Comedy Studies最新文献

{"title":"UK and Irish Television Comedy: Representations of Region, Nation, and Identity\u0000 \u0000 UK and Irish Television Comedy: Representations of Region, Nation, and Identity\u0000 \u0000 , edited by Mary Irwin and Jill Marshall. Cham: Palgrave, 2023, 250 pp. ISBN 978-3-031-23628-0","authors":"Sarah Ilott","doi":"10.1080/2040610x.2024.2315733","DOIUrl":"https://doi.org/10.1080/2040610x.2024.2315733","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"54 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139782354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Playing nice in the face of bigotry: Bassem Youssef and Islamophobia in the United States","authors":"Matthew McMahan","doi":"10.1080/2040610x.2024.2304967","DOIUrl":"https://doi.org/10.1080/2040610x.2024.2304967","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"58 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139613418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘It isn’t desolate because you are here’: Lorraine Hansberry’s comedy in\u0000 Raisin in the Sun\u0000 and ‘The Arrival of Mr. Todog’","authors":"Dave Peterson","doi":"10.1080/2040610x.2023.2290810","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2290810","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"6 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138592592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"That funny feeling: the tragic stylings of Bo Burnham’s <i>Inside</i>","authors":"Julia Moriarty","doi":"10.1080/2040610x.2023.2279796","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2279796","url":null,"abstract":"AbstractBo Burnham’s Inside, promoted as a musical comedy special by its platform Netflix, released in June 2021 to almost unquestioning praise, and has now won 3 Emmys. The work is an evocative retrospective of Burnham’s fictionalized experience during the Covid-19 quarantine. Written, performed, filmed, and edited by Burnham himself, the piece reflects his career as a musical comedy performance artist, and also provides an intimate look into his struggles with mental health, internet culture, and artistic ego. Of particular appeal in this piece is the complex pairing of comedy with pathos. Its songs have become ironic backgrounds to TikTok videos and popular sea shanty renditions. Critics remark: ‘What he’s describing is the near-universal feeling of despair in 2020. And that feels good’ (Herman Citation2021); ‘A tricky work that for all its boundary-crossing remains in the end a comedy in the spirit of neurotic, self-loathing stand-up’ (Zinoman Citation2021); ‘A claustrophobic masterclass in comedy and introspection, Inside is a beautifully bleak, hilariously hopeful special’ (Rotten Tomatoes). It is this complexity which I seek to investigate. I assert that Bo Burnham’s Inside achieves its poignancy not through its comedic stylings, but through its implementation of a traditional Aristotelian tragic structure. This paper will discuss the ways in which Burnham follows the tragic structure and the monomyth while engaging with, and subverting, benign violation theory to provide a postmodern catharsis in its audience that feels like comedy, but ultimately provides a shared expression of, and outlet for, the audience’s grief.Keywords: Tragedybenign violationBo BurnhamAristotlemonomyth Disclosure statementNo potential conflict of interest was reported by the author.Notes1 Perhaps sadly, the short song ‘Biden’—which includes the refrain ‘how is the best-case scenario Joe Biden?’—was cut from the special.2 Shout out to the unmitigated bop that is ‘Jeffrey Bezos.’Additional informationNotes on contributorsJulia MoriartyJulia Moriarty holds a PhD in theatre from Wayne State University in Detroit, an MA in theatre education from Emerson College and dual BAs in Theatre and Psychology from Drake University. She is also a certified teacher of the Michael Chekhov Acting Technique with the Great Lakes Michael Chekhov Consortium. She is a Visiting Assistant Professor of Theatre History at Millikin University and the Director of Education and Outreach at Hope Repertory Theatre. She has worked as a director, dramaturg, performer, and teaching artist throughout the country, notably at the Jewish Ensemble Theatre in Detroit, Lyric Stage Company of Boston, and Heart of America Shakespeare Festival in Kansas City. Julia is the co-founder and co-editor-in-chief of Etudes, a theatre and performance studies journal for emerging scholars. She has also served in leadership with the Mid-America Theatre Conference and the Theory and Criticism Focus Group within the Associ","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"10 12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134901658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"<i>Joking, prophetically:</i> the use of humour in Mormon leaders’ sermons","authors":"Adrian Hale","doi":"10.1080/2040610x.2023.2263706","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2263706","url":null,"abstract":"The use of humour in sermons may seem incongruous, or distracting, since the traditional sermon’s function is seriously didactic. Nevertheless, and unusually perhaps for a ‘new’ minority Christian denomination whose members have a reputation for being ‘rather dour and pious’, there exists a strong tradition in the MormonFootnote1 Church for sermonic humour. Indeed, this tradition is officially sanctioned and modelled by Church leaders, who - regarded by the membership as modern-day prophets and apostles - thus lend the tradition ecclesiastical authority endorsement. This paper seeks to contribute to the emerging area of research into minorities and humour, by presenting the results of an analysis of Church leaders’ sermonic humour. To study one religious minority’s sermonic humour, is to add to our wider understanding of minorities’ humour practices, suggesting how they might intersect with each other in an increasingly multicultural-multireligious community such as the USA.