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Journal articles on the topic 'Comedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Rousseau, Francois Waldeck. "Comedy as resource for learning culture in EFL." Journal of Language and Culture in Education 2, no. 2 (2025): 181–95. https://doi.org/10.5281/zenodo.15455300.

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This study explores the potential of comedy as a pedagogical tool for teaching culture in the English as Foreign Language (EFL) classroom. Through a qualitative content analysis of sample materials from three popular comedic genres—situational comedy, sketch comedy, and stand-up comedy—this research demonstrates how comedy can engage learners with cultural norms, cultural stereotypes, popular culture, and socio-cultural critique, making cultural learning accessible and engaging in a foreign language context. Pedagogically, the findings suggest that integrating comedic content into

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Loera-Wiggins, Julianna. "The Chingonas of Comedy: Latina Stand-Up and Testimonio in Chicago." Diálogo 25, no. 1 (2022): 41–49. http://dx.doi.org/10.1353/dlg.00005.

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Abstract: This article examines how the Chicago-based Latina stand-up comedy group Las Locas Comedy disrupts the representation of the well-behaved Latina. By performing once a month for the Chingona Comedy Hour showcase at the Laugh Factory, Latinas work to change and challenge Chicago stand-up comedy by increasing the visibility of Latina comedic talent. I extend the Latinx written tradition of testimonio to determine that comedy can reclaim, highlight, and celebrate dimensions of Latina identity and promote feminist insights. As they navigate Chicago’s robust comedy scene, Latina comedians

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Zhang, Yi-chi. "Research on the Correlation Between Northeastern Dialect and Comedy." Society for Chinese Humanities in Korea 89 (April 30, 2025): 93–113. https://doi.org/10.35955/jch.2025.04.89.93.

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This paper explores the relationship between the Northeastern Chinese dialect and comedy based on its linguistic and cultural characteristics. The Northeastern dialect is characterized by a strong intonation, unique vocabulary, and a direct yet humorous way of expression, which enhances individuality in comedy and maximizes comedic effects. This study analyzes the linguistic features and cultural significance of the Northeastern dialect as expressed in comedy and examines its role through representative comedic works featuring this dialect. Compared to other dialects, the Northeastern dialect

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McKeague, Matthew. "Lyrical lessons: The potential of informative comedy music as supplementary teaching material." European Journal of Humour Research 6, no. 3 (2018): 30. http://dx.doi.org/10.7592/ejhr2018.6.3.mckeague.

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The comedic arts have provided opportunities for humourists to spread information to audiences, sometimes intentionally and other times as a side effect while trying to create laughter. Educators have also found success incorporating comedy into the classroom with humorous activities. While research regarding comedy as a tool to spread information or educate audiences has focused primarily on literature, broadcast media, and film, the area of informative comedy implemented through music remains relatively unexplored. In this paper, the researcher defines ‘informative comedy’ and takes a critic

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Mahmud, Mohammad, and Ninuk Riswandari. "Konstruksi Konsep Diri Dalam Realitas Sosial Pada Anggota Komunitas Stand-Up Indo Pasuruan." Brand Communication 3, no. 3 (2024): 250–63. https://doi.org/10.70704/bc.v3i3.311.

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This research explores how the comedy genres chosen by comics from the Stand Up Indo Pasuruan community reflect their self-concept construction. This research focuses on three comics, namely Resti Natasya, Mukti Irawan, and Ginaris Gangsar Pangestu, who each use the genres of dark/black comedy, observational comedy, and blue comedy as a medium to express their identity, personal experiences, and worldview. Using a qualitative approach with a case study method, data was collected through in-depth interviews, performance observation, and analysis of comedy material performed by the comics. The r

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Kim, Jennifer. "Racism’s Back Door: A Mixed-Methods Content Analysis of Transformative Sketch Comedy in the US from 1960-2000." Journal of Ethnic and Cultural Studies 7, no. 3 (2020): 142. http://dx.doi.org/10.29333/ejecs/392.

