Relevant bibliographies by topics / Dark humour

Contents

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

Academic literature on the topic 'Dark humour'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Dark humour"

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Shin, Hyunju, and Lindsay R. L. Larson. "The bright and dark sides of humorous response to online customer complaint." European Journal of Marketing 54, no. 8 (June 20, 2020): 2013–47. http://dx.doi.org/10.1108/ejm-08-2018-0522.

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Purpose Displaying a sense of humour provides various interpersonal benefits including reducing tension and promoting conflict resolution, but should a firm use humour in response to publicly viewable online customer complaints after a service failure? The purpose of this study is to demonstrate that a firm’s use of humour in response to negative online consumer reviews has both positive and negative effects on perceptions of corporate image from a customer-as-onlooker perspective. Design/methodology/approach Three experimental studies are conducted and analysis of variance is used to empirically test the hypotheses. Findings Although humorous responses have an unfavourable influence on perceived trustworthiness of the firm, they have a favourable influence on perceived excitingness of the firm. The former influence is tied to lower perceived firm sincerity, whereas the latter is tied to higher perceived firm innovativeness and coolness. Furthermore, humour within the customer complaint itself is shown to moderate the influence of humorous responses on perceptions of the firm. Finally, regardless of the type of humour used (i.e. affiliative or aggressive humour) in the humorous response, the positive effect of humorous response remains strong, although aggressive humour further aggravates the negative impact of humorous response on trustworthiness. Research limitations/implications The experimental set-up may limit external validity of the study, and the research is limited to the variables examined. Practical implications Humorous response is identified as a non-traditional approach to online customer complaints that poses a double-edged sword for managers of service organizations. Firms should avoid using humour in online service recovery if perceptions of trustworthiness are critical or if complaints are written in a neutral tone. However, such responses may be successfully used when a firm wants to position itself as exciting and if complaints are also humorous. Finally, firms are advised to avoid aggressive humour. Originality/value The present research represents one of the few studies in marketing to examine the potential of injecting humour into complaint management and service recovery. In addition, this study considers the consumer-as-onlooker perspective inherent in social media.
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Cauchi-Santoro, Roberta. "On Dark Laughter: Leopardi’s and Beckett’s Humour." Quaderni d'italianistica 33, no. 2 (February 9, 2013): 119–31. http://dx.doi.org/10.33137/q.i..v33i2.19420.

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The desire not to desire is crucial to Samuel Beckett and Giacomo Leopardi. Beckett explores this theme in Proust where Leopardi’s poem “A Se Stesso” is thrice quoted. Before citing this poem, Beckett catalogues Leopardi as one of the philosophers who proposed the only impossible solution—the removal of desire—to living. Leopardi expresses the desire of not desiring in his posthumously-collected Manuale di Filosofia Pratica. There is thus a fundamental common terrain in Leopardi’s and Beckett’s existential enquiry. This apparently negative and pessimistic outlook in both authors is a leading thread that has received critical attention. My contention, nonetheless, is that while both Leopardi and Beckett aspire to the ablation of desire, the two authors are neither nihilists nor pessimists. It is through their humour that both Leopardi and Beckett introduce a paradoxical in-between space for desire. The humorous moment conceals repressed desire, albeit it also strives to allow that same characteristic of human fallibility- desire- to be manifested. It is in this dual act that humour in Leopardi and Beckett is inextricably linked to something unsettling, grimacing but also potentially liberating.
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Rawlings, Maren. "The Complexity of Workplace Humour: Laughter, Jokers and the Dark Side of Humor." HUMOR 31, no. 3 (July 26, 2018): 563–65. http://dx.doi.org/10.1515/humor-2018-0049.

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Daubney, Ellie. "Use of dark humour as a coping mechanism." Journal of Paramedic Practice 11, no. 3 (March 2, 2019): 128. http://dx.doi.org/10.12968/jpar.2019.11.3.128.

