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Murgatroyd, P. "WIT, HUMOUR AND IRONY INHEROIDES9." Classical Quarterly 64, no. 2 (November 20, 2014): 853–55. http://dx.doi.org/10.1017/s0009838814000305.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Mahmoud Mahfouz, Safi. "The Arab Rabelais: Ibn Dāniyāl's Carnivalesque Satire and Wit." Journal of Semitic Studies 62, no. 2 (2017): 413–45. http://dx.doi.org/10.1093/jss/fgx012.
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Lavie, François. "« Humour » et « Wit »: Faire l’histoire de deux mots dans l’Angleterre moderne (XVIIe–XVIIIesiècles)." Eighteenth-Century Fiction 26, no. 4 (July 2014): 625–49. http://dx.doi.org/10.3138/ecf.26.4.625.
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Pal, Chinder. "Wit, Humour and Satire in R.K. Narayan’s Selected Short Stories in Malgudi Days." Journal of Advances and Scholarly Researches in Allied Education 15, no. 4 (June 1, 2018): 44–48. http://dx.doi.org/10.29070/15//57231.
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Sover, Arie, and Giohgah Nur El Din. "The relation between teaching the Arabic language using humour and reading comprehension at Elementary School in the Arab Sector in Israel." European Journal of Humour Research 6, no. 3 (November 13, 2018): 94. http://dx.doi.org/10.7592/ejhr2018.6.3.sover.
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This research examines the extent to which the integration of humorous literary texts in teaching the Arabic language affects achievement in reading comprehension among Grade 4 pupils in the Arab sector in Israel. This research is the first one in the field. Research on the integration of humour in the study of Arabic language as first language does not exist so far. There are very few studies dealing with the integration of humour in the learning process of Arabic as a second language (only three were found). Hence, there are no studies dealing with the integration of humour in the educational field in the Israeli Arab sector. The research took place in one school in the Bedouin sector in the South of Israel. It was based on one experimental class and one control class The study examined the level of the pupils’ knowledge in all components of comprehension: explicit and implicit content, interpretation and integration, evaluating texts and drawing conclusions. The experimental classes studied six humorous stories whereas the control classes studied six stories without humour. The results of the experiment show that the achievements of pupils who learned comprehension using humorous stories was much higher than those in the control classes. In addition, a more positive learning environment was reported in the experimental classes.
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Kubbinga, Henk. "A Tribute to Lise Meitner (1878-1968)." Europhysics News 50, no. 4 (July 2019): 22–26. http://dx.doi.org/10.1051/epn/2019402.
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Physics is irresistible. Though prepared to become a teacher of French at an Austrian highschool, Lise Meitner, daughter of a lawyer, could not help coming under the spell of physics. By lucky coincidence she followed courses dispensed by no one less than Ludwig Boltzmann, whose wit and humour proved contagious. After her PhD, under Franz Exner, she moved on, not to Paris to work with Marie Curie, but to Berlin, to consult with Max Planck on future contingencies. Before leaving for Berlin, however, she was introduced to ‘radioactivity’ by Stefan Meyer.
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Teilanyo, Diri I. "Rhetoric and Rivalry." Matatu 48, no. 2 (2016): 239–52. http://dx.doi.org/10.1163/18757421-04802001.
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Politics almost always entails opposition and rivalry as individuals and groups compete for power and influence. This essay juxtaposes the use of rhetoric among political rivals in Chinua Achebe’s Arrow of God with the use of such language among present-day Nigerian politicians. Parallels are drawn between the utterances of such characters as Ezeulu, Nwaka, and Ezidemili in Arrow of God and those of Nigerian political personalities like Olusegun Obasanjo, Goodluck Jonathan, Ibrahim Babangida, and Atiku Abubakar (the statements of the Nigerian politicians having been gathered from the mass media). Rhetorical strategies such as wit, repartee, innuendo, cynical/wry humour, and outright abuse/imprecations are identified as shared in the two worlds. It is argued that such language of rivalry is common in all political settings, ancient or modern. It is also suggested that literary works such as Arrow of God constitute a source of both political wit and wisdom for politicians to draw on.
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Chard, Chloe. "Paul Mellon Centre Rome Fellowships: Laughter, wit and humour in literature of the Grand Tour." Papers of the British School at Rome 75 (November 2007): 291. http://dx.doi.org/10.1017/s0068246200003615.
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Palmer, Edwina. "The Womë-no poem of Harima Fudoki and residual orality in ancient Japan." Bulletin of the School of Oriental and African Studies 63, no. 1 (January 2000): 81–89. http://dx.doi.org/10.1017/s0041977x00006467.
