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Journal articles on the topic 'Comic Relief'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Christie, Molly. "COMIC relief." Elderly Care 4, no. 6 (1992): 14. http://dx.doi.org/10.7748/eldc.4.6.14.s35.

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Cole, D. "Comic relief." Canadian Medical Association Journal 184, no. 16 (2012): E879—E880. http://dx.doi.org/10.1503/cmaj.121413.

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Mirsky, Steve. "Comic Relief." Scientific American 278, no. 4 (1998): 22–23. http://dx.doi.org/10.1038/scientificamerican0498-22b.

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4

Martin, Colin. "Comic relief." Lancet Psychiatry 5, no. 2 (2018): 117. http://dx.doi.org/10.1016/s2215-0366(18)30023-3.

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5

Appelo, Tim. "COMIC RELIEF." Sciences 29, no. 5 (1989): 44–49. http://dx.doi.org/10.1002/j.2326-1951.1989.tb02182.x.

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6

Silverman, Emily. "Comic Relief." JAMA 322, no. 4 (2019): 307. http://dx.doi.org/10.1001/jama.2019.9733.

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Firpo-Cappiello, Robert. "Comic Relief." Brain & Life 19, no. 5 (2023): 14–18. http://dx.doi.org/10.1097/01.nnn.0000991196.21104.29.

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8

Paul, Avraneel. "Comic relief." Science 387, no. 6736 (2025): 902. https://doi.org/10.1126/science.adw7404.

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9

Soedarso, Nick. "Komik: Karya Sastra Bergambar." Humaniora 6, no. 4 (2015): 496. http://dx.doi.org/10.21512/humaniora.v6i4.3378.

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Comic book is a literary medium which communicates via images. It has been part of Indonesian culture since a long time. Back to the 9th century, reliefs of Borobudur temple are proves of the early comic culture in Indonesia. Each relief panel of the Borobudur temple was made with a series of sequential scenes that depict many scenes of the 8th century’s daily life in ancient Java and the story of Sudhana and Manohara. It was made with the same principle of any comics nowadays. This article is a literature study with data gathered from both printed and electronic media. Field observation was d

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10

Schroeder, W. R. "Review: Comic Relief." Mind 111, no. 442 (2002): 434–43. http://dx.doi.org/10.1093/mind/111.442.434.

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11

Wallace, Sue. "Comic Relief and Caveats." Alternative and Complementary Therapies 5, no. 6 (1999): 390–92. http://dx.doi.org/10.1089/act.1999.5.390.

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12

Arianti, Andini Setya. "DRAWING STYLES VISUAL ANALYSIS OF INDONESIAN ACTION COMICS." ARTic 3 (March 15, 2019): 93–101. http://dx.doi.org/10.34010/artic.2019.3.2484.93-101.

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Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with

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Arianti, Andini Setya. "DRAWING STYLES VISUAL ANALYSIS OF INDONESIAN ACTION COMICS." ARTic 3 (March 15, 2019): 93–101. http://dx.doi.org/10.34010/artic.v3i0.2484.

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Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with

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14

Dunlap, Lauren Glen, Regina Barreca, Rosalind Warren, and Gloria Kaufman. "In Search of Comic Relief." Women's Review of Books 9, no. 2 (1991): 18. http://dx.doi.org/10.2307/4021138.

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15

Usmanova, Sevara Sultanovnaб Makkanboyeva Zilolaxon Qurvonali qizi. "COMIC IN SHAKESPEARE'S TRAGEDIES." CENTRAL ASIAN JOURNAL OF EDUCATION AND INNOVATION 2, no. 6 (2023): 9–11. https://doi.org/10.5281/zenodo.8005516.

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This article explores the use of comic relief in Shakespeare's tragedies. The author argues that Shakespeare's use of humor in otherwise dark and tragic plays serves to provide a momentary release of tension for the audience, allowing them to better engage with the serious themes and emotions of the play. The article provides examples of comic scenes in several of Shakespeare's tragedies, including "Hamlet" and "Macbeth," and analyzes how these scenes function within the larger context of the play. Overall, the article offers a nuanced and insightful analysis of

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16

Wahyuni, Erly, Majid Wajdi, Budi Susanto, I. Nyoman Suka Sanjaya, and Parshuram Sahoo. "The dual benefits of comic reading: Enhancing mental health and language learning." Journal of Language, Literature, Social and Cultural Studies 3, no. 2 (2025): 167–78. https://doi.org/10.58881/jllscs.v3i2.342.

