Relevant bibliographies by topics / Humorists, American

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Humorists, American'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Humorists, American"

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Carr, Tracy. "Book Review: Make ’em Laugh!: American Humorists of the 20th and 21st Centuries." Reference & User Services Quarterly 55, no. 1 (September 25, 2015): 75. http://dx.doi.org/10.5860/rusq.55n1.75a.

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While books about comedy often strip all the life out of it, good books about comedy are a useful resource for learning about key performers, for analysis of comedy trends, and for discovery of little-known works one may have missed. Unfortunately, Make ’em Laugh!: American Humorists of the 20th and 21st Centuries is not one of those good books about comedy.
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Wuster, Tracy. "“The Great American Humorists: Mark Twain, Artemus Ward, and American Humour in England”." Studies in American Humor 22 (January 1, 2010): 91–114. http://dx.doi.org/10.5325/studamerhumor.22.2010.0091.

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Carlson, A. Cheree. "No Laughing Matter: American Woman Humorists Versus "True Womanhood," 1820-1880." Journal of American Culture 13, no. 3 (September 1990): 23–29. http://dx.doi.org/10.1111/j.1542-734x.1990.1303_23.x.

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Sillin, Sarah. "The Cuban Question and the Ignorant American: Empire's Tropes and Jokes in Yankee Notions." Studies in American Humor 7, no. 2 (October 1, 2021): 304–28. http://dx.doi.org/10.5325/studamerhumor.7.2.304.

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Abstract By reading antebellum-era jokes about Cuba in conversation with Judith Yaross Lee's argument that imperialism has persistently shaped American humor, this essay considers how US humorists located pleasure in the nation's fraught foreign relations. Examining a variety of comics, anecdotes, and malapropisms from Yankee Notions demonstrates how this popular, long-running magazine mocked US Americans’ efforts to assert their cosmopolitan knowledge of Cuba while nonetheless naturalizing US global power. Together, such jokes participated in a larger cultural project that shaped late nineteenth-century images of Cuba in a way that was designed to generate support for the idea of US intervention. More broadly, the magazine demonstrates how jokes about ignorance and knowingness became a way to justify US imperialism and resist foreign power.
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EPP, MICHAEL. "The Imprint of Affect: Humor, Character and National Identity in American Studies." Journal of American Studies 44, no. 1 (December 24, 2009): 47–65. http://dx.doi.org/10.1017/s0021875809990788.

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What is the relationship between American studies and affective production? In what specific ways does our scholarship participate in the creation, circulation, and appreciation of affective practices? These questions provide a foundation for understanding the sometimes obscure connections between academic scholarship and mass culture. I argue that the history of American studies involves a specific and influential imbrication with affective production that has shaped notions of identity and affect since the nineteenth century. Usually this history is understood in terms of how the field used to advocate conservative notions of nativist national identity; this paper brings the history of this advocacy into new focus by histricizing the relationship between scholarship and affective production in the often-overlooked field of humor studies. The first section traces the invention of an academic tradition that articulated humor practice to national character, and identifies this articulation itself as the affective labor of that scholarship. The second section addresses alternative histories that might be written once we recognize this articulation of affective practice to identity as itself a form of affective labor. In three case studies, I briefly explore the relations between humor, mass culture, and politics in the works of the late nineteenth-century humorists David Ker, Marietta Holley, and Bill Nye, whose humor was produced in the same period that saw the durable articulation of humor practice to national identity emerge. These cases gesture, polemically, to the important work American studies can still do with humor, especially as we realize the key role of affective production in our disciplinary history.
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Howe, Lawrence. "Tracy Wuster's Mark Twain, American Humorist." American Studies in Scandinavia 52, no. 2 (November 1, 2020): 235–37. http://dx.doi.org/10.22439/asca.v52i2.6510.

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Morris, Linda A. "Mark Twain, American Humorist by Tracy Wuster." MFS Modern Fiction Studies 64, no. 2 (2018): 374–76. http://dx.doi.org/10.1353/mfs.2018.0028.

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King, Rob. "Becoming Joe Doakes: Averageness, Populism and Seriality in Robert Benchley‘s How to Short Subjects." Film Studies 17, no. 1 (2017): 32–48. http://dx.doi.org/10.7227/fs.17.0003.

