Is Stand-Up Comedy Art?

Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.     

Stand-Up Comedy,Authenticity, and Assertion

Stand-up comedy is often viewed in two contrary ways. In one view, comedians are hailed as providing genuine social insight and telling truths. In the other, comedians are seen as merely trying to entertain and not to be taken seriously. This tension raises a foundational question for the aesthetics of stand-up: Do stand-up comedians perform genuine assertions in their performances? This article considers this question in the light of several theories of assertion. We conclude that comedians on stage do not count as making genuine assertions—rather, much like actors on a stage, they merely pretend to perform speech acts. However, due to norms of authenticity that govern stand-up comedy, performers can nonetheless succeed in conveying genuine insights. Thus, our account accommodates both the seemingly incompatible aspects of our ordinary appreciation of stand-up comedy and points toward deeper philosophical understanding of stand-up comedy as a unique art form.     

Hannah Gadsby’s Nanette: Connection Through Comedy

Hannah Gadsby: Nanette (2018) is a brilliant and masterful work of comedy in which Gadsby announces she is quitting comedy. In this article, I draw on classical and contemporary humor theory to explore the comedic content of Nanette and critique Gadsby’s reasons for quitting. Although I largely agree with Gadsby’s concerns about comedy, I argue that the very show in which she presents them, Nanette, stands as evidence against their universal truth. Gadsby argues that comedy is no longer conducive to her health for at least three related reasons. First, the self-deprecatory comedy out of which she has built her career is a symptom of her humiliation which she is no longer willing or able to showcase for the pleasure of others. I argue that while self-deprecatory humor can, of course, be a sign of humiliation, it needn’t be. Comedians, including those on the margins, can and do effectively employ self-deprecation without humiliation or denigration of self, and one way comedians do this is as a ruse to expose the ignorance of the audience or of comic targets not present. Second, Gadsby analyzes jokes and argues their two-part structure, set-up and punch line, is inadequate for telling the whole story of the trauma she has endured as a lesbian who, as she puts it, presents as “gender not-normal.” However, I maintain that, although jokes may not be, stand-up sets are often complete wholes with beginnings, middles, and ends. In fact, Nannette is a prime example of such complex comedy. Finally, she argues that the comedian’s job is to create and dispel tension, but she is no longer willing to take responsibility for or do anything to dispel the tension created when she speaks of her past trauma. But I discuss how Gadsby, as a true master of her craft, is able to create a highly successful and very funny comedy show in which she completely controls the tension while explicitly choosing to leave significant portions of it with the audience. In fact, super stand-up comedy can introduce tension it neglects to remove without sacrificing the humor. Indeed, Hannah Gadsby’s Nanette is a prime example of comedy that powerfully does precisely this.     

Improvisation and Stand-Up Comedy

In this article, I investigate the ways in which improvisation occurs and works in stand-up comedy. I introduce a continuum model of composing and improvising and for understanding and classifying generative and nongenerative performances. The model reflects the fact that cognitive neuroscience research on creativity and improvisation provides evidence for the claim that composing and improvising are two species of the same genus (selective creation), and the differences between generative and nongenerative performance are not categorical but vague, admitting of a continuum model. The model is applied to standard cases of stand-up comedy to illuminate the specific ways in which improvisation and composition are present in stand-up comedy, and the ways in which stand-up comedy performances are mixtures of generative and nongenerative elements. In addition, I address some of the reasons why such understanding is important and useful.     

A Comedian and a Fascist Walk into Freud's Bar: On the Mass Character of Stand-Up Comedy

This article explores the psychoanalytic points of commonality between stand-up comedy shows and fascist rallies, arguing that both are concerned with the creation of a “mass” audience. The article explores the political significance of this analogy by arguing that while stand-up shows are not as regressive as fascist rallies, their “mass” character does run counter to any political aspirations they may have toward the end of critical consciousness raising.     

“It's Just Your Turn”: Performing Identity and Muslim Australian Popular Culture

Academic accounts of Muslim integration and inclusion in multicultural Australia are often at pains to emphasize that Muslim identity and Australian national identity are compatible with each other. While this political manoeuvre remains both important and relevant, it nevertheless chances reinscribing the very terms of debate it seeks to contest and worryingly aligns closely with prevalent governmental techniques to “domesticate” Muslim difference. Furthermore, it risks presenting both “Muslim” and “Australian” identities as self-evident, taken-for-granted categories. In this article, I consider two Muslim Australian popular cultural productions – namely, the television programme Salam Café and the stand-up comedy show Fear of a Brown Planet – in order to explore how Muslim and Australian identities, and the relationships between them, are performed, contested and rearticulated. What is most salient about both productions, the article argues, is that they present the identity of “Australian” as a site of political and cultural contestation, with the “nation” a contingent site through which multicultural politics are actualized. Such a move is salient for Australian multiculturalism more broadly, but is especially so for Muslim communities – not least because it undermines the West/Islam dichotomy altogether.     

