Search Results (55)

This article offers a comprehensive theorization of stiob as a historically sedimented, culturally specific, yet increasingly globalized modality of ironic discourse whose logic of deadpan overidentification has migrated from late-Soviet conceptualist counterculture into twenty-first-century political communication. Revisiting the folkloric, carnivalesque, and double-voiced foundations of stiob, this study situates the phenomenon within the longue durée of Russian humor, holy foolishness (юрoдствo), and the grotesque tradition described by Dmitry Likhachev, Aleksandr Panchenko, Mikhail Bakhtin, and Sergei Averintsev. The argument proceeds to demonstrate how contemporary political actors—most prominently Donald Trump and Vladimir Putin—have appropriated stiob and its adjacent practices (holy foolishness, trolling, strategic sacrilege, and carnivalesque inversion) as powerful rhetorical instruments capable of destabilizing discursive norms, undermining institutional authority, and creating a semi-permanent state of “infernal laughter.” Drawing on examples from political speech, social media, public performance, and mediatized spectacle, the article contends that both Trump and Putin deploy a repertoire of ironic aggression, misdirection, double-voiced innuendo, and taboo-breaking parody that weaponizes cultural archetypes of the jester, trickster, and holy fool. This mode of communication, simultaneously theatrical and destructive, produces a new form of political carnivalesque in which hierarchical orders are inverted, outrage is instrumentalized, and the distinction between sincerity and mockery collapses. Ultimately, this article argues that stiob, trolling, and holy foolishness now constitute a transnational discursive formation reshaping public culture in the twenty-first century. Full article

The paper examines the poetics of graphomania as a productive aesthetic device within the Russian literary tradition, focusing primarily on Velimir Khlebnikov and extending the analysis to figures such as Fedor Dostoevsky’s Captain Lebyadkin and real authors such as Eduard Limonov, Dmitrii Prigov, and Sasha Sokolov. Building on the article’s central insight that Khlebnikov’s “bad writing,” stylistic shifts, and violations of canonical norms constitute not a defect but a sui generis artistic strategy, the study situates these techniques within broader historical and theoretical frameworks, including the Formalist concepts of parody, junior branch, and heteroglossic subcodes of poetic culture. The article traces the way Khlebnikov’s dynamic alternation of heterogeneous linguistic, prosodic, and generic registers produces a complex, unstable but grandstanding authorial “I” aligned with the traditional figure of the poet-as-character and the culturally embedded myth of the Poet–Tsar. Furthermore, it maps a genealogy of “graphomaniac” writing from the avant-garde to postmodernism, demonstrating how later authors transform Khlebnikov’s innovations—alternately amplifying, parodying, or ironizing them. Through close readings and extensive intertextual contextualization, the article argues that graphomania functions as a critical mechanism for destabilizing aesthetic orthodoxies, exposing, performing and producing literary authority, and redefining the boundaries between norm and deviation, author and character, poetic freedom and canonical constraint. Full article

Fractured fairy tales are adaptive retellings of traditional stories that employ humor, irony, and narrative innovation to transform established meanings. As a distinctive literary genre, these works combine entertainment with subversion, reshaping familiar plots, characters, and morals to engage readers in both imaginative and critical reflection. The genre gained prominence in the mid-twentieth century, when classic tales began to be rewritten to reflect modern cultural values and shifting audience expectations. Through techniques such as parody, reversal, and alternative endings, fractured fairy tales challenge inherited norms while offering renewed interpretive possibilities. Beyond their literary appeal, they have been recognized for their pedagogical importance: their familiarity lowers barriers to reading, while their inventive variations foster creativity, analytical reasoning, and language development. Collectively, these attributes affirm fractured fairy tales as a genre of lasting significance, uniting artistic reinterpretation with educational relevance in ways that continue to enrich both literary and literacy learning. Full article

