Journal articles: '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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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.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.

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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.

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Ross, Cheri L. "Nineteenth-Century American Feminist Humor: Marietta Holley's "Samantha Novels"." Journal of the Midwest Modern Language Association 22, no. 2 (1989): 12. http://dx.doi.org/10.2307/1315211.

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Klein, Sheri R. "Comic Liberation: The Feminist Face of Humor in Contemporary." Art Education 61, no. 2 (March 2008): 47–52. http://dx.doi.org/10.1080/00043125.2008.11651142.

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Mangrum, Benjamin. "Market Segmentation and Shirley Jackson’s Domestic Humor." American Literary History 33, no. 1 (February 1, 2021): 50–74. http://dx.doi.org/10.1093/alh/ajab001.

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Abstract Shirley Jackson’s essays in popular women’s magazines negotiate the gendered tensions and commercial contradictions of postwar print culture. This essay shows how the women in Jackson’s essays are figures of the fraught convergence of women’s public affiliation and the restrained politics of gender critique. These female figures are also representative of broader issues in US print culture after the Second World War. In particular, Jackson’s essays represent how a certain strain of feminist writing—sometimes known as “domestic humor”—was absorbed within the market forces of print capitalism. To explain this absorption, I draw on mid-century theories of market segmentation.

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Hennefeld, Maggie. "Affect Theory in the Throat of Laughter." Feminist Media Histories 7, no. 2 (2021): 110–44. http://dx.doi.org/10.1525/fmh.2021.7.2.110.

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Is Laughter an affect? And what would it mean for feminist theory to conceive of it as such? This article pursues laughter as an affect that bridges the gap between feminist comedy studies and feminist affect theory. Laughter has widely missed the mark of feminist theory’s sourcing of collective activist potential and intellectual invigoration in the exploration of affect. Likewise, affect has not been a central concern for humor scholars. But what about those feminist laughing affects that do not assume their own affirmative value or knowable effects? They provoke disproportionate, off-cue, and unstable instances of laughter wherein nervous excess consumes the laughing subject and threatens to transform into something else entirely. The feminist killjoy, the laughing hysteric, and the humorless capitalist all choke on their laughs, though each in different ways. Their unrealized laughter, this article argues, opens the floodgates for its transmutation into a new collective body politics.

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Pasaribu, Truly Almendo, and A. Effendi Kadarisman. "CODING LOGICAL MECHANISM AND STEREOTYPING IN GENDER CYBER HUMORS." Celt: A Journal of Culture, English Language Teaching & Literature 16, no. 1 (July 20, 2016): 22. http://dx.doi.org/10.24167/celt.v16i1.485.

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Gender-related humors have their own way of being funny; and this research aims to find out how and why they are funny. For this purpose, both researchers have collected 50 gender cyber humors and analyzed them, first, to decode how their logical mechanism relates to specific linguistic features, and secondly, to uncover how gender stereotyping contributes to the comical effects. The twisting of logic and linguistic ambiguity is analyzed formally using Attardos (2001) General Theory of Verbal Humor (GTVH) and supported by gender studies. The findings reveal that the logical mechanism consists of elements of incongruities, and gender stereotyping presents negative stereotypical images. The analysis further shows that some gender stereotypical images ridicule traditional roles of man and woman while others make fun of non-traditional representations. This shift from women only to both men and women as targets of gender humors has been an impact of effective feminist movements.

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Baxandall, Rosalyn Fraad. "An Anti-Imperialist Feminist's Tale." Monthly Review 67, no. 4 (September 6, 2015): 56. http://dx.doi.org/10.14452/mr-067-04-2015-08_6.

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<div class="bookreview">Roberta Salper, Domestic Subversive: A Feminist Take on the Left, 1960–1976 (Tucson: Anaphora Literary Press, 2014), 236 pages, $20, paperback.</div>Since second wave feminism is the largest social movement in the history of the United States, it is surprising that there are fewer than a dozen autobiographies written by the activists of the late 1960s and early '70s. Roberta Salper's Domestic Subversive is a welcome addition, especially because it is well-written, often with humor, and promises an anti-imperialist feminist analysis.… Domestic Subversive is a feminist's take on a range of organizations of the left from 1960 to 1976: the student movement in Spain, New Left movement in the United States, Marxist-Leninist Puerto Rican Socialist Party in the United States and Puerto Rico, and a prestigious liberal think tank in Washington, D.C., the Latin American Unit of the Institute of Policy Studies (IPS), where she worked as a Resident Fellow.<a href="http://monthlyreview.org/index/volume-67-number-4" title="Vol. 67, No. 4: September 2015" target="_self">Click here to purchase a PDF version of this article at the Monthly Review website.</a>

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Oliveira, Alessandra Nunes de, Jetur Lima de Castro, Cecília Abrahão Nascimento Santi, and Liliane Silva do Nascimento. "Cartuns e Caretas objetificação, representação visual e informacional da mulher em uma revista de humor no início do século XX no Brasil." Páginas a&b Arquivos & Bibliotecas, no. 15 (2021): 186–208. http://dx.doi.org/10.21747/21836671/pag15a11.

