Journal articles: 'Jester'

1

Blaustein, Sue. "Jester." Chest 147, no. 3 (March 2015): 863–64. http://dx.doi.org/10.1378/chest.14-2103.

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2

Gudeman, Stephen. "Anthropology as jester." Anthropology Today 33, no. 1 (February 2017): 1–2. http://dx.doi.org/10.1111/1467-8322.12320.

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3

Euchner, Jim. "The Corporate Jester." Research-Technology Management 63, no. 1 (December 18, 2019): 10–11. http://dx.doi.org/10.1080/08956308.2020.1686262.

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4

Ackoff, Russell L. "The corp. jester." Systems Practice 6, no. 4 (August 1993): 333–34. http://dx.doi.org/10.1007/bf01061955.

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Bleich, Michael R. "The Jester of Leadership." Journal of Continuing Education in Nursing 45, no. 9 (August 1, 2014): 382–83. http://dx.doi.org/10.3928/00220124-20140825-13.

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6

Harris, Wilson. "from The Dark Jester." Callaloo 24, no. 4 (2001): 1052–57. http://dx.doi.org/10.1353/cal.2001.0270.

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7

Scheper-Hughes, Nancy. "Anthropologist as Court Jester." Boom 6, no. 4 (2016): 80–91. http://dx.doi.org/10.1525/boom.2016.6.4.80.

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This autobiopic piece chronicles Scheper-Hughes’s early voluntary service with the Peace Corp in Brazil, followed by her early academic career and coming to Berkeley, and then her ongoing engagement and activism in standing up for, and standing with, others. This welled up into community activism and advocacy for the homeless together with Berkeley Catholic Workers, eventually resulting in a café inside of Berkeley’s People’s Park in 1989, providing rationale for Scheper-Hughes’s own well-known applied anthropology and activism, which has made her famous as one of today’s leading anthropologists.

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8

Harris, James C. "Jester With a Lute." Archives of General Psychiatry 68, no. 4 (April 4, 2011): 338. http://dx.doi.org/10.1001/archgenpsychiatry.2011.20.

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9

Spisak, April. "Jester by Brielle D. Porter." Bulletin of the Center for Children's Books 76, no. 1 (September 2022): 27. http://dx.doi.org/10.1353/bcc.2022.0426.

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10

BRAHM, GABRIEL NOAH, and FORREST G. ROBINSON. ""The Jester and the Sage"." Nineteenth-Century Literature 60, no. 2 (September 1, 2005): 137–62. http://dx.doi.org/10.1525/ncl.2005.60.2.137.

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Though Mark Twain and Friedrich Nietzsche were aware of each other, they never met and there is no evidence of influence in either direction. Yet the similarities in their thought are strikingly numerous and close. They were both penetrating psychologists who shared Sigmund Freud's interest in the unconscious and his misgiving about the future of civilization. Both regarded Christianity as a leading symptom of the world's madness, manifest in a slavish morality of good and evil and in a widespread subjection to irrational guilt. They were at one in lamenting the pervasive human surrender to varieties of evasion, disavowel, deceit, and self-deception. Other, lesser similarities abound in thought, style, and patterns of literary production.

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11

Souza, Alexandra Goede de, Eduardo Affonso Jung, Vinícius Petermann Benedicto, and Leosane Cristina Bosco. "Bioactive compounds in gladiolus flowers." Ornamental Horticulture 27, no. 3 (September 2021): 296–303. http://dx.doi.org/10.1590/2447-536x.v27i3.2310.

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Abstract Flowers have received special attention not only for their ornamental nature but also for their nutraceutical, cosmetic, aromatic, and culinary properties. This study aimed to characterize physicochemical attributes and the antioxidant capacity of flowers of four gladiolus cultivars. The cultivars used were White Friendship, Rose Supreme, Jester, and T704. We analyzed the content of total soluble solids (SS), total titratable acidity (TA), SS/TA ratio, pH, vitamin C, anthocyanin, flavonoids, total phenolic compounds (TPC), total antioxidant activity (TAA), and the relationship of TPC with flavonoids and TAA for each cultivar. The results showed that the Jester flowers had the lowest TA and highest SS/TA ratio, indicating the best flavor. Jester also had the highest flavonoid content, similarly to the White Friendship and Rose Supreme. As a result, these cultivars have flowers with higher TPC and TAA content than T704. The anthocyanin content was the characteristic attribute of cultivar T704, due to its purple pigmentation. Gladiolus flowers, traditionally used in landscaping and as cut flowers, have the potential for use in human nutrition, particularly the White Friendship, Rose Supreme, and Jester cultivars.

