""Acknowledgements""; ""Contents""; ""List of Figures""; ""Chapter 1 Introduction: Living in Comic Times""; ""The World that Jokes Built""; ""Theorising Humour: Incongruity and Superiority Models""; ""Towards a Political Aesthetics of Humour""; ""Emergent Modes of Humour: Political Contexts and Comic Texts""; ""A Quick Note on Terminology""; ""References""; ""Chapter 2 Dissent in Jest: Humour in the Liberal Moment""; ""Liberalism and the Idea of Reasonable Dissent""; ""Freedom, Capitalism and the Desire for Dissent""; ""Humour as Reasonable Dissent""
""Â#x80;#x9C;Against the Assault of Laughter Nothing Can Standâ#x80;#x9D;""""The Laughter That Shatters: Carnival Tendencies in Contemporary Humour Theory""; ""References""; ""Chapter 3 Telling Jokes to Power: The (A)Political Work of Humour""; ""The Daily Show and the Politics of Ridicule""; ""The Onion and the Politics of Parody""; ""The Thick of It, Veep and the Politics of Failure""; ""The Political Limitations of Politicised Humour""; ""References""; ""Chapter 4 Humour Without Anaesthetic:The Discomfort of Reality Comedy""; ""The Comedy of Pain and Suffering""
""Jackass and the Comedy of Physical Suffering""""The Office and the Comedy of Social Failure""; ""Borat and the Comedy of Public Humiliation""; ""Uncomfortable Humour and theAesthetic Implication of the Audience""; ""References""; ""Chapter 5 Humour Without Pity: The Scandal of Provocative Humour""; ""Comic Violation and the Aesthetics of Offence""; ""â#x80;#x9C;The N-Word Familyâ#x80;#x9D;: Chappelleâ#x80;#x99;s Show and Linguistic Taboos""; ""â#x80;#x9C;Holocaust Memorial Smackdownâ#x80;#x9D;: The Sarah Silverman Program and Moral Taboo""; ""The Pratfall of Death: Four Lions and Political Taboos""
""Provocative Humour and Self-Reflexive Offence""""References""; ""Chapter 6 Humour Without Reason: The Nonsense of Absurd Humour""; ""The Simpsons and Everyday Absurdity""; ""South Park and Constitutive Absurdity""; ""Family Guy and Formal Absurdity""; ""Absurd Humour and the Aesthetic Limits of Interpretation and Understanding""; ""References""; ""Chapter 7 All that is Solid Collapses into Giggles: Examining the Political Aesthetics of Contemporary Humour""; ""â#x80;#x9C;Laughter Is a Sicknessâ#x80;#x9D;: Political Aesthetics and Popular Humour""
""Laughing with Adorno and RanciÃr̈e: Towards a Political Aesthetic Model of Humour""""The Comic Logic of Late Capitalism""; ""Laugh like no Oneâ#x80;#x99;s Watching: Liberal Drives in the Society of Humour""; ""References""; ""Chapter 8 Conclusion: The Last Laugh""; ""References""

Control code: SPR1005921926

Dimensions: unknown

Extent: 1 online resource.

File format: unknown

Form of item: online

Isbn: 9783319509495

Level of compression: unknown

Media category: computer

Media MARC source: rdamedia

Media type code

Other control number: 10.1007/978-3-319-50950-1

Quality assurance targets: not applicable

Record ID: b5172202

Reformatting quality: unknown

Sound: unknown sound

Specific material designation: remote

System control number

on1005921926
(OCoLC)1005921926

Context

Context of Humour as politics : the political aesthetics of contemporary comedy, Nicholas Holm

Context

Item

Instantiates