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First Published in 1994. Look Who's Laughing belies the notion that in a joke the only place for a woman is in the butt, Rather than analysing women's humor in isolation, Gail Finney and twenty scholars map the terrain that the genders share and the areas that each hold exclusively. Their essays investigate witty heroines, sexual parodies, domestic humor and romantic power. They focus on comic drama and fiction, stand-up comedy, cartoons, and film describing the roles gender has played in the creation, reception and interpretation of comedy from the sixteenth century to present. They consider works by Shakespeare, Oscar Wilde, Zora Neale Hurston and Virginia Woolf, whilst discussing characters such as V.I. Warshawski, Molly Bloom and Elizabeth Bennet. The book's emphasis on comedy's diverse sources uncovers critical prejudices and defines new contexts enabling men and women to understand more about each other's attitudes towards humor, its means and ends.

The best of the best—stories, one-liners, and jokes from some of today’s funniest Christian speakers and best-selling writers This new book, like its best-selling predecessors, is packed with the kind of smiles and smirks, chuckles and giggles that thousands of readers have come to love and expect. It includes some of the funniest stories from today’s Christian writers like Barbara Johnson, John Ortberg, Mark Buchanan, Patsy Clairmont, Becky Freeman, Chonda Pierce, and more. Whether the topic is kids, marriage, pets, church, parenting, aging, or life’s most embarrassing moments, the writers will help you keep life in perspective by revealing their own foibles, follies, and failings. Realizing that laughter and faith can go hand in hand, they offer real-life anecdotes that will keep your world in balance even—and especially—when life gets tough.

First Published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

From dour old women to buzzkills who can't take a joke, the stereotype of the humourless feminist has repeatedly been deployed to derail and delegitimize the women's rights movement. This collection skips the tired debates that ask whether feminists can be funny—we know the answer to this already—to instead investigate contemporary expressions and functions of humour within international feminist movements and communities. This interdisciplinary volume showcases critical analyses of cultural texts and events, personal accounts of producing and encountering feminist humour, and creative interruptions that pair laughter with insight. As a whole, this work seeks to sideline caricatures of the humourless feminist by promoting a vision of a diverse movement vibrant with innovative, generous, threatening, and, ultimately, triumphant laughter.

But be forewarned, once you start, you may not be able to stop! Help, I Can’t Stop Laughing! offers a collection of nonstop fun, foibles, and rib-tickling humor for those who know that laughter is the best medicine.Contributors like Barbara Johnson, Martha Bolton, Mark Lowry, Patsy Clairmont, Becky Freeman, and Chonda Pierce share their most hilarious and embarrassing moments to remind you that God’s love and a little laughter will keep you smiling no matter what curves life throws you.This cheerful collection of quips, stories, anecdotes, and quotes offers a continual source of refreshment in the midst of life’s struggles and stresses. Let the laughter begin!

Set in late nineteenth-century London, it gives an inside look into an immigrant community that was almost as mysterious to the more established middle-class Jews of Britain as to the non-Jewish population.

Exploring feminist social media tactics that use humor as a form of resistance to misogyny, the affective dynamics of shame, shaming, and shamelessness. Online sexism, hate, and harassment aim to silence women through shaming and fear. In Who's Laughing Now? Jenny Sundén and Susanna Paasonen examine a somewhat counterintuitive form of resistance: humor. Sundén and Paasonen argue that feminist social media tactics that use humor, laughter, and a sense of the absurd to answer name-calling, offensive language, and unsolicited dick pics can rewire the affective circuits of sexual shame and acts of shaming. Using laughter as both a theme and a methodological tool, Sundén and Paasonen explore examples of the subversive deployment of humor that range from @assholesonline to the Tumblr “Congrats, you have an all-male panel!” They consider the distribution and redistribution of shame, discuss Hannah Gadsby's Nanette, and describe tactical retweeting and commenting (as practiced by Stormy Daniels, among others). They explore the appropriation of terms meant to hurt and insult—for example, self-proclaimed Finnish “tolerance whores”—and what effect this rerouting of labels may have. They are interested not in lulz (amusement at another's expense)—not in what laughter pins down, limits, or suppresses but rather in what grows with and in it. The contagiousness of laughter drives the emergence of networked forms of feminism, bringing people together (although it may also create rifts). Sundén and Paasonen break new ground in exploring the intersection of networked feminism, humor, and affect, arguing for the political necessity of inappropriate laughter.

An inmate of a mental institution tries to find the freedom and independence denied him in the outside world.

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