標題: Titlebook: Comedy in Crises; Weaponising Humour i Chrisoula Lionis Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusive license [打印本頁] 作者: 文化修養(yǎng) 時間: 2025-3-21 20:05
書目名稱Comedy in Crises影響因子(影響力)
書目名稱Comedy in Crises影響因子(影響力)學科排名
書目名稱Comedy in Crises網(wǎng)絡公開度
書目名稱Comedy in Crises網(wǎng)絡公開度學科排名
書目名稱Comedy in Crises被引頻次
書目名稱Comedy in Crises被引頻次學科排名
書目名稱Comedy in Crises年度引用
書目名稱Comedy in Crises年度引用學科排名
書目名稱Comedy in Crises讀者反饋
書目名稱Comedy in Crises讀者反饋學科排名
作者: Optometrist 時間: 2025-3-21 21:00 作者: 預示 時間: 2025-3-22 03:40 作者: 兇兆 時間: 2025-3-22 07:19
Transition to a Market Economy in Polands diminishing the possibilities for overcoming its legacy. By following the humorous exploits of Rosalind Brodsky—the protagonist in . and also Treister’s alter ego—this chapter contends that the work offers a model for an unsentimental engagement with the Holocaust that situates it . representation作者: Frequency-Range 時間: 2025-3-22 12:00 作者: 公司 時間: 2025-3-22 14:22
Transition to a Market Economy in Polandf these works is considered to be irony and strategies of subversive affirmation and over-identification inspired by artists Santiago Sierra and Laibach. Shifting attention from what ‘funny’ work is about, to what it ‘does’ to audiences and within the local context, Chiavara’s work questions the cap作者: 公司 時間: 2025-3-22 19:19
Jiaping Han韓家平,Didi Xu 許荻迪,Yuanyuan Guan 關媛媛shoot silhouettes of bodies while avoiding fleeing children (Gaudet), Altomonte investigates how these works encourage participants to contemplate the line between parody and reality, whilst operating as sobering critiques of the mass shooting epidemic in the United States.作者: BIBLE 時間: 2025-3-22 23:07 作者: Fermentation 時間: 2025-3-23 02:36 作者: CHASE 時間: 2025-3-23 05:58 作者: Antecedent 時間: 2025-3-23 13:05
After Salzmann: Thoughts on Humour, Erasure, Photography and Palestine be remedied through artistic intervention. Zananiri’s work intervenes in these black-and-white images to question how humour can unsettle, reduce, or even negate the colonial baggage these images carry.作者: 出汗 時間: 2025-3-23 14:09
Making ‘Funny’ Art During the Greek Crisis … So What?f these works is considered to be irony and strategies of subversive affirmation and over-identification inspired by artists Santiago Sierra and Laibach. Shifting attention from what ‘funny’ work is about, to what it ‘does’ to audiences and within the local context, Chiavara’s work questions the cap作者: Maximizer 時間: 2025-3-23 18:16 作者: 討厭 時間: 2025-3-23 23:55
Is Art a Means of Resistance in Times of Global Crisis?: Far-Right, Humour and Street Art in Today’sming powerful tools of visual critique in the public space. While?many of these works have engendered reactions such as censorship or vandalisation,?they have nevertheless contributed to highlighting and amplifying the disruptive potential of civic dissent expressed through public art and humour. An作者: Parabola 時間: 2025-3-24 06:18
https://doi.org/10.1007/978-3-031-18961-6humour studies; comedy studies; art history; visual culture; contemporary art作者: DEAWL 時間: 2025-3-24 07:03 作者: 浮雕 時間: 2025-3-24 10:47
https://doi.org/10.1057/9780230500877ical and humanitarian crisis. Although this shift in art practice is evident across a broad spectrum of both geography and forms of ‘crisis’ (from military occupation in Palestine, to the struggle for indigenous sovereignty in Australia, and economic crisis and austerity in Greece), there remains a 作者: Redundant 時間: 2025-3-24 16:24 作者: Pathogen 時間: 2025-3-24 20:27 作者: Cholesterol 時間: 2025-3-25 01:30 作者: stratum-corneum 時間: 2025-3-25 03:46
Transition to a Market Economy in Hungaryereotypes. The work of Kara Walker, however, uses ambivalent, humorous strategies in its address of race. This is particularly clear in her massive memorial fountain, . (previously installed at the Tate Modern), a work that references the legacies of the British Empire and the transatlantic slave tr作者: scrutiny 時間: 2025-3-25 09:02 作者: 寵愛 時間: 2025-3-25 14:01 作者: 拉開這車床 時間: 2025-3-25 16:24 作者: FRONT 時間: 2025-3-25 22:12
Transition to a Market Economy in Poland in crisis’. Investigating how humour might intervene in the instrumentalisation of political, social and national clichés, Chiavara’s practice sheds light on how essentialised stereotypes became consumable commodities both within and beyond Greece’s borders during the European economic crisis. Focu作者: immunity 時間: 2025-3-26 03:04
Transition to a Market Economy in Polandsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘a(chǎn)ctivist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues作者: 小溪 時間: 2025-3-26 07:17 作者: 屈尊 時間: 2025-3-26 11:28 作者: Motilin 時間: 2025-3-26 15:10
Jiaping Han韓家平,Didi Xu 許荻迪,Yuanyuan Guan 關媛媛 the public against the threat of violence in the age of mass shootings. However, what about those that turn to laughter and humour in response to violence? How can we critique violence using parodic devices, rather than ‘thoughts and prayers’? Responding to these questions, Altomonte considers how 作者: TEN 時間: 2025-3-26 17:45
https://doi.org/10.1007/978-3-658-29653-7en?promoted by mainstream?far-right parties with the support of neo-fascist organisations?over the last decade. Matteo Salvini, the former Deputy Prime Minister?(2018–2019), and Giorgia Meloni, the current Prime Minister (elected in 2022),?have become the main spokespersons for an Italian far-right 作者: atopic 時間: 2025-3-27 00:50 作者: Aesthete 時間: 2025-3-27 01:23 作者: 使閉塞 時間: 2025-3-27 07:42