Feminist Phenomenology and the Film World of Agnès Varda

Through a discussion of Agnès Varda's career from 1954 to 2008 that focuses particularly on La Pointe Courte (1954), L'Opéra‐Mouffe (1958), The Gleaners and I (2000), and The Beaches of Agnes (2008), this article considers the connections between Varda's filmmaking and her femaleness. It proposes that two aspects of Varda's cinema—her particularly perceptive portrayal of a set of geographical locations, and her visual and verbal emphasis on female embodiment—make a feminist existential‐phenomenological approach to her films particularly fruitful. Drawing both directly on the work of Maurice Merleau‐Ponty and on some recent film‐ and feminist‐theoretical texts that have employed his insights, it explores haptic imagery and feminist strategy in The Gleaners and I, the materialization of space characterizing Varda's blurring of fiction and documentary, and the dialectical relationship of people with their environment often observed in her cinema. It concludes that both Varda's female protagonists and the director herself may be said to perform feminist phenomenology in her films, in their actions, movement, and relationship to space, and in the carnality of voice and vision with which Varda's own subjectivity is registered within her film‐texts.     

Winning Over the Audience: Trust and Humor in Stand-Up Comedy

This article advances a novel way of understanding humor and stand-up comedy. I propose that the relationship between the comedian and her audience is understood by way of trust, where the comedian requires the trust of her audience for her humor to succeed. The comedian may hold (or fail to hold) the trust of the audience in two domains. She may be trusted as to the form of the humor, such as whether she is joking. She may also be trusted as to the content of the joke. This approach has two distinct virtues. The first is that it makes sense of partial successes. These are cases where the humor neither completely succeeds nor fails because the audience does not fully trust the comedian. The second is that it explains intuitions about ethically dubious humor and why certain classes of humor, especially those dealing in racialized and gendered identities, are more readily (but not necessarily) accepted from humorists of those identities.     

Abracadabra Tongue: Poetry Magic

The author has known that poetry is magic since she was a child. However when she sat down to write about it she went blank, confronted by the taboo against magic in our rationalistic culture. In the way of Jungian magic she is helped by dream figures. The Muslim Solomon takes her on a flying carpet journey which reveals the magic of poetic influence: how Hafiz influenced Goethe influenced Lorca influenced her, which is how Persian mysticism found its way into her poetry. She tells the story of her development as a poet, how she learned fermentation magic—the difficult and often painful process required by poetic vision and revision in which grapes must be crushed, favorite phrases and metaphors must be ruthlessly smashed. The Queen of Sheba, another dream figure, shows up to tell her version of the story of her relationship with Solomon. She reveals the dark, fierce, and lusty lineage of her “old black magic” and how it has made its way into the author's poetry.     

Relationship of Inglehart's and Schwartz's value dimensions revisited

This study examines the relationship between Inglehart's and Schwartz's value dimensions—both at the individual and the country levels. By rotating one set of items towards the other, we show that these value dimensions have more in common than previously reported. The ranking of countries (N = 47) based on Schwartz's Embeddedness—Autonomy and the Survival—Self‐Expression dimensions reached a maximum of similarity, r = .82, after rotating Inglehart's factor scores 27 degrees clockwise. The correlation between the other pair of dimensions (Schwartz's Hierarchy‐Mastery—Egalitarianism‐Harmony and Inglehart's Traditional—Secular‐Rational values) was near zero before and after rotation. At the individual level (N = 46,444), positive correlations were found for Schwartz's Conservation—Openness dimension with both of Inglehart's dimensions (Survival—Self‐Expression and Traditional—Secular‐Rational values). The highest correlation with this Schwartz dimension was obtained at the Secular‐Rational/Self‐Expression diagonal, r = .24, after rotating the factor scores 45 degrees clockwise. We conclude that Schwartz's and Inglehart's originally proposed two‐dimensional value structures share one dimension at the country level and some commonality at the individual level, whereas the respective other pair of dimensions seem to be more or less unrelated.     

