This thesis focuses on the use of feminist humor as a method of coalition building among African American women. It is motivated by the central question: what are the ways in which comedic performances may act as both a rebellious counter to dominant views of women of color in the United States and a way to articulate feminist ideologies? More specifically, I am interested in how African American women utilize comedy to articulate specific standpoints and build solidarity. As comedy is often used to persuade and perhaps bond audiences, it is important to continue research in the rhetoric of humor—especially that which takes into account comedy that challenges hegemonic systems and builds cohesion among oppressed groups. I wish to address ways in which theories of humor may work to include not only feminist modes comedy, but performances that also address the intersections of oppressions—including race, class, sexuality, etc. I will be examining the 2001 film The Queens of Comedy starring standup comedians Laura Hayes, Adele Givens, Sommore, and Mo’Nique. A follow-up on the 2000 movie and live standup tour The Original Kings of Comedy, the film depicts the four women’s comedic routines at the Orpheum Theatre in front of a predominately Black and predominately female audience. I argue that the Queens’ use of humor acts as a method to articulate intersections of oppression from a Black female perspective. This creates a specific counterpublic space, defies dominant views of Black American women and fosters cohesion among sympathetic audiences. The first chapter works towards a theory of feminist humor—one that builds off of current comedy research by integrating radical feminist thought (mostly that of Black feminisms). Chapter two identifies anti-feminist dimensions of the Queens’ performances in order to understand unsuccessful (and perhaps harmful) methods of rhetorical humor. Chapter three closely examines dimensions of the Queens’ performances that articulate Black feminist thought and how those performances encourage coalition building among Black women. Chapter four will draw critical implications and address concerns for those interested in humor as a method of encouraging social stability and change. / text

This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.

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In this essay, the concept of online and fourth wave feminism is enhanced through a study of the TikTok-trend #servingcvnt (serving cunt). This study builds on the engagement of contemporary forms of feminist culture with the ever changing dynamic of social media platforms. It offers insight into the otherwise inscrutable world of a TikTok subculture and discloses the mechanisms and practices behind the culturally tinged feminism taking place within it. Combining Muted Group Theory and the conceptual framework of recent feminist media studies, the process of reclaiming is explained and analyzed in terms of feminist humor and shamelessness as resistance tactics. The analysis uses material collected through digital ethnography, encoded through content analysis, that results in detailed studies of video material as well as a portrayal of the digital environment. The study showcases a digital environment tainted by feminine confidence, solidarity and a mentality of shamelessness and humor. #servingcvnt is a subculture constructed by females for females in which they encourage, support and inspire each other to take up space and emancipate from a shaming culture wherein to serve cunt is to reject ideas about how women “should not” be. By constructing their own culture and language, women form a safe sphere in which their own rules and norms apply and reign dominant. This study shows how feminist resistance is injected with a newfound power and possibilities enabled through TikToks media logic and affordances. Hence, this essay should be considered a study of the old phenomenon of reclaiming within a contemporary format of the social media platform TikTok. It is argued that the results and analysis of this study contributes valuable insights to contemporary feminist characteristics, tactics and environments, usable for other future researchers.