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<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">Comedy Studies<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">Call for Papers for a Special Issue on Cabaret<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">Proposal deadline: 1 September 2023<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Edited by Dick Zijp (Utrecht University)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Cabaret can be a confusing term. It can both refer to a place, usually a café or a small theatre, and to a genre. For some, it raises associations with barely dressed girls in nightclubs (Chakraborty,
2023). For others, it primarily denotes a historical form of comedic variety theatre (Appignanesi, 2004 [1975]). For yet others, it refers to the contemporary art of theatre comedy (Dunkl, 2019; Zijp, 2023). Remarkably, in spite of the term’s association with
humour and comedy, cabaret has scarcely received attention from scholars in the field of comedy studies. This lack of academic attention has added to the confusion. The sparse academic literature available focuses on the origins of the genre in late nineteenth
and early twentieth-century Europe, especially in the artistic cafés of turn-of-the-century Paris and the German and Austrian cabarets of the 1920s (e.g., Appignanesi, 2004, Jelavich, 1993; Segel, 1987). The overwhelming success of Bob Fosse’s 1972 film
<i>Cabaret </i>has contributed to the image of cabaret as a form of nightclub entertainment that belongs to another era. Indeed, the
<i>Encyclopedia Brittanica </i>defines cabaret as a ‘restaurant that serves liquor and offers a variety of musical entertainment’ and points mostly to its historical manifestations.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Meanwhile, the academic literature on comedy tends to focus on the current art of stand-up comedy. As Oliver Double and Sharon Lockyer have pointed out, ‘today the word “comedy” is often taken
to be synonymous with “stand-up”’ (2022, 6). This has somewhat obscured the relationship between cabaret and comedy, and has directed attention away from cabaret’s present-day manifestations, and from the continuities and discontinuities between past and present
forms.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">While approaching cabaret as a form of comedy, this special issue welcomes contributions on the wide range of meanings, associations, and manifestations of cabaret, both past and present, and
within a global context. As Double and Lockyer mention, the term cabaret ‘suggests a wider range of performance styles’ (2022: 6) than the term stand-up comedy. According to Lisa Appignanesi, cabaret originated as a ‘vibrant mixture of satire, eroticism and
lyricism’ (2004: 38) and sits somewhere in between the avant-gardist and the popular, the high and the low, the light and the dark. But in spite of its various manifestations, cabaret is a distinctive genre with its own history, conventions and politics. At
the same time, an overemphasis on the presumed origins of cabaret may lead to romanticised or presentist histories of the genre (e.g., Ibo, 1970). This special issue aims to move beyond the dominant historical narratives and is interested in unwritten histories
and current manifestations of this fascinating and miscellaneous genre.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Contributions may focus on – but are certainly not limited to – topics and/or questions such as:<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoListParagraphCxSpFirst" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">Local histories of cabaret;<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">Alternative (non-European) histories of cabaret and transnational influences;<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">The aesthetic and political workings of humour;<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">The performance of identity (e.g., gender, sexuality, race, class, caste, ability, religion, appearance, age);<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">Queer histories of cabaret and queer cabaret;<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">The production and reception of cabaret performances;<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">The relationship between humour and eroticism;<o:p></o:p></span></li><li class="MsoListParagraphCxSpLast" style="margin-left:18.0pt;mso-add-space:auto;mso-list:l1 level1 lfo2">
<span lang="EN-US" style="font-size:12.0pt;line-height:115%">The intertwinement of cabaret and other genres or performance styles, such as stand-up comedy, revue, burlesque, circus, variety or musical theatre.<o:p></o:p></span></li></ul>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">References<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Appignanesi, Lisa. 2004 [1975].
<i>The Cabaret.</i> New Haven and London: Yale University Press.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Chakraborty, Aishika. 2023. “<i>Calcutta Cabaret:
</i>Dance of Pleasure or Perversion?” <i>South Asian History and Culture </i>14 (2): 167–185.
<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Double, Oliver, and Sharon Lockyer, eds. 2022.
<i>Alternative Comedy Now and Then: Critical Perspectives. </i>London: Palgrave Macmillan.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Dunkl, Nathalie.
</span><span style="font-size:12.0pt">2019. <i>Das Kabarett: Eine Integrative Theorie.
</i>Baden-Baden: Tectum Verlag.</span><span lang="NL" style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Ibo, Wim. 1970. <i>En nu de moraal van dit lied: 75 jaar Nederlands cabaret.
</i>Amsterdam: Nederlandse Rotogravure.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Jelavich, Peter. </span><span lang="EN-US" style="font-size:12.0pt">1993.
<i>Berlin Cabaret. </i>Cambridge, MA: Harvard University Press.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Segel, Harold. 1987.
<i>Turn-of-the-century Cabaret: Paris, Barcelona, Berlin, Munich, Vienna, Cracow, Moscow, St. Petersburg, Zurich.
</i>New York: Columbia University Press.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Zijp, Dick. 2023. </span><i><span lang="EN-US" style="font-size:12.0pt">Comedians without a Cause: The Politics and Aesthetics of Humour in Dutch Cabaret (1966-2020).
</span></i><span lang="EN-US" style="font-size:12.0pt">Doctoral dissertation, Utrecht University.
