Humor and Women in the Portuguese Context
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.58050/comunicando.v12i2.339 |
Resumo: | The relationship established between Humor and Women has been, throughout human history, troubled. Like other aspects of daily life, women have long been denied the ability to be funny. On the other hand, the vehicles through which humor was produced were for a long time linked to traditional media, having recently spilled over into digital media. In this sense, the research question that guided this study arises: how do women who produce humor live this experience according to their gender and, secondarily, how do digital media influence this component? To this end, using methodologically the Critical Thematic Analysis, as defined by Lawless e Chen (2019), interviews carried out with 12 Portuguese women comedians were analyzed. The results showed that the participants consider that there is a historical and social context associated with their gender that has repercussions on how humor produced by women is still seen in Portugal, differentiating, for this reason, from the experiences of their male peers. In this sense, although they show that the fact that they are women influences the humor they produce, they seek to mark their individuality and denote that humor derives from the personal experiences that each lives. Furthermore, social networks were highlighted by the interviewees as a way of gaining notoriety to attract audiences to live shows, also contributing to the existence of more women producing humor. |
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Humor and Women in the Portuguese ContextHumor y Mujeres en el Contexto PortuguésHumor e Mulheres no Contexto PortuguêsHumorWomenStand Up ComedyDigital MediaHumorMulheresComédia Stand UpMedia DigitaisHumorMujerComedia Stand UpMedios DigitalesThe relationship established between Humor and Women has been, throughout human history, troubled. Like other aspects of daily life, women have long been denied the ability to be funny. On the other hand, the vehicles through which humor was produced were for a long time linked to traditional media, having recently spilled over into digital media. In this sense, the research question that guided this study arises: how do women who produce humor live this experience according to their gender and, secondarily, how do digital media influence this component? To this end, using methodologically the Critical Thematic Analysis, as defined by Lawless e Chen (2019), interviews carried out with 12 Portuguese women comedians were analyzed. The results showed that the participants consider that there is a historical and social context associated with their gender that has repercussions on how humor produced by women is still seen in Portugal, differentiating, for this reason, from the experiences of their male peers. In this sense, although they show that the fact that they are women influences the humor they produce, they seek to mark their individuality and denote that humor derives from the personal experiences that each lives. Furthermore, social networks were highlighted by the interviewees as a way of gaining notoriety to attract audiences to live shows, also contributing to the existence of more women producing humor.La relación que se establece entre el Humor y la Mujer ha sido conflictiva a lo largo de la historia de la humanidad. Al igual que con otros aspectos de la vida cotidiana, a las mujeres se les ha negado durante mucho tiempo la capacidad de ser graciosas. Por otro lado, los vehículos a través de los cuales se producía el humor estuvieron durante mucho tiempo vinculados a los medios tradicionales, habiéndose desbordado recientemente a los medios digitales. En este sentido, surge la pregunta de investigación que guió este estudio: ¿cómo viven las mujeres productoras de humor esta experiencia en función de su género y, en segundo lugar, cómo influyen los medios digitales en este componente? Para ello, recurriendo metodológicamente al Análisis Temático Crítico, tal como lo definen Lawless y Chen (2019), se analizaron entrevistas realizadas a 12 comediantes portuguesas. Los resultados mostraron que las participantes consideran que existe un contexto histórico y social asociado a su género que repercute en la forma en que el humor producido por mujeres es visto en Portugal, diferenciándose así de las experiencias de sus pares masculinos. En este sentido, si bien muestran que ser mujer influye en el humor que producen, buscaron marcar su individualidad y denotar que el humor deriva de las vivencias personales que vive cada individuo. Además, las redes sociales fueron destacadas por las entrevistadas como una forma de ganar notoriedad para atraer público a los espectáculos en vivo, contribuyendo también a la existencia de más mujeres productoras de humor.A relação estabelecida entre o Humor e Mulheres tem sido, ao longo da história da humanidade, conturbada. À semelhança de outros aspetos da vida quotidiana, por muito tempo foi negada às mulheres a capacidade de serem engraçadas. Por outro lado, os veículos pelos quais se produzia humor esteve durante muito ligado aos media tradicionais, tendo recentemente extravasado para os media digitais. Neste sentido, surge a questão de investigação que norteou este estudo: como é que as mulheres que produzem humor vivenciam essa experiência em função do seu género e, secundariamente, de que modo os media digitais têm influência nessa componente? Para tal, recorrendo-se metodologicamente à Análise Temática Crítica, como definida por Lawless e Chen (2019), foram analisadas entrevistas realizadas a 12 mulheres humoristas portuguesas. Os resultados mostraram que as