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This research discusses the objectification relations, visual and informational representation of the woman identified in the cartoons found in Careta, a humor magazine in the beginning of the 20thcentury, in Brazil. The relationship between humor and the image of women is problematized through the cartoons in the columns of the Caretamagazine, which created discursive deformations of what would be the feminist movement through graphic humor, that is, through comic phrases and drawings. Based on the magazine's documentary narrative raised through the cartoons, it presents some discursive and visual representations placing women in a situation of subordination. Given that 'reading' a visual text is also an attempt to dissolve its fetishes, it is added that the cartoons represent cultural codes of a given period and show everyday or thought, as well as the vision of what was or is at the moment of looking. of readers. In our scope, Caretamagazine becomes an important source of information to discuss the image of women and the objectification that was addressed in this periodical in the beginning of the 20thcentury in Brazil. In the cartoons, there are satires of the image of the feminist and women's movement. Therefore, it is worth emphasizing that the theme addressed is relevant for understanding the political-social development in the issue of the emancipation of the image of women. In short, our analysis perceives the stereotype that exists in the “poorly formatted” discourse of Caretamagazine, that influenced ways of thinking and acting according to the relationship of aesthetic standards of what would be the ideal of women and the image of the feminist movement, confronting them from yesterday to today.

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Sullivan, Courtney. "From screen to stage: Mutantes’s sex-positive influence on King Kong Théorie." Contemporary French Civilization: Volume 46, Issue 1 46, no. 1 (March 1, 2021): 49–74. http://dx.doi.org/10.3828/cfc.2021.3.

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In order to rectify important gaps in scholarship, this article examines how Virginie Despentes’s documentary Mutantes: Féminisme Porno Punk (2009), her autobiographical essay King Kong Théorie (2006), and its theatrical adaptation play off one another to advance the argument that Despentes’s transnational feminism has its roots in the sex-positive movement that began in the United States in the early 1980s.1 At the heart of her work, this feminism influences King Kong Théorie and much of her fiction.2 Despentes, inspired by the sex-positive movement that began in the United States in the early 1980s, interviewed its American pioneers in 2005 for her documentary, Mutantes. These interviews articulate a sex-positive feminism that strives to destigmatize sex work by promoting it as a legitimate, lucrative, and often enjoyable way to earn a living. It resoundingly refutes the notion of the sex worker as victim. Mutantes also focuses on the performances by European postporn collectives trying to find non-binary ways to express sexuality and desire. This “pro-sexe” stance would shape both Despentes’s feminist manifesto King Kong Théorie one year later and her fiction, for she evokes it in brief references to sex workers in her Vernon Subutex trilogy. In a nod to the campy personalities and performers in Mutantes, Vanessa Larré’s production of King Kong Théorie (2018), that she adapted to the theater with Valérie de Dietrich, also aims to educate and challenge. With provocative and jocular scenes and shots, Mutantes and Larré’s play knock viewers and theatergoers off kilter to make them reflect on the ways gender-based and heteronormative binaries stifle both men and women in patriarchal societies. While some of the performances, images, and non-binary sex toys in Mutantes may be upsetting to viewers, that is exactly the point: to defy gender and sexual norms to open up new possibilities for individuals shut out by the binary. Both the documentary and the play tackle taboo subjects with ludic humor in a way that stimulates reflection on the part of the audience in a disarming, unthreatening manner. This paper uncovers the way the camp sensibilities in Mutantes rub off on the play’s adaptation since both capture the humor, joviality, playfulness, and oftentimes self-deprecation of the sex-positive American feminists that worked their way into Despentes’s writing. Mutantes and the play also concretely underscore the ways Despentes’s works are shaping contemporary feminist writers such as Chloé Delaume and Gabrielle Deydier and artists and actors such as Larré and Dietrich.

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Monk-Payton, Brandy. "#LaughingWhileBlack." Feminist Media Histories 3, no. 2 (2017): 15–35. http://dx.doi.org/10.1525/fmh.2017.3.2.15.

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This article examines humor as it intersects with race and gender in digital media. It takes up the idea of laughter to explore how Black expressive culture emerges online, both individually and collectively, in the contemporary moment, arguing that web-based objects such as blogs and podcasts as well as tweets, hashtags, and memes that exist and circulate on social media produce racialized and gendered humor predicated on ridicule. Such ridicule is tied to a genealogy of Black feminist and Black queer enactments of “sass” and “shade” as affective strategies of social scrutiny. By detailing the humor associated with the popular viral personalities Luvvie Ajayi and Crissle West as well as the social networking platform Twitter, this article begins the work of archiving Black women's daily comedic performances on the Internet.

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Hanson, Karen. "Dressing Down Dressing Up—The Philosophic Fear of Fashion." Hypatia 5, no. 2 (1990): 107–21. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00420.x.

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There is, to all appearances, a philosophic hostility to fashionable dress. Studying this contempt, this paper examines likely sources in philosophy's suspicion of change; anxiety about surfaces and the inessential; failures in the face of death; and the philosophic disdain for, denial of, the human body and human passivity. If there are feminist concerns about fashion, they should be radically different from those of traditional philosophy. Whatever our ineluctable worries about desire and death, whatever our appropriate anger and impatience with the merely superficial, whatever our genuine need to mark off the serious from the trivial, feminism may be a corrective therapy for philosophy's bad humor and self-deception, as these manifest themselves when the subject turns to beautiful clothes.

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Shifman, Limor, and Dafna Lemish. "“Mars and Venus” in Virtual Space: Post-feminist Humor and the Internet." Critical Studies in Media Communication 28, no. 3 (November 9, 2010): 253–73. http://dx.doi.org/10.1080/15295036.2010.522589.

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Dantas, Daiany Ferreira. "Estética e humor nos quadrinhos feministas: a reconquista política do corpo pelo riso na HQ A origem do mundo (2018)." Revista Tempo e Argumento 12, no. 31 (December 21, 2020): e0102. http://dx.doi.org/10.5965/2175180312312020e0102.

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O presente artigo investiga conceitos da estética, tais como o grotesco e o grotesco feminino, a compreensão bergsoniana do risível e o debate sobre corpo e gênero empreendido pelos estudos feministas, na análise das estratégias de humor presentes na História em Quadrinhos A origem do mundo (2018). Observamos as repetições e as inversões promovidas pela autora Liv Strömquist, ao propor uma história da genitália feminina – suas mutilações, cerceamentos e interdições – e o riso consequente da constatação de hierarquias e incongruências históricas, que resultam cômicas quando colocadas em perspectiva. Como resultado, observamos uma estética feminista empreendida pelo riso, numa leitura que proporciona a reflexão sobre o lugar de autoria das mulheres e as imagens políticas de corpo e corporalidades difundidas em nossa sociedade. Palavras-chave: Feminismo. Humorismo ilustrado. Histórias em Quadrinhos

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Tijani, Olatunbosun Ishaq. "Irony and Humor as Feminist Narrative Strategies: Arabian Gulf Women’s Literature in Perspective." International Journal of Literary Humanities 14, no. 2 (2016): 9–19. http://dx.doi.org/10.18848/2327-7912/cgp/v14i02/9-19.

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Crescêncio, Cintia Lima. "“El humor es una guerra que no produce muerte sino risa”: uma análise histórica do humor gráfico feminista latino-americano de Diana Raznovich (1990)." Revista Tempo e Argumento 12, no. 31 (December 21, 2020): e0103. http://dx.doi.org/10.5965/2175180312312020e0103.

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O humor gráfico feminista de Diana Raznovich configura-se como instrumento de intervenção que visa problematizar a discriminação sofrida pelas mulheres em todas as áreas, desmascarando as estruturas que as aprisionavam nos anos finais do século XX, contexto de lutas feministas. Entendido como humor-guerra que tem como efeito o riso, a produção da cartunista argentina, uma das primeiras humoristas gráficas assumidamente feministas na América Latina, demonstra a complexidade e a fluidez do humor produzido com perspectiva de gênero, um desafio às limitadas abordagens da História Cultural do Humor, marcada por um cânone e por elaborações teóricas masculinas. Diante desse cenário teórico e histórico, este artigo pretende realizar uma análise histórica do humor gráfico feminista de Diana Raznovich. Com foco nas discussões sobre o papel das mulheres na produção humorística, no debate sobre as ideias de privado/público no humor, no potencial de mudança do humor feminista e nos impactos dos discursos sobre feminilidade na produção do riso, pretendo, a partir de textos e cartuns publicados em jornais latino-americanos na década de 1990, refletir sobre o potencial político revolucionário do humor feminista de Diana Raznovich. Palavras-chave: Diana Raznovich. Feminismo. Humor Gráfico. Humor-guerra. América Latina.

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Harlow, Summer, Jerrica Ty Rowlett, and Laura-Kate Huse. "‘Kim Davis be like … ’: a feminist critique of gender humor in online political memes." Information, Communication & Society 23, no. 7 (December 1, 2018): 1057–73. http://dx.doi.org/10.1080/1369118x.2018.1550524.

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Crescêncio, Cintia Lima. "Bia Sabiá em “O pessoal é Político”: (Re)Invenção do Político no Humor Gráfico Feminista de Ciça (Nós Mulheres, 1976-1978)." Fronteiras 20, no. 35 (August 22, 2018): 117–36. http://dx.doi.org/10.30612/frh.v20i35.8636.

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Uma das principais expressões do feminismo brasileiro na década de 1970 foi a imprensa. Diferentes grupos feministas criaram periódicos que hoje são valiosas fontes para o conhecimento da história do Brasil. Nesses jornais um fenômeno recorrente é o humor gráfico com perspectiva feminista que, a partir das pautas do feminismo, elaborou críticas humoradas às estruturas e instituições responsáveis pela desigualdade entre homens e mulheres. Nós Mulheres, fundado em 1976, foi um dos primeiros jornais a lançar mão do humor gráfico como ferramenta de reflexão. O jornal, que defendia um feminismo autônomo, publicou em seus números tirinhas da cartunista Ciça, protagonizadas pela personagem Bia Sabiá, que problematizavam, através do tema trabalho doméstico, a relação entre privado e público, pessoal e político. Diante do exposto, o objetivo do presente artigo é refletir sobre a (re)invenção do político – e do humor político – no humor gráfico feminista de Ciça à luz do mote do feminismo “o pessoal é político”.

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R. Riquelme, Andrés, Hugo Carretero-Dios, Jesús L. Megías, and Mónica Romero-Sánchez. "Individual differences in the appreciation and interpretation of subversive humor against sexism versus sexist humor: The role of feminist identity and hostile sexism." Personality and Individual Differences 177 (July 2021): 110794. http://dx.doi.org/10.1016/j.paid.2021.110794.

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Mulvey, Laura. "A Neon Sign, A Soup Tureen: The Jeanne Dielman Universe." Film Quarterly 70, no. 1 (2016): 25–31. http://dx.doi.org/10.1525/fq.2016.70.1.25.

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This essay begins by placing Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles in the context of its theatrical release in 1976, considering, first of all, its screening at the Edinburgh Film Festival and then the importance of the film both in its own right and within feminist experimental filmmaking at the time. To analyze a film that has, over the last forty years, been the subject of extremely illuminating critical writing, the essay focuses on its relation to the domestic melodrama, with particular attention to the topography of Jeanne's apartment, its mise-en-scene, the film's use of language, and its undercurrent of humor.

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Greenhalgh, Trisha. "Twitter Women’s Tips on Academic Writing: A Female Response to Gioia’s Rules of the Game." Journal of Management Inquiry 28, no. 4 (July 14, 2019): 484–87. http://dx.doi.org/10.1177/1056492619861796.

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This article, intended in a spirit of good humor, offers a critique of a paper by Gioia on how to get published. Based on a social media discussion to which 46 women academics from around the world contributed, we ask whether the recommendations in Gioia’s original paper are based on gendered assumptions and stereotypes (the “lone wolf” male academic competing with colleagues for a slot in a prestigious journal). Drawing on feminist scholars such as Mary Wollstonecraft (“Virtue can only flourish among equals”), we offer some additional recommendations which emphasize the importance of reflection, collaboration, acceptance of ambiguity, attention to audience and context, and nurturing self and others.

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Pires, Maria da Conceição. "Mulheres desregradas: autorretratos e o corpo grotesco nos cartuns de Chiquinha." Topoi (Rio de Janeiro) 20, no. 41 (August 2019): 302–16. http://dx.doi.org/10.1590/2237-101x02004102.

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RESUMO A proposta deste artigo é examinar a produção quadrinística da cartunista Chiquinha, pontuando de que maneira pautas importantes dos movimentos feministas estão presentes no seu trabalho. A partir da análise dos autorretratos produzidos pela cartunista e do uso do estilo grotesco em seus desenhos, analisaremos como a cartunista produz uma crítica ao controle político sobre o corpo feminino, as formas essencializadas de compreensão dos homens e mulheres e aos padrões normativos impostos às mulheres, temas importantes para a crítica feminista. Com essa abordagem desejamos colocar em destaque o humor produzido por mulheres, para mulheres e com um direcionamento feminista, ainda carentes de um espaço significativo no campo da História Cultural do Humor.

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Castillo-Garsow, Melissa. "The Art Of Tormenting: Violent Humor And The Grotesque As A Feminist Challenge To Eighteenth‐Century English Narratives." Women's Studies 42, no. 3 (April 2013): 231–47. http://dx.doi.org/10.1080/00497878.2013.764233.

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Francisca Pires, Maria da Conceição. "Outras mulheres, outras condutas: feminismos e humor gráfico nos quadrinhos produzidos por mulheres1." Artcultura 21, no. 39 (December 16, 2019): 71–87. http://dx.doi.org/10.14393/artc-v21-n39-2019-52027.

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O artigo chama a atenção para o humor gráfico de mulheres cartunistas no Brasil, centrando o enfoque na produção da cartunista Fabiane Langona, que se assina como Chiquinha. O objetivo é discutir como seu trabalho comporta novas nuances que colocam em suspensão categorias e normas consideradas estáveis e permanentes, revigorando, desse modo, o debate contemporâneo desenvolvido pelos grupos feministas. Com tal abordagem pretende-se explorar o potencial crítico e subversivo do humor gráfico com enfoque feminista, assinalando o empenho em expressar uma crítica e problematização dos padrões normativos impostos às mulheres, ao mesmo tempo em que lança luz sobre as plurais e complexas redes de poder existentes e as suas distintas formas de manifestação. Palavras-chave: humor gráfico; feminismo; cultura.

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Foster, Victoria. "The Return of the Surreal: Towards a Poetic and Playful Sociology." Qualitative Sociology Review 15, no. 1 (May 24, 2019): 148–64. http://dx.doi.org/10.18778/1733-8077.15.1.07.

