{"title":"一个喜剧演员和一个法西斯主义者走进弗洛伊德的酒吧:单口喜剧的大众特征","authors":"MARTIN SHUSTER","doi":"10.1111/jaac.12764","DOIUrl":null,"url":null,"abstract":"<div>\n \n <p>This article explores the psychoanalytic points of commonality between stand-up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand-up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.</p>\n </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 4","pages":"525-534"},"PeriodicalIF":1.0000,"publicationDate":"2020-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12764","citationCount":"0","resultStr":"{\"title\":\"A Comedian and a Fascist Walk into Freud's Bar: On the Mass Character of Stand-Up Comedy\",\"authors\":\"MARTIN SHUSTER\",\"doi\":\"10.1111/jaac.12764\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div>\\n \\n <p>This article explores the psychoanalytic points of commonality between stand-up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand-up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.</p>\\n </div>\",\"PeriodicalId\":51571,\"journal\":{\"name\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"volume\":\"78 4\",\"pages\":\"525-534\"},\"PeriodicalIF\":1.0000,\"publicationDate\":\"2020-11-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1111/jaac.12764\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12764\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF AESTHETICS AND ART CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12764","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
A Comedian and a Fascist Walk into Freud's Bar: On the Mass Character of Stand-Up Comedy
This article explores the psychoanalytic points of commonality between stand-up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand-up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.
期刊介绍：
The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture.
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