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Journal articles on the topic 'Americn wit and humor'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

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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2

Brugère, Fabienne. "Wit and/or Humor." Sententiae 22, no. 01 (June 16, 2010): 211–14. http://dx.doi.org/10.22240/sent22.01.211.

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3

Long, Debra L., and Arthur C. Graesser. "Wit and humor in discourse processing." Discourse Processes 11, no. 1 (January 1988): 35–60. http://dx.doi.org/10.1080/01638538809544690.

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4

Ellington, John. "Wit and Humor in Bible Translation." Bible Translator 42, no. 3 (July 1991): 301–13. http://dx.doi.org/10.1177/026009359104200301.

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5

Land, Norman E. "THE WIT AND HUMOR OF MAESTRO ZOANE." Source: Notes in the History of Art 27, no. 4 (July 2008): 16–19. http://dx.doi.org/10.1086/sou.27.4.23207903.

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6

Witkowski, Jan A. "The liveliest effusion of wit and humor." Trends in Biochemical Sciences 26, no. 12 (December 2001): 747–52. http://dx.doi.org/10.1016/s0968-0004(01)01936-3.

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7

Kahn, William A. "To Wit: Humor and Applied Behavioral Science." Journal of Applied Behavioral Science 26, no. 3 (August 1990): 329–30. http://dx.doi.org/10.1177/0021886390263006.

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8

Meltzer, Gary. "Dark Wit and Black Humor in Seneca's Thyestes." Transactions of the American Philological Association (1974-) 118 (1988): 309. http://dx.doi.org/10.2307/284174.

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9

Klein, Rudolf. "Humor in Architecture: Jewish Wit on Béla Lajta’s Buildings." Ars Judaica: The Bar Ilan Journal of Jewish Art 12 (May 2016): 93–110. http://dx.doi.org/10.3828/aj.2016.7.

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10

Kehl, D. G. "Thalia Meets Tithonus: Gerontological Wit and Humor in Literature." Gerontologist 25, no. 5 (October 1, 1985): 539–44. http://dx.doi.org/10.1093/geront/25.5.539.

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11

Chiodo, Christopher P., Kimberly K. Broughton, and Max P. Michalski. "Caution: Wit and Humor During the COVID-19 Pandemic." Foot & Ankle International 41, no. 6 (April 26, 2020): 763–64. http://dx.doi.org/10.1177/1071100720923651.

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12

Connor, J. A. "Commentary: getting real about reliability, through wit and humor." IEEE Transactions on Reliability 52, no. 1 (March 2003): 10–13. http://dx.doi.org/10.1109/tr.2002.804732.

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13

Watt, Stephen. "Brendan Behan, Borscht Belt Comedian." Irish University Review 44, no. 1 (May 2014): 149–64. http://dx.doi.org/10.3366/iur.2014.0108.

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‘New York humour is largely an Irish-Jewish creation’ (Ulick O'Connor, Brendan Behan, 1970). Brendan Behan, of course, was not a professional ‘stand-up comedian’ in the strictest sense of the term, although he possessed the wit and performative skills to succeed as one, as he proved countless times in Dublin pubs and onstage at the Blue Angel in New York to an audience that included Shelley Berman, who in fact was a Borscht Belt comedian. And, unlike Milton Berle, Alan King, Jackie Mason, Henny Youngman, and scores of comedians, he did not appear at venues in the Catskill Mountains some 100 miles north-northwest of New York City known as the ‘Borscht Belt’ because of its predominant clientele of Jews, although he and his wife Beatrice enjoyed a long weekend in Margaretville, New York, in August, 1961. When Behan came to America in 1960, however, he quickly became a star and joined a circle of celebrities that prominently included Jewish intellectuals and comedians responsible for what Ulick O'Connor regards as the Irish-Jewish core of New York humour. Indeed, Behan's affection for New York originates not only in his frequent visits to Irish bars on Third Avenue, as Michael O'Sullivan observes, but also in his interactions with Jewish-American friends and his uncanny familiarity with Jewish culture. The rowdy, even notorious, celebrity Behan shared with such figures as Norman Mailer informs the New York humour to which Behan contributed, making him more than an avatar of the Stage Irishman that some Irish-Americans despised. Rather, he often performed an eccentric Irish Jewishness central to American comedy of the 1960s.

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14

Moran, Leslie J. "The wit of Judge Rinder: judges, humour and popular culture." Oñati Socio-legal Series 9, no. 9(5) (April 16, 2019): 771–98. http://dx.doi.org/10.35295/osls.iisl/0000-0000-0000-1036.

