Journal articles: 'History of humor'

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Limon, J. "American Humor in History." American Literary History 21, no. 2 (February 19, 2009): 306–15. http://dx.doi.org/10.1093/alh/ajp002.

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Bennett, Mary Payne, and Cecile A. Lengacher. "Humor and Laughter may Influence Health. I. History and Background." Evidence-Based Complementary and Alternative Medicine 3, no. 1 (2006): 61–63. http://dx.doi.org/10.1093/ecam/nek015.

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Articles in both the lay and professional literature have extolled the virtues of humor, many giving the impression that the health benefits of humor are well documented by the scientific and medical community. The concept that humor or laughter can be therapeutic goes back to biblical times and this belief has received varying levels of support from the scientific community at different points in its history. Current research indicates that using humor is well accepted by the public and is frequently used as a coping mechanism. However, the scientific evidence of the benefits of using humor on various health related outcomes still leaves many questions unanswered.

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Dudden, Arthur Power. "American Humor." American Quarterly 37, no. 1 (1985): 7. http://dx.doi.org/10.2307/2712759.

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Henry, M. "History and Humor: A Natural Partnership." OAH Magazine of History 14, no. 2 (January 1, 2000): 64–65. http://dx.doi.org/10.1093/maghis/14.2.64.

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Crescêncio, Cintia Lima. "“El humor es una guerra que no produce muerte sino risa”: uma análise histórica do humor gráfico feminista latino-americano de Diana Raznovich (1990)." Revista Tempo e Argumento 12, no. 31 (December 21, 2020): e0103. http://dx.doi.org/10.5965/2175180312312020e0103.

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O humor gráfico feminista de Diana Raznovich configura-se como instrumento de intervenção que visa problematizar a discriminação sofrida pelas mulheres em todas as áreas, desmascarando as estruturas que as aprisionavam nos anos finais do século XX, contexto de lutas feministas. Entendido como humor-guerra que tem como efeito o riso, a produção da cartunista argentina, uma das primeiras humoristas gráficas assumidamente feministas na América Latina, demonstra a complexidade e a fluidez do humor produzido com perspectiva de gênero, um desafio às limitadas abordagens da História Cultural do Humor, marcada por um cânone e por elaborações teóricas masculinas. Diante desse cenário teórico e histórico, este artigo pretende realizar uma análise histórica do humor gráfico feminista de Diana Raznovich. Com foco nas discussões sobre o papel das mulheres na produção humorística, no debate sobre as ideias de privado/público no humor, no potencial de mudança do humor feminista e nos impactos dos discursos sobre feminilidade na produção do riso, pretendo, a partir de textos e cartuns publicados em jornais latino-americanos na década de 1990, refletir sobre o potencial político revolucionário do humor feminista de Diana Raznovich. Palavras-chave: Diana Raznovich. Feminismo. Humor Gráfico. Humor-guerra. América Latina.

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Axtell, James L. "Humor in Ethnohistory." Ethnohistory 37, no. 2 (1990): 109. http://dx.doi.org/10.2307/482538.

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McWhirter, Christian. "Lincoln’s Sense of Humor." American Nineteenth Century History 20, no. 1 (January 2, 2019): 73–74. http://dx.doi.org/10.1080/14664658.2019.1606502.

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Proczkowska, Kwiryna. "Denotacja – humor – tabu." Między Oryginałem a Przekładem 25, no. 43 (March 31, 2019): 67–83. http://dx.doi.org/10.12797/moap.25.2019.43.04.