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Comedy that challenges race ideology is transformative, widely available, and has the potential to affect processes of identity formation and weaken hegemonic continuity and dominance. Outside of the rules and constraints of serious discourse and cultural production, these comedic corrections thrive on discursive and semiotic ambiguity and temporality. Comedic corrections offer alternate interpretations overlooked or silenced by hegemonic structures and operating modes of cultural common sense. The view that their effects are ephemeral and insignificant is an incomplete and misguided evaluatio

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Kuszak, Kinga. "Komizm w poezji dla dzieci. Jego rola i wartość edukacyjna." Problemy Wczesnej Edukacji 36, no. 1 (2017): 65–74. http://dx.doi.org/10.5604/01.3001.0010.1999.

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The article tackles the subject of comedy in children’s literature. The author begins her reflections with a clarification of the ideas that form the focus of her narration: comedy, humour, and word play, referring to selected works on the subject. Next, adopting her chosen typology of creating comedy in children’s literature, she presents selected examples of literary works which employ the aforementioned linguistic tools to achieve a comedic effect. Contemporary authors’ works are used to illustrate the thesis. The article closes with reflections on the educational role of comedy in children

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Natanael, Christian, and Annita Annita. "ANALYSIS OF HUMOR LANGUAGE IN “NGENEST THE MOVIE” COMEDY SCENE." VCD 7, no. 1 (2022): 1–10. http://dx.doi.org/10.37715/vcd.v7i1.2902.

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Humor language is verbal humor created through words, the meaning of words, and jargon. Directors use language humor to build comedy scenes, introduce the characters, or give the impression of a scene. However, sometimes, excessive techniques will be insufficient for the scene itself. Therefore, this study aims to find how language humor in comedy scenes in a film is overused and eventually dries the comedy. Research material was selected from a comedy movie entitled "Ngenest," produced in 2015, directed by Ernest Prakasa, who has a comical background and often uses comedic techniques in his f

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Brown, Stephanie. "Open Mic?" Feminist Media Histories 6, no. 4 (2020): 42–67. http://dx.doi.org/10.1525/fmh.2020.6.4.42.

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This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authent

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Parisot, Eric. "Pity the Fool: Satire, Sentiment, and Aristocratic Vice in George Colman’s The Suicide." Eighteenth-Century Fiction 34, no. 4 (2022): 393–414. http://dx.doi.org/10.3138/ecf.34.4.393.

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The Suicide, A Comedy (1778) by George Colman (the Elder) is a sophisticated comedic response to the scourge of fashionable suicide in late eighteenth-century Britain. The play simultaneously operates on two comedic planes: (1) it aims the purgative power of contemptible and socially aversive satire at the bon-ton by insinuating the scandalous suicide of high-profile aristocrat John Damer (1744–76); and (2) the reformation of Tobine—the middle-class protagonist who aspires to fashionable self-destruction—invests in the socially rehabilitative and compassionate humour of sentimental comedy. Two

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Okwulogu, Maureen. "Cultural Specificity in Nollywood comedy films." International Journal of Research in Social Science and Humanities 06, no. 01 (2025): 71–78. https://doi.org/10.47505/ijrss.2025.1.5.

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In his seminal work on humor, Noel Carroll suggests that comedy is deeply rooted in the cultural context in which it originates, and its resonance may be confined to specific societies, struggling to transcend national boundaries. This paper explores Carroll's assertion within the context of Nollywood, Nigeria's vibrant and diverse film industry. With over 250 ethnic groups, numerous languages, and a wide range of comedic sensibilities, Nollywood offers a compelling case study for investigating the culturalspecificity of comedy. This study focuses on two Nollywood films, The Wedding Party Part

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Vishal, Raj, and Priya Himangi. "I am a Comedian, That’s My Job:." University of Bucharest Review Literary and Cultural Studies Series 13, no. 1 (2023): 66–80. http://dx.doi.org/10.31178/ubr.13.1.6.

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In an epoch characterized by rapid digitalization, the proliferation of disinformation, and the deepening schisms within society, the significance of stand-up comedy has assumed unprecedented prominence. Its popularity is burgeoning on a global scale, and concurrently, the Indian comedy landscape has witnessed a remarkable influx of talent over recent decades. Among this exceptional cohort of comedic voices, Vir Das emerges as a prominent figure. Known for his incisive humour, he ventures far beyond light-hearted humour, delving into the heart of pivotal societal issues. This article discusses

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Sparrow, Alexander. "Cringe Overhang." European journal of analytic philosophy 20, no. 2 (2024): 345–62. http://dx.doi.org/10.31820/ejap.20.2.5.

