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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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Newnham, David. "OutsideIn - Finding humour in dark times can buoy the spirit, says David Newnham." Nursing Standard 25, no. 12 (November 24, 2010): 26–27. http://dx.doi.org/10.7748/ns.25.12.26.s31.
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Waqar, Abbiha. "Impact of humorous advertising on purchase decision: In context of Pakistan’s telecom industry." Global Journal of Business, Economics and Management: Current Issues 10, no. 2 (July 31, 2020): 144–50. http://dx.doi.org/10.18844/gjbem.v10i2.5089.
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The purpose was to study the impact of humorous advertisement on purchase decision, and in order to reach this objective, Uf one ads were analysed and compared to other mobile network ads which are being aired, especially in Pakistan’s telecom industry. Mobile users of Pakistan filled the questionnaires which were administered via distributing hard copies and online through Google Forms, from January 2017 to January 2018. Secondary data were collected using different research journals, which included JSTOR, Science Direct and Google Scholar. The planned sample size was 127 respondents. The results showed that humorous advertisement is one of the appeals which breaks the clutter.90% of the respondents said that humorous advertisements greatly affect the purchase decision. Hence, Ufone’s ads are effective. Recommendation for future research would be to study humour in detail, that is, by dividing the humorous appeal in categories like dark humour, slice of life humour and studying their respective impact on customer’s purchase decision.
Keywords: Humorous advertisement, advertisement effectiveness, purchase decision, telecom companies.
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Herron, Shane. "Dark Humour and Moral Sense Theory: Or, How Swift Learned to Stop Worrying and Love Evil." Eighteenth-Century Fiction 28, no. 3 (March 2016): 417–46. http://dx.doi.org/10.3138/ecf.28.3.417.
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Adriaensen, Brigitte. "Cultural representations of contemporary Mexican drug culture: Dark humour and irony in relation to the abject." European Journal of Humour Research 3, no. 2/3 (August 2015): 62–79. http://dx.doi.org/10.7592/ejhr2015.3.2.3.adriaensen.
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Kadri, Faisal L., and Ekaterina N. Zakharenko. "Comparing English and Russian humour perceptions through signature analysis." European Journal of Humour Research 8, no. 2 (July 18, 2020): 166. http://dx.doi.org/10.7592/ejhr2020.8.2.kadri.
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Signature analysis is a statistical technique introduced in the 1940s in order to identify groups of statistical measures to identify aircraft from radar reflections. Other applications include particle identification in nuclear physics and dark matter location in astrophysics. Humour appreciation, or funniness scores, are empirical measures of perceived humour. Two questionnaires, one in English, the other its translation into Russian, were made available online. Each had 96 humorous sentences or jokes. The sentences were classified empirically according to four age trends. Signatures of the four classes of sentences are calculated from participant scores in six age groups. The original scores will be available to researchers for verification and further investigation from either author. The use of signature analysis in this work involves the comparison of a sentence profile with the signature of its class or category; if the profile meets a strict criterion of errors then it can be described as a best predictor of its class. One notable finding from signature analysis is the existence of offsets: displacement of a sentence profile from its type signature. We suggest that offset values are direct measures of humorousness without reference to context. In this analysis, the profiles of the Russian and English sentences are compared to each other and their graphical differences are interpreted including offsets.
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Grandjouan, Kate. "Hogarth's Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (review)." Eighteenth-Century Studies 45, no. 2 (2012): 335–36. http://dx.doi.org/10.1353/ecs.2012.0009.
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Sheftel, Anna. "‘Monument to the international community, from the grateful citizens of Sarajevo’: Dark humour as counter-memory in post-conflict Bosnia-Herzegovina." Memory Studies 5, no. 2 (August 11, 2011): 145–64. http://dx.doi.org/10.1177/1750698011415247.
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Shesgreen, Sean. "Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art by Bernd W. Krysmanski." Scriblerian and the Kit-Cats 45, no. 2 (2013): 260–62. http://dx.doi.org/10.1353/scb.2013.0011.
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Lyra, Hera Meganova, Wahya Wahya, and R. Yudi Permadi. "HUMOR PORNOGRAFI DALAM TATARUCINGAN ‘TEKA-TEKI SUNDA’ (PORNOGRAPHIC HUMOUR IN TATARUCINGAN ‘SUNDANESE RIDDLES’)." Metalingua: Jurnal Penelitian Bahasa 18, no. 1 (June 30, 2020): 39. http://dx.doi.org/10.26499/metalingua.v18i1.509.