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Over the course of the 1930s, the comic persona of Algonquin humorist Robert Benchley changed from that of a sophisticated humorist to an average man. This article situates Benchley‘s How to short subjects for MGM (1935–44) within a broader public preoccupation with averageness that characterised the populist political rhetoric of New Deal-era America. In particular, it explores the function of seriality as a discursive trope conjoining the format of Benchley‘s MGM shorts to the broader construction of average identities in the eras political culture.
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Crain, Jeanie C. "Mark Twain, American Humorist TracyWuster. University of Missouri Press, 2016." Journal of American Culture 40, no. 3 (September 2017): 286–87. http://dx.doi.org/10.1111/jacc.12752.

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Dahman, Ghada. "The American Frontier Character and His Relationship to Nature as Depicted by Thomas Bangs Thorpe." International Journal of Arabic-English Studies 4, no. 1 (January 1, 2003): 49–64. http://dx.doi.org/10.33806/ijaes2000.4.1.4.

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While going unnoticed by many writers, the significance of the American frontiersman of the south did not escape the attention of Thomas Bangs Thorpe of Louisiana. This article tries to reinstate the importance that the frontiersman of the 19th century held in the eyes of this Old Southwest humorist. Thorpe humorously depicts this unique character to an almost a godly magnitude, yet at the same time, he retains his human traits, hence, remaining on a level readers could relate to. Even though the frontiersman's presence became sadly diminished as civilization advanced, Thorpe was able to revive him through his sketches. The speech, manners and lifestyle of the frontiersman, who evolves out of the American wilderness around him, all become Thorpe's means to successfully documenting one side of American history which might have gone unrecognized were it not for Thorpe's short stories..
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Dissertations / Theses on the topic "Humorists, American"

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Cunicelli, John Angelo. "Donoso the Humorist: A study of Entropy." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/457162.

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Spanish
Ph.D.
For over two millennia, humor has been the topic of philosophical discussion since it appears to be a nearly universal element of human experience and also offers different perspectives on that experience. Humor delves deep into the cultural norms governing religion, family, sex, society, and other aspects of day to day life in order to investigate the absurdities therein. Viewing such reified aspects of life in a new, humorous light is one of the principal characteristics of the Chilean author José Donoso’s novels. Oftentimes irreverent and scathing, Donoso’s dark humor reaches entropic proportions since it accentuates (and at times even seems to celebrate) the human condition’s descent into chaos. Given this downward trajectory, a selection of the Chilean author’s novels will be analyzed under the entropic humor theory originated by literary theorist Patrick O’Neill. The notion of entropy contains the very idea of a breakdown of order that tends toward chaos, so this special brand of humor is a unique fit for a study of Donoso. Within the author’s first novels, we note extreme existential angst which, as we pass into his later works, gives way to resignation, a trajectory we see mirrored in the use of humor, going from extremely dark and bitter to more playful, albeit always caustic and acerbic in nature. By delving into the psyche of man, Donoso finds much humor behind the tragedy and then uses it to expose life’s absurdities. He toys with our expectations. His use of humor externalizes alternative ways to view life – in its tragic comedies or comic tragedies.
Temple University--Theses
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Sanin, Andres Francisco. "Reír o no reír: (meta)humorismo y violencia en la literatura contemporánea de Colombia y México." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11331.

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Humor can be underestimated, but to laugh or not to laugh is as transcendental as the decision to be or not to be. That is the question of this dissertation: the productive encounter of challenging instances of humor in Latin-American literary texts that not only display humor in charged violent backgrounds, but create humorous traps and spaces for meta-humorist reflections, inviting the reader to judge whether to laugh or not to laugh in an aesthetic and ethical sense. Those instances of perplexity would ask the reader to reflect on the nature of the humor displayed, its targets, context, refinement, creativity, meaning and outcomes, among other questions that laugher implies. This would foster a more solicitous public who recognizes a liberating good laugh from a violent one, avoiding the reproduction of stereotypes, hate speeches or the consent of an oppressive status quo.
Romance Languages and Literatures
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Pereira, Priscila 1983. "Entre a épica e a paródia = a (des) mistificação do gaucho nos quadrinhos de Inodoro Pereyra, el renegau." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278675.

