Four Points Sheraton French Quarter The American Humor Studies Association, in conjunction with the Mark Twain Circle of America sends out this general call for papers on American humor. The topics below are suggestions for we think will be of interest; other ideas are welcome, and we welcome especially submissions of sessions of three papers or roundtables. The topics are broad in the hope that scholars will be able to find one that fits their current research. Submissions should be sent to Jan McIntire-Strasburg via email (firstname.lastname@example.org). Please send your submissions by May 15, 2014.
Those sending in submissions for the Mark Twain Circle of America can email their proposals to Ann Ryan at email@example.com.
Possible Topics Include:
Early American Humor and its European Roots
Nineteenth Century Humor—from Southwest to Northeast to Far West
20th Century Humor and the American Novel
Regional and/or transnational humor
New Media Approaches to Humor
Humor in film, television, comics, and other visual media
Humor and Theatre
Humor and Ethnicity
Humor and Gender
Humor and Class
Humor and Sexuality
Humor and War
Contemporary Approaches to Irony, Satire, Wit, and other topics
Our journal, Studies in American Humor, has a new publishing home through Penn State University Press. Additionally, back issues are being digitized and should be available soon online. More details about that project to come.
If you are interested in reviewing books for Studies in American Humor or if you have a book you would like us to consider for review, please contact Tracy Wuster at: firstname.lastname@example.org
Our First Jack Rosenbalm Prize Winner
for Scholarship In American Humor On behalf of the Selection Committee, we are pleased to announce the selection of Ina Seethaler's essay, "Big Bad Chinese Mama: How Internet Humor Subverts Stereotypes about Asian American Women," has won the inaugural prize. The essay was the unanimous choice of the committee, with special praise for its clarity, originality, and insight.
Special thanks to our judges: Bruce Michelson,
Professor of English, University of Illinois at Urbana-Champaign
President, AHSA, Regina Barreca, Professor of English–University of Connecticut, and Larry Howe, Professor of English & Chair, Department of Literature and Languages–Roosevelt University
The award will be presented at the 2014 American Humor Studies Association Conference in New Orleans.
American Literature Association 25th Annual Conference
Washington, D.C. May 22-25 2013 Session from the American Humor Studies Association Political Humor from Nasby to Colbert
"Humor as a Form of Resistance: Analysis of Humor from Slavery to Scholarship," Sheila Bustillos-Reynolds, Texas Woman's University “Failing to Organize: Phyllis Diller and the Feminism of Domestic Failure,” Kathryn Kein, George Washington University
“Parody, Hoax, Attack, and Impetus: Contextualizing Contemporary News Satire,” Karleanne Matthews, University of Rochester
Graphic Humor in the Nineteenth-Century Periodical
Organized by the American Humor Studies Association and Research Society for American Periodicals
Chair: Judith Yaross Lee, Ohio University
“Approaching the Study of Graphic Art in 19th Century Periodicals: Gauging Questions of Authorship, Intent, and Reception,” Bonnie M.` Miller,UMass Boston
“Racism, Bohemianism, and the Dark Face of American Political Humor: The Case of New York's Vanity Fair, 1859-1863," Robert J. Scholnick. Coll. of William and Mary
“A Different Type of Humor: Francis Hopkinson & Typographical Play in Early American Periodicals," Kevin A. Wisniewski, University of Maryland Baltimore County
Teaching American Humor: A Roundtable
Moderator: M. Thomas Inge, Randolph-Macon College/Palacky University
"Teaching Great American Jokes," Jeffrey Melton, University of Alabama
“A Humorous (Dis)Course,” Rebecca Krefting, Skidmore College “What’s funny about African American Literature?” Kimberly Blockett, Penn State University, Brandywine
“Comic failure: Debunking the “Equal Opportunity Offender” as a Criteria of Comic Brilliance,” Lori L. Brooks, University of Michigan
Session offered by the Mark Twain Circle:
William Faulkner and Mark Twain
Organized by The William Faulkner Society and the Mark Twain Circle
Chair: Susan K. Harris, University of Kansas
“’Verbless Patriotic Nonsense’: Faulkner and Twain on War and Science Fiction,” Robert W. Rudnicki, Louisiana Tech University
“Artistic Successes at Game-Theoretic Failure: Twain’s Huckleberry Finn and Faulkner’s “A Justice,” Michael Wainwright, University of London
“Speaking as Corpses: History and Authority in William Faulkner and Mark Twain,” Rachel Watson, University of Chicago
Mark Twain: Mixing and Metaphors
“A Countertradition: Humor’s Rhetorical Roots in American Nature Writing,” Benjamin A. Click, St. Mary’s College of Maryland
“Satire in an Age of Excess: Kenneth Burke’s Environmental Rhetoric,” Brian O’Sullivan, St. Mary’s College of Maryland “‘Identifying’ a ‘Hidden’ Vein of Humor in Twentieth-Century Nature Writing,” Katherine R. Chandler, St. Mary’s College of Maryland
Other Conference and Organization of Interest:
The 2014 International Society for Humor Studies Conference
will be held from July 7 to July 11, 2014 on the campus of the University of Utrecht in the Netherlands. Registration is open and Information about this and other upcoming conferences and the ISHS can be found at www.hnu.edu/ishs.
