Contenu | LEAF

<?xml version="1.0" encoding="UTF-8"?><?xml-model href="http://www.tei-c.org/release/xml/tei/custom/schema/relaxng/tei_all.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?><?xml-stylesheet type="text/css" href="https://raw.githubusercontent.com/LEAF-VRE/code_snippets/refs/heads/main/CSS/leaf.css"?><TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#">
   <teiHeader>
      <fileDesc>
         <titleStmt>
            <title>Contributors</title>
            <author>Collective</author>
         	<respStmt>
         		<persName>Eowyn Andres</persName>
         		<resp>Editor (2024-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Haley Beardsley</persName>
         		<resp>Editor (2021-2024)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Lyndon Beier</persName>
         		<resp>Editor (2023-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Erica Delsandro</persName>
         		<resp>Investigator, editor</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Lucy DiChristina</persName>
         		<resp>Editor (2025-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Mia DeRoco</persName>
         		<resp>Editor (2023-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Margaret Hunter</persName>
         		<resp>Editor (2021-2024)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Diane Jakacki</persName>
         		<resp>Invesigator, encoder</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Sophie McQuaide</persName>
         		<resp>Editor (2021-2023)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Olivia Martin</persName>
         		<resp>Editor, encoder (2021)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Zoha Nadeer</persName>
         		<resp>Editor (2022-2023)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Bri Perea</persName>
         		<resp>Editor (2022-2023)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Carrie Pirmann</persName>
         		<resp>Editor, encoder (2023-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Valeria Riley</persName>
         		<resp>Editor (2024-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Ricky Rodriguez</persName>
         		<resp>Editor (2022-2023)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Roger Rothman</persName>
         		<resp>Investigator, editor</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Valeria Riley</persName>
         		<resp>Editor (2024-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Kaitlyn Segreti</persName>
         		<resp>Editor (2021-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Blythe Senna</persName>
         		<resp>Editor (2025-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Maggie Smith</persName>
         		<resp>Editor (2021-2024)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Lily Stein</persName>
         		<resp>Editor (2025-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Maya Wadhwa</persName>
         		<resp>Editor (2021-2023)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Kelly Troop</persName>
         		<resp>Editor (2023-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Lucy Wadswoth</persName>
         		<resp>Editor (2022-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Anna Marie Wingard</persName>
         		<resp>Editor (2023-Present)</resp>
         	</respStmt>
         	<respStmt>
         		<persName>Olivia Wychock</persName>
         		<resp>Graduate Editor (2024-Present)</resp>
         	</respStmt>
            <funder>Bucknell University Humanities Center</funder>
            <funder>Bucknell University Office of Undergraduate Research</funder>
            <funder>The Mellon Foundation</funder>
            <funder>National Endowment for the Humanities</funder>
         </titleStmt>
         <publicationStmt>
            <distributor>
               <name>Bucknell University</name>
               <address>
                  <street>One Dent Drive</street>
                  <settlement>Lewisburg</settlement>
                  <region>Pennsylvania</region>
                  <postCode>17837</postCode>
               </address>
            </distributor>
            <availability>
               <licence>Bucknell Heresies Project: Creative Commons Attribution-NonCommercial 4.0
                  International (CC BY-NC 4.0)</licence>
               <licence>Heresies journal: © Heresies Collective</licence>
            </availability>
         </publicationStmt>
         <sourceDesc>
            <biblStruct>
               <analytic>
                  <title>Patterns of Communicating and Space Among Women</title>
               </analytic>
               <monogr>
                  <imprint>
                     <publisher>HERESIES: A Feminist Publication on Art and Politics</publisher>
                     <pubPlace>
                        <address>
                           <name>Heresies</name>
                           <postBox>P.O. Boxx 766, Canal Street Station</postBox>
                           <settlement>New York</settlement>
                           <region>New York</region>
                           <postCode>10013</postCode>
                        </address>
                     </pubPlace>
                  </imprint>
               </monogr>
            </biblStruct>
         </sourceDesc>
      </fileDesc>
   <xenoData><rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:as="http://www.w3.org/ns/activitystreams#" xmlns:cwrc="http://sparql.cwrc.ca/ontologies/cwrc#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:geo="http://www.geonames.org/ontology#" xmlns:oa="http://www.w3.org/ns/oa#" xmlns:schema="http://schema.org/" xmlns:xsd="http://www.w3.org/2001/XMLSchema#" xmlns:fabio="https://purl.org/spar/fabio#" xmlns:bf="http://www.openlinksw.com/schemas/bif#" xmlns:cito="https://sparontologies.github.io/cito/current/cito.html#" xmlns:org="http://www.w3.org/ns/org#">
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161439960",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:14:39.960Z",
	"dcterms:modified": "2025-12-04T21:15:09.577Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161439960#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161439960#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/p/note"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "1. Naomi Weisstein, “Why We Aren’t Laughing ... Any More,” Ms.\n\t\t\t\t\tMagazine (Nov. 1973), p. 49ff."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161449781",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:14:49.781Z",