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Judge Rinder is a British reality TV court show. It has much in common with the US archetype Judge Judy. But there are differences. One is Judge Rinder’s humour, and more specifically his wit. Using a research database of Judge Rinder cases. The article examines the nature and effects of humour in this courtroom setting. It explores the role of the judge, the form the humour takes and the interactions and social relations it generates. A distinctive feature of the analysis is consideration of the impact of the audio-visual technologies, and the techniques and conventions developed around them, upon the interactions and social relations the onscreen humour generates with viewers. While the camera aligns the screen audience with the judge and the laughter track infects the audience with emotion the judge generates, the paper cautions against assuming that all viewers have the same emotional experience. Judge Rinder es un reality show judicial británico. Tiene mucho en común con el arquetipo de Judge Judy, de EEUU; pero hay diferencias. Una consiste en el humor del juez Rinder, y, más en concreto, en su ingenio. Utilizando una base de datos de investigación de los casos de Judge Rinder, el artículo analiza la naturaleza y los efectos del humor en ese escenario judicial. Explora el rol del juez, la forma que adquiere el humor y las interacciones y relaciones sociales que éste genera. Una característica distintiva del análisis es la consideración del impacto de las tecnologías audiovisuales, y de las técnicas y convenciones desarrolladas alrededor de aquéllas, sobre las interacciones y las relaciones sociales que el humor televisivo genera en los espectadores. Mientras la cámara alinea a la audiencia con el juez y la risa contagia a la audiencia la emoción generada por el juez, el artículo advierte contra la deducción de que todos los espectadores experimentan una misma emoción.

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15

Stephen Feinstein. "Art from the Concentration Camps: Gallows Humor and Satirical Wit." Journal of Jewish Identities 1, no. 2 (2008): 53–75. http://dx.doi.org/10.1353/jji.0.0029.

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16

Kahn, William A. "To Wit: Humor and the Journal of Applied Behavioral Science." Journal of Applied Behavioral Science 26, no. 1 (March 1990): 107–10. http://dx.doi.org/10.1177/002188639002600109.

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17

Ariagno, R. L. "Philip Sunshine Festschrift: a quintessential neonatologist with wit and humor." Journal of Perinatology 31, S1 (March 30, 2011): S9—S10. http://dx.doi.org/10.1038/jp.2010.181.

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18

Sobaskie, James William, and Gretchen A. Wheelock. "Haydn's Ingenious Jesting with Art: Contexts of Musical Wit and Humor." Notes 50, no. 3 (March 1994): 955. http://dx.doi.org/10.2307/898553.

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19

Carpenter, Dick M., Marjory J. Webster, and Chad K. Bowman. "White House Wit: How Presidents Use Humor as a Leadership Tool." Presidential Studies Quarterly 49, no. 1 (January 8, 2019): 23–55. http://dx.doi.org/10.1111/psq.12492.

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20

Stanaland, Andrea J. S. "Book Review: Humor in the Advertising Business: Theory, Practice, and Wit." Journal of Advertising Education 12, no. 1 (May 2008): 36–37. http://dx.doi.org/10.1177/109804820801200108.

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21

Piggush, Yvette R. "“A Very Dangerous Talent”: Wit for Women in Hannah Webster Foster's The Boarding School." New England Quarterly 92, no. 1 (March 2019): 46–74. http://dx.doi.org/10.1162/tneq_a_00720.

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Hannah Webster Foster's eighteenth-century novel The Boarding School shows how conduct literature and the republican culture of politeness create gender expectations for women's humor in the early United States. Foster teaches readers about the social effects of wit and guides them in using satire and irony to influence public opinion.

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22

Juni, Samuel, and Bernard Katz. "Self-Effacing Wit as a Response to Oppression: Dynamics in Ethnic Humor." Journal of General Psychology 128, no. 2 (April 2001): 119–42. http://dx.doi.org/10.1080/00221300109598903.

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23

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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24

Rowland, Herbert. "Whimsy, Wit, and Humor: Satire in the Work of Matthias Claudius." Seminar: A Journal of Germanic Studies 45, no. 2 (2009): 111–24. http://dx.doi.org/10.1353/smr.0.0065.

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25

López Díaz, Montserrat. "El humor como procedimiento discursivo en los anuncios publicitarios." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 43, no. 1 (April 7, 2008): 25–62. http://dx.doi.org/10.1075/rro.43.1.03lop.

