DIPLOMARBEIT Titel der Diplomarbeit “Constructions of The Queen in Contemporary British Fiction” Verfasserin Claudia Sein angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 190 344 347 Studienrichtung lt. Studienblatt: Lehramtsstudium UF Englisch Betreuerin: Univ.-Ass. Privatdoz. Mag. Dr. Susanne Reichl Declaration of Authenticity I confirm to have conceived and written this thesis in English all by myself. Quotations from sources are all clearly marked and acknowledged in the bibliographical references either in the footnotes or within the text. Any ideas borrowed and/or passages paraphrased from the works of other authors are truthfully acknowledged and identified in the footnotes. Signature: _______________________ Hinweis Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin oder der betreffende Kandidat befähigt ist, wissenschaftliche Themen selbstständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der/des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich, mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Es wird gebeten, diesen Hinweis bei der Lektüre zu beachten. To the memory of my grandmother, who unknowingly sparked my interest in Britain and its Royal Family Zur Erinnerung an meine Oma, die, ohne es zu wissen, mein Interesse an Großbritannien und der Royal Family erweckt hat Acknowledgements First and foremost, my utmost gratitude goes to my parents, my grandparents and my brother, whose love and never-ending support enabled me to achieve my goal. I am deeply indebted to my supervisor Dr. Susanne Reichl, who advised, encouraged, guided and supported me during the entire research and writing process of my thesis with much patience. Her constructive feedback was invaluable. I also owe thanks to my dear friends Carina, Golriz, Julia, Verena and Veronika, each of whom motivated and supported me in their own special way. Last but not least, special thanks are due to my former English teacher Siegi Witzany-Durda, who both nurtured my love for and furthered my command of the English language. Table of contents 1. Introduction ........................................................................................................................... 1 2. Literature review ................................................................................................................... 7 3. A theoretical framework: Humour, its origins and theory .................................................... 14 3.1 The concept of humour ................................................................................................ 14 3.1.1 A definition? ........................................................................................................... 14 3.1.2 The origins of the term ........................................................................................... 15 3.1.3 Humour, laughter and the comic ............................................................................ 15 3.2 Humour theories and theorists – a survey .................................................................... 18 3.2.1 Freud ...................................................................................................................... 18 3.2.2 Bergson .................................................................................................................. 20 3.2.3 Incongruity, Hostility and Release Theories ........................................................... 21 3.3 Different forms and linguistic aspects of humour ......................................................... 21 3.3.1 Irony and sarcasm .................................................................................................. 21 3.3.2 Satire ..................................................................................................................... 22 3.3.3 Parody .................................................................................................................... 23 3.3.4 Black humour, dark humour and gallows humour .................................................. 25 3.3.5 Slapstick ................................................................................................................. 26 3.3.6 British Humour ...................................................................................................... 26 3.3.7 Pun and word play ................................................................................................. 29 3.3.8 Wit .......................................................................................................................... 29 3.3.9 Jokes ...................................................................................................................... 30 3.4 Extra-linguistic aspects of humour ................................................................................ 30 3.4.1 The relative nature of humour ................................................................................ 30 .... 3.4.1.1 The subjectivity of humour………………………………………..………….…...30 ... 3.4.1.2 The socio-cultural context………………………………….……….……………..31 ........ 3.4.1.3 Taboo topics………………………………….…………….………………………31 3.4.2 Humour in literature .......................................................................................... 32 3.4.2.1 Comedy .......................................................................................................... 33 3.4.2.2 Humour as a textual strategy ......................................................................... 34 3.5 Functions of humour .................................................................................................... 36 3.5.1 Expression of criticism ........................................................................................... 36 3.5.2 Reduction of anger and aggression ....................................................................... 37 3.5.3 Defence against suffering and reality ..................................................................... 37 3.5.4 Social function ........................................................................................................ 38 4. From theory to practice: An analysis of the selected novels .............................................. 39 4.1 The construction of the fictional Royal Family .............................................................. 39 4.1.1The stereotypical depiction of the members of the Royal Family ............................ 39 4.1.2 The function of their (humorous) representation .................................................... 52 4.2 The construction of the Queen as a fictional character ................................................ 57 4.2.1 The humour/ humorous construction of the Queen ................................................ 57 4.2.2 Behaviour, appearance and other characteristics .................................................. 61 .... 4.2.2.1 The transformation of a distanced monarch………………………….…………61 .... 4.2.2.2 The Queen in search of her identity………………………………………..……66 .... 4.2.2.3 Abdication……………………………………………………….……………….…69 4.2.3 Language ............................................................................................................... 71 4.3 In which situations is Her Majesty perceived as funny and comical? ........................... 76 4.3.1 The clash of cultures .............................................................................................. 77 4.3.2 The monarch’s encounter with ‘ordinary’ life .......................................................... 80 4.3.3 The social roles of the Queen ................................................................................ 81 ... 4.3.3.1 The Queen as mother and grandmother………………………………….……..81 .... 4.3.3.2 The Queen as wife…………………………………………………..……….…....83 ... 4.3.3.3 The Queen as dog-lover…………………………………………………….….....85 ... 4.3.3.4 The Queen as an uneducated and naïve woman………………………..….....88 4.3.3.5 The Queen as a vulnerable and old woman…………………………..………..90 ........ 4.3.3.6 The Queen as a poor woman………………………………………………...…..92 4.4 Why and by whom is the Queen perceived as funny/ laughed at? .............................. 94 4.4.1 Socio-cultural factors .............................................................................................. 94 4.4.2 Ridiculing the Queen as a form of criticising the monarchy? ................................. 95 4.4.3 Laughter as enhancing the feeling of superiority ................................................... 97 5. The myth of the Royal Family ............................................................................................. 99 5.1 People’s fascination with the monarchy ........................................................................ 99 5.1.1 The media representation of the British Royal Family ......................................... 100 5.1.2 The cultural significance of the monarchy ............................................................ 103 5.1.2.1 National identity …………………………………………………………….........103 …5.1.2.2 The role of tradition in the historical development of the monarch………….105 5.1.3 Demystification ..................................................................................................... 109 5.2. The phenomenon of life-writing ................................................................................. 112 5.2.1 Biofiction-