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Cringe comedy can make people so uncomfortable, the cringe continues even after the comedy has stopped. This paper explains this effect, which I call “cringe overhang”. If audiences weakly connect to the characters, they laugh. If audiences strongly connect, they have a negative emotional response—say, struggling to watch, or wanting to leave the room.Firstly, I argue cringe comedy jokes are illocutionary acts designed to provoke laughter through second-hand embarrassment (Austin 1975). Secondly, I acknowledge that these jokes don’t always produce the desired perlocutionary effect of laughter—

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Suryana Khairuddin. "Pesan Kritik Sosial Guzman Sige." Bandung Conference Series: Communication Management 4, no. 2 (2024): 810–17. http://dx.doi.org/10.29313/bcscm.v4i2.15240.

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Abstract. Stand-up comedy is rapidly growing in popularity in Indonesia, with shows like Stand Up Comedy Indonesia attracting considerable public interest. The appeal of stand-up comedy lies in its humorous approach, which makes complex messages more accessible and relatable. It often reflects societal values and realities, offering a comedic perspective on social issues. One prominent figure in this genre is Guzman Sige, a notable comedian from Bandung, who has significantly influenced the city's stand-up comedy scene. Sige's performances, including those in the Sebelah Mata Stand Up Comedy S

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Mlekodaj, Anna. "O góralskim humorze." Zeszyty Wiejskie 19 (June 30, 2014): 249–62. https://doi.org/10.18778/1506-6541.19.18.

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The article begins with a short presentation of the state of research regarding humor and comedy. Humor is the process which activates subjects and discusses social functions. Next, past and present theories on the topic of comedy (the comedic effect) created, for example, by philosophers and psychologists are characterized. They all emphatically confirm that the conditions for the existence of comedic word are through the recipient’s ability to perceive comedy. The second part of the article is dedicated to the analysis of humor mechanisms in dialectical texts from the Podtatrza region. The h

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Westwood, Robert. "Comic Relief: Subversion and Catharsis in Organizational Comedic Theatre." Organization Studies 25, no. 5 (2004): 775–95. http://dx.doi.org/10.1177/0170840604042414.

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There has been a growth of interest in the role of humour in organizations from both practitioner and academic perspectives. Various claims for the functionality of humour have been made, ranging from stress reduction to helping form and cement corporate cultures. Latching on to these presumed benefits, businesses and consultants have begun to employ humour and comedy in a direct and explicit manner. However, there is a counterpoint, which suggests that humour cannot always be managed and in fact has subversive qualities. This article addresses the issue of the subversive potential of comedy i

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Wan, Wenting. "Research on Artistic Characteristics in Chinese Absurd Comedy Films — Take the Film Let The Bullets Fly as an Example." Studies in Art and Architecture 3, no. 4 (2024): 52–55. https://doi.org/10.56397/saa.2024.12.08.

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In recent years, a small number of special comedy films such as Let the Bullets Fly, Unknown Hero, and Crazy Stone have emerged in the field of Chinese cinema. They have completely changed the innocuous style features of traditional comedy films, focusing on the absurd phenomena of the lives of marginalized people, and paying special attention to the social ills and the symptoms of the times. This paper conducts research on the artistic creation features, analyzing the unique comedic aesthetics of absurd comedy, which can arouse self-reflection among audiences while also providing a powerful r

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Putri, Maharani Widya, Erwin Oktoma, and Roni Nursyamsu. "FIGURATIVE LANGUAGE IN ENGLISH STAND-UP COMEDY." English Review: Journal of English Education 5, no. 1 (2016): 115. http://dx.doi.org/10.25134/erjee.v5i1.396.

