CREATIVITY AND HUMOR IN THE ONLINE FOLKLORE OF THE 2014 ELECTIONS IN HUNGARY (original) (raw)
Alternatives, 2024
A prevalent aspect of contemporary digital campaigning is the use of humor to attract attention, elicit amusement, and mark group boundaries. This study investigates the humor in digital campaigns during two recent Finnish parliamentary elections, focusing on how different styles of humor are used to (de) legitimize political ideas and actors. Our original dataset consists of 125,604 posts by 1262 candidates on Facebook six months before the 2019 and 2023 election days. Using Facebook's haha reactions and manual coding to annotate humor style, we focused on 729 posts with seemingly intentional humor by candidates. We show how different parties and individual candidates used humor to varying degrees and in different styles. Overall, the proportion of humorous posts was not high, but the populist radical right Finns Party candidates used humor by far the most, and their style was primarily aggressive, aimed at delegitimizing the incumbent government, political opponents, and their reference groups. Candidates from other major parties also used some humor, but overall the tone was more positive. Some of these candidates were profiled as "humor specialists" who produced similar combinations of ridicule and anti-elitism as the Finns Party candidates or, alternatively, focused on disseminating self-deprecating and affiliative humor. Affiliative and self-deprecating humor was used to foster closeness, ordinariness, and spontaneity, thus legitimizing oneself as a relatable candidate. The paper discusses how candidates use humor strategically to stand out in a competition for attention between candidates, and elaborates on the implications of using different humor styles in strategic political communication.
Polish political humour. An outline of the phenomenon
ESTONIA AND POLAND: Creativity and tradition in cultural communication, 2013
This article is a survey of the most important communicative phenomena in the contemporary Polish political humour. It is also an attempt to describe political humour from a theoretical point of view and to compare it with political jokes from a period of the Polish People's Republic (PRL). This article mainly describes amusing statements of contemporary politicians that were primarily used as the means of a political polemic, and secondarily after having been popularised by journalists (due to their comic content), achieved a status of "winged words" and appeared in various intertextual variants of the public and colloquial discourse.
The European Journal of Humour Research, 2023
The paper deals with Ukrainian President's Zelensky image in political cartoons and memes. They are forms of political humour and can be examined in an interdisciplinary manner. The first part describes theoretical aspects, functions, and elements of political humour and political satire, main features and types of cartoons and memes. In the second part, the corpus of 198 political cartoons and 1121 memes from March 2019 to December 2020 is analysed with computer-aided content analysis and multimodal discourse analysis. The analysis units are social context, formed by the domestic and foreign political events in Ukraine in the research period, joke techniques and communication levels in the cartoons and memes. These units are examined chronologically and thematically. The research is based on the hypothesis about the interdependence of social context and subversive/supportive humour in the construction of Zelensky's image.
Only joking? Online humour in the 2005 UK general election
Information, Communication & Society, 2007
Humour has long been a part of election campaigns but rarely has election humour been subject to scholarly analysis. The increasing popularity of new forms of Internetbased humour has, however, raised questions about the significance of humour in campaigning and whether online humour can be used as means of stimulating political engagement. This article assesses online humour in the context of the 2005 UK election, exploring both the motivations of the different actors who distributed webbased political humour and the nature of the texts themselves. We find that whilst the official party campaigns use humour very cautiously, there has been an upsurge in humour based campaigns from net activists as well as more traditional broadcasters. Yet, overall, the way that humour is used is paradoxical, since it often attempts to encourage participation but portrays politics as a cynical game, leaving the rationale for political participation unclear. _____________________________________________________________________
Paper presented at the Annual Conference of the International Communication Association (ICA), May, 2019, Washington, DC, 2019
The article deals with the use of humorous and entertaining elements in online election campaign videos of the right-wing populist Austrian Freedom Party (FPÖ). We first discuss the role of humor in political communication and advertising. Subsequently, the visual and multimodal design of humorous messages is discussed with a special emphasis on how humor and visuality can contribute to attack political opponents and foster anti-immigrant attitudes. Applying multimodal discourse analysis on humorous campaign spots, we reconstruct the multimodal meaning-making in the audiovisual narration, connect the individual media texts to the broader discursive structure, and show in detail how humor is instrumentalized and functionalized for political persuasion in the context of right-wing populism. For example, in the episodic video series “The Hubers’” images in the literal sense and linguistic images (metaphors) were strategically deployed inside a humorous narrative as collective symbols to convey fear appeals combined with simple anti-immigrant messages.
