Pub Date : 2021-03-25DOI: 10.5325/STUDAMERHUMOR.7.1.0128
Joanne Gilbert
ABSTRACT:The "Year's Work in American Humor Studies," an annual feature of Studies in American Humor since 1999, reviews humor scholarship and related materials, including humor theory, published during the specified year from many disciplinary perspectives. The review gives special emphasis to studies of humor in American culture, broadly conceived.
{"title":"The Year's Work in American Humor Studies, 2019","authors":"Joanne Gilbert","doi":"10.5325/STUDAMERHUMOR.7.1.0128","DOIUrl":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0128","url":null,"abstract":"ABSTRACT:The \"Year's Work in American Humor Studies,\" an annual feature of Studies in American Humor since 1999, reviews humor scholarship and related materials, including humor theory, published during the specified year from many disciplinary perspectives. The review gives special emphasis to studies of humor in American culture, broadly conceived.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73770665","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 : 2021-03-25DOI: 10.5325/STUDAMERHUMOR.7.1.0039
Chesters
ABSTRACT:In the overlapping periods of postmodernism and resurgent modernism, a new mode of satire has emerged—what this article calls metamodern satire—that bridges the gap between the modernist objective of correction and postmodernist subversion of metanarratives. George Saunders's short story "Brad Carrigan, American" (2006) is an exemplar of this hybrid mode, as it critiques the entrenchment of neoliberalism through the symbolic metanarrative of television. Drawing on characteristics of both sitcoms and reality television, Saunders's work subverts an economic theory that promotes the free market and hypercompetition, one in which individualism and self-interest are celebrated. Following this destabilization, the story offers a correction that encourages the proliferation of cultural empathy and a rejection of neoliberalism's valuation of people foremost as economic actors.
{"title":"\"Don't go all earnest on us\": Metamodern Satire in George Saunders's \"Brad Carrigan, American\"","authors":"Chesters","doi":"10.5325/STUDAMERHUMOR.7.1.0039","DOIUrl":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0039","url":null,"abstract":"ABSTRACT:In the overlapping periods of postmodernism and resurgent modernism, a new mode of satire has emerged—what this article calls metamodern satire—that bridges the gap between the modernist objective of correction and postmodernist subversion of metanarratives. George Saunders's short story \"Brad Carrigan, American\" (2006) is an exemplar of this hybrid mode, as it critiques the entrenchment of neoliberalism through the symbolic metanarrative of television. Drawing on characteristics of both sitcoms and reality television, Saunders's work subverts an economic theory that promotes the free market and hypercompetition, one in which individualism and self-interest are celebrated. Following this destabilization, the story offers a correction that encourages the proliferation of cultural empathy and a rejection of neoliberalism's valuation of people foremost as economic actors.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74765739","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 : 2021-03-25DOI: 10.5325/studamerhumor.7.1.0001
Lawrence Howe
{"title":"The Editor's Drawers","authors":"Lawrence Howe","doi":"10.5325/studamerhumor.7.1.0001","DOIUrl":"https://doi.org/10.5325/studamerhumor.7.1.0001","url":null,"abstract":"","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74594001","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 : 2021-03-25DOI: 10.5325/STUDAMERHUMOR.7.1.0086
C. Petrakos
ABSTRACT:This article sketches a rough outline of ways humor and laughter were used in setting social boundaries along the Alaska-Yukon border in the decade before the Klondike gold rush (1896-1900). It maintains that humor possessed an extraordinary capacity to both collapse and sustain social hierarchies on the frontier—establishing in and out groups in the absence of any "official" state or national authority in the Far North, drawing on Mikhail Bakhtin's Rabelais and His World as a theoretical framework to analyze humor's capacity to establish togetherness and otherness. Frontiersmen, this article suggests, harnessed the leveling power of humor to create in-groups while deploying it against Indians and Black Americans to define otherness.
