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Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch of the Coronavirus

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Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch of the Coronavirus Text Matters: A Journal of Literature, Theory and Culture Number 10 Literature Goes Pop / Literar(t)y Article 17 Matters 11-24-2020 Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch of the Coronavirus Christine Nicholls Australian National University, Canberra Follow this and additional works at: https://digijournals.uni.lodz.pl/textmatters Part of the Arts and Humanities Commons, Communication Technology and New Media Commons, and the Critical and Cultural Studies Commons Recommended Citation Nicholls, Christine. "Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch of the Coronavirus." Text Matters: A Journal of Literature, Theory and Culture, no.10, 2020, pp. 274-318, doi:10.18778/2083-2931.10.17 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Text Matters: A Journal of Literature, Theory and Culture by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Text Matters, Number 10, 2020 http://dx.doi.org/10.18778/2083-2931.10.17 Christine Nicholls Australian National University, Canberra Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch1 of the Coronavirus A BSTR A CT From the onset of the indefinite deferral of our previously taken-for- granted lives, an abundance of humorous online cartoons, jokes, memes, videos and other satirical material relating to the COVID-19 outbreak— and its consequences—has emerged. Humorous responses to this dire global pandemic proliferate irrespective of location, nationality, ethnicity, age, gender and/or socio-political affiliations. Against a background of enforced lockdowns, quarantine, and sometimes gross political ineptitude, with a mounting daily global death toll, humour referencing this scourge continues to blossom. This may seem counterintuitive or inappropriate at a time of heightened anxiety and fear apropos of an invisible killer-virus, known only in diagrammatic—and, ironically, aesthetically pleasing— visual form. Online humour evoking the COVID-19 crisis is expressed recursively via intertextuality referencing literary, visual, written, oral or other “texts.” Interpictoriality is evident with memes that reconfigure renowned visual artworks. The internet enables copious discourse related to the COVID-19 eruption/disruption. Embedded in this article are examples to support the article’s theoretical basis, with intertextuality its major focus. Discussion follows, with speculation as to why humour, absurdity and wit are able to prosper in an environment of radical uncertainty and why joking about our parlous global predicament acts as a vital coping mechanism. Keywords: viral humour, COVID-19 quarantine, online exemplars, analysis of specific works, validity of humorous discourse amidst a global pandemic. 1 I have used the word “epoch” throughout this article in reference to the SARS- CoV-2 virus outbreak because medical and scientific evidence points to the fact that this is only the beginning of a protracted period of time during which humanity will be living under the shadow of this pandemic. Coronavirus Humour Online: Joking About (Possibly) Croaking? Christine Nicholls INTRODUCTION: A BRIEF TYPOLOGY OF hUMOUR THEORIES, STYLES AND GENRES Australian National University, Canberra A brief summary of the major theories and genres of humour needs to be broached prior to discussion and analysis of the plethora of COVID-19 humour on the World Wide Web. For the most part, these theories and styles Online Humour, Cartoons, Videos, should not be regarded as discrete categories, but rather as intersecting one another in complexly ambiguous ways. In the final analysis, humour resists Memes, Jokes and Laughter all attempts at definitive accounts or explanation. in the Epoch1 of the Coronavirus It is largely accepted that humour, joking and comedy fall into four or five major theoretical categories, styles, genres, modes or approaches (see Venn Diagram for some of the major scholars and theorists in this field). The first of these is the Superiority theory in which people laugh at the presumed deficiencies and/or deformities of others. In the case of people with disabilities such “humour” can be toxic. The Superiority theory is one 275 A BSTR A CT of the oldest (Western) theories of humour going back to Plato (thought to have lived c. 428/427 or 424/423–348/347 BC), later taken up by the From the onset of the indefinite deferral of our previously taken-for- Englishman Hobbes (1588–1679) and into the present day, often grafted granted lives, an abundance of humorous online cartoons, jokes, memes, onto the Incongruity theory. videos and other