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

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In this article, we examine dark humour in Internet posts commenting on an online Italian newspaper report published by Il Fatto Quotidiano and devoted to the 2016 terrorist attack in Nice. The analysis focuses on the linguistic forms and socio-pragmatic functions of this dark humour in the wake of the tragedy. We argue that the creative humorous posts are meant to communicate Internet users’ ideologies conceptualised as their true beliefs about the sociopolitical situation and that they are oriented primarily towards criticising terrorism-related themes, notably: inept security enforcement, radical Islam, political and public reactions and integration policies. The humour in the Italian posts is used as a means of displaying Internet users’ wit and attracting other users’ attention.
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Kasperski, Edward. "Black humour, comicality, parody." Tekstualia 4, no. 39 (September 1, 2014): 5–30. http://dx.doi.org/10.5604/01.3001.0013.4485.

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The article is an attempt to present the category of black humour in reference to comicality and parody. The fi rst part encompasses a description of its theoretical aspects such as André Breton’s concept of black humour as well as studies by Freud, Kierkegaard, Schopenhauer, Bergson and Beatrix Müller-Kampel. Additionally, Mikhail Bakhtin’s concepts of the carnival and the grotesque are addressed. The second part focuses on an exemplary employment of black humour: Sławomir Mrożek’s dark parody of Adam Mickiewicz’s Dziady II.
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Perchtold, Corinna M., Elisabeth M. Weiss, Christian Rominger, Kurt Feyaerts, Willibald Ruch, Andreas Fink, and Ilona Papousek. "Humorous cognitive reappraisal: More benign humour and less "dark" humour is affiliated with more adaptive cognitive reappraisal strategies." PLOS ONE 14, no. 1 (January 31, 2019): e0211618. http://dx.doi.org/10.1371/journal.pone.0211618.

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

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Heroides9 takes the form of a letter sent by Deianira to Hercules as a reinforcement to the tunic smeared with Nessus' blood which she has already dispatched in the mistaken belief that it will revive the hero's love for her. In this epistle she tries to persuade her husband to give up his latest girlfriend (Iole) by showing him that she loves him, by arousing pity for herself, and by making him feel ashamed of his philandering and see that he thereby disgraces himself. Obviously there is pathos here, particularly as the deaths of Hercules and Deianira loom in the background, but there is also wit, irony, and (especially dark) humour, creating a piquant tonal mixture which has been almost entirely neglected by critics. They have seen the sadness, and some of the irony (which is taken to be purely tragic), but they have not grasped the facetious aspects, whereby our irreverent poet ensures that the piece does not lapse into mawkishness and engages the head as well as the heart.
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Jessica Hughes. "VENGEANCE, VIOLENCE, VAMPIRES: Dark Humour in the Films of Park Chan-wook." Cross-Cultural Studies 28, no. ll (September 2012): 17–36. http://dx.doi.org/10.21049/ccs.2012.28..17.

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Novaković, Nikola. "The Laughter of Other Places." Libri et liberi 9, no. 2 (December 31, 2020): 313–33. http://dx.doi.org/10.21066/carcl.libri.9.2.4.

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The paper employs Michel Foucault’s ideas on heterotopias, outlined in his essay Of Other Spaces (1984), to analyse the interaction of humour and spaces in Edward Gorey’s works, with special emphasis on the book The Evil Garden (1966). Foucault’s theory of heterotopias is used to provide an understanding of Gorey’s fusion of sombre places and macabre tales with his characteristically dry humour and to examine what Gorey’s heterotopias can tell us about the problem of the categorisation of Gorey as an author of children’s literature. In the reading of The Evil Garden, the paper illustrates how Gorey’s disturbing heterotopias achieve a hybridity of spaces, genres, tones, and reader roles in order to encourage polyvalent readings. Gorey plays with the juxtaposition of various heterotopias, destabilising the reader’s position through recurring motifs and intertextual allusions, but the one element that is represented in all those “other” places is invariably humour in all its different forms. It is precisely at the intersection of the various spaces which collide in heterotopias that Gorey’s dark humour emerges and performs its subversive function.
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Dissertations / Theses on the topic "Dark humour"

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Gheorghiu, Rares Cosmin. "Dark Humour in Photography." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.

