{"title":"与蒂格·诺塔罗、汉娜·加兹比和其他人一起创作的《悲剧中的喜剧》","authors":"CYNTHIA WILLETT, JULIE WILLETT","doi":"10.1111/jaac.12765","DOIUrl":null,"url":null,"abstract":"<div>\n \n <p>The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world.</p>\n </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":null,"pages":null},"PeriodicalIF":1.0000,"publicationDate":"2020-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12765","citationCount":"3","resultStr":"{\"title\":\"The Comic in the Midst of Tragedy's Grief with Tig Notaro, Hannah Gadsby, and Others\",\"authors\":\"CYNTHIA WILLETT, JULIE WILLETT\",\"doi\":\"10.1111/jaac.12765\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div>\\n \\n <p>The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world.</p>\\n </div>\",\"PeriodicalId\":51571,\"journal\":{\"name\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":1.0000,\"publicationDate\":\"2020-11-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1111/jaac.12765\",\"citationCount\":\"3\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12765\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF AESTHETICS AND ART CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12765","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
The Comic in the Midst of Tragedy's Grief with Tig Notaro, Hannah Gadsby, and Others
The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world.
期刊介绍:
The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture.