Journal articles on the topic 'Jews – Humor'
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1
Gini, Al, and Abraham Singer. "Why’d You Have to Choose Us? On Jews and Their Jokes." Philosophy of Humor Yearbook 1, no. 1 (September 1, 2020): 17–32. http://dx.doi.org/10.1515/phhumyb-2020-0005.
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Abstract Humor, laughter, joke telling can be frivolous fun or it could act as a sword and a shield to defend and protect us against life. Humor can, at times, illuminate if not completely explain, some of the irresoluble problems and mysteries that individuals face. And, if all else fails, humor can hold off our fear of the unanswerable and the unacceptable. Historically it can be argued that during times of trial, tribulations, and suffering, Jewish communities and individuals have used humor as a way to cope with and deal with reality.
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Nevo, Ofra. "Humor Diaries of Israeli Jews and Arabs." Journal of Social Psychology 126, no. 3 (June 1986): 411–13. http://dx.doi.org/10.1080/00224545.1986.9713605.
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Clementi, F. K. "Between Jew and Nature: Tracing Jewish Ethics in the Ecological Imagination of Bernard Malamud’s Dubin’s Lives." Studies in American Jewish Literature (1981-) 38, no. 1 (March 2019): 47–75. http://dx.doi.org/10.5325/studamerjewilite.38.1.0047.
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ABSTRACT The idea that Jews are “ecophobes” is a favorite shtick of American comedy. But does it reflect the truth? This article offers an alternative reading of the Jewish cultural production in twentieth-century American literature that goes beyond the stereotypical image of the “unnatural Jew.” Principally focused on Bernard Malamud’s novel Dubin’s Lives, this article frames Malamud’s work within the context of post-war environmental thought, American Jewish literature, and Jewish environment ethics. I hope to provide an alternative vision of modern American Jewish imagination and its relation to the nonhuman environment. I argue that this relation takes shape in Jewish culture due in part to its historical context: a context marked by Diaspora and assimilation. I enlist Emmanuel Lévinas’s ethics of asymmetry and Hans Jonas’s ontological ethics to show how Judaism and Jewish philosophy can be an ally in the creation or expansion of contemporary environmental ethics. Textual or performative Jews, to whom American literature and humor have accustomed us, are finally “two with Nature” (as Woody Allen says) not because they are Jewish but, perhaps, because they are not “Jewish” enough.
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Heschel, Susannah. "From Jesus to Shylock: Christian Supersessionism and “The Merchant of Venice”." Harvard Theological Review 99, no. 4 (October 2006): 407–31. http://dx.doi.org/10.1017/s0017816006001337.
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In 1943 the SS Gauleiter, “district administrator,” of Vienna, Baldur von Schirach, commissioned a performance of The Merchant of Venice at the famed Burgtheater to celebrate the deportation of allthe Jews;Vienna had become Judenrein “cleansed of Jews.” When Werner Krauss, the Nazis'leading actor, first appeared on stage as Shylock, he made the audience shudder. According to the newspaper account:With a crash and a weird train of shadows, something revoltingly alien and startlingly repulsive crawled across the stage…. The pale pink face, surrounded by bright red hair and beard, with its unsteady, cunning little eyes;the greasy caftan with the yellow prayershawl slung round; the splay-footed, shuffling walk; the foot stamping with rage; the claw-like gestures with the hands; the voice, now bawling, now muttering—all add up to a pathological image of the East European Jewish type, expressing all its inner and outer uncleanliness, emphasizing danger through humor.
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Wojtyńska-Nowotka, Milena. "„Szloma Korkociąg przed sądem”, czyli humor na łamach tygodnika „Pod Pręgierz”." Linguodidactica 25 (2021): 277–91. http://dx.doi.org/10.15290/lingdid.2021.25.20.
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The subject of the article is a series of humorous works “Szloma Korkociąg przed sądem”, which was published in the anti-Semitic weekly “Pod Pręgierz”. The author focuses on describing the linguistic comedy, the means of which was the stylization of the Polish language for Jews. She also draws attention to situational comedy. The results of the analysis showed that contrast was the essence of the comedy in the pages of selected works. It reflected the dichotomous vision of the world presented by the sender and recipient of the texts; a world in which Poles of Jewish origin were negatively evaluated. The presented comic texts, by spreading anti-Semitism, and harming representatives of the ethnic minority, are part of the phenomenon of linguistic aggression.
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Davies, Christie. "Matthew Baigell: The Implacable Urge to Defame, Cartoon Jews in the American Press, 1877-1935." HUMOR 31, no. 1 (January 26, 2018): 163–65. http://dx.doi.org/10.1515/humor-2017-0104.
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Dram, Constantin. "A Phenomenon: Ion Pribeagu." Acta Marisiensis. Philologia 5, no. 1 (September 1, 2023): 1–5. http://dx.doi.org/10.2478/amph-2023-0082.
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Abstract After leaving the Jewish fair of Sulita, Ion Pribeagu, the author of the lyrics of a famous song, Zaraza, became known throughout Romania, and not only, for his humor, satirical verve, inspiring portraits, unexpected forms of intertextuality. Signing under different pseudonyms, such as Ion Pribeagu, he wrote about families, characters, gastronomy, world and its habits, with sparks of comic genius. Living more in Bucharest, where he had become a kind of living legend, emigrating and dying in Tel Aviv, Ion Pribeagu, through everything he wrote, conceived his own fair, something between Sulita and Bucharest, where Romanians and Jews have cohabited at will.
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Borenstein, Eliot. "Our Borats, Our Selves: Yokels and Cosmopolitans on the Global Stage." Slavic Review 67, no. 1 (2008): 1–7. http://dx.doi.org/10.2307/27652762.
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The comic figure of the yokel has undergone a resurgence in the past decade, culminating in Sacha Baron-Cohen's Borat. The yokel, whose predictable humor is based on his aggressive backwardness and persistent malapropisms, draws attention to the “foreignness” with which multiculturalism is uncomfortable, while also highlighting the economic and cultural dislocation of globalization. Cohen builds on the longstanding stereotypes about Jews and Gypsies (Roma), creating a persona who resembles the “vermin” of Nazi propaganda and manages to elicit racist responses from his unwitting audience. Borat functions within a fictional framework of racism and ethnic hostility, bringing to light barely concealed discomforts about border-crossings, cosmopolitanism, and global cultures.
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Vulesica, Marija. "Vom vergeblichen und vergänglichen Leben. Es sei denn, andere schreiben darüber. Was Hinko Gottlieb über Lavoslav Schick (und sich selbst) 1934 schrieb." Aschkenas 33, no. 2 (November 28, 2023): 301–12. http://dx.doi.org/10.1515/asch-2023-2015.
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Abstract In his poem »Memento«, Hinko Gottlieb (1886–1948) – a lawyer and a poet – portrayed a trait of his contemporary and companion Lavoslav Schick (1881–1941) – a historian and a lawyer too – with wit and humor. His approach is biographically, at the same time he uses irony to make fun of Schick’s own biographical approaches to other Croatian Jews. As a result of the analysis of this commemorative poem, published in 1934, questions are raised about the source value of a satirical poem. Likewise, about the meaning, form and about (political) intentions of biographical depictions in general. For the contemporaries, but also for today’s researches.