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This writing describes pornographic humour conveyed in tatarucingan ‘Sundanese riddles’. I focuses on pornographic connotation and types of pornographic humour existing in tatarucingan. The method used was descriptive one with theoretical analysis by Sukatman (2009) combined with Danandjaja (1984), Rahmanadji (2007), Yuniawan (2007), and Mulia (2014). The result shows that the pornographic connotation in tatarucingan conveyed in the questions or answers of the tatarucingan ‘riddles’. I means that the pornographic connotation may be conveyed in the questionsand may also be in the answers of the riddles. The types of pornographic connotation include rational-answer humour, logic games humour, pseudo-incoherence humour, sound games humour and metaphorical humour. AbstrakPenelitian ini mendeskripsikan humor pornografi yang terdapat dalam tatarucingan ‘teka-teki Sunda’. Masalah yang dikaji meliputi konotasi pornografi dan jenis humor pornografi yang terdapat dalam tatarucingan. Metode penelitian yang digunakan adalah metode deskriptif dengan kajian menggunakan analisis teori Sukatman (2009) yang diekletikkan dengan teori Danandjaja (1984), Rahmanadji (2007), Yuniawan (2007), dan Mulia (2014). Hasil penelitian menunjukkan konotasi pornografi yang terdapat dalam tatarucingan muncul pada pertanyaan atau jawaban tatarucingan. Dalam arti, konotasi pornografi ada yang muncul dalam pertanyaan,ada pula yang muncul dalam jawaban tatarucingan. Humor pornografi jika dilihat dari jenisnya meliputi humor rasionalitas jawaban, humor permainan logika, humor ketidaklogisan semu, humor permainan bunyi, dan humor bermetafora.
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Vingerhoets, Ad. "To joke or not to joke: exploring individual differences concerning the positive and the dark side of humour: the sense of humour. Explorations of personality characteristics. Willibald Roch (Ed.). New York: Mouton de Gruyter, 1998." European Journal of Personality 14, no. 4 (2000): 369–70. http://dx.doi.org/10.1002/1099-0984(200007/08)14:4<369::aid-per371>3.0.co;2-0.
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Bond, R. P. "Plautus' Amphitryo as Tragi-Comedy." Greece and Rome 46, no. 2 (October 1999): 203–20. http://dx.doi.org/10.1093/gr/46.2.203.
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J. L. Styan in his book The Dark Comedy quotes a comment of Federico Garcia Lorca, ‘If in certain scenes the audience doesn't know what to do, whether to laugh or cry, that will be a success for me'. A friend and colleague suggested in a conversation after witnessing my production of the Amphitryo in Perth in 1991 that he found that play similarly fascinating, because at times it made certain parts of the audience feel so uncomfortable, even as it was making them laugh. Riotously funny the Amphitryo undoubtedly is from time to time, but there is often a savage bite to the humour and a feeling evoked by the action which is not dissimilar to the effect of tragedy, especially when the unwitting humans have their lives and fortunes distorted by the amoral antics of the immortals. In short, the play shows signs of being of mixed genre, a fact which is acknowledged by the famous statement of Mercury in the prologue:
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Keanie, Andrew. "Delinquency (if I may coin that word) and the Conditions of an English Leg-Puller." Romanticism 27, no. 3 (October 2021): 272–83. http://dx.doi.org/10.3366/rom.2021.0521.
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In 1821, like a messenger out of the dark (or a literary leg-puller), the English Opium-Eater arrived as if offering some saving play of mind in an obdurately literalising age. He conflated the two most reputedly chthonic regions: Hell, and the East. The language was ravishing, precise, unpredictable, and viscerally xenophobic (‘… in China or Indostan … I was kissed, with cancerous kisses, by crocodiles; and laid, confounded with all unutterable slimy things …’). De Quincey was not to be taken too seriously. But the author of ‘Confessions’ has inspired some poised indignation. For example, for Albert Goldman, De Quincey was more of a literary taker than a giver, and not least as Wordsworth and Coleridge's most prolific plagiarist. Arguably though, such a criticism looks unhelpfully hard-nosed when one considers the self-consciousness of De Quincey's secondariness, the deeply disturbed state of his mind, and the counter-inflationary quality of his sense of humour.
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Nair, Dr Tushar. "The White Tiger : A Critique." SMART MOVES JOURNAL IJELLH 6, no. 8 (August 28, 2018): 12. http://dx.doi.org/10.24113/ijellh.v6i8.4679.
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This work is a comprehensive study which brings out the narrative techniques used by Arvind Adiga who has a fascination for his past as a boy belonging to Chennai and feels a bond with the life of middle class people. His view of looking at history in an alternative way reflects in this work. He looks at violence as a channel for freedom and this view is realized in the form of the protagonist, Balram Halwai murdering his master Mr. Ashok. The novel is also a way of looking at India in its flux of economic changes as against China, the country of communism. Apart from sharing the view of the author, the work brings out the aspects of light and dark, casteism, rural and urban life, difference between Indian and American culture, Indian politics and corruption. It is also peppered with humour here and there. Every detail has been incorporated in narrating the transformation of a poor village boy into a successful entrepreneur.
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Anam, Khoirul, Rusdhianti Wuryaningrum, and Ahmad Syukron. "Wacana Humor dalam Bajigur TV." Alinea: Jurnal Bahasa, Sastra, dan Pengajaran 9, no. 2 (October 31, 2020): 99. http://dx.doi.org/10.35194/alinea.v9i2.1001.
