Michael Graziano
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195326703
- eISBN:
- 9780199864867
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195326703.001.0001
- Subject:
- Neuroscience, Sensory and Motor Systems, Behavioral Neuroscience
This book offers a fundamental new theory of motor cortex organization: the rendering of the movement repertoire onto the cortex. The action repertoire of an animal is highly dimensional, whereas the ...
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This book offers a fundamental new theory of motor cortex organization: the rendering of the movement repertoire onto the cortex. The action repertoire of an animal is highly dimensional, whereas the cortical sheet is two-dimensional. Rendering the action space onto the cortex therefore results in a complex pattern, explaining the otherwise inexplicable details of motor cortex organization. This book includes a complete history of motor cortex research from its discovery to the present, a discussion of the major issues in motor cortex research, and an account of recent experiments that led to the book's “action map” view. Though focused on motor cortex, the book includes a range of topics from an explanation of how primates put food in their mouths, to the origins of social behavior such as smiling and laughing, to the mysterious link between movement disorders and autism.Less
This book offers a fundamental new theory of motor cortex organization: the rendering of the movement repertoire onto the cortex. The action repertoire of an animal is highly dimensional, whereas the cortical sheet is two-dimensional. Rendering the action space onto the cortex therefore results in a complex pattern, explaining the otherwise inexplicable details of motor cortex organization. This book includes a complete history of motor cortex research from its discovery to the present, a discussion of the major issues in motor cortex research, and an account of recent experiments that led to the book's “action map” view. Though focused on motor cortex, the book includes a range of topics from an explanation of how primates put food in their mouths, to the origins of social behavior such as smiling and laughing, to the mysterious link between movement disorders and autism.
Jerome Neu
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780195314311
- eISBN:
- 9780199871780
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195314311.003.0009
- Subject:
- Philosophy, Philosophy of Language
Humor, like ritual, may sometimes license otherwise offensive insults. When and why? The special genre of insult humor, including roasts, is considered along with Freud's account of the role of ...
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Humor, like ritual, may sometimes license otherwise offensive insults. When and why? The special genre of insult humor, including roasts, is considered along with Freud's account of the role of collusion in tendentious humor broadly conceived. When is it wrong to laugh? Satire, teasing, and bullying sometimes take the ridicule in insult humor to the extremes of aggression.Less
Humor, like ritual, may sometimes license otherwise offensive insults. When and why? The special genre of insult humor, including roasts, is considered along with Freud's account of the role of collusion in tendentious humor broadly conceived. When is it wrong to laugh? Satire, teasing, and bullying sometimes take the ridicule in insult humor to the extremes of aggression.
Theodore Zeldin
- Published in print:
- 1977
- Published Online:
- March 2012
- ISBN:
- 9780198221258
- eISBN:
- 9780191678424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198221258.003.0013
- Subject:
- History, European Modern History
This chapter begins with a discussion of why happiness has held such an ambiguous place in French life. In the eighteenth century, the French were as keen on happiness as the Americans. On the ...
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This chapter begins with a discussion of why happiness has held such an ambiguous place in French life. In the eighteenth century, the French were as keen on happiness as the Americans. On the theoretical and literary levels, indeed, they could probably claim to have been the world's experts on it, for they then, suddenly, published about two hundred treatises on the subject. In the process, however, they discovered, or rediscovered, many of the complications that happiness involves; and their longing for it was therefore balanced by vigorous arguments about its nature and much uncertainty about how it could be achieved. The chapter considers the history of friendship to provide an idea of the way changing social conditions bore upon the problem of being happy, for the ordinary man. It looks at the manifestations of happiness, particularly dancing, and works from them to the social relationships with which they were linked. The discussion then turns to the different kinds of humour seen in the history of laughing, of eating, and of drinking.Less
This chapter begins with a discussion of why happiness has held such an ambiguous place in French life. In the eighteenth century, the French were as keen on happiness as the Americans. On the theoretical and literary levels, indeed, they could probably claim to have been the world's experts on it, for they then, suddenly, published about two hundred treatises on the subject. In the process, however, they discovered, or rediscovered, many of the complications that happiness involves; and their longing for it was therefore balanced by vigorous arguments about its nature and much uncertainty about how it could be achieved. The chapter considers the history of friendship to provide an idea of the way changing social conditions bore upon the problem of being happy, for the ordinary man. It looks at the manifestations of happiness, particularly dancing, and works from them to the social relationships with which they were linked. The discussion then turns to the different kinds of humour seen in the history of laughing, of eating, and of drinking.