The function of film grammar in the creation of narrative cinema is a central one when considering the realities of cinema as a global art. Since its birth from a confluence of European scientific and aesthetic principles, cinema has become a ubiquitous art form, but together with this growth has come the spread of those very principles from which cinema sprang. As an example, camera movement in Japanese film typically follows a grammatical pattern to privilege left-to-right, chronological movement as set by western cinema. That is, the camera will introduce information as a visual analogue to the process of reading a written, western text, with the lens operating very much as an eye in its trajectory across the ‘page’ of the screen. Building on work by Jean-Louis Baudry, Brian O’Leary and Jean Louis Comolli, this paper demonstrates this feature of Japanese cinema, using Ichikawa Jun’s 2004 film, Tony Takitani, as a case study. Through a close reading of the film and its pattern of movement, this paper proposes that we may discern a symptom of the persistent inscription of coloniality imposed in and through cinema—the movement of the camera parodies reading but also accepts as natural an ‘unnatural’, western pattern of movement. The act of adaptation, too, both anticipates and supports the conception of cinema as reading-parody, with Murakami Haruki’s short story “Tony Takitani” operating as a meaningful substratum to the process of vision-as-coloniality. Full article

In contemporary analytic philosophy of religion, the evil God challenge has been developed by several authors as a parody argument. Proponents of this challenge contend that, given the goods in our world, the hypothesis of an omnipotent, omniscient, omnimalevolent God or the Evil God is absurd. Similarly, they argue, we should conclude that the hypothesis of a good God is also absurd due to the evils present in our world. This paper argues that, with the aid of this challenge and other contemporary debates in the philosophy of religion, one can make the case that a reintroduction of Manichaeism into philosophy of religion is worthwhile. This argument will propose that, considering our total evidence, the Good-God and the Evil-God demonstrate a similar level of support. Additionally, under a reconstructed Manichaean hypothesis, good and evil are seen as mutually explanatory. Furthermore, the natural order can be understood within this framework. Therefore, the Manichaean hypothesis could serve as a viable alternative to monotheistic theism; it can account for the co-existence of good and evil and is compatible with the observed order in nature. Full article

This essay argues that Hamlet should be read not merely as a domestic or dynastic tragedy, but as a political–philosophical ALLEGORY in which language itself becomes a site of crisis. Beginning with Hamlet’s contemptuous reply to Polonius—”Words, words, words” (2.2.191)—the play dramatizes the death of philosophy in the state, where speech is emptied of wisdom and reduced to surveillance, platitude, or performance. Had events unfolded differently, Prince Hamlet might have become a philosopher-king in the Platonic sense, ruling through reflection and justice. Instead, succession ambiguity, Claudius’s manipulative election, and the corruption of logos foreclose that possibility. The Mousetrap, often interpreted as a test of guilt, can also be read as a thought experiment about succession itself: a theatrical attempt to expose the fragility of legitimacy in an elective monarchy. Hamlet’s wager that words and representation can secure truth collapses, leaving only suspicion and violence. Polonius parodies philosophy’s degeneration into bureaucratic rhetoric, while Horatio inherits the burden of words as memory—tasked with telling a story that remains undecidable. Drawing on Plato, Foucault, Kewes, and recent scholarship, the essay contends that Shakespeare stages the foreclosure of philosophical sovereignty: a tragedy for Denmark and, symbolically, for the world. Full article

Background/Objectives: Paspalum nicorae Parodi is a native subtropical grass species with promising agronomic attributes, such as persistence, drought and cold tolerance, and rapid establishment. However, the species remains underutilized in breeding programs due to the absence of well-characterized germplasm and limited studies on its genetic variability and agronomic potential. This study aimed to estimate genetic parameters, predict genotypic values, and identify superior ecotypes with desirable forage traits, integrating stability and adaptability analyses. Methods: A total of 84 ecotypes were evaluated over three consecutive years for twelve morphological and forage-related traits. Genetic parameters, genotypic values, and selection gains were estimated using mixed models (REML/BLUP). Stability was assessed through harmonic means of genotypic performance, and the multi-trait genotype–ideotype distance index (MGIDI) was applied to identify ecotypes with balanced performance across traits. Results: Substantial genetic variability was detected for most traits, particularly those related to biomass accumulation, such as total dry matter, the number of tillers, fresh matter, and leaf dry matter. These traits exhibited medium to high heritability and strong potential for selection. Ecotype N3.10 consistently showed superior performance across productivity traits while other ecotypes, such as N4.14 and N1.09, stood out for quality-related attributes and cold tolerance, respectively. The application of the MGIDI index enabled the identification of 17 ecotypes with balanced multi-trait performance, supporting the simultaneous selection for productivity, quality, and adaptability. Comparisons with P. notatum suggest that P. nicorae harbors competitive genetic potential, despite its lower level of domestication. Conclusions: The integration of REML/BLUP analyses, stability parameters, and ideotype-based multi-trait selection provided a robust framework for identifying elite P. nicorae ecotypes. These findings reinforce the strategic importance of this species as a valuable genetic resource for the development of adapted and productive forage cultivars in subtropical environments. Full article