	"dcterms:modified": "2025-12-04T21:15:21.525Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161449781#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161449781#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/p/note[2]"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "2. Kate Sanborn, The Wit of Women (New York: Funk and Wagnalls,\n\t\t\t\t\t1886); Martha Bensley Bruere, Laughing Their Way: Women’s Humor\n\t\t\t\t\tin America (New York: Macmillan, 1934); Bernard Hollowood, ed.,\n\t\t\t\t\tThe Women of Punch (London: Barker, 1961); Lore and Maurice\n\t\t\t\t\tCowan, The Wit of Women (London: Leslie Freewin, 1969)."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161525552",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:15:25.552Z",
	"dcterms:modified": "2025-12-04T21:15:30.630Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161525552#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161525552#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/p/note[3]"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "3. Jeffrey H. Goldstein and Paul E. McGhee, “An Annotated Bibliogra\n\t\t\t\t\t\tphy of Published Papers on Humor in the Research Literature and an\n\t\t\t\t\t\tAnalysis of Trends: 1900-1971,” in The Psychology of Humor, ed.\n\t\t\t\t\t\tJeffrey H. Goldstein and Paul E. McGhee (New York: Academic Press,\n\t\t\t\t\t\t1972), pp. 263-283."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161536965",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:15:36.965Z",
	"dcterms:modified": "2025-12-04T21:15:41.798Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161536965#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161536965#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/p[2]/note"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "4. O.E. Klapp, Heroes, Villains and Fools: The Changing American\n\t\t\t\t\tCharacter (New York: Prentice-Hall, 1962)."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161547515",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:15:47.515Z",
	"dcterms:modified": "2025-12-04T21:15:52.415Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161547515#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161547515#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/p[3]/note"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "5. Goldstein and McGhee, “Annotated Bibliography,” p. 112ff."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161601056",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:16:01.056Z",
	"dcterms:modified": "2025-12-04T21:16:05.635Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161601056#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161601056#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/note"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "6. Anna Quindlan, “Women Comics Get the Last Laugh,” The New York\n\t\t\t\t\tTimes (March 11, 1977)."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161612584",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:16:12.584Z",
	"dcterms:modified": "2025-12-04T21:16:16.940Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161612584#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161612584#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/p[8]/note"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "8. Ibid., p. 129."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161622261",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:16:22.261Z",
	"dcterms:modified": "2025-12-04T21:16:26.788Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161622261#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161622261#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/note[2]"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "9. Lucy R. Lippard, From the Center (New York: Dutton, 1976), p. 228."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161631820",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:16:31.820Z",
	"dcterms:modified": "2025-12-04T21:16:36.086Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161631820#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161631820#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/note[3]"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "10. Simone de Beauvoir, The Second Sex (New York: Knopf, 1953),\n\t\t\t\t\t\tp. 613f."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      
        <rdf:Description rdf:datatype="http://www.w3.org/TR/json-ld/">
          <![CDATA[{
	"@context": {
		"dcterms:created": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:created"
		},
		"dcterms:issued": {
			"@type": "xsd:dateTime",
			"@id": "dcterms:issued"
		},
		"oa:motivatedBy": {
			"@type": "oa:Motivation"
		},
		"@language": "en",
		"rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
		"rdfs": "http://www.w3.org/2000/01/rdf-schema#",
		"as": "http://www.w3.org/ns/activitystreams#",
		"cwrc": "http://sparql.cwrc.ca/ontologies/cwrc#",
		"dc": "http://purl.org/dc/elements/1.1/",
		"dcterms": "http://purl.org/dc/terms/",
		"foaf": "http://xmlns.com/foaf/0.1/",
		"geo": "http://www.geonames.org/ontology#",
		"oa": "http://www.w3.org/ns/oa#",
		"schema": "http://schema.org/",
		"xsd": "http://www.w3.org/2001/XMLSchema#",
		"fabio": "https://purl.org/spar/fabio#",
		"bf": "http://www.openlinksw.com/schemas/bif#",
		"cito": "https://sparontologies.github.io/cito/current/cito.html#",
		"org": "http://www.w3.org/ns/org#"
	},
	"id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161640712",
	"type": "oa:Annotation",
	"dcterms:created": "2025-12-04T21:16:40.712Z",
	"dcterms:modified": "2025-12-04T21:16:44.885Z",
	"dcterms:creator": {
		"@id": "9",
		"@type": [
			"cwrc:NaturalPerson",
			"schema:Person"
		],
		"cwrc:hasName": "Diane Jakacki"
	},
	"oa:motivatedBy": "oa:describing",
	"oa:hasTarget": {
		"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161640712#Target",
		"@type": "oa:SpecificResource",
		"oa:hasSource": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml",
			"@type": "dctypes:Text",
			"dc:format": "text/xml"
		},
		"oa:renderedVia": {
			"@id": "https://leaf.bucknell.edu",
			"@type": "as:Application",
			"rdfs:label": "LEAF-Writer",
			"schema:softwareVersion": "3.9.0"
		},
		"oa:hasSelector": {
			"@id": "https://leaf.bucknell.edu/sites/default/files/2025-12/applebroog.xml?note_annotation_20251204161640712#Selector",
			"@type": "oa:XPathSelector",
			"rdf:value": "TEI/text/body/div/div/note[4]"
		}
	},
	"oa:hasBody": {
		"@type": "cwrc:NoteScholarly",
		"dc:format": "text/plain",
		"rdf:value": "11. Louise Bourgeois, He Disappeared into Complete Silence (New York:\n\t\t\t\t\tGemor Press, 1947)."
