‘Successful ironists achieve a balance between amusement and unfavorable judgment. ’ Discuss. The balance between amusement and review is a cardinal moral force of successful sarcasm. as it is through temper that the sarcasm may reprimand its mark. motivating the respondent to revaluate their ain position with that of the ironist. Through his inflated word picture of the nepotism inherent in the diplomatic poster system in The Ambassador. Sitch’s series The Hollowmen reveals the plasticity of political values. Sitch furthers his sarcasm of such political expedience through his dry word picture of the policy doing procedure in Rear Vision in which he exposes the arti?ces that characterise the modern Australian political landscape. Similarly. Moir’s reductio ad absurdum review of Australian in-migration policy in his sketch Australian Values Test challenges the exclusivism entrenched in facile impressions of Australian individuality. Ultimately both texts emphasise the differentiation between lampoon and sarcasm. proposing that whilst both signifiers rouse amusement sarcasm has the extra map of reviewing the predominating frontages of society.
Through his word picture of the nepotistic intrigues of the Central Policy Unit in The Ambassador. Sitch exposes the tenseness that exists between political necessity and the self-seeking dockets of politicians. In foregrounding the quandary presented by the Prime Minister’s avidity to look non-partisan by halting “clapped-out party drudges acquiring plum overseas postings” and the demand to “make one more” . Sitch establishes the quintessential political con?ict between an idealistic desire for transparence with the practical necessity for misrepresentation. Such a con?ict is apparent in Sitch’s usage of Warren and Phillip. preeminent imitations of political naivete. as foils to the pretense pragmatists Tony and Murph.
Sitch heightens this con?ict through the scene-cut from the scrupulousness embodied in the PowerPoint presentation to the sarcasm of the Central Policy Unit’s effort to “change the choice criteria” in order to suit their campaigner. the inflated antithesis of a diplomat that is the aggressive Senator Ron Eggles. Furthermore in set uping the “member for Redneck” as a possible campaigner Sitch by deduction challenges the really necessity of the ambassadorial station. disregarding it as “showing the uneven MP’s married woman around” while suggesting that “any idiot could make it” . Thus. Sitch highlights the power of sarcasm in reviewing the pretension of political hierarchy in a humourous mode.
Similarly. Moir’s Australian Values Test reveals the function of temper as a agency of societal commentary through its inquiring of the efficaciousness of the citizenship trial as an index of nucleus Australian values. Through his reductio ad absurdum summing up of an inherently complex issue. a trademark of the signifier of the political sketch. Moir is able to capture the kernel of the Australian in-migration discourse and later critique the values that inform this discourse. Through his verisimilar word picture of the uniformed “immigration” functionaries as they sit behind a desk and record information on clipboards. Moir draws intensions of legitimate bureaucratic procedure. However this legitimacy is instantly undermined by the incongruousness of the trial itself. which measures the extent to which an person is deemed to possess Australian values by the sum of beer they are able to devour. Through the symbolism of the establishment of orgy imbibing Moir is able to accomplish a imitation of Australian society. which. whilst hyperbolic. is representative of the simplistic impressions of Australian values that inform the trial.
To this terminal. Moir challenges the really being of a de?nitive set of Australian values and by deduction he exposes the ultimate false belief of a trial that promotes such a parochial position of Australian individuality. Moir’s sketch. whilst simplistic in its temper. efforts to expose the implicit in dogmatism and exclusivism that motivates Australian patriotism. Indeed Moir’s word picture of the incongruousness of his imitations of immigrants to the stiff “Australian Values” enforced by the functionaries suggests that such a trial serves to eliminate diverseness. This effort to eliminate diverseness is apparent in the sarcasm of Moir’s imitation of an Islamic adult male whose personal spiritual value system to abstain from intoxicant is diametrically opposed to what is purported to be a cardinal Australian value. By extension Moir foreshadows that such a ardent publicity of facile impressions of Australian individuality will finally ensue in the creative activity of a homogeneous Australia. embodied in the indistinguishable visual aspect of the in-migration functionaries compared to the diverseness of the appliers.
Therefore. Moir reveals the function of apparently simplistic temper in reviewing inherently complex political orientations and the values that motivate them. Furthermore. Sitch’s humourous portraiture of the policy outlining procedure reveals the unpredictability of political aims. Sitch’s word picture of the Unit’s firm desire for a “big disbursement proclamation with a expansive sounding name” in order to glamorize an “almost boring” budget. reveals the frontages that characterise the modern political procedures. Sitch reveals the necessity of such frontages through the motive of the focal point groups. which highlight the unending demand to gratify to the ‘lowest common denominator’ of society in order to keep power within a democracy.
In uncovering this rationale Sitch by extension reviews the establishment of modern democracy. proposing that the demand for a authorities to be seen to hold “long term vision” sti?es the creative activity of substantial policy and alternatively consequences in the empty gestures epitomised by the “National Perpetual Endowment Fund” . Sitch high spots this dynamic through the burlesque of Murph’s summing up of the “economically measured” budget as a “complete disaster” . Therefore. Sitch’s usage of temper allows him to review the arti?ces inherent in a authorities driven by public perceptual experience. Ultimately. both texts reveal the signi?cance of sarcasm as a agency of reviewing complex society through the usage of temper. Indeed they emphasise the function of the ironist within society as an person who provides a differing position on the frequently widely recognized political orientations of their surroundings.