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NOVA University of Newcastle Research Online Nova.Newcastle.Edu.Au NOVA University of Newcastle Research Online nova.newcastle.edu.au Gibb, Dirk. ‘Flying to a quiet mountain town upon a dung beetle: Aristophanic elements in South Park’. Originally published LAP Lambert Academic Publishing, Saarbrücken, Germany. ISBN: 9783659505348 (2013) Available from: https://www.lap-publishing.com/catalog/details//store/gb/book/978-3-659- 50534-8/flying-to-a-quiet-mountain-town-upon-a-dung-beetle Accessed from: http://hdl.handle.net/1959.13/1041237 Flying To A Quiet Mountain Town Upon A Dung Beetle: Aristophanic Elements in South Park By Dirk Gibb. 1 CONTENTS Acknowledgements 4 CHAPTER ONE; INTRODUCTION TO ARISTOPHANIC ELEMENTS IN SOUTH PARK 7 CHAPTER TWO; ANALYSIS; ARISTOPHANIC ELEMENTS IN SOUTH PARK 2.1: STRUCTURE 9 2.2: FANTASTICAL ELEMENTS 16 2.3 “RECREATIVITY” AND DECONSTRUCTIONIST AWARENESS 20 2.4 STEREOTYPICAL DEPICTIONS OF NATIONALITIES AND WOMEN 27 2.5: BAWDY HUMOUR AND EXPLICIT LANGUAGE 40 2.6: PUNS/WORDPLAY 50 2.7: PARRHESIA/FREE SPEECH 54 2.8: RELIGION 64 2.9: POLITICS 72 2.10: PARA-TRAGEDY AND INTERTEXTUALITY 83 CHAPTER THREE; CONCLUSION TO ARISTOPHANIC ELEMENTS IN SOUTH PARK 96 2 APPENDIX: LITERATURE REVIEW 1 Aristophanes and South Park 99 2 Aristophanes 100 3 South Park 108 Bibliography/Works Cited 120 3 4 ACKNOWLEDGEMENTS My thanks, first of all, go to Conjoint Professor Michael Ewans, of the School of Humanities and Social Science at the University of Newcastle, my friend and supervisor. Over the course of the last three years, he has been a tireless and patient font of advice, encouragement and information – including enabling the University to obtain a copy of the 2012 book Deconstructing South Park, edited by Brian Cogan - and my gratitude knows no bounds. An undergraduate course of his that I took in 2010, pertaining to the Aristophanic tradition within dramatic and cinematic comedy, was the initial inspiration for my thesis, and I hope that I have given my expansion upon the connection between Aristophanes and the creation of Trey Parker and Matt Stone justice. As if this was not enough, Professor Ewans also enabled correspondence with Ms. Cathryn Vasseleu, Dr. Alan Cholodenko and Dr. Jodi Brooks, which was of extreme aid in helping me finish my paper. Ms. Vasseleu, of the University of Technology, Sydney, kindly led me in the direction of the complete bibliography of Professor Paul Wells, of the School of the Arts, Loughborough University, England, which was of great help to me in the initial stages of my research. Dr. Cholodenko, of the Department of Art History and Film Studies at the University of Sydney, provided some extremely helpful pointers on animation theory, as pertaining to South Park, and was instrumental in eliciting bibliographical recommendations, as regards academic discourse upon South Park, from Dr. Lisa Bode, of the School of English, Media Studies and Art History at the University of Queensland, Dr. Amy Ratelle of the Department of Communication and Culture at Ryerson University, Toronto, Canada and Professor Wells. All of them have my genuine gratitude. Dr. Brooks, of the School of English, Media and Performing Arts at the University of New South Wales, offered 5 valuable tidbits on thinking about cable television (especially cult television) within an academic framework, and allowed me to think outside the box as relates to the structure of an Honours thesis, without which I would have felt more helpless during my initial Honours year. Dr. Gillian Arrighi, Emeritus Professor Victor Emeljanow and Mr. Brian Joyce, of the School of Drama, Fine Art and Music at the University of Newcastle, organised, during the first half of 2012, a weekly meeting for all Honours, Masters Degree and Ph.D students in CAPA, which permitted valuable trading of ideas about the continuing scholarly process, along with feedback concerning all of our research, and they have my grateful appreciation. None of my findings would have been possible, however, without the talented and tireless efforts of the staff at the University’s Auchmuty Library – long may they thrive. Fellow Arts students of mine at the University of Newcastle, past and present, all of whom I count amongst my dear friends, proved themselves to be ports in a storm. John Wood provided me with copies of both the Season Four episode of South Park, “Trapper Keeper”, and the 2011 Comedy Central documentary 6 Days To Air: The Making of South Park. Myles Ashley, Rebecca Apps, Matt Baird, Mike Butcher, Hannah Cashman, Dean Blackford, Luke Carroll, Tim Chaston, Mitchell Cox, Greg Gorton, Carl Gregory, Cassie Hart, Cathy Heyne, Peter Hoolihan, Melissa Howarth, Rachel Jackett, Glen Johnson, Simone Price, Emily Roberts, Jesse Robertson, Owen Sherwood, Michael Waples, Kel White, Nicholas Williams, Leezee Wilson and Ashlee Woolnough were all instrumental in not just providing an environment of support and validation, but also allowed me to have a home away from home, of sorts, for rest and relaxation when a well-deserved break was needed. They have my deepest love and thanks. Dr. Carl Caulfield (free-lance