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#5311. It’s no joke: The critical power of a laughing chorus
| August 2026 | publication date |
| Proposal available till | 13-05-2025 |
| 4 total number of authors per manuscript | 0 $ |
| The title of the journal is available only for the authors who have already paid for |
| Journal’s subject area: |
| Marketing; |
| place 1 | place 2 | place 3 | place 4 |
| Free | Free | Free | Free |
| 2510 $ | 1340 $ | 1170 $ | 1000 $ |
Contract №5311.1   | Contract №5311.2 | Contract №5311.3 | Contract №5311.4 |
1 place - free (for sale)
2 place - free (for sale)
3 place - free (for sale)
4 place - free (for sale)
More details about the manuscript: Arts & Humanities Citation Index or/and Social Sciences Citation Index
Abstract:
There is no known time in history, nor known human community without laughter. Laughter imbues our social life. Laughter dominates our daily interactions, perhaps more visibly so on social media, where it is now a weapon wielded frequently against marketers. Yet, marketing theory paid little attention to laughter as a social phenomenon or a collective consumer (re)action. This article begins to address this neglect through an integrative review of theories of laughter and specifically by introducing Mikhail Bakhtin’s notion of a laughing chorus. I engage the notion as a way to understand the internet publics’ rowdy laughter directed at marketing. I show that seemingly nihilistic, irresponsible and discordant laughter is nonetheless an efficacious and notably polyvocal social commentary. To probe further the power of a laughing chorus, I draw on the works of Henri Bergson and Alenka Zupancic and elaborate on laughter as a form of expression that does not depend on reason and argumentation for its effects. I contend that a critical impetus of a laughing chorus may not always be in its content, but in the comic element, centred on repetition. That is, collective, excessive laughter involves a distinct mode of critique, which is not premised on discursive deliberation. I conclude with a reflection on theoretical and methodological opportunities in taking laughter seriously in marketing and consumer culture studies.
Keywords:
Consumer activism; critical marketing; humour; ideology; laughter; memes; politics; social media; theories of humour
Contacts :
2 place - free (for sale)
3 place - free (for sale)
4 place - free (for sale)
More details about the manuscript: Arts & Humanities Citation Index or/and Social Sciences Citation Index
Abstract:
There is no known time in history, nor known human community without laughter. Laughter imbues our social life. Laughter dominates our daily interactions, perhaps more visibly so on social media, where it is now a weapon wielded frequently against marketers. Yet, marketing theory paid little attention to laughter as a social phenomenon or a collective consumer (re)action. This article begins to address this neglect through an integrative review of theories of laughter and specifically by introducing Mikhail Bakhtin’s notion of a laughing chorus. I engage the notion as a way to understand the internet publics’ rowdy laughter directed at marketing. I show that seemingly nihilistic, irresponsible and discordant laughter is nonetheless an efficacious and notably polyvocal social commentary. To probe further the power of a laughing chorus, I draw on the works of Henri Bergson and Alenka Zupancic and elaborate on laughter as a form of expression that does not depend on reason and argumentation for its effects. I contend that a critical impetus of a laughing chorus may not always be in its content, but in the comic element, centred on repetition. That is, collective, excessive laughter involves a distinct mode of critique, which is not premised on discursive deliberation. I conclude with a reflection on theoretical and methodological opportunities in taking laughter seriously in marketing and consumer culture studies.
Keywords:
Consumer activism; critical marketing; humour; ideology; laughter; memes; politics; social media; theories of humour
Contacts :
