The Age Of Irreverence

The Age of Irreverence tells the story of why ChinaÕs entry into the modern age was not just traumatic, but uproarious. As the Qing dynasty slumped toward extinction, prominent writers compiled jokes into collections they called Òhistories of laughter.Ó In the first years of the Republic, novelists, essayists and illustrators alike used humorous allegories to make veiled critiques of the new government. But, again and again, political and cultural discussion erupted into invective, as critics gleefully jeered and derided rivals in public. Farceurs drew followings in the popular press, promoting a culture of practical joking and buffoonery. Eventually, these various expressions of hilarity proved so offensive to high-brow writers that they launched a concerted campaign to transform the tone of public discourse, hoping to displace the old forms of mirth with a new one they called youmo (humor). Christopher Rea argues that this periodÑfrom the 1890s to the 1930sÑtransformed how Chinese people thought and talked about what is funny. Focusing on five cultural expressions of laughterÑjokes, play, mockery, farce, and humorÑhe reveals the textures of comedy that were a part of everyday life during modern ChinaÕs first Òage of irreverence.Ó This new history of laughter not only offers an unprecedented and up-close look at a neglected facet of Chinese cultural modernity, but also reveals its lasting legacy in the Chinese language of the comic today and its implications for our understanding of humor as a part of human culture.

The Age of Irreverence tells the story of why China’s entry into the modern age was not just traumatic, but uproarious. As the Qing dynasty slumped toward extinction, prominent writers compiled jokes into collections they called "histories of laughter." In the first years of the Republic, novelists, essayists and illustrators alike used humorous allegories to make veiled critiques of the new government. But, again and again, political and cultural discussion erupted into invective, as critics gleefully jeered and derided rivals in public. Farceurs drew followings in the popular press, promoting a culture of practical joking and buffoonery. Eventually, these various expressions of hilarity proved so offensive to high-brow writers that they launched a concerted campaign to transform the tone of public discourse, hoping to displace the old forms of mirth with a new one they called youmo (humor). Christopher Rea argues that this period—from the 1890s to the 1930s—transformed how Chinese people thought and talked about what is funny. Focusing on five cultural expressions of laughter—jokes, play, mockery, farce, and humor—he reveals the textures of comedy that were a part of everyday life during modern China’s first "age of irreverence." This new history of laughter not only offers an unprecedented and up-close look at a neglected facet of Chinese cultural modernity, but also reveals its lasting legacy in the Chinese language of the comic today and its implications for our understanding of humor as a part of human culture.

Traces a tradition of ironic and irreverent environmentalism, asking us to rethink the movement’s reputation for gloom and doom Activists today strive to educate the public about climate change, but sociologists have found that the more we know about alarming issues, the less likely we are to act. Meanwhile, environmentalists have acquired a reputation as gloom-and-doom killjoys. Bad Environmentalism identifies contemporary texts that respond to these absurdities and ironies through absurdity and irony—as well as camp, frivolity, irreverence, perversity, and playfulness. Nicole Seymour develops the concept of “bad environmentalism”: cultural thought that employs dissident affects and sensibilities to reflect critically on our current moment and on mainstream environmental activism. From the television show Wildboyz to the short film series Green Porno, Seymour shows that this tradition of thought is widespread—spanning animation, documentary, fiction film, performance art, poetry, prose fiction, social media, and stand-up comedy since at least 1975. Seymour argues that these texts reject self-righteousness and sentimentality, undercutting public negativity toward activism and questioning basic environmentalist assumptions: that love and reverence are required for ethical relationships with the nonhuman and that knowledge is key to addressing problems like climate change. Funny and original, Bad Environmentalism champions the practice of alternative green politics. From drag performance to Indigenous comedy, Seymour expands our understanding of how environmental art and activism can be pleasurable, even in a time of undeniable crisis.

Untamed Shrews traces the evolution of unruly women in Chinese literature, from the reviled "shrew" to the celebrated "new woman." Notorious for her violence, jealousy, and promiscuity, the character of the shrew personified the threat of unruly femininity to the Confucian social order and served as a justification for punishing any woman exhibiting these qualities. In this book, Shu Yang connects these shrewish qualities to symbols of female empowerment in modern China. Rather than meeting her demise, the shrew persisted, and her negative qualities became the basis for many forms of the new woman, ranging from the early Republican suffragettes and Chinese Noras, to the Communist and socialist radicals. Criticism of the shrew endured, but her vicious, sexualized, and transgressive nature became a source of pride, placing her among the ranks of liberated female models. Untamed Shrews shows that whether male writers and the state hate, fear, or love them, there will always be a place for the vitality of unruly women. Unlike in imperial times, the shrew in modern China stayed untamed as an inspiration for the new woman.

This handbook addresses the methodological problems and theoretical challenges that arise in attempting to understand and represent humour in specific historical contexts across cultural history. It explores problems involved in applying modern theories of humour to historically-distant contexts of humour and points to the importance of recognising the divergent assumptions made by different academic disciplines when approaching the topic. It explores problems of terminology, identification, classification, subjectivity of viewpoint, and the coherence of the object of study. It addresses specific theories, together with the needs of specific historical case-studies, as well as some of the challenges of presenting historical humour to contemporary audiences through translation and curation. In this way, the handbook aims to encourage a fresh exploration of methodological problems involved in studying the various significances both of the history of humour and of humour in history.

Irreverence: A strategy for Therapists' Survival marks the end result of a collaboration between the creative and highly respected therapists and writers in the family therapy field. It continues the tradition of the Milan group and later systemic thinkers to examine the way a therapist's own thinking can block the process of therapy and lead to feeling stuck. The authors define and demonstrate the use of a concept in the therapeutic field: Irreverence, which allows therapists to free themselves from the limitations of their own theoretical schools of thought and the familiar hypotheses they apply to their client families. They illustrate their ideas with some very challenging family therapy cases, such as violence and incest, and include an interesting consultation with the staff caring for a hospitalized patient. The book also extends the notion of irreverence beyond therapy to the fields of training and research where its application is both fresh and profound.

Here at last is a history of England that is designed to entertain as well as inform and that will delight the armchair traveler, the tourist or just about anyone interested in history. No people have engendered quite so much acclaim or earned so much censure as the English: extolled as the Athenians of modern times, yet hammered for their self-satisfaction and hypocrisy. But their history has been a spectacular one. The guiding principle of this book's heretical approach is that "history is not everything that happened, but what is worth remembering about the past.. . .". Thus, its chapters deal mainly with "Memorable History" in blocks of time over the centuries. The final chapter "The Royal Soap Opera," recounts the achievements, personalities and idiocies of the royal family since the arrival of William the Conqueror in 1066. Spiced with dozens of hilarious cartoons from Punch and other publications, English History will be a welcome and amusing tour of a land that has always fascinated Anglophiles and Anglophobes alike.