M.K. Samambet1, N.I.Buyanovskiy2
1сandidate of philological sciences, associate professor, professor of the department of foreign philology, Kostanai State A. Baitursunov University, Kostanai, Kazakhstan
2мaster student of the department of foreign philology, Kostanai State A. Baitursunov University, Kostanai, Kazakhstan
BRIEF HISTORY OF BLACK HUMOR AND ITS USE IN LITERATURE, FILM, AND POETRY
In physiology, the term humor was utilized to describe the four hilarities of the body that rely on four fluids, which are blood, phlegm, as well as yellow and black bile. Essentially, the integration of these fluids influenced the personality, mind, bias, and decency of an individual in terms of being either “ill” or “good” humored, as well as the description of an individual as being in either a «black mood» or “yellow with jealousy”. Based on this understanding, it is evident that black humor is characterized by grotesqueness and morbidity. Furthermore, it thrives on people’s sentiments of dealing with discriminatory, unfair, and incongruous behavior. The primary focus of this article is to trace the history of black humor and stress how it is used in modern literature, film, and poetry. Joseph Heller’s book, Catch 22, will provide the literary reference whereas popular television show, Rick and Morty, will show the use of black humor in films. Langston Hughes’ poetic works will be referred to in relation to the use of black humor in poetry.
Key words: research article, black humor, literature, poetry, film, history, sense, meaning
INTRODUCTION
Black humor is a matter of particular topical interest at the turn of the XX-XXI centuries as it is characteristic of different arts and culture in general. It has been highlighted that the conventional usage of the term black humor denotes black bile secreted by the brain, which was believed to result in a melancholic feeling [1]. This definition was consistent with the arcane medical model of the four senses of humor that thrived before the 19th century. It was not until 1939 that Andre Breton in the book Anthologie de l’humour noir gave the term a new meaning and used it to describe a specific temperament noted in the work of certain writers. Consequently, Andre Breton pioneered the perception of black humor as a literary outlook [2]. To a certain degree, Breton employed Sigmund Freud’s essay Der Humor to explain this attitude. In his essay Freud states that the ego repulses distress triggered by reality and protects itself from being forced to suffer. Furthermore, the ego refuses to be influenced by the pains of the external universe. In fact, the human psyche draws special attention to the fact that these distresses create situations from which it can take pleasure [3, 2].
From mid to late 1950s, comedy in the US was experiencing growth fuelled by a genre that was described as “sick humor”. Sick humor was typified by comedians making jokes about the challenges faced during attempts to integrate into the prevailing social setting at the time [1]. This kind of humor that was anchored in grief naturally incorporated an even gloomier awareness that started to emerge in literary works at the start of the 1960s. Commentators enthusiastic about labeling this emergent form of indiscretion brought back the concept of black humor. By 1965, this concept was firmly ingrained in the vocabulary of popular culture [4, 117]. This development was aided by literary works of such authors as Bruce Jay Friedman, who also edited the anthology Black humor (1969), Terry Southern, Thomas Pynchon, as well as Kurt Vonnegut. Apart from books, movies such as Dr. Stranglelove and The Loved One, which came out in 1964 and 1965 respectively further propelled the popularity of this term in American culture. Following the US-led revival of black humor, it was unsurprising the Andre Breton’s initial publication on the same subject was reproduced in 1966 [1].
MAIN PART
“Black humor is like a pair of legs – not everyone has it”
Author unknown.
The common issue that arises in the analysis of black humor is connected to the need to understand the outlook behind it. Essentially, there has been an ongoing discourse regarding whether the inherent parameters are vivid enough to warrant its perception as an independent genre [3, 3]. To understand what black humor entails, the work of Wes Gehring in which he reviewed a movie called American Dark Comedy: Beyond Satire is crucial [5]. In the analysis, Gehring established three interlinked subjects that seemed recurrent. The three themes were the depiction of human beings as beasts, the absurd nature of the world, and the omnipresence of death. Based on this understanding, it is evident that black humor is a kind of expressive protest that highlights the shortcomings of the world. This aspect differentiates it from sick humor, which is focused on the individual as opposed to the world in general. Furthermore, it is imperative to take into account that this kind of humor is deemed black for legitimate reasons [4, 117]. Essentially, it is founded on ironic negation that positions it as a kind of anti-comedy. This point implies that black humor uses material characters and circumstances that are usually assumed as being taboo and principally unfunny as the basis and recasts them as hilarious phenomena. Nonetheless, a certain degree of tension persists when it comes to black humor because of the oppositional forces at play within the genre that downplay each other [1]. This tension is responsible for the perception of black humor as a type of cultural terrorism. The implication of this perspective is that the inherent risk becomes an approach through which comic provocation is attained. It is argued that when this kind of provocation is exploited intentionally, the primary objective is to free the audience that is not accustomed to this kind of unrestricted spirit. As such, black humor prepares individuals to realign their interactions with the world [1].
