http://www.theonion.com/
In this modern age of electronic media and web-publishing, we are creating a new breed of readers. Literacy is not as simple as reading text in the world of cyberspace; we are becoming skilled at the interpretation of text that utilizes imagery, hyperlinks, multi-directionality, sound and necessary interaction. With this new brand of readership comes a necessitated skill for identifying messages in whatever form they may take. Identifying irony is a skill that most readers possess in its traditional forms, but is the interpretation of humor changing with the new language of hypermedia?
Among the many humorous sites and segments found on the web these days, The Onion has achieved a level of success that seems to indicate a new era of humorous rhetoric. Its deliberate imitation of “serious” news sites and mimicry of daily issues could be quite tricky for the untrained reader. But the emergence of new media literacy has also evoked an ability for individuals to “read humor” even when hidden in the clothing of sincerity. Although The Onion might be considered elitist because of its information-seeking target audience, it remains a significant marker of the level by which we as a culture are cyber-literate.
In this research, and with the sources I will list here, I aim to take a critical look at the actual construction of humor -- not only in The Onion, but in other sites who employ satire and parody in their repertoire -- in order to examine whether or not it promotes a higher degree of intellectual capacity when interacting with it. I also intend to create a critical backdrop by utilizing pertinent research that explore the rhetorical devices that construct humor, and then applying it to the analysis of The Onion.
electronic media
cyberspace
literacy
humor
elitism
rhetoric
A Rhetoric of Irony. by Wayne C. Booth
Booth, Wayne C. A Rhetoric of Irony. University of Chicago Press. Chicago, Il. 1975.
http://www-news.uchicago.edu/releases/05/051011.booth.shtml
In his seminal 1975 work, A Rhetoric of Irony, Wayne C. Booth addresses the many varying opinions on the construction of irony by analyzing how we manage we manage to communicate, or not to communicate, ironic rhetoric. His interest in the ways in which readers and listeners interpret meanings opens the exploration of our ability to construct meaning in the interpretation of text and words. His semiotic approach to comprehending meaning gives a theoretical background for the ability to identify and replicate what words combine to mean, between the author’s purpose and the audience’s comprehension. In the first half of his book, Booth identifies and delves into the constructs of what he calls "stable irony," or irony with a clear rhetorical intent. In the second half, he contrasts with those that he considers unstable, or rather those ironies that have not been clearly interpreted or understood since the Romantic Period. Booth’s chapters cover the myriad varieties of humor, such as puns, allegories, fables, metaphors, satires and parodies. But by looking closely at unstable ironists like Samuel Becket, he illustrates that interpreting irony treads on shaky ground in terms of identifying meaning. He also explores the paradoxes surrounding assertions of meaning that arise due to the misdirectional quality of irony’s construction.
Booth’s thorough exploration of irony’s rhetoric gives a sturdy backdrop for examining the rhetoric of The Onion. Before approaching the current climate and media context for the construction of a modern satirical news site, it seems appropriate to first examine the research identifying the theory of humor, and irony is at the heart of such sophisticated rhetoric. Although, comparatively speaking, the discussion of the earlier time periods of humor – from Romantic to Burlesque to Absurdism – do not necessarily need to be addressed in the discussion of modern media rhetoric, it might prove a good contrast in exploring the context of subject-matter involved in the satire. His exploration of the stability of irony may prove useful in determining what makes The Onion accepted as satisfactorily humorous in terms of identifiable rhetoric in the new media. Booth’s renown for his exploration of rhetoric arose in his work as a literary critic and Professor Emeritus at the University of Chicago.
Wayne C. Booth
absurdism
burlesque
rhetoric
http://www-news.uchicago.edu/releases/05/051011.booth.shtml
In his seminal 1975 work, A Rhetoric of Irony, Wayne C. Booth addresses the many varying opinions on the construction of irony by analyzing how we manage we manage to communicate, or not to communicate, ironic rhetoric. His interest in the ways in which readers and listeners interpret meanings opens the exploration of our ability to construct meaning in the interpretation of text and words. His semiotic approach to comprehending meaning gives a theoretical background for the ability to identify and replicate what words combine to mean, between the author’s purpose and the audience’s comprehension. In the first half of his book, Booth identifies and delves into the constructs of what he calls "stable irony," or irony with a clear rhetorical intent. In the second half, he contrasts with those that he considers unstable, or rather those ironies that have not been clearly interpreted or understood since the Romantic Period. Booth’s chapters cover the myriad varieties of humor, such as puns, allegories, fables, metaphors, satires and parodies. But by looking closely at unstable ironists like Samuel Becket, he illustrates that interpreting irony treads on shaky ground in terms of identifying meaning. He also explores the paradoxes surrounding assertions of meaning that arise due to the misdirectional quality of irony’s construction.
