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Voicing the 'knacker' : analysing the comedy of the Rubberbandits.

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dc.contributor.author Vaughan, Elaine
dc.contributor.author Moriarty, Máiréad
dc.date.accessioned 2018-05-02T11:22:24Z
dc.date.issued 2018
dc.identifier.isbn 978-3-319-66028-8
dc.identifier.uri http://hdl.handle.net/10344/6808
dc.description peer-reviewed en_US
dc.description.abstract This chapter discusses mediated representations of voice in the performances of the Rubberbandits, a comedy duo from Limerick in Ireland. Limerick is a city with a national reputation for social disadvantage and criminal gangs, and the Rubberbandits' particular brand of satirical and musical comedy is based on the inner-city urban identity of Limerick. They appropriate and localise rap and hip hop genres to the context of Limerick city in their original music, and a strong element of the absurd runs through their other comedy performances. A kind of sociocultural heteroglossia surrounds their performances: the real-life voices of the Rubberbandits are radically different to the alter-egos they inhabit as part of their performance. However, although their actual identities are known, the Rubberbandits always appear incognito, with plastic bags covering their faces, and when interviewed stay in the characters of their alter-egos, Mr Chrome and Blind Boy Boat Club. Their comedy, we argue, is a site where engagement and management of social relations are evident, and where hegemonic discourses surrounding voices from the margins of Limerick city are challenged, particularly in their dismantling/challenging of the vaguely defined social construct, knacker - a construct which is very roughly analogous to chav in the UK. The humour of the Rubberbandits can be read in terms of ideologies of class distinction and their deliberate lampooning of aspects of working class Limerick has the potential to amend misinformed or misrepresented ideas of Limerick city. We examine the linguistic and semiotic resources the Rubberbandits draw on to voice the 'Limerick knacker' and use corpus tools combined with theoretical frameworks from contemporary sociolinguistics to deconstruct and interpret the performances. en_US
dc.language.iso eng en_US
dc.publisher Palgrave Macmillan en_US
dc.relation.ispartofseries Voice and Discourse in the Irish Context, Villanueva Romero, Diana, Amador-Moreno, Carolina P., Sánchez García, Manuel (Eds.);pp. 13-45
dc.relation.uri htpp://dx.doi.org/10.1007/978-3-319-66029-5
dc.rights This extract is taken from the author's original manuscript and has not been edited. The definitive version of this piece may be found in Voice and Discourse in the Irish Context, Villanueva Romero, Diana, Amador-Moreno, Carolina P., Sánchez García, Manuel, Eds, pp. 13-45, en_US
dc.subject stylisation; mediated representations; Irish English; humour en_US
dc.subject performance style en_US
dc.subject stylisation en_US
dc.subject mediated representations en_US
dc.subject Irish English en_US
dc.subject humour en_US
dc.title Voicing the 'knacker' : analysing the comedy of the Rubberbandits. en_US
dc.type info:eu-repo/semantics/bookPart en_US
dc.type.supercollection all_ul_research en_US
dc.type.supercollection ul_published_reviewed en_US
dc.date.updated 2018-05-01T09:46:17Z
dc.identifier.doi 10.1007/978-3-319-66029-5
dc.date.embargoEndDate 2021-03-18
dc.embargo.terms 2021-03-18 en_US
dc.rights.accessrights info:eu-repo/semantics/openAccess en_US
dc.internal.rssid 2742991
dc.internal.copyrightchecked Yes
dc.identifier.journaltitle Voice and Discourse in the Irish Context
dc.description.status Peer reviewed


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