Also, Don Nilsen sends this note: On the following web site you will find Power Points related to an Honors course that Alleen and I are currently teaching at Arizona State University, as well as Power Points related to “Linguistic Humor and Language Play.” http://www.public.asu.edu/~dnilsen
He also sends along a link to one of the funniest sketches ever done about technological puns – from the BBC. But in the spirit of collegial humor, we pass it on to you:
All Joking Aside: American Humor and Its Discontents
by Rebecca “Beck” Krefting
Scheduled for publication by John Hopkins University Press in September 2014, this examination of stand-up comedy establishes a new genre of comedic production, “charged humor,” and charts its pathways from production to consumption. Since the institutionalization of stand-up comedy as a distinct cultural form, stand-up comics have leveraged charged humor to reveal social, political, and economic stratifications. This book offers a history of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of talented comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu. Krefting also explores the fault lines in the modern economy of humor; why men are perceived to be funnier than women, the perplexing popularity of modern-day minstrelsy, and the way identities are packaged and sold in the marketplace.
Appealing to anyone interested in the politics of humor and generating implications for the study of any form of popular entertainment, this history reflects on why we make the choices we do and the collective power of our consumptive practices. Readers will be delighted by the broad array of comic talent spotlighted in this book and for those interested in comedy with substance, it will offer an alternative punchline.
Be sure to mention the discount code HNAF to preorder for a 30% discount.
Petras, Ross and Kathryn Petras. Wretched Writing: A Compendium of Crimes Against the English Language. New York: Perigee. 2013. 214 pages. ISBN 978-0-399-15924-4. Soft Cover. $15.00.
The Petrases, known for a series of “the stupidest…” now present this encyclopedia of a sort. This collection of selected language horrors are listed by category, alphabetically ("modifiers, misplaced", "adjectives, excessive use of", or "clichés, mangled")
so that readers searching for examples by their favorite miscreants will find the index indispensable. Each entry is also accompanied by asides either giggly or sarcastic.
It casts a wide net over print media, but concentrates on fiction.
There are the usual suspects, such easy targets as overripe Victorian hyperbole, pot-boiling bodice-rippers, incomprehensible 'academese', linguistic anachronisms, celebrity maunderings (Sarah Palin, Camille Paglia), and either bowdlerized or sensationally implausible erotic encounters. Some are unfairly highlighted, like past writers (Jane Austen or D. H. Lawrence) whose sensibilities are no longer fashionable, or like Sax Rohmer, preposterous from the first. Some examples are gleaned from hack writers who unsurprisingly churned out horribly fascinating bad literature. But the Petrases do uncover some unexpected clunkers by contemporary giants. "Even" Norman Mailer stumbled over "participles, dangling" in Harlot's Ghost and "penises, strange" in The Castle in the Forest.
Some other celebrated authors have had their bad moments: John Updike, Vladimir Nabokov, Bret Harte, and Steven King. But Tom Clancy takes dubious pride of place in this cavalcade of wretchedness, listed in six separate categories (again, the index is indispensable). Wretched Writing is full of howlers, but the funniest may be Thomas Harris' mangled double entendre: "Excitement leaped like a trout in the public trousers."
Stein, Ellen. That's Not Funny, That's Sick: The National Lampoon and the Comedy Insurgents Who Captured the Mainstream. New York: WE. W. Norton. 2013. 450 pages. ISBN 978-0-393-07409-3. Hardcover. $27.95.
The National Lampoon has been repeatedly anthologized; special issues reprinted; and alumni memoirs penned, celebrating the magazine that "helped make America safe for satire." Stein’s account features a distinctive balance of praise and criticism, juxtaposing her own analysis with the numerous interviews. On the one hand, the Lampoon "reflected, defined, and enhanced iconoclastic sensibility"; on the other, it narrowly skirted and sometimes crossed the border between satire and reinforcement of grossness, misogyny, prejudice, and stereotyping. Convinced that American society was characterized by greed, malice, and stupidity, its writers assumed a detached ironic pose. Stein contextualizes the magazine through comparisons and contrasts with the 70s Counterculture, and her book explores several aspects that the magazine company usually ignored, connecting Lampoon spin-offs on the radio and television, in the theater and motion pictures.
Charting its genesis at Harvard, Stein finds that it was commercially oriented even then, and examines the often tense relations between writers and artists, and its publishers, even when the magazine was enormously successful. She also reveals that as the spin-off productions became autonomous, the magazine's originators took profitable buyouts, its contributors and "culture" changed, and it became less consistently creative, appearing less frequently. At the same time, Stain does appreciate and remind the reader of those earlier issues which combined effective satire with painstaking artistic presentation, exploring the parameters of ridicule, cruelty, anarchy, and even silliness that have enriched American satire.
Knowledge is knowing a tomato is a fruit. Wisdom is not putting it in a fruit salad.