Ethnic Caricature and the Comic Sensibility

J. Cole
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Abstract

When realists engage in comedy, they are hardly ever funny. Their comic efforts strike the reader as clumsy intrusions into a world that is otherwise governed by natural or societal forces. Yet the comic mode, and an aspect of the comic that could be called the comic sensibility, can be contextualized within and against realism. Liminal and transgressive, the comic sensibility solved some of the representative conundrums of realism, disrupting its smooth surfaces and thumbing its nose at determinism. The comic sensibility depended heavily on caricature—specifically, ethnic caricature—and while ethnic caricature usually denigrated its subjects, in notable cases, as in the work of Charles Chesnutt, Stephen Crane, Bruno Lessing (Rudolph Block), vaudeville comedians, and comic-strip artists, the comic sensibility provided openings for ethnic and racial minorities to make meaning, form a collective identity, and foster solidarity.
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民族漫画和喜剧感性
当现实主义者搞喜剧时,他们几乎从来都不搞笑。他们的喜剧努力给读者的印象是,他们笨拙地闯入了一个由自然或社会力量统治的世界。然而,喜剧模式,以及喜剧的一个方面,可以被称为喜剧感性,可以在现实主义中被语境化,也可以与现实主义对立。喜剧感性的界限和越界,解决了现实主义的一些代表性难题,打破了它光滑的表面,对决定论嗤之以鼻。喜剧的敏感性很大程度上依赖于漫画,特别是种族漫画,而种族漫画通常诋毁其主题,在著名的情况下,如查尔斯·切斯纳特、斯蒂芬·克兰、布鲁诺·莱辛(鲁道夫·布洛克)、杂剧喜剧演员和连环画艺术家的作品中,喜剧的敏感性为少数民族和种族提供了机会,使其具有意义,形成集体身份,并促进团结。
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