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Denotation – Humour – TabooThis analysis takes as its subject jokes about Poles that appeared in two US-American sitcoms: The Big Bang Theory (Teoria wielkiego podrywu) and 2 Broke Girls (Dwie spłukane dziewczyny), as well as their official Polish TV translations made for Comedy Central Polska channel. The selected examples refer to Polish traditions, history, and stereotypes about Polish people. They were divided into three categories according to their subject: a joke based on a stereotype, jokes making Poles look exotic, and jokes referring to Polish-Jewish relations, and the history of World War II. The aim here is accordingly: to characterize the original jokes, to analyze their official Polish voice-over translation, and to consider the potential differences in the reception of given fragments by the sourceculture and target-culture viewers. This paper refers to the characteristics of sitcom as a text genre and Eugene A. Nida and Charlesa R. Taber’s theory of functional equivalence.

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AUSTERLITZ, ROBERT. "MYTH, PLAY, HUMOR." Canadian-American Slavic Studies 22, no. 1-4 (1988): 35–38. http://dx.doi.org/10.1163/221023988x00050.

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Kirchdorfer, Ulf. "Don’t Do It on My Carpet: The Humor of William Faulkner’s “Barn Burning”." American Studies in Scandinavia 46, no. 2 (September 1, 2014): 3–15. http://dx.doi.org/10.22439/asca.v46i2.5133.

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William Faulkner’s “Barn Burning” has been appreciated critically in just about every way but for its humor. While appreciations not concerned with humor are crucial to understanding the work, they can also be limiting. This discussion of Faulkner and humor in “Barn Burning” will acknowledge that humor stoops to low levels and crudity. But it also soars to great heights, with Faulkner’s command of the English language and ability to draw allusions effortlessly into the fabric of his story.

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Lanzoni, Remi. "Life is Beautiful: When Humor Challenges History." Forum Italicum: A Journal of Italian Studies 34, no. 1 (March 2000): 121–35. http://dx.doi.org/10.1177/001458580003400107.

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Gordon, Ian, and Judith Yaross Lee. "Defining New Yorker Humor." Journal of American History 88, no. 3 (December 2001): 1127. http://dx.doi.org/10.2307/2700502.

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Skei, Hans. "The Humor of William Faulkner." American Studies in Scandinavia 20, no. 2 (September 1, 1988): 83–89. http://dx.doi.org/10.22439/asca.v20i2.1178.

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Weeks, Mark. "Milan Kundera:A Modern History of Humor amid the Comedy of History." Journal of Modern Literature 28, no. 3 (June 2005): 130–48. http://dx.doi.org/10.2979/jml.2005.28.3.130.

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Scanlon, Margaret. "History Beyond the Academy: Humor and Horror in Children's History Books." New Review of Children's Literature and Librarianship 16, no. 2 (February 3, 2011): 69–91. http://dx.doi.org/10.1080/13614541.2010.540197.

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Olson, Benjamin Hedge. "Brit Wits: A History of British Rock Humor." Popular Music and Society 36, no. 1 (February 2013): 130–32. http://dx.doi.org/10.1080/03007766.2012.687078.

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Heinrich, Carola. "Humor and Memory." East Central Europe 43, no. 3 (December 3, 2016): 257–77. http://dx.doi.org/10.1163/18763308-04303001.

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With the Revolution in December 1989, Romania not only rejected the communist system but also Soviet authority and orientated itself towards the West. This paper explores what is remembered of Russia and the Soviet Union after 1989 and how Romanian dramas and films represent these memories. The paper studies three examples of staging “the Russian”: the radio theatre presentation of Petru by Vlad Zografi, the theatre piece Istoria comunismului povestită pentru bolnavii mintal by Matei Vişniec, and the movie Nunta mută by Horaţiu Mălăele. Memory is understood here as a process of cultural translation and the analysis aims to track the particularities of these representations that contribute to the negotiation of collective memory. The analyzed works seem to reinforce prevalent stereotypes, but these are inverted through comic devices. Humor is therefore identified as one of the main strategies for dealing with a violent past.

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Hick, Christian. "„Humor macht kein kranckheit“." DMW - Deutsche Medizinische Wochenschrift 143, no. 25 (December 2018): 1820–25. http://dx.doi.org/10.1055/a-0601-0473.

