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Journal articles on the topic 'Comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

McKeague, Matthew. "Lyrical lessons: The potential of informative comedy music as supplementary teaching material." European Journal of Humour Research 6, no. 3 (November 13, 2018): 30. http://dx.doi.org/10.7592/ejhr2018.6.3.mckeague.

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The comedic arts have provided opportunities for humourists to spread information to audiences, sometimes intentionally and other times as a side effect while trying to create laughter. Educators have also found success incorporating comedy into the classroom with humorous activities. While research regarding comedy as a tool to spread information or educate audiences has focused primarily on literature, broadcast media, and film, the area of informative comedy implemented through music remains relatively unexplored. In this paper, the researcher defines ‘informative comedy’ and takes a critical literacy approach analysing song samples of comedy musician “Weird Al” Yankovic—one of the notable comedic music artists in the 20th and 21st centuries—and discusses how his music could be used in a classroom setting. While comedy such as Yankovic’s is not designed to be an educational tool, the researcher suggests that his songs could be used as supplementary materials in the classroom to reinforce concepts specifically regarding cultural issues through commentary as well as lessons in science and grammar. A central aspect of this exploratory paper involves Yankovic’s mix of comedy andinformative content focused on culture in the United States, using the popular music genre to convey ideas in ways that may be more palatable for wider audiences and that could be used to assist classroom instruction.

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2

Kim, Jennifer. "Racism’s Back Door: A Mixed-Methods Content Analysis of Transformative Sketch Comedy in the US from 1960-2000." Journal of Ethnic and Cultural Studies 7, no. 3 (October 4, 2020): 142. http://dx.doi.org/10.29333/ejecs/392.

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Comedy that challenges race ideology is transformative, widely available, and has the potential to affect processes of identity formation and weaken hegemonic continuity and dominance. Outside of the rules and constraints of serious discourse and cultural production, these comedic corrections thrive on discursive and semiotic ambiguity and temporality. Comedic corrections offer alternate interpretations overlooked or silenced by hegemonic structures and operating modes of cultural common sense. The view that their effects are ephemeral and insignificant is an incomplete and misguided evaluation. Since this paper adopts Hegel’s understanding of comedy as the spirit (Geist) made material, its very constitution, and thus its power, resides in exposing the internal thought processes often left unexamined, bringing them into the foreground, dissecting them, and exposing them for ridicule and transformation. In essence, the work of comedy is to consider all points of human processing and related structuration as fair game. The phenomenological nature of comedy calls for a micro-level examination. Select examples from The Smothers Brothers Comedy Hour (1968), The Richard Pryor Show (1977), Saturday Night Live (1990), and Chappelle’s Show (2003) will demonstrate representative ways that comedy attacks and transforms racial hegemony.

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3

Kuszak, Kinga. "Komizm w poezji dla dzieci. Jego rola i wartość edukacyjna." Problemy Wczesnej Edukacji 36, no. 1 (February 21, 2017): 65–74. http://dx.doi.org/10.5604/01.3001.0010.1999.

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The article tackles the subject of comedy in children’s literature. The author begins her reflections with a clarification of the ideas that form the focus of her narration: comedy, humour, and word play, referring to selected works on the subject. Next, adopting her chosen typology of creating comedy in children’s literature, she presents selected examples of literary works which employ the aforementioned linguistic tools to achieve a comedic effect. Contemporary authors’ works are used to illustrate the thesis. The article closes with reflections on the educational role of comedy in children’s literature.

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4

Natanael, Christian, and Annita Annita. "ANALYSIS OF HUMOR LANGUAGE IN “NGENEST THE MOVIE” COMEDY SCENE." VCD 7, no. 1 (June 15, 2022): 1–10. http://dx.doi.org/10.37715/vcd.v7i1.2902.

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Humor language is verbal humor created through words, the meaning of words, and jargon. Directors use language humor to build comedy scenes, introduce the characters, or give the impression of a scene. However, sometimes, excessive techniques will be insufficient for the scene itself. Therefore, this study aims to find how language humor in comedy scenes in a film is overused and eventually dries the comedy. Research material was selected from a comedy movie entitled "Ngenest," produced in 2015, directed by Ernest Prakasa, who has a comical background and often uses comedic techniques in his films. The research method chosen is qualitative, with content analysis to identify the value of integrated humor and scenes in the movie "Ngenest.” Keywords: humor, humor language, scene, comedy

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Brown, Stephanie. "Open Mic?" Feminist Media Histories 6, no. 4 (2020): 42–67. http://dx.doi.org/10.1525/fmh.2020.6.4.42.

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This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authenticity.” While stand-up comedy is often theorized optimistically as a fruitful site from which to subvert assumptions about identity, gendered or otherwise, comics paradoxically feel pressure to conform to appropriate gender expression on stage in order to be legible to audiences and other comics historically influenced by masculine comedic taste.

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6

Parisot, Eric. "Pity the Fool: Satire, Sentiment, and Aristocratic Vice in George Colman’s The Suicide." Eighteenth-Century Fiction 34, no. 4 (June 1, 2022): 393–414. http://dx.doi.org/10.3138/ecf.34.4.393.

