Titlebook: Digital Carnivalesque; Power Discourse and Hoi-Yi Katy Kan Book 2020 Springer Nature Singapore Pte Ltd. 2020 critical discourse analysis.c

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Kinetics of Bond Forming and Bond Switching I comment on the character of the carnivalesque performance. Finally, the last part is a synthesis of chapters 6 and 7. In this part, I discuss the manipulation of the carnivalesque form and interrogate the carnivalesque function in the (pseudo)carnivalesque performances of Kim Huat (protagonist in the first video), Casey, and Taxi Driver.

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,Anton Casey’s Mistake (Singlish 55), I comment on the character of the carnivalesque performance. Finally, the last part is a synthesis of chapters 6 and 7. In this part, I discuss the manipulation of the carnivalesque form and interrogate the carnivalesque function in the (pseudo)carnivalesque performances of Kim Huat (protagonist in the first video), Casey, and Taxi Driver.

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Book 2020of 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 interdiscip

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Power as Performance in the Twenty-First Century Digital Playground,ower relations associated with comedic contents in social media. In particular, this chapter proposes a discourse analytical approach that could afford the necessary lens to examine discursive sociological manifestations of power relations in the digital economy.

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Power,larship (i.e., (neo)Marxist perspectives of power as top-down), the second strand focuses on more culturally oriented conceptualizations of power as relational and nuanced. Collectively, the coalescence of these significant bodies of knowledges affords an understanding of power that is constantly re

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Carnivalesque as Theoretical Framework, comparative studies, two Singapore-based comedic videos and map out the analytical approach to distinguish comedies that are potentially subpolitical from comedies that are hegemonic in nature. While this proposition may afford an inventive and systematic approach to examine comedic performances, i

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mrbrown Show: Who Say We Smelly?,que . of the mediatized performance is examined. This is followed by the examination of the carnivalesque . of the same video. In the final part, the on/off screen personae of the producer is also scrutinized so as to understand the level of careful choreography that goes into the construction of mu