This article reexamines the satire of Charlie Hebdo through the lens of comedy theory and cultural studies. Drawing upon Mikhail Bakhtin’s notion of “the carnivalesque” and Linda Hutcheon’s concept of “irony’s edge,” it considers the wide variety of potential meanings that are encoded within Hebdo’s highly controversial comedy and religious representations. Introducing the notion of the “ambigramic carnival,” I argue that competing notions of hegemony in French culture encourage radically different understandings of the ethical and political implications of Hebdo’s content. Ultimately, I contend that while Hebdo’s approach to satire is in no way responsible for the terroristic violence visited upon the magazine, the publication nonetheless crafted a style intended to evoke a range of responses, including profound anger. As an empirical companion to this theoretical approach, the article then turns to coverage of the Hebdo massacre in the Jewish press, arguing that in the United States the Forward used the Hebdo story to represent Jewish empowerment and disempowerment simultaneously.

中文翻译：

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狂欢节的边缘：查理周刊和喜剧理论

本文从喜剧理论和文化研究的角度重新审视了《查理周刊》的讽刺。借鉴 Mikhail Bakhtin 的“狂欢节”概念和 Linda Hutcheon 的“讽刺边缘”概念，它考虑了在 Hebdo 极具争议的喜剧和宗教表征中编码的各种潜在含义。在介绍“歧义狂欢节”的概念时，我认为法国文化中竞争性的霸权概念鼓励了对《周刊》内容的伦理和政治含义的截然不同的理解。最后，我认为，虽然 Hebdo 的讽刺方式对杂志上出现的恐怖暴力没有任何责任，但该出版物仍然精心设计了一种旨在引起一系列反应的风格，包括深切的愤怒。