Academic literature on the topic 'Literary laughters'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Literary laughters.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Literary laughters"
1
Ojaide, Tanure, and Niyi Osundare. "Waiting Laughters." World Literature Today 66, no. 1 (1992): 192. http://dx.doi.org/10.2307/40148076.
Full text
2
OSUNDARE, NIYI. "Poems from Waiting Laughters." Matatu 23-24, no. 1 (April 26, 2001): 97–105. http://dx.doi.org/10.1163/18757421-90000359.
Full text
3
Akingbe, Niyi. "MYTHOLOGIZING YORUBA ORATURE: LOBOTO MIZING SWIVELLED PULSES OF LAUGHTER IN NIYI OSUNDARE’S WAITING LAUGHTERS AND REMI RAJI’S A HARVEST OF LAUGHTERS." Imbizo 6, no. 2 (June 21, 2017): 22–42. http://dx.doi.org/10.25159/2078-9785/2803.
Full textAbstract:
Every literary work emerges from the particular alternatives of its time. This is ostensibly reflected in the attempted innovative renderings of these alternatives in the poetry of contemporary Nigerian poets of Yoruba extraction. Discernible in the poetry of Niyi Osundare and Remi Raji is the shaping and ordering of the linguistic appurtenances of the Yoruba orature, which themselves are sublimely rooted in the proverbial, chants, anecdotes, songs and praises derived from the Yoruba oral poetry of Ijala, Orin Agbe, Ese Ifa, Rara, folklore as well as from other elements of oral performance. This engagement with the Yoruba oral tradition significantly permeates the poetics of Niyi Osundare’s Waiting laughters and Remi Raji’s A Harvest of Laughters. In these anthologies, both Osundare and Raji traverse the cliffs and valleys of the contemporary Nigerian milieu to distil the social changes rendered in the Yoruba proverbial, as well as its chants and verbal formulae, all of which mutate from momentary happiness into an enduring anomie grounded in seasonal variations in agricultural production, ruinous political turmoil, suspense and a harvest of unresolved, mysterious deaths. The article is primarily concerned with how the African oral tradition has been harnessed by Osundare and Raji to construct an avalanche of damning, peculiarly Nigerian, socio-political upheavals (which are essentially delineated by the signification of laughter/s) and display these in relation to the country’s variegated ecology.
4
Oji, Ruth Karachi Benson. "Painting the state in the text." Pragmatics and Society 12, no. 4 (October 29, 2021): 649–68. http://dx.doi.org/10.1075/ps.20007.oji.
Full textAbstract:
Abstract Literary works across cultures are never written in a vacuum. They depict the reality of the society where they are set. With the societal obligation of the writers to serve as righters, especially in Africa, this study attempts a pragmatic inquiry of the state of the Nigerian society as implicitly and artistically painted in Remi Raji’s poetry collection, A Harvest of Laughters. The known literature on Remi Raji’s A Harvest of Laughters have analysed the collection mainly from literary and ideological perspectives. Attention has not been given to the collection from a pragmatic perspective, hence the intervention of this study. Drawing insights from Jacob Mey’s Pragmatic Acts Theory, the study analyses the pragmatic imports in the collection with fourteen (14) randomly selected excerpts across different segments of the collection constituting the data. Data was purposively selected from different poems in the collection. The findings show that the two major discursive issues in the text are the depiction of the government as cruel and the portrayal of the citizenry as victims. The former was conveyed through the practs of oppressing, embezzling and deceiving, while the latter was revealed through the practs of suffering and hoping. The study concludes that pragmatics is a valuable tool in the demystification of texts.
5
Adebayo Adefemi, Oguntuase, Obura Oluoch, and Amateshe Kisa. "We Live, only if the Environment Lives; An Enquiry into Niyi Osundare’s Eco-poems." INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE AND COMMUNICATION STUDIES 7, no. 1 (July 2, 2022): 1–15. http://dx.doi.org/10.56201/ijelcs.v7.no1.2022.pg1.15.
Full textAbstract:
This paper sets out to investigate the symbiosis between humankind and the environment that they inhabit. The relationship between the denizens of the earthly environment and the lifelong interdependence of both flora and fauna are examined in this work. Two of the volumes of poetry by Niyi Osundare are used in the treatment of the themes of this study. These are: Waiting Laughters (1990) and The Eye of the Earth (1996). The literary theoretical approach known as ecocriticism is deployed in the study of the poems selected from both collections. The study is further underpinned by the Reader Response critical theory. The paper concludes that a mutually rewarding co-existence is the only prescription for an augury of pleasure and sustainability between the environment, on the one hand and humankind, on the other.
