‘Margaret Atwood, the Canadian novelist, once asked a group of women at a university why they felt threatened by men. The women said they were afraid of being beaten, raped or killed by men. She then asked a group of men why they felt threatened by women. They said they
were afraid women would laugh at them.’ (Bing:357)
The subject chosen for this independent research project is the body of knowledge and practice in British humour. I will discuss the major processes of intellectual and artistic trends that have shaped the complex dynamics between gender, humour and the sociopolitical
representation of women. My purpose is to unearth and trace how ‘humour’ - a formerly male and misogynist domain – was influenced by women and how it transformed into an area for feminist intervention.
Table of Contents
I. Arts and Comedy - A men's club
II. Theorizing women's humour in history and context
III. From Woolf to snakes - developments and diversification
IV. Discussion and Conclusion
Research Objectives and Themes
This independent research project investigates the intersection of gender, feminism, and British humour, tracing how a traditionally male-dominated and misogynist domain was challenged and transformed by women's participation and feminist theorizing.
- The historical exclusion of women from comedy through patriarchal cultural norms.
- Humour as a subversive tool for feminist critique and resistance.
- The evolution of women's humour from Music Halls to alternative comedy and postcolonial perspectives.
- The function of humour as a coping strategy and a means of identity negotiation.
- The transformation of humour from a tool of oppression into a space for feminist intervention.
Excerpt from the Book
A history of hostility
To engage in the history of women in comedy is to rake up a history of hostility. Why should we even invest energy in this cumbersome undertaking? There are some reasons to restrain from this topic which is neither highly rewarded in academic circles nor politically explosive. Contrariwise, although humour is occupying a niche in feminist studies, it raises some questions too interesting to be swept aside; it points to some very soft spots of the seemingly strong sex. So, in favour of this commitment we can argue that sex is probably the single most persistent theme comedy that has traditionally allowed the most explicit and frequent discussions of sex in the public arena, which means that comic narratives consistently engage in the debate about the concept of gender and the nature of desire (Stott:15). In combination with the distinct value of feminism, that provides a way ‘in which we can most usefully come to an understanding of the image culture in which we are suspended‘(Jones:3), humour appears as a particularly attractive area to investigate.
To begin with the arts in general, it is a matter of common knowledge that all the forms of art for a long time flourished under male auspice. Because of its attribution to the cultural sphere, art was (and largely still is) coded as white and male and a patriarchal ideology informs our mainstream perception and perspective on comedy, whereas women – for reasons of a seemingly natural inaptitude and primitive character – remained largely excluded from it. Sexism is inextricably interwoven with the history of art itself; it is enmeshed in the codex and display of aesthetics, bodily practices and traditional narratives.
Summary of Chapters
I. Arts and Comedy - A men's club: This chapter establishes the historical context of comedy as a male-dominated field where women were traditionally marginalized or objectified, examining the roots of sexist humour.
II. Theorizing women's humour in history and context: This section explores how feminist theory has re-evaluated humour as a subversive strategy and a coping mechanism, shifting the focus from victimization to agency.
III. From Woolf to snakes - developments and diversification: This chapter traces the practical evolution of female humour in Britain, moving from the Music Hall era through the alternative comedy scene to contemporary postcolonial perspectives.
IV. Discussion and Conclusion: This final part synthesizes the findings, confirming that while feminist humour is not a separate genre, it acts as a critical analysis that disrupts traditional, patriarchal structures of laughter.
Keywords
British Humour, Feminism, Gender Studies, Patriarchy, Comedy History, Alternative Comedy, Music Hall, Female Agency, Stereotypes, Subversion, Postcolonialism, Representation, Sexism, Identity, Feminist Theorizing.
Frequently Asked Questions
What is the core focus of this research?
The research examines the relationship between gender and British humour, specifically looking at how women have navigated and transformed a male-dominated artistic field into a space for feminist intervention.
What are the primary themes discussed?
Key themes include the historical exclusion of women from comedy, the role of humour in maintaining patriarchal power, the use of humour as a coping mechanism, and the diversification of feminist comedy in the late 20th century.
What is the main objective of the study?
The aim is to unearth and trace how humour, once a misogynist domain, was influenced by women and how this contribution transformed the way humour is understood in academic and social contexts.
Which methodology is employed in this work?
The project utilizes a qualitative approach, drawing on feminist theory, psychoanalytical interpretations of humour, and historiographical analysis of British comedy trends to explore gender dynamics.
What does the main body of the work cover?
The main body covers the historical roots of sexist humour, the theoretical framework of women's humour as resistance, and specific developmental stages of British comedy including Music Hall and Alternative Comedy.
Which keywords best characterize this work?
The work is characterized by terms such as British Humour, Feminism, Gender Studies, Patriarchy, Female Agency, and Subversion.
How does the author define the relationship between humour and gender?
The author argues that humour is a form of gender construction that has traditionally served to enforce patriarchal values, but which can also be subverted to challenge these same norms.
What role does the 'postcolonial' perspective play in the final chapters?
Postcolonialism introduces a significant turn in the 1990s, where performers like Suniti Namjoshi dismantle universalist feminist platitudes and assert unique identities in a white-dominated comedy world.
What is the significance of the "Music Hall" era for women?
While originally a more democratic space, the Music Hall became a site where Victorian middle-class norms increasingly restricted female performers, highlighting the link between humour and moral suspicion.
What is the author's final conclusion regarding feminist humour?
The author concludes that feminist humour is not a distinct genre of comedy, but rather a vital analytical practice that disrupts dominant structures and provides a symbolic space for marginalized voices.
- Quote paper
- Zuzanna Szutenberg (Author), 2012, Humor and Feminism - A research into the whereabouts of British comediennes, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/202023
