CFP: Humor in America Conference, July 2018 in Chicago

Humor in America 2018

Call for Participants

 

Sponsored by:

American Humor Studies Association

Mark Twain Circle of America

Website: https://humorinamericaconference.wordpress.com

 

“Humor in America” will be held on the campus Roosevelt University in downtown Chicago from July 12-15. The conference will feature paper panels and roundtables on all aspects of American humor and/or any subject related to Mark Twain.

Please send proposals to americanhumor2018@gmail.com by February 1, 2018. Notifications will be sent by March 1. Please feel free to contact the conference organizers, Tracy Wuster, Larry Howe, and Pete Kunze, with any questions at americanhumor2018@gmail.com.

 

PAPERS:

Proposals for paper presentations of 15-18 minutes should consist of a 250-word proposal and A/V requests.

 

PANELS:

Proposals for organized panels of 15-18 minute papers moderated by a chair should include individual 250-word proposals, an overview of 100 words, a proposed Chair (not required), ad A/V requests.

 

ROUNDTABLES:

Each roundtable participant will speak for 7-9 minutes on a topic related to the larger theme (see below).  Participants may present both a paper and participate in a roundtable, should space allow. If you wish to participate only in a roundtable, please indicate with your submission. Please submit a title and 100-word abstract if interested by February 1, 2018.

 

Roundtable topics:

–Theory, Methodology, and Practice of Humor Studies: New Directions

–MT and Graphic Humor: Icon and Caricature

–Gender and Humor: Can Men be Funny?

–Race, Ethnicity, and the Study of Humor

–Mark Twain and Today’s satirists: Colbert, Bee, and Oliver

–The Publics of Political Humor and Satire

–Violence in the humor of Mark Twain

–Humor, Comedy, and Historiography

We welcome proposals for paper presentations and panels on any topic related to American humor and/or Mark Twain, broadly conceived. Scholars across the humanities are invited to present research on any of the following topics (or others related to humor, comedy, laughter, etc., etc.):

  •  literary humor (including but not limited to Chesnutt, Fanny Fern, Parker, Faulkner, Melville, Vonnegut, Ellison, Morrison, Kingston,      Beatty, Ephron, Sedaris, etc.)
  • humor and gender, race, sexuality, class, religion
  • stand-up comedy, sketch comedy, and other humorous performances
  • radio comedy, television, and film comedy
  • visual humor, comics, and graphic narratives
  • podcasts, internet humor, memes, and other new media
  • satire, ridicule, parody, and other forms of humor
  • humor in “serious” contexts or works
  • humor in regional, national, transnational, international, and other spatial contexts
  • All topics related to Mark Twain (especially the following topics: Mark Twain language play, MT and Political humor, MT and stand-up, MT a and gendered humor, Laughter and the         Color Line: Huckleberry Finn and Pudd’nhead Wilson, The Fantastic and The Comic in MT, The       Comic Rhetoric of MT’s Speeches and/or Interviews)

We especially welcome proposals from scholars of color, junior scholars, and independent scholars. Graduate students attending the conference will be eligible for “Constance Rourke Travel Grants” to assist with travel funds. We highly encourage scholars to contribute to this fund. See the conference website for more information.

Attendees must be (or become) a member of the American Humor Studies Association or the Mark Twain Circle of America. Presenters will be highly encouraged to submit article-length versions of their work for possible publication in Studies in American Humor, a peer-reviewed journal published by the American Humor Studies Association since 1974 and in conjunction with the Penn State University Press since 2015. Presenters on Mark Twain will be encouraged to submit article-length versions to the Mark Twain Annual, published by Penn State University Press.

The conference registration fee will be $40 for graduate students, adjunct faculty, and independent scholars, and $75 for tenure-track faculty members.

 

Advertisements

Call for Contributors

Humor in America” is looking for contributions for an August issue.  Started in 2011, this website publishes pieces about American humor and humor studies.  We have published over 500 pieces, had over 350k visitors and over 600k page views, and have been attacked by Roseanne Barr (although Ricky Gervais tweeted a nice response).

