DOCSLIB.ORG

Ability and the Ethics of Satire in Stand-Up Comedy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ability and the Ethics of Satire in Stand-Up Comedy PERFORMANCE OF MORAL ACCOUNT- ABILITY AND THE ETHICS OF SATIRE IN STAND-UP COMEDY Antti Lindfors, University of Turku This paper explores one particular approach to satire in stand-up comedy, a popular cultural genre of oral performance, which is at the intersection of emotion and ethics. It is suggested that morally charged emotional language is particularly situated in stand-up due to the interactionally engag- ing features of this genre. The argument consists in framing satire as a practice and performance of moral accountability. The analysis explores how the invocation and potential dramatization of moral accountability and (intentional) agency dialectically enhance the emotional and moral ef- ficacy of satire, and why certain habitual practices constitute fruitful targets for satire. Several cases are presented to examine how satire gives rise to dialectic of moral accountability and emotion through the use of specific stylistic and textual devices. Keywords: satire, accountability, morality, emotion, stand-up comedy, performance One of the stereotypical, reified images evoked by hint at the nature of stand-up comedy as an intimate the popular cultural genre of stand-up comedy cer- and interactionally engaging form of performance tainly includes a person raging in front of others, as clearly laden with heightened expectations of re- a spectacle of anger – an image encapsulated distinc- sponsibility and competence for performers and au- tively in the comic personas of 1990s American per- dience members alike. Apart from apparent charac- formers like Andrew “Dice” Clay and Denis Leary ter comedians, one could read the action of standing (see Peterson 1997; Ahmed 2004). The attributes in stand-up comedy as implying a heightened moral of “brutal honesty”, “shamelessness”, and “unruli- standard (cf. Limon 2000). Prototypically speaking, ness”, frequently invoked by both practitioners, fol- stand-up comics stand behind their personas and lowers, and advertisers of stand-up alike, underpin words while often demanding similar accountability this impression of (emotional) liberty and fearless- and interactional investment from their audiences. ness as some of the genre’s most reiterated metaprag- In the following text, I explore the understandings matic emblems (e.g. Louis C.K. 2007; May 2015). and practices of emotion and satire in the perfor- While potentially construed as commercial aestheti- mance genre of stand-up comedy. Emotion provides cizations of emotion from just one perspective (e.g. an analytically compelling objective in the context Jameson 1991; Meštrović 1997), these attributes also of this genre, insofar as stand-up performances are Antti Lindfors 2017: Performance of Moral Accountability and the Ethics of Satire inETHNOLOGIA Stand-up Comedy. EUROPAEA 47:2 5 Ethnologia Europaea 47:2, 5–21. © Museum Tusculanum Press. mimetically structured around an emulation of It is in the latter focus that I am primarily interested spontaneous conversation while also regularly in- in the current effort. voking, inviting, and playing with strong affective responses from the audience. Although one should Preliminary Remarks obviously hesitate to label stand-up as an art form Moral indignation can be conveyed in comic con- dedicated to deception, it is fair to say that it is texts by using the stylistic and communicative de- based on certain “contrived misperception” (Taus- vice of satire; more often than not it also serves as sig 2006: 123). In this regard, the very leitmotif of a comic motive. Satirists are affectively invested in stand-up comedy could be construed as one of the their cause, for they claim to “speak ‘from the heart,’ double binds famously articulated by Gregory Bate- from a sense of acute, unmediated anger” (Rosen son ([1972]2000): “Be spontaneous!” This illusion 2012: 2), which can be historically traced back to of immanence, which in stand-up is coupled with a satire’s roots in magical curses and taunts (Elliott metacultural embrace of newness (Urban 2001; see 1970). Of the varieties of humorously inclined ex- also Wilce 2009b: 31, 34) that encourages improvisa- pression, satire can be seen as an exceptionally “pas- tion and authenticity, intersects in interesting ways sionate” and engaged mode of discourse, in contrast with the ongoing research into emotions as interac- with the (perceived) more distanced nature of many tional, performative, and embodied phenomena (for other types of humor and irony (cf. Oring 2003: 78; immanence in the theatrical arts since the 1970s, Chatman 2001: 30; Bergson 1935). Lehmann 2006: 18, 145–152, 96–97; Fischer-Lichte I propose that we should approach satire as an 2008: 18, 22–23). everyday communicative device (rather than, for ex- With an eye on what he labels the “reportability” ample, just a literary genre) that can be heuristically of narratives (also known as tellability), William understood as a form of ironic discourse that en- Labov (1997, 1972) generalized three thematic are as gages