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The Suicide, A Comedy (1778) by George Colman (the Elder) is a sophisticated comedic response to the scourge of fashionable suicide in late eighteenth-century Britain. The play simultaneously operates on two comedic planes: (1) it aims the purgative power of contemptible and socially aversive satire at the bon-ton by insinuating the scandalous suicide of high-profile aristocrat John Damer (1744–76); and (2) the reformation of Tobine—the middle-class protagonist who aspires to fashionable self-destruction—invests in the socially rehabilitative and compassionate humour of sentimental comedy. Two comedic strategies are aimed at two different audiences, with both strategies working to reinforce middle-class values. The result is a comedy that merges two kinds of laughter to form a benign affective antidote to interclass suicidal contagion. This comedic antidote functions as an early demonstration of the positive value of narratives that depict the overcoming of suicidal intent—or what modern sociologists call the Papageno effect.

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7

Vishal, Raj, and Priya Himangi. "I am a Comedian, That’s My Job:." University of Bucharest Review Literary and Cultural Studies Series 13, no. 1 (October 20, 2023): 66–80. http://dx.doi.org/10.31178/ubr.13.1.6.

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In an epoch characterized by rapid digitalization, the proliferation of disinformation, and the deepening schisms within society, the significance of stand-up comedy has assumed unprecedented prominence. Its popularity is burgeoning on a global scale, and concurrently, the Indian comedy landscape has witnessed a remarkable influx of talent over recent decades. Among this exceptional cohort of comedic voices, Vir Das emerges as a prominent figure. Known for his incisive humour, he ventures far beyond light-hearted humour, delving into the heart of pivotal societal issues. This article discusses the profound impact of comedy and satire in catalysing socio-critical transformations through a discerning analysis of select jokes from Vir Das’s repertoire. As such, it is organized into three distinct sections, each contributing to the overarching objective. The initial section offers a concise exploration of the historical evolution of comedy, with a particular focus on its development within the Indian context. Subsequently, the second section delves into the core concept of stand-up comedy as a potent medium for activism, grappling with fundamental questions regarding the gravity and consequential influence of comedic discourse. Lastly, the concluding section meticulously conducts a comprehensive thematic analysis of Vir Das’s body of work, accentuating his pivotal role as a stand-up activist.

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8

Westwood, Robert. "Comic Relief: Subversion and Catharsis in Organizational Comedic Theatre." Organization Studies 25, no. 5 (June 2004): 775–95. http://dx.doi.org/10.1177/0170840604042414.

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There has been a growth of interest in the role of humour in organizations from both practitioner and academic perspectives. Various claims for the functionality of humour have been made, ranging from stress reduction to helping form and cement corporate cultures. Latching on to these presumed benefits, businesses and consultants have begun to employ humour and comedy in a direct and explicit manner. However, there is a counterpoint, which suggests that humour cannot always be managed and in fact has subversive qualities. This article addresses the issue of the subversive potential of comedy in organizational contexts. It draws illustratively on the case of a successful corporate comedian to do so. The article argues, through an analysis of the case, the history and philosophy of comedy, and theories of the comedic, that while comedy has inherent subversive potential, it most often is contained. Indeed, it suggests that comedy works by intruding as a potential threat to mundane reality, but offers comic relief when it is apparent that the threat will not be actualized and the status quo ante prevails. Implications for using corporate comedy are drawn.

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Putri, Maharani Widya, Erwin Oktoma, and Roni Nursyamsu. "FIGURATIVE LANGUAGE IN ENGLISH STAND-UP COMEDY." English Review: Journal of English Education 5, no. 1 (December 1, 2016): 115. http://dx.doi.org/10.25134/erjee.v5i1.396.

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This descriptive qualitative research was about the analysis of figurative language in English stand-up comedy. The purposes of this study were to identify the types of figurative language and to describe the functions of figurative language found in the selected video of stand-up comedy show. The data source was taken from one of selected videos of Russell Peters stand-up comedy show. Russell Peters’s speech contained about figurative language in the video is observed. The data were collected through content analysis technique by collecting the verbal language used by Russell Peters. The first research questions was analyzed by McArthur (1992) theory and supported by Crystal (1994) theory to find out the types of figurative language found in English stand-up comedy. To answer the second research questions about the functions of figurative language found in English stand-up comedy was analyzed by Chunqi (2014) theory and suppoted by Kokemuller (2001) theory and Turner (2016) theory. After analyzing data, it was found that Irony was the most dominant figurative language used by Russell Peters in “Russell Peters Comedy Now! Uncensored” with 29.94%. It was happened because the kind of topics used by Russell Peters in that show were about ethnics (canadian, white people, black people, brown people and asian), society case (beating child) and culture (accent and life style of various ethnics in the world, habitual of various ethnics in the world). Irony and Hyperbole were needed dominantly in the performance, to entertain the audiences in the stand-up comedy show. The function of eleven types of figurative language which were used by Russell were concluded. The functions were to amuse people in comedic situations, to expand meaning, to explain abstract emotions, to make sentence interesting represented and give creative additions. Keywords: Figurative Language, Stand-Up Comedy, English Stand-Up Comedy

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10

Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (November 1, 2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the trauma of displacement? To what extent is comedy truly capable of rendering the complexity of migration? And how ethical can the comedic representation of a migrant be?