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AbstractParacelsus was an adventurer in more than one way. We retrace the little that is known about his life and then focus on his adventures in the history of ideas, namely the scientific revolution he brought about for humoral pathology. Following the landmark study of Pagel (1982) we identify two of his conceptions of disease: diseases as fruits and diseases as minerals, discovered by a new science, a “scientia separationis”. Paracelsus did not merely polemize against humoral pathology, but offered a new world view, a new paradigm, so that his endeavor can be characterized with Kuhn (1962) as a scientific revolution.

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Morreall, John. "Comic vices and comic virtues." Humor - International Journal of Humor Research 23, no. 1 (January 2010): 1–26. http://dx.doi.org/10.1515/humr.2010.001.

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AbstractIn the face of some people's naive enthusiasm about the benefits of humor, Victor Raskin (Is humor always good for you?, Oklahoma, 1997) has explored the question “Is humor always good for you?” Rod Martin (Psychological Bulletin 12: 504–519, 2001) has shown how some kinds of humor foster unhealthy attitudes. Avner Ziv (Humor research in education: Enthusiasm vs. data, 1995) has warned that some claims about humor's value in education are exaggerated. Elliott Oring (Engaging humor, University of Illinois Press, 2003: Ch. 4) has shown how humor can express ethnic hatred. All these caveats are useful in a culture where the prevailing attitude toward humor is positive. If we consider attitudes toward humor through most of history, however, they were mostly negative. In Western religion and philosophy, indeed, no other human trait has been associated with so many vices. This article helps explain the cultural shift from a generally negative to a generally positive evaluation of humor by examining the traditional moral objections to humor, and providing modern rebuttals to them. It then develops the idea that humor in which we transcend our personal perspectives can foster virtues such as openmindedness, patience, tolerance, graciousness, humility, perseverance, and courage.

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EPP, MICHAEL. "The Imprint of Affect: Humor, Character and National Identity in American Studies." Journal of American Studies 44, no. 1 (December 24, 2009): 47–65. http://dx.doi.org/10.1017/s0021875809990788.

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What is the relationship between American studies and affective production? In what specific ways does our scholarship participate in the creation, circulation, and appreciation of affective practices? These questions provide a foundation for understanding the sometimes obscure connections between academic scholarship and mass culture. I argue that the history of American studies involves a specific and influential imbrication with affective production that has shaped notions of identity and affect since the nineteenth century. Usually this history is understood in terms of how the field used to advocate conservative notions of nativist national identity; this paper brings the history of this advocacy into new focus by histricizing the relationship between scholarship and affective production in the often-overlooked field of humor studies. The first section traces the invention of an academic tradition that articulated humor practice to national character, and identifies this articulation itself as the affective labor of that scholarship. The second section addresses alternative histories that might be written once we recognize this articulation of affective practice to identity as itself a form of affective labor. In three case studies, I briefly explore the relations between humor, mass culture, and politics in the works of the late nineteenth-century humorists David Ker, Marietta Holley, and Bill Nye, whose humor was produced in the same period that saw the durable articulation of humor practice to national identity emerge. These cases gesture, polemically, to the important work American studies can still do with humor, especially as we realize the key role of affective production in our disciplinary history.

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Weeks, Mark. "Milan Kundera: A Modern History of Humor amid the Comedy of History." Journal of Modern Literature 28, no. 3 (2005): 130–48. http://dx.doi.org/10.1353/jml.2005.0046.

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Dudden, Arthur Power. "The Record of Political Humor." American Quarterly 37, no. 1 (1985): 50. http://dx.doi.org/10.2307/2712762.

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Boskin, Joseph, and Joseph Dorinson. "Ethnic Humor: Subversion and Survival." American Quarterly 37, no. 1 (1985): 81. http://dx.doi.org/10.2307/2712764.

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Rudnick, Lois, Nancy A. Walker, Nancy Walker, and Zita Dresner. "Women's Humor and American Culture." American Quarterly 42, no. 4 (December 1990): 670. http://dx.doi.org/10.2307/2713171.