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Jarrod Tanny. "On Kanter’s Lunch: Old Jews Slurping Soup and the Fate of Jewish Humor." Jewish Film & New Media 4, no. 2 (2016): 201. http://dx.doi.org/10.13110/jewifilmnewmedi.4.2.0201.
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Shifman, Limor, and Elihu Katz. "“Just Call Me Adonai”: A Case Study of Ethnic Humor and Immigrant Assimilation." American Sociological Review 70, no. 5 (October 2005): 843–59. http://dx.doi.org/10.1177/000312240507000506.
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This article describes a case study of humor created in the course of immigrant assimilation, specifically regarding the jokes (n = 150) told by Eastern European oldtimers at the expense of well-bred German Jews (Yekkes) who migrated to Palestine/Israel beginning in the mid-1930s. A taxonomy divides the corpus into jokes lampooning rigidity, exaggerated deference to authority, difficulty in language acquisition, and alienation from the new society. The jokes carry a dual message of welcome to our egalitarian nation, but please note that we, and our norms, were here first. The ethnic superiority implicit in the latter part of the message turns the tables on two earlier encounters-in Germany and the United States-in which Jewish immigrants from Russia and Poland were denigrated for “embarrassing” their relatively wellestablished German brethren. The Yekke jokes analyzed in this article arose from a third encounter in Palestine/Israel, where, this time, the Eastern Europeans arrived earlier, as Zionist pioneers. The jokes, it is argued, constitute a kind of “revenge.”
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Ahmed, Akeel, Samina Yasmin, and Iqra Iqbal. "Mélange of Humourism, Judaism and Hebraism in Philip Roth's ‘Goodbye, Columbus': An Analytical Study." Global Political Review VII, no. II (June 30, 2022): 93–99. http://dx.doi.org/10.31703/gpr.2022(vii-ii).11.
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In the vanguard of rising Jewish ethnicity in America after World War II, Philip Roth penned a novella, 'Goodbye, Columbus'. This incandescently alive novella depicts the embedded flippancy and humor of the lower middle class and upper class. Neil Klugman, a librarian, hailed from Newark. On the other hand, Brenda Patimkin,a college student of an affluent family, lived in Short Hills. Neil, the protagonist and the narrator of the story, falls in love with Brenda.Roth, through the character of Neil, has mildly slated the relationship of Gentiles with other characters. A cursory perusal of the novella also surfaces what elements impelled the writer to show this side ofthe picture regarding the delineation of Jews' internal matters. In this study, we have argued about the novella in terms of its Hebraism and humouristic features; the study has also underpinned how Judaism is reflected in the novella.
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Chedoluma, Illia. "Images and Representations of the Rudnytskyi Family: The Case of Ukrainians in Galicia Between the Wars." Scripta Judaica Cracoviensia 18 (2021): 49–66. http://dx.doi.org/10.4467/20843925sj.20.004.13872.
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Caricature journals in the interwar period had a special genre niche, giving the masses, through funny cartoons, a simplified understanding of internal and external political processes. Zyz and Komar were the largest Ukrainian satirical humor journals in interwar Galicia. They mainly covered the internal political life in the Second Polish Republic and international relationships. These journals are primarily intended for people from the countryside, and the editors and owners of these journals used anti-Semitism for the political mobilization of the rural population. I use elements of Serge Moscovici’s theory of social representations to track these processes. A key aspect here is how the image of the Rudnytskyi family was shaped on the pages of these journals. The family was of mixed Ukrainian-Jewish origins, and its members became prominent figures in various spheres of Ukrainian social and political life in interwar Galician Ukrainian society (in politics, literature, music, and the women’s movement). The behavior of the Rudnytskyi family was explained to the readers through their Jewish origins. Zyz and Komar both created an image of the Rudnytskyis as an integral Jewish group occupying different spheres of Ukrainian life. The study of visual caricature images thus enables us to explore the channels of the formation and spread of anti-Semitic images of Jews and the use of the image of “the Jew” in the Galician Ukrainian society in interwar Poland.
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Steed, J. "The Subversion of the Jews: Post-World War II Anxiety, Humor, and Identity in Woody Allen and Philip Roth." Philip Roth Studies 1, no. 2 (October 1, 2005): 145–62. http://dx.doi.org/10.3200/prss.1.2.145-162.
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Steed, J. P. "The Subversion of the Jews: Post-World War II Anxiety, Humor, and Identity in Woody Allen and Philip Roth." Philip Roth Studies 1, no. 2 (September 2005): 145–62. http://dx.doi.org/10.1353/prs.2005.a386334.
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Gudor, Kund Botond. "Benő Karácsony (1888-1944) and Alba Iulia." Annales Universitatis Apulensis Series Historica 24, no. 1 (October 15, 2020): 129–77. http://dx.doi.org/10.29302/auash.2020.24.1.5.
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The relation of Benő Karácsony with Alba Iulia was not just a relation between childhood and youth, but one that influenced the entire life of the writer. The spiritus loci of Downtown animated the writer’s adulthood work. Living in the area, at the time inhabited especially by Hungarians and Jews, the writer fully relives the dichotomy of the military and, at the same time, administrative town, over which the Citadel rose with its distinct life. The inward tragedy of the writer cannot be understood without relation to his native town. Benő Karácsony (Bernát Klärmann) grew up in the spirituality of Jewish cultural assimilation with a Hungarian cultural identity. Talking about himself, he allows us to recognize a hybrid identity: he considers himself Hungarian, and of the Jewish religion. He spent his childhood under the romanticism bestowed on him by the livelihood of the small bourgeoisie from the town on Mureș. The memories of his childhood and youth further prevailed during the adulthood period spent in Cluj. Karácsony uniquely grasped the spirit of the town, whose two elements, the Citadel and the Downtown, seemed to have been dueling for centuries. His writings are pierced by the lightness of the spiritual and administrative connection between the two differently organized urban entities, the conflicts of this connection, towns inside a town, which seemed to live schizoidly and simultaneously under the great transformations of history. However, the humor, often critical and bitter, allows the reader to grasp urbanization and modernization in Alba Iulia in the early twentieth century. The Hungarian Jew, Benő Karácsony, one of the most notable characters of the Transylvanian literature of the twentieth century, died, exterminated as a Jew in Oświęcim (Auschwitz) in 1944, despondent of the falseness of the society in which he lived.
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Cohen, Angy. "The peacock, the ironed man and the half-woman. Nicknames, humor and folklore in the day-to-day speech of Tetouan's Haketia-speaking Jews." Journal of North African Studies 20, no. 5 (July 25, 2015): 889–91. http://dx.doi.org/10.1080/13629387.2015.1067357.
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Wright, Rochelle. "Reviews of Books:En jude ar en jude ar en jude...: Representationen av "juden" i svensk skamt-press omkring 1900-1930. [A Jew is a Jew is a Jew...: Representations of "Jews" in the Swedish Humor Press ca. 1900-1930.] Lars M. Andersson." American Historical Review 107, no. 1 (February 2002): 286–87. http://dx.doi.org/10.1086/532246.
