Pub Date : 2022-11-30DOI: 10.1080/2040610X.2023.2149317
Vishaka Venkat
Abstract This study looks into the relation between the comic and anger. Specifically, the paper analyses how anger emerges as the flip side of the comic, by studying the theory of emotions as presented in Bharatamuni’s Nāṭyaśāstra. The performative languages of the comic (hāsya) and anger (raudra) are closely examined. By analysing the features of hāsya and raudra the study attempts to prove the mutative tendency of the comic to anger.
{"title":"The aesthetics of hāsya and raudra in Nāṭyaśāstra: anger as the flip side of the comic sentiment","authors":"Vishaka Venkat","doi":"10.1080/2040610X.2023.2149317","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149317","url":null,"abstract":"Abstract This study looks into the relation between the comic and anger. Specifically, the paper analyses how anger emerges as the flip side of the comic, by studying the theory of emotions as presented in Bharatamuni’s Nāṭyaśāstra. The performative languages of the comic (hāsya) and anger (raudra) are closely examined. By analysing the features of hāsya and raudra the study attempts to prove the mutative tendency of the comic to anger.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"120 - 132"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48315220","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 : 2022-11-30DOI: 10.1080/2040610x.2023.2149378
Oliver Double
{"title":"‘My life fell apart. Are you happy now?’: an interview with Laura Lexx","authors":"Oliver Double","doi":"10.1080/2040610x.2023.2149378","DOIUrl":"https://doi.org/10.1080/2040610x.2023.2149378","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"133 - 140"},"PeriodicalIF":0.0,"publicationDate":"2022-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43631776","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 : 2022-11-27DOI: 10.1080/2040610X.2023.2149207
Ayo Osisanwo, Omolade Ilesanmi
Abstract Humour in Nigerian stand-up comedy is used as a weapon against the strong and the weak in society. Existing studies have examined the use of humour using the theories of pragmatics but have not specifically examined how gender, ethnic and class are reflected in stand-up comedies. Therefore, this study examines the humour strategies in selected Nigerian stand-up comedies with a view to identifying how gender, ethnic and class are reflected in the comedies. Attardo and Raskin’s general theory of verbal humour was adopted as framework. The data for the study were purposively collected from stand-up comedy performances of Bovi, Akpororo, Basket Mouth and Kenny Blaq on the YouTube channel. The comedians reflect gender, class and ethnic while narrating the events that surround the participants in the joke. These comedians primarily used Nigerian Pidgin in narrating the activity-in-the-joke. In the data collected for the study, the selected Nigerian stand-up comedians (SNSCs) operated on two main contexts: context-of-the-joke and context-in-the-joke. The SNSCs adopted different humour strategies such as comparison, distortion of shared knowledge, projection of collective belief and denigration. The SNSCs employ the strategies in their performances to expose certain facts about the issues surrounding man in the society, point out ills and to show their creativity.
{"title":"Gender, ethnic and class as humour strategies in stand-up comedy of Bovi, Kenny Blaq, Akpororo and Basket Mouth","authors":"Ayo Osisanwo, Omolade Ilesanmi","doi":"10.1080/2040610X.2023.2149207","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149207","url":null,"abstract":"Abstract Humour in Nigerian stand-up comedy is used as a weapon against the strong and the weak in society. Existing studies have examined the use of humour using the theories of pragmatics but have not specifically examined how gender, ethnic and class are reflected in stand-up comedies. Therefore, this study examines the humour strategies in selected Nigerian stand-up comedies with a view to identifying how gender, ethnic and class are reflected in the comedies. Attardo and Raskin’s general theory of verbal humour was adopted as framework. The data for the study were purposively collected from stand-up comedy performances of Bovi, Akpororo, Basket Mouth and Kenny Blaq on the YouTube channel. The comedians reflect gender, class and ethnic while narrating the events that surround the participants in the joke. These comedians primarily used Nigerian Pidgin in narrating the activity-in-the-joke. In the data collected for the study, the selected Nigerian stand-up comedians (SNSCs) operated on two main contexts: context-of-the-joke and context-in-the-joke. The SNSCs adopted different humour strategies such as comparison, distortion of shared knowledge, projection of collective belief and denigration. The SNSCs employ the strategies in their performances to expose certain facts about the issues surrounding man in the society, point out ills and to show their creativity.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"20 - 35"},"PeriodicalIF":0.0,"publicationDate":"2022-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47421011","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 : 2022-11-25DOI: 10.1080/2040610X.2023.2149218
Marcell Machado Marchioro
Abstract The pandemic in 2020 brought cinematographic productions around the world to a standstill. Some artists, now at home, kept their production routine and had to adapt to the new reality. In comedy, the result was an apparent similarity between the production of established comedians and newcomers, the latter natives of the digital environment. Was this a moment when comedians of different status were on an “equal footing”? This research sought to identify the similarities and differences between the humor production of established comedians compared to the content produced by up-and-coming artists in 2020, with attention to aspects such as audience, visuals and content. Twenty publications by Brazilian comedians Marcelo Adnet, Ademara Barros, Tom Cavalcante and Lorrane Silva were subjected to a quantitative and qualitative analysis that sought to understand the impact of the pandemic on the performance of established comedians and on the rise of certain up-and-coming comedians. The result of the investigation indicates a greater presence of differences between the analyzed material, mainly in terms of content, audiovisual resources and duration. Hypotheses that aim to explain these results were pointed out in the conclusion.