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Humorous discourse overlays conventional discourse, providing both a humorous surface interpretation of reality, and a serious or standard underlying one. This paper attempts to show how humorous discourse in printed advertising usually produces a deviant understanding due to the fact that there is normally an incongruous sign or icon that distorts our vision of things. There is a transgression of common norms that transforms familiar things into weird and bizarre, creating a playful message. We distinguish various humorous procedures: irony, sarcasm, parody, pastiche, wit, absurdity, rarity and paradox. These procedures are categorized in three main functions: (a) amusement, when humor is seen as entertainment; (b) cynicism, when it is provocative; and (c) criticism, when it is understood as reproof. Humor must produce an unexpected, but pleasant, relationship with the recipient, who is always prompted to make firstly a common sense interpretation. In that way, recipient’s cooperation is necessary to obtain the humorous effect.

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26

James, Sara Nair. "Wit and Humor in Ugolino di Prete Ilario’s Life of the Virgin at Orvieto." Source: Notes in the History of Art 36, no. 3/4 (March 2017): 159–67. http://dx.doi.org/10.1086/693939.

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27

Baladouni, Vahé. "CHARLES LAMB: A MAN OF LETTERS AND A CLERK IN THE ACCOUNTANT'S DEPARTMENT OF THE EAST INDIA COMPANY." Accounting Historians Journal 17, no. 2 (December 1, 1990): 21–36. http://dx.doi.org/10.2308/0148-4184.17.2.21.

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Charles Lamb (1775–1834), English author, who became famous for his informal, personal essays and literary criticism, is presented here in his vocational role as accounting clerk. Lamb's long years of experience in and out of London's counting-houses permitted him to capture the early nineteenth-century business and accounting life in some of his renowned essays and letters to friends. His unique wit, humor, and warm humanity bring to life one of the most interesting periods in accounting history.

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28

Nguyen, Hung Ky. "Anything Goes with Wit and Ambiguity: Playfulness in Japanese Visual Culture." Design Issues 36, no. 2 (April 2020): 72–86. http://dx.doi.org/10.1162/desi_a_00591.

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Being witty and being culturally appreciated are two independent things in visual communication design. More often than not, on one hand, the Japanese sense of ‘playfulness’ is manifested in enigmatic images, which express intriguing aspects of Japanese psyche. On the other hand, the Western sense of humor is often light hearted, as its major aim is to raise a smile instead of ambiguity. This ethnographic study examines the essence, categories, and sentiment of playfulness in Japanese context. It also explores in detail the situations in which playfulness is used and, where permitted, how Japanese artists and designers come up with playful ideas and encode meaning in their works. The conclusion focuses on how the Japanese sense of playfulness has long been used to establish cultural influence, social voice, and individual distinction.

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29

Hempelmann, Christian F. "True German and phony English laughter: Schmidt-Hidding was still Schmidt." European Journal of Humour Research 5, no. 4 (December 31, 2017): 179. http://dx.doi.org/10.7592/ejhr2017.5.4.hempelmann.

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Schmidt-Hidding’s (b. 1903, d. 1967) lexical field study on the area of Humor und Witz [humor and wit/jokes] (1963b) receives attention in humor research to this day, especially in German-speaking countries. His diamond-shaped illustration of the two dimensions of the field of humor, not least in its aim to distinguish “earthy” German from “courteous” English humor, has become well-known. In view of this continued interest in the final write-up of Schmidt-Hidding’s work on humor (1963a, 1963b), in which he consistently ignores his earlier related publications under the name of Schmidt, this paper aims to discourage researchers from basing their work on it for two reasons. The more important one is the flawed, or at least muddled and definitely outdated, methodology of his study. The more delicate one that is focused on here is that the motivation for and the ideological direction of the study are strongly influenced by its author’s National Socialist ideology, which Schmidt-Hidding had possibly assumed for opportunistic reasons and abandoned after World War II. I will first document this ideological alignment with National Socialism from Schmidt’s earlier work, basically a prelude to his Schlüsselwörter (1963a). Then I’ll briefly present the methodological flaws, to the degree that Schmidt-Hidding was sufficiently explicit about his method to make that possible. This approach of interpreting a complex issue in its historical and social contexts, along with showing what the issue is in contrast to analogous issues, is the important research agenda that Davies brought to humor research.

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Andrade, Ênio Bernardes de. "Amor, humor: Noel Rosa e Oswald de Andrade." Scriptorium 4, no. 1 (December 28, 2018): 30. http://dx.doi.org/10.15448/2526-8848.2018.1.31377.