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11

Schaffer, Gavin. "Fighting Thatcher with Comedy: What to Do When There Is No Alternative." Journal of British Studies 55, no. 2 (March 11, 2016): 374–97. http://dx.doi.org/10.1017/jbr.2015.229.

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AbstractThis article offers a history of British alternative comedy as a case study of political challenge and opposition in the 1980s and considers the role of humor in political campaigning more broadly. It explores left-wing thinking on culture as a potential political weapon, and questions how this informed the development and impact of alternative comedy as a genre. The article observes that pioneering alternative comedians went some way to change British comedy values and inform political discussions. However, it also argues that the complex operation of jokes and the tendency of comedians to become “incorporated” within the political and cultural mainstream ensured that the impacts of radical alternative material were limited and ambiguous. It contends that the practice of alternative comedy was undermined by business and political values that were often influenced by Thatcherism, and that alternative comedians mostly failed to capture the imaginations of working-class Britons. These communities retained instead an affection for more traditional, differently rebellious, comedic voices. Ultimately, this article frames alternative comedy within a longer history of radical humor, drawing out broader lessons concerning the revolutionary potential of jokes and the relationship between comedians, their audiences, and politics.

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12

Branfman, Jonathan. "“Plow Him Like a Queen!”: Jewish Female Masculinity, Queer Glamor, and Racial Commentary in Broad City." Television & New Media 21, no. 8 (June 27, 2019): 842–60. http://dx.doi.org/10.1177/1527476419855688.

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Starring raunchy Jewish women, Comedy Central’s Broad City (2014–2019) invites feminist comedy theory to better address race and ethnicity. Feminist comedy theory has long used Kathleen Rowe’s model of the unruly woman, which neglects racial/ethnic dimensions of unruliness. When discussing Jewish comedian Roseanne Barr, for instance, Rowe does not mention transgressive stereotypes about Jewish femininity like the “beautiful Jewess,” a historical stock figure depicting Jewish women as racially exotic and masculine-yet-seductive. Likewise, studies of the Jewess have not yet integrated Rowe’s lens of unruly womanhood. Broad City highlights these gaps: the series calls its stars “Jewesses,” and tropes of the beautiful Jewess fuel their comedic boundary violations between femininity/masculinity, whiteness/nonwhiteness, and racism/antiracism. By analyzing Broad City, I clarify how racial tropes of unruliness shape plotlines and social critiques in women’s comedy. This article also invites feminist studies more broadly to address Jewishness as a salient form of difference.

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13

Ma, Ye. "A comparative and acceptance study of women’s discourse in Chinese-American online stand-up comedy." SHS Web of Conferences 174 (2023): 02014. http://dx.doi.org/10.1051/shsconf/202317402014.

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As an emerging form of comedy, stand-up comedy has developed rapidly and attracted widespread attention in various countries today through the production and dissemination mode of new media. In order to better understand the cultural characteristics of stand-up comedy and provide methodological inspiration for contemporary feminist public expression, this essay focuses on online stand-up comedy in China and the United States. Drawing on relevant theories from feminism, gender sociology, reception aesthetics, and communication studies, this essay uses textual close reading and comparative analysis to examine the expressive characteristics and reception mechanisms of women’s discourse in these two countries. Through analysis, this essay concludes that the female comedic discourse in China and the United States, which differs in perspective, expressive approach, and offense and its re-speaking, is repeatedly negotiating resistance or compromise at the intersection of the three influencing factors, namely, the diachronic socio-cultural traditions, the synchronic audience acceptance, and the external impact of the market and censorship.

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Asiah, Nur, Julie Rostina, and Nanny Harmani. "Efektiftas Stand Up Comedy Sebagai Media Peningkatan Pengetahuan Perilaku Seksual Berisiko pada Remaja di RPTRA (Ruang Publik Terpadu Ramah Anak)." ARKESMAS (Arsip Kesehatan Masyarakat) 3, no. 1 (June 1, 2018): 1–6. http://dx.doi.org/10.22236/arkesmas.v3i1.2517.

