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Inappropriate Laughter: Affective Homophily and the Unlikely Comedy of #MeToo

机译：不适当的笑声：情调和#metoo的不太可能喜剧情感

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This article investigates the affective and ambiguous dynamics of feminist humor as an unexpected strategy of resistance in connection with #MeToo, asking what laughter may do to the sharpness of negative affect of shame and anger driving the movement. Our inquiry comes in three vignettes. First, we deploy Nanette—Hannah Gadsby’s 2018 Netflix success heralded as the comedy of the #MeToo era—arguing that the uniform viral warmth surrounding the show drives the emergence of networked feminisms through “affective homophily,” or a love of feeling the same. With Nanette, the contagious qualities of laughter are tamed by a networked logic of homophily, allowing for intensity while resisting dissent. Our second vignette zooms in on a less known feminist comedian, Lauren Maul, and her online #MeToo musical comedy riffing off on apologies made by male celebrities accused of sexual harassment, rendering the apologies and the men performing them objects of ridicule. Our third example opens up the door to the ambivalence of irony. In considering the unexpected pockets of humor within the #MeToo scandal that ripped apart the prestigious institution of the Swedish Academy, we explore the emergence of carnivalesque comedy and feminist uses of irony in the appropriation of the pussy-bow blouse as an ambiguous feminist symbol. Our examples allow us to argue for the political importance of affective ambiguity, difference, and dissent in contemporary social media feminisms, and to highlight the risk when a movement like #MeToo closes ranks around homogeneous feelings of not only shame and rage, but also love.
机译：本文调查了女权主义幽默的情感和模棱两可，作为与#metoo有关的抵抗的意外策略，询问笑声可能对羞耻和愤怒驾驶运动的锐度。我们的询问有三个小插图。首先，我们部署了纳米·汉娜加德斯比的2018年Netflix成功预示着，作为#METOO ERA的喜剧，争论展示围绕展示的统一病毒温暖驱使网络化女权主义的出现通过“情调，”或感觉相同的爱。利用纳米特，笑声的传染性质量被奇妙的网络逻辑驯服，允许强度在抵抗异议的同时。我们的第二个Vignette放大了一个不知名的女权主义者喜剧演员，Lauren Maul和她的在线#METOO音乐喜剧，由男性名人被指责的男性名人被指责的男性名人被指责，使道歉和执行他们嘲笑物体的人。我们的第三个例子向讽刺的矛盾开辟了门。在考虑到掠夺瑞典学院的着名机构的#METOO丑闻中的意外的幽默口袋时，我们探讨了Carnivalesque Comedy和女权主义利用讽刺的兴奋剂，作为一个暧昧的女权主义象征。我们的例子允许我们争论当代社会媒体女权主义中的情感模糊，差异和异议的政治重要性，并且当像#METOO关闭的运动围绕均匀的感受而突出风险，不仅羞耻和愤怒，也是爱。

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