways of thinking about cultural crises. By drawing on Gramscian notion of crisis and the understanding that crises are overlapping, interconnected, and mutually constitutive, the essays in this collection demonstrate that situation comedies do more than make us laugh; they also help us understand the complexities of our social world’s moments of crisis. Each chapter takes up the televisual representation of a modern cultural crisis in a contemporary sitcom and is grounded in the extensive body of literature that suggests that levity is a powerful mechanism to make sense of and cope with these difficult cultural experiences. Divided into thematic sections that highlight crises of institutions and systems, identity and representation, and speculation and futurism, this book will interest scholars of media and cultural studies, political economy, communication studies, and humor studies.