An important and timely expansion of American racial discourse. Tucker’s demonstration of how the comic is not (just) funny and how rage is not (just) destructive is a welcome reminder that willful ...injustice merits irreverent scorn. --Derek C. Maus, coeditor of Post-Soul Satire: Black Identity after Civil Rights
Adroitly explores how comic rage is a skillfully crafted, multifaceted critique of white supremacy and a soaring articulation of African American humanity and possibility. Sparkling and highly readable scholarship.--Keith Gilyard, author of John Oliver Killens: A Life of Black Literary Activism
A combustible mix of fury and radicalism, pathos and pain, wit and love--Terrence Tucker calls it comic rage, and he shows how it has been used by African American artists to aggressively critique America’s racial divide.
In Furiously Funny , Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.
Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony’s attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America’s legacy of racial oppression.
Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.
In this volume, Tanya Sheehan takes humor seriously in order to trace how photographic comedy was used in America and transnationally to express evolving ideas about race, black emancipation, and ...civil rights in the mid-1800s and into the twentieth century.
Sheehan employs a trove of understudied materials to write a new history of photography, one that encompasses the rise of the commercial portrait studio in the 1840s, the popularization of amateur photography around 1900, and the mass circulation of postcards and other photographic ephemera in the twentieth century. She examines the racial politics that shaped some of the most essential elements of the medium, from the negative-positive process to the convention of the photographic smile. The book also places historical discourses in relation to contemporary art that critiques racism through humor, including the work of Genevieve Grieves, Adrian Piper, Lorna Simpson, Kara Walker, and Fred Wilson.
By treating racial humor about and within the photographic medium as complex social commentary, rather than a collectible curiosity, Study in Black and White enriches our understanding of photography in popular culture. Transhistorical and interdisciplinary, this book will be of vital interest to scholars of art history and visual studies, critical race studies, U.S. history, and African American studies.
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.
Despite popular opinions of the ´dark Middle Ages´ and a ´gloomy early modern age´, many people laughed, smiled, giggled, chuckled, enternained and rediculed each other. This volume demonstrates how ...important laughter had been at times and how diverse the situations proved to be in which people laughed. The contributions examine a wide gamut of significant cases of laughter in literary texts, historical documents, and art works. Laughter reflected a variety of concerns, interests, and intentions, and the collective approach in this volume to laughter in the past opens many new windows to the history of mentality, social and religious conditions, gender relationships, and power structures.
This is an updated edition of Good Humor, Bad Taste: A Sociology of the Joke, published in 2006. Using a combination of interview materials, survey data, and historical materials, it explores the ...relationship between humor and gender, age, social class, and national differences in the Netherlands and the United States. This edition includes new developments and research findings in the field of humor studies.
Pornind de la ideea unui demers cumulativ, Cosmina-Maria Berindei compară imaginarul cu un „muzeu etnografic ce se compune din obiecte care au, fiecare în parte, o poveste: au fost confecţionate de ...către un meşter, au avut unul sau mai mulţi proprietari şi au cunoscut un traseu propriu, înainte de a deveni obiecte de inventar.Iadul este locul în care îşi vor petrece eternitatea cei care nu fac parte din universul social al comunităţii, fiind vinovaţi de practici amendate de către aceasta.CosminaMaria Berindei apreciază că „îngăduinţa nemăsurată privitoare la posibilitatea omului de a avea un destin postum fericit nu vine (...) dintr-o atitudine identică cu aceea care se articulează în modernitatea noastră, în care iadul aproape că a dispărut din imaginar" (p. 351), ci din faptul că, bazându-se pe o religiozitate arhaică, imaginarul culturii tradiţionale româneşti nu conţine ideea judecăţii morale prin care să fie legitimat accesul la un destin fericit.Sunt reprezentări iconografice ale temelor enumerate mai sus, realizare pe pereţii unor biserici din România: biserica de lemn din Şurdeşti (MM), biserica de lemn din Ieud-Deal (MM), Biserica reformată din Mungeni (HR), Mănăstirea Voroneţ (SV), biserica de lemn din Fereşti (MM), Mănăstirea Humor (SV), biserica de lemn din Pojori-Cema (VL), biserica din Fârtăţeşti (VL), Biserica din Dozeşti (VL), Mănăstirea Hurezi (VL) şi alte câteva.
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