Black humor does not exercise reverence to any individual or situation because it alters convention, sees past and through ethnic and gender identity, in addition to making fun of both sexual orientation and loss of life. Hinged on this non-conformist enthusiasm, black humor does not seek respectability [4, 117]. Similarly, this genre does not venerate the values of its audience. From this perspective, it is evident that black humor seeks to critique ethical beliefs in society. Moreover, black humor does not utilize a specific intellectual perspective. Instead, it adopts a juvenile stance to drive conservatively-minded individuals towards a regular state of hollow anger and disbelief. On the other hand, it encourages progressive minded individuals to shun addressing the issue of social reconciliation [1].
When the American social fabric is challenged, black humorists are often ready to react. This point can be illustrated by instances such as the post-World War II wish to aggressively create the singular middle class ‘American Dream’ that culminated in the emergence of a novel kind of humorous mutiny from mid to the latter years of the 1950s [3, 4]. This development was followed by the threat of ‘the bomb’, the escalation of the conflict in Vietnam, and the explosion of civil protests throughout the country. Combined, these challenges to the American society resulted in the revival of black humor in the 1960s. In fact, this era is regarded as the golden age of this genre. Although it may be described as an American form of indignation, this genre is supported by fundamental hope that abhors state-sanctioned denial of a person’s rights. For this reason, black humor is regarded as a productive movement, which highlights intellectual autonomy [1].
While reading Catch 22 it is possible to distinguish the artistic features of black humor in it. Catch 22 is a novel published in 1961 by Joseph Heller. This book provides a classic example of black humor in literature. This point builds on the fact that the writer utilized some of the core features of black humor. In this case, the black humor themes evident in this text include a storytelling approach that subverts conventional novels, the use of an anti-logical plot, as well as the inclusion of an ‘anti-hero’ kind of character. «…writers tend to descript some “Anti-heroes” with abnormal behaviors and reflect social reality through their bizarre behaviors» [6, 616].
Assessed in line with the artistic blueprint for traditional literary works, Catch 22 does not employ the basic story approach. This aspect represents one of the core attributes of black humor. Although the author did not follow the organization of a conventional novelist, he provided one indicator in the fiction [6, 616]. It is the disorganized mindset of Yossarian:
“…They’re trying to kill me,» Yossarian told him calmly. No one’s trying to kill you,» Clevinger cried.
Then why are they shooting at me?» Yossarian asked.
They’re shooting at everyone,» Clevinger answered. «They’re trying to kill everyone.»
And what difference does that make?…” [7, 14]
Since the two pointers in context often cross, they create a chaotic sentiment on the part of readers. Essentially, Heller explains and mirrors the weirdness and chaos of society at the time through the utilization of a disordered prose structure. By using this strategy, the author facilitates an improved reflection of social reality among readers [3, 6].
Concerning the plot, it is common practice among writers to provide comprehensive information regarding the ins and outs of a given narrative in the development of traditional novels. Essentially, cause and effect based on a robust rational plot represent the standard prose structure for books [4, 117]. However, in novels pursuing dark humor, the doctrine of literary ingenuity is not followed religiously. In Catch 22, the plot and narrative description are absurd in that they cannot be recreated in reality. This perspective builds on the fact that both are significantly irrational and make it difficult for readers to comprehend. Their absurdity is compounded by the fact that the author even incorporates a certain degree of distortion of the human psyche. For instance, Daneeka is a greedy doctor who adds his name to flight team sheets even when he is off duty to ensure that he also receives related benefits as other on-duty medics [7]. In one of the missions, the aircraft crashed and killed all the crew onboard. Although Daneeka was registered as one of the individuals on board, he was not on the ill-fated flight. As such, he has been regarded as a dead individual irrespective of the fact that his neighbors see him living well. In contrast, his colleague, Yossarian, whose name was not on the rank list is not appreciated for his sacrifice despite the fact that he lost his life during the conflict. From this illustration, it is evident that those who are alive are regarded as dead, while those who passed on are reveling in the fullness of life. The absurdity of social reality that this novel elucidates is executed shrewdly and clearly [7].
