Journal articles: 'Black humor'

1

Damacion, Kenneth Zamora. "Black Humor." Missouri Review 13, no. 1 (1990): 194–95. http://dx.doi.org/10.1353/mis.1990.0056.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Kowalczyk, Adam. "Czarny humor w twórczości Władysława Szlengla ze szczególnym uwzględnieniem wiersza „Mała stacja Treblinki”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 121–29. http://dx.doi.org/10.24917/3927.

Full text

Abstract:

Black humor in Władysław Szlengel works, with particular focus on Mała stacja Treblinki (A small station called Treblinki) Władysław Szlengel (1914–1943), was a Jewish poet writing in Polish. His works are the best example of the use of black humor in Polish poetry of World War II. War caused him to change his worldview, which is reflected in the change of humor in his works. The shift was so powerful that in fact Szlengel-commentator replaced Szlengel-satirist. He did not hesitate to use the sharpest irony both against his enemies and against other victims of the system. His poem A Small Station Called Treblinki is the most shocking instance of black humor.Key words: Władyslaw Szlengel; black humour; holocaust; humour; risus sardonicus;

APA, Harvard, Vancouver, ISO, and other styles

3

Dance, Daryl C. "Contemporary Militant Black Humor." African American Review 50, no. 4 (2017): 524–29. http://dx.doi.org/10.1353/afa.2017.0090.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Guzman, Joseph A. "Talking Shit, Egos, and Tough Skin: Humor Among Elite Black Men." Journal of Contemporary Ethnography 49, no. 5 (May 26, 2020): 613–37. http://dx.doi.org/10.1177/0891241620926286.

Full text

Abstract:

Extant research considers humor integral to the Black experience. Previous work on the topic, however, mainly focuses on humor among lower-class Blacks and remains disconnected from broader sociological research on humor and small group culture. Drawing on semistructured, in-depth interviews with 29 members and over 30 months of participant observation this article explores humor in an elite Black men’s social club. “Talking shit” is central to sociability among members, signaling belongingness (having “tough skin") and cementing cohesion on interpersonal and group levels through the deconstruction of egos. By finding amusement in the ambiguities of social identity members interpret its boundaries and articulate feelings in the process of creating and sustaining a culture of hilarity. Ultimately, the analysis illuminates how social identity shapes the content and processes of humor within small group culture.

APA, Harvard, Vancouver, ISO, and other styles

5

Levisen, Carsten. "Dark, but Danish: Ethnopragmatic perspectives on black humor." Intercultural Pragmatics 15, no. 4 (October 25, 2018): 515–31. http://dx.doi.org/10.1515/ip-2018-0018.

Full text

Abstract:

Abstract This paper explores sort humor ‘black humor’, a key concept in Danish conversational humor. Sort forms part of a larger class of Danish synesthetic humor metaphors that includes other categories such as tør ‘dry’, syg ‘sick’, and fed ‘fat’. Taking an ethnopragmatic perspective on humor discourse, it is argued that such constructs function as a local catalogue for socially recognized laughing practices. The aim of the paper is to provide a semantic explication for sort humor and explore the discursive practices associated with the concept. From a comparative perspective, it is demonstrated that the Danish conceptualization of “blackness” differs from that of l’humour noir, a category of French surrealism, and English black humor with its off-limit topics such as death and handicap. In Danish discourse, sort humor has come to stand for a practice of collaborative jocular non-sense making. It is further argued that the main function of sort humor is to establish or enhance a feeling of “groupy togetherness”.

APA, Harvard, Vancouver, ISO, and other styles

6

Wnuk, Agnieszka. "Postmodern world vision? – the grotesque and black humour in postmodern Polish prose." Tekstualia 4, no. 39 (September 1, 2014): 43–54. http://dx.doi.org/10.5604/01.3001.0013.4488.

Full text

Abstract:

The article considers black humour as an important element of postmodern culture. The term is defi ned as a variety of humour which mocks society, taboo, illness, death, and is linked with pure nonsense and the grotesque. In the article, black humor is analyzed on the example of such Polish writers as Jerzy Pilch, Krzysztof Varga, Wojciech Stamm and Paweł Goźliński, who use it as a way to express postmodern world vision as an ambiguous and dangerous labyrinth.

APA, Harvard, Vancouver, ISO, and other styles

7

Sarıca, Nurten. "Black Humor in Boris Vian's." Pamukkale University Journal of Social Sciences Institute 2017, no. 28 (2017): 249–56. http://dx.doi.org/10.5505/pausbed.2017.48303.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Bowles, Dorcas D. "Black Humor as Self-Affirmation." Journal of Multicultural Social Work 3, no. 2 (March 1, 1994): 1–10. http://dx.doi.org/10.1300/j285v03n02_01.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Gubanov, Nikolay N., Lyudmila O. Rokotianskaya, and Nikolay I. Gubanov. "BLACK HUMOR: THE TRANSFORMATION OF TRAGEDY INTO AN ABSTRACT IDEA." Humanitarian: actual problems of the humanities and education, no. 3 (September 30, 2018): 328–40. http://dx.doi.org/10.15507/2078-9823.043.018.201803.328-340.