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12

Scuderi, Antonio. "Unmasking the Holy Jester Dario Fo." Theatre Journal 55, no. 2 (2003): 275–90. http://dx.doi.org/10.1353/tj.2003.0082.

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13

Davis, Nina Cox. "ThePícaroas Jester in the Spanish Picaresque." Romance Quarterly 36, no. 1 (February 1989): 49–61. http://dx.doi.org/10.1080/08831157.1989.9932605.

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&NA;, &NA;. "JESTER RECEIVES AWARD FROM THE UOA." Journal of Wound, Ostomy and Continence Nursing 12, no. 6 (November 1985): 34A—35A. http://dx.doi.org/10.1097/00152192-198511000-00029.

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15

Schreiner, Susan E. "Book Review: Martin-God's Court Jester." Interpretation: A Journal of Bible and Theology 39, no. 3 (July 1985): 332. http://dx.doi.org/10.1177/002096438503900325.

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16

Callahan, William A. "Citizen Ai: Warrior, Jester, and Middleman." Journal of Asian Studies 73, no. 4 (November 2014): 899–920. http://dx.doi.org/10.1017/s0021911814001004.

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Ai Weiwei is famous for crossing boundaries, especially the boundary between art and politics. To appreciate the often contradictory nature of Ai's work, this essay employs multiple narratives: “Ai the Heroic Warrior” who criticizes the Chinese government; “Ai the Court Jester” who plays with the Chinese state and Western media; and “Ai the Middleman” who acts as a broker between China and the West, between young and old people, and between civil society and the state in the PRC. The essay concludes that a fourth narrative can bring together these three stories in a multicoded understanding of Ai's work: “Ai the Citizen Intellectual” who sometimes works with the state, and at other times against it—but always for the good of China. By comparing Ai's work with that of other public intellectuals and placing it in the context of debates about civil society, the conclusion argues that “citizen intellectual” also tells us about a broader movement of activists and public intellectuals who are creating a new form of political space in postsocialist China.

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17

Minder, Bettina, and Astrid Heidemann Lassen. "The Designer as Jester: Design Practice in Innovation Contexts through the Lens of the Jester Model." She Ji: The Journal of Design, Economics, and Innovation 4, no. 2 (2018): 171–85. http://dx.doi.org/10.1016/j.sheji.2018.05.003.

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18

Richey, Michael. "The Last Transatlantic." Journal of Navigation 42, no. 2 (May 1989): 223–35. http://dx.doi.org/10.1017/s0373463300014430.

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On 15 July 1988 in position 39° 08′ N., 58° 43′ W., some 470 miles south-east of Halifax, Nova Scotia, Jester was abandoned and her skipper taken off by the M/V Nilam, a 60000-ton bulk carrier bound for New York.The boat was engaged in the single-handed transatlantic race from Plymouth to Newport, Rhode Island. The race, which started on 5 June, was Jester's eighth and her fourteenth transatlantic passage. The incident, a knockdown, occurred some 40 days out.

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19

Zhuravleva, Aleksandra G. "The Caricatures of Pavel. E. Shcherbov in the Satirical Magazine “The Jester”." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 151–73. http://dx.doi.org/10.46539/gmd.v3i3.183.

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Pavel. E. Shcherbov's caricatures were first brought to the public's attention in the satirical magazine “The Jester” in which he had published them for several years. The cartoons of this period led P.E. Shcherbov to serious success, while their chosen theme - the artistic environment of St. Petersburg at the turn of the century - brought him fame. The research is aimed at studying the artist's collaboration with this magazine through the cartoons themselves as well as his relationship with the magazine's editorial board. It records the assessments, memories and reactions of the contemporaries about Shcherbov's cartoons published in “The Jester”. The study found that the reactions were opposite at times, from sharply negative to rave reviews. A subsequent analysis of the influence of the cartoonist's works on the art world is carried out. Within this article Shcherbov's caricatures that were published in the magazine “The Jester” and other themes that the artist used are identified. As a result of the research, a close cooperation between Shcherbov and the magazine “The Jester” is revealed as well as the conclusion that the cartoonist contributed to the rise of the satirical publications, whilst his works generated great public interest, having influenced further decisions and actions of his contemporaries, is made.