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This study examines how comic reading enhances mental health and English language skills by exploring its role in stress reduction, emotional well-being, and language acquisition. It focuses on the dual benefits comics offer as therapeutic tools for emotional processing and as effective resources for improving vocabulary, comprehension, and cultural understanding in English learners. Method. A mixed-method approach was adopted, combining survey responses from 100 participants and semi-structured interviews with 15 individuals. Quantitative data were analysed to identify trends in mental health

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17

Soundary, Dr B. "Comic relief: Exploring the philosophy of humour." International Journal of Research in English 6, no. 1 (2024): 01–03. http://dx.doi.org/10.33545/26648717.2024.v6.i1a.151.

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18

Goebel, Bruce A. "Comic Relief: Engaging Students through Humor Writing." English Journal 98, no. 6 (2009): 38–43. http://dx.doi.org/10.58680/ej20097217.

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19

Dougherty, Beth K. "Comic Relief: Using Political Cartoons in the Classroom." International Studies Perspectives 3, no. 3 (2002): 258–70. http://dx.doi.org/10.1111/1528-3577.00095.

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20

Sockman, Beth Rajan, Rhonda Sutton, and Michele Herrmann. "Comic Relief: Graduate Students Address Multiple Meanings for Technology Integration with Digital Comic Creation." TechTrends 60, no. 5 (2016): 475–85. http://dx.doi.org/10.1007/s11528-016-0083-y.

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21

Hertiman, Marys Renné. "The valorisation of women’s work in comic strips: between mediation, remediation and mobilisation." RELIEF - Revue Électronique de Littérature Française 14, no. 2 (2020): 60. http://dx.doi.org/10.18352/relief.1095.

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22

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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23

Lockford, Lesa. "Welcome to the Neoliberal University." Cultural Studies ↔ Critical Methodologies 17, no. 4 (2017): 361–63. http://dx.doi.org/10.1177/1532708617706129.

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As university administrators increasingly promote policies supportive of neoliberalism, an implicit shift in educational mission is insinuating its way into academic life. In this parody of a university recruitment letter, I hope to bring the subtext of that shift into comic and tragic relief.

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24

Abubaha, Osama. "The Fool in King Lear: Comic, Tragic, Sarcastic, and Reasonable Roles." Indiana Journal of Arts & Literature 5, no. 12 (2024): 42–48. https://doi.org/10.5281/zenodo.14584115.

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This research tackles the Fool’s figure in King Lear by William Shakespeare through his comic, sarcastic and reasonable roles. The Fool as a clown clearly responds to the mixture of the audience at that time, incorporating clowning, social critique, humor and sarcasm. The Fool in King Lear is one of the characters who spurs to speak the truth to Lear, even when those truths are sore or painful. Through his humorous and often mocking comments, he provides a critical viewpoint on Lear’s decisions, especially his choice to divide the kingdom and outcast Cordelia. The role of the Fool

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25

Andito, Tegar. "PERANCANGAN KOMIK ANDHE ANDHE LUMUT BERDASARKAN RELIEF KISAH PANJI DI KOMPLEKS CANDI PENATARAN." DeKaVe 10, no. 2 (2018): 49. http://dx.doi.org/10.24821/dkv.v10i2.1993.

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Andhe Andhe Lumut is a folktale that derived from many versions of Panji tales. Andhe Andhe Lumut is the popular one amongst Indonesian, especially Javanese cultures. In popular culture, there are many works in various media that derived from Andhe Andhe Lumut story. Originally, as one of Panji tales, Andhe Andhe Lumut background story takes place at Kediri Kingdom era, but most of visual works like comics, picture story books, animations, drama costumes, etc use far more modern era style of traditional Javanese culture. Beside of that, from original text, Andhe Andhe Lumut folktale is designe

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26

Kryvenko, S. "Comic in Ukrainian political discourse." National Technical University of Ukraine Journal. Political science. Sociology. Law, no. 3(47) (January 29, 2021): 43–48. http://dx.doi.org/10.20535/2308-5053.2020.3(47).229415.

