This wide-ranging conversation explores the potential of comedy to effect social change; the connections and disconnections between comedy and tragedy; the problem of laughter, humor, and ridicule; and the power of feminist humor.

A radical new approach to humor, where traditional targets become its agents Humor is often dismissed as cruel ridicule or harmless fun. But what if laughter is a vital force to channel rage against patriarchy, Islamophobia, mass incarceration? To create moments of empathy and dialogue between #Black Lives Matter and the police? These and other such questions are at the heart of this powerful reassessment of humor. Placing theorists in conversation with comedians, Uproarious offers a full-frontal approach (...) to the very foundation of comedy and its profound political impact. Here Cynthia Willett and Julie Willett address the four major theories of humor—superiority, relief, incongruity, and social play—through the lens of feminist and game-changing comics such as Wanda Sykes, Margaret Cho, Hannah Gadsby, Hari Kondabolu, and Tig Notaro. They take a radical and holistic approach to the understanding of humor, particularly of humor deployed by those from groups long relegated to the margins and propose a powerful new understanding of humor as a force that can engender politically progressive social movements. Drawing on a range of cross-disciplinary sources, from philosophies and histories of humor to the psychology and physiology of laughter to animal studies, Uproarious offers a richer understanding of the political and cathartic potential of humor. (shrink)

"Ancient philosophers were very interested in the themes of laughter, humor and comedy. They theorized about laughter and its causes, moralized about the appropriate uses of humor and what it is appropriate to laugh at, and wrote treaties on comedic composition. Further, they were often merciless in ridiculing their opponents' positions, often borrowing comedic devices and techniques from comic poetry and drama to do so. The volume is organized around three themes that were important for ancient philosophers: the (...) psychology of laughter, the ethical and social norms governing laughter and humor. and the philosophical uses of humor and comedic technique"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Images >> Quan Zhou Wu and Linaje’s GenealogyJulia Haeyoon Chang (bio) Click for larger view View full resolutionQuan Zhou WuENJOY (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 5] Click for larger view View full resolutionQuan Zhou WuUNA DE ELLAS (Linaje 2024)Art and design by Quan ZhouWu Digital infrastructure by Marco Fratini[End Page 6] Click for larger view View full resolutionQuan Zhou WuMEMORIAS RETORCIDAS(Linaje (...) 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 30] Click for larger view View full resolutionQuan Zhou Wu,NEGATIVOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 31] Click for larger view View full resolutionQuan Zhou WuELLAS Y YO (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 49] Click for larger view View full resolutionQuan Zhou Wu,STATEMENT (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 74] Click for larger view View full resolutionQuan Zhou WuLAS ARTISTAS QUE NO FUIMOS (Linaje 2024)Art and design by Quan Zhou WuDigital infrastructure by Marco Fratini[End Page 75]Quan Zhou Wu’s followers will surely be struck—as I was—by the multisensory digital exhibit “Linaje” (“Lineage”), which was published in 2024 and departs, perhaps unexpectedly, from the artist’s previous well-established oeuvre. Before delving into the work in question, it may be fruitful first to have a glimpse at the artist’s iconic aesthetic. In 2015, and at the age of twenty-seven, Wu, a self-taught artist, debuted her first graphic memoir, Gazpacho Agridulce. The book commences with her parents’ newfound life in Spain after leaving Qingtian, a province of Zhejiang, China, to run a restaurant in Algeciras, a municipality of Cadiz. The opening pages of Gazpacho pack a punch, depicting Wu’s dramatic and untimely birth in a taxicab en route to the hospital.Gazpacho’s publication initiated a crucial sea change in the predominantly white Spanish publishing world, which would soon after be rocked by a boom of racialized1 authors penning anti-racist memoirs and other works of non-fiction.2 Gazpacho would also eventually become the first of the author’s trilogy of graphic memoirs, which was completed by the sequels Andaluchinas por el mundo (2017) and the most recent La agridolce vita (2023).Wu’s narratives capture the familial, identarian, and social conflicts that erupt from cultural disloyalties and racism—direct consequences of migration. She and her sisters, for example, loathe their family’s rigid Chinese and Christian mores and long for the cultural markers of an ordinary Spanish childhood, structured of course by U.S. global consumer culture, e.g. Barbie, Pizza Hut, and McDonald’s.An illustrator, cartoonist, and podcaster, Wu’s talent as a storyteller lies in her complex use of humor. With great care for her subject and her reader, Wu deploys humor to tend to the uncouth, raw, and ugly parts of life. In so doing, the author invites us to laugh and ultimately reckon with our own discomfort as we with sit with the heaviness of racism, sexism, and post-migration melancholy—using humor as a salve.At her best, Wu serves irreverence, rawness, and wit. To be immersed in her books is to rub up against the rough-hewn emotions that bring her characters to life. The vibrancy of her palette and the whimsy of her pen strokes are inviting, animated, and deceptively light-hearted. In an instant, lines and pigment rearrange into abstractions dense with affect. Fiery hollowed eyes, a gaping mouth, and flushed skin burn through the frame—making the volcanic rage of a migrant mother immediately palpable. It’s so emotive, it practically singes your skin. Click for larger view View full resolutionFigure 1.Cover of Wu’s first graphic memoir Gazpacho agridulce: Una autobiografía china-andaluza[End Page 102] Click for larger view View full resolutionFigure 2.Excerpt from Gazpacho agridulce (courtesy of the artist)[End Page 103]While... (shrink)

This book opens a new dialogue for philosophical treatments of humor and comedy. It traces their history from the Dionysian Performance Tradition and brings a fresh perspective to the issue as it recasts standard interpretations of the Aristotelian theory in broader terms that offer new grounds for distinguishing humor', comedy' and mirth'.

_A compelling guide to the fundamental place of humour and comedy within Western culture—by one of its greatest exponents_ Written by an acknowledged master of comedy, this study reflects on the nature of humour and the functions it serves. Why do we laugh? What are we to make of the sheer variety of laughter, from braying and cackling to sniggering and chortling? Is humour subversive, or can it defuse dissent? Can we define wit? Packed with illuminating ideas and a good (...) many excellent jokes, the book critically examines various well-known theories of humour, including the idea that it springs from incongruity and the view that it reflects a mildly sadistic form of superiority to others. Drawing on a wide range of literary and philosophical sources, Terry Eagleton moves from Aristotle and Aquinas to Hobbes, Freud, and Bakhtin, looking in particular at the psychoanalytical mechanisms underlying humour and its social and political evolution over the centuries. (shrink)

Disability humor raises a hidden paradox that makes people feel uncomfortable. What is so funny about having a disability when others think that it is a tragedy? This article analyzes the social creation, context, purposes and consequences of disability humor. Disability humor is seen to be anchored simultaneously in tragedy and comedy so that both literary vehicles give meaning to the disability experience.