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This descriptive qualitative research was about the analysis of figurative language in English stand-up comedy. The purposes of this study were to identify the types of figurative language and to describe the functions of figurative language found in the selected video of stand-up comedy show. The data source was taken from one of selected videos of Russell Peters stand-up comedy show. Russell Peters’s speech contained about figurative language in the video is observed. The data were collected through content analysis technique by collecting the verbal language used by Russell Peters. The firs

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Meerzon, Yana. "From melancholic to happy immigrant: Staging simpleton in the comedies of migration." Performing Ethos: International Journal of Ethics in Theatre & Performance 9, no. 1 (2019): 23–35. http://dx.doi.org/10.1386/peet_00003_1.

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Abstract This article examines devices of comedy, laughter and dramatic humour as technologies of ethics when it comes to staging migration in contemporary theatre. Looking at a tragic farce Hunting Cockroaches (1985), written by the Polish theatre artist Janusz Głowacki during his American exile, and a domestic melodrama Kim's Convenience (2012), written by a Korean Canadian Ins Choi, this article examines comedy as a particular dramatic model that can challenge staging migrants as agentless and voiceless victims. It asks, what happens when theatre artists begin to use stereotype to stage the

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Schaffer, Gavin. "Fighting Thatcher with Comedy: What to Do When There Is No Alternative." Journal of British Studies 55, no. 2 (2016): 374–97. http://dx.doi.org/10.1017/jbr.2015.229.

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AbstractThis article offers a history of British alternative comedy as a case study of political challenge and opposition in the 1980s and considers the role of humor in political campaigning more broadly. It explores left-wing thinking on culture as a potential political weapon, and questions how this informed the development and impact of alternative comedy as a genre. The article observes that pioneering alternative comedians went some way to change British comedy values and inform political discussions. However, it also argues that the complex operation of jokes and the tendency of comedia

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Branfman, Jonathan. "“Plow Him Like a Queen!”: Jewish Female Masculinity, Queer Glamor, and Racial Commentary in Broad City." Television & New Media 21, no. 8 (2019): 842–60. http://dx.doi.org/10.1177/1527476419855688.

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Starring raunchy Jewish women, Comedy Central’s Broad City (2014–2019) invites feminist comedy theory to better address race and ethnicity. Feminist comedy theory has long used Kathleen Rowe’s model of the unruly woman, which neglects racial/ethnic dimensions of unruliness. When discussing Jewish comedian Roseanne Barr, for instance, Rowe does not mention transgressive stereotypes about Jewish femininity like the “beautiful Jewess,” a historical stock figure depicting Jewish women as racially exotic and masculine-yet-seductive. Likewise, studies of the Jewess have not yet integrated Rowe’s len

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Ma, Ye. "A comparative and acceptance study of women’s discourse in Chinese-American online stand-up comedy." SHS Web of Conferences 174 (2023): 02014. http://dx.doi.org/10.1051/shsconf/202317402014.

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As an emerging form of comedy, stand-up comedy has developed rapidly and attracted widespread attention in various countries today through the production and dissemination mode of new media. In order to better understand the cultural characteristics of stand-up comedy and provide methodological inspiration for contemporary feminist public expression, this essay focuses on online stand-up comedy in China and the United States. Drawing on relevant theories from feminism, gender sociology, reception aesthetics, and communication studies, this essay uses textual close reading and comparative analy

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Asiah, Nur, Julie Rostina, and Nanny Harmani. "Efektiftas Stand Up Comedy Sebagai Media Peningkatan Pengetahuan Perilaku Seksual Berisiko pada Remaja di RPTRA (Ruang Publik Terpadu Ramah Anak)." ARKESMAS (Arsip Kesehatan Masyarakat) 3, no. 1 (2018): 1–6. http://dx.doi.org/10.22236/arkesmas.v3i1.2517.

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Pengetahuan remaja tentang kesehatan reproduksi belum memadai. SDKI 2012 menyebutkan bahwahanya 35,3% remaja perempuan dan 31,2% remaja laki-laki usia 15 – 19 tahun yang mengetahui bahwaperempuan dapat hamil dengan satu kali berhubungan seksual. Stand Up Comedy merupakan bentuk senikomedi atau melawak yang disampaikan secara sederhana. Selain sebagai hiburan, Stand Up Comedy dapatdigunakan sebagai media informasi yang sangat komunikatif di masyarakat, dan dapat dipakai sebagaisarana untuk meningkatkan pengetahuan pada penontonnya. Penelitian ini bertujuan untuk mengetahuiefektiftas metode Stan

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Xing, Shibo. "Edge Impulse-based automated machine learning for comedy performance evaluation." Applied and Computational Engineering 18, no. 1 (2023): 152–56. http://dx.doi.org/10.54254/2755-2721/18/20230982.

