Relevant bibliographies by topics / Female laughter

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

Academic literature on the topic 'Female laughter'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Female laughter"

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Rousseau, Aloysia. "Offstage Laughter: Restoration Comedies and the Female Audience." XVII-XVIII, no. 70 (December 31, 2013): 209–22. http://dx.doi.org/10.4000/1718.525.

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Hennefeld, Maggie. "Death from Laughter, Female Hysteria, and Early Cinema." differences 27, no. 3 (2016): 45–92. http://dx.doi.org/10.1215/10407391-3696631.

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Garayev, Safa. "Psychology, Performance, and Social Context of Laughter in Azerbaijan Folklore." Journal of History Culture and Art Research 9, no. 2 (2020): 207. http://dx.doi.org/10.7596/taksad.v9i2.2621.

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<p>Social context often drives the performance of laughter in cultural situations. As a metaphor, laughter provides not only an exchange of integrative information among the community members, but also the enactment of aggressive relations in the society. These characteristics may be seen clearly while observing metaphors related to the performance of laughter in the Azerbaijani socio-cultural environment. In the study of humor, content is usually analyzed but the performance of behavioral cues such as laughter is neglected, although it can shed light on the meaning of the communication. To understand folk behaviors and texts related to the laughter, I argue that special attention needs to be given to behaviors as well as texts communicated in a social situation. This study reveals that the jokes causing laughter are accepted and perceived by the male and female audiences differently. Women's laughter receives disapproval in the Azerbaijan cultural context regarding sexuality. Men take such laughter to be a threat to their manliness.</p>
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Burns, Steven. "Reason, Love and Laughter." Dialogue 28, no. 3 (1989): 499–508. http://dx.doi.org/10.1017/s0012217300016000.

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Yes, this is the book that those who know Ronald de Sousa have been waiting for. Since long before his 1979 Dialogue article, there has been much interest in what de Sousa thinks about the rationality of emotions. Many promises are here fulfilled.In our traditional patriarchal philosophy, the standard view is that reason ought to be the controlling element in human nature. Commonly in this tradition, emotion is considered an opposing force—a female power allied with the irrational, and devoted to dragging men from attending to the clarity and truth which are the proper objects of their devotion. In contemporary anglophone philosophy, the distinction between reason and emotion reached a certain pitch in emotivist accounts of ethics. Recently, beginning with the critique of emotivism, there have been gestures of revision to these views of how emotions are related to reason. Bernard Williams hinted at rethinking the traditional relationship when he remarked that, “the capacity for creative emotional response has the advantage of being, if not equally, at least broadly, distributed”.
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Bryant, Gregory A., Daniel M. T. Fessler, Riccardo Fusaroli, et al. "The Perception of Spontaneous and Volitional Laughter Across 21 Societies." Psychological Science 29, no. 9 (2018): 1515–25. http://dx.doi.org/10.1177/0956797618778235.

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Laughter is a nonverbal vocalization occurring in every known culture, ubiquitous across all forms of human social interaction. Here, we examined whether listeners around the world, irrespective of their own native language and culture, can distinguish between spontaneous laughter and volitional laughter—laugh types likely generated by different vocal-production systems. Using a set of 36 recorded laughs produced by female English speakers in tests involving 884 participants from 21 societies across six regions of the world, we asked listeners to determine whether each laugh was real or fake, and listeners differentiated between the two laugh types with an accuracy of 56% to 69%. Acoustic analysis revealed that sound features associated with arousal in vocal production predicted listeners’ judgments fairly uniformly across societies. These results demonstrate high consistency across cultures in laughter judgments, underscoring the potential importance of nonverbal vocal communicative phenomena in human affiliation and cooperation.
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Yoon, Susan Kyungmin. "Liberating Female Bodies: Resistance through Laughter in Sarah Kane’s Blasted." Journal of Modern British & American Language & Literature 38, no. 3 (2020): 145–63. http://dx.doi.org/10.21084/jmball.2020.08.38.3.145.

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김복순(金福順). "Review on the Laughter and the Meaning of Female Fool Folktales." Society for Korean Language & Literary Research 36, no. 1 (2008): 255–80. http://dx.doi.org/10.15822/skllr.2008.36.1.255.

