Academic literature on the topic 'Feminist Humor'
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Journal articles on the topic "Feminist Humor"
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Stillion, Judith M., and Hedy White. "Feminist Humor: Who Appreciates it and Why?" Psychology of Women Quarterly 11, no. 2 (June 1987): 219–32. http://dx.doi.org/10.1111/j.1471-6402.1987.tb00785.x.
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Despite popular-media claims that feminists lack a sense of humor, there has been little actual research investigating feminist humor and people's reactions to it. Three experiments investigated reactions to humorous feminist slogans that subjects classified into thematic categories. Subjects in Experiment 1 were females and males, over 30 years old, who considered themselves feminists or strongly sympathetic toward feminism. Experiment 2 used female and male undergraduates, under 30 years old, with varying levels of sympathy towards feminism. Subjects in Experiment 3 were students enrolled in the 6th, 8th, and 10th grades of a summer enrichment program for academically gifted students. The females in Experiment 1 gave the highest humor ratings, while the females in the second experiment gave the lowest ratings. In Experiment 3, sex differences in humor ratings were not reliable, but ratings of the extent to which subjects agreed with the slogans were higher for females than for males. The results of the three experiments suggest that both gender and feminist sympathy influence reactions to feminist humor.
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Solana, Mariela. ""Soy feminista pero...": afectos, humor e identificación en The Guilty Feminist." Descentrada 5, no. 1 (March 31, 2021): e135. http://dx.doi.org/10.24215/25457284e135.
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El objetivo de este artículo es analizar los afectos que circulan en el podcast cómico The Guilty Feminist, con el fin de determinar cuál es la clase de “nosotras-feministas” que se gesta en el encuentro entre el chiste de las comediantes y la respuesta de la audiencia. El podcast es parte de una nueva generación de humor feminista cuyo objeto de burla es el modo en que somos, y creemos que debemos ser, feministas. El artículo explora aquellas situaciones cómicas que generan una respuesta favorable en la audiencia así como la irrupción, por momentos, de silencios incómodos y gestos de reprobación. La meta es comprender el proceso de identificación que estas situaciones habilitan y que producen una comunidad feminista basada en sentimientos como la culpa, la vergüenza, la incomodidad y la frustración.
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Merrill, Lisa. "Feminist humor: Rebellious and self‐affirming." Women's Studies 15, no. 1-3 (October 1988): 271–80. http://dx.doi.org/10.1080/00497878.1988.9978732.
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Kein. "Recovering Our Sense of Humor: New Directions in Feminist Humor Studies." Feminist Studies 41, no. 3 (2015): 671. http://dx.doi.org/10.15767/feministstudies.41.3.671.
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Chatterjee, Sushmita. "What Does It Mean to Be a Postcolonial Feminist? The Artwork of Mithu Sen." Hypatia 31, no. 1 (2016): 22–40. http://dx.doi.org/10.1111/hypa.12225.
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This article examines what the work of New Delhi‐based artist Mithu Sen brings to thinking about being a postcolonial feminist. Using images from Sen's solo exhibit in New Delhi and New York titled Half Full (2007), I theorize on the complexities that proliferate when thinking about postcolonial feminism. Sen's images play with “an” identity to showcase the hybrid and mobile configuration of postcolonial subjectivity. Sen's provocative aesthetic urges us to rethink defining a set of conditions or tenets for postcolonial feminism. Rather, her aesthetic politics propels through humor and provides a prism to constantly reimagine postcolonial feminist subjectivity by urging a consideration of maps that intersect and overlap.
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Sundén, Jenny, and Susanna Paasonen. "Inappropriate Laughter: Affective Homophily and the Unlikely Comedy of #MeToo." Social Media + Society 5, no. 4 (October 2019): 205630511988342. http://dx.doi.org/10.1177/2056305119883425.