This article considers the normative and critical value of popular comedy. I begin by assembling and evaluating a range of political theory literature on comedy. I argue that popular comedy can be conducive to both critical and transformative democratic effects, but that these effects are contingent on the way comedic performances are received by audiences. I illustrate this by means of a case study of a comedic climate change ‘debate’ from the television show, Last Week Tonight. Drawing from recent scholarship (...) on deliberation, judgment and rhetoric, I highlight both critical and transformative dimensions of the performance. I attribute these to the vignette’s likely reception, which I describe as ‘dissonant’ – unresolved, affectively turbulent and aesthetically attuned. I argue that comedy is uniquely positioned to spur such ‘dissonant’ modes of engagement and, in so doing, to promote acknowledgement and reflective judgment. (shrink)

Contemporary philosophy has adopted an increasingly tragic point of view. Tragedy, though, is only a partial truth of the human condition. Comedy is another partial truth. The nature of human existence is neither wholly the one nor the other, but tragi-comic. Philosophy must be attuned to both despair and laughter if it is to understand its own world. In Making Philosophy Laugh, the philosopher Dustin Peone makes an apology for the comic side of existence and its use in philosophy. He (...) demonstrates the social and moral uses of humor and analyzes its significance for speculative thinking. Folly and irony are shown to be vital facets of dialectical philosophy. The reader is introduced to the comical side of Socrates and Homer, Descartes and Vico, Kant and Hegel, and many others. Finally, a doctrine of the tragi-comic sense of life is presented that does justice to all aspects of human existence and liberates the spirit from the grimness of serious thought. (shrink)

Despite sustained philosophical attention, no theory of humor claims general acceptance. Drawing on the resources provided by intentional systems theory, this article first outlines an approach to investigating humor based on the idea of a comic stance, then sketches the Dismissal Theory of Humor that has resulted from pursuing that approach. According to the DTH, humor manifests in cases where the future-directed significance of anticipatory failures is dismissed. Mirth, on this view, is the reward people get (...) for declining to update predictive representational schemata in ways that maximize their future-oriented value. The theory aims to provide a plausible account of the role of humor in human mental and social life, but it also aims to be empirically vulnerable, and to generate testable predictions about how the comic stance may actually be undergirded by cognitive architectures. (shrink)

Recent constructions view leadership as a process of social influence which coordinates processes of change. Moreover, such processes are not necessarily linked to role hierarchy but may be emergent and distributed within teams. However, the micro-processes through which this occurs are not well understood. The significance of the article lies in its contribution to an understanding of the emergence of leadership in teams, and in particular how humour and laughter are drawn on as a resource by which to exert (...) social influence. Here, we use the construct of the play frame, ‘non-serious’ talk in which participants jointly construct extended humorous sequences as improvisations, to analyse how team members manoeuvre in order to accomplish influence, decision-making and leadership. In taking this approach, we are not concerned with considerations of how managers use jokes to exercise control, or workers use humour to subvert management. Rather, we examine how humour, and particularly the laughter it engenders, can contribute to an understanding of organisations as centred on communication and founded on the precept that organisations are ‘talked into being’. We show how talk in a play frame institutes a context which can be utilised by participants to exert influence, and we demonstrate the highly contingent and contextual nature of the emergence of leadership within teams. (shrink)

All humans laugh. However, there is little agreement about what is appropriate to laugh at. While laughter can unite people by showing how they share values and perspectives, it is also has the power to separate and divide. Humor that "crosses the line" can make people feel excluded and humiliated. This collection of new essays addresses possible ways that moral and ethical lines can be drawn around humor and laughter. What would a Kantian approach to humor look (...) like? Do games create a safe space for profanity and offense? Contributors to this volume work to establish and explain guidelines for thinking about the moral questions that arise when humor and laughter intersect with medicine, gender, race, and politics. Drawing from the work of stand-up comedians, television shows, and ethicists, this volume asserts that we are never just joking. (shrink)

Only a Joke Can Save Us presents an innovative and comprehensive theory of comedy. Using a wealth of examples from high and popular culture and with careful attention to the treatment of humor in philosophy, Todd McGowan locates the universal source of comedy in the interplay of the opposing concepts lack and excess. After reviewing the treatment of comedy in the work of philosophers as varied as Aristotle, G. W. F. Hegel, Sigmund Freud, Henri Bergson, and Alenka Zupancic, McGowan, (...) working in a psychoanalytic framework, demonstrates that comedy results from the deployment of lack and excess, whether in contrast, juxtaposition, or interplay. Illustrating the power and flexibility of this framework with analyses of films ranging from Buster Keaton and Marx Brothers classics to Dr. Strangelove and Groundhog Day, McGowan shows how humor can reveal gaps in being and gaps in social order. Scholarly yet lively and readable, Only a Joke Can Save Us is a groundbreaking examination of the enigmatic yet endlessly fascinating experience of humor and comedy."--Publisher's summary. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Kathryn Kein 671 Kathryn Kein Recovering Our Sense of Humor: New Directions in Feminist Humor Studies At the 2014 annual meeting of the American Studies Association (ASA), the Humor Studies Caucus held a panel titled “Female Comedians and the Critical Power of Laughter.” After listening to presentations on Gilda Radner, Lily Tomlin, and Black women comedians’ 1960s comedy (...) albums, one audience member asked the panel if the classic theories of humor—Freud’s theory of the joke, Bergson’s thoughts on laughter (all conceived of in relation to the work of men)—applied when analyzing female comedic performers. One panelist immediately responded that she found none of those theories useful to her work on female comedians, and that instead she used queer theory to aid her analysis. This exchange at ASA points to many of the questions that scholars of humor and feminism are currently facing as they work to address a dearth of scholarship dealing with women, feminism, and comedy. The nods in agreement around the room spoke to the notion that scholarship on the topic of women in comedy is not merely filling in gaps, but breaking new ground. With a few notable exceptions, scholars have been relatively silent on topics involving women and/in comedy.1 The meager 1. See Susanne Lavin, Women and Comedy in Solo Performance: Phyllis Diller, Lily Tomlin, and Roseanne (New York: Routledge, 2004); June Sochen, ed., Women’s Comic Visions (Detroit, MI: Wayne State University Press, 1991); John Limon, “Skirting, Kidding: Ellen Degeneres and Paula Poundstone,” in 672 Kathryn Kein scholarly space devoted to feminism and humor is likely shaped by the fraught relationship women and feminism have had with humor in our cultural imagination. Women have long battled a perception that they, as a sex, are biologically not funny. Men have always vastly outnumbered women on stand-up stages and in comedy writers’ rooms. Former Saturday Night Live writer Anne Beatts recalled that star John Belushi, being of the “chicks-aren’t-funny” school, often requested that the women writers be fired.2 In her bestselling Bossypants, Tina Fey recalls that the gender imbalance of the sketch comedy teams at Chicago’s Second City were due to the fact that directors believed “the audience doesn’t want to see a scene between two women.”3 In his 2007 piece in Vanity Fair brashly titled “Why Women Aren’t Funny,” Christopher Hitchens went so far as to call women and humor “antithetical.”4 In particular, feminist women have been painted as humorless and unable to take a joke. In The Promise of Happiness, Sarah Ahmed, defining her figure of the feminist killjoy, observes that “feminists are typically represented as grumpy his Stand-Up Comedy in Theory, or, Abjection in America (Durham, NC: Duke University Press, 2000). 2. For further accounts of women comedy writers’ and performers’ experiences, see Yael Kohen, We Killed: The Rise of Women in American Comedy: A Very Oral History (New York: Sarah Crichton Books, 2012). 3. Tina Fey, Bossypants (New York: Little, Brown, and Company, 2011), 87. 4. Christopher Hitchens, “Why Women Aren’t Funny,” Vanity Fair 557 (2007): 54 Books Discussed in This Essay All Joking Aside: American Humor and Its Discontents. By Rebecca Krefting. Baltimore, MD: Johns Hopkins University Press, 2014. Pretty/Funny: Women Comedians and Body Politics. By Linda Mizejewski. Austin: University of Texas Press, 2014. The Queer Cultural Work of Lily Tomlin and Jane Wagner. By Jennifer Reed. New York: Palgrave Macmillan, 2013. Kathryn Kein 673 and humorless.”5 In a variation of the age-old joke, when a jokester asks, “How many feminists does it take to change a light bulb?” the respondent doesn’t say “How many?” but instead deadpans, “That’s not funny.” In different ways, the three books reviewed in this essay take up the conversation at ASA and tackle these same questions: How do we analyze humor produced by (and for?) women when our understanding of humor is decidedly male? What omissions have the gendered assumptions about humor caused in scholarship on feminism? How does humor work to address these assumptions? And how does the backdrop of these assumptions influence the comedy... (shrink)