</span><a href="https://dspace.library.uu.nl/handle/1874/425894"><span lang="EN-US" style="font-size:12.0pt">https://dspace.library.uu.nl/handle/1874/425894</span></a><span lang="EN-US" style="font-size:12.0pt">.
<i> <o:p></o:p></i></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">Format</span></b><span lang="EN-US" style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Please send an abstract (250–300 words) with a short bio (100–120 words). Deadline: 1 October 2023.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">Timeline<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Proposals: 1 October 2023<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">First drafts: 1 February 2024<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Final drafts: 15 December 2024<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Publication: <span style="color:red">
February 2025<o:p></o:p></span></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US" style="font-size:12.0pt">Contact</span></b><span lang="EN-US" style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US" style="font-size:12.0pt">Issue-related enquiries should be directed to the issue editor via:
</span><a href="mailto:d.c.zijp@uu.nl"><span lang="EN-US" style="font-size:12.0pt">d.c.zijp@uu.nl</span></a><span lang="EN-US" style="font-size:12.0pt">.
<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><span style="font-size:9.0pt;color:#1F497D;mso-fareast-language:EN-NZ">-----------------------------------------------------------------</span><span style="color:black;mso-fareast-language:EN-NZ"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black;mso-fareast-language:EN-NZ"><a href="http://www.massey.ac.nz/massey/expertise/profile.cfm?stref=990001" target="_blank"><span style="font-size:9.0pt;color:#0C64C0">Dr Nicholas Holm</span></a></span><span style="font-size:9.0pt;color:#1F497D;mso-fareast-language:EN-NZ">
|Senior Lecturer in Media Studies|Editor, <i>Comedy Studies </i>| Book Reviews Editor,
<i>Humor</i></span><i><span style="color:black;mso-fareast-language:EN-NZ"><o:p></o:p></span></i></p>
<p class="MsoNormal"><span style="font-size:9.0pt;color:#1F497D;mso-fareast-language:EN-NZ">Building 7, Room 7C43 |Massey University |Wellington |Aotearoa New Zealand</span><span style="color:black;mso-fareast-language:EN-NZ"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;color:#1F497D;mso-fareast-language:EN-NZ">DDI 04 979 3544 |ext. 63544 |
</span><span style="color:black;mso-fareast-language:EN-NZ"><a href="mailto:N.H.F.Holm@massey.ac.nz" target="_blank"><span style="font-size:9.0pt;color:#0C64C0">nhfholm@massey.ac.nz</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:12.0pt"><span style="color:black;mso-fareast-language:EN-NZ"><a href="https://nicholasholm.wordpress.com/" target="_blank"><span style="font-size:9.0pt;color:#0C64C0">https://nicholasholm.wordpress.com/</span></a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:6.0pt"><b><span style="font-size:9.0pt;color:black;mso-fareast-language:EN-NZ">Recent Publications<br>
</span></b><span style="font-size:9.0pt;color:black;background:white;mso-fareast-language:EN-NZ">Holm, N. and E. Tilley. (2023</span><span style="font-size:9.0pt;color:#7B7B7B;background:white;mso-fareast-language:EN-NZ">)
</span><span style="font-size:9.0pt;color:#525252;mso-fareast-language:EN-NZ"><a href="https://academic.oup.com/jaac/advance-article/doi/10.1093/jaac/kpad015/7185629"><span style="color:#525252">The Aesthetics of Creative Activism</span></a></span><span style="font-size:9.0pt;mso-fareast-language:EN-NZ">
<i>Journal of Aesthetics and Art Criticism </i><span style="color:black;background:white">(Online Advance, Open Access).<o:p></o:p></span></span></p>
<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:9.0pt;color:black;background:white;mso-fareast-language:EN-NZ">Holm, N. (2023)
</span><span style="font-size:9.0pt;color:#595959;background:white;mso-fareast-language:EN-NZ"><a href="https://journals.sagepub.com/doi/10.1177/07255136231154266"><span style="color:#595959">The Limits of Satire, or the Reification of Cultural Politics</span></a></span><span style="font-size:9.0pt;color:black;background:white;mso-fareast-language:EN-NZ">
<i>Thesis Eleven </i>174.1.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom:6.0pt"><span style="font-size:9.0pt;color:black;background:white;mso-fareast-language:EN-NZ">Holm, N. (2022)
</span><span style="font-size:9.0pt;color:#595959;background:white;mso-fareast-language:EN-NZ"><a href="https://journals.sagepub.com/doi/full/10.1177/13675494221087296"><span style="color:#595959">No More Jokes: Comic Complexity, Adult Swim and a Political
Aesthetic Model of Humour</span></a></span><span style="font-size:9.0pt;color:black;background:white;mso-fareast-language:EN-NZ">
<i>European Journal of Cultural Studies </i>25.2. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:9.0pt;color:black;mso-fareast-language:EN-NZ">Holm, N. (2023)
</span><span style="font-size:9.0pt;color:#595959;mso-fareast-language:EN-NZ"><a href="https://www.routledge.com/Advertising-and-Consumer-Society-A-Critical-Introduction/Holm/p/book/9781032181363"><span style="color:#595959">Advertising and Consumer Society:
A Critical Introduction</span></a></span><span style="font-size:9.0pt;color:black;mso-fareast-language:EN-NZ"> (2<sup>nd</sup> Ed), Routledge.
</span><span style="color:black;mso-fareast-language:EN-NZ"><o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
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