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In modern English the pun as a form of word-play tends to be associated with wit and humour. It has long been recognized that Japanese literature of various genres abounds in the punning type of word-play, although it is not necessarily humorous. A typical example would be matsu ‘pine tree’ and matsu ‘to wait’, often neatly translated into English as ‘pine’ in both senses. This pun is so frequent in classical Japanese literature that the mere mention of a pine tree can connote yearning for or missing a loved one without further overt reference. The pun thus even creates a metonym.
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Nicholls, Christine. "Online Humour, Cartoons, Videos, Memes, Jokes and Laughter in the Epoch of the Coronavirus." Text Matters, no. 10 (November 24, 2020): 274–318. http://dx.doi.org/10.18778/2083-2931.10.17.
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From the onset of the indefinite deferral of our previously taken-for-granted lives, an abundance of humorous online cartoons, jokes, memes, videos and other satirical material relating to the COVID-19 outbreak—and its consequences—has emerged. Humorous responses to this dire global pandemic proliferate irrespective of location, nationality, ethnicity, age, gender and/or socio-political affiliations. Against a background of enforced lockdowns, quarantine, and sometimes gross political ineptitude, with a mounting daily global death toll, humour referencing this scourge continues to blossom. This may seem counterintuitive or inappropriate at a time of heightened anxiety and fear apropos of an invisible killer-virus, known only in diagrammatic—and, ironically, aesthetically pleasing—visual form. Online humour evoking the COVID-19 crisis is expressed recursively via intertextuality referencing literary, visual, written, oral or other “texts.” Interpictoriality is evident with memes that reconfigure renowned visual artworks. The internet enables copious discourse related to the COVID-19 eruption/disruption.
Embedded in this article are examples to support the article’s theoretical basis, with intertextuality its major focus. Discussion follows, with speculation as to why humour, absurdity and wit are able to prosper in an environment of radical uncertainty and why joking about our parlous global predicament acts as a vital coping mechanism.
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Cheurfa, Hiyem. "Comedic resilience: Arab women’s diaries of national struggles and dissident humour." Comedy Studies 10, no. 2 (June 3, 2019): 183–98. http://dx.doi.org/10.1080/2040610x.2019.1623501.
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Quarantotto, Diana. "Aristotle’s Way away from Parmenides’ Way. A Case of Scientific Controversy and Ancient Humour." Elenchos 37, no. 1-2 (December 1, 2016): 209–28. http://dx.doi.org/10.1515/elen-2016-371-209.
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Abstract In Physics Α, Aristotle introduces his science of nature and devotes a substantial part of the investigation to refuting the Eleatics’ theses, and to resolving their arguments, against plurality and change. In so doing, Aristotle also dusts off Parmenides’ metaphor of the routes of inquiry and uses it as one of the main schemes of his book. Aristotle’s goal, I argue, is to present his own physical investigation as the only correct route, and to show that Parmenides’ “way of truth” is instead both wrong and a sidetrack. By revisiting Parmenides’ metaphor of the route, Aristotle twists it against him, distorts it and uses this distortion as a source of fun and of some mockery of Parmenides himself. Thereby, Physics Α gives us a taste of Aristotle’s biting humour and of his practice of the “virtue” of wit (eutrapelia).
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Sezgin, Ayşe Aslı. "Political Humour in the Social Network Sites." Studies in Media and Communication 6, no. 1 (May 29, 2018): 70. http://dx.doi.org/10.11114/smc.v6i1.3320.
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“Social network sites” first began to be used as new tools of political communication during the 2008 Presidential Election in the United States, and their importance became even more apparent during the Arab Spring. In the course of this, the social network sites became a new and widely discussed channel of communication. In addition to its ability to bring together people from different parts of the world by removing any time and space barriers, creates a virtual network that allows individuals with shared social values to take action in an organized manner. Furthermore, this novel, versatile and multi-faceted tool of political communication has also provided a new mean for observing various aspects of social reactions to political events. Instead of voters expressing their political views through their votes from one election to the other, we nowadays have voters who actively take part in political processes by instantly demonstrating their reactions and by directly communicating their criticisms online.
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Keyser, Catherine. "Robert Benchley and Dorothy Parker ‘In Broadway Playhouses’: Middlebrow Theatricality and Sophisticated Humour." Modernist Cultures 6, no. 1 (May 2011): 121–54. http://dx.doi.org/10.3366/mod.2011.0007.
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This essay proposes that humorists Robert Benchley and Dorothy Parker cast the middlebrow professional as a modern performer in their drama reviews and fiction. Under the sign of sophistication, their work champions individual identity and social status based on professionalism, public performance, and wit. The article traces sophistication as an ideal on the Broadway stage of the 1920s and 1930s, analyzes the skeptical personae that Benchley and Barker create in their drama reviews for middlebrow magazines, and follows the trope of performance (monologue, song, stage) in fiction by Benchley and Parker. In their drama reviews, Benchley and Parker reclaim the tonal extremes of modernist drama for the alienated middle-class professional, and they insist that even artistic avant-gardes derive their techniques from low-cultural spectacle and mass media people-pleasing. In so doing, they encouraged their readers to view themselves as consumers and producers of modern performances. In their fiction, Benchley and Parker use the roles of the beleaguered businessman and the world-weary divorcée to advocate social mobility, professional independence, and hedonistic choice over self-abnegating duty.