with ethics in very specific ways. Downplaying worthy of recounting across different cultures: “The the conventional viewpoint of satire as only negative universal principles of interest […] dictate that cer- social critique and emphasizing the multimodal af- tain events will almost always carry a high degree fordances and interactional aims of stand-up come- of reportability: those dealing with death, sex and dy as oral performance, I focus on how satire traces moral indignation.” It needs to be mentioned, and invokes a sense of moral accountability for the though, that such formulations that have to do with positions of both the producer and the target of sat- absolute standards of reportability have been heav- ire. The presumption is that this can be fruitfully ily criticized using more context-sensitive perspec- done by concentrating on instances of multimodal tives (e.g. Norrick 2005; Goldstein & Shuman 2012; satirical texts that manifest elaborate and/or extend- also Savolainen 2017). In any case, by spinning their ed fabrication, thus bringing forth this invocation of yarn around any of these subjects, comics may well accountability. In this regard, a particularly interest- increase the odds that listeners will be captivated. ing viewpoint of this discussion is the notion of in- While it is not uncommon for stand-ups to discuss tentionality, as far as the latter constitutes a promi- death at a very personal level – for instance in the nent aspect of the broader idea of agency. Finnish stand-up scene I have been following, Anit- I first address the issues of emotion, accountabil- ta Ahonen is known for frequently addressing heavy ity, and emotional expression in stand-up comedy by topics such as cancer and death, and Joni Koivu- elaborating on what can be described as emotional niemi has openly dealt with his mother’s passing as management or the instrumental use of emotion part of his set – and sex figures as a major thematic signs in ritualized performances. Taking cue from hub of stand-up even to the point of compromising the character of stand-up comedy as an elusive per- its tellability (i.e. becoming hopelessly clichéd), it is formance genre that simultaneously builds on inter- safe to say that moral indignation is not far behind. actional investment and responsibility, I argue for a 6 ETHNOLOGIA EUROPAEA 47:2 semiotically informed approach, by focusing on the central and culturally inexhaustible phenomena, pragmatic aspects of emotional expression in social such as comedy and satire, not only deserve but also interaction. This approach will be illustrated by require interdisciplinary perspectives without which looking at a sequence of stand-up from a recent com- their analysis would remain inexorably tenuous. mercial release by the popular South African comic Trevor Noah, which also can serve as a bridge to the Ration Your Passion: The Emotional following section on satire and ethics. Here I develop Expression in Stand-Up an outline of satire as a practice and performance of Insofar as stand-up comics may be considered ritual moral accountability that places its emphasis on the specialists, the presentation and management of cultural and social ramifications of satire instead of appropriate emotions (with respect to genre, occa- its more formal or technical definition. sion, narrative storyline, etc.) is a core element of In the final section I apply this conceptual frame- stand-up performances. Emotional expression is work to the topic and develop some of its further im- particularly highlighted in stand-up, as the bodily plications by using various examples, most notably co-present interactional set-up of the genre generally my field recordings of the Canadian-Finnish comic demands engagement, investment, and involvement Jamie MacDonald. This material consists of perfor- of its audiences in performance – most obviously by mances by MacDonald, which were recorded in Hel- their voluntarily joining in on the collective laughter sinki during late 2016 in the context of document- (for more on the intimacy and distance in stand-up, ing material for my dissertation. I have been drawn see Brodie 2014). Such intimacy and social cohe- toward societally and politically oriented or what sion, however ephemeral or temporary both may has elsewhere been called “charged” (Krefting 2014) turn out to be, is effectively produced by performers comedy, and paid particular attention to the inter- through their use of emotional language. Compara- sections between stand-up comedy and satire from bly, modalities and genres of discourse like personal the perspective of their concomitant communicative confessions, opinionated stance-taking, and gossip, forms and contexts. The various examples presented that both imply and invoke heightened forms of ac- in this paper, while perhaps seemingly disparate or countability, provide comics with potent means for sparing in quantity, represent a discretionary sam- interactional engagement (relatedly in terms of con- ple of ongoing work that I have chosen with an eye fession and gossip, see also Robbins & Rumsey 2008: for their relevance to problematize the interactional 409).