In January 2017, we decided to go from a weekly (or thereabouts) publication schedule to a twice per year format, in which we hope to publish a number of high quality pieces each year in August and February. Thus, we are looking for contributors who can submit pieces by July 15th for publication in early August.  If you are interested in writing a post, please write Tracy Wuster for more information.

Please review the types of pieces we tend to publish, which are largely focused on humor and its multiple roles in American culture.  We generally to not publish humorous writing.  We do not publish posts meant primarily to drive traffic or advertise something else. We are an academic community dedicated to smart writing about humor. We do not make money and we do not pay money for contributions.

Nerd Prom and Presidential Humor

A little different this year…

Humor in America

Last Saturday the Washington glitterati gathered at the Washington Hilton for what has become a major political event; the White House Correspondent’s Dinner. The draw has over the years become the president doing a stand-up bit followed by a professional comedian roasting more or less everybody in the room. This year’s invited host was Cecily Strong, a Saturday Night Live cast member known for playing The Girl You Wish You Hadn’t Started a Conversation With. Strong, only the second female to host in the last 20 years, did not go soft on those attending, pun intended. In twenty minutes she made sure to joke both left and right. My personal favorite was when she went after Obama: commenting on criticism that Senator Elizabeth Warren is “too idealistic and her proposed policies are too liberal,” she told people to look at President Obama “people thought the same about

View original post 507 more words

The Unbearable Lightness of Don Rickles

Humor in America

His humor is so rude, in such bad taste, that it offends no one — it is too offensive to be offensive. – Gay Talese

don_ricklesDon Rickles is bigger than stand-up comedy. The same way Frank Sinatra is bigger than singing. They each developed a style which would, in essence, become its own genre. They were both actors and, more accurately, entertainers. And they both forged their respective careers by refusing to compromise or vainly chase ephemeral trends. Such stuff as icons are made.

Don Rickles studied acting formally at the American Academy of Dramatic Arts, where Lauren Bacall, Grace Kelly, Spencer Tracy and Kirk Douglas studied. Rickles admits he wasn’t the best student at the Academy, but he received advice and direction there which he applied throughout his career. Rickles landed some film and television roles and appeared in a few stage productions, but the loudmouthed Jewish kid from Jackson…

View original post 2,029 more words

Humor in the Age of Trump

Tracy Wuster

i3

Having been distracted from the study of humor by the spectacle of politics for the past six months to a year, I have yet to put together a cogent response to the question of the role of humor in the age of Trump.  For many, it seems, there is little to laugh at in such a time–at least not the laughter of pleasure or enjoyment.  The humor that comes with satire, yes, but I have not seen much pro-Trump humor.  Maybe I am not looking in the right place.

cjones01172017

Here I want to gather and direct you to a few pieces that I have found interesting on humor and its role now.  Please feel free to direct us toward others in the comments.

LAUGHTER IN THE AGE OF TRUMP 

MAGGIE HENNEFELD / UNIVERSITY OF MINNESOTA

…Comedy, however spiteful, has always possessed a special power to reveal that the emperor has no clothes. Satire defeats fear with laughter. As Jon Stewart put it in a 2010 MSNBC interview with Rachel Maddow—about the destructive impact of news entertainment on journalistic standards—what “satire does best…is articulate an intangible feeling that people are having, bring it into focus, say you’re not alone. It’s a real feeling. It’s maybe even a positive feeling, a hopeful feeling.”3 Unlike the smug laughter of cynical disavowal, the stinging laughter of pointed satire can actively participate in transforming our perception of reality. Since reality is a construct—equal parts unknown trauma and Celebrity Apprentice—it is therefore ripe for the molding, and ours for the seizing….

i2

“Hold on—that’s a trash fire. Over there is Trump’s Inauguration speech.”