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This article argues that the time is ripe to reacquaint sociology and surrealism. Taking inspiration from surrealism’s emphasis on making the ordinary strange through bizarre, lively and sometimes haunting methods might result in a more poetic and playful sociology. The article looks at how this might be applied in practice through drawing on a variety of examples of social research that share some of the tenets of surrealism, not least the latter’s focus on social justice. This enables discussion of a number of methodological concerns stemming from feminist and post-structuralist thought, including the troubling of narrative coherency and the notion of “voice.” Infusing sociology with “a surrealist spirit” requires opening up and moving away from rationality in ways that allow for the exploration of contradictions, irreverence, humor, and paradox.

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Ruiz-Guerillo, Leonor. "Performing gender through stand-up comedy in Spanish." European Journal of Humour Research 7, no. 2 (July 28, 2019): 67. http://dx.doi.org/10.7592/ejhr2019.7.2.ruiz.

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The aim of this paper is to examine Eva Hache’s humorous gender-based monologues, broadcast in the show El Club de la Comedia [The Comedy Club] in Spain between 2012 and 2013. The corpus comprises 24 Stand-up monologues, which have been analyzed both quantitatively and qualitatively. The present paper offers a case study in three different ways. Firstly, an analysis of different humorous sequences makes it possible to distinguish a representation of both feminine and masculine identities, as well as a confrontation between the two genders. In fact, Eva Hache’s style supports the feminine identity and facilitates the teasing and mockery of men. Secondly, a polyphonic study of men as speakers (locutors) and utterers (Ducrot, 1986) will serve to differentiate certain features of their identity from a discursive perspective. Finally, a detailed examination of humorous sequences shows how these performative sequences can prove useful to maintain hierarchy, to reinforce an in-group, i.e. a women’s group, to solidify men’s group boundaries, and even to subvert gender normativity (Bing, 2004). As it will be demonstrated in our analysis, humorous markers and indicators play an important role in the construction of jab lines and the final punch line of these sequences. Furthermore, results show that there are few strategies aimed at challenging the status quo in this database, though they illustrate an ongoing movement towards a feminist humor that has been almost non-existent in Spain so far.

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Riquelme, Andrés R., Hugo Carretero-Dios, Jesús L. Megías, and Mónica Romero-Sánchez. "Joking for Gender Equality: Subversive Humor Against Sexism Motivates Collective Action in Men and Women with Weaker Feminist Identity." Sex Roles 84, no. 1-2 (May 4, 2020): 1–13. http://dx.doi.org/10.1007/s11199-020-01154-w.

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Sierra, Marta. "'Prender de gajo': sujetos trasplantados e imaginarios globales en Luisa Futoransky / 'Prender de gajo': transplanted subjects and global imaginaries in Luisa Futoransky." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 285. http://dx.doi.org/10.7203/kam.9.9564.

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Resumen: La obra de Luisa Futoransky se construye como una “literatura menor” tal como la definen Deleuze y Guattari. Sus poemas y novelas emplean el collage como una forma de “subal-ternizar” el lenguaje literario a fin de cuestionar las grandes narrativas nacionales. Sus textos expresan un pensamiento de fronteras que está traspasado por inquietudes feministas. En el presente trabajo se analiza el modo en que la memoria transatlántica construye el lugar de la “subalternización” en los textos de Futoransky. Por medio de un análisis del uso del collage y otros mecanismos narrativos y poéticos, el trabajo propone leer la obra de Futoransky a partir de una estética desterri-torializadora que se caracteriza por: la disolución del sujeto, el uso del collage, la cita como un mecanismo posmoderno; la estética desfami-liarizadora, el humor y el artificio, y la memoria como la fuente de una estética trasatlántica. El trabajo analiza el modo en que Futoransky explora las tensiones en la relación entre memoria y lugar a partir de un análisis de las tensiones entre lo global y lo local. Palabras clave: Futoransky, literatura menor, subalternización, desterritorlización.Abstract: The works by Luisa Futoransky are representative of what Deleuze and Guattari define as a “minor literature”, a literature that questions the relationship between nation and literary canon. Her novels and poems use collage as a way to represent this “minor literature”, a medium to create a subaltern voice in her literature. Hers is a literature that lives in the borderlands, experiencing the border from a feminist perspective. In this essay, I propose a reading of Futoransky’s works from a transatlantic and subaltern perspective. Her aesthetic project breaks the bonds between language and territory. The main strategies analyzed here are: the dissolution of the subject, the use of collage and quotation as postmodern techniques to destabilize meaning, humor, and a poetic memory that challenges national borders. This paper analyzes how Futoransky explores the tensions between memory and place from the complexities of global and local dynamics. Keywords: Futoransky, Minor Literature, Subalternization, Deterritorialization.

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Ribeiro, Gilvan Procópio, Alessandra Barros Pereira Ferreira, and Aline Guimarães Couto. "REFLEXÕES SOBRE GÊNERO NA POESIA CONTEMPORÂNEA BRASILEIRA: O ÚTERO ARMADO PELA PALAVRA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 39–53. http://dx.doi.org/10.34019/1982-0836.2019.v23.29179.

