Pub Date : 2024-02-12DOI: 10.1080/2040610x.2024.2315733
Sarah Ilott
{"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}
Pub Date : 2024-01-19DOI: 10.1080/2040610x.2024.2304967
Matthew McMahan
{"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}
Pub Date : 2023-12-07DOI: 10.1080/2040610x.2023.2290810
Dave Peterson
{"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}
Pub Date : 2023-11-14DOI: 10.1080/2040610x.2023.2279796
Julia Moriarty
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
{"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}
Pub Date : 2023-09-28DOI: 10.1080/2040610x.2023.2263706
Adrian Hale
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.
{"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}
Pub Date : 2023-08-29DOI: 10.1080/2040610x.2023.2252605
Ancy Anna Anto, Neerja Vyas
{"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}
Pub Date : 2023-07-13DOI: 10.1080/2040610x.2023.2234158
Houda Belkhiri
{"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}
Pub Date : 2023-04-18DOI: 10.1080/2040610x.2023.2187605
Andrew Horrall
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.
20世纪60年代，加拿大开始摆脱与英国殖民关系的政治、象征和文化痕迹。政治家、魁北克分离主义者、新移民团体和受过大学教育的年轻人质疑现代加拿大应该是什么样子。加拿大喜剧演员的部分回应是采用了英国舞台讽刺剧《边缘之外》(Beyond the Fringe)中流行的讽刺技巧。与传统的加拿大喜剧相比，《边缘之外》(Beyond the Fringe)中反传统的幽默提供了一种更直接地面对公众人物和时事的声音。加拿大讽刺作家的作品首次出现在多伦多的小俱乐部时，受到了评论界的赞扬。多伦多是加拿大的大都市，也是英语媒体的中心。随着讽刺剧越来越受欢迎，电视高管和政治人物试图利用这种新喜剧，希望自己能适应这个不断变化的国家。然而，当加拿大讽刺作家在电视、舞台和国际舞台上获得更广泛的曝光后，他们因粗俗和尖锐而令一些人震惊，同时又因过于温和而令另一些人失望。没过几年，讽刺的时代就结束了，它在加拿大喜剧史上的地位也变得模糊不清。本文试图将20世纪60年代早期加拿大的“讽刺热潮”定义为现代加拿大喜剧的基础时代，在此期间，表演者摆脱了杂耍式的笑话，以直接，不敬，愤怒，观察当代世界的幽默。如今，加拿大的讽刺作家大多不为人所知，但他们为20世纪70年代加拿大小品喜剧的诞生奠定了基础，并由此诞生了约翰·坎迪(John Candy)、尤金·利维(Eugene Levy)和凯瑟琳·奥哈拉(Catherine O’hara)等国际明星。
{"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}
Pub Date : 2023-03-29DOI: 10.1080/2040610x.2023.2188834
I. Wilkie, Richarde Talbot
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.
{"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}
Pub Date : 2023-03-21DOI: 10.1080/2040610X.2023.2187610
Houda Belkhiri
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.
每种文化都有其特有的小丑原型。在阿拉伯-伊斯兰文化中，小丑的原型是巴鲁。他是一个从真人进化而来的角色，已经成为小丑的原型。巴鲁最初是一个真实存在的人，名叫阿布·瓦哈布·巴鲁·伊本·阿姆鲁，他是一位阿拉伯-伊斯兰神秘主义哲学家、诗人和讲师，住在伊拉克和喀布尔。在阿拔斯王朝时期，他为了躲避统治者的愤怒，自由地批评社会和政治，经常伪装成巴鲁尔出现。Abou Wahab Bahlul Ibn Amr将自己从一个严肃的人物转变为一个社会傻瓜，许多人会注意到他与达尔文的原型融合在一起。然而，我认为，通过尼采的时间哲学，达尔文不是一个巴鲁，尽管他们有相似之处。我坚持认为，巴鲁尔可以成为达尔维什，但达尔维什不能成为巴鲁尔。此外，书中还将详细介绍巴鲁的戏谑、宗教诗歌、轶事、反对哈伦·拉希德和他的儿子阿尔·马蒙等当权者的政治活动等内容。这些人甚至很欣赏巴鲁，偶尔也会征求他的意见。
{"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}
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