Papers by Aleksandar Takovski
Most ethnic humour that has been studied so far consists of jokes which use ethnically non-specif... more Most ethnic humour that has been studied so far consists of jokes which use ethnically non-specific qualities such as stupidity or canniness in order to ridicule an ethnic group and thus to preserve and perpetuate ethnically based social hierarchies in western industrial societies. In light of this dominant logic in ethnic humour theory, the objective of this study is to problematize the relation of such non-ethnic qualities and the notion of ethnic identity, as well as their relation to a specific type of society, in an attempt to convincingly argue in favour of the need to differentiate between 'ethnically-empty' functional joke scripts and genuine ethnic joke scripts that are related to the ethnic identity of the target. In so doing, I extend ethnic humour theory by introducing and testing the notion of genuine ethnic joke scripts in order to motivate future research that will tackle other potential ethnic humour idiosyncrasies. Toward this end, I have collected and analysed joke material (N=369) coming from Macedonia, Bulgaria, Serbia, and Albania, societies with histories and relations very different that those in the western industrial societies. Additionally, the study incorporates two questionnaires with members of the two largest ethnicities in the Republic of Macedonia, Macedonians and Albanians, to ascertain the relation between the genuine ethnic humour and ethnic identity.
Ironically, defining a hero, is a heroic endeavour in its own right, considering the diversity of... more Ironically, defining a hero, is a heroic endeavour in its own right, considering the diversity of hero types (mythological, epic, folk, national, local, up to family heroes), but also the diversity of cultural contexts, which underlie the production of various hero systems.1 Such phenomenological diversity has been tackled by different research areas as diverse as literary studies2, history folk studies, anthropology (Levi-Strauss),3 sociology (Mauss, Hubert)4 all contributing to the fuller understanding of the phenomenon, while also making the simple definition of it an impossible task. Notwithstanding this phenomenological and epistemological complexity, we contend that certain can be mapped out. What we have in mind are some universal traits of heroism, most notably the cultural and political functions of heroes across diverse contexts.
Among these the key function we would like to focus on is the hero’s role as a protector of the community which worships him with the belief that he will perpetuate their biological, cultural and political existence through space and time. To do so he needs to confront dangers and enemies incarnated in the image of his Arche opponent, the villain. This dialectically presupposing dichotomy, we contend, is still an existent mode of human perception and interaction with the world. What differs in modern times are the types of social actors that embody the positions of heroes and villains, as well as the means by which they are represented.
Books by Aleksandar Takovski
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Papers by Aleksandar Takovski
Among these the key function we would like to focus on is the hero’s role as a protector of the community which worships him with the belief that he will perpetuate their biological, cultural and political existence through space and time. To do so he needs to confront dangers and enemies incarnated in the image of his Arche opponent, the villain. This dialectically presupposing dichotomy, we contend, is still an existent mode of human perception and interaction with the world. What differs in modern times are the types of social actors that embody the positions of heroes and villains, as well as the means by which they are represented.
Books by Aleksandar Takovski
Among these the key function we would like to focus on is the hero’s role as a protector of the community which worships him with the belief that he will perpetuate their biological, cultural and political existence through space and time. To do so he needs to confront dangers and enemies incarnated in the image of his Arche opponent, the villain. This dialectically presupposing dichotomy, we contend, is still an existent mode of human perception and interaction with the world. What differs in modern times are the types of social actors that embody the positions of heroes and villains, as well as the means by which they are represented.