Full text

Abstract:

Introduction. Humor is a mirror of sociocultural changes, looking into which you can learn about the desires, fears and concerns inherent in people of a particular historical era. This article is devoted to one of the most specific features of our time – black humor. In the twentieth century and the beginning of the twenty-first century, its popularity increased significantly. Among the possible reasons for this phenomenon, it is especially possible to distinguish the role of the media in the unnecessarily detailed coverage of tragic events. Materials and methods. Materials for reflection were philosophical and artistic texts, folklore, films, content of television programs and Internet files. We used the abstract-logical method, the method of system analysis, historical, hermeneutical comparative methods. Results of the research. Socio-cultural factors that caused changes in the attitude of society towards laughter and humor from a generally negative to a generally positive attitude are revealed. Thanks to this, black humor, despite all its ambiguity, has become a familiar phenomenon for many people. Acquaintance with black humor begins with the earliest childhood – from children’s literature, cartoons and folklore, the creators of which often act themselves children. Moreover, much of the black jokes for the adult audience are also devoted to children (themes of child mortality, disability, pedophilia, etc.). A radical shift in the attitude of people towards death, and in particular child death, could also serve as the reason for the increased popularity of the humor genre in question. Details of the peculiarities of humor about real disasters, Internet trolling, humorous coverage of public and private deaths, connection of black humor and fear of death are considered in detail. Discussion and conclusion. The main dimensions of black humor are temporal, territorial, social, hypothetical distances, repeatability, irreversibility of damage. Positive function of humor is that it serves as a means of counteracting any limitations of life. Black humor opposes the main of these limitations-death. It is the transformation of tragedy into an abstract idea. Abstractive idea is abstracted from the events that occurred and reduces the psycho-traumatic perception of real phenomena. Thus, black humor performs a positive function of psychological defense.

APA, Harvard, Vancouver, ISO, and other styles

10

Bostic, Philmont Devon. "A Comedian in the Pulpit: Empowering the Use of Humor in Preaching." Religions 14, no. 9 (September 11, 2023): 1155. http://dx.doi.org/10.3390/rel14091155.

Full text

Abstract:

Each week, the preacher mounts the pulpit with many tools to deliver an impactful sermon. One element of preaching that the black church should embrace is humor. Humor and preaching may appear strange bedfellows, but humor is embedded in the art of black preaching. This study explores humor within the confines of the African Methodist Episcopal Zion Church.

APA, Harvard, Vancouver, ISO, and other styles

11

Gao, Yu. "Black humor in Daniil Kharms`s works." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 208–23. http://dx.doi.org/10.37816/2073-9567-2021-60-208-223.

Full text

Abstract:

Daniil Kharms` s works have been a hot topic of research worldwide for several years. The present study discusses Kharms’s black humor writings of the 1930s, exposes aesthetic potential and humanistic content of black humor as an avant-garde phenomenon, and defines the role of black humor in the plot of works containing allusions to arrest in secret, hospitals and the life of Soviet children. As paper suggests the themes and subjects of Kharms’s black humor are designed to enhance humanistic content. In Kharms’s art world of black humor, “purity” is a kind of harmonious world order representing the earth as “a space, filled with madness and fear” on a real level while on an artistic level it functions as the purity of creative mind generating circular compositional structure and using semantic shift and narrative interruption. In other words, purity embodies the real world while belonging to it. The popularity of Kharms may be, firstly, explained by a clear feeling of absurdism and black humor, the root of which is his requirement for humanization of life and firm faith in God. Kharms believed that religion is “ambiguous and amorphous” and should be expressed in some form or object, without which the essence of religiosity would be lost, even if the most reliable authority and firm dogma are there. Thus, overtly inhuman elements which give a false impression of writer’s spiritual value, do not express the essence of his worldview, but reflect surrounding senseless reality. Out of dissatisfaction with reality, Kharms uses black humor to respond to the evil and absurdity of life.

APA, Harvard, Vancouver, ISO, and other styles

12

Konkulovskyy, V. V. Konkulovskyy, V. V. Panchenko, and V. V. Savchyshyn. "HUMOR IN «BROOKLYN 9-9» SERIES. TRANSLATION ASPECT." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 184–91. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-184-191.

Full text

Abstract:

The article outlines the peculiarities of humor of the original cinematic texts in «Brooklyn 9-9» series and their translation, as well as analyzes the most typical errors and causes of their occurrence. The «Brooklyn 9-9» series is full of jokes that can be classified as dark or so-called black humor. In the cinematic discourse films filled with such kind of humor are called black comedies. The latter is well-deservedly considered to be one of the most difficult genres of cinema. It is iconic for black comedies to incorporate jokes about different sacred things, such as race, human nature, diseases, funerals, disabilities, death, values and desires whilst this kind of humor is usually forbidden in a more formal setting. When working with cinematic text containing elements of black humor, a translator faces a serious number of problems and tasks. To render a source text into a target language adequately, it is important to identify the genre-stylistic dominant of the cinematic text, and to reproduce story-forming speech acts in different contexts. For black comedy cinematic texts chronotopic, characterological, compositional and lexical-semantic contexts will be relevant. According to these, the examples of black humor and puns in «Brooklyn 9-9» series were analyzed.