Using humor, empathy, and improvisation to make science more accessible to the average person, the center has helped many scientists communicate more effectively about what they do. In many cases, this involves taking science down from the metaphorical “ivory tower” and bringing it into the comfort zone of students and people who may not have had a positive experience in science classes. A variety of metaphors are used to make science “come alive.” This is an interesting counter example to (...) earlier theories of metaphor and comedy such as the “disparagement theory” which described jokes as more successful if they relied on disparaging metaphors that build community through shared hostility. The metaphor approach builds community and creates inclusion through “social-facilitative functions of playful language”. When a scientist helps a layperson or student understand humorous metaphors, it communicates the literal meaning of terms, but also the contextual meaning, research practices, and the laboratory social setting. This is argued through examples of humor, comedy, and metaphor—a timely issue given current political discussions in the United States. (shrink)

Humor can be used as a tool for a wide range of tasks, including fighting for social justice. How to most effectively use it, however, is a matter of contention. Jokes that alienate members of an out-group can be called “Otherizing,” and can cause harm by virtue of the alienation. Woke comics, like Hari Kondabolu, intentionally avoid Otherizing in general, but may engage in a version of it that seeks to defang stereotypical treatments of out-groups by replacing the (...) alienating content with something benign. We term this use of Otherizing, “mOtherizing.” Pride comics, like Russell Peters, take a different approach and try to usurp the power of Otherizing by over-engaging in it. The intention is to use the jokes to cobble together a coalition of out-groups that turns itself into an in-group. We term this use of Otherizing, “brOtherizing.”. (shrink)

We tend to take the phenomenon of humour for granted, seeing it for the most part as something innately and fundamentally human. However we might go even further than this, and say that the phenomenon of humour is perceived as an essential part of what makes us human. In this respect, philosophers and theorists as wide apart as Aristotle and the French, feminist Julia Kristeva (1980; also see Goldberg, 1999a) have regarded a baby's ability to laugh as one of the (...) earliest signs of the separation of 'self' from 'other', a reciprocal process deemed to be crucial to the formation of a separate identity. However, although the general importance of humour might be agreed amongst researchers, what theoretical position one takes will have a profound effect on how one approaches and analyses humour. In much psychological research the focus tends to be on how humour works, i.e., syntax, semantic categories, sex differences, personality types, etc., and one finds a frustrating neglect of what is actually meant by the term 'humour' in terms of history and emergences. Consequently, an important question tends to go unchallenged: Is humour some unproblematic innate human ability, or, a socially defined concept that has changed and mutated alongside our understanding of what is means to be person ? In an attempt to grapple with this question, the following genealogical account is less concerned with fathoming out how humour works than with relating it to notions of human subjectivity, or how theories of humor have informed and reflected social constructs of what it means to be a 'subject'. (shrink)

In April 2017, scientists and science sympathizers held marches in the United Kingdom as part of a coordinated international March for Science movement that was held in over 600 cities worldwide. This article reports from participant-observation studies of the marches that took place in London and Cardiff. Supplemented with data from 37 interviews from marchers at the London event, the article reports on an analysis of the placards, focusing on marchers’ concerns and the language and images through which they expressed (...) those concerns. How did the protesters articulate their concerns and objectives, and how were these articulations used to build a community? The placards did not represent a clear, focused, and unifying message; they instead illustrated disparate concerns ranging from human-induced climate change, Trump and “alternative facts,” and local UK specific political issues concerning the country’s exit from the European Union. Our analysis shows that placards gave a playful and whimsical character to the march, with slogans displaying significant amounts of humor, often formulated through insider jokes, scientific puns, or self-deprecating appropriation of negative stereotypes about scientists. We analyze the march through the social movement literature and as a collective identity-building exercise for an community of scientists and sympathizers with long-term aims of establishing a louder voice for scientists, and experts, in public discourse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Stagecraft and Performance of Roman ComedyAmy RichlinC. W. Marshall. The Stagecraft and Performance of Roman Comedy. Cambridge: Cambridge University Press, 2006. xiv + 320 pp. 2 black-and-white figs. Cloth, $90.C. W. Marshall's new book forms part of the productive trend towards treating ancient theater as performance. In 1991 David Wiles began The Masks of Menander (Cambridge: Cambridge University Press, xi) by commenting on the institutional divide between (...) classics and drama studies. Marshall, as a writer, occupies the unusual position of being able to speak both as a classicist and a professional actor, with substantial credits in both improv and Shakespeare. His work is influenced by writers in theater studies, particularly Susan Bennett on audiences, Keith Johnstone on improv, and Jacques Lecoq on masking and physical movement. Among writers on ancient comedy, he shares with David Wiles a commitment to the serious study of masking, and with Timothy Moore a focus on the interaction between actors and audience. As a performer and director, he has often worked with Mark Damen and Mary-Kay Gamel towards an understanding of ancient drama through hands-on production. Above all, this book is based in Marshall's experience as an actor; having had the privilege of working with him on a production of Persa, I can attest that the physicality of his acting pops his sense of what happened on the stage of Plautus into vivid 3-D.Marshall throughout prefers complex to simple models: the audience was not monolithic (no "Romans" here), venues differed in nature, the actors did not share a single status, literary influences on the plays were multiple (no tyranny of the "Greek original"). The introduction begins with a satisfyingly spiderwebby chart (2) laying out a stemma of influences on Plautus and, separately, Terence. As Marshall observes, audience members bring along their own performance codes, and "For Rome such codes are unlikely even to include knowledge of the play which the playwright claims as his source for the present entertainment" (109). (That is, to get a laugh out of Strange Brew, it is not necessary to know much [End Page 131] about Hamlet.) Venues for production would have been "found spaces" (47), often (following Sander Goldberg) a flat space in front of a temple, with the audience sitting on the steps, but generally any public space capable of holding a simple stage, backdrop, and seats. Marshall envisions the troupe as a mix of free and slave actors, some of whom owned others, opening up "convoluted situations" in the assignment of roles (87–88). Masks, as he demonstrates, could not have followed any rigid typology, especially (151) when they had to put a face on slaves who turned out to be free men (Captivi), whores who turned out to be virgins, and, I would add, Calydonians who turned out to be Carthaginians (Poenulus). The content of plays was determined by a simple bottom line: "the troupe sells an audience to the magistrates for a price" (83). Audiences were "heterogeneous" (186), and, while performance works to create a "consolidated audience," the "economic and social diversity of the audience itself exists in tension with this" (185); if the magistrates wanted to emphasize "Roman social stratigraphy," the plays worked to question divisions (77).The theme throughout is "flexibility," in keeping with what for me is the book's most important hypothesis: the plays of Plautus were collaborative creations (186–87): they "contain lines that did not originate with the playwright" but from "the collective of the theatrical troupe" (268–69). Here, Marshall persuasively draws on his own experience with improv groups, invoking the lazzi of commedia dell'arte and the shtick of vaudeville (165, n. 10) to suggest how Plautus's plays were put together by what he felicitously dubs "shtickomythia" (193). Speaking here as a translator of Plautus, I would vigorously agree: the register often slips into jokes that are corny (e.g., Poenulus 279), and what is corn but a shtick-on plaster? Even the inventiveness of slave-torture insults feels a lot like "yo mama" jokes, the kind of call-and-response humor that young men in agonistic cultures perfect in verbal dueling. Most... (shrink)