{"title":"On an equal footing: the performance of up-and-coming and established comedians during social distancing","authors":"Marcell Machado Marchioro","doi":"10.1080/2040610X.2023.2149218","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149218","url":null,"abstract":"Abstract The pandemic in 2020 brought cinematographic productions around the world to a standstill. Some artists, now at home, kept their production routine and had to adapt to the new reality. In comedy, the result was an apparent similarity between the production of established comedians and newcomers, the latter natives of the digital environment. Was this a moment when comedians of different status were on an “equal footing”? This research sought to identify the similarities and differences between the humor production of established comedians compared to the content produced by up-and-coming artists in 2020, with attention to aspects such as audience, visuals and content. Twenty publications by Brazilian comedians Marcelo Adnet, Ademara Barros, Tom Cavalcante and Lorrane Silva were subjected to a quantitative and qualitative analysis that sought to understand the impact of the pandemic on the performance of established comedians and on the rise of certain up-and-coming comedians. The result of the investigation indicates a greater presence of differences between the analyzed material, mainly in terms of content, audiovisual resources and duration. Hypotheses that aim to explain these results were pointed out in the conclusion.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"64 - 74"},"PeriodicalIF":0.0,"publicationDate":"2022-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42206077","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 : 2022-11-24DOI: 10.1080/2040610X.2023.2149298
Thomas A. Salek
Abstract In January of 2014, comedian Bill Maher sought to alter Americans’ perception of the federal political system through a satirical advocacy campaign named #FlipADistrict. Through an alternative reading of Kenneth Burke’s understanding of satire, scapegoating, and mortification, I argue that #FlipADistrict fostered a critical sense of political awareness and responsibility in Maher’s televised audience. By outlining a comically oriented form of satire or satyric satire, this essay connects political humour to Burke’s comic frame. Rather than fostering cynicism, this essay posits that #FlipADistrict’s comically oriented form of satire advocated Americans become aware of their piety to political partisanship or complacency.
{"title":"Flipping off political complacency and cynicism: satyric satire as a comic corrective in Bill Maher’s 2014 #FlipADistrict campaign","authors":"Thomas A. Salek","doi":"10.1080/2040610X.2023.2149298","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149298","url":null,"abstract":"Abstract In January of 2014, comedian Bill Maher sought to alter Americans’ perception of the federal political system through a satirical advocacy campaign named #FlipADistrict. Through an alternative reading of Kenneth Burke’s understanding of satire, scapegoating, and mortification, I argue that #FlipADistrict fostered a critical sense of political awareness and responsibility in Maher’s televised audience. By outlining a comically oriented form of satire or satyric satire, this essay connects political humour to Burke’s comic frame. Rather than fostering cynicism, this essay posits that #FlipADistrict’s comically oriented form of satire advocated Americans become aware of their piety to political partisanship or complacency.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"104 - 119"},"PeriodicalIF":0.0,"publicationDate":"2022-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45033422","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 : 2022-11-22DOI: 10.1080/2040610X.2022.2149221
Mohammad Zaid
Abstract This research paper sets out to discuss the identity formation and self-presentation of the main character, Arthur, in the Joker film (2019), while focusing on psychological and sociopolitical elements comprising the mental capacity of Arthur (henceforth, the Joker), his social upbringing and childhood trauma, and the corrupt superstructure (i.e., ruling class). The research explores the aforementioned mechanisms that actively participate in the social identity formation of the Joker, starting from his socially unjustified mental illness that affected base structures (i.e., large masses) awareness to ruling class hegemony to glorifying the joker’s personality as a public hero despite the horrendous crimes he committed. In effect, they patronize him as a symbol of resistance and against capitalist discourses and ruling class corruption while disregarding his horrible actions. This research examines the transformation of the Joker’s identity from a comedian to a murderer, showing the norms or matrix of society that helped in the transformation of Joker’s identity ideologically and psychologically. The researcher uses a content analysis of certain scenes depicting the Joker as a hero or a criminal in society.