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Este artigo propõe o estudo de algumas canções passionais de compositor Noel Rosa, sob a ótica da dualidade “amor/humor” apresentada no contexto das proposições estéticas da poesia Pau-Brasil, de Oswald de Andrade. Tais análises apontam para uma das marcas de confluência entre as obras dos dois autores, cujas linguagens aproximam a poesia da fala cotidiana, distanciando as formas poéticas da aura sublime e da retórica ornamental que costumavam caracterizar o canto e a escrita. Demonstra-se a astúcia criativa do Poeta da Vila, que, no casamento perfeito entre texto e melodia, cria sentidos inesperados nos quais o discurso amoroso é contaminado pela ironia e pelo humor. *** Love, humor: Noel Rosa and Oswald de Andrade ***This paper proposes the study of selected songs by Noel Rosa, from the “love/humor” duality perspective presented in the Pau-Brasil poetry aesthetic by Oswald de Andrade. Such analysis points out to one of the confluence marks between the work of the two artists, whose language approximate poetry and everyday speech, distancing the aura of sublime poetic forms from the ornamental rhetoric which used to characterize singing and writing. Therefore, we can see Rosa’s creative wit that, in the perfect partnership between text and melody, creates unexpected meanings in which love is contaminated by irony and humor.Keywords: song; poetry; humor; Noel Rosa; Oswald de Andrade.

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31

Trimble, Michael. "The Last Laugh." CNS Spectrums 6, no. 12 (December 2001): 953. http://dx.doi.org/10.1017/s1092852900001048.

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Freud writes in his startlingly innovative book, Wit and Its Relation to the Unconscious, that “…our philosophical inquiries have not awarded to wit the important role that it plays in our mental life.” He pointed out the difficulties of studying the phenomenon scientifically, and went on to analyze the meanings of jokes and why we laugh. He emphasized the “pleasure in economy” that the central nervous system derives from the pithy nature of the witty synthesis. Since then, several authors have brought forward their own theories, Arthur Koestler among them. However, neuroscientists have shown little interest in the subject.This needs urgent attention. It is therefore welcome that at least one group of scientists is taking jokes seriously. They set up a “Laugh Lab” Web site to investigate humor, and respondents from all over the world were asked to vote for the “best” of several jokes displayed on the site. Their responses will be analyzed and hypotheses tested.

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32

Townsend, Mary Lee. "The Politics of Humor: Adolph Glassbrenner and the Rediscovery of the PrussianVormärz(1815–48)." Central European History 20, no. 1 (March 1987): 29–57. http://dx.doi.org/10.1017/s0008938900011559.

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In the postwar search for German national heroes, preferably committed democrats, scholars have rediscovered the Berlin wit and journalist Adolph Glassbrenner (1810–76). In the series of exhibitions about Prussia which flooded West Berlin in 1981 Glassbrenner's memorabilia surfaced with regularity. He even merited a small exhibition of his own and a biography in the seriesPreussische Köpfe. Berlin enthusiasts and aficionados of German folk culture praise him as a quaint, local humorist while others, primarily academic Germanists and historians, point to his activities as a liberal opponent of the Prussian state before the revolution of 1848. None of these many admirers would argue, however, that Glassbrenner was a major literary talent or a particularly original political thinker.

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33

Ślęzak, Ligia. "Research on female humor to the accompaniment of not-always-serious music and some alcohol — based on the Laskowik & Malicki program." Dziennikarstwo i Media 15 (June 29, 2021): 71–88. http://dx.doi.org/10.19195/2082-8322.15.7.

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The article contains a description of the entertainment TV program Laskowik & Malicki. It is an event combining cabaret and music, with performances from two artistic groups: Kabareciarnia Laskowika and The Philharmonic of Wit. The author stresses the topics of feminity, music and alcohol, as well as finds moralizing and educational value in the performances.

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34

Pandey, Kamya, and Ruchi Jaggi. "Advertising Narratives of Society and Politics: A Semiotic Analysis of Amul’s Print Ads." Revista Gestão Inovação e Tecnologias 11, no. 4 (September 16, 2021): 5112–31. http://dx.doi.org/10.47059/revistageintec.v11i4.2552.

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Contextual knowledge is the most important aspect of language comprehension. We define contextual knowledge as both general knowledge and discourse knowledge, i.e., knowledge of the situational context, background knowledge, and co-textual context. In this paper, we will discuss the significance of contextual knowledge in comprehending the humor found in Amul's cartoon advertisements in India. Throughout the process, we will analyze these advertisements and determine whether humor is an effective tool for advertising and, as a result, marketing. These bilingual advertisements also assume that the audience has the necessary linguistic knowledge, such as vocabulary, morphology, and syntax in English and Hindi. Various techniques such as punning, portmanteaus, and parodies of popular proverbs, expressions, acronyms, famous dialogues, songs, and so on are used to convey the message humorously. The current study will focus on these linguistic cues and the necessary context for understanding wit and humor. This study will also employ semiotics and sign methodology to analyze the message provided by the cartoons. According to the research findings, cartoons serve two purposes: political communication and advertising; however, advertising is camouflaged and not placed in an obvious manner.