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BYROS, VASILI. "TRAZOM'S WIT: COMMUNICATIVE STRATEGIES IN A ‘POPULAR’ YET ‘DIFFICULT’ SONATA." Eighteenth Century Music 10, no. 2 (August 1, 2013): 213–52. http://dx.doi.org/10.1017/s1478570613000055.
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ABSTRACTVienna, 21 August 1773: Mozart signs off a letter to his sister Nannerl in his usual jocular manner: ‘oidda – gnagflow Trazom neiw ned 12 tsugua 3771’. This ‘arseways’ spelling of his signature is an early example of Mozart's well-known fondness for jesting and playing with patterns – spatial, arithmetical, linguistic and musical. Mozart appears to have been especially committed to such games in the 1770s. This was a period when he was also involved with the more serious matter of advancing his career, in which the composition of the first six so-called ‘difficult’ yet also ‘popular’ keyboard sonatas, k279–284, played an integral part. This article reads certain inexplicable gestures in the first sonata, k279, as reflecting Mozart's preoccupation with witty expressions at this time, seemingly as part of his attempt to gain the favour of prospective patrons, publishers and employers. The idiosyncrasies of the sonata result from an intersection of the syntax of phrase-level patterning and large-scale form with the semiosis of musical topics, eliciting laughter or simply a smile. Mozart's communicative strategy is situated in a broader context of the compositional play, wit and humour discussed in late eighteenth-century theory and aesthetics. It also allows us to revisit several implications arising from Danuta Mirka and Kofi Agawu's Communication in Eighteenth-Century Music of 2008, including the importance of ‘context’ for successful communication, the susceptibility of eighteenth-century artefacts to present-day misreading and the problem of Kenner, Liebhaber and audiences in general.
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Jones, Colin. "FRENCH CROSSINGS: II. LAUGHING OVER BOUNDARIES." Transactions of the Royal Historical Society 21 (November 4, 2011): 1–38. http://dx.doi.org/10.1017/s0080440111000028.
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ABSTRACTUnder the generic title, ‘French Crossings’, this Presidential Address explores the history of laughter in French society, and humour's potential for trangressing boundaries. It focuses on the irreverent and almost entirely unknown book of comic drawings entitledLivre de caricatures tant Bonnes que mauvaises(Book of Caricatures, both Good and Bad), that was composed between the 1740s and the mid-1770s by the luxury Parisian embroiderer and designer, Charles-Germain de Saint-Aubin, and his friends and family. The bawdy laughter that the book seems intended to provoke gave it its nickname of theLivre de culs(Book of Arses). Yet despite the scatological character of many of the drawings, the humour often conjoined lower body functions with rather cerebral and erudite wit. The laughter provoked unsparingly targeted and exposed to ridicule the social elite, cultural celebrities and political leaders of Ancien Régime France. This made it a dangerous object, which was kept strictly secret. Was this humour somehow pre- or proto-Revolutionary? In fact, the work is so embedded in the culture of the Ancien Régime that 1789 was one boundary that the work signally fails to cross.
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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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El Gendy, Nancy. "Trickster Humour in Randa Jarrar'sA Map of Home: Negotiating Arab American Muslim Female Sexuality." Women: A Cultural Review 27, no. 1 (January 2, 2016): 1–19. http://dx.doi.org/10.1080/09574042.2015.1122484.
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Sumera, Adam, Wit Pietrzak, Monika Kocot, Fadia Faqir, Maria Assif, Norman Ravvin, and Krzysztof Majer. "Reviews/Interviews." Text Matters, no. 2 (December 4, 2012): 291–316. http://dx.doi.org/10.2478/v10231-012-0071-6.
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Adam Sumera: Capital Ellowen Deeowen: A Review of The Making of London: London in Contemporary Literature by Sebastian Groes (Houndsmills: Palgrave-Macmillan, 2011)
Wit Pietrzak: Deconstruction and Liberation: A Review of Simon Glendinning’s Derrida
Monika Kocot: Authenticity, Transdifference, Survivance: Native American Identity (Un)Masked: A Review of Native Authenticity: Transnational Perspectives on Native American Literary Studies, ed. Deborah L. Madsen
Fadia Faqir Speaks with Maria Assif: Literature, the Arab Diaspora, Gender and Politics
Norman Ravvin Talks to Krzysztof Majer: Absent Fathers, Outsider Perspectives and Yiddish Typewriters
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Grandjouan, Kate. "Hogarth's Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (review)." Eighteenth-Century Studies 45, no. 2 (2012): 335–36. http://dx.doi.org/10.1353/ecs.2012.0009.