Load more

Recommended publications
  • "Fictionalism: Morality and Metaphor"
    - 1 - Fictionalism: Morality and metaphor Richard Joyce Penultimate draft of paper appearing in F. Kroon & B. Armour-Garb (eds.), Philosophical Fictionalism (Oxford University Press, forthcoming). 1. Introduction Language and reflection often pull against each other. Ordinary ways of talking appear to commit speakers to ontologies that may, upon reflection, be deemed problematic for a variety of empirical, metaphysical, and/or epistemological reasons. The use of moral discourse, for example, appears to commit speakers to the existence of obligation, evil, desert, praiseworthiness (and so on), while metaethical reflection raises a host of doubts about how such properties could exist in the world and how we could have access to them if they did. One extreme solution to the tension is to give up reflection—to become like those “honest gentlemen” of England, as Hume described them, who “being always employ’d in domestic affairs, or amusing themselves in common recreations, have carried their thoughts very little beyond those objects” (Treatise 1.4.7.14). Hume sounds a touch envious of the unreflective idyll, but the very fact that he is penning a treatise on human nature shows that this is not a solution available to him; and, likewise, the very fact that you are reading this chapter shows that it’s unlikely to be a solution for you. Another extreme solution to the tension is to give up language—not in toto, of course, but selectively: to stop using those elements of discourse that are deemed to have unacceptable commitments. How radical this eliminativism is will depend on the nature of the problem.
    [Show full text]
  • The Low-Status Character in Shakespeare's Comedies Linda St
    Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created.
    [Show full text]
  • Urban Legends
    Jestice/English 1 Urban Legends An urban legend, urban myth, urban tale, or contemporary legend is a form of modern folklore consisting of stories that may or may not have been believed by their tellers to be true. As with all folklore and mythology, the designation suggests nothing about the story's veracity, but merely that it is in circulation, exhibits variation over time, and carries some significance that motivates the community in preserving and propagating it. Despite its name, an urban legend does not necessarily originate in an urban area. Rather, the term is used to differentiate modern legend from traditional folklore in pre-industrial times. For this reason, sociologists and folklorists prefer the term contemporary legend. Urban legends are sometimes repeated in news stories and, in recent years, distributed by e-mail. People frequently allege that such tales happened to a "friend of a friend"; so often, in fact, that "friend of a friend has become a commonly used term when recounting this type of story. Some urban legends have passed through the years with only minor changes to suit regional variations. One example is the story of a woman killed by spiders nesting in her elaborate hairdo. More recent legends tend to reflect modern circumstances, like the story of people ambushed, anesthetized, and waking up minus one kidney, which was surgically removed for transplantation--"The Kidney Heist." The term “urban legend,” as used by folklorists, has appeared in print since at least 1968. Jan Harold Brunvand, professor of English at the University of Utah, introduced the term to the general public in a series of popular books published beginning in 1981.
    [Show full text]
  • Moral Rhetoric in Twitter: a Case Study of the U.S
    Moral Rhetoric in Twitter: A Case Study of the U.S. Federal Shutdown of 2013 Eyal Sagi ([email protected]) Kellogg School of Management, Northwestern University Evanston, IL 60208 USA Morteza Dehghani ([email protected]) Brain Creativity Institute, University of Southern California Los Angeles, CA 90089 USA Abstract rhetoric is prevalent in political debates (e.g., Marietta, 2009). In this paper we apply a computational text analysis technique used for measuring moral rhetoric in text to analyze the moral Our investigation contributes to the general study of loadings of tweets. We focus our analysis on tweets regarding moral cognition by providing an alternative method for the 2013 federal government shutdown; a topic that was at the measuring moral concerns in a more naturalistic setting forefront of U.S. politics in late 2013. Our results demonstrate compared to self-report survey method and artificial that the positions of the members of the two major political paradigms used in traditional judgment and decision-making parties are mirrored by the positions taken by the Twitter experiments. communities that are aligned with them. We also analyze retweeting behavior by examining the differences in the moral Following Sagi and Dehghani (2013), we define moral loadings of intra-community and inter-community retweets. rhetoric as “the language used for advocating or taking a We find that retweets in our corpus favor rhetoric that moral stance towards an issue by invoking or making salient enhances the cohesion of the community, and emphasize various moral concerns”. Our analysis of moral rhetoric is content over moral rhetoric. We argue that the method grounded in Moral Foundations Theory (Graham et al., proposed in this paper contributes to the general study of 2013; Haidt & Joseph, 2004), which distinguishes between moral cognition and social behavior.