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With the invention of photography and the camera, people have been given the possibility to immortalize moments in time that evoke incongruities in everyday life and document photographic jokes laughing in the face of death or ridiculing a certain class of people or race. Therefore, the camera has served as a means for different types of laughter not always with the subject as the humourist but the photographer himself. The aim of this work is to analyse how photographic humour works and its diachronic development throughout the years with particular focus on dark humour and how the latter is processed cognitively. Furthermore, this paper seeks to answer the questions of why some pictures make us laugh more than others and how has humour shifted according to the society and times we live in.
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Collings, Rebecca. "Shedding light on dark comedy : humour and aesthetics in British dark comedy television." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/59450/.

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The term ‘dark comedy’ is used by audiences, producers and academics with reference to an array of disparate texts, yet attempts to actually define it perpetuate a sense of confusion and contradiction. This suggests that although there is a kind of comedy that is common enough to be widely noted, and different enough from other types to require separation, how and why this difference can be perceived could be better understood. Accordingly, I investigate what is enabling the recognition and distinction in respect of British dark comedy programmes, and use this as a basis for considering how this type of comedy works. I argue that the programmes may be distinguished primarily by aesthetic features, placing their rise on British television in a broader context of aesthetic trends towards a display of visual detail, spectacle, and excess that puts the private and the taboo on greater show. Using the theories of Freud, Bakhtin, and Bergson about taboo, the uncanny, the grotesque, and the appearance of mechanical actions in humans, I examine in detail examples of British comedy television programmes that are typically referred to as ‘dark’, demonstrating their consistent depiction of subjects that are often repressed or avoided, particularly those around which taboo restrictions and prohibitions have evolved (such as violence and death, illness, and transgressive sexuality). These areas are strongly linked with the body and physicality, and are also ones which occasion negative feelings of unease and denial that are connected to concerns about mental and corporeal fragility and fallibility. I conclude therefore that dark comedies provide a space where viewers may confront and ultimately minimise fears surrounding the human condition, enabling a ‘safe’ exploration of them that can be enjoyed as humorous.
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Bucaria, Chiara <1978&gt. "Dark humour as a culture specific phenomenon: a study in screen translation." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/946/.

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The present study aims at analyzing how dark humour as a cinematic genre travels cross-culturally through a specific mode of audiovisual translation, i.e. dubbing. In particular, it takes into consideration the processes involved in dubbing humour from English into Italian as observed in the English- and Italian-language versions of ten British and American dark comedies from the 1940s to the 2000s. In an attempt to identify some of the main mechanisms of the dark humour genre, the humorous content of the films was analyzed in terms of the elements on which specific scenes are based, mainly the non-verbal and verbal components. In the cases in which verbal elements were involved, i.e. the examples of verbally expressed humour, the analysis was concerned with whether they were adapted into Italian and to what effect. Quantification of the different kinds of dark humour revealed that in the sample of dark comedies verbal dark humour had a higher frequency (85.3%) than non-verbal dark humour (14.7%), which partially disconfirmed the first part of the research hypothesis. However, the significance of contextual elements in the conveying of dark humour, both in the form of Nsp VEH (54.31%) and V-V (V+VE) (21.68%), provided support for the hypothesis that, even when expressed verbally, dark humour is more closely linked to context-based rather than purely linguistic humour (4.9%). The second part of the analysis was concerned with an investigation of the strategies adopted for the translation of verbal dark humour elements from the SL (English) into the TL (Italian) through the filter of dubbing. Four translational strategies were identified as far as the rendering of verbal dark humour is concerned: i) complete omission; ii) weakening; iii) close rendering; and iv) increased effect. Complete omission was found to be the most common among these strategies, with 80.9% of dark humour examples being transposed in a way that kept the ST’s function substantially intact. Weakening of darkly humorous lines was applied in 12% of cases, whereas increased effect accounted for 4.6% and complete omission for 2.5%. The fact that for most examples of Nsp VEH (84.9%) and V-AC (V+VE) (91.4%) a close rendering effect was observed and that 12 out of 21 examples of V-AC (PL) (a combined 57%) were either omitted or weakened seemed to confirm, on the one hand, the complexity of the translation process required by cases of V-AC (PL) and V-AC (CS). On the other hand, as suggested in the second part of the research hypothesis, the data might be interpreted as indicating that lesser effort on the translator/adaptor’s part is involved in the adaptation of V-AC (Nsp VEH) and V-V (V+VE). The issue of the possible censorial intervention undergone by examples of verbal dark humour in the sample still remains unclear.
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Murray, Kristen A. School of Media Theatre &amp Film &amp School of Sociology UNSW. "???Bury, burn or dump???: black humour in the late twentieth century." Awarded by:University of New South Wales. School of Media, Theatre & Film and School of Sociology, 2007. http://handle.unsw.edu.au/1959.4/31475.