participantes consideram que existe um contexto histórico e social associado ao seu género que tem reflexos na forma como o humor produzido por mulheres ainda é visto em Portugal, diferenciando-se, por isso, das experiências dos seus pares masculinos. Neste sentido, embora evidenciem que o facto de serem mulheres influencia o humor que produzem, procuraram marcar a sua individualidade e denotar que o humor derivada das experiências pessoais que cada indivíduo vivencia. Além disso, as redes sociais foram destacadas, pelas entrevistadas, como uma forma de ganhar notoriedade para atrair público para espetáculos ao vivo, contribuindo também para a existência de mais mulheres a produzir humor.Sopcom2023-10-16info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.58050/comunicando.v12i2.339https://doi.org/10.58050/comunicando.v12i2.339Revista Comunicando; Vol. 12 No. 2 (2023): July — December (continuous edition) ; e023016Revista Comunicando; Vol. 12 Núm. 2 (2023): Julio — Diciembre (edición continua) ; e023016Revista Comunicando; Vol. 12 N.º 2 (2023): Julho — Dezembro (edição contínua); e0230162182-4037reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339/281https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339/282https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339/283Direitos de Autor (c) 2023 Inês de Sousa Rua Santos Costainfo:eu-repo/semantics/openAccessde Sousa Rua Santos Costa, Inês2024-03-16T08:29:15Zoai:revistacomunicando.sopcom.pt:article/339Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T04:01:37.591739Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Humor and Women in the Portuguese Context Humor y Mujeres en el Contexto Portugués Humor e Mulheres no Contexto Português |
title |
Humor and Women in the Portuguese Context |
spellingShingle |
Humor and Women in the Portuguese Context de Sousa Rua Santos Costa, Inês Humor Women Stand Up Comedy Digital Media Humor Mulheres Comédia Stand Up Media Digitais Humor Mujer Comedia Stand Up Medios Digitales |
title_short |
Humor and Women in the Portuguese Context |
title_full |
Humor and Women in the Portuguese Context |
title_fullStr |
Humor and Women in the Portuguese Context |
title_full_unstemmed |
Humor and Women in the Portuguese Context |
title_sort |
Humor and Women in the Portuguese Context |
author |
de Sousa Rua Santos Costa, Inês |
author_facet |
de Sousa Rua Santos Costa, Inês |
author_role |
author |
dc.contributor.author.fl_str_mv |
de Sousa Rua Santos Costa, Inês |
dc.subject.por.fl_str_mv |
Humor Women Stand Up Comedy Digital Media Humor Mulheres Comédia Stand Up Media Digitais Humor Mujer Comedia Stand Up Medios Digitales |
topic |
Humor Women Stand Up Comedy Digital Media Humor Mulheres Comédia Stand Up Media Digitais Humor Mujer Comedia Stand Up Medios Digitales |
description |
The relationship established between Humor and Women has been, throughout human history, troubled. Like other aspects of daily life, women have long been denied the ability to be funny. On the other hand, the vehicles through which humor was produced were for a long time linked to traditional media, having recently spilled over into digital media. In this sense, the research question that guided this study arises: how do women who produce humor live this experience according to their gender and, secondarily, how do digital media influence this component? To this end, using methodologically the Critical Thematic Analysis, as defined by Lawless e Chen (2019), interviews carried out with 12 Portuguese women comedians were analyzed. The results showed that the participants consider that there is a historical and social context associated with their gender that has repercussions on how humor produced by women is still seen in Portugal, differentiating, for this reason, from the experiences of their male peers. In this sense, although they show that the fact that they are women influences the humor they produce, they seek to mark their individuality and denote that humor derives from the personal experiences that each lives. Furthermore, social networks were highlighted by the interviewees as a way of gaining notoriety to attract audiences to live shows, also contributing to the existence of more women producing humor. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-10-16 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.58050/comunicando.v12i2.339 https://doi.org/10.58050/comunicando.v12i2.339 |
url |
https://doi.org/10.58050/comunicando.v12i2.339 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339 https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339/281 https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339/282 https://www.revistacomunicando.sopcom.pt/index.php/comunicando/article/view/339/283 |
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Direitos de Autor (c) 2023 Inês de Sousa Rua Santos Costa info:eu-repo/semantics/openAccess |
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Direitos de Autor (c) 2023 Inês de Sousa Rua Santos Costa |
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openAccess |
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application/pdf |
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Sopcom |
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Sopcom |
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Revista Comunicando; Vol. 12 No. 2 (2023): July — December (continuous edition) ; e023016 Revista Comunicando; Vol. 12 Núm. 2 (2023): Julio — Diciembre (edición continua) ; e023016 Revista Comunicando; Vol. 12 N.º 2 (2023): Julho — Dezembro (edição contínua); e023016 2182-4037 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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