Готові списки джерел за темами / Cuban American wit and humor

Добірка наукової літератури з теми "Cuban American wit and humor"

Автор: Grafiati

Опубліковано: 27 липня 2024

Оновлено: 28 липня 2024

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Статті в журналах з теми "Cuban American wit and humor"

Schwartz, Benjamin. "“Making Such Spaces . . . Where None Previously Existed”: Interstitial Wit in Fran Ross’s Oreo." Studies in American Humor 9, no. 1 (March 2023): 13–30. http://dx.doi.org/10.5325/studamerhumor.9.1.0013.

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ABSTRACT This article explores how Fran Ross’s 1974 novel Oreo uses humor to challenge static notions of Black, Jewish, and American identity. Through her mock heroic quest, Oreo’s eponymous protagonist develops WIT (“Way of the Interstitial Thrust”), a system of self-defense that draws on her multifaceted identity as a Jewish, African American woman and that she uses to successfully navigate spaces that threaten her with physical violence and symbolic erasure. In its hilarious exploration of the complexity and commodification of identity in the late twentieth century United States, Oreo provides a still-relevant example of how humor can create new spaces for minoritized subjects who exist in the “interstices” of the landscape of American cultural production.

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Mendiburo-Seguel, Andrés, and Sonja Heintz. "Comic styles and their relation to the sense of humor, humor appreciation, acceptability of prejudice, humorous self-image and happiness." HUMOR 33, no. 3 (August 27, 2020): 381–403. http://dx.doi.org/10.1515/humor-2018-0151.

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AbstractThe present study investigates the relationships of eight comic styles (fun, benevolent humor, nonsense, wit, irony, satire, sarcasm, and cynicism) with acceptability of prejudice (laughing at different groups and topics), humorous self-image (funniness and frequency of laughter), humor appreciation (funniness and aversiveness of cartoons with different structures and contents), and happiness. A representative Chilean adult sample (N=857, 60.8% women; age M=40.50, SD=17.28) was recruited in face-to-face interviews and online surveys. They completed self-reports of all variables as well as a humor appreciation test. Most of the comic styles related to finding the cartoons funnier. Furthermore, the darker styles were more strongly related to laughing at a variety of topics and groups. Also, happiness was positively related to fun and benevolent humor and negatively to cynicism. This study provides evidence of the criterion validity of the Comic Style Markers in Latin-American cultures and highlights differences between lighter and darker styles.

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Sugg, Katherine. "Migratory Sexualities, Diasporic Histories, and Memory in Queer Cuban-American Cultural Production." Environment and Planning D: Society and Space 21, no. 4 (August 2003): 461–77. http://dx.doi.org/10.1068/d366.

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Interrogations of diasporic relations between place, subjectivity, and sexuality have transformed representational practices and paradigms of both Cuban and Cuban-American identity on multiple fronts. Through a consideration of two texts representing the Cuban diaspora-Achy Obejas's 1996 novel Memory Mambo and Carmelita Tropicana's performance piece “Milk of amnesia/Leche de amnesia”, first developed in 1994–I explore the centrality of sexuality in constructions of self, community, and nation. These works effectively ‘queer’ notions of immigrant belonging and Cuban diasporic consciousness, particularly in the sense of exploring the spatial imaginary of diaspora to expose and question the heteropatriarchal, and hence nationalist, underpinnings of more dominant models of diaspora. In their work, Obejas and Tropicana indicate the spatial dimensions of cultural memory and the imbrication of diasporic politics and sexualities. Attending to differences in genre, each work mines a crucial interplay between diasporic and sexual histories. In Tropicana's performance piece she uses a parodic sensibility and the broad humor enabled by the stage to engage, in a new register, with the politics of memory and the uses of place and sexuality, both in relation to Cuba and to the United States. Obejas works through and against the conventions of the contemporary novel (both immigrant and lesbian coming-of-age stories, in particular) to undo many of the assumptions regarding memory, sexuality, and cultural nostalgia as they are represented in her narrative. Both Obejas and Tropicana assert an imbrication of histories of colonialism, migration, and national attachment with experiences and practices of sexuality and gender in ways that underscore the importance of space and place in the constitution of collective memories.

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Sillin, Sarah. "The Cuban Question and the Ignorant American: Empire's Tropes and Jokes in Yankee Notions." Studies in American Humor 7, no. 2 (October 1, 2021): 304–28. http://dx.doi.org/10.5325/studamerhumor.7.2.304.