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Arar, Khalid. "Emotional expression at different managerial career stages." Educational Management Administration & Leadership 45, no. 6 (July 18, 2016): 929–43. http://dx.doi.org/10.1177/1741143216636114.
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This paper examines emotional expression experienced by female principals in the Arab school system in Israel over their managerial careers – role-related emotions that they choose to express or repress before others. I employed narrative methodology, interviewing nine female principals from the Arab school system to investigate expression of emotions in professional life stories that they narrated. Findings indicate that the principals’ emotional expressions differ according to career stage; on induction into principalship, they are stressed, feel threatened, distressed and challenged. As they establish themselves in their role they are calmer, use more humour and more ‘correct’ facial expressions. At a more advanced career stage, they express empathy and compassion, and concern for the maintenance of educational achievements. Understanding principals’ emotional expression at different career stages contributes to the quality of principal-teacher relations in the school.
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Shesgreen, Sean. "Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art by Bernd W. Krysmanski." Scriblerian and the Kit-Cats 45, no. 2 (2013): 260–62. http://dx.doi.org/10.1353/scb.2013.0011.
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Willi, Andreas. "New language for a New Comedy: A linguistic approach to Aristophanes'Plutus." Proceedings of the Cambridge Philological Society 49 (2003): 40–73. http://dx.doi.org/10.1017/s0068673500000948.
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Aristophanes'Plutusis often regarded as a dull play. According to two of the leading specialists on Aristophanes in Great Britain, the comedy displays ‘a certain amount of disjointedness in its moral and religious themes, and a certain lack of energy in its humour’, and the modern reader feels a ‘decline in freshness, in verbal agility, in sparkle of wit, in theatrical inventiveness’. Others regret alleged or real inconsistencies, the lack of punning and verbal play, the absence of nearly all choral interludes, a parabasis, and political advice in general, and the dearth of references to historical figures. Thus, the temptation is strong to follow those who read a medical history intoPlutus: Aristophanes, by now sixty-five years old, had grown tired and saved hisespritfor every third or fourth play. But such speculations do not do justice to a poet who did not have to write for a living. Before accepting them, we should first try to explain the change in other ways, admitting thatPlutusmay differ from the earlier plays for generic reasons. On this path, the linguistic analysis ofPlutuswill turn out to be helpful.
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Fuhrmann, Wolfgang. "Originality as market-value: Remarks on the fantasia in C Hob. XVII:4 and Haydn as musical entrepreneur." Studia Musicologica 51, no. 3-4 (September 1, 2010): 303–16. http://dx.doi.org/10.1556/smus.51.2010.3-4.5.
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The distinction between aesthetic and commercial value emerged in the later eighteenth century under the conditions of an emerging market for literature and music. Such a distinction was sharply pronounced in North German debate on music, especially concerning the “elitist” fantasia and the “populist” rondo. While Carl Philipp Emanuel Bach would pay lip service to the sharp reprobation of Forkel or Reichardt concerning commercialisation of music, he would nonetheless act as a businessman when it came to selling his music. Joseph Haydn and his Austrian contemporaries, on the other hand, seem to have had much less reservations concerning the idea of music as commodity; indeed, one could argue that Haydn consciously used his trade-marks like “originality” or “wit and humour” as a kind of branding. Commercial success, after all, allowed a composer to get a response from an otherwise anonymous and silent public. The issues at stake are exemplified by a comparison of two important piano pieces which combine elements of fantasia and rondo form: C. P. E. Bach’s Fantasia in C major, H. 291/Wq. 61,6, and Haydn’s Fantasia in C major, Hob. XVII:4.
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O’Connell, Peter A. "Homer and his Legacy in Gregory of Nazianzus’ ‘On his own Affairs’." Journal of Hellenic Studies 139 (September 20, 2019): 147–71. http://dx.doi.org/10.1017/s0075426919000673.
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AbstractThis paper investigates how Gregory of Nazianzus imitates and responds to the Greek literary tradition in the autobiographical poem ‘On his own affairs’ (2.1.1). Through six case studies, it contributes to the ongoing re-evaluation of Gregory’s literary merit. With learning, wit, subtle humour and faith, Gregory adapts and reinvents earlier poetry to express Christian themes. Imitation is at the heart of his poetic technique, but his imitations are never straight-forward. They include imitating both Homer and other poets’ imitations of Homer, learned word-play and combining references to non-Christian literature and the Septuagint. Gregory’s references add nuance to ‘On his own affairs’ and give pleasure to readers trained to judge poetry by comparing it to earlier poetry, especially the Homeric epics. They also demonstrate the breadth of his scholarship, which extends to Homeric variants, Platonic epigrams and the entirety of the New Testament and Septuagint. Above all, Gregory insists that he is a rightful participant in a living poetic tradition. He writes Greek poetry for the fourth century AD, just as Oppian did in the second century and Apollonius and Callimachus did in the Hellenistic period.