	},
	"as:generator": {
		"@id": "https://leaf.bucknell.edu",
		"@type": "as:Application",
		"rdfs:label": "LEAF-Writer",
		"schema:url": "https://leaf-writer.lincsproject.ca/",
		"schema:softwareVersion": "3.9.0"
	}
}]]>
        </rdf:Description>
      </rdf:RDF></xenoData></teiHeader>
   <text>
      <body>
         <pb/>
         <div type="essay">
         	<pb n="118" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_118_0.jpg"/>
			<head>The "I am Heathcliffe, says Catherine'" Syndrome</head>
			<byline>Ida Applebroog</byline>
			<div>
				<quote>
				That thing he wrote, the time the sparrow died
				(Oh, most unpleasant—gloomy, tedious words!)
				I called it sweet, and made believe I cried;
				The stupid fooll l’ve always hated birds.
				 <cit><bibl>-Dorothy Parker (From a Letter from Lesbia)</bibl></cit></quote>
				<p>
					I had intended to bring together material here from the past
				and present and systematically summarize and explain the concepts and theories that characterize women’s humor. Presumably
				this would be be fairly simple; a good deal of data and some
				relatively predictable themes would emerge, with which one
				could then wrestle. Yet although the past few years have witnessed a resurgence of interest in humor, I found material on women's
				humor sparse—to say the least. There was one article in Ms.
				Magazine in 1973 <note n="1" type="scholarNote">1. Naomi Weisstein, “Why We Aren’t Laughing ... Any More,” Ms.
					Magazine (Nov. 1973), p. 49ff.</note> and, more recently, one unmentionable publication of sophomoric inanity; in over 5,000 entries in the New
				York Public Library’s card catalogue under the heading “Wit and
				Humor, only four deal with women. <note n="2" type="scholarNote">2. Kate Sanborn, The Wit of Women (New York: Funk and Wagnalls,
					1886); Martha Bensley Bruere, Laughing Their Way: Women’s Humor
					in America (New York: Macmillan, 1934); Bernard Hollowood, ed.,
					The Women of Punch (London: Barker, 1961); Lore and Maurice
					Cowan, The Wit of Women (London: Leslie Freewin, 1969).</note> An annotated 
					<pb n="121"/>
					bibliography of “all published papers on humor available in the English
					language in the research literature” (1900-1971) <note n="3" type="scholarNote">3. Jeffrey H. Goldstein and Paul E. McGhee, “An Annotated Bibliogra
						phy of Published Papers on Humor in the Research Literature and an
						Analysis of Trends: 1900-1971,” in The Psychology of Humor, ed.