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Kajian dalam artikel ini terdiri atas empat rumusan yaitu bagaimanakah wujud wacana humor, bagaimanakah prinsip humor, bagaimanakah teknik humor, dan bagaimanakah pemanfaatan WHBTV untuk materi ajar menulis teks anekdot. Penelitian dilaksanakan menggunakan rancangan penelitian kualitatif-etnografi berbahasa dengan pendekatan analisis wacana. Hasil yang ditemukan berwujud wacana ejekan terhadap pekerjaan, penyebab emosi, memanfaatkan kesusahan, tawaran mengecewakan, tipuan, menggoda wanita, melebih-lebihkan hal sepele, memberikan alasan berubah-ubah, menjelaskan hal unik tidak masuk akal, olokan tertentu, dan dugaan salah. Prinsip humor pada wacana ini berupa prinsip kesepakatan berhumor, menggunakan tuturan yang berlebihan, penyampaian kritikan, dan menggunakan kata-kata brutal dalam batas kesopanan. Teknik humor dalam yang digunakan berupa bahasa yang menghasikan humor lewat kata-kata, logika memunculkan efek humor dari hasil pemikiran pemain, dan identitas berupa kekhasan berhumor pemain.Katakunci: anekdot, humor, teknik humorAbstract:The article discusses four research questions including how is the form, the principle and the technique of humour, and how the use of WHBTV for teaching materials to write anecdotal texts. The study was conducted using a qualitative-ethnographic language research design with a discourse analysis approach. The results were found in the form of discourses on ridicule of work, emotional causes, taking advantage of distress, disappointing offers, tricks, flirting with women, exaggerating trivial things, giving fluctuating reasons, explaining unique things that don't make sense, certain ridicule, and wrong allegations. The principle of humour in this discourse is in the form of the principle of agreement with humour, using excessive speech, conveying criticism, and using brutal words within the limits of politeness. The internal humour technique used is in the form of language that produces humour through words, logic creates a humorous effect from the results of the players' thoughts, and identity in the form of player humour.Keywords: anecdotes, humor, humor techniques
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Moberg, Marcus. "Popular culture and the ’darker side’ of alternative spirituality: the case of metal music." Scripta Instituti Donneriani Aboensis 21 (January 1, 2009): 130–48. http://dx.doi.org/10.30674/scripta.67347.
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Metal is perhaps the most extreme and aggressive form of contemporary Western popular music. Even though it continues to spark controversy and debate, it has also enjoyed enduring popularity for decades and has spread on a global scale. Metal music and culture has always been characterized by its fascination for dark and austere themes and imagery. Commonly dealing with topics such as evil, death, war, alienation and suffering, metal groups have traditionally found much inspiration in the world of religion, particularly Judeo-Christian eschatology and apocalypticism, different forms of paganism, occultism, esotericism and, last but not least, Satanism. These kinds of religious/spiritual themes have arguably developed into an integral part of metal culture on the whole. They contribute significantly to investing metal music and culture with an apparent aura of sincerity and mystique as well as to raising its shock and entertainment value. At the same time, metal culture is also marked by its high degree of humour and self-irony, its fondness for exaggeration, spectacle and over-the-top theatrics. Even so, metal stands out as a global popular music culture replete with various kinds of often dark and austere religious and spiritual themes, many of which stand in stark contrast to Christianity. Seen in the wider context of the changing face of religion in the West and the increasingly important role played by popular culture in the transformation of religious and spiritual identities, metal has come to play an important role in the dissemination of a wide variety of ‘dark’ alternative religious/spiritual beliefs and ideas. This article sheds further light on this issue through focusing on some contemporary and successful metal groups from the Nordic countries. In relation to this, attention is also drawn to some of the ways in which dark alternative religious/spiritual ideas may be viewed as having become an inseparable part of some sections of metal culture as they have become actively and consciously explored, and sometimes explicitly promoted, by the well known contemporary metal groups discussed in this article.
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Perrot, Jean. "The essential "Star Wars"Philip Pullman's baroque aesthetics." Ondina - Ondine, no. 3 (May 3, 2020): 184–208. http://dx.doi.org/10.26754/ojs_ondina/ond.201934415.
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This essay has a twofold purpose: to consider the issues of contemporary Young Adult literature addressed to “the children of the videosphere” within the context of globalized culture and to assess the importance of postmodern Baroque aesthetics in the “Star Wars” system of modern Letters and mass-media. Writers often resort to such aesthetics with the prospect of commercial hegemony, but some of them find their “distinction” (in Pierre Bourdieu’s delineation) through intertextuality – be it avowed or hidden – with the great masters of the past (William Blake and John Milton). We will investigate the secret workshop of Phillip Pullman’s His Dark Materials Trilogy and some of his other works, as well as Jostein Gaarder’s Sophie’s World and diverse literary productions. With their arresting butterflies as significant baroque emblems, these works provide a new and spellbounding vision of the Western hero and offer a new “reterritorialization” of Letters. More particularly, Philip Pullman’s literary gesture has been to extract the baroque message from the vulgarised versions of popular mass media and to give it a new distinction.Key words: Postmodern baroque, William Blake, picaresque, humour, parody, Philip Pullman, Jostein Gaarder.
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CAMERON, COLIN. "Tragic but brave or just crips with chips? Songs and their lyrics in the Disability Arts Movement in Britain." Popular Music 28, no. 3 (October 2009): 381–96. http://dx.doi.org/10.1017/s0261143009990122.
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AbstractDisability culture is a site within which social and positional identities are struggled for and dominant discourses rejected; in which mainstream representations of people with impairments – as victims of personal tragedy – are held to the light and revealed as hegemonic constructions within a disabling society. Drawing upon styles that range from jazz, blues and folk to reggae, performance poetry and punk, disabled singers and bands in the Disability Arts Movement in Britain have been central to the development of an affirmative disability discourse rooted in ideas of pride, anger and strength. Examining lyrics by Johnny Crescendo, Ian Stanton and the Fugertivs – performers emerging as part of this movement in the 1980s and 1990s – this article considers the dark humour which runs through much of this work. It is suggested that these lyrics' observational reflections on everyday experiences of being oppressed as disabled people have been overlooked within critical disability studies to date, but are important in developing an understanding of positive disability identity as a tool available to disabled people in order to make sense of, and express themselves within, the world in which they find themselves.