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In the article there is defined the concept of comic as a rhetorical and semantic technique in public discourse, which exerts psychological and behavioral influences. There are highlighted the main features of the comic, in particular: the comic is available for human perception; it causes laughter among representatives of a certain social group, demonstrates the difference between different groups (motives of comedy are not global, they will be funny only for a certain people); entertains the addressee, does not cause suffering and does not activate emotions of empathy in the audience to whic

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27

Meusel, Eduard. "Comic relief – Erleichterung im Streit um die Etymologie von gr. κῶμος". Glotta 97, № 1 (2021): 184–212. http://dx.doi.org/10.13109/glot.2021.97.1.184.

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28

Quigley, E. M. M. "From comic relief to real understanding; how intestinal gas causes symptoms." Gut 52, no. 12 (2003): 1659–61. http://dx.doi.org/10.1136/gut.52.12.1659.

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29

Pettet, Madeline, and Elizabeth Ellison. "The post-villain: Ambiguous villain meets comic relief in Teen Wolf." Australasian Journal of Popular Culture 8, no. 1 (2019): 41–54. http://dx.doi.org/10.1386/ajpc.8.1.41_1.

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30

Kaye, Barbara K., and Thomas J. Johnson. "Restoring sanity through comic relief: Parody television viewers and political outlook." Atlantic Journal of Communication 24, no. 3 (2016): 131–43. http://dx.doi.org/10.1080/15456870.2016.1184520.

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31

Kendall-Raynor, Petra. "Comic relief study aims to reveal the true extent of elder abuse." Nursing Standard 22, no. 30 (2008): 6. http://dx.doi.org/10.7748/ns.22.30.6.s4.

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32

Kekeghe, Stephen, Oghenekaro Ilolo, and Hilary Akuburunwa. "Humour in the euphemisation of depravities, dread and distress in selected Nigerian comic skits of Sabinus." European Journal of Humour Research 13, no. 2 (2025): 111–39. https://doi.org/10.7592/ejhr.2025.13.2.1018.

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Comic skits, like stand-up comedy, have been invaluable sources of humour, education and sensitisation in Nigeria. Extant studies have acknowledged the informative and entertaining contents of Nigerian comic skits, with hardly any critical efforts on their humouring and demystification of degeneracies and distressing experiences that pervade the Nigerian sociopolitical space. This article examines the link between humour and misfortunes in selected comical skits of Sabinus (Emmanuel Chukwuemeka Ejekwu), one of Nigerian most famous skit-makers and comedians, showing how he euphemises repugnant

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33

John, Mochana. "A Comparative Analysis of Gravediggers’ Scene in Shakespeare’s Hamlet and Vishal Bhardwaj’s Haider." SMART MOVES JOURNAL IJELLH 7, no. 12 (2019): 7. http://dx.doi.org/10.24113/ijellh.v7i12.10226.

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The Gravediggers’ scene in Hamlet performs a dramatic function with the melding of seriousness and comic element. The scene which takes place in the most gripping moment of the play is probably one of the most famous in Shakespeare plays. Apart from serving as a comic relief in the rise of the action, the Gravediggers’ scene also delves in to some of the major themes of the play. This scene also provides a wide scope for direction and performance in theatre and film. Vishal Bhardwaj’s Haider is a modern day adaptation of the play Hamlet which is set amidst the turmoil of Kashmir. The movie was

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34

Xenodochidou, Anastasia. "Humour through the Scope of Social Theories and Pragmatic Approaches." Rhetoric and Communications, no. 54 (January 30, 2023): 63–76. http://dx.doi.org/10.55206/zauk8693.

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Abstract: For many years, humour has been the subject of scientific research and it has been related to movies, television shows, literature, sociology, and others. When analysing how comic effect is achieved, humour can be complicated and multifaceted. For that reason, there is no specific theory that explains humour ideally. However, the various social theories and pragmatic approaches to humour, each of which focuses on the different aspects of humour functioning, complement each other. The article aims to present the propositions on humour and the central claims of different social theorie

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35

Geethanadani, K., and Dr Saradha Rajkumar. "Comic Relief and Young Learners - How Exposure to Plays Will Influence their Intellect?" International Journal of Early Childhood Special Education 13, no. 2 (2021): 1238–44. http://dx.doi.org/10.9756/int-jecse/v13i2.211171.

