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1

Guinsler, Natalie Michaele. "Rhetorical Humor Framework: A communicative approach to the study of humor." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211929903.

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2

Delaney, Chelsey. "Humor-Centered Design: Using Humor as a Rhetorical Approach in Design." Research Showcase @ CMU, 2011. http://repository.cmu.edu/theses/11.

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My thesis pursues the development of a tool to empower designers and non-designers to better understand humor’s function in design and to encourage the use of humor as a rhetorical device to undertake social problems. Humor research is a field that is largely based on linguistic studies, but because of its multidisciplinary stretch in the past decade has displayed a broad rhetorical influence; however, it has yet to form a substantial relationship with design. Through a literature review of linguistic, rhetorical, and design theories, I identified a set of heuristics that guide how humor should operate in design. I then tested the effectiveness of the heuristics, and with their final revision, applied them to designing for motivational problems associated with public displays of political mobilization. My user research inferred the creation of a mobile instructional tool that guides the collaborative and/or individual production of political communication artifacts (e.g. rally signs), which use humor to confront socially complex issues. The artifacts’ implicit intent is to motivate political mobilization and to found and/or empower communities. My project focus entails the creation and testing of the tool on the individual level. Whether the artifacts created produce the desired effect regarding mobilization and community strength is unknown; Future work should lend itself to testing humorous design’s effect on political mobilization and ability to empower communities.
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Phillips-Anderson, Michael Andrew. "A theory of rhetorical humor in American political discourse." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7739.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.
Thesis research directed by: Dept. of Communication. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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4

Karman, Barbara A. "Women and Humor: A Linguistic and Rhetorical Analysis of Joke Target." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366049215.

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5

Waters, Leah E. "The Persuasive Power of Ridicule: A Critical Rhetorical Analysis of Gender and Humor in U.S. Sitcoms." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984248/.

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The serious investigation of humor's function in society is an emerging area of research in critical humor studies, a "negative" subsect of the extensive and "positive" research that assumes humor's goodness. Using Michael Billig's theory of ridicule as a framework, this study explored how humor operated to discipline characters who broke social norms or allowed characters to rebel against those norms. Layering this with gender performative theory, the study also investigated how different male and female characters used ridicule and were subject to it themselves. After examining ridicule in The Big Bang Theory, 2 Broke Girls, and The Odd Couple using a critical rhetorical analysis, the findings revealed that disciplinary ridicule was used more overtly throughout all three programs, while potentially rebellious ridicule emerged in only a few scenes. In addition, men were overwhelmingly the subjects of disciplinary ridicule, although women found themselves as subjects throughout all three programs as well. The discursive ridiculing of non-normative bodies constructed and maintained social norms about gender and sexuality, thereby uninviting these bodies from participating in society.
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6

Bush, Lawrence Ray. "More than Words: Rhetorical Devices in American Political Cartoons." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/3924.

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This thesis argues that literary theory applied to political cartoons shows that cartoons are reasoned arguments. The rhetorical devices used in the cartoons mimic verbal devices used by essayists. These devices, in turn, make cartoons influential in that they have the power to persuade readers while making them laugh or smile. It also gives examples of literary theorists whose works can be applied to political cartooning, including Frederick Saussure, Mikhail Bakhtin, and Wolfgang Iser. Not only do those theorists' arguments apply to text, they also apply to pictorial representations. This thesis also discusses changes in the cartoon art form over the 250 years that American political cartoons have existed. Changes have occurred in both the way text and pictorial depictions have been presented by artists. This thesis makes some attempt to explain why the changes occurred and whether they have been for the better.
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7

Bentley-Edwards, Melissa Ann. "Laughing in the Shadow: The Role of Humor in Ghost Story Telling." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2201.

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The ghost story concert is a popular modern form of presenting ghost stories to ticket buying audiences and is one of the last stomping grounds of the oral tradition. Attendees come to be scared but not terrified. Tellers employ humor to release tension during the tale. When does humor release tension while maintaining the momentum of the story? When does the humor employed deflate it into a comical tale and diffuse suspense altogether? In an effort to answer these questions, four variants of a single story, Tailypo, were analyzed for the presence of tension and humor inducing stimuli employing Rothbart's diagram of Schematic Representation of Affective Response to Sudden, Intense, or Discrepant Stimulation. Rothbart's model has previously been applied to affective response to horror film; here it has been applied to oral storytelling.
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Ohali, Avigail. "Le rire des sages : l'humour dans la Mishna et la Tosefta." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA082.

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Grâce à sa vaste production littéraire, le judaïsme rabbinique, d’abord minoritaire, est devenu l’orthodoxie juive à la fin de l’antiquité. Les écrits rabbiniques ne cherchent pas à faire rire, mais nous avons constaté que les études académiques sur l’humour des rabbins de l’antiquité contribuent de manière significative à la compréhension des textes rabbiniques. Ces études ainsi que les théories modernes sur l’humour, les outils d’analyse littéraire et notre propre développement méthodologique, nous ont permis d’analyser les récits humoristiques dans les écrits tannaïtiques. Les résultats des travaux sur l’humour dans le Talmud Yerushalmi, le Talmud Babli et le midrash aggada, trouvent un écho dans les résultats de notre étude. Nous avons découvert dans la Mishna et la Tosefta une très grande variété de formes et de fonctions de l’humour. L’étude exhaustive des récits humoristiques dans ces deux corpus nous a permis de développer des nouvelles perspectives sur ces textes et leurs protagonistes, notamment concernant les polémiques internes et externes au mouvement rabbinique, les traits de caractère de certains sages et leur manière d’étudier, l’évolution de l’humour entre la Mishna, la Tosefta et les Talmudim. La grande majorité des récits que l’on trouve dans la Mishna et la Tosefta n’est pas humoristique, mais cette proportion est inversée dans certaines thématiques : dans les polémiques internes au mouvement tannaïtique nous avons noté un équilibre entre les textes humoristiques et sérieux, et de surcroît, dans les polémiques avec des groupes extérieurs au mouvement tannaïtique, les textes humoristiques sont majoritaires. L’humour des tanna’im s’avère être complexe et varié, il permet de faire remonter les origines de l’humour juif à l’époque tannaïtique, d’expliquer certains textes énigmatiques, et de mieux connaître la pensée des tanna’im
Thanks to their extensive literature, the rabbinic movement which was a marginal minority during the early centuries CE became, by late antiquity, the Jewish mainstream, and the rabbinic practice of Judaism became Jewish orthodoxy. Rabbinic writings do not aim to make one laugh, but we have noticed that academic research into the ancient rabbis’ humor contribute significantly to the understanding of rabbinic writings.Our tools for analyzing the humor in tannitic texts are based on previous studies, modern theories about humor, literary analysis techniques and our own personally developed methodology. The research results about humor in the Talmud Yerushalmi, the Talmud Babli and in Midrash Aggada are echoed in the results of our work.We have found in the Mishna and the Tosefta humor in various forms and functions. A comprehensive study of humorous anecdotes in these two textual corpora lends a new perspective about the rabbis and their writings: it also sheds light on the rabbis’ personalities and the house of study atmosphere, struggles within the rabbinic movement as well as with outside opponents, and the evolution of humor between the Mishna, the Tosefta and the Talmudim. The large majority of the stories found in the Mishna and the Tosefta are not humorous, but this proportion is reversed in certain themes: in polemics within the tannaitic movement we find an equal number of humorous and serious texts, and in polemics with opponents to the tannaitic movement, humorous texts are predominant. The tannaitic humor is complex and diversified, it traces the origins of modern Jewish humor not only to the Talmud but back to the tannaitic period, it helps explain some enigmatic texts, and to better know the tannaitic ideology
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Almeida, Maria Cristina Máximo. "Artifícios retóricos como forma de sedução nas crônicas humorísticas de Carlos Eduardo Novaes e de Max Nunes." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/14272.

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This dissertation aims to answer whether there are specific techniques to cause humor in the chronicle genre. For such purpose, it analyzes, by means of rhetorical principles, the humorous chronicles: A Momolândia , by Max Nunes, and A Idade da Pedra , by Carlos Eduardo Novaes. At first, it draws on rhetorical studies to seek the ways to analyze the chosen samples, the argumentation data, and the elements that assist the persuasion process, including the argumentative operators, the figures, specially the rhetorical ones, and the types of arguments. In order to legitimize the rhetorical-argumentative analysis, it also comes to authors linked to Text Linguistics and Social Psychology. Regarding the presence of humor and its function in the chronicles, this dissertation uses the contribution of the following authors: ALBERTI (2011), BERGSON (2001), MINOIS (2003) who provide reflection on humor and laughter roles in the society starting from humorous techniques. Therefore, by associating argumentative techniques and specific characteristics of the humorous creation, it shows the way authors develop persuasive and convincing speeches. The selected chronicles emphasize the presence of the rhetoric as seduction and, although the authors practice different compositional styles and the chronicles have been written in distinct period, we can verify the predominance of similar rhetorical-humorous techniques, with small variations connected to the developed theme itself. In the analyzed chronicles, there are rhetorical figures of communion and choice, as metaphor and irony, which bring the speaker closer to the audience. The epidictic genre and the dialectical apodictic reasoning, which start from probable and true premises, prevail as well and, therefore, also bring the speaker closer to the audience. The analyzed authors make use of extrinsic evidences, to assure the veracity of the mentioned facts, and operators, especially the ones that present opposite conclusions. Regarding the argumentative constitution, we can verify the presence of incompatibility arguments, ridicule and dissociation. Concerning the intrinsic humor techniques, the incongruity and the transgressive character constitute the analyzed authors compositional tonic and present a relation to Social Psychology data, which is mentioned in the investigation. We conclude that the articulation in and between the parts of speech, inventio, dispositio, elocutio and actio, is the main responsible for the persuasion in different audiences. It is verified yet that the humorous chronicle genre is neither limited to promoting humor as an end in itself, nor it intends just to argue. It has indeed a transgressive character and aspires to raise the reality by means of comedy. The humor and the argumentation fuse into one speech and decimate their limits
Esta dissertação objetiva responder se há técnicas retóricas específicas para provocar o humor no gênero crônica. Com esse intuito, analisa, por meio dos princípios da retórica, as crônicas humorísticas: A Momolândia , de Max Nunes, e a A Idade da Pedra , de Carlos Eduardo Novaes. Num primeiro momento, vale-se dos estudos retóricos para buscar os meios de analisar a amostragem escolhida, os dados sobre a argumentação e os elementos que auxiliam o processo persuasivo, entre eles, os operadores argumentativos, as figuras, em especial as retóricas, e os tipos de argumentos. Para legitimar a análise retórico-argumentativa, recorre-se também a autores ligados à Linguística Textual e Psicologia Social. Quanto à presença do humor e sua função nas crônicas, busca-se a contribuição dos autores ALBERTI (2011), BERGSON (2001), MINOIS (2003) que proporcionam uma reflexão do papel do humor e do riso na sociedade a partir de técnicas humorísticas. Desse modo, pela associação de técnicas argumentativas e especificidades da criação humorística, aponta-se o modo como os autores desenvolveram discursos persuasivos e convincentes. As crônicas selecionadas evidenciam a presença da retórica da sedução e, embora os autores pratiquem estilos composionais díspares e as crônicas tenham sido escritas em épocas distintas, verifica-se a predominância de técnicas retórico-humorísticas semelhantes, com pequenas variações ligadas ao próprio tema desenvolvido. Há, nas crônicas analisadas, ocorrência de figuras retóricas de comunhão e escolha, como a metáfora e a ironia, que aproximam orador e auditório. Observa-se a predominância do gênero epidítico e dos raciocínios dialéticos e apodíticos, que partem de premissas prováveis ou verdadeiras e, nesse sentido, também aproximam o orador do auditório. Os autores analisados valem-se de provas extrínsecas, usadas para assegurar a veracidade dos fatos abordados, e de operadores, principalmente os que apontam conclusões contrárias. Quanto à constituição argumentativa, verifica-se a presença de argumentos de incompatibilidade, de ridículo e de dissociação. No que tange às técnicas próprias do humor, a incongruência e o caráter transgressor constituem a tônica composicional dos autores analisados e evidenciam uma relação com dados pertencentes à Psicologia Social, à qual se faz referência na investigação. Conclui-se que a articulação intra e entre as partes do discurso, inventio, dispositio, elocutio e actio, é a principal responsável na persuasão dos diferentes auditórios. Constata-se, ainda, que o gênero crônica humorística não se limita a fazer humor com fim em si mesmo, nem tem o propósito de apenas argumentar. Ele tem, sim, um caráter transgressor e busca denunciar a realidade por meio da comicidade. O humor e argumentação se fundem em um único discurso e dizimam seus limites
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10