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Entre as produções poéticas de autoria feminina da atualidade, a que mais se destaca são as obras de Angélica de Freitas. Com punhos armados de humor, ironia e sarcasmo, ela passa por cima de qualquer tabu. Suas poesias são como pedras atiradas, defendendo que a pluralidade de vozes implica numa pluralidade de gêneros, que expõem as dicotomias sobre o homem e a mulher que a sociedade patriarcal quer impor. Palavras-chave: Gênero. Poesia. Autoria feminina. Referências ALVES, Branca Moreira; PITANGUY, Jacqueline. O que é feminismo? São Paulo: Abril Cultural/Brasiliense, 1985. BASSANEZI, Carla. Mulheres dos anos dourados. In: PRIORE, Mary Del (org.). História das mulheres no Brasil. 7. ed. São Paulo: Contexto, 2004. p. 607- 639. BEAUVOIR, Simone de. O segundo sexo. Tradução de Sérgio Milliet. Rio de Janeiro: Nova Fronteira, 1980. BUTLER, Judith. Problemas de gênero. 8. ed. Rio de Janeiro: Civilização Brasileira, 2015. p. 1-70. DUARTE, Constância Lima. Feminismo e literatura no Brasil. Estudos Avançados, São Paulo, n. 17, 2003. ______. O cânone literário e a autoria feminina. In: AGUIAR, Neuma (org.). Gênero e ciências humanas: desafio às ciências desde a perspectiva das mulheres. Rio de Janeiro: Rosa dos Tempos, 1997. EVARISTO, Conceição. Eu-mulher. In: ______. Poemas da recordação e outros movimentos. Belo Horizonte: Nandyala, 2008. FREITAS, Angélica. Rilke shake. São Paulo: Cosac Naify, 2007. ______ . Um útero é do tamanho de um punho. São Paulo: Cosac Naify, 2012. MARTINS MARQUES, Ana. Da arte das armadilhas. São Paulo: Companhia das Letras, 2011. ______. O livro das semelhanças. São Paulo: Companhia das Letras, 2015. ______. A vida submarina. Belo Horizonte: Scriptum, 2009. OLIVEIRA, Rosiska Darcy de. As mulheres em movimento: feminizar o mundo. In: ______. Elogio da diferença: o feminismo emergente. Rio de Janeiro: Rocco, 2012. p. 69-90. PIETRANI, Anélia Montechiari. Questões de gênero e política da imaginação na poesia de Angélica Freitas. Revista Fórum Identidades, Itabaiana, v. 14, jul./dez. 2013. RIBEIRO, Ana Elisa. Anzol de pescar infernos. São Paulo: Patuá, 2013. ______. Meus segredos com Capitu: livros, leituras e outros paraísos. Natal: Jovens Escribas, 2013. RODRIGUES, Carla et al. A quarta onda do feminismo: dossiê. Cult, São Paulo, ano 19, n.219, p. 30-47, dez. 2016. SHOWALTER, Elaine (ed.). The new feminist criticism: essays on women, literature and theory. New York: Pantheon, 1985. ______. A literature of their own: British women novelists from Bronte to Lessing. Londres: Virago, 2009. TELLES, Norma. Escritoras, escritas, escrituras. In: PRIORE, Mary Del (org.). História das mulheres no Brasil. 7. ed. São Paulo: Contexto, 2004. p. 401-442. WOOLF, Virginia. Um teto todo seu. Rio de Janeiro: Nova Fronteira, 1985.

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morris, bonnie j. "Tuesday Night Is Nut Loaf: Women's Music-Festival Foods." Gastronomica 12, no. 3 (2012): 46–49. http://dx.doi.org/10.1525/gfc.2012.12.3.46.

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As the title suggests, this essay is a humorous but appreciative look at the cuisine of lesbian/feminist music festivals, which since 1974 have ranged from one-day events to two-week campouts in almost all of the fifty American states. Fans of the women's music movement—which long before Lilith Fair had introduced artists as diverse as Holly Near, Toshi Reagon, Melissa Etheridge, and the Indigo Girls—enjoy several days of concerts and receive meals with their festival packages. These usually vegetarian repasts are an entire subculture of humor and socializing around “lesbian food” of a certain era. How is food important, politically, to this feisty community? How do workers prepare meals for up to 8,000 shirtless women in the woods, in all kinds of weather? And in this very informed, radical community, is the traditional women's work of cooking and cleaning truly respected—or, ironically, taken for granted?

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Williams, Patricia J., Carla Kaplan, and Durba Mitra. "Ask A Feminist: Patricia Williams Discusses Rage and Humor as an Act of Disobedience with Carla Kaplan and Durba Mitra." Signs: Journal of Women in Culture and Society 46, no. 4 (June 1, 2021): 1073–88. http://dx.doi.org/10.1086/713366.

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Cohen, Michael. "“Cartooning Capitalism”: Radical Cartooning and the Making of American Popular Radicalism in the Early Twentieth Century." International Review of Social History 52, S15 (November 21, 2007): 35–58. http://dx.doi.org/10.1017/s0020859007003112.

