Linguistic and Stylistic Means of Satire Construction in the Animated Series

The study is devoted to the description of linguistic and stylistic means of satire construction in modern American animated series. The article deals with a detailed analysis of the linguistic and stylistic means that actualize the satiric and ironic meanings for a satire creation based on the examples of American series. Cartoonists often resort to satire as a unique genre of art to express direct or indirect criticism of the structure of modern society. Modern satirical cartoons contain vivid elements of parody and caricature. An obligatory consequence of satirical creativity is exposure and laughter. The methods of socio-political satire of modern animated serials are enhanced by the interplay of irony and sarcasm, hyperbole and grotesque, allegory and allusion, paraphrase and play on words. American animated series mirror modern reality, they reflect numerous facts of daily life and current environment touching their most critical sides: economics, politics, education, religion, ethnic issues, international ties and relations, interpersonal dealings. Socio-political satire is peculiar in that it does not spare not only the ruling branch of power, but also an ordinary, ordinary, gray person. In this dullness and ignorance of his, the average man in the street is ready to blindly obey the most ridiculous and absurd orders. Of course, an animated series cannot solve acute social or political problems facing society. But the fact that these questions are raised means that the problems are urgent. The purpose of such satire is to reflect on mistakes and not repeat them in the future. For example, South Park, Rick and Morty, Family Guy, F is for Family parody the modern family, social order, exaggerate social issues to the extreme. The relevance of this study is due to several reasons: first, the abundance of cartoon products on the modern film industry market. Secondly, the role that cartoons and serials play in the life of a modern person and in the culture of postmodernity. It is common knowledge that over the past few years, the TV series and animated series industry has changed a lot: streaming services (Netflix, Hulu and Amazon) appear, new formats are released, and more and more cartoon characters are voiced by famous actors. Thirdly, it is confirmed by the idea of the existence of the phenomenon of the "Big Serial Bang", expressed by Doctor of Philosophy, Professor of the Higher School of Economics V.A. Kurenniy. The fact that modern TV series are a cultural product that accurately reflects the spirit of the times remains an indisputable fact. Such a visual narrative fits perfectly into the framework of modern society.

IN DISSENT: A CRITICAL REVIEW OF THE MINORITY JUDGMENT OF YACOOB J Le Roux v Dey 2011 (3) SA 274 (CC)

The facts of Le Roux v Dey (2011 (3) SA 274 (CC)) are so well-known that they have become public knowledge. In brief: The applicants were three pupils, Le Roux, Gildenhuys and Janse van Rensburg. Using his computer, Le Roux manipulated an image that showed the bodies of two naked men sitting close together on a couch and with their legs suggestively apart, while the leg of one crossed that of the other. Their hands were placed on the genital areas, but both hands and genitals were strategically covered using a school crest. Le Roux then electronically superimposed the facial images of the school principal and of Dey (the deputy principal) on the faces of the two naked men. Le Roux claimed that the idea to create the image came to him after watching an episode of an adult-cartoon series, South Park, on television. The image was created in about 5 minutes, and was not professionally done. Thereafter, the three learners – the applicants in the Constitutional Court – circulated the image among their peers using cellphones, and eventually placed an A4-size image on the school notice board. At the time Le Roux was about 15½ years old, while Gildenhuys and Janse van Rensburg were about 17 years old. All three learners were disciplined by the school authorities for their conduct and were criminally charged and sentenced to do community service. Gildenhuys and Janse van Rensburg also tendered an apology to the principal, whereas Dey, acting on legal advice, would not enter into any negotiations with the two applicants. Dey went on to institute legal proceedings against the three learners in the High Court, for defamation and injured feelings or iniuria. The High Court upheld both claims and awarded R45 000 in damages as a composite award. The learners, however, appealed to the SCA, which upheld, by the majority, the defamation claim, while regarding the finding of the High Court as “an impermissible accumulation of actions”. Nevertheless, the SCA upheld the amount awarded by the High Court against the learners. The present case then dealt with the application for appeal to the Constitutional Court brought by the three learners against this decision of the SCA, which found them liable for damages for publication of an allegeddefamatory image bearing Dey’s face. Six members of the Constitutional Court, as per Brand AJ, affirmed the finding of the SCA that the image was defamatory of Dey, whereas they were also amenable to the view that the image amounted to an injury to his feelings, even if it were not defamatory of him. Meanwhile, two members of the court, Froneman J and Cameron J, held that the image amounted to injury to Dey’s feelings, but were not defamatory of him. The other two members of the court, Yacoob J and Skweyiya J, held that the image was neither defamatory nor injurious to Dey’s feelings. According to Campbell, the Constitutional Court judgments give rise to a number of concerns that may become a subject for comments over time. This note highlights a few of the concerns evident from the dissenting minority judgment of Yacoob J, which was supported by Skweyiya J. Primarily, the note provides a critique of the main findings of this minority judgment with regard to both claims brought by Dey, namely the defamation claim and the claim based on iniuria or the impairment of his dignity. It particularly takes issue with the minority’s application of the wrongfulness test in their judgment. Furthermore, the note explores the role of minority and the principle of the paramountcy of the best interests of thechild, applying the principles of the actio iniuriarum.