						Jeffrey H. Goldstein and Paul E. McGhee (New York: Academic Press,
						1972), pp. 263-283.</note> contains approximately 400 items, of which not one relates to women’s humor.</p>
				<p>Humor itself is difficult to define. In this article, I will consider it generically as any form of communication which is <emph>perceived</emph> as humorous by any of the interacting parties. “Women’s
				humor" is used to connote humor created by women and dealing
				in some way with woman’s role in the human condition. Of the
				various theories, the psycho-sociological approach, stressing the
				notion of humor as social interchange, may be most fruitful for
				our purposes. Humor is potentially part of every social structure
				and affects all social systems. When the subject is relationships
				between women and men, men are traditionally permitted to
				tease or make fun of women, who in turn are required to take no
				offense; in fact, we are frequently expected to join in the "fun,"
				even though it is at our own expense. This context is similar to
				that of racist humor—gratifying one group at the expense of the
				underdog; its purpose is to throw blame on some group and to
				reinforce its inferior position. In this process the role of the
				scapegoat itself is vital. Generally, as O. E. Klapp points out, the
				scapegoat has a specific socially defined role and position. To the
				dominant group, "the fool represents values which are rejected by
				the group, causes that are lost, incompetence, failure, and fiasco." <note n="4" type="scholarNote">4. O.E. Klapp, Heroes, Villains and Fools: The Changing American
					Character (New York: Prentice-Hall, 1962).</note> The fool’s position is degraded, but simultaneously valued— s/he serves as the scapegoat, the butt of humor, the cathartic symbol of aggression. But even beyond that, Klapp suggests
				that there is an underlying, continuous, collective process that
				ascribes this fool’s role to a group of people as a means of
				enforcing conformity, maintaining the status quo, pressuring for
				status adjustments, or simply eliminating an undesired form of
				deviance. In fact, this has been one of the components of every
				form of racism. Blacks, Chicanos, Jews, or any other minority
				group as the butt of humor is too well known to require description here.</p>
				<p>What is the usual reaction of the scapegoat group? How does
				it use humor—as a defense, or even as a weapon in its struggle to
				survive? Historian Joseph Boskin, writing about the social func
				tions of black humor (black ethnic humor, not "gallows humor”),				
					<pb n="119" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_119_0.jpg"/>
					suggests that there are two varieties.<note n="5" type="scholarNote">5. Goldstein and McGhee, “Annotated Bibliography,” p. 112ff.</note> External humor is present
				ed to the dominant culture as an accommodation to white society, a means of survival. Totally different, however, is internal
				humor, which reinforces the ingroup’s behaviors or values, and
				in which one of its members usually triumphs over representatives of the dominant group. Some jokes may also poke fun at the
				ingroup itself, but that’s all right; it's "within the family." This
				same analysis holds in regard to any other ingroup/outgroup or
				dominant/scapegoat relationship—except in the case of women.</p>
				<p>A fascinating phenomenon takes place in women’s humor,
				different from what is found in black, Jewish, or any other
				scapegoat humor; namely, the absence of internal humor. Obviously, much humor has been directed at women by men, but I
				have no intention of going into those jokes. There has also been a
				good deal of women’s external humor—the face we have presented to the male-dominated society as a means of survival: yes, we
				are silly, mindless playthings; aren’t we fun(ny)? But where is our
				internal humor? Where are the jokes, the anecdotes, the cartoons
				that would positively reinforce our existing or changing behavioral patterns? And where are the “in-jokes,
				poke a bit of good-natured fun at ourselves, and which simultaneously
				serve to solidify the group—the type of humor with which Dick
				Gregory, for example, helped to create a new image for blacks, a
				consciousness of their past and their identity? Most important,
				where is the humor directed at the common oppressor? Where are
				the anecdotes in which we come out ahead; the jokes in which the
				men fall on their asses while we stand there and laugh? The
				answer is that for the most part, there weren’t any. Yes, there
				were stories told by Dorothy Parker, Ruth Draper, and maybe
				one or two others, but generally there has been no women’s
				ingroup humor until very recently.</p>
				<p>Why not? Women have been identifiable as a group in every
				culture since time began. Yet the jokes or stories that women tell
				each other when they are together are the same jokes that men
				tell, sometimes slightly cleaned up. In other words, for the most
				part we have accepted the outgroup’s humor. We have even
				emulated it and its values, making the same kind of disparaging
				remarks about ourselves that men do.</p>

<pb n="120" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_120_0.jpg"/>
			<p>
				This has been the pattern for a long time. In the eighteenth
				century, one of Lady Mary Wortley Montagu’s bon mots was, "It
				goes far towards reconciling me to being a woman, when I reflect
				that I am thus in no danger of marrying one." Hannah Cowley
				extended this further when she said, “What is a woman? Only
				one of nature’s agreeable blunders." But even in more recent
				years, we find Lady Astor stating, "My vigour, vitality and cheek
				repel me; I am the kind of woman I would run away from.