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The cognitive ability helps people understand the world and orient themselves with the general perspective they have in their minds. Young learners who are always in a quest for knowledge are busy awaiting to acquire new life experiences. It can happen throughout the entire span of life. Reading books that will educate their minds can be helping them unconsciously enhance their intellect. Here unintentionally, plays can be considered rendering enlightenment by entertaining them and enriching their minds. Comic relief in the farcical plays tells that life is loaded with possibilities. Hence, on

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36

Knight, Stephen. "Medieval comic relief: Cannibal cow, duck’s neck and carry on Joan of Arc." postmedieval: a journal of medieval cultural studies 5, no. 2 (2014): 154–68. http://dx.doi.org/10.1057/pmed.2014.11.

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37

Rohwer, Lynn, and Martina Topić. "The communication of Corporate–NGO Partnerships: analysis of Sainsbury’s collaboration with Comic Relief." Journal of Brand Management 26, no. 1 (2018): 35–48. http://dx.doi.org/10.1057/s41262-018-0111-7.

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38

Tyler, Melissa, and Laurie Cohen. "Management in/as Comic Relief: Queer Theory and Gender Performativity in The Office." Gender, Work & Organization 15, no. 2 (2008): 113–32. http://dx.doi.org/10.1111/j.1468-0432.2007.00351.x.

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39

K.Gopinath. "Shakespearian Tragic Traits in Bharathiraja's Muthal Mariyathai." Shanlax International Journal of English 7, no. 1 (2019): 140–44. https://doi.org/10.5281/zenodo.3457047.

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This paper will illustrate the Shakespearian tragic traits implied in the Tamil movie Muthal Mariyathai, directed by Mr P. Bharathiraja. There is always a touch of poetic emotions and sublime experiences. In the words of critics, the tragedies are nothing but a tale of sympathy. Generally, in a tragedy, the protagonist suffers a lot. Besides, there are some usual characteristics observed almost in all tragedies for instance supernatural elements, the role of con ict, poetic justice, fate, change in character, comic relief, weakness of the hero, use of irony, catharsis of emotions, etc.

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40

Tsakona, Villy. "To laugh or not to laugh? That is the question." Punctum. International Journal of Semiotics 06, no. 02 (2021): 261–64. http://dx.doi.org/10.18680/hss.2020.0033.

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We usually think of comedy and tragedy as opposites, but perhaps we should consider them as two sides of the same coin. As Morreall (1999: 21) suggests,“[t]he most basic belief [which the comic and the tragic visions of life] share is that life is full of incongruities, discrepancies between the way things ought to be and the way they are. The difference between the two visions of life is more in their attitudes than in any beliefs about matters of fact.” They involve different and usually opposite ways of evaluating the same human condition. In other words, comedy and tragedy are built on inc

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41

Onanuga, Paul. "Transnationalizing humour on social media: A linguistic analysis of ideology, identity and didactics in Robert Mugabe Quotes memes1." Digital Scholarship in the Humanities 35, no. 2 (2019): 399–416. http://dx.doi.org/10.1093/llc/fqz019.

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Abstract Humour relies on dominant cultural values and outlooks in its environment in enacting its comic content. However, since humour sometimes encompasses global experiences, it often transcends artificial human barriers. Its transcendence has been facilitated through online digitized content, in the present case—Internet memes. In exploring transnationalization, fifty purposively selected memes are culled from the Facebook group Robert Mugabe Quotes and subjected to critical linguistic analysis. In the evaluation of the data which is achieved through the linguistic examination of cross-cul

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42

Mensah, Eyo, Idom Inyabri, and Romanus Aboh. "Sexual jokes in Nigerian stand-up comedy." European Journal of Humour Research 11, no. 3 (2023): 54–71. http://dx.doi.org/10.7592/ejhr.2023.11.3.791.