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Moses, Jeremy, and Geoffrey Ford. "See Spot save lives: fear, humanitarianism, and war in the development of robot quadrupeds." Digital War 2, no. 1-3 (November 24, 2021): 64–76. http://dx.doi.org/10.1057/s42984-021-00037-y.
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AbstractBoston Dynamics’ robotic quadrupeds have achieved infamy and virality through a series of social media videos since 2008. In 2019 Boston Dynamics began commercial sale of ‘Spot’, a moving, sensing, networked robot dog. Spot has been designed to be a platform, which can be augmented with hardware payloads (e.g. sensors, robotic arm) and software to command Spot to conduct specific missions. In this paper we first trace the development of Spot and highlight the interest of the United States military in its development. This is followed by our text analysis of social media reactions to Boston Dynamics’ quadrupeds, revealing public fascination as well as ongoing suspicion and dark humour about ‘killer robots’. We then discuss how humanitarian applications, including in response to the COVID-19 pandemic, have been used as an opportunity to promote Spot and overcome public negativity. This is an example of a more general strategy advocates use to garner acceptance for autonomous robots in both civilian and military roles using humanitarian justifications: the robots ‘save lives.’ We conclude by discussing how Spot and other robot quadrupeds demonstrate the intertwining of humanitarian and military applications in the development, normalization and deployment of autonomous robots.
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Sokólska, Paulina. "Po moim trupie! – karnawał według Weroniki Murek, czyli literacka kreacja świata przedstawionego w opowiadaniu "W tył, w dół, w lewo"." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 12 (September 23, 2021): 120–35. http://dx.doi.org/10.26881/jk.2021.12.08.
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The paper is an analysis of fictional reality in Weronika Murek’s W tył, w dół, w lewo focused on its carnivalesque character. The author refers to famous Mikhail Bakhtin’s study Rabelais and his world dedicated, among others, to popular festive forms and folk culture of laughter. Since there are certain rules sanctioning hierarchy and familiarity, as well as inversion or parody of values, different profanations, such as these in Murek’s prose, are possible to happen. The most disturbing one concerns the blasphemic exchange in which a juxtaposition leads to a replacement of Christ’s incarnated body by a rotting corpse. The author invokes Antoni Malczewski’s Maria and poetry of Józef Baka to find familiar voices and embed Murek in Polish literary tradition, taking under consideration her eccentric black humour, choice of grotesque language, and dark, melancholic imagination. W tył, w dół, w lewo not only breaks the taboo of talking about death, but also points out a specific aspect of necroviolence – social and lingual exclusion of the dead. Such provocative, patchwork form demands an answer concerning justification and validation of its usage. The final part of the article proposes to search them through the “metaphysics of meat” which refers to a concept developed in an essay by Jolanta Brach-Czaina.
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Stahr, Radka, and Anne Marlene Hastenplug. "With dark humor about a dark future." Folia Scandinavica Posnaniensia 29, no. 1 (December 1, 2020): 19–29. http://dx.doi.org/10.2478/fsp-2020-0005.
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Abstract This article analyses the relationship between black humor and dystopian literature. In dystopia, humor can appear on the surface as language or situational comics, but there is also a deeper link between these two literary phenomena: they confront the reader with an unexpected notion in order to bring him to a critical reflection. There are many dystopias in the Nordic literature that use comic elements. Three of them are discussed in this article: Axel Jensens Epp (1965), Lena Anderssons Duck City (2006) and Kaspar Colling Nielsens Den danske borgerkrig 2018–24 (2013). The analysis shows that classic black humor is enriched with other tragicomic, satirical or surrealistic elements and significantly contributes to the critical tone of the text. In all cases humor is used for the same purpose, and this is a critique of superior power (the so-called superiority theory). Therefore, humor can be considered not only as a stylistic means, but also as a principle of construction of the dystopian works.
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Kim, Yeonmin. "폴 멀둔의 유희적인 비가풍 회상: 어두운 유머와 연상기법." Yeats Journal of Korea 58 (April 30, 2019): 217–42. http://dx.doi.org/10.14354/yjk.2019.58.217.
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Titley, Alan. "Middle Earth: Poetry in Irish at Mid Century." Irish University Review 42, no. 1 (May 2012): 72–85. http://dx.doi.org/10.3366/iur.2012.0009.
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This essay looks at the development of Irish poetry from the depleted folk forms of the nineteenth century to the beginnings of modernism from the start of the twentieth and into the middle of that century. It concentrates, in particular, on three major figures, Máirtín Ó Direáin, Seán Ó Ríordáin, and Máire Mhac an tSaoi, who exemplify the struggle towards modernity. Although sharing a time and a language, they never really shared an imagination. While steeped in tradition, they had no real difficulty in establishing a personal voice. Ó Direáin developed his own out of the normal speech of his own people in Aran, largely and unexpectedly ignoring the easy embrace of the folk tradition. His is a romantic Aran, but one which accords with the genuine simplicity and happiness of his own youth. The city is, for him, a place of horror and inauthenticity, and to his credit he wrestles a fine body of work from this tired cliché. Ó Ríordáin, on the other hand, is wracked by questions of religion and of authority, questions he takes to the verge of delirium. He is saved by a dark humour, while his poetry slides towards normality. Máire Mhac an tSaoi marries the glories of tradition with the passion of youth, of middle age, and beyond. There are others, but these mark a middle Ireland, as real as now.
