Natalie Stroud and Ashley Muddiman conduct an experiment on the public’s selection of political news, evaluating the influences of satirical and serious news on people’s partisan views. Stroud and Muddiman argue that the tendency for citizens to obtain and select political information agreeing with their predispositions has been widely demonstrated. The experiment examines if exposure to satirical news affects partisan tolerance compared with serious news. The results of the experiment demonstrate that satirical news may lead people away from articles opposing their views, as it reduces tolerance for partisan views different from their own.
Tragedy vs. Satire in IR:
The debate in question concerning the role of humor in International Relations rests in whether comedy can be an effective form of political education. Accordingly, Richard Lebow rejects any form of other literary interpretation …show more content…
Also, International Relations have been the subject of motion pictures, such as Stanley Kurbrick’s Dr Strangelove (1964), which poked fun at the silliness of the perplex fringes of nuclear strategy. Hall argues that George Orwell’s Nineteen Eighty-Four (1948), which satirizes political realism, treats the dysfunctions of politics and finternational relations, leading to further considerations of the highlighted issues in real life. For Hall, all these works offer a powerful means of political education similar to that Lebow postulates for tragedies. However, Hall clarifies that we need to pose questions about the relationship between literary genres and political theories, and how we can correlate tragedy and satire to function as modes of transmitting political
Tragedy vs. Satire in IR:
The debate in question concerning the role of humor in International Relations rests in whether comedy can be an effective form of political education. Accordingly, Richard Lebow rejects any form of other literary interpretation …show more content…
Also, International Relations have been the subject of motion pictures, such as Stanley Kurbrick’s Dr Strangelove (1964), which poked fun at the silliness of the perplex fringes of nuclear strategy. Hall argues that George Orwell’s Nineteen Eighty-Four (1948), which satirizes political realism, treats the dysfunctions of politics and finternational relations, leading to further considerations of the highlighted issues in real life. For Hall, all these works offer a powerful means of political education similar to that Lebow postulates for tragedies. However, Hall clarifies that we need to pose questions about the relationship between literary genres and political theories, and how we can correlate tragedy and satire to function as modes of transmitting political