The Minute Interventions of Stewart Lee

Sharpe, Scott; Dewsbury, John David; Hynes, Maria

doi:10.1080/13528165.2014.928527

Cited by 17 publications

(4 citation statements)

References 16 publications

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“…Public sociology does not require a heroic figure who is capable of clarifying the demands of the present in the face of the dialectic of progress. Rather, it requires an openness to social reality in the making, which, by dint of its sheer novelty, can only be attended to through the cultivation of ‘new modes of attention’, new ‘sense-making capacities’ and new forms of ‘visceral susceptibility’ (Sharpe et al , 2014: 121). This is public sociology enacted in the name of an emergent people: public sociology, we might say, for a people to come.…”

Section: Resultsmentioning

confidence: 99%

“…Yet, the structures of narration and intentionality that would sustain such a sense of time were missing (cf. Sharpe et al , 2014). Time was equally structured by the dynamics of repetition and difference, of repeated and habituated movements and the simultaneous production of sensations that the performance ‘preserved’, at least for an instant.…”

Section: The Weight Of Timementioning

confidence: 99%

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Public sociology for an emergent people: the affective gift in Marina Abramović’sThe Artist is Present

Hynes

2016

The Sociological Review

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In the face of increasing calls for sociology to demonstrate its public relevance, it is necessary to question cherished understandings of what so-called Public Sociology should look like. This paper advances an understanding of sociology that is ontologically oriented toward a world of rapidly emerging and often unfamiliar social realities, with an eye to producing new ways of understanding the discipline's authority vis a vis 'the public.' In experimenting with alternate conceptualisations of sociology, its public and their relation, I turn to a social, and specifically artistic, event for inspiration; namely, Marina Abramović's performance of The Artist is Present at the Museum of Modern Art. While the artist and the social scientist clearly work with differing possibilities and constraints, the performance indicates a novel way in which authority might be mobilised. Wheras the debate around public sociology normally centres on the figure of the expert, Abramović's performance give rise to a new authority, intimately bound up with the age old sociological concepts of charisma and the gift. This highly experimental performance points the way toward a more affectively open and productive relationship between author and public.

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Section: Resultsmentioning

confidence: 99%

Section: The Weight Of Timementioning

confidence: 99%

Public sociology for an emergent people: the affective gift in Marina Abramović’sThe Artist is Present

Hynes

2016

The Sociological Review

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“…Moreover, humour's anarchic quality, its capacity to transgress social norms and ridicule cherished values, can function to reinforce elite power (as with racist or misogynist comedy, for example). Nevertheless, humour can be an important and highly effective tool for challenging norms, contesting spatial relations, and articulating new micropolitics (Kanngieser, 2013;Epstein and Iveson, 2009;Sharpe et al, 2014).…”

Section: Modalities Of Power and Genres Of Humourmentioning

confidence: 99%

Resisting with authority? Anarchist laughter and the violence of truth

Brigstocke

2020

Social & Cultural Geography

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How is it possible to resist with authority? This article explores the role of humour and laughter in contesting authoritative knowledge and discourse. Bringing Michel Foucault's account of 'parrhesia', or courageous truth-telling, into conversation with geographies of humour, laughter, and authority, the paper explores affective, non-representational modes of truth telling in early anarchist spatial culture. Focusing on an anarchist cabaret in 1890s Paris which humorously parodied the forced labour camps to which anarchists had been deported after the 1871 Paris Commune, as well as on the grotesque laughter of an executed anarchist's severed head, the paper develops a new theorisation of how satire, parody, irony and the grotesque were deployed in militant truth-telling to articulate a new aesthetics of revolutionary authority.

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“…Emmerson argues that the majority of studies continue to position laughter as a representation of humour, failing to trouble the assumed linear causality of stimulus-response. Even in affective studies of humour, laughter is often conceptualised as an individualised social response (see, for instance, Sharpe, Dewsbury, and Hynes 2014;Sharpe and Hynes 2010), rather than as a transpersonal contagion that reconditions the environmental potentials for an affective atmosphere to take shape. Emmerson thus highlights the need for research that attends to ways in which 'laughter can disrupt the feel of spaces, deterritorialising and reterritorialising them towards different modes of relation between bodies, thus generating space-times that have a different atmospheric feel ' (2017, 2087).…”

Section: Introductionmentioning

confidence: 99%

Fielding hilarity: sensing the affective intensities of comedy education and performance

Rousell

Diddams

2020

Research in Drama Education: The Journal of Applied Theatre and

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Laughter is a forceful expression of affective intensity. It has a potency that strikes the body directly, passing transformatively through the thinkingflesh. Laughter also carries a socially contagious intensity, capable of opening new relational spaces through the transindividual circulation of affects through a charged atmosphere. In this paper we map the circulation of affects through a series of stand-up comedy workshops with undergraduate acting students in Manchester, UK. Building on recent research on laughter and affect (Sharpe, Dewsbury, & Hines, 2014;Willett & Willett, 2014;Wyatt, 2019), we assemble a multi-dimensional theoretical model that enables us to follow the movement of affect across three vectors: intensity (high to low), valence (positive to negative), and temporality (past to future). By spatialising this theoretical model within the three-dimensional space of the drama studio, we show how students can use their bodies to actively perform palpable fluctuations in affectivity as they develop stand-up comedy material through a series of provocative activities. We then compose complex mappings of affective intensity as it circulates through a series of short performances, using new empirical methods to combine ethnographic accounts with data from electro-dermal activity (EDA) sensors worn by the students de Freitas & Rousell, 2018).In moving beyond reductive accounts of laughter as a function of stimulusresponse, we assemble the concept of "fielding hilarity" to better account for the atmospheric circulation of affects through comedic learning processes and performances. We suggest that learning to perform comedy is not just about making people laugh, but about fielding a charged atmosphere through which hilarity ensues.

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The Minute Interventions of Stewart Lee

Cited by 17 publications

References 16 publications

Public sociology for an emergent people: the affective gift in Marina Abramović’sThe Artist is Present

Public sociology for an emergent people: the affective gift in Marina Abramović’sThe Artist is Present

Resisting with authority? Anarchist laughter and the violence of truth

Fielding hilarity: sensing the affective intensities of comedy education and performance

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