APA, Harvard, Vancouver, ISO, and other styles

13

Song, Jialu. "Tyrone Slothrop and Roger Mexico: Anti-Heroes in Gravity’s Rainbow." Scholars International Journal of Linguistics and Literature 7, no. 06 (June 25, 2024): 172–75. http://dx.doi.org/10.36348/sijll.2024.v07i06.001.

Full text

Abstract:

Black humor emerged as a distinctive fictional genre in the United States in the 1960s. In the creative process, novelists tend to emphasize the unique charm of this genre through the portrayal of anti-heroes. Thomas Pynchon is a forerunner in American black humor novels during the 1960s and 1970s, and his masterpiece Gravity’s Rainbow is an outstanding example of this genre. This article focuses on two representative anti-heroes in Gravity’s Rainbow, Tyrone Slothrop and Roger Mexico. Through a thorough analysis of Pynchon’s humorous descriptions of the difficulties faced by these two characters, the black humor characteristics of this novel are interpreted, and readers can gain a deeper understanding of Pynchon’s creative style and the essence and appeal of black humor.

APA, Harvard, Vancouver, ISO, and other styles

14

Justine, Abel. "Humor or Black Humor? The Use of Humor and Irony in The Financial Expert." SMART MOVES JOURNAL IJELLH 9, no. 4 (April 28, 2021): 32–36. http://dx.doi.org/10.24113/ijellh.v9i4.10983.

Full text

Abstract:

K. Narayan was one of the pioneers of Indo Anglian fiction along with Mulk Raj Anand and Raja Rao. Their heydays were marked by complicated social issues such as India’s struggle for Independence and the more stressful period afterwards. Among the three, many consider R. K. Narayan as the most realistic in fiction considering Indian settings. The Financial Expert is again considered as Narayan’s masterpiece by many. It’s a well-constructed novel in five parts. The story is focused on three main aspects relating to the central character of Margayya. They are; Margayya’s determination to acquire wealth, his love for his own son Balu and his relationship with his brother and sister in law. It is at times mesmerizing to analyze Narayan’s use of humor and irony in crafting the fate of a normal middle class individual.

APA, Harvard, Vancouver, ISO, and other styles

15

Lu, Feiyang. "Analysis of black comedy elements in "The Annual Meeting Must Not Stop"." Frontiers in Humanities and Social Sciences 4, no. 7 (July 24, 2024): 262–71. http://dx.doi.org/10.54691/1jnnbm82.

Full text

Abstract:

"The Annual Meeting Must Go On" is one of the representatives of contemporary literary works. By subverting traditional annual meeting customs and ingeniously integrating elements of black humor, the work reveals deep-seated social realities and conflicts of human nature behind the laughter. Starting from the exploration of the definition of black humor, the article digs into the artistic expression of black humor in "The Annual Meeting Must Go On" by summarizing and comparing similar narrative techniques in various literary works, such as the clever use of dialogue, prominent contrasts in setting scenes, and extreme characterization of characters. Through in-depth investigation, the study validates the unique artistic charm and profound social significance of black humor as a literary narrative technique in shaping a dark worldview and revealing deeper meanings.

APA, Harvard, Vancouver, ISO, and other styles

16

Roeswan, Shaheila Valmai Kalyana, and Yasmine Anabel Panjaitan. "Deconstructing Racist Humor: How Archie Boston’s Advertisements Provoke Institutionalized Racism." OKARA: Jurnal Bahasa dan Sastra 15, no. 1 (May 31, 2021): 40–55. http://dx.doi.org/10.19105/ojbs.v15i1.4522.

Full text

Abstract:

Humor is one of the most used mediums for overcoming the dominant power in society. One type of humor, Black Humor, was initially used by the Black community to speak their voice regarding the racism they face every day. However, it showed that even the most powerful tool could also act as a double-edged sword for its users. In this research, we analyzed three advertisements made by Archie Boston circa the 1960s that took the symbolism of the Ku Klux Klan, Uncle Sam, and slavery and turned these symbolisms into objects of humor. Using Kress and van Leeuwen’s Grammar of Visual Design, Barthes’ visual semiotics, and incongruity theory by Goldstein and McGhee, these advertisements were analyzed and then critically associated with the theory of Institutionalized Racism. The results revealed that these advertisements showed affiliation with how stereotypes are identified through symbolism by using humor and visual images. Therefore, these advertisements perpetuate negative stereotypes of the Black community by making Black people seem complicit in and supporting the racist acts that the symbols perpetuated.