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Krylova, Maria N. "The image of a person of another nationality in the fantastic works of Oleg Divov." Current Issues in Philology and Pedagogical Linguistics, no. 2(2020) (June 25, 2020): 167–75. http://dx.doi.org/10.29025/2079-6021-2020-2-167-175.
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The article is devoted to the analysis of the image of a person of a different nationality, who is created in his works by the modern Russian science fiction writer Oleg Divov. Based on the analysis of the author’s three novels, “The Best Solar Crew,” “Technical Support” and “Elephants’ Homeland,” his original attitude to the problem of the national and ethnic affiliation of a person is revealed. The aim of the study was to analyze the image of a person of a different nationality in the books of O.I. Divov and to represent a person of a different nationality in the context of the image of the “Other”. The tasks were set to identify the author’s treatment of the image of a person of a different nationality, to detect interpretations of this image in various works. The scientific novelty of the study was provided both by the novelty of the text material introduced into the scientific circulation, and by the approach to the problem of the image of the “Other” in modern literature from the point of view of the optionality of observing the principles of tolerance and political correctness, more precisely, new ways of observing these principles. In the reviewed works of the writer, heroes of different nationalities appear, and the national differences between them are not hidden, but, on the contrary, stand out in relief, are brought to the fore. Representatives of each of the nationalities (Russians, Jews, Germans, Americans, French, Chukchi, and others) are portrayed as people with undeniable merits, and at the same time – ironically, with humor. The writer does not demonstrate any stable national preferences: in the novel “The Best Solar Crew”, Russians are glorified first of all, and in the novel “The Land of Elephants” – the Chukchi. Despite ridicule, reflecting the stereotypical perception of a particular nation, the description of none of them becomes nationalistic. The author creates an original concept of perception of heroes of a different nationality, opposing the popular in modern culture of tolerance, showing the importance of national differences and the uselessness of silencing them.
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Díaz Bild, Aída. "Jacobson’s Celebration of Comedy in Kalooki Nights." Miscelánea: A Journal of English and American Studies 60 (November 28, 2019): 13–31. http://dx.doi.org/10.26754/ojs_misc/mj.20196283.
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Most scholars agree that Jewish humour is a relatively modern phenomenon born out of the unique Jewish experience of exile, segregation and persecution. Howard Jacobson is a British Jewish writer who has always praised comedy and paid special attention to Jewish comic sensibility. He has emphasised the coping and liberating function that humour has exercised for the Jews, allowing them to transcend the terrible circumstances of their lives. Jacobson does not believe that humour removes pain, but that it contributes an emotional factor that makes the pain more bearable by affirming and celebrating life. He is convinced that there is something particularly Jewish about the way in which he fuses comedy and tragedy in his novels, since Jews have always joked in the face of affliction. Jacobson also stresses how from the very beginning the novel has been defined by its subversive and God-defying character. After explaining Jacobson’s main ideas on comedy and how they are shared by scholars who have examined the characteristic features of Jewish humour, I will analyse how they are reproduced by the narrator in Kalooki Nights (2006).
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Cano Pérez, María José. "Pinto-Abecasis, N. (2014), <em>The Peacock, the Ironed Man and the Half-Woman. Nicknames, humor and folklore in the day-to-day speech of Tetuan´s Haketia-speaking Jews.</em> Jerusalem: Ben-Zvi Institute." Miscelánea de Estudios Árabes y Hebraicos. Sección Hebreo 64 (December 13, 2015): 235–36. http://dx.doi.org/10.30827/meahhebreo.v64i0.883.
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Rishad V. "Not So Beautiful Life: A Study on the Treatment of Black humour in Life is Beautiful." Creative Launcher 6, no. 1 (April 30, 2021): 127–33. http://dx.doi.org/10.53032/tcl.2021.6.1.14.
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The Holocaust is one of the most tragic events ever happened in the human history. It was a systematic, bureaucratic and state sponsored persecution and murder of around six million Jews by the Nazi regime and its collaborators. Our memory of Holocaust, especially of the people belonging to this generation has been shaped more by popular representations, especially in films. The film Life is Beautiful directed by Robert Benigni portrayed the horror of Holocaust connotatively using black humour as its main medium. A short analysis of how Benigni uses black humour and other visual-cinema techniques in bringing out the terror of Holocaust among audience is studied in this article. Though the movie seems to fall under the genre comedy, it discusses connotatively the serious issues related to the life of Jews under Nazi regime without any use of violent images or scenes that reflect the real terrors of Holocaust.
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Goldingay, John. "Are They Comic Acts?" Evangelical Quarterly: An International Review of Bible and Theology 69, no. 2 (September 12, 1997): 99–108. http://dx.doi.org/10.1163/27725472-06902002.
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Some commentators note individual humorous notes in Acts but the possibility that the book is systematically humorous has been little examined. Humour is actually used throughout the book as a means of insight and of rhetorical effectiveness; it is doubtful whether this either makes it more likely or less likely that the book is historical in intent and nature. Its humour makes fools of outsiders (unbelieving Jews, pagans, and imperial authorities), gently mocks insiders (great leaders and ordinary believers), and both adds to the portrayal of joy and tempers the portrayal of gloom.
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Azim, Rahima, Raden Pujo Handoyo, and Nadia Gitya Yulianita. "Subtitling Strategies and Acceptability of Humour in “Modern Family” Season 6 (2014)." J-Lalite: Journal of English Studies 4, no. 2 (December 31, 2023): 120. http://dx.doi.org/10.20884/1.jes.2023.4.2.9460.
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This research aims to analyse the types of verbal humour, the subtitling strategies, and its acceptability in Modern Family Season 6. The research is conducted by using the theory of verbal humour translation by Raphaelson-West (1989), theory of subtitling strategies by Gottlieb (1992) and the theory of translation acceptability proposed by Nababan (2012). This research uses descriptive qualitative method. In the process, this research utilizes a questionnaire with inputs from raters as a consideration in analysing the translation. The data are utterances containing verbal humour from Modern Family Season 6. The result shows the most frequent type is universal humour (45), followed by linguistic humour (19), and cultural humour (13). Furthermore, 8 out of 10 subtitling strategies are applied by the subtiler. The most dominant strategy is the paraphrase strategy (28), followed by transfer (15), expansion (11), condensation (10), deletion (6), imitation (4), transcription (2), and decimation (1). The acceptability level of the subtitle is acceptable in 69 data and less acceptable in 8 data. The object of the research proposes to serve humour in a usual relatable family interaction that is universal. However, the source language is English which has different grammatical, vocabulary, and syntactic rules than Indonesian. Thus, paraphrase strategy is the most frequently used to transfer the message naturally and appropriately to the target language rules without losing the humour. Hence, the subtitle of verbal humour in Modern Family Season 6 is natural and relevant to the Indonesian rules that conveys the meaning and preserve the humour aspects.
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김종갑. "Sherman Alexie's An Absolutely True Dairy of a Part-Time Indian: Humor as a Parody." Journal of English Cultural Studies 8, no. 3 (December 2015): 105–25. http://dx.doi.org/10.15732/jecs.8.3.201512.105.
