Borders and Bridges in Gender Discourse: A Comparative Study of Feminist Stand-up Comedy in China and the United States
DOI:
https://doi.org/10.54097/f84fhn15Keywords:
Gender Discourse, Stand-up comedy, Yang Li, Iliza Shlesinger.Abstract
This paper selects the textual content of Yang Li’s and Iliza’s stand-up comedy for a comparative analysis, aiming to foster a dialogue between Chinese and American feminist stand-up comedy. This research findings uncover numerous similarities as well as several noteworthy differences. Additionally, to further explore the female discourse in Chinese and American feminist stand-up comedy, this paper employed quantitative analysis to assess the audience sentiment in the comment sections of the two comedians’ videos, aiming to analyze the discourse power and expression rights of these two feminist comedians. The findings offer insight into the potential and difficulties faced by female comedians tackling gender problems by highlighting the cultural quirks and social attitudes toward feminist humor in both nations. In addition, the study looks at how these comedians’ performances affect the public conversation about feminism and gender equality, offering insights into how feminist comedy is changing in China and the US.
Downloads
References
[1] Al-Aadili, N. M., & Hammood, S. M. (2022). Prosodic Features of Humorous Utterances in American Stand-up Comedies. Res Militaris, 12 (2), 6234 - 6246.
[2] Xue, J. (2022). "Speaking about Women" and "Women Speaking": Rock & Roast and the Revolution of Female Discourse. Art Review, (01), 100 - 111.
[3] Sanghavi, A. (2019). The Effects of 21st Century Digital Media on the Changing Perceptions of Women's Humour and Female Comedians. Proceedings of the 6th International Conference on Research in Behavioral and Social Sciences.
[4] Feng, Y., & Yang, D. (2023). Progress and Stagnation: Female Speech Practices and Expression Dilemmas in Stand-up Comedy. Southeast Communication, (01), 144 - 148.
[5] O'Keefe, M. (2019). Stand-up Comedy and the Clash of Gendered Cultural Norms. Honors Thesis, Bryant University.
[6] Russell, D. (2002). Self-deprecatory humour and the female comic: Self-destruction or comedic construction? Thirdspace: A Journal of Feminist Theory & Culture, 2 (1).
[7] Wang, L. Z. (2017). The Implicit Rules of "Revolution": Transnational Feminist Cultural Studies - A Review of Yan Haiping's "Modern Chinese Women Writers and the Chinese Revolution 1905-1948". Collection of Women's Studies, (02), 50 - 55.
[8] Enns, C. Z., Comas-Díaz, L., & Bryant-Davis, T. (2021). Transnational Feminist Theory and Practice: An Introduction. Women & Therapy, 44 (1-2), 11 - 26.
[9] Zhang, Y. J. (2021). Asymmetric Cosmopolitanism: Interpreting Maxine Hong Kingston's The Woman Warrior from a Transnational Feminist Perspective. Journal of Shandong Women's University, (02), 69 - 75.
[10] Xiao, L. H. (2012). From Absolute Difference to Transnational Feminism: New Developments in Postcolonial Feminism. Modern Chinese (Academic Comprehensive Edition), (12), 57 - 59.
[11] Xu, F. (2015). Haircut and Revolution: A Study on the Body Politics of Revolutionary Women in Soviet Areas - Taking the Shaved Heads of the Women's Independent Regiment as an Example. Beijing Social Sciences, (02), 78 - 83.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Journal of Education, Humanities and Social Sciences

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.