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Pengetahuan remaja tentang kesehatan reproduksi belum memadai. SDKI 2012 menyebutkan bahwahanya 35,3% remaja perempuan dan 31,2% remaja laki-laki usia 15 – 19 tahun yang mengetahui bahwaperempuan dapat hamil dengan satu kali berhubungan seksual. Stand Up Comedy merupakan bentuk senikomedi atau melawak yang disampaikan secara sederhana. Selain sebagai hiburan, Stand Up Comedy dapatdigunakan sebagai media informasi yang sangat komunikatif di masyarakat, dan dapat dipakai sebagaisarana untuk meningkatkan pengetahuan pada penontonnya. Penelitian ini bertujuan untuk mengetahuiefektiftas metode Stand up Commedy sebagai media peningkatan pengetahuan tentang perilaku seksualberisiko pada remaja di RPTRA (Ruang Publik Terpadu Ramah Anak). Desain Penelitian adalah quasieksperimental. Populasi dan sampel adalah remaja di RPTRA. Kelompok kontrol penelitian ini adalahremaja SMA usia 15 – 19 tahun yang beraktivitas di RPTRA Manunggal. Sedangkan kelompok kasusadalah remaja SMA usia 15 – 19 tahun yang beraktivitas di RPTRA Mawar. Keduanya berlokasi diJakarta Selatan. Analisis bivariat menggunakan Uji Paired sample t-test pada masing-masing kelompok.Selain itu, juga dilakukan uji t independen untuk melihat efektiftas metode ceramah dibandingkan denganmetoda Stand Up Comedy. Pretest pengetahuan antar kelompok tidak menunjukkan adanya perbedaanyang signifkan, nilai rata-rata kasus 55.4000 dan rata-rata kontrol 55.4467, artinya tingkat pengetahuansebelum perlakuan adalah setara pada masing-masing kelompok. Sedangkan uji statistik pada hasil posttestantar kelompok menunjukkan ada perbedaan yang bermakna antara pengetahuan kelompok kontrol dengankelompok kasus yang mendapatkan penyuluhan dengan metode Stand Up Comedy. Upaya peningkatanpengetahuan dengan metode Stand Up Comedy lebih efektif dibandingkan dengan metode ceramah.

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Xing, Shibo. "Edge Impulse-based automated machine learning for comedy performance evaluation." Applied and Computational Engineering 18, no. 1 (October 23, 2023): 152–56. http://dx.doi.org/10.54254/2755-2721/18/20230982.

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The evaluation of comedic performances presents a challenge due to the subjectivity of humor and various performance factors. This paper proposes a potential solution to this problem by utilizing artificial intelligence (AI), particularly automated machine learning (AutoML), to develop an automatic comedy show scoring system using a diverse Chinese acoustic dataset and the Edge Impulse platform. The proposed method involves analyzing complete video recordings of performances by the renowned Chinese comedy troupe, Deyunshe, to assess audience responses and critical acoustic elements that contribute to a comedic performance's success. The study collected five comedic clips, totaling approximately 50 minutes, segmented and labeled them for training purposes. This study systematically explored various configurations using Edge Impulse to optimize accuracy and minimize loss, yielding encouraging results that demonstrate the potential of AI-driven scoring systems. The study identifies several avenues for future research, including enhancing the quality and quantity of training data, refining classification algorithms, and exploring alternative machine learning techniques to further improve accuracy and loss rates. Moreover, the research highlights the potential benefits of integrating real-time scoring systems, which could facilitate audience engagement and refining comedic material. This innovative approach demonstrates the potential to develop a more sophisticated, accurate, and reliable method of evaluating comedic performances, offering valuable insights into audience preferences, enabling the production of high-quality comedic content, and fostering a more objective evaluation of talent in the competitive world of comedy, which could significantly benefit the entertainment industry.

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Krist, Gary, Jane Smiley, Martin Amis, Melanie Sumner, William Boyd, and Cathleen Schine. "Comedy." Hudson Review 48, no. 4 (1996): 679. http://dx.doi.org/10.2307/3852015.

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Hays, Michael. "Comedy as Being/Comedy as Idea." Studies in Romanticism 26, no. 2 (1987): 221. http://dx.doi.org/10.2307/25600648.

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18

Shih, Evelyn. "Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea." Journal of Korean Studies 22, no. 2 (September 1, 2017): 365–88. http://dx.doi.org/10.1215/21581665-4226487.

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Abstract This paper contends that genre mixing in comedy films of the 1960s in South Korea had the potential to interrupt filmic codes, which were increasingly propagandistic following the tightening of film law. The advent of the James Bond films as a global cultural phenomenon stimulated local production of spy films, where the villain was typically North Korean. These films were welcomed by cultural regimes of the time due to their anticommunist orientation, but a small hybrid genre, the “spy comedy,” undermined their absolutism. Based in the vernacular comedy traditions of slapstick film performance, stage comedy, and radio, these “spy comedies” spoofed aspects of both the James Bond franchise and the local action thrillers that imitated Bond. This was often accomplished by overlaying the narrative of a rustic with that of a spy. The comedies reveal a synchronicity between development and urbanization, which displaced large numbers of people, and the othering of North Koreans, which led to spy paranoia about those who were out of place. This paper argues that global genres played a particular role for South Korean comedy in the 1960s: they enabled oblique treatments of sensitive social issues through play. Generic heterogeneity defined comedic films of this era.

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Leonardo, Reynord, and Ahmad Junaidi. "Kritik Sosial dalam Stand Up Comedy (Analisis Semiotika Show “Pragiwaksono World Tour”)." Koneksi 4, no. 2 (October 1, 2020): 185. http://dx.doi.org/10.24912/kn.v4i2.8077.