LETTER TO AMERICA
BY MICHAEL P. BRANCH

…First of all, America, never forget the immense power of humor to expose misguided values and destructive practices. Satire is as vital and as useful now as it was when Aristophanes ragged on Socrates in The Clouds back in 423 BC. You remember that gut buster, don’t you? Well, we still have plenty to learn from Swift and Johnson, Bierce and Twain, Orwell and Huxley. Satire is not only funny but also enormously forceful and effective—and, human nature being what it is, the comic exposure of vice and folly has the added benefit of offering great job security. America, I know you feel like you’re on the defensive, that even as you try to inspire, persuade, and reform, you secretly fear that you are now a voice crying in the wilderness. The satirist, by contrast, remains on the offensive, challenging established power structures, revealing their absurdity or violence, forcing villains to account for themselves. Orwell was right that “Every joke is a tiny revolution,” because satirical humor is the enemy of established power—especially power that lacks moral leadership. The satirist’s work is the serious business of striking into that troubling gap between what our ideology promises and the often disappointing outcomes our choices actually produce. We don’t call them “punch” lines for nothing….

politicalcorrectness

Political Correctness Isn’t Killing Comedy, It’s Making It Better

Diversity Among Comedians and Audiences Makes Room for More Laughs

BY REBECCA KREFTING

…What’s notable about these new, louder voices is that they aren’t stifling free speech (that bludgeon so often used by incorrectness defenders). They’re creating more. Comics such as Jim Norton may criticize the internet outrage gang for spending too much time railing about matters that are inconsequential, namely jokes told by comics. Upon closer examination, however, a lot of these “petty” conversations speak to issues of great significance in our society like how we portray and treat historically disenfranchised groups.

Does some of the outrage go too far? Yes. Will fear of backlash lead to some performers self-censoring their material? Perhaps. (Though you’ll note that most of these complainers aren’t exactly being silenced.) But it’s a false presumption that being more mindful when it comes to producing humor that punches down will somehow create comedy that’s less funny. If anything, it makes it smarter….

 russiahackwhitehouse

Comedians in the Age of Trump: Forget Your Stupid Toupee Jokes

But these sorts of jokes about him fail to even begin countering the disastrous impact he’ll have upon the world. Because the problem isn’t that he’s unmockable; it’s that he’s too dangerous to simply mock. The saint of the so-called “alt-right,” the man who “tells it like it is,” supports free speech only so long as he isn’t the butt of it. His rhetoric is grounded in hate. But what’s most dangerous is that his entire identity is grounded in the paranoid idea that he, a millionaire who answers to no one — the very definition of a punch-up comedy target — is somehow the victim, and that making fun of him is in fact punching down. The best comedy imagines new, better worlds by laughing at the old, current one. But how do we laugh at this world when it’s run by a man who not only can’t take a joke but would be giddy at the prospect of taking away our right to make them at all?

Continue reading →

Opossum Carols, or Walt Kelly’s Xmas Postludicrosity

Humor in America

As the first snows of December drift across my South St Louis windows, and the last shards of Thanksgiving turkey find their way into the requisite casseroles, cold cuts, and cauldrons of stock, I find myself harkening back to early Advent Sundays of yore.

My childhood, like so many others, was loaded with the humor of the holidays, but one of my family’s favorite traditions always tended in a more marsupial direction. So if you’ie got some time between mixing tubs of “Tom and Jerry” and trimming the tree, I’d like to share one of many meaningful excursions through the absurd quadrants of kiddie Christmas culture.

Charlie3
As I boy growing up in Detroit in the 1970s, I loved watching my mother collapse the last of her gargantuan Thanksgiving feast into a few impossibly crammed Tupperware containers and stuff the serving platters, gravy boats, and silver-plate cutlery away for their long…

View original post 1,901 more words

Regarding Rudolph

Humor in America

rudolph-the-montgomery-ward-reindeer‘Twas the day before Christmas and all through the hills
The reindeer were playing . . . enjoying the spills ”

Thus begins Robert May’s charming and lighthearted poem in anapestic tetrameter, (the same meter as “A Visit from St. Nicholas” ––also known as “‘Twas the Night Before Christmas”).

While it’s a common complaint that holiday traditions and stories have become too commercialized, this beloved tale actually began as a commercial gimmick.

Robert May created the concept of a misfit reindeer in 1939 at the behest of his employer, the Montgomery Ward department store in Chicago. Ward’s had traditionally given a free coloring book to children at holiday time. That year, store executives decided it would be more cost-effective to create an original children’s book in-house. They didn’t know exactly what they wanted, but had the notion it should be an animal story with a main character…

View original post 375 more words

Happy Birthday, Julia A. Moore!