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Gilman, S. L. "'Jewish Humour' and the Terms by Which Jews and Muslims Join Western Civilization." Leo Baeck Institute Yearbook 57, no. 1 (January 1, 2012): 53–65. http://dx.doi.org/10.1093/leobaeck/ybs006.
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Roguin Maro, Nora, Ariel Roguin, and Nathan Roguin. "Medieval Roots of the Myth of Jewish Male Menstruation." Rambam Maimonides Medical Journal 12, no. 4 (October 25, 2021): e0033. http://dx.doi.org/10.5041/rmmj.10454.
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The Jews in Western Europe during the middle ages were often perceived as distinct from other people not only in their religion, but also by virtue of peculiar physical characteristics. Male Jews were circumcised, which made them physically distinct in the sexual realm. They were believed to have a flux of blood due to hemorrhoids that was thought to more abound in Jews because they consumed salty foods and gross undigested blood, and were melancholic. By the late medieval and early modern periods, the male menstru¬ation motif had become closely connected to the theory of the four humors and the balance between bodily fluids. Men in general were thought of as emitting extra heat, whereas women were considered to be phys¬ically cooler. While most men were generally able to reduce their heat naturally, there was a perception that womanish Jewish males were unable to do so, and thereby required “menstruation” (i.e. a literal discharge of blood) in order to achieve bodily equilibrium. The Jewish male image as having menses due to bleeding hemorrhoids was an anti-Semitic claim that had a religious explanation: Jews menstruated because they had been beaten in their hindquarters for having crucified Jesus Christ. This reflection is one of the first biological-racial motifs that were used by the Christians. Preceding this, anti-Semitic rationalizations were mostly religious. However, once these Christians mixed anti-Semitism with science, by emphasizing the metaphorical moral impurity of Jews, the subsequent belief that Jewish men “menstruated” developed—a belief that would have dire historical consequences for the Jewish communities of Europe until even the mid-twentieth century. This topic has direct applicability to current medical practice. The anti-Semitic perspec¬tive of Jewish male menstruation would never have taken hold if the medical community had not ignored the facts, and if the population in general had had a knowledge of the facts. In the same way, it is important for present-day scientists and healthcare professionals to understand thoroughly a topic and not to deliberately ignore the facts, which can affect professional and public thought, thereby leading to incorrect and at times immoral conclusions.
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Kawka, Jakub, Alicja Baranowska, Katarzyna Baranowska, Filip Czyżewski, Kinga Filipek, Michał Muciek, Sebastian Mrugała, Waldemar Mrugała, Bartosz Skierkowski, and Natalia Zalewska. "The impact of eating disorders on glaucoma." Journal of Education, Health and Sport 66 (April 17, 2024): 49959. http://dx.doi.org/10.12775/jehs.2024.66.001.
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Glaucoma is a group of progressive neuropathies of the optic nerve leading to the destructionof retinal ganglion cells and their axons. It is the leading cause of irreversible blindnessworldwide, affecting over 70 million people residing in various geographical regions. Thisdisease ranks second among the causes of blindness in patients. Up to 40% of them lose theirvision within the first year of diagnosis.(1) The most common type of glaucoma affectingophthalmic patients is open-angle glaucoma, in which the iridocorneal angle is notpathologically altered, but there is an elevation of intraocular pressure due to abnormal fluidflow within the eye. The main cause of this disease is obstruction of aqueous humor outflowfrom the eye and its excessive production. Although the exact mechanism of glaucoma is notfully understood yet, several risk factors have been identified, including high intraocularpressure (IOP), age, and genetics. Materials and Methods: Review and summary of research studies available in open-sourceformat on Google Scholar, PubMed.Conclusions: There is ample evidence confirming the impact of food products on the risk ofdeveloping glaucoma or exacerbating its symptoms. However, further research is necessary todetermine the extent of their interference with this disease entity.
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Janicka, Elżbieta. "Latający Cyrk im. Kazimierza Wielkiego przedstawia: „Najwęższy dom świata – wydarzenie na skalę globu”. Rekonstrukcja historyczna w 70. rocznicę Akcji Reinhardt." Studia Litteraria et Historica, no. 2 (June 30, 2014): 76–129. http://dx.doi.org/10.11649/slh.2013.005.
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Casimir the Great’s Flying Circus presents: ‘The narrowest house in the world – an event on a global scale’. Historical re-enactment on the occasion of the 70th anniversary of the Aktion ReinhardtThe article provides a multifaceted analysis of the Keret House as an artistic installation and a cultural event. The construction is placed in the analytical context of Jeremy Bentham’s panopticon, Le Corbusier’s machine for living, Krzysztof Wodiczko’s Pojazd dla bezdomnych (Vehicle for the Homeless), Big Brother and XTube. Other interpretative contexts are: the history of the Warsaw ghetto, the Aktion Reinhardt as well as the ensemble of issues connected with the third phase of the Holocaust (i.e. “the margins of the Holocaust”): the history of Jewish hideouts, the hunt for the Jews (Judenjagd), the plunder of Jewish mobile and immobile property, the Polish part of the biography of Etgar Keret’s parents. From such a perspective, the Keret House takes the form of a macabre historical re-enactment. The analytical framework comprises Erving Goffman’s stigma theory as well as the history of the attitude of the Polish majority towards the Jewish minority. With increasing frequency, anti-Semitic symbolic violence assumes the form of philosemitic symbolic violence. The poetics of gift and the category of “a Jewish writer with a sense of humour” function as an instrument of blackmail that place the individual subjected to it in a situation with no way-out. In Polish majority culture, the image of Jews as guests, which corresponds to the representation of Poland as home and Poles as hospitable hosts, heirs of the myth of King Casimir the Great, plays the same role. The Keret House proves to be a machine for the reproduction of the Polish majority narrative about the majority attitude of Poles towards Jews, also during the Holocaust. What is at stake within this narrative is the image of Poland and the Poles.[The project was prepared with a financial support of the National Science Centre; decision no DEC-2011/03/B/HS2/05594] Latający Cyrk im. Kazimierza Wielkiego przedstawia: „Najwęższy dom świata – wydarzenie na skalę globu”. Rekonstrukcja historyczna w 70. rocznicę Akcji ReinhardtArtykuł zawiera wieloaspektową analizę Keret House jako instalacji artystycznej i wydarzenia kulturalnego. Obiekt sytuowany jest w kontekście idei panoptikonu Jeremy’ego Benthama, maszyny do mieszkania Le Corbusiera, Pojazdu dla bezdomnych Krzysztofa Wodiczki, Big Brothera czy XTube. Kolejne konteksty interpretacyjne to historia warszawskiego getta, Akcja Reinhardt i zespół problemów związanych z trzecią fazą Zagłady (the margins of the Holocaust): historia żydowskich kryjówek, polowanie na Żydów (Judenjagd), rabunek żydowskich ruchomości i nieruchomości, polska biografia rodziców Etgara Kereta. W tej perspektywie Keret House przybiera postać makabrycznej rekonstrukcji historycznej. Ramy analizy wyznacza teoria piętna Ervinga Goffmana oraz historia stosunku polskiej większości do żydowskiej mniejszości. Antysemicka przemoc symboliczna coraz częściej przybiera postać symbolicznej przemocy filosemickiej. Poetyka daru i kategoria „żydowskiego pisarza z poczuciem humoru” pełnią funkcję narzędzia szantażu, stawiając poddaną mu jednostkę w sytuacji bez wyjścia. Taką samą rolę odgrywa dominujące w polskiej kulturze większościowej wyobrażenie Żydów jako gości, któremu odpowiada obraz Polski jako domu i Polaków jako gościnnych gospodarzy, spadkobierców mitu króla Kazimierza Wielkiego. Keret House okazuje się maszyną do reprodukcji większościowej polskiej opowieści o stosunku Polaków do Żydów, także w okresie Zagłady. Stawką tej opowieści jest wizerunek Polski i Polaków.[Projekt został sfinansowany ze środków Narodowego Centrum Nauki przyznanych na podstawie decyzji numer DEC-2011/03/B/HS2/05594]
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Díaz Bild, Aída. "The Mighty Walzer." European Judaism 55, no. 2 (September 1, 2022): 23–41. http://dx.doi.org/10.3167/ej.2022.550204.
