{"title":"Teaching Resources for the Apocalypse","authors":"R. Gooding","doi":"10.1353/jeu.2021.0016","DOIUrl":"https://doi.org/10.1353/jeu.2021.0016","url":null,"abstract":"","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47495053","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}
Abstract:Banyumasan Javanese people of Indonesia are often revered as funnier than other Javanese. Ethnographic accounts herein illuminate how young, Banyumasan street traders in Jakarta perform and participate in laughing, joking, and pranking at work. Intersectional analysis reveals the utility of joking and pranking as heuristics to understand the affective dimensions of status, stigmatization, migrating for work, and growing up in Indonesia. The polysemic nature of jokes and pranks reference camaraderie and othering, incongruities and expectations, agency and oppression, as well as intersubjective relations between young men at work. This view of Banyumasan street traders as urban jokers and jesters, producing and consuming humour "from below" for and about each other, departs from previous scholarship on humour in Java, which has focused on how clown characters in staged shadow puppet (wayang kulit) performances have asserted and perpetuated inequalities through a refined-unrefined (halus-kasar) binary whereby those deemed kasar are seen as lacking something. This article, in contrast, asserts the utility of jokes and pranks to refreshing and regenerating understandings of kasar, what it is to be human, and the temporalities, spatialities, and intersubjectivities of boys growing up and working in Indonesia's street economy.
{"title":"Young Banyumasan Street Traders as Shapeshifters of Modernity: Refreshment, Production, and the Pursuit of Pranks and Jokes in Jakarta","authors":"Traci Marie Sudana","doi":"10.1353/jeu.2021.0008","DOIUrl":"https://doi.org/10.1353/jeu.2021.0008","url":null,"abstract":"Abstract:Banyumasan Javanese people of Indonesia are often revered as funnier than other Javanese. Ethnographic accounts herein illuminate how young, Banyumasan street traders in Jakarta perform and participate in laughing, joking, and pranking at work. Intersectional analysis reveals the utility of joking and pranking as heuristics to understand the affective dimensions of status, stigmatization, migrating for work, and growing up in Indonesia. The polysemic nature of jokes and pranks reference camaraderie and othering, incongruities and expectations, agency and oppression, as well as intersubjective relations between young men at work. This view of Banyumasan street traders as urban jokers and jesters, producing and consuming humour \"from below\" for and about each other, departs from previous scholarship on humour in Java, which has focused on how clown characters in staged shadow puppet (wayang kulit) performances have asserted and perpetuated inequalities through a refined-unrefined (halus-kasar) binary whereby those deemed kasar are seen as lacking something. This article, in contrast, asserts the utility of jokes and pranks to refreshing and regenerating understandings of kasar, what it is to be human, and the temporalities, spatialities, and intersubjectivities of boys growing up and working in Indonesia's street economy.","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48855090","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}
{"title":"An Analysis of Humorous Devices in Picturebooks: A Pictorial Article","authors":"Elys Dolan","doi":"10.1353/jeu.2021.0001","DOIUrl":"https://doi.org/10.1353/jeu.2021.0001","url":null,"abstract":"","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282435","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}
Résumé:Au Sénégal, les contes ont une vocation ludique et didactique et constituent un discours collectif avec comme fonction de recueillir, de transmettre et d'assurer la sauvegarde de l'héritage culturel. L'humour dans les contes, objets de notre étude, constitue donc un outil de communication facilement accessible et disponible pour aborder certains thèmes considérés comme difficiles voire trop sérieux pour les enfants. Dans notre analyse nous démontrons que, pour Birago Diop, et Leopold S. Senghor et Abdoulaye Sadji, la satire, l'humour malicieux, les cousinages à plaisanterie et les jeux de mots ne sont que d'importants moyens, parmi d'autres, de raconter et d'illustrer la société et la complexité de ses réalités. De par leurs contes, ils ont su créer des œuvres originales mettant en évidence et en valeur l'importance du mouvement de la Négritude et contribuer pertinemment aux efforts de réhabilitation et de redynamisation des cultures, des us et coutumes sénégalaises. Face aux défis de notre monde d'aujourd'hui empreint de tensions liées à des formes d'inégalités et de discriminations sociales à fortes connotations raciales, les messages et leçons de conduite, de morale et d'équité si généreusement légués par nos prolifiques auteurs ne peuvent être qu'appréciés.Abstract:Humour as a form of expression or as a fun and light activity exists and can be detected in the written and oral utterances of all cultures. It is a matter of knowing how to comprehend it within its own context and how to grasp the manifest or hidden intentions which it often conveys. Humour plays a central role in Senegalese tales. In Senegal, tales are meant to be both entertaining and educational. They form a collective discourse tasked with collecting, transmitting, and safeguarding cultural heritage. Humour in tales—which constitute the object of our study—serves as an easily accessible and readily available communication tool to address certain themes considered too difficult or serious for children. This analysis demonstrates that, for our authors, humour is but one of the important means of telling and illustrating society and its complexities. Through their tales, they managed to create original works showcasing and highlighting the importance of the Négritude movement while bringing thoughtful contributions to the efforts to rehabilitate and revitalize Senegalese cultures, habits, and customs. When facing the challenges of today's world, suffused as it is with tensions related to forms of inequality and social discrimination that have strong racial resonances, the messages and lessons in conduct, morality, and equity so generously bequeathed by our prolific authors can only be received with gratitude.
