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Journal articles on the topic 'Australian wit and humor'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Rodríguez-Salas, Gerardo. "Communitarian Theory and Andalusian Imagery in Carmel Bird’s Fiction. An Interview." IRIS, no. 35 (June 30, 2014): 123–39. http://dx.doi.org/10.35562/iris.1803.

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Australian writer Carmel Bird writes fiction that, while being highly individual and varied, settles within the Australian traditions of both Peter Carey’s fabulism and Thea Astley’s humane wit. As William H. Wilde, Joy Hooton and Barry Andrews state (1994), Bird is a “witty writer with a wide but always highly original tonal range”, who “raises what is often potentially sinister or horrific to something approaching comedy. Disease, deaths and violence are staples in her fictional world, which has similarities with Barbara Hanrahan’s Gothic sensuality and feminist irony, although Bird’s deadpan humour is a distinctive, determining element”. The present interview focuses on an unexplored area in Bird—Andalusia, Spain—which, paradoxically, becomes the backcloth of some of her fiction—like the recent Child of the Twilight (2010)—and a prolific source of inspiration. The following pages explore Bird’s Andalusian/Spanish visions as regards nationalistic, religious, and cultural constructions. To that end, the theoretical communitarian discussion of figures like Ernest Gellner, Ferdinand Tönnies, Benedict Anderson, Jean-Luc Nancy and Maurice Blanchot will prove useful in the structural framework of this interview. Bird herself clarifies that her contribution is not offered from an academic perspective; she speaks about herself as a writer largely unaffected by academic bias. However, communitarian theorisation will prove useful in clarifying her depiction of nationalistic and religious values, while, in the process, she sheds some light on the slippery concept of “Australian writing” and the construction of Spanish cultural values from the perspective of an Australian writer. This interview offers a fresh rendition marked by the humorous, spontaneous and truthful tone that characterises Bird’s fiction.

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2

Brugère, Fabienne. "Wit and/or Humor." Sententiae 22, no. 01 (June 16, 2010): 211–14. http://dx.doi.org/10.22240/sent22.01.211.

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3

Ellington, John. "Wit and Humor in Bible Translation." Bible Translator 42, no. 3 (July 1991): 301–13. http://dx.doi.org/10.1177/026009359104200301.

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4

Long, Debra L., and Arthur C. Graesser. "Wit and humor in discourse processing." Discourse Processes 11, no. 1 (January 1988): 35–60. http://dx.doi.org/10.1080/01638538809544690.

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5

Land, Norman E. "THE WIT AND HUMOR OF MAESTRO ZOANE." Source: Notes in the History of Art 27, no. 4 (July 2008): 16–19. http://dx.doi.org/10.1086/sou.27.4.23207903.

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6

Witkowski, Jan A. "The liveliest effusion of wit and humor." Trends in Biochemical Sciences 26, no. 12 (December 2001): 747–52. http://dx.doi.org/10.1016/s0968-0004(01)01936-3.

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7

Kahn, William A. "To Wit: Humor and Applied Behavioral Science." Journal of Applied Behavioral Science 26, no. 3 (August 1990): 329–30. http://dx.doi.org/10.1177/0021886390263006.

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8

Meltzer, Gary. "Dark Wit and Black Humor in Seneca's Thyestes." Transactions of the American Philological Association (1974-) 118 (1988): 309. http://dx.doi.org/10.2307/284174.

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9

Dionigi, Alberto, Mirko Duradoni, and Laura Vagnoli. "Humor and Attachment: Exploring the Relationships between Insecure Attachment and the Comic Styles." European Journal of Investigation in Health, Psychology and Education 13, no. 1 (January 12, 2023): 161–69. http://dx.doi.org/10.3390/ejihpe13010012.

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In this study, the relationship between individuals’ insecure attachment styles and eight comic styles was explored. A sample of 636 Italian adults (206 males, 428 females, 2 non-binary), aged 18 to 81 years (M = 41.44; DS = 13.44) completed an online survey to investigate the relationship between insecure attachment styles, namely anxious and avoidant, and the eight comic styles, clustered into lighter style (fun, benevolent humor, wit, nonsense) and darker style (irony, satire, sarcasm, cynicism). The findings of this research indicated the lighter and darker styles were differently related to the anxious and avoidant styles. The anxious attachment was negatively related to both benevolent humor and wit and positively with irony. The avoidant style was positively associated with nonsense and sarcasm, while no other relationship emerged. This research indicated that attachment orientations are associated with individual differences in the detailed differentiation of humor-related styles.

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10

Schuman, Boaz Faraday. "Scholastic Humor." History of Philosophy Quarterly 39, no. 2 (April 1, 2022): 113–29. http://dx.doi.org/10.5406/21521026.39.2.02.