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20

Zin, Monika. "About Visual Language, Drunken Women, Jesters and Escaping the World." Cracow Indological Studies 24, no. 2 (December 19, 2022): 91–116. http://dx.doi.org/10.12797/cis.24.2022.02.04.

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Visual communication employs language different than literature. The economy of viewing calls for elements of representation familiar to the viewer, which, when shown in a recurring order, become comprehensible. For us, recognising these elements is often difficult as they can be entirely absent from the literary text. The person of the jester, whose appearance corresponds to the vidūṣaka of the Nāṭyaśāstra, is found frequently in narrative scenes depicted through visual means. His presence often indicates that another figure in the picture is about to withdraw from worldly life. The jester then expresses utter disapproval of his master’s decision. The viewer is able to recognise the meaning of the scene because the jester is shown also in erotic and humorous scenes, perhaps representative of the sensual atmosphere of theatre life, or related to the nāyaka and the vidūṣaka of the Kāmasūtra.

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21

Roberts, Stephen K. "King Pym and his ‘Happy, Scrappy Jester’." Parliamentary History 40, no. 1 (February 2021): 81–92. http://dx.doi.org/10.1111/1750-0206.12544.

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22

Ruggiero, Thomas. "Televisa's Brozo: The Jester as Subversive Humorist." Journal of Latino/Latin American Studies 2, no. 3 (April 2007): 1–15. http://dx.doi.org/10.18085/llas.2.3.h27516v373411853.

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23

Maceri, Domenico. "Dario Fo: Jester of the Working Class." World Literature Today 72, no. 1 (1998): 9. http://dx.doi.org/10.2307/40153527.

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24

Joost Beuving, J. "The anthropologist as jester, anthropology as jest?" Social Anthropology 25, no. 3 (May 2, 2017): 353–63. http://dx.doi.org/10.1111/1469-8676.12402.

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25

Scolleen-Jimack, Christine. "Clément Marot: Protestant humanist or court jester?" Renaissance Studies 3, no. 2 (June 1989): 134–46. http://dx.doi.org/10.1111/j.1477-4658.1989.tb00177.x.

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26

Astle Wallis, Hugh Stanley. "The Queen's Jester, A Nineteenth-Century Entertainer." Costume 33, no. 1 (January 1, 1999): 105–9. http://dx.doi.org/10.1179/cos.1999.33.1.105.

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27

Thomas, Paul. "Atemporality, art, quantum phenomena and the jester." Ubiquity: The Journal of Pervasive Media 5, no. 1 (June 1, 2016): 25–31. http://dx.doi.org/10.1386/ubiq.5.1.25_1.

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28

Kirill Martynov. "WAR, THE FLOWER GIRL AND THE JESTER." Current Digest of the Russian Press, The 74, no. 038 (September 25, 2022): 12. http://dx.doi.org/10.21557/dsp.81113248.

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29

Samsel-Chojnacka, Monika. "Figura błazna jako alter ego Bergmana w teatrze." Studia Scandinavica, no. 2 (22) (December 28, 2018): 46–62. http://dx.doi.org/10.26881/ss.2018.22.03.

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One of Bergman’s favourite figures was the jester or the clown. When appearing on stage, they gather the whole attention of both audience and other characters. In theatre productions Bergman used three strategies to express his fondness for this figure – he either emphasized jesters already existing in the text of the drama, provided other characters with clownish features (both visual and mental), or he even created clown-like figures and added them to the original drama. This was done not only to stress comic aspects, but mainly to expose the psychological complexity of the personalities of these figures. In my article, I analyse all three levels of this phenomenon in productions of Shakespeare, Ibsen and Gombrowicz, trying to find the source of inspiration behind them, as well as a common thread between them.

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30

Bogalecki, Piotr. "Dilettante, Amateur, Jester. Conceptual Personae of the Humanist." Autobiografia 9 (2017): 21–36. http://dx.doi.org/10.18276/au.2017.2.9-02.

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31

POPPE, ERICH. "A Note on the Jester in Fingal Rónáin:." Studia Hibernica 27, no. 1 (January 1, 1993): 145–54. http://dx.doi.org/10.3828/sh.1993.27.8.

