Our hero the buffoon: Contradictory and concurrent Burkean framing of Arizona governor Evan Mecham

Buerkle, C. Wesley; Mayer, Michael; Olson, Clark D.

doi:10.1080/10570310309374766

Cited by 3 publications

(2 citation statements)

References 10 publications

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“…The epic frame enables identification with the hero, through which the spectator becomes "'vicariously heroic' and transcends his/her own humility to share in the victor's spoils and righteousness." 114 The projection ends with a call for action, asking voters to choose ballot no. 8 for Kadiev.…”

Section: Eisenstein and Mcgowan Explainmentioning

confidence: 99%

The Bulgarian Monument to the Soviet Army: Visual Burlesque, Epic, and the Emergence of Comic Subjectivity

Ivanova¹

2014

Quarterly Journal of Speech

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Drawing on the psychoanalytical theory of Jacques Lacan, rhetorical scholars can delineate between subversive and conservative comedy-conceived not in terms of genre but as modes of subjectivity articulation that produce perspectival shifts within a given symbolic configuration-in ways that allow us to theorize, and to possibly map, the production of an active critical subject. I analyze two visual political interventions-a graffiti artwork and a 3D animated projection-onto the façade of the contested Monument to the Soviet Army in Sofia, Bulgaria. The interventions' rhetorical potential hinges on the dialogic deployment of subversive and conservative burlesque and of the epic. To delineate between subversive burlesque, which entails identification with rupture or the irreducible antagonism constitutive of any social-discursive formation, and conservative burlesque, for which rupture only serves to reaffirm an ideologically assured identity, I draw on Alenka Zupančič's typology of comedy. The subversive burlesque can open space for agency and social critique by short-circuiting the relationship between the universal and the particular elements in a given ideological formation, while the conservative burlesque and the epic leave that relationship intact.

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Section: Eisenstein and Mcgowan Explainmentioning

confidence: 99%

The Bulgarian Monument to the Soviet Army: Visual Burlesque, Epic, and the Emergence of Comic Subjectivity

Ivanova¹

2014

Quarterly Journal of Speech

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“…Both Brummett (1984) andO'Leary (1993) analyzed simultaneous tragic and comic frames, arguing that the tragic frame resulted in harsher judgments than the comic. Buerkle, Mayer, and Olson (2003) studied two simultaneous contradictory frames, the epic and the burlesque, in order to highlight how the burlesque results in a total rejection of the framed while the epic suggests a total acceptance. And Kaylor (2005) examined the interaction of the simultaneous frames of epic, comic, and burlesque, arguing that the burlesque resulted in a harsher judgment than the comic and the epic.…”

Section: Review Of Previous Researchmentioning

confidence: 99%

A Burkean Poetic Frames Analysis of the 2004 Presidential Ads

Kaylor¹

2008

Communication Quarterly

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Monticello's master: Sally Hemings and the deconstruction of the Patriot archetype

McCann¹,

Rowe

2004

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Our hero the buffoon: Contradictory and concurrent Burkean framing of Arizona governor Evan Mecham

Cited by 3 publications

References 10 publications

The Bulgarian Monument to the Soviet Army: Visual Burlesque, Epic, and the Emergence of Comic Subjectivity

The Bulgarian Monument to the Soviet Army: Visual Burlesque, Epic, and the Emergence of Comic Subjectivity

A Burkean Poetic Frames Analysis of the 2004 Presidential Ads

Monticello's master: Sally Hemings and the deconstruction of the Patriot archetype

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