Tony James
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198151883
- eISBN:
- 9780191672873
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198151883.003.0019
- Subject:
- Literature, 19th-century and Victorian Literature, European Literature
The title of Hugo's novel L'Homme qui rit, literally translated, would be ‘The Laughing Man’. It was in fact translated into English almost immediately as By Order of the King, the title of part ii. ...
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The title of Hugo's novel L'Homme qui rit, literally translated, would be ‘The Laughing Man’. It was in fact translated into English almost immediately as By Order of the King, the title of part ii. The story goes thus: by order of King James II an infant was subjected to an operation which cut his mouth from ear to ear, and then abandoned. The French title refers to the result of the operation: Gwynplaine gives the appearance of laughing permanently; in fact he never laughs but he does cause hilarity in others. These, however, are facts which we pick up slowly as we read. This chapter presents a summary of L'Homme qui rit to illustrate how the themes of memory and dream are embodied within it.Less
The title of Hugo's novel L'Homme qui rit, literally translated, would be ‘The Laughing Man’. It was in fact translated into English almost immediately as By Order of the King, the title of part ii. The story goes thus: by order of King James II an infant was subjected to an operation which cut his mouth from ear to ear, and then abandoned. The French title refers to the result of the operation: Gwynplaine gives the appearance of laughing permanently; in fact he never laughs but he does cause hilarity in others. These, however, are facts which we pick up slowly as we read. This chapter presents a summary of L'Homme qui rit to illustrate how the themes of memory and dream are embodied within it.
Ian Brodie
- Published in print:
- 2014
- Published Online:
- January 2016
- ISBN:
- 9781628461824
- eISBN:
- 9781626740921
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461824.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a ...
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This book uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize—“literature” or “theater”; “editorial” or “morality”—and analyze it accordingly. This book begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So this book takes the moment of performance as its focus, that stand-up comedy is a collaborative act between the comedian and the audience. Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian's own community to gain larger and larger audiences. How do comedians recreate that atmosphere of intimacy in a roomful of strangers? This book regards everything from microphones to clothing and LPs to Twitter as strategies for bridging the spatial, temporal, and socio-cultural distances between the performer and the audience.Less
This book uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize—“literature” or “theater”; “editorial” or “morality”—and analyze it accordingly. This book begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So this book takes the moment of performance as its focus, that stand-up comedy is a collaborative act between the comedian and the audience. Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian's own community to gain larger and larger audiences. How do comedians recreate that atmosphere of intimacy in a roomful of strangers? This book regards everything from microphones to clothing and LPs to Twitter as strategies for bridging the spatial, temporal, and socio-cultural distances between the performer and the audience.
Susan G. Davis
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042614
- eISBN:
- 9780252051456
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042614.003.0010
- Subject:
- Sociology, Gender and Sexuality
During the late 1960s and early 1970s, Legman completed and published two volumes of his studies of sexual humor, The Rationale of the Dirty Joke and No Laughing Matter. In these books he presented ...