Wilson, Nathan Andrew. "Was that supposed to be funny? : a rhetorical analysis of politics, problems and contradictions in contemporary stand-up comedy." Diss., University of Iowa, 2008. http://ir.uiowa.edu/etd/33.

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11

Mondragón, Rondón César Junior. "Análisis del lenguaje visual empleado en los memes políticos durante la crisis política de 2019 en Perú." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653058.

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El objetivo específico de esta investigación es analizar el lenguaje visual empleado en los memes políticos durante la crisis política de 2019 en Perú, es así que la hipótesis planteada es que el lenguaje visual empleado en estos memes está basado en características perceptivas denotativas y connotativas que facilitan su entendimiento acompañadas de un recorrido visual uniforme. En primer lugar, se realizó un análisis de contenido del recorrido visual y de los elementos retóricos basados en las figuras sintácticas y semánticas de siete memes políticos, previamente filtrados en una ficha documental, en la cual se estipuló las características principales que deben poseer un meme de este ámbito, como estar dirigido a un poder político, presentar crítica o apoyo y tener un contenido de humor. Asimismo, se mantuvo una entrevista con un informante clave, que cuenta con conocimiento sobre la retórica visual y experiencia para generar piezas del humor en las que brinda su opinión sobre los memes políticos. Dentro de los principales resultados, se obtiene que todos los memes políticos poseen figuras retóricas acentuativas y tipogramas para ser entendidas y que usan las figuras sustitutivas para combinar personajes ficticios con políticos. Con lo cual se puede afirmar que los memes cuentan con características basadas en las figuras retóricas visuales sintácticas (denotación) y semánticas (connotación). Finalmente, se puede afirmar que existe un recorrido visual uniforme el cual se realiza de manera vertical permitiendo que la lectura sea sencilla.
The specific objective of this research is to analyze the visual language used in political memes during the 2019 political crisis in Peru. The hypothesis is that the visual language used in these memes is based on denotative and connotative perceptive characteristics that facilitate their understanding accompanied by a uniform visual tour. Firstly, a content analysis of the visual tour and the rhetorical elements was carried out based on the syntactic and semantic figures of seven political memes, previously filtered in a documentary file, in which the main characteristics that a meme in this field must have were stipulated, such as being directed at a political power, presenting criticism or support and having a humorous content. An interview was also held with a key informant, who has knowledge of visual rhetoric and experience in generating pieces of humor in which he gives his opinion on political memes. Among the main results, it is obtained that all political memes have accentuated rhetorical figures and typographical figures to be understood and that they use the substitute figures to combine fictional characters with politicians. Thus, it can be stated that memes have characteristics based on visual syntactic (denotation) and semantic (connotation) rhetorical figures. Finally, it can be stated that there is a uniform visual path which is carried out in a vertical manner allowing for easy reading.
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Weaver, Simon John. "Humour, rhetoric and racism : a sociological critique of racist humour." Thesis, University of Bristol, 2007. http://hdl.handle.net/1983/51e45dac-cd8d-448f-840a-506d4d9f9953.