{"title":"The Joker movie: the representation of self based on hegemony theory","authors":"Mohammad Zaid","doi":"10.1080/2040610X.2022.2149221","DOIUrl":"https://doi.org/10.1080/2040610X.2022.2149221","url":null,"abstract":"Abstract This research paper sets out to discuss the identity formation and self-presentation of the main character, Arthur, in the Joker film (2019), while focusing on psychological and sociopolitical elements comprising the mental capacity of Arthur (henceforth, the Joker), his social upbringing and childhood trauma, and the corrupt superstructure (i.e., ruling class). The research explores the aforementioned mechanisms that actively participate in the social identity formation of the Joker, starting from his socially unjustified mental illness that affected base structures (i.e., large masses) awareness to ruling class hegemony to glorifying the joker’s personality as a public hero despite the horrendous crimes he committed. In effect, they patronize him as a symbol of resistance and against capitalist discourses and ruling class corruption while disregarding his horrible actions. This research examines the transformation of the Joker’s identity from a comedian to a murderer, showing the norms or matrix of society that helped in the transformation of Joker’s identity ideologically and psychologically. The researcher uses a content analysis of certain scenes depicting the Joker as a hero or a criminal in society.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"84 - 93"},"PeriodicalIF":0.0,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42764048","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 : 2022-11-22DOI: 10.1080/2040610x.2022.2149362
G. White
{"title":"Review of Huw Marsh, The comic turn in contemporary English fiction: who’s laughing now","authors":"G. White","doi":"10.1080/2040610x.2022.2149362","DOIUrl":"https://doi.org/10.1080/2040610x.2022.2149362","url":null,"abstract":"","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"141 - 143"},"PeriodicalIF":0.0,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43419484","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 : 2022-11-22DOI: 10.1080/2040610X.2023.2149216
Qianni Zhou
Abstract Nowadays, the comedy industry is threatened by Cancel Culture and comedians are cautious about sensitive themes. Dave Chapelle and Ali Wong are standup comedians in American, their comedy performances The Closer and Baby Cobra released on Netflix were considered ‘insulting’ and ‘offensive’ by cancel culture. This article examines the relationships among cancel culture, comedians, and commercial institutions by the case study of Dave Chapelle and Ali Wong. Exploring whether comedy is limited by the censorship system and cancel culture. I argue that the cancel culture supporters will pressure on institutions that have real power on the cancelling of public figures. To prevent misjudging the intentions behinds the jokes, the cancel culture should examine the ‘offensive’ materials carefully. I will further explain the argument in detail by focusing on the rebellious nature of comedy, the multiple stakeholders involved in the censorship process, celebrity Schadenfreude culture, freedom of speech, and the price of repression, all of which are likely to make the censorship of comedy short-sighted.
{"title":"Ought comedies be censored? Take Dave Chapelle and Ali Wong as case studies","authors":"Qianni Zhou","doi":"10.1080/2040610X.2023.2149216","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149216","url":null,"abstract":"Abstract Nowadays, the comedy industry is threatened by Cancel Culture and comedians are cautious about sensitive themes. Dave Chapelle and Ali Wong are standup comedians in American, their comedy performances The Closer and Baby Cobra released on Netflix were considered ‘insulting’ and ‘offensive’ by cancel culture. This article examines the relationships among cancel culture, comedians, and commercial institutions by the case study of Dave Chapelle and Ali Wong. Exploring whether comedy is limited by the censorship system and cancel culture. I argue that the cancel culture supporters will pressure on institutions that have real power on the cancelling of public figures. To prevent misjudging the intentions behinds the jokes, the cancel culture should examine the ‘offensive’ materials carefully. I will further explain the argument in detail by focusing on the rebellious nature of comedy, the multiple stakeholders involved in the censorship process, celebrity Schadenfreude culture, freedom of speech, and the price of repression, all of which are likely to make the censorship of comedy short-sighted.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"54 - 63"},"PeriodicalIF":0.0,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47435601","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 : 2022-11-22DOI: 10.1080/2040610X.2023.2149220
Cate Watson
Abstract This paper argues that comedy is the essence of the human condition. In setting out my case I draw on the work of French process philosopher, Henri Bergson. Here I present an exploration of Bergson’s work showing how his theory of comedy, set out in Laughter (1900), influenced his later writings, notably Creative Evolution (1907). In Laughter, Bergson explores the social purpose of laughter and argues that it is ‘rigidity’ that in all cases brings about our downfall and gives rise to laughter as a social corrective. This is expressed in his famous apothegm ‘something mechanical encrusted on the living’. Here I show how these ideas are relevant to a central theme of Creative Evolution, the development of human intelligence. Though intelligence, through invention, fits us to our environment it results in what Bergson calls a ‘mechanistic habit of mind’ which produces irony as the fundamental human condition.