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In humour studies research, there have been few attempts to elucidate why black humour was such a prevalent, powerful force in late twentieth century culture and why it continues to make a profound impression in the new millennium. As Dana Polan (1991) laments: ???Rarely have there been attempts to offer material, historically specific explanations of particular manifestations of the comic???.1 This thesis offers an interdisciplinary analysis of black humour in the late twentieth century. I contend that the experience of black humour emerges from the intricacies of human beliefs and behaviours surrounding death and through the diverse rituals that shape experiences of loss. I suggest that black humour is an attempt to articulate the tension between the haunting absence and disturbing presence of death in contemporary society. Chapter 1 of this thesis offers an historical and etymological perspective on black humour. In Chapter 2, I argue that the increasing privatisation and medicalisation of death, along with the overt mediatisation of death, creates a problematic juxtaposition. I contend that these unique social conditions created, and continue to foster, an ideal environment for the creation and proliferation of black humour. In Chapters 3 and 4, I examine the structures and functions of black humour through three key theories of humour: incongruity, catharsis and superiority. Chapter 5 looks at ways in which the experience of black humour creates resolutions and forces dissonances for people entwined with loss. In this final chapter, I also consider how black humour may help people make meaning from issues surrounding death. Throughout this theoretical discussion, I interweave the analysis of a range of scenes from contemporary black comic texts (i.e. plays, screenplays and television scripts). On the whole, this thesis works towards a more complex, specific understanding of the phenomenon of black humour within a social context.
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Martin, Julia. "Days Ending in Why." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32993.

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In DAYS ENDING IN WHY, interdisciplinary artist Julia Martin identifies the schism of her autobiographical practice: deep melancholia and absurd irony. The fragmentation of the works presented knowingly resist cohesion, instead, through their arrangements and the potentials of space between them, they carry on conversations with one another. Rooted in the personal narrative, the works span across multiple mediums; photography, film, installation/sculpture, and literature. Martin emphasizes both the tragic and the comedic, pacing the show as a play between the two. Also, there are cats. So many cats.
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Williams, Eric. "Laughing in the face of death: exploring the dark side of humor." Thesis, Boston University, 2006. https://hdl.handle.net/2144/27798.

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Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Rosen, Sarah M. "Dark Humor and Suicide: Exploring Viewer Suicidality in "The Long Way"." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/777.

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Death, dying, and the actual loss of life are some of the broadest sweeping concepts that typically evoke a wide array of emotions from sadness and anger to fear and despondence. It is unlikely that the first words associated with death are comedy, humor, or laughter. However, that is precisely what creators and comedians of dark, death, and gallows humor seek to achieve. For my senior capstone project, I have created a short fictional narrative film encompassing the traits of a dark comedy. However, noticing that few dark comedies delve into topics surrounding suicide, I wondered if it was possible to achieve the same comedic and filmic effects with suicide as dark comedies do with death. Is it possible to generate humor from suicide and desiring death? What is implied if humor is derived from the inability to reach death on one’s own volition?
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Staaby, Kirsten. "Bewilderment and illumination Catch-22 and the Dark Humor of the 1960s /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.