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Babaeva, Raisa I., and Anna S. Iatsenko. "FEMALE TYPES OF GERMAN LAUGHTER LINGUOCULTURAL: NOMINATION OF WOMEN IN JOKES." Crede Experto: Transport, Society, Education, Language, no. 1 (2021): 69–81. http://dx.doi.org/10.51955/2312-1327_2021_1_69.

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Marso, Lori. "Feminist Cringe Comedy: Dear Dick, The Joke Is on You." Politics & Gender 15, no. 1 (2018): 107–29. http://dx.doi.org/10.1017/s1743923x18000387.

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AbstractFeminist cringe comedies eschew the conventions of romance and sentimentality in favor of comedy that discomforts. Cringe comedies are one example of what I call feminism's visual realisms, so named for doing feminist political work by evoking laughter and the cringe. The cringe pulls us inward in our posture, while laughter opens us to others. This bodily response to cringe comedies interrupts the fantasies of the male gaze and makes space for spectators to acknowledge the excessive, complicated, and seemingly shameful realities of female desire. My primary example is Jill Soloway's television adaptation of Chris Kraus's I Love Dick, a series that builds on the feminist legacy of avant-garde director Catherine Breillat. Departing from politically correct narratives and comforting or sentimental affect, I Love Dick achieves feminist community through the appeal, the cringe, and the irruption of laughter.
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Lima Caminha, Melissa. "Hacia una risa posthumana y decolonial: Construyendo una risistencia feminista monstruosa en la payasaria." Arte y Políticas de Identidad 22 (June 24, 2020): 143–69. http://dx.doi.org/10.6018/reapi.433971.

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En las dos últimas décadas, diversas payasas vienen desarrollando un movimiento de visibilización de este tipo cómico, tanto en el circo como en el teatro. Festivales, talleres e investigaciones vienen contribuyendo para escribir la historia doblemente excéntrica de las payasas. Este honorable movimiento, sin embargo, aun parece seguir la misma lógica arquetípica del payaso moderno, heredero de la Ilustración. Este trabajo pone en valor la payasa en tanto cuerpa política fundamental, con el potencial de crear risistencias plurales que puedan deconstruir la figura del payaso moderno y la risa humanista encarnada en su arquetipo. Reconoce la importancia histórica de la payasa, e invita a seguir avanzando en sus políticas artísticas del cuerpo, ahora a partir de una perspectiva feminista posthumanista y decolonial, proponiendo políticas de coaliciones artística y teórica en pro de una democracia de la risa. A través de la creación de figuraciones feministas móviles monstruosas, el proyecto tiene como objetivo animar un movimiento de risistencia a la risa moderna, ilustrada, colonial, humanista y patriarcal. In the last two decades, various female clowns have been developing a movement of visibility of this comic type, both in the circus and in the theater. Festivals, workshops and research have been contributing to write the doubly eccentric herstories of women in clowning. This honorable movement, however, still seems to follow the same archetypal logic of the modern clown, heir to the Enlightenment. This work values the female clown as a fundamental political body, with the potential to create plural laughters that can deconstruct the figure of the modern clown and the humanistic laugh embodied in its archetype. It recognizes the historical importance of female clowns, and invites a step forward in its artistic body politics, now from a feminist post-humanist and decolonial perspective, proposing artistic and theoretical coalitions in favor of a democracy of laughter. Through the creation of monstrous mobile feminist figurations, the project aims to encourage a movement of laughteresistance at modern, enlightened, colonial, humanistic, and patriarchal laughter.
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Dissertations / Theses on the topic "Female laughter"

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Barnett, Katrina. "Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in Film." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707290/.

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The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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Shahbaz, Pegah. "Les récits persans en prose en Inde : exemple : Touti-Nâme." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC030.

