《笑的力量:杰西·雷德蒙·福塞特和幽默的种族和性别政治》

IF 0.9 0 HUMANITIES, MULTIDISCIPLINARY
Sabrina Fuchs Abrams
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引用次数: 0

摘要

摘要:非裔美国女作家的幽默在很大程度上被忽视和低估,部分原因是人们对女性化的、从属的行为有错误的期望,这种期望排除了与幽默相关的攻击性和不敬的表达。本文重新评价了杰西·雷蒙·福塞作为一位感性的资产阶级女作家的声誉,审视了她如何用反讽和讽刺来挑战种族和性别的刻板印象,并成为哈莱姆文艺复兴时期女性幽默作家的先驱。在她的散文《笑的礼物》和她最著名的小说《梅子包》(1928)中,福塞用幽默作为一种间接的社会抗议形式,颠覆了新女性和新黑人女性的种族和性别刻板印象,动摇了婚姻情节和短暂情节的资产阶级、情感传统。本文从黑人女权主义幽默的最新理论出发,对福塞的小说进行了重新梳理,从而有助于恢复福塞在哈莱姆文艺复兴运动的领导和持久的声音中应有的地位。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Power of Laughter: Jessie Redmon Fauset and the Racial and Gender Politics of Humor
ABSTRACT:Humor by African American women writers has been largely overlooked and undervalued owing in part to the misguided expectation of feminine, subordinate behavior that precludes the expression of aggression and irreverence associated with humor. This article reappraises Jessie Redmon Fauset’s reputation as a sentimental, bourgeois female writer, looking at how she uses irony and satire to challenge racial and gender stereotypes and become a pioneering female humorist of the Harlem Renaissance. In her essay “The Gift of Laughter” and her best-known novel, Plum Bun (1928), Fauset uses humor as an indirect form of social protest to subvert racial and gender stereotypes of the New Woman and the New Negro Woman and to unsettle bourgeois, sentimental conventions of the marriage plot and the passing plot. Through a reframing of Fauset’s novel in light of recent theories of Black feminist humor, this article helps to restore Fauset’s rightful place among the leading and lasting voices of the Harlem Renaissance.
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来源期刊
Studies in American Humor
Studies in American Humor HUMANITIES, MULTIDISCIPLINARY-
CiteScore
1.40
自引率
90.00%
发文量
39
期刊介绍: Welcome to the home of Studies in American Humor, the journal of the American Humor Studies Association. Founded by the American Humor Studies Association in 1974 and published continuously since 1982, StAH specializes in humanistic research on humor in America (loosely defined) because the universal human capacity for humor is always expressed within the specific contexts of time, place, and audience that research methods in the humanities strive to address. Such methods now extend well beyond the literary and film analyses that once formed the core of American humor scholarship to a wide range of critical, biographical, historical, theoretical, archival, ethnographic, and digital studies of humor in performance and public life as well as in print and other media. StAH’s expanded editorial board of specialists marks that growth. On behalf of the editorial board, I invite scholars across the humanities to submit their best work on topics in American humor and join us in advancing knowledge in the field.
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