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Abstract By reading antebellum-era jokes about Cuba in conversation with Judith Yaross Lee's argument that imperialism has persistently shaped American humor, this essay considers how US humorists located pleasure in the nation's fraught foreign relations. Examining a variety of comics, anecdotes, and malapropisms from Yankee Notions demonstrates how this popular, long-running magazine mocked US Americans’ efforts to assert their cosmopolitan knowledge of Cuba while nonetheless naturalizing US global power. Together, such jokes participated in a larger cultural project that shaped late nineteenth-century images of Cuba in a way that was designed to generate support for the idea of US intervention. More broadly, the magazine demonstrates how jokes about ignorance and knowingness became a way to justify US imperialism and resist foreign power.

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Montes-Alcalá, Cecilia. "Code-switching in US Latino literature: The role of biculturalism." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.

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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.

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AL-HUSSEINI, MIFTEN I., and HAITHAM K. AL-ZUBBAIDI. "Towards a Humanitarian Race." Al-Adab Journal 3, no. 142 (September 15, 2022): 37–46. http://dx.doi.org/10.31973/aj.v3i142.3816.

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The purpose of this article is to analyze selected poetic works of Billy Collins (1941- ), the most popular American poet in the present time, to show a clear line of moral humanitarian preaching that runs under the surface of his often humorous and entertaining poems. The topics discussed in this article include manners, respecting privacy, personal responsibility, self-acceptance, practical living advice, gratitude for life and finding meaning in death. The poems analyzed in this study address a wide range of human issues that are relatable in a global sense. The way Collins delivers these universal messages includes many postmodern devices such as humor, wit, sarcasm, satire and irony. Collins style of writing is freestyle and involves many settings and themes of the everyday and matters that the common person would encounter. The accessibility of his writing has gained him widespread public appeal and his lessons for humanity set him apart from the poetry that is only for entertainment value.

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 3-4 (January 1, 2006): 253–323. http://dx.doi.org/10.1163/22134360-90002497.

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Ileana Rodríguez; Transatlantic Topographies: Islands, Highlands, Jungles (Stuart McLean)Eliga H. Gould, Peter S. Onuf (eds.); Empire and Nation: The American Revolution in the Atlantic World (Peter A. Coclanis)Michael A. Gomez; Reversing Sail: A History of the African Diaspora (James H. Sweet)Brian L. Moore, Michele A. Johnson; Neither Led Nor Driven: Contesting British Cultural Imperialism in Jamaica, 1865-1920 (Gad Heuman)Erna Brodber; The Second Generation of Freemen in Jamaica, 1907-1944 (Michaeline A. Crichlow)Steeve O. Buckridge; The Language of Dress: Resistance and Accommodation in Jamaica, 1760- 1890 (Jean Besson)Deborah A. Thomas; Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica (Charles V. Carnegie)Carolyn Cooper; Sound Clash: Jamaican Dancehall Culture at Large (John D. Galuska)Noel Leo Erskine; From Garvey to Marley: Rastafari Theology (Richard Salter)Hilary McD Beckles; Great House Rules: Landless Emancipation and Workers’ Protest in Barbados, 1838‑1938 (O. Nigel Bolland)Woodville K. Marshall (ed.); I Speak for the People: The Memoirs of Wynter Crawford (Douglas Midgett)Nathalie Dessens; Myths of the Plantation Society: Slavery in the American South and the West Indies (Lomarsh Roopnarine)Michelle M. Terrell; The Jewish Community of Early Colonial Nevis: A Historical Archaeological Study (Mark Kostro)Laurie A. Wilkie, Paul Farnsworth; Sampling Many Pots: An Archaeology of Memory and Tradition at a Bahamian Plantation (Grace Turner)David Beriss; Black Skins, French Voices: Caribbean ethnicity and Activism in Urban France (Nadine Lefaucheur)Karen E. Richman; Migration and Vodou (Natacha Giafferi)Jean Moomou; Le monde des marrons du Maroni en Guyane (1772-1860): La naissance d’un peuple: Les Boni (Kenneth Bilby)Jean Chapuis, Hervé Rivière; Wayana eitoponpë: (Une) histoire (orale) des Indiens Wayana (Dominique Tilkin Gallois)Jesús Fuentes Guerra, Armin Schwegler; Lengua y ritos del Palo Monte Mayombe: Dioses cubanos y sus fuentes africanas (W. van Wetering)Mary Ann Clark; Where Men Are Wives and Mothers Rule: Santería Ritual Practices and Their Gender Implications (Elizabeth Ann Pérez)Ignacio López-Calvo; “God and Trujillo”: Literary and Cultural Representations of the Dominican Dictator (Lauren Derby)Kirwin R. Shaffer; Anarchism and Countercultural Politics in Early Twentieth-Century Cuba (Jorge L. Giovannetti)Lillian Guerra; The Myth of José Martí: Conflicting Nationalisms in Early Twentieth-Century Cuba (Jorge L. Giovannetti)Israel Reyes; Humor and the Eccentric Text in Puerto Rican Literature (Nicole Roberts)Rodrigo Lazo; Writing to Cuba: Filibustering and Cuban Exiles in the United States (Nicole Roberts)Lowell Fiet; El teatro puertorriqueño reimaginado: Notas críticas sobre la creación dramática y el performance (Ramón H. Rivera-Servera)Curdella Forbes; From Nation to Diaspora: Samuel Selvon, George Lamming and the Cultural Performance of Gender (Sue Thomas)Marie-Agnès Sourieau, Kathleen M. Balutansky (eds.); Ecrire en pays assiégé: Haiti: Writing Under Siege (Marie-Hélène Laforest)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 3 & 4