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Abstract Scholastic philosophers can be quite funny. What's more, they have good reason to be: Aristotle himself lists ready wit (eutrapelia) among the virtues, as a mean between excessive humor and its defect. Here, I assess Scholastic discussions of humor in theory, before turning to examples of it in practice. The last and finest of these is a joke, hitherto unacknowledged, which Aquinas makes in his famous Five Ways. Along the way, we'll see (i) that the history of philosophy is not so hostile to humor as is commonly supposed; and (ii) that the competing theories of humor like the Incongruity Theory and the Release Theory are not altogether incompatible. We'll also see at least one example of an apparent attempt by modern translators to excise humor from a medieval text. Our considerations will open a window into what oral discussion and debate at medieval universities was actually like, and how we should understand the relationship between the texts we have now and the exchanges that actually occurred then.

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11

Caillouet, Ruth R. "Everything I Need to Know about Teaching I Learned from Beowulf." English Journal 98, no. 1 (September 1, 2008): 42–45. http://dx.doi.org/10.58680/ej20086724.

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12

Klein, Rudolf. "Humor in Architecture: Jewish Wit on Béla Lajta’s Buildings." Ars Judaica: The Bar Ilan Journal of Jewish Art 12 (May 2016): 93–110. http://dx.doi.org/10.3828/aj.2016.7.

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13

Connor, J. A. "Commentary: getting real about reliability, through wit and humor." IEEE Transactions on Reliability 52, no. 1 (March 2003): 10–13. http://dx.doi.org/10.1109/tr.2002.804732.

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14

Kehl, D. G. "Thalia Meets Tithonus: Gerontological Wit and Humor in Literature." Gerontologist 25, no. 5 (October 1, 1985): 539–44. http://dx.doi.org/10.1093/geront/25.5.539.

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15

Chiodo, Christopher P., Kimberly K. Broughton, and Max P. Michalski. "Caution: Wit and Humor During the COVID-19 Pandemic." Foot & Ankle International 41, no. 6 (April 26, 2020): 763–64. http://dx.doi.org/10.1177/1071100720923651.

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16

Moran, Leslie J. "The wit of Judge Rinder: judges, humour and popular culture." Oñati Socio-legal Series 9, no. 9(5) (April 16, 2019): 771–98. http://dx.doi.org/10.35295/osls.iisl/0000-0000-0000-1036.

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Judge Rinder is a British reality TV court show. It has much in common with the US archetype Judge Judy. But there are differences. One is Judge Rinder’s humour, and more specifically his wit. Using a research database of Judge Rinder cases. The article examines the nature and effects of humour in this courtroom setting. It explores the role of the judge, the form the humour takes and the interactions and social relations it generates. A distinctive feature of the analysis is consideration of the impact of the audio-visual technologies, and the techniques and conventions developed around them, upon the interactions and social relations the onscreen humour generates with viewers. While the camera aligns the screen audience with the judge and the laughter track infects the audience with emotion the judge generates, the paper cautions against assuming that all viewers have the same emotional experience. Judge Rinder es un reality show judicial británico. Tiene mucho en común con el arquetipo de Judge Judy, de EEUU; pero hay diferencias. Una consiste en el humor del juez Rinder, y, más en concreto, en su ingenio. Utilizando una base de datos de investigación de los casos de Judge Rinder, el artículo analiza la naturaleza y los efectos del humor en ese escenario judicial. Explora el rol del juez, la forma que adquiere el humor y las interacciones y relaciones sociales que éste genera. Una característica distintiva del análisis es la consideración del impacto de las tecnologías audiovisuales, y de las técnicas y convenciones desarrolladas alrededor de aquéllas, sobre las interacciones y las relaciones sociales que el humor televisivo genera en los espectadores. Mientras la cámara alinea a la audiencia con el juez y la risa contagia a la audiencia la emoción generada por el juez, el artículo advierte contra la deducción de que todos los espectadores experimentan una misma emoción.

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17

Harahap, Muhammad Haekal, Mulyadi, and Alemina Br. Perangin-angin. "Humor Verbal pada Komik Setrip "Tahilalats" Karya Nurfadli Mursyid." Multiverse: Open Multidisciplinary Journal 1, no. 2 (August 31, 2022): 25–31. http://dx.doi.org/10.57251/multiverse.v1i2.575.