Adoption in Judaism

Abstract : This article examines of the place of adoption in Jewish thought and law. Adoption is undocumented in the Hebrew Bible, but some verses suggest—or have been said to describe—realities similar to adoption. Beginning with a discussion of the immutability of the relationships in the biological family, this article discusses the merits of caring for orphans and the special halakhic situations that arise for a Jewish family that pursues a civil adoption. The article concludes with a discussion of adoption as a metaphor for a convert's relationship with the ancestors of the Jewish people.     

Cyborg Politics and Economic Realities: Reflections on Elaine Graham's Representations of the Post/Human

Abstract

This article seeks to examine the political and economic context of cyborg culture and technology in Elaine Graham's Representations of the Post/Human. It begins by drawing out the relationship between Graham's study and Foucault's genealogical method and seeks to establish the ‘silent machine’ operating in Graham's analysis. By following three critical strands —knowledge as technology, economic determinism and imaginative agency and the economics of transcendence—the article highlights and extends a critique of capitalism and technology in the text. It argues that economics is now shaped by the machine and concludes by opening up a ‘politics of refusal’. Graham's work is acknowledged for bringing to light uncomfortable questions surrounding the politics of the machine.     

Shifting Realities? Changing Concepts of Religion and the Body in Popular Culture and Neopaganism

This article focuses on the analysis of the way in which ideas about religion and the body—in its relationship with technological innovation—are portrayed in some significant science-fiction books and films since the 1980s and on similar ideas in Neopaganism. I aim to show that, while in some cases we can trace a direct influence of popular culture on Neopaganism, it is possible to observe a relation between changes in science-fiction works and changes in Neopaganism: both reflect and express changes in society at large. By examining ideas of the body, technology and religion in Gibson's Neuromancer, David Cronenberg's eXistenZ, and Steven Spielberg's Minority Report, the article shows how new ideas can be used in a counter-cultural way or to strengthen existing power structures. The second part of the article considers whether there is a direct relationship between changes in popular culture and changes in Neopaganism or whether we can talk of a convergence of themes; it does this by examining how Neopagans have used and re-shaped ideas found in science fiction and fantasy. Finally, three key changes in Neopaganism are highlighted, changes that correspond to those found in significant popular culture works.     

Examining the Intertextuality of Fictional Political Comedy and Real-World Political News

This study examines the intertextuality of a fictional political comedy and a political news article. In an experiment, participants watched the political comedy Man of the Year or a control film, read a politically relevant news article on electronic voting, and were asked their discussion intention about the political issue featured in the news article. Beyond direct effects, the mediating influence of elaboration about the politically relevant news article on discussion intent was analyzed. Results revealed no main effect of political comedy viewing on discussion intent, and no mediating effect of elaboration either. However, viewing the fictional political comedy was associated with higher levels of elaboration about the related news article, which shows evidence of intertextuality among media texts. Moreover, perceived external realism of the fictional political comedy was a significant positive predictor of discussion intent about the news article. Results also showed perceived external realism about the fictional political comedy to be a nearly significant moderator of the elaboration and discussion intent relationship. A broader discussion regarding the theoretical and practical implications of the findings is included.     

Safety,Explanation, Iteration

This paper argues for several related theses. First, the epistemological position that knowledge requires safe belief can be motivated by views in the philosophy of science, according to which good explanations show that their explananda are robust. This motivation goes via the idea—recently defended on both conceptual and empirical grounds—that knowledge attributions play a crucial role in explaining successful action. Second, motivating the safety requirement in this way creates a choice point—depending on how we understand robustness, we'll end up with different conceptions of safety in epistemology. Lastly, and most controversially, there's an attractive choice at this point that will not vindicate some of the most influential applications of the safety‐theoretic framework in epistemology, e.g., Williamson's (2000) arguments against the KK principle, and luminosity.     

The Problem of Modernism and Critical Refusal: Bradley and Lamarque on Form/Content Unity

In this article I revisit A. C. Bradley's account of form/content unity through the lens of both Peter Kivy's and Peter Lamarque's recent work on Bradley's lecture “Poetry for Poetry's Sake.” I argue that Lamarque gives a superior account of Bradley's argument. However, Lamarque claims that form/content unity should be understood as an imposition applied by the reader to poetry. Working with the counterexample of modernist poetry, I throw doubt on both this claim and some associated presuppositions found in Lamarque's account. Modernist poetry appears to intermittently fail to exhibit form/content unity; its unique value also appears bound up with this intermittent failure. However—against the moderates, like Kivy and Kelly Dean Jolley, who this counterexample may seem to support—I claim Lamarque is nonetheless correct that form/content unity is intrinsic in response to poetic value. I argue form/content unity should be seen as a demand, which poems (like modernist poetry) can intentionally frustrate.