Relevant bibliographies by topics / Arab wit and humour

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Arab wit and humour'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Arab wit and humour.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Arab wit and humour"

1

Murgatroyd, P. "WIT, HUMOUR AND IRONY INHEROIDES9." Classical Quarterly 64, no. 2 (November 20, 2014): 853–55. http://dx.doi.org/10.1017/s0009838814000305.

Full text
Abstract:
Heroides9 takes the form of a letter sent by Deianira to Hercules as a reinforcement to the tunic smeared with Nessus' blood which she has already dispatched in the mistaken belief that it will revive the hero's love for her. In this epistle she tries to persuade her husband to give up his latest girlfriend (Iole) by showing him that she loves him, by arousing pity for herself, and by making him feel ashamed of his philandering and see that he thereby disgraces himself. Obviously there is pathos here, particularly as the deaths of Hercules and Deianira loom in the background, but there is also wit, irony, and (especially dark) humour, creating a piquant tonal mixture which has been almost entirely neglected by critics. They have seen the sadness, and some of the irony (which is taken to be purely tragic), but they have not grasped the facetious aspects, whereby our irreverent poet ensures that the piece does not lapse into mawkishness and engages the head as well as the heart.
APA, Harvard, Vancouver, ISO, and other styles
2

Barr, Rebecca Anne. "Richardsonian Fiction, Women’s Raillery, and Heteropessimist Humour." Eighteenth-Century Fiction 33, no. 4 (June 1, 2021): 531–56. http://dx.doi.org/10.3138/ecf.33.4.531.

Full text
Abstract:
The fiction of Samuel Richardson is not fundamentally humourless. This article analyzes the rich vein of humour found in Pamela in her Exalted Condition (1745) and The History of Sir Charles Grandison (1753–54) to show that Richardson was acutely aware of the interpersonal power of laughter and that he harnessed it for aesthetic and moral ends. Novelistic scenes of spontaneous conversation dramatize the various and often embodied effects of humorous performances. Using theories of gender and humour, I argue that Richardson critiques and modifies Restoration wit by using women’s raillery as the primary vehicle for novelistic humour. Richardsonian fiction thus feminizes the domineering tendencies of masculine wit and the adversarial harms of ridicule, replacing them with chaste female models of “satirical merriment.” Such pleasure does not equate to liberation or even subversion. Through Pamela and Charlotte Grandison, the novels generate a heteropessimist humour in which women’s dynamic wit ultimately promotes their marital subordination to flawed, disappointing men.
APA, Harvard, Vancouver, ISO, and other styles
3

Klęczar, Aleksander. "Rhetoric, wit and humour in Catullus 44." Classica Cracoviensia 18, no. 18 (2015): 199–208. http://dx.doi.org/10.12797/cc.18.2015.18.11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Skarbek-Kazanecki, Jan. "Philosophy as a Mockery of Truth: Humour in Plato’s Charmides." Tekstualia 4, no. 59 (December 20, 2019): 3–26. http://dx.doi.org/10.5604/01.3001.0013.6434.

Full text
Abstract:
The article subsequently analyzes the examples of Socratic wit so as to illustrate selected functions of humour in Charmides, using the methodological framework based on the „taxonomy of wit” proposed by D.L. Long and A.C. Graesser (1988). Special attention has been paid to the prologue and to the myth about the Thracian magical incantation (epōidḗ) which Socrates learned from the physician and priest Zalmoxis. In the light of Socratic considerations of the human cognitive limits and the transmissibility of philosophy and knowledge, some forms of Socrates’ humour acquire an anti-dogmatic character; humour in Charmides is an expression of the philosophical inquiry and practice which involves the realization and acceptance of the human limits of knowledge.
APA, Harvard, Vancouver, ISO, and other styles
5

Cocke, Richard. "Wit and Humour in the Work of Paolo Veronese." Artibus et Historiae 11, no. 21 (1990): 125. http://dx.doi.org/10.2307/1483387.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Von Paschen, Renée. "Harold Pinter’s The Dumb Waiter in German: What’s Missing in Translation?" ELOPE: English Language Overseas Perspectives and Enquiries 9, no. 1 (June 1, 2012): 77–86. http://dx.doi.org/10.4312/elope.9.1.77-86.