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During the late 1960s and early 1970s, Legman completed and published two volumes of his studies of sexual humor, The Rationale of the Dirty Joke and No Laughing Matter. In these books he presented thousands of jokes on sexual and bodily topics, framed by his own version of a Freudian approach to humor. This chapter lays out Legman’s organization of the materials dredged up in his decades of joke collecting, outlines his theories of humor, and places his books in the expansion of scholarly interest in humor in the 1960s and 1970s. Legman was almost alone in emphasizing aggression as a largely unconscious motive in joke telling and in emphasizing that jokes expressed unresolved psychic conflicts. The Rationale of the Dirty Joke was more warmly received than Legman’s second volume of jokes, in large part because No Laughing Matter dealt with the nastiest jokes in Legman’s collection. The chapter also examines the academic and popular reactions to both books and details Legman’s difficulties with publishers, especially around the issue of royalties for his work.Less
During the late 1960s and early 1970s, Legman completed and published two volumes of his studies of sexual humor, The Rationale of the Dirty Joke and No Laughing Matter. In these books he presented thousands of jokes on sexual and bodily topics, framed by his own version of a Freudian approach to humor. This chapter lays out Legman’s organization of the materials dredged up in his decades of joke collecting, outlines his theories of humor, and places his books in the expansion of scholarly interest in humor in the 1960s and 1970s. Legman was almost alone in emphasizing aggression as a largely unconscious motive in joke telling and in emphasizing that jokes expressed unresolved psychic conflicts. The Rationale of the Dirty Joke was more warmly received than Legman’s second volume of jokes, in large part because No Laughing Matter dealt with the nastiest jokes in Legman’s collection. The chapter also examines the academic and popular reactions to both books and details Legman’s difficulties with publishers, especially around the issue of royalties for his work.
Brett Mills
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748637515
- eISBN:
- 9780748671229
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637515.003.0005
- Subject:
- Film, Television and Radio, Television
This chapter argues the sitcom is an especially important genre for thinking about television audiences because comedy is a form of communication that relies on audience response for its effect. The ...
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This chapter argues the sitcom is an especially important genre for thinking about television audiences because comedy is a form of communication that relies on audience response for its effect. The chapter examines sitcom tropes such as the laugh track, to examine how the audience is signalled within the genre. It also explores audience reactions via complaints, and examines what such complaints tell us about audience expectations for the genre. This is also linked to issues of broadcasting regulations. The chapter draws on primary research with comedy audiences carried out for this book.Less
This chapter argues the sitcom is an especially important genre for thinking about television audiences because comedy is a form of communication that relies on audience response for its effect. The chapter examines sitcom tropes such as the laugh track, to examine how the audience is signalled within the genre. It also explores audience reactions via complaints, and examines what such complaints tell us about audience expectations for the genre. This is also linked to issues of broadcasting regulations. The chapter draws on primary research with comedy audiences carried out for this book.
Jane Manning
- Published in print:
- 2020
- Published Online:
- October 2020
- ISBN:
- 9780199391028
- eISBN:
- 9780199391073
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780199391028.003.0041
- Subject:
- Music, Performing Practice/Studies, Popular
This chapter introduces an extended scena by Earl Kim—Letters Found Near a Suicide. Kim sets three poems in a continuous span, so the work can be counted as a song cycle. The chapter reveals Kim's ...
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This chapter introduces an extended scena by Earl Kim—Letters Found Near a Suicide. Kim sets three poems in a continuous span, so the work can be counted as a song cycle. The chapter reveals Kim's intimate understanding and love of the human voice, which is amply demonstrated by the comfortable lie of vocal lines which cover an extremely wide range of dramatic colours. Words are always audible, and emotions conveyed with concise poignancy. Key moments in the text are often set in a fairly low tessitura so that the singer is able to vary the vocal palette and enunciate the texts without strain. The piano part is full of fine detail, and there are plenty of pitch cues to help the singer. The textures are expertly balanced and well integrated in style.Less
This chapter introduces an extended scena by Earl Kim—Letters Found Near a Suicide. Kim sets three poems in a continuous span, so the work can be counted as a song cycle. The chapter reveals Kim's intimate understanding and love of the human voice, which is amply demonstrated by the comfortable lie of vocal lines which cover an extremely wide range of dramatic colours. Words are always audible, and emotions conveyed with concise poignancy. Key moments in the text are often set in a fairly low tessitura so that the singer is able to vary the vocal palette and enunciate the texts without strain. The piano part is full of fine detail, and there are plenty of pitch cues to help the singer. The textures are expertly balanced and well integrated in style.
