Getting the Joke: Self -Deprecating Humor in Anh Do’s The Happiest Refugee

Q1 Arts and Humanities
Jacqui Dickin
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引用次数: 0

Abstract

Abstract Self-deprecating humor, the comedic act of making oneself the butt of the joke, is a staple of the Australian comedy industry and part of Australia’s national self-concept. Vietnamese Australian Anh Do is one of Australia’s most famous migrant comedians and performs self-deprecating humor while drawing on sometimes traumatic experiences from his personal life as part of his stand-up comedy sets. This essay examines how Do’s style of self-deprecating comedy extends from his stand-up comedy to his national bestselling memoir The Happiest Refugee (2010). The author argues that Do’s self-deprecating humor smuggles trauma to Australian audiences through laughs, and she explores the ambiguity in Do’s ability to occupy opposing identities of the “Other” and the “Aussie kid|bogan” simultaneously. Additionally, the author discusses how Do’s use of humor in his life narrative negotiates model-minority expectations leveled against Asian Australians to turn, in a subtle way, what appears to be a joke on him into a joke about the audience.
懂笑话:安都的《最快乐的难民》中的自嘲幽默
自嘲式幽默,即把自己变成笑柄的喜剧行为,是澳大利亚喜剧产业的主要内容,也是澳大利亚民族自我概念的一部分。越南裔澳大利亚人Anh Do是澳大利亚最著名的移民喜剧演员之一,他在自己的单口喜剧中表演自嘲式的幽默,有时会从他的个人生活中汲取创伤经历。本文探讨了多的自嘲喜剧风格是如何从他的单口喜剧延伸到他的全国畅销回忆录《最快乐的难民》(2010)。作者认为,杜德华的自嘲式幽默通过笑声将创伤偷运给澳大利亚观众,她探讨了杜德华同时拥有“他者”和“澳洲小孩”对立身份的能力中的模糊性。此外,作者还讨论了杜德华如何在他的生活叙事中运用幽默,与模范少数族裔对亚裔澳大利亚人的期望进行协商,以一种微妙的方式,把对他自己的笑话变成了对观众的笑话。
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来源期刊
a/b: Auto/Biography Studies
a/b: Auto/Biography Studies Arts and Humanities-Literature and Literary Theory
CiteScore
0.80
自引率
0.00%
发文量
27
期刊介绍: a /b: Auto/Biography Studies enjoys an international reputation for publishing the highest level of peer-reviewed scholarship in the fields of autobiography, biography, life narrative, and identity studies. a/b draws from a diverse community of global scholars to publish essays that further the scholarly discourse on historic and contemporary auto/biographical narratives. For over thirty years, the journal has pushed ongoing conversations in the field in new directions and charted an innovative path into interdisciplinary and multimodal narrative analysis. The journal accepts submissions of scholarly essays, review essays, and book reviews of critical and theoretical texts as well as proposals for special issues and essay clusters. Submissions are subject to initial appraisal by the editors, and, if found suitable for further consideration, to independent, anonymous peer review.
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