scholar) and Ms. Felicity Biggins of the School of Design, Communication and IT at the University 6 of Newcastle, straddled both camps, in their gracious sociability and words of reinforcement and advice concerning both this project and plans for future post-graduate work. Finally, a great debt of love and gratefulness goes out to my parents, Paul and Linda Gibb, my siblings, Melissa and Jason Gibb, my grandparents, Peter and Julie Gibb and Nancy Marchant, my uncle and aunt, Ron and Michelle Bijen and my cousins, James and Gordon Bijen and Heather Walker, for their backing, interest, patience, understanding and general being there for me. To everyone herein mentioned, I could not have done this without you, and I alone bear full responsibility for any accidental omissions (along with my honest apologies) in these acknowledgements. 7 CHAPTER ONE; INTRODUCTION TO ARISTOPHANIC ELEMENTS IN SOUTH PARK Aristophanes, the renowned ancient Athenian comic playwright, and Trey Parker and Matt Stone, the creators of the contemporary American animated television program South Park, lived and worked over 2000 years apart. Despite this, I shall argue that South Park is firmly positioned within the lineage of Aristophanic humour. While Parker and Stone, in interviews, public statements and audio commentaries for DVD releases, have never claimed a direct Aristophanic influence (or even acknowledged an acquaintance with the poet), the spirit of Aristophanic comedy, and Aristophanes’ aims to educate and challenge spectators at Attic festivals, as well as amusing them, are indirectly to be found in South Park, from its first season (1997-8) up to and including its current sixteenth season (2012). My topic is significant because it is largely unrepresented in academic literature, with the exception of Katrina Bondari, and passing references in the works of Toni Johnson-Woods and Paul A. Cantor. This is in contrast to the Francois Rabelais/Mikhail Bakhtin influence of the “carnivalesque” in South Park, which has achieved much more scholarly attention from writers such as Johnson-Woods. The research method is based on the an assumption that a close viewing of individual episodes of South Park, together with a studious analysis of Aristophanes’ eleven extant comedies, will allow kindred forms of humour, story/thematic content and literary/televisual approaches to be proved. 8 These elements encompass structure, fantastical elements, “recreativity” and deconstructionist awareness, stereotypical depictions of nationalities and women, bawdy humour, wordplay, parrhesia/free speech (including lampoons of notable personalities), religion and political satire. Additionally, mythical/literary inspiration for Aristophanes, in the form of tragic playwrights such as Euripides and Sophokles, will be included to showcase para-tragedy. This is relevant, I feel, because parody and tragic pastiche served the same purpose in Aristophanes as Parker and Stone’s deployment of their popular cultural context: intertextuality serves to subversively treat elements of the familiar in a humorous manner, permitting greater pleasure for audiences, and encouraging them to engage with stories, plays, films, television programs and video games in new and interesting ways. Such common practices will comprise a substantial portion of my thesis, and highlight that Parker and Stone are at one with Aristophanes in being uncompromisingly irreverent, politically incorrect and daring in their artistic approaches, and allows us to view late twentieth- and early-twenty-first century United States comedy through the prism of ancient Greek drama 9 CHAPTER TWO; ANALYSIS; ARISTOPHANIC ELEMENTS IN SOUTH PARK 2.1: STRUCTURE. Aristophanic structure; the ‘Great Idea’ Aristophanes’ comedies have a particular structure. This structure, however, was malleable, and provided scope for variation in specific comedies (Ewans: 2012: 8-9). The hero (in Lysistrata and Assemblywomen the heroine) has a “Great Idea”, which aims to rectify an unpalatable aspect of the protagonist’s environment (Arrowsmith: 1973: 137). For instance, in Acharnians, Dikaiopolis, a rural dweller, misses his prior existence, before the Peloponnesian War (de Ste. Croix: 1972: 50 & 64) between Athens, Sparta and their respective confederates forced him behind Athens’ walls (26-36)1. After this “Great Idea” is identified, the hero, with resolve, seeks to solve the problem through fantastical means, rendered as entirely plausible in the context of the play (Robson: 2009: 11-12). For example, Dikaiopolis manages, after being stymied by corrupt Assemblymen (40-173), to broker a separate peace with Sparta via a thirty-year treaty, represented by a wine bottle proffered by a Demigod (175-203)2. The Aristophanic Agōn 1 Cf. Peace (93-4, 103 & 105), Lysistrata (26-41 & 99-112) and Frogs (66-103). 2 Cf. Peace (150-78), Lysistrata (119-238) and Frogs (180-270). 10 In an episodic structure, an agōn (contest) pitted the hero against obstacles to achieving his aim, before he emerged victorious (Cartledge: 1990: 17; McLeish: 1980: 50) – an “argument”, as McLeish also terms it (McLeish: 1980: 51).
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