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Rogoff, Gordon. "Strange Eventful History." Theater 50, no. 1 (February 1, 2020): 13–29. http://dx.doi.org/10.1215/01610775-8123840.

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Theater magazine founding editor Gordon Rogoff puts the history of the American theater over the last five decades under a critical retrospective lens, examining how shifting political, social, and economic conditions have shaped theater as both industry and art form. Rogoff ’s essay mixes memory with polemic and humor with outrage while attempting to untangle the threads of high art and big business that have held up and ensnared the art of theater across the last half century.

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Jones, Peter J. A. "Laughing with Sacred Things, ca. 1100–1350: A History in Four Objects." Church History 89, no. 4 (December 2020): 759–78. http://dx.doi.org/10.1017/s0009640721000019.

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Exploring the range of circumstances in which medieval Christians laughed with, against, at, and through religious topics, this article investigates four objects: an ivory cross, an ampulla of a saint's blood, a preaching codex, and a pilgrim's badge. While these objects are taken to illustrate a diversity of attitudes to religious humor, they are also, in light of recent work citing the productive power of medieval matter, scrutinized as agents in their own right. The article suggests two significant patterns. On the one hand, the objects point to laughter's use as a unique mode of spiritual practice. Through amusing miracles, through the provocative work of comic sermons, and through the playful humor of pilgrimage badges, Christians from the twelfth to the fourteenth centuries were able to use humor to relate to their faith in sophisticated and often counterintuitive ways. Yet as the four objects and their use also attest, these modes of comic relation were also subjected to clerical reduction and regulation. Harnessing the pedagogical potential of laughter especially, preachers, hagiographers, and clerics all worked to redirect more anarchic forms of religious humor toward functional ends. While tracing how laughter with Christian topics was increasingly encouraged, the article suggests that the price of this encouragement was that laughter was often brought into a more policed domain of orthodox Christian practice.

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Burkart, Mara. "Trazos interrumpidos: humoristas mujeres en la prensa de humor (Argentina, 1974-1984)." Revista Tempo e Argumento 12, no. 31 (December 22, 2020): e0105. http://dx.doi.org/10.5965/2175180312312020e0105.

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En la Argentina, el humor gráfico fue una profesión mayoritariamente masculina hasta los años ochenta del siglo XX cuando varias mujeres – Maitena, Patricia Breccia, María del Carmen Alcobre, Petisuí, Ana von Reuber˗ comenzaron a publicar sus tiras en las revistas de Ediciones de la Urraca. Antes de esta irrupción, entre 1974 y 1984, Nelly Hoijman, Patricia Breccia, Lucía Capozzo y Marta Vicente produjeron tiras humorísticas que se publicaron en esas revistas de humor gráfico donde primaban las firmas de varones. Por diversos motivos y salvo Breccia, el resto lo hizo por un período breve de tiempo para luego, dedicarse a otras profesiones. Inspirado teórica y metodológicamente en los aportes de la historia social dirigidos a problematizar la invisibilidad de las mujeres en la vida social, en las preguntas y los estudios que desde hace décadas vienen realizando historiadoras del arte feministas como Linda Nochlin y Griselda Pollock en relación al lugar de las mujeres en las “bellas artes” y Whitney Chadwick e Isabelle de Courtivron sobre la relación entre creatividad y relaciones íntimas, en este trabajo analizamos el paso de estas mujeres por el humor gráfico. Me interesa identificar las condiciones sociales de su producción así como también analizar los temas y las representaciones plasmadas en sus respectivas obras a la luz de los demás contenidos de las revistas donde publicaron. El objetivo último es generar un aporte a una nueva historia del humor gráfico que dé cuenta del lugar de las mujeres en la producción humorística y en los medios de comunicación masiva. Palabras clave: Mujer Artista. Humor. Prensa Periódica. Argentina.

