Black Humor Research Articles

The Laughter That Kills: A Critical Look at Black Comedy in Vonnegut's Slaughterhouse-Five

Kurt Vonnegut's Slaughterhouse-Five employs black humour as a potent tool to critique the absurdities and horrors of war. By exploring the intricate relationship between Vonnegut's writing techniques and the representation of war in his novel, the present article questions the proposition that black comedy could effectively instigate significant social or political change, arguing that despite its potential for critique, humour may inadvertently blur the lines between dissent and complicity, encouraging passive spectatorship rather than active moral engagement. We aim to demonstrate that while black comedy provides a powerful tool for grappling with the absurdity of war, its use also risks trivializing the profound moral and existential implications of conflict. This may undercut the urgency of its anti-war message, foster a distorted understanding of human condition and create a dissonance between the absurdity of war and the gravity of its consequences. Ultimately, it may even frame suffering as a source of amusement.

“Cut on the Bias”: Toni Cade Bambara as a Touchstone of Black Feminist Humor Studies

ABSTRACT As a writer, editor, scholar, and activist, Toni Cade Bambara left an indelible imprint on African American literature and Black feminist thought. This article elucidates Bambara’s significance to Black women’s humorous practice and articulates the mutuality between Black feminism’s ongoing project to render Black women visible and to recover and engage in the bounty of Black women’s humorous expression. Through her “cut on the bias” approach to using humor in the short story “Medley,” Bambara offers an “alternate design sensibility” of racial and gender difference that illuminates the perspective of being Black and female.

Doctoral memes as public pedagogy? Or, heaven knows I’m miserable now

ABSTRACT Social media afford the proliferation of doctoral memes across numerous, generally anonymous, accounts spread over multiple platforms – the timeline where the PhD candidate starts off gleaming with health and beaming in delight and ends up an overweight, dishevelled wreck. Or the exhausted cat who has managed to write one line of their thesis in an entire day. But should these memes be a cause for concern? After all, it’s just humour, albeit somewhat dark. My exploratory thematic analysis of a corpus of 292 doctoral memes and a theorisation of memes as public pedagogy, point to strong resonances between the memes and research on the doctoral experience. This enhances their credibility as a source of information. Based on the analysis, I suggest we might seriously examine doctoral meme-based learning, focusing on the potential of their gallows humour to support identity formation, community building, coping and wellbeing. Memes may be small but could potentially do useful work for both doctoral researchers and their supervisors.

The Analysis of the Film Triangle of Sadness from the Narrative Space

This thesis explores the use of narrative space in the black comedy film Triangle of Sadness, directed by Ruben stlund. The film reveals the hypocrisy between people and the struggles surrounding class inequality through contrasts and reversals. The thesis is based on the theory of spatial narrative and analyzes the film text through three categories of narrative space geographic space, emotional space, and metaphorical space. Geographic space is examined through the settings of the yacht and the island, reflecting modern civilization and nature. Emotional space is analyzed through intimate and confined environments that enhance the emotional tension between characters. Metaphorical space is illustrated through symbolic elements such as the octopus and the exchange of sexual capital, critiquing social and gender dynamics. In this film, spatial narrative effectively reveals and critiques issues of class inequality, using spatial construction to enhance the film s satirical impact.

Critical Discourse Analysis of Aravind Adiga’s The White Tiger

Critical Discourse Analysis (CDA) is part of Discourse Analysis which deals with the way meaning is further explored beyond the realm of sentences. Its use in literature takes the exploration further by making critical inquiry in to the source of the problem or the conflict. By critically looking at conversations and writings that are being used in the society, Critical Discourse Analysis aims to attach the source of all problems in a story to a systemic failure of socio-political powers. In so doing, it tries to take an active role to correct the wrongs in the society by highlighting the conversational and textual rhetoric of the state or related entities. This article investigates the ways and methods in which Aravind Adiga has used discourse in his novel, White Tiger to highlight the plight of the millions of poor Indians who were living under the shadows of the few economically affluent political elites in postcolonial India. His novel, crafted in the form of a series of letters addressed to the Chinese premier, utilizes the ordinary discourse of the people in the lower strata of the society. Techniques of satire and dark humor have predominantly been used to narrate the individual story of the protagonist in a way that represents the wider society which was struggling to break the ‘rooster coop’ and survive with economic and political liberty.