1847-1920

Julia A. Moore 1847-1920

Inspired by the outcome of the recent presidential election, I decided to devote this blog post to an ersatz poet instead of a real one. Julia A. Moore, the “Sweet Singer of Michigan” was a poetaster.  Stinking with sentiment, and fouled by forced rhyme, her work was unintentionally amusing and thereby gained a cult following. “Literary,” she explained, “is a work very difficult to do.”

Her most poetized topics were the joys of sobriety, the sudden deaths of small children, and fallen soldiers. Mark Twain is said to have counted her among his favorite poets because she made him laugh. Twain alluded to her work in Following the Equator, and is thought to have based the character of Emmeline Grangerford in Adventures of Huckleberry Finn on her as well.

In addition to being maudlin, she was also prolific. Two of her poems are below. If you haven’t had enough, you can read more by clicking here.

LITTLE ANDREW

AIR — “Gypsy’s Warning”

Andrew was a little infant,
And his life was two years old;
He was his parents’ eldest boy,
And he was drowned, I was told.
His parents never more can see him
In this world of grief and pain,
And Oh! they will not forget him
While on earth they do remain.

On one bright and pleasant morning
His uncle thought it would be nice
To take his dear little nephew
Down to play upon a raft,
Where he was to work upon it,
An this little child would company be —
The raft the water rushed around it,
Yet he the danger did not see.

This little child knew no danger —
Its little soul was free from sin —
He was looking in the water,
When, alas, this child fell in.
Beneath the raft the water took him,
For the current was so strong,
And before they could rescue him
He was drowned and was gone.

Oh! how sad were his kind parents
When they saw their drowned child,
As they brought him from the water,
It almost made their hearts grow wild.
Oh! how mournful was the parting
From that little infant son.
Friends, I pray you, all take warning,
Be careful of your little ones.

— Julia A. Moore

 

THE TEMPERANCE ARMY

Come all ye friends, and citizens,
Where-ever you may be,
Come listen to a few kind words
A friend will say to thee,
Although going to speak to you
I mean you all no harm,
Tho’ I wish you’d join the army
Of the temperance reform.

Come join the glorious army
Of the temperance reform,
And every man that joins the ranks,
Will find it is no harm,
To wear Red Ribbon on his breast,
To show to this rare world,
There is one that joined the army
And his colors has unfurled.

Come all men in our nation,
Come join this happy band,
And make your homes an eden,
Throughout our happy land.
Your homes will then be happy,
Your friends will all be kind;
And in the domestic circle
True happiness will find.

Ah, from this temperance army,
Your feet shall never stray.
Your mind will then be balmy
If you keep the shining way.
Your paths are strewn with flowers,
And your homes are rosy light,
And God will watch the hours,
For He’s ever on the right.

Come all ye merry happy lads,
And listen to my rhyme.
Don’t be afraid to join the pledge
And let be the cursed wine.
Ah, lay the flowing bowl aside,
And pass saloons if you can,
And let the people see that you
Can be a sober man.

Go join the temperance army,
And battle for the right,
And fight against the enemy
With all your main and might.
For it is a glorious army
This temperance reform,
And the badge Red Ribbon
Will do you all no harm.

— Julia A. Moore

. . . Here’s to  the next four years. Let’s laugh to keep from crying.

 


 

Announcement: Humor in America Book Series

Tracy Wuster

I am pleased to announce the Humor in America book series at Penn State University Press.  Although sharing a name and an editor, the series is not officially connected with this site, but it does share the same goals: the intelligent and illuminating scholarly discussion of humor.

humor-in-america-series-flyer

Humor in America Series

Penn State University Press

Series Editors: Judith Yaross Lee & Tracy Wuster

 

From Benjamin Franklin to Mark Twain, Mel Brooks to Richard Pryor, Our Gang to Inside Amy Schumer, American humor has time and again proven itself to be more than mere entertainment: it has brought cultural norms and practices in America into sharp relief and, sometimes, successfully changed them. The Humor in America series considers humor as an expression that reflects key concerns of people in specific times and places.