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Lillo, Antonio. "COVID-19, the beer flu; or, the disease of many names." Lebende Sprachen 49, no. 5 (October 8, 2020): 411–38. http://dx.doi.org/10.1515/les-2020-0021.
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AbstractSince the coronavirus outbreak began to spread worldwide in the early months of 2020, English speakers have been coming up with new names for the disease at a rate of knots. The myriad unofficial synonyms for COVID-19 that we currently have at our disposal provide an extreme example of overlexicalisation, and it is not so much the number that is impressive as the sheer speed at which they have been coined. This study is based on a personally compiled corpus of tweets covering the period from late January to late May 2020 and aims to work out what mechanisms underpin the creation and use of some two hundred and seventy synonyms, paying particular attention to the role of slang, wordplay, verbal humour, bigotry and xenophobia. The author identifies and discusses a set of categories that help to better understand the attitudes behind these words, some of which bespeak a desire to confront the grim reality of disease, while others – the majority, in fact – seek to denigrate and stigmatise its “ideal victims” (the baby boomers) or its “evil perpetrators” (the Chinese). In a different context, this study might be deemed just a celebration of the creative levity and wit of English speakers when faced with adversity. In these dark times, it is also a sad testimony to how some of our primitive fears have come to be reflected in our pandemic lexicon.
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Milward, Peter. "Shakespeare’s Indebtedness to More." Moreana 48 (Number 185-, no. 3-4 (December 2011): 35–45. http://dx.doi.org/10.3366/more.2011.48.3-4.4.
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Obviously, the indebtedness of William Shakespeare as dramatist to the writings of Sir Thomas More, as being “the two greatest minds of the Tudor age”, is indisputable, even if we only consider his hand in the MS Book of Sir Thomas More, his use of More’s Life of Richard III as the unique source for his play of Richard III, and his explicit mention of More in the final history play of Henry VIII. All this, however, is what we may read on the lines of the material that has come down to us concerning Shakespeare, whereas for a true understanding of the dramatist we need to read between the lines, according to the true meaning of “intelligence”. What Lucio says of the “duke of dark corners” in Measure for Measure, we have to apply to the dramatic author, “His givings out were of an infinite distance from his true-meant design.” Even in his own day More had to veil his words under a mask of Socratic irony or Chaucerian humour, and then (after his imprisonment in the Tower) of silence – as it were foreshadowing Hamlet’s lament, “But break, my heart, for I must hold my tongue!” How much more, then, must it have been incumbent on Shakespeare to be careful of his words, living and writing as he did in what his recusant friend Ben Jonson called “a dangerous age”, hemmed in as they both were by suborned informers like the hack playwright Anthony Munday.
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Rudova, Yuliya V. "Linguocultural Features of Body Representation (Exemplified by the Russian and English Humorous Discourse)." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 1 (March 1, 2022): 90–99. http://dx.doi.org/10.37482/2687-1505-v158.
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The article focuses on exploring the specific features of body representation in Russian and English jokes. The purpose of the study was to identify linguocultural features of body representation in humorous discourse through analysing the meanings of the lexical unit body, which verbalizes the concept of body in the Russian and English languages. The lexico-semantic, conceptual and interpretative analyses revealed that this concept is represented in the linguistic worldviews of Russian and English linguocultures through common obligatory conceptual signs, such as materiality/tactility, integrity/ partibility and aliveness/deadness. It was established that the obligatory semantic (conceptual) sign of tactility is represented by verbs of perception and is common for both linguocultures, thus eliminating ambiguity in interpretation of jokes. The conceptual sign of integrity/partibility is expressed in the two linguocultures by nominating and redefining the functions of such body parts as the brain, face and liver in Russian linguoculture, and eyes, brain and liver in English linguoculture. The primary mean of representing the conceptual sign of integrity/partibility include metaphors, phraseological units, dark humour, as well as negative and evaluative judgements, all of which often lead to translation mistakes and communication failures. The semantic sign of aliveness/deadness is represented differently in the studied linguocultures. This can be accounted for by the fact that its linguoculture-specific representation mainly depends on contextual connotations and on the culture-specific ‘expected/unexpected’ effect, which is characteristic of humorous discourse.
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A., Herlianto. "Dari Kolektor Besi Tua Hingga Sosok Religius: Stereotip Orang Madura Melalui Humor." Deskripsi Bahasa 2, no. 2 (October 7, 2019): 155–64. http://dx.doi.org/10.22146/db.v2i2.355.