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This thesis is a sociological examination of racist humour that uses a) linguistic models of humour to highlight how the mechanisms of humour work rhetorically, and b) the sociological theories of Zygmunt Bauman on the characteristics of order-building discourse in modernity and postmodernity. These ideas are applied to four specific modes or case studies of racist humour to show how it impacts on modem and postmodern discourse. In my first case study, embodied racist humour, a derivative of biological racism, is identified as a racism primarily aimed at black people in the US context, by expressing racist dichotomies and images of the removal of the black `other'. Second, culturally racist humour is shown to have a similar impact on racism aimed at British Asians. Third, the humour of black and Asian comics is examined as a key site of resistance to embodied and cultural racism, but one that is fraught with problems associated with the rearticulation of racism. Lastly, in the postmodern period, liquid racism is highlighted as an increasingly confused and diluted type. Throughout the thesis, racist humour is shown to have a series of interconnected roles in supporting the meaning systems of racism. Overall, the thesis provides a means of analysing racist humour, and in so doing moves sociological humour studies beyond accounts that fail to negotiate the particular semantic frame and functions of racist humour.
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Gerber, Evie J. "Structured Writing and Humor: The use of Humor as a Component in Structure Writing and its Effect on Health Symptoms and Perceived Stress." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626467.

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Lucas, Mônica Isabel. "Humor e agudeza nos Quartetos de Cordas op. 33 de Joseph Haydn." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285006.

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Orientador: Helena Jank
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta investigação propõe o estudo do contexto teórico que envolve a produção do compositor Joseph Haydn (1732-1809), concentrando-se nas idéias de humor e agudeza [Witz], que têm sido freqüentemente relacionadas à produção deste compositor, desde sua própria época. Para isto, selecionamos críticas de jornais e revistas do século XVIII que discorrem sobre esses aspectos da produção haydniana. No sentido de possibilitar a melhor compreensão do sentido setecentista desses termos, é necessário tratar também de outros conceitos relacionados a eles: a idéia de cômico e as visões setecentistas sobre o riso. Estas informações estão contidas em obras teóricas sobre as artes do século XVIII, como a enciclopédia sobre as artes de Sulzer (1771-74) e a estética musical de Schubart (1784). A recuperação destas noções é utilizada para obter uma melhor compreensão das críticas escritas a Haydn em sua própria época. Elas apresentam visões negativas ou positivas de Haydn, e, com os fundamentos teóricos, é possível atribuir seus conteúdos a premissas conservadoras, de orientação retórica, ou que seguiam as tendências da disciplina então recém surgida, a estética. Assim, as críticas a Haydn permitem criar subsídios para estudar o humor e a agudeza em obras que indubitavelmente representam o estilo maduro destes compositor: os quartetos de cordas op. 33 (1781)
Abstract: This investigation proposes a study of the theoretical context that involves the works of Joseph Haydn (1732-1809), concentrating in the ideas of humor and wit [Witz]. This ideas have been related to the music of Haydn since his own time. Therefore, we selected some eighteenth century journal and magazine critics that involves these aspects of his production. In order to have a better comprehension of the eighteenth century meaning of these concepts, it is necessary to handle also other related notions: the idea of comic and the Eighteenth-Century visions about laughter, contained in works like the arts encyclopedia by Sulzer (1771-74) and the music aesthetic by Schubart (1784). These notions enables us to have a better comprehension of the eighteenth century critics involving the music of Haydn. They contain negative or positive visions about his music, and it is possible to attribute this visions to conservative, rhetorically oriented, or to aesthetic (then a recently created discipline) premises. These critics allow us to create subsidies to observe how humor and wit occur in works that undoubtedly represent Haydn¿s mature style: the string quartets op. 33 (1781)
Doutorado
Doutor em Música
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Sobiech, Michael James. "A Mock Rhetoric: The Use of Satire in First-Year Composition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/45.

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Akl, Amira. "Multimodal Expressions of Young Arab Muslim American Women." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404692026.

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Staaf, Johanna. "Gringo - en språklig förnyare men hur? : En genre- och stilanalys av ett nytt samhällsmagasin över kulturgränser." Thesis, Södertörn University College, School of Discourse Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-406.

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Jenkins, David M. "Was It Something They Said? Stand-up Comedy and Progressive Social Change." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5710.

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From our earliest origins in every civilization across the globe, comic performances have fulfilled an important social function. Yet stand-up comedy has not attracted the serious academic inquiry one might expect. This dissertation argues that in the absence of public intellectuals stand-up comics are important to how we talk about and negotiate complicated issues like gender and race. These comic texts are sites of cultural critique, public discourse, tools for articulation, a means of persuasion, and serve to galvanize communities. This dissertation argues that stand-up comedy performances are a vital part of modern American intellectual and social life and are heavily enmeshed in ongoing processes of progressive social change. In the absence of public intellectuals in what is generally an anti-intellectual modern America, Chris Rock, Sarah Silverman, and Louis C. K. are currently three highly relevant stand-up comics who generate and contribute to discourses that galvanize or polarize publics and counterpublics. Their comic performances, recordings, and other artifacts (like internet memes) that live on after the live event circulate in the public sphere and our most quotidian exchanges. They contribute to discourses that move us toward progressive social change and also act as a barometer for where we are as a nation during any particular moment. Through the discourses generated by their performances, their involvement in social dramas, and their role they perform as public intellectuals, stand-up comics are capable of healing, reconciling, or otherwise mediating breaches in the social order. This dissertation uses 1) a critical examination of the construction and performance of the comic persona, 2) a close analysis of the comic routine as an aesthetic text, and finally 3) an examination of social dramas and the discourses they generate to see where and how these comics possibly contribute to progressive social change. This study finds Chris Rock to be a potent mediator, Sarah Silverman a transgressive instigator, and C. K. a subversive healer. This study makes contributions to a wide arrat: of stakeholders: Communication, Sociology, Performance Studies, and Postcolonialism. Finally, I offer new terms to discuss the interaction of comic and audience and directions for future research.
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Meier, Matthew R. "Laughing at American Democracy: Citizenship and the Rhetoric of Stand-Up Satire." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404219407.

