A drunken Irish maid slips and falls. A greedy Jewish pawnbroker lures his female employee into prostitution. An African American man leers at a white woman. These and other, similar images appeared widely on stages and screens across America during the early twentieth century. In this provocative study, M. Alison Kibler uncovers, for the first time, powerful and concurrent campaigns by Irish, Jewish and African Americans against racial ridicule in popular culture at the turn of the twentieth century. Censoring Racial Ridicule explores how Irish, Jewish, and African American groups of the era resisted harmful representations in popular culture by lobbying behind the scenes, boycotting particular acts, and staging theater riots. Kibler demonstrates that these groups' tactics evolved and diverged over time, with some continuing to pursue street protest while others sought redress through new censorship laws. Exploring the relationship between free expression, democracy, and equality in America, Kibler shows that the Irish, Jewish, and African American campaigns against racial ridicule are at the roots of contemporary debates over hate speech.

'Every voice raised against racism chips away at its power. We can't afford to stay silent. This book is an attempt to speak' The book that sparked a national conversation. Exploring everything from eradicated black history to the inextricable link between class and race, Why I'm No Longer Talking to White People About Race is the essential handbook for anyone who wants to understand race relations in Britain today. THE NO.1 SUNDAY TIMES BESTSELLER WINNER OF THE BRITISH BOOK AWARDS NON-FICTION NARRATIVE BOOK OF THE YEAR 2018 FOYLES NON-FICTION BOOK OF THE YEAR BLACKWELL'S NON-FICTION BOOK OF THE YEAR WINNER OF THE JHALAK PRIZE LONGLISTED FOR THE BAILLIE GIFFORD PRIZE FOR NON-FICTION LONGLISTED FOR THE ORWELL PRIZE SHORTLISTED FOR A BOOKS ARE MY BAG READERS AWARD

The De Gruyter Handbook of Humor Studies consolidates the cumulative contributions in theory and research on humor from 57 international scholars representing 21 different countries in the widest possible diversity of disciplines. It organizes research in a unique conceptual framework addressing two broad themes: the Essence of Humor and the Functions of Humor. Furthermore, scholars of humor have recognized that humor is not only a universal human experience, it is also inherently social, shared among people and woven into the fabric of nearly every type of interpersonal relationship. Scholars across all academic disciplines have addressed questions about the essence and functions of humor at different "levels of analysis" relating to how narrowly or broadly they conceptualize the social context of humor. Accordingly, the editors have organized each broad thematic section into four subsections defined by "level of analysis." The book first addresses questions about individual psychological processes and text properties, then moves to questions involving broader conceptualizations of the social context addressing humor and social relations, and humor and culture. By providing a comprehensive review of foundational work as well as new research and theoretical advancements across academic disciplines, the De Gruyter Handbook of Humor Studies will serve as the foremost authoritative research handbook for experienced humor scholars as well as an essential starting point for newcomers to the field, such as graduate students seeking to conduct their own research on humor. Further, by highlighting the interdisciplinary interest of new and emerging areas of research the book identifies and defines directions for future research for scholars from every discipline that contributes to our understanding of humor.

A rigorous study of the social meaning and consequences of racist humor, and a damning argument for when the joke is not just a joke. Having a "good" sense of humor generally means being able to take a joke without getting offended—laughing even at a taboo thought or at another's expense. The insinuation is that laughter eases social tension and creates solidarity in an overly politicized social world. But do the stakes change when the jokes are racist? In The Souls of White Jokes Raúl Pérez argues that we must genuinely confront this unsettling question in order to fully understand the persistence of anti-black racism and white supremacy in American society today. W.E.B. Du Bois's prescient essay "The Souls of White Folk" was one of the first to theorize whiteness as a social and political construct based on a feeling of superiority over racialized others—a kind of racial contempt. Pérez extends this theory to the study of humor, connecting theories of racial formation to parallel ideas about humor stemming from laughter at another's misfortune. Critically synthesizing scholarship on race, humor, and emotions, he uncovers a key function of humor as a tool for producing racial alienation, dehumanization, exclusion, and even violence. Pérez tracks this use of humor from blackface minstrelsy to contemporary contexts, including police culture, politics, and far-right extremists. Rather than being harmless fun, this humor plays a central role in reinforcing and mobilizing racist ideology and power under the guise of amusement. The Souls of White Jokes exposes this malicious side of humor, while also revealing a new facet of racism today. Though it can be comforting to imagine racism as coming from racial hatred and anger, the terrifying reality is that it is tied up in seemingly benign, even joyful, everyday interactions as well— and for racism to be eradicated we must face this truth.