6
Rodnyi, Oleg V. "LAUGHTER TAXONOMY DISCOURSE IN THE RENAISSANCE LITERARY CONSCIOUSNESS." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 8–23. http://dx.doi.org/10.32342/2523-4463-2022-1-23-1.
Full textAbstract:
The article is devoted to the analysis of the comic Renaissance literature through the prism of individual works in order to identify the main comic functions. The Renaissance laughter culture formation is one of the urgent and underdeveloped problems of modern humanities adressed to the study of the Renaissance. The purpose of our work and the tasks dictated by it – in the context of the «laughter word» of the Renaissance to reveal the main comic functions in the literature of this period that were formed by a new worldview and new relationships amoung people. The stated goal determines the need to use hermenegutic (analysis of literary texts), typological (comparison of various comic functions), historical (solution of a literary problem in the context of a historical epoch) research methods. The “discovery of the world and man” that was characteristic of the Renaissance also took place in fiction. Renaissance realism turned it’s face to the everyday life of a person, and literature willingly accepted a new theme for itself including comedy. The article highlights various social functions of laughter that were used in Renaissance literature. Recreational laughter function is the original and oldest one. Laughter is evidence of pleasure, relaxation, rest. This laughter’s function is necessary for the normal functioning of not only an individual, but society as a whole. Such works as fables, schwankis, facies, “Gargantua and Pantagruel” by Rabelais, “Don Quixote” by Cervantes, comedies by W. Shakespeare, their main task was entertaining first of all. Their laughter is a clear evidence of inner freedom and healthy vitality. Laughter is a social phenomenon, and therefore it must meet the well-known requirements of people livihg together. Therefore, one of the main of functions is social. Laughter should be a kind of social gesture; it frees society from mechanical rigidity. We single out this function in Luigi Pulci’s poem “Morgante”. Funny and serious, faith and disbelief, naivety and scientific coexist side by side in this work, defining its heroic-comic character. The ontological aspects of laugher are closely related to cognitive ones. The cognitive laughter function has a great importance in revealing social negative aspects, in bringing them to the point of absurdity and thereby revealing their inconsistency and the obligation to eliminate them. This laughter function is represented in Sebastian Brant`s poem “The Ship of Fools”, in Rotterdams satire “The Praise of Folly”, in F. Rabelais` novel “Gargantua and Pantagruel”. Laugh as an effective social sanction (the sanctioning function of laughter) is presented in Cervantes` novel. The main thing in Don Quixote is not so much a parody of chivalry as a realistic disclosure of new social conditions and worldview discoveries, which was a parody of a past life. At the end of the novel, realizing his madness, Don Quixote thereby frees himself from his comic. The novel takes on a pronounced tragic connotation. The title character recognizes his doom and ceases to be pathetic, he becomes a knight of the “sad image”, he dies not a pathetic madman, but a humble Christian. The various functions of laughter, presented in the Renaissance literature were an effective tool in the fight against the remnants of the Middle Ages and the establishment of a new worldview.
7
Halliwell, Stephen. "The Uses of Laughter in Greek Culture." Classical Quarterly 41, no. 2 (December 1991): 279–96. http://dx.doi.org/10.1017/s0009838800004468.
Full textAbstract:
The proposition that man is the only animal capable of laughter is at least as old as Aristotle (Parts of Animals 673a8). In a strictly physical sense, this is probably false; but it is undoubtedly true that as a psychologically expressive and socially potent means of communication, laughter is a distinctively human phenomenon. Any attempt to study sets of cultural attitudes towards laughter, or the particular types of personal conduct which these attitudes shape and influence, must certainly adopt a wider perspective than a narrowly physical definition of laughter will allow. Throughout this paper, which will attempt to establish part of the framework of such a cultural analysis for the Greek world of, broadly speaking, the archaic and classical periods, ‘laughter’ must be taken, by a convenient synecdoche, to encompass the many behavioural and affective patterns which are associated with, or which characteristically give scope for, uses of laughter in the literal sense of the word. My concern, then, is with a whole network of feelings, concepts and actions; and my argument will try to elucidate the practices within which laughter fulfils a recognizable function in Greek societies, as well as the dominant ideas and values which Greek thought brings to bear upon these practices. The results of the enquiry will, I believe, give us some reason to accept a rapprochement between the universalist assumption for which my epigraph from Johnson speaks (and which most grand theorists of laughter appear to have made) and the recognition of cultural specificity in laughter's uses for which many anthropologists would argue, as emphatically asserted, from a Marxizing point of view, in the quotation from Vladimir Propp.
