American humor诺曼底王朝 refers collectively to the conventions and common threads that tie together humor in the United States. It is often defined in comparison to the humor of another country - for example, how it is different from British humor and Canadian humor. It is, however, difficult to say what makes a particular type or subject of humor particularly American. Humor usually concerns aspects of American culture, and depends on the historical and current development of the country's culture. The extent to which an individual will personally find something humorous obviously depends on a host of absolute and relative variables, including, but not limited to geographical location, culture, maturity, level of education, and context. People of different countries will therefore find different situations funny. Just as American culture has many aspects which differ from other nations [1], the cultural differences may be a barrier to how humor translates to other countries.
General features
Themes
One leading analysis of American humor, the 1931 book American Humor: A Study of the National Character by Constance Rourke, identified the character of the "Yankee" as that first American comic figure, the first widely accepted American character that the nation could find funny, make fun of and even export for the amument of the world - a gangly traveler who told stories, played elaborate practical jokes, was ingenuous, sly, perhaps uneducated. She reports that American comedy sprang forth after the American Revolution, when the country was "freed from the worry of lf prervation" and its citizens began to regard themlves as "works of art".[2]
一鸣惊人的典故Types of humor
American humor might also be distinguished by its most common type of humor, for example, more slapstick and physical comedy. There is less emphasis onunderstatement, and so the humor tends to be more open; rather than satirizing the social system through exaggeration. This is why American humor tends to be more "obvious" and less oblique, and can sometimes be considered by other English speaking
cultures to be over the top and ridiculous. The English speaking cultures tend to be less respected and are often considered dull by standards of American humor.
American humor prefers more obrvational techniques. However the style of obrvational humor (while not exclusively American) is very much a staple of the American style of humor since it eks to point out the aspects of American culture and social discour which are obvious while at the same time highlighting their ridiculousness.
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The United States has many diver groups from which to draw on for humorous material. The strongest of the influences, during the 20th century at least, has been the influx of Jewish comedians and their corresponding Jewish humor, including some of the most influential: The Three Stooges, The Marx Brothers, 红马鞍歌曲原唱Rodney Dangerfield, Jackie Mason, Woody Allen, Mel Brooks, Larry David, Jerry Seinfeld, Jon Stewart, and Lewis Black, just to name a few.
Development of humor in the United States
Humor began to emerge in the United States soon after the American Revolution in written and spoken form [2], and delivery methods have continued to evolve since then. This article is not strictly chronological in nature, but the mediums are arranged by the approximate date each one began to grow in importance. Literature appears before cartoons although newspaper cartoons in the modern n began in the 1840s. Radio and film came out roughly at the same time. Film is covered after radio becau it led more directly to the television ction. Stand-up comedy began to receive renewed attention in the 1970s which is the reason why it was placed directly after television.
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Literature
A candidate for the 'founding father' of American humor is Mark Twain, the man Ernest Hemingway泓乐奶粉credits with the invention of北京庙会 American literature. It should be stated that humorists existed in the United States before Twain, for example Augustus Baldwin Long
street collection of Southern humor came out when Twain was 5 years old, but Twain is en as a founding figure in creating an "American voice" to humor. That stated, Twain remained conscious of his humor's relationship with European counterparts, commenting in "How to Tell a Story" that, "The humorous story is American, the comic story is English, the witty story is French. The humorous story depends for its effect upon the manner of the telling; the comic story and the witty story upon the matter."
This early definition puts emphasis on the performance orientation of American humor, and thereby necessarily the performer her/himlf. Indeed, in his time on the lecture circuit Twain esntially 'performed' many of his works, most notably "The American Vandal Abroad" lecture he gave via theLyceum Movement before the publication of his breakthrough work The Innocents Abroad. Thus, at the root of American humor is the very concept of stand-up comedy 锦绣未央歌曲itlf, and the shift from textual means of conveying humor to that of performance and performer.
His value notwithstanding, Twain reprents only one strain of humor in the United States.
Another famous American humorist of the nineteenth century was Ambro Bierce, who most famous work is the cynical Devil's Dictionary. Popular humorists who spanned the late 19th and early 20th centuries included Samuel Minturn Peck (1854–1938), who wrote My Sweetheart, and Hayden Carruth (1862–1932), who wrote Uncle Bentley and the Roosters. Early twentieth-century American humorists included members of the Algonquin Round Table (named for the Algonquin Hotel), such as Dorothy Parker, SJ Perelman and Robert Benchley. In more recent times popular writers of American humor include P. J. O'Rourke, Louis (L) Harding, Erma Bombeck, and Dave Barry.