Contributions by Jared N. Champion, Miriam M. Chirico, Thomas Clark, David R. Dewberry, Christopher J. Gilbert, David Gillota, Kathryn Kein, Rob King, Rebecca Krefting, Peter C. Kunze, Linda Mizejewski, Aviva Orenstein, Raúl Pérez, Philip Scepanski, Susan Seizer, Monique Taylor, Ila Tyagi, and Timothy J. Viator Stand-up comedians have a long history of walking a careful line between serious and playful engagement with social issues: Lenny Bruce questioned the symbolic valence of racial slurs, Dick Gregory took time away from the stage to speak alongside Martin Luther King Jr., and—more recently—Tig Notaro challenged popular notions of damaged or abject bodies. Stand-up comedians deploy humor to open up difficult topics for broader examination, which only underscores the social and cultural importance of their work. Taking a Stand: Contemporary US Stand-Up Comedians as Public Intellectuals draws together essays that contribute to the analysis of the stand-up comedian as public intellectual since the 1980s. The chapters explore stand-up comedians as contributors to and shapers of public discourse via their live performances, podcasts, social media presence, and political activism. Each chapter highlights a stand-up comedian and their ongoing discussion of a cultural issue or expression of a political ideology/standpoint: Lisa Lampanelli’s use of problematic postracial humor, Aziz Ansari’s merging of sociology and technology, or Maria Bamford’s emphasis on mental health, to name just a few. Taking a Stand offers a starting point for understanding the work stand-up comedians do as well as its reach beyond the stage. Comedians influence discourse, perspectives, even public policy on myriad issues, and this book sets out to take those jokes seriously.

The Oxford Handbook of Religion and Race in American History brings together a number of established scholars, as well as younger scholars on the rise, to provide a scholarly overview for those interested in the role of religion and race in American history. Thirty-four scholars from the fields of History, Religious Studies, Sociology, Anthropology, and more investigate the complex interdependencies of religion and race from pre-Columbian origins to the present. The volume addresses the religious experience, social realities, theologies, and sociologies of racialized groups in American religious history, as well as the ways that religious myths, institutions, and practices contributed to their racialization. Part One begins with a broad introductory survey outlining some of the major terms and explaining the intersections of race and religions in various traditions and cultures across time. Part Two provides chronologically arranged accounts of specific historical periods that follow a narrative of religion and race through four-plus centuries. Taken together, The Oxford Handbook of Religion and Race in American History provides a reliable scholarly text and resource to summarize and guide work in this subject, and to help make sense of contemporary issues and dilemmas.

The Number 1 Bestseller 'A captivating account of lives previously ignored' Sunday Independent 'An important, impeccably researched though eminently readable book that charts new territory' Irish Examiner * * * Ireland in the nineteenth and early twentieth centuries was not a good place to be a woman. Among the wave of emigrants from Ireland to North America were many, many young women who travelled on their own, hoping for a better life. Some lived lives of quiet industry and piety. Others quickly found themselves in trouble - bad trouble, and on an astonishing scale. Elaine Farrell and Leanne McCormick, creators of the celebrated 'Bad Bridget' podcast, have unearthed a world in which Irish women actually outnumbered Irish men in prison, in which you could get locked up for 'stubbornness', and in which a serial killer called Lizzie Halliday was described by the New York Times as 'the worst woman on earth'. They reveal the social forces that bred this mayhem and dysfunction, through stories that are brilliantly strange, sometimes funny, and often moving. From sex workers and thieves to kidnappers and killers, these Bridgets are young women who have gone from the frying pan of their impoverished homeland to the fire of vast North American cities. Bad Bridget is a masterpiece of social history and true crime, showing us a fascinating and previously unexplored world. * * * 'I just loved it!' Ryan Tubridy 'Fascinating' Irish Times 'Rich in detail and thorough in research' New Statesman