8
Voloshchuk, Ievgeniia. "„…читая в ногу души прекрасные порывы”: смех аутсайдера и русский ХХ век в Неизвестных письмах Олега Юрьева." Studia Rossica Posnaniensia 47, no. 1 (June 26, 2022): 111–28. http://dx.doi.org/10.14746/strp.2022.47.1.8.
Full textAbstract:
The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.
9
Nikolyukin, Alexander. "S.P. SHEVYREV ABOUT THE LAUGHTER IN RUSSIAN LITERATURE." Literaturovedcheskii Zhurnal, no. 2 (2022): 112–24. http://dx.doi.org/10.31249/litzhur/2022.56.07.
Full textAbstract:
For the first time the topic of laughter in Ancient Russia was voiced in an article by S.P. Schevyrev “The Theory of the Ridiculous, with Application to Russian Comedy” (1851) and in his book “History of Russian Literature” (1846-1860), where he completely opened ancient Russian literature to the reader. In this book the notion of laughter comes through as one of the permanent features of Old Russian and modern Russian literature. Shevyrev calls Daniil Zatochnik (12th century), the master of “weeping laughter and smiling sadness”, the first Russian humorist and compares the lucid laughter of Gogol with Daniil’s humor and laughter. All Russian comedies (by Fonvizin, Griboedov, Gogol) Shevyrev considers as phenomena of funny, bright laughter. This is directed against the old tendency in literary studies to see in every great comedy first of all a satire, a denunciation. In the works of Shevyrev the concept of laughter was expressed by the word “funny”.
10
Platten, D. "French Laughter: Literary Humour from Diderot to Tournier." French Studies 64, no. 4 (September 29, 2010): 520–21. http://dx.doi.org/10.1093/fs/knq116.
Full textDissertations / Theses on the topic "Literary laughters"
1
Plaza, Maria. "Laughter and derision in Petronius' Satyrica : a literary study." Doctoral thesis, Stockholms universitet, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-70112.
Full text
2
Widegren, Johannes. "The Laughter of Literature : A diachronic study of the social functions of laughter in British literature." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79777.
Full textAbstract:
This paper investigates the historical development of the social functions of laughter in literature using linguistic analysis. Many previous studies have analyzed the connection between humor and laughter, but very few have looked at laughter in literature. In this paper, using the eight social functions of laughter defined by Foot and McCreaddie (2007), instances of the word laugh and its variants were analyzed in canonical British literature from the 14th century to the 21st and then compared. In the literature investigated, derision laughter was the most common function during the 15th through 17th centuries. In the centuries to follow humorous laughter took that position. An explanation for this could be that there was no clear division between derision laughter and humorous laughter until the 18th century (Classen, 2010). Also noted was an increase in the frequency of instances of laughter per 1000 words since the 17th century in the investigated literature, as well as an increase in variation of social functions used. The low frequency of laughter in the past may have been a result of the teachings of the church in England. The increased variation in functions of laughter could indicate that the pragmatic feature of laughter has acquired new functions, or that some functions were not depicted in the older literature of this study.
3
Goffinet, Bruno. "Entre Kuma et Kune. Lectures socio-littéraires des rires romanesques dans la Collection « Monde noir poche », Hatier 1980-1988." Thesis, Sorbonne université, 2021. http://www.theses.fr/2021SORUL169.