Under the shifting epistemic and political norms of post-truth politics, the conditions of feminist solidarity and agency are increasingly threatened. This article argues that feminist humour provides models for affective orientations that sustain feminist work and survival during such periods of political crisis. First, I explore a potential issue post-truth politics poses for feminists: That information overload can lead to truth burn-out that threatens intersectional feminist thinking and action. Next, I explain why comedy is well-suited to help maintain feminist work (...) in the context of post-truth politics. I then present a reading of Sarah Cooper’s skit, ‘How to medical’ to explore Cooper’s work and demonstrate how it operates as parodic political critique. I conclude that the affective stance of a feminist comedian models how feminists can keep surviving in the midst of post-truth crises. Such work shows how oppressive power can be engaged closely enough that deep critiques can be developed but with sufficient affective distance that feminist engagement can be sustained over time, through a multiplicity of crises. Cooper’s engagement can thus be read to generate strategies for how to (effectively) feminist affect under post-truth conditions. (shrink)

ABSTRACT This article argues that the aesthetic practices of black women stand-ups in South Africa take up the concrete ways black people all over the world use performances, within theatrical or everyday practices, to create, shape, and transform their worlds. Reading stand-up as a genre of diaspora culture meant to contend with issues of antiblack racism, economic and social marginalization, and the legacy of colonialism, this article examines the ways humor and comedy manifest transnational intimacies and affinities via (...) the circulation of black women's comic culture. Black women's stand-up comedy enables us to orient our understanding of the inextricable link between aesthetic choices and diaspora as the locus of the production of blackness, and as a particular sensibility rooted in the struggle against colonialism, antiblack racism, and the struggle for human rights and recognition. (shrink)

Since the 2010s, popular YouTube channels have used derogatory humour at the expense of gendered and racialised others. Founded upon the perception of an influx of ‘wokeness’ in comedy, these videos mock the mythologised ‘unfunny, angry SJW’ and teach the audience to laugh at enemies of the alt-right. Although empirical research has analysed the algorithmic radicalisation of viewers, few have addressed the role of cultural discourses in disseminating alt-right ideology through online media. Here, the right-wing ‘pipeline’ is understood as a (...) tool of radicalisation that weaponises laughter as a tool of regulations and oppression. This paper analyzes the production of derogatory laughter by studying a network of North American content creators including Russell Peters, Lilly Singh, Jordan Peterson, Steven Crowder, and Matt Walsh, using critical tools from psychoanalysis, social psychology, and critical humour studies. Contrary to the alt-right rhetoric that ‘edgy’ humour is harmless, this paper posits derogatory humour as a tool of marginalisation and domination that reinforces white supremacist and cisnormative patriarchal value systems. (shrink)

How can truth be used to fight disinformation without reproducing the “reveal”—oriented or secret-constituting epistemology of the closet, as Eve Sedgwick described it in the Epistemology of the Closet (1990)? and how does her reading of the Book of Esther in that text help illuminate aspects of today’s Trumpism?

This article is both a personal response to Samuel Beckett’s Waiting for Godot and an examination of the concept within literature of making the strange familiar and making the familiar strange. It discusses the educative force and potential of Beckett’s strangers in a strange world by examining my own personal experiences with the play. At the same time the limitations of Beckett’s theatre are explored through the contrast with the work of Berthold Brecht, who sought to make the familiar strange (...) as a method of political enquiry to facilitate the transformation of the capitalist state. Parallels are drawn between the possibilities of both theatre and education as tools for social transformation and change. (shrink)

From Basil Fawlty, The Little Tramp and Frank Spencer; to Jim Carey, Andy Kaufman and Rowan Atkinson... comedy characters and comic actors have proved useful lenses for exploring—and exposing—humor’s cultural and political significance. Both performing as well as chastising cultural values, ideas and beliefs, the comic character gives a unique insight into latent forms of social exclusion that, in many instances, can only ever be approached through the comic form. It is in examining this comic form that this (...) paper will consider how the ‘comedy character’ presents a unique, subversive significance. Drawing from Lacanian conceptions of the subject and television ‘sitcom’ examples, the emancipatory potential of the comedy character will be used to criticize the predominance of irony and satire in comic displays. Indeed, while funny, it will be argued that such comic examples underscore a deprivative cynicism within comedy and humor. Countering this, it will be argued that a Lacanian conception of the subject can profer a comic efficacy that not only reveals how our social orders are inherently inconsistent and open to subversive redefinition, but that these very inconsistencies are also echoed in the subject, and, in particular, the ‘true comedy character’. (shrink)