{"title":"L'humour dans Les nouveaux contes d'Amadou Koumba de Birago Diop et La belle histoire de Leuk-le-lièvre de Léopold S. Senghor et Abdoulaye Sadji","authors":"N. Diop","doi":"10.1353/jeu.2021.0002","DOIUrl":"https://doi.org/10.1353/jeu.2021.0002","url":null,"abstract":"Résumé:Au Sénégal, les contes ont une vocation ludique et didactique et constituent un discours collectif avec comme fonction de recueillir, de transmettre et d'assurer la sauvegarde de l'héritage culturel. L'humour dans les contes, objets de notre étude, constitue donc un outil de communication facilement accessible et disponible pour aborder certains thèmes considérés comme difficiles voire trop sérieux pour les enfants. Dans notre analyse nous démontrons que, pour Birago Diop, et Leopold S. Senghor et Abdoulaye Sadji, la satire, l'humour malicieux, les cousinages à plaisanterie et les jeux de mots ne sont que d'importants moyens, parmi d'autres, de raconter et d'illustrer la société et la complexité de ses réalités. De par leurs contes, ils ont su créer des œuvres originales mettant en évidence et en valeur l'importance du mouvement de la Négritude et contribuer pertinemment aux efforts de réhabilitation et de redynamisation des cultures, des us et coutumes sénégalaises. Face aux défis de notre monde d'aujourd'hui empreint de tensions liées à des formes d'inégalités et de discriminations sociales à fortes connotations raciales, les messages et leçons de conduite, de morale et d'équité si généreusement légués par nos prolifiques auteurs ne peuvent être qu'appréciés.Abstract:Humour as a form of expression or as a fun and light activity exists and can be detected in the written and oral utterances of all cultures. It is a matter of knowing how to comprehend it within its own context and how to grasp the manifest or hidden intentions which it often conveys. Humour plays a central role in Senegalese tales. In Senegal, tales are meant to be both entertaining and educational. They form a collective discourse tasked with collecting, transmitting, and safeguarding cultural heritage. Humour in tales—which constitute the object of our study—serves as an easily accessible and readily available communication tool to address certain themes considered too difficult or serious for children. This analysis demonstrates that, for our authors, humour is but one of the important means of telling and illustrating society and its complexities. Through their tales, they managed to create original works showcasing and highlighting the importance of the Négritude movement while bringing thoughtful contributions to the efforts to rehabilitate and revitalize Senegalese cultures, habits, and customs. When facing the challenges of today's world, suffused as it is with tensions related to forms of inequality and social discrimination that have strong racial resonances, the messages and lessons in conduct, morality, and equity so generously bequeathed by our prolific authors can only be received with gratitude.","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43184533","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}
Abstract:Through the abundant use of the bawdy, humorous songs of British music hall, The Muppet Show delivered a potent critique of constructed notions of a protectionist childhood. Paradoxically perhaps, the music hall songs, carnivalesque comedy, and frequent depictions of sex, sexuality, and violence also did much to construct The Muppet Show's intended "family" audience while simultaneously providing a direct challenge to its normative sanguinuptial (blood and marriage) construction. This intergenerational family audience is crucial to the child's interpretation of The Muppet Show's complex and contentious content, subject matter that is rarely included in media made for a solely child audience. While the musical sketches open up an interpretive space for the child to encounter, resist, and subvert the range of fluid identities hinted at onscreen, the process is simultaneously constricted by the musical-visual texts themselves and by The Muppet Show's family-reception context. As such, this case study reveals the inherent tensions of targeting a family audience through music and television.
