By Angela Rosenthal, David Bindman, Adrian W. B. Randolph
Winner of the alternative awesome educational name (2016)
In the wake of the Charlie Hebdo assaults, this collection—which gathers students within the fields of race, ethnicity, and humor—seems specially pressing. encouraged via Denmark’s Muhammad cartoons controversy, the participants inquire into the function that racial and ethnic stereotypes play in visible humor and the skinny line that separates huge characterization as a resource of humor from its energy to surprise or take advantage of. The authors examine the ways that humor is used to demean or provide id to racial, nationwide, or ethnic teams and discover how humor works otherwise in several media, akin to cartoons, pictures, movie, video, tv, and actual performance.
This is a well timed and invaluable learn that may entice students throughout disciplines.
Read or Download No Laughing Matter: Visual Humor in Ideas of Race, Nationality, and Ethnicity PDF
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Additional info for No Laughing Matter: Visual Humor in Ideas of Race, Nationality, and Ethnicity
Sample text
By virtue of his specific choices, however, he links abject materials to perceptions of “race,” and yet what we find in works such as Elephant Dung Sculpture (1978) — a central point of reference for Chris Ofili — is a playful sense of humor that produces a poetics of visual punning in which degraded and devalued objects are transvaluated by acts of counter-appropriation. In the case of How Ya Like Me Now? (1988), initially presented to the public in the form of a billboard, the risks entailed by the ironic reversal of blackface reveal that Hammons’s mode of address is not confined to the demographic majority but is universal precisely because it is aimed at a dialogue with the inner fears and fantasies of his black audiences as well.
15. Hugh Honour, The Image of the Black in Western Art, vol. 4, pt. 2, From the American Revolution to World War I (Cambridge, MA: Harvard University Press, Menil Foundation, 1989), 62. 16. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (Oxford: Oxford University Press, 1993). 17. Stallybrass and White, Politics and Poetics of Transgression, 4–5. 18. Orlando Patterson, Slavery and Social Death: A Comparative Study (Cambridge, MA: Harvard University Press, 1982). 19.
Oil on canvas, 100 × 94 cm. Uffizi, Florence. Courtesy ZooID Pictures Limited. myth. Passarotti’s old woman, however, does not quite bear the traditional identifying marks of either Ceres or Venus, though the golden bunches of dangling ornaments to her fillet could be seen as wheat-like. Passarotti’s mix of the pagan and the proletarian, which mocks rather than ennobles his revelers, may have been influenced by the anticlassical engraved caricatures of the Olympian gods produced by Martino Rota (d.