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35

IMMERWAHR, DANIEL. "THE THIRTY YEARS’ CRISIS: ANXIETY AND FEAR IN THE MID-CENTURY UNITED STATES." Modern Intellectual History 13, no. 1 (July 31, 2015): 287–98. http://dx.doi.org/10.1017/s1479244315000256.

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In 1952, Bill Gaines, the entrepreneurial comic book publisher, embarked on a new venture. He had already made a name for himself by introducing the “horror” comics (Tales from the Crypt, The Vault of Terror) that had rapidly acquired an eager readership. Those titles summoned up repressed aspects of postwar culture, reveling in sadism, sexual infidelity, and grisly torture. But the id knows many pathways, and in 1952 Gaines launched a humor magazine called Mad. The title was a celebration of unreason. As its icon, Mad boasted Alfred E. Neuman, a grinning half-wit who lived by the mantra, “What, me worry?”

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36

DeMayo, Courtney. "Writing Roman Wit: Roman Humor in the Letters of Gerbert of Aurillac and Fulbert of Chartres." Enarratio: Publications of the Medieval Association of the Midwest 20 (January 16, 2017): 1–19. http://dx.doi.org/10.18061/1811/79859.

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37

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

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Vande Velde, Fiona, Liselot Hudders, Verolien Cauberghe, and Edwin Claerebout. "Changing farmers’ behavior intention with a hint of wit: The moderating influence of humor on message sidedness." Journal of Environmental Psychology 56 (April 2018): 97–103. http://dx.doi.org/10.1016/j.jenvp.2017.12.001.

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39

Casillas, Dolores Inés. "Adiós, El Cucuy." Boom 1, no. 3 (2011): 44–56. http://dx.doi.org/10.1525/boom.2011.1.3.44.

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In 2008, famed radio host El Cucuy de la Mañana (The Morning Bogeyman) bid farewell to listeners of Spanish-language radio. For over two decades, El Cucuy’s trademark wit, cunning humor, and relentless use of laugh tracks boomed over the morning airwaves. Los Angelenos tuned in historic numbers to chuckle Monday through Friday to El Cucuy’s radio show where matters of immigration, both personally and politically, were laced with humorous fanfare. As opposed to anger, laughter as a response to injustices can suppress, trivialize, and “laugh off” the matter at hand. Despite El Cucuy’s departure, the lucrative pairing of immigration as fodder and laughter as its chief sentiment continues to reign on Spanish-language morning radio.

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40

Borah, Abhishek, Sourindra Banerjee, Yu-Ting Lin, Apurv Jain, and Andreas B. Eisingerich. "Improvised Marketing Interventions in Social Media." Journal of Marketing 84, no. 2 (January 28, 2020): 69–91. http://dx.doi.org/10.1177/0022242919899383.

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Online virality has attracted the attention of academics and marketers who want to identify the characteristics of online content that promote sharing. This article adds to this body of research by examining the phenomenon of improvised marketing interventions (IMIs)—social media actions that are composed and executed in real time proximal to an external event. Using the concept of quick wit, and theorizing that the effect of IMIs is furthered by humor and timeliness or unanticipation, the authors find evidence of these effects on both virality and firm value across five multimethod studies, including quasiexperiments, experiments, and archival data analysis. These findings point to the potential of IMIs in social media and to the features that firms should proactively focus on managing in order to reap the observed online sharing and firm value benefits.

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Torriani, Tristan Guillermo. "Sobre a categoria do Espirituoso em Joseph Addison e seus pressupostos lockeanos/On Joseph Addison's category of wit and its lockean assumptions." Pensando - Revista de Filosofia 3, no. 5 (September 8, 2012): 132. http://dx.doi.org/10.26694/pensando.v3i5.762.