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Gordon, Mordechai. "Friendship, Intimacy and Humor." Educational Philosophy and Theory 46, no. 2 (October 5, 2012): 162–74. http://dx.doi.org/10.1080/00131857.2012.721732.

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Morreall, John. "Humor, Philosophy and Education." Educational Philosophy and Theory 46, no. 2 (October 9, 2012): 120–31. http://dx.doi.org/10.1080/00131857.2012.721735.

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Reid-Smith, Edward. "The laughing librarian: a history of American library humor." Australian Library Journal 62, no. 1 (February 2013): 72–73. http://dx.doi.org/10.1080/00049670.2013.768576.

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III, William Howland Kenney, and Raymond C. Craig. "The Humor of H. E. Taliaferro." Journal of American History 75, no. 3 (December 1988): 941. http://dx.doi.org/10.2307/1901614.

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Bundrick, Christopher, and Ed Piacentino. "The Enduring Legacy of Old Southwest Humor." Journal of Southern History 73, no. 2 (May 1, 2007): 460. http://dx.doi.org/10.2307/27649430.

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Bartholomew, Barbara G., C. L. Sonnichsen, and Robert Murray Davis. "Arizona Humoresque: A Century of Arizona Humor." Western Historical Quarterly 24, no. 1 (February 1993): 114. http://dx.doi.org/10.2307/970051.

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Clow, Richard L., and Kenneth Lincoln. "Indi'n Humor: Bicultural Play in Native America." Western Historical Quarterly 26, no. 2 (1995): 232. http://dx.doi.org/10.2307/970214.

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Brown, Sarah. ""The Arkansas Traveller:" Southwest Humor on Canvas." Arkansas Historical Quarterly 46, no. 4 (1987): 348. http://dx.doi.org/10.2307/40025957.

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Idrees, Ayesha, and Saira Batool. "Styles of Humor and Interpersonal Relationships in University Students." FWU Journal of Social Sciences 14, no. 4 (December 15, 2020): 57–67. http://dx.doi.org/10.51709/fw12725.

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The study aimed to investigate relationship between humor styles and interpersonal relationships in university students. It was hypothesized that: there would be a relationship between humor styles and interpersonal relationships in university students; humor styles are likely to predict interpersonal relationships in university students; there would be gender differences in humor styles and interpersonal relationships. The sample consisted of 196 students from two Universities of Lahore. Humor Style Questionnaire (Martin, Puhlik-Doris, Larsen, Gray & Weir, 2003) and Interpersonal Relationship Questionnaire (Callaghan, 2006) were used for assessment. Data were analyzed by using Pearson product moment correlation, hierarchical regression analysis and independent sample t-test. Results revealed significant relationship between humor styles and interpersonal relationships. Affiliative humor style predicted interpersonal relationships negatively whereas self-defeating humor style predicted interpersonal relationships positively. Men used more aggressive humor styles compared to women but they did not differ on other humor styles. Findings highlight significance of humor in the quality of interpersonal relationships.

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Bergen, Doris. "Humor as a developmental phenomenon: the contributions of Paul McGhee." HUMOR 31, no. 2 (April 25, 2018): 213–31. http://dx.doi.org/10.1515/humor-2016-0091.

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Abstract This chapter traces the history of Paul McGhee’s theoretical views, research methods, and body of writing focused on children’s humor development. It describes the state of such research before he became involved, the decision-making process that led him to focus on this area of knowledge, his initial research paradigms and later research methodology, his extensive writings on humor development, and the theoretical ideas about children’s humor development that he proposed, drawing on Piagetian theory. It also briefly discusses his later work in broader fields of humor development. The chapter briefly describes the ways that the body of knowledge he provided and his emphasis on the importance of early humor development have been influential for many subsequent humor development researchers, including that of the author. It also recognizes the playfulness that Paul McGhee has brought to both his scholarly and advocacy work, which provides a model for future researchers in the field of children’s humor development.