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Synodi, Evanthia, Michalis Linardakis, Raimonda Sadauskienė, Asta Kochanskienė, and Dalia Rimavičienė. "Teachers’ Approach to Playfulness in the Process of Education/Learning in Lithuania and Greece." Journal of Pedagogy and Psychology "Signum Temporis" 7, no. 1 (June 1, 2015): 15–19. http://dx.doi.org/10.1515/sigtem-2016-0002.
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Abstract Playfulness is an integral part of pedagogy of play and includes elements such as humour, teasing, mimicry, riddles and rhymes, singing and chanting, shared activity in different contexts and with different resources (human and material), laughter, clowning, fooling around, inventing rules and rituals to begin, maintain and end play, wit, spontaneity, telling and laughing at jokes. Development of pre-school education in Lithuania and Greece has similarities and differences. The research was carried out in February/September, 2014 in pre-school education institutions of Lithuania and Greece. The chosen method of a research is a questionnaire, which was quantitatively analysed. 186 teachers in Lithuania and 197 teachers in Greece filled in a questionnaire. When analysing the data regarding the playful atmosphere teachers attempted to foster in kindergarten, the differences between the countries were statistically highly significant in all cases but one. In order to understand and maintain a playful education/learning, it is very important to observe children’s reactions, moods during both spontaneous and teacher-initiated activities for children (Broadhead, Wood, Howard, 2010). Teacher-initiated activities must be not less playful than the children’s spontaneous activity.
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Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (March 1, 2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.
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Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
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Lillo, Antonio. "COVID-19, the beer flu; or, the disease of many names." Lebende Sprachen 49, no. 5 (October 8, 2020): 411–38. http://dx.doi.org/10.1515/les-2020-0021.
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AbstractSince the coronavirus outbreak began to spread worldwide in the early months of 2020, English speakers have been coming up with new names for the disease at a rate of knots. The myriad unofficial synonyms for COVID-19 that we currently have at our disposal provide an extreme example of overlexicalisation, and it is not so much the number that is impressive as the sheer speed at which they have been coined. This study is based on a personally compiled corpus of tweets covering the period from late January to late May 2020 and aims to work out what mechanisms underpin the creation and use of some two hundred and seventy synonyms, paying particular attention to the role of slang, wordplay, verbal humour, bigotry and xenophobia. The author identifies and discusses a set of categories that help to better understand the attitudes behind these words, some of which bespeak a desire to confront the grim reality of disease, while others – the majority, in fact – seek to denigrate and stigmatise its “ideal victims” (the baby boomers) or its “evil perpetrators” (the Chinese). In a different context, this study might be deemed just a celebration of the creative levity and wit of English speakers when faced with adversity. In these dark times, it is also a sad testimony to how some of our primitive fears have come to be reflected in our pandemic lexicon.
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Khader, Nehad. "Rasmea Odeh: The Case of an Indomitable Woman." Journal of Palestine Studies 46, no. 4 (2017): 62–74. http://dx.doi.org/10.1525/jps.2017.46.4.62.
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In this profile of Rasmea Odeh, JPS examines the case of a Palestinian woman who has been incarcerated in both Israel and the United States. After a decade of confinement in Israel, Odeh was freed in a prisoner exchange in 1979. Following deportation from the occupied Palestinian territories, she became a noted social justice and women's rights organizer, first in Lebanon and Jordan, and later in the U.S., where she built the now over 800-strong Arab Women's Committee of Chicago. In April 2017, Odeh accepted a plea bargain that would lead to her deportation from the United States after a years-long legal battle to overturn a devastating conviction on charges of immigration fraud. Observers, legal experts, and supporters consider the case to “reek of political payback,” in the words of longtime Palestine solidarity activist, author, and academic Angela Davis. Odeh's generosity of spirit, biting wit, and easy smile did not desert her throughout the years that she fought her case. To know Odeh is to be reminded that the work of organizing for social justice is about the collective rather than the individual, and that engagement, relationship building, and trust are the foundations of such work.
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Rodríguez-Salas, Gerardo. "Communitarian Theory and Andalusian Imagery in Carmel Bird’s Fiction. An Interview." IRIS, no. 35 (June 30, 2014): 123–39. http://dx.doi.org/10.35562/iris.1803.
