Digital Carnivalesque: Power Discourse and Counter Narratives in Singapore Social Media (Cultural Studies and Transdisciplinarity in Education Book 10)

This book challenges the framing of comedic acts as apolitical and it adopts a multimodal critical discourse approach to interrogate the performance of comedy as a form of power. It proposes using Bakhtin's carnivalesque as the analytic tool to distil for readers key differences between humour as banal and humour as critical (and political) in today's social media. Drawing from critical theory and cultural studies, this book takes an interdisciplinary approach in formulating a contemporary view of power that reflects social realities not only in the digital economy but also in a world that is increasingly authoritarian. With the proposition of newer theoretical lenses in this book, scholars and social scientists can then find a way to shift the conversation to uncover the evolving voices of (existing and newer) power holders in the shared digital space; and to view current social realities as a continual project in unpacking and understanding the adaptive ways of the human spirit. This is an important study of the conduct of power relations in Singapore's social media discourse. Katy Kan weaves together major works by socio-political thinkers to make sense of the way digital discourses in Singapore both enable and challenge social, cultural and political narratives - and considers how this is sagaciously managed by the government. Terence Lee, Associate Professor in Communication, Murdoch University Theorizing the notion of power in the ever changing and shifting dynamics of the digital realm is always challenging. Katy Kan's processing of critical theory however presents a powerful lens to unpack power relations in one of the most digitally connected countries in the world - Singapore. Catherine Gomes, Associate Professor, School of Media and Communication, RMIT University Resurgence of Authoritarian Populism......Page 7 The Internet Milieu and the Role of Humor......Page 8 Catch Me if You Can: Humor as a Double-Edged Sword......Page 9 Acknowledgment......Page 10 References......Page 11 Contents......Page 13 1.1 Introduction......Page 16 1.2 Studying Dimensions of Power in Online Discourse......Page 19 1.3 Roadmap of the Book......Page 20 References......Page 22 2.1 Introduction......Page 25 2.2 Marxist Theory of Power......Page 26 2.3 Gramscian Hegemony......Page 27 2.4 Foucauldian Power as Omnipresent......Page 29 2.5 Bourdieu’s Analysis of Class......Page 32 2.6 The Tactics of the Weak in Everyday Practices......Page 35 2.7 Power in the Hidden Transcripts......Page 37 2.8 Carnivalesque as Performative Resistance......Page 40 2.9 Summary......Page 42 References......Page 44 3.1 Introduction......Page 46 3.2.2 Politicizing Participation in the Digital Economy......Page 47 3.3.1 Habermas’ Public Sphere......Page 49 3.3.2 Critique of Habermasian Notions of Public Sphere and Deliberation......Page 50 3.3.3 The Changing Nature of Politics and Communication in Digital Media......Page 51 3.4.1 Digital Space as an Embodied and Networked Public......Page 53 3.4.2 Digital Performance and Performativity of Self......Page 54 3.5 Summary......Page 56 References......Page 57 4.1 Introduction......Page 60 4.2 Ideology of Pragmatism......Page 61 4.3 A Neo-confucian System of Political Rule......Page 62 4.5 The Rule of Law and Hegemonic Instrumentality in Curbing Expressions Through Media Platforms......Page 63 4.5.1 Press......Page 64 4.5.2 Artistic Performances and Films......Page 65 4.5.3 Cyberspace......Page 66 4.6 Effects of Calibrated Governance and the Social Cost of Globalization......Page 70 4.7 Online Subpolitical Discourse in Singapore......Page 72 References......Page 75 5.1 Introduction......Page 79 5.2 Differentiating Authentic from Pseudo-carnivalesque Performances......Page 81 5.3 Appropriation of Carnivalesque in Cinematic Productions......Page 82 5.4 Why the Notion of Carnivalesque as Social Critique Is Problematic with Critical Scholarship......Page 84 5.5 Comparative Studies......Page 85 5.6 Summary......Page 86 References......Page 87 6.1 Introduction......Page 89 6.2 Synopsis and Context......Page 90 6.3.1.3 Grooming......Page 91 6.3.1.5 Setting......Page 93 6.3.1.6 Kinesics and the Use of Props......Page 94 6.3.1.7 Speech/Verbal Mode......Page 100 6.3.2 Semiotic Resources in Representing Anton Casey......Page 103 6.3.3 Grotesque Realism......Page 105 6.4.1 Critique of Social Concerns......Page 106 6.4.2 Inversion of Social Hierarchies......Page 108 6.4.3 Ambivalent Laughter......Page 109 6.5.1.1 mrbrown: The Performer......Page 114 6.5.1.2 Mr Brown Index: Once You’ve Lost Mr Brown, You’ve Lost Public Opinion (Ong, 2014)......Page 116 Glossary......Page 117 References......Page 118 7.1 Introduction......Page 121 7.2 Synopsis and Context......Page 122 7.3.1.1 Performative Genre......Page 123 7.3.1.2 Name......Page 125 7.3.1.3 Grooming......Page 127 7.3.1.4 Language......Page 128 7.3.1.5 Setting......Page 129 7.3.1.6 Kinesics and the Use of Props......Page 130 7.3.1.7 Speech/Verbal Mode......Page 149 7.3.1.8 Grotesque Realism......Page 150 7.4.1 Social Critique and the Inversion of Social Hierarchies......Page 151 7.5 Further Thoughts: Dr. Jiajia & BigBro......Page 153 7.6.1 Carnivalesque Form: Manipulating Semiotic Resources, Grotesque Realism, and Others......Page 155 7.6.2 Interrogating Carnivalesque Function......Page 157 Transcription......Page 159 References......Page 161 8.1 Introduction......Page 162 8.2 Foucauldian Governmentality in Governing Singapore Media Landscape......Page 163 8.3 Bourdieusian Cultural Perspective in Understanding Artistic Performances......Page 166 8.4 Shifting Power Dynamics in Vernacular Digital Discourses......Page 168 8.5.1 Carnivalesque as Subpolitics......Page 170 8.5.2 Carnivalesque Humor as Tool of Social Critique in Singapore (Says Who?)......Page 172 8.6 Concluding Remarks......Page 175 References......Page 176