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Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected]

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Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, Kelrick@G.Clemson.Edu Clemson University TigerPrints All Dissertations Dissertations 12-2016 Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Elrick, Kathy, "Ironic Feminism: Rhetorical Critique in Satirical News" (2016). All Dissertations. 1847. https://tigerprints.clemson.edu/all_dissertations/1847 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IRONIC FEMINISM: RHETORICAL CRITIQUE IN SATIRICAL NEWS A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication, and Information Design by Kathy Elrick December 2016 Accepted by Dr. David Blakesley, Committee Chair Dr. Jeff Love Dr. Brandon Turner Dr. Victor J. Vitanza ABSTRACT Ironic Feminism: Rhetorical Critique in Satirical News aims to offer another perspective and style toward feminist theories of public discourse through satire. This study develops a model of ironist feminism to approach limitations of hegemonic language for women and minorities in U.S. public discourse. The model is built upon irony as a mode of perspective, and as a function in language, to ferret out and address political norms in dominant language. In comedy and satire, irony subverts dominant language for a laugh; concepts of irony and its relation to comedy situate the study’s focus on rhetorical contributions in joke telling. How are jokes crafted? Who crafts them? What is the motivation behind crafting them? To expand upon these questions, the study analyzes examples of a select group of popular U.S. feminist satires that wrote and presented news as well as comedy. Examples include the television show Murphy Brown, news satirist Molly Ivins, and particularly The Daily Show with Jon Stewart for its longevity. Each of these examples provides operating principles and ideology toward a satirical approach to news. They have their own styles and relations to national events and public dialogues. They also all “punch up,” or critique those in power. This study focuses on The Daily Show also as an example of how to expand feminist discourse with non-feminist discourse. The show evolved over time from misogynist and non-feminist beginnings related to the comedy industry to a place that included feminist discourse and comediennes. The show also advocated catharsis from comedy. Overall, this study advocates dialogue between various orientations to critique hegemonic narratives and mechanisms, offer new styles of critique, and aim at methods of catharsis. ii DEDICATION To those who appreciate irony and are frustrated with the way things are, I dedicate this work toward continuing to work for progress. To the memory of Molly Ivins, her principled journalism and amazing side-eyed wit. To my family, many who are gone but not lost, for their stories, for their encouragement, but most importantly, for their sense of humor. iii ACKNOWLEDGMENTS This project was a labor of love and laughs and would not have happened without the support of a stellar cast of accomplices. David Blakesley, my dissertation chair, offered enthusiasm and encouragement for this project and was always ready with a quote from Burke. Also, to the members of my committee, Victor Vitanza, Jeff Love, and Brandon Turner, our conversations gave foundation to what you will read here as well as inspired my investment to a serious study of comedy and irony. I want to shout out to my compatriots in RCID, and particularly the honey badgers. I would also like to acknowledge other professors and contacts with the Rhetorics, Communication and Information Design (RCID) program including Steve Katz, Camille Cooper, Tharon Howard, Jeannie Davis and Eduardo Nieves. Their support, friendship and professionalism has greatly influenced the completion of this project and touched my heart. Because it is important to the greater historical context, I would like to acknowledge the Cubs winning the World Series. I also want to thank Rachel Grotheer and Jessica Lowe for listening to my research anecdotes, their enduring friendship and reminder of Northern Illinois. I want to acknowledge my family, living and deceased, who have been a source of support from the beginning. But mostly, I thank my mom, Maggie Elrick, for her support, tenacity, drive, and audience toward my work. This would not have been finished without her. iv TABLE OF CONTEXTS Page TITLE PAGE……………………………………………………………………………. i ABSTRACT……………………………………………………………………………... ii DEDICATION…………………………………………………………………………... iii ACKNOWLEDGMENTS…………………………………………………………..