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This research aims to describe the stereotype of Madurese through humor. Humor and stereotyping are two inseparable concepts, especially ethnic humor. Madurese humors are discourses that are not neutral; there are interests and intentions behind every discourse of humor that is set. Ethnic humor is formed by exploring the weaknesses of other ethic groups especially related to the character of the ethnic. This is a form of speaker superiority about the ethnic. This study uses a social paradigm, qualitative approach, and interviewing and observing data collection methods. Source of the data comes from documents and informants. Data were analyzed by applying critical discourse analysis of van Dijk. This theory divides a discourse into three part: text, social cognition and context. The results showed at least seven of Madurese stereotypes through humor. Of the seven, it is divided into two categories, which are based on the job: scrap metal collectors, female herbalist, religious man, and satay seller; and based on the characters, namely: dumbness, cleverness, and rudeness. This critical research proves the stereotype through humor is an attempt to perpetuate the culturally alienated position of Madurese race.
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Beilin, Katarzyna. "Spanishness Through Dark Humor." Confluencia: Revista Hispánica de Cultura y Literatura 33, no. 2 (2018): 145–47. http://dx.doi.org/10.1353/cnf.2018.0020.
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Aswadi, Dana. "HUMOR DALAM CERITA SI PALUI (THE HUMOUR IN SI PALUI STORY)." JURNAL BAHASA, SASTRA DAN PEMBELAJARANNYA 6, no. 1 (July 19, 2017): 81. http://dx.doi.org/10.20527/jbsp.v6i1.3741.
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Humor dalam Cerita Si Palui. Penelitian ini bertujuan untuk mengetahui (1) Jenis humor dalam cerita Si Palui dan (2) Makna humor dalam cerita Si Palui. Cerita Si Palui merupakan karya sastra yang dikenal oleh orang Banjar. Cerita Si Palui sangat menarik untuk diteliti, terutama yang berkenaan dengan humor. Humor merupakan aspek menyenangkan yang ada dalam diri manusia dan humor juga dinamakan dengan lelucon. Pendekatan yang digunakan dalam penulisan ini adalah pendekatan deskriptif kualitatif, yaitu data-data secara tertulis atau lisan yang yang digambarkan secara cermat. Sumber data penelitian diambil dari cerita si Palui yang terbit di harian Banjarmasin Post selama tiga bulan dari bulan Januari 2013 sampai dengan bulan Maret 2013. Teknik analisis data yang digunakan adalah teknik analisis isi. Penelitian ini menetapkan keabsahan data dengan teknik pemeriksaan. Kriteria yang digunakan dalam keabsahan data, yaitu derajat kepercayaan dengan teknik pemeriksaan; perpanjangan keikutsertaan, ketekunan pengamatan, triangulasi, mendiskusikannya dengan teman sejawat, kecukupan referensial, membaca dan menelaah berkali-kali data-data yang telah dikumpulkan, menginventarisasi serta membaca berbagai pustaka dan dokumen, dan membaca dan menelaah berbagai teori yang membahas tentang sastra dan humor.Hasil penelitian adalah sebagai82berikut. (1) Jenis humor yang terdapat dalam cerita si Palui ada delapan jenis, yaitu (a) humor agama, (b) humor seks, (c) humor permainan kata, (d) humor kiasan, (e) humor ejekan, (f) humor sindiran, dan (g) humor plesetan. (2) Makna humor yang terkandung dalam cerita si Palui ada lima, yaitu (a) ketaatan kepada Tuhan, (b) memberikan pendidikan, (c) memberikan kritik, (d) menarik perhatian, dan (e) memberikan penjelasan/ pemahaman.Kata-kata kunci: humor, cerita si palui
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Lahiri, Dibyajyoti. "Playing human." Science Fiction Film & Television: Volume 14, Issue 3 14, no. 3 (October 1, 2021): 333–53. http://dx.doi.org/10.3828/sfftv.2021.24.
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While Indian cinema has a rich tradition of ‘creature features‘, these films have traditionally drawn from Indigenous myth and folklore, rather than engaging with the environmentalist themes that are a staple in Western creature features. S. Shankar’s 2.0 (2018) marked an important moment in Indian cinema as the first true example of a mainstream Indian film that is unequivocally categorisable as ecohorror. However, the emergence of such a film text is not devoid of a historical context, nor is the near-absence of environmentalism in previous Indian ‘creature features’ devoid of reason. This essay is an attempt to trace how a film like 2.0 emerges within the Indian cultural context, how it assimilates prefigured Indigenous ideas as well as culturally translocated and subsequently Indianised ideas, and what new meaning is created in the process. My discussion primarily revolves around the theme of anthromorphism, which is commonly used in the visual and narrative portrayal of monsters in ‘creature features’. My arguments, while inter-linked, are divisible into four broad parts. Firstly, I locate the differences in Indian and Western ‘creature features’ in the differing cultural perceptions of anthropomorphism and anthropomorphised beings. For this, I draw on Paul Ricoeur’s theory of threefold mimesis, which links narratives to particular cultural repositories, and James Clifford’s notion of ‘traveling cultures’, which describes the modification of those repositories through cultural exchange. I locate the Indian economic liberalisation in the 1990s as an important historical juncture for the modification of the cultural repository. To make my case, I refer to existing criticism of Indian sf, marking the shifts from the post-colonial era through the post-1990s era. Secondly, I engage with the visual form of 2.0’s monster, focusing on the incorporation of both nature and technology in its design, and how it is significant. I draw from Western posthumanist theory, especially Donna Haraway’s concept of the ‘humanimal‘, and compare it with the Indigenous ecocentric imagination of the world where humans and nonhumans are kindred figures. Thirdly, I argue that the film, both at the narrative and visual level, constructs a vision of the Anthropocene that is not anthropocentric. It accomplishes this by consciously de-centring human characters, shifting the focus to everything that is of humans. Fourthly, I consolidate the previous argument by analysing how the film makes use of humour, especially dark humour, in order to accentuate its decentring of humans by the anthropomorphised, or human-like. Looking ahead, I propose the likelihood of 2.0 being the first of many Indian ‘creature features’ that mark a cultural shift from the mythological paradigm to the environmentalist paradigm. As such, a close analysis of the film as text and its corresponding context, focused on how it draws from and modifies its cultural repository, is significant in terms of laying the groundwork for future discussion.
