Humorističan prikaz školskog sustava u vrijeme pandemije koronavirusa na primjeru vizualno-verbalnih internetskih žanrova

Abstract

U radu se analizira humorističan prikaz školskog sustava u vrijeme pandemije koronavirusa na primjeru vizualno-verbalnih internetskih žanrova (image macro memi i viralne fotografije) u kontekstu humora o aktualnostima (engl. topical humor), tj. u suodnosu sa žanrom vica o aktualnostima (engl. topical jokes). Nudi se njihova tematsko-motivska tipologija u tri skupine motivirana najčešćim prikazima koronavirusa u školskom sustavu. Riječ je o 1) provođenju epidemioloških mjera za suzbijanje širenja koronavirusa u školama, 2) organizaciji nastavnog procesa u vrijeme pandemije te 3) reakcijama nastavnog osoblja na upute i izjave čelnika u školskom sustavu vezane uz organizaciju nastave u vrijeme pandemije. Ukazuje se na povezanost analiziranih primjera s vijestima u medijima i na satiričan prikaz čelnika u školstvu. U drugom se dijelu rada pokušava prikazati na koji se način postiže humorni učinak u vizualno-verbalnim internetskim žanrovima. Istraživanje je usmjereno na primjere objavljene na profilima društvenih mreža dviju aktivnih mrežnih stranica u sustavu obrazovanja – Nastavnici.org i Srednja.hr. Analizirani su primjeri objavljeni od početka pandemije koronavirusa u ožujku 2020. godine do kraja rujna iste godine.

#CovidEaster – Humour in the Digital Sharing of Easter Festive Material During the COVID-19 Pandemic

“…The humorous discourse of internet genres has many structural connections with oral folklore genres. These internet (humorous) genres often establish a certain relationship with oral folklore genres, as their structures and content can be recognised in or behave similarly to oral communication (Baran, 2012;Dynel, 2016;Laineste, Voolaid, 2016;Oring, 2016: 129-146;Predojević, 2021b;Banić Grubišić, 2023). According to Weitz (2016: 1-2), the principles of humour production in computer-mediated communication on social media remain similar, but the technologies we use shape the way we joke.…”

“…Besides intertextuality, paraphrasing movie titles (How the Grinch Stole Christmas to How the Virus Stole Easter), or visual interventions, like photoshopping the image of the US president into photographic templates, are also observed. In these examples, elements from tradition, art history, and well-known movie titles are evoked, but they are applied to entirely unexpected experiences, leading to a short circuit and thus a humorous effect (see also Predojević, 2021b).…”

“…In text-based genres, a commentary on the changes in the way Easter is celebrated in the modern era can be noticed, where religious practices have been replaced by new ways of observing the Easter holidays, such as travelling and other consumerist practices of society. From these examples, it can be concluded that a humorous portrayal of a pandemic Easter does not differ much from a humorous portrayal of a pandemic in general, where internet memes and other online genres mainly used humorous situations to warn about adhering to measures and were inspired by news from the media but also had a role in bringing internet users together, creating solidarity among them and helping them collectively overcome the coronavirus crisis (Dynel, 2021;Predojević, 2021b;Torres-Marín et al, 2022).…”

O ludičkoj kletvi u humornom diskursu internetskih žanrova

“…npr. Baran 2012;Dynel 2016;Laineste i Voolaid 2016;Predojević, 2021b) ili se "ponašaju" na njima analogan način u usmenom komuniciranju (usp. Oring 2016: 129-146;Predojević 2019Predojević , 2021a.…”

“…Attardo 1994: 47-49;Oring 2016: 16-33) što je čest oblik stvaranja humorna učinka u internetskim žanrovima (usp. Dynel 2016;Yus 2021b;Predojević 2021aPredojević , 2021b. Kletva se u humorni diskurs internetskih žanrova najčešće uvrštava kao efektna posljednja rečenica (68% primjera) ili unutar teksta 22 (23% primjera) gdje stvara scenarijske opreke (usp.…”