Societies change; and sociology has, since its inception, described and evaluated these changes. This article proposes a revised theory of collective learning processes, a conceptual framework which addresses ways in which people make sense of and cope with change. Drawing on Habermas’ classic proposal, but shifting the focus from argumentation towards storytelling, it explains how certain articulations allow for collective learning processes (imagining more inclusive orders), while others block learning processes (imagining more exclusive orders). More specifically, the article points to (...) narrative genres (romance, tragedy, comedy and irony) which organize feelings and shape the social bond, proposing that ironic and tragic stories have the potential to trigger collective learning processes, while romantic and comic stories tend to block them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Changed Life: Becoming True to Who I amJay Kyle PetersenI was born intersex in 1952 in the county hospital of a very small, ultraconservative town in rural Southwestern Minnesota. My biological parents and paternal grandparents raised me on a small family farm nearby. I knew by age four I was a boy. No one told me. There was nothing to decide. I have always known I am male. (...) My parents never discussed my unusual condition with me and died having never accepted me. They denied my true identity and instead chose to give me a girl’s name and raise me as a girl.My paternal grandmother knew I was different. She lived on the farm with us and, as she explained to me later on in life, changed my diapers and helped take care of me as an infant and toddler. She also was a Certified Nurse’s Aide in the pediatric ward of the county hospital where I was born and could see that anatomically I was different from other infants. She remained my lifelong ally and friend until her death in 1993. She and Grandpa provided an oasis in their farmhouse where I felt accepted. I felt relaxed and comfortable in their company, and could just be myself. Grandpa took me fishing. Grandma drove me to 4–H State Fair demonstrations and supported me in the audience for which she had helped prepare me. My grandmother taught me good humor, excellence and how it was okay to make mistakes. Much later, in 1977, she drove four hours alone to Minneapolis in blizzard conditions to be my “concerned family person” during chemical dependency treatment, when my mother and dad refused and she also celebrated with me after my successful completion of the program. I loved her and she loved me and she showed it. With her I found refuge away from the pressure and abuse in our farmhouse.But my grandparents and parents did not show me affection physically. The only touch I felt from my family, except my paternal grandparents, was abusive including certain religious figures outside our family. Farm animals and pets provided warmth, love, acceptance, and companionship. I loved riding around the farm on the back of my pet pig, Lucy. Nature, especially trees, wild weather, and local lakes provided rest for my stretched, weary nerves and stimulation for my imagination. There was something about the vivid and contrasting colors, even the sounds and livingness about it all—rich deep moist greens, clean pure vast open blues, dark warm earth which I laid upon and felt in my hands. These and the soothing sounds of the wind gently moving through tree leaves and corn leaves and the lake water lapping calmly upon sandy shores, as Grandpa cast out his line: all this I found both relaxing and energizing and allowed for me the safety and environment to rest, let go and expand so my natural inclinations to express myself creatively could open up. Otherwise, I had a very lonely, frustrated, painful, humiliating childhood and adolescence filled with mounting anger and a sense of futility because I could not be or express my real male self—including my attraction to girls.The cultural and religious pressure I felt, the increased abuse and social lies I was forced to live with—including being forced to wear girls’ clothing against my will—became unbearable. I sought [End Page 106] refuge in addiction early on—food for comfort, nicotine for mood alteration, alcohol given to me by my dad, and more. I became suicidal, and remained for a long time terribly depressed.The geneticist I have consulted for the last four years says that physicians who examined me prior to my genital surgeries described my genitals as “male structures formed without enough testosterone,” rather than female structures formed in the presence of excess androgen. She told me that the features recorded in my medical records, and that she had observed, indicate androgen exposure in utero along with an inherited genetic condition such that she says my condition began at conception. I was born with XX karyotype and testing for usual causes for androgen excess with someone... (shrink)

: It is argued here that ancient Chinese convictions-that appearances and truth, the outer and the inner, and everything else in the universe are correlated; that the outer can change the inner; and that the cosmos and human society are inherently hierarchical-gave rise to the Confucian politicization of appearance, and this culminated in the rites' stringent requirements of reverence and gravity from the traditional Chinese junzi (the morally and often socially superior man) during public appearances, thereby causing his humor (...) to fade and vanish in public, thanks to an apparently natural antithesis between reverence/gravity and laughter/humor. (shrink)

The paper explores satire not as a literary genre but as an idiom of political and moral reflection discussing the extent to which contexts of relative constraint or freedom of expression are adequate for its understanding. The argument deals with the satire of Early-Modern England, especially that of the Restoration and early eighteenth century, as for most of this time political authority was purposely oppressive, the satire produced was highly significant, and it allegedly is part of the beginnings of a (...) public sphere of open rational discourse. The paper outlines in turn: the significance of anonymity, differing understandings of humour, diverging satiric propensities, ritualised satire and taboo, and the distinction between constraint and restraint. It suggests that to locate satire between oppression and liberty lacks explanatory power and, in particular, that the very notion of a public sphere is of little historical value in discussing satire. If Habermas's concept is taken seriously it mythologises the early eighteenth century on scant evidence. If it is emptied of theoretical content, a healthy public sphere can be found in numerous places. The paper concludes by raising questions about how far the predominant roles of satire have changed since its ‘golden age’. (shrink)

In spring 2020, COVID-19 and the ensuing social distancing and stay-at-home orders instigated abrupt changes to employment and educational infrastructure, leading to uncertainty, concern, and stress among United States college students. The media consumption patterns of this and other social groups across the globe were affected, with early evidence suggesting viewers were seeking both pandemic-themed media and reassuring, familiar content. A general increase in media consumption, and increased consumption of specific types of content, may have been due to (...) media use for coping strategies. This paper examines the relationship between the stress and anxiety of university students and their strategic use of media for coping during initial social distancing periods in March-April 2020 using data from a cross-sectional survey. We examine links between specific types of media use with psychological well-being concepts, and examine the moderating roles of traits (hope, optimism, and resilience) as buffers against negative relationships between stress and anxiety and psychological well-being. Our findings indicate that stress was linked to more hedonic and less eudaimonic media use, as well as more avoidant and escapist media-based coping. Anxiety, on the other hand, was linked to more media use in general, specifically more eudaimonic media use and a full range of media-based coping strategies. In turn, escapist media was linked to negative affect, while reframing media and eudaimonic media were linked to positive affect. Avoidant coping was tied to poorer mental health, and humor coping was tied to better mental health. Hedonic and need-satisfying media use were linked to more flourishing. Hope, optimism, and resilience were all predictive of media use, with the latter two traits moderating responses to stress and anxiety. The findings give a nuanced portrait of college students’ media use during a pandemic-induced shutdown, showing that media use is closely intertwined with well-being in both adaptive and maladaptive patterns. (shrink)