Full textAbstract:
Afin de comprendre la structuration authentique du récit fictionnel africain, on peut détacher délicatement les strates du Sérieux apparent et de la Dérision réaliste de plusieurs mondes en révolution permanente. C’est la mission que s’est fixée cette thèse, au premier sens du terme « symbolique », dans la mesure où elle se confronte d’abord aux grandes théories du rire en littérature, en tant qu’action sociale partant d’une quête ésotérique native. Avançant dans la démystification de l’objet et du sujet écrivant/lisant en fin post-colonialisme trentenaire, on découvre une armature immémoriale de statuts initiés sans cérémonie, faite de princes déchus, de novices aveugles ou de sorcières mal aimées, qui suggèrent avec beaucoup d’autres une tentation : celle de distinguer, sous la page imprimée en coopération, une distribution de tragi-comédie inhumaine, survolée par l’Écrivain noir unique, guidé en ses enfers par un philosophe naturel. Dans cette recherche de l’ironique survie ancestrale, grâce à la risible contingence humaine, l’ordonnancement des signes africains dévoile à son tour la refondation d’un discours vieux comme le Cynisme historique, dévoyé par ses avatars pragmatiques-inertes, vite devenus machiavélismes éternels. À la lumière de cette lanterne romanesque en plein jour sociétal du sous-continent françafricain ténébreux, les rires spontanés ou cultivés, et des éclats plus subtilement enformulés trouvent un chemin à leur démarche supposée commune : promouvoir littérairement individus et collectivités dans un monde noir débarrassé de la barbarie innommable et sans un scrupule d’humour, sinon sadiqueSo as to unterstand the authentic structuration of the africain fictional story, strata can be gently removed from the patent Serious and the realistic Derision out of several universes on their permanent revolving orbit. It is the mission assumed by this thesis, by the first meaning of the word « symbolic », insofar as it first confronted with the great theories of laughter in literature as a social action coming from an esoteric native quest. Promoting demystification both of the writing and readind object and of the subject at the end of a thirty-year ood period of post-colonialism, an immemorial framework of initiated status can be discovered, made of deposed princes, blind novices or unloved witches. They suggest, along with many others, a temptation : to distinguish, under the page printed by cooperation, the casting of an inhuman tragicomedy overflew by the unique black Writer, guided throught his hells by a natural philosopher. In this research of the ironical ancestral survival, thanks to the risible human contingency, this arrangement of the african signs reveals in its turn the refoundation of a discourse as old as the historical Cynism. This has been misguided by its inert-pragmatic avatars, quickly transformed into permanent machiavellianisms. Under the illumining of this novelistic lantern, in the societal daylight of the dark franco-african subcontinent, the spontaneous or cultured laughters, and the more subtly expressed roarings, find a way for their supposed common approach : to literarily promote individuals and collectivities, in a black world freed from unspeakable barbarity, lacking in the least scruple of humour other than a sadictic one
4
Razaimiandrisoa, Nirina. "Représentations de la société malgache dans les nouvelles d'un auteur malgache des années 30, Alfred Ramandiamanana (1886-1939)." Thesis, Paris, INALCO, 2013. http://www.theses.fr/2013INAL0028.
Full textAbstract:
La thèse porte sur les représentations de la société malgache dans les nouvelles d’un auteur des années 30, écrivant en malgache, Alfred RAMANDIAMANANA (1886-1939). Ecrivain, poète et nouvelliste au début de l’époque coloniale à Madagascar de 1906 à 1939, Ramandiamanana, nostalgique de l’époque précoloniale va s’affilier à une société secrète nationaliste découverte vers la fin de 1915 qui fut un mouvement intellectuel dont les principaux objectifs étaient de préserver l’unité nationale et la lutte pour le développement de Madagascar. Pendant presque trente ans il a publié soit des poèmes, soit des textes d’analyses, soit des nouvelles, dispersés dans les premiers journaux non confessionnels malgaches du début du XXe siècle. D’où l’intérêt de s’interroger sur le sens que prennent ses diverses formes d’écrits tout en les remettant dans leur contexte historique.La thèse se présente en deux volumes. Le volume I Analyse étudie l’articulation entre l’histoire et le contexte politique ainsi que le statut de la langue malgache par rapport à la langue française introduite par la colonisation. Durant cette période de pacification coloniale, la presse étant muselée par la censure, la répression étant sévère, l’analyse porte sur les façons dont les intellectuels se sont approprié la langue en intégrant la critique de la société coloniale et de la société malgache de l’époque en utilisant un langage codé. L’auteur utilise également le rire pour faire passer son message aux lecteurs. Ses œuvres expriment l’engagement culturel de l’auteur. Le deuxième volume comprend les 48 textes en malgache avec la traduction française réalisée par Nirina Vololomaharo RAZAIMIANDRISOA. Le vocabulaire utilisé, ainsi que le contexte d’écriture n’est pas toujours connu du public