APA, Harvard, Vancouver, ISO, and other styles

17

Birnbaum, Rachel. "Black Humor in Horace’s Third Epode." Textus 25, no. 1 (August 19, 2010): 285–324. http://dx.doi.org/10.1163/2589255x-02501018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Berestnev, G. I., S. L. Vasilyev, and A. A. Kamalova. "ON COGNITIVE FOUNDATION OF BLACK HUMOR." Voprosy Kognitivnoy Lingvistiki, no. 3 (2018): 41–49. http://dx.doi.org/10.20916/1812-3228-2018-3-41-49.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Erickson, John D. "Surrealist Black Humor as Oppositional Discourse." Symposium: A Quarterly Journal in Modern Literatures 42, no. 3 (September 1988): 198–215. http://dx.doi.org/10.1080/00397709.1988.10733653.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Klymenko, I. V., and I. O. Bortnichuk. "THE PSYCHOLOGICAL FEATURES OF HUMOR PERCEIVING DURING WARTIME DEPENDENT OF HUMOR TYPES." Ukrainian Psychological Journal, no. 2 (20) (2023): 72–83. http://dx.doi.org/10.17721/upj.2023.2(20).5.

Full text

Abstract:

The article addresses the issue of functions and specifics of humorous content during wartime, presenting the results of a study on the psychological features of humor perceiving in wartime conditions depending on humor types. The significance of humor during wartime and the functions that humorous content can perform for groups and communities with different war experience (military, civilians, residents of occupied territories, prisoners of war) are analyzed. The article also presents the results of recent research on the specificity of humor in Ukraine after the start of full-scale invasion. The results of the study on the psychological features of humor perceiving in wartime conditions depending on humor types were presented. The problematic issues that were most often subject to comic reinterpretation and humorous content that left a positive impression and were the best remembered by Ukrainians were analyzed. The article examines how different types of humor (irony, satire, sarcasm, black humor) and humor of different orientations (self-directed or directed at enemies) were perceived. The study reveals a greater inclination toward harsh types of humor, especially humor mocking the enemy. Perceiving of different types of humor by respondents with different experiences of war events and different individual humor styles was analyzed. There was a tendency to perceive positively harsh types of humor (sarcasm, black humor) among respondents with deeper trauma due to wartime events. The study also determined a connection between personal preference for such humor and the dominance of an aggressive individual humor style.

APA, Harvard, Vancouver, ISO, and other styles

21

Monk-Payton, Brandy. "#LaughingWhileBlack." Feminist Media Histories 3, no. 2 (2017): 15–35. http://dx.doi.org/10.1525/fmh.2017.3.2.15.

Full text

Abstract:

This article examines humor as it intersects with race and gender in digital media. It takes up the idea of laughter to explore how Black expressive culture emerges online, both individually and collectively, in the contemporary moment, arguing that web-based objects such as blogs and podcasts as well as tweets, hashtags, and memes that exist and circulate on social media produce racialized and gendered humor predicated on ridicule. Such ridicule is tied to a genealogy of Black feminist and Black queer enactments of “sass” and “shade” as affective strategies of social scrutiny. By detailing the humor associated with the popular viral personalities Luvvie Ajayi and Crissle West as well as the social networking platform Twitter, this article begins the work of archiving Black women's daily comedic performances on the Internet.

APA, Harvard, Vancouver, ISO, and other styles

22

RĂDULESCU, Anda. "CASTIGAT RIDENDO MORES - ANALYSE DE L’HUMOUR NOIR DE LA PRESSE ROUMAINE SUR NOS POLITICIENS PENDANT LA QUATRIÈME VAGUE PANDÉMIQUE." Analele Universității din Craiova Seria Ştiinte Filologice Langues et littératures romanes 26, no. 1 (February 21, 2022): 173–85. http://dx.doi.org/10.52846/aucllr.2022.01.11.

Full text

Abstract:

A protean genre, difficult to frame and analyse, humor manifests itself, among others, in laughter, an expression of a feeling of fun and gaiety. Apart from its obvious social function, laughter also performs an educational and cathartic function, as long as by mocking at the faults of others, one corrects them. Based on a series of articles published between September-November 2021 by some Romanian daily newspapers, we review some forms of derision and humor in relation to Romanian politicians, including puns, cultural allusions, malicious nicknames and coinages. The working hypothesis is that laughing at the political power, whatever its form (mockery, irony, black humor, sarcasm, pamphlet, etc.) is a sort of protest, of virulent criticism of political decisions of the moment and that, despite the political, health and energy crisis that our country is going through, the Romanians have not lost their sense of humour.

APA, Harvard, Vancouver, ISO, and other styles

23

Usatova, A. S., and L. P. Prokhorova. "Script System and Black Humor in Plays by M. McDonagh." Bulletin of Kemerovo State University 23, no. 1 (April 10, 2021): 286–96. http://dx.doi.org/10.21603/2078-8975-2021-23-1-286-296.

Full text

Abstract:

The present paper focuses on intertextuality as a means of black humor in plays by Martin McDonagh, a famous British-Irish playwright. Nine of his plays have been translated into different languages and staged in theatres around the world. However, most theories of comic effect cannot explain the phenomenon of his popularity. This prompted the authors to search for the most accurate and least conditioned way to classify intertext as a means of comic effect in general and black humor in particular. As a result, they chose the semantic theory of humor by V. Raskin and the multidisciplinary general theory of verbal humor developed by V. Raskin and S. Attardo. These theories employ the notions of "script" and "opposition" to examine the linguistic nature of the joke. Using attributed and unattributed intertext inclusions as "signs" or "scripts", the authors analyzed McDonagh’s plays through the prism of this theory. The result was a system of scripts and oppositions that form the chronotope of a long text as opposed to that of a joke. The article also introduces the black humor mechanism in McDonagh's plays: it is based on references to the intertextual thesaurus of the potential reader / theatre audience.