Since 2019, Northeastern post-industrial culture has been a popular topic of discussion; the general public refers to it as the Northeastern Renaissance. Crises of identity, honor, and faith have been recurring themes in several Northeastern films released in recent years. Furthermore, these cinematic narratives frequently generate somber humor by presenting an enormous contrast between ideals and actuality. The article examines how the post-industrial narrative context of Northeast China has influenced audio-visual cultural products and contemporary Chinese popular culture. To elucidate (...) the fundamental aspect of the Northeast narrative, the article’s author employs the absurd theory of Albert Camus. The main structure and viewpoints of the article are as follows: The first is after presenting individuals’ contemplations on the Northeastern Renaissance-instigated post-industrial narrative of the Northeast. In the following sections, the article explores the narrative context of post-industrial audio-visual works in Northeast China, focusing on the absurdity depicted in the documentary Tie Xi Qu: West of the Tracks (2002). The authors’ analysis reveals how the documentary captures the socio-economic decline and the resulting human experiences of absurdity and dislocation. Key findings indicate that the narrative structure and visual style effectively convey the bleak realities of post-industrial life, offering critical insights into the region’s socio-cultural transformation. These findings suggest that future research should explore the intersection of visual media and social change in other post-industrial contexts. -/- . (shrink)

This paper engages television comedy to critique the ethical values that are amenable to neoliberal capitalism. First, I explore the co-optation and containment of feminism as a collective social change movement by postfeminist and neoliberal cultures. I show how self-reliance and resilience become legible as classed, raced, and gendered values packaged for feminine, neoliberal women. Next, I address the specific challenges that neoliberal biopower poses for ethical values as they have been traditionally understood. I then argue that comedy is (...) a particularly effective medium through which to consider the generation of resistant values that can support feminist collectivity. I develop a provisional protocol for engaging ambivalent media and read two scenes from TV comedies focused on the femininity of class-aspiring or class-privileged women. This critically exposes what kinds of values might counter the co-optation of self-reliance and resilience. I conclude that cultural performances of femininity not only codify neoliberal values, they also are a resource for generating resistant feminist values inasmuch as they present intentionally frivolous modes of living. Within such a culture frivolousness becomes viable as a mode of everyday ethical commitment that can disrupt the negative impact of neoliberal biopower. (shrink)

This book discusses the role of the trickster figure in contemporary film against the cultural imperatives and social issues of modernity and postmodernity, and argues that cinematic tricksters always reflect psychological, economic and social change in society. It covers a range of films, from Charlie Chaplin’s classics such as _Modern Times_ and _The Great Dictator_ to contemporary comedies and dramas with ‘trickster actors’ such as Jim Carrey, Sacha Baron-Cohen, Andy Kaufman and Jack Nicholson. _The Trickster in Contemporary Film_ (...) offers a fresh perspective on the trickster figure not only in cinema but in Western culture in general. Alongside original film analyses, it touches upon a number of psychosocial issues including sovereignty of the individual, tricksterish qualities of the media, and human relationships in the mercurial digital age. Further topics of discussion include: common motifs in trickster narratives the trickster and personal relationships gonzo-trickster and the art of comic insurrection. Employing a number of complementary approaches such as Jungian psychology, film semiotics, narrative structure theories, Victor Turner’s concept of liminality and Mikhail Bakhtin’s theory of the carnivalesque, this book is essential reading for students and scholars of film, as well as anyone with an interest in analytical psychology and wider critical issues in contemporary culture. (shrink)

On Humour and the Comic in the Hebrew Bible. Edited by Y. T. Radday and A. Brenner.The Trouble With Kings: The Composition of rhe Book of Kings in the Deuteronomistic History. By Steven L. McKenzie.Sacred Space: An Approach to the Zheology of the Epistle to the Hebrews. By Marie E. Isaacs.Fourth Ezra: A Commentary on the Book of Fourth Ezra. By Michael Edward StonePaul the Convert: iShe Apostolate and Apostasy of Saul the Pharisee. By Alan F. Segal.Creative Biblical Exegesis: Christian (...) and Jewish Hermeneutics through the Centuries. Edited by Benjamin Uffenheimer and Henning Graf Reventlow.The Hope of the Early Church: A Handbook of Patristic Escharology. By Brian E. Daley.The Emergence of the Laity in the Early Church. By Alexandre Faivre, translated by David Smith.Pastoral Life and Practice in the Early Church. By Carl A. Volz.The Making of the Creeds. By Frances Young.La correzione fratenia in s. Agosrino. By Agostino Clerici.Beaup and Revelation in the Thought of St Augustine. By Carol Harrison.Grace, Politics and Desire. Edited by Hugo Meynell.Boerhius and Aquinas. By Ralph McInerny.The Weight of Glory. A Vision and Practice for Christian Faith: The Future of Liberal Theology. Edited by D. W. Hardy and P. H. Sedgwick.Atonenrent and Incarnation. By Vernon White.Tragic Method and Tragic Theology: Evil in Contemporary Drama and Religious Thought. By L. D. Bouchard.Parmenides of Elea, Fragments: A Text and Translation, with an Introduction. By David Gallop.Language, Thought and Falsehood in Ancient Greek Philosophy. By Nicholas Denyer.Weakness of the Will. By Justin Gosling.Knowledge and the Sciences in Medieval Philosophy. Vol. I, edited by Monica Asztalos, John E. Murdoch and Ilkka Niiniluoto.Episcopal Power and Norenrine Sociev. 1000–1320. By George W. Dameron.Matins, Lauds and Vespers for St David's Day. By Owain Tudor Edwards.More's ‘Utopia’. By Dominic Baker‐Smith.Frontiers of Heresy: The Spanish Inquisitionfrom the Basque Lands to Sicily. By William Monter.Inquisition and Society in the Kingdom of Valencia, 1478–1834, By Stephen Haliczer.The Fear of Hell: Images of Damnation and Salvation in Early Modern Europe. By Piero Camporesi, translated by Lucinda Byatt.Lucrecia's Dreams: Politics and Prophecy in Sixteenth‐Centun Spain. By Richard L. Kagan.Heresy and Mysticism in Sixteenth‐Century Spain: The Alumbrados. By Alastair Hamilton.Japan's Encounter with Christianiry: The Catholic Mission in Pre‐Modern Japan. By Neil S. Fujita.Galileo, Bellannine and the Bible. By Richard J.Augustine Baker's Inner Light: A Study in English Recusant Spirituality. By James Gaffney.The Prorestarit Evaqelical Awakening. By W. R. Ward.The Study of Anglicanism. Edited by Stephen Sykes and John Booty.The Anglican Tradition: A Handbook of Sources. Edited by G. R. Evans and J. Robert Wright.The Restoration Church of England, 1646‐1689. By John Spurr.Awash in a Sea of Faith: Christianizing the American People. By Jon Butler.A Woman Styled Bold: The Life of Cornelia Connelly, 1809–1879. By Radegunde Flaxman.Cane Ridge: America's Pentecost. By Paul K. Conkin.Revivalism and Social Change: Christianio, Nation Building and the Market in the Nineteenth‐Century United States. By George M. Thomas.Church and State: The English Experience. By Adrian Hastings.Evelyn Underhill: Artist of the Infinite Life. By Dana Greene.Northern Ireland: Fairh and Faction. By Maurice Irvine.The Tragedy of Belief: Division, Politics, arid Religion in Ireland. By John Fulton.Shattered Vows: Exodus from the Priesthood. By David Rice.Making Saints: Inside the Vatican: Who Become Saints, Who Do Not, and Why. By Kenneth L. Woodward.Ecclesiae Memoria: Miscellanea in onorr del R. P. Josef Metzler, O. M. I. Edited by Willi Henkel. (shrink)