				Women are inherently inferior and therefore, according to Margot Naylor, have great difficulties achieving success: "If every
				successful man needs a woman behind him, every successful
				woman needs at least three men." But who really wants to be a
				success anyway, when Elizabeth Marbury assures us that, "A
				caress is better than a career”? Ilka Chase agreed; she knew how
				to invest her money: “America’s best buy for a nickel is a telephone call to the right man." What we really ought to do is follow
				the advice of Anita Loos: "A girl with brains ought to do some
				thing else with them besides think," because, as Sophie Tucker
				so aptly concluded, "No man ever put up with a successful
				woman, and he’s right!" Yes, folks, those were the jokes. That
				was women’s humor. And things haven’t changed too much. As
				recently as March 11, 1977, in reviewing an all-female amateur
				comedy revue at Once Upon a Stove, Anna Quindlan noted:</p>
				<quote>Certainly making jokes about the female condition is a
				comic tradition—male comics have been doing it for
				years. But why no turnabout? Why are mothers still the
				butt of jokes? Why does Farah Fawcett Majors get
				savaged for her looks three times in one evening? Why
				doesn’t one voice cry out in the wilderness: “Take my
				husband—please"?</quote> <note n="6" type="scholarNote">6. Anna Quindlan, “Women Comics Get the Last Laugh,” The New York
					Times (March 11, 1977).</note>
				<p>Why not, indeed?</p>
				<p>When we encounter such a bizarre situation, we have to try
				to explain it. The psychoanalytic concept of "identification with
				the aggressor” may be the “defense mechanism" which explains
				this particular "feminine dilemma." Anna Freud mentions the
				case of a little girl who was afraid to cross the hall in the dark 
			<pb n="124"/>
				because she dreaded ghosts. Finally, she hit upon the device of
				making all kinds of peculiar gestures and noises as she crossed the
				hall, because “There’s no need to be afraid in the hall; you just
				have to pretend that youre the ghost who might meet you."
				Anna Freud goes on to point out that this is a normal defense
				mechanism of the ego when confronted by authority and/or when
				dealing with anxiety. She also states that such identification may
				at times represent an intermediate stage in the development of
				paranoia.<note n="8" type="scholarNote">8. Ibid., p. 129.</note> (We had better watch out for that one!)</p>
				<p>There is little doubt in my mind that in order to survive, we
				have for thousands of years identified with the aggressor. Judy
				Chicago has said about women's art:</p>
         	<quote>If you are invested in the structure and values that male
				dominance has provided ... or if you want validation
				from those institutions that have grown out of that
				structure, then you don’t want to recognize that women
				exist separately from men. ... what subject matter and
				what forms are important, and what the nature of art is
				and who defines it and who makes it, and how much it
				costs, are simply projections of the male value
				structure.</quote> <note n="9" type="scholarNote">9. Lucy R. Lippard, From the Center (New York: Dutton, 1976), p. 228.</note>
				<p>It is my contention, then, that as a partial consequence of
				women’s identification with the aggressor, we have until recently
				accepted the aggressor’s humor, in which we are the scapegoat.
				This same identification has also prevented the development of
				any humor directed against the oppressor. Even in love, it has
				been expected that the woman identify totally with the man.
				Simone de Beauvoir states:</p>
				<quote>... it is not enough to serve him. The woman in love
				tries to see with his eyes... she adopts his friendships,
				his enmities, his opinions. .. She uses his words, mimics
				his gestures, acquires his eccentricities and his tics. "I am
				Heathcliffe," says Catherine in Wuthering Heights; that
				is the cry of every woman in love; she is another incarnation of her loved one, his reflection, his double: she is
					<emph>he</emph>.</quote> <note n="10" type="scholarNote">10. Simone de Beauvoir, The Second Sex (New York: Knopf, 1953),
						p. 613f.</note>
				<pb n="121" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_121_0.jpg"/>
			<p>
				If love is "every girl’s dream," and if one-sided over-identifi
				cation is part of love, then it is not surprising to find that it has
				been an integral element of all of woman’s history. When you’re
				identified with the aggressor, clearly you don’t make fun of him,
				and you don’t make fun of yourself for being identified with him.
				Today, however, we are in the midst of an evolutionary
				process which is beginning to have some impact on women's
				humor. For many of us, our previous conventional roles are no
				longer tenable ways to deal with the world and with ourselves.
				We are reevaluating our sexual identities, and we are beginning to
				create the missing link in women’s humor, as illustrated by the
				works following this article.</p>
				<p>These works were produced by a particular group of women
				—artists whose frame of reference is essentially the art world.