According to standard literary work guidelines, a hero is often an individual that rescues people in distress or facing harm. In most cases, the hero possesses desirable physical attributes such as strength and good height [4, 117]. However, black humor novels tend to create an antithesis of the conventional hero. The conventional standard of coming up with an anti-hero character in black humor novels is ensuring that they show their rebellious spirit to the severe modification and destruction of the social phenomenon. In Catch 22, the characters of Yossarian and Dr. Daneeka depict the anti-hero image in black humor [6, 617]. “…There was only one catch and that was Catch-22, which specified that a concern for one’s safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be grounded. All he had to do was ask; and as soon as he did, he would no longer be crazy and would have to fly more missions. Orr would be crazy to fly more missions and sane if he didn’t, but if he was sane he had to fly them. If he flew them he was crazy and didn’t have to; but if he didn’t want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whistle.
«That’s some catch, that Catch-22,» he observed.
«It’s the best there is,» Doc Daneeka agreed…” [7, 46].
Watching TV gives a chance to find a lot of examples of black humor. One of them is a new TV Show “Rick and Morty”. It is an animated television series targeting grown-ups based on the adventures of two main characters. Rick is a twisted, cynical, smart scientist, whereas Morty is Rick’s naive and insecure grandson. The show examines and often belittles conventional science fiction principles with the help of smart and dark humor. The black humor attributes of Rick and Morty include the fact that the show is devoid of meaning and trivializes the most critical phenomena [8, 103].
The lack of meaning in relation to Rick and Morty can be explained by acknowledging the fact that the futility of finding understanding in the setting of a silent, apathetic universe is central to the absurdist doctrine. In this context, two inevitabilities in the condition of humankind have been identified. The first one is the desire for the absolute and homogeneity, whereas the second one centers on the need to deconstruct the world into a logical principle. Nonetheless, reconciliation of the two certainties is impossible [3, 7]. The lack of meaning in relation to Rick and Morty can be highlighted when the show takes advantage of the inconsistencies of religious principles using satire. In the episode entitled ‘Get Schwifty,’ an alien body reaches the earth in the form of a big head in the sky. The presence of this head affects gravity resulting in ecological calamities on earth. Rick and Morty’s town experiences extensive destruction but the local preacher attempts to ensure that all believers remain faithful. However, the pastor is cut short by the school’s principal who argues that all the old gods and religions are extinct. The only existing god is the big head in the sky. Eventually, the town creates a new cult governed by headism with guidelines drawn from superficial interpretations of verbal and non-verbal cues made by the head in the sky. Therefore, it can be stated that this episode mirrors the irrational vagueness of religion and the unclear explanations that augment it [8, 104].
To actualize how Rick and Morty trivialize important things, it is imperative to acknowledge that most people try to evade personal challenges that are existential to join a bigger movement such as religion, employment, or leadership [8, 105]. However, when it comes to the use of black humor in film, progressive establishments and the traditions accompanying them are susceptible to the same reproaches leveled against individuals. “…Rick: «Weddings are basically funerals with cake…”, another great example is “…Morty: “I just killed my family! I don’t care who they were!” Rick: “I don’t know, some people would pay top dollar for that kind of breakthrough…” [9]. Also, for instance, when Morty requests Rick to help him prepare for a science symposium, Jerry, who is Rick’s son-in-law, opposes it with a certain degree of insecurity. He states that conventionally, science symposia are a father-son thing. Rick responds by stating that science has proven that customs are idiotic. For black humorists, traditions are viewed as consolation for individuals who lack mental resilience. In this episode, it is evident that the show attempts to water down some of the traditional values that most people have espoused over the year such as science symposia being a father-son thing [8, 106].
Regarding black humor in poetry Hughes’ works were used. Langston Hughes is one of the renowned poets, greatly influenced by the history of Africans in America. As such, he became a commentator on political and social issues using his poetic prowess as a tool for social revolt. “…I went down to the river, I sat down on the bank. I tried to think but couldn’t, So I jumped in and sank…” [11]. This aspect propelled him into becoming one of the most influential persons during the Harlem Renaissance.
