Journal articles on the topic 'Humorists, American'

While books about comedy often strip all the life out of it, good books about comedy are a useful resource for learning about key performers, for analysis of comedy trends, and for discovery of little-known works one may have missed. Unfortunately, Make ’em Laugh!: American Humorists of the 20th and 21st Centuries is not one of those good books about comedy.

Abstract By reading antebellum-era jokes about Cuba in conversation with Judith Yaross Lee's argument that imperialism has persistently shaped American humor, this essay considers how US humorists located pleasure in the nation's fraught foreign relations. Examining a variety of comics, anecdotes, and malapropisms from Yankee Notions demonstrates how this popular, long-running magazine mocked US Americans’ efforts to assert their cosmopolitan knowledge of Cuba while nonetheless naturalizing US global power. Together, such jokes participated in a larger cultural project that shaped late nineteenth-century images of Cuba in a way that was designed to generate support for the idea of US intervention. More broadly, the magazine demonstrates how jokes about ignorance and knowingness became a way to justify US imperialism and resist foreign power.

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.

Over the course of the 1930s, the comic persona of Algonquin humorist Robert Benchley changed from that of a sophisticated humorist to an average man. This article situates Benchley‘s How to short subjects for MGM (1935–44) within a broader public preoccupation with averageness that characterised the populist political rhetoric of New Deal-era America. In particular, it explores the function of seriality as a discursive trope conjoining the format of Benchley‘s MGM shorts to the broader construction of average identities in the eras political culture.

While going unnoticed by many writers, the significance of the American frontiersman of the south did not escape the attention of Thomas Bangs Thorpe of Louisiana. This article tries to reinstate the importance that the frontiersman of the 19th century held in the eyes of this Old Southwest humorist. Thorpe humorously depicts this unique character to an almost a godly magnitude, yet at the same time, he retains his human traits, hence, remaining on a level readers could relate to. Even though the frontiersman's presence became sadly diminished as civilization advanced, Thorpe was able to revive him through his sketches. The speech, manners and lifestyle of the frontiersman, who evolves out of the American wilderness around him, all become Thorpe's means to successfully documenting one side of American history which might have gone unrecognized were it not for Thorpe's short stories..

In this essay, humorist Gustavo Arellano looks at the past and present state of relations between Asians and Latinos in California to offer a glimpse of the future for Californians in the Pacific world. He suggests that foreign investment from Latin America and Asia will increasingly turn California into a global crossroad for the world economy, which it has been for a long time already; remittances back home will help modernize countries of origin, while residents here will influence politics there—and in California too. Bilingualism and multiculturalism won’t be so exotic by the twenty-second century, but rather the only way for California and America to survive.

Abstract In response to Judith Yaross Lee's introduction of a framework designed to probe the relationship between empire and American humor, this article analyzes John Kneubuhl's “The Night of the Two-Legged Buffalo,” a 1966 episode of The Wild Wild West (1965-69). Kneubuhl (1920-92) was a Samoan American playwright who wrote for theater, television, and film. Like Mark Twain, he demonstrated a lifelong interest in the trope of the confidence man. In “The Night of the Two-Legged Buffalo” he depicts protagonists and antagonists alike in the US borderlands as con artists contending for power. While agents Jim West and Artemus Gordon emerge as cultural impersonators who serve the ideology of Manifest Destiny, the Prince of the South Sea Coral Islands, a Polynesian aristocrat, deploys American hegemony in Oceania. Kneubuhl draws on conventions of the fale aitu, a Samoan theatrical genre, as well as his association with Sam Amalu, a Native Hawaiian humorist and con man known for his elaborate pranks and swindles. As a site of contest between what Lee terms “neocolonial hybridity” and “postcolonial discontinuity,” “The Night of the Two-Legged Buffalo” exemplifies Kneubuhl's unique trickster aesthetics.

This essay examines the underappreciated work of the Hollywood scenarist and humor writer Anita Loos. In general, Loos is known separately to film scholars, as a prominent writer of silent films, and to historians of American culture, as an important twentieth‐century humorist. However, her film‐writing career and her work in the theory of film writing influenced the narrative structure and assumptions of her fiction. Through readings of Loos's three early novels, the essay demonstrates how the humor and complex cinematic structure of these texts depend on a stark text‐image divide that stems directly from her ideas about writing for silent film. Looking at Loos's fiction in the light of her intimate familiarity with the film industry provides new insight into dialogues about high and popular culture and into the engagement of modernism with cinema. (BEH)

Pathways to Prominence in Neuropsychology: Reflections of Twentieth-Century Pioneers. Anthony Y. Stringer, Eileen L. Cooley, and Anne-Lise Christensen, 2002. New York: Psychology Press. 324 pp., $64.95.Pathways to Prominence in Neuropsychology discusses the origin and development of research and clinical neuropsychology in the 20th century. This is an important first book to help us better understand where we have been, where we are, where we are going and who we are, but be forewarned that the writer of this review is extremely biased, believing that history is both interesting and potentially useful to enlighten our individual and collective journeys. The writing of history, its facts and interpretations, is fraught with challenges and pitfalls, especially when looking at ourselves. As the American humorist Herb Shiner once said, “Nothing has changed the course of history as much as the historian.