Puns and pain in Palestine

Ahmed Masoud’s The Shroud Maker packs a powerful punch in using the implicative potential of black comedy as a site of resistance. Masoud deploys black comedy to resist and assert control over the exploitative discourse and action against the Palestinians living in Gaza. He does this by using black humour as a tool of alienation to detach people from their trauma, break the fourth wall to make the audience complicit, as a weapon to challenge Israeli dominant discourse, and to assert Palestinian control over the war’s narrative. Dark humour walks the thin line between humour and conflict in the play where “battered by injustice, but still defiant,” the eighty-four-year-old protagonist, Hajja Souad, a shroud maker by profession, introduces trauma through humour and then tips the balance in favour of trauma. Through her offensive jokes and satiric thrust, the play confronts the desensitisation of violence against Palestinians by evoking a reaction in the audience—laughter, followed by reflection on their laughter. While the balancing act between humour and trauma is maintained, The Shroud Maker argues that humour is perhaps the most effective way of communicating and ascribing responsibility to its spectators. Ahmed Masoud puts forth an alternative way of discussing political violence and war beyond the dominant western narrative that marginalises the Palestinian voice. Relaying the tragedy of violence and culture wars through dark humour underscores the message of resistance, coping and persistence in Palestine.

Race-ing Masculinity

Studies about representations of Latinidad in US and European media have identified stereotypes like criminalization and hypersexualization. Furthermore, it has been argued that comedy operates as a double-edged sword in exposing racism, as humor can be deployed to simultaneously mask/justify and show/denounce racial discrimination and monolithic representations of Latinidad. Using a feminist intersectional perspective that foregrounds constructions of masculinities and racialization/migration as exclusionary factors, this essay discusses how RTVE Playz, the digital platform of the Spanish public television aimed at young audiences, represents Latinidad in its series Riders (2021). Situated within the dynamics of racialization in Spain, Riders stands out as an example of dark humor that both complicates and reinforces stereotypes. Through a close reading of the series, we assess its response to current social, political and cultural citizenship challenges.

Black humor and the awakening of personality

The book "A Pig That Goes Its Own Way" depicts a pig's "free and natural existence," a rebellion against the animal's loss of freedom, which is the true reality of the educated youth's existence. The pig's stubborn pursuit of freedom and resistance to discipline in its natural state creates a mottled light and shadow against the dark backdrop of its existence. The author laughs through tears, intentionally preventing the language from sinking into the dark abyss, which is precisely the technique of black humor.

“Yet in His Idle Fire:” Once More unto the Bertram and All’s Well

As a bitter comedy, a dark comedy, and a problem play (all of these so-called), All’s Well has suffered both neglect in the theater for most of its post-creation existence, and vilification from critics for over two centuries, especially in the twentieth. As a result, it is seldom taught and therefore even less often read. More’s the pity, since the real All’s Well is a most entertaining and otherwise rewarding play to experience in the theater and in the study, and far above its traditional status as a disappointment and even “a seedy, seamy affair.” The conventional misreadings center on Bertram, the notorious bed-trick, the ending, and the tonality of the whole. The purpose here is to set these to rights and Helena into perspective as the script seems to present them, and identify this play as a special kind of near-romantic comedy that manages its dramatic vicissitudes so well that All’s Well ends well indeed.

Dark Triad and Humor Styles: A Study on White Collar Workers from Türkiye

Humor plays a crucial role in psychological functioning, influencing goal achievement, emotional regulation, and interpersonal interactions. This study explores the effects of dark triad on humor styles and to inquire about the inconsistent relations previously reported between narcissism and self-enhancing humor within a Turkish sample. Utilizing the Humor Styles Questionnaire and the Dirty Dozen Dark Triad inventory, data were collected from 468 white-collar employees working in various companies through online questionnaire. The results indicated that Narcissism positively affects all humor styles, while Psychopathy significantly associated with aggressive, self-enhancing and self-defeating humor. In contrast, Machiavellianism shows a negative effect with self-defeating humor. These findings underscore the complex interplay between personality traits and humor, suggesting that while Narcissism may enhance both positive and negative humor styles, Psychopathy predominantly influences negative styles, and Machiavellianism appears less involved. The study discusses the implications of these results and provides suggestions for future research.

