235 KB32 KB156 KB6 KB201520252024Radi Buh, MašaŽnidaršič, Nikštevilka:1letnik:12str. 196-210DOI:10.51937/Amfiteater-2024-1/196-210ISSN:1855-4539COBISSID_HOST:200434435URN:URN:NBN:SI:doc-FUVJNUSAsl= University of Ljubljana PressAmfiteater (Ljubljana)cancel culturecomedycultural critiquehumor theoriesincongruity theorykomedijakultura ukinjanjakulturna kritikateorija humorjateorija neskladjaKje so meje?|The paper takes as its starting point the relationship between “cancel culture” – and its related political correctness – and comedy. It articulates this relationship in more detail and places it in a sociopolitical context. Theories of comedy, the comic and humour highlight two different interpretations or functions of these genres: On the one hand, it can be a tool of social normativity, disciplining those parts of society that deviate from fictional norms through humour directed against them. On the other hand, it can also oppose such systems by revealing through comedy that “the emperor is indeed naked”. The history of cancel culture has its roots in the historical social interactions of Black Americans, which were comically oriented. An undertone of comedy also marked the initial emergence of the term, which first appeared on Twitter in tweets by Black Americans in 2014. However, only as it spread to other social groups and entered popular culture did it take on its current meaning, with the aim of withdrawing public support from individuals, brands, etc., for perceived inappropriate or controversial behaviour. The view that comedy, in whatever form, is absolutely “sacred” and “untouchable” is merely a consequence of the bourgeois conception of the autonomy of art, which denies it any political charge and attempts to conceal the social power relations at work within comic proceduresPrispevek si za osnovo jemlje razmerje med kulturo ukinjanja (angl. cancel culture) in z njo povezano politično korektnostjo ter komedijo in to razmerje natančneje artikulira ter ga vpne v družbenopolitični kontekst. Teorije komedije, komičnega in humorja izpostavljajo dve različni interpretaciji oziroma funkciji teh žanrov: po eni plati je lahko orodje družbene normativnosti, saj s humorjem, usmerjenim proti delom družbe, ki deviirajo od fiktivnih norm, te dele družbe disciplinira, po drugi plati pa lahko prav takim sistemom tudi nasprotuje, ko s komičnostjo razkriva, »da je cesar pravzaprav gol«. Zgodovina kulture ukinjanja izvira iz historičnih družbenih interakcij temnopoltih Američanov, ki so bile komično naravnane. Podton komičnosti je zaznamoval tudi začetni pojav tega termina, ki se je prvič pojavil na družabnem omrežju Twitter v tvitih temnopoltih Američanov leta 2014, šele z razširitvijo med druge družbene skupine in z vstopom v popularno kulturo pa je dobil današnji pomen; s ciljem umika javne podpore posameznikom, znamkam itd. zaradi percipiranega neprimernega ali spornega vedenja. Stališče, da je komedija v katerikoli obliki absolutno »sveta« in »nedotakljiva«, je le posledica meščanske koncepcije avtonomije umetnosti, ki ji odreka vsakršen politični naboj ter poskuša prikriti razmerja družbene moči, ki so na delu znotraj postopkov komičnegaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)