] a man can never be a humorist in thought or in deed, until he can feel the springs of pathos [ ... ]. Trust me, he was never yet properly funny who was not capable at times of being very serious. Mark twain (Quoted by McNaughton 12). The genius and personality of Samuel Langhorne Clemens (Mark Twain) were marked by contrary pulls, and that among other reasons made him one of the most controversial figures of his time. He was certainly not the vulgar funny man that Matthew Arnold made him out to be, but a very interesting and multi-faceted personality who, far from writing only for the uncultivated masses, addressed some very serious questions that are still central to American life: for instance, social responsibility versus personal and domestic irresponsibility, juvenile innocence versus adult criminality, racism as practiced by individuals and institutions versus liberal humanism, and slavery versus freedom and so on. Mark Twain's life and works represent baffling contradictions an continuing conflicts that were largely unsuspected during his lifetime and for a considerable period afterwards; he was a humorist who combined the role of the comedian and the buffoon with that of the philosopher, cynic and satirist; an optimist who believed in all kinds of unheard-of inventions and eccentric modem gadgets, and landed in bankruptcy by pouring money into those gadgets in the certainty that one day they would make him fabulously rich; a pessimist who believed that life was basically a bad dream, that money ruled the world and that money was intrinsically evil; a savagely cynical realist as well as an idealist who had his own Utopia to project.

ABSTRACT Humor by African American women writers has been largely overlooked and undervalued owing in part to the misguided expectation of feminine, subordinate behavior that precludes the expression of aggression and irreverence associated with humor. This article reappraises Jessie Redmon Fauset’s reputation as a sentimental, bourgeois female writer, looking at how she uses irony and satire to challenge racial and gender stereotypes and become a pioneering female humorist of the Harlem Renaissance. In her essay “The Gift of Laughter” and her best-known novel, Plum Bun (1928), Fauset uses humor as an indirect form of social protest to subvert racial and gender stereotypes of the New Woman and the New Negro Woman and to unsettle bourgeois, sentimental conventions of the marriage plot and the passing plot. Through a reframing of Fauset’s novel in light of recent theories of Black feminist humor, this article helps to restore Fauset’s rightful place among the leading and lasting voices of the Harlem Renaissance.

Fifty years ago, the renowned American humorist, Don Marquis, creator of the ‘Archy and Mehitabel’ stories, sat in the dining room of the Players Club and contemplated a playbill: ‘Mr. Bogumil Dawison will appear at the Winter Garden as Othello. Mr. Edwin Booth will play Iago.’ Who was Bogumil Dawison, he wonders? Why did his name appear at the top of the bill above Booth's? Perhaps he had a European reputation like Salvini or Coquelin, but if so why had Marquis never heard of him? He could not have been a Nobody, Marquis concludes, otherwise Booth would never have acted with him. Marquis thinks that perhaps he should find out all he can about Dawison, but then decides that he'll have another brandy instead: ‘Damn Bogumil Dawison! Maybe he was a bad actor, he mooned around and drank himself to death, because the wind was cold and wet … a ridiculous person undoubtedly, and I don't want to know his ghost.’

A sobrevalorização da capacidade transgressora do humor tende a colocá-lo fora da crítica, mesmo quando exercício humorístico gera estereótipos racistas. O sistema hierárquico e dis- criminatório das sociedades coloniais e a construção da especificidade identitária do negro foi sendo reforçada por formas racializadas de entretenimento, entre as quais, formas de humor que recorriam ao blackface. Conhecido pelo seu racismo primário, o subgénero blackface retratava a população negra como falha em inteligência, preguiçosa, supersticiosa. Embora seja um subgénero humorístico de origem norte-americana, a prática do blackface internacionalizou-se e chegou também a Portugal. Neste artigo, pretende-se o fazer uma breve história do humor racista em Portugal, começando por identificar os primeiros humoristas que recorreram ao blackface no contexto histórico do colonialismo português, sem deixar de referir exemplos recentes, que revelam como este subgénero humorístico, não só persiste, como porventura se intensificou e diversificou no contexto pós-colonial.

En este número especial, se recogen testimonios y estudios que confirman la poliédrica figura de Emilia Prieto Tugores, así como la amalgama de creación y pensamiento que la constituye: pintora, folclorista, compositora e intérprete, feminista, grabadora, periodista, escritora, humorista gráfica, maestra, activista. Por un lado, se examinan las objeciones, entonces pioneras, que ella hacía al papel de la mujer en la sociedad y la política costarricenses mediante ensayos y grabados de la revista nacional Repertorio Americano. Más adelante, se reflexiona sobre el proceso que condujo a la edición, a inicios de la década de 1990, de 25 canciones ticomeseteñas recopiladas por la maestra Prieto. También se incluye un análisis crítico a propósito de la voluntad contestataria de la investigación sónica de la folclorista. Estos estudios van acompañados por la edición de las canciones “Por ‘ónde pongo el dulce?” y “Fernando el francés”, recopiladas por ella.

Starting from the rare and not very pleasant experience of having his translation of a short-story by the American humorist James Thurber (1894-1961) bought by a publisher and later discovering that another translation was published by the same firm, the author of this article proposes to examine these translations and to see whether there is any reason for opposing commercial translation to academic translation. Though there should be none, this case shows that publishers of texts aimed at young readers do not pay enough attention to the translations they publish and, where humour is concerned, that the commercial translator too often neuters or kills what makes the original text subtly humorous. Though the study of the published translation is voluntarily polemical (it is however abundantly illustrated with examples from the texts, closely analysed and discussed), it is only pleading for more respect for the text one pays homage to by translating it and also for the readers of the translation, who should be offered as humorous and subtle a text as the original.

As many political humorists remind us regularly, politics “inside the Beltway” is not always of interest or relevance to the rest of the world. Yet for political scientists interested in the ongoing evolution of America's health care system, what goes on inside the Beltway has great import. For any proposed reform, there are three basic steps: getting the issue on the political agenda, securing passage of pertinent legislation, and implementation (although we intend to narrow our discussion to the first two).A common criticism of academic political science is the disparity between the textbook portrayal of policymaking and the reality of what happens in Washington. In this article, we use abbreviated case studies to inject a dose of “inside the Beltway” reality into the images of policymaking. Included in our discussion is an account of how one issue—catastrophic health insurance—reached the political agenda and then more general comments on how health legislation has been considered and passed in recent years, with particular emphasis on the use of the budget reconciliation process. While cursory, we think these reflections provide a thumbnail sketch of how Washington is attending to important issues of health policy.