This article explores Truman Capote’s parodic/reconstructive exploitation of decadent aesthetics in his “Southern Gothic” novel, Other Voices, Other Rooms (1948), as dissident self-distancing from postwar conservatism. Modernist Southern Gothic writers owe European decadent culture for their thematization of the sociocultural decay of the antebellum South and characterization of dandiacal dissidents, while often reiterating the claustrophobic mood of the patriarchal and racist society and excluding/villainizing those dandies. Critically analogizing the nationalist heteronormativity of the early-Cold War American society with the oppressive patriarchy of the South, OVOR playfully deconstructs the tragic narrative of Modernist Southern Gothic by foregrounding the reparative aspect of decadent aesthetics mainly through the pedagogic relationship between a Wildean dilettante, Randolph, and a young protagonist, Joel. Simultaneously, with the ironical self-satire against the potential authoritarianism of white bourgeois decadence, Capote democratizes decadent aesthetics as a non-normative survival method through the exposure of Randolph’s vulnerability and the parodic adaptation of his dilettantism by the non-white characters. I argue that OVOR marks the vacillating but inevitable transition from decadence to camp as a seemingly non-political but necessary survivalist strategy in the Cold War/Pre-Stonewall American society that conducts surveillance of, persecutes, and stigmatizes as “decadence” non-normative genders and sexualities. Full article

In this article, we document our experiences as teacher educators as we designed and implemented two courses that scaffold primary preservice teachers to engage critically with postmodern picture books and to explore a range of pedagogical practices for using postmodern picture books in classrooms with young children. Initially, our preservice teachers told us they did not have many experiences with postmodern picture books. Postmodern picture books are a special form of children’s literature that showcase some unique characteristics such as breaking boundaries, excess, indeterminacy and parody. In this article, our research investigation includes two case studies which draw on Schon’s classical approach to exploring the epistemology of our own practice through a reflective lens that brings together academic theory and professional practice. Firstly, we each recount our preservice teachers’ most adverse reactions to postmodern picture books. In response, we use the multiliteracies framework of the New London Group, that of situated practice, overt instruction, critical framing and transformed practice, to describe how we designed the learning activities and assessment tasks at two different universities in Australia. We do not attempt to generalise from our findings; rather, we explore the pedagogical framework that takes our preservice teachers from places of not knowing, resistance, and critique to one where they can articulate their understandings of postmodern picture books as social and cultural commentary and demonstrate a range of effective pedagogical applications. Full article

Rangelands play a crucial socioeconomic and environmental role worldwide. In South America, desertification and overgrazing has led to their deterioration and declining productivity. Breeding programs that use native forage species of economic and ecological importance, such as Festuca pallescens (St. Yves) Parodi, may provide locally adapted germplasm that enhances productivity without threatening local biodiversity. These programs may even promote the conservation of native species. To this end, we characterized the phenotypic variation of nondestructive variables (growth and reproductive traits) related to forage and seed production during spring and early summer (growth and reproductive periods). Plants from ten populations were grown under common garden conditions in two environmental settings (sites) over two years. By early summer of the second year, most populations maintained a consistent relative performance with higher values for basal diameter, height and synflorescence production at site 2. This suggests more favorable environmental conditions for the species and highlights their potential for enhancing both seed and forage production. The growth and reproductive traits were probably largely influenced by micro-environmental cues (i.e., soil type and moisture), showing predominantly plastic patterns. The populations displaying phenotypic plasticity and above-average values for both traits were selected for further evaluation in breeding programs. Full article

This article describes the development and public performances of La Liga de la Decencia, a new play presented as part of the 2023 New Works Festival at the University of Texas at Austin. Inspired by the cabaret scene and teatro de revista of the 1940s in Mexico City, La Liga de la Decencia combines live performance and video art to explore how hegemonic gender and social norms shaped by the emergent nationalism of postrevolutionary Mexico continue to oppress femme and queer bodies today across the US–Mexico border. Through satire, parody, and dance, La Liga de la Decencia problematizes the social, class, and gender norms as established by the cultural elite and the state. Following research-based theatre as an inquiry process, this article describes how writing and directing this play allowed for a deeper understanding of the dynamics of a historical period. By mixing facts, fiction, and critical commentary, La Liga de la Decencia investigates history through embodiment. Full article

