Uppsatsens syfte är att undersöka hur stand up - komedi beskrivs, görs och förstås ur kvinnliga komikers perspektiv. Utifrån kulturantropologiska, kommunikationsteoretiska och genusteoretiska perspektiv söker uppsatsen ta reda på vad som kommuniceras med ett stand up- framträdande, om tankar kring hur det är att utöva stand up som kvinna och om det finns en egen ”kvinnlig humor”.

This thesis is a socio-cultural study of the development of female stand-up comedy in the first decade of the twenty-first century within a multi-racial and multi-cultural Britain. It also engages with the theory and practice of performance and asks the question: ‘In what ways can it be said that female stand-up comics perform the comic side of bodily abjection?’ This question is applied to three groups of female case-studies which include: those who came into stand-up comedy in the 1980s; second-generation transnationals who became established at the end of the twentieth century; and twenty-first century newcomers to stand-up comedy. This third group also includes the author of this thesis who uses her own embodied experience as research, and Lynne Parker whose Funny Women organization was set up in 2002 to facilitate female entry into stand-up comedy. Alongside these three groups the subject of females as audience of female stand-up comedy is also explored. The issue of bodily abjection is explored in relation to seminal works on abjection by Julia Kristeva (1982) and Mary Douglas (1966) and regarding theories of the grotesque as posited by Mikhail Bakhtin (1984) and Mary Russo (1995). These texts are used in this thesis to argue that abjection is a significant aspect of both the context and content of contemporary female stand-up comedy and that the orifices, surfaces and processes of the body are still pertinent to twenty-first century female stand-up comedy.

Uppsatsens syfte är att undersöka hur stand up - komedi beskrivs, görs och förstås ur kvinnliga komikers perspektiv. Utifrån kulturantropologiska, kommunikationsteoretiska och genusteoretiska perspektiv söker uppsatsen ta reda på vad som kommuniceras med ett stand up- framträdande, om tankar kring hur det är att utöva stand up som kvinna och om det finns en egen ”kvinnlig humor”.

Thesis (Ph. D.)--Miami University, Dept. of History, 2006. / Title from second page of PDF document. Includes bibliographical references (p. 151-160).

This study is an investigation into the representation of complexities confronting the concept of the Rainbow Nation as a South African social reality. The study is based on the works of Trevor Noah, one of post-Apartheid South Africa‘s eminent stand-up comedians whose two media works, The Day Walker and Crazy Normal, tackle issues pertaining to the socio-political and economic realities that are prevailing in South Africa. The mass media products continue to receive wide acclaim from both, media circles and audiences from racially diversified societies. They are delivered in a mimetic stereotypical manner that cuts across the length and breadth of the South African society. Trevor Noah‘s comedy uses humour to provide the South African society with an opportunity ―[for brutal honesty] to explore, affirm, deny, and ultimately to change its structure and its values‖ (Turner, 1977:33). Representations made in his comedy, more than providing people with a tonic for laughter, also create for the society momentary instances of thought which transcend the theatre stage in which the humour is delivered. Courtesy of these representations, his comedy infiltrates the people‘s sub-consciousness and engages them on those issues pertaining to race-relations and multicultural tolerance which are more often than not trivialised but are influential in shaping the status quo.

Denna uppsats använder en kvalitativ analys för att undersöka delar av anföranden i roastprogram framförda av ståuppkomikerna Fredrik Andersson, Messiah Hallberg och NikkiGlaser. Syftet med uppsatsen är att med hjälp av humorteori och forskning förstå hur hemskafenomen kan bli roliga i roast-sammanhang och vilka tekniker som kan nyttjas för att lyckasmed anföranden i roast. Uppsatsen visar på att humor är ett komplext och svårfångat fenomensom bygger mycket på tvetydighet och oväntade vändningar av perspektiv, ofta är skrattet enreaktion på något plötsligt orimligt eller olämpligt. Humorn har flertalet funktioner,exempelvis kan den vara socialt meningsskapande, gruppstärkande, terapeutisk eller ett sättatt utforska världen och nya möjligheter. Analysen visar att hemska fenomen kan bli roliganär de behandlas lekfullt i en kontext som är begränsad i tid och rum, och för att något skauppfattas som roligt behöver publiken genom leksignalering förstå att det rör sig om en lek.Analysen kommer fram till att användningen av absurditet kanske är den mest framträdandeleksignaleringen, samtidigt som den är en av de effektivaste humorteknikerna

Stand-up comedy has been a major influence on American culture and has given the "Everyman" the ability to laugh at ourselves. Stand-up comedians have been performing in nightclubs, bars, clubs, and, most importantly, theatres for the past 60 years. Stand-up comedy can take many forms: a monologue of entertaining incidents that form a story, or a string of one-liners, or a succession of jokes. This performance project and thesis is an examination and an attempt at the art form that we call stand-up comedy. It will answer the question of what is the best approach to writing comedy for an actor finishing his graduate acting program. It will also challenge the idea of simple joke-telling versus storytelling and examine the following question: Can anyone be a standup comedian? A research of the history, an analysis of the practitioners, and training from graduate studio work will support the discovery of a practical approach to writing and performing a stand-up comedy routine.