Booth’s thorough exploration of irony’s rhetoric gives a sturdy backdrop for examining the rhetoric of The Onion. Before approaching the current climate and media context for the construction of a modern satirical news site, it seems appropriate to first examine the research identifying the theory of humor, and irony is at the heart of such sophisticated rhetoric. Although, comparatively speaking, the discussion of the earlier time periods of humor – from Romantic to Burlesque to Absurdism – do not necessarily need to be addressed in the discussion of modern media rhetoric, it might prove a good contrast in exploring the context of subject-matter involved in the satire. His exploration of the stability of irony may prove useful in determining what makes The Onion accepted as satisfactorily humorous in terms of identifiable rhetoric in the new media. Booth’s renown for his exploration of rhetoric arose in his work as a literary critic and Professor Emeritus at the University of Chicago.
Wayne C. Booth
absurdism
burlesque
rhetoric
"The Onion's Call for Healing." by Daniel J. O'Rourke
O'Rourke, Daniel J., and Pravin A. Rodriguez. "The Onion's Call for Healing." Society 42.1 (2004): 19-27. Web. 1 Jul 2010.
http://ezproxy.gsu.edu:3081/content/xdngxbxmudkevxcw/fulltext.pdf
http://www.ashland.edu/faculty/communication-arts/orourke-daniel
http://www.ashland.edu/faculty/communication-arts/rodrigues-pravin
O’Rourke and Rodriguez, in this exploratory article, examine what Time magazine columnist Richard Rosenblatt called “The Age of Irony,” and the challenges that the consistent use of irony creates in the modern world. Their study focuses primarily on the effects of irony in the wake of 9/11, which seemed to upset the seemingly untouchable stability of the American self-perception as supported by the media. The authors explore Rosenblatt’s assertion that the threat of terror would deflate the bubble of pop culture and his prediction that America would take a swing toward traditional values. They deem the post 9/11 climate as “The End of the Age of Irony,” when there was so much worry over whether or not any good could come out of that horrible moment. But, ironically (it comes in so many forms), it is on the heels of this stagnant moment that The Onion takes the reality of the heinous acts into an unexpectedly new direction: parody. Their analysis of the website’s satirical elements shows that irony does not need to conceal or change reality, but it can actually use realism as a means for healing.
The analysis of the healing qualities of humor extend from a look at past uses for humor in troubling historical periods to an analytical approach to the rhetorical constructs of irony itself. Using Aristotle’s rhetorical theories and referencing the work of Wayne C. Booth, they discuss the possibility of an elitist edge involved in creating a new interpretation of humor in the wake of tragedy. They then examine the history, creation and significance of The Onion as a satirical take on the post-9/11 media climate. Their careful analysis of subject matter, word choice, and context and their role in the creation of irony gives ample support for my examination of the construction of the site’s humor.
pop culture
satirical elements
http://ezproxy.gsu.edu:3081/content/xdngxbxmudkevxcw/fulltext.pdf
http://www.ashland.edu/faculty/communication-arts/orourke-daniel
http://www.ashland.edu/faculty/communication-arts/rodrigues-pravin
O’Rourke and Rodriguez, in this exploratory article, examine what Time magazine columnist Richard Rosenblatt called “The Age of Irony,” and the challenges that the consistent use of irony creates in the modern world. Their study focuses primarily on the effects of irony in the wake of 9/11, which seemed to upset the seemingly untouchable stability of the American self-perception as supported by the media. The authors explore Rosenblatt’s assertion that the threat of terror would deflate the bubble of pop culture and his prediction that America would take a swing toward traditional values. They deem the post 9/11 climate as “The End of the Age of Irony,” when there was so much worry over whether or not any good could come out of that horrible moment. But, ironically (it comes in so many forms), it is on the heels of this stagnant moment that The Onion takes the reality of the heinous acts into an unexpectedly new direction: parody. Their analysis of the website’s satirical elements shows that irony does not need to conceal or change reality, but it can actually use realism as a means for healing.
