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Getting “Woke” with Each Joke: Black Comediennes and Representational Resistance on Youtube
Getting “Woke” With Each Joke: Black Comediennes and Representational Resistance on YouTube by Shaunel London A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Communication Carleton University Ottawa, Ontario ©2019 Shaunel London i Abstract This research looks at the relationship between comedy, alternative media, and representations of Blackness. Using case studies Akilah Hughes and Franchesca Ramsey, two Black comediennes on YouTube, this thesis asks: how do Black women use both political comedy and alternative media to challenge the stereotypical and racialized representations of themselves in traditional media? A theoretical framework of critical race studies, post-colonialism, intersectional and Black feminisms, postmodernism, and theories of comedy in conjunction with the thematic qualitative text analysis of 30 YouTube videos were used to answer the question. My findings determined that Black women use political comedy and alternative media platforms to satirize oppressive and discriminatory ideologies and behaviours, framing instances of every day racism in absurd and exaggerated terms, which ultimately provides nuanced representations of Black womanhood that affirm the sexist, racist, and racially charged experiences and microaggressions that Black women endure on a daily basis. ii Acknowledgements Thanks be to God for Your mercies these past two years and to my family, friends, colleagues, mentors, and church family for their continued support. Merlyna, thank you for believing in me and believing in this project. It’s been an intense year for us, but I am so privileged to have made this journey with you. Your feedback has sought to make the best of my research and your jokes have made our meetings fun. -
Emancipatory Racial Humor As Critical Public Pedagogy: Subverting Hegemonic Racism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUPUIScholarWorks Communication, Culture & Critique ISSN 1753-9129 ORIGINAL ARTICLE Emancipatory Racial Humor as Critical Public Pedagogy: Subverting Hegemonic Racism Jonathan P. Rossing Department of Communication Studies, IU School of Liberal Arts, Indiana University – Purdue University, Indianapolis, IN 46220, USA This essay identifies emancipatory racial humor as a disarming critical public pedagogy that confronts racial hegemony. Acknowledging the interpretive quandaries of humor and the possibilities of racist humor, this essay tells an often overlooked story of the comic “heroes” who struggle against dominant racial meanings, power relationships, and identity construc- tions. The essay analyzes the pedagogical possibilities of critical humorists who creatively confront hegemonic racism and whose work participates in critical projects of social, politi- cal, and cultural transformation. Such emancipatory racial humor serves as a critical public pedagogy that exposes dominant public pedagogies, injects counternarratives into the strug- gle over hegemony, and subverts naturalized racial meanings and privileges. Keywords: Race/Racism, Public Pedagogy, Critical Public Pedagogy, Humor/Comedy, Critical Race Theory, Hegemony. doi:10.1111/cccr.12126 Appearing on Comedy Central’s TheDailyShowwithJonStewartfor the first time, biracial South African comedian Trevor Noah joked, “I just flew in [from South Africa], and boy are my arms tired.” Stewart laughed politely at the throw-away joke—“an oldie but a goodie!” But Noah’s punchline only set up his knock-out blow: “No seriously. I’ve been holding my arms like this since I got here!” He raised his arms in the “Hands up, don’t shoot” surrender pose. -
On Richards, Race, and Empathy
Lanita Jacobs, Ph.D. Word Count: 5318 Anthropology Department University of Southern California 3601 Watt Way, GFS 120 Los Angeles, CA 90089-1692 Office: (213) 740-1909 Email: [email protected] On Richards, Race, and Empathy It has been well over a month since Richards blasted four Black males at the Laugh Factory, one of several clubs I frequent in my research on Black comedy. To be frank, I care less about Richards’ words, the news coverage, and the televised apologies. I sit, poised to write, and find myself in a weary place. Actually, I am weary of race … of what happens when a white man of notoriety goes off about “niggers” and makes a veiled reference to lynching. “So what?” as comic Chris Spencer told me wearily, “Not all white people think that way.” Lest you think I want to engage in one of the safest possible ways of discussing race, let me tell you why I am weary. It is safe to say that Richards lost it. Onstage. And somebody recorded it with their cell phone. And that is, in large part, why you and I are even having this conversation. Having watched comics closely over the past five years, I can appreciate (though not excuse) his tirade as indicative of what happens when a comic’s stage time is threatened. Comics work hard to perform in Los Angeles. The self-described “world-renown” Laugh Factory can rightly boast its title. It’s a great place for a comic to play and those who grace its stage often have to endure the careful scrutiny of club owner and former-comic Jamie Masada. -