actuel, des explications détaillées dans des notes de bas de page sont fourniesThe thesis focuses on the representations of the Malagasy society in the short stories of the writer of the 30s, writing in Malagasy, Alfred RAMANDIAMANANA (1886-1939).Writer, poet and short story writer at the beginning of the colonial era in Madagascar from 1906 to 1939, Ramandiamanana, nostalgic of the pre-colonial era joined a secret nationalist society discovered towards the end of 1915. The secret society turned out to be an intellectual movement whose main objectives were to preserve the national unity and the struggle for the development of Madagascar. For nearly thirty years, he published either poems, or text analysis, or short stories, dispersed in the first Malagasy non-denominational newspapers of the early twentieth century. It becomes therefore interesting to reflect on the direction taken by these various forms of writings while putting them in their historical context.The thesis is presented in two volumes. Volume I, the Analysis, examines the relationship between history and politics as well as the status of the Malagasy language in relation to the French language introduced by colonialism. During this period of colonial pacification, the press was muzzled by censorship and the repression was severe. Thus, the analysis focuses on the ways in which the intellectuals took over ownership of the language while taking into account the critique of the colonial society and the Malagasy society of the time, using a coded language. The author also uses laughter to get his message across to the readers. His works express the cultural commitment of the author.Volume II consists of 48 texts in Malagasy with the French translation by Nirina Vololomaharo RAZAIMIANDRISOA. Granted that the language used and the context are not always known to the public today, detailed explanations are provided in footnotes
5
Valdrighi, Rachel Sant'ana. "O riso e suas implicações na obra Os dous ou o Inglês maquinista, de Martins Pena." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21059.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-05-04T13:40:50Z
No. of bitstreams: 1
Rachel Sant'ana Valdrighi.pdf: 6084627 bytes, checksum: c6e189957a277401362ec7f17d980c4f (MD5)Made available in DSpace on 2018-05-04T13:40:50Z (GMT). No. of bitstreams: 1 Rachel Sant'ana Valdrighi.pdf: 6084627 bytes, checksum: c6e189957a277401362ec7f17d980c4f (MD5) Previous issue date: 2018-03-20
This work intends to study artifacts of textual construction in Martins Pena's play Os Dous ou o Inglês Maquinista, written probably in 1840 and published in 1843. The goal was to analyze the comic devices used by the playwright, with the specific objectives of not only to investigate which devices are, but also how they occur, what kind of laughter they may cause, and how they serve as a herald of comedy for the future staging. To that end, one wonders: What are the comic devices present in the play Os Dous ou o Inglês Maquinista? Can these be understood as indicators of comedy for a future staging? How do they work and what kind of laughter do they cause? The questioning was guided by the following hypotheses: the play Os Dous ou o Inglês Maquinista uses different devices of comedy, generators of different types of laughter that imply social and aesthetic tension; the comedy operationalized in the textual composition foresees effects that are intended in the staging, in other words, in the play as a spectacle. As a theoretic foundation, it relies on scholars of Comedy, such as Bergson, Propp, among others. Building a work within the traditional structures of comedy, Martins Pena use several elements that generate laughter, from satire and caricature, such as exaggeration, nonsense and misunderstandings
Este trabalho tem como objetivo estudar artifícios da construção textual na obra Os Dous ou o Inglês Maquinista, de Martins Pena, escrita provavelmente em meados de 1840 e publicada em 1843. Buscou-se analisar os artifícios cômicos utilizados pelo dramaturgo, tendo como objetivos específicos não só investigar quais são tais artifícios, mas também como ocorrem, que tipo de riso geram e como servem de arauto da comicidade para uma futura encenação. Para tanto, pergunta-se: Quais são os artifícios de comicidade presentes na obra Os dous, ou o inglês maquinista? Esses artifícios podem ser compreendidos como indicadores de comicidade para futura encenação? Como atuam e que tipo de riso geram? O questionamento foi orientado pelas hipóteses: a obra Os Dous ou o Inglês Maquinista faz uso de diferentes artifícios de comicidade, geradores de diferentes tipos de riso que implicam tensão social e estética; a comicidade operacionalizada na composição textual antevê efeitos pretendidos na encenação, isto é, na obra como espetáculo. Como fundamentação teórica, apoia-se em estudiosos da Comédia como Bergson, Propp, entre outros. Construindo uma obra dentro das estruturas tradicionais da comédia, Martins Pena emprega vários elementos geradores do riso, a partir da sátira e da caricatura, como o exagero, o nonsense e os equívocos
6
Nascimento, Elias. "Estudo das estratégias lingüístico-discursivas do risível em Porque Lulu Bergantim não atravessou o Rubicon de José Cândido de Carvalho." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14500.