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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 3-4 (January 1, 2008): 253–323. http://dx.doi.org/10.1163/13822373-90002497.

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Ellis, Iain. "Resistance and relief: The wit and woes of early twentieth century folk and country music." Humor - International Journal of Humor Research 23, no. 2 (January 2010). http://dx.doi.org/10.1515/humr.2010.008.

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AbstractFolk and country music were rural-based music styles that developed during the pre-rock decades of the early twentieth century. Largely performed by working-class practitioners for working-class audiences, these genres captured the hardships of poor constituencies through markedly different means of humorous expression. Whereas folk employed an often strident satire in resisting perceived oppressors, country looked inwards, using self-deprecating and personalized humor as a shield and relief against outside forces. Narrative tall-tales and regional vernacular were ubiquitous features of folk and country humor, and both crafted struggling characters to serve as illustrative metaphors for broader class concerns. In surveying these music forms in their infancy—as well as their key players—we are connected to the roots of American humor, as well as subsequent developments in rock & roll rebellion.

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COHEN, Gustavo Vargas. "“THAT VONNEGUT STYLE”: SLAUGHTERHOUSE-FIVE REVISITED." Revista de Letras Norte@mentos 4, no. 7 (August 23, 2011). http://dx.doi.org/10.30681/rln.v4i7.6712.

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Once the contemporaneity of the 1969 novel Slaughterhouse-Five by American writer Kurt Vonnegut is established, the text outlines the narrative strategies, the stylistic preferences and the peculiar techniques of wording that, together, build up the author’s distinctive individual style nowadays so frequently associated to him. The study also highlights his incomparable sense of humor, his sagacity and satiric wit, as the foremost elements of creation that provide unique hue to his stories. Finally, metatextual instances are selected for investigation as well as his atypical fictional technique referred here as space-temporal dislocation.

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Дисертації з теми "Cuban American wit and humor"

Boswell, Brian T. "From scat to satire toward a taxonomy of humor in twentieth century American media /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/637.

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Bartholomew, Sherlene Hall. "An Annotated Bibliography of Literary Mormon Humor." Diss., CLICK HERE for online access, 1998. http://contentdm.lib.byu.edu/u?/MTAF,40619.

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Dahl, Tracy A. "Lake Wobegon nation : imagining a community of Norwegian bachelor farmers /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1421129.

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Chastain, Stephanie G. "The gendering of humor : toward a feminist narrative /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6673.

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Carruthers, John R. "The effects of a course in American jokes on a class of intermediate level ESL students." PDXScholar, 1987. https://pdxscholar.library.pdx.edu/open_access_etds/3657.

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Teachers of English to speakers of other languages have often incorporated humor in the curriculum, yet a recent computer search revealed that there were no empirical studies which have shown that curricular humor enhances English language learning. The three specific questions of the thesis are: does the use of curricular humor 1) improve memory/recall, 2) improve over-all English proficiency, and 3) result in the subjects' having more positive attitudes towards Americans, and if so, does a more positive attitude correlate with improved memory/proficiency?

