Stand-up Comedy in Theory, or, Abjection in America:
Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of li...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2000]
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| Schriftenreihe: | New Americanists
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| Online-Zugang: | FAB01 FAW01 FCO01 FHA01 FKE01 FLA01 UBG01 UPA01 URL des Erstveröffentlichers |
| Zusammenfassung: | Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of literary and cultural theory. Limon argues that stand-up is an artform best defined by its fascination with the abject, Julia Kristeva's term for those aspects of oneself that are obnoxious to one's sense of identity but that are nevertheless-like blood, feces, or urine-impossible to jettison once and for all. All of a comedian's life, Limon asserts, is abject in this sense.Limon begins with stand-up comics in the 1950s and 1960s-Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May-when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the "comedification" of America-stand-up comedy's escape from its narrow origins-involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon's formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction-at the place, that is, where American abjection has always found its home.As the first study of its kind, Stand-Up Comedy in Theory, or, Abjection in America will appeal to a wide audience including those interested in cultural studies, Jewish studies, gender and queer theory |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) |
| Beschreibung: | 1 online resource (160 pages) |
| ISBN: | 9780822380504 |
| DOI: | 10.1515/9780822380504 |
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| 520 | |a Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of literary and cultural theory. Limon argues that stand-up is an artform best defined by its fascination with the abject, Julia Kristeva's term for those aspects of oneself that are obnoxious to one's sense of identity but that are nevertheless-like blood, feces, or urine-impossible to jettison once and for all. All of a comedian's life, Limon asserts, is abject in this sense.Limon begins with stand-up comics in the 1950s and 1960s-Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May-when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the "comedification" of America-stand-up comedy's escape from its narrow origins-involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon's formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction-at the place, that is, where American abjection has always found its home.As the first study of its kind, Stand-Up Comedy in Theory, or, Abjection in America will appeal to a wide audience including those interested in cultural studies, Jewish studies, gender and queer theory | ||
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Datensatz im Suchindex
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| index_date | 2024-07-03T16:26:54Z |
| indexdate | 2024-07-10T09:02:58Z |
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| isbn | 9780822380504 |
| language | English |
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| spelling | Limon, John 1951- Verfasser (DE-588)1054938512 aut Stand-up Comedy in Theory, or, Abjection in America John Limon; Donald E. Pease Durham Duke University Press [2000] © 2000 1 online resource (160 pages) txt rdacontent c rdamedia cr rdacarrier New Americanists Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of literary and cultural theory. Limon argues that stand-up is an artform best defined by its fascination with the abject, Julia Kristeva's term for those aspects of oneself that are obnoxious to one's sense of identity but that are nevertheless-like blood, feces, or urine-impossible to jettison once and for all. All of a comedian's life, Limon asserts, is abject in this sense.Limon begins with stand-up comics in the 1950s and 1960s-Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May-when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the "comedification" of America-stand-up comedy's escape from its narrow origins-involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon's formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction-at the place, that is, where American abjection has always found its home.As the first study of its kind, Stand-Up Comedy in Theory, or, Abjection in America will appeal to a wide audience including those interested in cultural studies, Jewish studies, gender and queer theory In English PERFORMING ARTS / Comedy bisacsh Stand-up comedy Pease, Donald E. 1945- (DE-588)1118392302 edt https://doi.org/10.1515/9780822380504 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Limon, John 1951- Stand-up Comedy in Theory, or, Abjection in America PERFORMING ARTS / Comedy bisacsh Stand-up comedy |
| title | Stand-up Comedy in Theory, or, Abjection in America |
| title_auth | Stand-up Comedy in Theory, or, Abjection in America |
| title_exact_search | Stand-up Comedy in Theory, or, Abjection in America |
| title_exact_search_txtP | Stand-up Comedy in Theory, or, Abjection in America |
| title_full | Stand-up Comedy in Theory, or, Abjection in America John Limon; Donald E. Pease |
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| title_full_unstemmed | Stand-up Comedy in Theory, or, Abjection in America John Limon; Donald E. Pease |
| title_short | Stand-up Comedy in Theory, or, Abjection in America |
| title_sort | stand up comedy in theory or abjection in america |
| topic | PERFORMING ARTS / Comedy bisacsh Stand-up comedy |
| topic_facet | PERFORMING ARTS / Comedy Stand-up comedy |
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