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Orientador: José Alves de Freitas Neto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-17T20:23:51Z (GMT). No. of bitstreams: 1 Pereira_Priscila_M.pdf: 27248639 bytes, checksum: 801076349c108b5c8a789f5258de65f3 (MD5) Previous issue date: 2011
Resumo: Esta pesquisa analisa as representações do gaucho nos quadrinhos de Inodoro Pereyra, personagem criada pelo humorista argentino Roberto Fontanarrosa na década de 70 do século XX. Nascido como uma paródia da literatura gauchesca, do radioteatro e do folclore argentino, a trajetória do renegau retoma a metáfora sarmientina civilização e barbárie, que atravessa não só a história deste país, mas se inscreve na tradição política de toda a América Latina. Neste sentido, através dos quadrinhos deste gaucho é possível rediscutir importantes questões que marcaram a história da República Argentina, tais como as oposições entre pampa e litoral, unitários e federais, nacionalismo e cosmopolitismo, e que compõem a imagem de uma nação dividida. Além disso, a epopéia vivida pela personagem permite que redimensionemos o tema "as duas Argentinas", tendo em vista que este quadrinho está transpassado por imagens relacionadas ao imaginário social desta nação
Abstract: This research analyzes the representations of the gaucho in the comics of Inodoro Pereyra, a character created by the Argentine comedian Roberto Fontanarrosa, in the 70s of the twentieth century. Born as a parody of Gauchesca literature, of radiotheater and of Argentine folklore, the renegau's trajectory retakes the sarmientina metaphor of civilization and barbarism, which crosses not only the History of this country, but also inscribes itself in all Latin America's political tradition. In this sense, through the comic of this gaucho, it is possible to rediscuss important issues that have marked the history of the Argentine Republic such as the oppositions between pampa and coast, unitary and federal, nationalism and cosmopolitanism, which composes the image of a divided nation. Moreover, the epopee experienced by the character allows us to resize the theme "two Argentinas". Considering that, this comic is transfixed by images related to the social imagination of this nation
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Wuster, Tracy Allen. "“The most popular humorist who ever lived” : Mark Twain and the transformation of American culture." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3281.

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This dissertation examines Mark Twain’s literary-critical reputation from the years 1865 to 1882, as he transformed from the regional “wild humorist of the Pacific Slope” to a national and international celebrity who William Dean Howells called “the most popular humorist who ever lived.” This dissertation considers “Mark Twain” not as the name of a literary author, but as a fictional creation who was narrator and implied author of both fictional and non-fiction texts, a performer who played his role on lecture platforms and other public venues, and a celebrity whose fame spread from the American west through America and the world. The key question of this dissertation is the historical position of the “humorist,” a hierarchical cultural category that included high culture literary figures, such as James Russell Lowell and Bret Harte; literary comedians, such as Artemus Ward and Petroleum Vesuvius Nasby; and clowns and minstrels, who were placed at the bottom of the hierarchy. I argue that Mark Twain muddied the hierarchical distinctions between class-appropriate leisure and burgeoning forms of mass entertainment, between uplifting humor and debased laughter, and between the canonical literature of high culture and the passing whim of the merely popular. Through the success of The Innocents Abroad (1869) and the promotion of William Dean Howells, Mark Twain was elevated into critical discussions of literary value, and in the 1870s he entered into venues of higher prestige: so-called “quality” magazines such as the Galaxy and the Atlantic Monthly, lecture stages on the lyceum circuit and in England, and the personal realm of friendship with other authors. While Twain was accepted into some literary cultures, other critics attempted to consign him to literary oblivion, or simply ignored him, while Twain himself betrayed keen anxiety about his role as “stripèd humorist” in respectable literary realms. This dissertation thus focuses on written works, critical interpretations, and performative instances in which “Mark Twain,” as both agent and subject, brought debates over “American Humor,” “American Literature,” and “American Culture” to the fore.
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Books on the topic "Humorists, American"

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Linda, Morris, ed. American women humorists: Critical essays. New York: Garland Pub., 1994.

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Peter, Anderson. Will Rogers, American humorist. Chicago: Childrens Press, 1992.

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Porch, Ludlow. Lewis & me & Skipper makes 3. Atlanta, Ga: Longstreet Press, 1991.

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Geerdes, Clay. Thorne Smith: America's forgotten humorist. [S.l.]: C. Geerdes, 1991.

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Kinney, Harrison. James Thurber: His life and times. New York: H. Holt and Co, 1995.

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Brown, Lance. On the road with Will Rogers. Brunswick, ME: Biddle Publishing, 1997.

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Ray, Robinson. American original: A life of Will Rogers. New York: Oxford University Press, 1996.

