Articles de revues : « Political Humor (Books) »

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Surahmat, Surahmat, I. Dewa Putu Wijana et Suryo Baskoro. « Humor as a Political Act : Study of Indonesian Presidents’ Humor ». Journal of Language and Literature 23, n^o 1 (23 mars 2023) : 125–39. http://dx.doi.org/10.24071/joll.v23i1.5097.

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This study aims to explain the use of humor by Indonesian presidents for political communication. Presidents’ use of humor is an interesting phenomenon, given that they are social subjects who wield great power within a country. Their social position leads to different characteristics and social impacts due to the humor used. This research uses a qualitative descriptive approach. Data was collected from books, news sites, and YouTube channels documenting the humor of the three Indonesian presidents. Data were then analyzed using pragmatic analysis. The results show that presidential humor varies according to personal preferences, speech objectives, and contexts. Presidents use joke, conversational humor, and pun to joke, tease, praise, satirize, criticize, and delegate power. Joking, teasing, and praising are used on friends and political allies. Meanwhile, satirizing and criticizing are applied to political opponents. Humor is a middle ground for presidents, enabling them to achieve speech objectives without explicitly expressing their intention. Politically, humor functions to (1) represent oneself positively and represent opponents negatively, (2) build relationships and positioning with opponents and allies, and (3) exercise control and discipline. However, the relationship between form, style, and illocutionary of presidential humor is often ambiguous. Such conditions seem related to political relations' dynamic and equal nature, where friends and foes are not always crystal clear.

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Dowaidar, Ibrahim. « Political Humor in Ibn Mammātī's Kitāb al-Fāshūsh fi Aḥkām Qarâqûsh (The Decisions of Qarâqûsh) ». Open Linguistics 6, n^o 1 (16 octobre 2020) : 482–511. http://dx.doi.org/10.1515/opli-2020-0029.

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AbstractThis study is an attempt to investigate medieval humor in the Ayyubid period (1171–1250). In a period of constant wars, terrible plagues, and turmoil, Ibn Mammātī wrote a pamphlet entitled Kitāb al-Fāshūsh fi Aḥkām Qarâqûsh (stupidity, or the decisions of Qarâqûsh). It is a small volume which contains words and actions that Qarâqûsh could have said or done. The book is written as an attempt to ridicule one of the most important political leaders of the Ayyubid state Emir Qarâqûsh Ibn ‘Abd Allāh al-Asadī (surnamed as Bah’āaddīn Qarâqûsh) (n.d. – April 1201). The book is so influential that historical facts are overshadowed, and overwhelmed by the humorous anecdotes that branded Qarâqûsh forever as a symbol of a lunatic tyrant. This manuscript, however, is believed to be one of the oldest books on political humor in the Egyptian history (Al-Najjār 1978: 56). Therefore, using a critical discourse analysis perspective, the study seeks to examine and analyze humor and jokes in selected anecdotes from Ibn Mammātī’s book. I have drawn upon the three-dimensional model of discourse analysis developed by Norman Fairclough (1992a, 1995a, 1995b, 2001, 2003). The study aims to prove that this pamphlet has been used in the entire Islamic world in different epochs as a defense mechanism against all the ruthless sultans, kings, rulers, and presidents. I claim that these jokes have served as a sort of recreation for the people, as a means of peaceful protest, and as a silent cry against oppression and tyranny.

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Shafi, Uzma. « Postmodernist Literary Movement : A Comprehensive Study of Technique in Vonnegut’s Novels ». International Journal of English Literature and Social Sciences 2, n^o 4 (2017) : 203–12. http://dx.doi.org/10.22161/ijels.2.4.24.

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Kurt Vonnegut is an integral part of the postmodernist literary movement and a master of satire, gallows humor, and science fiction. The uniqueness of Vonnegut's works is that in addition to having excellent themes, the novels are also technically accomplished and colorful. Vonnegut refuses to confine himself to a single form of fiction, which is something that is certainly clear from a review of his books. In reality, modal diversity is demonstrated in each of his works. Vonnegut, a man of profound vision, tries to experiment with brilliant techniques in his novels, including science fiction, comic science fiction, black humor, dark humor, morbid humor, gallows humor, meta-fiction, satire, political satire, postmodernism, dark comedy, war novels, absurdist fiction, modes of absurdity, and semi-autobiographical writing. In his works, he deftly weaves these strategies around his theme. He draws attention to the numerous social defects, the atrocities of war, and the sorrows of modern man. He imagines a society free of societal ills, where people are not enslaved by technology. This essay aims to analyze the literary devices used by Vonnegut in his works.

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Pérez, Raúl. « Racism without Hatred ? Racist Humor and the Myth of “Colorblindness” ». Sociological Perspectives 60, n^o 5 (2 août 2017) : 956–74. http://dx.doi.org/10.1177/0731121417719699.

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Critical Race scholars contend that the current period of “race relations” is dominated by a “color-blind” racial ideology. Scholars maintain that although individuals continue to hold conventional racial views, today people tend to minimize overt racial discourse and direct racial language in public to avoid the stigma of racism. This essay identifies racist humor as a discourse that challenges such constraints on public racist discourse, often derided as “political correctness,” in ways that reinforce everyday and systemic forms of racism in an ostensibly color-blind society. While humor research generally highlights the “positive” aspects of social humor and celebrates the possibilities of humor to challenge and subvert dominant racial meanings, the “negative” aspects of racist humor are often overlooked, downplayed, or are viewed as extreme and fringe incidents that occur at the periphery of mainstream society. Moreover, race scholars have largely ignored the role of humor as a “serious” site for the reproduction and circulation of racism in society. I contend that in a post-civil-rights and color-blind society, where overt racist discourse became disavowed in public, racist humor allows interlocutors to foster social relations by partaking in the “forbidden fruit” of racist discourse. In this article, I highlight the (re)circulation of racist jokes across three social contexts (in mass market joke books, on the Internet, and in the criminal justice system), to illustrate that racist humor exists not in a bygone past or at the margins of society but is widely practiced and circulated today across various social contexts and institutions in an ostensibly color-blind society.

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Panichelli, Christophe, et Stéphanie Panichelli-Batalla. « Humorous sublimation of a dying Cuban writer in Reinaldo Arenas’ The Color of Summer ». HUMOR 31, n^o 4 (25 septembre 2018) : 623–43. http://dx.doi.org/10.1515/humor-2017-0052.

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Abstract How does a human being deal with suffering? How can we emotionally cope with the vicissitudes of life, especially in times where they suddenly multiply themselves? In this study, we present an innovative interdisciplinary study on the use of coping mechanisms by career writers dealing with difficult life events. We focus in particular on the use of humor and sublimation, two creative mental mechanisms that contribute to the lowering of anxiety while at the same time dealing constructively with the external stressors. Never before have these mechanisms been studied in a complementary way in the context of a literary study. This paper offers an in-depth analysis of Reinaldo Arenas’ The Color of Summer. In this novel, this Cuban author introduces an autobiographical perspective of the Cuban sixties and seventies, intending to present a facet of history that would never appear in Cuban history books. The combination of both coping mechanisms, which we call humorous sublimation, offers a novel that not only helped the author cope with his tormented life, but also allowed the reader to gain an understanding of a dark period of Cuban history by means of a very funny and surreal reading.

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Nason, James O. H. « Wit and Humor from Old Cathay. Translated by Jon Kowallis. [Beijing : Panda Books, 1986. 210 pp. $1.65.] ». China Quarterly 112 (décembre 1987) : 683. http://dx.doi.org/10.1017/s0305741000027375.

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brau, lorie. « Oishinbo's Adventures in Eating : Food, Communication, and Culture in Japanese Comics ». Gastronomica 4, n^o 4 (2004) : 34–45. http://dx.doi.org/10.1525/gfc.2004.4.4.34.

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Culture in Japanese Comics Millions of Japanese, including adults, read manga--comic books. Reproducing every popular genre from humor to horror, manga both entertain and educate their readers on subjects as varied as sports, corporate life, the literary classics, and sex. Japanese also learn about food and cooking from gurume (gourmet) or ryori (cooking) manga. One of the most popular is Oishinbo, serialized since 1983. Oishinbo's hero Yamaoka is a newspaper journalist with an unparalleled knowledge of food and a developed palate. Along with his female sidekick Kurita, who shares his culinary sensitivities, Yamaoka seeks dishes for an "ultimate menu" to bequeath to the future. In the process, the pair turns to food to solve a host of interpersonal and social problems, sometimes on an international political level. Oishinbo not only provides information about foreign and local cuisines and recipes, it also propounds an ideology regarding the relationship between food and human relations that contributes toward the construction of Japanese cultural identity.