{"title":"\"Laugh! I Thought I Should've Died\": British Music Hall Humour and the Subversion of Childhood on The Muppet Show","authors":"L. Maloy","doi":"10.1353/jeu.2021.0006","DOIUrl":"https://doi.org/10.1353/jeu.2021.0006","url":null,"abstract":"Abstract:Through the abundant use of the bawdy, humorous songs of British music hall, The Muppet Show delivered a potent critique of constructed notions of a protectionist childhood. Paradoxically perhaps, the music hall songs, carnivalesque comedy, and frequent depictions of sex, sexuality, and violence also did much to construct The Muppet Show's intended \"family\" audience while simultaneously providing a direct challenge to its normative sanguinuptial (blood and marriage) construction. This intergenerational family audience is crucial to the child's interpretation of The Muppet Show's complex and contentious content, subject matter that is rarely included in media made for a solely child audience. While the musical sketches open up an interpretive space for the child to encounter, resist, and subvert the range of fluid identities hinted at onscreen, the process is simultaneously constricted by the musical-visual texts themselves and by The Muppet Show's family-reception context. As such, this case study reveals the inherent tensions of targeting a family audience through music and television.","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46880030","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}
Jewell Parker Rhodes’s Bayou Magic (2015), written in the wake of the 2010 BP oil spill, deliberates the special problem of talking to children about oil. How does one tackle the subject of oil when addressing young people? How are children enabled to participate in discourses on petroleum? The novel also reveals a dilemma: the resource that we associate with comfort and progress actually contaminates, wounds, and lays waste to natural and human ecosystems. Caught in the mucky conundrum of oil, Bayou Magic reveals the challenges of talking to children about oil and oil catastrophes. In striving to meet the expectation that children’s fiction should offer a hopeful, if not happy, ending, Bayou Magic resorts to a resolution that “contains” the oil spill but sidesteps the problem of our persisting dependence on oil. But the novel’s allusion to the African deity Mami Wata is significant, as the figure connects the oppression of Black peoples to the exploitation of natural resources. As such, the novel uses fantastical elements not to imply that only something magical or divine can save us from disaster; rather, it signals that projects of environmental justice require openness to and embrace of radically imaginative solutions.
{"title":"Blood in the Water: Jewell Parker Rhodes’s Bayou Magic as Children’s Petrofiction","authors":"Lara Saguisag","doi":"10.1353/JEU.0.0015","DOIUrl":"https://doi.org/10.1353/JEU.0.0015","url":null,"abstract":"Jewell Parker Rhodes’s Bayou Magic (2015), written in the wake of the 2010 BP oil spill, deliberates the special problem of talking to children about oil. How does one tackle the subject of oil when addressing young people? How are children enabled to participate in discourses on petroleum? The novel also reveals a dilemma: the resource that we associate with comfort and progress actually contaminates, wounds, and lays waste to natural and human ecosystems. Caught in the mucky conundrum of oil, Bayou Magic reveals the challenges of talking to children about oil and oil catastrophes. In striving to meet the expectation that children’s fiction should offer a hopeful, if not happy, ending, Bayou Magic resorts to a resolution that “contains” the oil spill but sidesteps the problem of our persisting dependence on oil. But the novel’s allusion to the African deity Mami Wata is significant, as the figure connects the oppression of Black peoples to the exploitation of natural resources. As such, the novel uses fantastical elements not to imply that only something magical or divine can save us from disaster; rather, it signals that projects of environmental justice require openness to and embrace of radically imaginative solutions.","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/JEU.0.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44268762","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}
In this qualitative study, nine adolescent girls between the ages of eleven and fourteen (M=12) reacted to how romance is depicted in The Hunger Games book and film series. Although some researchers have found the series ending disappointing, arguing that it reinforces post-feminist, repronormative and heteronormative ideas, most of the participants in this study felt that the inclusion of romance was appropriate for protagonist Katniss Everdeen, stating that this did not take away from what they saw as the “girl power” message of the series. Study participants believed that authors write heterosexual romance as a way of appealing to adolescent girl readers; several girls, however, expressed their desire to see this change. Furthermore, study participants provided alternative endings to the series that did not always include heterosexual romance or marriage for Katniss, thereby providing a nuanced critique of heteronormativity and gender roles in the series.