As many political humorists remind us regularly, politics “inside the Beltway” is not always of interest or relevance to the rest of the world. Yet for political scientists interested in the ongoing evolution of America's health care system, what goes on inside the Beltway has great import. For any proposed reform, there are three basic steps: getting the issue on the political agenda, securing passage of pertinent legislation, and implementation (although we intend to narrow our discussion to the first two).A common criticism of academic political science is the disparity between the textbook portrayal of policymaking and the reality of what happens in Washington. In this article, we use abbreviated case studies to inject a dose of “inside the Beltway” reality into the images of policymaking. Included in our discussion is an account of how one issue—catastrophic health insurance—reached the political agenda and then more general comments on how health legislation has been considered and passed in recent years, with particular emphasis on the use of the budget reconciliation process. While cursory, we think these reflections provide a thumbnail sketch of how Washington is attending to important issues of health policy.

This study examines in detail the alternance of humour and horror in the story The Canterville Ghost by Oscar Wilde, and the manner in which the author was always able to obtain the desired result, changing his approach to the theme. It studies the story contribution to the parody of the horror genre, mentioning the cliches which are commonly used in this type of fiction and of which Wilde makes continuous mockery. It also reviews his satire of the American society, which is in constant conflict with the values of the traditional English society. Finally, the article includes a detailed account of the humouristic resources used by the writer to entertain his readers.El presente estudio analiza en detalle la alternancia de humor y horror en el relato de Oscar Wilde The Canterville Ghost, así como la manera en la que el autor conseguía siempre el efecto deseado, cambiando su forma de tratar el tema. Estudia su contribución a la parodia del género terrorífico, con mención de los elementos tópicos que se suelen emplear en este tipo de narraciones y de los que Wilde hace una burla recurrente. También revisa su sátira de la sociedad norteamericana, en conflicto constante con los valores de la tradicional sociedad inglesa. Por último, el artículo incluye una relación detallada de los recursos cómicos empleados por el escritor para conseguir entretener a sus lectores.

Almost everyone can relate to the experience of telling a story. This article explores how storytelling is being used to identify risks and create hazard mitigation strategies, as well as how it can promote learning within the field of emergency management. Storytelling is both a pedagogical tool and an invaluable resource for practicing emergency managers. This article illustrates the ways in which the process of telling a story enables participates to talk about stressful concerns, internalize complex concepts, and even have fun. The article explores how storytelling drove the public process leading to the adoption of hazard mitigation plans, and how eight types of stories, as defined by the American humorist Kurt Vonnegut, can strengthen emergency management education. This article also explores how research suggests that storytelling can provide an effective way for both the tellers of story and their listeners to find meaning in events, provide context to what is being taught, transmit emotion along with information, develop a professional identity, build empathy and compassion, and help with remembering events and lessons learned. The authors have a long history of utilizing storytelling and present this article in order to share and explore storytelling as applied to the discipline of emergency management.

This article focuses on the ecological approach in comic discourse which aims at analyzing the interinfluence of language environment and person’s environment, regulated by emotions. It is proved that violation of norms (language, logical, ontological, valorative) in eco-discourse is the key factor of paradoxicality, which is a norm for humour. Thus, the essence of comic eco-discourse lies in its variation. We conclude that flexibility in comic eco-discourse depends on creativity of a discourse identity. Creativity presupposes charisma, talent, inspiration, intention to create something unique, wit etc. In our work a creative discourse identity is the postmodern American writer-humorist Dave Barry. The author’s linguocreativity finds expression in the language game – postmodern technique of comic. Dave Barry’s postmodern texts include: incongruent combination of a title and a picture, violation of graphical norms, specific book cover with a self-ironic photo of the author, usage of the intertextual elements (allusions, parodies, reminiscences, quotes etc.). Scientific research demonstrated the interaction of Dave Barry as a discursive identity with the world that surrounds him through the medium of the comic. The comic author tries to improve the surrounding world by non-canonical variation of the comic means, and thereby contributes to the ecology of discourse.

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.

On June 1, 2019, Nayib Bukele assumed the presidency of the Republic of El Salvador, becoming the youngest leader in the democratic history of this Central American country. His communications strategy on Twitter attracted the attention of the international press, because of a peculiar way of using this tool to tweet direct orders to his governmental team through Twitter, with many of his messages having a humoristic lilt. Observing this way of communicating prompted a wish to investigate the communications strategy of President Nayib Bukele on Twitter. Online tools, such as Twitonomy and Vicinitas, were used for the quantitative analysis of the account over the first two weeks of his presidency. Additionally, an in-depth interview was held with the communications secretary of the government of El Salvador, Sofía Medina. Finally, a broad description of the economic and social situation of the country helps understand the relevance of the data obtained from the analysis, emphasizing the scarce access to both information technology and social networks among the inhabitants.