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This article investigates the affective and ambiguous dynamics of feminist humor as an unexpected strategy of resistance in connection with #MeToo, asking what laughter may do to the sharpness of negative affect of shame and anger driving the movement. Our inquiry comes in three vignettes. First, we deploy Nanette—Hannah Gadsby’s 2018 Netflix success heralded as the comedy of the #MeToo era—arguing that the uniform viral warmth surrounding the show drives the emergence of networked feminisms through “affective homophily,” or a love of feeling the same. With Nanette, the contagious qualities of laughter are tamed by a networked logic of homophily, allowing for intensity while resisting dissent. Our second vignette zooms in on a less known feminist comedian, Lauren Maul, and her online #MeToo musical comedy riffing off on apologies made by male celebrities accused of sexual harassment, rendering the apologies and the men performing them objects of ridicule. Our third example opens up the door to the ambivalence of irony. In considering the unexpected pockets of humor within the #MeToo scandal that ripped apart the prestigious institution of the Swedish Academy, we explore the emergence of carnivalesque comedy and feminist uses of irony in the appropriation of the pussy-bow blouse as an ambiguous feminist symbol. Our examples allow us to argue for the political importance of affective ambiguity, difference, and dissent in contemporary social media feminisms, and to highlight the risk when a movement like #MeToo closes ranks around homogeneous feelings of not only shame and rage, but also love.
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Sumadi, Sumadi. "ISLAM DAN SEKSUALITAS: BIAS GENDER DALAM HUMOR PESANTREN." El-HARAKAH (TERAKREDITASI) 19, no. 1 (May 15, 2017): 21. http://dx.doi.org/10.18860/el.v19i1.3914.
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<p>Humor becomes an important part in institutionalizing the culture of pesantren. Yet, the humor in pesantren often ignores the values that respect gender equality. Understanding Islam pesantren patriarchy becomes the root for establishing the themes of humor that exploit women’s bodies and sexuality. Study of humor and sexuality in pesantren in Indonesia are still unnoticed. This study used a qualitative research approach with a feminist analysis in pesantren Priangan West Java. The results of this study showed that Islam patriarchy in pesantren institutionalized within the themes of humor created by kiai, teachers, and students in pesantren. As the implication, humor in pesantren contains the values and ideology of gender bias in the form of stereotyping, objectification, and the domestication of women. Dominant objects in pesantren humor are the body and female sexuality. The body becomes the center of worship and praise despite the epicenter definition, identity, and control on women by men.</p><p>Humor menjadi bagian penting dalam pelembagaan budaya pesantren. Akan tetapi humor-humor di pesantren sering mengabaikan nilai-nilai yang menghargai kesetaraan gender. Pemahaman Islam pesantren yang patriarki menjadi akar pembentukan tema-tema humor yang mengeksploitasi tubuh dan seksualitas perempuan. Kajian humor dan seksualitas di lingkungan pesantren di Indonesia termasuk yang luput dari perhatian. Kajian ini menggunakan pendekatan penelitian kualitatif dengan analisis feminis di pesantren Priangan Jawa Barat. Hasil penelitian ini menunjukkan bahwa patriarkisme Islam pesantren terlembagakan dalam tema-tema humor yang dibuat kiai, guru, dan santri di pesantren. Implikasinya humor-humor di lingkungan pesantren mengandung tata nilai dan ideologi bias gender berupa stereotip, objektifikasi, dan domestifikasi perempuan. Objek yang dominan humor di pesantren yaitu tubuh dan seksualitas perempuan. Tubuh menjadi pusat puja dan puji, tetapi menjadi episentrum pendefinisian, pemberian identitas, dan kontrol pada perempuan yang dilakukan laki-laki.</p>
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Marlowe, Leigh. "A Sense of Humor." Imagination, Cognition and Personality 4, no. 3 (March 1985): 265–75. http://dx.doi.org/10.2190/y474-q5n3-64rg-5k02.
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Each major behavior science has a variety of distinct perspectives on our species' capacity for humor. Some psychological, sociological, and anthropological approaches are explained in this article. No theory accounting for or method of studying humor has gained a plurality of adherents in any of these disciplines. This article presents a social psychological analysis, emphasizing the interpersonal and intergroup functions of humor production, expression, and appreciation, with particular attention to gender-based socialization of language and its individual and social consequences. Historical and contemporary examples of women in humor are discussed, in addition to implications of feminist humor for future relations between women and men.
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Sundén, Jenny, and Susanna Paasonen. "“We have tiny purses in our vaginas!!! #thanksforthat”: absurdity as a feminist method of intervention." Qualitative Research Journal 21, no. 3 (March 18, 2021): 233–43. http://dx.doi.org/10.1108/qrj-09-2020-0108.