Full textAbstract:
Made available in DSpace on 2016-04-28T19:34:24Z (GMT). No. of bitstreams: 1
Elias Nascimento.pdf: 94720526 bytes, checksum: 5d9e140975a2ba8884c72826cf3db0cb (MD5)
Previous issue date: 2008-04-23Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The objective of this dissertation is the study of the linguistic-discursive strategies of the laughable in Porque Lulu Bergatim não atravessou o Rubicon of José Cândido de Carvalho. The author s work presents dozens of curious stories on the interior of the country. Written in a very characteristic way, the narratives introduce funny personages involved in unusual situations. The author's style is marked, mainly, by the use of the comic exaggeration employed in ironies and metaphors. The present study included the analysis of stories, their connection with the laughter and the brevity inherent to both. In the present work the manifestation of the laughter was analyzed considering the concepts discussed by the philosophers and theoretical from the Antiquity to the current days. In the study it was verified that in the last centuries the comedian was own of the inferior classes, lowered, with addictions and faults. Starting from the century XX the laughter began to have value in the social relationships. In the contemporary theories, the laughter exists to correct habits, to punish behaviors and to punish distracted, and it can be expressed in four ways: in the forms and movements, in the situations, in the words and in the character. The corpus was divided considering these four categories. The analysis of the linguistic-discursive strategies of the laughter detached the polissemic exploration happened in the stories not only by the use of the metaphors and of the ironies, but also by the use of slangs, of alliterations, of hyperboles, of puns, of strange names and of neologisms
O objetivo desta dissertação é estudar as estratégias lingüístico-discursivas do risível em Porque Lulu Bergatim não atravessou o Rubicon de José Cândido de Carvalho. A obra reúne dezenas de contos curiosos sobre o interior do país. Escritas de forma bastante característica, as narrativas apresentam personagens divertidos envolvidos em situações insólitas. O estilo do autor é marcado, principalmente, pelo uso do exagero cômico empregado às ironias e às metáforas. O estudo abrangeu o gênero conto, sua ligação com o riso e o laconismo inerente a ambos. Compreendeu a manifestação do riso a partir de um levantamento histórico que considerou os conceitos discutidos pelos filósofos e teóricos desde a Antiguidade até os dias atuais. Nesse estudo verificou-se que nos séculos passados o cômico era próprio das classes inferiores, rebaixadas, com vícios e falhas. A partir do século XX o riso passou a ter valor nas relações sociais. Nas teorias contemporâneas, o riso existe para corrigir costumes, castigar comportamentos e punir distraídos, e pode se manifestar de quatro maneiras: nas formas e movimentos, nas situações, nas palavras e no caráter. O corpus foi dividido segundo estas quatro categorias. A análise das estratégias lingüístico-discursivas do riso destacou a exploração polissêmica ocorrida nos contos não só pela utilização das metáforas e das ironias, mas também pelo uso de gírias, de aliterações, de hipérboles, de trocadilhos, de nomes estranhos e de neologismos
7
Dance, Caleb. "Literary Laughter in Augustan Poetry: Vergil, Horace, and Ovid." Thesis, 2014. https://doi.org/10.7916/D81R6NP1.
Full textAbstract:
This dissertation examines literary laughter in Latin poetry and, specifically, the ways in which textually-witnessed laughter functions as a guide to reader response and as a genre marker in select Vergilian, Horatian, and Ovidian poems.
The introduction first describes the Latin vocabulary of laughter and the risible and then introduces the texts of Augustan poetry to be examined. The remainder of the introduction surveys theoretical treatments of laughter that appear in Plato, Aristotle, and Cicero and underlie three prevailing modern explanations of laughter: the superiority, relief, and incongruity theories.
My inquiry is divided into two complementary parts, to each of which I devote three chapters. Part I (Chapters 1, 2, and 3) explores laughter's function as text-directed literary criticism--what I call a textual laugh track. My approach emphasizes that the vocabulary of laughter and the risible as used by Vergil, Horace, and Ovid often functions metacommunicatively, offering to the reader a set of directions for how to respond to particular texts. Part 2 (Chapters 4, 5, and 6) considers laughter's role as a conspicuous piece in the assembling of specific generic puzzles. Horace's Satires, Vergil's Eclogues, and Ovid's Amores all feature the vocabulary of laughter and the risible in their verses, and they utilize this vocabulary to various genre-determined--and genre-determining--ends. My objective throughout the dissertation is to present laughter as a dynamic human behavior that, through its appearance in Augustan literature, not only offers inroads to a specific "cultural psychology" but also proves itself an illuminating point of contact between the ancient and modern world.
Books on the topic "Literary laughters"
1
French laughter: Literary humour from Diderot to Tournier. Oxford: Oxford University Press, 2008.
Find full text
2
Laughter and derision in Petronius' Satyrica: A literary study. Stockholm: Almqvist & Wiksell, 2000.
Find full text
3
Shapes of openness: Bakhtin, Lawrence, laughter. Newcastle: Cambridge Scholars, 2010.
Find full text
4
Leone, Matthew. Shapes of openness: Bakhtin, Lawrence, laughter. Newcastle: Cambridge Scholars, 2010.
Find full text
5
The immortal dinner: A famous evening of genius & laughter in literary London, 1817. London: Penguin, 2001.
Find full text
6
Hughes-Hallett, Penelope. The immortal dinner: A famous evening of genius & laughter in literary London, 1817. Chicago: Ivan R. Dee, 2002.