McDonaldization is usually seen as a ‘tragedy’ as humans become more rationalised in their everyday life, but from the view of Marx’s theory of historical change, I suggest that it might be seen as a ‘comedy’. As the world’s labour force becomes culturally the same it may finally gain an ironic awareness that is required for radical social change, thus, global rationalisation may create the conditions for a ‘global Proletariat’. The comedy of McDonaldization is that its repulsiveness as a (...) way of life may actually lead to the possibility of achieving liberation from the domination of global capitalism. (shrink)

: This study aims to discuss the basic argument that sociology, as a science, emerged as an intellectual response to the lost sense of community during social and cultural changes. This argument carries the assumption that the dominating metaphors and perspectives of classical sociology are informed by conservatism. In sociology, this claim is supported by well-known and ambivalent theoretical structures that are developed to explain the process of social change. This study aims to make a criticism of nostalgic (...) sociology considering the idea that the fundamental assumptions of the ambivalent theoretical structure in sociology are nostalgic. In addition, this study also aims to critically read the historical development of Islamism, one of the modern ideologies, with nostalgia and utopia. The suggestion of the article is that either classical sociology or Islamism –two subject appear differently in terms of their topics- gave similar intellectual reactions about the subject that they are unable to cope with ‘the present’ and produce a ‘golden age’ discourse as a solution to ‘the present’. The argument of the study is that either the effort of idealizing ‘the past’ in classical sociology or the myth of coming back home in Islamism against cultural alienation and sense of loss which are lived in ‘the present’ are actually determined by sovereign modernity paradigm. Summary: Behind the nostalgic paradigm, there is a rebuilt history that is shaped as a transition from feudalism to capitalism. In this history, the decline of feudalism corresponds to the loss of rural community, the loss of personal expressionism and the loss of unregulated society. In classical sociology, the heritage left by the solution of this historical reconstruction of society has become common. The anomaly of the modern world is precisely where the modern society from traditional society has emerged in the pathological state created by the loss of social ties with the passing. This pathological condition was first seen in Swiss mercenaries serving away from home, diagnosing nostalgia as a diagnosis of discomfort. We know that Johannes Hofer, who has a sense of humor, has not written any prescription for this disease, which gives some common signs with his melancholy. Sociology, shaped by three different intellectual movements as intellectual responses to the French and Industrial revolutions that allow the transformation of the European society, has taken its place as its focal point, and in the pioneering names, this change is "a change in everything at a dizzying pace, everything that has happened has evaporated and the glory of the world has deteriorated.” Modernity, which refers to the ideals of enlightenment, is blessed not to progress by nature, fluid, rational, contingent, lacking certainty. In fact, this blessing has brought with it the enemy of tradition to the 'new' with reference to its etymological origin. This sophisticated and complex structure unique to modernity only, has inspired some thinkers to conceive of an idealized past or future that is now determinative. Both of these ideas are moderators. The nostalgia becomes modern because of the longing for a home that no longer exists or has never existed. Nostalgia is coeval with modernity. The article refers to Stauth-Turner's nostalgic paradigm, which provides the meta-phasic and meta-phase dominance of classical sociology detailed in Nietzsche's Dance. This paradigm consists of four main components. The first is that the history that we can summarize as a departure from the golden age when the world was a nest for man is seen as a decline and a loss. History is a history of sorrow and despair, as this decline will continue to exacerbate in the future. The example of such a feeling of grief in society theory is Weber's fate sociology. Because, according to Weber, whatever is waiting for us in the future is the polar night of the icy darkness, not the sunlight of summer. The second component of the nostalgic paradigm is the sense of secularization, together with the loss of integrity and moral certainty. This nostalgic trajectory is a very powerful secularization that emphasizes that such devastating social processes as urbanization, capitalist industrialization and the rationalization of everyday life, such as the diversity and complexity of social structure, the spread of scientific knowledge, urbanization with increasing population ratio, it brings forward its theory. With the announcement of the death of God, the gate of a competing and conflicting world has been opened, from which we have been transformed into a very godlike world. It is possible to observe a similar point of view in classical sociology in Durkheim, which has a theoretical basis for the transformation of social structures through professional distinction in the form of mechanical and organic solidarity. Durkheim analyzes social change in a deliberate way, and pre-change stake favors moral coherence. Moral coherence is now lost when collective consciousness is generally weakened in the post-change phase. The third trajectory we encounter in the nostalgic paradigm is the loss of individual autonomy and the decline of genuine social relations. With the loss of the moral unity, the individual has been caught under the domination of the bureaucratic state, in macro-social processes and institutions. It is inevitable that the individual who lost his autonomy is subject to the denial. The increasing exposure of the individual to social bureaucratic associations has been conceptualized by the iron cage metaphor in Weberian sociology. The enlightenment is the result of the panoptic collection of prison. So there is a nostalgic stance in this compound of the nostalgic paradigm that autonomy-ben lost because of the fall of the bureaucratic world under the domination of the modern state. In the nostalgic paradigm, the ultimate component is the feeling of laxity, spontaneity and loss of naturalness. Here, the individual is subject to not only macro-social processes but also micro-ethics. That is, it is understood that Adorno's "managed society" or Foucault's notion of closure prevents the individual's true emotions and enthusiasm, and that the consumer culture is preoccupied with certain preconceived ways of doing in a world dominated. To sum up, the metaphor of nostalgia that we are living in a world where we have been seized by administrative rules of a central state in a way that has lost the moral certainty and autonomy of the individual. The return to home, which is found in a significant part of the texts and practices put forward in the name of Islamism, has reached a deterministic attitude just as it was in classical sociology. In the nostalgic imagination where those who cannot cope with it are thought of as a safe harbor, there is a certain attitude towards deterministic ideologists that simplify, sanctify, and therefore falsify. Indeed, the imagination of a supra-historical, supra-community model for a time like the Golden Age discourse and for all time is itself history from the very beginning to the end. Therefore, it is a manifestation of a major historical process and the ideological design of sociality. The rhetoric discourse presented as a remedy in the present is possible with an anachronistic point of view which idealizes the past, and therefore the reality is distorted. The authentic one is extremely informal. This kind of discourse of authenticity, which is produced as opposed to the modernity that all that is solid melts into air, eventually has to make iron cages around it. As a result, the nostalgic rhetoric, which aims to be a modern chivalrous remedy that everything changes at a dizzying pace, has been determined by the paradigm of modernity, thanks to its self-reflexive nature which contains the opposite. (shrink)