The analysis of the healing qualities of humor extend from a look at past uses for humor in troubling historical periods to an analytical approach to the rhetorical constructs of irony itself. Using Aristotle’s rhetorical theories and referencing the work of Wayne C. Booth, they discuss the possibility of an elitist edge involved in creating a new interpretation of humor in the wake of tragedy. They then examine the history, creation and significance of The Onion as a satirical take on the post-9/11 media climate. Their careful analysis of subject matter, word choice, and context and their role in the creation of irony gives ample support for my examination of the construction of the site’s humor.
pop culture
satirical elements
"Comedy in Unfunny Times: Parody and Carnival After 9/11." by Paul Achter
Achter, Paul. "Comedy in Unfunny Times: Parody and Carnival After 9/11." Critical Studies in Media Communication. 25.3 (2008): 274-303. Web. 1 Jul 2010.
http://ezproxy.gsu.edu:2638/ehost/pdfviewer/pdfviewer?vid=2&hid=104&sid=13e26aa7-4c98-4cfd-8622-67cef3dc89d3%40sessionmgr113
http://rhetoric.richmond.edu/faculty/Achter_Paul.html
According to Paul Achter, “The news parody opens a space between the audiences and the mainstream news that punctures conventional news assumptions, and playfully detaches itself in order to hold up for examination the styles and topics of the news.” In his article, Comedy in Unfunny Times”, he examines the relationship between news context and the media effects of realistic satire on readers. He examines the ways in which comedy plays a role in helping societies manage moments of tragedy and crisis, and he looks at how the U.S. media paid considerable attention to where humor actually fit into the post 9/11 American perception. Achter begins with with these obstacles painting the background of his critical analysis of comedy after the terrorist attacks, but he focuses particularly on the emergence of popular online news parody The Onion. He observes the ways in which the website avoided violating decorum and invited citizen participation by exposing the news as overly manipulated and over-produced. He juxtaposes an examination of the lacking state of American awareness of global cultures against the realities being presented by an “unbiased” media in order to reveal the teaching quality readable in the embedded satire within The Onion by the fact that it “both constructs and participates in a public discussion of values.” Achter also examines the elements of what he calls “carnivalesque”as the website directly mimics the seriousness and dramatic overtone of news media coverage. This mask only superficially cover the fact that the material is sarcastic to the ultimate degree, fully aware of its targets.
Achter’s thorough exploration of humorous rhetoric acts as a call to attention for citizens’ relationships to power. He includes pertinent comedic rhetorical research in his examination of the parody/satire in terms of overall understanding of our modern condition, and he looks into the effects of the mock-information source as a type of message that audiences have learned to use as reflective tools. This cultural, theoretical, and methodological approach to the role The Onion plays offers an acutely sensitive media communication take on its significance as a comedic enterprise.
carnival
satire
http://ezproxy.gsu.edu:2638/ehost/pdfviewer/pdfviewer?vid=2&hid=104&sid=13e26aa7-4c98-4cfd-8622-67cef3dc89d3%40sessionmgr113
http://rhetoric.richmond.edu/faculty/Achter_Paul.html
According to Paul Achter, “The news parody opens a space between the audiences and the mainstream news that punctures conventional news assumptions, and playfully detaches itself in order to hold up for examination the styles and topics of the news.” In his article, Comedy in Unfunny Times”, he examines the relationship between news context and the media effects of realistic satire on readers. He examines the ways in which comedy plays a role in helping societies manage moments of tragedy and crisis, and he looks at how the U.S. media paid considerable attention to where humor actually fit into the post 9/11 American perception. Achter begins with with these obstacles painting the background of his critical analysis of comedy after the terrorist attacks, but he focuses particularly on the emergence of popular online news parody The Onion. He observes the ways in which the website avoided violating decorum and invited citizen participation by exposing the news as overly manipulated and over-produced. He juxtaposes an examination of the lacking state of American awareness of global cultures against the realities being presented by an “unbiased” media in order to reveal the teaching quality readable in the embedded satire within The Onion by the fact that it “both constructs and participates in a public discussion of values.” Achter also examines the elements of what he calls “carnivalesque”as the website directly mimics the seriousness and dramatic overtone of news media coverage. This mask only superficially cover the fact that the material is sarcastic to the ultimate degree, fully aware of its targets.