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Levisen, Carsten. "Dark, but Danish: Ethnopragmatic perspectives on black humor." Intercultural Pragmatics 15, no. 4 (October 25, 2018): 515–31. http://dx.doi.org/10.1515/ip-2018-0018.
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Abstract This paper explores sort humor ‘black humor’, a key concept in Danish conversational humor. Sort forms part of a larger class of Danish synesthetic humor metaphors that includes other categories such as tør ‘dry’, syg ‘sick’, and fed ‘fat’. Taking an ethnopragmatic perspective on humor discourse, it is argued that such constructs function as a local catalogue for socially recognized laughing practices. The aim of the paper is to provide a semantic explication for sort humor and explore the discursive practices associated with the concept. From a comparative perspective, it is demonstrated that the Danish conceptualization of “blackness” differs from that of l’humour noir, a category of French surrealism, and English black humor with its off-limit topics such as death and handicap. In Danish discourse, sort humor has come to stand for a practice of collaborative jocular non-sense making. It is further argued that the main function of sort humor is to establish or enhance a feeling of “groupy togetherness”.
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Cain, Cindy L. "Integrating Dark Humor and Compassion." Journal of Contemporary Ethnography 41, no. 6 (September 6, 2012): 668–94. http://dx.doi.org/10.1177/0891241612458122.
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Miller, Laura, and Carolyn S. Stevens. "From beautiful to cute." International Journal of Language and Culture 8, no. 1 (June 7, 2021): 62–83. http://dx.doi.org/10.1075/ijolc.00035.mil.
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Abstract Japanese visual aesthetics as represented in traditional arts such as flower arranging, calligraphy and tea ceremony have long been celebrated or even emulated as exemplary expressions of beauty. The Japanese term utsukushii (beautiful) can be used to describe a wide variety of pleasing aspects of daily life, ranging from the human form to nature and even the gustatory experience. This article outlines traditional notions of beauty in the Japanese language, sketching forward to more contemporary expressions of visual culture that cluster around the term kawaii. This word is often translated as “cute” in English, but we maintain that kawaii extends well beyond its denotative sense to encompass a more complex spectrum of meanings. For example, it can be used to describe objects and practices which have both sentimental charm as well as dark humour. We argue that the kawaii aesthetic has been successful because it serves important emotional and social functions. Finally, the differences between the terms utsukushii and kawaii are gendered and class based, with kawaii often providing a democratic expression of resistance to gendered processes of aging, ideas of class and taste, and attractiveness in Japan’s postmodern society. This essay begins with an overview of the semantic meanings of the concepts of beauty and cuteness in Japanese, followed by a discussion focused on the historical antecedents of the Japanese notion of cuteness. The third section shifts to an analysis of the expansion of the kawaii concept in post-war society and its socio-cultural functions. The essay closes with exploration of a few of the hybrid offshoots derived from kawaii, demonstrating that concepts of beauty in Japan are constantly changing and reacting to social and historical trends.
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Zeigler-Hill, Virgil, Gillian A. McCabe, and Jennifer K. Vrabel. "The dark side of humor: DSM-5 pathological personality traits and humor styles." Europe’s Journal of Psychology 12, no. 3 (August 19, 2016): 363–76. http://dx.doi.org/10.5964/ejop.v12i3.1109.
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Basic personality traits (e.g., extraversion) have been found to be associated with the humor styles that individuals employ. In the present study, we were interested in determining whether pathological personality traits were also associated with humor styles. We examined the associations between the pathological personality traits captured by the Personality Inventory for the DSM-5 (PID-5) and humor styles in a sample of college students (N = 594). Negative affectivity and detachment were negatively associated with the affiliative and self-enhancing humor styles. Antagonism was positively associated with the aggressive humor style but negatively associated with the affiliative humor style. Disinhibition was positively associated with the aggressive humor style, whereas disinhibition and psychoticism were both positively associated with the self-defeating humor style. Discussion focuses on the implications of these findings and how they can expand our understanding of the connections between the darker aspects of personality and humor.
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KANTAR, Dilek. "Dark Humor in the Trenches of Gelibolu." Çanakkale Araştırmaları Türk Yıllığı 16, no. 25 (October 29, 2018): 153–66. http://dx.doi.org/10.17518/canakkalearastirmalari.475841.
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Meltzer, Gary. "Dark Wit and Black Humor in Seneca's Thyestes." Transactions of the American Philological Association (1974-) 118 (1988): 309. http://dx.doi.org/10.2307/284174.