Deconstructing "Chappelle's Show": Race, Masculinity,And Comedy As Resistance Lyndsey Lynn Wetterberg Minnesota State University - Mankato
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2012 Deconstructing "Chappelle's Show": Race, Masculinity,and Comedy As Resistance Lyndsey Lynn Wetterberg Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the African American Studies Commons, Ethnic Studies Commons, and the Women's Studies Commons Recommended Citation Wetterberg, Lyndsey Lynn, "Deconstructing "Chappelle's Show": Race, Masculinity,and Comedy As Resistance" (2012). Theses, Dissertations, and Other Capstone Projects. Paper 133. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. i DECONSTRUCTING “CHAPPELLE’S SHOW”: RACE, MASCULINITY, AND COMEDY AS RESISTANCE by LYNDSEY L.WETTERBERG A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN GENDER AND WOMEN’S STUDIES MINNESOTA STATE UNIVERSITY MANKATO, MINNESOTA JULY 2012 ii Deconstructing Chappelle’s Show: Race, Masculinity, and Comedy as Resistance Lyndsey Wetterberg This thesis (or dissertation) has been examined and approved by the following members of the thesis (or dissertation) committee. Dr. Helen Crump, Advisor Committee Member, Dr. Shannon Miller Committee Member, Dr. Kristen Treinen iii Abstract “Chappelle’s Show” is a sketch comedy series that ran from 2003-2004 and that was created by and starred comedian Dave Chappelle. -
A Critical Analysis of the Black President in Film and Television
“WELL, IT IS BECAUSE HE’S BLACK”: A CRITICAL ANALYSIS OF THE BLACK PRESIDENT IN FILM AND TELEVISION Phillip Lamarr Cunningham A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2011 Committee: Dr. Angela M. Nelson, Advisor Dr. Ashutosh Sohoni Graduate Faculty Representative Dr. Michael Butterworth Dr. Susana Peña Dr. Maisha Wester © 2011 Phillip Lamarr Cunningham All Rights Reserved iii ABSTRACT Angela Nelson, Ph.D., Advisor With the election of the United States’ first black president Barack Obama, scholars have begun to examine the myriad of ways Obama has been represented in popular culture. However, before Obama’s election, a black American president had already appeared in popular culture, especially in comedic and sci-fi/disaster films and television series. Thus far, scholars have tread lightly on fictional black presidents in popular culture; however, those who have tend to suggest that these presidents—and the apparent unimportance of their race in these films—are evidence of the post-racial nature of these texts. However, this dissertation argues the contrary. This study’s contention is that, though the black president appears in films and televisions series in which his presidency is presented as evidence of a post-racial America, he actually fails to transcend race. Instead, these black cinematic presidents reaffirm race’s primacy in American culture through consistent portrayals and continued involvement in comedies and disasters. In order to support these assertions, this study first constructs a critical history of the fears of a black presidency, tracing those fears from this nation’s formative years to the present. -
George Bush Library - Staff and Office Files) NLGB Control # White House Office White House Staff Member Document Type Subject Pages Restriction(S)
P-2/P-5 Document Report (George Bush Library - Staff and Office Files) NLGB Control # White House Office White House Staff Member Document Type Subject Pages Restriction(s) 2815 Cabinet Affairs, Office of Adair, Doug Letter Ash Hayes, Executive Director of The President's 1 P-5 Council on Physical Fitness and Sports, to Sharon re: relocation of President's Council on Physical Fitness and Sports 2822 Cabinet Affairs, Office of Casse, Daniel Memo From Ede Holiday to Secretary Kemp 1 P-2 RE: Salary Increase Request 2823 Cabinet Affairs, Office of Casse, Daniel List Recommendations for National Medal of the Arts 1 P-2, P-5 2828 Cabinet Affairs, Office of Casse, Daniel Letter From Stuart M. Gerson (DOJ) to John E. Frohnmayer 3 P-5 RE: Karen Finley et al. v. National Endowment for the Arts 2830 Cabinet Affairs, Office of Casse, Daniel