Achter’s thorough exploration of humorous rhetoric acts as a call to attention for citizens’ relationships to power. He includes pertinent comedic rhetorical research in his examination of the parody/satire in terms of overall understanding of our modern condition, and he looks into the effects of the mock-information source as a type of message that audiences have learned to use as reflective tools. This cultural, theoretical, and methodological approach to the role The Onion plays offers an acutely sensitive media communication take on its significance as a comedic enterprise.
carnival
satire
“Onion’s bitter tears of irony.” by Jeffrey Benner
Benner, J. “Onion’s bitter tears of irony.” Wired. 2001.
http://www.wired.com/news/culture/0,47155-0.html
“Apparently no one told the editors at the Onion that Sept. 11 marked the end of irony in America.” This is the opening statement offered by Jeffrey Benner of Wired magazine in 2001 in his editorial review of The Onion’s coverage of 9/11. He goes about examining the failed efforts of other comedians that did not receive applause, for example Bill Maher who was reprimanded for certain comments regarding the terrorist attacks. In perhaps his most significant observation of the message offered by the satirical news source, he purports that The Onion saw that “the problem is complicated, the danger real, and the future uncertain.” The overall message suggests that the irony utilized by the site shows their ultimate sensitivity to the weight of the scenario, and that their rhetoric was constructed in such a way as to be received well by the public.
Benner’s observations, although editorially opinionated in its approach, lends affirmation of the subtle nuances of word craft at work behind The Onion’s authorship. His insights signify the importance of reception in terms of comedic approaches, as well as context and timing. He also notes that the authors of the site do not worry over authenticity issues thanks to their established personae of absolute mockery. This piece provides a relevant bit of pop culture support to the critical analysis aspect of the rhetorical tools at work in their humor.
http://www.wired.com/news/culture/0,47155-0.html
“Apparently no one told the editors at the Onion that Sept. 11 marked the end of irony in America.” This is the opening statement offered by Jeffrey Benner of Wired magazine in 2001 in his editorial review of The Onion’s coverage of 9/11. He goes about examining the failed efforts of other comedians that did not receive applause, for example Bill Maher who was reprimanded for certain comments regarding the terrorist attacks. In perhaps his most significant observation of the message offered by the satirical news source, he purports that The Onion saw that “the problem is complicated, the danger real, and the future uncertain.” The overall message suggests that the irony utilized by the site shows their ultimate sensitivity to the weight of the scenario, and that their rhetoric was constructed in such a way as to be received well by the public.
Benner’s observations, although editorially opinionated in its approach, lends affirmation of the subtle nuances of word craft at work behind The Onion’s authorship. His insights signify the importance of reception in terms of comedic approaches, as well as context and timing. He also notes that the authors of the site do not worry over authenticity issues thanks to their established personae of absolute mockery. This piece provides a relevant bit of pop culture support to the critical analysis aspect of the rhetorical tools at work in their humor.
Parody: Ancient, Modern and Postmodern. by Margaret A. Rose
Rose, Margaret A. Parody: Ancient, Modern and Postmodern. Cambridge University Press. Cambridge, UK. 1993.
http://books.google.com/books?printsec=frontcover&vid=ISBN0521429242&vid=ISBN0521418607&vid=ISBN0521418607&vid=ISBN0521429242&vid=LCCN92039133#v=onepage&q&f=false
In her book, Parody: Ancient, Modern and Postmodern, Margaret Rose analysis and critiques the literary history and common uses of parody throughout the ages. Rose offers a literary and artistic approach to the classification of modern, late-modern, and post-modern theories of parody, including some references to her previous work entitled Parody/Meta-Fiction. Her writing has been a key factor in establishing the language of parody to be understood as what she calls a”'double-coded” device usable for more than simple mockery. She expounds upon the practices and evolution of parody considering ancient and modern definitions and uses, and she adds substantial references to key literary and semiotic theories that break down the makings of the rhetoric of parody, and even delves into the modern extension of pastiche and other modes of humor.