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PurposeAccording to thesaurus definitions, the absurd translates as “ridiculously unreasonable, unsound, or incongruous”; “extremely silly; not logical and sensible”. As further indicated in the Latin root absurdus, “out of tune, uncouth, inappropriate, ridiculous,” humor in absurd registers plays with that which is out of harmony with both reason and decency. In this article, the authors make an argument for the absurd as a feminist method for tackling heterosexism.Design/methodology/approachBy focusing on the Twitter account “Men Write Women” (est. 2019), the rationale of which is to share literary excerpts from male authors describing women's experiences, thoughts and appearances, and which regularly broadens into social theater in the user reactions, the study explores the critical value of absurdity in feminist social media tactics.FindingsThe study proposes the absurd as a means of not merely turning things around, or inside out, but disrupting and eschewing the hegemonic logic on offer. While both absurd humor and feminist activism may begin from a site of reactivity and negative evaluation, it need not remain confined to it. Rather, by turning things preposterous, ludicrous and inappropriate, absurd laughter ends up somewhere different. The feminist value of absurd humor has to do with both its critical edge and with the affective lifts and spaces of ambiguity that it allows for.Originality/valueResearch on digital feminist activism has largely focused on the affective dynamics of anger. As there are multiple affective responses to sexism, our article foregrounds laughter and ambivalence as a means of claiming space differently in online cultures rife with hate, sexism and misogyny.
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Sheppard, Alice. "From Kate Sanborn to Feminist Psychology: The Social Context of Women's Humor, 1885–1985." Psychology of Women Quarterly 10, no. 2 (June 1986): 155–70. http://dx.doi.org/10.1111/j.1471-6402.1986.tb00743.x.
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While current feminists are calling for a theoretical psychology of women, the present paper suggests that its foundation can be found in the writings of certain nineteenth-century women. Their conclusions, drawn from a different era and assuming contrasting social science paradigms, parallel and anticipate modern discoveries. This paper examines the work of Kate Sanborn (1839–1917), who edited an anthology of women's humor and crusaded for 20 years to alter the stereotype of women's humorlessness. It is suggested that her work adds to our knowledge of feminist history, as well as presaging current theoretical developments in the psychology of women.
Dissertations / Theses on the topic "Feminist Humor"
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Chastain, Stephanie G. "The gendering of humor : toward a feminist narrative /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6673.
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Hoover, Jessica. "Let's Bump Up the Lights: Exploring The Carol Burnett Show as a Cultural Antecedent to Feminist Media Studies." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538695/.
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This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.
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Hoover, Jessica. "Let's Bump Up the Lights: Exploring "The Carol Burnett Show" as a Cultural Antecedent to Feminist Media Studies." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc1538695/.
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This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.
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Billingsley, Amy. "Humorwork, Feminist Philosophy, and Unstable Politics." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24550.
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This dissertation examines humor as a situated practice of reappropriation and transformation undertaken by a subject within a social world. I bring together insights from humor studies, philosophy of humor, and feminist philosophy (especially feminist continental philosophy) to introduce the concept of humorwork as an unstable political practice of reappropriating and transforming existing images, speech, and situations. I argue that humorwork is an unstable politics because the practice of reappropriation and transformation often exceeds the intentions of the subject practicing humor, taking on a continued life beyond the humorist’s intentions. By focusing on the practice of humor, the subject who produces it, their social and political world, the affects circulated through political humor, and the politics of popular and scholarly discourse about humor, I push against a reductive, depoliticized concept of humor and the trivializing gesture of “it’s just a joke.” Instead, I argue that humorists are responsible and connected to (if not always blameable) for the social and political life of their humorwork, despite the unstable and unpredictable uptake of humor against a humorist’s intentions.
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Karman, Barbara A. "Women and Humor: A Linguistic and Rhetorical Analysis of Joke Target." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366049215.
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Santos, Krystin. "AUTO-FEM: ESSAYS." UKnowledge, 2018. https://uknowledge.uky.edu/english_etds/72.
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Auto Fem: Essays is a nonfiction essay collection revolving around one young woman’s family and their relationship to the motors that accelerate familial bonds. Each motor-related essay brings readers deeper into the admiration of speed and the environment that surrounds it. The essays span from the author's childhood into adulthood, revealing the different ways a woman is sexualized within these subcultures. This sexualization leads to internal battles for the female participant that result in sometimes toxic eating habits and a complicated body image.