Syftet med studien är att beskriva hur agila team upplever digitala DSM samt kartlägga vilka tekniska ochsociala behov som uppfylls och/eller saknas. De teman som undersöktes var hur digitala DSMgenomfördes praktiskt, vilka tekniska verktyg som användes samt vilken social inverkan det hade påteamet. För att ge riktning åt studien skrevs tre forskningsfrågor med tillhörande tre hypoteser sombaseras på tidigare forskning. Hypoteserna som utformades löd; (H1) vid digitala DSM behöver fler än detre centrala frågorna diskuteras, (H2) funktioner som simulerar den fysiska arbetsplatsen är bärande för ettfungerande digitalt DSM och (H3) minskad informell kommunikation vid distansarbete kompenseras avatt digitala DSM utökas i tid. Studien har genomförts genom att samla in data från en webbaserad enkätsom skickades ut med hjälp av grindvaktare till flera agila team. Enkäten bestod av både kvalitativafritextfrågor och kvantitativa flervalsfrågor som baserades på Theory of distances (Bjarnason et al., 2016),en sammanställning av intergroup theory samt tidigare forskning. Resultatet visade att små skillnaderfanns mellan traditionella och digitala DSM. Hybrid-varianter, minskad informell kommunikation ochbrist på heltäckande funktioner ansågs vara den största utmaningen med digitala DSM. Fördelarnaupplevdes olika beroende på personliga förutsättningar hos respondenterna. Slutsatserna som kunde drasav studien var att det saknades funktioner för att stödja synlighet av emotioner och kroppsspråk men attfunktioner, som skärmdelning, gav en gemensam bild av projektet. Den informella kommunikationenbehöver aktivt inkluderas vid digitala DSM vilket gör att digitala DSM blir längre än traditionella. Vidareforskning hade kunnat fokusera på virtuella mötesrum som en del av lösningen på identifierade problem. / The purpose of the study is to describe how agile teams experience digital DSM and to elucidate whichtechnical and social needs that are met and/or missing. Following themes were examined: how digitalDSM was implemented in practice, what technical tools were used and what social impact digital DSMshad on the team. To give direction to the study, three research questions were formulated with threeassociated hypotheses based on previous research. The hypotheses that were formed were; (H1) in digitalDSM, more than the three central questions were discussed, (H2) functions that simulate the physicalworkplace are essential for a functioning digital DSM and (H3) reduced informal communication inremote work is compensated by time extended digital DSM. The study was conducted by collecting datafrom a web-based survey that was provided to several agile teams with the help of gatekeepers. Thequestionnaire consisted of both qualitative open questions and quantitative multiple-choice questionsbased on Theory of distances (Bjarnason et al., 2016), a compilation of intergroup theory and previousresearch. The results show that there are small differences between traditional and digital DSMs. Hybridvariants, reduced informal communication and lack of comprehensive features were considered to be thegreatest challenge with digital DSM. The benefits were experienced differently depending on the personalcharacteristics of the respondents. The conclusions of the study were that there were no technicalfunctions to back the visibility of emotions and body language, but that functions such as screen sharing,gave a common picture of the project. The informal communication needs to be actively included indigital DSMs which makes digital DSMs more protracted than traditional ones. Further research can focus on virtual meeting rooms as part of the solution to the identified problems

Phyllis Diller, Joan Rivers, and Lisa Lampanelli as performers demonstrate an arc of evolving female empowerment in the world of stand-up comedy. In this thesis I shall study the development of each woman’s career by examining her material, progression of her comic persona, and relationship to women’s gender roles, both personally and professionally. While there are many other female comics who contribute to the story of women’s stand-up comedy in the contemporary period (in particular, Moms Mabley and Elayne Boosler), Diller, Rivers and Lampanelli each represent a distinct shift in how their persona combined with subject matter, allowing women to break new barriers in terms of comic performance. Diller’s comedy carved a space for Rivers’, and Rivers’ comedy carved a space for the likes of Lampanelli. In viewing the trajectory of their effect on comedy as a whole, we can see how each woman asserted herself in stand-up performance, and forever changed the nature of who was allowed to get up on stage, and also, what they were allowed to say by their audiences. To quote Joan Rivers, “First there was a gasp…and then there was a laugh” (Rivers “Piece of Work”).

This written explication deals with the integration of the forms of stand-up comedy and domestic comedy in order to create a comic text. The comic text explores issues regarding the presentation and representation of Jewish cultural identity. The integration results in both the experienced and imagined truths of the playwright to become present on stage. These were points of enquiry in the writing, directing and performing of DRIVEN: A COMEDY IN 70 MINUTES, which opened at The Intimate Theatre, Orange Street, Cape Town on the 23 November 2004. The Introduction deals with defining key terms and forms to be used and discussed in the thesis, informing the reader of the writer's purpose in creating comic text by integrating stand-up and domestic comedy. In the first chapter the generating of comic text is explored. The generating of comic text is achieved by using the comic persona. The comic persona is developed using identity, outside voice. Once the comic persona is in place it is possible to: create an authentic stage persona for the stand-up comedian and to create a 'theatrical climate' consisting of plot, characters, themes and narrative storylines. In the second chapter the idea of pastiche (borrowed elements) is explored in terms of its impact structurally and stylistically in the writing, directing and performing of DRIVEN. Structurally this impact is evident via the use of 'pastiching' the structure of situation comedy (sitcom) and stylistically through the use of Yiddish and the influence of other comedians' performance styles on the comic persona. The third chapter delves into the way Jewish cultural identity is represented through stand-up comedy and Jewish cultural identity is presented through domestic comedy. The stand-up comedian, through persona, audience relationship and other devices associated with the form, becomes the representation of Jewish cultural identity. Characters, story and situation, through the use of both comic traits (elements associated with Jewish cultural identity) and stereotypes, become the presentation of Jewish cultural identity.