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • Genre and Subgenre
    Genre and Subgenre Categories of Writing Genre = Category All writing falls into a category or genre. We will use 5 main genres and 15 subgenres. Fiction Drama Nonfiction Folklore Poetry Realistic Comedy Informational Fiction Writing Fairy Tale Tragedy Historical Persuasive Legend Fiction Writing Tall Tale Science Biography Fiction Myth Fantasy Autobiography Fable 5 Main Genres 1. Nonfiction: writing that is true 2. Fiction: imaginative or made up writing 3. Folklore: stories once passed down orally 4. Drama: a play or script 5. Poetry: writing concerned with the beauty of language Nonfiction Subgenres • Persuasive Writing: tries to influence the reader • Informational Writing: explains something • Autobiography: life story written by oneself • Biography: Writing about someone else’s life Latin Roots Auto = Self Bio = Life Graphy = Writing Fiction Subgenres • Historical Fiction: set in the past and based on real people and/or events • Science Fiction: has aliens, robots, futuristic technology and/or space ships • Realistic Fiction: has no elements of fantasy; could be true but isn’t • Fantasy: has monsters, magic, or characters with superpowers Folklore Subgenres Folklore/Folktales usually has an “unknown” author or will be “retold” or “adapted” by the author. • Fable: short story with personified animals and a moral Personified: given the traits of people Moral: lesson or message of a fable • Myth: has gods/goddesses and usually accounts for the creation of something Folklore Subgenres (continued) Tall Tale • Set in the Wild West, the American frontier • Main characters skills/size/strength is greatly exaggerated • Exaggeration is humorous Legend • Based on a real person or place • Facts are stretched beyond nonfiction • Exaggerated in a serious way Folklore Subgenres (continued) Fairytale: has magic and/or talking animals.
    [Show full text]
  • The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
    International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable.
    [Show full text]
  • “The Right Use of Reason”: Fairy Tales, Fantasy, and Moral Education in Peter Parley's Annual
    Brigham Young University Masthead Logo BYU ScholarsArchive Undergraduate Honors Theses 2019-03-27 “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL Taylor Topham Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/studentpub_uht BYU ScholarsArchive Citation Topham, Taylor, "“THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL" (2019). Undergraduate Honors Theses. 55. https://scholarsarchive.byu.edu/studentpub_uht/55 This Honors Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Honors Thesis “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL by Taylor Topham Submitted to Brigham Young University in partial fulfillment of graduation requirements for University Honors English Department Brigham Young University April 2019 Advisor: Leslee Thorne-Murphy Honors Coordinator: John Talbot ABSTRACT “THE RIGHT USE OF REASON”: FAIRY TALES, FANTASY, AND MORAL EDUCATION IN PETER PARLEY’S ANNUAL Taylor Topham English Department Bachelor of Arts This thesis discusses the relationship between the start of the Golden Age of Children’s Literature and the educational policy and philosophy changes that took place in mid- to late-19th century England. Some scholars have argued that the reasons for the rise in fantasy literature that characterized the Golden Age of Children’s Literature are primarily economic, while others find philosophical and cultural precedents for the movement toward fantasy.
    [Show full text]
  • The Performativity of Performance Documentation
    THE PERFORMATIVITY OF PERFORMANCE DOCUMENTATION Philip Auslander onsider two familiar images from the history of performance and body art: one from the documentation of Chris Burden’s Shoot (1971), the notori- ous piece for which the artist had a friend shoot him in a gallery, and Yves CKlein’s famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that “really” happened while the other does not? I shall return to this question below. As a point of departure for my analysis here, I propose that performance docu- mentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O’Dell points out, the reconstruction is bound to be fragmentary and incomplete1) and evidence that it actually occurred. The connection between performance and docu- ment is thus thought to be ontological, with the event preceding and authorizing its documentation.
    [Show full text]
  • Types & Forms of Theatres
    THEATRE PROJECTS 1 Credit: Scott Frances Scott Credit: Types & Forms of Theatres THEATRE PROJECTS 2 Contents Types and forms of theatres 3 Spaces for drama 4 Small drama theatres 4 Arena 4 Thrust 5 Endstage 5 Flexible theatres 6 Environmental theatre 6 Promenade theatre 6 Black box theatre 7 Studio theatre 7 Courtyard theatre 8 Large drama theatres 9 Proscenium theatre 9 Thrust and open stage 10 Spaces for acoustic music (unamplified) 11 Recital hall 11 Concert halls 12 Shoebox concert hall 12 Vineyard concert hall, surround hall 13 Spaces for opera and dance 14 Opera house 14 Dance theatre 15 Spaces for multiple uses 16 Multipurpose theatre 16 Multiform theatre 17 Spaces for entertainment 18 Multi-use commercial theatre 18 Showroom 19 Spaces for media interaction 20 Spaces for meeting and worship 21 Conference center 21 House of worship 21 Spaces for teaching 22 Single-purpose spaces 22 Instructional spaces 22 Stage technology 22 THEATRE PROJECTS 3 Credit: Anton Grassl on behalf of Wilson Architects At the very core of human nature is an instinct to musicals, ballet, modern dance, spoken word, circus, gather together with one another and share our or any activity where an artist communicates with an experiences and perspectives—to tell and hear stories. audience. How could any one kind of building work for And ever since the first humans huddled around a all these different types of performance? fire to share these stories, there has been theatre. As people evolved, so did the stories they told and There is no ideal theatre size. The scale of a theatre the settings where they told them.