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Australian writer Carmel Bird writes fiction that, while being highly individual and varied, settles within the Australian traditions of both Peter Carey’s fabulism and Thea Astley’s humane wit. As William H. Wilde, Joy Hooton and Barry Andrews state (1994), Bird is a “witty writer with a wide but always highly original tonal range”, who “raises what is often potentially sinister or horrific to something approaching comedy. Disease, deaths and violence are staples in her fictional world, which has similarities with Barbara Hanrahan’s Gothic sensuality and feminist irony, although Bird’s deadpan humour is a distinctive, determining element”. The present interview focuses on an unexplored area in Bird—Andalusia, Spain—which, paradoxically, becomes the backcloth of some of her fiction—like the recent Child of the Twilight (2010)—and a prolific source of inspiration. The following pages explore Bird’s Andalusian/Spanish visions as regards nationalistic, religious, and cultural constructions. To that end, the theoretical communitarian discussion of figures like Ernest Gellner, Ferdinand Tönnies, Benedict Anderson, Jean-Luc Nancy and Maurice Blanchot will prove useful in the structural framework of this interview. Bird herself clarifies that her contribution is not offered from an academic perspective; she speaks about herself as a writer largely unaffected by academic bias. However, communitarian theorisation will prove useful in clarifying her depiction of nationalistic and religious values, while, in the process, she sheds some light on the slippery concept of “Australian writing” and the construction of Spanish cultural values from the perspective of an Australian writer. This interview offers a fresh rendition marked by the humorous, spontaneous and truthful tone that characterises Bird’s fiction.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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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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Francis, Sagar Simon, and Dr Cynthia Catherine Michael. "The Mediocre Growth of a Grandiose Simpleton: An Analysis of Howard Jackobson’s The Mighty Walzer." SMART MOVES JOURNAL IJELLH 9, no. 1 (January 28, 2021): 240–49. http://dx.doi.org/10.24113/ijellh.v9i1.10896.
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The Mighty Walzer is the story of a boy who dreams of winning fame, fortune and the adoration of beautiful women, as a table tennis player. He wants to make his life grandiose like all of us. However, it is a pity that he fails. Oliver, the protagonist is not disheartened. Even though he has not struck his fortune, life gives him other riches- the riches of life and growing up itself. Thus, the novel can be seen as the celebration of the trivial processes of growing up. The more we read, the more we realise that the mediocre lives presented in the novel are grandiose in their own ways. Thus, the author is examining the grandiosities of our mediocre lives. The novel is the life story of each and every one of us. It is the celebration of the simple life of a commoner with its trivialities and mediocrities. However, there is an exuberant grandiosity in this existence. It is this grandiose process of life which is emphasised in this study.
Set in the1950s England, The Mighty Walzer is semi-autobiographical. Howard Jacobson in the veil of the character Oliver,Walzer depicts his own self as a confused Jewish boy growing up in Manchester. When it comes to home, nothing is closer to heart than the childhood memories. Jacobson’s the Mighty Walzer is indeed a childhood memoir. The novel is a bildungs roman narrative. It is absolutely hilarious, comic and sublime. It has the grace and charm of a childhood dream. Jacobson’s wit was lauded from all quarters, when the novel was first published. Sunday Times observes: “Jacobson writes with agility that gives pleasure akin to humour even when it isn’t actually funny. It is the sheer charm of his intelligence that feels like wit.” The Independent in its review quotes: “This mature novel has the sustained exuberance and passion of his youthful writing but within an epic…. An achingly funny book….An amazing achievement….There is few novelists today who can imbue the trifles of life with such poetry.”
Jacobson wrote this rollicking, loose limbed, semi-autobiographical novel in Australia at the end of 90s, having finally put enough distance between events to revisit the humiliation. He puts before us a number of childhood milieus in a straight forward and grandiose fashion. There is no holding back when it comes to a number of intimate sexual and mental give and takes. It is these truthful ejaculations that make the novel hilarious. One can really denominate the novel in Mario Vargas Illosa’s terms as a piece of ‘mental masturbation.’Howard Jacobson amuses his readers in The Mighty Walzer. The characters and milieus in the novel are regular, common and mediocre. We can connect ourselves with the various characters and their eccentricities. The more we go into the novel, the more we realize that the desires, anxieties, failures, successes, sufferings and frailties of the characters are in fact the mirror reflections of our own milieus. Thus, when we look at with disdain the ‘jacking off’ –of Oliver, Sheeney’s women hunting, Sabine’s promiscuity, Aunt Fay’s mid 30’s love affair etc., we are pitying our own repressed desires and inhibitions. Such is the psychological depth with which each of the characters are handled.
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Martin, Martial. "Fake news et libelles diffamatoires : Discours contre les fausses nouvelles, instrumentalisation des écritures de l’actualité et poétiques burlesques dans la première modernité (1559-1661)." Infox, Fake News et « Nouvelles faulses » : perspectives historiques (XVe – XXe siècles), no. 118 (September 10, 2021): 45–59. http://dx.doi.org/10.7202/1081082ar.