Kenneth R. Johnston
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199657803
- eISBN:
- 9780191771576
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199657803.003.0006
- Subject:
- Literature, 18th-century Literature, 19th-century Literature and Romanticism
In 1792, Thomas Beddoes, Sr. was nominated by the Oxford University chancellor to become the first holder of its Regius chair in Chemistry. But political blacklisting by anonymous detractors ...
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In 1792, Thomas Beddoes, Sr. was nominated by the Oxford University chancellor to become the first holder of its Regius chair in Chemistry. But political blacklisting by anonymous detractors responding to the King’s proclamation against seditious writings doomed his chances. He moved to Bristol, where he set up an independent Pneumatic Institute for study of therapeutic uses of nitrous oxide (‘laughing gas’) and other elemental gases, assisted by Humphry Davy. He joined the brilliant circle of intellectuals gathered around the philanthropic Wedgwood family at Cote House, working with Coleridge and others to support the cause of parliamentary reform. He wrote five pamphlets on reform issues between 1795 and 1797, including an Essay on the Public Merits of Mr. Pitt. His scientific work was increasingly associated with his political liberalism by his opponents, leading to losses in private funding. His own health suffered from the strain, leading to an early death.Less
In 1792, Thomas Beddoes, Sr. was nominated by the Oxford University chancellor to become the first holder of its Regius chair in Chemistry. But political blacklisting by anonymous detractors responding to the King’s proclamation against seditious writings doomed his chances. He moved to Bristol, where he set up an independent Pneumatic Institute for study of therapeutic uses of nitrous oxide (‘laughing gas’) and other elemental gases, assisted by Humphry Davy. He joined the brilliant circle of intellectuals gathered around the philanthropic Wedgwood family at Cote House, working with Coleridge and others to support the cause of parliamentary reform. He wrote five pamphlets on reform issues between 1795 and 1797, including an Essay on the Public Merits of Mr. Pitt. His scientific work was increasingly associated with his political liberalism by his opponents, leading to losses in private funding. His own health suffered from the strain, leading to an early death.
Sara Crangle
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748640850
- eISBN:
- 9780748651955
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640850.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines Gertrude Stein's authorial attention to individual moments, which may be influenced by her narrative desire to laugh. It studies her first work, Q.E.D.; observes that her ...
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This chapter examines Gertrude Stein's authorial attention to individual moments, which may be influenced by her narrative desire to laugh. It studies her first work, Q.E.D.; observes that her explorations move from self to other through a series of philosophically informed narratives set primarily in the private sphere; and determines that this shift in Steinian narrative laughter coexists with the modernist theory on risibility.Less
This chapter examines Gertrude Stein's authorial attention to individual moments, which may be influenced by her narrative desire to laugh. It studies her first work, Q.E.D.; observes that her explorations move from self to other through a series of philosophically informed narratives set primarily in the private sphere; and determines that this shift in Steinian narrative laughter coexists with the modernist theory on risibility.
John Patrick Diggins (ed.)
- Published in print:
- 2007
- Published Online:
- February 2013
- ISBN:
- 9780226148809
- eISBN:
- 9780226148823
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226148823.003.0010
- Subject:
- Literature, Drama
Eugene O'Neill's encounter with religion was as much personal as philosophical, and it is understandable that he would be attracted to Friedrich Nietzsche and think that he could regard the ...