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Penelitian ini bertujuan untuk mendeskripsikan parameter humor verbal pada komik setrip Tahilalats dan megklasifikasikan jenis-jenis humor verbal yang terdapat pada komik setrip Tahilalats. untuk mencapai tujuan itu digunakan General Theroy of Verbal Humor (GTVH) dan 12 jenis humor verbal Shade. Data pada penelitian ini adalah humor verbal yang terdapat pada komik setrip Tahilalats yang diunggah di akun Twitter-nya (@tahilalats) pada periode 1 Januari – 31 Maret. Penelitian ini menerapkan pendekatan kualitatif-deskriptif dan untuk metode penelitian dan analisis data digunakan metode analisis isi. Hasil penelitian ini menunjukkan bahwa 56 dari 60 komik setrip Tahilalats mengandung atau memiliki humor verbal. Pada 56 komik dengan humor verbal tersebut terdapat 8 dari 12 jenis humor verbal yang dikemukakan oleh Shade, yaitu: pun (2); joke (27), satire (10), parody (4), ancedote (8), irony (4), sarcasm (2), dan wit (2). Joke menjadi jenis humor verbal terbanyak yang ditemukan pada komik setrip Tahilalats pada periode 1 Januari – 31 Maret dan parody menjadi jenis humor verbal yang paling sedikit ditemukan. Setiap KR pada humor verbal komik setrip Tahilalats memiliki pengaruh dalam kelucuan humor komik setrip Tahilalats dan menjadi bagian penting dalam membangun humor verbal tersebut.

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18

Hakim, Muhamad Syahril Adil, and Rohmani Nur Indah. "FLOUTING MAXIM IN CREATING VERBAL HUMOR IN THE PRETTY SMART NETFLIX SERIES." 3rd Annual International Conferences on Language, Literature, and Media 4 (September 21, 2022): 319. http://dx.doi.org/10.18860/aicollim.v4i1.1957.

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Humor is a complex social phenomenon generally encountered around us. It is repeatedly used in mass entertainment. However, humor is still a relatively uncommon topic in research. Therefore, this study attempts to uncover verbal humor in Pretty Smart Netflix Series. The two objectives of this study are to identify the types of flouting maxims and describe the flouting maxim employed by the characters to produce verbal humor. This research used a descriptive qualitative method by employing Grice’s Cooperative Principle theory and Shade’s verbal humor theory. Twenty floating maxims were included in the seven episodes of the Pretty Smart Series. The most frequent type found is the flouting maxim of quality, followed by the flouting maxim relation and the flouting maxim of quantity, and the last is the flouting maxim of manner. These flouting maxims create types of verbal humor, including jokes, irony, wit, and satire. This research can be used as a reference for further research to understand Pragmatics, particularly regarding the flouting maxims and verbal humor.

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19

Wisasongko, Wisasongko, Aji Pangestu, and Agung Tri Wahyuningsih. "A Pragmatic Study on Verbal Humor Used in Mrnigelng Youtube Video." Scholars International Journal of Linguistics and Literature 6, no. 1 (January 10, 2023): 28–35. http://dx.doi.org/10.36348/sijll.2023.v06i01.003.

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Humor is one of the main sources of entertainment in the media, such as YouTube. Mrnigelng is a comedian who uses Uncle Roger’s persona to give criticism to western cooks that try to make Asian dishes humorously in YouTube. This study aims to examine the verbal humor found in Mrnigelng video entitled “Uncle Roger DISGUSTED by this Egg Fried Rice Video (BBC Food)”. By employing Shades verbal humor classifications and Attardo General Theory of Verbal Humor, this study analyzes the types of verbal humor used in the object and how they are generated. The result of this study shows that there are eight types of verbal humor found in the object: Pun, Riddle, Joke, Satire, Farce, Sarcasm, Tall Tale, and Wit. Based on the result, it can be seen that Nigel primarily uses Satire to tease an English cook and to prevent his jokes from being morally unacceptable.

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20

Ariagno, R. L. "Philip Sunshine Festschrift: a quintessential neonatologist with wit and humor." Journal of Perinatology 31, S1 (March 30, 2011): S9—S10. http://dx.doi.org/10.1038/jp.2010.181.

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21

Stephen Feinstein. "Art from the Concentration Camps: Gallows Humor and Satirical Wit." Journal of Jewish Identities 1, no. 2 (2008): 53–75. http://dx.doi.org/10.1353/jji.0.0029.

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22

Kahn, William A. "To Wit: Humor and the Journal of Applied Behavioral Science." Journal of Applied Behavioral Science 26, no. 1 (March 1990): 107–10. http://dx.doi.org/10.1177/002188639002600109.

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23

Meyer-Sickendiek, Burkhard. "Die Satire als invektive Gattung." Kulturwissenschaftliche Zeitschrift 6, no. 1 (December 1, 2021): 130–45. http://dx.doi.org/10.2478/kwg-2021-0024.