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32

PARTAN, OLGA. "Alla: The Jester-Queen of Russian Pop Culture." Russian Review 66, no. 3 (July 2007): 483–500. http://dx.doi.org/10.1111/j.1467-9434.2007.00454.x.

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33

Elizabeth Bush. "The Fantastic Secret of Owen Jester." Bulletin of the Center for Children's Books 64, no. 2 (2010): 59–60. http://dx.doi.org/10.1353/bcc.2010.0167.

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34

Osmukhina, Olga Yurievna, and Ekaterina Pavlovna Ovsyannikova. "“The Jester” by Yu. Vyazemsky vs “The Jester” by A. Eshpai: Specificity of Cinema Interpretation of a Literary Character’s Image." Filologičeskie nauki. Voprosy teorii i praktiki, no. 5 (May 2022): 1364–69. http://dx.doi.org/10.30853/phil20220273.

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35

Adamczyk, Magdalena. "'Better a witty fool than a foolish wit': on punning styles of Shakespeare's pedants and jesters." Journal of English Studies 11 (May 29, 2013): 7. http://dx.doi.org/10.18172/jes.2614.

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One of the hallmarks of Shakespeare’s stylistic uniqueness is undoubtedly his dexterous use of puns. Besides being skilfully woven into the dramatic texture of his plays, their great strength lies also in the fact that they are carefully tailored to cater for both dramatic and conversational needs of individual characters. The paper attempts to zoom in on two distinctive punning styles of Shakespeare’s dramatis personae, as developed by pedants (here represented by Holofernes from Love’s Labour’s Lost) and jesters (exemplified by Feste from Twelfth Night). By way of examining the peculiarities of their punning in terms of its amount, semantics, conversational dynamics and participant configuration, the study demonstrates that the two figures represent the opposite poles of the punning art. Whereas the jester proves a virtuoso punster trading witty repartees whenever opportunity offers, the pedant’s puns, being overly sophisticated and erudite, appear highly impenetrable and flat in effect.

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36

MEANS, D. BRUCE, and JAY M. SAVAGE. "Three New Malodorous Rainfrogs of the Genus Pristimantis (Anura: Brachycephalidae) from the Wokomung Massif in west-central Guyana, South America." Zootaxa 1658, no. 1 (December 11, 2007): 39–55. http://dx.doi.org/10.11646/zootaxa.1658.1.3.

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Three new species of rainfrogs of the genus Pristimantis are described from a large mesa (tepui), the Wokomung Massif, of the Pakaraima Mountains in west-central Guyana. Pristimantis dendrobatoides n. sp. is known from 1385–1411 m, P. jester n. sp. from 1411–1650 m, and P. saltissimus n. sp. from 698–1560 m elevation. The three species are syntopic at elevations around 1400 m in cloud forest. All three taxa are unusual among species of Pristimantis in the production of malodorous and distasteful skin secretions when handled, conditions that are atypical for the genus. Two of the new species (P. dendrobatoides, P. jester) also have bright, red skin coloration, and the third (P. saltissimus) is either cryptically colored or brightly colored.

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37

Mayer, David R., and Beatrice K. Otto. "Fools Are Everywhere: The Court Jester around the World." Asian Folklore Studies 60, no. 2 (2001): 352. http://dx.doi.org/10.2307/1179064.

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38

Jordan, Winthrop D., and Joseph Boskin. "Sambo: The Rise and Demise of an American Jester." American Historical Review 93, no. 1 (February 1988): 220. http://dx.doi.org/10.2307/1865829.

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39

Dubin, Steven C., and Joseph Boskin. "Sambo: The Rise and Demise of an American Jester." Contemporary Sociology 17, no. 2 (March 1988): 222. http://dx.doi.org/10.2307/2070603.

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40

Gardner, Bettye Jane, and Joseph Boskin. "Sambo: The Rise & Demise of an American Jester." Journal of Southern History 54, no. 2 (May 1988): 328. http://dx.doi.org/10.2307/2209419.

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41

Worth, Owen, and Karen Buckley. "The World Social Forum: postmodern prince or court jester?" Third World Quarterly 30, no. 4 (June 2009): 649–61. http://dx.doi.org/10.1080/01436590902867003.