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The evaluation of comedic performances presents a challenge due to the subjectivity of humor and various performance factors. This paper proposes a potential solution to this problem by utilizing artificial intelligence (AI), particularly automated machine learning (AutoML), to develop an automatic comedy show scoring system using a diverse Chinese acoustic dataset and the Edge Impulse platform. The proposed method involves analyzing complete video recordings of performances by the renowned Chinese comedy troupe, Deyunshe, to assess audience responses and critical acoustic elements that contri

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Supriyono, Supriyono, Aji Prasetya Wibawa, Suyono Suyono, Fachrul Kurniawan, Roman Voliansky, and Korhan Cengiz. "Retaining humorous content from marked stand-up comedy text." Science in Information Technology Letters 5, no. 2 (2024): 25–42. https://doi.org/10.31763/sitech.v5i2.1812.

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Identifying humor in stand-up comedy texts has distinct issues due to humor's subjective and context-dependent characteristics. This study introduces an innovative method for humor retention in stand-up comedy content by employing a pre-trained BERT model that has been fine-tuned for humor classification. The process commences with the collection and annotation of a varied assortment of stand-up comedy writings, categorized as hilarious or non-humorous, with essential comic elements like punchlines and setups highlighted to augment the model's comprehension of humor. The texts undergo preproce

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Nyakundi, Naftal, David Barasa, and Benard Mudogo. "Exploring Sexism in Humour: A Linguistic Analysis of Comedic Performances on the Churchill Show." Journal of Linguistics, Literary and Communication Studies 3, no. 2 (2024): 9–17. http://dx.doi.org/10.58721/jllcs.v3i2.767.

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This paper examines the linguistic dimensions of sexism embedded within comedic performances on The Churchill Show, a popular Kenyan stand-up comedy program. Attention was paid to live performances broadcast on TV47. The paper seeks to uncover the subtle ways sexism is expressed through comedians’ utterances. Utilizing Norman Fairclough’s (2001) sociocultural framework of Critical Discourse Analysis (CDA), the paper employs a descriptive research approach. Utterances from select stand-up comedy acts performed in November 2023 were gathered using purposive sampling. The collection process invol

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Shih, Evelyn. "Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea." Journal of Korean Studies 22, no. 2 (2017): 365–88. http://dx.doi.org/10.1215/21581665-4226487.

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Abstract This paper contends that genre mixing in comedy films of the 1960s in South Korea had the potential to interrupt filmic codes, which were increasingly propagandistic following the tightening of film law. The advent of the James Bond films as a global cultural phenomenon stimulated local production of spy films, where the villain was typically North Korean. These films were welcomed by cultural regimes of the time due to their anticommunist orientation, but a small hybrid genre, the “spy comedy,” undermined their absolutism. Based in the vernacular comedy traditions of slapstick film p

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Leonardo, Reynord, and Ahmad Junaidi. "Kritik Sosial dalam Stand Up Comedy (Analisis Semiotika Show “Pragiwaksono World Tour”)." Koneksi 4, no. 2 (2020): 185. http://dx.doi.org/10.24912/kn.v4i2.8077.

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This study discusses the stand up comedy that is popular among the people. Stand up comedy itself is a singular comedic art whose contents from ordinary jokes contain social criticism. Pandji Pragiwaksono is one example of a comic where he likes to bring stand up comedy material containing social criticism where there are some social problems that we are experiencing in the form of comedy. The theory used by researchers is the theory of mass communication, mass media, social criticism, stand up comedy. This study uses a qualitative approach with the semiotic analysis technique method Ferdinand

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Krist, Gary, Jane Smiley, Martin Amis, Melanie Sumner, William Boyd, and Cathleen Schine. "Comedy." Hudson Review 48, no. 4 (1996): 679. http://dx.doi.org/10.2307/3852015.

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Hays, Michael. "Comedy as Being/Comedy as Idea." Studies in Romanticism 26, no. 2 (1987): 221. http://dx.doi.org/10.2307/25600648.