Concerning the logic behind his work, Hughes stated that it stemmed from the people with whom he interacted. He described these individuals as those who never had the chance to have their shoes cleaned, attend Harvard, or understand what ‘bach’ meant. In this case, he was referring to destitution, Jim Crow laws as well as colorism [3, 8]. From this perspective, it is evident that the two things that Hughes was born with made his poetry unique from others. This point is consistent with the understanding of black humor, which characterizes it as an occurrence in static works whose theme is what the creator deems to be the prevalent modern condition of communal unfairness, inanity, and disorder. These elements make up the underlying themes of black humor in Hughes’ works in relation to the studies focused on African-Americans. “…I will not take ‘but’ for an answer. Negroes have been looking at democracy’s ‘but’ too long…” [12]. As such, Hughes’ poems condemned racially discriminative behavior towards African-Americans by highlighting their plight and invoking the need for unity [10, 53].
CONCLUSION
The extensive studies reveal that the emergence of black humor creates a new dynamic in emotional trends within creative works. Using an absurd approach to communication, black humor breaks up the funny attributes of conventional humor and differs markedly from it as in the novel Catch 22 by Heller. Similarly, this absurdity deconstructs the despair and gravity of the traditional calamity Instead, the tragic smile and courageous struggling of the characters substitutes the sense of anguish that misfortune creates as in examples with Doctor Daneeka, different cases in the TV Show “Rick and Morty” and in poems by Langston Hughes.
REFERENCES
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Available at: https://download.atlantis-press.com/article/25843571.pdf
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https://www.ranker.com/list/best-rick-and-morty-quotes/movie-and-tv-quotes
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http://mentalfloss.com/article/91742/20-inspiring-quotes-langston-hughesМ.Қ.
М.Қ. Сәмәмбет, Н.И. Буяновский
Қара (ауыр) әзіл-сықақтың қысқаша тарихы мен оның әдебиетте, кинода және поэзияда қолдануы
А.Байтұрсынов атындағы Қостанай Мемлекеттік Университеті
Қостанай қ., Қазақстан
Физиология саласында «әзіл-сықақ» термині дененің төрт сұйықтығын –қан, лимфа, қара және сары өтті белгілеу үшін пайдаланылған. Көне ғалымдардың пікірлері бойынша дәл осы кісі бойындағы төрт сұйықтықтың ара қатынасы оның мінез-құлығын, ақылын, икемділігін және адамгершілігін бағыттайды. Жай-күйді сипаттау үшін «қара көңіл», «күндеушіліктен сарғаю» деген сөз тіркестіктерінде із қалдырған «жақсы» немесе «жаман әзіл-сықақ» терминдері қолданылған. Осы тұжырымдамаға сүйеніп отыра қара (ауыр) әзіл-сықақты зілдін мысқылдау, ажалды келемеждеу, ұсқынсыз түрде зорлықты, әділетсіздікті , сыңаржақтықты суреттеу адамның әрекетін белгілеуге болады. Осы мақаланың негізгі мақсаты қара (ауыр) әзіл-сықақтың даму тарихын зерттеу және оның қазіргі замандағы әдебиетте, поэзияда және кинематография қолдануын баяндау. Джозеф Хеллердің «Айла -22» романы әдебі үлгі ретінде болып, ал танымал Рик және Морти теледидар шоу қара (ауыр) әзіл-сықақ кино индустриясында қолданылатынын көрсетіп, Лэнгстон Хьюздің поэтикалық шығармашылығына сілтеме жасалды.
М.К. Самамбет, Н.И. Буяновский
Краткая история чёрного юмора и его использование в литературе, кино и поэзии
Костанайский Государственный Университет имени А.Байтурсынова г. Костанай, Казахстан В физиологии термин «юмор» использовался для обозначения четырёх жидкостей тела — крови, лимфы, черной и желтой желчи. По мнению древних учёных, именно соотношение этих четырех жидкостей в организме человека определяли его характер, ум, наклонности и нравственность. Для описания состояния использовались термины «хороший» или «плохой юмор», оставившие след в таких выражениях как «черная душа», «пожелтел от зависти». Исходя из данной концепции, чёрный юмор можно определить как ирония над зловещим, насмешки над смертью, гротескное изображение человеческой реакции на насилие, несправедливость и предвзятость. Основная цель данной статьи проследить историю развития черного юмора и осветить его использование в современной литературе, поэзии и кинематографе. Роман Джозефа Хеллера «Уловка-22», послужит литературным эталоном, тогда как популярное телевизионное шоу — Рик и Морти, продемонстрирует использование черного юмора в киноиндустрии, а поэтические произведения Лэнгстонa Хьюзa будут отсылкой к использованию черного юмора в поэзии.