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Ce travail de recherche vise à présenter une collection de récits traditionnels persans, soit tirés et traduits des ressources indiennes, soit écrits et composés directement en persan dans le sous-continent. Notre attention s'est portée sur les récits en prose qui détiennent plusieurs emprunts de la tradition et la culture indienne, et ceux qui sont enrichis par des éléments narratifs et imaginaires fabuleux. Ces spécificités apparaissent dans de divers aspects : la structure du récit-cadre, les thèmes principaux et les personnages des contes. Les récits indo-persans sélectionnés sont présentés en détail par des informations sur leurs auteurs / traducteurs, la date et le lieu de composition, leurs thématiques, leurs sources originales, les manuscrits disponibles et d'autres références. La recherche actuelle est également un effort pour la pratique et le développement de la perception symbolique dans les récits classiques. Touti-Nâme, choisi comme le corpus de notre étude, nous fournit des scènes sur la vie sociale, les relations intimes et conjugales dans les contextes individuels et sociaux. J’ai examiné les thèmes dominants de la ruse des femmes, du conflit entre le désir et la loi, du rêve et du rire à travers des approches mythiques et symboliques. Le rôle prépondérant des personnages féminins et des perroquets sont étudiés profondément dans les contes. J'ai aussi essayé d'analyser les aspects psychiques des personnages par le biais de l'approche psychanalytique jungienne. Des exemples concrets de l'autorité et des jeux de pouvoir entre les sexes sont donnés dans Touti-Nâme comme spécificité des sociétés traditionnelles patriarcales<br>The present research aims to introduce a collection of Persian traditional narratives, either translated from Indian sources, or written and composed directly into Persian language in the sub-continent. Our focus has been on prose narratives which hold multiple specificities borrowed from Indian tradition and culture, and are enriched by fabulous and imaginary narrative elements. Such specificities appear in diverse aspects : the frame structure of the stories, the leading themes and the typical Indian characters. These stories are presented in detail by providing information about their authors / translators, date and place of composition, themes, original sources, available manuscripts and other references.The current research is also an endeavor to practice and develop symbolic perception in classical stories. Touti-Nâme, chosen as our target text, demonstrates social life, conjugal relationships and power-struggle in both individual and social contexts. The dominant themes of women’s guiles and tricks, love and law conflict, dream and laughter have been examined through mythical and symbolic approaches. Women characters and birds such as parrots have gone through profound studies due to their predominant roles within the tales. I have also tried to study psychological aspects of story characters and their role in the events by means of the Jungian psychoanalytical approach. Concrete examples of gender authority and power-games in traditional patriarchal societies have been given in Touti-Nâme
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Books on the topic "Female laughter"

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Milton, Tom. Sara's laughter. Nepperhan Press, 2011.

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Williams-Garcia, Rita. No laughter here. HarperCollins, 2004.

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Desgagnés, Paule. Rire amoureusement. Québecor, 2000.

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Guedel, Heidi. Animatrix--A Female Animator: How Laughter Saved My Life. iUniverse, 2003.

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Guedel, Heidi. Animatrix: a Female Animator: How Laughter Saved My Life. iUniverse, 2003.

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Animatrix: A Female Animator - How Laughter Saved My Life. 1st Books Library, 2003.

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Moments of laughter for girlfriends. Barbour Publishing, Inc., 2011.

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Moore, Suzanne. Girlfriends Are The Best Friends Of All: A Tribute To Laughter, Secrets, Girl Talk, Chocolate, Shopping And Everything Else Women Share. Blue Mountain Press, 2004.

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Moore, Suzanne. Girlfriends Are the Best Friends of All: A Tribute to Laughter, Secrets, Girl Talk, Chocolate, Shopping... and Everything Else Women Share. Blue Mountain Press, 2006.

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Müller, Anna. Boredom and Emptiness, or the Flow of Life in Confinement. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190499860.003.0006.

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The last chapter focuses on daily prison life. It starts in interrogation rooms and moves to prison cells. Women prisoners undertook various activities to distract themselves from the idleness of their world. They spent their days learning, reading, and engaging in their own cultural activities. As they recreated their lives in prison, they chose traditionally female roles of sharing, providing for, and taking care of their cellmates. These new cell roles appeared to be stable. When they laughed at and ridiculed each other, they challenged this supportive model. Close attention is paid to the importance of religion. For Poles, religion is closely linked to nationalism, but religion and nationalism were not as important as expected. The role of religion became more prominent in the meaning of imprisonment for these women’s post-prison lives. This chapter takes place predominantly in the post-trial cells, in such prisons as Fordon and Inowrocław.
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Book chapters on the topic "Female laughter"

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Steenbergh, Kristine. "Gossips’ Mirth: Gender, Humor, and Female Spectators in Ben Jonson’s The Staple of News (1626)." In Laughter, Humor, and the (Un)Making of Gender. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137463654_6.