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Sobrevilla Perea, Natalia. « Alfredo Villar (ed.), Búmm ! Historieta y humor gráfico en el Perú, 1978–1992 (Lima : Reservoir Books, 2016), hb. » Journal of Latin American Studies 51, n^o 1 (février 2019) : 224–26. http://dx.doi.org/10.1017/s0022216x19000178.

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Moroz, Nina A. « “Dr. Seuss of Beasts and Men : the Cartoonist’s Experience and the Illustrated Tales of the 1930–1950s ». Literature of the Americas, n^o 15 (2023) : 250–75. http://dx.doi.org/10.22455/2541-7894-2023-15-250-275.

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The paper deals with the first decades in the work of Dr. Seuss (the pseudonym of Theodor Geisel, 1904–1991), one of the most prominent children’s authors of the 20th century. Seuss was not only the author of children’s tales, but also a talented artist who illustrated his own books and whose manner was deeply influenced by his 15-year experience as a cartoonist. In 1920–1940s he worked for different print media, from humor magazines to a political newspaper, drew cartoons and commercial advertisements. Our aim is to study the mutual influence of Seuss-thecartoonist and Seuss-the-writer and illustrator. Our main focus is the “bestiary” of Dr. Seuss, the animal characters of his cartoons and tales. Seuss created his first eccentric animals in the series of cartoons and anecdotes for a weekly satirical magazine Judge in 1927; he blended the Victorian tradition of nonsense and the features of newspaper cartoons and comic strips of the first decades of the 20th century. The motif of eccentricity is developed in the first children’s tales that Seuss published at the turn of the 1930–40s. The same motif is significantly transformed in his political cartoons for a daily newspaper PM in 1941–1942. Seuss puts the familiar animal images into the context of World War II and gives them different political meaning, from the totalitarian insanity of the Axis leaders to the carelessness and blindness of the “America First” supporters. Interestingly enough, Dr. Seuss used in his political cartoons some plot elements of his tales for children, as well as his old sketches and drawings. In its turn, his post-war tales are peculiar parables that absorb the political issues of the previous historical period. Creating his images of tyrants, Seuss makes use of the techniques of political cartoons. He puts his human and animal characters into the situations of tyranny or isolationism, that can be overcome with the help of common sense.

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Feith, Michel. « “The United States of Lyncherdom” : Humor and Outrage in Percival Everett’s The Trees (2021) ». Humanities 12, n^o 5 (20 octobre 2023) : 125. http://dx.doi.org/10.3390/h12050125.

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An oeuvre as redolent with the spirit of satire and humor as Percival Everett’s can be said to represent, at the same time, an anthology of humorous devices—a “humorology,” so to speak—and a self-reflexive meditation on the existential, philosophical and/or metaphysical implications of such an attitude to language and life. The Trees (2021) is a book about lynching, in which a series of gruesome murders all allude to the martyrdom of Emmett Till. Even though such subject matter seems antinomic to humor, the novel is rife with it. We propose an examination of the various guises of humor in this text, from wordplay and carnivalesque inversion to the more sinister humour noir, black or gallows humor, and an assessment of their dynamic modus operandi in relation to political satire, literary parody and the expression of the unconscious. The three axes of our analysis of the subversive strategies of the novel will be the poetics of naming, from parody to a form of sublime; the grotesque, macabre treatment of bodies; and the question of affect, the dual tonality of the novel vexingly conjugating the emotional distance and release of humor with a sense of outrage both toned down and exacerbated by ironic indirection. In keeping with the ethos of Menippean satire, humor is, therefore, both medium and message.

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Passos, Lucas Dos. « Uma prosa através : “Minha classe gosta / Logo, é uma bosta.”, um nuvô romã de Paulo Leminski / A word about : “My class likes/So, it’s a crap.”, a nouveau roman by Paulo Leminski ». O Eixo e a Roda : Revista de Literatura Brasileira 30, n^o 3 (8 octobre 2021) : 148. http://dx.doi.org/10.17851/2358-9787.30.3.148-174.

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Resumo: No início dos anos 1980, surgiu em Curitiba uma revista que teria vida curta e que veicularia, em três de suas primeiras edições, novela inédita e incompleta de Paulo Leminski. “Minha classe gosta/Logo, é uma bosta.” não figura em nenhum dos livros de Leminski; ficou, assim, circunscrita àqueles três números da Raposa magazine – revista de cultura que, desde a capa, prometia vincular “humor e rumor”. O clima contracultural da Curitiba – e do Brasil – dos anos 1980 se vê refletido não só na idealização da revista, como também de maneira especial na novela leminskiana, que opera uma releitura da década anterior sem obliterar as questões políticas que estavam no centro das discussões. Com vistas a alinhar as questões éticas levantadas pela narrativa em pauta ao apuro estético de um poeta muito atento às revoluções formais do século XX, esta análise se acerca do texto de Leminski municiada das considerações de Theodor Adorno (1982; 2003) sobre a importância da forma como conteúdo sedimentado – que medeia e incorpora a barbárie do mundo –, com apoio nas leituras feitas por Jaime Ginzburg (2012) e Verlaine Freitas (2008); além disso, ensaios de Roberto Schwarz (1978), Carlos Alberto Messeder Pereira (1993), Elio Gaspari (2000; 2014) e Bernardo Kucinski (2001) ajudarão a compor o cenário histórico brasileiro dos anos 1960 aos 1980.Palavras-chave: Paulo Leminski; “Minha classe gosta/Logo, é uma bosta.”; Theodor Adorno; estética e política.Abstract: In the early 1980s, there appeared in Curitiba a magazine which would have a short life and would bring, in three of its first editions, an unpublished and incomplete novel by Paulo Leminski. “My class likes/So, it’s a crap.” is not in any of Leminski’s books; it was limited to those three issues of Raposa magazine – a culture magazine that, from its cover, promised to link “humor and rumor”. The counter-cultural climate of Curitiba – and of Brazil – in the 1980s is reflected not only in the magazine’s idealization, but also, in a special way, in the Leminskian narrative, which does a rereading of the previous decade without obliterating the political issues that were at the center of the discussions. In order to align the ethical issues raised by the narrative with the aesthetic accuracy of a poet who was very attentive to the formal revolutions of the 20th century, this analysis approaches Leminski’s text, armed with Theodor Adorno’s considerations (1982; 2003) about the importance of form as a sedimented content – which mediates and incorporates the barbarity of the world – and also with the support of by Jaime Ginzburg’s (2012) and Verlaine Freitas’s readings (2008). In addition, essays by Roberto Schwarz (1978), Carlos Alberto Messeder Pereira (1993), Elio Gaspari (2000; 2014) and Bernardo Kucinski (2001) will help to set the Brazilian historical scenario from the 1960s to the 1980s.Keywords: Paulo Leminski; “My class likes/So, it’s a crap.”; Theodor Adorno; aesthetics and politics.

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Waisanen, Don. « A Funny Thing Happened on the Way to Decorum : Quintilian’s Reflections on Rhetorical Humor ». Journal for the History of Rhetoric 18, n^o 1 (janvier 2015) : 29–52. http://dx.doi.org/10.5325/jhistrhetoric.18.1.0029.

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ABSTRACT This study examines ancient Roman ideas about humor’s boundaries in public culture. In particular, I analyze book 6, chapter 3 of the Institutio Oratoria, which covers Quintilian’s reflections on the subject. Following Cicero, Quintilian engages the tensions between humor and decorum in his political context, using urbanitas to refine the former and to loosen the latter’s strictures. In this process, the use of urbanitas implicitly points readers toward factors that can make humor rhetorical. Quintilian thus answers Cicero’s question about the degree to which humor should be used and furthers inquiry into how much rhetorical humor can or should be taught.

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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, n^o 2(2020) (25 juin 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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Cho, Violet. « Noted : Frontline humour takes on generals ». Pacific Journalism Review : Te Koakoa 15, n^o 1 (1 mai 2009) : 242–43. http://dx.doi.org/10.24135/pjr.v15i1.979.

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This is is a new political cartoon collection by Burmese artist and cartoonist Harn Lay. It is a revealing insight into Burma—where political resistance and traditional art and performance meet. The book demonstrates and is part of the ongoing resistance to an unjust abuse of power. Lay portrays key issues such as political prisoners, extended house arrest of pro-democracy icon Aung San Suu Kyi, the military’s response to sanctions, Burma-ASEAN relations and business deals with neighbouring countries.

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Honig, Bonnie. « Truth queens and gallows humor ». Philosophy & ; Social Criticism 49, n^o 2 (février 2023) : 243–54. http://dx.doi.org/10.1177/01914537221147847.