				Nevertheless, they provide some insight into an emerging ingroup
				humor. Some of these works represent a satirical view of previously accepted male stereotypes and values; others are concerned with our new identities, as illustrated by some pieces that
				deal with our own anatomies. Women’s bodies always have been
				sensuously exploited as outrageous cheesecake images. While
				some artists parody this male viewpoint, others, like Annette
				Messager, Ulrike Rosenbach, and Eleanor Antin, pleasurably
				explore their own anatomy to produce comic illusions in which
				sexual exploitation is not paramount. At other times, women's
				humor in art is primarily concerned with the general human
				condition. In the introduction to Louise Bourgeois’ book of engravings, He Disappeared into Complete Silence (1947), Marius
				Bewley wrote:</p>
				<quote>They are tiny tragedies of human frustration.... The
				protagonists are miserable because they can neither escape the isolation which has become a condition of their
				own identities, nor yet accept it as wholly natural. Their
				attempts to free themselves, or accept their situation
				invariably end in disaster.</quote> <note n="11" type="scholarNote">11. Louise Bourgeois, He Disappeared into Complete Silence (New York:
					Gemor Press, 1947).</note>
				<p>In a lighter vein, Laurie Anderson writes, “On Church Street, I
				decide to name my daughters Luncheonette and Delicatesse ... at
				the fruitstand, the owner’s son yells at me Hey Cereal Lady!'; I
				don’t know why and try to look as neurotic as possible."
			</p>
				<pb n="122" facs="https://leaf.bucknell.edu/sites/default/files/2025-02/heresies02_122_0.jpg"/>
			<p>
				In my own work, as part of a series of "puppet plays,” I use
				humor to communicate what would otherwise be difficult to say,
				to make constantly problematical human contacts less threaten
				ing. Carol Conde, entering the traditional male arena of politics,
				presents women wondering whether to join the class struggle, or
				to submit to the seductions of the capitalist.</p>
				<p>All of these types of humor are still comparatively rare. It is
				probably too early in our identification process to expect them to
				appear frequently. And we are still at a stage where some of us
				see anything that isn’t female-self-congratulatory as "anti
				feminist." It takes time, and it's difficult. One of the signs of real
				social change will be when we can invent jokes about ourselves,
				as well as about "them," and laugh freely.</p>
				<quote>"Freedom produces jokes and jokes produce freedom'
				-Jean Paul (Richter), 1804.</quote>
         </div>
         	<div type="poem" n="p. 118">
         		<lg>
         			<l>Go into the kitchen</l>
         			<l>with defiant joyful anger...</l>
         			<l>Put on your apron and...</l>
         			<l>You are in this kitchen</l>
         			<l>because you do not have a penis.</l>
         			<l>Keep this in mind</l>
         			<l>as you crush the garlic</l>
         			<l>with the heel of your shoe.....</l>
         			<l>You will be</l>
         			<l>The Best Woman In The World.</l>
         			<l>AMERICAN</l>
         			<l>AS APPLE PIE. JUST LIKE MUM'S.</l>
         			<l>Remember: The oven is your womb!</l>
         			<l>Let's do it right!</l>
         		</lg>
         	</div>
         	
         	<div type="dialogue" n="p. 120">
         		<head>POLITICAL CONSCIOUSNESS (A DIALOGUE)</head>
         		<sp><speaker/><ab>"Ever since I saw photographs of those poor women in
         			sweat shops, I refuse to buy anything readymade."</ab></sp>
         		<sp><speaker/><ab>"What a wonderful thing to do. It’s like a one-woman
         			boycott—like the grape boycott. You know, I still can’t
         			bear to eat grapes?"</ab></sp>
         		<sp><speaker/><ab>"There was one on lettuce, too."</ab></sp>
         		<sp><speaker/><ab>"I didn’t hear about that one. And I just ordered salad! I
         			feel so badly."</ab></sp>
         		<sp><speaker/><ab>"It’s all right, dear. It’s over now and the workers are
         			happy again. Yours was endive, anyway."</ab></sp>
         		<sp><speaker/><ab>"But I do think you’re right about mass-produced clothing.
