abstract After 1994, the South African stand-up comedy scene was dominated, shaped and defined by men. Stand-up comedy is now expanding in its various expressions. The insurgence of ‘vernacular’ comedy and visibility of women comedians are amongst the disruptions that signal the relevance of subjectivities. The central theme of this article is the location of Celeste Ntuli and her − award-winning comedy – within an exploration of Black cultural reproduction. Ntuli presents her narrative(s) through humour while critiquing the socio-political which stereotypes woman's subjectivities. Sexual and gender stereotypes feature heavily in her work, and so the article focuses on Ntuli's subversive counternarratives performed through self-reflective anecdotes. The article will further tease out women's sexuality as a confrontation between social and cultural limits. Ntuli's autobiographical style highlights the visibility of Black womanhood through the self, which is embroiled in a thoughtful critique of social issues. In the article I demonstrate how Ntuli positions her voice by questioning the existing hierarchies of power through playful narratives in comedy − and constructing sexuality as (re) negotiation, expression and subversion.

中文翻译：

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开场白话单口相声：对塞莱斯特·恩图利 (Celeste Ntuli) 性工作的反思

摘要 1994 年之后，南非的单口喜剧场景由男性主导、塑造和定义。单口喜剧现在正在扩展其各种表现形式。“白话”喜剧的兴起和女性喜剧演员的知名度是表明主观性相关性的破坏之一。本文的中心主题是 Celeste Ntuli 和她屡获殊荣的喜剧在对黑人文化再生产的探索中的位置。Ntuli 以幽默的方式呈现她的叙述，同时批评刻板印象女性主观性的社会政治。性和性别刻板印象在她的作品中占有重要地位，因此这篇文章侧重于 Ntuli 通过自我反省的轶事进行的颠覆性反叙事。文章将进一步梳理女性 性是社会和文化界限之间的对抗。Ntuli 的自传风格通过自我突出了黑人女性的可见性，这卷入了对社会问题的深思熟虑的批判。在文章中，我展示了 Ntuli 如何通过喜剧中的俏皮叙事质疑现有的权力等级来定位她的声音 - 并将性行为构建为（重新）谈判、表达和颠覆。