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135386615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Political satire as alternative journalism in Indian stand-up comedy","authors":"Ancy Anna Anto, Neerja Vyas","doi":"10.1080/2040610x.2023.2252605","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2252605","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47083226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The philosophy of clowning: a “clownversation” with Jon Davison on 28/04/2022","authors":"Houda Belkhiri","doi":"10.1080/2040610x.2023.2234158","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2234158","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42644321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Tracing the events and impacts of the Canadian satire boom of the 1960s","authors":"Andrew Horrall","doi":"10.1080/2040610x.2023.2187605","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2187605","url":null,"abstract":"Abstract In the 1960s, Canada began shedding political, symbolic and cultural vestiges of its colonial ties to Britain. Politicians, Quebec separatists, new immigrant groups and university educated young people questioned what a modern Canada should be. Canadian comedians responded in part by adapting satirical techniques popularised by British stage revues like Beyond the Fringe, whose iconoclastic humour provided a voice with which to confront public figures and current events much more directly than had been done in traditional Canadian comedy. Canadian satirists drew critical praise when they first appeared in small clubs in Toronto, the country’s metropolis and the centre of English-language media. As satire’s popularity grew, television executives and political figures tried to harness the new comedy in hopes of appearing attuned to a changing country. However, when Canadian satirists received wider exposure on television, stage and internationally they shocked some people as vulgar and strident, while disappointing others for being too gentle. Within a very few years, satire’s moment was over, and its place in Canadian comedy history is obscure. This article attempts to define Canada’s ‘satire boom’ of the early-1960s as a foundational era for modern Canadian comedy, during which performers shed vaudeville tropes jokes for direct, irreverent, angry, observational humour about the contemporary world. Where Canada’s satirists are mostly unknown today, they helped lay the foundations on which the Canadian sketch comedy of the 1970s was built, and from which emerged international stars like John Candy, Eugene Levy and Catherine O’Hara.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"145 - 162"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42152273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"37 Funny fragments: the UoS Comedy and Performance Art Project assemblage","authors":"I. Wilkie, Richarde Talbot","doi":"10.1080/2040610x.2023.2188834","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2188834","url":null,"abstract":"Abstract What follows is an account of the ongoing University of Salford (UoS) Comedy and Performance Art Project. This has evolved into a series of staged and recorded ‘Non-Events’ that broadly seek to uncover any interactions between the fields of Comedy Practices and Performance Art. The report that follows takes the form of a ‘Kaprow-ian assemblage’ of fragments that attempts to capture both the rationale and the spirit of enquiry behind the UoS Comedy and Performance Art Project.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"247 - 262"},"PeriodicalIF":0.0,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43808428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bahlul: an Arab-Islamic clown archetype, a ‘wise fool’, mystic philosophe and a state-bug","authors":"Houda Belkhiri","doi":"10.1080/2040610X.2023.2187610","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2187610","url":null,"abstract":"Abstract Each culture is specific with its clown archetype. In Arab-Islamic culture, the clown archetype is Bahlul. He is a character that has evolved from a real person and has become an archetype of clowning. Bahlul was originally a real person, Abou Wahab Bahlul Ibn Amr, who was an Arab-Islamic mystic philosopher, poet, and lecturer who lived in Iraq and Kabul. He often appeared in the disguise of Bahlul during the time of the Islamic Abbasid Caliphate in order to escape the wrath of rulers and freely criticise society and politics. Abou Wahab Bahlul Ibn Amr transformed himself from a serious character to a social fool, and many would notice that he melts in one pot with the archetype of Darvishe/Darwishe. However, I argue, and through Nietzsche’s philosophy of time, that the Darwishe/Darvish is not a Bahlul, despite their similarities. I insist that a Bahlul can be a Darwish, but a Darwish cannot be a Bahlul. Furthermore, a detailed section will be dedicated to Bahlul, where his banters, religious poems, anecdotes, and political activities in defiance of men in power such as Harun Al-Rachid and his son Al-Ma’mun will be discussed. These men even appreciated Bahlul and sought his advice occasionally.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"177 - 190"},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47879108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}