Статті в журналах: "Literary laughters"

1

Ojaide, Tanure, and Niyi Osundare. "Waiting Laughters." World Literature Today 66, no. 1 (1992): 192. http://dx.doi.org/10.2307/40148076.

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2

OSUNDARE, NIYI. "Poems from Waiting Laughters." Matatu 23-24, no. 1 (April 26, 2001): 97–105. http://dx.doi.org/10.1163/18757421-90000359.

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3

Akingbe, Niyi. "MYTHOLOGIZING YORUBA ORATURE: LOBOTO MIZING SWIVELLED PULSES OF LAUGHTER IN NIYI OSUNDAREâ€™S WAITING LAUGHTERS AND REMI RAJIâ€™S A HARVEST OF LAUGHTERS." Imbizo 6, no. 2 (June 21, 2017): 22–42. http://dx.doi.org/10.25159/2078-9785/2803.

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Every literary work emerges from the particular alternatives of its time. This is ostensibly reflected in the attempted innovative renderings of these alternatives in the poetry of contemporary Nigerian poets of Yoruba extraction. Discernible in the poetry of Niyi Osundare and Remi Raji is the shaping and ordering of the linguistic appurtenances of the Yoruba orature, which themselves are sublimely rooted in the proverbial, chants, anecdotes, songs and praises derived from the Yoruba oral poetry of Ijala, Orin Agbe, Ese Ifa, Rara, folklore as well as from other elements of oral performance. This engagement with the Yoruba oral tradition significantly permeates the poetics of Niyi Osundareâ€™s Waiting laughters and Remi Rajiâ€™s A Harvest of Laughters. In these anthologies, both Osundare and Raji traverse the cliffs and valleys of the contemporary Nigerian milieu to distil the social changes rendered in the Yoruba proverbial, as well as its chants and verbal formulae, all of which mutate from momentary happiness into an enduring anomie grounded in seasonal variations in agricultural production, ruinous political turmoil, suspense and a harvest of unresolved, mysterious deaths. The article is primarily concerned with how the African oral tradition has been harnessed by Osundare and Raji to construct an avalanche of damning, peculiarly Nigerian, socio-political upheavals (which are essentially delineated by the signification of laughter/s) and display these in relation to the countryâ€™s variegated ecology.

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4

Oji, Ruth Karachi Benson. "Painting the state in the text." Pragmatics and Society 12, no. 4 (October 29, 2021): 649–68. http://dx.doi.org/10.1075/ps.20007.oji.

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Abstract Literary works across cultures are never written in a vacuum. They depict the reality of the society where they are set. With the societal obligation of the writers to serve as righters, especially in Africa, this study attempts a pragmatic inquiry of the state of the Nigerian society as implicitly and artistically painted in Remi Raji’s poetry collection, A Harvest of Laughters. The known literature on Remi Raji’s A Harvest of Laughters have analysed the collection mainly from literary and ideological perspectives. Attention has not been given to the collection from a pragmatic perspective, hence the intervention of this study. Drawing insights from Jacob Mey’s Pragmatic Acts Theory, the study analyses the pragmatic imports in the collection with fourteen (14) randomly selected excerpts across different segments of the collection constituting the data. Data was purposively selected from different poems in the collection. The findings show that the two major discursive issues in the text are the depiction of the government as cruel and the portrayal of the citizenry as victims. The former was conveyed through the practs of oppressing, embezzling and deceiving, while the latter was revealed through the practs of suffering and hoping. The study concludes that pragmatics is a valuable tool in the demystification of texts.

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Adebayo Adefemi, Oguntuase, Obura Oluoch, and Amateshe Kisa. "We Live, only if the Environment Lives; An Enquiry into Niyi Osundare’s Eco-poems." INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE AND COMMUNICATION STUDIES 7, no. 1 (July 2, 2022): 1–15. http://dx.doi.org/10.56201/ijelcs.v7.no1.2022.pg1.15.

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This paper sets out to investigate the symbiosis between humankind and the environment that they inhabit. The relationship between the denizens of the earthly environment and the lifelong interdependence of both flora and fauna are examined in this work. Two of the volumes of poetry by Niyi Osundare are used in the treatment of the themes of this study. These are: Waiting Laughters (1990) and The Eye of the Earth (1996). The literary theoretical approach known as ecocriticism is deployed in the study of the poems selected from both collections. The study is further underpinned by the Reader Response critical theory. The paper concludes that a mutually rewarding co-existence is the only prescription for an augury of pleasure and sustainability between the environment, on the one hand and humankind, on the other.

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Rodnyi, Oleg V. "LAUGHTER TAXONOMY DISCOURSE IN THE RENAISSANCE LITERARY CONSCIOUSNESS." Alfred Nobel University Journal of Philology 1, no. 23 (June 2022): 8–23. http://dx.doi.org/10.32342/2523-4463-2022-1-23-1.

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The article is devoted to the analysis of the comic Renaissance literature through the prism of individual works in order to identify the main comic functions. The Renaissance laughter culture formation is one of the urgent and underdeveloped problems of modern humanities adressed to the study of the Renaissance. The purpose of our work and the tasks dictated by it – in the context of the «laughter word» of the Renaissance to reveal the main comic functions in the literature of this period that were formed by a new worldview and new relationships amoung people. The stated goal determines the need to use hermenegutic (analysis of literary texts), typological (comparison of various comic functions), historical (solution of a literary problem in the context of a historical epoch) research methods. The “discovery of the world and man” that was characteristic of the Renaissance also took place in fiction. Renaissance realism turned it’s face to the everyday life of a person, and literature willingly accepted a new theme for itself including comedy. The article highlights various social functions of laughter that were used in Renaissance literature. Recreational laughter function is the original and oldest one. Laughter is evidence of pleasure, relaxation, rest. This laughter’s function is necessary for the normal functioning of not only an individual, but society as a whole. Such works as fables, schwankis, facies, “Gargantua and Pantagruel” by Rabelais, “Don Quixote” by Cervantes, comedies by W. Shakespeare, their main task was entertaining first of all. Their laughter is a clear evidence of inner freedom and healthy vitality. Laughter is a social phenomenon, and therefore it must meet the well-known requirements of people livihg together. Therefore, one of the main of functions is social. Laughter should be a kind of social gesture; it frees society from mechanical rigidity. We single out this function in Luigi Pulci’s poem “Morgante”. Funny and serious, faith and disbelief, naivety and scientific coexist side by side in this work, defining its heroic-comic character. The ontological aspects of laugher are closely related to cognitive ones. The cognitive laughter function has a great importance in revealing social negative aspects, in bringing them to the point of absurdity and thereby revealing their inconsistency and the obligation to eliminate them. This laughter function is represented in Sebastian Brant`s poem “The Ship of Fools”, in Rotterdams satire “The Praise of Folly”, in F. Rabelais` novel “Gargantua and Pantagruel”. Laugh as an effective social sanction (the sanctioning function of laughter) is presented in Cervantes` novel. The main thing in Don Quixote is not so much a parody of chivalry as a realistic disclosure of new social conditions and worldview discoveries, which was a parody of a past life. At the end of the novel, realizing his madness, Don Quixote thereby frees himself from his comic. The novel takes on a pronounced tragic connotation. The title character recognizes his doom and ceases to be pathetic, he becomes a knight of the “sad image”, he dies not a pathetic madman, but a humble Christian. The various functions of laughter, presented in the Renaissance literature were an effective tool in the fight against the remnants of the Middle Ages and the establishment of a new worldview.

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7

Halliwell, Stephen. "The Uses of Laughter in Greek Culture." Classical Quarterly 41, no. 2 (December 1991): 279–96. http://dx.doi.org/10.1017/s0009838800004468.

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The proposition that man is the only animal capable of laughter is at least as old as Aristotle (Parts of Animals 673a8). In a strictly physical sense, this is probably false; but it is undoubtedly true that as a psychologically expressive and socially potent means of communication, laughter is a distinctively human phenomenon. Any attempt to study sets of cultural attitudes towards laughter, or the particular types of personal conduct which these attitudes shape and influence, must certainly adopt a wider perspective than a narrowly physical definition of laughter will allow. Throughout this paper, which will attempt to establish part of the framework of such a cultural analysis for the Greek world of, broadly speaking, the archaic and classical periods, ‘laughter’ must be taken, by a convenient synecdoche, to encompass the many behavioural and affective patterns which are associated with, or which characteristically give scope for, uses of laughter in the literal sense of the word. My concern, then, is with a whole network of feelings, concepts and actions; and my argument will try to elucidate the practices within which laughter fulfils a recognizable function in Greek societies, as well as the dominant ideas and values which Greek thought brings to bear upon these practices. The results of the enquiry will, I believe, give us some reason to accept a rapprochement between the universalist assumption for which my epigraph from Johnson speaks (and which most grand theorists of laughter appear to have made) and the recognition of cultural specificity in laughter's uses for which many anthropologists would argue, as emphatically asserted, from a Marxizing point of view, in the quotation from Vladimir Propp.

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8

Voloshchuk, Ievgeniia. "„…читая в ногу души прекрасные порывы”: смех аутсайдера и русский ХХ век в Неизвестных письмах Олега Юрьева". Studia Rossica Posnaniensia 47, № 1 (26 червня 2022): 111–28. http://dx.doi.org/10.14746/strp.2022.47.1.8.

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The paper deals with the specifics of outsiders’ laughter in the book Unknown letters (Неизвестные письма/Unbekannte Briefe, Russian 2014, German 2017) by a Russian-German writer Oleg Yuryev. In particular, it analyzes how Russian cultural and historical traumas of the 20th century were reinterpreted in the book from the perspective of an ironical outsider. In doing so, it focuses on a fictional letter by the writer Leonid Dobychin, which is contextualized with fictional letters of Jakob Michael Reinhold Lenz and Ivan Pryzhov, representing previous historical and cultural periods. Yuryev’s ironic reflections on the Russian historical reality and literary scene of the 20th century manifest themselves at different levels, from the positioning of outsiders’ laughter in relation to the official and marginal hierarchies of the literary canon to the postmodernist play with the traditions of literary classics. In addition, the paper addresses the inter- and/or transcultural aspect of outsiders’ laughter in Yuryev’s book.

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9

Nikolyukin, Alexander. "S.P. SHEVYREV ABOUT THE LAUGHTER IN RUSSIAN LITERATURE." Literaturovedcheskii Zhurnal, no. 2 (2022): 112–24. http://dx.doi.org/10.31249/litzhur/2022.56.07.

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For the first time the topic of laughter in Ancient Russia was voiced in an article by S.P. Schevyrev “The Theory of the Ridiculous, with Application to Russian Comedy” (1851) and in his book “History of Russian Literature” (1846-1860), where he completely opened ancient Russian literature to the reader. In this book the notion of laughter comes through as one of the permanent features of Old Russian and modern Russian literature. Shevyrev calls Daniil Zatochnik (12th century), the master of “weeping laughter and smiling sadness”, the first Russian humorist and compares the lucid laughter of Gogol with Daniil’s humor and laughter. All Russian comedies (by Fonvizin, Griboedov, Gogol) Shevyrev considers as phenomena of funny, bright laughter. This is directed against the old tendency in literary studies to see in every great comedy first of all a satire, a denunciation. In the works of Shevyrev the concept of laughter was expressed by the word “funny”.

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10

Platten, D. "French Laughter: Literary Humour from Diderot to Tournier." French Studies 64, no. 4 (September 29, 2010): 520–21. http://dx.doi.org/10.1093/fs/knq116.

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11

Kukuryk, Agnieszka. "(Re)passer la mémoire à travers le rire – le cas d’Alain Berenboom." Romanica Cracoviensia 21, no. 3 (2021): 197–208. http://dx.doi.org/10.4467/20843917rc.21.020.14192.

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(Re)passing memory through laughter: The case of Alain Berenboom Laughter, a term that at first sight seems incompatible with the Holocaust, has overcome some seemingly insurmountable barriers and has paradoxically become the essence of many literary and cinematographic works dealing with this painful subject. The aim of this article is to present the role of humor in the transmission of the memory of the Holocaust from selected novels by Belgian writer Alain Berenboom. By analyzing his works, we will show that laughter makes it possible to break with the horror experienced during the Shoah and to protect oneself from a real trauma. We will also highlight its role in demystifying and revealing the illusions of post-war society that can lead to its destruction.

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12

Orlova, N. V., and O. E. Bogomolova. "WHAT'S SO FUNNY? A COMPARATIVE LOOK AT THE HUMOROUS INTENTIONS OF THE TEXTBOOK AND THE STUDENT." Bulletin of Kemerovo State University, no. 3 (July 28, 2016): 63–69. http://dx.doi.org/10.21603/2078-8975-2016-3-63-69.

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A section of a school textbook on literary reading “Jokingly and seriously” was compared with the written memories of 3rd-grade students of “Lyceum № 29” (Omsk) about the situations in which they laughed. The objects of comparison were such aspects of humorous discourse as the object of the ridicule, the tone of the comic, values and concepts; the presence/absence of humor in the linguistic component. General research approach is the discourse analysis. A positive correlation between age features of the humor, the humorous intentions of the textbook and interview data were revealed, which allows to ascertain the productivity of learning strategies. Spontaneous laughter communication is dominated by good-natured laughter over the animals, the concepts of causeless laughter, wit, intelligence, being-grown-up, etc., which corresponds to “student humor”. On the other hand, more efforts are needed to develop children's linguistic humor (language skill games) and the attention to situations in which laughter can produce conflict communication.

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13

O’Connell, Daniel C., and Sabine Kowal. "Laughter in the film The third man." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 16, no. 2-3 (June 1, 2006): 305–27. http://dx.doi.org/10.1075/prag.16.2-3.07con.

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Two types of laughter were investigated in both the English- and the German-language versions of the film noir The third man (Korda, Selznik, & Reed 1949, 1962): ha-ha laughter and laughter overlaid on spoken words. The present authors’ transcripts constituted the database of the investigation. These were compared with other available versions: In English, the original novel (Greene 1950), the screenplay (Greene 1984), and a www.geocities.com transcript; in German, the novel in translation (Greene 1962) and a partial transcript (Timmermann & Baker 2002). Very little laughter is noted in any of these other versions, and what does occur is innocuous (embarrassed, ironic, humorous, or pleasant) laughter. The authors’ transcripts in both the English- and German-language versions, however, reveal abundant negative (cynical, hypocritical, or mendacious) laughter on the part of the criminal characters: The first (Baron Kurtz), the second (Mr. Popescu), and above all, the third man (Harry Lime). This laughter constitutes a notable change from both the medial and conceptual literacy of the novel and other written versions to the medial and conceptual orality of the film itself as a portrayal of spontaneous spoken dialogue. Laughter always reveals the personal perspective of the laugher and is used deliberately and skillfully as a rhetorical device. With the help of the villain’s sardonic laughter, the third man’s evil character is established in less than twelve minutes of dialogue. Such laughter is a far cry from the “instinctive, contagious, stereotyped, unconsciously controlled” ha-ha laughter described by Provine (2004: 215), from his “curious hybrid” (ibid.: 216) thereof (laughter overlaid on spoken words), and from the nonseriousness of laughter postulated by Chafe (2003a).

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Solovieva, Elena. "Fondements socio-politiques et économiques de la tradition satirique." Lublin Studies in Modern Languages and Literature 43, no. 1 (April 30, 2019): 147. http://dx.doi.org/10.17951/lsmll.2019.43.1.147-152.

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<p>Satire is a literary genre with esthetic value determined by laughter. Every kind of laughter is specific for different periods of economic and social development. The forms of material production underlie the perception of the comic. Satirical traditions are intrinsic to national ideological systems. Satire commits seditious attacks against social ideologies. It influences the politics and the politics influences the satire which is only possible with a certain level of sociopolitical development of a society. Satirical tradition can be formed and established only at conditions of democratic political tradition, otherwise it takes perverted shapes.</p>

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15

Baker, Charlotte. "Angry laughter: Postcolonial representations of dictatorial masculinities." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 233–49. http://dx.doi.org/10.1386/ijfs_00003_1.