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Colwell, Lynn Hutner. Erma Bombeck: Writer and humorist. Hillside, N.J., U.S.A: Enslow Publishers, 1992.

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Erma Bombeck: Writer and humorist. Hillside, N.J., U.S.A: Enslow Publishers, 1992.

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1954-, Rosen Michael J., ed. 101 damnations: The humorists' tour of personal hells. New York: Thomas Dunne Books, 2002.

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Book chapters on the topic "Humorists, American"

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Liashuk, Xenia. "Reflection of Ideology and Politics in Travel Writing." In Advances in Linguistics and Communication Studies, 80–104. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9444-4.ch004.

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The chapter focuses on the ways in which politics and ideology are incorporated into travel writing. The analysis of two travel books involving the U.S. American and the Soviet Russian cultures, namely Little Golden America (One-Storied America, 1937) by Soviet humorists Ilf and Petrov, and A Russian Journal (1948) by American novelist John Steinbeck, reveals the two factors of importance influencing the depiction of politics and ideology in travel writing, namely the authors' identity including their personal ideologies and the polarity of bilateral political and ideological relations between the nations concerned. These two factors predetermine the specific issues of political and ideological nature described and explained in travel writing and the angle and character of their interpretation and evaluation by the authors.
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Jacobs, Lanita. "“The Arab Is the New Nigger”." In To Be Real, 23—C1.P49. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190870096.003.0002.

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Abstract This chapter begins by analyzing the response of African American standup comedy to the fateful events of September 11, 2001. Tracing ambivalent patriotism, the cynically hailed arrival of a “new nigger,” and jokes that expose the lie of post-9/11 unity given enduring racial injustice, the chapter explores how 9/11 humor served as both a balm and critique for African American comics and audiences. It explores not only why African American comics were among the first humorists to joke about 9/11, but also how their jokes relied on essentialist understandings of Blacks’ and others to wage critiques against racial profiling, “us” versus “them” rhetoric, and other ahistorical renditions of America’s victimhood post-9/11 – in expected and un-expected ways.
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"Frontiers, Suburbs, Politics, and Poop: Setting, Episodes, and the American Carnivalesque in the Southwest Humorists and Animated Television Programs." In Humor and Satire on Contemporary Television, 23–50. Routledge, 2016. http://dx.doi.org/10.4324/9781315587646-7.

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Ellis, William E. "The Making of an American Humorist." In Irvin S. Cobb. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173986.003.0002.

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American humor comes in many forms and derives from several influences. The southwestern frontier, the antebellum South, and the post–Civil War era are most important in interpreting the life of Kentuckian Irvin S. Cobb. In this chapter, the author describes Cobb’s early life in Paducah, Kentucky, which had a huge influence on his later writing. Ellis goes on to describe Cobb’s education, both in school and out. Cobb was an avid reader from a young age, and storytelling was a pervasive art form in the South. This taught Cobb how to tell stories. Next, Ellis examines Cobb’s early career as a writer and editor at several newspapers such as the Louisville Evening Post. Ellis concludes the chapter with Cobb’s marriage to Laura Baker and his move to New York City.
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Keuren, Luise van. "The American Indian as Humorist in Colonial Literature." In A Mixed Race, 77–91. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195075229.003.0005.

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Abstract If, at some distant time, our probings of outer space reach another planet sustaining flora, fauna, and an unknown race of people, the imagination of our earthly globe with be galvanized. Curiosity afire, writers of every description will hasten to record the story. One can scarcely imagine the media coverage The entrepreneurs among us might await word of deposits of oil, gold, diamonds, or uranium. For most of us, however, the richest vein of interest would be the people of this newfound planet. What extraordinary light such a new race might shed on the mystery of our own existence.
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Katz, Wendy Jean. "More Lasting Monuments." In A True American, 135–50. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823298563.003.0007.

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The artwork that made Walcutt nationally known in his own day was his marble monument to War of 1812 hero Commodore Oliver Hazard Perry, in Cleveland, Ohio. It demonstrates how Walcutt’s lively, narrative, neoclassical style, first visible in his proposal for a monument in New York to George Washington, drew on rhetoric about Anglo-American greatness by historian George Bancroft, among others. Such rhetoric linking English and American political traditions often served as the ground for excluding people either foreign to, or inferior to, Protestant Anglo-Saxons. Walcutt’s public statue was accordingly able to win over Ohio’s fusion of Young America Democrats, antislavery Know-Nothings, and Republicans on the eve of the Civil War. Walcutt was aided in fending off criticism by humorist Artemus Ward, writing at the Cleveland Plain Dealer, and an elite Cleveland Sketch Club.
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Hathaway, Heather. "Writing as Resistance." In That Damned Fence, 34–55. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190098315.003.0003.