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Banting, Blayne Alexander. "Proclaiming the Messiah's mirth, a rhetorico-contextual model for the interpretation and proclamation of humour in selected gospel sayings." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq27576.pdf.

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Afflerbach, Kevin Andrew. "Humorous Developments: Ridicule, Recognition, and the Development of Agency." UNF Digital Commons, 2015. https://digitalcommons.unf.edu/etd/602.

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In this thesis I examine various theories of humor to establish an account of the functional roles of humor in social interaction and agentive development. These roles are integrated into a view of agency developed by G.H. Mead, and further refined by the recognition theory of Axel Honneth. The core thesis is: Humor is under-examined as an aspect of human interaction, because it plays such an integral role in individual agency and social development. Understanding how humor works helps to explain how agents are formed through the internalization of the expectations of others via processes of recognition, either positively or negatively. Through the explication of the core humor theories—superiority, relief, incongruity, and play—insight is offered into the various processes of basic human interaction, understanding, and identity. The work has theoretical application by proving Mead's and Honneth's emphasis on recognition for development is justified, while also correcting an overly positive view of recognition by outlining the social policing function of humor. But the thesis has also obvious practical value in day to day human interaction, as it shows that humor is able to address issues that are very difficult through other modes of communication and understanding. Humor’s role in agentive interaction and formation cannot be overstated, both as a mode of expression and coping, but also since the threat of embarrassment through ridicule underpins and motivates a great deal of human interaction. The negative ethical implications of the role of humor, which are often overlooked, are extensively outlined and developed through the conceptual frameworks of social power (punching-up and punching down) as well as act-centered vs. agent-centered views of discriminatory humor. The thesis offers and analyzes ready examples from the work of Chris Rock and Bill Cosby, and looks at the implications of each through the theoretical lenses fleshed out in previous chapters. Through this it is clearly demonstrated, not only how these theories interconnect, but as well how such knowledge is of obvious, and practical value in day-to-day human interaction.
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Dardompré, Carey. "La lodyans, un romanesque haïtien perspectives historique, poétique and didactique. Perspectives historique, poétique and didactique." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA027.

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Cette recherche tente de montrer comment la lodyans (en créole) ou « l'audience » (en français) est un genre littéraire typiquement haïtien. La lodyans peut être décrite comme l'art de raconter des histoires. Elle commence avec cette définition donnée par Georges Anglade : « La lodyans est un genre littéraire spécifiquement haïtien dont les racines plongent au plus profond de la culture haïtienne, au même niveau que la langue créole d'Haïti et le vodou haïtien. La personne qui raconte la lodyans ou les histoires est appelée un lodyanseur ». De 1905 jusqu'à nos jours, de nombreux écrivains haïtiens se sont servis de la lodyans comme d'un arrière-plan pour leurs œuvres littéraires. Parmi eux, on peut citer Justin Lhérisson, Fernand Hibbert, Maurice Sixto, et Gary Victor. Ce groupe comprend aussi Georges Anglade, le premier à avoir écrit une théorie du genre ; René Depestre, Frank Etienne et Dany Laferrière, sans être des lodyanseurs, ont été très influencés par le style de ceux qui se sont reconnus comme tels. En nous appuyant sur l'œuvre de ces lodyanseurs, et sur la critique de Mikhaïl Bakhtine, nous souhaitons prouver que la lodyans est un genre classique, même lorsqu'il frôle le grotesque
This study will seek to explore lodyans (in Creole) or « l’audience » (in French) as a Haitian literary genre. Lodyans can be described as the art of telling stories. Hughes St. Fort in his review of Haitian Laughter written by Georges Anglade (2006), cites the writer who describes it as follows: ‘‘The lodyans is a uniquely Haitian literary genre whose roots are found in the deepest soil of Haitian culture, at the same level as Haitian Creole language and Haitian vodou. The person who tells the lodyans or stories is known as a lodyanseur’’. From the 1905 to present, many Haitian writers have been used loydyans as a background for their literary works. Among them we cite the following: Justin Lhérisson, Fernand Hibbert, Maurice Sixto, and Gary Victor. This group also includes Georges Anglade, the first to write a theory of the genre; René Depestre, Frankétienne and Dany Laferrière who are not lodyanseurs, but are very influenced by the writing style of those known as such. Based on the works of these lodyanseurs, and the critique of Mikhail Bakhtin, we wish to prove that lodyans is a classical genre even when it borders on the grotesque
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23

Carini, Michele. "Strategie testuali dell'umorismo nelle Confessioni d'un Italiano : Studio di forme e contenuti." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030122.