Full text
Abstract:
Several of Harold Pinter’s works have been adapted as screenplays and filmed. This paper investigates director Robert Altman’s TV movie The Dumb Waiter in comparison with the German dubbed version, Der stumme Diener, as well as the reception of Pinter’s play in German. The translation of Pinter’s dialogue into German involves stylistic aspects, such as Pinter’s dry, concise style, as well as the subliminal wit, sarcasm and irony. Humour is particularly difficult to translate, often involving compensation or transfer from one (cultural) context to another. As one of the “comedies of menace”, The Dumb Waiter employs black humour and ironic wit to create threat and dramatic tension. The unknown threat is counterbalanced by “black comic relief”. The lack of a classical German tradition of black comedy problematizes the translation of Pinter’s dialogue, while the limits of audiovisual translation add additional hurdles.
APA, Harvard, Vancouver, ISO, and other styles
8

Norman, Daniel. "Coleridge's Humour in The Watchman." Romanticism 25, no. 2 (July 2019): 117–28. http://dx.doi.org/10.3366/rom.2019.0413.

Full text
Abstract:
This essay seeks to challenge Coleridge's (and some subsequent critics') retrospective accounts of the glib naivety of The Watchman's humour, by arguing that his jokes reveal a careful and considered approach to the dissemination of his ideas. It identifies several types of humour employed within the work, examining both the articles Coleridge himself contributed, and the manner in which he arranged the contributions of others. Such an examination is only possible in full view of the contemporary periodical context, to which Coleridge is quite clearly responding. By adapting, and at times undermining, the forms of humour popular amongst the readerships of other periodicals, Coleridge's own jokes reveal his pervasive attention to his relationship with his audience. The Watchman consistently wrong-foots its reader with its subtle and provocative wit, and in so doing it displays a conception of the function and purpose of humour that Coleridge would gradually refine in the years to come.
APA, Harvard, Vancouver, ISO, and other styles
9

Dynel, Marta, and Fabio IM Poppi. "In tragoedia risus: Analysis of dark humour in post-terrorist attack discourse." Discourse & Communication 12, no. 4 (March 14, 2018): 382–400. http://dx.doi.org/10.1177/1750481318757777.

Full text
Abstract:
In this article, we examine dark humour in Internet posts commenting on an online Italian newspaper report published by Il Fatto Quotidiano and devoted to the 2016 terrorist attack in Nice. The analysis focuses on the linguistic forms and socio-pragmatic functions of this dark humour in the wake of the tragedy. We argue that the creative humorous posts are meant to communicate Internet users’ ideologies conceptualised as their true beliefs about the sociopolitical situation and that they are oriented primarily towards criticising terrorism-related themes, notably: inept security enforcement, radical Islam, political and public reactions and integration policies. The humour in the Italian posts is used as a means of displaying Internet users’ wit and attracting other users’ attention.
APA, Harvard, Vancouver, ISO, and other styles
10

Goddard, Cliff. "De-Anglicising humour studies." European Journal of Humour Research 8, no. 4 (December 9, 2020): 48. http://dx.doi.org/10.7592/ejhr2020.8.4.goddard.

Full text
Abstract:
This Commentary has two main aims. The first is to argue that systematic approaches to “humour” have been hampered and skewed by terminological Anglocentrism, i.e. by reliance on terms and categories which are English-specific, such as ‘amusing’, ‘joking’, ‘serious’, and ‘mock’, and even by the banner term ‘humour’ itself. Though some humour scholars have recognised this problem, I contend that they have under-estimated its severity. Anglocentric terminology not only interferes with effective communication within the field: it affects our research agendas, methodologies and theoretical framings. Needless to say, humour studies is not alone in facing this predicament, which at its largest can be described as the global Anglicisation of humanities and social science discourse.While calls to make humour studies more conceptually pluralistic are laudable, they cannot fully succeed while ‘full’ Anglo English remains the dominant scholarly lingua franca. The second aim of this paper is to argue that considerable progress can be made by “de-Anglicising English” from within, using a newly developed approach known as Minimal English. This allows re-thinking and re-framing humour terminology and agendas using a small vocabulary of simple cross-translatable English words, i.e. words which carry with them a minimum of Anglo conceptual baggage. For illustrative purposes, I will discuss how complex terms such as ‘wit, wittiness’ and ‘fantasy/absurd humour’ can be clarified and de-Anglicised using Minimal English.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Arab wit and humour"

1

Orellana, Benado Miguel. "A philosophy of humour." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670407.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Robson, James. "Humour, obscenity and Aristophanes." Tübingen Narr, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2778171&prov=M&dok_var=1&dok_ext=htm.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Franklyn, Blair Scott. "Towards a Theory of Postmodern Humour: South Park as carnivalesque postmodern narrative impulse." The University of Waikato, 2006. http://hdl.handle.net/10289/2252.