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Howard Jacobson is a British author who is proud of being labelled a Jewish writer and does not hesitate to describe himself as ‘entirely and completely Jewish’. He believes that English-Jewish writers should address directly the challenge of being Jewish, which is precisely what he does in The Mighty Walzer (1999). The novel shows once again Jacobson’s greatness as a comic novelist and thus reinforces his assumption that the ingenious, joking Jew is the Jew in essence. Like many scholars, Jacobson believes that self-aimed humour has allowed Jewish people to cope with the paradoxical nature of their culture and historical situation. In The Mighty Walzer Jacobson proves to be the Jew par excellence by joking about everything from religion to food, making fun of the contradictions and incongruities of Jewish life.
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Weil, Shalva. ""It Is Futile to Trust in Man": Methodological Difficulties in Studying Non-Mainstream Populations with Reference to Ethiopian Jews in Israel." Human Organization 54, no. 1 (March 1995): 1–9. http://dx.doi.org/10.17730/humo.54.1.u0742x7x54737754.
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Watt, Stephen. "Brendan Behan, Borscht Belt Comedian." Irish University Review 44, no. 1 (May 2014): 149–64. http://dx.doi.org/10.3366/iur.2014.0108.
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‘New York humour is largely an Irish-Jewish creation’ (Ulick O'Connor, Brendan Behan, 1970). Brendan Behan, of course, was not a professional ‘stand-up comedian’ in the strictest sense of the term, although he possessed the wit and performative skills to succeed as one, as he proved countless times in Dublin pubs and onstage at the Blue Angel in New York to an audience that included Shelley Berman, who in fact was a Borscht Belt comedian. And, unlike Milton Berle, Alan King, Jackie Mason, Henny Youngman, and scores of comedians, he did not appear at venues in the Catskill Mountains some 100 miles north-northwest of New York City known as the ‘Borscht Belt’ because of its predominant clientele of Jews, although he and his wife Beatrice enjoyed a long weekend in Margaretville, New York, in August, 1961. When Behan came to America in 1960, however, he quickly became a star and joined a circle of celebrities that prominently included Jewish intellectuals and comedians responsible for what Ulick O'Connor regards as the Irish-Jewish core of New York humour. Indeed, Behan's affection for New York originates not only in his frequent visits to Irish bars on Third Avenue, as Michael O'Sullivan observes, but also in his interactions with Jewish-American friends and his uncanny familiarity with Jewish culture. The rowdy, even notorious, celebrity Behan shared with such figures as Norman Mailer informs the New York humour to which Behan contributed, making him more than an avatar of the Stage Irishman that some Irish-Americans despised. Rather, he often performed an eccentric Irish Jewishness central to American comedy of the 1960s.
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Dynel, Marta. "Swearing methodologically : the (im)politeness of expletives in anonymous commentaries on Youtube." Journal of English Studies 10 (May 29, 2012): 25. http://dx.doi.org/10.18172/jes.179.
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This theoretical paper addresses the (im)politeness of swear words. The primary objective is to account for their nature and functions in anonymous Internet communication, represented by YouTube commentaries (and exemplified by those following snatches of “Borat”), in the light of recent approaches to (im)politeness, notably: second order (im)politeness, necessarily recruiting first order interpretations; intentionbased approach; and relational work. The emerging postulate is that taboo words can display impoliteness (by manifesting aggression, power-building and abuse) or politeness (by fostering solidarity, common ground and humour). The nature and functions of cursing in anonymous commentaries are posited to be largely reminiscent of those appearing in oral interactions. Nevertheless, several characteristics of expletives appear to be peculiar to the discourse of an e-community of practice.
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Nowakowska, Katarzyna, Przemyslaw Raczkiewicz, Martyna Lewkowicz, Karolina Raksa, and Karolina Urbańska. "Management of wet AMD in an elderly patient - case report." Journal of Education, Health and Sport 11, no. 8 (August 7, 2021): 24–30. http://dx.doi.org/10.12775/jehs.2021.11.08.002.
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Introduction: Age-related macular degeneration (AMD) is the most common cause of central vision loss in elderly people over 50 years of age. It is characterized by the presence of drusen on the fundus and may be associated with choroidal neovascularization (CNV) or geographic atrophy. AMD is a condition caused by many factors including environmental, genetic, and vascular. Currently, it affects over 25 million people worldwide, but with the progressive aging of the population, the incidence of the disease is increasing. Disease is therefore an important issue in geriatrics.Case report: A 75-year-old patient was referred to the General and Pediatric Ophthalmology Clinic of the Medical University of Lublin due to the three-week deterioration of visual acuity in the left eye. The visual acuity of the left eye was: counting fingers at a distance of 1.5 m. Initial cataracts of this eye and wet AMD were diagnosed. In July 2018. an injection of ranibizumab was administered into the vitreous humor of the left eye. After achieving an improvement in visual acuity to 0.2 (on Snellen charts), in September the patient was qualified to the Drug Program for the treatment of the wet form of AMD. From September to October 2019. the patient received 9 doses of ranibizumab. In October 2019. visual acuity improved to 0.4. In November, due to the unsatisfactory results of the therapy, the drug was changed to aflibercept. The patient received a total of 3 injections of this drug and his visual acuity improved to a value of 0.7. The last injection was given in July 2020 and the clinical condition and visual acuity stabilized. After the end of the drug program, the patient regularly shows up for checkups, and the visual acuity of the left eye has normalized since July 2020. and is now 0.4 (due in part to atrophic changes and scarring).Conclusions: Treatment of the wet form of AMD is a difficult and lengthy process. Early diagnosis of the disease, starting treatment as soon as possible, regular checkups and cooperation with the patient are very important for the success of the therapy. During 3 years of treatment, the patient experienced a significant improvement in visual acuity for one year. The treatment allowed the disease progression to slow down. The morphological condition of the retina improved. The applied treatment and management of the elderly patient turned out to be effective, and the achieved effects of the therapy are satisfactory.
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FINK, ROBERT. "Klinghoffer in Brooklyn Heights." Cambridge Opera Journal 17, no. 2 (July 2005): 173–213. http://dx.doi.org/10.1017/s0954586705001989.