APA, Harvard, Vancouver, ISO, and other styles

24

Feith, Michel. "“The United States of Lyncherdom”: Humor and Outrage in Percival Everett’s The Trees (2021)." Humanities 12, no. 5 (October 20, 2023): 125. http://dx.doi.org/10.3390/h12050125.

Full text

Abstract:

An oeuvre as redolent with the spirit of satire and humor as Percival Everett’s can be said to represent, at the same time, an anthology of humorous devices—a “humorology,” so to speak—and a self-reflexive meditation on the existential, philosophical and/or metaphysical implications of such an attitude to language and life. The Trees (2021) is a book about lynching, in which a series of gruesome murders all allude to the martyrdom of Emmett Till. Even though such subject matter seems antinomic to humor, the novel is rife with it. We propose an examination of the various guises of humor in this text, from wordplay and carnivalesque inversion to the more sinister humour noir, black or gallows humor, and an assessment of their dynamic modus operandi in relation to political satire, literary parody and the expression of the unconscious. The three axes of our analysis of the subversive strategies of the novel will be the poetics of naming, from parody to a form of sublime; the grotesque, macabre treatment of bodies; and the question of affect, the dual tonality of the novel vexingly conjugating the emotional distance and release of humor with a sense of outrage both toned down and exacerbated by ironic indirection. In keeping with the ethos of Menippean satire, humor is, therefore, both medium and message.

APA, Harvard, Vancouver, ISO, and other styles

25

Budd, Louis J., and Patricia M. Mandia. "Comedic Pathos: Black Humor in Twain's Fiction." American Literature 64, no. 2 (June 1992): 381. http://dx.doi.org/10.2307/2927852.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

MEDVEDIEVA, Anna. "Functions of black humor in film translation." Humanities science current issues 2, no. 47 (2022): 144–50. http://dx.doi.org/10.24919/2308-4863/47-2-23.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

KURAVSKA, Nataliia, and Tetiana KOBUTA. "Peculiarities of translation of English black humor." Humanities science current issues 2, no. 40 (2021): 112–16. http://dx.doi.org/10.24919/2308-4863/40-2-18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Arning, Chris. "What makes modern Britain laugh? How semiotics helped the BBC bridge the Humor Gap." International Journal of Market Research 63, no. 3 (March 15, 2021): 275–99. http://dx.doi.org/10.1177/1470785321991346.

Full text

Abstract:

In 2018, BBC Marketing and Audiences approached semiotic agencies with a challenging brief. They wanted to know the following: What makes modern Britain laugh? The BBC’s younger audiences have been steadily drifting to other platforms and broadcasters to satisfy their need for “funny stuff.” Brands that successfully leverage humor really resonate with this new modern mainstream audience, for example, Netflix, BuzzFeed, YouTube, Snapchat, and so on. The BBC, as part of its remit to continue to be a modern evolving brand, wanted to address this trend by understanding what types of comedy content convey a relatable sense of humor and how to best achieve this. The BBC required insight on the following key objectives: Identify key characteristics of content that younger audiences find funny; Explain how this compares with the preferences of the BBC’s older audiences; Estimate how far the BBC brand can stretch in humor content across platform; Assess the need for innovation across BBC platforms to accommodate fresh content. The project involved a multi-methodology approach, the centerpiece of which was a content analysis of 800 data points of consumer generated content derived from WhatsApp diaries. The semiotic analysis, informed by foundational thinking on humor schools and humor psychology, used an innovative hashtagging system to create a nuanced taxonomy of the mostly memes and viral videos with the primary types (e.g., #cringe, #pastiche, #awkwardness, #black humour, #satire, #schadenfreude etc.). The BBC received a comprehensive taxonomy of more than 50 humor types, a digest of levers of engagement for operationalising the humour, and maps for strategic channel positioning. The work has helped the BBC innovate in three core areas: rethinking their use of metadata for tagging comedy content on the iPlayer platform, modifying their tone of voice across all parts of the business, and in commissioning original comedy podcasts for the BBC Sounds app.

APA, Harvard, Vancouver, ISO, and other styles

29

Dangermond, Karin, Ricardo Weewer, Joachim Duyndam, and Anja Machielse. "“If it stops, then I’ll start worrying.” Humor as part of the fire service culture, specifically as part of coping with critical incidents." HUMOR 35, no. 1 (February 1, 2022): 31–50. http://dx.doi.org/10.1515/humor-2021-0106.