The author provides a sometimes brutal, sometimes funny, but always honest view. The essays collected here explore one woman's experience of being a woman within male-dominated spaces-- from table gambling in casinos to Harley Davidson motorcycle rallies. These essays explore over twenty years of one nuclear family's love for motors and each other.
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Söderlund, Hanna. "”Jättekul att det är så många tjejer här ikväll” : En interaktionell studie om humor och kön i tv-programmet Parlamentet." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-120169.
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The purpose of this study is to explore how the relation between gender and humour is maintained and challenged in the Swedish TV show Parlamentet. Using an interactional approach based on Judith Baxter’s theoretical framework for feminist post-structuralist discourse analysis, the study focuses on how communicative strategies are used in negotiating for the ideal position of “the successful comedian”. This position is seen as an ideal position in Parlamentet, where comedians do political parody. In the conversation sequences examined in this study, both verbal and bodily semiotic modes have been analyzed using conversation analysis and multimodal analysis. The study focuses on how different communicative strategies encourage or reject the comedians and how this leads to different possibilities in negotiating for a powerful position, the position of the successful comedian. Humour is culturally seen as a male-coded discourse. The relations between humour and gender that are in focus are the hegemonic notions of women as lacking a sense of humour or being less humorous than men. The notions of gender are based on Judith Butler’s theories and hence seen as something performed through discourse and within a rigid regulatory frame where the subject’s possibilities are not infinite. The results of the study show that the female and male comedians do not have the same possibilities in the negotiation for the position of “the successful comedian”. The male comedians are strongly encouraged to a greater extent than the female comedians. The female comedians are also rejected to a larger extent than the male comedians. The male comedians are mostly rejected by the moderator whereas the female comedians are rejected by the moderator, male comedians and female comedians. The female comedians encourage other comedians to a larger degree than the male comedians. A significant finding of this study is that the relations between humour and gender, where women are seen as less humorous than men, are maintained when female comedians through discourse are made less humorous. However, there are strategies in the interaction that do encourage the female comedians or that lead to female comedian’s resist being rejected. These strategies indicate that the hegemonic cultural notions of women as less humorous than men are also challenged in this public discourse.
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Juer, Ester. "O mau humor na TPM: uma interpretação do feminino." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8677.
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Em O mau humor da TPM: uma interpretação do feminino propomos mostrar como são construídas algumas representações do feminino a partir da sua relação com a menstruação e discutir alguns significados culturais acerca dos transtornos de humor derivado de uma síndrome comumente conhecida como a tensão pré-menstrual. A partir de um recorte teórico do corpo e do olhar médico sobre este enquanto objetos das ciências sociais, isto é, como construções sociais, e tendo como orientação os estudos feministas, analisamos dois tipos de discursos circulantes acerca da menstruação, localizados nas camadas médias cariocas, no início do século XXI, que dizem representar ou dialogar com este corpo hormonal. Estes seguem duas direções diferentes: o primeiro discurso analisado é um livro de um médico, no formato de literatura de auto-ajuda, voltado para a discussão da inteligência hormonal; que pretende ser um modelo de subjetivação do feminino, baseado no olhar médico-científico. Este propõe um controle sobre o corpo, organizando o feminino a partir de idéias essencializadas as quais universalizam os corpos e tratam das descrições desse feminino como pré-determinadas por condições localizadas no corpo Natural. O segundo é um conjunto de entrevistas realizadas com bancárias, que registram o feminino subjetivado. Estes discursos sobre a vivência do feminino, apesar de também articularem descrições corporais enraizadas na biologia e nas ciências médicas, revelam ainda outros significados culturais representativos, destacando assim a importância dos estudos que privilegiam o agenciamento do sujeito na construção social de gênero, no caso desses femininos.In The Bad Mood of Premenstrual Syndrome: An interpretation of the feminine intends to show how representations of the feminine are constructed in relation to women s monthly cycle and to discuss some cultural significances concerning the upsetting of humor one of the symptoms of the syndrome commonly known as: "premenstrual tension". Grounded in the theoretical approach of the body and the physician `s glance as objects of the Social Sciences, that is, as social constructions, and guided by feminist studies, we analyzed two types of current discourses, concerning women s monthly cycles, located in the carioca middle social strata, in the beginning of the XXI century; that are said to act on, or to dialogue with this "hormonal body". The discourses follow two different directions: The first analyzed speech is a doctor s book, an example of self help literature, engaged in the discussion of "hormonal intelligence"; aiming to become a model of subjectification of the feminine, based on the doctor s -scientific eye. It proposes a kind of control on the body, organizing the feminine through essentialized ideas which universalize the bodies and deal with this feminine description as pre-determined by "Natural" body conditions. The second discourse is composed by a group of interviews carried out with female bank employees, registering a subjectifyied feminine. These speeches on the feminine everyday life reveal that, in spite of the articulation of corporal descriptions rooted in the biology and in the medical sciences, they nevertheless show other cultural representative meanings of the feminine, and thus demonstrates the importance of case studies that priories the agencing of the subject in the social construction of gender.