Rose’s exploration of parody, even as contrasted with other commonly relatable forms such as burlesque, hoax, plagiarism, irony, sarcasm, satire, and metafiction, evenly provides a linguistic and theoretical underscore of the constructs and effects of parody. She defines both exactly what parody is and isn’t, from the very ancient forms known to have existed to our very contemporary forms recognizable today. Since The Onion can be considered both satire and parody (depending on which article, image, headline, and subject it addresses) Rose’s definitive exploration of parody, especially where it relates to satire, and especially where it is viewed in terms of verbal construction, is an important support for exacting the mock news site’s rhetorical significance.
semiotic
burlesque
sarcasm
metafiction
linguistics
http://books.google.com/books?printsec=frontcover&vid=ISBN0521429242&vid=ISBN0521418607&vid=ISBN0521418607&vid=ISBN0521429242&vid=LCCN92039133#v=onepage&q&f=false
In her book, Parody: Ancient, Modern and Postmodern, Margaret Rose analysis and critiques the literary history and common uses of parody throughout the ages. Rose offers a literary and artistic approach to the classification of modern, late-modern, and post-modern theories of parody, including some references to her previous work entitled Parody/Meta-Fiction. Her writing has been a key factor in establishing the language of parody to be understood as what she calls a”'double-coded” device usable for more than simple mockery. She expounds upon the practices and evolution of parody considering ancient and modern definitions and uses, and she adds substantial references to key literary and semiotic theories that break down the makings of the rhetoric of parody, and even delves into the modern extension of pastiche and other modes of humor.
Rose’s exploration of parody, even as contrasted with other commonly relatable forms such as burlesque, hoax, plagiarism, irony, sarcasm, satire, and metafiction, evenly provides a linguistic and theoretical underscore of the constructs and effects of parody. She defines both exactly what parody is and isn’t, from the very ancient forms known to have existed to our very contemporary forms recognizable today. Since The Onion can be considered both satire and parody (depending on which article, image, headline, and subject it addresses) Rose’s definitive exploration of parody, especially where it relates to satire, and especially where it is viewed in terms of verbal construction, is an important support for exacting the mock news site’s rhetorical significance.
semiotic
burlesque
sarcasm
metafiction
linguistics
A Theory of Parody: The Teachings of Twentieth-Century Art Forms. by Linda Hutcheon
Hutcheon, L. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. Urbana: University of Illinois Press. 2000.
http://books.google.com/booksid=S9OU9TBnOgwC&printsec=frontcover&cd=1&source=gbs_ViewAPI#
http://individual.utoronto.ca/lindahutcheon/
Linda Hutcheon, a professor of English and Comparative Lit Studies at Toronto University, is a specialist in critical theory and postmodernist culture. In her book, A Theory of Parody: The Teachings of Twentieth-Century Art Forms, she covers all the means of creating parody in the varying modern forms of expression from visual art to theater to film. She asserts that parody as among the most important expressive forms of “modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past.” Like Margaret Rose, Hutcheon explores the means and methods of creating parody, in a modern to postmodern setting, all the while contrasting it from its cousins: pastiche, burlesque, travesty, and satire, etc. Not only does she break down and explore the finite definition of what a parody is and isn’t, she also examines its uses in terms of its ability to provide natural reflectiveness to generate commentary. She also goes about the process of encoding and decoding the rhetorical approaches to the many types of parody, in order that audiences may identify the meaning.
Hutcheon’s exploration of parody accomplishes much what Rose’s text does, except her text provides a more modern, critical-theoretical viewpoint. The chapters regarding paradox, encoding and decoding will bring additional linguistic support to the observation of the means by which The Onion brings its humor about. Where her text focuses mainly on literary forms instead of digital forms, there may be some need for drawing distinctions; but this will be an effective contrasting tool for establishing the effectiveness of translating parodic and ironic messages across differing media.