Full text

Abstract:

Abstract Firefighters are reluctant to talk about firefighters’ humor with outsiders. This closed attitude has led to a lack of understanding of this important coping strategy in the outside world. It is not clear how firefighters experience humor and its role as part of the fire service culture and why they consider humor to be important when coping with critical incidents. Data has been collected by means of 20 participant observations and 72 interviews with Dutch firefighters from 37 different fire stations. Joking culture and joviality are important elements of the Dutch fire service culture. Firefighter humor usually creates unity, but can also lead to exclusion. Whether a joke is perceived as funny depends on who makes the joke, the moment, the content, and the frequency of the joke. Black humor is used as a means to start a conversation and, indirectly, to make it possible to discuss emotions and it tends to positively influence group dynamics. However, black humor is absent in the case of certain critical incidents because of personal boundaries and unwritten rules. The absence of humor is a sign for the crew commander to pay extra attention to coping.

APA, Harvard, Vancouver, ISO, and other styles

30

Stahr, Radka, and Anne Marlene Hastenplug. "With dark humor about a dark future." Folia Scandinavica Posnaniensia 29, no. 1 (December 1, 2020): 19–29. http://dx.doi.org/10.2478/fsp-2020-0005.

Full text

Abstract:

Abstract This article analyses the relationship between black humor and dystopian literature. In dystopia, humor can appear on the surface as language or situational comics, but there is also a deeper link between these two literary phenomena: they confront the reader with an unexpected notion in order to bring him to a critical reflection. There are many dystopias in the Nordic literature that use comic elements. Three of them are discussed in this article: Axel Jensens Epp (1965), Lena Anderssons Duck City (2006) and Kaspar Colling Nielsens Den danske borgerkrig 2018–24 (2013). The analysis shows that classic black humor is enriched with other tragicomic, satirical or surrealistic elements and significantly contributes to the critical tone of the text. In all cases humor is used for the same purpose, and this is a critique of superior power (the so-called superiority theory). Therefore, humor can be considered not only as a stylistic means, but also as a principle of construction of the dystopian works.

APA, Harvard, Vancouver, ISO, and other styles

31

Conrad, Cecilia A. "Nea Presidential Address, 1993: Why Black Economists?" Review of Black Political Economy 23, no. 1 (June 1994): 5–8. http://dx.doi.org/10.1007/bf02895737.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Nathans, Benjamin. "The Longue Durée of Dark Humor." Ab Imperio 2023, no. 4 (2023): 107–12. http://dx.doi.org/10.1353/imp.2023.a922257.

Full text

Abstract:

SUMMARY: This essay is a contribution to the discussion forum "Mainstream Narratives of Soviet History and the Laughter of Surprise," framed as responses by literary scholars, historians, and political scientists to Sheila Fitzpatrick's essay "Soviet History as Black Comedy." Benjamin Nathans reviews genres that have been used to narrate Soviet history, such as irony and tragedy, and shows that black comedy alone fosters irreverence and cognitive distance from the Soviet project. It builds a bridge between emic and etic interpretations of Soviet culture. But these functions of black comedy, Nathans argues, are older than the Soviet period. The prominence of these functions during the late Soviet era exposes its specificity vis-à-vis earlier periods. Furthermore, insiders and outsiders (like Fitzpatrick) found the Soviet experience funny for different reasons. Finally, black humor persists in Putin's Russia. Nathans concludes with the question of whether what we have understood as Soviet is, in fact, Russian or universal. Резюме: Это эссе является частью форума "Мейнстримные нарративы советской истории и смех от удивления," в котором литературоведы, историки и политологи реагируют на эссе Шейлы Фитцпатрик "Советская история как черная комедия". Рассматривая основные жанры восприятия советского прошлого – иронию и трагедию, – Бенджамин Натанс отмечает, что только черная комедия поощряет непочтительность и когнитивную дистанцию от советского проекта. Она связывает эмическую и этическую интерпретацию советской культуры. Эти функции черной комедии были характерны и для предшествующих эпох. Их особая заметность в позднесоветский период лишь подчеркивает ее отличия от более ранних этапов советской истории. Кроме того, инсайдеры и аутсайдеры (такие как Фитцпатрик) находили советский опыт смешным по разным причинам. Наконец, черный юмор не исчез и в путинской России. Натанс заканчивает эссе вопросом: насколько то, что мы понимаем как советское, на самом деле является российским или даже универсальным?

APA, Harvard, Vancouver, ISO, and other styles

33

Saucier, Donald A., Megan L. Strain, Stuart S. Miller, Conor J. O’Dea, and Derrick F. Till. "“What do you call a Black guy who flies a plane?”: The effects and understanding of disparagement and confrontational racial humor." HUMOR 31, no. 1 (January 26, 2018): 105–28. http://dx.doi.org/10.1515/humor-2017-0107.