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Eugene O'Neill's encounter with religion was as much personal as philosophical, and it is understandable that he would be attracted to Friedrich Nietzsche and think that he could regard the once-shocking saying “God is dead” as a celebration. O'Neill felt deeply the dualisms of philosophy, particularly between matter and spirit, experience and meaning, and the individual and society. The conflict between science and religion divides two families in O'Neill's Dynamo. During the years immediately preceding Lazarus Laughed and The Great God Brown, O'Neill was confronted by sickness and death. Death is a meditative dread to O'Neill during the writing of Lazarus Laughed, and a possible answer to facing death becomes the central theme. He made his last effort at treating religion on the stage in Days Without End. It can be stated that O'Neill may have used the theater to deal with religious questions.Less
Eugene O'Neill's encounter with religion was as much personal as philosophical, and it is understandable that he would be attracted to Friedrich Nietzsche and think that he could regard the once-shocking saying “God is dead” as a celebration. O'Neill felt deeply the dualisms of philosophy, particularly between matter and spirit, experience and meaning, and the individual and society. The conflict between science and religion divides two families in O'Neill's Dynamo. During the years immediately preceding Lazarus Laughed and The Great God Brown, O'Neill was confronted by sickness and death. Death is a meditative dread to O'Neill during the writing of Lazarus Laughed, and a possible answer to facing death becomes the central theme. He made his last effort at treating religion on the stage in Days Without End. It can be stated that O'Neill may have used the theater to deal with religious questions.
Gabriel Miller
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780813142098
- eISBN:
- 9780813142371
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813142098.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter focuses primarily on Wyler's first prestige project, Counselor-at-Law, starring John Barrymore. It recounts the director's behind-the-scenes problems with the star actor, but also ...
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This chapter focuses primarily on Wyler's first prestige project, Counselor-at-Law, starring John Barrymore. It recounts the director's behind-the-scenes problems with the star actor, but also analyzes Wyler's successful transformation of a hit play by the Pulitzer Prize–winning playwright Elmer Rice for the screen. In what was the first of a dozen Broadway hits that Wyler brought to the screen, he displays early-on his gifts for making a play look and feel cinematic. The chapter also touches on his attempts (with John Huston) to bring Laughing Boy to the screen, as well as briefly discussing his film Tom Brown of Culver, which was made in part on location.Less
This chapter focuses primarily on Wyler's first prestige project, Counselor-at-Law, starring John Barrymore. It recounts the director's behind-the-scenes problems with the star actor, but also analyzes Wyler's successful transformation of a hit play by the Pulitzer Prize–winning playwright Elmer Rice for the screen. In what was the first of a dozen Broadway hits that Wyler brought to the screen, he displays early-on his gifts for making a play look and feel cinematic. The chapter also touches on his attempts (with John Huston) to bring Laughing Boy to the screen, as well as briefly discussing his film Tom Brown of Culver, which was made in part on location.
Maria DiBattista
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300088151
- eISBN:
- 9780300133882
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300088151.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter explores the phenomenon of Garbo's laughter and why it was touted as so remarkable an event in the annals of film. Its praise as a historic occasion was a savvy promotional gimmick that ...
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This chapter explores the phenomenon of Garbo's laughter and why it was touted as so remarkable an event in the annals of film. Its praise as a historic occasion was a savvy promotional gimmick that predated the making of Ninotchka, the 1939 film that it was publicizing. It explores the historic significance of Garbo's face, as director Ernst Lubitsch contemplates with great delicacy in Ninotchka. The chapter also studies and analyzes her unique relation to language, her unsteady command of the idioms of everyday life, that betray her anti-modernity. Furthermore, it looks at the manners through which Garbo was hailed as the spiritual vessel in which Hollywood of the 1930s decanted its highest ideals of womanhood. Her incarnation as Ninotchka, for example, represents an instructive example of how America implicated the sexual fate of women in its own historical triumphalism. Thus, the chapter explores the character and roles that Garbo would take and how they influenced America.Less
This chapter explores the phenomenon of Garbo's laughter and why it was touted as so remarkable an event in the annals of film. Its praise as a historic occasion was a savvy promotional gimmick that predated the making of Ninotchka, the 1939 film that it was publicizing. It explores the historic significance of Garbo's face, as director Ernst Lubitsch contemplates with great delicacy in Ninotchka. The chapter also studies and analyzes her unique relation to language, her unsteady command of the idioms of everyday life, that betray her anti-modernity. Furthermore, it looks at the manners through which Garbo was hailed as the spiritual vessel in which Hollywood of the 1930s decanted its highest ideals of womanhood. Her incarnation as Ninotchka, for example, represents an instructive example of how America implicated the sexual fate of women in its own historical triumphalism. Thus, the chapter explores the character and roles that Garbo would take and how they influenced America.