Dystopian Humour and Postcolonial Anomie in Femi Osofisan's Midnight Hotel

This article explores the intersection of humour and postcolonial themes in Femi Osofisan's Midnight Hotel through the lens of postcolonial contextualisation. Osofisan, a prominent Nigerian playwright, employs satire and dark humour to depict a dystopian society grappling with the protracted ramifications of colonialism. The play is the author's satirical condemnation of Nigeria’s debased value system, as he deconstructs a wasteland of underdevelopment, corruption, and amorality. The aim of the paper is to analyse how Osofisan critiques power structures, societal norms, and the failures of postcolonial governance through humour. Central to this analysis is the concept of "postcolonial anomie," referring to the moral and social disorientation experienced in societies transitioning from colonial rule to independence. Utilising a close textual analysis of the play’s major elements, the research methodology involves examining how Osofisan employs humour to depict and critique the dystopian reality of postcolonial Nigeria. The findings reveal that Osofisan's portrayal of postcolonial anomie through humour adds complexity to the narrative, highlighting both the absurdity and tragedy of the characters' predicaments. Moreover, the article uncovers how Osofisan incorporates dystopian elements to underscore the consequences of unchecked power and corruption, offering a cautionary tale about the dangers of authoritarianism and neocolonialism. By blending satire with poignant social commentary, Midnight Hotel emerges as a powerful vehicle for critiquing contemporary issues within the postcolonial context. In conclusion, this article contributes to the understanding of Osofisan's literary legacy and the role of humour in interrogating complex sociopolitical dynamics in postcolonial societies.

‘Crazy Chinese’ and the 2017 nuclear crisis: A Peruvian newspaper representation of Kim Jong-Un

This study analyzes the narrative characteristics of graphic and written language regarding Kim Jong-Un in the peruvian newspaper ‘El Trome’. This occurred in May of 2017, when mainstream press in Peru closely followed national corruption scandals, whilst ‘El Trome’ focused on a different news story: the nuclear crisis between the United States and North Korea, popularizing the term “Crazy Chinese” in order to refer to the controversial Asian leader. Grounded Theory precepts were employed, which included content analysis of the newspaper covers as well as in depth interviews of the newspapers with both Trome’s General Editor and Design Editor. The newspaper maximized the fear associated with an impending nuclear war, constructing a journalistic message from a sequence of events with two main protagonists: Donald Trump and Kim Jong-Un, unpredictable leaders with access to nuclear weapons. The strategy appealed to black humor and entertainment in order to position an agenda independent from mainstream press, which focused on internal politics at the time.

Sanity through Insanity: The Use of Dark Humor among United States Veterans.

Humor is generally known to effectively help individuals manage distress. Yet a variety of ways exist to engage in humor, and not all of them may be equally associated with desirable outcomes. The purpose of this study is to examine the extent to which dark humor is associated with the subjective well-being of United States military veterans. An online survey was announced on several social media pages populated by US veterans, to which 93 fully responded. Our findings indicate that the use of dark humor does not appear to be associated with a sense of connectedness, but the reported use of self-defeating types of dark humor was associated with lower levels of life satisfaction. Our hypothesis that increased feelings of connectedness to civilian and veteran/active-duty friends would predict increased reports of overall subjective well-being was supported. The implications of these findings for understanding the functions of dark humor are discussed.

The Chosen Land of Black Humor: André Breton's Construction of Mexico

This essay discusses the construction of Mexico in the writings of André Breton as “the surrealist place par excellence.” I focus on Breton’s claim that Mexico is “the chosen land of black humor” through an analysis of his literary sources and his engagement with the printmaker José Guadalupe Posada. I then address Breton’s presentation of Mexico in France through the 1939 exhibition Mexique, which was Frida Kahlo’s Parisian debut, and the article “Souvenir du Mexique,” published in the surrealist journal Minotaure.

Analysis of black comedy elements in "The Annual Meeting Must Not Stop"

Analysis of black comedy elements in "The Annual Meeting Must Not Stop"

Investigating the role of dark personality traits in how people appreciate, share, and censor black humour in online settings

ABSTRACT People find humour in the darkest and most tragic situations. However, there is remarkable interpersonal variability when it comes to setting the so-called limits of humour. We examine how the Dark Tetrad personality traits (DT4; Machiavellianism, narcissism, psychopathy, and sadism) relate to responses to black humour jokes in online settings. A community sample of 745 adults completed the Short Dark Triad and the Assessment of Sadistic Personality inventories before rating a set of ‘black’ and neutrally humourous jokes in terms of their (a) appreciation (fun/offence), (b) likelihood of sharing, and (c) censoring them on social networks (e.g. Twitter/Facebook). After controlling for common variance, everyday sadism emerged as the strongest DT4 predictor of black humour preferences. This type of dark personality was uniquely associated with higher fun and sharing, and lower offence and censorship of black humour jokes. Machiavellianism was related to negative levels of black humour censorship and offence, whereas the opposite associations were observed for narcissism. Yet, the DT4 only showed rather modest amounts of shared variance regarding responses to black humour jokes, suggesting that interpersonal callousness is insufficient to account for the complexity of black humour interposal variability. We discuss the findings with respect to earlier humour literature.

