The Comedy Studies Reader / / ed. by Matt Sienkiewicz, Nick Marx.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package 2018
• MitwirkendeR: Marx, Nick,; Sienkiewicz, Matt,
• HerausgeberIn: Marx, Nick,; Sienkiewicz, Matt,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©2018
• Year of Publication: 2021
• Language: English
• Physical Description: 1 online resource
• Other title: Frontmatter --; Contents --; Acknowledgments --; Volume Introduction: Comedy as Theory, Industry, and Academic Discipline --; 1. The Carnivalesque --; 2. Comedy Mechanics & Absurdity --; 3. Psychoanalyzing Comedy --; 4. Irony --; 5. Genre --; 6. Race & Ethnicity --; 7. Gender & Sexuality --; 8. Nation & Globalization --; Contributors --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781477316016; 9783110745306
• DOI: 10.7560/315996
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Matt Sienkiewicz, Nick Marx.

From classical Hollywood film comedies to sitcoms, recent political satire, and the developing world of online comedy culture, comedy has been a mainstay of the American media landscape for decades. Recognizing that scholars and students need an authoritative collection of comedy studies that gathers both foundational and cutting-edge work, Nick Marx and Matt Sienkiewicz have assembled The Comedy Studies Reader. This anthology brings together classic articles, more recent works, and original essays that consider a variety of themes and approaches for studying comedic media—the carnivalesque, comedy mechanics and absurdity, psychoanalysis, irony, genre, race and ethnicity, gender and sexuality, and nation and globalization. The authors range from iconic theorists, such as Mikhail Bakhtin, Sigmund Freud, and Linda Hutcheon, to the leading senior and emerging scholars of today. As a whole, the volume traces two parallel trends in the evolution of the field—first, comedy’s development into myriad subgenres, formats, and discourses, a tendency that has led many popular commentators to characterize the present as a “comedy zeitgeist”; and second, comedy studies’ new focus on the ways in which comedy increasingly circulates in “serious” discursive realms, including politics, economics, race, gender, and cultural power.