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Kritzer, Amelia Howe. Political Theatre in Post-Thatcher Britain
Are humour and laughter gender-specific? The simple answer, like most everything that is ideological, is “yes”. Many feminists in recent years have grappled with the question of humour and how it is often the site of much contestation when it comes to women using it as a tool of transgression. This paper probes the seemingly timeless antipathy between humour and representations of femininity through recourse to performance and theories of the body. This article holds the term “woman” up to scrutiny while simultaneously examining the persistence of both critical and philosophical recalcitrance and the way humour continues to function in both gendered and violent ways. How does gender “do” or “undo” humour? Laughter is no simple matter for women, due to the legacy of profoundly polarized and hyper-sexualized historical ambivalence between femininity and laughter. Acknowledging the problematic nature of the category “woman”, and after clearing some terminological distinctions (comedy, humour, irony, satire, and parody), this article investigates humour’s complicated and volatile relationship to gender and the way the laughing body of women on stage presents a fascinating double helix of sexual aggression and power
This article, which brings together film, psychoanalysis, literature, and art, focuses on the role of paintings in Martin Scorsese’s The Age of Innocence (1993). Scorsese conveys the imprisonment of New York aristocrats within the framework of social conventions and their evasions of social restrictions through his employment of paintings. Because the protagonists’ emotions are not revealed often, the director communicates their dramas and actions with the help of the paintings they own or appear next to. The paintings operate as Jacques Lacan’s Other, an entity that watches over the characters to make sure they conform to its selfperpetuating rules. Scorsese’s use of paintings shows that the characters perform for the Other and seek to maintain the status quo. While most characters perform within a Lacanian symbolic order, their different responses to a variety of paintings underscore the flexibility of the symbolic order.
This article deals with the dramatic art of stand-up comedy. It locates Arab American stand-up comedy within a broader American humorous tradition and investigates the way Arab American performers use this art to negotiate and (re)construct their identity. The main question in this article is the way Arab American stand-up comedians define their relationship to the Arab and the western worlds in the process of establishing their Arab American identity. Three humor theories - the relief theory, the incongruity theory, and the superiority theory - are deployed in the study to examine the representation of Arabness in selected Arab American performances. The study argues that Arab American comics minstrelize their own diasporic origin through reinscribing a range of orientalizing practices in order to claim their Americanness.
By sharing the experiences of women and the black community of her time, represented as a journey towards womanhood on stage, Afro- American playwright Ntozake Shange deconstructs the patriarchal structure of language, by pushing the boundaries of genres as she assembles prose, poetry and stage performance in a “choreopoem” capable of empowering and liberating the trajectories of the represented black women. The present study explores the semiotic and linguistic deconstructions of the patriarchal ideology in for colored girls who have considered suicide/ when the rainbow is enuf, aiming at a discussion of the author’s experimentalism with language outside instituted discursive paradigms regarding women. Considering that the concept of the liberation of the individual is strongly historicized in the play, the characters of the seven ladies are focalized as being tightly related to the feminist movement in North America in the seventies. Furthermore, the implications of ideological impositions and limited roles for women in society are analyzed.
This paper examines whether certain computer games, most notably RPGs, can be thought of as examples of the postmodern epic. Drawing on more recent critical frameworks of the epic, such as the ones proposed by Northrop Frye, Adeline Johns-Putra, Catherine Bates or John Miles Foley, the demonstration disembeds the most significant diachronic features of the epic from its two main media of reproduction, that of text and oral transmission, in order to test their fusion with the virtual environment of digital games. More specifically, I employ the concept of “epic mode” in order to explain the relevance of The Elder Scrolls: Skyrim for the history of the epic typology, which must now be understood as transmedial. I illustrate the manner in which this representative title assimilates the experience and performance of the epic, as well as several meaningful shifts in terms of genre theory, the most notable of which is an intrinsic posthuman quality. The experience of play inherent to Skyrim does not only validate the latter as an authentic digital epic of contemporary culture, but it also enhances the content, role and impact of the typology itself, which is yet far from falling into disuse.1
C. “Disability and the Justification of Inequality in American History.” The Disability Studies Reader . Ed. Lennard J. Davis. 4 th ed. New York: Routledge, 2013. 17-33.
Bei, Nichi. “Gotanda’s Newest Play ‘I Dream of Chang and Eng’ Staged at Berkeley.” tdps: Theatre, Dance and Performance Studies . 10 Mar. 2011. Web. 20 Aug. 2017.
Bell, Christopher M., ed. Blackness and Disability: Critical Examinations and Cultural Interventions . East Lansing: Michigan State UP, 2012.
Bogdan, Robert. Freak Show: Presenting Human Oddities for Amusement and