ABSTRACT
In discussions on the emergence of political correctness, and in accordance with the comedy, S. Hall elaborates upon the idea that political correctness is often perceived through a liberal lens that focuses on the individualisation of personal rights. Attempts to renunciate one’s Eurocentric culture, masked in examples of political correctness, invariably promote a cultural arrogance that paradoxically works to maintain certain ‘illiberal’ practices. While political correctness is geared towards preventing ‘offence’, it has, in the case of right-wing politicians, been used as a way of emphasising the detrimental impact of forms of censorship on political actions that are frequently deemed to be in the interests of a ‘political elite’. As a consequence, the ‘New Social Movements’ would result in a political picture that was largely ‘post-political’. British comedy frequently resorts to examples of trivialisation, while remaining critical of certain political figures, movements and broader social and cultural changes, has only served to maintain a paradoxical position in popular culture.