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Abstract A discussion of satire as borderline case of invectivity will be presented in this paper. The particular focus lies on literary debates in eighteenth-century Britain and in Germany. British satirists like Dryden, Haywood or Pope described ridicule and sarcasm as main features of satire, however, it was viewed as necessary to uphold the distinction between satire and libel resp. lampoon. This distinction was explained by concepts of urban wit or raillery. In German literature Wieland introduced the concept of wit in his satirical writings, however, since romanticism it was replaced with the opposition between sarcasm and ‚Humor‘.

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24

Piggush, Yvette R. "“A Very Dangerous Talent”: Wit for Women in Hannah Webster Foster's The Boarding School." New England Quarterly 92, no. 1 (March 2019): 46–74. http://dx.doi.org/10.1162/tneq_a_00720.

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Hannah Webster Foster's eighteenth-century novel The Boarding School shows how conduct literature and the republican culture of politeness create gender expectations for women's humor in the early United States. Foster teaches readers about the social effects of wit and guides them in using satire and irony to influence public opinion.

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25

Sobaskie, James William, and Gretchen A. Wheelock. "Haydn's Ingenious Jesting with Art: Contexts of Musical Wit and Humor." Notes 50, no. 3 (March 1994): 955. http://dx.doi.org/10.2307/898553.

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26

Carpenter, Dick M., Marjory J. Webster, and Chad K. Bowman. "White House Wit: How Presidents Use Humor as a Leadership Tool." Presidential Studies Quarterly 49, no. 1 (January 8, 2019): 23–55. http://dx.doi.org/10.1111/psq.12492.

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27

Stanaland, Andrea J. S. "Book Review: Humor in the Advertising Business: Theory, Practice, and Wit." Journal of Advertising Education 12, no. 1 (May 2008): 36–37. http://dx.doi.org/10.1177/109804820801200108.

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28

Mendiburo-Seguel, Andrés, and Sonja Heintz. "Comic styles and their relation to the sense of humor, humor appreciation, acceptability of prejudice, humorous self-image and happiness." HUMOR 33, no. 3 (August 27, 2020): 381–403. http://dx.doi.org/10.1515/humor-2018-0151.

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AbstractThe present study investigates the relationships of eight comic styles (fun, benevolent humor, nonsense, wit, irony, satire, sarcasm, and cynicism) with acceptability of prejudice (laughing at different groups and topics), humorous self-image (funniness and frequency of laughter), humor appreciation (funniness and aversiveness of cartoons with different structures and contents), and happiness. A representative Chilean adult sample (N=857, 60.8% women; age M=40.50, SD=17.28) was recruited in face-to-face interviews and online surveys. They completed self-reports of all variables as well as a humor appreciation test. Most of the comic styles related to finding the cartoons funnier. Furthermore, the darker styles were more strongly related to laughing at a variety of topics and groups. Also, happiness was positively related to fun and benevolent humor and negatively to cynicism. This study provides evidence of the criterion validity of the Comic Style Markers in Latin-American cultures and highlights differences between lighter and darker styles.

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29

Orlova, N. V., and O. E. Bogomolova. "WHAT'S SO FUNNY? A COMPARATIVE LOOK AT THE HUMOROUS INTENTIONS OF THE TEXTBOOK AND THE STUDENT." Bulletin of Kemerovo State University, no. 3 (July 28, 2016): 63–69. http://dx.doi.org/10.21603/2078-8975-2016-3-63-69.

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A section of a school textbook on literary reading “Jokingly and seriously” was compared with the written memories of 3rd-grade students of “Lyceum № 29” (Omsk) about the situations in which they laughed. The objects of comparison were such aspects of humorous discourse as the object of the ridicule, the tone of the comic, values and concepts; the presence/absence of humor in the linguistic component. General research approach is the discourse analysis. A positive correlation between age features of the humor, the humorous intentions of the textbook and interview data were revealed, which allows to ascertain the productivity of learning strategies. Spontaneous laughter communication is dominated by good-natured laughter over the animals, the concepts of causeless laughter, wit, intelligence, being-grown-up, etc., which corresponds to “student humor”. On the other hand, more efforts are needed to develop children's linguistic humor (language skill games) and the attention to situations in which laughter can produce conflict communication.

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30

Rodriguez, Hugo, Pablo Arias Sarah, and Clément Canonne. "Contrasts of Register Underlie the Perception of Musical Humor." Music Perception: An Interdisciplinary Journal 40, no. 4 (April 1, 2023): 316–33. http://dx.doi.org/10.1525/mp.2023.40.4.316.

