De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain

This article studies the ways in which a new generation of women comics, who became famous in the public mediatic sphere these last years by using webcasting platforms, claims the importance of a humour focused on irreverence and a raw and dissident speech. Based on the theoretical standpoints of fe...

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Main Author: Alice Michaud-Lapointe
Format: Article
Language:English
Published: Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel 2017-05-01
Series:Mise au Point
Subjects:
Online Access:https://journals.openedition.org/map/2356
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author Alice Michaud-Lapointe
author_facet Alice Michaud-Lapointe
author_sort Alice Michaud-Lapointe
collection DOAJ
description This article studies the ways in which a new generation of women comics, who became famous in the public mediatic sphere these last years by using webcasting platforms, claims the importance of a humour focused on irreverence and a raw and dissident speech. Based on the theoretical standpoints of feminist writings of Hélène Cixous, Regina Barreca, Kathleen Rowe and Joanne R. Gilbert, this article shows how these young artists revive a tradition of American female humour lauched in the Fifties by Phyllis Diller and Elaine May. Using different humorous strategies (nonsense, vulgarity, provocation, satire, deliberate discomforts), these comics fight against the sempiternal cliché impying that « women are not funny ». With their resourceful retort and writing talent, they oppose the preconceived heritages and humorous gender conventions.
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spelling doaj-art-a4d8bfbc89664b91b05fe28fa5e4b8092025-08-20T02:34:05ZengAssociation Française des Enseignants et Chercheurs en Cinéma et AudiovisuelMise au Point2261-96232017-05-01910.4000/map.2356De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américainAlice Michaud-LapointeThis article studies the ways in which a new generation of women comics, who became famous in the public mediatic sphere these last years by using webcasting platforms, claims the importance of a humour focused on irreverence and a raw and dissident speech. Based on the theoretical standpoints of feminist writings of Hélène Cixous, Regina Barreca, Kathleen Rowe and Joanne R. Gilbert, this article shows how these young artists revive a tradition of American female humour lauched in the Fifties by Phyllis Diller and Elaine May. Using different humorous strategies (nonsense, vulgarity, provocation, satire, deliberate discomforts), these comics fight against the sempiternal cliché impying that « women are not funny ». With their resourceful retort and writing talent, they oppose the preconceived heritages and humorous gender conventions.https://journals.openedition.org/map/2356female humourirreverencesubversionUnited Statesstand-up comic artisthumorous strategy
spellingShingle Alice Michaud-Lapointe
De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain
Mise au Point
female humour
irreverence
subversion
United States
stand-up comic artist
humorous strategy
title De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain
title_full De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain
title_fullStr De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain
title_full_unstemmed De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain
title_short De Jenna Marbles à Broad CityLes nouvelles voix irrévérencieuses de l’humour américain
title_sort de jenna marbles a broad cityles nouvelles voix irreverencieuses de l humour americain
topic female humour
irreverence
subversion
United States
stand-up comic artist
humorous strategy
url https://journals.openedition.org/map/2356
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