This work provides an overall review and analysis of the history of education and of its key research priorities in the British context. It investigates the extent to which education has contributed historically to social change in Britain, how it has itself been moulded by society, and the needs and opportunities that remain for further research in this general area. Contributors review the strengths and limitations of the historical literature on social change in British education over the past (...) forty years, ascertain what this literature tells us about the relationship between education and social change, and map areas and themes for future historical research. They consider both formal and informal education, different levels and stages of the education system, the process and experience of education, and regional and national perspectives. They also engage with broader discussions about theory and methodology. The collection covers a large amount of historical territory, from the sixteenth century to the present, including the emergence of the learned professions, the relationship between society and the economy, the role of higher technological education, the historical experiences of Ireland, Scotland and Wales, the social significance of teaching and learning, and the importance of social class, gender, ethnicity, and disability. It involves personal biography no less than broad national and international movements in its considerations. This book will be a major contribution to research as well as a general resource in the history and historiography of education in Britain. (shrink)

M. Clifford-Vaughan; VII—Social Change and Legal Norms, Proceedings of the Aristotelian Society, Volume 67, Issue 1, 1 June 1967, Pages 103–110, https://doi.org.

Philosophy Compass, Volume 17, Issue 4, April 2022.

The articles collected in this volume point out that society as a whole is changing. Social change is due not only to changes in technology and economy, but also to the changing strategies and discourses of social scientists. To what exactly will this change lead in the 21st century? What kind of society lies ahead? In this book the reader will find many arguments and hints pertaining to these questions. She/he will be confronted by a plethora of enriching (...) conceptions of the relationships between social sciences and social changes. (shrink)

While temporality has been addressed in the context of child welfare, the temporal dimensions of differentiation and othering remain unacknowledged. This article draws on material from a Swedish child welfare agency and is theoretically inspired by postcolonial and queer theories and critical childhood studies. It is based on an analytical juxtaposition of care order applications recommending immediate child welfare interventions versus interventions that are recommended after long ongoing assessments. Such recommendations are addressed as unequal in terms of timing. The article (...) discusses temporal themes related to permanency versus temporary, which guide assessments of changeability. I show how immediate interventions respond to chronicity—the temporality of incurability, permanency, and underdevelopment. However, social problems in long ongoing assessments are assessed as permanent only after long ongoing observations or passage of time. The article discusses how ideas about change reproduce wider societal and intersecting inequalities. This becomes visible when considering time as allocated to parents and their potential to bring about change. I argue that even though permanency differs from chronicity, it still limits a discussion about change as societal, and the detection of problems remains within a developmentalist and neoliberal framework. In the concluding remarks, I offer an alternative reading of allocated time that can maneuver developmentalist logics, while balancing responsibilisation between the individual and the society. (shrink)

Entrepreneurship is increasingly considered to be integral to development; however, social and cultural norms impact on the extent to which women in developing countries engage with, and accrue the benefits of, entrepreneurial activity. Using data collected from 49 members of a rural social enterprise in North India, we examine the relationships between social entrepreneurship, empowerment and social change. Innovative business processes that facilitated women’s economic activity and at the same time complied with local social and (...) cultural norms that constrain their agency contributed to changing the social order itself. We frame emancipatory social entrepreneurship as processes that empower women and contribute to changing the social order in which women are embedded. (shrink)

Social Change in a Material Worldoffers a new, practice theoretical account of social change and its explanation. Extending the author's earlier account of social life, and drawing on general ideas about events, processes, and change, the book conceptualizes social changes as configurations of significant differences in bundles of practices and material arrangements. Illustrated with examples from the history of bourbon distillation and the formation and evolution of digitally-mediated associations in contemporary life, the book argues that chains (...) of activity combine with material events and processes to cause social changes. The book thereby stresses the significance of the material dimension of society for the constitution, determination, and explanation of social phenomena, as well as the types of space needed to understand them. The book also challenges the explanatory significance of such key phenomena as power, dependence, relations, mechanisms, and individual behavior. As such, it will appeal to sociologists, geographers, organization studies scholars, and others interested in social life and social change. As such, it will appeal to sociologists, geographers, organization studies scholars, and others interested in social life and social change. (shrink)

The concept of apublic energy fieldis central to public administration discourse theory. Its main idea is the facilitation of dialog between government and the public, on the basis of equality, to construct a public policy consensus. In contemporary society, social media provides new and distinctive channels for such interactions. Social media can, therefore, be conceived as a novel type ofpublic energy field. Since the outbreak of the COVID-19 pandemic, interactions between the Chinese government and the Chinese public (whether (...) located in China or abroad) have been acutely reflected through WeChat official accounts. This article focuses on the COVID-19 pandemic and, through social media text mining and processing, analyzes the text topics and emotions covered. Basic principles of discourse validity, regarding this public energy field and two guarantee conditions, are applied to analyze the information exchange and dialog between the government and the public on COVID-19 through WeChat official accounts. It was found that the government’s WeChat official accounts have not yet formed a harmonious dialog space to balance the public energy field, and that the interaction between the government and the public has to be improved. The government’s social discourse had a significant influence on the public’s social discourse. Using text analysis, the study found that the government has published information on 11 topics related to the prevention and control of the pandemic. It can be argued that the public energyfieldpresented by both the government and the public effectively portrayed and reflected the actual situation of the pandemic in China. (shrink)

In 2016 the Chinese government initiated a nationwide campaign aiming to eliminate poverty in China by 2020. Over 20% of listed firms in China have made significant contributions to the campaign. Using hand-collected data on listed firms’ contributions to the campaign and multivariate analyses, we examine whether managers’ and politicians’ personal incentives play an important role in firms’ contributions to the campaign. The results show that firms are more likely to contribute if they are state-owned and managers are appointed by (...) governments, if managers have a higher risk of being targeted in a concurrent anti-corruption campaign, if the political leaders in their province are new or intend to seek promotion, and if managers or directors have experienced poverty in their early life. The results suggest that it is important to consider managers’ and politicians’ personal incentives in CSR activities that could have a grand social impact. (shrink)

Les sentiments d'ordre temporel s'étalent dans chaque branche du fait musical et dans chacun de ses moments. Les pratiques musicales se présentent donc comme des actes de temporalisation qui mettent en jeu l'ensemble du monde vital du sujet et activent ses mécanismes fonciers : la foi en l'avenir, la peur de la mort, l'angoisse du futur, le regret du passé, l'ancrage dans le présent, la fuite devant le présent, tout un univers existentiel qui ne touche pas seulement la musique mais (...) la vie humaine dans toute sa magnitude. Qu'il s'agisse des dispositions psychologiques profondes ou de la fuite virtuelle devant des contraintes inévitables, telles que la mort elle-même, l'art musical secoue l'affectivité. Ce serait dans ce type d'émotion, où se réunissent expérience esthétique et vécu existentiel, qu'il faudrait plonger à la recherche d'une spécificité de la musique parmi les faits sociaux. (shrink)