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Rocha, Marília Israel. "Subjetividade feminina no ciberespaço : a mulher, o humor e o leitor em "Adorável psicose"." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2016. http://www.bibliotecadigital.uel.br/document/?code=vtls000205891.
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No conjunto das produções ficcionais brasileiras contemporâneas escritas por mulheres, há razoável singularidade no blog Adorável Psicose (http://www.adoravelpsicose.com.br/) escrito por Natalia Klein, que deu origem à série homônima exibida pelo canal pago Multishow entre 2011 e 2014. O blog, enquanto processo de produção literária, teve postagens com regularidade entre 2008 e 2013, auxiliada a sua divulgação pelas redes sociais como o twitter e facebook. Observada a condição do seu blog enquanto texto criativo que admite uma interação mais intensa com o leitor, nitidamente interessado no contato não só com a autora, mas também com outros leitores, surge a hipótese de que a utilização do humor para tratar de assuntos inerentes a relacionamentos interpessoais seria o maior responsável pela recepção do público. Ao mesmo tempo, em termos de escrita feminina, a expressão da subjetividade deixa de ser algo íntimo e encontra uma vitrine praticamente ilimitada que, acompanhada do elemento humor, desperta a seguinte pergunta: pode um blog humorístico feito por uma mulher ser entendido como uma prática contestadora, além de uma forma de empoderamento? Posto isso, somam-se outras inquietações que motivaram este trabalho: ao se tratar das produções literárias no ciberespaço, a noção de literariedade atribuída a essa nova modalidade de escrita e, por consequência, de leitura logo produção, circulação e recepção cabe perguntar a partir de que critérios um texto deve ser considerado literário? Que instâncias julgadoras determinam o que pode ser vir a ser Literatura? A identificação do público com as postagens, enquanto produção literária, e sua releitura nos episódios televisivos motivaram essa pesquisa no sentido de entender Adorável Psicose como manifestação cultural contemporânea, uma tentativa de reflexão sobre as relações interpessoais cotidianas de sujeitos imersos em um contexto fragmentado e movediço. Todos esses elementos encontram-se em uma escrita permeada pelo humor e passam pelo crivo pessoal de uma mulher em seu blog.Among the contemporary Brazilian works of fictions written by women, the blog so called Adorável Psicose (Lovely Psychosis, in a literal meaning - http://www.adoravelpsicose.com.br/) has reached reasonable notoriety. Written by Natalia Klein, the website spawned a homonym TV show broadcasted by Multishow from 2011 to 2014, having new content regularly posted from 2008 through 2013 and promoted with the help of social networking platforms such as Facebook and Twitter. The blog is characterized by its creative content and a high level of interactivity with an audience who is clearly willing to have contact not only with the author, but also between themselves; such characteristics raised the hypothesis of its humorous language while addressing subjects related to interpersonal relationships as being the major responsible for its good reception by the audience. At the same time, when it comes to womens writing, expressing subjectivity can cease being an intimate process to become something with a wide variety of spectra that, associated with humour, bring up a question: can a humorous blog written by a woman be seen not only as a questioning practice, but also as an empowering one? With that said, other questions also came as motivators for the making of the following work: when addressing literary work in the cyberspace, the idea of literarity attributed to this new concept of writing and reading brings up a query which criteria should be adopted to classify a piece of writing as literary? Which parameters can exactly determine what is to be considered Literature? The way the audience could relate with the posts, and their television-adapted episodes guided this work, which also aims at approaching the content of Adorável Psicose as a contemporary cultural manifestation and an attempt at meditating over the daily interpersonal relationships of people immersed in a moving, fragmented context. All these elements can be identified through a humorous writing style and the personal filters of a woman in her blog.
