Academic literature on the topic 'Pictorial Belarusian wit and humor'

Humor-evoking events frequently contain aggressive elements. Sex differences have been found for the effects of aggressive content on perceived funniness, (Wilson & Molleston, 1981; Terry & Ertle, 1974; Groch, 1974; Felker & Hunter, 1970) but the findings are not consistent. Sexism is sometimes perceived as a more subtle form of aggression. Sex differences have also been found for the way sexism affects funniness ratings, (Chapman & Gadfield, 1976; Priest & Wilhelm, 1974) but again the findings are inconsistent. The primary purpose of the present study was to determine the relationship between the ratings of sexism and the ratings of funniness for cartoons. A secondary purpose of the present study was to determine to what extent, if any, gender of experimenter influences humor, sex, sexism, and pain ratings.Subjects were 60 female and 58 male introductory Psychology students. There were four experimental groups: two groups of female and two groups of male subjects. A female experimenter was assigned to one male and one female group, and a male experimenter was assigned to one male and one female group. This design facilitated exploration of an experimenter gender x subject gender interaction. Subjects were shown 34 cartoons and asked to rate each for funniness, and then to rate them for the degree of sexual, sexist, and aggressive (pain) content each contained.A preliminary analysis revealed that there were significant relationships between gender of experimenter and funniness ratings, gender of subject and funniness ratings, as well as a gender of experimenter x gender of subject interaction.A step-down multiple regression was performed among the predictor variables experimenter gender and subject gender, with the criterion of funniness, for each of the four experimental conditions. For female subjects, only sexism scores correlated with funniness scores, and the contributions of sex and pain ratings were not significant. For male subjects, only sex scores correlated with funniness scores, and the contributions of sexism and pain ratings were not significant. Comparisons between these results and past research were made.

Thesis (PhD)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his creative work. Honiball became famous as a political cartoonist and played an important role in the rise of the National Party, seeing that his association with the Nasionale Pers provided him with a forum as opinion-former. It is said that his comic strips Oom Kaspaas, Jakkals en Wolf and Adoons-hulle influenced different age groups and even people who were not Afrikaners. It was however mainly Afrikaans-speaking people who strongly identified with these strips due to the strong Afrikaans character thereof. Various instances own Honniballiana, where it is being preserved and is available for research purposes. A number of marketing initiatives were launched to promote the work of Honiball, mainly by TO Honiball-Promosies. Despite the fact that much of his work is dated, new interest is generated by utilising his work in educational programmes. Honiball's body of work is a source for culture-historical research seeing that it offers references to the tangible and intangible culture of Afrikaans-speaking South Africans during his lifetime.
AFRIKAANSE OPSOMMING: Etlike definisies bestaan van die begrip humor, afhangend van die persepsie daarvan. Sodanige persepsies word beïnvloed deur onder andere gedeelde ondervindings, kultuur, milieu en individuele kreatiwiteit. Pikturale humor word onderverdeel in verskillende sub-genres, soos die karikatuur, spotprent en strokie. Hierdie sub-genres toon elk 'n afsonderlike ontwikkelingsgang, plaaslik en globaal. Die werk van TO Honiball vorm deel van dié tradisie. Sy kunstenaarspersoonlikheid en humorsin word eweneens onmiskenbaar verbeeld in sy skeppings. Honiball het bekendheid verwerf as politieke spotprenttekenaar en het 'n belangrike rol gespeel in die opgang van die Nasionale Party, omdat sy verbintenis met die Nasionale Pers aan hom 'n forum gebied het om as meningsvormer op te tree. Daar word beweer dat sy strokiesreekse Oom Kaspaas, Jakkals en Wolf en Adoons-hulle verskillende ouderdomsgroepe en selfs mense van ander volksgroepe as die Afrikaner bereik het. As gevolg van die eg- Afrikaansheid daarvan het egter hoofsaaklik Afrikaanssprekendes sterk aanklank daarby gevind. Verskillende instansies is in besit van Honiballiana, waar dit bewaar word en beskikbaar is vir navorsingsdoeleindes. 'n Aantal bemarkingsinisiatiewe is geloods om Honiball se werk te promoveer, hoofsaaklik deur TO Honiball-Promosies. Ten spyte van die feit dat talle voorbeelde van sy werk gedateer is, word nuwe belangstelling gegenereer deur middel van die aanwending van sy werk in opvoedkundige programme. Honiball se oeuvre bied bronne vir kultuurhistoriese navorsing aangesien dit verwysings bied na die geestelike en stoflike kultuur van Afrikaanssprekendes gedurende sy leeftyd.

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A partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época
From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time

Orientador: Tania Regina de Luca
Banca: Silvia Maria Azevedo
Banca: Laura Moutinho Nery
Resumo: A partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época
Abstract: From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time
Mestre

Thesis (Ph. D.)--University of California, Riverside, 2009.
Includes abstract. Title from first page of PDF file (viewed February 9, 2010). Includes bibliographical references (p. 339-346). Issued in print and online. Available via ProQuest Digital Dissertations.

