South Park

Topics: Postmodernism, Postmodernity, Jean-François Lyotard Pages: 162 (45578 words) Published: December 4, 2012 Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use:    Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis.

Towards a Theory of Postmodern Humour:
South Park as carnivalesque postmodern narrative impulse

A thesis submitted in fulfilment of the requirements for the degree of

Master of Arts in Screen and Media Studies

The University of Waikato



The University of Waikato 2006

Abstract The philosopher Martin Heidegger describes humour as a response to human ‘thrownness’ in the world. This thesis argues that there is a form of humour which can be usefully described as postmodern humour and that postmodern humour reflects the experience of being ‘thrown’ into postmodernity. Postmodern humour responds to and references the fears, fixations, frameworks and technologies which underpin our postmodern existence. It is further contended that South Park is an example of

postmodern humour in the way that it exhibits a carnivalesque postmodern narrative impulse which attacks the meta-narrative style explanations of contemporary events, trends and fashions offered in the popular media. South Park’s carnivalesque humour is a complex critique on a society in which television is a primary instrument of communication, a centre-piece to many people’s lives, and a barometer of contemporary culture, while at the same time drawing attention to the fact that the medium being satirised is also used to perform the critique.

A large portion of this thesis is devoted to examining and interrogating the discursive properties of humour as compared to seriousness, an endeavour which also establishes some interesting links to postmodern philosophical discourse. This can be succinctly summarized by the following: 1. Humour is a form of discourse which simultaneously refers to two frames of reference, or associative contexts. Therefore humour is a bissociative form of discourse. 2. Seriousness is a form of discourse which relies on a singular associative context. 3. The legally and socially instituted rules which govern everyday life use serious discourse as a matter of practical necessity.


4. Ambiguity, transgression and deviancy are problematic to serious discourse (and therefore the official culture in which it circulates), but conventions of humorous discourse. 5. Humorous discourse then, challenges the singularity and totality of the official discourses which govern everyday life. Subsequently, humour has been subjected to a variety of controls, most notably the ‘policing the body’ documented in the writings of Norbert Elias and Michel Foucault. 6. Humour can therefore be understood to function in a manner similar to Jean-François Lyotard’s concept of little-narrative’s, which destabilize the totality of official meta-narratives. Furthermore, this thesis proposes strong links between the oppositional practices of the medieval carnival, as outlined by Mikhail Bakhtin, and the produced-for-mass-consumption humour of South Park. However, it also demonstrates that although South Park embodies the oppositional spirit of the carnival, it lacks its fundamentally social nature, and therefore lacks its politically resistant potency. More specifically it is argued that the

development and prevalence of technologies such as television, video/DVD,...
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