20.500.12556/RUL-173565 Politična korektnost v stand-up komediji diplomsko delo Political correctness in stand-up comedy Naloga je zasnovana tako, da obravnava razmerje med politično korektnostjo in stand up komedijo. Naloga izhaja iz teze, da koncept politične korektnosti ni opredeljen zgolj kot omejitev svobode govora, ampak je tudi dinamični okvir, ki spodbuja refleksijo ne le družbenih norm, ampak tudi razmerij moči in kulturnih občutljivosti. Naloga se v metodološkem delu oz. metodološki raziskavi opira na kvalitativno vsebinsko analizo sekundarnih tako znanstvenih kot tudi teoretskih virov, ki pa so dopoljneni s tremi primeri, in sicer s primerom britanskega komika Jimmy Carra, ameriškega komika Davea Chappella, hkrati pa tudi s primerom iz našega lokalnega področja, ki pa ga reprezentira Karmen Spacapan v svoji kolumni, kjer govori o lastni neprijetni izkušnji obiska dogodka odprtega mikrofona. Teoretsko področje se oblikuje predvsem na podlagi Morrisovega modela reputacijskih skrbi, ki pojasnjuje koncept avtocenzure, nato z Mollerjevo dilemo politične korektnosti kot mehanizma, ki pa je moralno motiviran, nato so predstavljene teorije humorja (od Hobbesove in Kantove do Freudove) ter še kultura črtanja. Končna analiza v nalogi nam pokaže, da politična korektnost deluje dvojno oz. ambivalentno. To pa zato, ker je ravno politična korektnost tista, ki na eni strani omejuje komike ter jih s tem izpostavlja tveganju družbenih sankcij, spet po drugi strani pa je ravno politična korektnost tista, ki spodbuja in razvija niz subtilnejših, kompleksnejših in še bolj inovativnih strategij ustvarjanja humornega materiala, kar pa seveda omogoča še bolj poglobljeno družbeno kritiko. Primeri v nalogi nam namreč izrazito razkrivajo, da je ravno občinstvo tisto, ki nastopa kot ključni regulator nekega komičnega diskurza, in sicer zaradi tega, ker občinstvo s svojimi odzivi določa navidezno in tanko mejo sprejemljivega. Sklep naloge je, da politična korektnost v kontekstu stand-up komedije ne prinaša le cenzure, ampak predstavlja nek odprt prostor konstantnih pogajanj. Ravno v tem prostoru nastajajo nove oblike družbene refleksije in hkrati tudi nove oblike umetniške ustvarjalnosti. The assignment is designed in such a way as to address the relationship between political correctness and stand-up comedy. The assignment proceeds from the thesis that the concept of political correctness is not defined merely as a limitation of freedom of speech, but is namely also a dynamic framework, which in turn encourages reflection not only of social norms, but also of relations of power and cultural sensitivities. The assignment, in its methodological part or methodological research, relies on qualitative content analysis of secondary both scientific as well as theoretical sources, which are, however, supplemented with three examples, namely first with the example of the British comedian Jimmy Carr, the American comedian Dave Chappelle, and at the same time also with an example from our local field, which is represented by Karmen Spacapan in her column, where she speaks about her own unpleasant experience of visiting an open mic event. The theoretical field is formed primarily on the basis of Morris’s model of reputational concerns, which explains the concept of self-censorship, then with Moller’s dilemma of political correctness as a mechanism that is morally motivated, then the theories of humor are presented (from Hobbes’s and Kant’s to Freud’s) and also the culture of canceling. The final analysis in the assignment shows us that political correctness functions doubly or ambivalently. This is because it is precisely political correctness that on the one hand limits comedians and thereby exposes them to the risk of social sanctions, yet on the other hand it is precisely political correctness that encourages and develops a set of more subtle, more complex, and even more innovative strategies of creating humorous material, which of course enables an even more profound social critique. The examples in the assignment in fact expressly reveal to us that it is precisely the audience that acts as the key regulator of a certain comic discourse, namely because the audience with its responses determines the apparent and thin line of the acceptable. The conclusion of the assignment is that political correctness in the context of stand-up comedy does not bring only censorship, but represents an open space of constant negotiations. And it is precisely in this space that new forms of social reflection and at the same time also new forms of artistic creativity arise. politična korektnost stand-up komedija humor avtocenzura kultura črtanja political correctness stand-up comedy humor self-censorship cancel culture. true false false [A. Poredoš] Slovenski jezik Angleški jezik Diplomsko delo/naloga 2025-09-18 11:49:58 2025-09-18 11:50:04 2026-01-09 15:00:02 0000-00-00 00:00:00 2025 0 Ljubljana 0 Ljubljana 36 f. 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 316.7 592373 264167939 57490.pdf 57490.pdf 1 25B033A6CF4931A513A1D1D7701EFD13 f6f3c623910cdb052c274650c3d53feac4baf5c9b675694aee5cec32ef9ddb8e ad355400-9474-11f0-9328-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=218120 Filozofska fakulteta 0 0 0