Introduction: The Ethics and Aesthetics of Humour and Comedy

Lockyer, Sharon; Pickering, Michael

doi:10.1057/9780230236776_1

Cited by 32 publications

(22 citation statements)

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“…Till Death Us Do Part, así como su sucesora, ha sido fuertemente criticada por estar protagonizada por un entrañable y simpático fanático, xenófobo, machista y racista (Hartley, 2001;Malik, 2002). Su creador, Johnny Speight, afirmaba haber diseñado el personaje para ridiculizar dicho perfil social, pero buena parte de la audiencia lo interpretó como una exaltación de los valores que encarnaba y vio en el personaje una validación de sus propios prejuicios (Husband, 1988;Wells, 1998;Malik, 2002;Lockyer y Pickering, 2005).…”

Section: La Comedia Como Reflejo De La Actualidadunclassified

Televisión Crítica O Industria De La Risa: El Caso De La Comedia Televisiva Española (1990-2018)

Gómez

2020

SIGNA

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Resumen: El potencial crítico del humor en la comedia televisiva ha generadoun extenso debate entre los investigadores de la ficción televisiva.La sitcom, su principal exponente, ha sido valorada como vehículo reproductorde la ideología dominante por un número significativo de estudiosos.Otros, en cambio, han destacado su capacidad transgresora. Eneste artículo se analizan las significaciones críticas o conservadoras de lacomedia televisiva española de los últimos 30 años centrándonos, principalmente,en la introducción de temáticas de actualidad y problemáticasque conectan con las preocupaciones de la audiencia y su respectivo tratamientonarrativo. Abstract: The critical potential of humour in television comedy has generatedan extensive debate among researchers of television fiction. Thesitcom, its main exponent, has been valued as a reproductive vehicle of the dominant ideology by a significant number of scholars. However, others authors have highlighted their transgressive capacity. This article analyses the critical or conservative meanings of the Spanish television comedy of the last 30 years focusing, mainly, on the introduction of current issues and problems that connect with the concerns of the audience and their respective narrative treatment.

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Section: La Comedia Como Reflejo De La Actualidadunclassified

Televisión Crítica O Industria De La Risa: El Caso De La Comedia Televisiva Española (1990-2018)

Gómez

2020

SIGNA

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“…Although irony is a primary (and thus readily recognisable) form of humour in postmodern culture (see Hutcheon 2000;Gutleben 2001), even when successful, it is always a question of ethics, politics, and aesthetics. This is doubly true when it involves marginalised groups or individuals, religion, or historical trauma (see Lockyer and Pickering 2005). One need only look at the recent Charlie Hebdo shootings and controversy to confirm this assertion.…”

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“Now with Ultraviolent Zombie Mayhem!” The Neo-Victorian Novel-as-Mashup and the Limits of Postmodern Irony

Bruin-Molé¹

2017

Neo-Victorian Humour

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This article situates the novel-as-mashup, first popularised by Seth Grahame-Smith's Pride and Prejudice and Zombies (2009), within twenty-firstcentury neo-Victorianism. Using several key examples of these mashup texts, it embarks on a discussion of postmodernism's ironic nostalgia, exploring the limits of such irony through questions of hermeneutics and ethics that are currently relevant in the field of neo-Victorian studies. Is it possible to find any stable meaning (or meaningful irony) in a text that is made up of other texts? What happens when texts are wilfully or inadvertently misread, and how do we approach instances where misreading causes harm, or reproduces problematic ideologies? Can texts that do not use the past seriously still be ironic, and if not, what does this mean for commercial, parodical genres like the novel-as-mashup?

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“…Weer anderen stellen dat het bij een meerduidige communicatievorm als humor vooral gaat om context en intentie, waardoor generaliseren over het effect en de betekenis van etnische humor weinig zin heeft (bijv. Lockyer en Pickering 2005;Oring 1992Oring , 2003Purcell et al 2010).…”

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“…Etnische humor leidt vooral tot protest of ongemak als het bestaande etnische hiërarchieën of conflicten weerspiegelt. Zolang etnische humor 'omhoog' gaat, dus over groepen met een veilige sociale positie of een hogere status dan de grappenmaker, geldt het als relatief onproblematisch (Lockyer en Pickering 2005;Gilota 2013). Humor 'omlaag', over groepen met een lagere status of een kwetsbare maatschappelijke positie, is in potentie aanzienlijk serieuzer (Billig 2001;Weaver 2011Weaver , 2013.…”

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Etnische humor en etnische relaties in Nederland: moppen over buitenlanders en etnische groepen in Nederland, 1995-2012

Kuipers

Ent

2016

Sociologie

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Introduction: The Ethics and Aesthetics of Humour and Comedy

Cited by 32 publications

References 0 publications

Televisión Crítica O Industria De La Risa: El Caso De La Comedia Televisiva Española (1990-2018)

Televisión Crítica O Industria De La Risa: El Caso De La Comedia Televisiva Española (1990-2018)

“Now with Ultraviolent Zombie Mayhem!” The Neo-Victorian Novel-as-Mashup and the Limits of Postmodern Irony

Etnische humor en etnische relaties in Nederland: moppen over buitenlanders en etnische groepen in Nederland, 1995-2012

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