Violencia animada : análisis de las representaciones de género en torno a dos series reconocidas, transmitidas actualmente en Colombia.

La columna vertebral del presente trabajo de investigación se focalizó en el análisis descriptivo de las dinámicas de género en dos animaciones norteamericanas populares de dibujos animados, “Los Simpson” y “South Park”. Programas emitidos por primera vez en Colombia en el periodo de 1992-1997 que en la actualidad siguen presentando a su audiencia la imagen tradicionalista de los roles sexuales. Para confirmar lo anteriormente expuesto, se realizó un análisis denotativo y de contenido de los adjetivos empleados por los personajes presentes en los capítulos seleccionados de forma aleatoria, apelando como criterio principal de inclusión su emisión en el epílogo del siglo XX y el periodo contemporáneo. Como conclusión principal se determinó que a la fecha el formato de ambos programas denota un sesgo sexista proveniente de los personajes varones, cuyas actitudes enmarcan el liderazgo y fortaleza, mientras que las del colectivo femenino representan los roles clásicos de sumisión y auto sacrificio.

Multiculturalism Propaganda in American Entertainment Industry: Liberals Versus Conservatives

The article analyzes various manifestations of the ideology of liberalism and conservatism in the American entertainment industry. The analysis includes such cultural products as The Teenage Mutant Ninja Turtles, The X-Men, The South Park, The Angry Birds Movie cartoon series. The author identifies various approaches to the phenomena of multiculturalism in the cultural environment, compares the propaganda of various values that affect the consciousness of children and (partially) adults.

Art Museums and Neighborhood Development: Historical Evidence from the Case of the Portland Art Museum and the South Park Blocks in Portland, Oregon

This article investigates when and how art museums might be engaged to benefit neighborhood development. To address this, the article presents research analyzing physical neighborhood and land use change in the Portland Art Museum and the South Park Blocks neighborhood in Oregon between 1932 and the 2010s. The analysis suggests that the art museum benefited neighborhood development in response to planning interventions that promoted a livability agenda. Alongside measures to prevent gentrification, planners and policy makers can activate art museums to create more livable neighborhoods.

A latest Eocene (Chadronian) brontothere (Mammalia, Perissodactyla) from the Antero Formation, South Park, Colorado

ABSTRACT Late Eocene brontotheres are documented most prevalently from formations in the Great Plains of North America. Here we describe UCM 109045, a mandible and lower dentition of a brontothere recovered from a latest Eocene (Chadronian) locality in the Antero Formation in South Park, Colorado. This is a high-altitude locality in which vertebrate fossils are rare. Lower incisor number and presence of a long postcanine diastema indicate that UCM 109045 does not belong to Megacerops coloradensisLeidy, 1870, by far the most abundant brontothere from the Chadronian North American Land Mammal Age. Instead, UCM 109045 is morphologically most similar to Protitanops curryiStock, 1936, from the early Chadronian of the southwestern United States, and nomen dubium Megacerops primitivusLambe, 1908, from the Chadronian of Saskatchewan, Canada. It is possible that Megacerops kuwagatarhinusMader and Alexander, 1995, is a junior synonym of M. primitivus. If UCM 109045 belongs to Megacerops primitivus (= M. kuwgatarhinus), it would support the hypothesis that only two species of brontothere—M. primitivus (= M. kuwgatarhinus) and M. coloradensis—survived into the latest Eocene. Regardless of its exact identification, the discovery of UCM 109045 in the Antero Formation provides insight into a poorly understood, high-altitude locality in North America from just before brontothere extinction at the Eocene–Oligocene boundary.

Searching for Humor in Dehumanization

During the last two decades, to varying degrees, some American sitcom writers have depicted Nazism and the Holocaust humorously. This sort of activity is visible on such shows as South Park, Family Guy, and Robot Chicken. Many of the writers associated with these comedies are of Jewish heritage; but the joking has stirred only limited controversy. This chapter examines the messaging, delivery, and impact in Holocaust humor. It answers questions such as: What are American comedy writers signaling with these absurd stories? How does their comedic employment contribute to a wider process of misremembering distorting, or diluting known Holocaust accounts? It also analyzes how computer-mediated communications—website like Hulu and Youtube—have transferred these false accounts beyond American audiences.

DYSPHEMISMS IN ANIMATED FILMS

Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.