Las rutas de los personajes cirqueros de Angelina Muñiz-Huberman se extienden hacia tiempos y espacios improbables que unen el pasado con el presente y el continente europeo con el americano. Viajeros incansables por España, Francia, Cuba y México, estos cirqueros, magos y alquimistas, cuestionan las normas de cada lugar visitado al punto de poner en entredicho medidas que inquebrantables como lo son las dimensiones del tiempo y el espacio. Por este motivo y con la finalidad de profundizar en las rutas de las escritoras judías en Hispanoamérica, este estudio ofrece un acercamiento a los itinerarios, los tiempos y los espacios de la vida circense en la obra muñiciana, en especial en los libros La burladora de Toledo (2008) y El último faro (2020). Si bien el circo es un tema menor en el amplio mundo literario de esta escritora perteneciente a la segunda generación del exilio republicano en México y representante de las voces del judaísmo en Hispanoamérica, se trata de un aspecto relevante en la medida que conecta los grandes temas que caracterizan su obra tales como el exilio, el judaísmo, el humorismo y la ruptura de los cánones estéticos.

The Abilities Festival: A Celebration of Disability Art and Culture made its Toronto debut 27–30 October 2005. This project of the Canadian Abilities Foundation involved four days of multidisciplinary work by artists and performers from around the world. In addition to the gala performances, art exhibitions and concerts, the event included a series of panel discussions and workshops, which covered such broad-ranging topics as storytelling for children, broadcast journalism and career advice for artists with disabilities. Artistic director and producer Sharon Wolfe explains that the interaction made possible by the festival fosters a climate of inclusivity and understanding, as the participants build “bridges that will lead to inclusion. Bridges that will reduce attitudinal barriers and negative perceptions about people with disabilities, bridges that will lead us all to an enriched appreciation for the full spectrum of creative talent that exists here and beyond” (1). These points of contact were directly enabled by the liveness of the festival. Theatre with a Difference, the gala evening held at the Glenn Gould Studio, showcased bold pieces by Chaika, a dance—mime troupe from Moscow; Max Fomitchev, a mime artist from Vancouver who was born in Russia; and American humorist David Roche. Within the live performance setting, there exist tensions, pressures and reactions that serve, in this case, to reveal buried assumptions about persons with disabilities. The festival not only promotes a thriving and creative disabled culture by example but, through its live performances, is able to draw out hidden attitudes so they can be recognized, confronted and ultimately transformed.

Resumen: El artículo enfoca la novela Juego de damas de Rafael Humberto Moreno Durán (Tunja, 1948) desde tres perspectivas. La primera sitúa al autor y su obra en la generación de escritores latinoamericanos que se forman en el espíritu de rebeldía de la década de los sesenta del siglo pasado. La segunda se concentra en la desmitificación humorística que la novela hace de la izquierda universitaria de la época. La tercera analiza la imagen que de la mujer y de lo femenino presenta el texto. En cada uno de estos tres temas se enfatiza en los recursos formales que hacen de esta novela una polifonía verbal. Descriptores: Novela colombiana; Moreno Durán, Rafael Humberto; Juego de damas; Técnica narrativa; Literatura y política; Mujer en la literatura. Abstract: The article focuses the novel Juego de Damas by Rafael Humberto Moreno Durán (Tunja, 1948) from three perspectives. First, it locates the author and his work in the Latin American generation of writers formed in the spirit of rebelliousness of the 60’s. Then, it is concentrated in the humoristic demystification that the novel does of the university left movement of the time. And finally, it analyzes the image of women and the feminine presented in the text. In each one of these three subjects, it is emphasized in the formal resources turning this novel a verbal poliphony. Key words: Colombian Novel; Moreno Durán, Rafael Humberto; Juego de damas; Narrative Technique; Literature and Politics; Women in Literature.

ABSTRACT: Some symbolic illustrated advertising may remind one of emblems. It is certainly visual culture, but it is also an aspect of emblematics in the material culture. I write from a European perspective, drawing largely on European and American publications. The AIDA formula well sums up the purposes of commercial advertising, and is said to consist of attracting Attention, arousing Interest, creating Desire, and motivating Action. In commercial advertising the desired action is the sale of a product or service. This calls for strategies of persuasion, which can be described rhetorically or thematically. I prefer the thematic approach, and have decided that least following strategies will be discovered: recognition and surprise, riddle and puzzle, wit and humour, patriotism, famous persons, myth, ethnicity, Bible and Christian tradition, and nature, environment and ecology. These are not listed hierarchically and a given ad may employ several of these strategies. KEYWORDS: Emblems; Advertising; Advertising Strategies. RESUMEN: Ciertos ejemplos de la publicidad ilustrada simbólica nos hacen pensar en la emblemática. Sin duda se trata de la cultura visual, pero constituye al mismo tiempo un aspecto de la emblemática en la cultura material. Mi perspectiva es europea, y los ejemplos aducidos se originan principalmente en publicaciones europeas y norteamericanas. La llamada fórmula AIDA resume muy bien los propósitos de la publicidad comercial, y consiste en llamar la Atención, suscitar el Interés, crear el Deseo y motivar la Acción. En la publicidad comercial la acción deseada es la venta de un producto o servicio. Esto requiere estrategias de la persuasión, las cuales pueden ser descritas retórica o temáticamente. Prefiero un acercamiento temático y concluyo que las siguientes estrategias se revelarán: reconocimiento y sorpresa, adivinanza y enigma, ingenio y humorismo, patriotismo, personas famosas, mito, etnicidad, Biblia y la tradición cristiana, así como naturaleza, medio ambiente y ecología. Esta lista no pretende ser jerárquica y un anuncio publicitario puede utilizar varias de estas estrategias. PALABRAS CLAVES: Emblemas; publicidad; estrategias de la publicidad.