Full text

Abstract:

AbstractWe conducted three studies to test our overarching hypothesis that racial humor may increase or decrease subsequent expressions of prejudice by setting social norms that indicate prejudice is either more or less acceptable, respectively. We selected riddles that were disparaging, confrontational, or neutral, and examined their effects on subsequent prejudiced expressions. We predicted humor that disparaged Blacks would convey that prejudiced expressions are more socially acceptable, resulting in increased expressions of prejudice toward Blacks. Conversely, we predicted humor that confronted prejudiced expressions would convey that prejudiced expressions are less socially acceptable, resulting instead in reduced expressions of prejudice toward Blacks. Our studies demonstrated that, consistent with prejudiced norm theory, disparagement humor, and confrontational humor perceived as disparaging, has the potential to disinhibit expressions of prejudice when used, even in brief social interactions. Our studies also showed that individuals often misinterpreted the subversive nature of confrontational humor, frequently perceiving the confrontation intended to challenge expressions of prejudice as instead intending to disparage Blacks. Thus, while it is possible racial humor may have the potential to tighten norms inhibiting prejudice, the perceptions of confrontational jokes as disparaging may result in jokes (created to subvert and inhibit prejudice) ironically reinforcing prejudiced responding.

APA, Harvard, Vancouver, ISO, and other styles

34

Dunning, Eric. "#BBQBecky & #PermitPatty: African-American Humor & Resistive Discourse on Twitter." Studies in Linguistics and Literature 4, no. 2 (May 8, 2020): p33. http://dx.doi.org/10.22158/sll.v4n2p33.

Full text

Abstract:

Humor has always been a social tool by which to navigate the slings and arrows of human existence. This has been exceptionally true for historically marginalized groups, such as African-Americans. Throughout U.S. history, “Black humor” has served to challenge authority, resist domination, lampoon the powerful and assuage injustices. It has served and both balm and weapon for a cultural group that has often found itself on the outside looking in, while being punished for being in that position. However, even within marginalized groups, canonical examples of cultural humor have been largely produced by a small segment of the population (i.e.,comedians, writers, poets, musicians). Social media, Twitter especially, has removed the barriers of production and gatekeeping of humor. Therefore, by examining responses to a cultural moment by “non-elite” African-Americans on Twitter, as the this paper does, helps to elucidate some evident trends, narratives, rhetorical strategies and tropes that may possibly be considered universal hallmarks of “Black Humor” as resistive discourse. Furthermore, these hallmarks can perhaps be understood to be the preeminent forms by which African-Americans create community, resist oppression and challenge hegemonic norms.

APA, Harvard, Vancouver, ISO, and other styles

35

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Finnegan, Cara A. "Study in Black and White: Photography, Race, Humor." Journal of American History 107, no. 3 (December 1, 2020): 773. http://dx.doi.org/10.1093/jahist/jaaa412.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Fox-Amato, Matthew. "Study in Black and White: Photography, Race, Humor." History of Photography 43, no. 4 (October 2, 2019): 427–28. http://dx.doi.org/10.1080/03087298.2019.1789305.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Marvick, Louis. "Brecht, Shakespeare, and the Dynamics of Black Humor." Studia Neophilologica 78, no. 1 (June 2006): 39–45. http://dx.doi.org/10.1080/00393270500355668.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Forrester, Sibelan. "Black Humor in Danilo Kiš’s Tales of Totalitarianism." Serbian Studies: Journal of the North American Society for Serbian Studies 27, no. 1-2 (2013): 43–53. http://dx.doi.org/10.1353/ser.2013.0004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Zhou, Chunfang. "Students’ Perceptions of Humor and Creativity in Project-Organized Groups (pogs) in Engineering Design Education in China." International Journal of Chinese Education 4, no. 2 (December 7, 2015): 162–79. http://dx.doi.org/10.1163/22125868-12340052.

Full text

Abstract:

This study explores engineering design students’ perceptions of humor in the experiences of creativity development in Project-Organized Groups (pogs). This study links theories including humor, learning, creativity, and engineering design in one framework. Empirically, this study carried out interviews with a total of 13 students in engineering design education at Northeastern University (neu) in China. We found that students think all humorous people are creative, and they welcome humor in project groups; they also regard humor as not only a personality or communication tool, but also the outcome of applying creative ideas in design practice. The students additionally think that humor is mainly used to keep individuals’ harmonious relationship with the group and that humor is the immediate ability to create using language in ongoing communication contexts. These findings are helpful to unpack the black box of humor from a learner’s perspective and contribute to future joint efforts of studies on humor and creativity in engineering design education.

APA, Harvard, Vancouver, ISO, and other styles

41

Fitria, Andini Anugrah, and Zuliati Rohmah. "SPREADING LAUGHTER THROUGH HUMOR FROM GRICEAN MAXIMS AND ISLAMIC PERSPECTIVES." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 17, no. 1 (July 27, 2022): 49–62. http://dx.doi.org/10.18860/ling.v17i1.15580.

Full text

Abstract:

Humor is essential in maintaining the balance of human life socially and psychologically. Each culture in the world, including Islamic culture, perceives humor differently. Furthermore, from an academic perspective, humor can be constructed using linguistic features. Therefore, this study aims to examine verbal humor construction using linguistics features and evaluate how verbal humor is perceived by different cultures, particularly popular British and Islamic cultures. British popular culture is directed more toward the liberal culture, which is often opposed to the Islamic culture, which is often seen as conservative. By employing a qualitative approach, the study investigates the verbal humor construction in Black Books comedy series using Gricean cooperative maxim theory and Marzolph's concept of Islamic perspectives on humor based on the Holy Qur’an and Hadith. The results of this study point out that verbal humor utterances in the series flout and violate all four Gricean maxims, which are the maxim of quality (54.3%), quantity (14.3%), relevance (11.4%), and manner (20%). This study also found that most verbal humor utterances in the series are appropriate to Islamic perspectives on humor, as 60% of the verbal humor utterances do not contain ridicule, defamation, offensive utterances and name-calling, and some other forbidden acts in Islam such as lies and abusive behaviors. The results of this study are expected to provide more insights into verbal humor construction and different cultures' perspectives on verbal humor.