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Perego, Elizabeth M. "EMASCULATING HUMOR FROM ALGERIA'S DARK DECADE, 1991–2002." International Journal of Middle East Studies 52, no. 1 (February 2020): 67–86. http://dx.doi.org/10.1017/s002074381900093x.
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AbstractThis paper explores shifting notions of Algerian masculinities during the Dark Decade (approximately 1991–2002) as articulated through humor. Both in the period leading up to and during conflict, Algerian cartoonists and joke tellers played with socially accepted norms concerning male behavior. In the armed struggle, however, comedy reflected how the terrifying and random violence that characterized the conflict may have disturbed local gender relations and definitions. The conflict prevented men from practicing masculinity in preestablished ways, most notably through the protection of self, family, and community. The present article contributes to the broader literature on gender during the armed struggle as well as in the Middle East and North Africa more widely, to argue that humor, a critically under-considered aspect of the cultural lives of Algerians and men across the region, provided civilians with space to navigate changes in gender issues brought about by the harrowing circumstances of the Dark Decade.
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Trif, Sabina, and Oana C. Fodor. "The Dark Side of Humor in the Workplace: Aggressive Humor, Exhaustion and Intention to Leave the Organization." Psihologia Resurselor Umane 17, no. 2 (November 20, 2019): 74–100. http://dx.doi.org/10.24837/pru.v17i2.292.
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Humor is inherent to social interaction and research has mainly focused on the potential benefits of using humor at work. However, different types of humor exist and this study builds on the Job Demands-Resources Model (JD-R) to argue that aggressive humor in the workplace is a demand rather than a resource. Specifically, the study explores the association of aggressive humor and the intention to leave the organization manifested by the employees and the role of exhaustion as a potential explanatory mechanism. Moreover, the study explored the potential buffering role of the quality of leader-employee exchange (LMX) for the negative effects of aggressive humor. The study employed a cross-sectional design in order to test a moderated mediation model. Data were collected from 101 call-center operators and team leaders working in a multinational company. Our findings show indeed that aggressive humor in the workplace is predictive for exhaustion, which, in turn, predicts the employees’ intentions to leave the organization. Contrary to our expectation, the moderating role of LMX did not receive empirical support. Theoretical and practical implications are discussed.
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Brigaud, Emmanuelle, and Nathalie Blanc. "When dark humor and moral judgment meet in sacrificial dilemmas: Preliminary evidence with females." Europe’s Journal of Psychology 17, no. 4 (November 30, 2021): 276–87. http://dx.doi.org/10.5964/ejop.2417.
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The influence of dark humor on moral judgment has never been explored, even though this form of humor is well-known to push the boundaries of social norms. In the present study, we examined whether the presence of dark humor leads female participants to approve a utilitarian response (i.e., to kill one to save many) in sacrificial dilemmas. The effects of two types of humorous contexts were compared (i.e., dark vs. nondark) on dilemmas, which differed according to whom benefits from the crime (i.e., oneself and others vs. others only). In addition to collecting moral responses, individuals’ emotional states were assessed at three critical steps: Before and after reading the jokes and also after performing the moral judgment task. Our results revealed that dark and nondark humor similarly elicited a positive emotional state. However, dark humor increased the permissiveness of the moral violation when this violation created benefits for oneself. In self and other beneficial dilemmas, female participants in the dark humorous condition judged the utilitarian response more appropriate than those in the nondark condition. This study represents a first attempt in deepening our understanding of the context-dependent nature of moral judgment usually assessed in sacrificial dilemmas.
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Dueñas, Angelique N., Karen Kirkness, and Gabrielle M. Finn. "Uncovering Hidden Curricula: Use of Dark Humor in Anatomy Labs and its Implications for Basic Sciences Education." Medical Science Educator 30, no. 1 (January 15, 2020): 345–54. http://dx.doi.org/10.1007/s40670-019-00912-0.
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Abstract Humor is subjective within most settings, but within the anatomy laboratory, it is likely to be significantly more contentious. While humor may be considered a component of the hidden curriculum of medical education, it has yet to be studied specifically from a basic sciences perspective. This study sought to understand if, when, how, and why humor may be used in anatomy labs and the implications this may have in basic sciences education. A survey consisting of demographic and qualitative items was designed to sample widely from academics, students, and health professionals with anatomy laboratory experience. A total of 185 respondents, representing 9 countries participated following purposive sampling and snowball recruitment. Findings of significance were 72% of respondents who had experienced dark humor within the anatomy lab. Themes identified from free-text pertained to the use of internal and external barometers to ascertain the appropriateness of humorous remarks and the use of humor as a mechanism for diffusing stress. Polarity in responses concerning the acceptability of dark humor and rude mnemonics was also observed. This study highlighted that while dark humor may be a perceived tension release, many individuals make use of very specific internalized gauges to determine when and what humor may be appropriate. The data emphasized the need for not only future humanistic-focused anatomy but also basic sciences, education research, to better understand and have ideal educational experiences for all. Finally, this study provided further evidence of the impact of the hidden curriculum associated with the use of humor within educational and professional settings.
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Yuan, Yue, and Qi Zhang. "The Dark Side of Humor: The Positive Effect of Leader Humor on Employee Incivility." Academy of Management Proceedings 2021, no. 1 (August 2021): 11124. http://dx.doi.org/10.5465/ambpp.2021.11124abstract.
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