Following World War II, Lithuanian academic youth, who found themselves and continued their studies at the US universities, joined various organizations, as a result active social, cultural and societal life of students took place. The main organizations uniting Lithuanian students in the US (the Lithuanian Student Union, the Catholic Student Union Ateitis, the Academic Scout Movement, the Lithuanian student group Santara) perceiving the impact of information, took special care of their press publications that had become one of the main tools in helping to gather academic youth, to disseminate organizational / ideological ideas not only among students but also among the wider society. This article presents and analyzes one-time and continuous publications published by Lithuanian students in the US, which have not received wider attention from researchers so far. The main attention is focused on the publications published by one of the organizations - Lithuanian student group Santara (since 1957 Santara-Šviesa Federations), as well as the analysis of the publications published by other organizations - the Lithuanian Student Union, the Academic Scout Movement, the Catholic Student Union Ateitis - their repertoire, content, significance in student life. The study covers the period of the 1950s-1960s allowing the observation of the most intensive activity of Lithuanian students in the US, their active participation in the public life of the Lithuanian community and a great deal of attention to own press problems. At that time, the main Lithuanian student organizations published various publications for their members and the general public: from one-time (humorous, occasional or camp) publications, newsletters intended for members only to successful and none too successful attempts to publish their own periodicals. The Lithuanian American Student Union established in 1951 for the purpose of informing members since March 1954 began publishing Lietuvių Studentų Sąjungos JAV biuletenis (the US Newsletter of the Lithuanian Student Union), which soon became a serious student magazine, Studentų gairės (Student Guidelines), published by in a printing house, and from 1954, students launched the English-language magazine Lituanus, which became an academic magazine for foreigners, published to this day. Ideological organizations (scouts, members of Ateitis and Santara), which had student columns in the major Lithuanian press, and published various one-time or continuous publications, took a very active part in the press work. The organizations had their own newsletters: the Academic Scout Movement (ASM) published the newsletter Ad meliorem for ASM members, the Catholic Student Union Ateitis in Cleveland since 1951 published Gaudeamus, in 1957-1961, Santara published the newsletter Žvilgsniai (Glances). Newsletters of separate columns (such as New Yorko Santara - New York Santara) also appeared, although they were irregular, often only published for a short time. Various one-off publications were popular among young people: occasional, humoristic (e. g. Krambambulis, Sumuštinis - Sandwich), a gathering or a camp publications (Arielkon – To Homemade Vodka, Niekšybės paslaptis - The Secret of Villainy, Po nemigos - After Insomnia etc.). These publications were self-published in a very small circulation and distributed only among members of the organization. Many of them have not survived or if survived are kept by private archives or archival institutions. The place of publication and circulation of these publications were usually not indicated, unmarked; publishers, editors, authors of articles and illustrations are left unknown, periodicity of publications and even the number of published publications – unclear. The content of most student published publications was analogous. The publications contained a variety of information – from serious texts analyzing issues on Lithuanian identity and social activities relevant to the young generation of the diaspora, as well as brief organizational information, humour columns, photographs and friendly banter addressed to self and colleagues. Despite their quality and sometimes seemingly insignificant content, these publications become an important, often the only one source revealing to researchers the peculiarities of the little-known American youth camping, the peculiarities of student social and community life.

AbstractDrawing on scholars who have discussed humor's capacity to simultaneously unite and divide (Appel 1996; Mintz 1999; Meyer 2000) and on Kenneth Burke's (1969b) rhetoric of identification and division, this paper describes the rhetorical strategies Jewish-American humorists have used to respond to Christmas as a national American holiday. An examination of Jewish humor about Christmas contributes to the growing literature describing how Jewish humorists have helped shape American popular culture (Bloom 2003; Cohen 1987; Gabler 1988; Limon 2000; Zurawik 2003). In addition, our paper makes a theoretical contribution to the study of humor by expanding upon previous research that has focused on how humor creates unity and division. Specifically, we explain how humor can foster identification and division simultaneously not only between groups, but inside each of us, often resulting in partial forms of identification and division with our humorists.

A condenação a pena de seis meses e vinte e oito dias de detenção, a serem cumpridos inicialmente em regime semiaberto, do humorista Danilo Gentili por injuriar a deputada federal Maria do Rosário Nunes (PT-RS), oferece a oportunidade de discussão acerca da liberdade de expressão. No que tange este caso em particular, busca-se analisar os limites existentes para o exercício do direito de se expressar de forma livre, previsto constitucionalmente e em outros dispositivos, tendo em vista a previsão do artigo 140 do Código Penal, que estabelece como crime o ato de injuriar alguém, ofendendo a sua dignidade ou decoro. Diante disto, a pesquisa aborda os fatos que deram origem a queixa-crime ajuizada pela deputada federal em face do humorista, bem como os argumentos que levaram a juíza a decidir pela condenação do réu. Em seguida é analisado o conceito de liberdade de expressão, tanto de sua previsão constitucional quanto em demais dispositivos, realizando ainda uma abordagem deste direito a partir da ótica do autor norte-americano Ronald Dworkin. Sendo, por fim, observado se as atitudes do humorista estão abrangidas pela liberdade de expressão ou ultrapassam o seu limite de proteção. Com isto, nas considerações finais entende-se que não houve excesso por parte de Gentili do uso deste direito, posto que estava a realizar uma crítica, ainda que através de atos polêmicos e reprováveis do ponto de vista de alguns, não devendo, desta forma, ser censurado por utilizar-se do seu direito de fala.

AbstractAs humorists, women poets have a spotty history. Sure, there is comedy in the work of Gertrude Stein and in the darkly sarcastic poems of Dorothy Parker, but humor is hardly as prevalent as it is in the works of male poets, who have a rich history of comic poetry dating back to Chaucer and leading up to Philip Larkin, John Ashbery, Billy Collins, and others. Rather than make comparisons, however, I explore women poets on their own terms, paying particular attention to the way contemporary women poets in America use humor in their work. I outline four modes (thematic, tonal, imagistic, and syntactical), then examine why women use humor—to what ends? Ultimately, I argue that humor is disruption, a way to assert authority, and often a means by which women poets examine sexual and social mores.