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This chapter focuses on Topaz’s literary magazine, TREK, particularly on the contributions of the journalist Taro Katayama and the humorist Jim Yamada, and argues that their material critiqued the incarceration. The chapter sketches Katayama’s career in San Francisco prior to the war, including his relationship with James Omura, editor of Current Life, and describes Katayama’s frustration with government censorship he encountered when editing Tanforan’s newspaper, the Totalizer. In TREK, Katayama found the opportunity for greater freedom of expression and he used the venue to veil political statements in seemingly benign prose. Jim Yamada’s satire did the same. Yamada sometimes wrote under the pseudonym, Globularius Schraubi. The chapter analyzes the political messages that infuse Yamada/Schraubi’s play on H. L. Mencken’s The American Language: An Inquiry into the Development of English in the United States, which offers an inquiry into the development of “evacuese.”
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"2. "My First Lie, and How I Got Out of It": Deprivation-Grief and the Making of an American Humorist." In Grief Taboo in American Literature, 68–102. New York University Press, 1995. http://dx.doi.org/10.18574/nyu/9780814786192.003.0006.

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Ellis, William E. "From Newspaperman to Short Story Writer." In Irvin S. Cobb. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813173986.003.0004.

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Ellis begins by describing Cobb’s successful ventures as a humorist and how his appearance played into his style. His attention to detail and offbeat subjects became a staple for Evening World readers. Cobb used his small-town Kentucky perspective to make observations about the big city in his first long-running humor series, “New York thro’ Funny Glasses.” The transplanted Kentuckian exemplified the racial attitudes of many white Americans in the early twentieth century. Eventually, Cobb’s writing found a place in the Sunday World Magazine. Cobb also tried his hand at writing short fiction. Over the next three decades, Cobb turned out an immense amount of copy for newspapers and magazines, wrote short stories and plays, dabbled in movies, and wrote novels. He never seemed to be short of ideas.
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Conference papers on the topic "Humorists, American"

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Noble, Peter G. "Lessons to be Learned from the Study of Indigenous Craft." In SNAME 13th International Conference on Fast Sea Transportation. SNAME, 2015. http://dx.doi.org/10.5957/fast-2015-054.

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By looking backwards we can often discover solutions that will allow forward progress. We see in the bible the idea that history repeats itself: What has been will be again, what has been done will be done again; there is nothing new under the sun. Ecclesiastes 1:9 But the author subscribes to the idea put forward by the American humorist, Mark Twain: History doesn’t repeat itself, but sometimes it rhymes. The design and construction of water-borne craft using “scientific” methods is a relatively recent development in the context of the whole history of that activity, and is by no means universally applied even today Many traditional craft in current service still rely on the process akin to natural selection, as proposed by Darwin, that is, it is not the strongest, most intelligent nor the fittest that survive but those that best adapt. And the evolutionary process continues today. From Bangkok water taxis with “long-tail” propulsion systems, and from Haitian fishing boats with high performance new sails to whaling umiaks in NW Alaska covered with tensioned membrane skins made from walrus hide and equipped with outboard motors, there can be value in studying the design, construction and operational approaches of these craft. Such consideration can lead to insights for the modern naval architect. A number of well-researched publications (Tapan Adney, 1964) and (Haddon, 1975) give a wealth of information on indigenous craft. Sturgeon Nose Canoe USN ZUMWALT Class Destroyer. Noble Lessons to be learned from the study of indigenous craft 2 Lessons such as optimizing weight/strength ratios, minimizing resistance, utilizing materials in clever ways, developing repairable structures etc., can all be learned from the study of indigenous craft. The sense of continuity with a living past obtained by the study of the work of previous generations of designers and builders, realizing that many current problems were their problems too, is both valuable and satisfying. That said, not all examples given in this paper can be directly linked to designers actively seeking out past developments. Some examples have occurred by coincidence, some by accident and some by unwitting “reinvention of the wheel”. Many “new” ideas, however, have been tried before and it is very often possible to test a new idea against past experience. This paper builds on previous ethno-technical study, (Noble 1994) describing the author’s experience in this field and uses a number of specific examples to illustrate the premise.
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