{"title":"Comedy Gold: Humor on the Alaska-Yukon Border, 1886-1896","authors":"C. Petrakos","doi":"10.5325/STUDAMERHUMOR.7.1.0086","DOIUrl":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0086","url":null,"abstract":"ABSTRACT:This article sketches a rough outline of ways humor and laughter were used in setting social boundaries along the Alaska-Yukon border in the decade before the Klondike gold rush (1896-1900). It maintains that humor possessed an extraordinary capacity to both collapse and sustain social hierarchies on the frontier—establishing in and out groups in the absence of any \"official\" state or national authority in the Far North, drawing on Mikhail Bakhtin's Rabelais and His World as a theoretical framework to analyze humor's capacity to establish togetherness and otherness. Frontiersmen, this article suggests, harnessed the leveling power of humor to create in-groups while deploying it against Indians and Black Americans to define otherness.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90111293","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 : 2021-03-25DOI: 10.5325/STUDAMERHUMOR.7.1.0105
Vanessa Meikle Schulman
ABSTRACT:Responses to the formation of home guards in the Civil War North used a humorous visual vocabulary that played off the gender expectations of prewar periodical, literary, and artistic culture. Humorists and artists made fun of the men who chose to stay at home by linking them with the feminine space of the parlor. Using a painting by Thomas Hicks titled The Home Guard, along with other war-era images of home guards, this article argues that the satire lampooning home guards as weak and cowardly was dependent on codes of gender that stressed masculine action. These images used the home front as the de facto location of gendered struggles during war, responding to perceptions that men tied to domestic spaces were feminized. The home guard and other more clearly satirical images of men who stayed at home suggest that a generation of men had been raised to be pampered by feminine protectors. Hicks mocks certain men who chose to stay at home and not fight during the war; his work exposes gendered assumptions that reveal postwar concerns about traditional masculinity. Together, these works suggest a shift in understandings of gender and the fear of a feminized culture in the aftermath of the war.
摘要:美国南北战争期间，美国北方的家庭卫队组建问题引发了人们对战前期刊、文学和艺术文化的性别期望。幽默作家和艺术家取笑那些选择呆在家里的男人，把他们与客厅的女性空间联系起来。本文利用托马斯·希克斯(Thomas Hicks)的一幅名为《家庭警卫》(The Home Guard)的画作，以及其他战争时期家庭警卫的形象，论证了讽刺家庭警卫软弱懦弱的行为依赖于强调男性行为的性别准则。这些图像将大后方作为战争期间性别斗争的实际场所，回应了被束缚在家庭空间的男性被女性化的看法。家庭警卫和其他更明显的讽刺男性呆在家里的形象表明，一代男性是在女性保护者的呵护下长大的。希克斯嘲笑那些在战争期间选择呆在家里不去打仗的人;他的作品揭示了战后人们对传统男性气质的担忧。总之，这些作品表明了战后对性别理解的转变，以及对女性化文化的恐惧。
{"title":"The Pleasure of the Parlor: Mocking the \"Home Guard\" in Civil War Visual Culture","authors":"Vanessa Meikle Schulman","doi":"10.5325/STUDAMERHUMOR.7.1.0105","DOIUrl":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0105","url":null,"abstract":"ABSTRACT:Responses to the formation of home guards in the Civil War North used a humorous visual vocabulary that played off the gender expectations of prewar periodical, literary, and artistic culture. Humorists and artists made fun of the men who chose to stay at home by linking them with the feminine space of the parlor. Using a painting by Thomas Hicks titled The Home Guard, along with other war-era images of home guards, this article argues that the satire lampooning home guards as weak and cowardly was dependent on codes of gender that stressed masculine action. These images used the home front as the de facto location of gendered struggles during war, responding to perceptions that men tied to domestic spaces were feminized. The home guard and other more clearly satirical images of men who stayed at home suggest that a generation of men had been raised to be pampered by feminine protectors. Hicks mocks certain men who chose to stay at home and not fight during the war; his work exposes gendered assumptions that reveal postwar concerns about traditional masculinity. Together, these works suggest a shift in understandings of gender and the fear of a feminized culture in the aftermath of the war.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76976050","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 : 2021-03-25DOI: 10.1093/oso/9780192856890.003.0010
J. Y. Lee, Todd Thompson, S. Ezell, Michael P. Branch
This chapter sheds light on a response to experimental philosophy that has not yet received enough attention: the reflection defense. According to proponents of this defense, judgments about philosophical cases are relevant only when they are the product of careful, nuanced, and conceptually rigorous reflection. The chapter argues that the reflection defense is misguided: Five studies (N>1800) are presented, showing that people make the same judgments when they are primed to engage in careful reflection as they do in the conditions standardly used by experimental philosophers.