Full text
Abstract:
The philosopher Martin Heidegger describes humour as a response to human 'thrownness' in the world. This thesis argues that there is a form of humour which can be usefully described as postmodern humour and that postmodern humour reflects the experience of being 'thrown' into postmodernity. Postmodern humour responds to and references the fears, fixations, frameworks and technologies which underpin our postmodern existence. It is further contended that South Park is an example of postmodern humour in the way that it exhibits a carnivalesque postmodern narrative impulse which attacks the meta-narrative style explanations of contemporary events, trends and fashions offered in the popular media. South Park's carnivalesque humour is a complex critique on a society in which television is a primary instrument of communication, a centre-piece to many people's lives, and a barometer of contemporary culture, while at the same time drawing attention to the fact that the medium being satirised is also used to perform the critique. A large portion of this thesis is devoted to examining and interrogating the discursive properties of humour as compared to seriousness, an endeavour which also establishes some interesting links to postmodern philosophical discourse. This can be succinctly summarized by the following: 1. Humour is a form of discourse which simultaneously refers to two frames of reference, or associative contexts. Therefore humour is a bissociative form of discourse. 2. Seriousness is a form of discourse which relies on a singular associative context. 3. The legally and socially instituted rules which govern everyday life use serious discourse as a matter of practical necessity. 4. Ambiguity, transgression and deviancy are problematic to serious discourse (and therefore the official culture in which it circulates), but conventions of humorous discourse. 5. Humorous discourse then, challenges the singularity and totality of the official discourses which govern everyday life. Subsequently, humour has been subjected to a variety of controls, most notably the 'policing the body' documented in the writings of Norbert Elias and Michel Foucault. 6. Humour can therefore be understood to function in a manner similar to Jean-Fran ois Lyotard's concept of little-narrative's, which destabilize the totality of official meta-narratives. Furthermore, this thesis proposes strong links between the oppositional practices of the medieval carnival, as outlined by Mikhail Bakhtin, and the produced-for-mass-consumption humour of South Park. However, it also demonstrates that although South Park embodies the oppositional spirit of the carnival, it lacks its fundamentally social nature, and therefore lacks its politically resistant potency. More specifically it is argued that the development and prevalence of technologies such as television, video/DVD, and the internet, allows us to access humour at any time we wish. However, this temporal freedom is contrasted by the spatial constraints inherent in these communication/media technologies. Rather than officially sanctioned times and places for carnivalesque social gatherings, today, individuals have the 'liberty' of free (private) access to carnivalesque media texts, which simultaneously help to restrict the freedom of social contact that the carnival used to afford. Further to this, it is argued that the fact that South Park, with its explicit derision of authority, is allowed to circulate through mainstream media at all, implies asymmetric conservative action on the part of officialdom. In this sense it is argued that postmodern humour such as South Park is allowed to circulate because the act of watching/consuming the programme also acts as a deterrent to actual radical activity.
APA, Harvard, Vancouver, ISO, and other styles
4

Boost, Jörn Max Friedrich. "An examination of the role of wordplay in Freud's theory of humour." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948741.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Boost, Jörn Max Friedrich. "An examination of the role of wordplay in Freud's theory of humour." [Hong Kong : University of Hong Kong], 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367680.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kuoch, Phong. "Laughing for a change : Racism, humour, identity and social agency /." Burnaby, B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/670.

Full text
Abstract:
Thesis (M.A.) - Simon Fraser University, 2005.
Theses (Faculty of Education) / Simon Fraser University. Includes bibliographical references. Also issued in digital format and available on the World Wide Web.
APA, Harvard, Vancouver, ISO, and other styles
7

Reinshagen-Joho, Liane. "Humour : the other intelligence : Curt Goetz and Jorge Ibargüengoitia /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6677.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Balisch, Loretta Faith. "Scrub growth, Canadian humour to 1912, an exploration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1994. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ36198.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Hagemann, Michael Eric. "Humour as a postcolonial strategy in Zakes Mda's novel, The heart of redness." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&amp.