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Hawley, Rachel S. "VILE HUMOR: GIVING VOICE TO THE VOICELESS THROUGH DARK COMEDY IN SOUTHERN GOTHIC LITERATURE." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/337.

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The American South is a rich source of literature that combines the humorous and the horrific in its attempts to explain and expose the region's deep-seated social turmoil. One of the most prolific genres to come out of the South is southern gothic literature that, though not always humorous is known for its use of grotesque imagery and reliance on highly charged melodramatic narratives. When these works are comic, they don't merely reflect the region's strife but attempt to transform it. This dissertation looks at how southern gothic writers Beth Henley, Fannie Flagg and Flannery O'Connor use dark comedy in their works as defiant acts designed to question the status quo and reform the southern landscape by creating ruptures where marginalized people can assert themselves into the norms of American culture. Drawing on several different definitions of comedy, including Barecca's works on female narratives and linguistic theories of jokes, this work defines dark comedy and identifies where humor and horror come together in the works of these southern gothic writers to form particularly dark comic moments. Then, it uses Butler's theory of sites of rupture to explain how dark comedy can be transformative. In Giving an Account of Oneself, Butler explains Foucault's regime of truth as a system that is always both self-reflexive and social - a system where the norms that govern recognition create boundaries where subjects are formed. She goes on to conclude that ruptures can occur within the "horizon of normativity" whereby those relegated to the margins can gain entry and be encompassed within the governing norms. Dark comedy, then, occurs at or even creates that site of rupture in the individual and in the society that experiences it, and allows for the individual, and by extension society, to change its understanding of what is normal and resides within the margins. Within the text, then, dark comedy changes the governing norms to include the once marginalized oddities.
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Knight, Jacquelyn E. "The Role of Social Exclusion as a Mediator of Humor Style Among Dark Triad Personalities." Marietta College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=marietta1450361397.

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Books on the topic "Dark humour"

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Hogarth's hidden parts: Satiric allusion, erotic wit, blasphemous bawdiness and dark humour in eighteenth-century English art. Hildesheim: Olms, 2010.

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Freeman, Garth, ed. Torilore: A Complex Tale. Doncaster, South Yorkshire, United Kingdom: Self Published, 2014.

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Harold, Bloom. Bloom's literary themes: Dark humor. New York: Bloom's Literary Criticism, 2010.

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Harold, Bloom. Bloom's literary themes: Dark humor. New York: Bloom's Literary Criticism, 2010.

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Dixon, Wheeler Winston. Dark Humor in Films of the 1960s. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137562500.

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Adams, Douglas. Two Complete Novels: Dirk Gently's Holistic Detective Agency / The Long Dark Tea-Time of the Soul. New York: Wings Books, 1994.

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S, Burhani M. Kumpulan humor Gus Dur: Berisi humor cerdas dari Gus Dur dan humor-humor kiai kondang Jawa-Madura. Jombang: Zahra, 2010.

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Colletta, Lisa. Dark Humor and Social Satire in the Modern British Novel. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981370.

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Colletta, Lisa. Dark humor and social satire in the modern British novel. New York, NY: Palgrave Macmillan, 2002.

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Dark humor and social satire in the modern British novel. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2003.

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Book chapters on the topic "Dark humour"

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Clements, Paul. "Creative Outsider Spaces and Dark Heterotopias." In The Outsider, Art and Humour, 142–62. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003031369-7.

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Plester, Barbara. "The Punch Line: Transgression and the Dark Side." In The Complexity of Workplace Humour, 107–28. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24669-7_6.

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Mpofu, Shepherd. "Dark Humour, Ubuntu and the COVID-19 Pandemic: A Case of Subaltern Humouring of Political Elite Deaths on Social Media." In Digital Humour in the Covid-19 Pandemic, 319–46. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79279-4_15.

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Plester, Barbara, and Kerr Inkson. "The Dark Side of Humor." In Laugh out Loud: A User’s Guide to Workplace Humor, 129–44. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0283-1_9.

