American Wit and Humor


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Masterpieces of American Wit and Humor


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Reproduction of the original.




American Wit and Humor


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What's So Funny?


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Critical studies attempting to define and dissect American humor have been published steadily for nearly one hundred years. However, until now, key documents from that history have never been brought together in a single volume for students and scholars. What's So Funny? Humor in American Culture, a collection of 15 essays, examines the meaning of humor and attempts to pinpoint its impact on American culture and society, while providing a historical overview of its progres-sion. Essays from Nancy Walker and Zita Dresner, Joseph Boskin and Joseph Dorinson, William Keough, Roy Blount, Jr., and others trace the development of American humor from the colonial period to the present, focusing on its relationship with ethnicity, gender, violence, and geography. An excellent reader for courses in American studies and American social and cultural history, What's So Funny? explores the traits of the American experience that have given rise to its humor.




The Wit and Humour of Political Science


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The Wit and Humour of Political Science is the serendipitous product of two senior scholars working across the world from one another and who independently collected funny and satirical articles on political science over the years with the intent of someday publishing them for a wider audience. The lead editors— Kenneth Newton (Professor Emeritus, University of Southampton, Visiting Professor, Wissenschaftszentrum Berlin, and Hertie School of Governance, Berlin) and the late Lee Sigelman (Columbian School of Arts and Sciences, Distinguished Professor of Political Science, George Washington University) — learned by chance of each other's projects. Newton and Sigelman joined forces with Kenneth Meier (Charles H. Gregory Chair in Liberal Arts and Distinguished Professor of Political Science, Texas A&M University) and Bernard Grofman (Jack W. Peltason (Bren Foundation) Endowed Chair in the Department of Political Science, University of California, Irvine) to publish this collection under the joint imprint of APSA and ECPR. The collection includes previously published essays as well as original pieces never formally published. From the editors: This volume collects what in our opinions are the wittiest and funniest pieces about political science and political scientists. We are confident that even a small investment of the reader's time will be sufficient to disprove Baker's slur on our discipline. Like all good humour, much of the work we have chosen for inclusion has a serious point. It helps scholars keep an open and skeptical mind, it picks out our weak points in theory and methods, points out how research may be going wrong, and it pricks the balloon of bombast, pretentiousness, and jargon. And, not only that, it's fun... Its contents make essential reading for all political scientists, even the most senior, but it may be enjoyed by younger scholars, especially those without tenure (or worse yet, without a job), by other social scientists, and even— gasp—by readers unaffiliated with any academic discipline.




Great Presidential Wit


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The former senator and presidential candidate collects bipartisan presidential humor from famous, and not-so-famous, chief executives, from Washington to Clinton.




Cracking Up


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What do Jon Stewart, Freddy Krueger, Patch Adams, and George W. Bush have in common? As Paul Lewis shows in Cracking Up, they are all among the ranks of joke tellers who aim to do much more than simply amuse. Exploring topics that range from the sadistic mockery of Abu Ghraib prison guards to New Age platitudes about the healing power of laughter, from jokes used to ridicule the possibility of global climate change to the heartwarming performances of hospital clowns, Lewis demonstrates that over the past thirty years American humor has become increasingly purposeful and embattled. Navigating this contentious world of controversial, manipulative, and disturbing laughter, Cracking Up argues that the good news about American humor in our time—that it is delightful, relaxing, and distracting—is also the bad news. In a culture that both enjoys and quarrels about jokes, humor expresses our most nurturing and hurtful impulses, informs and misinforms us, and exposes as well as covers up the shortcomings of our leaders. Wondering what’s so funny about a culture determined to laugh at problems it prefers not to face, Lewis reveals connections between such seemingly unrelated jokers as Norman Cousins, Hannibal Lecter, Rush Limbaugh, Garry Trudeau, Jay Leno, Ronald Reagan, Beavis and Butt-Head, and Bill Clinton. The result is a surprising, alarming, and at times hilarious argument that will appeal to anyone interested in the ways humor is changing our cultural and political landscapes.







Honey, Hush!


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In this "dazzling anthology" (Publishers Weekly), Daryl Cumber Dance has collected the often hard-hitting, sometimes risqué, always dramatic humor that arises from the depth of black women's souls and the breadth of their lives. The eloquent wit and laughter of African American women are presented here in all their written and spoken manifestations: autobiographies, novels, essays, poems, speeches, comic routines, proverbial sayings, cartoons, mimeographed sheets, and folk tales. The chapters proceed thematically, covering the church, love, civil rights, motherly advice, and much more.




Satire as the Comic Public Sphere


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Stephen Colbert, Samantha Bee, John Oliver, and Jimmy Kimmel—these comedians are household names whose satirical takes on politics, the news, and current events receive some of the highest ratings on television. In this book, James E. Caron examines these and other satirists through the lenses of humor studies, cultural theory, and rhetorical and social philosophy, arriving at a new definition of the comic art form. Tracing the history of modern satire from its roots in the Enlightenment values of rational debate, evidence, facts, accountability, and transparency, Caron identifies a new genre: “truthiness satire.” He shows how satirists such as Colbert, Bee, Oliver, and Kimmel—along with writers like Charles Pierce and Jack Shafer—rely on shared values and on the postmodern aesthetics of irony and affect to foster engagement within the comic public sphere that satire creates. Using case studies of bits, parodies, and routines, Caron reveals a remarkable process: when evidence-based news reporting collides with a discursive space asserting alternative facts, the satiric laughter that erupts can move the audience toward reflection and possibly even action as the body politic in the public sphere. With rigor, humor, and insight, Caron shows that truthiness satire pushes back against fake news and biased reporting and that the satirist today is at heart a citizen, albeit a seemingly silly one. This book will appeal to anyone interested in and concerned about public discourse in the current era, especially researchers in media studies, communication studies, political science, and literary and cultural studies.