Please use this identifier to cite or link to this item: http://bura.brunel.ac.uk/handle/2438/30423
Full metadata record
DC FieldValueLanguage
dc.contributor.authorWeaver, S-
dc.contributor.authorLockyer, S-
dc.date.accessioned2025-01-07T18:08:28Z-
dc.date.available2025-01-07T18:08:28Z-
dc.date.issued2024-12-27-
dc.identifierORCiD: Simon Weaver https://orcid.org/0000-0001-7929-2920-
dc.identifierORCiD: Sharon Lockyer https://orcid.org/0000-0002-4941-8067-
dc.identifier.citationWeaver, S. and . (2024) 'Intersectionality and the Construction of Humour in Contemporary Stand-up Comedy', European Journal of Cultural Studies, 0 (ahead of print), pp. 1 - 19. doi: 10.1177/13675494241294156.en_US
dc.identifier.issn1367-5494-
dc.identifier.urihttps://bura.brunel.ac.uk/handle/2438/30423-
dc.descriptionData availability statement: Data sharing not applicable to this article as no datasets were generated or analyzed during the current study.en_US
dc.description.abstractAs an autobiographical mode of performance, stand-up comedy is interlinked with debates on identity, inequality and social justice. While much of the existing stand-up comedy and identity literature has prioritised the analysis of a single axis of identity, this study significantly extends existing analysis to examine intersectionality in stand-up comedy. Taking an innovative interdisciplinary theoretical approach derived from humour studies and cultural studies, we explore how intersectionality is involved in the construction of humour in contemporary stand-up comedy. Via a rigorous thematic analysis, we analyse the comedic material of three contemporary stand-up comedians on Netflix – Jimmy Carr, Dave Chappelle and Hannah Gadsby. We examine the intersections of their identities in terms of the representation of inequalities, privilege, discrimination and prejudice. Analysis reveals three key themes demonstrated by Carr, Chappelle and Gadsby that illuminate an original understanding of the relationship between identity, intersectionality and humour. These themes concern: 1) intersecting race, gender and sexuality; 2) depicting gendered violence; and 3) intersectional differences in the uses of disclaimers through which comedy is defended.en_US
dc.description.sponsorshipThe author(s) received no financial support for the research, authorship, and/or publication of this article.en_US
dc.format.extent1 - 19-
dc.format.mediumPrint-Electronic-
dc.languageEnglish-
dc.language.isoen_USen_US
dc.publisherSAGE Publicationsen_US
dc.rightsAttribution 4.0 International-
dc.rights.urihttps://creativecommons.org/licenses/by/4.0/-
dc.subjectJimmy Carren_US
dc.subjectDave Chappelleen_US
dc.subjectHannah Gadsbyen_US
dc.subjectgenderen_US
dc.subjecthumouren_US
dc.subjectintersectionalityen_US
dc.subjectNetflixen_US
dc.subjectraceen_US
dc.subjectsexualityen_US
dc.subjectstand-up comedyen_US
dc.titleIntersectionality and the Construction of Humour in Contemporary Stand-up Comedyen_US
dc.typeArticleen_US
dc.date.dateAccepted2024-10-11-
dc.identifier.doihttps://doi.org/10.1177/13675494241294156-
dc.relation.isPartOfEuropean Journal of Cultural Studies-
pubs.publication-statusPublished-
pubs.volume0-
dc.identifier.eissn1460-3551-
dc.rights.licensehttps://creativecommons.org/licenses/by/4.0/legalcode.en-
dc.rights.holderThe Author(s)-
Appears in Collections:Dept of Social and Political Sciences Research Papers

Files in This Item:
File Description SizeFormat 
FullText.pdfCopyright © The Author(s) 2024. Rights and permissions: Creative Commons License (CC BY 4.0). This article is distributed under the terms of the Creative Commons Attribution 4.0 License (https://creativecommons.org/licenses/by/4.0/) which permits any use, reproduction and distribution of the work without further permission provided the original work is attributed as specified on the SAGE and Open Access pages (https://us.sagepub.com/en-us/nam/open-access-at-sage).191.35 kBAdobe PDFView/Open


This item is licensed under a Creative Commons License Creative Commons