Mairéad Hanrahan
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780748642281
- eISBN:
- 9781474406352
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748642281.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter indirectly connects with the question for which Cixous remains best known today, the notion of écriture feminine developed in her short text ‘The Laugh of the Medusa’, through ...
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This chapter indirectly connects with the question for which Cixous remains best known today, the notion of écriture feminine developed in her short text ‘The Laugh of the Medusa’, through consideration of the fiction she wrote at the same time, Souffles. It focusses on the figure of the mother, investigating especially how the mother is a metaphor. Souffles is a hymn of praise to two writers who can only metaphorically be considered mothers, the homosexual male writer, Jean Genet, and the celibate nun, St. Theresa of Avila. The position of mother is available to anyone able and willing to invent it, notably ‘poets’ who are not threatened by a porous border between self and other. The generosity that Cixous had considered a ‘feminine’ property in ‘The Laugh of the Medusa’ is here a characteristic of the ‘mother’ but also of the ‘nègre’. Already in 1974, Souffles proposed a visionary harnessing of sexual and postcolonial politics.Less
This chapter indirectly connects with the question for which Cixous remains best known today, the notion of écriture feminine developed in her short text ‘The Laugh of the Medusa’, through consideration of the fiction she wrote at the same time, Souffles. It focusses on the figure of the mother, investigating especially how the mother is a metaphor. Souffles is a hymn of praise to two writers who can only metaphorically be considered mothers, the homosexual male writer, Jean Genet, and the celibate nun, St. Theresa of Avila. The position of mother is available to anyone able and willing to invent it, notably ‘poets’ who are not threatened by a porous border between self and other. The generosity that Cixous had considered a ‘feminine’ property in ‘The Laugh of the Medusa’ is here a characteristic of the ‘mother’ but also of the ‘nègre’. Already in 1974, Souffles proposed a visionary harnessing of sexual and postcolonial politics.
William E. Ellis
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780813173986
- eISBN:
- 9780813174792
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813173986.003.0013
- Subject:
- History, American History: 20th Century
As Cobb’s career hit rock bottom, his health declined, as did daughter Buff’s second marriage. However, he started to write his life story in the late 1930s, titled Exit Laughing. Cobb’s opposition ...
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As Cobb’s career hit rock bottom, his health declined, as did daughter Buff’s second marriage. However, he started to write his life story in the late 1930s, titled Exit Laughing. Cobb’s opposition to the New Deal and a third term for Roosevelt led him to campaign for Willkie in 1940. These exertions exacerbated Cobb’s diabetes and intestinal problems, and his health was severely affected. Cobb managed to finish his autobiography, but his condition deteriorated and he died in March 1944. Ellis concludes by remarking on Cobb’s career and legacy. Less
As Cobb’s career hit rock bottom, his health declined, as did daughter Buff’s second marriage. However, he started to write his life story in the late 1930s, titled Exit Laughing. Cobb’s opposition to the New Deal and a third term for Roosevelt led him to campaign for Willkie in 1940. These exertions exacerbated Cobb’s diabetes and intestinal problems, and his health was severely affected. Cobb managed to finish his autobiography, but his condition deteriorated and he died in March 1944. Ellis concludes by remarking on Cobb’s career and legacy.
Joseph Michael Sommers
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617030185
- eISBN:
- 9781621032212
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617030185.003.0009
- Subject:
- Literature, Comics Studies
The Melungeons are a group of miscegenated people shrouded in mystery and mythology. Represented by Mike Mignola in his 2008 comic book mini-series Hellboy: The Crooked Man, they have been described ...