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Colletta, Lisa. "Introduction Modernism and Dark Humor." In Dark Humor and Social Satire in the Modern British Novel, 1–16. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981370_1.

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Dixon, Wheeler Winston. "Dark Humor in Films of the 1960s." In Dark Humor in Films of the 1960s, 1–31. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137562500_1.

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Dixon, Wheeler Winston. "A Cinema of Violence: The Films of D. Ross Lederman." In Dark Humor in Films of the 1960s, 32–63. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137562500_2.

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Dixon, Wheeler Winston. "Juan Orol, Phantom of the Mexican Cinema." In Dark Humor in Films of the 1960s, 64–71. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137562500_3.

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Dixon, Wheeler Winston. "Missing in Action: The Lost Version of Vanishing Point." In Dark Humor in Films of the 1960s, 72–78. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137562500_4.

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Dixon, Wheeler Winston. "The Invisible Cinema of Marcel Hanoun." In Dark Humor in Films of the 1960s, 79–87. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137562500_5.

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Conference papers on the topic "Dark humour"

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Gubanov, Nickolay N., Nickolay I. Gubanov, Lyudmila Rokotyanskaya, and Larisa Cheremnyh. "Motives for Children's Mortality in Modern Dark Humour." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.458.

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Dolatkhah, Simin. "The Debt of Roy Anderson’s Dark Humor to Samuel Beckett and the New Objectivity." In The European Conference on Media, Communication & Film 2021. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2188-9643.2021.4.

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Gladysheva, Ol'ga, Oksana Artyuhova, and Vera Svirina. "Crop rotations with clover and their productivity." In Multifunctional adaptive fodder production23 (71). ru: Federal Williams Research Center of Forage Production and Agroecology, 2020. http://dx.doi.org/10.33814/mak-2020-23-71-38-42.

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The results of long-term research in experiments with crop rotations with different clover saturation are presented. It is shown that the cluster has a positive effect on the main indicators of vegetation of dark-gray forest soil. The introduction of two fields of perennial grasses into the six-field crop rotation significantly increases both the humus reserves and increases the productivity of arable land by 1.5–2 times compared to the crop rotation with a field of pure steam.
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Bulimaga, Constantin, Aureliu Burghelea, Corina Certan, Maria Rusu, and Nicolae Bodrug. "Procesul de evoluare a regosolului pe suprafața haldei de steril în cariera de calcar lafarge ciment (Moldova) s.a. din Rezina." In Provocări şi tendinţe actuale în cercetarea componentelor naturale şi socio-economice ale ecosistemelor urbane şi rurale. Institute of Ecology and Geography, Republic of Moldova, 2020. http://dx.doi.org/10.53380/9789975891608.13.

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Soil profiles made on the platform with recent deposits under multiannual plants and under trees have shown that they represent regosols (in fact, conventional, because they were recently deposited and flattened (a. 2017) and are composed of fossil soils and unconsolidated rocks) luto-clay with ocher horizont. Layer I (0-2 cm) - the litter is well pronounced, dark brown, resinous, clay-clay, dusty, the structure of the fossil soil was preserved, on the basis of which it formed, loosened, porous, the passage between the underlying clear horizon after compactness. Layer II (2-10 cm) - represents recent deposits, formed on the basis of the fossil soil, reavane, luto-clay, prismatic structure slightly pronounced, more compact than the overlying layer. Layer III (10-38 cm) - recent deposits, formed on the basis of the fossil soil, differs from the overlying layer with a high degree of settling. The fourth layer (38-60 cm) - recent deposits, formed on the basis of the fossil soil, differs from the overlying layer with a high degree of settling. The humus content in the beds under multi-annual plants and under the trees indicated that the humus content in the litter under the perennial plants is 5 times higher than in the litter under the trees, which is explained by the amount of high organic matter which is generated by species of perennial plants rather than trees, which ensures the generation of higher humus content (organic matter).
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5

Голодная, О. М., and Е. А. Жарикова. "FEATURES OF TEXURE OF SOILS OF THE KHANKAISKIY NATURE RESERVE." In Геосистемы Северо-Восточной Азии. Crossref, 2021. http://dx.doi.org/10.35735/tig.2021.41.82.013.