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How can truth be used to fight disinformation without reproducing the “reveal”—oriented or secret-constituting epistemology of the closet, as Eve Sedgwick described it in the Epistemology of the Closet (1990)? and how does her reading of the Book of Esther in that text help illuminate aspects of today’s Trumpism?

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WILLIAMS, HELEN. « The Good Humour Club or Doctors’ Club and Sterne’s Political Romance ». Shandean 31, n^o 1 (novembre 2020) : 138–55. http://dx.doi.org/10.3828/shandean.2020.31.12.

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This essay argues that Sterne’s satire in A Political Romance pokes fun not just at the disagreement between lawyer Francis Topham and Dean of York John Fountayne, as is well known by Sterne scholars, but also at the role of a convivial club in that disagreement. Through analysing an early manuscript minute book of an eighteenth-century gentleman’s club previously unknown to scholars, the Good Humour Club of York (c.1724-1800), it will be demonstrated that nine of the club’s ninety-nine identified members were known to Sterne and that four of those were central to the pamphlet wars which climaxed with Sterne’s Political Romance in 1759. Sterne’s self-reflexivity in the Romance, through which he deconstructs his own satirical project and creates the self-consciousness perceived by scholars as anticipating the humour of Tristram Shandy, can be seen as a response to, and a satire of, the Good Humour Club’s involvement in local ecclesiastical affairs.

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Corona, Guillermo Laín. « El humo dormido, de Gabriel Miró ». Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, n^o 1 (21 juin 2013) : 79–99. http://dx.doi.org/10.1075/rro.48.1.04lai.

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From the beginning of his literary career, Gabriel Miró (Alicante, 1879 — Madrid, 1930) has been considered a poet in prose, a lyricist or even a stylist. Of course, one cannot ignore that Miró’s work is highly poetic, as for the beauty of his language and landscapes or for some themes easily associated with Romantic lyrical commonplaces. But this is just a superficial screen behind which other narrative qualities are hidden. Indeed, Miró seems to use lyricism to deliberately conceal the narration, somewhat as a form of subliming it. This can be best seen when analysing El humo dormido (1919), for it is one of his books that has most often been praised as lyrical, but, although not exactly a novel, it hides a strong narrative structure of apprenticeship with an allegorical political meaning.

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Yoon, Ju-hyuk. « Exploring The Inventively Giftedness Constructs of SonMasayoshi through Document Analysis ». Korean Association of Practical Arts Education 35, n^o 3 (30 septembre 2022) : 21–55. http://dx.doi.org/10.24062/kpae.2022.35.3.21.

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The purpose of this study was to confirm the factors of inventively giftedness of SonMasayoshi and to provide basic data for the research field of inventively giftedness factors through comparison and analysis with related previous studies. In order to achieve the purpose of this study, 4 books and 1 thesis were analyzed using the content analysis method. Cognitive ability, affective trait, social trait, and environmental factor were used as a framework for content analysis. The study results are as follows; First, the factors of invention giftedness of SonMasayoshi were identified as 25 factors in 4 areas. Specifically, cognitive ability factors include 1) superhuman learning ability 2) original thinking ability 3) systemic thinking ability for creative idea creation 4) idea generation and memo ability 5) application ability 6) modeling thinking ability 7) future-oriented As insight and affective trait factors are 1) curiosity 2) perfectionism tendency 3) goal-oriented tendency 4) task obsession 5) challenging spirit to accept failure 6) positive self-esteem overcoming inferiority 7) strong tenacity and desire to win 8 ) Behavioral orientation by quick decision 9) Passionate disposition and social trait factors are 1) Leadership 2) Persuasive power 3) Communication 4) Humor 5) Social responsibility 6) Win-win spirit and environmental factors are 1) Family environment 2) Educational environment 3) social environment. Second, among the factors of SonMasayoshi's inventively giftedness, systematic thinking ability for creative idea creation in the cognitive domain, modeling thinking ability, future-oriented insight, positive self-esteem that overcomes inferiority Behavioral orientation by decision, communication ability in the social domain, and the spirit of win-win were analyzed as the factors that differentiated from the facors of inventively giftedness presented in previous studies conducted at the theoretical level. Third, modeling thinking ability, educational environment, and social environment factors were identified as significant factors in that they were the basis for other inventively giftedness factors or derived other inventively giftedness factors among the differentiating factors. In addition, the systemic thinking ability factor for creative idea creation was judged to be an educationally significant factor in that it further expanded SonMasayoshi's cognitive abilities and possibilities.

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Marić, Antonela, et Ana Ćosić. « From Post-Communist to Anti-Canon : The Rebels ». Colloquia 53 (4 juillet 2024) : 135–49. http://dx.doi.org/10.51554/coll.24.53.08.

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This paper conducts a short survey of the shift in the literary canon typical of the post-Homeland War period in Croatia. It is mainly owing to Croatian-Dalmatian authors who gathered around the magazine Feral Tribune and were inspired paradoxically by a rude, direct, and at times heavy and disturbing humour, and veristic-like scenes of everyday life, that the change happened. The shift was slow, and the authors, who were often accused of dissenting and publicly accused of activism, insisted on writing about issues other than mere patriotism, persistently succeeded in changing the mindset of the public. This would not have been possible had it not been for the political changes that took place in the country. Among other things, the paper explains the gradual appearance of the anti-canon, and argues that humour, notwithstanding the huge amount of cynical denunciations of political elites, served as a cathartic means of introspection, and a collective way of awakening from past dilemmas. Furthermore, the paper presents the situation from the 1990s to today, arguing against the hyperproduction of patriotic books, and explaining the gradual shift in the literary canon, owing to the transformation of literary practice.

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Jones, Colin. « FRENCH CROSSINGS : II. LAUGHING OVER BOUNDARIES ». Transactions of the Royal Historical Society 21 (4 novembre 2011) : 1–38. http://dx.doi.org/10.1017/s0080440111000028.

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ABSTRACTUnder the generic title, ‘French Crossings’, this Presidential Address explores the history of laughter in French society, and humour's potential for trangressing boundaries. It focuses on the irreverent and almost entirely unknown book of comic drawings entitledLivre de caricatures tant Bonnes que mauvaises(Book of Caricatures, both Good and Bad), that was composed between the 1740s and the mid-1770s by the luxury Parisian embroiderer and designer, Charles-Germain de Saint-Aubin, and his friends and family. The bawdy laughter that the book seems intended to provoke gave it its nickname of theLivre de culs(Book of Arses). Yet despite the scatological character of many of the drawings, the humour often conjoined lower body functions with rather cerebral and erudite wit. The laughter provoked unsparingly targeted and exposed to ridicule the social elite, cultural celebrities and political leaders of Ancien Régime France. This made it a dangerous object, which was kept strictly secret. Was this humour somehow pre- or proto-Revolutionary? In fact, the work is so embedded in the culture of the Ancien Régime that 1789 was one boundary that the work signally fails to cross.

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Allington, Daniel. « ‘Power to the reader’ or ‘degradation of literary taste’ ? Professional critics and Amazon customers as reviewers of The Inheritance of Loss ». Language and Literature : International Journal of Stylistics 25, n^o 3 (août 2016) : 254–78. http://dx.doi.org/10.1177/0963947016652789.

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The Inheritance of Loss by Kiran Desai (2006) was critically lauded, gaining many positive periodical reviews and winning both the Man Booker Prize and the National Book Critics Circle Award for Fiction. However, it has received mixed reviews from customers of the online retail giant, Amazon: an arguable expression of the challenge that digital consumerism presents to literature’s longstanding claim to autonomy from the market. In order to understand the relationship between the book’s professional and customer reviews, a collection comprising both was constructed. Qualitative analysis of these reviews was followed by the use of thematic coding to compare sub-collections divided by means of publication and by geographical location, with social network graphs being used to represent similarities between reviews and graph density being employed as a measure of overall similarity. No distinctions were found between reviews when grouped according to geographical location. However, the novel’s professionally published reviews were found to be a more homogeneous group than its Amazon customer reviews, and to be more likely to recommend the novel and to praise it for its humour and its narrative, while customer reviews were found to be more likely to criticise it for its characters, and less likely to quote it or to discuss its political themes. It is argued that this is because the book was produced to satisfy the expectations of a ‘literary’ rather than a ‘popular’ audience, where professional book reviewers represent the former almost by definition.

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Cavallo, Joann. « Joking Matters : Politics and Dissimulation in Castiglione's Book of the Courtier* ». Renaissance Quarterly 53, n^o 2 (2000) : 402–24. http://dx.doi.org/10.2307/2901873.