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Le travail de recherche a été articulé autour de trois axes principaux : la lecture philologique et sémantique de l’œuvre de Ippolito Nievo étroitement associée à l’étude de la bibliographie critique ; lʼhypothèse raisonnée de l’existence fondamentale, dans la structure même de lʼœuvre, du principe humoristique et lʼétude systématique de sa problématisation théorique ; le repérage et lʼutilisation méthodique des instruments d’analyse les plus appropriés à une analyse de lʼœuvre articulée sur ces choix. Sʼagissant de la réflexion théorique sur la notion même dʼhumour, elle a démarré sur la base des trente premières années du XXe siècle avec les fameux travaux de Freud, de Bergson et de Pirandello. Par ailleurs, à travers les considérations de Francesco Orlando et de Tzvetan Todorov, l’approche freudienne a été reliée à la linguistique structurale et à la néo-rhétorique de Chaïm Perelman et de Lucie Olbrechts-Tyteca. Ainsi, l’analyse du premier chapitre des Confessioni a permis dʼétablir une fonction argumentative des phénomènes formels et fondamentaux reconductibles à la notion d’humour et de dégager avec netteté l’importance stratégique de cette partie fondamentale du roman à cause de la présence d’une sorte de koinè qui se manifeste ici presque sans solution de continuité, mais se retrouve cependant dans l’œuvre entière
This research articulates three main axes: a philological and semantic reading of Ippolito Nievo’s work, which is strictly associated with the study of the critical bibliography; the reasoned hypothesis of the fundamental existence of the humourous principle in the novel’s own structure and the systematic study of its theoretical problematisation; and, the location and methodical use of the most appropriate analytical instruments for an analysis of the novel based on these choices. Theoretical thought about the very notion of humor began during the first thirty years of the 20th century with Freud, Bergson and Pirandello’s renowned studies. What’s more, Francesco Orlando and Tzvetan Todorov’s arguments linked the Freudian perspective to structural linguistics as well as to Chaïm Perelman and Lucie Olbrechts-Tyteca’s neo-rhetorics. Thus, the analysis of the first chapter of Confessioni establishes an argumentative function of the notion of humor’s formal and fundamental phenomena. It also clearly reveals the strategic relevance of this fundamental section of the novel through the presence of a sort of koinè that becomes evidently manifest during the first chapter, but it also appears throughout the entire work
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24

Wistedt, Fredrika. "Skrattet i sprickorna : En retorisk studie av hur enthymem skapas i doxa." Thesis, Södertörns högskola, Retorik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33705.

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Kent Wisti is a new phenomenon who is successful in social media with his satire drawings. With a softly approach Wisti is questioning the opinions and reactions to current events. The aim of the research is to examine ways and means Wisti uses to form opinions. Today it is difficult to debate about sensitive topics because of the fear of not being considered politically correct, a racist or tied to the opinions that we do not want to be associated with. By examining the topos used and how Wisti speaks about racism and immigration I can thereby discern how Wisti creates enthymem. Therefore I examine the question: How is enthymem created in Kent Wistis drawings? This, in turn, I examine by studying how different topos are used to create enthymem. The research is based on Maria Wolrath Söderbergs method for topos, where I stake on the concepts of points for discussion, bases for discussion and operations for discussion to thereby examine how enthymem are created. The results clearly show that Wisti leaves much implicitly requiring the reader to become a co-creator of enthymem and hence their own convictions. This demands that the readers are well informed of the topics and have similar thought patterns to Wisti in order to fully understand the message. Wisti argues against including prejudices and racism through flaws in various doxa. There are contradictions between what we say and what we do, or between which we want to be and who we are. Doxa is simply something that binds together our decisions and actions with our thinking and reasoning. If these elements do not match, a persons overall impression ruptures.
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25

Jendari, Aziz. "Ironie et poésie. Théorie et pratique de l'écriture oblique dans l'oeuvre de Francis Ponge." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00701171.

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Cette étude porte sur le rôle important dévolu à l'écriture oblique dans l'œuvre de Francis Ponge, à travers les notions d'ironie et d'humour. En s'appuyant à la fois sur les nombreuses déclarations de l'auteur concernant l'importance de ces notions dans son œuvre et sur les recherches les plus actuelles qui tentent de cerner ces catégories complexes et embarrassantes, on définit l'ironie non comme simple figure d'inversion mais comme fait rhétorique englobant une multitude de pratiques discursives. Plus précisément, on l'envisage comme un phénomène polyphonique et intertextuel dont la spécificité réside d'une part dans sa dimension critique et, d'autre part, dans son ambiguïté énonciative. L'humour est quant à lui envisagé comme jeu contestataire inscrit dans l'ordre de la langue. Dès lors, ironie et humour peuvent être considérés comme deux formes, différentes et complémentaires, de métadiscours critique qui couvrent tout le champ de la poétique pongienne : rhétorique, esthétique et éthique. La première partie s'attache à dégager les conditions et la constitution d'une posture ironique à partir des textes antérieurs à la poétique du parti pris, souvent négligés par la critique mais qui se révèlent essentiels en ce qu'ils problématisent les enjeux et les intuitions de la poétique pongienne. La deuxième partie est consacrée aux stratégies discursives à l'œuvre dans les textes, envisagées aussi bien en termes de figures et procédés que comme dispositifs textuels d'ensemble, lesquels ouvrent la voie vers une esthétique de l'ironie. Enfin, la troisième partie est consacrée au projet politique et moral qui sous-tend l'œuvre de Ponge et tente de cerner l'ironie et l'humour comme manifestations de la position éthique de l'auteur.
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26

Aufray, Antoine. "Weil da so « jakommen Sie mal morgen » : étude discursive et syntaxique du discours rapporté en allemand oral contemporain." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040128.

