Special issue on contemporary satire for Studies in American Humor (Fall 2016), James E. Caron(University of Hawaii—Manoa), Guest Editor; Judith Yaross Lee (Ohio University, Editor).
In response to the torrent of satiric materials that has been and continues to be produced in recent years, Studies in American Humor invites proposals for 20-page essays using the rubric of “the postmodern condition” as an analytical gambit for demarcating a poetics of American comic art forms that use ridicule to enable critique and promote the possibility of social change. Proposals might focus on aspects of the following issues.
What problems are associated with defining satire as a comic mode, and how do recent examples fit into such debates? How useful is the term postmodern to characterize satire—i.e. does it refer to a period or an operation? How useful for understanding recent and contemporary satire are terms designed to indicate we have moved into something other than postmodernism: e.g. trans- or post-humanism, cosmodernism, digimodernism, post-theory? In accounts of satire as a mode of comic presentation of social issues, what differences arise from varied technologies andplatforms, not just print but also TV sitcoms (live-action or animated), movies, comic strips, stand-up formats, or the sit-down presentation of Jon Stewart and Stephen Colbert? Do significant differences emerge from satires on YouTube (or the video-sharing service, Vines) and various Internet sites (e.g., Funny or Die) and social media? If ridicule, broadly speaking, is the engine of satiric critique, what ethical concerns are entailed in its use?
Various disciplinary perspectives and methods are welcome. StAH values new transnational and interdisciplinary approaches as well as traditional critical and historical humanities scholarship. Submit proposals of 500-750 words to StAH’s editorial portal <http://www.editorialmanager.com/sah/> by June 15, 2015, for full consideration. Authors will be notified of the editors’ decisions in early July. Completed essays will be due by January 15, 2016. For complete information on Studies in American Humor and full submission guidelines see <http://studiesinamericanhumor.org/ >. At the time of publication all authors are expected to be members of the American Humor Studies Association, which began publishing StAH (now produced in association with the Penn State University Press) in 1974. Queries may be addressed to the editors at <email@example.com>.
When people talk about the Southwestern humorists today, they most often mean authors like George Washington Harris, author of the Sut Lovingood stories, Thomas Bangs Thorpe, who wrote “The Big Bear of Arkansas, “ or Johnson J. Hooper’s Simon Suggs stories. These authors were all Southern gentlemen for the most part—doctors, lawyers, or other professional men. Yet the humor they wrote was broad, often vulgar, and were delivered in a backwoods dialect with idiosyncratic spellings. They often began the tales with the “gentleman” narrator speaking directly to the reader—explaining that they had heard these stories while traveling through the back country from colorful, though uneducated characters.
Since these are the nineteenth century humorists most often anthologized, the casual reader might draw the conclusion that their brand of humor represents the whole of humor in the Old Southwest of the 1830s-1850s. Such an assumption, however, would be misleading. As with other periods in American literature, humorists wrote their tales and sketches on both sides of the spectrum. For every author whose characters depicted backwoods con men and uneducated rubes, there existed a corresponding author who represented the Southern gentleman who eschewed dialects and instead styled their sketches and tales in the more refined and educated writing reminiscent of their British counterparts. While they often also showed the rough side of the Southwestern frontier during its early times, the con men and (often) immoral characters were themselves educated. They used little dialect, wanting to demonstrate clearly for readers their own erudition.
Augustus Baldwin Longstreet appears to be the “missing link” between authors such as Hooper and Harris, who pioneered dialect humor, and authors such as Joseph Glover Baldwin, whose sketches represent a more “refined” Southern humor. His sketches alternate between two narrators (Hall and Baldwin). One is a typical Georgia “cracker”—a poor, edging toward middle-class white, the other more educated and less tolerant of vulgarity. In his tales, the gentlemanly narrator never lapses into dialect. His “Georgia Theatrics”, shows readers the sounds of an eye-gouging, fist pumping frontier fight, only to undercut the idea—the young man is only practicing what he would do if he were called upon to fight in the backwoods manner.