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Free-form satire, emancipated from strictly Horatian / Juvenalian models, and organized around a poetic “I”, distant, critical or even indignant before a changing world, played an important role in the emergence of news writing in Early Modernity, leading to the onset of the periodical press in the 17th century. In order to reflect on the connection between Early Modern information media, and satirical or militant writing, the idiom “fake news”, while seemingly incongruous at first, is in fact particularly useful, as it helps establish a connection with our contemporary practices, such as incorrect news, ideologically-oriented publications, clickbaits, and ironic parodies. By comparing these apparently heterogeneous phenomena, it becomes possible to think, in a coordinated way, about three aspects of the exchanges and hybridization that took place between Early Modern “occasionnels” (short, topical brochures) and “libelles” (satirical or libellous tracts). Like contemporary “fake news”, a term often used by purveyors of equally debatable reports to decry doubtful information produced by the opposing camp, libelles were always entangled in a network of other libelles, ever expending due to the indignation caused by the enemy’s lies. Libelles imitated news writing, feeding on rumors, and led to demystifications that often doubled as critiques of the codes of topicality found in the occasionnels. In certain ways, such criticism contributed to the creation of these codes, by pushing back against them. The forms taken by this satire of ideologically-oriented, or militant news writing went beyond partisan intent; it was sometimes difficult, as it is nowadays on certain satirical websites or social media accounts, to distinguish between activist creative writings, and playful games of wit. At a deeper level, satirical esthetics, whether grotesque (referring to the whole period) or burlesque (referring to its end), could instigate a global exercise of incredulity or unbelief towards the religious and political foundations of the Ancien Régime. On account of such a meta-reflexive dimension, of its great diversity linked to its hybridization of news writings, of its oscillation between partisan and playful humour, depending on the readership’s liking and the publishing industry’s interests, libelle referred to changeable forms quite similar to the fickle realities the moniker fake news refers to nowadays. Conversely, the libelle invites us not to hastily reject one aspect or another of the current network, which might be more homogeneous than it seems at first sight.
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Y. Abdul Wahab, Adnan. "Obituary : Dr. Falih Mohammed Hasan Al-Obaidi 1943-2004 Dr. F M Al-Obaidi, who unfortunately died suddenly in 2004, was a graduate of Baghdad College of Medicine in 1966. He had the degree of Diploma in Surgery from Baghdad university and the Fellowship of Royal College of Surgeons of Edinburgh in 1979. He was appointed in Tikrit General Hospital, Ministry of Health and moved to join us in Basrah in 1979 were he was appointed as a lecturer, department of Surgery, Basrah College of Medicine. He also worked at Basrah General Hospital at first then he moved to Basrah Teaching Hospital in 1980 as a consultant in General Surgery where he was involved in both under and postgraduate teaching. His sincere interest in patients and colleagues quickly gained him the respect of all who met him. He was energetic and enthusiastic in all tasks he undertook. Dr. Falih worked for a period as a head of department of surgery in Basrah Teaching Hospital as well as he was the registrant of the department of surgery at Basrah College of Medicine for years. He was not only an excellent teacher but also a great asset to all. We always relied on him as he was known for his thorough, prompt and fair responses. In 1996 he moved to Baghdad and was appointed as Assistant professor in the department of surgery, Medical College of Baghdad University and Senior Consultant Surgeon in the Medical City Teaching Hospital. He was a man whose kind words, hearty laugh and personal warmth endeared him to all. We shall miss his good humour and quick wit. He is survived by his wife, his daughter and his son Adnan Y. Abdul Wahab." Basrah Journal of Surgery 11, no. 1 (June 28, 2005): 130. http://dx.doi.org/10.33762/bsurg.2005.55431.
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Kazarian, Shahe S. "Humor in the collectivist Arab Middle East: The case of Lebanon." Humor - International Journal of Humor Research 24, no. 3 (January 2011). http://dx.doi.org/10.1515/humr.2011.020.
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AbstractThe Lebanese people are lovers of the social and the humorous, and the soul of their humor is manifest in their social gatherings, tales, civil and religious celebrations, songs, jokes, literature, theatre, cartoons, and spontaneous wit. In the present article, humor, Arabic
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Blackwell, Kenneth. "The Wit and Humour of Principia Mathematica." Russell: the Journal of Bertrand Russell Studies 31, no. 1 (May 14, 2011). http://dx.doi.org/10.15173/russell.v31i1.2198.
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Nascimento, Luís F. S. "Razão e zombaria em Shaftesbury." DoisPontos 1, no. 2 (June 30, 2004). http://dx.doi.org/10.5380/dp.v1i2.1936.