satirical material relating to the COVID-19 outbreak— Relevant here is also the German concept of Schadenfreude, and its consequences—has emerged. Humorous responses to this dire a portmanteau word signifying the derivation of pleasure from someone global pandemic proliferate irrespective of location, nationality, ethnicity, else’s or a group’s misery, pain or misfortune.2 As with all of these age, gender and/or socio-political affiliations. Against a background of theories, superiority and Schadenfreude are not necessarily humorous, enforced lockdowns, quarantine, and sometimes gross political ineptitude, with a mounting daily global death toll, humour referencing this scourge but can often be malicious and very unfunny, especially from the target’s continues to blossom. This may seem counterintuitive or inappropriate at perspective. Sadly, this kind of humour has become increasingly prevalent. a time of heightened anxiety and fear apropos of an invisible killer-virus, Such humour often overlaps with the Incongruity theory, discussed below. known only in diagrammatic—and, ironically, aesthetically pleasing— There are numerous Australian examples of sexist and racist jokes that visual form. Online humour evoking the COVID-19 crisis is expressed fall into the Superiority grouping. In jesting mode sexist jokes can be ways recursively via intertextuality referencing literary, visual, written, oral or of “taking the mickey”3 out of the other gender. Such joking has been other “texts.” Interpictoriality is evident with memes that reconfigure described as an “acculturating ritual” for some Australian men and women.4 renowned visual artworks. The internet enables copious discourse related Here is an example of a riddle posed by an Australian man to his mate, to the COVID-19 eruption/disruption. with three possible responses. The following discourse is underpinned by Embedded in this article are examples to support the article’s theoretical the unquestioned assumption of male supremacy and the objectification of basis, with intertextuality its major focus. Discussion follows, with 5 speculation as to why humour, absurdity and wit are able to prosper in women by some, but not all, Australian men: an environment of radical uncertainty and why joking about our parlous global predicament acts as a vital coping mechanism. 2 Translation: Schadenfreude—from Schaden: “harm” and Freude: “joy.” 3 The concept of “taking the mickey,” derived from the British colonists, means Keywords: viral humour, COVID-19 quarantine, online exemplars, analysis teasing or (usually lightly) ridiculing another person or group. “Mickey” (sometimes of specific works, validity of humorous discourse amidst a global pandemic. “Micky”) also has multiple different meanings. 4 For more on Australian humour as an acculturating ritual, see Milner Davis’s 1 I have used the word “epoch” throughout this article in reference to the SARS- “‘Aussie’ Humour and Laughter: Joking as an Acculturating Ritual.” CoV-2 virus outbreak because medical and scientific evidence points to the fact that this 5 In relation to early colonial Australia, male convicts, soldiers and settlers is only the beginning of a protracted period of time during which humanity will be living overwhelmingly outnumbered women in the colony. The gendered nature of Australian under the shadow of this pandemic. colonial society continued as male convicts were emancipated and more (mostly) male free Christine Nicholls Q: “Why is having a beer better than having a wife?” A1: “Because you can enjoy a beer all month long.” OR: A2: “Because hangovers go away.” OR: A3: “Because beers always go down easy.” Often overlapping the Superiority theory is the Incongruity theory. As is the case with the Superiority theory it has a lengthy history in Western thought, from Aristotle through to Schopenhauer and Kant, and into the present day. It is based on the dissonance that exists between reality and/or what listener/s or viewer/s expect to hear, see or experience. The juxtaposition of two or more dissimilar phenomena sometimes occasions a pleasurable cognitive shift, often leading to laughter. An Australian 276 example follows, largely founded on incongruity, the charm of which is enhanced by a childlike sense of playfulness: An Aussie bloke was standing on a busy street corner in Melbourne, right next to the city’s major train station. He’d tied a small rock onto a piece of string, which he was repeatedly twirling around his head. Another man walked up to the bloke and said, “What yer doing mate?” The man, who continued spinning the rock, replied, “I’m keeping the elephants away.” The other man commented, “But mate, we don’t have any elephants in Australia.” “I know,” said the first bloke. “Effective,
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