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Adriaansz, Raykhel Hardian Yehezkiel, and Sinta Paramita. "Analisis Semiotika Makna Ketersinggungan terhadap Agama dan Unsur Politik dalam Stand Up Comedy." Koneksi 8, no. 2 (2024): 362–70. http://dx.doi.org/10.24912/kn.v8i2.27616.

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This research discusses how the interpretation of offense is conveyed through Stand Up Comedy. Stand Up Comedy itself is a form of solo comedian art performed by an individual known as a comedian or comic. Stand Up Comedy often touches on the consequences of meaning or content embedded in comedic material. Pandji Pragiwaksono is one of the comedians who frequently presents comedy material derived from a social issue or problem, often resulting in criticism or offense to certain parties. This research uses a qualitative research approach to interpret offense in a humorous context. The purpose o

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Osborne-Thompson, Heather. "Channeling Totie Fields." Feminist Media Histories 3, no. 2 (2017): 57–77. http://dx.doi.org/10.1525/fmh.2017.3.2.57.

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Although Totie Fields enjoyed considerable visibility on American television in the 1960s and 1970s, her contributions to women's television comedy have been obscured both by her untimely death in 1978 and by her self-deprecating style of humor. This article reconsiders Fields's comedic persona, which forced audiences to confront the realities of voices and bodies that did not conform to classical ideals, in the context of more recent theoretical work on the economy of charged humor (Rebecca Krefting) and the place of women's comedy within contemporary culture (Linda Mizejewski, Kathleen Rowe

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Li, Huiqin. "Study on the "Gender Misplaced" Characters in Chinese Comedies." International Journal of Education and Humanities 17, no. 3 (2024): 237–42. https://doi.org/10.54097/c8hxzt79.

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In 2015, with the expansion of the Chinese film, comedy films gradually gained popularity among the public due to its relaxed cheerful styles, those film also suitable for all ages. Moreover, comedy genres has been continuously changing in response to market requirement. However, following the rise as one of the most favored genres, comedies' merits were increasingly exploited for commercial purposes. Consequently, an influx of low brow and crude comedic works results in a decline of indigenous comedic films’quality.This paper focuses on Mahua Funage Films, the representative of Chinese comedi

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Benn, Piers. "Ethics, Comedy, and Free Speech." Royal Institute of Philosophy Supplement 96 (October 2024): 47–64. https://doi.org/10.1017/s1358246124000201.

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AbstractI introduce some philosophical considerations concerned with free speech, drawing on the work of J. S. Mill and rejecting some commonly heard arguments for thinking that threats to free speech, whether in general or in comedy, have been exaggerated. I then move to moral objections to certain sorts of comedy, noting the distinction between objecting to the intrinsic badness of jokes and objecting to offending people's sensibilities. I argue that it is hard to resolve arguments about the supposed intrinsic badness of comic material, since the parties to these disputes often have profound

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Willett, Julie. "“Mom, I am a rich man”: Cher, the Straight Man, and the Hidden History of Feminist Humor." Studies in American Humor 10, no. 2 (2024): 225–50. http://dx.doi.org/10.5325/studamerhumor.10.2.0225.

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ABSTRACT Before Cher was the queen of pop, she was a queen of comedy whose feminist punchlines allowed her to negotiate limited verbal space in a male-dominated entertainment industry. She began her comedic career in the 1960s, although it was not until the early 1970s that Cher’s comedic wit, often targeting her then husband and costar Sonny Bono, got noticed, helping to rocket the couple from nightclubs to television stardom. Considered as safe but sexy, The Sonny & Cher Comedy Hour (1971–74) featured the straight man and the fashionista’s no-holds-barred humor that together made feminis

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Buana, Daffa Satya Jaya, Lalu Guruh Virgiawan Dwi Kukuh, and Galih Suryadmaja. "Potensi Komunitas Stand Up Comedy Lombok Dalam Dunia Pariwisata NTB." Journal of Education and Social Science 1, no. 2 (2025): 35–41. https://doi.org/10.70716/jess.v1i2.111.