In the article, the study of the communicative function on the material of comic idiodiscourse of the American writer-humorist Dave Barry is undertaken for the first time. It has been revealed that the role of the communicative function in comic idiodiscourse is determined by peculiarities of certain information transmission that the author has included in his comic texts, through which he influences his reader. The essence of this function lies in dialogical organization of idiodiscourse, in the author's interaction with the addressee. Thus, communicative intentions of the speakers are manifested in dialogue. It has been discovered that successful dialogical comic communication consists of three stages: establishment, maintenance and breaking contact. These three stages are marked by both verbal and non-verbal forms of manifestation. The results of the analysis show that at the stage of contact establishment D. Barry and his opponent use greetings and gestures. Presence of proxemic and kinesic components – distance between communicants, friendly gestures and facial expressions during the greeting, point at sociable and cheerful communication. To the most frequently used means of contact maintenance we refer well-known facts and clichés that help emphasize the particular fact or event, which allows the speakers to continue dialogue. Breaking contact is also enhanced by non-verbal display – a handshake and a wave of the hand at parting. It is determined that to produce a comic effect D. Barry most often violates norms – language, speech, ontological, logical-conceptual, valorative.

Guamá is a graphic humor online publication and an outstanding Cuban cultural phenomenon in exile. It’s creator, Alen Lauzán Falcón, was born in Cuba in 1974, and before he managed to escape the Castros' island, he had already had a successful career in the field of graphic humor. What followed was astonishing for the whole Cuban Diaspora. Upon his arrival in Chile, where he remained, working for and inspired by the graphic humour style of The Clinic, a popular Chilean humoristic publication, he created his own online journal, adopting the name of the most known Cuban aboriginal fighter against Spanish conquistadors. Through incisive and constant “politically incorrect” humour Lauzán Falcón have been ridiculing the majority of the Castroist publications through spicy comments and upturned Cuban propaganda slogans. This became a kind of creative ‘translationese’. His efforts are significantly contributing to criticizing and redirecting the meaning of Castroist ideological indoctrination concepts – efforts enriched with a strong flavour of Cuban Aboriginal (Taíno) and Afro-Cuban humour. Lauzán Falcón aimed to show a critical perspective on Cuban affairs for Cubans, and for anyone else who can feel and understand the Cuban situation and show solidarity with the difficulties of the people living under the longest-running extreme-left-wing regime in Latin America. In this article, I will first analyze the ‘translationese’ phenomenon from a Complexity point of view, meaning, historically and culturally rebinding of the Cuban study case to the historical antecedents of ‘translationese’. Second, I will analyze ten graphic Guamá ‘front pages’ (satiric imitations of Castroist publications), published by Lauzán Falcón between 2008 and 2014 in his eponymous blog, starting with the main banner of Guamá itself. Third, I will operate a complex rebinding of the results demonstrating that the same spirit of creative resistance that the Taíno and African slaves showed in Cuba during more than five centuries, is still in action today in Cubans’ efforts to deal with the consequences of a long-lasting extreme-left-wing regime. A selected glossary of Guama’s Afro-Cuban words and expressions analyzed here will appear at the end of the article.