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Is The Death of Klinghoffer anti-Semitic? Performances of the opera at the Brooklyn Academy of Music in September 1991 were at the epicentre of a controversy that continues to this day; the New York audience was – and remains – uniquely hostile to the work. A careful reception analysis shows that New York audiences reacted vehemently not so much to an ideological position on the Israeli–Palestinian conflict, but to specific nuances in the satirical portrayal of American Jewish characters in one controversial scene later cut from the opera, a scene that must be read closely and in relation to specifically American-Jewish questions of ethnic humour, assimilation, identity and multiculturalism in the mass media. I understand the opera's negative reception in the larger context of the increasingly severe crises that beset American Jewish self-identity during the Reagan-Bush era. Ultimately the historical ability of Jews to assimilate through comedy, to ‘enter the American culture on the stage laughing’, in Leslie Fiedler's famous formulation, will have to be reconsidered. A close reading of contested moments from the opera shows librettist Alice Goodman and composer John Adams avoiding the romance of historical self-consciousness as they attempt to construct a powerful yet subtle defence of the ordinary and unassuming.
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Sherwood, Yvonne. "Cross-Currents in the Book of Jonah: Some Jewish and Cultural Midrashim On a Traditional Text." Biblical Interpretation 6, no. 1 (1998): 49–79. http://dx.doi.org/10.1163/156851598x00228.
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AbstractThe book of Jonah, which was once read by scholars with an impossibly straight face, is now regularly read as satire. In this article I look at how these satirical readings at once release humour and constrain it, by tailoring humour to a pedagogic purpose and heaping all our laughter upon the prophet's head. Jonah criticism, in Bakhtin's term, has been oppressively monologic, promoting YHWH'S perspective and the religious ideology of the reader, and using Jonah's words merely as evidence of his particularism and selfishness. The prophetic caricature is sinister and the laughter hollow, for Jonah is styled as the clownish Jew, resisting God's universalistic innovations and comically tripping over the truth of Rom. 3:29. Arguing that such readings are guilty of the sectarianism and myopia they criticise, I look for more nuanced ways of reading the text. The models I use are parody, dialogism and carnival, and the sources I look at range from the Pirke de Rabbi Eliezer to Herman Melville's Moby Dick. These readings tend to highlight ambiguity and disjuncture at the level of the word (for example the twisting word ) and between the voices of Jonah and God. Read dialogically, I maintain, the book loses its sing-song childish quality and easy morality and becomes a far more interesting, subversive, and genuinely comic text.
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Giergiel, Sabina. "Subwersywny potencjał śmiechu, czyli Ključ od velikih vrata Hinka Gottlieba." Poznańskie Studia Slawistyczne, no. 24 (September 30, 2023): 43–63. http://dx.doi.org/10.14746/pss.2023.24.2.
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This paper focuses on a short work of fiction written in the 1940s by the Croatian Jew, Hinko Gottlieb. The manuscript of the book was found in one of the Jerusalem archives and,about seventy years later was, prepared for publication in Croatia in 2021. Undermining the readers’ previous habits, the book uncharacteristically problematises the Holocaust. Gottlieb uses humour as his major aesthetic device to describe internment. the story may also be ascribed to the fantasy genre, or to speculative fiction to be more precise. The purpose of the thought experiment presented here is to examine (in prison conditions) the possibilities that the socalled space capacitor has to offer. Besides acknowledging the occurrence in the text of such categories as science fiction, grotesque and surrealism, the article endeavours to answer the question about their use in the story of the Holocaust.
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Moder, Gregor. "Lubitsch, Shakespeare, and the Theatricality of Power." October, no. 178 (2021): 55–80. http://dx.doi.org/10.1162/octo_a_00439.
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Abstract Ernst Lubitsch's To Be or Not to Be (1942) was filmed during World War II and takes place in the early period of the Nazi occupation of Poland, yet it focuses on the story of a theater group, on actors, and on the metaphysical question of what makes up a convincing performance. Some early critics suggested that this was not the way to tackle a dire political situation, and that the portrayal of Nazis as humans, with their own sense of humor and theater, was disrespectful to the plight of the Poles and Polish Jewry. For the film, however, the political action and the tracing of the philosophical implications of a theatrical performance are not alternative procedures, but are closely linked to one another, and in this respect Lubitsch follows Shakespeare's own staging of power. The article pursues this argument, firstly, in the analysis of the series of Shylock monologues in the film (“Hath not a Jew eyes?”), focusing on the hyper-theatricality of each repetition. Secondly, it analyzes the series of encounters between two main characters, the Nazi Colonel Ehrhardt and the Polish actor Joseph Tura, especially their last encounter. The author compares the encounter between Ehrhardt and Tura to the Mousetrap scene in Hamlet and argues that it functions as the primal scene—in the Freudian meaning of the term—of the film as such. Their encounter is comical, yet at the same time both politically and metaphysically completely serious: The film shows us two visions of Hamlet, and with that, two visions of modernity, embodied in a Nazi colonel and a Polish actor. The film seems to suggest that there is no defeating Nazism without a thorough understanding of the theatricality of power as such—a Shakespearean lesson that is vital also for our contemporary moment.
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Komarova, Olga. "“Писатель всегда платит за все валютой собственной жизни: за счастье, за творчество, за любовь, за увлечения...”: О романе Дины Рубиной На солнечной стороне улицы." Poljarnyj vestnik 10 (January 1, 2007): 14. http://dx.doi.org/10.7557/6.1307.
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The article deals with Dina Rubina's novel On the Sunny Side of the Street, published in 2006. The writer's name became known in Russia in the 70-ies when as a young girl she began publishing her first short stories in the liberal literary magazine Junost ́, and got her first recognition among the reading public as a promising story-teller.After her emigration to Israel in 1990 a new period in Dina Rubina's writing started. A new theme made itself apparent in her stories - the theme of Jews from the former Soviet Union discovering their new Motherland, their new experience of living under absolutely different geographical and social surroundings. She managed to create in her stories a gallery of characters almost recognizable in their uncertainty and fumbling attempts at survival. The stories she wrote then were a success with the public not only because of their plot but also because of a peculiar mixture of humour and sadness, and very vivid and convincing speech characteristics of the protagonists, they also witnessed about the awakening of patriotic feelings of the newcomers. Dina Rubina's artistic style seemed to combine the vividness of the psychological characterization and caleidoscopic variety of depicted situations.The novel On the Sunny Side of the Street is different both in the topic and in the artistic means used by the author. It is telling a story of two gifted persons, mother and daughter, and their different ways of using their talents.This particular story is shown on a wide background of different events taking place in Tashkent during some four decades after World War II with a picturesque variety of characters of different nationalities and beautiful scenery, tragic and comic signs of the Soviet time - all this helps to create a panoramic view of both the city and its inhabitants.The structure of the novel is complicated, the story is often interrupted by voices of former inhabitants of Tashkent telling about their impressions from the town or by the voice of the author telling of her own private experiences and even meetings with the main protagonist, Vera, who is a painter. This fact accounts for the author's masterful use of colourful details both in descriptions of the characters, their speech and the nature.This novel was rewarded with a special Radio-Booker prize in 2006, and with a very prestigious literary prize "Bol ́šaja kniga" in 2007. Dina Rubina has proved that she remains a very important part of Russian literary life.