Comedy in Crises978-3-031-18961-6Series ISSN 2731-4332 Series E-ISSN 2731-4340 作者: allude 時間: 2025-3-27 09:48
Transition to a Market Economy in Polandsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘a(chǎn)ctivist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues including colonialism, capitalism and racism.作者: Vsd168 時間: 2025-3-27 15:59
Positioning Humour Within Indigenous Paradigms: An Interview with Richard Bellsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘a(chǎn)ctivist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues including colonialism, capitalism and racism.作者: 小平面 時間: 2025-3-27 18:12
Laughing in an Emergency: Weaponising Humour in Contemporary Art,ical and humanitarian crisis. Although this shift in art practice is evident across a broad spectrum of both geography and forms of ‘crisis’ (from military occupation in Palestine, to the struggle for indigenous sovereignty in Australia, and economic crisis and austerity in Greece), there remains a 作者: 牽連 時間: 2025-3-27 22:20 作者: PALMY 時間: 2025-3-28 05:23
“And a More Offensive Spectacle I Cannot Recall”: Humour in , (1999) by Suzanne Treistere Holocaust in order to save her grandparents but mistakenly arrives on the set of . in 1993. In this joke, Treister points to the potency of Spielberg’s representation in the 1990s imaginary, such that it would supplant memory of the Holocaust itself—or, indeed, impede time travel. Gillian Rose’s 1作者: 不吉祥的女人 時間: 2025-3-28 09:56 作者: 女歌星 時間: 2025-3-28 11:14 作者: 協(xié)議 時間: 2025-3-28 18:32
After Salzmann: Thoughts on Humour, Erasure, Photography and Palestineor multiple markets. These photographic practices were broad, ranging from popular images focusing on well-known biblical themes to scholarly imaging practices that aimed to highlight the Biblical past in disciplines like archaeology and anthropology. The interaction between imaging for scholars and作者: heartburn 時間: 2025-3-28 20:35 作者: 容易做 時間: 2025-3-29 00:38 作者: 不要不誠實 時間: 2025-3-29 04:17
Making ‘Funny’ Art During the Greek Crisis … So What? in crisis’. Investigating how humour might intervene in the instrumentalisation of political, social and national clichés, Chiavara’s practice sheds light on how essentialised stereotypes became consumable commodities both within and beyond Greece’s borders during the European economic crisis. Focu作者: CURL 時間: 2025-3-29 09:58
Positioning Humour Within Indigenous Paradigms: An Interview with Richard Bellsitions the work of artist within Indigenous paradigms. Informed by Bell’s claim of being an ‘a(chǎn)ctivist masquerading an artist’, Flynn’s interview uncovers how ontological and axiological praxes of communal responsibility are demonstrated in Bell’s work, where humour is weaponised to challenge issues作者: 引水渠 時間: 2025-3-29 13:33 作者: arbovirus 時間: 2025-3-29 15:58
Art as Archive: Subversive Humour and Authenticity in Brazilian Artnymous cultural participation that challenges government practices. Tracing the legacy and ongoing impact of humour in Brazilian art, Carvalho argues that shifts in artistic practices (particularly in relation to the archive) have continued to play a subversive role in a time of political unrest. Dr作者: 空氣 時間: 2025-3-29 23:44 作者: CYN 時間: 2025-3-30 03:48
Is Art a Means of Resistance in Times of Global Crisis?: Far-Right, Humour and Street Art in Today’sen?promoted by mainstream?far-right parties with the support of neo-fascist organisations?over the last decade. Matteo Salvini, the former Deputy Prime Minister?(2018–2019), and Giorgia Meloni, the current Prime Minister (elected in 2022),?have become the main spokespersons for an Italian far-right 作者: TEM 時間: 2025-3-30 07:00
Book 2023vation and reception of humour in diverse?contemporary art contexts. Drawing together research by artists, theorists, curators, and historians from around the world (from Palestine, to Greece, Brazil, and Indigenous Australia), it?provides new insight into how humour is weaponised in contemporary ar作者: Tortuous 時間: 2025-3-30 08:50
Humour as Heterotopic Frictionpic friction’, where multiple heterogeneous frames of utterances create conflict, rub up against or graft onto one another. Jones’s performances employ heterotopic friction to amplify how imagined sites encounter the actual in order to reveal a plurality of propositions that challenge dominant concepts of cultural identity.作者: 牢騷 時間: 2025-3-30 15:15
Transition to a Market Economy in Poland the capitalist, Euro-American, patriarchal artworld via their incongruous authorships, such as pseudonyms or anonymity. They are thus discussed as artworld jesters who poke fun at the ‘court’, their liminal positions serve as unique perspectives from which to analyse the agency of critical humour in art, contributing to this emerging scholarship.作者: 溫順 時間: 2025-3-30 17:08
The Significance of Authorial ‘Play Spaces’ for Seriously Funny Art the capitalist, Euro-American, patriarchal artworld via their incongruous authorships, such as pseudonyms or anonymity. They are thus discussed as artworld jesters who poke fun at the ‘court’, their liminal positions serve as unique perspectives from which to analyse the agency of critical humour in art, contributing to this emerging scholarship.