Este trabalho investiga a relação entre a imagem ilustrada e a experiência da modernidade. Nas margens da arte da gravura e de uma nova matriz industrial, a imagem ilustrada torna visível um espectro social abrangente e participa na formação de novos sujeitos da política e da esfera pública. É também uma forma atravessada por impulsos contraditórios — pelo humor e pelo pendor científico; pela visão atomizada e pela produção de séries que procuram recodificar a sociedade. A investigação de imagens recreativas e instrutivas, retratos fisiológicos e carica­turas, publicadas sobretudo na imprensa ilustrada do século XIX, internacional e portuguesa, permite entender melhor as representações políticas que emergem com a dissolução da ideia de soberania do Antigo Regime.
This paper investigates the relationship between the illustrated image and the experience of mo­dernity. In the cross-line between an industrial matrix and the art of engraving, illustration gives visibility to a comprehensive social spectrum and participates in the formation of new subjects of politics and the public sphere. It is also a media touched by contradictory impulses — humor and scientific bias; atomized vision and production of series, aiming to recode society. The investigation of recreational and instructional images, physiological portraits and caricatures, published mainly in the illustrated press of the nineteenth century (in Portugal and abroad), will allow a better understanding of the political representations that emerge with the dissolution of the Ancient Regime’s idea of sovereignty .
Este trabajo investiga la relación entre la imagen ilustrada y la experiencia de la modernidad. En los márgenes del arte del grabado y de una nueva matriz de producción industrial, la imagen ilustrada dota de visibilidad a un espectro social amplio y participa en la formación de nuevos sujetos de la política y de la esfera pública. Es también una forma atravesada por impulsos contradictorios: el humor y una cierta inclinación científica, una visión atomizada y la producción de series que buscan recodificar la sociedad. La investigación de imágenes recreativas e instructivas, retratos fisiológicos y caricaturas, publicadas sobre todo en la prensa ilustrada del siglo XIX, internacional y portuguesa, permite entender mejor las representaciones políticas que emergen con la disolución de la idea de soberanía del Antiguo Régimen.

A presente dissertação investiga a construção do estereótipo do colono italiano nos quadrinhos de Radicci, de Carlos Henrique Iotti, com vistas a contribuir para os estudos sobre a identidade regional da Serra Gaúcha. A análise é feita a partir da seleção de três categorias na série de histórias em quadrinhos: a construção dos personagens, a representação dos espaços em que se situam as narrativas e o conflito identitário existente entre os protagonistas. Para tanto, busca-se estabelecer relações com o contexto histórico, social e cultural da Região de Colonização Italiana no Rio Grande do Sul, a fim de averiguar a forma como é feita a estereotipação dos traços culturais do imigrante italiano. O aporte teórico é multidisciplinar, contemplando Estudos Literários, História, Sociologia, Comunicação Social e Artes Visuais. Os resultados obtidos permitem considerar que a estereotipação de dados históricos é capaz de (re)criar identidades, conservar e dar novos significados a práticas e usos culturais.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES.
The present dissertation investigates the stereotyped construction of the Italian colonists in Radicci comics series, by Carlos Henrique Iotti, with the intention to contribute to the studies about the regional identity of Serra Gaúcha. The analysis starts with the selection of three categories in the comics series: character development, description of spaces in which the narrative takes place, and the identity conflict existing among characters. For this purpose, connections are established with the historical, social, and cultural context of the Italian Colonization Region in Rio Grande do Sul, in order to verify how the stereotyping of the Italian immigrant cultural features happens. The theoretical basis is multidisciplinary, including: Literary Studies, History, Sociology, Social Communication and Visual Arts. From the results, one can consider that stereotyping historical data can (re)create identities while preserving and providing new meanings for cultural habits and manners.