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In the psychological literature on musical humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners’ expectations, as the privileged basis for musical humor. But musical humor extends well beyond laughter-inducing music. It is also a kind of semantic content frequently ascribed to music, as attested by the long list of musical genres that are more or less explicitly associated with humor, wit, or comedy. As such, the communication of musical humor should be able to also rely on non-deviant compositional techniques; that is, compositional techniques that conform to the standard syntax in which the musical output is generated. In this paper, we show that selectively augmenting or inhibiting contrasts of register found in passages of Cécile Chaminade’s humorous piano music impacted the extent to which both expert and non-expert listeners rated such passages as expressing something humorous. We then analyze the effects of contrasts of register in light of incongruity and play theories of humor, and further discuss the relevance of our results for the semantics and pragmatics of music.

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31

Dionigi, Alberto, Mirko Duradoni, and Laura Vagnoli. "Understanding the association between humor and emotional distress: The role of light and dark humor in predicting depression, anxiety, and stress." Europe’s Journal of Psychology 19, no. 3 (November 30, 2023): 358–70. http://dx.doi.org/10.5964/ejop.10013.

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Despite increasing interest in the relationship between humor and psychological distress, investigations have failed to focus on specific categories of humor and negative mental conditions. A sample of 686 Italian participants (187 men and 499 women), aged between 20 and 76 years, completed an online survey, data from which was used to investigate the relationship between eight comic styles, depression, anxiety, and stress. Findings from the multiple linear regression demonstrate benign humor as a protective factor of all three variables considered, while irony was positively associated with anxiety and stress. Wit was a protective factor associated with anxiety, while sarcasm was positively related to depression. No significant correlations emerged between the other variables considered. These findings highlight how specific categories are linked to varying dimensions of emotional distress, which are discussed with reference to the extant literature.

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32

Blanco, Mercedes. "Ovidio global: variaciones ovidianas en la edad de Góngora." Calíope 28, no. 1 (April 1, 2023): 1–33. http://dx.doi.org/10.5325/caliope.28.1.0001.

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Abstract The writers of Góngora’s age found in Ovid the quintessential master of poetic art. This article examines three properties of the Sulmona poet’s writing that could explain his position of supremacy: his wit and humor, his invention of a political fiction that dresses the monarch and his court with the attributes of the Olympian gods, and finally, the elegiac subjectivity that permeates all his creations.

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33

Schwartz, Benjamin. "“Making Such Spaces . . . Where None Previously Existed”: Interstitial Wit in Fran Ross’s Oreo." Studies in American Humor 9, no. 1 (March 2023): 13–30. http://dx.doi.org/10.5325/studamerhumor.9.1.0013.

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ABSTRACT This article explores how Fran Ross’s 1974 novel Oreo uses humor to challenge static notions of Black, Jewish, and American identity. Through her mock heroic quest, Oreo’s eponymous protagonist develops WIT (“Way of the Interstitial Thrust”), a system of self-defense that draws on her multifaceted identity as a Jewish, African American woman and that she uses to successfully navigate spaces that threaten her with physical violence and symbolic erasure. In its hilarious exploration of the complexity and commodification of identity in the late twentieth century United States, Oreo provides a still-relevant example of how humor can create new spaces for minoritized subjects who exist in the “interstices” of the landscape of American cultural production.

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34

Chen, Li-Chi, Anna Sroka-Grądziel, Fu-Lan Lee, and Eryk Hajndrych. "Wit and Humor in Chinese Characters - A Socio-Cultural and Historical Perspective." Socjolingwistyka 35 (2021): 41–54. http://dx.doi.org/10.17651/socjoling.35.3.

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35

Juni, Samuel, and Bernard Katz. "Self-Effacing Wit as a Response to Oppression: Dynamics in Ethnic Humor." Journal of General Psychology 128, no. 2 (April 2001): 119–42. http://dx.doi.org/10.1080/00221300109598903.

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36

Baughman, H. M., E. A. Giammarco, Livia Veselka, Julie A. Schermer, Nicholas G. Martin, Michael Lynskey, and Phillip A. Vernon. "A Behavioral Genetic Study of Humor Styles in an Australian Sample." Twin Research and Human Genetics 15, no. 5 (June 13, 2012): 663–67. http://dx.doi.org/10.1017/thg.2012.23.

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The present study investigated the extent to which individual differences in humor styles are attributable to genetic and/or environmental factors in an Australian sample. Participants were 934 same-sex pairs of adult twins from the Australian Twin Registry (546 monozygotic pairs, 388 dizygotic pairs) who completed the Humor Styles Questionnaire (HSQ). The HSQ measures four distinct styles of humor — affiliative, self-enhancing, aggressive, and self-defeating. Results revealed that additive genetic and non-shared environmental factors accounted for the variance in all four humor styles, thus replicating results previously obtained in a sample of twins from the United Kingdom. However, a study conducted with a U.S. sample produced different results and we interpret these findings in terms of cross-cultural differences in humor.