Game of Thrones (GoT) has become the most popular way of referring to a universe that was previously known under the title A Song of Ice and Fire by fans of fantasy novels. Indeed, thanks to its huge success, the TV series is now the most common entry into what is today a complex narrative constellation. Game of Thrones began as a series of five novels written by George R. R. Martin (first published in 1996). It was adapted as a TV series by David Benioff and D.B. Weiss for HBO in 2011, as a comic book series (2011—2014), several video games (Blood of Dragons, 2007; A Game of Thrones: Genesis, 2011; Game of Thrones, 2012; Game of Thrones Ascent, 2013; Game of Thrones, 2014), as well as several prequel novellas, a card game (A Game of Thrones: The Card Game, 2002), and a strategy board game (2003), not to mention the promotional transmedia developed by Campfire to bring the novels’ fans to the TV series. Thus, the GoT ensemble does indeed look like a form of transmedia, at least at first sight.Game of Thrones’ UniverseGenerally, definitions of transmedia assemble three elements. First, transmedia occurs when the content is developed on several media, “with each new text making a distinctive and valuable contribution to the whole. … Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa” (Jenkins 97-98). The second component is the narrative world. The authors of Transmédia Dans Tous Ses États notice that transmedia stories “are in some cases reduced to a plain link between two contents on two media, with no overall vision” (Collective 4). They consider these ensembles weak. For Gambarato, the main point of transmedia is “the worldbuilding experience, unfolding content and generating the possibilities for the story to evolve with new and pertinent content,” what Jenkins called “worldmaking” (116). The third ingredient is the audience. As the narrative extends itself over several platforms, consumers’ participation is essential. “To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels” (Jenkins 21).The GoT constellation does not precisely match this definition. In the canonical example examined by Jenkins, The Matrix, the whole was designed from the beginning of the project. That was not the case for GoT, as the transmedia development clearly happened once the TV series had become a success. Not every entry in this ensemble unfolds new aspects of the world, as the TV series is an adaptation of the novels (until the sixth season when it overtook the books). Not every component is self-contained, as the novels and TV series are at the narrative system’s centre. This narrative ensemble more closely matches the notion of “modèle satellitaire” conceived by Saint-Gelais, where one element is the first chronologically and hierarchically. However, this statement does not devalue the GoT constellation, as the canonical definition is rarely actualized (Sepulchre “La Constellation Transmédiatique,” Philipps, Gambarato “Transmedia”), and as transmedia around TV series are generally developed after the first season, once the audience is stabilized. What is most noticeable about GoT is the fact that the TV series has probably replaced the novels as the centre of the ensemble.Under the influence of Jenkins, research on transmedia has often come to be related to fan studies. In this work, he describes very active and connected users. Research in game studies also shows that gamers are creative and form communities (Berry 155-207). However, the majority of these studies focused on hardcore fans or hardcore gamers (Bourdaa; Chen; Davis; Jenkins; Peyron; Stein). Usual users are less studied, especially for such transmedia practices.Main Question and MethodologyDue to its configuration, and the wide spectrum of users’ different levels of involvement, the GoT constellation offers an occasion to confront two audiences and their practices. GoT transmedia clearly targets both fiction lovers and gamers. The success of the franchise has led to heavy consumption of transmedia elements, even by fans who had never approached transmedia before, and may allow us to move beyond the classical analysis. That’s why, in that preliminary research, by comparing TV series viewers in general with a quite specific part of them, ordinary gamers of the videogame GOT Ascent, we aim to evaluate transmedia use in the GOT community. The results on viewers are part of a broader research project on TV series and transmedia. The originality of this study focuses on ordinary viewers, not fans. The goal is to understand if they are familiar with transmedia, if they develop transmedia practices, and why. The paper is based on 52 semi-structured interviews conducted in 2012 (11) and 2013 (41). Consumers of fictional extensions of TV series and fans of TV series were selected. The respondents are around twenty years old, university students, white, mostly female (42 women, 10 men), and are not representative outside the case study. Therefore, the purpose of this first empirical sample was simply to access ordinary GOT viewers’ behaviours, and to elaborate an initial landscape of their use of different media in the same world.After that, we focused our analysis on one specific community, a subset of the GOT’s universe’s users, that is, players of the GoT Ascent videogame (we use “gamers” as synonym for “players” and “users”). Through this online participative observation, we try to analyse the players’ attitudes, and evaluate the nature of their involvement from a user perspective (Servais). Focusing on one specific medium in the GOT constellation should allow us to further flesh out the general panorama on transmedia, by exploring involvement in one particular device more deeply. Our purpose in that is to identify whether the players are transmedia users, and so GoT fans, or if they are firstly players. During a three month in-game ethnography, in June-August 2013, we played Aren Gorn, affiliated to House Tyrell, level 91, and member of “The Winter is Dark and Full of Terrors” Alliance (2500 members). Following an in-game ethnography (Boellstorff 123-134), we explored gamers’ playing attitudes inside the interface.The Users, TV Series, and TransmediaThe respondents usually do not know what transmedia is, even if a lot of them (36) practice it. Those who are completely unaware that a narrative world can be spread over several media are rare. Only ten of them engage in fan practices (cosplay, a kind of costuming community, fan-fiction, and fan-vidding, that is fans who write fiction or make remix videos set in the world they love), which tends to show that transmedia does not only concern fans.Most of the ordinary viewers are readers, as 23 of them cite books (True Blood, Gossip Girl, Pretty Little Liars, Les Piliers de la Terre), one reads a recipe book (Plus Belle la Vie), and seven consume comics (The Walking Dead, Supernatural). They do not distinguish between novelisation (the novel adapted from a TV series) and the original book. Other media are also consumed, however a lot less: animation series, special episodes on the Internet, music, movies, websites (blogs, fictional websites), factual websites (about the story, the production, actors), fan-fiction, and cosplay.Transmedia does not seem to be a strong experience. Céline and Ioana respectively read the novels adapted from Plus Belle la Vie and Gossip Girl, but don’t like them. “It is written like a script … There’s no description, only the dialogues between characters” (Ioana). Lora watched some webisodes of Cougar Town but didn’t find them funny. Aurélie has followed the Twitter of Sookie Stackouse (True Blood) and Guilleaume D. sometimes consumes humoristic content on 9gag, but irregularly. “It’s not my thing” (Aurélie). The participants are even more critical of movies, especially the sequels of Sex and the City.That does not mean the respondents always reject transmedia components. First, they enjoy elements that are not supposed to belong to the world. These may be fan productions or contents they personally inject into the universe. Several have done research on the story’s topic: Alizée investigated mental disorders to understand United States of Tara; Guilleaume G. wandered around on Google Earth to explore Albuquerque (Breaking Bad); for Guilleaume D., Hugh Laurie’s music album is part of the character of Gregory House; Julie adores Peter Pan and, for her, Once Upon A Time, Finding Neverland, and Hook are part of the same universe. Four people particularly enjoy when the fictional characters’ couples are duplicated by real relationships between actors (which may explain all the excitement surrounding Kit Harrington and Rose Leslie’s real-life love