Comic Performativities
Identity, Internet Outrage, and the Aesthetics of Communication
Seiten
2017
Routledge (Verlag)
978-1-138-74260-4 (ISBN)
Routledge (Verlag)
978-1-138-74260-4 (ISBN)
Comic Performativities: Identity, Internet Outrage, and the Aesthetics of Communication studies patterns of criticism and public debate in the relationship between humour, identity, and offense. In an increasingly reductive and politically charged debate, right-wing pundits argue leftist politics has compromised a free and open discussion, while scholars take right-wing critics to task for reifying systems of oppression under the guise of reason and respect. In response, Goltz scrutinises twenty-first century "comedic controversies," the notion of "political correctness," and the so-called "outrage machine" of social media. How should we appropriately determine whether a joke is "sexist," "racist," or "offensive"?
Informed by communication, performance, and critical identity theory, Goltz examines infamous controversies involving performers like Sarah Silverman, Amy Schumer, and Seth MacFarlane, and the social media backlash that redefined these events. He investigates the ironic interplay between spoken word, identity, physicality and, as a result, the contrasting meanings potentially construed. Consequently, the book encourages a greater appreciation of the aesthetics involved in comedic performance that help signpost interpretation and emphasizes the role of the audience as self-reflexive and self-aware.
This book highlights the significant parallels between the nature of performance art and comedic performance in order to elevate analysis of, and discussion around, contemporary comedy. In doing so, it is an important critical contribution to the field of performance studies and cultural criticism, as well as communication studies, at both the undergraduate and postgraduate level.
Informed by communication, performance, and critical identity theory, Goltz examines infamous controversies involving performers like Sarah Silverman, Amy Schumer, and Seth MacFarlane, and the social media backlash that redefined these events. He investigates the ironic interplay between spoken word, identity, physicality and, as a result, the contrasting meanings potentially construed. Consequently, the book encourages a greater appreciation of the aesthetics involved in comedic performance that help signpost interpretation and emphasizes the role of the audience as self-reflexive and self-aware.
This book highlights the significant parallels between the nature of performance art and comedic performance in order to elevate analysis of, and discussion around, contemporary comedy. In doing so, it is an important critical contribution to the field of performance studies and cultural criticism, as well as communication studies, at both the undergraduate and postgraduate level.
Dustin Bradley Goltz PhD, MFA, is an Associate Professor of Performance Studies in The College of Communication at DePaul University. He is a scholar and artist and has authored several works, including Queer Temporalities in Gay Male Representation (2009) and Queer Praxis (2015).
Introduction: what Rock Said: Don't Tweet This
Ironic Performativity: Amy Schumer and the Conventions of Embodiment
The End of the Discussion: The Crisis of Judgment
The joke is on YOU: Audience Contexts, Criticisms, and Investments
"We Saw Your Boobs": "Bro Camp" and Subversive Coaching
Conclusion: Racial Humor and Performing White Innocence
References
| Erscheinungsdatum | 23.06.2017 |
|---|---|
| Verlagsort | London |
| Sprache | englisch |
| Maße | 156 x 234 mm |
| Gewicht | 453 g |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| Sozialwissenschaften ► Kommunikation / Medien ► Kommunikationswissenschaft | |
| Sozialwissenschaften ► Kommunikation / Medien ► Medienwissenschaft | |
| ISBN-10 | 1-138-74260-0 / 1138742600 |
| ISBN-13 | 978-1-138-74260-4 / 9781138742604 |
| Zustand | Neuware |
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