{"title":"‘Shipwrecked by the laughter of the gods’: Henri Bergson’s theory of comedy and the meaning of life","authors":"Cate Watson","doi":"10.1080/2040610X.2023.2149220","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149220","url":null,"abstract":"Abstract This paper argues that comedy is the essence of the human condition. In setting out my case I draw on the work of French process philosopher, Henri Bergson. Here I present an exploration of Bergson’s work showing how his theory of comedy, set out in Laughter (1900), influenced his later writings, notably Creative Evolution (1907). In Laughter, Bergson explores the social purpose of laughter and argues that it is ‘rigidity’ that in all cases brings about our downfall and gives rise to laughter as a social corrective. This is expressed in his famous apothegm ‘something mechanical encrusted on the living’. Here I show how these ideas are relevant to a central theme of Creative Evolution, the development of human intelligence. Though intelligence, through invention, fits us to our environment it results in what Bergson calls a ‘mechanistic habit of mind’ which produces irony as the fundamental human condition.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"75 - 83"},"PeriodicalIF":0.0,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47449103","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 : 2022-11-22DOI: 10.1080/2040610X.2023.2149222
C. Peters
Abstract This article contextualises a specific lineage of the Pochinko tradition of clowning – which the author refers to as the Mump and Smoot Lineage – before offering an analysis of Judith Butler’s argument for the necessity of fantasy in social change. Putting these two analyses into dialogue, the article offers provocations and theories as to how clowning might provide a fruitful avenue for social justice-motivated fantasy as it is described by Judith Butler. The paper asks and offers responses to two central questions. Firstly, how might understanding clowning’s relationship to social justice pursuits be of use to those creating clown performances? Secondly, how can the practice and craft of the Mump and Smoot Lineage of the Pochinko Tradition of Cowning (MSLPTC) work in service of social justice aims? The author argues that the methodologies of this lineage do not require great alterations to work in meaningful service of social justice aims; the use of a message to the world, the focus on imaginative embodiment, and many of the lineage’s rules are easily deployed in service of social justice-oriented creation. In making these assertions, the author articulates a hope for further research into clowning and its intersections with social justice practice and also that clown practitioners might use their existing practices to further social justice goals.
{"title":"Red-nosed fantasies of the future: a framework for social justice-informed performance creation in the Mump and Smoot Lineage of the Pochinko tradition of clowning","authors":"C. Peters","doi":"10.1080/2040610X.2023.2149222","DOIUrl":"https://doi.org/10.1080/2040610X.2023.2149222","url":null,"abstract":"Abstract This article contextualises a specific lineage of the Pochinko tradition of clowning – which the author refers to as the Mump and Smoot Lineage – before offering an analysis of Judith Butler’s argument for the necessity of fantasy in social change. Putting these two analyses into dialogue, the article offers provocations and theories as to how clowning might provide a fruitful avenue for social justice-motivated fantasy as it is described by Judith Butler. The paper asks and offers responses to two central questions. Firstly, how might understanding clowning’s relationship to social justice pursuits be of use to those creating clown performances? Secondly, how can the practice and craft of the Mump and Smoot Lineage of the Pochinko Tradition of Cowning (MSLPTC) work in service of social justice aims? The author argues that the methodologies of this lineage do not require great alterations to work in meaningful service of social justice aims; the use of a message to the world, the focus on imaginative embodiment, and many of the lineage’s rules are easily deployed in service of social justice-oriented creation. In making these assertions, the author articulates a hope for further research into clowning and its intersections with social justice practice and also that clown practitioners might use their existing practices to further social justice goals.","PeriodicalId":38662,"journal":{"name":"Comedy Studies","volume":"14 1","pages":"94 - 103"},"PeriodicalIF":0.0,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47279373","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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