Full text
Abstract:
This thesis sought to demonstrate that humour and the grotesque are the primary tools by which Mda achieve his postcolonial strategies of "
writing back"
, that is, of asserting an identity in the face of colonial pressures, apartheid and the growing selfishness of many in the new, post-democratic South African society.
APA, Harvard, Vancouver, ISO, and other styles
10

Piat, Emilie. "L’humour dans la poésie féminine britannique contemporaine (1945-2000) : stratégies et figures." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA046.

Full text
Abstract:
Le seul consensus autour de la poésie féminine contemporaine est celui d’une grande diversité. Sur le plan thématique et formel, autant que du point de vue de l’origine des poètes, il semble difficile de réunir sous un paradigme unique les œuvres écrites par des femmes. C’est également l’un des aspects que soulignent l’ensemble des ouvrages consacrés à l’humour : le terme renvoie à des phénomènes si différents qu’il est presque impossible de le réduire à une définition qui recouvre l’ensemble de ses manifestations. C’est pourtant précisément en raison de cette difficulté définitionnelle que l’humour constitue un prisme de choix pour parcourir la poésie féminine contemporaine. Par nature protéiforme, l’humour est « transgenre » ; il subvertit l’ordre social et les instances de pouvoir réel ou symbolique, mais remet aussi en question les identités génériques et sexuelles. Rien d’étonnant à ce que les femmes poètes y voient une arme pour s’attaquer aux idées reçues, aux stéréotypes et aux métaphores figées, notamment celles qui prétendent définir l’identité féminine. Mettant en adéquation ce qui se passe sur le plan de l’énonciation, de la réception, de la rhétorique et de la prosodie, l’humour est donc envisagé comme une modalité d’écriture, c’est-à-dire un ensemble de formes traduisant un positionnement particulier. Cette posture, qu’elle prenne le nom d’irrévérence, d’incongruité ou de décalage, témoigne à la fois des liens complexes que les femmes entretiennent avec la tradition poétique et des stratégies qu’elles ont développées pour y parvenir, dans lesquelles se dessine une même volonté, en explorant les lieux communs et les espaces de consensus, de redessiner les contours de la poésie contemporaine
The only consensus around the question of contemporary women poetry is that of its diversity: the themes and forms of the poems written by women are almost as varied as the origins of the poets themselves. Diversity is also one of the aspects underlined by most of the publications on the subject of humour. The term applies to so many phenomena that it is virtually impossible to reduce it to a final definition. Yet it is precisely because humour is so difficult to define that it constitutes a particularly appropriate prism to approach contemporary women poetry. Humour is by essence “transgender”. It subverts social order as well as instances of real or symbolical power, and challenges sexual and generic identities. Unsurprisingly, women poets have seen it as a choice weapon to attack received opinions and stereotypes, especially when those aim at defining femininity. Humour should therefore be considered as a form of writing, or rather a set of forms, expressing a specific positioning and operating on the level of enunciation, reception, rhetoric and prosody. This posture, which can be interpreted as irreverence, incongruity or difference, testifies of the complex ties women have established with the poetic tradition. But to do so, women have also developed strategies which enable them to explore common knowledge and accepted truths, and thus redefine the contours of contemporary poetry
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Arab wit and humour"