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A gentleman is never unintentionally insulting.—Oscar WildeThe Book of the Courtier outwardly portrays an aura of cordial solidarity as courtiers gathered in Urbino from various regions of Italy attempt to describe the ideal courtier; recently, however, critics have uncovered tensions on various fronts which threaten to expose deep rifts under the elegant courtly veneer. While these “counter” readings have focused primarily on the courtier's relation to the prince and to other courtiers, this essay aims to explore conflicts that arise from the different regional and political affiliations of the group. In particular, I argue that the largely ignored section on joke-telling teaches courtiers how to give vent to their animosity under the cover of humor and dissimulation.

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Romero-Reche, Alejandro. « Avant-garde humour as ideological supplement ». European Journal of Humour Research 10, n^o 3 (11 octobre 2022) : 39–53. http://dx.doi.org/10.7592/ejhr.2022.10.3.663.

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In 1939, when the Spanish civil war had recently ended, avant-garde humorists Miguel Mihura and Tono published an absurdist propaganda ‘novel’, María de la Hoz [María of the Sickle], about the republican zone during the conflict. Unlike other Francoist propaganda pieces of the time, it did not focus on the violence or the alleged moral degeneracy of the ‘reds’ but rather on what its authors perceived as the absurdity of egalitarianism and the progressive ideals. The novel, while not contradicting the emerging official ideology, conspicuously overlooked some of its key tenets, particularly those related to nationalism, Catholicism and Franco’s leadership. This article contextualises María de la Hoz in the development process of Spanish avant-garde humour and in Francoist propaganda fiction during and immediately after the civil war in order to analyse the ideological stance it represented and, potentially, reinforced. As a political piece, the book seems to convey the position of an affluent middle class who did not enthusiastically believe in Francoism but preferred it to the republican alternative, caricatured as a communist regime by nationalist propaganda.

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Kahn, Edward. « Creator of Compromise : William Henry Sedley Smith and the Boston Museum'sUncle Tom's Cabin ». Theatre Survey 41, n^o 2 (novembre 2000) : 71–82. http://dx.doi.org/10.1017/s0040557400003835.

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The notoriety of the two most popular antebellum stage versions ofUncle Tom's Cabinnaturally has led theatre historians to examine both the adaptation choices and their political intentions, continuing a debate which began in earnest on 7 November 1853. On that day the Henry J. Conway adaptation opened at P. T. Bamum's American Museum in New York, entering into direct competition with the version by George Aiken, at that time in the fourth month of its run across town. Barnum aggressively promoted the Conway text as “the only just and sensible Dramatic version of Stowe's book,” despite such changes as a rewritten happy ending and the use of minstrel humor and music. Incensed abolitionist critics countered by dubbing the Conway adaptation “pro-South,” a label which still remains in use, especially in comparisons of the Conway and Aiken texts.

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Barnett, Clifford. « How Did I Get Here ? What Did I Learn Along the Way ? » Human Organization 71, n^o 4 (28 novembre 2012) : 331–38. http://dx.doi.org/10.17730/humo.71.4.eq9303g7j2891441.

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Clifford R. Barnett is Professor Emeritus of Anthropology at Stanford University. He notes that all of his professional publications are cited in this presentation. Of the 23 articles and books listed, only five of the citations (including his doctoral dissertation) have only one person named as a single author. The co-authors listed with him for nearly 80 percent of his publications include: sociologists, anthropologists, pediatricians, psychologists, psychiatrists, geneticists, economists, political scientists, retired military officers and professional writers. Given the cultural emphasis we have on the individual, it is understandable that in the social sciences particularly, group projects are not a significant part of the educational experience at the university level. When he had his first university appointment in 1964 at Stanford University he encouraged students to work in small groups on their term projects. Readers may wonder whether every team member contributes significantly to the end product. First, students have the option of working individually or joining a group, Once the choice is made, the group process stimulates participation and provides positive feed-back to its members. People have to work together in order to produce change.

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Sebba-Elran, Tsafi. « The intertextual Jewish joke at the turn of the twentieth century and the poetics of a national renewal ». HUMOR 31, n^o 4 (25 septembre 2018) : 603–21. http://dx.doi.org/10.1515/humor-2017-0043.

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Abstract The article examines the role of the intertextual Jewish joke at the turn of the twentieth century, in its historical and cultural contexts. The case studies would be Alter Druyanow’s popular anthology, Sefer Habediha Vehahiddud (The Book of Jokes and Witticisms, Frankfurt 1922), and his archived, unpublished collection of sexual jokes. The frequent use of quotations from sacred Jewish texts, characteristic of these collections, is discussed in light of the distinction between sub-genres of the intertextual joke: the allusive joke, the parodic joke, and the satiric joke. While most reflect the folklorist’s ambition to bridge the gap between Hebrew as a holy language and Yiddish as a Jewish vernacular, a deeper examination of the jokes may discover Druyanow’s subversive motivations as a national activist as well. Druyanow and his contemporaries engaged the biblical and rabbinical sources freely, as vessels capable of sanctifying the secular subject matter of the Jewish national revival. Moreover, the unpublished collection exposes satirical elements embodied in the intertextual Jewish joke of the time, potentially threatening the traditional Jewish worldview.

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Ngcobo, Sandiso, et Witness Roya. « Unveiling humorous resistance : Incongruity and critical discourse analysis in "Born a crime : Stories from a South African Childhood” ». International Journal of Research in Business and Social Science (2147- 4478) 12, n^o 6 (14 septembre 2023) : 334–42. http://dx.doi.org/10.20525/ijrbs.v12i6.2686.

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“Born a Crime: Stories from a South African Childhood” is a bestselling memoir that was written by Trevor Noah, a South African-born comedian of global acclaim. In the book, Noah relives his upbringing in South Africa, when apartheid policies and legislation were designed and harshly implemented to keep the country’s citizens apart based on race and ethnicity. Yet, in relieving this oppressive and traumatic period and proceeding to the 1994 democratic era, Noah applies humor as a storytelling strategy to downplay this harsh period. Hence, this paper adopts the incongruity theory to present the juxtaposition that is evident in the form of surprises and tensions in the narrative, which the readers may find humorous. In addition, the paper draws on Apartheid Studies and Critical Discourse Analysis (CDA) as theoretical frameworks to conduct this qualitative study. CDA is used as a research tool to indicate how a text authored by a comedian from the global south is used to humorously resist political and social power relations. It is found that Noah manages to criticize the segregation that was there in a subtle manner and to educate the audience through humor about socio-economic challenges in the country. Even though his writing is mainly in a language of the global north for possible economic reasons, he draws from the languages of the global south to correctly represent the culture of the South African people he is part of.

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Sulistyowati, Lilis, Didin Nuruddin Hidayat, Alek Alek et Dadan Nugraha. « The Discourse of Satire in Indonesia Political Cartoons At â€œPoliklitik.comâ€ ». English Education Journal 10, n^o 4 (23 décembre 2020) : 643–53. http://dx.doi.org/10.15294/eej.v10i4.38092.

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A specific cartoon is commonly used to lead public opinion to a particular phenomenon. It is created to realize or to ask people opinions or thought on political issues. This study analyzed the satire of political cartoons selected in the themes of â€œ Rancangan Undang-Undang Kitab Undang-Undang Hukum Pidana â€ (RUU KUHP) or The Draft of the Book of Criminal Law relating three articles on human right, livestock, and land in Indonesia in September 2019. This study identified the satirical messages delivered by cartoonists based on the verbal and visual as text analysis, discourse practices analysis on the netizensâ€™ comments in cartoon column, and sociocultural analysis becoming the backdrop of these political cartoons. This study employed a descriptive qualitative method using a framework by Fairclough (2000). The findings showed that these political cartoons were used to satire the government and the House of Representatives to reject several drafts considered detrimental to society. This research is expected to be a useful input for the community to understand that cartoons can be used to convey social criticism. Also, people will realize that political cartoons are not only just fun for the humour, but also understand the message expressed by cartoonists in their work. For related media, cartoons can be used to convey social criticism by promoting its benefits for all levels of society.

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Aman, Mashaal. « Athenian Women as Anti-War Heroes, Role Reversal and Power Play in Aristophanes’ Lysistrata ». International Journal of Linguistics and Culture 4, n^o 1 (15 juin 2023) : 127–36. http://dx.doi.org/10.52700/ijlc.v4i1.162.

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This research focuses on Athenian women as an epitome of female authority which challenges the male supremacy and strive for their struggle of political empowerment. Role reversal aspect is found in Aristophanes’ play Lysistrata hidden under the mask of erotic humor and this play aims to highlight that facet. For this purpose, this research will use frameworks regarding gender and power from the book Gender and Power: Society, the Person and Sexual Politics by Raewyn Connell. 411 B.C. Greece was a democratic state ruled predominantly by males and hence the society was affected by the phallic roles. So, this paper will analyze the play Lysistrata from the perspective of gender inequality faced by women and will attempt to observe the limited female involvement at the state level and male opposition to female struggle for political inclusion. This article will study the play on multiple differing interconnecting facets which are female struggle against the predetermined societal roles, the motive of using sex strike as a tool to challenge male dictatorship and its modern day application. It will also explore that how the dominant personality of Lysistrata and the how the comparison of domestic households to the state affairs was used as political tools for challenging the male authority. This research concludes with a comparison of Athenian women with the modern day women and the message it instills for the modern world. Although women are socialized to stay the subservient and nurturing gender for males, but this article calls for an equal division of labor amongst all without any discrimination and prejudice.

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Vanina, Eugenia. « The Ardhakathanaka by Banarasi Das : a Socio-cultural Study ». Journal of the Royal Asiatic Society 5, n^o 2 (juillet 1995) : 211–24. http://dx.doi.org/10.1017/s1356186300015352.

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Any researcher into the pre-modern history of India inevitably faces the problem of source material, and the creative genius of medieval Indians furnishes us with a wide range of sources; innumerable files of original documents, multi-volumed chronicles, bulky treatises, etc. A great number of travelogues enables us to view medieval India through the eyes of visitors from all parts of the globe. The source to be analysed in this article will hardly stand comparison with the above-mentioned materials. It is a biography of an insignificant man, a family history of modest middle-class people unconnected with court intrigues and political battles. And the title of the book is anything but serious. Ardhakathanaka means “Half a Tale”. The author, a Jain merchant named Banarasi Das, completed it in 1641, being fifty-five at that time; the ideal life span of the great Jain sages was believed to be one hundred and ten years. Thus Banarasi, who harboured no ambitions to equal the great sages, titled his autobiography “Haifa Tale”, displaying a somewhat bitter humour (he died shortly after completing the book).

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Dánél, Edit-Mária. « Mediation and Mediators in Carlos Morton’s The Miser of Mexico and Trumpus Caesar ». Acta Universitatis Sapientiae, Philologica 15, n^o 1 (1 novembre 2023) : 163–76. http://dx.doi.org/10.2478/ausp-2023-0011.

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Abstract This paper aims towards identifying those protagonists who occupy the position of mediator in the process of decoding the message by uniting detached ideologies in Carlos Morton’s The Miser of Mexico (1989) and Trumpus Caesar (2021). On the level of the narrative, border-resurfacing and its impact on society are presented by anecdote and humour. Jon Yates’s 2022 book entitled Fractured. How We Learn to Live Together mentions that in order to reconnect divided societies, ideologies, and races, the factor of laughter proves to be the most effective means: “If the person smiled, you knew you had someone in the mood to buy; if not, it was time to move on” (Yates 2022, 17). Slavoj Žižek in his work entitled Did Somebody Say Totalitarianism? Five Interventions in the (Mis)use of a Notion argues that humanity can restore communication with the Divine only by the mediated assistance of Jesus Christ, who “must sacrifice himself” (Žižek 2002, 50) in the process. In order to mend broken relationships, Carlos Morton’s subjective-participative mediators assume the position of honest advisors, critics, non-judgmental and non-political entities, individual and self-sufficient characters, who by partial or total detachment point out the tragic in the comical. With the help of humour and satire, the playwright’s protagonists in the dramas mentioned above captivate audiences by softening critical situations through mutual acceptance and tolerance.

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Marshall, T. C. « Whaddayou Mean “ςπουδαιογɛλοιον” ? : Nabi's Last Laugh ». boundary 2 49, n^o 3 (1 août 2022) : 65–76. http://dx.doi.org/10.1215/01903659-9789696.

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Abstract In his late unpublished essay “Dionysus in 1992,” Norman O. Brown arrived at the ancient Greek term “spoudaiogeloion” to express his idea of a “serious laughter” that could respond to dialectical tensions without unbalancing them. Brown had, in 1959, converted Freud's Witz book into a serious theory of art. This turned the focus on humor into a focus on art, subtly repressing the place of laughter in art and thinking for Brown and those who took him seriously. His casual conversation was always full of fun, but his formal thought lacked that liberating concept until the last decade of his life. Not even the accusation by Marcuse of “mystification” could bring him out of his idealizations—until he saw the dialectical power of humor's ambivalence. “Spoudaiogeloion,” with room for Joyce's farcical wit and Blake's high visions, gave Brown a useful “way out” of tensions between “high” and “low” art or philosophy.

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Erbaugh, Mary S. « Linguistic Engineering : Language and Politics in Mao's China. By JI FENGYUAN. [Honolulu : University of Hawai‘i Press, 2004. 351 pp. $50.00. ISBN 0-8248-2536-5.] ». China Quarterly 181 (mars 2005) : 184–86. http://dx.doi.org/10.1017/s0305741005290100.

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Can the nightmare of language control in Orwell's 1984 work in reality? Linguistic Engineering offers a detailed look at Cultural Revolution slogans and draconian punishments for ‘incorrect’ speech, especially in schools and the workplace. Ji offers much-needed evidence from linguistics and psychology that, even for Red Guards, new vocabulary for ‘class struggle’ against ‘cow ghosts and snake gods’ could not produce a complete or permanent change in thought. Language control is fortunately impossible, however much intellectuals or propagandists may wish. Mere exposure to a phrase does not mean people will learn it, much less believe it. Humans inevitably interpret the world by experience, context and possible rewards, using humour, subversion, indifference, and simple daily routine to find ways to live around even the most oppressive propaganda.Linguistic Engineering focuses mainly on the spoken language of political discussion groups and propaganda between 1966 and 1972, with additional examples from school textbooks, and some model literature and operas. Once labels like ‘rightist,’ ‘bad element’ or ‘capitalist roader’ became linked with everything from ostracism to job loss to prison, passionate battles erupted. Traditional four character phrases such as “confess without being pressed” (bu da zi zhao) grew heavily politicized. Other new vocabulary, however, such as ‘tractor’ or ‘work unit’ was a more benign reflection of new technology and social systems, and remains part of everyday life.Lazy research mars what should have been a better book. Most of the Chinese examples are lifted from English language secondary sources by political scientists, then back-translated (well) into Chinese. Other examples come from English language memoirs of former Red Guards. They are rather unevenly chosen and cited, but most examples have already received meticulous discussion over the past 30 years. This book uses the term ‘Maoist worship,’ for example, very simplistically, ignoring the extensive literature on the distinctions between religious rites and political rallies. The term ‘linguistic engineering’ itself, comes not from Stalin, but from his propagandist, Zhadnov, who said writers are “engineers of human souls.” Other sections are original, but less compelling (e.g. the heroine of the model opera, “On the Docks,” gets 42 per cent of the dialogue).

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Tomic, Svetlana. « Types of fear, ethics and aesthetics of terror, and the politics of emotions in The Album of Female Prisoners by Milutin A. Popovic ». Temida 23, n^o 3 (2020) : 371–406. http://dx.doi.org/10.2298/tem2003371p.

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Eventhough the number of neurosience studies has grown from the late 20th century, the topic of fear in Serbian literature of the second half of the 19th century has rarely been separately researched. For this analisys, the author has chosen an unusual book in which, unlikely to Serbian novels of the time, fear was often described. It is the first book of the stories about Serbian female convicts of the 19th century The Album of the Women?s Ward of Prison in Pozarevac with Statistics (1898) by Milutin A. Popovic. Contrary to some Serbian, Swedish (1861) and American (1886) albuma of the time, Popovic narrated crimes and sometimes wrote confessions derived directly from the female prisoners. The purpose of this paper is to analyse fear, conditioned by time and space, its vocal, facial and body expressions, as well as personal reactions. In this interdisciplanary research the author has integrated perspectives and methods from the Theory of Literature and Affective Narratology, Comparative Literature, History of Serbian Society and Literature, Psychology, Political Psychology, Philosophy and to some extent Linguistics (Cognitive Semantics). It is argued that the author's insistence on truth was the part of terrorethics, of causing fear and shock. It establishes the triumph of truth without beautifying, calling for sensibility, compassion and responsibility, in order to improve society. The results of the investigation show that in Album fear is presented as a complex emotion. It appears as an act of defense, but also as a form of manipulation. Fear is often connected to women and it turned to courage. The fear of death and the fear of a dead human body are the most frequently described fears. The author also described gender-specific fear of pregnancy, abortion, and rape. The Album breaks stereotypes of the past Serbian society and reveals different cases of women?s political resistance and sexual freedom. In the Album, fear is rarely vocally expressed, rather it manifests through different bodily symptoms, their intensity and spectrum. In describing one of the cruelest crimes, the author included humor as a mean of defense and fear control. Emotional geography reveals a paradox: a home is a place of terror and life threat, while a prison emerges as an area of joy and security. Moreover, the book describes two key generators of the politics of emotions. One is made by the systematic violence of a patriarcharchal society toward women, and the other one by inadequate institutions which ignore serious social problems. The language of fear, shock, horror, provocation and perversion and the aesthetics of the genre is interpreted as a part of the author's efforts for readers to feel terror of psycho-physiological mechanisms of pain, and to make new connections with the society and its culture. The creation of a complex and multimedia genre of the album is in accordance with the author's multuple efforts to deconstruct the layers of real life and its different dangers, calling for counteractions, and showing the tragic link between inhumane and unordered society.

