An effect of meaning-breaker: Analysis of the cartoon Just shit

Lõhmus, Maarja

doi:10.1515/semi.2004.047

Cited by 3 publications

(1 citation statement)

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“…This picture depicts the situation where the interests of the political and economical elite from Moscow contradict the local preferences: Moscow was interested in producing field fertilisers in Estonia, whereas Estonians were afraid of unsolvable social and ecological problems (polluted ground water, etc.). From an interview with Priit Pärn (Lõhmus 2004) it is evident that he created the cartoon out of anxiety about the environment, country and state. Thus the caricature was a mental summary of a long-term process that had forced foreign ideology on Estonia on the one hand, and the cultural elite's counter-reaction to that oppression on the other.…”

Section: Humour or Silence? An Analysis Of The Cartoon Sitta Kah (Primentioning

confidence: 99%

Political correctness and political humour in Soviet Estonia and beyond

Lõhmus¹

2013

ESTONIA AND POLAND: Creativity and Tradition in Cultural Communication

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The article gives an overview of the history of censorship in Soviet Estonia, concentrating on the regulations that dictated the content of humorous texts and images from pre-1990s. The Estonian media communication developed in the interaction of two contradicting fields of influence: on the one hand, it was affected by the official institutional sphere, and on the other, by unofficial, reflexive and collective citizenship. During active Sovietisation in 1940s-1950s, people were deprived of any laughter and ambiguity. Public sphere was under the close scrutiny of political censorship. In the next two decades until the late 1980s, the reflexive and critical streams became more visible in the society. This was accompanied by publishing more and versatile humorous texts, the presence of humorous texts in printed press, and convergence of talented authors into a school of renowned humour journalists. Humour was institutionalised in both cultural and political sphere, and after 1987 it gained even new functions, becoming a forerunner for glasnost and an instrument of de-Sovietisation. On the basis of the present study, we can claim that the presence of humour in journalism is an indicator of emotions in the public sphere.

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Section: Humour or Silence? An Analysis Of The Cartoon Sitta Kah (Primentioning

confidence: 99%