Letter From Stuart M. Gerson (DOJ) to John E. Frohnmayer 4 P-5 RE: Karen Finley et al. v. National Endowment for the Arts 2832 Cabinet Affairs, Office of Casse, Daniel Letter From Stuart M. Gerson (DOJ) to John E. Frohnmayer 4 P-5 RE: Karen Finley et al. v. National Endowment for the Arts Page 1 of 266 P-2/P-5 Document Report (George Bush Library - Staff and Office Files) NLGB Control # White House Office White House Staff Member Document Type Subject Pages Restriction(s) 2834 Cabinet Affairs, Office of Casse, Daniel Letter From Stuart M. Gerson (DOJ) to John E. Frohnmayer 3 P-5 RE: Karen Finley et al. v. National Endowment for the Arts 2836 Cabinet Affairs, Office of Casse, Daniel Draft Memo with From Amy Sabrin to the NEA Chairman 8 P-5 Attachment RE: Movement Research Journal #3 2837 Cabinet Affairs, Office of Casse, Daniel Letter From Leslie H. -
Downloaded More Than 212,000 Times Since the Ipad's April 3Rd Launch,” the Futon Critic, 14 Apr
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature _____________________________ ______________ Nicholas Bestor Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor Master of Arts Film Studies Michele Schreiber, Ph.D. Advisor Eddy Von Mueller, Ph.D. Committee Member Karla Oeler, Ph.D. Committee Member Accepted: Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date TV to Talk About: The CW and Post-Network Television By Nicholas Bestor B.A., Middlebury College, 2005 Advisor: Michele Schreiber, Ph.D. An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2012 Abstract TV to Talk About: The CW and Post-Network Television By Nicholas Bestor The CW is the smallest of the American broadcast networks, but it has made the most of its marginal position by committing itself wholly to servicing a niche demographic. -
Beyond Ideals: Proslavery Reforms on a Nineteenth-Century Cotton Plantation Kevin R
University of South Carolina Scholar Commons Theses and Dissertations 12-14-2015 Beyond Ideals: Proslavery Reforms on a Nineteenth-Century Cotton Plantation Kevin R. Fogle University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Anthropology Commons Recommended Citation Fogle, K. R.(2015). Beyond Ideals: Proslavery Reforms on a Nineteenth-Century Cotton Plantation. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3293 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. BEYOND IDEALS: PROSLAVERY REFORMS ON A NINETEENTH-CENTURY COTTON PLANTATION by Kevin R. Fogle Bachelor of Science James Madison University, 2002 Master of Arts University of South Carolina, 2008 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Anthropology College of Arts and Sciences University of South Carolina 2015 Accepted by: Kenneth G. Kelly, Major Professor Charles R. Cobb, Committee Member Kimberly E. Simmons, Committee Member S. Melinda Spencer, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies © Copyright by Kevin R. Fogle, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS Every phase of the Witherspoon Island Project from site survey and excavation to analysis and writing was made possible with the support of my committee, my colleagues, numerous volunteers, my students, my friends, and my loving family. The advice and constant availability of my chair, Ken Kelly, helped make this dissertation a reality. -
The Impact of Comedy on Racial and Ethnic Discourse
The Impact of Comedy on Racial and Ethnic Discourse May 2012 A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts In the Department of Sociology Of the College of Arts and Sciences by Aaryn L. Green B.A., University of Cincinnati 2009 Committee: Annulla Linders, Ph.D. (Chair) Jennifer Malat, Ph.D. Omotayo Banjo, Ph.D. Abstract An overwhelming facet of race literature suggests that American society has entered an era of colorblindness; where instead of perpetuating racist ideology through blatant discriminatory legislation, racial differences are either understated or ignored entirely. These new racial processes are reflected in the policies of major social institutions, but also within popular culture. Yet, as made evident by the success of comedians such as Chris Rock and Dave Chappelle, stand-up comedy challenges acceptable racial discourse; placing race in the forefront. Comedy persists as a facet of popular culture where racial difference is made apparent, yet ironically the art of comedy is usually overlooked by sociologists. What is lacking in the humor research is an understanding of how comedy creates an environment where race can be spoken about directly, and often times harshly. Through the analysis of focus groups, the present study finds evidence to suggest that racial and ethnic comedy serves to both reinforce and wane racial and ethnic stereotypes, similarities, and differences. After watching stand-up comedy clips of popular comedians, black and white respondents show both agreement and disagreement on: (1) the offensiveness of ethnic comedy (2) stereotypes and perceived truths and (3) the utility of ethnic comedy in everyday interactions. -