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Valls, Alvaro L. M. "Possíveis e reais contribuições de Ane Sørensdatter Kierkegaard, nascida Lund, à cultura ocidental – (um ensaio contra o mito do filósofo sem mãe)." Trilhas Filosóficas 11, no. 1 (June 26, 2018): 13–43. http://dx.doi.org/10.25244/tf.v11i1.3033.
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Resumo: O presente artigo, em forma ensaística, não pretende expor nenhuma teoria kierkegaardiana da educação. Antes se esforça por remover alguns mitos a respeito da própria educação de Kierkegaard, e para tanto busca basicamente enfatizar o lado saudável de uma figura materna – em geral ignorada ou menosprezada pelos comentadores. Além disso, denuncia preconceitos de interpretações dinamarquesas, alemãs, francesas e brasileiras.Palavras-chave: Søren Kierkegaard. Ane Sørensdatter Kierkegaard. Georg Brandes. Casamento e procriação. Relações mãe/filho. Psicólogos e problemas psicológicos. Abstract: The present article, in essayistic form, does not intend to expose any kierkegaardian theory of education. It rather makes an effort to remove some myths about Kierkegaard’s own education, in order to which it tries basically to emphasize the sound, wealthy side of a maternal-figure – generally ignored or disdained by several commentators. Beyond, it denounces some prejudices of Danish, German, French and Brazilian interpretations.Keywords: Søren Kierkegaard. Ane Sørensdatter Kierkegaard. Georg Brandes. Marriage and procreation. Mother/son relations. Psychologists and psychological problems. REFERÊNCIASBRANDES, Georg. Nietzsche: Un ensayo sobre el radicalismo aristocrático. Traducción de José Liebermann. México: Sexto piso, 2004.GARFF, Joakim. SAK. Søren Aabye Kierkegaard: En Biografi. København: Gads Forlag, 2000.HIMMELSTRUP, Jens (Udg.). Søren Kierkegaard: International Bibliografi. København: Nyt Nordisk Forlag – Arnold Busk, 1962.HIRSCH, Emanuel. Kierkegaard-Studien, Band 1. (Gesammelte Werke 11.) Waltrop: Spenner, 2006. (Neu herausgegeben und eingeleitet von H. M. Müller. – Reprodução dos originais de 1930-33).JASPERS, Karl. Psicopatología General. Traducción de la 5a. ed. alemana por Roberto Saubinet y Diego Santillan. Buenos Aires: Bini, 1950._______. Psychologie der Weltanschauungen: Fünfte, unveränderte Auflage. Berlin-Göttingen-Heidelberg: Springer 1960. (1919)KIERKEGAARD, Søren A. O Conceito de Ironia constantemente referido a Sócrates. Tradução de Álvaro Valls. Petrópolis: Vozes, 1991._______. Migalhas Filosóficas: ou um bocadinho de filosofia de João Clímacus. Tradução de Álvaro Valls. Petrópolis: Vozes, 1995. (Ou: Tradução de José Miranda Justo. Lisboa: Relógio D’Água, 2012.)_______. In Vino Veritas. Tradução de José Miranda Justo. Lisboa: Antígona, 2005.KIERKEGAARD, Søren A. Ou – Ou: Um Fragmento de Vida (Primeira Parte). Tradução de Elisabete M. de Sousa. Lisboa: Relógio D’Água, 2013._______. Ou – Ou: Um Fragmento de Vida (Segunda Parte) Tradução de Elisabete M. de Sousa. Lisboa: Relógio D’Água, 2017._______. As Obras do Amor: Algumas considerações cristãs em forma de discursos. Tradução de Álvaro Valls. Petrópolis: Vozes; Bragança Paulista: Ed. Univ. São Francisco, 2005._______. Diapsalmata. Tradução, Notas e Posfácio de Nuno Ferro e M. J. de Carvalho et al.. Lisboa: Assírio & Alvim, 2011._______. Do Desespero Silencioso ao Elogio do Amor Desinteressado: Aforismos, novelas e discursos de Søren Kierkegaard. Tradução de Álvaro Valls. Porto Alegre: Escritos, 2004.KIRMMSE, Bruce. Kierkegaard In Golden Age Denmark: Bloomington & Indianapolis: Indiana University Press, 1990.KIRMMSE, Bruce (Org.). Encounters With Kierkegaard: A Life as Seen by His Contemporaries. Princeton, NJ: Princeton University Press, 1996.KJÆR, Grette. Den Gådefulde Familie: Historien bag det Kierkegaardske Familiegravsted. København: Reitzels Boghandel, 1981.MALIK, Habib C. Receiving Søren Kierkegaard: The Early Impact and Transmission of His Thought. Washington D.C.: The Catolic University of America Press, 1997.MESNARD, Pierre. Le Vrai Visage de Kierkegaard. Paris: Beauchesne, 1948.ODEN, Thomas (Org.) The Humour of Kierkegaard: An Anthology. Princeton and Oxford: Princeton University Press, 2004.POOLE, Roger & STANGERUP, Henrik (Org.). The Laughter Is on My Side: An Imaginative Introduction to Kierkegaard. Princeton, NJ: Princeton University Press,1989.STEWART, Jon. A History of Hegelianism in Golden Age Denmark. Tome I. The Heiberg Period: 1824-1836. Copenhagen: SKRC/Reitzel, 2007.THEUNISSEN, Michael. Der Begriff Ernst bei Sören Kierkegaard. Freiburg/München: Alber, 1978. (Com a dedicatória: “Meiner Mutter”!)VERGOTE, Henri–Bernard. Sens et repetition: Essai sur l’ironie kierkegaardienne. Tomes I et II. Paris: Cerf/Orante, 1982.WAHL, Jean. Études Kierkegaardiennes. 4e. édition. Paris: Vrin, 1974.
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"Jewish humor: what the best Jewish jokes say about the Jews." Choice Reviews Online 30, no. 06 (February 1, 1993): 30–3385. http://dx.doi.org/10.5860/choice.30-3385.
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Stańczyk, Ewa. "Surviving Art from Terezín: The Satirical Drawings of Pavel Fantl." Holocaust and Genocide Studies, March 11, 2022. http://dx.doi.org/10.1093/hgs/dcac008.
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ABSTRACT This article examines the art of Pavel Fantl (1903–1945), a Czech Jewish doctor whom the Nazis murdered shortly before the end of the Second World War. Fantl left behind approximately eighty drawings. Despite being created under difficult conditions in the Terezín Ghetto, his art stands out for its use of humor and satire. This article argues that Fantl’s work not only testified to the suffering and persecution of Jews, but also reflected the wider visual conventions of the time, in particular the satirical cartoon and comic strip of the 1920s and 1930s. In addition, by tracing the material practices surrounding Fantl’s art, this paper shows how the creation and survival of drawings from the ghettos hinged on strong interpersonal bonds with non-Jews beyond the ghetto walls.
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Laywine, Nathaniel, Victoria Simon, and Aram Sinnreich. "Laughing to keep from [use input undefined]: ChatGPT, Jewish humor, and cultural erasure." First Monday, June 30, 2024. http://dx.doi.org/10.5210/fm.v29i7.13375.