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Asiss-González, Federico J., et Walter J. Carrizo. « La unción de Wamba en la Historia Wambae regis, de Julián de Toledo : los prodigios de la abeja y la columna de humo, y las luchas políticas del 680 ». La corónica : A Journal of Medieval Hispanic Languages, Literatures, and Cultures 51, n^o 1 (septembre 2022) : 139–71. http://dx.doi.org/10.1353/cor.2022.a931132.

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Abstract: The Historia Wambae regis (seventh century), by Julian of Toledo, is a text that records an important part of the reign of the Visigothic king Wamba (ca. 630-88). Written after his downfall, the book recounts the royal anointing of the monarch, the oldest known description of such a ritual. This event, in turn, involves two extraordinary elements not adequately addressed by scholars: the appearance of a column of smoke emanating from the monarch's head when the ceremonial oil is poured over him and that of a bee hovering over the same. Both elements have biblical significance and carry multiple political meanings of considerable antiquity. This article delves into the significance of these elements in the narrative of the anointing ritual, specifically determining how they contributed to shaping the political image of Wamba projected by Julian. It also explores the function of the narrative in the political context of the time in which the Historia Wambae regis was composed: the reign of Ervigio. Resumen: La Historia Wambae regis (s. VII), de Julián de Toledo, es un texto en el que se consigna una parte importante del reinado del rey visigodo Wamba (ca. 630-88). Escrito tras su caída, el libro relata de la unción regia del monarca, la descripción más antigua que se conoce de un ritual de este tipo. Tal evento, a su vez, involucra dos elementos extraordinarios no suficientemente abordados por los académicos: la aparición de una columna de humo, surgida de la cabeza del monarca cuando le es vertido el óleo ceremonial, y de una abeja que revolotea sobre la misma. La elección de ambos, por parte de Julián, no es casual, pues poseen una profunda significación bíblica, pero, además, cuentan con múltiples significados políticos de considerable antigüedad. Este artículo se propone indagar en el sentido que dichos elementos presentan en la narración del rito de unción, a fin de determinar, específicamente, de qué manera contribuyeron a la conformación de la imagen política de Wamba que el arzobispo proyectaba. Sin embargo, también se ahonda en la función del relato en la coyuntura política del momento en el que se compuso la Historia Wambae regis : el reinado de Ervigio.

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Braziūnienė, Alma. « The Society of 27 Book Lovers (1930-1940) : Membership, Relationships, Atmosphere ». Knygotyra 76 (5 juillet 2021) : 166–206. http://dx.doi.org/10.15388/knygotyra.2021.76.80.

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The Society of 27 Book Lovers in Kaunas that functioned in 1930–1940 played an important role in the history of Lithuanian culture. It signified the outset of the organized bibliophilic movement in Lithuania. The society, brought together by Vytautas Steponitis, Paulius Galaunė, Viktoras Cimkauskas and other like-minded people, contributed immensely in shaping the tradition of bibliophilic activity, upraised the culture of the Lithuanian book, and developed aesthetic circulation and bibliophilic book publishing (10 publications were published). All of this was done by a dozen (ranging in number from 15 to 21) devoted book lovers and bibliophiles par excellence. Their bibliophilic hobby transcended the boundaries of amateur activities, and the Society operated as a professional publishing house giving rise to the publishing of scientific periodicals of book science. The article, based on the archives of this Society kept in the Wroblewski Library of the Lithuanian Academy of Sciences, analyses personal expression of the members of the Society, their interrelationships, seeks an answer leading to the fact that extremely prominent figures managed to get together for fruitful bibliophilic activities, examines the atmosphere that prevailed in the amateur meetings of the Society of 27 Book Lovers, publishing and various other activities in the daily life. It is not intended to bring to light all the members of the Society, the article focuses only on some of the most prominent personalities and those moments of their activity that have not been previously examined by other researchers. It was concluded that the rotation of the amateur members of the Society of 27 Book Lovers was natural, determined by various life circumstances: the Society, which launched its activities in 1931 had 15 members, and until 1940, another 12 new members joined in, however the Society lost 10 of them as well. The number of seceding members was determined by the distancing of some members from bibliophilic ideas, lack of time (professional activities, positions of high responsibility), etc. However, the core of the Society (about 10 to 12 people) remained stable at all times and ensured the productive work of the Society. The productive activities of the Society were directly influenced by the chairmen elected for the term of 3 years (V. Steponaitis, Kazys Bizauskas, Juozas Balčiūnas-Švaistas), however, other members, even without being on the board, acted as contributors to various activities. The Society operated according to a very formalized procedure (recording of meetings, board meetings, excursions and other activities, approval of minutes, etc.), however, at the same time the archives of the Society testify that a cosy amiable atmosphere of communication and a sense of humour prevailed. This group of people was of one mind, they knew each other for a long time, almost all of them were of the same generation and of similar age. Differing political views did not interfere with bibliophilic activities. The correspondence of the members of the board on the failures of the publishing of publications reveals intercommunion, the realized meaning of the cultural work, the significance of V. Steponaitis as a personality uniting the Society in its activities. The activities of the Society of 27 Book Lovers demonstrated that such work could be carried out only by a strong group of exceptional figures, the activities of whom distinctly represented the elite bibliophilia, and hence, the tradition of the organized bibliophilic movement organically stemming even from the 19th century. The 27 Book Lovers managed to extend this tradition.

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Fuehrer, Bernhard. « The Columbia History of Chinese Literature. Edited by Victor Mair. [New York : Columbia University Press, 2001. 1,342+xxiv pp. $75.00 ; £52.50. ISBN 0-231-10984-9.] ». China Quarterly 178 (juin 2004) : 535–36. http://dx.doi.org/10.1017/s0305741004390296.

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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.

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Hutson, Lorna. « Civility and Virility in Ben Jonson ». Representations 78, n^o 1 (2002) : 1–27. http://dx.doi.org/10.1525/rep.2002.78.1.1.

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THE EUROPEAN RENAISSANCE SAW the rise of a phenomenon known as ''civil conversation,'' according to which the arena of informal speech became significant for men's social advancement. At the same time, however, Renaissance literature inherited from the classics an evaluative language that denounced loquacity as effeminate. Hutson's article uses Ben Jonson's writings to explore the tension between the prescriptions of ''virile style'' and the social reality for men of ''civil conversation.'' The tension manifests itself, she argues, in the expanded sense of personal liability inherent in the notion of informal speech as a significant site of advancement in the age of ''note-taking'' and the commonplace book. She shows how the note-taking habit blurs the line between circulating speech for aesthetic purposes and for purposes of espionage. She discusses certain pervasive classical figures and ideas - such as the ''mindful drinking companion'' and the Plutarchan idea of internalizing and preempting hostile judgments of one's words by imagining oneself as one's own enemy. She notes that Jonson reworks these figures and ideas to produce a heroic notion of a ''civil conversationalist'' who is also ''virile'' in that he can resist being effeminized bythe circulation of hostile or ignorant interpretations of his words; he can resist, in other words, being transformed into the feminine figure of Rumor. The article concludes with a reading of Jonson's Every Man in His Humour as a play concerned to articulate a new, heroic ''civil virility'' as the ability to resist hostile constructions of informal speech.

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Genova, Neda, et Mijke Van der Drift. « Neda Genova in Conversation with Mijke van der Drift : A Conversation on Transfeminism as Anti-Colonial Politics ». Identities : Journal for Politics, Gender and Culture 17, n^o 2-3 (30 décembre 2020) : 102–8. http://dx.doi.org/10.51151/identities.v17i2-3.453.