    [Show full text]
  • An Analysis of Figurative Language of Songs in 70'S
    AN ANALYSIS OF FIGURATIVE LANGUAGE OF SONGS IN 70’S ERA AND MILLENNIUM ERA UNDERGRADUATE THESIS Submitted to English Language Teaching Department, Tarbiyah and Teacher Training Faculty, Syekh Nurjati State Islamic Institute Cirebon in Partial Fulfillment of The Requirements of Undergraduate Degree. By: NIKO SAPUTRA NIM : 59430782 ENGLISH LANGUAGE TEACHING DEPARTMENT TARBIYAH AND TEACHER TRAINING FACULTY SYEKH NURJATI STATE ISLAMIC INSTITUTE CIREBON 2015 ABSTRACT NIKO SAPUTRA: AN ANALYSIS OF FIGURATIVE LANGUAGE OF SONGS IN 70’S ERA AND MILLENNIUM ERA Figurative language is the language style that uses words or expressions with a meaning that is different from the literal interpretation. Figurative language also include in literature theory. Figurative language usually found in poem, novel, short story and songs. Through Figurative language people can express their emotion, taste, and so forth, The aims of this research are to know the figurative language used in songs 70’s era, to know the figurative language used in songs millennium era, and to know the Similarity and the difference of figurative language in both era. The method of this study is qualitative research. Because the writer analyzes the data based on the document, and the writer observes the document itself. The data of this research taken from the lyrics of the songs in 70’s era and millennium era. In this case the writer means that the songs was launch between 1970-1979 namely the Hotel California (1976), The temple of the king (1975), Bohemian Rhapsody (1975), Smoke on The Water (1972), Brown Sugar (1971), The Long and Winding Road (1970) and some songs from Millennium era or 2000’s era is the era between years 2000-2009.
    [Show full text]
  • COURSE OUTLINE ETT205 Arts and Entertainment Management 3 3 15
    Mercer County Community College COURSE OUTLINE ETT205 Arts and Entertainment Management 3 Course Number Course Title Credits 3 15 week Class or Laboratory Clinical or Studio Practicum, Course Length Lecture Work Hours Hours Co-op, Internship (15 week, Hours 10 week, etc.) None None_ Performance on an Examination/Demonstration Alternate Delivery Methods (Placement Score (if applicable); minimum CLEP score) (Online, Telecourse [give title of videos]) Required Materials: Sports and Entertainment Management, Kenneth Kaser & John R. Brooks, Jr. South-Western Thomson Publishing, 2005. ISBN: 0538438290 Managing a Nonprofit Organization in the Twenty-First Century, Third Revised Edition and Up, Thomas Wolf and Barbara Carter. Free Press, 1999. ISBN: 0684849909 Catalog Description: An introduction to common issues and best practices in the management of arts and entertainment organizations. Students will gain a basic understanding of business requirements and challenges in producing entertainment. Topics include common management structures in not-for-profit and for-profit arts and entertainment companies, marketing, public relations, fundraising, budgeting, and human resources. Legal concerns such as contracts, copyright, licensing, and royalties will also be discussed. Prerequisites: Corequisites: ETT101 or permission of the Coordinator None Last Revised: February 2017 Course Coordinator (name, email, phone extension): Scott Hornick, Assistant Professor of Music. (609) 570-3716; [email protected] Available Resources: - 1 - ETT205- Arts and Entertainment Management Directory of Theatre Training Programs: Profiles of College and Conservatory Programs throughout the United States. Dorset Theatre Festival and Colony House. Field, Shelly. (1992). Career Opportunities in Theater and the Performing Arts. Facts on File Publishing. Gassner, John. (1953). Producing the Play. Dryden Press.
    [Show full text]