parody
paraodox
http://books.google.com/booksid=S9OU9TBnOgwC&printsec=frontcover&cd=1&source=gbs_ViewAPI#
http://individual.utoronto.ca/lindahutcheon/
Linda Hutcheon, a professor of English and Comparative Lit Studies at Toronto University, is a specialist in critical theory and postmodernist culture. In her book, A Theory of Parody: The Teachings of Twentieth-Century Art Forms, she covers all the means of creating parody in the varying modern forms of expression from visual art to theater to film. She asserts that parody as among the most important expressive forms of “modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past.” Like Margaret Rose, Hutcheon explores the means and methods of creating parody, in a modern to postmodern setting, all the while contrasting it from its cousins: pastiche, burlesque, travesty, and satire, etc. Not only does she break down and explore the finite definition of what a parody is and isn’t, she also examines its uses in terms of its ability to provide natural reflectiveness to generate commentary. She also goes about the process of encoding and decoding the rhetorical approaches to the many types of parody, in order that audiences may identify the meaning.
Hutcheon’s exploration of parody accomplishes much what Rose’s text does, except her text provides a more modern, critical-theoretical viewpoint. The chapters regarding paradox, encoding and decoding will bring additional linguistic support to the observation of the means by which The Onion brings its humor about. Where her text focuses mainly on literary forms instead of digital forms, there may be some need for drawing distinctions; but this will be an effective contrasting tool for establishing the effectiveness of translating parodic and ironic messages across differing media.
parody
paraodox
“The Daily Show: Discursive Integration and the Reinvention of Political Journalism.” by Geoffrey Baym
Baym, G. (2005). “The Daily Show: Discursive Integration and the Reinvention of Political Journalism.” Political Communication, 22, 259_276.
http://pdfserve.informaworld.com/186123__725849600.pdf
Professor Geoffrey Baym, of the University of North Carolina at Greensboro, specializes in media studies, but has completed a thorough analysis of the new look of journalism employed in “The Daily Show.” His interest in the meeting ground between entertainment and news in the current climate reveals that there are very few remaining distinctions between the two separate purposes for the creation of media. In his article, he examines the differences between the communicative approaches of the new pop culture media’s fusion of comedy, politics and news. Baym then juxtaposes “The Daily Show” directly in the midst of these crossroads, and uses this “discursive integration” to examine what makes it different and new compared to other shows of similar theme. He locates and proceeds to break down the converging media environment as “defined by the forces of technological multiplication, economic consolidation, and discursive integration, a landscape in which ‘real’ news is becoming increasingly harder to identify or define.” His analysis provides an exploration of the means by which we create meaning in a world of media exposure, interaction and live journalism which promotes an easier means of reaching deliberative democracy. This article gives us a look into the future of the media and its effects on society, especially in the age of new media.
Baym does a good job of expressing the communicative tools meshing together in the The Daily Show to give it its pop appeal, which can be a useful comparative device for analyzing the similar successes of The Onion. Many people compare the two “news” sources in terms of their ironic approach and mockery of standard informative constructs. His analysis of the authenticity of such “fake” news provides an interesting exploration of the audience’s anticipation of a site or show that readily proclaims itself satirical, thus a useful statistical model for projecting the interpretation of irony in The Onion. Perhaps the fact that both The Daily Show and The Onion rhetorically and visually imitate their news-relaying cousins displays irony even without needing too much exaggeration.
converging media
deliberative democracy
authenticity
http://pdfserve.informaworld.com/186123__725849600.pdf
Professor Geoffrey Baym, of the University of North Carolina at Greensboro, specializes in media studies, but has completed a thorough analysis of the new look of journalism employed in “The Daily Show.” His interest in the meeting ground between entertainment and news in the current climate reveals that there are very few remaining distinctions between the two separate purposes for the creation of media. In his article, he examines the differences between the communicative approaches of the new pop culture media’s fusion of comedy, politics and news. Baym then juxtaposes “The Daily Show” directly in the midst of these crossroads, and uses this “discursive integration” to examine what makes it different and new compared to other shows of similar theme. He locates and proceeds to break down the converging media environment as “defined by the forces of technological multiplication, economic consolidation, and discursive integration, a landscape in which ‘real’ news is becoming increasingly harder to identify or define.” His analysis provides an exploration of the means by which we create meaning in a world of media exposure, interaction and live journalism which promotes an easier means of reaching deliberative democracy. This article gives us a look into the future of the media and its effects on society, especially in the age of new media.