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During the first two decades of the twentieth century, a mass culture of popular radicalism – consisting of various socialist, industrial unionist, anarchist, Progressive, feminist, black radical and other movements – arose to challenge the legitimacy of corporate capitalism in the United States. This article considers the role of radical cartoonists in propagandizing for, and forging unity within, this culture of popular radicalism. By articulating a common set of anti-capitalist values and providing a recognizable series of icons and enemies, radical cartoonists worked to generate a class politics of laugher that was at once entertaining and didactic. Through a discussion of the works of Art Young for The Masses, Ryan Walker's cartoons for the socialist newspaper, Appeal to Reason, and the proletarian humor of Joe Hill and the IWW, this article argues that radical cartooning did not merely provide comic relief for the movements, but was an active force in framing socialist ideology and goals in a revolutionary age.

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Massanari, Adrienne L. "“Come for the period comics. Stay for the cultural awareness”: reclaiming the troll identity through feminist humor on Reddit’s /r/TrollXChromosomes." Feminist Media Studies 19, no. 1 (December 28, 2017): 19–37. http://dx.doi.org/10.1080/14680777.2017.1414863.

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Benson-Allott, Caetlin. "On Platforms." Film Quarterly 71, no. 2 (2017): 65–71. http://dx.doi.org/10.1525/fq.2017.71.2.65.

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Women-led serials have been getting a lot of attention lately for bringing “the female gaze” to the small screen. Jill Soloway—the television auteur behind Transparent (Amazon, 2014–) and the recent adaptation of Kraus's novel, I Love Dick (Amazon, 2017–)—even taught a class on “The Female Gaze” at the Toronto International Film Festival in 2016, defining it as “an intersectional gaze” and “a SOCIOPOLITICAL justice-demanding way of art making.” But the female gaze is actually a very vexed concept. Since it was first invoked via exclusion in Laura Mulvey's foundational “Visual Pleasure and Narrative Cinema” in 1975, it has been haphazardly defined more often by what it is not than by what it is. Three current series—I Love Dick, GLOW, and Insecure—all explore how women empower themselves through experiences of abjection: states of vexation and alienation that disrupt their expectations of or participation in social life. All three shows demand respect for their characters by figuring defeat, failure, and desperation as stages women must pass through to challenge patriarchal cultures. While all three shows feature diverse casts and strong female leads, I Love Dick and GLOW introduce characters of color only in supporting roles that contest but never destabilize the white protagonists' racial solipsism. This strategic but facile gesture reveals how far these shows have to go to confront the entangled injustices of social inequality. To incorporate the experiences and insights of women of color meaningfully, their creators would have to abandon the narrative commitments and familiar pleasures of white feminist television, which still needs to decenter whiteness both narratively and figuratively. Insecure's trenchant comedy thus provides a model for future feminist television. Its self-critical but antiracist humor challenges white feminism's and television's historic neglect of black women.

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Nordenstam, Anna, and Margareta Wallin Wictorin. "Women's Liberation." European Comic Art 12, no. 2 (September 1, 2019): 77–105. http://dx.doi.org/10.3167/eca.2019.120205.

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In Sweden, publication of original feminist comics started in the 1970s and increased during the following decade. This article describes and analyses the Swedish feminist comics published in the Swedish radical journals Kvinnobulletinen and Vi Mänskor, as well as in the Fnitter anthologies. These comics, representing radical feminism, played an important role as forums for debate in a time when feminist comics were considered avant-garde. The most prominent themes were, first, the body, love and sexualities and, second, the labour market and legal rights. The most frequent visual style was a black contour line style on a white background, recalling the comics of Claire Bretécher, Aline Kominsky-Crumb and Franziska Becker. Humour and satire, including irony, were used as strategies to challenge the patriarchy and to contest the prevailing idea that women have no sense of humour.

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Gubar, Susan. "Feminism Inside Out." PMLA/Publications of the Modern Language Association of America 121, no. 5 (October 2006): 1711–16. http://dx.doi.org/10.1632/pmla.2006.121.5.1711.

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In an undoubtedly misbegotten moment, some months ago i set out to protest widespread disregard or stereotyping of feminism (especially among those the age of my undergraduates) and to do so by means of the humor feminism supposedly dampens. It was to be a Cosmo-like or DailyCandy.com-type questionnaire that readers could fill out in the privacy of their own homes to ascertain whether they were vulnerable to any allegation that they were or could be considered feminists. The higher their score, the more secure they could feel.

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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

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Kempinska, Olga. "Uma poça d’água sublime. Representações da vertigem feminina." MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944 2, no. 48 (April 24, 2018): 23. http://dx.doi.org/10.18542/moara.v2i48.4771.

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Tomando como ponto de partida a controvérsia teórica acerca das articulações estéticas e éticas entre kitsch, humor e sublime, este artigo debruça-se sobre sua encenação em alguns textos escritos por mulheres ao longo do século XX. O tema central é, nesse sentido, o da vertigem, que nas obras de Virginia Woolf, Maria Pawlikowska-Jasnorzewska, Wis?awa Szymborska e Clarice Lispector, se torna o momento-chave da representação da subjetividade feminina. Envolvido em vivências intensas expressas pela vertigem, o sujeito feminino surge em um primeiro momento como excepcional. No entanto, em virtude da presença do kitsch e do humor, a experiência do sublime, tradicionalmente codificada como relacionada a aventuras heroicas masculinas, vê-se subvertida. O sujeito feminino mostra-se então como falsamente excepcional, e graças a essa revelação, abre-se a possibilidade de um distanciamento crítico, a partir do qual o feminino surge como coisificado e infantilizado, ou seja, submetido à representação de cunho masculino.