{"title":"On Second Thought","authors":"J. Y. Lee, Todd Thompson, S. Ezell, Michael P. Branch","doi":"10.1093/oso/9780192856890.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780192856890.003.0010","url":null,"abstract":"This chapter sheds light on a response to experimental philosophy that has not yet received enough attention: the reflection defense. According to proponents of this defense, judgments about philosophical cases are relevant only when they are the product of careful, nuanced, and conceptually rigorous reflection. The chapter argues that the reflection defense is misguided: Five studies (N>1800) are presented, showing that people make the same judgments when they are primed to engage in careful reflection as they do in the conditions standardly used by experimental philosophers.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77844842","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 : 2021-03-25DOI: 10.5325/STUDAMERHUMOR.7.1.0011
Moss
ABSTRACT:Slapstick is a mode of comedic performance whose definition has not changed much since the nineteenth century. Slaps, hits, kicks, punches, pratfalls, and other types of stage and screen violence appear to be violent and harmful. But these acts are eventually revealed and resolved to be simulative and harmless. The slapstick performer emerges, unscathed, as a required prerequisite for comedic catharsis to take place. However, the past three decades have seen a graphic, transgressive form of comedic violence emerge that challenges this understanding. Assaultive acts of self-harm performed by shock-comic performers such as Ralph "Cap'n Video" Zavadil, Tom Green, and Johnny Knoxville's Jackass crew deploy violence to transgress established screen boundaries and disrupt the norms of performance style. This subversive form of humor, which this article refers to as "crisis slapstick," produces graphic violence as comedic shocks that break from traditional slapstick. Physical injuries, presented as comedic absurdity, critique rather than uphold the embedded presumptions of safe screen space and industrial professionalism established over decades of classic slapstick performance.
{"title":"Cutting to the Punch: Graphic Stunt Comedy and the Emergence of Crisis Slapstick","authors":"Moss","doi":"10.5325/STUDAMERHUMOR.7.1.0011","DOIUrl":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0011","url":null,"abstract":"ABSTRACT:Slapstick is a mode of comedic performance whose definition has not changed much since the nineteenth century. Slaps, hits, kicks, punches, pratfalls, and other types of stage and screen violence appear to be violent and harmful. But these acts are eventually revealed and resolved to be simulative and harmless. The slapstick performer emerges, unscathed, as a required prerequisite for comedic catharsis to take place. However, the past three decades have seen a graphic, transgressive form of comedic violence emerge that challenges this understanding. Assaultive acts of self-harm performed by shock-comic performers such as Ralph \"Cap'n Video\" Zavadil, Tom Green, and Johnny Knoxville's Jackass crew deploy violence to transgress established screen boundaries and disrupt the norms of performance style. This subversive form of humor, which this article refers to as \"crisis slapstick,\" produces graphic violence as comedic shocks that break from traditional slapstick. Physical injuries, presented as comedic absurdity, critique rather than uphold the embedded presumptions of safe screen space and industrial professionalism established over decades of classic slapstick performance.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86559768","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 : 2021-03-25DOI: 10.5325/STUDAMERHUMOR.7.1.0061
Thompson
ABSTRACT:Too few humor scholars have taken advantage of new resources and research methodologies for studying humor as it circulated in newspapers and magazines in the nineteenth-century US. This article argues that tracing reprints of comic material in periodicals unearths popular nineteenth-century US humor. Such recovery is important because the jokes that readers and editors read and recycled reveal both their fascinations and fears. Additionally, subsequent reprints reshape meaning to fit a different moment for a different audience. To exemplify this approach, this article performs readings of one viral joke that was reprinted over a hundred times in American periodicals between 1856 and 1877. It identifies publication clusters and trends, notes how the joke morphed over time, and considers its shifting meanings as it appeared in different publication outlets and contexts at different times alongside different news items.
{"title":"Viral Jokes and Fugitive Humor in the Nineteenth-Century Culture of Reprinting","authors":"Thompson","doi":"10.5325/STUDAMERHUMOR.7.1.0061","DOIUrl":"https://doi.org/10.5325/STUDAMERHUMOR.7.1.0061","url":null,"abstract":"ABSTRACT:Too few humor scholars have taken advantage of new resources and research methodologies for studying humor as it circulated in newspapers and magazines in the nineteenth-century US. This article argues that tracing reprints of comic material in periodicals unearths popular nineteenth-century US humor. Such recovery is important because the jokes that readers and editors read and recycled reveal both their fascinations and fears. Additionally, subsequent reprints reshape meaning to fit a different moment for a different audience. To exemplify this approach, this article performs readings of one viral joke that was reprinted over a hundred times in American periodicals between 1856 and 1877. It identifies publication clusters and trends, notes how the joke morphed over time, and considers its shifting meanings as it appeared in different publication outlets and contexts at different times alongside different news items.","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-03-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73431550","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 : 2021-01-01DOI: 10.5325/studamerhumor.7.1.0251
Dalebout
{"title":"Review","authors":"Dalebout","doi":"10.5325/studamerhumor.7.1.0251","DOIUrl":"https://doi.org/10.5325/studamerhumor.7.1.0251","url":null,"abstract":"","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74944708","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 : 2021-01-01DOI: 10.5325/studamerhumor.7.1.0240
Sullivan
{"title":"Review","authors":"Sullivan","doi":"10.5325/studamerhumor.7.1.0240","DOIUrl":"https://doi.org/10.5325/studamerhumor.7.1.0240","url":null,"abstract":"","PeriodicalId":53944,"journal":{"name":"Studies in American Humor","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81160868","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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