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Joseph Addison (1672-1719), um dos pais da estética britânica, forneceu uma das formulações clássicas do espirituoso (esprit, wit) como conjunção de surpresa e prazer. O propósito deste artigo é o de mostrar o caráter exploratório da teorização estética britânica em seu estágio ainda embrionário. Além da precariedade conceitual, destacava-se a ênfase no prazer, constituindo, portanto, realmente um hedonismo e não apenas um sensismo (ou seja, as teorias, antes do advento do associacionismo, que postulavam sentidos para captar os prazeres estéticos). Tanto em Addison quanto em Hutcheson (1694–1746) a influência fundamental é o empirismo de Locke (1632-1704). Além dessa base psicológica, o humor e o espirituoso possuem também uma dimensão prática, vinculada ao jornalismo e à formação da esfera pública burguesa, na qual a sátira desempenhava uma função de controle normativo sobre o senso comum.

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Lahiri, Kajal. "ET INTERVIEW: PROFESSOR G.S. MADDALA." Econometric Theory 15, no. 5 (October 1999): 753–76. http://dx.doi.org/10.1017/s0266466699155063.

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Over the last three decades, G.S. Maddala (universally known as “G.S.”) has been a familiar name to all doing econometric work. His substantial contributions to the discipline through numerous books and articles single him out as one of the most distinguished econometricians of our time. Because of his extraordinary ability to synthesize and exposit complex methodological results in simple intuitive terms, he has influenced econometric research in other areas of social science also. According to the Social Science Citation Index, G.S. has been one of the top five most cited econometricians during each of the years 1988–1993. He writes econometrics in plain English with a characteristic sense of wit and humor. There cannot be too many empirical economists around the world who have not been influenced by G.S.'s writings in some way or other. Often he has taken a critical look at evolving econometric techniques, particularly those that have no practical applications, and has not hesitated to go against the tide of the profession.

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Haynes, Doug. "“Falling into the Sky”: Gravity and Levity in Pynchon’s Mason & Dixon." Space and Culture 23, no. 4 (October 15, 2019): 357–69. http://dx.doi.org/10.1177/1206331219877141.

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My argument follows geographer Gunnar Olsson when he asks, “What is geography if it is not the drawing and interpreting of a line? And what is the drawing of a line if it is not also the creation of new objects?” Using Thomas Pynchon’s 1997 novel Mason & Dixon ( MD), about the drawing of the Mason-Dixon line, I explore how the mapmaker’s productive power is never merely reflective, but generative too, constructing a world as much as representing one. I question the consequent relation between “above and below,” drawing on Farinelli’s insight that critique of such constructions must recognize an antagonistic humor in the production of maps and territories. Pynchon’s novel, I argue, is exemplary in the wit with which it pits the anomalous, strange, and contingent phenomena of the below against the homogenizing, categorizing power of above. His approach helps us understand the dark heart of Enlightenment cartography and society.

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노종진. "Unfinished War against Whites: Sherman Alexie's Use of Humor, Wit, and Imagination in The Lone Ranger and Tonto Fistfight in Heaven." Jungang Journal of English Language and Literature 49, no. 2 (June 2007): 83–105. http://dx.doi.org/10.18853/jjell.2007.49.2.005.

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Schwarz, Uta, Stefan Hoffmann, and Katharina Hutter. "Do Men and Women Laugh About Different Types of Humor? A Comparison of Satire, Sentimental Comedy, and Comic Wit in Print Ads." Journal of Current Issues & Research in Advertising 36, no. 1 (January 2, 2015): 70–87. http://dx.doi.org/10.1080/10641734.2014.912599.

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Ariely, Dan, and Beatrice Popescu. "Being Irrationally Funny as a Cognitive Psychologist: Interview With Dan Ariely." Europe’s Journal of Psychology 11, no. 4 (November 27, 2015): 565–70. http://dx.doi.org/10.5964/ejop.v11i4.1083.

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The idea of interviewing Dan Ariely was somehow latent on my mind since I started being interested in cognitive psychology and cognitive behavior psychotherapy, but actually got more ardent ever since irrationality became a research topic for his team at Duke University. I picked him as an interviewee thinking not only at his exceptional skills as a researcher and as Kahnemann ‘disciple’, but mainly for his fantastic wit, true modesty and utmost interest in making people’s lives easier and more comfortable, by creating awareness on a lot of topics otherwise neglected. Dan Ariely’s very agreeable personality and humor would not let you think of him as a burnt casualty who, in his youth struggled to survive a personal drama, so well-documented in his paper “Painful lessons” posted on the MIT website (http://web.mit.edu/ariely/www/MIT/Papers/mypain.pdf). I think reading his paper and also this transcribed interview with him would be also comforting for people who found out about Bucharest fire incident that rocked our society and also for people who are personally related to this tragedy.