La tesis que presento realiza un trabajo comparativo entre dos periódicos ilustrados europeos de carácter satírico-humorístico que se fundaron a finales del siglo XIX. Se trata del semanario alemán Simplicissimus y del sueco Strix. El trabajo comienza con el estudio y análisis de los periódicos satíricos ilustrados europeos precursores de los que son objeto de este trabajo: La Caricature, Le Charivari, Gil Blas Illustré, Le Rire, L’Assiette au Beurre, Punch, Fliegende Blätter, Kladderadatsch y Söndags-Nisse. Tiene el objetivo de encontrar un modelo en su contenido, en su tendencia o en la obra de sus colaboradores, que influyese posteriormente a Simplicissimus o a Strix. La introducción a estos periódicos abarca un plazo de casi 100 años. Comienza en el año 1830 y se extiende hasta el inicio de la Primera Guerra Mundial. En ella se analiza la influencia que tuvo la caricatura como medio de divulgación y agitación al publicarse como panfleto durante diversos conflictos bélicos como en la Revolución Alemana de 1848 o durante la Guerra Franco-Prusiana. También se analiza una novedad de la segunda mitad del siglo XIX, y es el nacimiento del sector publicitario moderno. Supuso para escritores y artistas una forma innovadora de ganarse la vida creando carteles publicitarios o slogans. La publicidad fue muy importante para la mayoría de estos periódicos satíricos ilustrados ya que les aportó unos sustanciosos ingresos adicionales. El estudio de los productos anunciados permite observar tendencias, modas y preferencias de consumo de la época. Algunos productos anunciados en Simplicissimus o en Strix hace 120 años se siguen vendiendo en la actualidad. A continuación, la tesis se estructura con sendos capítulos dedicados a cada periódico, primero a Simplicissimus y después a Strix, que constituyen el corpus central de la investigación. En ellos se explicita cómo fueron fundados, sus principales escritores y artistas, así como su contenido. Son sujeto de análisis las portadas, los números extras, los suplementos y los anuncios, pero sobre todo la diversidad de textos en prosa, las tendencias y géneros literarios más representativos. El trabajo incluye el análisis de las ilustraciones que documentan el contenido de estos semanarios, pues eran una parte importante de estas publicaciones. Muchas ilustraciones necesitaban un texto que aclarase la escena y suele ser éste el que pone la nota humorística, aunque también había ilustraciones narrativas. A los dos capítulos dedicados a los dos periódicos le sigue un capítulo que recapitula, comparándolos, los resultados de los análisis realizados. El trabajo abarca un periodo de casi veinte años, es decir de 1896 a 1914, fecha que marcó el inicio de la Primer Guerra Mundial y con ello el cambio de orientación y contenido de estos semanarios. El análisis comparativo se basa únicamente en los textos en prosa. Ambos periódicos comparten temática en cuanto a acontecimientos de actualidad, política, crítica social o entretenimiento. El último capítulo de la tesis recoge las conclusiones. Se evidencia la influencia que ejerció un periódico en el contenido del otro mediante los protagonistas de textos o ilustraciones, y mediante el tratamiento de temas. Esto manifiesta la originalidad de la obra y las preferencias de cada semanario. También es relevante la influencia que ejercen determinados escritores y artistas en la obra de autores coetáneos extranjeros. Algunos de estos artistas colaboraron con ambas publicaciones. Se aprecia que Simplicissimus influyó en el contenido de Strix, pero igualmente hay influencia nórdica en Simplicissimus.
I have done a comparative investigation between two European satirical illustrated newspapers grounded by the end of the nineteenth century. They are the German Simplicissimus and the Swedish Strix. This thesis starts studying and analysing older European satirical illustrated newspaper such as La Caricature, Le Charivari, Gil Blas Illustré, Le Rire, Punch, Fliegende Blätter, Kladderadatsch and Söndags-Nisse. The aim was to find a model in their content or tendencies, or work of their collaborators, which had later influenced on Simplicissimus and Strix. My research starts in 1830 and includes almost 100 years. It shows the influence of the caricature used as a stirring source publishing as a pamphlet during wars and conflicts such as the 1848 German Revolution or the French-Prussian War in 1870-1871. Another important development, which occurred in the second part of the nineteenth century was the beginning of modern advertising, which represented a new way of employment for artists and writers. Advertising offered a substantial additional income for the satirical newspapers. The products reveal tendencies and preferences. Some of those products advertised 120 years ago in Simplicissimus or in Strix are still on the market. I dedicate the following chapters to each newspaper, first Simplicissimus, then Strix. I explain where they were founded, their main contributors as well as their content. I analyse their cover, special issues, advertisements but above all their diversity in prose text, their main literary genders and tendencies. I have also included and analysed illustrations because they were significant for those newspapers. Sometimes they required a text to clarify the content. Later in my work, I accomplish the comparative research, which is only based on prose texts published between 1896 and 1914. Both newspapers shared subjects such as politics or current events. Finally, in my conclusions I discuss for instance the influence from the text or illustration’s main characters of one publication to the other or the importance of several artist. Some of those artists contributed to both newspapers. Simplicissimus was an inspiration for Strix, but you also notice the Scandinavian influence on Simplicissimus.

This chapter is an exploration of Chinese political cartoons. Visual humor through caricature, satire and parody, and wit and playfulness has a long, rich history in dynastic China. Modern cartooning—usually meaning coming from the West—entered China at the juncture of the nineteenth and twentieth centuries through cartoon/humor magazines, pictorial magazines, newspapers, and lianhuanhua (palm-size narrative picture books). Major catalysts for this transformation were the growing dissatisfaction with the Qing Dynasty and increased contact with the outside world. In addition to the history of political cartoons in China, the chapter also explores contemporary government regulation and censorship of cartoons and comics. It also explores the state of cartooning under the Xi Jinping presidency. The chapter concludes with some remarks on the differences between political and news cartoonists.