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This study discusses the stand up comedy that is popular among the people. Stand up comedy itself is a singular comedic art whose contents from ordinary jokes contain social criticism. Pandji Pragiwaksono is one example of a comic where he likes to bring stand up comedy material containing social criticism where there are some social problems that we are experiencing in the form of comedy. The theory used by researchers is the theory of mass communication, mass media, social criticism, stand up comedy. This study uses a qualitative approach with the semiotic analysis technique method Ferdinand De Saussure which divides the selected sign into two namely signifier and signified. In this study it was found that the show stand up comedy made by Pandji Pragiwaksono namely Pragiwaksono World Tour slipped a number of social criticisms in which social criticisms were presented including criticism of children's names, criticism of children 's Youtubers, critics of PSSI chairmen, critics of the profession of people, criticisms of humanity , criticism about fans, criticism about animals, and criticism of the attitude of Indonesian citizens. The result is stand up comedy is not just a tool to entertain the public but can also slip social criticism in the form of comedy criticism delivered by Pandji made with satire and comedy so that the message received can be captured easily by his listeners.Penelitian ini membahas tentang stand up comedy yang sedang populer dikalangan masyarakat. Stand up comedysendiri merupakan seni melawak secara tunggal di mana isi dari lawakan berupa kritik sosial. Pandji Pragiwaksono menjadi salah satu contoh komika di Indonesia yang membawakan materi stand up comedyberisi kritik sosial terhadap beberapa masalah sosial. Teori dan konsep yang digunakan peneliti adalah komunikasi massa, media massa, kritik sosial, stand up comedy. Penelitian ini menggunakan pendekatan kualitatif dengan metode teknik analisis semiotika Ferdinand De Saussure yang membagi tanda menjadi dua yaitu signifierdansignified. Penelitian ini menemukan bahwa pertunjukan stand up comedyPandji Pragiwaksono yaitu Pragiwaksono World Tourmenyelipkan beberapa kritik sosial antara lain kritik nama anak, kritik youtuberanak-anak, kritik ketua PSSI, kritik tentang profesi orang, kritik kemanusiaan, kritik tentang fans, kritik tentang satwa, dan kritik sikap warga Indonesia. Kesimpulan dari penelitian ini yaitu stand up comedybukan menjadi alat untuk menghibur masyarakat namun juga menyelipkan kritik sosial dalam bentuk komedi kritik yang dibuat dengan satir dan komedi sehingga pesan yang diterima dapat ditangkap dengan mudah oleh pendengarnya.

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Osborne-Thompson, Heather. "Channeling Totie Fields." Feminist Media Histories 3, no. 2 (2017): 57–77. http://dx.doi.org/10.1525/fmh.2017.3.2.57.

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Although Totie Fields enjoyed considerable visibility on American television in the 1960s and 1970s, her contributions to women's television comedy have been obscured both by her untimely death in 1978 and by her self-deprecating style of humor. This article reconsiders Fields's comedic persona, which forced audiences to confront the realities of voices and bodies that did not conform to classical ideals, in the context of more recent theoretical work on the economy of charged humor (Rebecca Krefting) and the place of women's comedy within contemporary culture (Linda Mizejewski, Kathleen Rowe Karlyn). Ultimately it argues that, rather than constituting a “ghost of women's comedy past,” Fields's persona in feminized TV spaces such as the daytime talk show has more in common with the work of contemporary female comedians than has been previously acknowledged.

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Poornima, T., M. Priyanga, and K. Swarnamuki. "Parallel between Comedy of Humours and Comedy of Manners." International Journal of Trend in Scientific Research and Development Volume-2, Issue-3 (April 30, 2018): 2292–93. http://dx.doi.org/10.31142/ijtsrd11349.

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Lockyer, Sharon. "From comedy targets to comedy-makers: disability and comedy in live performance." Disability & Society 30, no. 9 (October 21, 2015): 1397–412. http://dx.doi.org/10.1080/09687599.2015.1106402.

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23

Wiszniewska, Adriana. "“Half a wit is better than none”: Race, Humor, and the Grotesque in Fran Ross’s Oreo." Studies in American Humor 8, no. 2 (September 1, 2022): 317–36. http://dx.doi.org/10.5325/studamerhumor.8.2.0317.

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ABSTRACT This article focuses on race and humor in Fran Ross’s satirical novel Oreo, about a half-Black, half-Jewish young woman named Oreo, who goes on a quixotic quest to find her absentee father. I argue that Oreo blends high and low forms of comedy, the intellectual and the grotesque, into a complex and irreverent sense of humor that highlights the absurdity of racial and gender hierarchies. I demonstrate how the novel uses representations of animated, mechanized bodies as a site for much of its comedy and as commentary on the racial and gender politics of its moment. The novel’s comedic sensibility finds its parallel in Oreo’s hybrid identity, which allows her to traverse boundaries and situates her as a cyborg-like figure that resists being sexualized, discriminated against, or humiliated. Ross takes these issues up further on the level of form and aesthetics, creating a carnivalesque world in which racial stereotypes are inverted and structures of power are destabilized. In the end, Ross’s simultaneous mastery and bastardization of the comedic form of the satirical novel destabilizes the rigid binaries typically associated with race, gender, and comedy.

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Kehler, Dorothea. ""The Comedy of Errors" as Problem Comedy." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 229. http://dx.doi.org/10.2307/1347291.

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Kehler, Dorothea. "The Comedy of Errors as Problem Comedy." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 229–40. http://dx.doi.org/10.1353/rmr.1987.a460211.

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Humphrey, David. "Laughter Suspended:." Archiv orientální 90, no. 3 (December 22, 2022): 447–72. http://dx.doi.org/10.47979/aror.j.90.3.447-472.

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I examine the shūru-na warai (“surreal comedy”) subgenre of late 20th and early 21st century Japanese media and frame its ambivalent laughter as an expression of time’s opacity at century’s turn. In my analysis, I examine the evolution of surreal comedy in Japan, from its roots in earlier decades to its culmination in the 1990s and 2000s as a full-blown subgenre. With its aesthetics of indeterminacy and irresolution, shūru-na warai offered an aesthetic complement to the unsettled cultural mood that arose in the wake of collapse of Japan’s 1980s-era asset bubble. Namely, shūru-na warai’s suspended comedic aesthetic gave voice to an impression that, while time and history had seemed to halt their forward march, they had not simply begun to move backward. Instead, like shūru-na warai’s comedy, they hung uncertainly, suggesting but never providing the satisfaction of resolution.

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Xuan, Zhou, and Wang Yichun. "Laughing Mechanism and Social Value of Chinese Black Comedy Films——From the Perspective of Bergson's Comedy Theory." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 29–36. http://dx.doi.org/10.54097/ehss.v20i.11417.

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This article aims to explore the mechanism of laughter and social functions of Chinese black comedy films from the perspective of Bergson's comedy theory. As a popular comedy subgenre in the Chinese film market, black comedy films combine dark and absurd tragic themes with comedy forms to form a unique film style. By using Bergson's comedy theory, while analyzing the comedy and the production mechanism of laughter in Chinese black comedy films, it also analyzes the social functions and cultural values of black comedy films, and explains how to use universal comedy techniques to empower them Black themes are accepted by the current Chinese society, providing some useful ideas and perspectives for further understanding of the creation and appreciation of Chinese black comedy films.

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Muro Munilla, Miguel Ángel. "La debatible existencia de una “comedia romántica”: “Muérete… ¡y verás!”, de Bretón de los Herreros, como parodia y pastiche de los dramas románticos." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1149. http://dx.doi.org/10.5944/signa.vol28.2019.25114.

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Este artículo participa en la polémica sobre la noción de comedia romántica. Después de revisar de forma crítica los argumentos de las aportaciones más relevantes sobre este asunto, se centra en la obra de Bretón de los Herreros Muérete… ¡y verás! —presentada por varios especialistas como ejemplo acabado de comedia romántica— y defiende que se trata, en realidad, de una curiosa mezcla de parodia y pastiche de los dramas románticos.This article participates in the controversy about the notion of romantic comedy. After critically reviewing the most relevant contributions to these notions, it focuses on the play by Bretón de los Herreros’ Muérete… ¡y verás! —presented by several specialists as a perfect example of romantic comedy—. It also defends that it is, in fact, a curious mixture of parody and pastiche of romantic dramas.

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Abbotson. "Comedy of a Common Man: Miller's Comedic Chops." Arthur Miller Journal 15, no. 1 (2020): 3. http://dx.doi.org/10.5325/arthmillj.15.1.0003.

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Zhang, Fan, and Jingyu Lu. "“Post-Truth”: Diversified Visual Expression of Social Issues." Journal of Education, Humanities and Social Sciences 34 (July 9, 2024): 96–100. http://dx.doi.org/10.54097/x1kbt785.

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The movie “Post-Truth” was released in 2023, which, as always, continues its director Da Peng’s direction of comedy creation while having a new expansion. In this commercial comedy film, Da Peng incorporates emerging elements such as livestreaming and room escape, and shows social issues such as cyber violence, rumor spreading, and school bullying, which are closely related to the current reality. The film expresses serious social issues in a comedic way. This article will focus on the Chinese chivalrous spirit, genre hybridity, audiovisual presentation and imagery expression of the film, analyzing its diversified visual expression of social issues.

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Dumas, Nathaniel W. "“This guy says I should talk like that all the time”: Challenging intersecting ideologies of language and gender in an American Stuttering English comedienne's stand-up routine." Language in Society 45, no. 3 (May 4, 2016): 353–74. http://dx.doi.org/10.1017/s0047404516000233.

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AbstractAmerican Stuttering English (ASE) speakers (or ‘persons who stutter’ in pathological perspectives) have historically had tense relationships with comedic representations of their speech. Mainstream representations pathologize and ridicule stuttering, rather than appreciate it as a legitimate language variety. These depictions also increase non-ASE speakers' ‘possessive investment’ (Lipsitz 1995) in Standard American Fluent English as the dominant language variety. Recently, some ASE speakers have reinterpreted ASE and comedic portrayals of their speech using stand-up comedy. This article analyzes the comedic work of Rona B, an ASE comedienne. Using data on her YouTube channel, I argue that Rona B draws on her intersectional experiences as a female ASE speaker to construct a voice that critiques both the political agendas of anti-linguistic discrimination, which downplays gender, and of antisexism, which minimizes sociolinguistic differences. This study expands on contemporary calls in sociolinguistics that position intracategorical intersectionality as key for analyzing performances on language variation. (Gender, variation, American Stuttering English, performance, stand-up comedy, language ideologies)*

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Pokhalenkov, Oleg E., and Kseniya O. Vysokovich. "The Image of a Liar in the Light Comedy of the Late 18th – Early 19th Centuries." Вестник Пермского университета. Российская и зарубежная филология 15, no. 3 (2023): 126–33. http://dx.doi.org/10.17072/2073-6681-2023-3-126-133.

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The article explores the image of a liar in the comedies of the late 18th –early 19th centu-ries. The following texts are analyzed: The Talkerby N.I.Khmelnitsky (1817), Don’t Like –Don’t Listen, But Don’t Interfere with Lyingby A.A. Shakhovskoy (1818), A Lesson to Liars, or a Bridegroom for an Hourby Ya.Lyustikh (1823), The Punished Hypocrite, or a Lesson to Everyone in Turnby B.M.Fedorov (1817), Deception, or It’s All About Screens by V.Sveshnikov (1834). The connection of the Russian light comedy with the French-style salon comedy is noted, special attention is paid to the specifics of translation, adaptation of the work to Russian mores. The main characteristics of the light comedy of the period are high-lighted: aphoristic speech, love theme, matchmaking as the key motif. The signs of the salon comedy in-clude: the text size, a comedic intrigue, the recognition of the characters by readers/viewers (the characters’ resemblance to real prototypes), which distinguish this genre from the high comedy of the 18th century. Theanalysis showed the motif of deception to be the core, plot-forming motif. The representatives of the noble society act as deceiving characters, the age of the character does not matter. Despite the lack of strict didacticism, the hero-deceiver gets what he deserves, he loses either a lucrative position or a bride. Thus, we can talk about the national specifics of the comedies under consideration: the cheater protagonist gets noth-ing and often loses his influence, status, and even honest name. Despite the negative attitude to deception, showing the liar in his true colors is a virtuous mission, often it is a conflict of close people or relatives. Sveshnikov’s comedy Deception...is considered separately since it is written in prose, not in verse. In addi-tion, theliar is a female character; in this play, ‘verbal’ deception is replaced by deception in action.

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YESBALAYEVA, R., and Sh KUDAIBERGENOVA. "ZHUMABAY ABILOV AND GENESIS AND THE GENRE STUDY OF THE KAZAKH COMEDY." Turkology 111, no. 3 (September 15, 2022): 48–65. http://dx.doi.org/10.47526/2022-3/2664-3162.03.

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The article deals with the study of Kazakh comedy. A scientific analysis is carried out on the basis of the research of the scientist Zhumabay Abilov regarding the genesis and genre features of the Kazakh comedy. As the history of the emergence of comedy recedes into antiquity, the history of the study of Kazakh comedy continues to fade. In the literature of any country, there is a tendency to study the genre of comedy in written literature, and types of comedy in oral literature are not taken into account. Perhaps that is why until that time we knew only such types of Kazakh comedy as "Satirical Comedy" and "Lyrical Comedy". And Zhumabay Abilov, who studied Kazakh comedy in close connection with folklore, introduced the previously unused genre of “dialogue-comedy” into literary circulation. Every country, every nation has its own satire. The systematization of the forms of oral satire, called folk comedy, and its scientific tracking require a comprehensive study. The article presents examples of oral creativity, which is the beginning of our national literature, in the Kazakh folk theater, and conclusions about stable coordinating factors from the research work of the scientist Zhumabay Abilov "Kazakh Comedy". The study and classification of the genre of dialogue-comedy has a scientific basis.

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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while trying to free themselves from widespread stereotypes. The authors of the dramatic works used various comedic techniques and traditions: satirical, ludic, or Young Poland’s “black comedy.” Comedy influenced the construction of the depicted world and its individual elements as well as the linguistic forms. The amusing heroines became negative characters, going beyond the limits of femininity accepted by the society or postulated by the authors, and their awkwardness evoked compassion in the audience or revealed the malfunctioning of social institutions.

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Warońska, Joanna. "Kobiecość a płeć żeńska. Komediopisarki dwudziestolecia międzywojennego wobec dyskursu emancypacyjnego." Wielogłos, no. 2 (44) (2020): 91–116. http://dx.doi.org/10.4467/2084395xwi.20.013.12404.

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Femininity and the Female Gender: Female Comedy Writers of the Interwar Period in Relation to the Emancipation Discourse The article presents an analysis of selected interwar comedies written by women – Marcelina Grabowska, Maria Morozowicz-Szczepkowska, Maria Pawlikowska- -Jasnorzewska and Magdalena Samozwaniec – and dealing with issues related to the emancipation discourse: motherhood, abortion, shaping a new female role model, and relationships in women’s groups. The heroines of those plays, increasingly liberated and self-aware, demanded the rights traditionally assigned to men, while trying to free themselves from widespread stereotypes. The authors of the dramatic works used various comedic techniques and traditions: satirical, ludic, or Young Poland’s “black comedy.” Comedy influenced the construction of the depicted world and its individual elements as well as the linguistic forms. The amusing heroines became negative characters, going beyond the limits of femininity accepted by the society or postulated by the authors, and their awkwardness evoked compassion in the audience or revealed the malfunctioning of social institutions.

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Fitzpatrick, Sheila. "Soviet History as Black Comedy." Ab Imperio 2023, no. 4 (2023): 30–46. http://dx.doi.org/10.1353/imp.2023.a922248.

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SUMMARY: Opening a discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," Sheila Fitzpatrick's essay proposes applying the mode of black comedy to the narration of Soviet history. Noting that all comedy thrives on the unexpected, Fitzpatrick points to humorous reactions to social paradoxes and conflicts in the Russian and Soviet literary tradition as well as in western Sovietology. The essay implies that the comedic mode can be productive in highlighting heterogeneity and incongruities in Soviet history. Резюме: Эссе Шейлы Фитцпатрик, в котором черная комедия рассматривается как возможный модус повествования советской истории, открывает форум "Мейнстримные нарративы советской истории и смех от удивления". Отмечая, что жанр комедии использует эффект неожиданности, Фитцпатрик отмечает случаи юмористической реакции на социальные парадоксы и конфликты в российской и советской литературной традиции, а также западной советологии. В эссе аргументируется продуктивность использования жанра черной комедии для демонстрации гетерогенности советской истории и несоответствий в советском прошлом.

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Matt Cohn. "Sicyonian Comedy." Classical Journal 112, no. 1 (2016): 1. http://dx.doi.org/10.5184/classicalj.112.1.0001.

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Randall, Margaret, and Barbara Kingsolver. "Human Comedy." Women's Review of Books 5, no. 8 (May 1988): 1. http://dx.doi.org/10.2307/4020209.

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Newnham, David. "Comedy gold." Nursing Standard 28, no. 47 (July 23, 2014): 29. http://dx.doi.org/10.7748/ns.28.47.29.s33.

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McNeil, Jean, Joyce Elbrecht, and Lydia Fakundiny. "Restoration Comedy." Women's Review of Books 11, no. 7 (April 1994): 22. http://dx.doi.org/10.2307/4021829.

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Vernon, Mark. "Cliquey comedy." Philosophers' Magazine, no. 38 (2007): 90. http://dx.doi.org/10.5840/tpm20073872.

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Takach, Geo. "Eco-comedy." Environmental Humanities 14, no. 2 (July 1, 2022): 371–74. http://dx.doi.org/10.1215/22011919-9712445.

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Cohn, Matt. "Sicyonian Comedy." Classical Journal 112, no. 1 (2016): 1–24. http://dx.doi.org/10.1353/tcj.2016.0051.

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Xiaoying, Chen. "Comedy Prism." Film，Television and Theatre Review 1, no. 1 (2021): 1–5. http://dx.doi.org/10.35534/fttr.0101002.

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Polsby, Nelson W., and George F. Will. "Restoration Comedy." Yale Law Journal 102, no. 6 (April 1993): 1515. http://dx.doi.org/10.2307/796976.

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Segal, Erich, and David Konstan. "Roman Comedy." Classical World 79, no. 3 (1986): 206. http://dx.doi.org/10.2307/4349863.

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Sidwell, Keith, and Ian C. Storey. "Old Comedy." Classics Ireland 12 (2005): 62. http://dx.doi.org/10.2307/25528418.

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Rist, Thomas. "Topical Comedy." Ben Jonson Journal 7, no. 1 (January 2000): 65–87. http://dx.doi.org/10.3366/bjj.2000.7.1.5.

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Manuwald, Gesine. "Roman Comedy." Brill Research Perspectives in Classical Poetry 1, no. 2 (April 22, 2020): 1–88. http://dx.doi.org/10.1163/25892649-12340002.

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Abstract This contribution provides an introduction to all varieties of ‘Roman comedy’, including primarily fabula palliata (‘new comedy’, as represented by Plautus and Terence) as well as fabula togata, fabula Atellana, mimus and pantomimus. It examines the major developments in the establishment of these dramatic genres, their main characteristics, the performance contexts for them in Republican Rome, and their reception. The presentation of the key facts is accompanied by a description of the influential turns and recent trends in scholarship on Roman comedy. The essay is designed for scholars, teachers and (graduate) students who have some familiarity with Roman literature and are looking for (further) orientation in the area of Roman comedy.

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Sagona, Alex. "Equals Comedy." Colorado Review 47, no. 2 (2020): 50–67. http://dx.doi.org/10.1353/col.2020.0051.

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