Baym does a good job of expressing the communicative tools meshing together in the The Daily Show to give it its pop appeal, which can be a useful comparative device for analyzing the similar successes of The Onion. Many people compare the two “news” sources in terms of their ironic approach and mockery of standard informative constructs. His analysis of the authenticity of such “fake” news provides an interesting exploration of the audience’s anticipation of a site or show that readily proclaims itself satirical, thus a useful statistical model for projecting the interpretation of irony in The Onion. Perhaps the fact that both The Daily Show and The Onion rhetorically and visually imitate their news-relaying cousins displays irony even without needing too much exaggeration.
converging media
deliberative democracy
authenticity
“A nation challenged: The humor; seriously. People seem ready for a good laugh.” by John Schwartz
Schwartz, J. (2001, October 1). “A nation challenged: The humor; seriously. People seem ready for a good laugh.” The New York Times, p. C15.
http://www.nytimes.com/2001/10/01/business/a-nation-challenged-the-humor-seriously-people-seem-ready-for-a-good-laugh.html
Schwartz’s New York Times article came just after the break of The Onion’s comedic response to 9/11, which was a risky move for the satirical publication considering the tragic timing. The article addresses not only the fact that the parody was among the only successfully received comedic responses to the event, but it also discusses the ways in which the authors composed the perfect degree of sarcasm and sensitivity. Schwartz interviews the editors and writers of The Onion regarding their decision to create the 9/11 response issue, giving the overall impression that these comedic writers compose their “stories” with the same level of conscience and consideration as any other publication. By exploring the ideas behind the issue, and highlighting the elements that made the issue so successful from the perspective of its readers, Schwartz paints the picture that The Onion has more than just comedic chops to wield in terms of leaving a effect on its audience.
Although this article has an editorial approach, the fact that this key issue showed the writing talents of the The Onion’s staff sheds light on the rhetorical approach they opted to take. The elements that seem most readily significant in the composition are not only the obvious use of irony and sarcasm, but also the verbal and imagistic sensitivity at play alongside carefully chosen wording, and the consideration of the weight of the event. This article shows the relationship between appropriate timing and the right wording that combine to create meaningful humor, especially since it is evident that there are thousands of fans all over who agree that The Onion is “the best” at what it does.
http://www.nytimes.com/2001/10/01/business/a-nation-challenged-the-humor-seriously-people-seem-ready-for-a-good-laugh.html
Schwartz’s New York Times article came just after the break of The Onion’s comedic response to 9/11, which was a risky move for the satirical publication considering the tragic timing. The article addresses not only the fact that the parody was among the only successfully received comedic responses to the event, but it also discusses the ways in which the authors composed the perfect degree of sarcasm and sensitivity. Schwartz interviews the editors and writers of The Onion regarding their decision to create the 9/11 response issue, giving the overall impression that these comedic writers compose their “stories” with the same level of conscience and consideration as any other publication. By exploring the ideas behind the issue, and highlighting the elements that made the issue so successful from the perspective of its readers, Schwartz paints the picture that The Onion has more than just comedic chops to wield in terms of leaving a effect on its audience.
Although this article has an editorial approach, the fact that this key issue showed the writing talents of the The Onion’s staff sheds light on the rhetorical approach they opted to take. The elements that seem most readily significant in the composition are not only the obvious use of irony and sarcasm, but also the verbal and imagistic sensitivity at play alongside carefully chosen wording, and the consideration of the weight of the event. This article shows the relationship between appropriate timing and the right wording that combine to create meaningful humor, especially since it is evident that there are thousands of fans all over who agree that The Onion is “the best” at what it does.
"MEDIA TALK; Bulletin! Washington Post Decides to Go for the Satirical." by Matthew Healey
Healey, Matthew. "MEDIA TALK; Bulletin! Washington Post Decides to Go for the Satirical." New York Times (2007): n. pag. Web. 1 Jul 2010.
http://query.nytimes.com/gst/fullpage.html?res=9500E5DD1F30F931A15752C0A9619C8B63
Matthew Healey’s 2007 article in The New York Times addresses the fact that The Washington Post began distributing copies of and displaying advertising for The Onion alongside its own circulation. The article editorializes the news source’s joining forces with the satirical paper in order to further its own business. Healey explores the ways in which both papers would benefit by their joint efforts ( thanks to the widely accepted differing agendas and audience effects), and primarily focuses on the economic factors key to the story.