Find full text
7
Hughes-Hallett, Penelope. The immortal dinner: A famous evening of genius & laughter in literary London, 1817. Chicago: New Amsterdam/Ivan R. Dee, 2002.
Find full text
8
The immortal dinner: A famous evening of genius & laughter in literary London, 1817. London: Viking, 2000.
Find full text
9
Warren, Bernie. Using the creative arts in therapy and healthcare: A practical introduction. 3rd ed. London: Routledge, 2008.
Find full text
10
Dobrenko, Evgeny, and Natalia Jonsson-Skradol. State Laughter. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198840411.001.0001.
Full textAbstract:
The Stalinist reign of terror was not all gloom and darkness. Much of it was, or aimed to be, entertaining, full of laughter and joy. This book explores how, and why, humor was a necessary component of one of the most oppressive regimes of the twentieth century. It covers a variety of genres, from film comedy to satirical theatre, from war caricature to court speeches at show trials, from Stalin’s political writings to traditionally bawdy folk verses and fables. The authors combine close textual analysis with reflections on genres of the comic in general. The book offers the first comprehensive analysis of state-sponsored humoristic genres of popular culture in Stalin’s Soviet Union. Tracing the development of genres associated with official humor, satire, and comedy of the Stalin era from the late 1920s to the early 1950s, the authors argue against the conventional view that humor was a feature mostly of subversive texts of the time. According to the authors, satire and popular humor were a foundational element instilling state ideology and legitimizing Stalinist culture. The book is grounded in Soviet intellectual and cultural history and, more generally, in literary theories of laughter and the comic. The authors introduce, and demonstrate possible applications for, a number of innovative concepts.
Book chapters on the topic "Literary laughters"
1
Jones, Peter T. A. "Laughing Out of Turn: Fin de Siècle Literary Realism and the Vernacular Humours of the Music Hall." In Victorian Comedy and Laughter, 265–90. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-137-57882-2_10.
Full text
2
Bertrand, Dominique. "Contagious Laughter and the Burlesque: From the Literal to the Metaphorical." In Imagining Contagion in Early Modern Europe, 177–94. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230522619_12.
Full text
3
Classen, Albrecht. "The Baby and the Bath Water: Satirical Laughter by Thomas Murner and Herman Bote as Catalysts for a Paradigm Shift in the Age Prior to the Protestant Reformation: Literary Comedy as a Medium to Undermine all Authorities and to Create a Power Vacuum." In Arizona Studies in the Middle Ages and Renaissance, 123–49. Turnhout: Brepols Publishers, 2019. http://dx.doi.org/10.1484/m.asmar-eb.5.117196.
Full text
4
Jones, Peter J. A. "Powerful Laughter in Twelfth-Century Narrative." In Laughter and Power in the Twelfth Century, 57–85. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843542.003.0002.
Full textAbstract:
Chapter 2 explores laughter’s development as a uniquely transformative force in twelfth-century chronicles, histories, and hagiographies. Specifically, the chapter considers three recurring narrative motifs: risus mysticus, a prophetic laughter associated with mystical visions and holy knowledge; risus blasphemus, a type of irreverent laughter for which figures were punished by instant death or disfigurement; and risus regalis, a motif of sovereign laughter in which powerful figures displayed the superiority of their leadership skills through wit and humor. In tracing the development of these types during the mid-1100s, the chapter argues that laughter was transformed from an insignificant marginal detail into an important symbol of power and transcendence in the literary imagination. Crucially, laughter’s power eventually came to be extended to charismatic leadership, with authors connecting the laughter of kings and popes with images of their unassailable authority.
5
Trousdale, Rachel. "Laughter and Knowledge in Contemporary Poetry." In Humor, Empathy, and Community in Twentieth-Century American Poetry, 219–52. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895714.003.0008.
Full textAbstract:
Twenty-first-century poets use humor to examine and convey different kinds of knowledge—cultural, scientific, and emotional. Laughter in the work of poets like Raymond McDaniel, Stephanie Burt, Cathy Park Hong, Albert Goldbarth, Kim Rosenfield, Jamaal May, Patricia Lockwood, and Lucille Clifton prompts us to examine competing epistemologies. These poets examine how we exchange the material of laughter, and expose the ways that affective responses can determine what we think we know. They show how laughter can re-shape our sense of canons and render unfamiliar material accessible, expanding our literary knowledge and the sympathetic capacities that knowledge carries with it. They demonstrate how laughter breaks down categories like “science” and “literature,” expanding the kinds of knowledge that we value as “fact.” At the same time, they warn that laughter’s power to heal trauma or mediate other minds is limited, and that we should not trust humorous insights too far.