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The Stand-Up Comedy Lombok community holds significant potential in supporting the development of creative tourism in West Nusa Tenggara (NTB). As a modern performing art, stand-up comedy functions not only as entertainment but also as a medium for conveying local cultural values in an engaging and universal manner. This study reveals that the community effectively packages traditional stories, social issues, and unique Lombok cultural practices into comedic material that is both educational and entertaining. Observations indicate that their performances often attract cross-cultural audiences,

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Lockyer, Sharon. "From comedy targets to comedy-makers: disability and comedy in live performance." Disability & Society 30, no. 9 (2015): 1397–412. http://dx.doi.org/10.1080/09687599.2015.1106402.

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Wiszniewska, Adriana. "“Half a wit is better than none”: Race, Humor, and the Grotesque in Fran Ross’s Oreo." Studies in American Humor 8, no. 2 (2022): 317–36. http://dx.doi.org/10.5325/studamerhumor.8.2.0317.

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ABSTRACT This article focuses on race and humor in Fran Ross’s satirical novel Oreo, about a half-Black, half-Jewish young woman named Oreo, who goes on a quixotic quest to find her absentee father. I argue that Oreo blends high and low forms of comedy, the intellectual and the grotesque, into a complex and irreverent sense of humor that highlights the absurdity of racial and gender hierarchies. I demonstrate how the novel uses representations of animated, mechanized bodies as a site for much of its comedy and as commentary on the racial and gender politics of its moment. The novel’s comedic s

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Xuan, Zhou, and Wang Yichun. "Laughing Mechanism and Social Value of Chinese Black Comedy Films——From the Perspective of Bergson's Comedy Theory." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 29–36. http://dx.doi.org/10.54097/ehss.v20i.11417.

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This article aims to explore the mechanism of laughter and social functions of Chinese black comedy films from the perspective of Bergson's comedy theory. As a popular comedy subgenre in the Chinese film market, black comedy films combine dark and absurd tragic themes with comedy forms to form a unique film style. By using Bergson's comedy theory, while analyzing the comedy and the production mechanism of laughter in Chinese black comedy films, it also analyzes the social functions and cultural values of black comedy films, and explains how to use universal comedy techniques to empower them Bl

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Poornima, T., M. Priyanga, and K. Swarnamuki. "Parallel between Comedy of Humours and Comedy of Manners." International Journal of Trend in Scientific Research and Development Volume-2, Issue-3 (2018): 2292–93. http://dx.doi.org/10.31142/ijtsrd11349.

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Kehler, Dorothea. ""The Comedy of Errors" as Problem Comedy." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 229. http://dx.doi.org/10.2307/1347291.

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Kehler, Dorothea. "The Comedy of Errors as Problem Comedy." Rocky Mountain Review of Language and Literature 41, no. 4 (1987): 229–40. http://dx.doi.org/10.1353/rmr.1987.a460211.

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Humphrey, David. "Laughter Suspended:." Archiv orientální 90, no. 3 (2022): 447–72. http://dx.doi.org/10.47979/aror.j.90.3.447-472.

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I examine the shūru-na warai (“surreal comedy”) subgenre of late 20th and early 21st century Japanese media and frame its ambivalent laughter as an expression of time’s opacity at century’s turn. In my analysis, I examine the evolution of surreal comedy in Japan, from its roots in earlier decades to its culmination in the 1990s and 2000s as a full-blown subgenre. With its aesthetics of indeterminacy and irresolution, shūru-na warai offered an aesthetic complement to the unsettled cultural mood that arose in the wake of collapse of Japan’s 1980s-era asset bubble. Namely, shūru-na warai’s suspen

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A. Rasool, Sabrina, Iram Sagheer, Muhammad Ihsan Ullah, and Asma Ghafoor. "Unmasking Sexism and Vulgarity in the Pakistani Comedy Talk Show: A Critical Discourse Analysis." Journal of Asian Development Studies 13, no. 2 (2024): 1287–99. http://dx.doi.org/10.62345/jads.2024.13.2.103.

