Natalie Meisner, Donia Mounsef
Gender, Humour and Transgression in Canadian Women’s Theatre
Číslo: 1/2014
Periodikum: Prague Journal of English Studies
Klíčová slova: Feminism; parody; humour; performance; Canadian eatre; laughter; essentialism; gender
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Anotace:
Are humour and laughter gender-specifi c? e simple answer, like most everything that
is ideological, is “yes”. Many feminists in recent years have grappled with the question of
humour and how it is o en the site of much contestation when it comes to women using
it as a tool of transgression. is paper probes the seemingly timeless antipathy between
humour and representations of femininity through recourse to performance and theories
of the body. is article holds the term “woman” up to scrutiny while simultaneously
examining the persistence of both critical and philosophical recalcitrance and the way
humour continues to function in both gendered and violent ways. How does gender
“do” or “undo” humour? Laughter is no simple matter for women, due to the legacy of
profoundly polarized and hyper-sexualized historical ambivalence between femininity
and laughter. Acknowledging the problematic nature of the category “woman”, and
a er clearing some terminological distinctions (comedy, humour, irony, satire, and
parody), this article investigates humour’s complicated and volatile relationship to
gender and the way the laughing body of women on stage presents a fascinating double
helix of sexual aggression and power.
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is ideological, is “yes”. Many feminists in recent years have grappled with the question of
humour and how it is o en the site of much contestation when it comes to women using
it as a tool of transgression. is paper probes the seemingly timeless antipathy between
humour and representations of femininity through recourse to performance and theories
of the body. is article holds the term “woman” up to scrutiny while simultaneously
examining the persistence of both critical and philosophical recalcitrance and the way
humour continues to function in both gendered and violent ways. How does gender
“do” or “undo” humour? Laughter is no simple matter for women, due to the legacy of
profoundly polarized and hyper-sexualized historical ambivalence between femininity
and laughter. Acknowledging the problematic nature of the category “woman”, and
a er clearing some terminological distinctions (comedy, humour, irony, satire, and
parody), this article investigates humour’s complicated and volatile relationship to
gender and the way the laughing body of women on stage presents a fascinating double
helix of sexual aggression and power.