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Sobiech, Michael James. "A Mock Rhetoric: The Use of Satire in First-Year Composition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/45.

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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.

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Lorts, Justin T. "Black laughter/Black protest civil rights, respectability, and the cultural politics of African American comedy, 1934-1968." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17523.

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Hunt, Irvin. "Investing in Stereotypes: Comic Second-Sight in Twentieth-Century African American Literature." Thesis, 2014. https://doi.org/10.7916/D8M906TZ.

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"Investing in Stereotypes" unearths a tradition of humor that may initially sound counter-intuitive: it sees stereotypes as valuable. Zora Neale Hurston, Ralph Ellison, Charles Wright, and Suzan-Lori Parks reveal the way racial and sexual stereotypes paradoxically complicate their subjects in the very attempt to simplify them. The compulsive repetition of stereotypes and the contradictory meanings that stereotypes embody create absurdly comical effects that are, in the hands of these writers, surprisingly humanizing. To unveil the tensions in, say, Sambo, the happy plantation slave who is at once harmless and savage, completely known and enigmatic, is to invest in the stereotype's comic implication that the subjects it hopes to fix are endlessly changing and exhaustingly complex--that those subjects are, in fact, human. Departing from the most common techniques used to resist stereotypes (inversion, exaggeration, and modification), investment, as I theorize it, is a comic form of engagement that enacts Du Bois's concept of second-sight: the ability to perceive the blind-spots of another's cultural perspective from the vantage point of one's own. I begin the dissertation with Hurston because the sort of second-sight her characters practice is the precondition for Ellison's democratic America, Wright's empathic witnessing, and Parks's sovereign communities. Hurston uses tactics of trickery, even more nuanced than Henry Gates's field-framing concept of "Signifyin(g)," to encourage her readers to account for their cultural blind-spots by forcing them to move between the contradictions within a stereotype. For example, when the speaker of "How It Feels to Be Colored Me" vacillates between being "savage" and "cosmic" as she dons the Sambo stereotype, she creates epistemological uncertainty about the cultural knowledge the reader uses to racialize others. By helping people in conflicting positions of power understand their common humanity and their mutually limiting misrecognitions, comic second-sight can work to bridge social divides. "Investing in Stereotypes" shows why the humor of the oppressed deserves more than the scant scholarly attention it has received and also unearths a mode of oppositional consciousness crucial for the emancipationist project of African American literary studies.

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Perks, Lisa Glebatis. "A sketch comedy of errors: Chappelle's show, stereotypes, and viewers." Thesis, 2008. http://hdl.handle.net/2152/3946.

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Celebrities such as Halle Berry, Dave Chappelle, Kathy Griffin, and Don Imus have recently evoked public ire for making what some people have seen as tasteless jokes. Their notorious humorous communication shares two notable qualities: the discourse was mass mediated and the “jokes” were all premised on stereotypes. This two-part dissertation addresses the complicated subject of understanding the meanings viewers co-create with humorous mediated communication that is premised on racial stereotypes. I focus on Chappelle’s Show as my primary text of analysis, but the findings here have applicability to the wider genre of humorous mediated communication that is premised on stereotypes. In the first part of the dissertation I survey humor theory and humor criticism, noting weaknesses in the ways that communication scholars have previously studied humorous mediated texts. I then suggest that humor scholarship can be improved through two principal methods: 1. humor scholars of various academic disciplines need to use a unified set of terms that refer to the humor stimulus, humor motivation, and the possible effects of the humor, and 2. critics of humorous mediated texts need to approach them as a unique genre, with a critical lens that accounts for the polysemy inherent in many humorous texts. In the next part of the dissertation, I model a multi-methodological approach to mining the mélange of meanings in Chappelle’s Show. My in-depth case study of racial stereotype-based humor in Chappelle’s Show incorporates textual analysis of a dozen sketches, qualitative analysis of viewer opinions about the show, and a quantitative analysis of viewing behaviors as well as the relationship between viewing the show and prejudice. This multi-methodological approach helps better mine the polysemic meanings of the text because it explores the spectrum of the communication model from stimulus to receiver. I conclude that Chappelle’s Show can both encourage and reduce prejudice. While inconclusive conclusions are an anomaly in media criticism, I advocate the pursuit of such conclusions in humor criticism. Stereotype-based mediated comedic texts demand an exploration of their multiple meanings, not a definitive statement about how they should be interpreted or how they affect an audience.
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Книги з теми "Cuban American wit and humor"

Fundora, Carlos. Humor, plagio y otros vicios. La Habana, Cuba: Ediciones Liber, 2011.