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Abstract Focusing on the representation of the masculinity of dictator figures in Cheik Aliou Ndao's Mbaam dictateur (1997) and Baba Galleh Jallow's Angry Laughter (2004), this article explores the imbrication of social realities, power structures and literary expression that characterizes these texts as dictator-novels. It considers the writers' reappropriation of the border between animal and human as a means by which to level an allegorical political critique in the guise of a fable. In so doing, it emphasizes their representation of the hypermasculine body of the dictator and its centrality to emerging nation states that are defined by class and ethnic relations. Finally, its focus turns to the importance of voice to examine the aesthetic of these two dictator-novels, which is of equal importance to our understanding of these texts as their thematic representation. The article thus takes these two literary works as case studies for the dictator-novel at the turn of the twenty-first century to examine the ways in which African writers use the dictator-novel to express the disenchantment of citizens with the long and faltering process of decolonization that, in many countries across Africa, had seen the emergence not of an ideal postcolonial democracy, but instead of a de-humanizing neo-colonial autocracy.

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16

King, Bruce, and Leone Ross. "Orange Laughter." World Literature Today 74, no. 2 (2000): 344. http://dx.doi.org/10.2307/40155595.

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17

Vinokour, Maya. "Books of Laughter and Forgetting: Satire and Trauma in the Novels of Il'f and Petrov." Slavic Review 74, no. 2 (2015): 334–53. http://dx.doi.org/10.1017/s0037677900001455.

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The Soviet 1920s and '30s saw heated debate around the issue of laughter, with writers and political actors alike asking, should the Soviet person laugh at all, and if so, how? This article considers the birth of Soviet laughter as reflected in Il'ia Il'f and Evgenii Petrov's popular satirical novels,The Twelve Chairs(1928) andThe Golden Calf(1931). I argue that Il'f and Petrov's relatively consistent critical unassailability throughout the Soviet period rests on two techniques. First, they acknowledge trauma without dwelling on it—it is always already in the past, with dramatic focus placed instead on the socialist future. Second, they encourage collective, outward-oriented laughter, stimulating Soviet citizens to unite themselves against the possible enemies of socialism. Thus, despite its inclusion of some subversive elements (like the ideologically volatile trickster Ostap Bender), Il'f and Petrov's satire was at the vanguard of what became official literary ideology.

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18

Viana, Amadeu. "Humour and laughter as vestiges of evolution." European Journal of Humour Research 5, no. 1 (May 29, 2017): 1. http://dx.doi.org/10.7592/ejhr2017.5.1.viana.

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This paper argues in favour of considering humour and laughter as embodied signs of the ancient, sympathetic, figurative mode of the human mind, still working with us in dance, music, singing and literary activity. Starting from steady evolutionary provisos, both the continuity and the departing lines between nonhuman vocalisations and human laughter are considered. Along the Duchenne and non-Duchenne expression types, we analyse the developmental extension of laughter, both social and cognitive, probably under complex imitative forms through millennia until the emergence of articulated languages. Then, we try to explain the particular attachment of humour and laughter to evolutionary achievements in the symbolic domain. Thus, from a cognitive and semiotic framework, here it is argued that the old signal of play and joy might have evolved on a par with full connectivity and unbounded associations promoted by symbolic activity, clinging to new meanings and abilities, but still governed by the conjoined social work of sanction and solidarity, a pattern that humour shows all over around. As a particular reflex of ancient multimodality, laughter (with humour) seems akin to participative, mythical modes of thinking that were in full force and effect at the beginning of human societies, rooted in metaphors and figurativeness. Since both humour and laughter still find their way in the contemporary contexts of free associations, human projections and extended agentivity, they could be properly considered as the embodied, old counterpart of the imaginative dimension of symbolic activity.

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Petite, Joseph. "Saroyan's Laughter." Explicator 43, no. 3 (April 1985): 41–42. http://dx.doi.org/10.1080/00144940.1985.9938622.

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20

Snell, Heather. "Studying Laughter." Jeunesse: Young People, Texts, Cultures 13, no. 1 (2021): 1–16. http://dx.doi.org/10.1353/jeu.2021.0000.

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Snell, Heather. "Studying Laughter." Jeunesse: Young People, Texts, Cultures 13, no. 1 (June 2021): 1–16. http://dx.doi.org/10.3138/jeunesse.13.1.1.

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Davies, Simon. "French Laughter: Literary Humour from Diderot to Tournier by Walter Redfern." Modern Language Review 104, no. 2 (2009): 572–73. http://dx.doi.org/10.1353/mlr.2009.0319.

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Abreu, Tiago Eric de. "HERACLITO’S TEARS: THE CREATIVE UNITY OF SENTIMENT AND THOUGHT IN THE WORK OF PADRE ANTÓNIO VIEIRA." Diacrítica 31, no. 2 (October 2, 2018): 12. http://dx.doi.org/10.21814/diacritica.229.