{"title":"“I Love Romance!” Adolescent Girls Critique the Depiction of Love and Romance in The Hunger Games","authors":"Shara L. Crookston","doi":"10.1353/JEU.0.0014","DOIUrl":"https://doi.org/10.1353/JEU.0.0014","url":null,"abstract":"In this qualitative study, nine adolescent girls between the ages of eleven and fourteen (M=12) reacted to how romance is depicted in The Hunger Games book and film series. Although some researchers have found the series ending disappointing, arguing that it reinforces post-feminist, repronormative and heteronormative ideas, most of the participants in this study felt that the inclusion of romance was appropriate for protagonist Katniss Everdeen, stating that this did not take away from what they saw as the “girl power” message of the series. Study participants believed that authors write heterosexual romance as a way of appealing to adolescent girl readers; several girls, however, expressed their desire to see this change. Furthermore, study participants provided alternative endings to the series that did not always include heterosexual romance or marriage for Katniss, thereby providing a nuanced critique of heteronormativity and gender roles in the series.","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/JEU.0.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47087878","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}
{"title":"Youth Agency and Ideology: La Movida and the Demise of the Francoist Regime","authors":"J. Thompson","doi":"10.1353/jeu.2020.0027","DOIUrl":"https://doi.org/10.1353/jeu.2020.0027","url":null,"abstract":"","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/jeu.2020.0027","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48115196","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}
{"title":"Posthumanism, Parenting, and Agency: A Review of Naomi Morgenstern's Wild Child","authors":"J. Harrison","doi":"10.1353/jeu.2020.0026","DOIUrl":"https://doi.org/10.1353/jeu.2020.0026","url":null,"abstract":"","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/jeu.2020.0026","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48313754","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}
Abstract:Amie Kaufman and Meagan Spooner's YA Starbound Trilogy takes its readers to a faraway future in which humanity has colonized several foreign planets. This is made possible through the invention of hyperspace travel by engineer and entrepreneur Roderick LaRoux, who—upon discovering that the dimensions affected by this mode of travel are inhabited by a sentient collective consciousness—imprisons and enslaves parts of this consciousness to exploit them to maximize his profits. Throughout the trilogy, six teenage protagonists encounter the imprisoned sentient non-humans (known as "whispers"), form collaborative relationships with them, and eventually set them free. In this article, I argue that while the Starbound Trilogy advocates for multispecies justice through its representation of teenagers who form alliances with non-human beings and stand up to corporate practices exploiting them, the novels ultimately fall short of abandoning their anthropocentric perspective.
{"title":"Entering the Chthulucene? Making Kin with the Non-human in Amie Kaufman and Meagan Spooner's Starbound Trilogy","authors":"Alena Cicholewski","doi":"10.1353/jeu.2020.0021","DOIUrl":"https://doi.org/10.1353/jeu.2020.0021","url":null,"abstract":"Abstract:Amie Kaufman and Meagan Spooner's YA Starbound Trilogy takes its readers to a faraway future in which humanity has colonized several foreign planets. This is made possible through the invention of hyperspace travel by engineer and entrepreneur Roderick LaRoux, who—upon discovering that the dimensions affected by this mode of travel are inhabited by a sentient collective consciousness—imprisons and enslaves parts of this consciousness to exploit them to maximize his profits. Throughout the trilogy, six teenage protagonists encounter the imprisoned sentient non-humans (known as \"whispers\"), form collaborative relationships with them, and eventually set them free. In this article, I argue that while the Starbound Trilogy advocates for multispecies justice through its representation of teenagers who form alliances with non-human beings and stand up to corporate practices exploiting them, the novels ultimately fall short of abandoning their anthropocentric perspective.","PeriodicalId":42169,"journal":{"name":"Jeunesse-Young People Texts Cultures","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/jeu.2020.0021","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45518150","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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