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Sensus Communis: An Essay on the Freedom of Wit and Humour é o segundo de um conjunto de seis tratados que Anthony Ashley Cooper publicou em 1711 com o nome de Characteristicks of Men, Manners, Opinions, Times. O presente artigo busca analisar a estreita relação que os conceitos de razão e zombaria assumem nesta obra e a sua importância para a elaboração da noção shaftesburiana de senso comum. Reason and raillery in Shaftesbury Abstract Sensus Communis: An Essay on the Freedom of Wit and Humour is the second of a collection of six treatises which Anthony Ashley Cooper (the third Earl of Shaftesbury, 1671-1713) published in 1711 under the title of Characteristics of Men, Manners, Opinions, Times. This paper aims to analyze the close relation that the concepts of reason and raillery assume in the referred work and its importance to the elaboration of Shaftesburian notion of common sense.
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K, Geethanadani. "‘Better a Witty fool than a foolish wit’- Who are these Fools?" International Journal of Social Science and Human Research 04, no. 08 (August 27, 2021). http://dx.doi.org/10.47191/ijsshr/v4-i8-34.
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The paper focuses on the most remarkable personality was and is seen in the dramas and plays on stages around the world, “The Jokers”. They had played a vital role, connecting the characters in a play and the audience with the play. Though they were portrayed differently in different traditions around the world, their sole purpose was to break the fourth wall in the theatre. Are they ‘witty fools or foolish wits’? is the question debated in the paper. Whatever they are called, they were inevitable as the purpose is to bring entertainment combined with wisdom. Knowledge and humour were their strong power they inherited which was making them special, hence some cultures worshiped them and feared too. Right from ancient period until now histories mark them as intelligent beings in courts and theatrical plays. Were they interpreted rightly or understood correctly? becomes a question unanswered. Their presence in the courts was a boon for some kings keeping them sane at certain situations, relieving their stress. The exploration here is were they doing the same in these plays or much more. Are the fools or jokers seen in the plays necessary? , comic relief they provide is a must or can be ignored to save time are the explorations made in this paper. The talents they possessed is also scrutinized in the paper to show what made them special in plays and courts and how they lived through periods in the minds of people.
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Salatowsky, Sascha. "„Was muß das für ein trockenes gramatisch-metaphysisches Geschwätz seyn“." Deutsche Zeitschrift für Philosophie 65, no. 3 (January 1, 2017). http://dx.doi.org/10.1515/dzph-2017-0036.
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AbstractThis is the first edition of three letters written by Prince August of Saxe-Gotha-Altenburg to the German theologian Johann Gottfried Herder in the years 1784 and 1785. As son of the Duchess Louise Dorothea, Prince August was very familiar with the German and French Enlightenment. He intensely read works by Voltaire, Diderot, Helvetius and similar authors and was able to form his own judgements, even on metaphysical treatises. He described, for example, Spinoza’s philosophy as “dry grammatical-metaphysical claptrap”. His letters to Herder are full of devastating irony, intelligent humour and wit. They give an interesting insight into the intellectual’s debates on literature, philosophy, theology, and arts which are clearly separated from political affairs. The Research Library of Gotha preserves a copy of nearly 200 letters of the prince to Herder.
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Moores, Brandon Alexander. "Snickers and Sex." Pivot: A Journal of Interdisciplinary Studies and Thought 2, no. 1 (March 26, 2013). http://dx.doi.org/10.25071/2369-7326.34874.
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Marcus Valerius Martialis (c.40-104 CE) was one of the wittiest and dirtiest of the Latin poets. Through eleven of his fourteen books of epigrams wit, poetic invention, and suggestive or, more often, explicit sexual situations come together in virtually every imaginable combination. There are excruciatingly elaborate comparisons of anatomy to various daily and not-so-daily objects (“Lydia’s beaver is as loose as a horse’s rear, as a swift-spinning bronze hoop, as the wagon-wheel through which the acrobat leaps…they say that I fucked Lydia in a pool: I can’t be sure; I think I fucked the pool” Book XI, 21), comic exaggerations (“As huge as your cock is, Papylus, your nose is just as long, so that you get a nasty snort of something whenever you get hard” Book VI, 36), and calumnies of every description (“Zoilus, you have fouled the water by washing your arse in it: the only way it could be worse is if you washed your head in it” Book II, 42). All of this makes Martial an ideal place to start when trying to work out the links between humour and sexuality. What is it precisely about sexuality that makes it useful to Martial? What does it have in common with other forms of humour? Are there patterns to how Martial employs his bawdiness?This paper explores these questions through a careful examination of three of Martial’s poems. In order of ascending bawdiness, they are: Book II, 52 (Novit loturos Dasius…), Book III, 26 (Praedia solus habes…), and Book XI, 21 (Lydia tam laxa est…). I argue for an understanding of humour as the satisfaction of a pattern or expectation in an unusual or surprising manner. Going through each poem in turn, I discuss the patterns or expectations Martial evokes in each and how they are satisfied. Finally, I argue that bawdiness is often a source of humour because we have a large and vivid set of expectations when it comes to sexual matters – expectations which can be satisfied in all manner of unexpected ways.