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Features a scholarly study of various societies' hostile humor. This book takes a serious look at humor, drawing on the work of psychologists, folklorists, and philosophers, but also is intended for those who are curious as to why we laugh at ethnic jokes.
Jokes and Targets takes up an appealing and entertaining topic—the social and historical origins of jokes about familiar targets such as rustics, Jewish spouses, used car salesmen, and dumb blondes. Christie Davies explains why political jokes flourished in the Soviet Union, why Europeans tell jokes about American lawyers but not about their own lawyers, and why sex jokes often refer to France rather than to other countries. One of the world's leading experts on the study of humor, Davies provides a wide-ranging and detailed study of the jokes that make up an important part of everyday conversation.
As the twentieth century closes, ethnicity stands out as a powerful force for binding people together in a sense of shared origins and worldview. But this emphasis on a people's uniqueness can also develop into a distorted rationale for insularity, inter-ethnic animosity, or, as we have seen in this century, armed conflict. Ethnic identity clearly holds very real consequences for individuals and peoples, yet there is not much agreement on what exactly it is or how it is formed. The growing recognition that ethnicity is not fixed and inherent, but elastic and constructed, fuels the essays in this collection. Regarding identity as a dynamic, on-going, formative and transformative process,We Are a Peopleconsiders narrative—the creation and maintenance of a common story—as the keystone in building a sense of peoplehood. Myths of origin, triumph over adversity, migration, and so forth, chart a group's history, while continual additions to the larger narrative stress moving into the future as a people. Still, there is more to our stories as individuals and groups. Most of us are aware that we take on different roles and project different aspects of ourselves depending on the situation. Some individuals who have inherited multiple group affiliations from their families view themselves not as this or that but all at once. So too with ethnic groups. The so-called hyphenated Americans are not the only people in the world to recognize or embrace their plurality. This relatively recent acknowledgment of multiplicity has potentially wide implications, destabilizing the limited (and limiting) categories inscribed in, for example, public policy and discourse on race relations.We Are a Peopleis a path-breaking volume, boldly illustrating how ethnic identity works in the real world. Author note:Paul Spickardis Professor and Chair of Asian American Studies at UC Santa Barbara and is author ofMixed Blood.W. Jeffrey Burroughsis Professor of Psychology at Brigham Young University, Hawaii.
The Encyclopedia of Humor: A Social History explores the concept of humor in history and modern society in the United States and internationally. This work’s scope encompasses the humor of children, adults, and even nonhuman primates throughout the ages, from crude jokes and simple slapstick to sophisticated word play and ironic parody and satire. As an academic social history, it includes the perspectives of a wide range of disciplines, including sociology, child development, social psychology, life style history, communication, and entertainment media. Readers will develop an understanding of the importance of humor as it has developed globally throughout history and appreciate its effects on child and adult development, especially in the areas of health, creativity, social development, and imagination. This two-volume set is available in both print and electronic formats. Features & Benefits: The General Editor also serves as Editor-in-Chief of HUMOR: International Journal of Humor Research for The International Society for Humor Studies. The book’s 335 articles are organized in A-to-Z fashion in two volumes (approximately 1,000 pages). This work is enhanced by an introduction by the General Editor, a Foreword, a list of the articles and contributors, and a Reader’s Guide that groups related entries thematically. A Chronology of Humor, a Resource Guide, and a detailed Index are included. Each entry concludes with References/Further Readings and cross references to related entries. The Index, Reader’s Guide themes, and cross references between and among related entries combine to provide robust search-and-browse features in the electronic version. This two-volume, A-to-Z set provides a general, non-technical resource for students and researchers in such diverse fields as communication and media studies, sociology and anthropology, social and cognitive psychology, history, literature and linguistics, and popular culture and folklore.
Isn’t That Clever provides a new account of the nature of humor – the cleverness account – according to which humor is intentional conspicuous acts of playful cleverness. This volume asks whether there are limits to what can be said in dealing with a heckler and how do we determine whether one comedian has stolen jokes from another.
Comedy is a powerful contemporary source of influence and information. In the still-evolving digital era, the opportunity to consume and share comedy has never been as available. And yet, despite its vast cultural imprint, comedy is a little-understood vehicle for serious public engagement in urgent social justice issues – even though humor offers frames of hope and optimism that can encourage participation in social problems. Moreover, in the midst of a merger of entertainment and news in the contemporary information ecology, and a decline in perceptions of trust in government and traditional media institutions, comedy may be a unique force for change in pressing social justice challenges. Comedians who say something serious about the world while they make us laugh are capable of mobilizing the masses, focusing a critical lens on injustices, and injecting hope and optimism into seemingly hopeless problems. By combining communication and social justice frameworks with contemporary comedy examples, authors Caty Borum Chattoo and Lauren Feldman show us how comedy can help to serve as a vehicle of change. Through rich case studies, audience research, and interviews with comedians and social justice leaders and strategists, A Comedian and an Activist Walk Into a Bar: The Serious Role of Comedy in Social Justice explains how comedy – both in the entertainment marketplace and as cultural strategy – can engage audiences with issues such as global poverty, climate change, immigration, and sexual assault, and how activists work with comedy to reach and empower publics in the networked, participatory digital media age.
From former SNL "Weekend Update" host and legendary stand-up Colin Quinn comes a controversial and laugh-out-loud investigation into cultural and ethnic stereotypes. Colin Quinn has noticed a trend during his decades on the road-that Americans' increasing political correctness and sensitivity have forced us to tiptoe around the subjects of race and ethnicity altogether. Colin wants to know: What are we all so afraid of? Every ethnic group has differences, everyone brings something different to the table, and this diversity should be celebrated, not denied. So why has acknowledging these cultural differences become so taboo? In The Coloring Book, Colin, a native New Yorker, tackles this issue head-on while taking us on a trip through the insane melting pot of 1970s Brooklyn, the many, many dive bars of 1980s Manhattan, the comedy scene of the 1990s, and post-9/11 America. He mixes his incredibly candid and hilarious personal experiences with no-holds-barred observations to definitively decide, at least in his own mind, which stereotypes are funny, which stereotypes are based on truths, which have become totally distorted over time, and which are actually offensive to each group, and why. As it pokes holes in the tapestry of fear that has overtaken discussions about race, The Coloring Book serves as an antidote to our paralysis when it comes to laughing at ourselves . . . and others.
When wielded by the white majority, ethnic humor can be used to ridicule and demean marginalized groups. In the hands of ethnic minorities themselves, ethnic humor can work as a site of community building and resistance. In nearly all cases, however, ethnic humor can serve as a window through which to examine the complexities of American race relations. In Ethnic Humor in Multiethnic America, David Gillota explores the ways in which contemporary comic works both reflect and participate in national conversations about race and ethnicity. Gillota investigates the manner in which various humorists respond to multiculturalism and the increasing diversity of the American population. Rather than looking at one or two ethnic groups at a time—as is common scholarly practice—the book focuses on the interplay between humorists from different ethnic communities. While some comic texts project a fantasy world in which diverse ethnic characters coexist in a rarely disputed harmony, others genuinely engage with the complexities and contradictions of multiethnic America. The first chapter focuses on African American comedy with a discussion of such humorists as Paul Mooney and Chris Rock, who tend to reinforce a black/white vision of American race relations. This approach is contrasted to the comedy of Dave Chappelle, who looks beyond black and white and uses his humor to place blackness within a much wider multiethnic context. Chapter 2 concentrates primarily on the Jewish humorists Sarah Silverman, Larry David, and Sacha Baron Cohen—three artists who use their personas to explore the peculiar position of contemporary Jews who exist in a middle space between white and other. In chapter 3, Gillota discusses different humorous constructions of whiteness, from a detailed analysis of South Park to “Blue Collar Comedy” and the blog Stuff White People Like. Chapter 4 is focused on the manner in which animated children’s film and the network situation comedy often project simplified and harmonious visions of diversity. In contrast, chapter 5 considers how many recent works, such as Harold and Kumar Go to White Castle and the Showtime series Weeds, engage with diversity in more complex and productive ways.
A pioneering, dazzling satire about a biracial black girl from Philadelphia searching for her Jewish father in New York City Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.
"To understand the history and spirit of America, one must know its wars, its laws, and its presidents. To really understand it, however, one must also know its cheeseburgers, its love songs, and its lawn ornaments. The long-awaited Guide to the United States Popular Culture provides a single-volume guide to the landscape of everyday life in the United States. Scholars, students, and researchers will find in it a valuable tool with which to fill in the gaps left by traditional history. All American readers will find in it, one entry at a time, the story of their lives."--Robert Thompson, President, Popular Culture Association. "At long last popular culture may indeed be given its due within the humanities with the publication of The Guide to United States Popular Culture. With its nearly 1600 entries, it promises to be the most comprehensive single-volume source of information about popular culture. The range of subjects and diversity of opinions represented will make this an almost indispensable resource for humanities and popular culture scholars and enthusiasts alike."--Timothy E. Scheurer, President, American Culture Association "The popular culture of the United States is as free-wheeling and complex as the society it animates. To understand it, one needs assistance. Now that explanatory road map is provided in this Guide which charts the movements and people involved and provides a light at the end of the rainbow of dreams and expectations."--Marshall W. Fishwick, Past President, Popular Culture Association Features of The Guide to United States Popular Culture: 1,010 pages 1,600 entries 500 contributors Alphabetic entries Entries range from general topics (golf, film) to specific individuals, items, and events Articles are supplemented by bibliographies and cross references Comprehensive index