6
"Chapter 5. Reading for the Plot: Judenwitz in and as Literary History." In Inciting Laughter, 193–223. De Gruyter, 2000. http://dx.doi.org/10.1515/9783110813838.193.
Full text
7
Buchholz, Beth A., and Julie Rust. "New Media, Literacy, and Laughter." In Emotions, Technology, and Learning, 177–98. Elsevier, 2016. http://dx.doi.org/10.1016/b978-0-12-800649-8.00008-0.
Full text
8
Maciver, Calum. "Parody, Symbol and the Literary Past in Lucian." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0004.
Full textAbstract:
Laughter and the elicitation of laughter in Lucian are dependent principally upon the paideia which his readers require in order to unravel fully the complexity of his literary allusion and satire. Through analysis of key satirical passages in the True Histories, the Charon, the Icaromenippus and the Nigrinus, this chapter demonstrates that Lucian, and his readers, laugh at the history of interpretation, both philosophical and literary. It delves into the literariness of Lucian’s satire, and in particular his representation of the literary past as a lens for laughing at the less educated. Lucian parodies historiographical and philosophical accounts of the moon in the lunar voyages in the True Histories and Icaromenippus, undercuts allegorical accounts of the cosmos in the Charon, and proves the absurdity and shallowness of contemporary Roman pretentions of Greek paideia in the Nigrinus by parodying the pseudo-learning so much on display.
9
Zhu, Yun. "Fantastic Laughter in a Socialist-Realist Tradition?" In Maoist Laughter, 89–104. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528011.003.0006.
Full textAbstract:
With an aim to shed some light on the regulated yet not necessarily homogenized laughter of the pre-Cultural Revolution Maoist years, this chapter examines the nuanced deployment of laughter in the popular children’s novella The Magic Gourd (Bao hulu de mimi) by the literary humorist Zhang Tianyi (1906–1985) and its eponymous film adaptation by Yang Xiaozhong (1899–1969). Contextualizing these texts both in the larger tradition of modern Chinese literature and culture and in the specific socio-cultural milieu of the late 1950s and the early 1960s, I look into how, without apparently challenging the dominant socialist-realist model, they tactfully relieve the stress between the politically repudiated comic mode of “satire” (fengci) and the purposefully promoted mode of “extolment” (gesong). Whether intended or not, the keen relevance the texts bear to the political and economic hyperboles of the Maoist era adds further ambiguities and ironies to the already layered laughter.
10
Mikulić, Ivana. "Psovka i smijeh." In Periferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze, 110–29. University of Silesia Press, 2021. http://dx.doi.org/10.31261/pn.4028.09.
Full textAbstract:
The paper examines the relationship between two marginal phenomena in the Croatian literatury studies, swearing and laughter. Swearing is a speech genre determined by the obscene and vulgar expressions associated with sex organs or anal bodily area contextualized in the so-called negative values of contemporary culture. On the other hand, laughter is the main point of the comedy that is lower positioned and very often neglected in the hierarchy of genres. However, swearing in Bakhtin’s concept of grotesque realism is an affirmative and positive phenomenon that has contributed to the creation of a free carnival atmosphere and other, material bodily, ridiculous aspect of the world. For a long time Croatian comedies of the second half of the 17th century (smješnice) were on the verge of literary history studies. In this paper we are primarily interested in smješnice because they belong to the carnival type of ceremonial-representational forms of the culture of folk humor, with swearing as its integral part. The study analyses swearing in smješnice considering the type (swear words referring to sex and sexuality, insult), the direction of swearing (speaker, listener, third person, inanimate matter, animals) and the domain from which metaphorically-insulting words are taken (body parts, animals, ethnic groups, confessions, inanimate matter, human qualities…). Thus, different types of swear words provide an insight into the literary representation of everyday life in premodern Dubrovnik.
Conference papers on the topic "Literary laughters"
1
Mahinina, Natalia, Liliya Nasrutdinova, and Natalia Arzhantseva. "Literary Works of Jury Koval and Folk's Laughter Tradition." In Proceedings of the 1st International Scientific Practical Conference "The Individual and Society in the Modern Geopolitical Environment" (ISMGE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ismge-19.2019.84.
Full text
2
Petrenko, S. A., A. Ph Petrenko, T. Ph Petrenko, N. A. Golik, and S. V. Tishchenko. "Laughter vs Fear: Conceptual Metaphor in the Literary World of Martin Amis." In Proceedings of the Internation Conference on "Humanities and Social Sciences: Novations, Problems, Prospects" (HSSNPP 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/hssnpp-19.2019.51.
Full text