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La présente thèse est une étude des fonctions et des formes du discours rapporté (DR) en allemand oral à partir de deux corpus audio : des entretiens biographiques et des spectacles comiques. Après une discussion théorique préliminaire portant sur les conceptualisations classiques du phénomène de DR et les théories modernes, inspirées de Bakhtin/ Vološinov, nous envisageons le DR comme une stratégie dont les emplois sont à appréhender au niveau du discours afin de décrire les formes qu’il prend à l’oral. En nous appuyant sur les théories de syntaxe fonctionnelle, nous partons du principe que le discours oral peut s’analyser en unités de communication identifiées comme des gestes/paragraphes oraux, constitués d’une ou plusieurs propositions réalisant un acte de prédication principal. L’analyse s’effectue à deux niveaux : au niveau global du discours, et à l’intérieur du geste/paragraphe à l’échelle inter- et intra-propositionnelle. Dans un premier temps, une analyse énonciative et rhétorique permet de dégager les valeurs discursives du DR dans les deux corpus. Cette analyse met en évidence l’importance de l’usage figuratif de la stratégie de DR en tant que mise en scène explicite de polyphonie énonciative. Dans un deuxième temps, nous analysons l’intégration discursive et syntaxique du DR dans le geste/paragraphe et au niveau de la proposition, en examinant la démarcation du propos rapporté (ou mis en scène) au sein du geste/paragraphe, son rôle dans l’acte prédicatif, et les éléments lexicaux employés pour le situer et le composer. L’analyse révèle que l’aspect figuratif de nombreux DR explique une bonne part des agencements syntaxiques et de l’usage de lexèmes composant le discours rapporté à l’oral souvent non décrits dans les ouvrages de référence de l’allemand standard
This study based on two corpora of oral communication (interviews and stand up comedy shows) investigates the functions and forms of reported speech in spoken German. We first present the classical and modern conceptualizations of reported speech as found in grammars of the German language, linguistic typology and in the more recent theories of J. Authier-Revuz, L. Rosier, and linguists of the interactional sociolinguistics and conversation analysis orientation (D. Vincent, S. Günthner, D. Tannen), all of which can be seen as inspired in some way by the views of Bakhtin/Vološinov. Following their footsteps, we argue that reported speech can be seen as a discourse strategy that explicitly stages polyphony and the layering of voices within discourse and therefore must be investigated with respect to its rhetorical effects. Adopting the perspective of the functional theories of syntax, we see oral discourse as a process whose product can be divided in moves (M) and discourse acts, expressed by propositions as predication units within the move. The study of reported speech must therefore be analyzed on two different levels: at the discourse level we seek to evaluate the rhetorical and pragmatic effects achieved by the use of (mostly direct) reported speech in the two corpora. Then we describe the role played by reported speech in the predication at the inter- and intrapropositional level within the move. As the discourse analysis shows, reported speech in informal oral communication can be a highly figurative device. This aspect of the use of reported speech accounts in part for specific syntactic constructions that have not always been taken into account in the grammars of standard German
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27

Wood, Katelyn Hale. "Give it to your damn selves: exploring black feminist humor and thought." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-05-94.

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This thesis focuses on the use of feminist humor as a method of coalition building among African American women. It is motivated by the central question: what are the ways in which comedic performances may act as both a rebellious counter to dominant views of women of color in the United States and a way to articulate feminist ideologies? More specifically, I am interested in how African American women utilize comedy to articulate specific standpoints and build solidarity. As comedy is often used to persuade and perhaps bond audiences, it is important to continue research in the rhetoric of humor—especially that which takes into account comedy that challenges hegemonic systems and builds cohesion among oppressed groups. I wish to address ways in which theories of humor may work to include not only feminist modes comedy, but performances that also address the intersections of oppressions—including race, class, sexuality, etc. I will be examining the 2001 film The Queens of Comedy starring standup comedians Laura Hayes, Adele Givens, Sommore, and Mo’Nique. A follow-up on the 2000 movie and live standup tour The Original Kings of Comedy, the film depicts the four women’s comedic routines at the Orpheum Theatre in front of a predominately Black and predominately female audience. I argue that the Queens’ use of humor acts as a method to articulate intersections of oppression from a Black female perspective. This creates a specific counterpublic space, defies dominant views of Black American women and fosters cohesion among sympathetic audiences. The first chapter works towards a theory of feminist humor—one that builds off of current comedy research by integrating radical feminist thought (mostly that of Black feminisms). Chapter two identifies anti-feminist dimensions of the Queens’ performances in order to understand unsuccessful (and perhaps harmful) methods of rhetorical humor. Chapter three closely examines dimensions of the Queens’ performances that articulate Black feminist thought and how those performances encourage coalition building among Black women. Chapter four will draw critical implications and address concerns for those interested in humor as a method of encouraging social stability and change.
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28

"Surface Conflict - Underlying Compatibility: Reconciling Conflicting Theories of Language." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.9469.