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Sommerstein, Alan H. "Nudity, obscenity, and power: modes of female assertiveness in Aristophanes 1." In Talking about Laughter. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199554195.003.0013.

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"Female Laughter and Comic Possibilities: Uncommon Women." In Modern Dramatists. Routledge, 2013. http://dx.doi.org/10.4324/9780203054819-123.

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Walker, Alicia. "Laughing at Eros and Aphrodite: Sexual Inversion and its Resolution in the Classicising Arts of Medieval Byzantium." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0016.

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The social and cultural authority that images exercised in medieval Byzantium derived in part from their consistent observance of established traditions of representation. As a result of this tendency toward recognisable types, when an intentional departure from visual conventions was introduced, Byzantine viewers could be expected to notice the difference and wonder about the intentions behind it. This chapter explores how Graeco-Roman mythological and romance narratives offered opportunities for the engineering of amusing imagery through strategies of inversion and exaggeration. It focuses especially on how this up-ending of visual conventions served to disrupt the expected order of gender relations. The chapter shows how the programmes of middle Byzantine works of classicising art used humour initially to destabilize – but ultimately to reaffirm -- social norms surrounding female sexuality.
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Mullett, Margaret. "Do Brothers Weep? Male Grief, Mourning, Lament and Tears in Eleventh- and Twelfth-Century Byzantium." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0018.

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This chapter deals with a pair of poems by Theophylact of Ochrid, written in the first decade of the twelfth century, setting them in a context of male lament, specifically of brothers writing laments for brothers in which they emphasise the shedding of tears. The question of male weeping is discussed in terms of medieval narrative, and the issue of lament in Byzantium as a gendered form is considered. Scholars have emphasised that it was women’s part to lament; but we need to look more closely at who weeps in our texts. First, tears do not only mean grief; second, tears were not evidence of weakness or effeminacy, but often of heroic asceticism; third, there are many cases of emperors weeping in Byzantium. Lament does appear to be regarded as a largely female genre, although its practice by a trained rhetor is not unusual. These cases are made possible by biblical models, by the use of anacreontics for lament earlier in Byzantium, by representations of men weeping in icons, wall-paintings, liturgy and Byzantine tragedy. The chapter ends with treatment of pathos in a woman’s voice, and the significance of the comparison with Niobe.
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Villamil Gallego, María Mercedes, Eucaris Henao Villa, Ángela Quintero Echeverri, Kate Thurlow, and Jairo León Cardona Jiménez. "Effect of Laughter Therapy on the Level of Depression in the Institutionalized female elderly." In La importancia de la risa en la salud de los adultos mayores institucionalizados. Fondo Editorial Remington, 2021. http://dx.doi.org/10.22209/9789585321809.c6.

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Mendelman, Lisa. "Modern Sentimentalism and the New Negro." In Modern Sentimentalism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849872.003.0005.

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Chapter 4 focuses on Jessie Redmon Fauset’s acerbic use of sentimentalism to diagnose the tensions inherent in New Negro femininity and artistic production, as exemplified by her novel Plum Bun: A Novel Without A Moral (1929). Fauset’s anti-didactic Künstlerroman highlights the conflicted demands of Harlem Renaissance/New Negro ideology and the particularly fraught position of the black female writer. The chapter extends recent scholarship on racial feeling and the gendering of double consciousness to theorize Fauset’s sentimentalism as an ironic and melancholic mode that registers the New Negro woman’s unique form of self-estrangement. Plum Bun ultimately proposes racial laughter as an apt response to the position of a black female artist in late 1920s America: a mode that is at once an adaptive gift of internal distance and a creative prison of the same.
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Pisters, Patricia. "Bloody Red: Poetics, Patterns, Politics." In New Blood in Contemporary Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466950.003.0006.