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Moraes, Erika de. "A representação discursiva da identidade feminina em quadros humoristicos." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268881.
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Orientador: Sirio PossentiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-12T17:51:44Z (GMT). No. of bitstreams: 1 Moraes_Erikade_D.pdf: 6270764 bytes, checksum: 5ebbab6d507830be2bad8f83a83361d3 (MD5) Previous issue date: 2008
Resumo: Esta pesquisa investiga os discursos que circulam sobre a mulher na atualidade, a partir de sua representação em quadros humorísticos impressos que põem em destaque personagens femininas, especialmente os de Maitena (autora das obras Mulheres Alteradas, Superadas e Curvas Perigosas), Miguel Paiva (autor da personagem Radical Chic) e Adão Iturrusgarai (autor da personagem Aline). Propõe-se uma reflexão sobre como os discursos estereotipados em relação à mulher emergem nesses textos, a partir da memória discursiva, e, de certa forma, podem revelar representações que extrapolam o nível do humor e se tornam constitutivas do sentido corrente dos discursos sobre ser mulher. O respaldo teórico é o da Análise do Discurso de linha francesa (AD) e o conceito de discurso utilizado é o de Maingueneau (1984: 2005), que o entende como uma "dispersão de textos cujo modo de inscrição histórica permite definir como um espaço de regularidades enunciativas". O corpus permite a análise de aspectos verbais e não-verbais do discurso, conforme propõe o conceito de Semântica Global (MAINGUENEAU, 1984: 2005). A opção de priorizar o discurso humorístico se justifica pelo fato de que, como sabemos, o humor, para ser compreendido e provocar riso, exige um conhecimento prévio mínimo do fato que o inspira, isto é, uma memória, que representa um discurso legitimado por uma determinada posição discursiva e se caracteriza como um pré-construído. A idéia de que o humor está sempre vinculado a uma posição é reforçada por Bergson (1900: 2004), para quem nosso riso é sempre o riso de um grupo. A partir dos estereótipos e dos discursos sobre a mulher postos em circulação nos quadros de humor estudados, busca-se interpretar a que posições de sujeito (ou a que ethos) corresponde a imagem de mulher que se configura nesses textos. A análise aponta para a existência de discursos heterogêneos que correspondem a uma identidade feminina atravessada por conflitos e contradições.
Abstract: This research investigates the discourses about women which circulate nowadays, based on their representation in comic strips whose focus are the female characters, especially the ones by Maitena (author of Mulheres Alteradas, Superadas and Curvas Perigosas), Miguel Paiva (creator of the character Radical Chic) and Adão Iturrusgarai (creator of the character Aline). We propose a reflection about how the stereotyped discourses about women emerge in such texts based on the discursive memory, as well as how they can reveal representations which extrapolate the level of humor and become part of the common sense of the discourses about being a woman. The theoretical perspective is based on the French branch of Discourse Analysis (AD) and we use the concept of discourse by Maingueneau (1984: 2005), who understands it as a "dispersion of texts whose way of historic inscription allows its definition as a place of enunciation regularities". The corpus allows an analysis of the verbal and non-verbal aspects of the discourse, as it is proposed by the Global Semantic concept (MAINGUENEAU, 1984: 2005). The option to prioritize the comic discourse is justified by the fact that humor, to be understood and provoke laughter, requires a previous minimum knowledge of the fact in which it is inspired, that is, a memory that represents a discourse legitimated by a determined position and that is characterized as a pre-construct. The idea that humor is always related to a position is reinforced by Bergson (1900: 2004), who views laughter as a group laughter ever. Based on the stereotypes and the discourses about women that circulate in comic strips, we try to interpret the subject positions (or the ethos) which are equivalent to the images of women within these texts. The analysis indicates the existence of heterogeneous discourses which correspond to a female identity influenced by conflicts and contradictions.
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Doutor em Linguística
Books on the topic "Feminist Humor"
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Marcotte, Amanda. It's a jungle out there: The feminist survival guide to politically inhospitable environments. Berkeley, CA: Seal Press, 2007.
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The humor of Marguerite de Navarre in the Heptameron: A feminist author before her time. Lewiston: Edwin Mellen Press, 2008.
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S, Kimmel Michael, ed. The guy's guide to feminism. Berkeley, CA: Seal Press, 2011.
