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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
What is humour? What function does it serve? How does humour challenge authority? Packed full of insight this fascinating book examines the concept of humour from a variety of perspectives and explains why authorities fear it and have sought to control it. Using the American television show South Park as a case study, Franklyn argues that explicitly oppositional humour is only allowed to circulate through mass-media channels because it helps ensure that people cannot organise themselves into radical movements capable of challenging existing power structures. Denied of its revolutionary potency postmodern humour such as South Park is free to deride almost any target, from the highest authority to the lowest criminal and every social convention in between. This scholarly yet highly readable book is of value to scholars across the Arts and Social Sciences, especially those interested in Communications, Media Studies, Psychology, Sociology, Philosophy and the burgeoning area of Humour Studies.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
What is humour? What function does it serve? How does humour challenge authority? Packed full of insight this fascinating book examines the concept of humour from a variety of perspectives and explains why authorities fear it and have sought to control it. Using the American television show South Park as a case study, Franklyn argues that explicitly oppositional humour is only allowed to circulate through mass-media channels because it helps ensure that people cannot organise themselves into radical movements capable of challenging existing power structures. Denied of its revolutionary potency postmodern humour such as South Park is free to deride almost any target, from the highest authority to the lowest criminal and every social convention in between. This scholarly yet highly readable book is of value to scholars across the Arts and Social Sciences, especially those interested in Communications, Media Studies, Psychology, Sociology, Philosophy and the burgeoning area of Humour Studies.