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The conclusion returns to the poetics, aesthetics and politics of blood, showing that there are many different blood types in the poetics of horror made by women, but that each drop contains a world of pain, sorrow, and rage but also laughter and wonder, consolation and insight; each gush embodies a world of stories to convey, wisdom to impart and emotions to share. The overarching pattern is that female directed horror often addresses inner demons and extends the emotional spectrum of the genre beyond fear and disgust, and stretches the genre boundaries to introduce a poetics of horror in many different genres.
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Tilburg, Patricia. "“An Appetite to Be Pretty”." In Working Girls. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841173.003.0004.

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This chapter considers a defining moment of the working Parisienne’s day to which early twentieth-century French observers returned again and again: midi. The noon lunch break afforded Parisian artists, writers, and tourists alike a daily glimpse of the “fairies” of the city’s luxury garment workshops as they took to the boulevards and parks for an hour in the sun—an hour imagined to consist of flirtation, window-shopping, laughter, and, I will establish, conspicuous under-eating. Indeed, crucial to the picturesque allure of the lunchtime seductions that filled popular midinette literature was the notion of the female garment worker as a frivolous under-eater cheerfully forfeiting food for fashion and pleasure. No longer the tragically starving workingwoman of nineteenth-century fiction and art, nor her virtuous, anorectic middle-class sister, whose physical wasting increased their moral fortitude, the under-eating midinette of the early twentieth century was envisioned doing so as a means of engaging more fully in the capitalist marketplace, making her body a more appealing advertisement for and object of urban consumption. This cultural fantasy of the midinette’s lunch hour, which fetishized the supposed moral precariousness of her lifestyle as well as the sparseness of her diet, was echoed by social reformers, who, in this same period, sought to carve out spaces for workingwomen’s lunches that kept them from the cafés and parks where they were believed to flirt much and eat little.
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Gillberg, Christopher. "Double Syndromes:Autism Associated with Genetic, Medical and Metabolic Disorders." In Cognitive and Behavioral Abnormalities of Pediatric Diseases. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195342680.003.0008.

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A number of conditions—genetic, metabolic, and medical syndromes—have a high rate (more than expected by chance; i.e., more than a few percent) or a very high rate (more than 20%) of several autism symptoms associated with them. In the presence of these syndromes, the diagnosis of autistic disorder or autism spectrum disorder (ASD) is very often appropriate (Gillberg and Coleman 2000). These conditions are listed in Table 2.1. Some conditions, like Down syndrome, have a much lower rate of autistic symptoms than other of the listed syndromes, but, nonetheless, present a much higher rate than expected in the general population. A number of these syndromes are also discussed elsewhere in this volume, where the full range of cognitive and behavioral complications are addressed. Angelman syndrome is characterized by jerky movements, unprovoked laughter, and varying degrees of mental retardation, mostly severe or profound (Horsler and Oliver 2006). The rate of Angelman syndrome in the general population has been estimated at about 1 in 12,000 children, with a 1:1 male-to-female ratio (Steffenburg, Gillberg, Steffenburg, &amp; Kyllerman 1996). Angelman syndrome (formerly known as ‘happy puppet syndrome’) is usually caused by a deletion of chromosome 15q11.2–12, which is similar, but not identical, to that found in children with Prader-Willi syndrome and is maternally, rather than paternally, inherited. The deletion includes a gene for the β-3 subunit of the γ-aminobutyric acid (GABA) receptor (Saitoh et al. 1994). Sixty to 75% of patients have deletions or rearrangements in the long arm of chromosome 15, and the deletion is always on the maternal chromosome. A small proportion of cases have paternal disomy for chromosome 15. At least 20% of affected persons have normal chromosomes and no evidence of disomy. In some of these cases, recurrence in relatives may be observed. Such cases may be due to a dominant mutation of the UBE3 gene at 15q11–13 resulting in an Angelman phenotype only when transmitted by females. Differences in clinical presentation are related to the nature of the genetic defect (Lossie et al. 2001).
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Conference papers on the topic "Female laughter"

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Pietrowicz, Mary, Carla Agurto, Jonah Casebeer, Mark Hasegawa-Johnson, Karrie Karahalios, and Guillermo Cecchi. "Dimensional Analysis of Laughter in Female Conversational Speech." In ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8683566.

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