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Rebeur, Ana Von. Chistes feministas. [Buenos Aires?]: Ediciones de la Urraca, 1995.
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Laughing feminism: Subversive comedy in Frances Burney, Maria Edgeworth, and Jane Austen. Detroit: Wayne State University Press, 1998.
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Adams, Mike S. Feminists Say the Darndest Things. New York: Penguin Group USA, Inc., 2008.
Find full textBook chapters on the topic "Feminist Humor"
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Conner, Berkley D. "Menstrual Trolls: The Collective Rhetoric of Periods for Pence." In The Palgrave Handbook of Critical Menstruation Studies, 885–99. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_64.
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Abstract This chapter explores the protest strategies of Periods for Pence, a collective of Indiana menstruators and allies who organized in response to the passing of extreme antiabortion legislation, House Enrolled Act 1337, by then-Governor Mike Pence in 2016. Through an analysis of the group’s transcribed calls to Pence’s office, as well as various social media posts, Conner illustrates how Periods for Pence engaged in acts of narrative sharing, humor, and symbolic reversal to craft a cohesive account of varied experiences with menstruation. The study also draws on logics of menstruation to rhetorically re-moralize abortion as necessary. Conner concludes by demonstrating how critical study of menstruation-related activism asks scholars to rethink traditional conceptualizations of static “waves” of feminism and feminist rhetorical theorizing.
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Streeten, Nicola. "A Theory of Feminist Visual Humour." In UK Feminist Cartoons and Comics, 31–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36300-0_2.
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DelRosso, Jeana. "What’s So Funny? Feminism, Catholicism, and Humor in Contemporary Women’s Literature." In Writing Catholic Women, 147–67. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-04654-3_7.
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"Feminist Humor and Change." In Women and Comedy in Solo Performance, 90–110. Routledge, 2004. http://dx.doi.org/10.4324/9780203643464-11.
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FISHKIN, SHELLEY FISHER. "Feminist Humor and Charlotte Perkins Gilman." In Charlotte Perkins Gilman, 222–50. Ohio State University Press, 2020. http://dx.doi.org/10.2307/j.ctv16rddmf.15.
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Streeten, Nicola. "Women’s Cartoons and Comics in the Twenty-First Century." In Critical Directions in Comics Studies, 179–94. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828996.003.0008.
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Streeten draws on Simone Lia’s graphic novel Fluffy (2005, Jonathan Cape) to demonstrate how humor combines with the comics form to address and quietly challenge assumptions around childcare, parenting, and masculinity. Streeten’s consideration is part of her wider thesis that the humorous cartoon and comic has been an essential element of feminist activism in the UK, supporting serious political messages. Her claim is that the structures built by feminist activity have made the buoyant position and visibility of women cartoonists in the UK today possible. The role of humor in this history, has been an essential, yet little recognized aspect.
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Cavarero, Adriana. "Coda." In Toward a Feminist Ethics of Nonviolence, 177–86. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290086.003.0013.
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Cavarero responds to the pluriphonic “germinal democracy” that has emerged in the volume. She acknowledges that she may have neglected Kant a little in her reading, but in the main stands by her methodology of theft and her provocative reading style with “bad intentions” to read a text against itself. She defends her position in an open manner that takes on board the good spirit and humor of the critiques offered.
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Nygaard, Taylor, and Jorie Lagerwey. "Emergent Feminisms and Racial Discourses of Televisual Girlfriendship." In Horrible White People, 115–52. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479885459.003.0004.
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This chapter focuses on the cycle’s integration of emerging feminist discourses and its disruption of the postfeminist sensibility by interrogating its focus on female friendship. It highlights how the centrality of female friendship demonstrates the cycle’s liberal politics and therefore its appeal to upscale liberal or progressive audiences. The close, complex, honest relationships between main female friends on these shows, like Abbi and Ilana on Broad City, Gretchen and Lindsay on You’re the Worst, Quinn and Rachel on UnReal, or Rebecca and Paula on Crazy Ex-Girlfriend, allow them a critical self-awareness to interrogate gender norms, whiteness, and millennial culture. But the cycle’s incredibly insular and encouraging friendships also obscure racial politics and diversity by recentering whiteness and celebrating a particularly narrow type of liberal feminist girl culture that also frequently centralizes white fragility. Thinking through the critical humor and other modes of political discourse of these friendships within the context of television’s racist and postfeminist roots, this chapter situates these representations of female friendships in the context of contemporary empowerment rhetoric to interrogate the potential and limitations of television’s representational politics in this era of the reemerging or mainstreaming of feminism.