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Изучение гранулометрического состава почв Ханкайского заповедника показало, что профили почв представляют собой многослойные спектры различного литологического сложения. Сложность почвенных профилей по гранулометрическому составу определяется степенью проявления поемного и аллювиального процессов, литологическими особенностями почвообразующего материала. По типу сложения выделено несколько литологических групп. Темно-гумусовые глеевые, аллювиальные луговые глеевые почвы и буроземы глееватые отличаются резкой дифференциацией профиля по гранулометрическому составу на верхнюю легкую и нижнюю глинистую толщу. Для этих почв отмечено наибольшее содержание фракций физической глины и ила по всему почвенному профилю. Буроземы типичные и аллювиальные луговые глееватые, вышедшие из зоны затопления, характеризуются литологически однородным легким составом. В этих почвах выявлено высокое содержание фракций мелкого песка. The soil profiles the Khankaiskiy Nature Reserve represent multilayer spectra of various lithological addition. The complexity of soil profiles in terms of particle-size distribution is determined by the degree of manifestation of soil and alluvial processes, lithological features of soil-forming material. Several lithological groups are distinguished by the type of texture. Dark humus gley, alluvial meadow gley soils and burozem gleyic shrouds are distinguished by a sharp differentiation of the profile by granulometric composition into an upper light and lower clay thickness. The largest content of fractions of physical clay and silt was noted throughout the profiles for these soils. Burozem typical and alluvial meadow gleyic soils that have emerged from the flood zone characterize this with a lithologically homogeneous light composition. A high content of fine sand fractions was revealed in these soils.
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6

Bueno, Alejandra, and Rubén Castillejo Argote. "Guerrilla kultural: plataformas de difusión cultural descentralizadas, colaborativas e interculturales." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5846.

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El festival internacional de videoarte Fem Tour Truck, atiende a varias necesidades, la primera, dar voz y contar las historias que no se cuentan, la segunda, respetar los derechos humanos, la tercera, recuperar el espacio público como lugar de intercambio de saberes. Es por ello que se gesta desde “GUERRILLA KULTURALA”, un proyecto de creación artística y gestión cultural, desarrollado por la plataforma de difusión cultural “GUERRILLA Food Sound System”, basado en la colaboración y la hibridación entre diferentes propuestas artísticas, individuales y colectivas, de distintos ámbitos, unidas por generar “creación comprometida” y buscar nuevas fórmulas de creación, organización, y relación con la sociedad a partir de la “acción artística”. La experimentación y la investigación realizadas en “nuevos modelos de gestión de la creación artística y de organización entre personas”, nos anima a seguir apostando por estrategias innovadoras que potencien vías para fomentar la participación a través de la libre difusión de conocimientos, a la vez que complementamos nuestros recursos como creadores, trabajando de una manera conjunta y colaborativa, creando así ciclos de intercambio de recursos multidisciplinares entre creadores y sociedad desde la acción unificada. Por ello Fem Tour Truck tras un periodo de gestión y difusión de convocatoria, desarrolla una programación de actividades con diferentes artistas en diferentes ciudades para generar un intercambio cultural dando fruto a nuevas conexiones, nuevas creaciones y nuevas posturas críticas en torno a los cuerpos disidentes como el lésbico, trans, intersex, homosexual y queer, y en torno a la propia mujer. Temas tabús que toman las calles mediante la dinámica, el humor y un contexto que trata de romper las barreras clásicas de la educación, potenciando la innovación y la cooperación en el sector cultural. Fem Tour Truck es un festival sin ánimo de lucro, abierto a ser realizado en todo tipo de eventos y espacios sin perder su carácter etéreo.http://dx.doi.org/10.4995/ANIAV.2017.5846
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