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37

Baladouni, Vahé. "CHARLES LAMB: A MAN OF LETTERS AND A CLERK IN THE ACCOUNTANT'S DEPARTMENT OF THE EAST INDIA COMPANY." Accounting Historians Journal 17, no. 2 (December 1, 1990): 21–36. http://dx.doi.org/10.2308/0148-4184.17.2.21.

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Charles Lamb (1775–1834), English author, who became famous for his informal, personal essays and literary criticism, is presented here in his vocational role as accounting clerk. Lamb's long years of experience in and out of London's counting-houses permitted him to capture the early nineteenth-century business and accounting life in some of his renowned essays and letters to friends. His unique wit, humor, and warm humanity bring to life one of the most interesting periods in accounting history.

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38

Hempelmann, Christian F. "True German and phony English laughter: Schmidt-Hidding was still Schmidt." European Journal of Humour Research 5, no. 4 (December 31, 2017): 179. http://dx.doi.org/10.7592/ejhr2017.5.4.hempelmann.

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Schmidt-Hidding’s (b. 1903, d. 1967) lexical field study on the area of Humor und Witz [humor and wit/jokes] (1963b) receives attention in humor research to this day, especially in German-speaking countries. His diamond-shaped illustration of the two dimensions of the field of humor, not least in its aim to distinguish “earthy” German from “courteous” English humor, has become well-known. In view of this continued interest in the final write-up of Schmidt-Hidding’s work on humor (1963a, 1963b), in which he consistently ignores his earlier related publications under the name of Schmidt, this paper aims to discourage researchers from basing their work on it for two reasons. The more important one is the flawed, or at least muddled and definitely outdated, methodology of his study. The more delicate one that is focused on here is that the motivation for and the ideological direction of the study are strongly influenced by its author’s National Socialist ideology, which Schmidt-Hidding had possibly assumed for opportunistic reasons and abandoned after World War II. I will first document this ideological alignment with National Socialism from Schmidt’s earlier work, basically a prelude to his Schlüsselwörter (1963a). Then I’ll briefly present the methodological flaws, to the degree that Schmidt-Hidding was sufficiently explicit about his method to make that possible. This approach of interpreting a complex issue in its historical and social contexts, along with showing what the issue is in contrast to analogous issues, is the important research agenda that Davies brought to humor research.

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39

Andrade, Ênio Bernardes de. "Amor, humor: Noel Rosa e Oswald de Andrade." Scriptorium 4, no. 1 (December 28, 2018): 30. http://dx.doi.org/10.15448/2526-8848.2018.1.31377.

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Este artigo propõe o estudo de algumas canções passionais de compositor Noel Rosa, sob a ótica da dualidade “amor/humor” apresentada no contexto das proposições estéticas da poesia Pau-Brasil, de Oswald de Andrade. Tais análises apontam para uma das marcas de confluência entre as obras dos dois autores, cujas linguagens aproximam a poesia da fala cotidiana, distanciando as formas poéticas da aura sublime e da retórica ornamental que costumavam caracterizar o canto e a escrita. Demonstra-se a astúcia criativa do Poeta da Vila, que, no casamento perfeito entre texto e melodia, cria sentidos inesperados nos quais o discurso amoroso é contaminado pela ironia e pelo humor. *** Love, humor: Noel Rosa and Oswald de Andrade ***This paper proposes the study of selected songs by Noel Rosa, from the “love/humor” duality perspective presented in the Pau-Brasil poetry aesthetic by Oswald de Andrade. Such analysis points out to one of the confluence marks between the work of the two artists, whose language approximate poetry and everyday speech, distancing the aura of sublime poetic forms from the ornamental rhetoric which used to characterize singing and writing. Therefore, we can see Rosa’s creative wit that, in the perfect partnership between text and melody, creates unexpected meanings in which love is contaminated by irony and humor.Keywords: song; poetry; humor; Noel Rosa; Oswald de Andrade.

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Rowland, Herbert. "Whimsy, Wit, and Humor: Satire in the Work of Matthias Claudius." Seminar: A Journal of Germanic Studies 45, no. 2 (2009): 111–24. http://dx.doi.org/10.1353/smr.0.0065.

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Trimble, Michael. "The Last Laugh." CNS Spectrums 6, no. 12 (December 2001): 953. http://dx.doi.org/10.1017/s1092852900001048.