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Crescêncio, Cintia Lima. "É para rir ou para chorar?" História, histórias 4, no. 7 (December 20, 2016): 109–28. http://dx.doi.org/10.26512/hh.v4i7.10929.

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O objetivo deste texto é refletir sobre a emergência de uma modalidade de humor e, consequentemente, de riso, que tomou forma na imprensa alternativa feminista brasileira em tempos de ditadura: o humor gráfico. A partir do levantamento de uma série de charges/tirinhas com viés feminista defendo a ideia de que, a partir do humor e do riso, a imprensa feminista do Brasil desenvolveu uma modalidade de crítica social e cultural que se caracteriza por uma linguagem que desestabiliza o binômio sério/cômico, criando o que chamo de riso feminista.

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Acevedo, Mariela. "Nosotras contamos. Notas en torno a construir genealogía feminista en el campo de la historieta y el humor gráfico (Argentina, 1933 - 2019)." Revista Tempo e Argumento 12, no. 31 (December 22, 2020): e0106. http://dx.doi.org/10.5965/2175180312312020e0106.

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El artículo presenta la propuesta de "Nosotras contamos. Un recorrido por la obra de autoras de historietas y humor gráfico de ayer y hoy" una iniciativa de construcción de genealogía feminista en el campo de las viñetas humorísticas y artes secuenciales gráficas llevado adelante por la agrupación “Feminismo Gráfico” (Buenos Aires, 2019). El proyecto inicial se enmarca en abordajes de ginocrítica desde el que se propone redescubrir un arte hecho por mujeres (Showalter, 1981) y la genealogía feminista como metodología de investigación (Restrepo, A., 2016). Los resultados se plasmaron en un sitio web, una muestra itinerante y un catálogo que presentó un recorrido por la obra de más de ochenta autoras entre 1930 y la actualidad e implicó un proceso de investigación en hemerotecas, colecciones y archivos. La propuesta nos llevó a cuestionar la categoría "mujer" y a utilizar "autorías" como una categoría que fuera abarcativa no solo de feminidades sino también de identidades disidentes o transfronterizas que producen en el campo de las historietas y las viñetas de humor. Esto permitió reconstruir un mapa que vincula las luchas emancipatorias de mujeres, lesbianas, travestis/trans y personas no binarias con la plasmación de un registro gráfico en revistas de circulación popular. Parte de este proceso es recopilado en el sitio www.feminismografico.com. Palabras clave: Historieta. Genealogía Feminista. Autorías.

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András, Orsolya. "From Subversive Strategies to Women’s Empowerment." Acta Universitatis Sapientiae, Philologica 12, no. 3 (November 1, 2020): 17–33. http://dx.doi.org/10.2478/ausp-2020-0021.

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AbstractThis paper discusses the potential of humour in understanding and deconstructing gender inequalities and analyses the representation of some feminist issues in two Spanish-speaking artists’ works. The theoretical framework explores the interpretation of laughter by feminist authors as well as different approaches of feminist humour in the context of cultural studies. The definition of humour presented here is that it can function as an open space where we can safely observe social structures and experiment with our imagination. In the second part of the paper, some examples from Quino’s comic series Mafalda and Flavita Banana’s vignettes are discussed. In the interpretation of these artworks, the paper highlights two types of feminist discourse and, specifically, of feminist humour. The first one, exemplified through Quino’s Mafalda, uses subversive strategies in order to expose social injustice and sexism. However, these strategies are sometimes still not able to propose an alternative to the existing status quo. The second type of feminist discourse and humour, characteristic of Flavita Banana’s art, also starts from depicting the consequences of patriarchy. However, her approach is not only subversive but also empowering and liberating, constructing a safe imaginative space through humour.

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Obbard, Kiera. "Feminist humour’s disruptive potential: Trevor Noah’s Born a Crime: Stories from a South African Childhood and Rupi Kaur’s ‘I’m taking back my body’." Journal of Applied Journalism & Media Studies 10, no. 2 (June 1, 2021): 169–82. http://dx.doi.org/10.1386/ajms_00055_1.

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Using Trevor Noah’s Born a Crime: Stories from a South African Childhood and Rupi Kaur’s TEDxKC performance, ‘I’m taking back my body’, as case studies, this article examines how feminist humour is used by celebrities and public intellectuals to tell personal stories of oppression, trauma and inequality. Building on humour theory, feminist humour theory and affect theory, this article examines the potential of feminist humour as a rhetorical device to help storytellers tell difficult stories, to engage in acts of community-building and world-making, to challenge social inequalities and to enable social change. Ultimately, this article asks what we can learn from these examples, and how we can employ feminist humour in our own storytelling practices not only to disrupt power relations and establish solidarity, but also to imagine new, more equitable, worlds.

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Journal articles on the topic 'Feminist Humor'

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