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Comedy performs duties for a double motive: making people chuckle and determining their point of view. This study examines how comedy on the Pakistani news channel, particularly the program Hasnaa Mana Hy, establishes and strengthens community specifications and how it influences societal norms and stereotypes. Critical discourse analysis reveals that the show usually targets external appearance, overweight, complexion, gender, cultural background, and citizenship, enhancing negative preconceptions and prejudgments. The research highlights the inequality faced by those considered "unattractive

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Muro Munilla, Miguel Ángel. "La debatible existencia de una “comedia romántica”: “Muérete… ¡y verás!”, de Bretón de los Herreros, como parodia y pastiche de los dramas románticos." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1149. http://dx.doi.org/10.5944/signa.vol28.2019.25114.

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Este artículo participa en la polémica sobre la noción de comedia romántica. Después de revisar de forma crítica los argumentos de las aportaciones más relevantes sobre este asunto, se centra en la obra de Bretón de los Herreros Muérete… ¡y verás! —presentada por varios especialistas como ejemplo acabado de comedia romántica— y defiende que se trata, en realidad, de una curiosa mezcla de parodia y pastiche de los dramas románticos.This article participates in the controversy about the notion of romantic comedy. After critically reviewing the most relevant contributions to these notions, it foc

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Zupančič, Alenka. "The Inconvenience Drive of the Comedic." Cultural Critique 125, no. 1 (2024): 155–66. http://dx.doi.org/10.1353/cul.2024.a937473.

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Abstract: The article proposes a reading of Berlant's On the Inconvenience of Other People that focuses on their understanding of the comedic and the way the latter intersects with the book's other major themes, sexuality and politics. It shows how Berlant's project could be seen as a conceptual proposal, an invitation to build with what keeps us apart. The comedic - which Berlant distinguishes from comedy as a genre form - is a double movement, both of loosening an object, making it available for different kinds of attachment, and of proceeding, persisting in this difference and effectively m

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YESBALAYEVA, R., and Sh KUDAIBERGENOVA. "ZHUMABAY ABILOV AND GENESIS AND THE GENRE STUDY OF THE KAZAKH COMEDY." Turkology 111, no. 3 (2022): 48–65. http://dx.doi.org/10.47526/2022-3/2664-3162.03.

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The article deals with the study of Kazakh comedy. A scientific analysis is carried out on the basis of the research of the scientist Zhumabay Abilov regarding the genesis and genre features of the Kazakh comedy. As the history of the emergence of comedy recedes into antiquity, the history of the study of Kazakh comedy continues to fade. In the literature of any country, there is a tendency to study the genre of comedy in written literature, and types of comedy in oral literature are not taken into account. Perhaps that is why until that time we knew only such types of Kazakh comedy as "Satiri

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Zhang, Fan, and Jingyu Lu. "“Post-Truth”: Diversified Visual Expression of Social Issues." Journal of Education, Humanities and Social Sciences 34 (July 9, 2024): 96–100. http://dx.doi.org/10.54097/x1kbt785.

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The movie “Post-Truth” was released in 2023, which, as always, continues its director Da Peng’s direction of comedy creation while having a new expansion. In this commercial comedy film, Da Peng incorporates emerging elements such as livestreaming and room escape, and shows social issues such as cyber violence, rumor spreading, and school bullying, which are closely related to the current reality. The film expresses serious social issues in a comedic way. This article will focus on the Chinese chivalrous spirit, genre hybridity, audiovisual presentation and imagery expression of the film, anal

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Huan, Xiao, and Afeez Nawfal. "Research on the Artistic Aesthetics of Chinese Comedy Movies." Journal of Digital Art & Humanities 5, no. 2 (2024): 38–46. https://doi.org/10.33847/2712-8149.5.2_4.

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Comedy movies are one of the most important forms of movies, in which the director and comedians with unique styles can make the comedy movies have unique effects and styles. At present, there are two kinds of comedy movies in the domestic market, one is the comedy movies made in China, and the other is from Hollywood. In terms of the artistic means used, each comedy movie has its own uniqueness, so the comedy movies have a great influence on the domestic movie industry. On the basis of relevant theories, this paper mainly takes famous comedy films at home and abroad as the research object, an

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Abbotson. "Comedy of a Common Man: Miller's Comedic Chops." Arthur Miller Journal 15, no. 1 (2020): 3. http://dx.doi.org/10.5325/arthmillj.15.1.0003.

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