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Reflecting on human emotiveness in literary work, this paper examines some questions motivated by the text “Lágrimas de Heraclito”, written by the Portuguese Padre António Vieira. This literary text deals with laughter and weeping, expressing the existential paradox of emotions. The new paradigms of knowledge, as described by the Indian researcher Amit Goswami, provide us with the integrative approach that conceives consciousness as being the unity of life, gathering together thoughts and feelings. In approaching the emotiveness phenomena, the idea of consciousness primacy helps us to elucidate the moral and ethical questions implied in poetic creativeness. Considering that the integrative paradigm amasses multiple spaces for humanities studies, this reading is an attempt to answer how the intuitive and symbolic expressions of emotional creativity appear in literary artwork.

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Loporcaro, Laura. "Quintilian on Laughter (Inst. 6.3)." Old World: Journal of Ancient Africa and Eurasia 2, no. 1 (February 23, 2022): 1–29. http://dx.doi.org/10.1163/26670755-01010010.

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Abstract This paper presents a reading of the chapter on laughter in Quintilian’s Institutio oratoria (Inst. 6.3), the fullest treatise on ancient rhetoric extant. It argues that Inst. 6.3 can be better understood in light of the context of the treatise, and that it can be read as a little mise-en-abyme of, and reversely magnifying lens on, the whole. First, it briefly outlines Quintilian’s two main claims to originality: his aim to educate the ideal orator, who is both technically and morally outstanding, and his thorough, but practical-minded didactic method. Then, it shows how the didactic spin of the treatise can be detected in his discussion of laughter, and how his remarks on the nature of laughter (and the laughable) characterize it as problematic both from a didactic point of view and for the conception of the ideal orator. The difficulties to classify laughter make it hard to teach and control. It is attributed the potential to undermine the very social status and moral character of the orator: it is inexplicable, and potentially dangerous for anyone trying to elicit it. Nevertheless, Quintilian treats laughter as a part of the orator’s rhetorical arsenal, which shows that it is a powerful weapon the benefits of which must outweigh its risks. This raises the question wherein its utility lies exactly, which is addressed in the last section of the paper. Drawing some parallels to modern theories of laughter allows to better understand some dynamics behind laughter in a forensic context that Quintilian only implies. Overall, this paper aims to present a case study on the extent to which the Institutio is an artful and thoroughly thought-through literary construct, and to make a small contribution to recent scholarship on the literariness of ancient didactic prose.

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Jeffrey Meyers. "Kafka's Dark Laughter." Antioch Review 70, no. 4 (2012): 760. http://dx.doi.org/10.7723/antiochreview.70.4.0760.

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Pfister, Manfred. "Beckett's Tonic Laughter." Samuel Beckett Today / Aujourd'hui 11, no. 1 (October 16, 2018): 48–53. http://dx.doi.org/10.1163/18757405-01101009.

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Gonçalves, Davi. "“Echoes over the lake”: The lingering meanings in literature, translation, and the para-text." Revista Letras Raras 6, no. 3 (December 30, 2017): 210–21. http://dx.doi.org/10.35572/rlr.v6i3.868.

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The problem investigated by this article regards the reconstruction of laughter through literary translation, whose “unnatural” but essential interpretative status is deemed by many critics inherently detrimental to the very emergence of comic effects. My overall context, therefore, is that of humorous discourse, as I set off from the premise that humour is one of the first glimpses of how complex human interactions are. But, besides humour, the locale of this study is also that of literary translation; as my reflection upon the emergence of laughter in Leacock’s novel Sunshine sketches of a little town (1912) is also accompanied by my proposal to translate its comic effect. Theretofore, my choice has been that of including a para-text to the Brazilian version of the narrative, where I would elaborate, through footnotes, on the exaggerated inter-textual analogies set in motion by Leacock’s (1912) narrator. My hypothesis is that such references are crucial for the exaggerated tone that is loaded in the narrator’s assertions, as they serve to the incongruous approximation between the town described in the story (the fictional Mariposa) to cities, peoples, institutions, and events of global impact.

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Panayotakis, Costas. "PETRONIAN LAUGHTER." Classical Review 52, no. 1 (March 2002): 77–79. http://dx.doi.org/10.1093/cr/52.1.77.

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Pazdziora, John Patrick, and Eric Pazdziora. "The Anxious Laughter of Silly Songs." Jeunesse: Young People, Texts, Cultures 13, no. 1 (June 2021): 80–113. http://dx.doi.org/10.3138/jeunesse.13.1.80.

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In his 2018 study How to Make Children Laugh, Michael Rosen writes that when he performs silly songs and poems in schools, “I become the channel through which the children can, for a moment, let go of their anxieties about the authority figures in their lives” (23). The laughter mediates between the norms of adulthood and the anxieties of childhood. Although silly songs are perennially popular with children and their caregivers alike, they remain understudied. This article, then, asks how laughter works in the context of English-language silly songs for preschool and early elementary children. Drawing from Rosen’s theorization, it combines the perspectives of literary studies and early childhood music education to analyze well-known silly songs recorded by Sharon, Lois & Bram, Raffi, and others. Grown-up performers invite laughter by acting like goofy big kids who can play along with the children and by inverting the authority relationship between children and adults. Silly songs create deliberately incongruous, cheekily subversive experiences that can help children’s anxieties to be released and rendered nonthreatening.

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30

Akpah, Bartholomew Chizoba. "Satire, humour and parody in 21st Century Nigerian women’s poetry." European Journal of Humour Research 6, no. 4 (December 30, 2018): 133. http://dx.doi.org/10.7592/ejhr2018.6.4.akpah.

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21st century Nigerian women poets have continued to utilise the aesthetics of literary devices as linguistic and literary strategies to project feminist privations and values in their creative oeuvres. There has been marginal interest towards 21st century Nigerian women’s poetry and their deployment of artistic devices such as satire, humour and parody. Unequivocally, such linguistic and literary devices in imaginative works are deployed as centripetal force to criticise amidst laughter, the ills of female devaluation in the society. The major thrust of the study, therefore, is to examine how satire, humour and parody are deployed in selected Nigerian women’s poetry to reproach and etch the collective ethos of women’s experience in contemporary Nigerian society. The study utilises qualitative analytical approach in the close reading and textual analysis of the selected texts focusing mainly on the aesthetics of humour, satire and parody in challenging male chauvinism in contemporary Nigerian women’s poetry. Three long poems: “Nuptial Counsel”, “Sadiku’s Song” and “The Sweet, Sweet Mistress’ Tale” by Mabel Evweirhoma and Maria Ajima respectively were purposively selected. The choice of the selected poems hinges on the artistic vigour, especially the evoking of laughter, mockery and condemnation of hegemonic strictures through the use of satire, humour and parody. The paper employs Molara Ogundipe’s Stiwanism, an aspect of Feminist theory in the analysis of the selected poems. The poets have shown the interventions of humour, satire and parody as linguistic devices in condemning and highlighting peculiarities of women peonage in Nigeria.

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31

Чередниченко, Ольга Анатоліївна. "ПРИРОДА СМІХУ У ДИЛОГІЇ П. ЗАГРЕБЕЛЬНОГО «ЛЕВИНЕ СЕРЦЕ» ТА «ВИГНАННЯ З РАЮ»". Наукові записки Харківського національного педагогічного університету ім. Г. С. Сковороди "Літературознавство" 1, № 97 (2021): 171–89. http://dx.doi.org/10.34142/2312-1076.2021.1.97.10.

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The article is devoted to the study of the nature of laughter in «whimsical» «The Lion’s Heart» and «Exile fromParadise» novels by P. Zagrebelny. The general scientific method of analysis of theoretical and methodological sources, cultural-historical method, elements of the biographical method, as well as a systematic approach to the analysis of the fiction work were used in the research. The analysis of literary scientific works made it possible to identify the main means of « especially valuable whimsy» in Ukrainian prose, which include laughter, folk fiction, historical color, as well as to determine that the source of humor in the «whimsical» novel is folk laughter culture. It is proved that laughter is a universal life-affirming principle and ideological dominant of the author and characters in P. Zagrebelny’s novels, and the author’s humorous view of the world is deeply rooted in the Ukrainian laughter culture. The statement that laughter in P. Zagrebelny’s novels has all the features of «carnival laughter» (M. Bakhtin), because it is national, universal and ambivalent is especially valuable. The study also emphasizes that the use of irony allows the writer to humorously depict ordinary rural life, to reveal the specifics of human relations and the psychology of the characters. Special attention is focused on the analysis of the image of the author-narrator, who is endowed with a number of individual traits of P. Zagrebelny himself. We note that the image of the author is depicted in a humorous way, which gives grounds to define the dilogy as an «autoparody». Analyzing female images in the text, we note that the writer creates the image of a new, modern self-sufficient woman, who, however, does not lose her feminine appeal. It is determined that the main and secondary characters of the dilogy are depicted in the traditions of folk laughter culture and embody both positive and negative traits of human nature. Also we note that at the linguistic level the realization of the traditions of folk laughter culture in the novels is through the active use of vernacular and colloquial vocabulary, nicknames, proverbs, sayings etc.

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32

Litvintseva, Galina Yu. "Medieval Laughter Culture and the AntiWorld of Russian Postmodernism." Observatory of Culture, no. 4 (August 28, 2014): 42–49. http://dx.doi.org/10.25281/2072-3156-2014-0-4-42-49.

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Provides a comparative analysis of the comic world or antiworld in medieval and postmodern literary texts. The postmodern and medieval parodies create seamy, inverted world that is free from the etiquette rules and propriety. Postmodern writers and artists break the “classic” aesthetic canon that restricts freedom of creative expression and artistic perception of the text as a selfsufficient one. Grotesque hyperrealism of Russian postmodernists is a revival of burlesque travesty of medieval topography on a new level.

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33

D'Arcens, Louise. "Medievalist laughter." postmedieval: a journal of medieval cultural studies 5, no. 2 (June 2014): 116–25. http://dx.doi.org/10.1057/pmed.2014.8.

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34

Beliajeva, Irina. "Laughter in the Dark by Vladimir Nabokov: on the Symbiosis of Literature and Opera." Literatūra 46, no. 4 (January 1, 2015): 57–67. http://dx.doi.org/10.15388/litera.2004.4.8175.

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35

Danišová, Nikola. "Notes on the trickster as a literary character in archnarratives. A brief initial analysis." Ars Aeterna 14, no. 1 (June 1, 2022): 21–35. http://dx.doi.org/10.2478/aa-2022-0003.

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Abstract The so-called “trickster” is a special and important archfigure in the mythological and fairy-tale images of each civilization and cultural circle. The trickster is a controversial and often (seemingly) contradictory character that belongs to the “culture of popular laughter” (Bakhtin) or picaresque mythology (Kerényi). The aim of this paper is to present a brief initial analysis of the selected characters on a trans-genre and trans-cultural sample of ancient texts.