Race to Post: White Hegemonic Capitalism and Black Empowerment in 21St Century Black Popular Culture and Literature Regina N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Race to Post: White Hegemonic Capitalism and Black Empowerment in 21st Century Black Popular Culture and Literature Regina N. Bradley Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES RACE TO POST: WHITE HEGEMONIC CAPITALISM AND BLACK EMPOWERMENT IN 21ST CENTURY BLACK POPULAR CULTURE AND LITERATURE By REGINA N. BRADLEY A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2013 Regina N. Bradley defended this dissertation on May 14, 2013. The members of the supervisory committee were: David Ikard Professor Directing Dissertation Maxine Jones University Representative Maxine Montgomery Committee Member Leigh Edwards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii Dedicated to Eugene and Sara Barnett. Paw Paw and Nana Boo, “here me.” iii ACKNOWLEDGEMENTS I would like to begin my acknowledgements by shouting out my dissertation director David Ikard. Dr. Ikard, I had no idea what I was in for when I knocked on your office door back in 2008. What an incredible journey! You helped me step my game up and transition from a graduate student to a scholar. Thank you for investing your time, your red ink, and your support into my project. The gangstallect is real! Many thanks to Maxine Montgomery, Maxine Jones, and Leigh Edwards for their time and insight at various stages of this dissertation. -
The N-Word: Lessons Taught and Lessons Learned
Journal of Praxis in Multicultural Education Volume 8 Number 2 Article 3 January 2014 The N-Word: Lessons Taught and Lessons Learned Neal A. Lester Arizona State University, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/jpme Repository Citation Lester, Neal A. (2014) "The N-Word: Lessons Taught and Lessons Learned," Journal of Praxis in Multicultural Education: Vol. 8 : No. 2 , Article 3. DOI: 10.9741/2161-2978.1057 Available at: https://digitalscholarship.unlv.edu/jpme/vol8/iss2/3 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Journal of Praxis in Multicultural Education by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The N-Word: Lessons Taught and Lessons Learned Cover Page Footnote Thanks to all students who have taken this course since it was created. I appreciate your boldness, your honesty, and your personal risk-taking in creating a new individual community awareness. I learned as much from you as I hope you learned from me and what we did. I am also grateful to my very conscientious and talented research assistants, Jeffrey Holmes and Tonya Eick, for their many contributions to my course preparations and in the preparations of these various manuscript versions. -
Copyright by Catherine Mckenzie Blouke 2015
Copyright by Catherine McKenzie Blouke 2015 The Dissertation Committee for Catherine McKenzie Blouke Certifies that this is the approved version of the following dissertation: Laughter and Consequence: Rhetoric and the Trouble with Intention in Humor and Identity Politics Committee: D. Diane Davis, Supervisor Casey Boyle Joshua Gunn Justin Hodgson Patricia Roberts-Miller Laughter and Consequence: Rhetoric and the Trouble with Intention in Humor and Identity Politics by Catherine McKenzie Blouke, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2015 For my mom and dad, who gave me a Blouke sense of humor and have supported me all the way through this crazy trek to a PhD. Acknowledgements There are so many people that warrant acknowledgment in helping me finish this project that to attempt to name them all in these few pages will inevitably feel insufficient. But to make the attempt anyway, I will begin at the beginning: my parents produced and supported me, and without their willingness to let me pursue my dreams (impractical as they may have seemed), I certainly would not have made it to graduate school, let alone to cross this particular finish line. Similarly, my godparents have been incredible mentors and coaches over the course of my life, but their support over the past several years in particular has been truly invaluable. I’m also grateful for the English teachers I had over the years who taught me to read and think critically, and specifically to Kelly Mays for being the kind of professor I decided I wanted to be, essentially inspiring me to never leave college.