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The Melungeons are a group of miscegenated people shrouded in mystery and mythology. Represented by Mike Mignola in his 2008 comic book mini-series Hellboy: The Crooked Man, they have been described by Wayne Winkler as a group comprised of a complicated and contested constellation of races and ethnicities, including whites, African Americans, and local indigenous tribes. This chapter examines how Mignola demystifies Appalachian witchcraft lore in Hellboy through the subversions of Mikhail Bakhtin’s notion of a “laughing truth” that leads to generic parody laughter with respect to visual narratives or graphic novels. It looks at claims that Mignola was guilty of racial stereotyping or egregious misrepresentation of a historical Melungeon people, and argues that Hellboy actually undermines and refutes these stereotypes by situating them in a complex narrative of history, myth, and memory as well as giving a voice to a people who have long been neglected in official histories.Less
The Melungeons are a group of miscegenated people shrouded in mystery and mythology. Represented by Mike Mignola in his 2008 comic book mini-series Hellboy: The Crooked Man, they have been described by Wayne Winkler as a group comprised of a complicated and contested constellation of races and ethnicities, including whites, African Americans, and local indigenous tribes. This chapter examines how Mignola demystifies Appalachian witchcraft lore in Hellboy through the subversions of Mikhail Bakhtin’s notion of a “laughing truth” that leads to generic parody laughter with respect to visual narratives or graphic novels. It looks at claims that Mignola was guilty of racial stereotyping or egregious misrepresentation of a historical Melungeon people, and argues that Hellboy actually undermines and refutes these stereotypes by situating them in a complex narrative of history, myth, and memory as well as giving a voice to a people who have long been neglected in official histories.
Aaron Winter
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617030062
- eISBN:
- 9781617030079
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617030062.003.0009
- Subject:
- Literature, Comics Studies
The darkly humorous mode of antiwar critique in Comedy Central’s The Daily Show and the satirical newspaper The Onion: America’s Finest News Source has been a prevalent trope of oppositional politics ...
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The darkly humorous mode of antiwar critique in Comedy Central’s The Daily Show and the satirical newspaper The Onion: America’s Finest News Source has been a prevalent trope of oppositional politics in America over the past decade. However, this practice dates back 200 years ago, when The Cynick and The Tickler employed satire to express their dissatisfaction with the War of 1812. This chapter examines the crucial role played in both eras by American antiwar satirists, dubbed “laughing doves” in reference to the hawk/dove terminology first coined in 1812. It provides a valuable historical frame for political discourse in the public sphere by focusing on three wars: the War of 1812 (–1815), the U.S.-Mexican War (1846–1848), and the U.S.-Philippine War (1899–1913). It looks at a number of forgotten American antiwar satirists, as well as several Americans who are remembered for everything but their antiwar satire, from Abraham Lincoln to Mark Twain, William Dean Howells, Frederick Douglass, Herman Melville, and Nathaniel Hawthorne. Finally, it argues that antiwar satirists navigate between the “twin accusations of triviality and treason”.Less
The darkly humorous mode of antiwar critique in Comedy Central’s The Daily Show and the satirical newspaper The Onion: America’s Finest News Source has been a prevalent trope of oppositional politics in America over the past decade. However, this practice dates back 200 years ago, when The Cynick and The Tickler employed satire to express their dissatisfaction with the War of 1812. This chapter examines the crucial role played in both eras by American antiwar satirists, dubbed “laughing doves” in reference to the hawk/dove terminology first coined in 1812. It provides a valuable historical frame for political discourse in the public sphere by focusing on three wars: the War of 1812 (–1815), the U.S.-Mexican War (1846–1848), and the U.S.-Philippine War (1899–1913). It looks at a number of forgotten American antiwar satirists, as well as several Americans who are remembered for everything but their antiwar satire, from Abraham Lincoln to Mark Twain, William Dean Howells, Frederick Douglass, Herman Melville, and Nathaniel Hawthorne. Finally, it argues that antiwar satirists navigate between the “twin accusations of triviality and treason”.
- Published in print:
- 2007
- Published Online:
- June 2013
- ISBN:
- 9781846311017
- eISBN:
- 9781846313684
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846313684.005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter presents a list of plays, novels, short stories, and non–fiction written by Jack Kahane. These include Two Plays published by Sherratt and Hughes, Laugh and Grow Rich published by Grant ...