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Gardner, Richard. "Understanding Humor in Japan (review)." Monumenta Nipponica 62, no. 2 (2007): 250–52. http://dx.doi.org/10.1353/mni.2007.0036.

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Horton, Shaun. "Of Pastors and Petticoats: Humor and Authority in Puritan New England." New England Quarterly 82, no. 4 (December 2009): 608–36. http://dx.doi.org/10.1162/tneq.2009.82.4.608.

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Early Puritan humor usually endorsed Puritanism at the expense of non-Puritans, but during the eighteenth century, Puritans made bolder jokes at the expense of their own ministers. This article examines how Puritans used humor to undermine social authority and how changes in New England society led to changes in Puritan humor.

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Gandolfo, Amadeo. "Entre el humor absurdo y la risa violenta: la revista Tía Vicenta y la más reciente Dictadura Militar Argentina (1977-1979)." Estudos Ibero-Americanos 44, no. 2 (August 20, 2018): 297. http://dx.doi.org/10.15448/1980-864x.2018.2.27690.

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Analizamos el segundo período de Tía Vicenta, la revista satírica argentina fundada por Landrú (Juan Carlos Colombres). La revista tuvo un primer período de publicación innovador entre los años 1957 y 1966. La segunda era de la revista comprendió desde noviembre de 1977 hasta julio de 1979, bajo la más reciente dictadura militar de Argentina, el autodenominado “Proceso de Reorganización Nacional”. Reconstruimos su historia de publicación al lado del panorama general del humor gráfico en la Argentina de los años setenta. A través del análisis de los vínculos de Landrú con el Ejército, su ideología, y las imágenes y textos que fueron publicados en la revista, encontramos dos puntos de vista que coexistían: una posición respetuosa en relación al programa de orden y represión de la dictadura, y una fuerte crítica contra su programa económico. La explicación para esto estriba tanto en la política personal de Landrú como también en el contexto en el que apareció la revista. Concluimos que el mismo tipo de humor absurdo y la posición política imparcial que le había permitido a Tía Vicenta prosperar en los años sesenta era anacrónica e incluso reaccionaria en el panorama cambiado de la Argentina y el humor gráfico de los años setenta, lo cual quizás explique su desaparición y borramiento de la mayoría de las reconstrucciones del período.***Entre o humor absurdo e o riso violento: a revista Tía Vicenta e a mais recente Ditadura Argentina (1977-1979)***Analisamos o segundo período da Tía Vicenta, a revista satírica argentina fundada pelo desenhista Landrú (Juan Carlos Colombres). A revista teve um inovador primeiro período entre os anos 1957 e 1966. A segunda era da revista compreendeu desde novembro de 1977 até julho de 1979, durante a mais recente ditadura militar da Argentina, o autodenominado “Processo de Reorganização Nacional”. Reconstruímos sua história de publicação ao lado do panorama geral do humor gráfico na Argentina nos anos setentas. A través da análise dos vínculos de Landrú com o exército, sua ideologia, bem como das imagens e textos que foram publicados na revista encontramos dois pontos de vista que coexistiam: uma posição respeitosa em relação ao programa de ordem e repressão da ditadura, e uma crítica forte contra seu programa econômico. A explicação para isto reside tanto na política pessoal de Landrú como também no contexto em que a revista apareceu. Nós concluímos que o mesmo tipo de humor absurdo e a mesma posição política de imparcialidade que tinha permitido à Tía Vicenta prosperar nos anos sessenta era anacrônica e até reacionária no panorama do humor gráfico dos setenta, o que talvez possa explicar sua dedadência e esquecimento na maior parte das recordações do período.

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Horton, James Oliver, and Melvin Patrick Ely. "Humor and the American Racial Imagination." American Quarterly 45, no. 1 (March 1993): 166. http://dx.doi.org/10.2307/2713058.