Healey’s article may only approach the business motives of The Onion, but what becomes fully obvious is that the readership of the satirical publication grows with each day, and will continue to do so. The tremendous outreach of such a successful mock news source shows that readers are developing sophistication in their information-seeking preferences, and it also shows that readers easily identify the rhetoric that creates irony. Further exposure to this style of humor shows an extension of audiences into a deeper intellectual realm created by the construction of careful wit and sarcasm, and The Onion is clear evidence of such.
http://query.nytimes.com/gst/fullpage.html?res=9500E5DD1F30F931A15752C0A9619C8B63
Matthew Healey’s 2007 article in The New York Times addresses the fact that The Washington Post began distributing copies of and displaying advertising for The Onion alongside its own circulation. The article editorializes the news source’s joining forces with the satirical paper in order to further its own business. Healey explores the ways in which both papers would benefit by their joint efforts ( thanks to the widely accepted differing agendas and audience effects), and primarily focuses on the economic factors key to the story.
Healey’s article may only approach the business motives of The Onion, but what becomes fully obvious is that the readership of the satirical publication grows with each day, and will continue to do so. The tremendous outreach of such a successful mock news source shows that readers are developing sophistication in their information-seeking preferences, and it also shows that readers easily identify the rhetoric that creates irony. Further exposure to this style of humor shows an extension of audiences into a deeper intellectual realm created by the construction of careful wit and sarcasm, and The Onion is clear evidence of such.
“Peeling the Onion.” by Kathryn S. Wenner
Wenner, K.S. “Peeling the Onion.” American Journalism Review. 2002.
http://www.ajr.org/article.asp?
Kathryn Wenner’s editorial “Peeling the Onion” explores the actual inner-workings and people involved not only in the creation of The Onion, but also the reception. She opens with a depiction of the editors making final headline-wording decisions before releasing the day’s edition. What is exposed in this exploratory article is that the employees of the satirical mock news site approach their craft with very much the same attention, methods and time as any journalistic publication. The authors brainstorm ideas, investigate background research, contemplate sell factors, and evaluate each other’s work, all to bring about a daily collection of categorized “stories” in the spirit of bringing the news. She covers the steps taken to create an issue, the reaction of other news journalists, the success rates from readership, and the contents covered in daily issues, all while interviewing editors and staff members for their personal perspectives.
Wenner’s editorial offers some key insights into the interior success motivators for The Onion as a publication. The writers are among the most talented around, and many of them have gone on to further successes as writers elsewhere in entertainment. What becomes very clear in reading this article is that the creation of good comedy comes from the skill of good writers. These writers possess the rhetorical repertoire to choose the perfect words at the perfect pace at the perfect time, and with the serious tone that mocks otherwise straight journalism. The fact that the writing is of the highest caliber also directly relates to the sophistication of the composition and its reception. It is obvious that this type of humor is not just for anyone – it’s for people who know how to read it.
http://www.ajr.org/article.asp?
Kathryn Wenner’s editorial “Peeling the Onion” explores the actual inner-workings and people involved not only in the creation of The Onion, but also the reception. She opens with a depiction of the editors making final headline-wording decisions before releasing the day’s edition. What is exposed in this exploratory article is that the employees of the satirical mock news site approach their craft with very much the same attention, methods and time as any journalistic publication. The authors brainstorm ideas, investigate background research, contemplate sell factors, and evaluate each other’s work, all to bring about a daily collection of categorized “stories” in the spirit of bringing the news. She covers the steps taken to create an issue, the reaction of other news journalists, the success rates from readership, and the contents covered in daily issues, all while interviewing editors and staff members for their personal perspectives.
Wenner’s editorial offers some key insights into the interior success motivators for The Onion as a publication. The writers are among the most talented around, and many of them have gone on to further successes as writers elsewhere in entertainment. What becomes very clear in reading this article is that the creation of good comedy comes from the skill of good writers. These writers possess the rhetorical repertoire to choose the perfect words at the perfect pace at the perfect time, and with the serious tone that mocks otherwise straight journalism. The fact that the writing is of the highest caliber also directly relates to the sophistication of the composition and its reception. It is obvious that this type of humor is not just for anyone – it’s for people who know how to read it.
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