story, paralleling their characters’ romance on GOT). If there is a transmedia production, it seems that there is also a kind of “transmedia reception,” as viewers connect heteroclite elements to build a coherent world of their own. Some respondents even develop a creative link to the world: writing fan-fiction, poetry, or building scale models (but that is not this paper’s topic, see Sepulchre “Les Constellations Narratives”, “Editorial”).A second element they appreciate is the GOT TV series. Approximately half of the respondents cite GoT (29/52). They are not fundamentally different from the other viewers except that more of them have fan practices (9 vs. 1), and a few more develop transmedia consumption (76% against 61%). To the very extent that there is consensus over the poor quality of the novels (in general), A Song of Ice and Fire seems to have seduced every respondent. Loic usually hates reading; his relatives have pointed out to him that he has read more with GoT than in his entire lifetime. Marie D. finds the novels so good that she stopped watching the TV series. Marine insists she generally reads fan-fiction because she hates the novelisations, but the GoT books are the only good ones. The novels apparently allow a deeper immersion into the world and that is the manifest benefit of consuming them. Guilleaume G. appreciates the more detailed descriptions. Céline, Florentin, Ioana, and Marine like to access the characters’ thoughts. Julie thinks she feels the emotions more deeply when she reads. Sometimes, the novels can change their opinions on a character. Emilie finds Sansa despicable in the TV series, but the books led her to understand her sensibility.Videogames & TransmediaThe vast majority of transmedia support from the GoT universe primarily targets “world lovers,” that is, users involved in media uses because they love the fantasy of the universe. However, only video games allow a personalized incarnation as a hero over a long term of time, and thus a customized active appropriation. This is in fact undoubtedly why the GoT universe’s transmedia galaxy has also been deployed in video games. GOT Ascent is a strategy game edited by Disruptor Beam, an American company specialising in TV games. Released in February 2013, the franchise attracted up to 9,000,000 players in 2014, but only 295,107 monthly active users. This significant difference between the accumulated number of players and those actually active (around 3 %) may well testify that those investing in this game are probably not a community of gamers.Combining role playing and strategy game, GoT Ascent is designed in a logic that deeply integrates the elements, not only from the TV series, but also from books and other transmedia extensions. In GoT Ascent, gamers play a small house affiliated to one of the main clans of Westeros. During the immersive game experience, the player participates in all the GoT stories from an insider’s point of view. The game follows the various GoT books, resulting in an extension whenever a new volume is published. The player interacts with others by PVE (Player versus Environment) or PVP (Player versus Player) alliances with a common chat and the possibility of sending goods to other members. With a fair general score (4,1 on 10), the game is evaluated weakly by the players (JeuxOnLine). Hence a large majority of them are probably not looking for that kind of experience.If we focus on the top players in GoT Ascent, likely representing those most invested, it is interesting to examine the names they choose. Indeed, that choice often reveals the player’s intention, either to refer to a gamer logic or the universe of GoT. During our research, we clearly distinguished two types of names, self-referential ones or those referring to the player’s general pseudonym. In concrete terms, the name is a declination of a pseudonym of more general avatars, or else refers to other video game worlds than GoT. In GoT Ascent, the second category of names, those very clearly anchored in the world of Martin, are clearly dominant.Is it possible to correlate the name chosen and the type of player? Can we affirm that people who choose a name not related to the GoT universe are players and that the others are GoT fans? Probably not obviously, but the consistency of a character’s name with the universe is, in the GoT case, very important for an immersive experience. The books’ author has carefully crafted his surnames and, in the game, assuming a name is therefore very clearly a symbolically important act in the desire to roleplay in that universe. Choosing one that is totally out of sync with the game world clearly means you are not there to immerse yourself in the spirit of GoT, but to play. In short, the first category is representative of the gamers, but the players are not restricted to those naming their avatar out of the world’s spirit.This intuition is confirmed by a review of the names related to the rank of the players. When we studied high-level players, we realized that most of them use humorous names, which are totally out of the mood of the GoT universe. Thus, in 2013, the first ranked player in terms of power was called Flatulence, a French term that is part of a humorous semantics. Yet this type of denomination is not limited to the first of the list. Out the top ten players, only two used plausible GoT names. However, as soon as one leaves the game’s elite’s sphere, the plausible names are quickly in the majority. There is a sharp opposition between the vast majority of players, who obviously try to match the world, and pure gamers.We found the same logic for the names of the Alliances, the virtual communities of players varying from a few to hundreds. Three Alliances have achieved the #1 rank in the game in the game’s first two years: Hear Me Roar (February 2013), Fire and Blood (January 2014), and Kong's Landing (September 2014). Two of those Alliances are of a more humoristic bent. However, an investigation into the 400 alliances demonstrates that fewer than 5 % have a clear humoristic signification. We might estimate that in GoT Ascent the large majority of players increase their immersive experience by choosing a GoT role play related Alliance name. We can conclude that they are mainly GoT fans playing the game, and that they seek to lend the world coherence. The high-level players are an exception. Inside GOT Ascent, the dominant culture remains connected to the GoT world.ConclusionA transmedia story is defined by its networked configuration, “worldmaking,” and users’ involvement. The GoT constellation is clearly a weak ensemble (Sepulchre, 2012). However, it has indeed developed on several platforms. Furthermore, the relationship between the novels and the TV series is quite unprecedented. Indeed, both elements are considered as qualitative, and the TV series has become the main entry for many fans. Thus, both of them acquire an equal authority.The GoT transmedia storyworld also unfolds a fictional world and depends on users’ activities, but in a peculiar way. If the viewers and gamers are analysed from fan or game studies perspectives, they appear to be weak users. Indeed, they do not seek new components; they are mainly readers and do not enjoy the transmedia experience; the players are not regular ones; and they are much less creative and humorous than high-level gamers.These weak practices have, however, one function: to prolong the pleasure of the fictional world, which is the third characteristic of transmedia. The players experiment with GoT Ascent by incarnating characters inserted into Alliances whose names may exist in the original world. This appears to be a clear attempt to become immersed in the universe. The ordinary viewers appreciate the deeper experience the novels allow. When they feed the world with unexpected elements, it is also to improve the world.Thus, transmedia appropriation by users is a reality, motivated by a taste for the universe, even if it is a weak consumption in comparison with the demanding, creative, and sometimes iconoclastic practices gamers and fans usually develop. It is obvious, in both fields, that they are new TV series fans (they quote mainly recent shows) and beginners in the world of games. For a significant part of them, GoT was probably their first time developing transmedia practices.However, GoT Ascent is not well evaluated by gamers and many of them do not repeat the experience (as the monthly number of gamers shows). Likewise, the ordinary viewers neglect the official transmedia components as too marketing oriented. The GoT novels are the exception proving the rule. 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