         			If women didn’t buy those cheap copies of designer dresses,
         			it would protect the designers' incomes, too."</ab></sp>
         		<byline>Nancy Kitchel. 1976.</byline>
         	</div>
         	
         	<div type="prose" n="p. 121">

<head>"Negating the Negative"</head>
         		<p>anti-pure, anti-purist, anti-puritanical, anti-
         		minimalist, anti-post minimalist, anti-reducti-
         		vist, anti-formalist, anti-pristine, anti-austere,
         		anti-bare, anti-blank, anti-bland, anti-boring,
         		...anti-universal, anti-internationalist, anti-
         		imperialist, anti-bauhausist, anti-dominant,
         		anti-authoritarian, anti-mandarinist, anti-
         		mainstreamist,. ..anti-black, anti-white, anti-
         		gray, anti-grid, anti-god,...anti-logic, anti
         		conceptual, anti-male-dominated, anti-virile,
         		anti-tough, anti-cool, anti-cruel,...anti-controlled, anti-controlling, anti-arrogant, anti-
         		sublime, anti-grandiose, anti-pedantic, anti-
         		patriarchal, anti-heroic, anti-genius, anti-
         		master.</p>
         	</div>
         		<div type="prose" n="p. 121">
         		<head>"On Affirmation"</head>
         		<p>fussy, funny, funky, perverse, mannerist,
         		tribal, rococco, tactile, self-referring, sumptuous, sensuous, salacious, eclectic, exotic,
         		messy, monstrous, complex, ornamented..</p>
         		<byline>Excerpt from Joyce Kozloff. <title>Negating the Negative</title>
         		(an answer to Ad Reinhardt’s “On Negation”). 1976.</byline>
         	</div>
         	
         	<div type="poem" n="p. 123">

<head>From 'Photography and Other Good Designs'</head>
         				<lg>
         					<l>DARLING, I STAYED AT YOUR PLACE WHEN YOU WENT TO CALIFORNIA</l>
         				<l>AND I SAW ALL THOSE PHOTOGRAPHS OF HER SMILING FACE</l>
         				<l>THERE'S A BIG ONE IN THE KITCHEN, SHE'S SMILING ON THE BEACH</l>
         				<l>THERE'S A SMALL ONE IN THE BATHROOM, SHE'S LOOKING OUT AND SMILING.</l>
         				</lg>
         				<lg>
         					<l>WELL I THOUGHT YOU WERE JUST FRIENDS, TIL I FOUND A LETTER</l>
         				<l>IT SAID, "DARLING, I LOVE YOU, BUT YOU LOVE ME BETTER."</l>
         				<l>WELL I MAY HAVE BEEN BLIND, BUT NOW I CAN SEE</l>
         				<l>DARLING, MY DARLING, YOU WERE TWO-TMING ME.</l>
         				</lg>
         				<lg>
         					<l>I LOOKED AT THOSE PHOTOGRAPHS, DAY AND NIGHT</l>
         				<l>HER YEES WERE A DAZZLING BLUE, EVEN IN BLACK AND WHITE.</l>
         				<l>I TRIED TO PICTURE THE WAY SHE TALKED, HOW SHE MOVED</l>
         				<l>WHAT SHE THOUGHT ABOUT DRIVING ON THE ROAD ALONE</l>
         				<l>SHE WAS SO STRANGE AND BEAUTIFUL, SO COOL, SO WARM</l>
         				<l>AND SHE DID SMILE A LOT</l>
         				<l>AFTER A WHILE, I KNEW I WAS IN LOVE WITH HER.</l>
         				<l>I COULDN'T HELP FALLING IN LOVE WITH HER.</l>
         				</lg>
         				<lg>
         					<l>I HAD A DREAM THAT SHE AND I WERE LOVERS,</l>
         				<l>WE MADE LOVE ALL DAY UNDERNEATH YOUR COVERS.</l>
         				<l>WE USED ALL YOUR TOOLS TO DRILL HOLES IN YOUR SCULPTURE</l>
         				<l>THEN WE LAY ON THEM ALL DAY -</l>
         				<l>SHE WAS A GREAT COOK TOO - COLD CUTS.</l>
         				</lg>
         				<lg>
         					<l>I LOVED HER SO MUCH, AND I WILL NEVER FORGET HER</l>
         				<l>THE DAY SHE SMILED AT ME AND SAID, "DARLING I LOVE YOU,</l>
         				<l>BUT YOU LOVE ME BETTER."</l>
         				<l>THE DAY SHE WHISPERED, "DARLING, I REALLY LOVE YOU,</l>
         				<l>8BUT YOU LOVE ME BETTER.</l>         					  
         		</lg>
         		<byline>© LAURIE ANDERSON</byline>           				     			
         	</div>
         	<div type="poem" n="p. 123">
         		<lg>
         			<l>Once a man was angry at his</l>
         			<l>wife, he cut her in small pieces,</l>
         			<l>made a stew of her.</l>
         		</lg>
         		<lg>
         			<l>then he telephoned to his</l> 
         			<l>friends and asked them for a</l> 
         			<l>cocktail-and-stew party.</l>
         		</lg>
         		<lg>
         			<l>Then all came and had a good</l>
         			<l>time.</l>
         		</lg>
         	</div>
         	<div type="images">
         		<figure n="p. 118"><caption>Carolee Scheeman. Excerpts from performance <title>Americana I Ching Apple Pie.</title> 1972.</caption></figure>
