War, memory, and the politics of humor [electronic resource] : the Canard enchaine and World War I / Allen Douglas.

ISBN:

9780520926943

9780520228764

Title:

War, memory, and the politics of humor [electronic resource] : the Canard enchaine and World War I / Allen Douglas.

Author:

Douglas, Allen, 1949-

Personal Author:

Douglas, Allen, 1949-

Publication Information:

Physical Description:

1 online resource (xiv 331 pages) : illustrations

Contents:

Cover -- Contents -- List of Illustrations -- Preface and Acknowledgments -- INTRODUCTION: WAR, LIES, AND NEWSPRINT -- 1. SATIRE AND CENSORSHIP -- 2. VERBAL AND VISUAL, HUMOR AND POLITICS: ORGANIZATION AS DISCOURSE -- 3. UNSTUFFING SKULLS: THE CANARD VERSUS THE MASS PRESS -- 4. THE TEARS OF LINTRAN: SEMIOTIC HIJACKING AND WARTIME ANXIETIES -- 5. SOLDIERS VERSUS PROFITEERS: CLASS WAR AS PATRIOTISM -- 6. IN VINO VERITAS: DE LA FOUCHARDI200;RE, BICARD, AND THE POLITICS OF INEBRIATION -- 7. PEACE OR POSTWAR: THE NEXT LAST WAR -- 8. WEB OF MEMORY -- 9. BETWEEN CANNIBALISM AND RESURRECTION: THE BODY OF THE UNKNOWN SOLDIER -- 10. ANTI-IMPERIALISM AND ITS STEREOTYPES: WAR IN THE COLONIES -- 11. POLITICS AS USUAL: AN ANTIPARLIAMENTARISM OF THE LEFT? -- 12. CANARD ECONOMICS, OR THE COSTS OF THE WAR -- 13. THE WEALTH OF NATIONS -- 14. CONCLUSION: POLITICS OF HUMOR, POLITICS OF MEMORY -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y.

Local Note:

eBooks on EBSCOhost

Title Subject:

Canard enchaine.

Le canard enchaîné

Subject Term:

World War, 1914-1918 -- Humor.

French wit and humor -- History and criticism.

Satire, French -- History and criticism.

World War, 1914-1918 -- Press coverage -- France.

Format:

Electronic Resources

Electronic Access:

Click here to view

Publication Date:

2002

Publication Information:

Available:*

Shelf Number	Material Type	Copy	Shelf Location	Status
940.30207 21	1:E-BOOK	1	1:ONLINE	Searching... Unknown

Bound With These Titles

On Order

Summary

War, Memory, and the Politics of Humor features carnage and cannibalism, gender and cross-dressing, drunks and heroes, militarism and memory, all set against the background of World War I France. Allen Douglas shows how a new satiric weekly, the Canard Enchaîné, exploited these topics and others to become one of France's most influential voices of reaction to the Great War. The Canard, still published today, is France's leading satiric newspaper and the most successful periodical of the twentieth century, and Douglas colorfully illuminates the mechanisms of its unique style.

Following the Canard from its birth in 1915 to the eve of the Great Depression, the narrative reveals a heady mix of word play, word games, and cartoons. Over the years the journal--generally leftist, specifically antimilitarist and anti-imperialist--aimed its shots in all directions, using some stereotypes the twenty-first century might find unacceptable. But Douglas calls its humor an affirmation of life, and as such the most effective antidote to war.

Author Notes

Douglas Allen :

Allen Douglas is Professor of West European Studies and History at Indiana University, Bloomington. His previous books include L'idéologie par la bande (with F. Malti-Douglas, 1987), From Fascism to Libertarian Communism (California, 1992), and Arab Comic Strips (with F. Malti-Douglas, 1994).

Reviews (1)

Choice Review

The first number of Le Canard EnchaIne, France's famous (and famously satirical) political periodical, saw the light of day early in WW I. It can be fairly said that what Paul Fussell did for England--to show the impact of war on national consciousness--Douglas (Indiana Univ.) has done for France in this innovative study. From the beginning, the Canard used irony and even outright parody to mock those in official positions. Clemenceau, Herriot, Poincare, war profiteers, and professional patriots were all pilloried by the writers and cartoonists of the Canard. When the Red Scare began, the Canard ran a contest to see who could produce the most frightening anti-Bolshevik poster. And soon after, when the Right called for a monument to the unknown soldier, the Canard demanded that there be a memorial for the unknown taxpayer. If the Canard ever showed hostility to the establishment, and if its humor generally disguised a deep bitterness, it was the result of the war. Thanks to his thorough research and brilliant exposition, Douglas offers new insights into French history in the early 20th century. Upper-division undergraduates and above. S. Bailey Knox College