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This chapter presents a list of plays, novels, short stories, and non–fiction written by Jack Kahane. These include Two Plays published by Sherratt and Hughes, Laugh and Grow Rich published by Grant Richards Ltd., and The Vain Serenade published by Constable and Co. Ltd. This chapter provides information on the publication dates, title page, collation, pagination, binding, and cover image of these works by Kahane.Less
This chapter presents a list of plays, novels, short stories, and non–fiction written by Jack Kahane. These include Two Plays published by Sherratt and Hughes, Laugh and Grow Rich published by Grant Richards Ltd., and The Vain Serenade published by Constable and Co. Ltd. This chapter provides information on the publication dates, title page, collation, pagination, binding, and cover image of these works by Kahane.
Anna Stoll Knecht
- Published in print:
- 2019
- Published Online:
- November 2019
- ISBN:
- 9780190491116
- eISBN:
- 9780190491130
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190491116.003.0011
- Subject:
- Music, History, Western
The conclusion returns to the question of the relationship between genesis and interpretation raised in Chapter 2. Besides informing the chronology of the compositional process, the sketches ...
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The conclusion returns to the question of the relationship between genesis and interpretation raised in Chapter 2. Besides informing the chronology of the compositional process, the sketches enlighten the perception of the two “problematic” issues at stake in the reception of the Seventh: its relationship to the Sixth Symphony and to Wagner’s Meistersinger. These connections emerge with greater clarity in the “discarded” material, thus encouraging us to consider it as an integral part of the compositional history of a work and as part of its identity. Genetic and analytical perspectives should be treated separately, but then examined in dialogue with each other, to offer a more complex picture of the work. If tragedy wins in the Sixth Symphony, the Seventh shows that the collapsing pattern does not always end with destruction. Death may laugh at us, but we can laugh back, louder, and just keep dancing.Less
The conclusion returns to the question of the relationship between genesis and interpretation raised in Chapter 2. Besides informing the chronology of the compositional process, the sketches enlighten the perception of the two “problematic” issues at stake in the reception of the Seventh: its relationship to the Sixth Symphony and to Wagner’s Meistersinger. These connections emerge with greater clarity in the “discarded” material, thus encouraging us to consider it as an integral part of the compositional history of a work and as part of its identity. Genetic and analytical perspectives should be treated separately, but then examined in dialogue with each other, to offer a more complex picture of the work. If tragedy wins in the Sixth Symphony, the Seventh shows that the collapsing pattern does not always end with destruction. Death may laugh at us, but we can laugh back, louder, and just keep dancing.
Bridget Sweet
- Published in print:
- 2016
- Published Online:
- January 2016
- ISBN:
- 9780199372065
- eISBN:
- 9780190457662
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199372065.003.0006
- Subject:
- Music, History, American
Chapter 6 focuses on humor in the adolescent music classroom. Adolescents can be very funny people and humor provides a natural way to connect with and guide them. In addition, as adolescents can ...
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Chapter 6 focuses on humor in the adolescent music classroom. Adolescents can be very funny people and humor provides a natural way to connect with and guide them. In addition, as adolescents can also be consumed with self-consciousness and worry, humor in the music classroom provides them an escape from such issues. Middle-level music educators can also be very funny people and use humor in a variety of ways. However, when using humor as a teaching tactic, it must be approached and executed mindfully. Humor used for good can engage students in musical experiences, but if used negatively, it may damage relationships and impair students’ sense of themselves. Sarcasm should be employed selectively and used only in positive or neutral ways.Less
Chapter 6 focuses on humor in the adolescent music classroom. Adolescents can be very funny people and humor provides a natural way to connect with and guide them. In addition, as adolescents can also be consumed with self-consciousness and worry, humor in the music classroom provides them an escape from such issues. Middle-level music educators can also be very funny people and use humor in a variety of ways. However, when using humor as a teaching tactic, it must be approached and executed mindfully. Humor used for good can engage students in musical experiences, but if used negatively, it may damage relationships and impair students’ sense of themselves. Sarcasm should be employed selectively and used only in positive or neutral ways.