APA, Harvard, Vancouver, ISO, and other styles

42

Edmonds, Brittney Michelle. "From Blackface to Black Twitter: Reflections on Black Humor, Race, Politics, and Gender." Studies in American Humor 7, no. 2 (October 1, 2021): 405–8. http://dx.doi.org/10.5325/studamerhumor.7.2.405.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Safer, Elaine B. "Alienation and Black Humor in Philip Roth's “Exit Ghost”." Studies in American Jewish Literature (1981-) 29 (January 1, 2010): 139–47. http://dx.doi.org/10.2307/41206139.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Еремеева, Е. "WHY COVID-2019 JOKES ARE NOT A BLACK HUMOR?" Doxa, no. 1(33) (September 15, 2020): 240–49. http://dx.doi.org/10.18524/2410-2601.2020.1(33).211987.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Safer, Elaine B. "Alienation and Black Humor in Philip Roth's “Exit Ghost”." Studies in American Jewish Literature (1981-) 29 (January 1, 2010): 139–47. http://dx.doi.org/10.5325/studamerjewilite.29.2010.0139.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Solomon, William. "Secret Integrations: Black Humor and the Critique of Whiteness." MFS Modern Fiction Studies 49, no. 3 (2003): 469–95. http://dx.doi.org/10.1353/mfs.2003.0054.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Serebrennikova, T. A. "Комическое в фильме «Хрусталев, машину!» Алексея Германа старшего." Studia Culturae, no. 56 (November 2, 2023): 41. http://dx.doi.org/10.31312/2310-1245-2023-56-41-57.

Full text

Abstract:

This article analyzes the film of the russian film director A.Yu. German «Khrustalev, the car!», 1998. Events in the cinema take place in 1953 — the end of the Stalin era. Historically, this period is considered difficult, a turning point, filled with many dramatic moments. However, a sense of humor has always accompanied a person, encouraged him and made it possible to look at the situation differently. In this study, the comic is singled out from a dramatic work of art. In the movie «Khrustalev, the car!» the aesthetic category of the comic is manifested through extraordinary characters, through the dialogues of the heroes, and the comic is clearly seen in absurd situations and in the visual interweaving of the sublime with the base. Each film image in the article is highlighted separately. Comic positions are detailed. After analyzing the material, the author notes that the predominantly comic in «Khrustalev, the car!», presented with the help of «black» humor. «Black» humor is characterized by cynicism, ridicule of taboo, inviolable topics, mockery of physical handicaps, diseases, and absurdism. Such humor reflected the late Stalinist period. In the future, the author plans to explore a number of films in which the aesthetics of the comic are manifested in an interesting way.

APA, Harvard, Vancouver, ISO, and other styles

48

Shafi, Uzma. "Postmodernist Literary Movement: A Comprehensive Study of Technique in Vonnegut’s Novels." International Journal of English Literature and Social Sciences 2, no. 4 (2017): 203–12. http://dx.doi.org/10.22161/ijels.2.4.24.

Full text

Abstract:

Kurt Vonnegut is an integral part of the postmodernist literary movement and a master of satire, gallows humor, and science fiction. The uniqueness of Vonnegut's works is that in addition to having excellent themes, the novels are also technically accomplished and colorful. Vonnegut refuses to confine himself to a single form of fiction, which is something that is certainly clear from a review of his books. In reality, modal diversity is demonstrated in each of his works. Vonnegut, a man of profound vision, tries to experiment with brilliant techniques in his novels, including science fiction, comic science fiction, black humor, dark humor, morbid humor, gallows humor, meta-fiction, satire, political satire, postmodernism, dark comedy, war novels, absurdist fiction, modes of absurdity, and semi-autobiographical writing. In his works, he deftly weaves these strategies around his theme. He draws attention to the numerous social defects, the atrocities of war, and the sorrows of modern man. He imagines a society free of societal ills, where people are not enslaved by technology. This essay aims to analyze the literary devices used by Vonnegut in his works.

APA, Harvard, Vancouver, ISO, and other styles

49

Medvedieva, A. A. "IMPLEMENTATION MEANS AND THE TRANSLATION OF BLACK HUMOR IN MOVIES." Тrаnscarpathian Philological Studies 3, no. 13 (2020): 49–55. http://dx.doi.org/10.32782/tps2663-4880/2020.13-3.9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Dingwall, Chris. "Tanya Sheehan. Study in Black and White: Photography, Race, Humor." American Historical Review 126, no. 1 (March 1, 2021): 248–51. http://dx.doi.org/10.1093/ahr/rhab060.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Black humor'

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