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Joyce, Kristinne, and Chirbet A. Miguel. "A Study on Tricycle Sign Systems: A Reflection of Filipino Optimism, Masculinity, Religiosity, and Values." Humanities & Social Sciences Reviews 3, no. 2 (March 16, 2016): 49–56. http://dx.doi.org/10.18510/hssr.2015.322.

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Tricycle, the most popular mode of transportation in the countryside, has served as a means to articulate one’s thoughts. The signages posted on these usually express humor, wit, spirituality and sexual thoughts. The researchers believe that the language utterances displayed on these tricycles may be influenced by a number of social factors. The paper answered these questions: What are the signages found in tricycles traversing Tuguegarao proper? What do these signages in language reflect the lived world or thoughts of the tricycle drivers? Or their social background? How do these signages correlate to social factors? This paper used the descriptive design in examining the signages that were gathered from 100 tricycle driver respondents in Tuguegarao City. Analysis of the signages is strengthened through Barthesian’s sign systems. Drawing on the social constructionism, the paper highlights the following: First, tricycles have become a medium of Filipino expression where the vehicles communicate the drivers’ worldviews.The gathered signages reflected some Filipino values and traits such as optimism and fatalism; masculinity and machismo; religiosity and social cohesion; and hard work and cultural capital. Second, the paper holds that language may be understood by looking into the relationship between the signifier and the signified. The signages used by the tricycle drivers reflect not only their explicit thoughts, but also symbolic meanings and their habitus. Lastly, language has fulfilled its metalinguistic function as the signages were analyzed to show that these were representations of one’s cultural behavior.

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Mirahayuni, Ni Ketut, and Susie Chrismalia Garnida. "‘Sapi perah’ or ‘kuda beban’: Cultural Values in Indonesian Proverbs Associated with Horse, Cow, Buffalo and Donkey." KnE Social Sciences 1, no. 3 (April 13, 2017): 175. http://dx.doi.org/10.18502/kss.v1i3.737.

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<p>Proverbs, a short well-known saying in figures of speech or symbolism, seem to have stood the test of ages for their usefulness in modern society. Proverbs have been found to serve people well as a significant rhetoric force in both oral and written communication, from friendly chats, powerful political speeches, and religious sermons to lyrical poetry, best-seller novels, and the influential mass media (Mieder, 2004). Proverbs reveal an awareness of the human condition and human flaws that make their distant voices ring with clarity, humor, wit, and insight (Barajaz, 2010). This paper reported a study of cultural values Indonesian proverbs associated with horse, buffalo, cow and donkey. The purpose is to identify how these animals are culturally perceived and used in transferring wisdom, acceptable and favourable manners and moral conducts. The data comprise 80 Indonesian proverbs using any of the four animals in their expressions, gathered from various printed and electronic sources. The study found that proverbs using these four animals are used to show both positive and negative human attitudes. Positively, they illustrate the values of self-motivation, hard-work and devotion to duty, truthfulness, dependability, well-adjustment, fairness and justice. Negatively, they exemplify foolishness, arrogance, hypocritical attitude, inherent wickedness, unfavorable attitude towards opposite sex, over-excitement and being in a dilemmatic situation. The study shows that such values have been orally taught and transferred within the context of familiar daily objects and situations in the chiefly agricultural cultures. The proverbs mainly function to convey advice on acceptable attitudes, manners, and moral conducts.</p><p> </p><p><strong>Keywords: </strong><em>figurative language, Indonesian proverbs, cultural values</em></p>

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Daly, Peter M. "Some Visual Strategies in Symbolic Illustrated Advertising." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 87. http://dx.doi.org/10.7203/imago.9.10832.