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36

Musayeva, Ayten Ayat. "Literary Laughter in the Creative Work of Jalil Mammedguluzadeh and O. Henry." Philological Sciences. Scientific Essays of Higher Education, no. 6 (June 2017): 93–100. http://dx.doi.org/10.20339/phs.6-17.093.

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37

McArthur, Murray. "Symptom and Sign: Janet, Freud, Eliot, and the Literary Mandate of Laughter." Twentieth-Century Literature 56, no. 1 (2010): 1–24. http://dx.doi.org/10.1215/0041462x-2010-2004.

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38

Mavlonova Ugiloy Khamdamovna. "Similarities and differences between types of comic." International Journal on Integrated Education 3, no. 9 (September 6, 2020): 105–7. http://dx.doi.org/10.31149/ijie.v3i9.596.

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On the pages of literary works, the reader is often confronted with funny characters or episodes, funny names of characters, ridiculous features of speech. In all these cases, we are dealing with manifestations of the comic in literature. The reader understands that the writer set himself the task of causing the audience to laugh, to portray something funny. But at the same time, we cannot fail to notice how different such laughter can be. In literary criticism, it is customary to distinguish the following types of comic: humor, irony, satire and sarcasm. Also, experts distinguish between the techniques of the comic. These include hyperbole, absurdity, grotesque, fantasy, self-exposure and some others.

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39

Deng, Shiqian. "Kolakowski: How’s the Ontology of Literature? The Tragic Meaning of "Fairy Tales"." European Journal of Humanities and Social Sciences 2, no. 3 (June 17, 2022): 116–21. http://dx.doi.org/10.24018/ejsocial.2022.2.3.271.

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As a philosopher and thinker, Kolakowski's literary creation practice in the 1960s had a profound meaning of exploration. He hoped to achieve two goals in the Lailonia world he created: one is to show the modern alienation and the absurdity of the world in his vision, and the second is to seek the resolutions of human spiritual liberation: not only philosophical criticism but also laughter and humor are important elements of it.

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40

Nwachukwu-Agbada, J. O. J., and Onyema Chukwu. "Laughter of a Maracass." World Literature Today 64, no. 3 (1990): 516. http://dx.doi.org/10.2307/40146807.

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41

Fisher, Marlene, and Mulk Raj Anand. "Between Tears and Laughter." World Literature Today 66, no. 3 (1992): 580. http://dx.doi.org/10.2307/40148576.

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42

Kadhim, Hussein, Hoda Barakat, and Sophie Bennett. "The Stone of Laughter." World Literature Today 70, no. 1 (1996): 235. http://dx.doi.org/10.2307/40152019.

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43

Ma, Tszinyan. "For what reason does Raskolnikov laugh?" Litera, no. 11 (November 2021): 89–97. http://dx.doi.org/10.25136/2409-8698.2021.11.36874.

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This article analyzes the resources of application of computer technologies for the purpose of visualization of the text semantic field “laughter”. The concept of “laughter” holds a special place in the works of F. M. Dostoevsky, as well as in one of the central semantic fields in the text semantic space of the novel “Crime and Punishment”. Examination of the semantic field within the space of a particular literary text allows determining the peculiarities of the authorial thesaurus within the structure of his linguistic identity. The subject of this article is the concept of “laughter” as the core of the corresponding text semantic field; determination of saturation of the text with the words belonging to a certain semantic field. Despite the fact that multiple questions related to the theory of semantic field are well studied, the scholars take interests in studying the linguistic material, denoted in field linguistics, namely development of the techniques for visualization of the semantic  network through creating cloud tags, semantic text markup, synoptic patterns, rendering, etc. The article offers one of the techniques – visualization based on construction of a plot using a specifically developed computer software. The graphic image illustrates the distribution of units of the semantic field “laughter” in the novel, which enables new interpretations of the content of Dostoevsky’s novel.

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44

Caracchini, Cristina. "Laughter and the Manifesto: Aldo Palazzeschi’s Counter-Futurist Futurist Il controdolore." Quaderni d'italianistica 36, no. 2 (July 27, 2016): 103–26. http://dx.doi.org/10.33137/q.i..v36i2.26901.

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Literary history made a Futurist out of Palazzeschi, and he himself said about his manifesto, Il controdolore (published in Lacerba in 1914) that it represented his “modest and direct” contribution to Marinetti’s movement. This article situates Il controdolore among other mainly contemporary texts devoted to laughter. Referring to theories of manifestos, it looks at Palazzeschi’s text as a theatrical space, underlining its literary and non-pragmatic nature. I intend to show that, in this iconic work, we start to recognize certain recurring features and ideas that position Palazzeschi’s very anomalous avant-garde experience among the ranks of the Futurists, in a space of autonomous opposition to both poles of the binary Futurism/non-Futurism. As a matter of fact, his position, liminal, and somewhat anarchic, makes his work a convincing antecedent of avant-garde movements to come, especially Dadaism.

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45

Moisinovich, Anna M. "Satyricon magazine in Paris: nostalgia or "laughter through tears"." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 16, no. 3 (September 24, 2022): 406. http://dx.doi.org/10.18255/1996-5648-2022-3-406-425.

