Who's Laughing Now?


Book Description

Exploring feminist social media tactics that use humor and laughter as a form of resistance to misogyny, rewiring feelings of shame into shamelessness. Online sexism, hate, and harassment aim to silence women through shaming and fear. In Who's Laughing Now? Jenny Sundén and Susanna Paasonen examine a somewhat counterintuitive form of resistance: humor. Sundén and Paasonen argue that feminist social media tactics that use humor, laughter, and a sense of the absurd to answer name-calling, offensive language, and unsolicited dick pics can reroute and rewire shame into a self-assured shamelessness.




Who’s Laughing Now?


Book Description

From dour old women to buzzkills who can't take a joke, the stereotype of the humourless feminist has repeatedly been deployed to derail and delegitimize the women's rights movement. This collection skips the tired debates that ask whether feminists can be funny—we know the answer to this already—to instead investigate contemporary expressions and functions of humour within international feminist movements and communities. This interdisciplinary volume showcases critical analyses of cultural texts and events, personal accounts of producing and encountering feminist humour, and creative interruptions that pair laughter with insight. As a whole, this work seeks to sideline caricatures of the humourless feminist by promoting a vision of a diverse movement vibrant with innovative, generous, threatening, and, ultimately, triumphant laughter.




Who's Laughing Now


Book Description

Emma St. Claire has a passion for photography. She loves looking through a lens to capture the beauty the world has to offer. At least she did...until the grainy view exposed the foot of a dead woman in red high heels. Emma knew what she saw, but with the fuzziness of the photo, finding someone who would take her seriously would be just about impossible. She was certain that no one would believe her, not even the gorgeous, serious-minded attorney next door. There was no one else to turn to, though, so she approached him with the photo. Sam Barrington had little patience for drama, even if it came packaged up in a pint-sized fireball who he had the misfortune to have as a neighbor. Having just made partner in his law firm, he did not have time to get involved with anyone, much less the hapless woman next door who appeared at his doorstep, shaken but resolved to drag him into her theories and assumptions. After more bodies are found, though, it quickly becomes clear that Pittsburgh has a serial killer in their midst. Worse, Emma has garnered the attention of the killer and has now put her life in danger. Unfortunately, Sam’s protective instinct rears its persistent head and he soon finds himself working harder at protecting her than he does in trying his cases. His main concern now becomes...can he save Emma before the killer makes her his next victim?




Who's Laughing Now?


Book Description

"Who's Laughing Now?" In 1972 Private Martelli arrived home from the Vietnam War where he was a POW. Al moved in with his mother Rose) who resided in Ocean View Florida. Al suffers from flashbacks filled with torture and mayhem. A 180 miles away in Orlando was a ten-year-old boy named Joseph Columbo. Joey was blind in one eye from a bow and arrow-accident. It's an emotional carnage which is made worse when he is brutally teased. Meantime his father(Victor) is consumed with making millions while his mother(Nikki) is busy sexually pleasing her husband. So there was Joey feeling abandoned. Soon Joey would travel to Ocean View to attend a special school. He would live with Grandmother and Uncle. At first Al and Joey despised each other. However over the course of time these two battered souls would come together and heal. Their common dominator was their love for the game of baseball. The summer of 1973 would be a time Al and Joey would reflect back upon as the turning point in their lives.




Look Who's Laughing


Book Description

First Published in 1994. Look Who's Laughing belies the notion that in a joke the only place for a woman is in the butt, Rather than analysing women's humor in isolation, Gail Finney and twenty scholars map the terrain that the genders share and the areas that each hold exclusively. Their essays investigate witty heroines, sexual parodies, domestic humor and romantic power. They focus on comic drama and fiction, stand-up comedy, cartoons, and film describing the roles gender has played in the creation, reception and interpretation of comedy from the sixteenth century to present. They consider works by Shakespeare, Oscar Wilde, Zora Neale Hurston and Virginia Woolf, whilst discussing characters such as V.I. Warshawski, Molly Bloom and Elizabeth Bennet. The book's emphasis on comedy's diverse sources uncovers critical prejudices and defines new contexts enabling men and women to understand more about each other's attitudes towards humor, its means and ends.