An oeuvre as redolent with the spirit of satire and humor as Percival Everett’s can be said to represent, at the same time, an anthology of humorous devices—a “humorology,” so to speak—and a self-reflexive meditation on the existential, philosophical and/or metaphysical implications of such an attitude to language and life. The Trees (2021) is a book about lynching, in which a series of gruesome murders all allude to the martyrdom of Emmett Till. Even though such subject matter seems antinomic to humor, the novel is rife with it. We propose an examination of the various guises of humor in this text, from wordplay and carnivalesque inversion to the more sinister humour noir, black or gallows humor, and an assessment of their dynamic modus operandi in relation to political satire, literary parody and the expression of the unconscious. The three axes of our analysis of the subversive strategies of the novel will be the poetics of naming, from parody to a form of sublime; the grotesque, macabre treatment of bodies; and the question of affect, the dual tonality of the novel vexingly conjugating the emotional distance and release of humor with a sense of outrage both toned down and exacerbated by ironic indirection. In keeping with the ethos of Menippean satire, humor is, therefore, both medium and message. Full article

U.S. educational reform is often the harbinger of global demands on mathematics education practices globally. It behooves teacher education to ‘catch up’ on current trends, hopefully, to stave off the worst of the fascist tendencies of contemporary politics of education. Past foci on research-based ‘best practices’ and ‘mathematics for all’, grounded in liberal multiculturalism (confirming expectations from critical mathematics education scholarship), have become the targets of activists and politicians, turning once-exemplary teachers and their students into casualties. The four phases of currere are employed to study this phenomenon and to identify strategies and tactics for teacher education programs. The currere methodology indicates that the content of such programs must reduce time devoted to evidence and research-based practice in order to accommodate techniques and knowledge bases for the recognition of right-wing tactics, clowning, slogan parody, and political organizing. Teacher education must further place mathematics teachers’ embrace of expertise, authority, and neutrality within broader perspectives on the politics of education, organizational infrastructure strategies and tactics, resource curation, and personal safety planning. Teacher educators themselves must prepare responses to threats on their careers, lives, and families, and proactive ‘game plans’ for the development of new program curricula. Full article

Music videos of the MTV era often use gothic visual signifiers as decorative elements or creative expressions of the musician’s star persona or latest record. But several video clips from the early 1980s adapt the figure of gothic monstrosity, and in particular, the images and stories of the undead or beastly Other, in ways that dramatize the music video’s evolving aesthetic, commercial, and technological character and its unpredictable relation to Gothic. In this article, I look closely at the narrative elements of two important configurations of gothic-themed video clips: “Don’t Go” (1982) by Yazoo, “Telefone (Long Distance Love Affair)” (1983) by Sheena Easton, and “Mary Jane’s Last Dance” (1993) by Tom Petty and the Heartbreakers, which creatively adapt textual elements of Mary Shelley’s 1818 novel Frankenstein and its various film adaptations and parodies and its cultural significance in the modern Western imaginary; and “Thriller” (1983) by Michael Jackson and “Heads Will Roll” (2009) by the Yeah Yeah Yeahs, which likewise adapt and reimagine aspects of John Landis’s 1981 horror comedy film An American Werewolf in London and its afterlife in the modern media ecosystem. These videos, I argue, trouble conventional understandings of the practice of adaptation as a one-to-one line of inheritance between source material and destination text. In so doing, furthermore, these clips amplify and elaborate certain socio-cultural anxieties about gender and race, personal and professional identity and autonomy, and technological innovation and automation that animate their source materials. Full article

In the 2019 adaptation Motherless Brooklyn, the story is transposed from the 90s to the America of the 50s. These changes were made because of star and director Edward Norton’s desire to have a less ‘ironic’ rendering of the characters present in the text written by Jonathan Lethem. What it results in is a shift in the context that changes the story altogether; not only that but the lack of parody alters the relationship to genre, and the portrayal of disability functions as a performance. This article argues that there are multiple levels of adaptation here: the adaptation of the text, of the present to the past, and an adaptation of disability to fit the understanding of genre and medium. These layers illuminate both societal understandings of masculinity and disability, and Norton’s own, through Hutcheon’s notion of adaptation as palimpsest. Full article