Academic literature on the topic 'Americn wit and humor, Pictorial'

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

Orientador: José Alves de Freitas Neto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Esta pesquisa analisa as representações do gaucho nos quadrinhos de Inodoro Pereyra, personagem criada pelo humorista argentino Roberto Fontanarrosa na década de 70 do século XX. Nascido como uma paródia da literatura gauchesca, do radioteatro e do folclore argentino, a trajetória do renegau retoma a metáfora sarmientina civilização e barbárie, que atravessa não só a história deste país, mas se inscreve na tradição política de toda a América Latina. Neste sentido, através dos quadrinhos deste gaucho é possível rediscutir importantes questões que marcaram a história da República Argentina, tais como as oposições entre pampa e litoral, unitários e federais, nacionalismo e cosmopolitismo, e que compõem a imagem de uma nação dividida. Além disso, a epopéia vivida pela personagem permite que redimensionemos o tema "as duas Argentinas", tendo em vista que este quadrinho está transpassado por imagens relacionadas ao imaginário social desta nação
Abstract: This research analyzes the representations of the gaucho in the comics of Inodoro Pereyra, a character created by the Argentine comedian Roberto Fontanarrosa, in the 70s of the twentieth century. Born as a parody of Gauchesca literature, of radiotheater and of Argentine folklore, the renegau's trajectory retakes the sarmientina metaphor of civilization and barbarism, which crosses not only the History of this country, but also inscribes itself in all Latin America's political tradition. In this sense, through the comic of this gaucho, it is possible to rediscuss important issues that have marked the history of the Argentine Republic such as the oppositions between pampa and coast, unitary and federal, nationalism and cosmopolitanism, which composes the image of a divided nation. Moreover, the epopee experienced by the character allows us to resize the theme "two Argentinas". Considering that, this comic is transfixed by images related to the social imagination of this nation
Mestrado
Politica, Memoria e Cidade
Mestre em História

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

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

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

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

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