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Molina-Gavilán, Yolanda. "Angélica Gorodischer." In Lingua Cosmica, 73–94. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041754.003.0005.
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This chapter introduces Angelica Gorodischer, one of the most prominent fantasy and science-fiction writers in the Spanish-speaking world today, and presents her oeuvre within the context of other national and international authors such as Italo Calvino, Umberto Eco, Philip K. Dick, and Ursula K. Le Guin. Major works by the Argentinian author, such as the 1983 novel Kalpa Imperial [Imperial Kalpa], are analyzed in the context of their influence on the genre of science fiction by introducing a feminist sensibility to it. Since multiple storytellers record the vast history of the empire’s many rises and falls over an immense span of time, Kalpa Imperial has been seen as celebration of the power of storytelling. Besides Gorodischer’s storytelling capabilities, the chapter also examines her distinctive style, which includes the use of a playful wit and dry humor.
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Holmes, Diana. "‘Les hommes et les femmes, c’est vraiment pas pareil’ (‘Men and women just aren’t the same’)." In Making Waves, 171–82. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620429.003.0012.
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Annie Leclerc’s writing, most famously the iconic 1974 text Parole de femme, speaks with lyricism and humour for the différencialiste (difference) current of French women’s writing – the current that has been widely identified outside France with ‘French Feminism’. At the time of its initial publication, the book created intense controversy within the French feminist movement: it was the object of a searing critique by materialist feminist Christine Delphy in the pages of Les Temps modernes, and led to Leclerc’s expulsion from the circle around Simone de Beauvoir.When Leclerc died in 2006, her friend and fellow author Nancy Huston wrote an essay on her work, Passions d’Annie Leclerc (2007), that is at once a tribute, a biographical sketch and a meditation on female friendship. The two writers, of slightly different generations (Leclerc b. 1940, Huston 1953) shared a feminism committed– sometimes disturbingly –to the notion of gender difference and hence to some degree sceptical of the Beauvoirian, constructivist model. Analysing Leclerc’s influential text through the lens of Huston’s contemporary essay, this chapterdiscusses the ‘difference’ strand in French feminism, in the 1970s and now, and its relationship to the innovatively hybrid form of Huston’s memorial essay.
Conference papers on the topic "Feminist Humor"
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Albero Verdú, Sofía, and Fernando Fernández Torres. "Momeht Fanzine. La muerte, el amor y la diversidad a través de la creación artística colectiva." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9540.
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El propósito de esta comunicación es analizar los aspectos estéticos, sociales y políticos de Momeht, un fanzine colectivo creado por componentes de la asociación cultural Engafat, bajo los preceptos de la expresión artística precaria, libre y crítica que caracteriza a este tipo de publicaciones.A través de un análisis visual se abordan las contribuciones de un total de 22 autores y autoras. Los resultados del análisis de estas obras arrojan luz sobre cómo se articulan e interaccionan distintas voces críticas actuales al reflexionar sobre la muerte, la diversidad y el amor. Desde una mirada estética, este fanzine materializa un discurso artístico rico, polivocal y complejo compuesto por elementos dispares como el debate conceptual, la metáfora, la ironía, la sátira, el humor y la crítica, etc. A través de procesos de creación e investigación de estructura variable, las personas que intervienen beben de fuentes dispares: desde ensayos académicos, pasando por textos y otras manifestaciones de movimientos sociales, hasta la cultura rock y punk de los 60 y 70. Desde un punto de vista social y político, se detecta que pese a su breve trayectoria, Momeht ha supuesto la creación de un lugar común para desarrollar la creación artística y la cultura crítica por parte de un nutrido grupo de especialistas en arte, feminismo, diseño, música e ilustración. Todos ellos y ellas actualmente desarrollan sus carreras en contextos profesionales diversos, ligados a las artes visuales y en conexión a la pequeña localidad industrial de Ibi, en Alicante.Las conclusiones apuntan a la apertura de un camino de expresión libre y crítica a través de Momeht, la reivindicación de los Derechos Humanos, así como la creación y posibilidad de ampliación de redes personales y profesionales en el contexto artístico actual dentro y fuera de la provincia de Alicante.