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Freud writes in his startlingly innovative book, Wit and Its Relation to the Unconscious, that “…our philosophical inquiries have not awarded to wit the important role that it plays in our mental life.” He pointed out the difficulties of studying the phenomenon scientifically, and went on to analyze the meanings of jokes and why we laugh. He emphasized the “pleasure in economy” that the central nervous system derives from the pithy nature of the witty synthesis. Since then, several authors have brought forward their own theories, Arthur Koestler among them. However, neuroscientists have shown little interest in the subject.This needs urgent attention. It is therefore welcome that at least one group of scientists is taking jokes seriously. They set up a “Laugh Lab” Web site to investigate humor, and respondents from all over the world were asked to vote for the “best” of several jokes displayed on the site. Their responses will be analyzed and hypotheses tested.

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López Díaz, Montserrat. "El humor como procedimiento discursivo en los anuncios publicitarios." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, no. 1 (April 7, 2008): 25–62. http://dx.doi.org/10.1075/rro.43.1.03lop.

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Humorous discourse overlays conventional discourse, providing both a humorous surface interpretation of reality, and a serious or standard underlying one. This paper attempts to show how humorous discourse in printed advertising usually produces a deviant understanding due to the fact that there is normally an incongruous sign or icon that distorts our vision of things. There is a transgression of common norms that transforms familiar things into weird and bizarre, creating a playful message. We distinguish various humorous procedures: irony, sarcasm, parody, pastiche, wit, absurdity, rarity and paradox. These procedures are categorized in three main functions: (a) amusement, when humor is seen as entertainment; (b) cynicism, when it is provocative; and (c) criticism, when it is understood as reproof. Humor must produce an unexpected, but pleasant, relationship with the recipient, who is always prompted to make firstly a common sense interpretation. In that way, recipient’s cooperation is necessary to obtain the humorous effect.

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Tayyaba Hussain and Dr. Tayyaba Nighat. "Humorous Elements In Ibn Insha,s Travelogues." Dareecha-e-Tahqeeq 4, no. 2 (July 5, 2023): 69–74. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i2.122.

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This research paper carries out the research about Humorous elements in Ibn Insha's travelogues. Ibn Insha was a renowned Pakistani poet, humorist, and travelogue writer. His travelogues are among the most famous and beloved works of Urdu literature. In particular, his humorous and witty observations about different cultures and customs have made him a beloved figure among Urdu-speaking audiences.In his travelogues he shares his experiences and observations about his travels to different parts of the world. He employs his trademark wit and humor to describe the people, places, and customs he encounters during his journeys. Through his writing, Ibn Insha not only entertains his readers but also provides them with a window into different cultures and ways of life. His travelogues are a testament to his keen sense of observation and his ability to find humor and humanity in even the most unfamiliar and seemingly alien settings.

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Nguyen, Hung Ky. "Anything Goes with Wit and Ambiguity: Playfulness in Japanese Visual Culture." Design Issues 36, no. 2 (April 2020): 72–86. http://dx.doi.org/10.1162/desi_a_00591.

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Being witty and being culturally appreciated are two independent things in visual communication design. More often than not, on one hand, the Japanese sense of ‘playfulness’ is manifested in enigmatic images, which express intriguing aspects of Japanese psyche. On the other hand, the Western sense of humor is often light hearted, as its major aim is to raise a smile instead of ambiguity. This ethnographic study examines the essence, categories, and sentiment of playfulness in Japanese context. It also explores in detail the situations in which playfulness is used and, where permitted, how Japanese artists and designers come up with playful ideas and encode meaning in their works. The conclusion focuses on how the Japanese sense of playfulness has long been used to establish cultural influence, social voice, and individual distinction.

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Pandey, Kamya, and Ruchi Jaggi. "Advertising Narratives of Society and Politics: A Semiotic Analysis of Amul’s Print Ads." Revista Gestão Inovação e Tecnologias 11, no. 4 (September 16, 2021): 5112–31. http://dx.doi.org/10.47059/revistageintec.v11i4.2552.

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Contextual knowledge is the most important aspect of language comprehension. We define contextual knowledge as both general knowledge and discourse knowledge, i.e., knowledge of the situational context, background knowledge, and co-textual context. In this paper, we will discuss the significance of contextual knowledge in comprehending the humor found in Amul's cartoon advertisements in India. Throughout the process, we will analyze these advertisements and determine whether humor is an effective tool for advertising and, as a result, marketing. These bilingual advertisements also assume that the audience has the necessary linguistic knowledge, such as vocabulary, morphology, and syntax in English and Hindi. Various techniques such as punning, portmanteaus, and parodies of popular proverbs, expressions, acronyms, famous dialogues, songs, and so on are used to convey the message humorously. The current study will focus on these linguistic cues and the necessary context for understanding wit and humor. This study will also employ semiotics and sign methodology to analyze the message provided by the cartoons. According to the research findings, cartoons serve two purposes: political communication and advertising; however, advertising is camouflaged and not placed in an obvious manner.