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For this piece we were provoked by an anti-trans moment that took place during the School of Politics and Critique in September 2020. Instead of engaging in a mere “rebuttal” of anti-trans discourse and its reductive, exclusionary claims, with this text we aim to open up a space of exchange and learning that takes the form of a feminist conversation. We discuss the historical and political entrenchment of colonial, capitalist and anti-trans projects to emphasise why a solid trans politics will always hold an anti-colonial agenda to the fore. Critically appraising some unfortunate intellectual and political impasses—as the capturing of feminist politics in schemata of biological determinism or the complicity of white bourgeois feminism in anti-Blackness and colonial exploitation—we shed light on the emancipatory potential of radical transfeminism. The conversation draws on lessons from the writings and practice of many engaged in formulating the stakes of black feminist, anti-colonial and trans politics of solidarity, thus actualizing the insight that we never think or act in isolation from one another. Author(s): Neda Genova and Mijke van der Drift Title (English): Neda Genova in Conversation with Mijke van der Drift: A Conversation on Transfeminism as Anti-Colonial Politics Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 102-108 Page Count: 7 Citation (English): Neda Genova and Mijke van der Drift, “Neda Genova in Conversation with Mijke van der Drift: A Conversation on Transfeminism as Anti-Colonial Politics,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 102-108. Author Biographies Mijke van der Drift, Royal College of Art/University of Cambridge Philosopher and educator Mijke van der Drift works on ethics as a focal point in a multi-disciplinary research about social transformation. Van der Drift is tutor at the Royal College of Art, London and the Royal Academy of Art, the Hague. They are a Research Associate at the University of Cambridge in 2020-21, as part of the Revolutionary Papers project, in collaboration with the London School of Economics and the University of the Western Cape. In addition, van der Drift is currently working on their book Non normative Ethics: The Dynamics of Trans Formation. They obtained a Ph.D. from Goldsmiths, University of London. Their current project focuses on multilogical ethics and generosity, and is provisionally titled The Logic of Loss in Bonding. The book chapter “Radical Transfeminism: Trans as Anti-Static Ethics Escaping Neoliberal Encapsulation” co-written with Nat Raha is recently published in New Feminist Studies: Twenty-first-century Critical Interventions, ed. Jennifer Cooke, with Cambridge University Press. Neda Genova, London Bank University/Goldsmiths Neda Genova teaches at Goldsmiths University of London and London South Bank University and holds a Ph.D. in Cultural Studies from Goldsmiths. Her research is situated at the intersection of post-communist studies and media and cultural theory. She is interested in feminist and postcolonial theory, the politics of humour and laughter and post-communist digital culture. She is a member of the editorial collective of the Bulgarian-language activist-academic magazine dVERSIA (dВЕРСИЯ)

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Pejanović, Mirko. « Cjelovito istraživanje uloge Pašage Mandžića u tuzlanskom procesu / Comprehensive Research of Pašaga Mandžić's Role in the Tuzla Process ». Pregled : časopis za društvena pitanja / Periodical for social issues 63, n^o 1 (6 juin 2022) : 119–31. http://dx.doi.org/10.48052/19865244.2022.1.119.

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The book “Tuzla Processes: 1970s,“ by Prof. Dr. Kadrija Hodžić, professor at the Faculty of Economics, University of Tuzla, presents a comprehensive study of the course of political events related to the role of Pašaga Mandžić in the development of Tuzla and the Tuzla region. It is important to keep in mind that Pašaga Mandžić belongs to the leading communist cadres who organized an uprising against the fascist occupation of the country in Bosnia and Herzegovina in 1941. As a prominent anti-fascist fighter, Pašaga Mandžić will become the commissioner of the First Partisan Strike Battalion, formed in Srednje near Sarajevo, in March 1942. Together with Avdo Humo, Rodoljub Čolaković and Đuro Pucar - Stari, he participated in the preparations for the First, Second and Third Sessions of ZAVNOBIH. At the Third ZAVNOBIH Session in 1945 in Sarajevo, Pašaga Mandžić was elected a member of the first People's Government of Federal Bosnia and Herzegovina. In the post Second World War period, Pašaga Mandžić performed numerous duties, from the president of the Tuzla District to other duties in the republican bodies of Bosnia and Herzegovina. In the early 1970s, at the invitation of the leadership of the League of Communists of the Municipality of Tuzla, Pašaga Mandžić, as a pensioner, came to Tuzla and with his experience contributed to the economic development of his hometown. After the dismissal of Sead Babović, Secretary of the Municipal Committee of SK Tuzla, Pašaga Mandžić with his views on the development of Tuzla's economy comes into dispute and conflict with the current political leadership of Tuzla. The actual showdown between the leadership of the League of Communists of Tuzla and Pašaga Mandžić took place at the Eighth Session of the OKSK Tuzla in 1971. However, that conflict did not have the character of a political affair. Pašaga Mandžić’s deeper conflict with the League of Communists of Bosnia and Herzegovina arose on 26 June 1973, at an extended session of the Central Committee Secretariat, Communist Party of Bosnia and Herzegovina, when Pašaga Mandžić individually raised the question of organizing and leading the uprising in Eastern Bosnia. Pašaga Mandžić 's position was assessed as a form of nationalism dangerous for treating the character of the uprising and the national liberation struggle in Bosnia and Herzegovina. At that time, it was not only the ideological critique of Pašaga Mandžić. Accusations followed against Pašaga Mandžić and a group of people who worked more closely with him in Tuzla than the Central Committee and the State Security Service. The brutal procedure of the State Security Service against the members of the Tuzla group was carried out, and then the court process in Tuzla. There is also a belief that Pašaga Mandžić was protected from prosecution by Josip Broz Tito on the Đuro Pucar’s intercession. Author Prof. Dr. Kadrija Hodžić conducts many years of research on Tuzla processes on an interdisciplinary basis. The results of the research shed light on everything that took place in the Tuzla processes of the 1970s. The whole result of the research enables a new social evaluation of the role of Pašaga Mandžić in the national liberation struggle and socio-economic development of Bosnia and Herzegovina and the hometown of Tuzla after the Second World War. In the coming decades, a reliable critical evaluation of the contribution of the research of Prof. Dr. Kadrija Hodžić establishes complete historical truths about a revolutionary figure such as Pašaga Mandžić.

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Bauer, AJ. « Why so serious ? Studying humor on the right ». Media, Culture & ; Society, 11 février 2023, 016344372311547. http://dx.doi.org/10.1177/01634437231154779.

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This essay reviews two new books examining different aspects of right-wing humor, “The Souls of White Jokes” (Stanford University Press, 2022) by Raúl Pérez and “That’s Not Funny” (University of California Press, 2022) by Matt Sienkiewicz and Nick Marx. It puts these works into conversation with a longer tendency within right-wing studies to focus on media content and motivations within a negative affective range. By focusing on the positive emotions associated with white supremacy and right-wing media, these books mark an important turning point away from reductionist accounts of the “reactionary mind” and toward a fuller understanding of the complex and contingent motivations of conservatives.

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Chua, Yan Piaw. « The effects of humor cartoons in a series of bestselling academic books ». HUMOR 27, n^o 3 (1 janvier 2014). http://dx.doi.org/10.1515/humor-2014-0069.

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AbstractTwo preliminary studies were conducted to identify (1) the contents of an ideal research and statistics reference book, and (2) the suitability of using humor cartoons in writing a research book. The results indicate that a majority of the respondents strongly agreed that humor should be used, and not suppressed, in academic writing. Hence, a book entitled

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Hobbs, Pamela. « Lawyers' use of humor as persuasion ». Humor – International Journal of Humor Research 20, n^o 2 (23 janvier 2007). http://dx.doi.org/10.1515/humor.2007.007.

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AbstractLegal humor is a topic of perennial appeal, and has long been a prolific source of books, articles, and scholarly commentaries which are avidly consumed by popular and professional audiences alike. However, although a number of scholars have analyzed the use of humor in judicial opinions, there is no comparable body of scholarly examinations of lawyers' use of humor in their role as legal advocates. This omission is significant, because in the American legal system, humor and wordplay serve as highly-valued evidence of forensic skill which is deemed appropriate for display both within and outside of the courtroom. Accordingly, this paper attempts to fill the gap in the existing literature by examining attorneys' use of humor as persuasive advocacy in two widely divergent settings, informal court-mandated mediation and oral argument before the United States Supreme Court. In these data, the attorneys use humor aggressively to ridicule the plaintiffs' claims, depicting them as laughable and unworthy of serious consideration, while placing themselves at the center of a comic performance which allows them to display their linguistic skills. These data thus demonstrate that humor can be a potent weapon in an attorney's arsenal.

