The humorous language of street dissent
A discourse analysis of the graffiti of the Gezi Park protests
Bibliographic Data
| ID | 13079040 |
|---|---|
| Authors | Oya Morva (0000-0003-3788-9053, Istanbul University, corresponding author) |
| Year | 2016 |
| Volume | 4 |
| Issue | 2 |
| Pages | 19-34 |
| Publication date | 2016-04-09 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | European Journal of Humour Research (JOURNAL) |
| Journal identifiers | ISSN: 2307-700X • E-ISSN: 2307-700X |
| Publisher | Cracow Tertium Society for the Promotion of Language Studies (PUBLISHER • PL) |
| DOI | 10.7592/ejhr2016.4.2.morva |
| OpenAlex | W2491511072 |
| Language | EN |
| Citations received | 11 |
| References cited | 7 |
Owing to its critical and creative potential, humour has often been used as one of the preferred means of resistance in social and political protests. In addition, the presence of humour is also increasing in the new social movements of recent history. The essential questions that this article aims to answer are how humour functions and what its purpose is amidst a time of numerous and notable social movements. During the 2013 Gezi Park protests in Turkey, the protesters made significant use of humour that specifically targeted the control of the authorities over public life, thus providing a good case with which to study humour in social movements. One form which the protesters used to disseminate humorous messages was graffiti. In this article, the graffiti from the Gezi Park protests is examined using a critical discourse analysis model. In order to achieve the intended aims, Van Dijk’s (1995) understanding of ideological discourse analysis arguing that dominated groups may have ideologies that effectively organise the social representation needed for resistance and change, is taken as a point of departure. However, this work specifically relies on Fairclough’s (1992) three dimensional discourse analysis that covers the object (the text), the process (discursive practice) and the socio-historical conditions (social practice). Research on the language of Gezi graffiti shows that the humorous language of the protesters identified and differentiated the actors of the movement, and it did not only help them to cope with the domination and oppression to which they were subjected, but also increased support for development in the desired direction
Critical discourse analysis · Discourse analysis · Dissent · Graffiti · Ideology · Linguistics · Media studies · Oppression · Political science · Politics · Representation (politics · Resistance (ecology · Sociology · Visual arts · Discourse Analysis in Language Studies · Hate Speech and Cyberbullying Detection · Humor Studies and Applications · Law
Signs and Cause
An Exploration of Graffiti on University’s Walls
From public to digital spaces
A Mixed Methods Analysis of Political Graffiti
Reclaiming sociolinguistic identity through graffiti art
The role of multimodality and intertextuality in accentuating humor in Algerian Hirak ’s posters
The new but lonely voice against the authoritarianism’
Humour is serious
From stadium to street
Looking for truth in absurdity
The aesthetic values of the semiotic choices in Arab protests
| Unique citing works | 11 |
|---|---|
| Citations per year | 1,22 |
| Citation span | 2017 - 2026 (10) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 11 |