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ABSTRACT: Some symbolic illustrated advertising may remind one of emblems. It is certainly visual culture, but it is also an aspect of emblematics in the material culture. I write from a European perspective, drawing largely on European and American publications. The AIDA formula well sums up the purposes of commercial advertising, and is said to consist of attracting Attention, arousing Interest, creating Desire, and motivating Action. In commercial advertising the desired action is the sale of a product or service. This calls for strategies of persuasion, which can be described rhetorically or thematically. I prefer the thematic approach, and have decided that least following strategies will be discovered: recognition and surprise, riddle and puzzle, wit and humour, patriotism, famous persons, myth, ethnicity, Bible and Christian tradition, and nature, environment and ecology. These are not listed hierarchically and a given ad may employ several of these strategies. KEYWORDS: Emblems; Advertising; Advertising Strategies. RESUMEN: Ciertos ejemplos de la publicidad ilustrada simbólica nos hacen pensar en la emblemática. Sin duda se trata de la cultura visual, pero constituye al mismo tiempo un aspecto de la emblemática en la cultura material. Mi perspectiva es europea, y los ejemplos aducidos se originan principalmente en publicaciones europeas y norteamericanas. La llamada fórmula AIDA resume muy bien los propósitos de la publicidad comercial, y consiste en llamar la Atención, suscitar el Interés, crear el Deseo y motivar la Acción. En la publicidad comercial la acción deseada es la venta de un producto o servicio. Esto requiere estrategias de la persuasión, las cuales pueden ser descritas retórica o temáticamente. Prefiero un acercamiento temático y concluyo que las siguientes estrategias se revelarán: reconocimiento y sorpresa, adivinanza y enigma, ingenio y humorismo, patriotismo, personas famosas, mito, etnicidad, Biblia y la tradición cristiana, así como naturaleza, medio ambiente y ecología. Esta lista no pretende ser jerárquica y un anuncio publicitario puede utilizar varias de estas estrategias. PALABRAS CLAVES: Emblemas; publicidad; estrategias de la publicidad.

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Afzali, Ali, Raheem Al-atabi, and Muhammad Mahdi Karimi. "خوانش تطبیقی طنز اجتماعی – سیاسی در آثار ابوالفضل زرویی نصرآباد و احمد رجب(مورد مطالعه: تذکرة المقامات زرویی و نصف كلمة احمد رجب) A comparative reading of the social and political satire in the works of Abu al-Fadl Zrui Nasrabad and Ahmad Rajab (The tadhk." Journal of the College of languages, no. 44 (June 1, 2021): 337–60. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0337.

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Satire is genre of the literary arts that has always been the source of human interest. Because it is difficult to accept direct criticism, Satire appears as a literary tool in which vices, follies, abuses and shortcomings are held up to ridicule, with the intent of shaming individuals, corporations, government, or society itself into improvement. A satirical critic usually employs irony to attain this goal. Although satire is usually meant to be humorous, its greater purpose is often profitable social criticism, using wit to draw attention to both particular and broader issues in society .In such cases, humor is not an entertainment, but a means through which a problem is being exposed in a rather indirect way. Abu al-Fadl Zrui Nasrabad and Ahmad Rajab are two of the famous satirists in Iran and Egypt who have used satire to expose the follies, immoralities and the defects of their societies. The present study discusses The tadhkirat Al- Maqamat of Abu al-Fadl Zrui Nasrabad and Half a Word for Ahmad Rajab in an analytical and descriptive manner and deals with the arts and styles of the two satirists. The conclusion sums up that satire is one of the most distinguished features of the two writers in their prose, and by using the language of satire, they are also able to criticize ,in a large way, the issues and problems that exist in Iranian and Egyptian society indirectly. طنز یکی از فنون ادبی است که همواره مورد توجه انسان بوده است. در بسیاری اوقات، اوضاع و شرایط حاکم بر جامعه به گونه‌ای است که جامعه، ظرفیت تحمل و شنیدن صریح انتقادات را ندارد و به ناچار، باید از ابزاری دیگر برای نمایاندن مشکلات و کمبودها بهره برد. در چنین مواردی، طنز به میدان می‌آید و هنرمند طنزپرداز با استفاده از شگرد سخریه و طنزپردازی، این هدف را به انجام می‌رساند. خنده‌ای که در اثر طنز بروز می‌کند، خنده‌ای از سر شادی نیست، بلکه چون در طنز، مشکلات موجود که قابلیت بیان صریح آن نیست به صورتی غیر مستقیم بیان می‌شود این خنده، ظاهری است و در باطن، مخاطب می‌گرید و به فکر فرو‌می‌رود. ابوالفضل زرویی نصرآباد و احمد رجب از نویسندگان سرشناس طنز در ایران و مصر در آثارشان توانسته‌اند با استفاده از شگردهای مختلف طنزپردازی، اوضاع و شرایط حاکم در کشورهای خود را به خوبی منعکس کنند. پژوهش حاضر، با روش تحلیلی-توصیفی و با تکیه بر تذکرة المقامات زرویی و نصف كلمة احمد رجب، این تکنیک‌ها را مورد بررسی قرار داده و به این نتیجه رسیده است که تهکم، بیشترین بسامد در نثر این دو نویسنده را به خود اختصاص داده است، همچنین این دو با استفاده از زبان طنز، توانسته‌اند تا حد زیادی مسائل و مشکلات موجود در جامعة ایران و مصر را به صورتی غیر مستقیم بیان و نسبت به آن انتقاد کنند.

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