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This paper uses the embodied, Jewish identities of its three authors, and the experimental methodology of kibbitzing as a form of collective inquiry and self-reflexive praxis in order to demonstrate the limitations of chatbots to produce humorous narratives from an explicitly Jewish epistemology. By contrasting the affordances of large language models (LLMs) and their associated chatbots with the context-based logics of Jewish joke craft and storytelling, this article goes on to demonstrate the risk of cultural erasure that is posed by the positivist, denotative meanings associated with ChatGPT’s attempts at producing jokes for, or about, Jews.
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Weaver, Simon, and Lindsey Bradley. "“I haven’t heard anything about religion whatsoever”: Audience perceptions of anti-Muslim racism in Sacha Baron Cohen’s The Dictator." HUMOR 29, no. 2 (January 1, 2016). http://dx.doi.org/10.1515/humor-2015-0044.
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AbstractSince the late 1990s, Sacha Baron Cohen’s characters have raised controversy, criticism and protest from various groups (for example, from Black activists in 2002 and Hasidic Jews in 2012). The comedy has also been described as satirical or anti-racist. Baron Cohen, as either Ali G, Borat, Bruno, or General Aladeen, has consistently provided comedy that leads to public debate on the relationship between comedy and race, ethnicity and stereotype, and the nature of racism and “othering” in comedy. Despite this tendency, very little research has been conducted on how audiences receive the comedy. We present results from a recent focus group, audience reception study of the comedy of Baron Cohen, which recorded discourse from young people aged 18–29 years (n 49). The article examines the perceptions of Islamophobia or anti-Muslim racism in the comedy, focusing on
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Papp, Richard. "But Where Is Kohn?” Modern-Day History of the Hungarian Jews in the View of a Jewish Community’s Humor in Budapest." RA Journal of Applied Research, December 12, 2017. http://dx.doi.org/10.18535/rajar/v3i12.03.
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Nel, Marius. "Daniël 2 as satire." HTS Teologiese Studies / Theological Studies 68, no. 1 (January 11, 2012). http://dx.doi.org/10.4102/hts.v68i1.979.
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Daniel 2 as satire. Readers use intuitive and acquired knowledge about genres in interpreting what they read and hear, underlining the importance of establishing the genre of a specific piece of literature. The genre of the tales in the Book of Daniel (1–6) has been researched over a long period, without leading to a consensus. In this article it is suggested that the genre of the tales in Daniel may be described in terms of satire, used as a means of resistance to foreign political oppression. Especially humor and irony are utilised in the satire to describe Jewish perception of the oppression and oppressor, and to make suggestions for acting in the crisis situation of Antiochus’ suppression of the Jewish religion. This is demonstrated in terms of the tale in Daniel 2, and specifically in the depiction of the indirect characters in the tale – the God of the Jews in Daniel 2, in contrast to the powerlessness of the gods of the mighty heathen king. In this way the true nature of Jewish oppression is pictured in a humorous way when the Babylonian gods are at the mercy of the Jewish God.
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"Lars M. Andersson. En Jude är en Jude är en jude …: Representationen av “Juden” i svensk skämtpress omkring 1900–1930. [A Jew is a Jew is a Jew …: Representations of “Jews” in the Swedish Humor Press ca. 1900–1930.] Lund, Sweden: Nordic Academic Press. 2000. Pp. 622." American Historical Review, February 2002. http://dx.doi.org/10.1086/ahr/107.1.286.
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Keil, Martha. "»… und seinem Köcher Anglis«." Aschkenas 26, no. 1 (January 20, 2016). http://dx.doi.org/10.1515/asch-2016-0007.
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AbstractNo area of Christian-Jewish co-existence during the medieval Ashkenazi period produced more personal contacts than the business sphere. During loan transactions, Jews and Jewesses interacted with Christian men and women from all social classes, from rulers and nobility to townspeople, farmers, craftsmen, and servants. Therefore, German-Hebrew business contracts are not only material cultural goods in their own right, they also serve as media of cultural transfer and as a shared legal, linguistic, and general cultural zone between Jews and Christians in the field of economics and of business practices. This paper not only deals with legal and linguistic topics, but also with the rather hidden and neglected aspects of polemics and humour.
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Fiadotava, A. "Depiction of Ethnic Targets and Scripts in Jokes from Uladzimir Sysou’s Archive." Belarusian folklore: data and research 11 (2024). http://dx.doi.org/10.29235/2411-2763-2024-11-183-196.
Full textAbstract:
The article uses Uladzimir Sysou’s archival collection of jokes to study the corpus of Belarusian ethnic humour and delineate its main features. The analysis reveals the most popular targets among the ethnic jokes in Sysou’s collection which are Auciukoucy (the inhabitants of Malyja Auciuki and Vialikiya Auciuki villages in southern Belarus), Jews and Armenians, as well as most popular ethnic scripts of these jokes which are stupidity, canniness, self-deprecation and physical or sexual violence. The popularity and novelty of Auciukoucy as an ethnic humour target is explained within the context of the spatial and temporal circumstances of Sysou’s fieldwork. The jokes are interpreted within Christie Davies’s theory of ethnic humour, and the phenomenon of application of both stupidity and canniness scripts to a single ethnic target is discussed.
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"Neopicaresque, Jewish Humor and Denunciation of Cosmopolitanism in Franz Kafka’s Amerika and Saul Bellow’s The Adventures of Augie March." Jordan Journal of Modern Languages and Literatures 12, no. 4 (December 2020): 491–507. http://dx.doi.org/10.47012/jjmll.12.4.5.
Full textAbstract:
The neopicaresque novel is a nascent genre that was invigorated in the aftermath of World Wars I and II in Britain and the United States. Contemporary studies of neopicaresque depict the image of the picaro as the “alienated”, “the outcast” and the “rebellious” character. This study is an attempt to redefine the Jewish neopicaresque novel and proposes that Jewish humor and denunciation of cosmopolitanism are indispensable aspects that need further investigation. It endeavors through these two aspects to comment on the Jewish exilic experience in cosmopolitan America. Further, the study proposes that Jewish humor and denunciation of cosmopolitism unearth the inability of the ghetto-minded Jewish immigrant to fathom the traumatic and rapid social and political vicissitudes that lead him to escape this chaotic life. These propositions are expounded through a close reading of Franz Kafka’s Amerika: The Man who Disappeared (1914) and Saul Bellow’s The Adventures of Augie March (1953). These Jewish travel narratives are discussed as Jewish neopicaresque novels that demonstrate the exodus of Eastern Jewish immigrants to America in the aftermath of WWI and II. The study draws on Freudian psychoanalytic theory of Jewish “self-critical “and “self-deprecating” humor. Considerations of the cultural dilemma of the Jewish ghetto immigrant and his negative depictions as “the wanderer Jew” and the “displaced-person” are addressed from the critical perspective of contemporary cosmopolitan discourses of Cathy S. Gelbin and Sander L. Gilman and Ulrich Beck. Keywords: Jewish neopicaresque novel, Jewish humor, cosmopolitanism, Kafka’s Amerika, Soul Bellow’s The Adventures of Augie March.