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42

Delaney, Michael. "Goffman at Penn: Star Presence, Teacher-Mentor, Profaning Jester." Symbolic Interaction 37, no. 1 (December 23, 2013): 87–107. http://dx.doi.org/10.1002/symb.88.

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43

Senelick, Laurence. "GREAT Satirists, NUMBER FOUR IN A Series: King of the Jesters but Not the King's Jester: The Pre-Revolutionary Durovs." Theater 16, no. 2 (1985): 97–103. http://dx.doi.org/10.1215/01610775-16-2-97.

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44

Green, Julie, and Rebecca Jester. "Challenges to concordance: theories that explain variations in patient responses." Nursing and Residential Care 21, no. 11 (November 2, 2019): 626–34. http://dx.doi.org/10.12968/nrec.2019.21.11.626.

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Failing to establish a collaborative relationship between patient and health professional can be a significant obstacle to recovery. Julie Green and Rebecca Jester delve into the psychology behind patient responses and present methods to empower patients

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45

Barnes, J., B. E. Whipker, I. McCall, and J. Frantz. "CHARACTERIZATION OF NUTRIENT DISORDERS OF PERICALLIS × HYBRID 'JESTER PURE BLUE'." Acta Horticulturae, no. 891 (March 2011): 67–75. http://dx.doi.org/10.17660/actahortic.2011.891.6.

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46

Anderson, Alistair R., and Lorraine Warren. "The entrepreneur as hero and jester: Enacting the entrepreneurial discourse." International Small Business Journal: Researching Entrepreneurship 29, no. 6 (August 16, 2011): 589–609. http://dx.doi.org/10.1177/0266242611416417.

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Employing a social construction perspective, this article argues that entrepreneurs are uniquely empowered by entrepreneurial discourse to bring about creative destruction. Analysis of the representation of entrepreneurship in the media suggests that entrepreneurs have a distinctive presence in society that is shaped by cultural norms and expectations. These images create and present an entrepreneurial identity. Yet identity has two facets: the general, identified as ‘what’ but also a distinctive individual identity as ‘who’. This article explores the identity play of one flamboyant entrepreneur, Michael O’Leary, to show how he deploys the rhetoric and rationality of entrepreneurial discourse, but shapes it through emotional games to establish his unique entrepreneurial identity. It finds strong evidence that entrepreneurs are culturally stereotypical and that this is amplified by the press, but also how O’Leary employs this typification to engage with the rational and emotional, explaining how this is used for strategic advantage.

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47

Otto, Beatrice. "The Court Jester Is Universal…But Is He Still Relevant?" Management and Organization Review 11, no. 3 (September 2015): 559–73. http://dx.doi.org/10.1017/mor.2015.41.

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48

Peterson, Barbara Bennett. "Fools Are Everywhere: The Court Jester around the World (review)." Journal of World History 14, no. 4 (2003): 555–59. http://dx.doi.org/10.1353/jwh.2003.0059.

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49

Kubies, Grzegorz. "Lust and music in The Seven Deadly Sins and the Four Last Things at the Museo Nacional del Prado in Madrid." De Arte. Revista de Historia del Arte, no. 21 (December 12, 2022): 9–28. http://dx.doi.org/10.18002/da.i21.7044.

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There are three research goals set forth in this article. The first is to show the connection of lust with music in the Prado panel, within the context of representations of the personification of impure love in Bosch's undisputed works (the Wayfarer Triptych, the Haywain Triptych). The second research objective is an attempt to indicate the basic sources of inspiration for the painter. The article closes with the interpretation of musical elements in the scene of lust. The presence of common elements (among others: suitors/ lovers, a jester, musical instruments, wine and fruit) in the analysed works proves the existence of a coherent artistic system in the Bosch workshop based on a mental-ideological foundation. Of the iconographic sources of inspiration for the painter that we have considered the most important are representations of Garden of Love and Children of Venus. In the scene of lust the figure that plays a leading role is the jester. He is not only interpreted as a musician but also as the embodiment of socially undesirable behavior.

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50

Meshkova, K. N. "THE GENESIS OF THE JESTER IN OREST SOMOV’S SHORT NOVEL HAIDAMAKA." Учёные записки Петрозаводского государственного университета 43, no. 5 (June 2021): 103–8. http://dx.doi.org/10.15393/uchz.art.2021.643.

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Journal articles on the topic 'Jester'

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