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Dewi, Lailan Syafrina, Anni Holila Pulungan, and Widya Andayani. "GENDER HUMOR DISCOURSE IN ‘FRIENDS’ COMEDY SERIES." LINGUISTIK TERAPAN 19, no. 2 (September 9, 2022): 110. http://dx.doi.org/10.24114/lt.v19i2.38411.

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ABSTRACT This study deals with Gender Humor Discourse in ‘Friends’ Comedy Series. The aims of the study are 1) to categorize the types of gender humors used in ‘Friends’ comedy series, 2) to describe how gender humors realized in ‘Friends’ comedy series, and 3) to explain the reason of realizing gender humors in ‘Friends’ comedy series in the ways they are. The study used a qualitative descriptive method and a critical discourse analysis approach. The data of the study is drawn from scripts consisted clauses of gender humor discourse in ‘Friends’ comedy series. The techniques for collecting data were observing the plot of the comedy series and selecting episodes which the one that contained the most humor in friendship then download the episodes selected to be observed, after that make documentations by trimming the scenes for making the transcript of dialogues from cut scenes and finding expressions appeared of all players in the comedy series to be observe. The results of study found that there were twenty-six clauses consisted humor types found in this study namely: Self-defeating types were eight (31%). Aggressive types were seven (27%), Affiliative types were six (23%) and elf-enhancing types were five (19%), It can be concluded that Self-defeating types became had high frequency in ‘Friends’ comedy series. From forty-three clauses in ‘Friends’ comedy series, there were nine form of ten humor form realized in ‘Friends’ comedy series, they are Pun form, Riddle form, Joke form, Satire form, Anecdote form, Farce form, Irony form, Sarcasm form, and Wit form. From nine forms of verbal humor, Farce form became had high frequency in the kind of verbal humor of ’Friends’ comedy series. Finally the last study results, there were three reason of realizing humors discourse namely: Universal joke, Cultural Joke, and Linguistic joke.

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James, Sara Nair. "Wit and Humor in Ugolino di Prete Ilario’s Life of the Virgin at Orvieto." Source: Notes in the History of Art 36, no. 3/4 (March 2017): 159–67. http://dx.doi.org/10.1086/693939.

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IMMERWAHR, DANIEL. "THE THIRTY YEARS’ CRISIS: ANXIETY AND FEAR IN THE MID-CENTURY UNITED STATES." Modern Intellectual History 13, no. 1 (July 31, 2015): 287–98. http://dx.doi.org/10.1017/s1479244315000256.

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In 1952, Bill Gaines, the entrepreneurial comic book publisher, embarked on a new venture. He had already made a name for himself by introducing the “horror” comics (Tales from the Crypt, The Vault of Terror) that had rapidly acquired an eager readership. Those titles summoned up repressed aspects of postwar culture, reveling in sadism, sexual infidelity, and grisly torture. But the id knows many pathways, and in 1952 Gaines launched a humor magazine called Mad. The title was a celebration of unreason. As its icon, Mad boasted Alfred E. Neuman, a grinning half-wit who lived by the mantra, “What, me worry?”

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Singh, Ruchika. "Deconstructing H.H. Munro Saki's 'The Open Window': A Critical Study." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 4 (April 15, 2022): 109–14. http://dx.doi.org/10.31305/rrijm.2022.v07.i04.016.

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This critical study offers an in-depth examination of H.H. Munro, known as Saki's, renowned short story, "The Open Window." Employing various analytical lenses, including literary theory and narrative techniques, the investigation dissects the story's themes, characters, and underlying subtext. The analysis scrutinizes Saki's satirical and ironic narrative style, unveiling the intricate layers of deception and illusion experienced by the protagonist, Framton Nuttel. By deconstructing the narrative, this study reveals how Saki masterfully employs wit and humor to craft an engaging tale with profound implications, offering readers a deeper appreciation of the story's richness and complexity.

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Townsend, Mary Lee. "The Politics of Humor: Adolph Glassbrenner and the Rediscovery of the PrussianVormärz(1815–48)." Central European History 20, no. 1 (March 1987): 29–57. http://dx.doi.org/10.1017/s0008938900011559.

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In the postwar search for German national heroes, preferably committed democrats, scholars have rediscovered the Berlin wit and journalist Adolph Glassbrenner (1810–76). In the series of exhibitions about Prussia which flooded West Berlin in 1981 Glassbrenner's memorabilia surfaced with regularity. He even merited a small exhibition of his own and a biography in the seriesPreussische Köpfe. Berlin enthusiasts and aficionados of German folk culture praise him as a quaint, local humorist while others, primarily academic Germanists and historians, point to his activities as a liberal opponent of the Prussian state before the revolution of 1848. None of these many admirers would argue, however, that Glassbrenner was a major literary talent or a particularly original political thinker.

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