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The article is devoted to the satirical weekly Satyricon, published in 1931 in Paris. Much attention is paid to the structure, design and contents of the publication. The magazine had not only literary but also artistic significance, with the prominent writers, poets and artists of the time taking part in its creation. Its importance for the Russian diaspora, the beneficial effect of humor on the mentality and well-being of émigrés are noted. The authors of the magazine tried not only to preserve the traditions of pre-revolutionary Russian humor, but also to raise the spirit of their fellow citizens in a foreign land, to cheer them up.

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46

Tartici, Ayten. "Ludic Limbos." Samuel Beckett Today / Aujourd’hui 30, no. 2 (September 24, 2018): 353–64. http://dx.doi.org/10.1163/18757405-03002014.

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Abstract The minor character of Belacqua from Dante’s Purgatorio recurs often in Beckett’s early work. This article emphasizes the comic in its critical reading of Molloy, by studying how Beckett both adapted and parodied the language of the Commedia. Such an approach reveals the complex tension created by Beckett’s simultaneously parodic yet reverential appropriation of Dante’s language. This rhetorical strategy also points to a larger theme in the novel: subversive laughter aimed at theological, philosophical and literary authority.

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47

Larocca, G. "INSIDE AND OUTSIDE GOGOL. LEV PUMPYANSKY AND MIKHAIL BAKHTIN." Literaturovedcheskii Zhurnal, no. 4 (2021): 60–78. http://dx.doi.org/10.31249/litzhur/2021.54.04.

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The present article examines the main works by Lev Pumpyansky and Mikhail Bakhtin which are devoted to Gogol's opus. It explores the theory of laughter and the ensuing literary genres through the lens of the common experience which the authors shared in Nevel (1919-1920) within the so-called “Nevel School of Philosophy”. By analysing “An attempt at constructing a relativistic reality on the basis of the ‘Inspector'” (1919), the incomplete book “Gogol” (1922-1925) by Pumpyansky, and Bakhtin's work on Rabelais, the paper aims to shed some light on how these authors conceived and elaborated the philosophy of laughter starting from the end of the 1910 s. The article investigates Pumpyansky's and Bakhtin's conceptualization of the origin and development of comic prose as well as their understanding of the role played by Gogol's comic and satirical prose, while also uncovering their views about Saltykov-Shchedrin's and Dostoevsky's work.

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Horodniuk, Nataliia. "Dialogism of translation in comparative dimension. Review of Viktoriia Prykhodko's monograph «Reception and interpretation of literary text in foreign language discourse: comparative dimension» (Lutsk, 2019)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 92–95. http://dx.doi.org/10.34079/2226-3055-2020-13-22-92-95.

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The relevance of the monograph is determined, first of all, by the fact that contemporary national literatures are increasingly interacting with each other through translation, and thus the need to consider translated works in comparison with the originals is increasing. Studying the features and patterns of the literary translation is an important area of modern comparative studies. The work focuses on ways of preserving the national and cultural component of the translated text. The works of M. Gogol, Lesia Ukrainka, I. Franko, F. Dostoievskyi, R. Kipling, and J. Conrad were analyzed according to this aspect. A comparative idea of a dialogue is proposed. It is noted that translation is a broad dialogic process between the author and the reader through the interpreter, which includes reception and interpretation. Literary translation is interpreted as the basis for establishing a dialogue between the text and the interpreter, as an expression of the meaning that flows through the prism of the translating consciousness and enriches it, as a co-creation of the writer and interpreter, the purpose of which is mutual understanding, and the result of this understanding is the text-translation. Attention is paid to the issue of intertextuality as a translation problem. Despite the understanding of intertextuality as the interaction between the texts by different authors (text in text) and the interrelation between different works of one author, the thesis proposes to expand the scope of interpretation of this term, adding to it also different interpretations of one work in the same language. In the monograph the problem of reception and interpretation of literary text is considered in the imagological aspect. In particular, the study of reception and interpretation of other national character in a foreign language discourse plays an important role. Foreign language reception and interpretation of laughter culture in general and «Gogol laughter» in particular are thoroughly investigated. A deep analysis of the works of M. Gogol and F. Dostoevsky made it possible to conclude that the carnival colour of Gogol's «pure, folk-festive» laughter and the parody and comic intonation of F. Dostoevsky during translation give rise to certain problems of preserving their identity. It is noted that the perception of colour in a literary work is a peculiar way of interpreting it, and the semantic nuances of colour markings in one language or another require the problem of the reception adequacy and the interpretation of colour when translating from language to language. The practical importance of the monograph is determined by the possibility of using its basic provisions and results as an additional source of information for further comprehension of the translational paradigm in the comparative dimension.

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Ogliari, Elena. "The Social and Historical Effects of Laughter in Revolutionary Ireland: The Case of Our Boys." Jeunesse: Young People, Texts, Cultures 13, no. 1 (June 2021): 114–37. http://dx.doi.org/10.3138/jeunesse.13.1.114.

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This article examines the social and historical effects of laughter as stimulated by and depicted in Our Boys in the crucial years leading up to the Anglo-Irish War. Our Boys was a juvenile periodical edited by the Congregation of Christian Brothers, who aimed to teach Irish youth how to behave and articulate their interests within the terms of reference established by nationalist, Catholic discourse. Laughter was provoked and represented in Our Boys with this objective in mind and thus came to possess a formative and ideological dimension. The investigation focuses on how laughter in the periodical constructed both ideologies and subjectivities.

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50

Howe, Fanny. "[My Laughter Is My Daughters]." Chicago Review 42, no. 1 (1996): 2. http://dx.doi.org/10.2307/25306007.

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