Racial Rage, Racial Guilt: The Uses of Anger in Asian America

ABSTRACT Asian Americans are conventionally described as “middle-man minorities,” outside of dominant racial paradigms of White and Black, adjunct to White privilege and exempt from the brunt of systemic violence directed against Black people. Historical accounts of the in-betweenness of Asian Americans trace their origins to how Asian coolie labor has served to triangulate White capital and African slavery over the course of European modernity. If this is the material history of in-betweenness, what is the psychic corollary of the middle-man thesis? Through an analysis of the Netflix dark comedy series Beef, as well as case histories of Asian American patients and students, we argue that the psychic effects of occupying a racially intermediate position implicate an unexplored terrain of racial rage and racial guilt that Asian Americans are insistently socialized to hold on behalf of others.

Tyrone Slothrop and Roger Mexico: Anti-Heroes in Gravity’s Rainbow

Black humor emerged as a distinctive fictional genre in the United States in the 1960s. In the creative process, novelists tend to emphasize the unique charm of this genre through the portrayal of anti-heroes. Thomas Pynchon is a forerunner in American black humor novels during the 1960s and 1970s, and his masterpiece Gravity’s Rainbow is an outstanding example of this genre. This article focuses on two representative anti-heroes in Gravity’s Rainbow, Tyrone Slothrop and Roger Mexico. Through a thorough analysis of Pynchon’s humorous descriptions of the difficulties faced by these two characters, the black humor characteristics of this novel are interpreted, and readers can gain a deeper understanding of Pynchon’s creative style and the essence and appeal of black humor.

When Saudis Stop Being Humorous: The Subtitling and Reception of Saudi Dark Humour in Masameer County

This study is designed to examine the effect that Netflix English subtitles might have on the way English-speaking viewers receive Saudi dark humour. To achieve this, the researchers analyse Netflix’s English subtitling of two episodes of the Saudi adult animation Masameer County, which is known for its humorous discussion of sensitive issues in Saudi society. This study hypothesises that, partly due to sociocultural considerations, the humorous elements found in the Saudi animation is more appreciated and understood by Saudis than English speakers. It is also hypothesised that the inaccurate translation of specific humorous elements by the non-Saudi subtitler further aggravates the difficulty English-speaking audiences understanding the animation’s dark humour. To assess these hypotheses, the active role of the subtitler is considered. This is achieved by employing the sociological lens of habitus developed by sociologist Pierre Bourdieu. To understand the subtitler’s habitus, the subtitler was interviewed to reveal the personal/social factors that affected her translation’s decisions regarding specific humorous scenes. The outcome of these decisions is assessed by examining their reception by English-speaking viewers. A questionnaire was conducted with English-speaking viewers asked to watch the two episodes of Masameer County under examination. The questionnaire shows that the English-speaking viewers did not receive the Saudi humour with all its sociocultural associations. The findings reveal that the subtitler’s habitus exerted powerful effects on her translational choices, which led to a loss of the Saudi humorous sense in the English-speaking viewers.

Karsty and miserable: Dark humor in the subsurface geopoetics of caving

Geographic accounts of caving have critiqued the propensity of affects and practices which reinforce EuroAmerican coloniality and hubris, while also finding alternative paths of intimacy and lively relationality. Yet subsurface geographies can also reinforce cliched spatial and moral topographies. This article reflects on the production of an ambivalent affect of “dark humor” in caves, through caver social worlds, and in cave writing and song. I use a Bachelardian phenomenology of the imagination as a method of interpreting the geopoetics of cave space and cave emotion related topologically rather than topographically into easy interior/exterior or surface/depth oppositions. Through Jan and Herb Conn's cave ballads and poetry, imaginative place names, and accounts of irritating struggles with manganese, a different emotional culture of caving is produced than the masculine risk-seeking one might expect. Nonetheless, such phenomenological focus on immediacy of creative imagination risks precluding broader historical-political contexts of settler coloniality. Seeking a position between “ruthlessly critical” or “post-critically evasive” analyses, I consider how the Conns produced an “anti-heroic” attitude useful beyond caving and the politics of the subsurface but without purity or innocence.