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Toledo, Adán Iglesias. Humor rebelde. Ciudad de La Habana, Cuba: Casa Editora Abril, 2010.

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Reyes, Rolando González. Humor tajadas. Santa Clara, Cuba: Ediciones Capiro, 1994.

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Manuel, Hernández. El otro libro de Manuel. Ciudad de La Habana: Ediciones UNION, 1997.

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Cubanas, Editorial Letras, ed. Las Mujeres y el sentido del humor. Ciudad de La Habana, Cuba: Editorial Letras Cubanas, 1986.

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compiler, Pinilla Tupac, ed. El vecino de los bajos: 99 "nuevas" crónicas ; Enrique Núñez Rodríguez, juventud rebelde 1987-2002. Ciudad de La Habana: Ediciones Unión, 2014.

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Eguren, Gustavo. Los papelillos de San Amiplín. El Vedado, Ciudad de La Habana: Ediciones Unión, 1997.

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Rodríguez, Enrique Núñez. Gente que yo quise--. El Vedado, Ciudad de la Habana: Ediciones UNIÓN, Unión de Escritores y Artistas de Cuba, 1995.

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Zumbado, H. Un zoom a Zumbado: Breve pero sabrosa selección de la obra de Héctor Zumbado. La Habana, Cuba: Liber, 2012.

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Rodríguez, Enrique Núñez. A guasa a garsín! Ciudad de La Habana [Cuba]: Ediciones Unión, 2003.

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Частини книг з теми "Cuban American wit and humor"

Tucker, Mark. "Abbe Niles on Ellington (1929)." In The Duke Ellington Reader, 40. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195054101.003.0007.

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Abstract From the mass of American music, or something, that has been thus passed through my ears, I select a few examples as the richest in the strangeness, the bitter, salty wit and humor, and the flashes of defiant, unwilling beauty which characterize good jazz; examples, in short, by hearing which anyone who will take the trouble may learn whether he likes jazz or not. They are presented, not as great music, nor as the American music, but as good jazz. Some are harsh, raucous and unrefined. Only two might be said to have individual importance.But they have ideas and vitality, of a peculiarly American flavor; and on the proposition that that flavor is worth knowing, I rest their case....

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Carpio, Glenda R. "“Laffin’ Fit Ter Kill” Black Humor in the Fiction of William Wells Brown and Charles W. Chesnutt." In Laughing Fit To Kill, 29–71. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195304701.003.0002.

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Abstract African American oral culture is rich in tales that use humor to represent the violence of slavery. The trickster animal tales featuring Brer Rabbit and Brer Fox, first popularized by Joel Chandler Harris in Uncle Remus, His Songs and Sayings: The Folklore of the Old Plantation (1880), are but one, albeit complicated, example. The tales, in which weaker animals like the Rabbit often outsmart stronger ones such as the Fox through wit and cunning, allegorize the great imbalance of power between master and slave and the ways that the enslaved found to sabotage it. As Mel Watkins notes, the tales “probably represent” the slaves’ “most aggressive and cynical view of white America” short of physical rebellion. Yet Harris, a white journalist who collected the tales (and therefore did help to preserve them), defused them of their critical edge by presenting them as amusing stories that Uncle Remus, a faithful retainer “who has nothing but pleasant memories of the discipline of slavery,” would recount to a little white boy, the son of plantation owners, for entertainment. While the tales depict anthropomorphized animals that kill and maim each other brutally, Harris claimed that the stories depict only the “roaring comedy” of animal life. White southerners laughed, amused by the Rabbit’s guile and cleverness. The enslaved laughed too, but for very different reasons. As scholarship has shown, slaves used the tales not only to release aggression but also as a medium for turning southern racial taboos on their head. Thus, while they laughed at Rabbit’s elaborate tricks, they made the Fox, usually the hero of European trickster stories, the dupe of the weak and repeatedly staged his violent death.

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