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Throughout history, comedians and clowns have enjoyed a certain freedom to speak frankly often denied to others in hegemonic systems. More recently, professional comedians have developed platforms of comic license from which to critique the traditional political establishment and have managed to play an important role in interrogating and mediating the processes of politics in contemporary society.This collection will examine the questions that arise when of comedy and critique intersect by bringing together both critical theorists and comedy scholars with a view to exploring the nature of comedy, its potential role in critical theory and the forms it can take as a practice of resistance.
Krista Bonello Rutter Giappone is the Associate Lecturer in English and Drama, University of Kent,University of Malta.Fred Francis is an Assistant Lecturer in English at the University of Kent.Iain MackKenzie is the Co-Director Centre for Critical Thought and Senior Lecturer in Politics at theUniversity of Kent.
Introduction: Setting the Agenda, Krista Bonello Rutter Giappone, Fred Francis and Iain MacKenzie / PART I: COMEDY, CRITIQUE AND RESISTANCE / Diagrams of Comic Estrangement, James Williams / ‘Against the Assault of Laughter’: Differentiating Critical and Resistant Humour, Nicholas Holm / Can We Learn the Truth from Lenny Bruce? A Careful Cognitivism about Satire, Dieter Declercq / Laughter, Liturgy, Lacan and Resistance to Capitalist Logic, Francis Stewart / Humitas: Humour as Performative Resistance, Kate Fox / PART II: LAUGHTER AS RESISTANCE? / Conformist Comedians: Political Humour in the Eighteenth-Century Dutch Republic, Ivo Nieuwenhuis / First World War Cartoon Comedy as Criticism of British Politics and Society, Pip Gregory / A Suspended Pratfall: Mimesis and Slapstick in Contemporary Art, Levi Hanes / ‘Life’ in Struggle: The Indifferent Humour of Beckett’s Prose Heroes, Selvin Yaltir / ‘Holiday in Cambodia’: Punk’s Acerbic Comedy, Russ Bestley / ‘What Can’t Be Cured Must Be Endured’: The Postcolonial
This fascinating book draws on current and recent critical theories to frame and contextualise individual chapters on - amongst others - satire, stand-up, cartoons, slapstick and the visual arts. The theories are clearly explained, often emphasising the playful uses of humour and comedy as a critical tool. Reading it has opened up new avenues in my own thinking about comedy.
Benoît Dillet, Iain MacKenzie, Robert Porter, Germany) Dillet, Benoit (Marie Sklodowska-Curie Fellow, University of Freiburg, University of Kent) MacKenzie, Iain (Lecturer in Politics, School of Politics and International Relations, University of Ulster) Porter, Robert (Lecturer within the Centre for Media Research, Iain Mackenzie