Dork


Book Description

From the multi-Eisner award-winning creator of Milk and Cheese and Beasts of Burden comes this collection of his cult, humor comic anthology. Comprising years of black humor stories about a living voodoo doll, a serial killer sitcom, truly real live sex, a disco skinhead, an urbane devil puppet, classic works of literature acted out by Fisher-Price toys, and more absurdity--this is a must have for Dorkin fans! Featuring most of the Dork comic run as well as the 2012 full-color House of Fun special, along with rarities, extras, a cover gallery, and a newly drawn introduction.




Who's Laughing Now?


Book Description

Exploring feminist social media tactics that use humor as a form of resistance to misogyny, the affective dynamics of shame, shaming, and shamelessness. Online sexism, hate, and harassment aim to silence women through shaming and fear. In Who's Laughing Now? Jenny Sundén and Susanna Paasonen examine a somewhat counterintuitive form of resistance: humor. Sundén and Paasonen argue that feminist social media tactics that use humor, laughter, and a sense of the absurd to answer name-calling, offensive language, and unsolicited dick pics can rewire the affective circuits of sexual shame and acts of shaming. Using laughter as both a theme and a methodological tool, Sundén and Paasonen explore examples of the subversive deployment of humor that range from @assholesonline to the Tumblr “Congrats, you have an all-male panel!” They consider the distribution and redistribution of shame, discuss Hannah Gadsby's Nanette, and describe tactical retweeting and commenting (as practiced by Stormy Daniels, among others). They explore the appropriation of terms meant to hurt and insult—for example, self-proclaimed Finnish “tolerance whores”—and what effect this rerouting of labels may have. They are interested not in lulz (amusement at another's expense)—not in what laughter pins down, limits, or suppresses but rather in what grows with and in it. The contagiousness of laughter drives the emergence of networked forms of feminism, bringing people together (although it may also create rifts). Sundén and Paasonen break new ground in exploring the intersection of networked feminism, humor, and affect, arguing for the political necessity of inappropriate laughter.




Who's Laughing Now?


Book Description

A collection of humorous comic strips from Dork.




The Comic Turn in Contemporary English Fiction


Book Description

The Comic Turn in Contemporary English Fiction explores the importance of comedy in contemporary literature and culture. In an era largely defined by a mood of crisis, bleakness, cruelty, melancholia, environmental catastrophe and collapse, Huw Marsh argues that contemporary fiction is as likely to treat these subjects comically as it is to treat them gravely, and that the recognition and proper analysis of this humour opens up new ways to think about literature. Structured around readings of authors including Martin Amis, Nicola Barker, Julian Barnes, Jonathan Coe, Howard Jacobson, Magnus Mills and Zadie Smith, this book suggests not only that much of the most interesting contemporary writing is funny and that there is a comic tendency in contemporary fiction, but also that this humour, this comic licence, allows writers of contemporary fiction to do peculiar and interesting things – things that are funny in the sense of odd or strange and that may in turn inspire a funny turn in readers. Marsh offers a series of original critical and theoretical frameworks for discussing questions of literary genre, style, affect and politics, demonstrating that comedy is an often neglected mode that plays a generative role in much of the most interesting contemporary writing, creating sites of rich political, stylistic, cognitive and ethical contestation whose analysis offers a new perspective on the present.




The Boy Who Made Everyone Laugh


Book Description

When life is funny, make some jokes about it. Billy Plimpton has a big dream: to become a famous comedian when he grows up. He already knows a lot of jokes, but thinks he has one big problem standing in his way: his stutter. At first, Billy thinks the best way to deal with this is to . . . never say a word. That way, the kids in his new school won’t hear him stammer. But soon he finds out this is NOT the best way to deal with things. (For one thing, it’s very hard to tell a joke without getting a word out.) As Billy makes his way toward the spotlight, a lot of funny things (and some less funny things) happen to him. In the end, the whole school will know -- If you think you can hold Billy Plimpton back, be warned: The joke will soon be on you!