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van Keuren, Luise, and Kenneth Lincoln. "Indi'n Humor: Bicultural Play in Native America." Journal of American History 81, no. 2 (September 1994): 835. http://dx.doi.org/10.2307/2081425.

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Attardo, Salvatore, Manuela Maria Wagner, and Eduardo Urios-Aparisi. "Prosody and humor." Pragmatics and Cognition 19, no. 2 (August 10, 2011): 189–201. http://dx.doi.org/10.1075/pc.19.2.01att.

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Heitzenrater, Richard P. "Tradition and History." Church History 71, no. 3 (September 2002): 621–38. http://dx.doi.org/10.1017/s0009640700130306.

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The relationship between history and tradition has long been convoluted, just as any consensus on the definition of either term is difficult to achieve. The tongue-in-cheek comment by Jean Cocteau that “history is facts which become lies in the end; legends are lies which become history in the end” is only one of many quotable quips that glance lightly off the interstices of these two universes of discourse. Such humor, nevertheless, is not that far removed from the canons of serious discussion. The realities that these two terms represent, as well as their nature, their goals, and their points of contact, provide the framework for our reflections herein.

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Poveda, David. "Metalinguistic activity, humor and social competence in classroom discourse." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 15, no. 1 (March 1, 2005): 89–107. http://dx.doi.org/10.1075/prag.15.1.04pov.

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This paper examines the role that humor plays during an episode of classroom interaction. Using concepts derived from the ethnography of communication and interactional sociolinguistics, it analyzes activity during a metalinguistic event in a kindergarten classroom and argues that verbal humor, in itself a form of metalinguistic activity, plays a crucial role in the modulation of children’s face demands. The analysis also shows how humor is the result of the shared history of participants. The findings highlight the importance of considering emergent and improvised goals during classroom discourse that go beyond the prescribed curriculum.

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Basu, Sammy. "“A Little Discourse Pro & Con”: Levelling Laughter and Its Puritan Criticism." International Review of Social History 52, S15 (November 21, 2007): 95–113. http://dx.doi.org/10.1017/s0020859007003148.

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The mid-seventeenth century English social movement known as the Levellers was perhaps the first liberal-democratic social movement. Among their communicative strategies, to garner supporters while challenging the authorities, humor figured prominently. In this article, the nature of this levelling laughter is highlighted and juxtaposed against Puritan injunctions to mourning and objections against humor. Regarding the latter, four such objections are distinguished and elucidated: “damnable heresies”, “strange opinions”, “fearful divisions”, and “loosenesse of life and manners”. Finally, it is suggested that the Puritan repudiation of the Levellers highlights the need for social movements of democratic dissent against various aspects of the given status quo to use incongruous and relief humor to prompt reflection without relying too heavily on boorishly flouting social prohibitions for the sake of the pleasures of superiority and release. It also suggests that humor will do better in a culture already tolerant of pluralism, comfortable with a measure of non-literal ambiguity, and committed to democratic deliberation.

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RAZUVAEV, VLADIMIR VITAL'EVICH. "Popular Humor in the Post-Soviet Period." Anthropology & Archeology of Eurasia 44, no. 3 (January 2006): 37–63. http://dx.doi.org/10.2753/aae1061-1959440303.

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Gillooly, Eileen. "Humor as Daughterly Defense in Cranford." ELH 59, no. 4 (1992): 883. http://dx.doi.org/10.2307/2873299.

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Crescêncio, Cintia Lima, Mara Burkart, and Maria da Conceição Francisca Pires. "Apresentação do dossiê "Mulheres, Humor e Cultura de Massa"." Revista Tempo e Argumento 12, no. 31 (December 22, 2020): e0100. http://dx.doi.org/10.5965/2175180312312020e0100.

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Kelley, Suzzanne. ":Wrangling Women: Humor and Gender in The American West." Oral History Review 34, no. 2 (September 2007): 155–57. http://dx.doi.org/10.1525/ohr.2007.34.2.155.

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Journal articles on the topic 'History of humor'

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