The rapid emergence of the participatory internet culture produced new, rarely seen before ways of commenting on political and social issues. While the role of the internet memes is, of course, not strictly limited to that of social commentary, and, in fact, is rarely thought to be so, modern political internet memes at times enter even the mainstream political discussion. User-generated internet memes also often appear in mainstream media. The United States presidential elections were even branded ‘the meme election’ by some political commentators, underlying the importance of the internet memes as a means of political commentary during these elections. At the same time the research on political internet memes remains limited. The internet memes are a product of a modern internet culture. Because of that it is important to discuss the concept of internet culture, its position as a part of culture in general, its key characteristics and its evolution from the supposedly less participatory culture of the early days of the World Wide Web to a more participatory period of Web 2.0. This latter era is characterized by the presence of certain technologies which are also discussed in chapter 1. These technologies allowed more participation and content creation by users, thus effectively being crucial to both creation and dissemination of internet memes. At the same time the visual structure of internet memes is not new. ‘Image macros’ - the most popular type of internet memes represents an image which usually repeats from meme to meme with superimposed text. As such, in order to grasp the meaning of political internet memes, it might be useful to turn to semiotics. I discuss Roland Barthes’ collection of essays Image-Music-Text due to it being particular useful to discussion of images with text. Later I have also analyzed the case study of Rushka Kvadratnyi Vatnik using semiotics to test my hypothesis of political internet memes serving as examples of political caricature and means of reaction to propaganda. Discussion of political internet memes is impossible without the general introduction to the concept of internet memes. In chapter 2 I discuss briefly the history of the concept, the reasons why people choose to produce internet memes, the role of affinity spaces in meme production, and what makes internet meme successful with a particular attention to the role of humor in political internet memes. In that chapter I also discuss the previous research on political internet memes which remains very limited. I also make a particular distinction between internet memes originally created as a form of social or political commentary and internet memes which were originally created for other purposes but may be used as a form of social or political commentary. As a case study I have chosen the case of the internet meme Rushka Kvadratnyi Vatnik which became very popular in the Russian-speaking segment of the internet as form of criticism of Russian jingoist patriotism. I also discuss how certain manifestations of this internet meme are used as a form of a political caricature and as a means of reaction to the official Russian propaganda using semiotic analysis. The source materials I have used throughout the paper are mainly academic research papers on the subject of the Internet, internet culture, and internet memes. I have also used Roland Barthes’ and Umberto Eco’s writings in the sphere of semiotics. Writings on the interrelation of humor, propaganda and politics were also important. Finally, I have used news from reliable mass media to illustrate my points – such sources were mostly used as a means of illustrating the coverage of certain events in the mainstream media.
The Hungarian Joke and Its Environs
European Journal of Humour Research, 2016
Hungarian humour went through significant changes in the 20th century. Though the urban middle-class way of living and culture had developed by the early 20th century, they had to coexist all over the country as well as in ethnic Hungarian territories abroad with the traditions of rural culture and folklore until the middle of the century (and, in locked-up areas, till the end of the century). Consequently, Hungarian humour is made up of two important layers of folklore: popular funny stories that have been developing among the peasantry for centuries, and jokes, a genre that emerged from urban oral culture in the last third of the 20th century. The dualism of folk-based and urban culture has been a decisive feature of Hungarian culture during the entire 20th century. Thus the question arises: more than a hundred years later, are there still any fundamental differences between the two types of humour in terms of their ways of thinking or their subject matter, or can we regard Hungarian humour as a unity? In this paper, we compare the thematic categories of popular and urban humour based on the analysis of two large collections. Next, we examine the popularity of major joke categories in Internet sources. Finally, we offer a brief introduction to the contemporary stock of Hungarian jokes by thematic groups.