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Nigerian stand-up comic artists explore emerging social, religious, and political issues as materials for comic entertainment within their performance space and community of practice. One of the resources for comic performance is the recourse to sexual contents which are deployed to reduce apprehension around stereotyped norms about sex and sexuality in the Nigerian sociocultural context. Drawing on ethnographic qualitative data using social media skits, audio-visual disks and semi-structured interviews, this article examines sexual jokes as ideological texts and rhetorical devices that embody

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43

Álvarez Fuentes, Mario. "Metaphors for comic relief: Satirists’ self-reported contribution to democratic dialogue in difficult times." Catalan Journal of Communication & Cultural Studies 11, no. 2 (2019): 249–64. http://dx.doi.org/10.1386/cjcs_00006_1.

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This article aims at enriching the debate on the role of political satire when politics becomes troublesome. It takes an ethnographic approach to the production of the TV programme Polònia, which has been broadcast weekly in Catalonia since 2006 and consists of satirical impersonations of politicians. The first section tries to understand the role programme-makers attribute to Polònia within Catalan politics. Participants regard themselves as a central part of the political institutions in Catalonia and recognize a commitment with democratic values. This contests the normative approach in poli

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44

Freeman, Matthew. "Small Change – Big Difference." Non-fiction Transmedia 5, no. 10 (2016): 87. http://dx.doi.org/10.18146/2213-0969.2016.jethc114.

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This article analyses transmedia as a non-fictional social phenomenon, discussing the significance of participation, documentary, and community media. Specifically, the article conceptualises transmedia through the lens of charity politics. To do so, I use the Comic Relief charity campaign in the UK to trace how the socials traditions, ways of life and sensibilities associated with Red Nose Day have evolved into emerging digital technologies to shape this charity campaign across the borders of multiple media platforms. Embracing how social specificity informs non-fictional transmedia, I positi

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45

Pozdena, Emese. "Cultural dimensions and characteristics reflected in Hungarian TED talks." European Journal of Humour Research 8, no. 2 (2020): 62. http://dx.doi.org/10.7592/ejhr2020.8.2.pozdena.

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The present paper is aimed at exploring humour and cultural aspects in TED talks recorded at Hungarian independent TEDx standard events. Applying Speck’s (1991) humour taxonomy, a corpus of 30 Hungarian language talks have been classified based on Barry & Graca’s (2018) humour typology groups and further examined by descriptive statistical indicators. Results show that cultural and other national features are reflected in the talks and are appreciated by the audience. Incongruity and disparagement appeared to be a safe comic device to create laughter in highly individualist and masculine c

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46

Kosman, Marcelle. "Comic relief: the ethical intervention of'Avodah 'Aravit(Arab Labor) in political discourses of Israel–Palestine." Comedy Studies 6, no. 1 (2015): 18–35. http://dx.doi.org/10.1080/2040610x.2015.1026074.

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47

Novaković, Nikola. "To Laugh or to Cry? Ambiguity and Humour in Jason's Graphic Novels." Libri et liberi 11, no. 1 (2022): 51–78. http://dx.doi.org/10.21066/carcl.libri.11.1.3.

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The paper offers a reading of Jason’s use of sparsity, seriousness, and reduction as a concealment of a technique that is based on multifaceted ambiguity involving the blending of genres, a playfully intertextual attitude, and surprising emotional depth of character and story. It discusses the connection between humour and visual, textual, and structural ambiguity in Jason’s works, as well as ambivalence in the reader’s response, illustrates Jason’s combination of incongruous genres and simultaneous employment of motifs from children’s literature and various genre movies (such as science ficti

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48

Chalk, Dannie Leigh. "Savior, Witness, and Comic Relief: The Midwife in English Texts of the Fifteenth and Sixteenth Centuries." Studies in Philology 112, no. 1 (2015): 93–113. http://dx.doi.org/10.1353/sip.2015.0009.

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49

Hrdlička, Milan. "Nad vybranými úskalími překladu Haškova Švejka." Slavia Occidentalis, no. 81 (December 31, 2024): 67–72. https://doi.org/10.14746/so.2024.81.5.

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An adequate artistic translation of the world-famous Hašek´s novel „The Fateful Adventures of the Good Soldier Švejk During the World War“ is exceedingly difficult. Although we start from the position of translatability, it is necessary to point out a lot of problems and challenges which can be resolved only with extreme difficulties. Let us remind of Hašek´s comic relief, expressivity, period allusions and reality, functional alternation of colloquial and literary language, many slang expressions and other phenomena like stammering, mutilated Czech and some hard to translate grammar forms (fo

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50

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 (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”, Th

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