         		<figure n="p. 118"><caption>Carol Conde. 1977. Pen and ink. 3 1/2" x 5 1/2".</caption></figure>
         		<figure n="p. 118"><caption>Karen Shaw. <title>Additional Meanings: Forgiveness = 139.</title> 1975. 11" x 7 3/4".</caption></figure>
         		<figure n="p. 119"><caption>Eve Sonneman. <title>Opening Night.</title> Houston. 1972.</caption></figure>
         		<figure n="p. 119"><caption>Sandra Matthews. <title>Sleight of Hand Series.</title> 1976.</caption></figure>
         		<figure n="pp. 120-1"><caption>Ida Applebroog. <title>Galileo Works.</title> 1976. Shadow puppets, rhoplex on paper. 10" x 12" each.</caption></figure>
         		<figure n="p. 120"><caption>Eleanor Antin, <title>Recollections of My Life with Diaghilev.</title> 1973. Red ink on paper. 9" x 12". "In London during that season I met again the beloved teacher of my early days."</caption></figure>
         		<figure n="p. 121"><caption>Eleanor Antin, <title>Recollections of My Life with Diaghilev.</title> 1973. Red ink on paper. 9" x 12". "Patrick was inexperienced but very athletic."</caption></figure>
         		<figure n="p. 122"><caption>1. Annette Messager. <title>Trickster</title>. 1974-5. Ink on flesh.</caption></figure>
         		<figure n="p. 122"><caption>2. Annette Messager. <title>La Femme et le barbu</title>. 1974-5. Ink on flesh.</caption></figure>
         		<figure n="p. 122"><caption>Ulricke Rosenbach. <title>Berlin: The Column of Victory</title>. 1974.</caption></figure>
         		<figure n="p. 123"><caption>Laurie Anderson. 1977.</caption></figure>
				 <figure n="p. 123"><caption>Louise Bourgeois. From <title>He Disappeared into Complete Silence</title>. 1946. Engraving. 5" x 7".</caption></figure>         		
         		<figure n="p. 124"><caption>Mierle Laderman Ukeles. <title>Doing the Laundry: The Sorting of the Sox</title>. 1977. 12" x 4 1/2".</caption></figure>
         		<figure n="p. 124"><caption>Homage to Mu Ch'I. (7th-century Southern Sung Zen painter, especially painting: "Permissions"; Mu Ch'i was an early "forerunner of abstract expressionism.)</caption></figure>
         	</div>
         	
         	
         	
         </div>
      </body>
			<back>
				<p>
				Laurie Anderson, born in Chicago and living in New York, is a performance artist working with sound, film, and spoken words.</p>
				<p>Eleanor Antin is a “post-conceptual” and performance artist living in Del
				Mar, California. Her work absorbs her other identities—the King, the
				Ballerina, the Black Movie Star and the Nurse.</p>
				<p>Louise Bourgeois is a sculptor, a symbolist and intimist, who describes the
				piece reproduced here as “an attempt at the sublimation of pain."</p>
				<p>Carol Conde, a Canadian artist living and working in New York, is an
				editor of Red-Herring and a member of Artists Meeting for Cultural
				Change.</p>
				<p>Nancy Kitchel is a New York artist whose work deals with identity,
				exorcism and political awareness.</p>
				<p>Joyce Kozloff is a painter who lives in New York, teaches and has been
				active in the women’s movement on both coasts.</p>
				<p>Sandra Matthews is a photographer who was born in Chicago and attended
				Radcliffe and the State University of New York at Buffalo, where she lives.</p>
				<p>Annette Messager has two identities—the “collector” and the “artist.”
				Both live in Paris and both make “art” primarily from found materials
				obsessively reassembled.</p>
				<p>Ulrike Rosenbach is a feminist performance and video artist living in
				Cologne. Her work is primarily concerned with ritual, magic, eroticism and
				the female image.</p>
				<p>Carolee Schneemann, the first painter to choreograph environmental thea
				ter (for the Judson Dance Theater), created Kinetic Theater in 1962.</p>
				<p>Karen Shaw is an artist dealing with language and has been published
				occasionally. She is the mother of two boys.</p>
				<p>Eve Sonneman, born in Chicago and living in New York, works with photo
				graphy and teaches at Cooper Union and the School of Visual Arts.</p>
				<p>Mierle Laderman Ukeles conceived Maintenance Art Works in 1969. She
				has been maintaining it ever since and vice versa.
			</p>
			<p>
				Ida Applebroog is making art and living in New York. Before that she was
				making art, teaching, and living in San Diego.
			</p>
			</back>
   </text>
</TEI>

The "'I Am Heathcliffe,' Says Catherine" Syndrome