…... iv CHAPTERS 1. PERSPECTIVE, STYLE AND SOCIAL COMMENTARY: WHY IRONIST FEMINISM MATTERS...…………………………………………………………… 1 Feminist Laughter and Social Commentary…………………………………..... 1 Feminist Perspectives and Comedy……………………………………… 5 Sexed Language………………………………………………………..... 8 Irony, Satire, and The Daily Show…………………………………………….... 10 Transideological…………………………………………………...…… 12 Social Ironies: Mansplaining, Elliot Rodgers…………………………... 14 Irony and Tropes on the Ground………………………………………... 17 Style: The Daily Show with Jon Stewart………………………………………... 19 News Parody……………………………………………………………. 20 Humanity, Punching Up, and Situation………………………………… 25 Misogyny and Ironist Feminism……………………………………….. 31 Research………………………………………………………………………… 33 2. IRONIC PERSPECTIVES AND APPROACHES………………………………….. 37 Irony…………………………………………………………………………….. 38 Eiron and Socratic Irony………………………………………............... 42 Symposium…………………………………………………………….... 45 Perspective, Reference and Timing…………………………………..… 48 v TABLE OF CONTEXTS (CONTINUED) Page The Omnipresent Subject and Freud’s Footnote……………………...... 50 Arendt’s Report…………………………………………………………………. 56 Situations and Pathos…………………………………………………… 62 Defining Applications of Irrationality………………………………..… 66 Parmenides……………………………………………………………... 71 Political Perspectives………………………………………………………….... 75 Privileged Blindness……………………………………………………. 76 Legitimate Alazons: Not All Men………………………………………. 80 Women Contradiction………………………………………………...… 83 Violence and Legitimacy……………………………………………….. 87 Comic Frame……………………………………………………………………. 89 Satire……………………………………………………………………. 91 Curses and Rotten Tomatoes………………………………………….... 95 Ironic Social Commentary……………………………………………… 98 3. PERSPECTIVES: IRONIST FEMINISM WITH NEWS SATIRE…………...…… 101 Ironist Feminism: Building Perspective……………………………………….. 102 Subjugated Knowledges and the Boys Club………………………...… 103 Feminist Taxonomies and Equality…………………………………… 110 Satire: Comedy and Social Commentary……………………………………… 114 Satirical Justice: Punching Up……………………………………….... 117 Diverse Voices………………………………………………………… 120 Other Irony…………………………………………………………….. 122 Seeing Fish in a Barrel………………………………………………… 126 One Satirical Approach: Molly Ivins………………………………………….. 130 Research and Cynicism……………………………………………...… 132 Mechanisms and Deliberation…………………………………………. 137 Another Satirical Approach: The Daily Show with Jon Stewart………………. 141 vi TABLE OF CONTEXTS (CONTINUED) Page Ideology and Aim…………………………………………………...… 143 Style, Context and Tactic……………………………………………… 147 Gags………………………………………………………………….... 151 The Pizza Narratives………………………………………………...… 157 Doug Jones: Fighting the Patriarchy………………………………………….. 161 4. THE DAILY SHOW LINEAGE, SITUATION, AND HOW IT BECAME AN EFFECTIVE PLATFORM FOR COMEDIENNES…………………………….... 164 The Daily Show with Jon Stewart: Comic Timing and Ethos………………… 165 Late Night Comedy……………………………………………………. 166 Elections, Disasters, and War…………………………………………. 168 Experimentation of The Daily Show Architecture……………………. 172 Streaming: Audience, Research and John Oliver and the FCC………. 176 News: Ideology and Format…………………………………………….…….. 178 High Modernism……………………………………………………… 179 Scheduling, Print, and the Fall of High Modernism’s Reign………… 182 Infotainment: Murphy Brown and Morning Glory…………………… 184 Comedy and Commentary……………………………………………………. 189 Process and Stand-Up………………………………………………… 189 Political Correctness: Taboo and Dark Humor…………………….…. 194 Women’s Issues…………………………………………………………….… 199 Misogynist Tone in Comedy………………………………………….. 200 Intersectionality, Identitarianism and Style………………………….... 203 Jezebel, Samantha Bee and Shifts for The Daily Show………………... 209 Arendt, Stewart’s Feminist Shift…………………………………….… 215 The Daily Show Addresses Abortion………………………………….. 220 The Daily Show’s Woman Problem Continues……………………………….. 226 vii TABLE OF CONTEXTS (CONTINUED) Page 5. AN IRONIST FEMINIST PROCESS…………………………………………….... 229 Community, Hegemony……………………………………………………….. 230 Applying Irony………………………………………………………… 232 Irrationality: The Conservative “Other”………………………………. 236 Situational Perspectives: Audience and Laughter……………………... 242 Discursive Foci and Styles…………………………………………………….. 244 Ironic Style: Academese………………………………………………. 246 “Bullshit” from The Daily Show…………………………………….… 251 Exigency: Kairos and Continued Ritual Satires………………………. 254 Feminist Satire………………………………………………………………… 266 Representation………………………………………………………… 266 Blue Balls……………………………………………………………… 268 Situation Next: Technology & Podcasts………………………………………. 269 WORKS CITED………………………………………………………………………. 273 viii CHAPTER 1 PERSPECTIVE, STYLE AND SOCIAL COMMENTARY: WHY IRONIST FEMINISM MATTERS Feminist Laughter and Social Commentary For feminist studies,
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