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Dong Yue, Xiao. « Exploration of Chinese humor : Historical review, empirical findings, and critical reflections ». Humor - International Journal of Humor Research 23, n^o 3 (janvier 2010). http://dx.doi.org/10.1515/humr.2010.018.

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AbstractHumor was first documented around 2,500 BC in China when the first Chinese poetry and literary books appeared. Zhuangzi, a co-founder of Taoism, is recognized as the very first humorist in China. Chinese humor has been mostly characterized by joke-telling and funny show-performing. Humor has been traditionally given little respect in Chinese culture mainly due to the Confucian emphasis on keeping proper manners of social interactions. Confucius once ordered to execute humorists for having “improper performance” before dignitaries in 500 BC. The term humor was translated by Mr. Lin Yu-tang in 1920s and it has been increasingly popular in China. During the “Cultural Revolution” (1966–1976), however, humorists of various kinds were all criticized and even prosecuted. Since 1980s, humor got rehabilitated as an important element of creativity, personal charisma and social harmony. Important as it is, humor has rarely been studied in China. Of the few studies conducted, it was shown that (1) humor was not valued by the Chinese even though they all enjoyed it; (2) humor was often considered the least important factor in ration to creativity, and ideal Chinese personality.

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Andrianova, Anastassiya. « To Read or Not to Eat : Anthropomorphism in Children’s Books ». Society & ; Animals, 7 juillet 2021, 1–19. http://dx.doi.org/10.1163/15685306-bja10045.

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Abstract Anthropomorphic nonhuman animals figure prominently in children’s literature, teaching young readers relevant life lessons and adding variety, humor, and emotional distance to safely consider otherwise traumatizing ideas. Despite its educational and developmental value, however, using animal characters to tell human stories normalizes the very same mechanisms that adult humans use to subjugate real animals. Bringing animal-studies insights to bear on children’s literature and development, this article critiques the use of anthropomorphism in children’s books and urges that, short of the unrealistic demand to abandon the animal as metaphor, young readers and their adult mentors reread children’s books critically and discuss ways of making animals matter. The article examines the debate about anthropomorphism in science and its application to childhood development. It then turns to the pros and cons of anthropomorphizing animals in children’s books and discusses specific examples of books featuring anthropomorphic animal characters.

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Abdel-Raheem, Ahmed. « Multimodal Humour : Integrating Blending Model, Relevance Theory, and Incongruity Theory ». Multimodal Communication 7, n^o 1 (22 mars 2018). http://dx.doi.org/10.1515/mc-2017-0013.

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Abstract The primary objective of this paper is to discuss humorous political cartoons contingent on pictorial and textual components, with the heuristic apparatus provided by Fauconnier and Turner’s (2002, The Way We Think: Conceptual Blending and the Mind’s Hidden Complexities. New York: Basic Books) conceptual blending theory. Blending is discussed in reference to three approaches to humour known in topical literature, viz. bisociation (Koestler, 1964. The Act of Creation. London: Hutchinson), the incongruity-resolution model (Suls, 1972, A two-stage model for the appreciation of jokes and cartoons: An information processing analysis. In: The Psychology of Humor, J. Goldstein and P. McGhee (Eds.), 81–100. New York: Academic Press; 1983, Cognitive processes in humour appreciation. In: Handbook of Humour Research, Vol. 1, P. McGhee and J. Goldstein (Eds.), 39–57. New York: Springer), and relevance theory (Sperber & Wilson, 1995, Relevance Theory: Communication and Cognition. 2nd. Blackwell: Oxford; Yus, 2003, Humour and the search for relevance. Journal of Pragmatics, 35(9):1295–1331; 2016, Humour and Relevance. Amsterdam: John Benjamins). Here, a corpus of 45 multimodal cartoons on the West is examined. A detailed discussion of examples aims to testify to the widespread and multifarious applicability of the incongruity-relevance-blending approach to the analysis of humorous cartoons. Additionally, an attempt is made to explain the difference between humorous and non-humorous blends.

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Davies, Catherine Evans. « Joking as boundary negotiation among “good old boys” : “White trash” as a social category at the bottom of the Southern working class in Alabama ». Humor - International Journal of Humor Research 23, n^o 2 (janvier 2010). http://dx.doi.org/10.1515/humr.2010.009.

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AbstractThe point of this article is to show how the “You might be a redneck” joke cycle is appropriated to designate a lower social category within the Southern working class in Alabama, and to negotiate the boundaries between the good old boy working class “red neck” and the lower category of “white trash.” Close attention to language is important in the analysis because the jokers exaggerate features of the vernacular dialect to perform members of the lower social category. Within the tradition of the study of conversational joking (Fry, Sweet madness: A study of humor, Pacific Books, 1963; Tannen, Conversational style: Analyzing talk among friends, Oxford University Press, 1984; Davies, C. E., Joint joking: Improvisational humorous episodes in conversation: 360–371, 1984, Language and American ‘good taste’: Martha Stewart as mass-media role model, Routledge, 2003a, Journal of Pragmatics 35: 361–1385, 2003b; Norrick, Conversational joking: Humor in everyday talk, Indiana University Press, 1993; Kotthoff, Coherent keying in conversational humour: Contextualizing joint fictionalisation, John Benjamins, 1999), combined with the discourse analyis of radio talk (Coupland, Language, situation, and the relational self: Theorizing dialect-style in sociolinguistics, Cambridge University Press, 2002; Goffman, Forms of talk, The University of Pennsylvania Press, 1981), and “performance speech” (Schilling-Estes, Language in Society 27: 53–83, 1998), this study examines joking interaction on a popular morning radio talk show in Alabama that is hosted by two men, known to their audience as Jack and Bubba. The data are a set of CD recordings identified as “The Best of . . .” supplemented with additional regular shows. Examining the joking as an important part of a linguistic “presentation of self” (Goffman, The presentation of self in everyday life, Doubleday, 1959; Davies, C. E., Texas Linguistic Forum 44: 73–89, 2002), the analysis reveals how the joking between the two hosts and with members of the studio audience is rooted in sociolinguistic and cultural dimensions of the working class American South.

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Polak, Sara. « Baumgartner, Jody C. and Amy B. Becker, eds. 2018. Political Humor in a Changing Media Landscape : A New Generation of Research. Lanham, Boulder, New York, London : Lexington Books. xii + 340 pp. ISBN : 9781498565080. E-book ISBN : 9781498565097 ». HUMOR, 26 septembre 2022. http://dx.doi.org/10.1515/humor-2022-0092.

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« Contemporary India’s Social Structure in Select Novels of Aravind Adiga and Application of Interactive English Language Learning System ». International Journal of Recent Technology and Engineering 8, n^o 4 (30 novembre 2019) : 1156–62. http://dx.doi.org/10.35940/ijrte.d6866.118419.

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Indian writers, over the years in their books, have addressed or touched upon issues regarding the powerful and consistent rise of the west and their influence on shaping global politics, colonialism and its impact on the existing socio-political structure of India and much more that has a sense of history attached to it. Very few have the knack of tossing up mild sarcasms and puns that depicts the rhetoric of the subaltern voices of the country. Aravind Adiga is a master at it. He throws in dark humor or sarcasms in his novels and touches upon the existing problems of contemporary India and urges the people to seek answers for it. Such is the attribute of him who constantly seeks for a positive change in India’s social structure that has deep-rooted social evils. He addresses problems relative to globalization, consumerism, the rise of materialism and the social evils prevalent in modern society and a few more which has the potential to alter the contemporary human psyche. The paper examines the works of Aravind Adiga and sheds light on how he projects contemporary India and its citizens and what are the social evils he has tried to address.

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Araújo, Homero José Vizeu. « PILATOS : UMA SAGA CARIOCA MÓRBIDA E HILARIANTE NOS ANOS 70 ». Revista Letras 64 (31 décembre 2004). http://dx.doi.org/10.5380/rel.v64i0.2974.

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Este ensaio busca analisar os recursos estilísticos do romance Pilatos, de Carlos Heitor Cony, livro que oscila entre a morbidez, lirismo e humor satírico para expor a trajetória de um personagem castrado na cidade do Rio de Janeiro. Depois de discutir as opções de participação de um intelectual em Pessach: a travessia, Cony escreve um livro sobre a indiferença e o escapismo. Abstract This essay analises the stylistic resources of Pilatos, novel by Carlos Heitor Cony, book that shows morbidness, lirism and satirical humour to introduce the ups and downs of a castrated character in Rio de Janeiro city. After explaining the options and doubts of political engagement in Pessach: a travessia, Cony writes a book about the indifference and the evasion.

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