“Yoo-Hoo, Prosperity!”
Bibliographic Data
| ID | 19128372 |
|---|---|
| Authors | Margaret Mcfadden (corresponding author), MARGARET T McFADDEN |
| Year | 2015 |
| Volume | 1 |
| Issue | 2 |
| Pages | 255-278 |
| Publication date | 2015-10-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Studies in American Humor (JOURNAL) |
| Journal identifiers | ISSN: 0095-280X • E-ISSN: 2333-9934 |
| Publisher | Penn State University Press (PUBLISHER • US) |
| DOI | 10.5325/studamerhumor.1.2.0255 |
| OpenAlex | W2754117303 |
| Language | EN |
| Citations received | 1 |
This essay argues that Eddie Cantor was so popular across so many different media in the early years of the Great Depression because his complex comic persona enabled him to address prevailing anxieties and to use the license of comedy to offer a strong class critique of the rich and powerful, to symbolically restore lost masculinity and normative gender relations, and to present a vision of a more inclusive white American identity at a time of profound social and economic crisis
Aesthetics · Art · Class (philosophy) · Comedy · Comics · Epistemology · Humanities · Identity (music) · License · Literature · Masculinity · Media studies · Normative · Persona · Political science · Prosperity · Sociology · White (mutation) · Asian Culture and Media Studies · Gender Studies · Law · Philosophy
| Citations per year | 0.13 |
|---|---|
| Citation span | 2018 - 2018 (1) |
| Highly cited | No |