 

The series engages the full range of the field, from literature, theater, and stand-up comedy to comics, radio, and other media in which humor addresses American experiences. With interdisciplinary research, historical and transnational approaches, and comparative scholarship that carefully examines contexts such as race, gender, class, sexuality, and region, books in the Humor in America series show how the artistic and cultural expression of humor both responds to and shapes American culture. The series will publish mainly authored volumes, not edited collections, and will appeal to audiences that include scholars, students, and the intellectually curious general reader.

 

Questions or submissions should be directed to the series editors at: leej@ohio.edu and wustert@gmail.com

 

Judith Yaross Lee is Distinguished Professor of Communication Studies and Charles E. Zumkehr Professor of Rhetoric & Culture in the School of Communication Studies at Ohio University in Athens, Ohio, and the author, most recently, of Twain’s Brand: Humor in Contemporary American Culture.

 

Tracy Wuster teaches at the University of Texas at Austin. He is the director of the Humor in American Project at UT and the executive director of the American Humor Studies Association. He is the author of Mark Twain, American Humorist.

 

Initial inquiries should take the form of a three- to five-page proposal outlining the intent of the project, its scope and relation to other work on the topic, and the likely audience(s) for the book. Please also include a current CV. The editors note that although it is a logical fallacy to expect scholarship on humor to be funny, the best humor scholarship can be fun— and illuminate its exemplars’ comic spirit—while also being intellectually rigorous and a pleasure to read.

 

 

Series Editorial Board

Darryl Dickson-Carr

Southern Methodist University

 

Joanne Gilbert

Alma College

 

Rebecca Krefting

Skidmore College

 

Bruce Michelson

Emeritus, University of Illinois at

Urbana-Champaign

 

Nicholas Sammond

University of Toronto

 

Keeping Up with the Fishes

A historian of celebrity culture might include in a footnote the curious emergence, brief duration, and inauspicious decline of a “star system” in academic literary studies in last quarter of the twentieth century. The recent publication of an authorized biography of Stanley Fish, who was among the most famous of those stars in the brave o’er hanging firmament of higher education in the 1980s and 1990s, offers an occasion to reflect upon this strange moment in modern literary studies. After all, Fish was not merely one among many stars at the time, but he also developed a persona as well as a critical theory that actively fueled this sort of academic glamour, decadence, and celebrity in literary studies at the time. Stanley Fish, America’s Enfant Terrible, by Gary A. Olson, is not so much a study of the life of an influential literary critic and university administrator than it is a tabloid-styled celebration of a popular celebrity. It is less Cleanth Brooks and more Khloé Kardashian.

fish-cvr

In his fascinating study of the rise, spread, and ultimate decline of “French theory” in America, François Cusset identified the emergence of academic stars as one of the more striking side-effects of the phenomenon, but he also observed that these “stars” became better known for their roles in the star system than for their own writings or ideas. Thus, for example, “scores of Americans have heard of Stanley Fish’s car collection, Cornel West’s salary, Stephen Greenblatt’s circle of friends, Donna Haraway’s provocative wardrobe, and queer theorist Eve Sedgwick’s late conversion to Buddhism before – and, also, all too often instead of – knowing their academic works.” Each of these figures proved themselves to be influential teachers, scholars, and literary critics, but if such publications as the New York Times took note of them, it was not always because their research seemed especially newsworthy. But also, lest we give overestimate the grandeur of this star system, please note that Cusset says “scores,” not hundreds or thousands; notwithstanding the enthusiasm of some, there were not all that many stargazers.

Among such luminaries as Judith Butler, Gayatri Spivak, Henry Louis Gates Jr., Edward Said, Richard Rorty, and Fredric Jameson, all discussed by Cusset, Fish stands out for a couple of reasons: first, because he became the most widely known outside of the groves of academe, appearing in well-publicized debates, writing a regular online column for the New York Times, and generally making himself familiar to an audience far beyond that found in Milton Studies or similar such communities; but second, because – unlike some of other “public intellectuals” of this era, such as Said, Gates, or West – Fish develops a theory and practice more or less designed to celebrate celebrity. Becoming a “star” was one of Fish’s professional aims, as Olson’s authorized biography of him makes clear. We might even say that, if there were not a star system for him to join, he’d have had to invent one. We might even say that he did.

Continue reading →