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abstract: Lakoff and Levinson claim they have discredited the theory of universal grammar. This dissertation discusses the possibility of a universal humor, suggesting that if universals exist in language's most playful and least rule-governed aspect then they must exist in grammar, language's least playful and most rule-governed aspect. Lakoff's and Levinson's texts are closely analyzed to demonstrate that their claims against Chomsky are not firmly supported; that their groundbreaking new theories of language, perception and cognition do not constitute data that undermines Chomskyan theory; that Levinson's theory of a universal mechanism for human interaction is no stronger than the the grammar universals that Levinson strongly rejects. It is suggested that the litmus test of culture-specific versus universal language may be its level of rhetorical density, as illustrated with humor and naming samples. It is argued that Fillmore's deep case theory, as explained by Nilsen using semantic features and pragmatic intent, has never lost its status as a linguistic universal; Chomsky's theoretical debt to Charles Fillmore may indicate that he unconsciously used Fillmore's deep case, which for Chomsky became thematic relations, without realizing that Fillmore had been the impetus for his research. It is argued that none of the theories of universality, typology or conceptual metaphor may be considered mutually exclusive.
Dissertation/Thesis
Ph.D. English 2011
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29

Faina, Joseph Michael. "New media is a joke : tracing irony, satire, and remediation in online discourse." Thesis, 2014. http://hdl.handle.net/2152/28352.

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The social and political function of humor in any era is to provide commentary, insight, and catharsis into the concerns facing that time. In this dissertation I investigate the role humor, particularly irony and satire, plays in informing public discourse and civic participation in the contemporary Internet age. This age is often characterized a highly mediated one with the proliferation of increasingly powerful, and increasingly mobile, media an ongoing concern of communication scholars. Understanding how these new forms refashion public discourse to address new contexts is important. In order to understand these differences it is necessary to understand how newer media work in relation to older media. I contend this relationship can be understood through the trope of irony. More importantly irony shares a relationship to the rhetorical process of remediation, whereby newer media are placed in a dialectic relationship with older media. For rhetorical and media scholars these relationships represent an opportunity to understand new possibilities for discursive action. This dissertation provides answers to three questions. What is the relationship between irony and remediation? How can mediated texts of humor illustrate the relationships between irony and remediation? What rhetorical implications might these relationships have for communication scholars interested in civic engagement, political participation, and mass mediated public discourse?I argue that remediation, the underlying rhetorical structure of media, is ironic. This structure is best revealed through analysis of highly mediated humorous texts. To answer these questions I conduct a rhetorical analysis of several case studies using irony and remediation as guiding theoretical mechanisms. Each case study focuses on a text characterized as ironic, though not necessarily humorous. I illustrate how irony contributes to the creation of multiple, and often contradictory, meanings in a text while remediation illustrates how media forms influence the creation of increasingly fragmented texts. When combined in a rhetorical analysis these mechanisms work to reveal underlying ideological concerns prevalent in public discourse in an age of new media. The significance of these concerns, and their relationship to irony, satire, and humor is discussed.
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30

McKenzie, John Marshall II. "Televised political satire: the new media of political humor and implications for presidential elections." 2006. http://hdl.handle.net/1969.1/ETD-TAMU-1200.

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Shows like The Daily Show with Jon Stewart, The Colbert Report, Politically Incorrect with Bill Maher, Saturday Night Live, and even South Park represent an underresearched subfield of discourse about political communication and persuasion. These shows manage to reach audiences not traditionally known for high levels of political engagement and draw them in with their comedic framework. This thesis investigates the impact of televised political satire on public perceptions of presidential candidates and campaign issues and the direct result these impacts may have on presidential elections. This thesis first gives some background in the types of communication and personalities of the front-men and women of these shows and then moves into a historical account of how the exigence for this recent explicit hybridization between comedy and news emerged. It then analyzes how these comedians view their own role within media and politics. It provides a thick account of the liberalizing force televised political satire has been for the American political climate so far, and where it will likely lead us in the near future with the growth of new communication technologies.
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31

Wang, Ciou-ting, and 王秋婷. "The Rhetoric of Humor in the Political Variety Show : A Case Study of "The Largest Party of People"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/50117444828841897919.

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碩士
世新大學
口語傳播學研究所
98
This paper focus on two levels of Television Rhetorical Criticism, one is “Rhetorical Format”, another is “Rhetorical Vision”. For example of “The largest party of people”, the framework and the research methods are The Rhetoric of Humor by Karyn Rybacki and Donald Rybacki and generic criticism of rhetorical criticism. To generalize four volumes of “Economic Cooperation Framework Agreement (ECFA)”, I analyzed the frequency of the punch line of 7 humor skills in “The largest party of people”: parody, wordplay, invective, irony, satire, sarcasm, wit. Further to realized what the rhetorical format and rhetorical vision are and the meanings of the presentation of rhetorical properties. The result of “The largest party of people”, “Irony” is used most often. It’s the humor basic pattern of setup and punch line to transfer from the anger and grumble. By poking fun at a practice or belief. The satire can function as a conservator of culture, defending it against people and institutions that threaten its existence. In addition, I also discovered that, at the beginning of three volumes, the topic of the show is criticizing the procedures of ECFA by Ma’s Administration. After the debate between Ma Ying-jeou and Tsai Ing-wen, the topics of the show was changed to the abilities of policy implementation of Ma’s Administration. It’s shows two issues. One is that it’s difficult to appear the political neutrality of producer. Another is that the producer will follow the program rating of audience in Taiwan to change their contents. It seems that the criticism presentation of the program, however, it only copy the original social ideology and follow the point of the most audience.
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Terrell-Curtis, Kara Beth. "Representative form and the visual ideograph : the Obama "Hope" poster." Thesis, 2014. http://hdl.handle.net/1805/3884.

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Indiana University-Purdue University Indianapolis (IUPUI)
In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.
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