1

Ali, Abdul. Arab legacy to humour literature. New Delhi: M.D. Publications, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Abraham ben David L'As Rit. Humour judeo-arabe et autre. [Ivry: A. Lasry, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kishtainy, Khālid. Sijill al-fukāhah al-ʻArabīyah. ʻAmmān: Dār al-Karmal, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ebied, R. Y. An anthology of Arab wit and wisdom. Piscataway, NJ: Gorgias Press, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Arnander, Primrose. Apricots tomorrow: [and other Arab sayings with English equivalents. London: Stacey International, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Abū Aḥmad ibn Ḥasan Qaḥṭānī. Ḥaddathanī -- Ṣāmit ibn Ghalbān. al-Shāriqah: Dār al-Khalīj lil-Ṣiḥāfah wa-al-Ṭibāʻah wa-al-Nashr, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Qaḥṭānī, Abū Aḥmad ibn Ḥasan. Ḥaddathanī-- Ṣāmit ibn Ghalbān. al-Shāriqah, I.ʻA.M: Dār al-Khalīj lil-Ṣihāfah wa-al-Ṭibāʻah wa-al-Nashr, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kāmil, Zuhayrī, ed. Ṣaʻālīk al-zaman al-jamīl. Madīnat Naṣr, al-Qāhirah: Dār al-Shurūq, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Shakhṣīyāt ʻArabīyah ḍimna dāʼirat al-ʻabqarīyah wa-al-ṣaʻlakah wa-al-ṭarāfah. Dimashq: Dār al-Fatāh, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Shakhṣīyāt ʻArabīyah ḍimna dāʼirat al-ʻabqarīyah wa-al-ṣaʻlakah wa-al-ṭarāfah. Dimashq: Dār al-Fatāh, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Arab wit and humour"

1

Claire, Dormann. "A Battle of Wit: Applying Computational Humour to Game Design." In Entertainment Computing - ICEC 2015, 72–85. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24589-8_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

"Ill wit and good humour." In Stories, Theories and Things, 265–74. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511518621.019.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"MANNERS, WIT AND THE REFORM OF LANGUAGE." In Taking Humour Seriously, 140–52. Routledge, 2003. http://dx.doi.org/10.4324/9780203380154-15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"Humanity and humour; imagery and wit." In Martial, 211–52. Cambridge University Press, 1991. http://dx.doi.org/10.1017/cbo9780511582639.008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Odebunmi, Akin, and Simeon Ajiboye. "Negotiation of Wit in Facebook Humour." In Analyzing Language and Humor in Online Communication, 20–37. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0338-5.ch002.

Full text
Abstract:
This chapter unpacks the humorous contents of selected Facebook-based Akpos jokes which have received inadequate attention in the scholarship with respect to wit negotiation which mostly indexes the jokes. Six out of fifteen sampled jokes have been analysed with the theoretic aid of Istvan Kecskes' Socio-Cognitive Approach (SCA), aspects of the common ground theory, aspects of conversation analysis and elements of selected humour theories. The analysis shows three forms of wit negotiation: negotiation of mis-oriented twists, negotiation of dis-preference and negotiation of un-designed twists. In the respective cases, the talk initiating speakers have their logic flawed by recipient speakers, usually Akpos, and consequently get outsmarted; earlier sequentially dispreferred social choices are re-negotiated as preferred options in the light of new discursive realities; and the interactive designs or expectations of talk initiating participants receive undersigned or unexpected sequential responses in symmetrical or asymmetrical relationships. The paper argues that the joke characters' situationally adaptive orientation to apriori or emergent common ground and intention demonstrates the Akpos jokes' recontextualisation of particular Nigerian social and cultural experiences through the characters' socio-cognitive designs in the mediated encounters. It concludes that while these designs offer the relaxant effects jokes are naturally meant to yield, their negotiation mechanisms provide resources for the application of Kecskes' SCA in Facebook humour and produce sarcasm with a wing of moral lessons.
APA, Harvard, Vancouver, ISO, and other styles
6

Gruner, Charles R. "Wit and Humour in Mass Communication." In Humor and Laughter, 287–311. Routledge, 2017. http://dx.doi.org/10.4324/9780203789469-14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mahoney, Charles. "An Illustrative Essay on Wit and Humour." In The Selected Writings of Leigh Hunt, 129–66. Routledge, 2020. http://dx.doi.org/10.4324/9780429348570-25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Fantham, Elaine. "Wit and Humour as the Orator’s Combat Weapons." In The Roman World of Cicero's De Oratore, 186–208. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780199263158.003.0008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Samuel Taylor Coleridge on ‘Wit and Humour’, 1818." In Tobias Smollett, 361–62. Routledge, 2002. http://dx.doi.org/10.4324/9780203197516-159.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"PREFACE." In An Anthology of Arab Wit and Wisdom, vii—viii. Piscataway, NJ, USA: Gorgias Press, 2008. http://dx.doi.org/10.31826/9781463211547-001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Arab wit and humour' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography