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Journal articles on the topic 'Satire and humour'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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1

Zekavat, Massih. "Reflexive humor and satire: a critical review." European Journal of Humour Research 7, no. 4 (2020): 125. http://dx.doi.org/10.7592/ejhr2019.7.4.zekavat.

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Because most theories of humour emphasize its intersubjective and/or semantic nature, they fail to fully appreciate and explain self-directed humour. Through a critical exploration of the implications of different theories of humour and satire, this paper argues that the spectrum of reflexive humour and satire can be categorized according to the figure of the satirist and the target of satire, both of whom can feature individual or collective social selves. Depending on the satirist and the scope of satire, the functions of reflexive humour may range from securing psychological homeostasis to
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2

Saputro, Septian. "HUMOR TERKAIT MU’AMMAR AL-QAZ\A>FI (ANALISIS PRAGMATIK)." Adabiyyāt: Jurnal Bahasa dan Sastra 15, no. 2 (2016): 197. http://dx.doi.org/10.14421/ajbs.2016.15205.

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Humour functions as a critic, satire, irony or propaganda. By using humour, it is posible to say the truth elegantly and sofly, without disturbing others’ feeling. In pragmatic comunication theory, humour is created from deviations of comunication principles, e.g: Grice principle of comunication and Leech principle of comunication. This research uses the jokes on the former leader of Libyan Mu’ammar al-Qaz\a>fi as the object material. Mu’ammar al-Qaz\a>fi was the leader of controversy as well as he was a dictator. Then, there are assumptions that the humours about al-Qaz\a>fi are not
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3

Priydarshi, Ashok Kumar. "Satire and Humour in Jane Austen’s ‘Northanger Abbey’." Journal of Advanced Research in English and Education 04, no. 04 (2020): 9–11. http://dx.doi.org/10.24321/2456.4370.201909.

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Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.
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Akpah, Bartholomew Chizoba. "Satire, humour and parody in 21st Century Nigerian women’s poetry." European Journal of Humour Research 6, no. 4 (2018): 133. http://dx.doi.org/10.7592/ejhr2018.6.4.akpah.

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21st century Nigerian women poets have continued to utilise the aesthetics of literary devices as linguistic and literary strategies to project feminist privations and values in their creative oeuvres. There has been marginal interest towards 21st century Nigerian women’s poetry and their deployment of artistic devices such as satire, humour and parody. Unequivocally, such linguistic and literary devices in imaginative works are deployed as centripetal force to criticise amidst laughter, the ills of female devaluation in the society. The major thrust of the study, therefore, is to examine how
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5

Merziger, Patrick. "Humour in Nazi Germany: Resistance and Propaganda? The Popular Desire for an All-Embracing Laughter." International Review of Social History 52, S15 (2007): 275–90. http://dx.doi.org/10.1017/s0020859007003240.

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Two directions in the historiography of humour can be diagnosed: on the one hand humour is understood as a form of resistance, on the other hand it is taken as a means of political agitation. This dichotomy has been applied especially to describe humour in National Socialism and in other totalitarian regimes. This article argues that both forms were marginal in National Socialism. The prevalence of the “whispered jokes”, allegedly the form of resistance, has been exaggerated. The satire, allegedly the official and dominant form of humour, was not well-received by the National Socialistic publi
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6

Ryabova, Galina Nikolaevna. "Humour and satire in everyday life in 1920s Soviet society." European Journal of Humour Research 9, no. 1 (2021): 136–54. http://dx.doi.org/10.7592/ejhr2021.9.1.ryabova.

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In the Soviet society of the 1920s, humour and satire existed on two levels: official and unofficial. They have rather diverse forms. At the official level, there were, first of all, satirical articles, humoresques, and cartoons in the newspapers. Newspapers were an integral part of Soviet everyday life. Secondly, there were the performances of propaganda teams (the «Blue Blouse» in particular). These performances took place at any venues: in working clubs and village halls, on the factory floors, in different offices. The repertoire of propaganda teams always included satirical couplets direc
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7

Taylor, Phil, and Peter Bain. "‘Subterranean Worksick Blues’: Humour as Subversion in Two Call Centres." Organization Studies 24, no. 9 (2003): 1487–509. http://dx.doi.org/10.1177/0170840603249008.

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This article engages in debates stimulated by previous work published in Organization Studies, and more widely, on the purpose and effects of workers’ humour and joking practices. The authors emphasize the subversive character of humour in the workplace, rejecting perspectives which see humour as inevitably contributing to organizational harmony. Drawing on methodologies, including ethnography, which permitted the authors to penetrate the organizational surface of two call centres, rich evidence of satire and joking practices were uncovered. While long-acknowledged motives were revealed, parti
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8

Greene, Viveca. "The Use of Memes and Satire by the Alt-right and Gen Z Activists – Exclusion vs Inclusion." Journal of Intelligence, Conflict, and Warfare 3, no. 3 (2021): 176–77. http://dx.doi.org/10.21810/jicw.v3i3.2818.

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On November 27, 2020, Viveca S. Greene presented The Use of Memes and Satire by the Alt-right and Gen Z Activists – Exclusion vs Inclusion at the 2020 CASIS West Coast Security Conference. The presentation was followed by a group panel for questions and answers. Main discussion topics included humour studies, the Alt-Right, satire, and memes.
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9

Golubkov, S. A. "The hidden languages of russian satire and humour." Sphere of Culture, no. 1 (2020): 51–58. http://dx.doi.org/10.48164/2713-301x_2020_1_51.

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10

FRASER, VERONICA. "HUMOUR AND SATIRE IN THE ROMANCE OF JAUFRE." Forum for Modern Language Studies XXXI, no. 3 (1995): 223–33. http://dx.doi.org/10.1093/fmls/xxxi.3.223.

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11

Meisner, Natalie, and Donia Mounsef. "Gender, Humour and Transgression in Canadian Women’s Theatre." Prague Journal of English Studies 3, no. 1 (2014): 47–63. http://dx.doi.org/10.2478/pjes-2014-0017.

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AbstractAre humour and laughter gender-specific? The simple answer, like most everything that is ideological, is “yes”. Many feminists in recent years have grappled with the question of humour and how it is often the site of much contestation when it comes to women using it as a tool of transgression. This paper probes the seemingly timeless antipathy between humour and representations of femininity through recourse to performance and theories of the body. This article holds the term “woman” up to scrutiny while simultaneously examining the persistence of both critical and philosophical recalc
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12

Hollings, James. "REVIEW: Humour cuts through to the truth." Pacific Journalism Review : Te Koakoa 24, no. 2 (2018): 263–64. http://dx.doi.org/10.24135/pjr.v24i2.455.

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The Funniest Pages: International Perspectives on Humor in Journalism, edited by David Swick and Richard Lance Keeble. New York: Peter Lang. 2017. 288 pages. ISBN 978-1-4331-3099-1 (hardcover); ISBN 978-1-4539-1781-7 (e-book)
 SOME of my most treasured moments in journalism have come, not through some painstaking excoriation of the powerful and corrupt, but thumbing the pages of Private Eye, or watching John Clarke take down the vanity of politicians across the ditch. Satire, humour and the cartoon page are as much journalism as investigative exposés; they’re the foam on the beer of journ
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13

Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.

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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers.
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14

Borodenko, Marina, and Vadim Petrovsky. "The semiology of humour." European Journal of Humour Research 9, no. 2 (2021): 7–25. http://dx.doi.org/10.7592/ejhr2021.9.2.553.

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A semiology-based approach to understanding humour is being developed and an interpretation of humour as a “counter-sign,” a two-faced sign within the space of conventionality, is put forward. The range of core attributes to interpret the phenomenon of humour is determined. The concepts of the “frame of significance,” “conventionality,” and “meta-communicative marker of conventionality” are elaborated. The general definition of humour is being formulated as a “sign-based identification of non-identifiable signs within the space of conventionality.” An outline is put forward to enable the forma
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Klitgård, Ida. "”Critical Parents Against Plaster”." MedieKultur: Journal of media and communication research 36, no. 68 (2020): 004–24. http://dx.doi.org/10.7146/mediekultur.v36i68.118571.

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In this study, I propose to regard written news satire as a vital vehicle in combatting scientific disinformation. But in order to do so, we must examine the construction of spoof news. How does written news satire convey its social criticism by way of language, discourse and style? And what happens to the content? My case is a spoof article of the 1998 MMR vaccination scandal as rendered in the Danish news satirical website Rokokoposten (2015). The analysis is based on Jakobson’s communication model (1960), Raskin’s semantic model of humour (1985) together with Ermida’s (2012) and Simpson’s (
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16

Trakhtenberg, L. A. "«The Breams», a Fable by I. A. Krylov, and its French Source." Russkaya literatura 1 (2020): 99–102. http://dx.doi.org/10.31860/0131-6095-2020-1-99-102.

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The article shows that I. A. Krylov’s fable «The Breams» is based on J.-J. Boisard’s fable «The Pikes». It demonstrates how Krylov transformed the source plot, turning a static situation into a dynamic story, spotlighting a minor image and supplementing humour with satire.
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17

Schmitz, Christine. "Maria Plaza: The Function of Humour in Roman Verse Satire ." Gnomon 81, no. 1 (2009): 17–22. http://dx.doi.org/10.17104/0017-1417_2009_1_17.

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18

SCRIVEN, TOM. "HUMOUR, SATIRE, AND SEXUALITY IN THE CULTURE OF EARLY CHARTISM." Historical Journal 57, no. 1 (2014): 157–78. http://dx.doi.org/10.1017/s0018246x13000186.

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ABSTRACTHistories of Chartism have tended to emphasize the hegemony of respectability within the movement, and with histories of the popular press have seen the 1830s as a decisive break with older radical traditions of sexual libertarianism, bawdy political culture, and a satirical, sometimes obscene print culture. However, the basis of this position is a partial reading of the evidence. Work on London Chartists has emphasized their moralistic politics and publications at the expense of their rich populist and satirical press and the clear survival of piracy and romantic literature well into
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19

TWARK, JILL E. "Approaching History as Cultural Memory Through Humour, Satire, Comics and Graphic Novels." Contemporary European History 26, no. 1 (2016): 175–87. http://dx.doi.org/10.1017/s0960777316000345.

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Recent empirical research into humour and memory attests to the fact that people remember better when they perceive a word, phrase or image to be humorous. When the proximity of multiple ethnic groups engenders jokes displaying diverse perspectives and what Henri Bergson described as ‘corrective’ satire, such jokes can help remedy racism and fear of the other. Taking a humorous or satirical stance allows artists and writers to explore alternatives to contemporary reality and to uncover truths overlooked or consciously elided by government and mass media discourse. Such is the case with the rec
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20

Vorobyeva, Maria. "Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil." European Journal of Humour Research 9, no. 1 (2021): 155–74. http://dx.doi.org/10.7592/ejhr2021.9.1.vorobyeva.

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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fa
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21

Orji, Bernard Eze. "Humour, satire and the emergent stand-up comedy: A diachronic appraisal of the contributions of the masking tradition." European Journal of Humour Research 6, no. 4 (2018): 24. http://dx.doi.org/10.7592/ejhr2018.6.4.orji.

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Masking is a phenomenon that is traced to almost all human ages. From its prehistoric and primitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its use as forms of character delineation in the commedia dell’Arte of the 16th and 18th century Europe, as well as its age long association with carnivals due largely to its analogous to humour and entertainment. Masking, as comic as it may seem, has been critical of humanity’s social dispositions from time past. As humans, the façade of the mask is a leeway to speak truth to power and also an opportunity for the perfo
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22

Pal, Chinder. "Wit, Humour and Satire in R.K. Narayan’s Selected Short Stories in Malgudi Days." Journal of Advances and Scholarly Researches in Allied Education 15, no. 4 (2018): 44–48. http://dx.doi.org/10.29070/15//57231.

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23

Aslanova, N. M. "Sociocultural Aspects of the Contemporary Political Humour and Satire in Italy." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 1 (2020): 129–37. http://dx.doi.org/10.15826/izv1.2020.26.1.014.

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Ponton, Douglas M. "“Never in my life have I heard such a load of absolute nonsense. Wtf.” Political satire on the handling of the COVID-19 crisis." Russian Journal of Linguistics 25, no. 3 (2021): 767–88. http://dx.doi.org/10.22363/2687-0088-2021-25-3-767-788.

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This paper problematises political satire in a time when the COVID-19 virus has provoked numerous deaths worldwide, and had dramatic effects on social behaviour, on a scale unknown in western nations since World War II. Most populations have endured lockdown, periods of enforced domestic imprisonment, which led to images of the empty streets of big cities appearing in media, symbols of the drastic changes that the health emergency was making necessary. Yet, from the outset, comic memes began to circulate across (social) media, while in mainstream print media political satirists continued to la
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25

Wintersteiner, Werner. "“Nichts als der Tod und die Satire”." Daphnis 47, no. 1-2 (2019): 344–78. http://dx.doi.org/10.1163/18796583-04701005.

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Grimmelshausen’s Simplicius Simplicissimus, the classic novel of the Thirty Years War, is a unique critique in an exuberant narrative form. The double perspective (the hero narrates, as an old man, his own life), the doubt as a principle, irony as the fundamental tone – these are his main strategies to analyse the ambivalence of human behaviour as well as to check critically social models of a more peaceful society. Grimmelshausen refuses any philosophical, political or theological justification of violence. However, his irony, his humour and his narrative power make the lecture of his work a
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Massarani, Luisa, Padraig Murphy, and Rod Lamberts. "COVID-19 and science communication: a JCOM special issue. Part 2." Journal of Science Communication 19, no. 07 (2020): E. http://dx.doi.org/10.22323/2.19070501.

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As COVID-19 continues its devastating pathway across the world, in this second part of the JCOM special issue on communicating COVID-19 and coronavirus we present further research papers and practice insights from across the world that look at specific national challenges, the issue of “fake news” and the possibilities of satire and humour in communicating the seriousness of the deadly disease.
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Gardner, Kevin J. "John Gay, Court Patronage, and The Fables." Reinardus / Yearbook of the International Reynard Society 27 (December 31, 2015): 98–111. http://dx.doi.org/10.1075/rein.27.05gar.

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John Gay’s fables comprise an extended satire on the artifice of court life and of the hypocrisy and vanity of courtiers, an ironic perspective from a satirist whose own life was marked by the pursuit of court preferment and patronage. This essay explores the central themes of Gay’s fables and sets them within the context of his letters and earlier poems. His earliest efforts to achieve court preferment through panegyrical poetry lack consistency in high standards of poetic accomplishment; however, Gay’s two extraordinary sets of fables, rich in humour and satire in their varied explorations o
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Jackson, Robin. "Socrates’ Iolaos: Myth and Eristic in Plato's Euthydemus." Classical Quarterly 40, no. 2 (1990): 378–95. http://dx.doi.org/10.1017/s0009838800042968.

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The Euthydemus presents a brilliantly comic contrast between Socratic and sophistic argument. Socrates' encounter with the sophistic brothers Euthydemus and Dionysodorus exposes the hollowness of their claim to teach virtue, unmasking it as a predilection for verbal pugilism and the peddling of paradox. The dialogue's humour is pointed, for the brothers' fallacies are often reminiscent of substantial dilemmas explored seriously elsewhere in Plato, and the farce of their manipulation is in sharp contrast to the sobriety with which Socrates pursues his own protreptic questioning. But the strateg
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Olusegun, Elijah Adeoluwa. "The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà." European Journal of Humour Research 6, no. 4 (2018): 118. http://dx.doi.org/10.7592/ejhr2018.6.4.olusegun.

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This article explores the deployment of humour in Wole Soyinka’s new and full-length play Alápatà Apátà. The emergence of Moses Olaiya (otherwise known as Baba Sala) on the Nigerian theatre scene at a time it was dominated by such colossuses as Hubert Ogunde, Duro Ladipo, and Kola Ogunmola, as a popular jester and comic actor has elevated the phenomenon called áwàdà to a popular form of art. The idea of serious theatre involving mostly tragedy had dominated the Nigerian theatrical scene to an extent that little attention is devoted to the less popular form of comedy until it was given i
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Bebber, Brett. "The Short Life ofCurry and Chips: Racial Comedy on British Television in the 1960s." Journal of British Cinema and Television 11, no. 2-3 (2014): 213–35. http://dx.doi.org/10.3366/jbctv.2014.0204.

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This article analyses Curry and Chips (ITV, 1969), a situation comedy that relied heavily on racial humour to satisfy its audiences. Like other sitcoms during this era in British television, it capitalised on extant anxieties about the increasing migration of formerly colonised subjects to Britain. Johnny Speight and Spike Milligan, the programme's creators, believed that forwarding vulgar racial epithets and bigoted humour put English attitudes to immigration under examination. But the programme proved popular because of its appeal to white workers, who viewed depictions of the challenges of
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Scripnic, Gabriela, and Diana Elena Popa. "From hostile humour to stereotyping in televised satire Les Guignols de l’Info." Constructing and Negotiating Identity in Dialogue 5, no. 1 (2015): 90–106. http://dx.doi.org/10.1075/ld.5.1.05scr.

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Humour displayed by today’s media targets both individuals and communities and the degree to which it is perceived as a mere humoristic act or, more seriously, as an insult depends on a series of factors which point to: its creator (the goal he/she (c)overtly assumes to reach), its addressee (whether he/she is a witness or a target), and the context in which the act is performed (institutionalized vs non-institutionalized). This study takes into account several examples from the French show Les Guignols de l’Info in order to bring forth the language tools and discourse strategies by means of w
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Keane, Catherine. "The Function of Humour in Roman Verse Satire: Laughing and Lying (review)." Classical World 101, no. 1 (2007): 111–12. http://dx.doi.org/10.1353/clw.2007.0082.

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da Costa e Silva, V. L. "Anti-tobacco posters in Brazil: fighting smoking with humour, satire and ridicule." Tobacco Control 2, no. 3 (1993): 189–90. http://dx.doi.org/10.1136/tc.2.3.189.

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Arning, Chris. "What makes modern Britain laugh? How semiotics helped the BBC bridge the Humor Gap." International Journal of Market Research 63, no. 3 (2021): 275–99. http://dx.doi.org/10.1177/1470785321991346.

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In 2018, BBC Marketing and Audiences approached semiotic agencies with a challenging brief. They wanted to know the following: What makes modern Britain laugh? The BBC’s younger audiences have been steadily drifting to other platforms and broadcasters to satisfy their need for “funny stuff.” Brands that successfully leverage humor really resonate with this new modern mainstream audience, for example, Netflix, BuzzFeed, YouTube, Snapchat, and so on. The BBC, as part of its remit to continue to be a modern evolving brand, wanted to address this trend by understanding what types of comedy content
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Eisenberg, Julie. "Sex, Satire and ‘Middle-Class Morality': Reflections on Some Recent Defamation Cases." Media International Australia 92, no. 1 (1999): 19–31. http://dx.doi.org/10.1177/1329878x9909200105.

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This article examines recent defamation cases, especially the Hanson and Abbott and Costello cases, as studies of how courts distil meanings from publications and judicial perceptions about how ordinary readers interpret publications. It explores the difficulty in defining the line between publications that are tasteless, tacky or hurtful and those that are defamatory, particularly those which deal at the fringes of sexual morality or subversive humour. Finally, it addresses the question of whether defamation law creates a parallel system of censorship.
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Luqiu, Luwei Rose. "The cost of humour: Political satire on social media and censorship in China." Global Media and Communication 13, no. 2 (2017): 123–38. http://dx.doi.org/10.1177/1742766517704471.

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Nordenstam, Anna, and Margareta Wallin Wictorin. "Women's Liberation." European Comic Art 12, no. 2 (2019): 77–105. http://dx.doi.org/10.3167/eca.2019.120205.

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In Sweden, publication of original feminist comics started in the 1970s and increased during the following decade. This article describes and analyses the Swedish feminist comics published in the Swedish radical journals Kvinnobulletinen and Vi Mänskor, as well as in the Fnitter anthologies. These comics, representing radical feminism, played an important role as forums for debate in a time when feminist comics were considered avant-garde. The most prominent themes were, first, the body, love and sexualities and, second, the labour market and legal rights. The most frequent visual style was a
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Silva, Patrícia Dias da, and José Luís Garcia. "YouTubers as satirists: Humour and remix in online video." JeDEM - eJournal of eDemocracy and Open Government 4, no. 1 (2012): 89–114. http://dx.doi.org/10.29379/jedem.v4i1.95.

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This article aims to discuss the role humour plays in politics, particularly in a media environment overflowing with user-generated video. We start with a genealogy of political satire, from classical to Internet times, followed by a general description of “the Hitler meme,” a series of videos on YouTube featuring footage from the film Der Untergang and nonsensical subtitles. Amid video-games, celebrities, and the Internet itself, politicians and politics are the target of twenty-first century caricatures. By analysing these videos we hope to elucidate how the manipulation of images is embedde
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Bosilkov, Ivo. "Political satire in the Republic of Macedonia: Forms of humour and satire types in the online satirical news outlet Koza Nostra." International Journal of Media & Cultural Politics 13, no. 3 (2017): 249–63. http://dx.doi.org/10.1386/macp.13.3.249_1.

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Nwachukwu–Agbada, J. O. J. "Ezenwa–Ohaeto: Poet of the Genre." Matatu 33, no. 1 (2006): 153–77. http://dx.doi.org/10.1163/18757421-033001027.

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Ezenwa–Ohaeto was a poet of immense artistic vision. He was a conscious member of the Nigerian and African polity and a perspicacious user of the African oral tradition, particularly the Igbo afflatus/affiliation of it. A poet of ideas and style, Ezenwa–Ohaeto was to adopt principally as his stylistic tool the Igbo traditional genre of satire called In this essay, effort has been made towards identifying his use of the mode in terms of what he took from it and what in turn he gave to African poetry. It is demonstrated that Ezenwa–Ohaeto utilized satire to draw attention to the ills in the land
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Kanavou, Nikoletta. "Iamblichos’ Babyloniaka, the Greek Novel and Satire." Ancient Narrative 15 (February 2, 2019): 109. http://dx.doi.org/10.21827/5c643aa223d0a.

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Iamblichos’ lost novel of love and horror, as we know it from its Byzantine summary and a few manuscript fragments, is firmly footed in the tradition of the Greek romance, as well as possessing an oriental flair. The present article summarises the similarities of the Babyloniaka (2nd c. AD) to the extant romances and draws attention to a number of hitherto unnoticed points of contact between this novel and Achilles Tatios’ Leukippe and Kleitophon (also 2nd c. AD). It is then argued that, like Achilles’ novel, the Babyloniaka plays with humour and parody in the characterisation of its heroes, i
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Bex, Tony. "Book Review: On the Discourse of Satire: Towards a Stylistic Model of Satirical Humour." Language and Literature: International Journal of Stylistics 15, no. 1 (2006): 118–20. http://dx.doi.org/10.1177/0963947006060558.

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Mavrigiannaki, Chrysi. "Im/politeness, gender and power distance in Lady Windermere’s Fan." Translation and Translanguaging in Multilingual Contexts 6, no. 1 (2020): 79–91. http://dx.doi.org/10.1075/ttmc.00045.mav.

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Abstract Im/politeness has attracted considerable attention over the past decades (starting with Lakoff 1973; Brown and Levinson 1978; Leech 1983) and has kept expanding rapidly with the discursive turn (Eelen 2001; Mills 2003; Watts 2003; Bousfield 2008; Locher 2008). There is a growing interest in examining im/politeness from a number of perspectives, e.g. society, gender, cross-cultural etc., and multiple definitions have been proposed, however, impoliteness as such has not had a distinct theoretical framework yet. This study investigates impoliteness through drama translation data. It focu
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Epp, Michael H. "Raising Minstrelsy: Humour, Satire and the Stereotype in The Birth of a Nation and Bamboozled." Canadian Review of American Studies 33, no. 1 (2003): 17–36. http://dx.doi.org/10.3138/cras-s033-01-02.

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Anderton, Joseph. "Is it OK to laugh about it? Holocaust Humour, Satire and Parody in Israeli Culture." Journal of Modern Jewish Studies 19, no. 3 (2020): 406–7. http://dx.doi.org/10.1080/14725886.2020.1767341.

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Balakrishnan, Manjula. "Humour and Fear : a Study of the humoristic Resourcesin Wilde’s The Canterville Ghost." Epos : Revista de filología, no. 27 (January 1, 2011): 207. http://dx.doi.org/10.5944/epos.27.2011.10677.

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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 accoun
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Scriven, Tom. "The Jim Crow Craze in London's Press and Streets, 1836–39." Journal of Victorian Culture 19, no. 1 (2014): 93–109. http://dx.doi.org/10.1080/13555502.2014.889426.

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Abstract In 1836, American actor Thomas D. Rice first arrived in Great Britain to tour the creation that had made him famous in the USA, Jim Crow. This blackface depiction of a raggedy, runaway slave, with his infectious songs, eccentric dancing and demotic appeal soon took London by storm. The Jim Crow craze lasted for three years, with Rice finding fame, fortune and success and his imitators becoming ubiquitous in the capital's theatres and on its streets. Although the act and its character have been acknowledged as a precursor to the evolution of British minstrelsy and blackface traditions
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Henderson, John. "Be alert (your country needs lerts): Horace, Satires 1.9." Proceedings of the Cambridge Philological Society 39 (1994): 67–93. http://dx.doi.org/10.1017/s0068673500001735.

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Who is that man with the handshake? Don't you know …He is an onlooker, a heartless type,Whose hobby is giving everyone else the lie.Laudatur et alget. The Fifties had faith: ‘This satire is nowadays the most popular of all and still read in many classical sixth forms where one otherwise shuns the Sermones.’ The Sixties knew: ‘This poem … will always be a general favourite’; yes, I bear witness, who lent an ear to the L. A. Moritz track for J.A.C.T.'s showcase of Latinitas back in the golden age of vinyl (I still do: ego uero oppono ∣ auriculam, 76f.). (…) The Nineties wonder. ‘Perhaps the most
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Shevtsova, Anna A. "VISUAL IMAGERY OF THE CHUVASH SATIRICAL MAGAZINE “KAPKAN” AS AN ETHNOGRAPHIC SOURCE." Historical Search 1, no. 4 (2020): 182–91. http://dx.doi.org/10.47026/2712-9454-2020-1-4-182-191.

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The Chuvash literary-fiction illustrated satire and humour magazine “Kapkăn” (“Kapkan”) was chosen as the object of research. Chronological framework of the study covers 1956–1991: published intermittently since 1925in Cheboksary (originally – as a literary appendix to the newspaper “Kanash”), in 1940 the magazine ceased to be published, its issuing was resumed only in 16 years. The rich post-Soviet history of “Kapkan” (its issuing was suspended in 2017) with a changed plot and imagery of the visual series is the topic of a separate study.
 
 The broad narrative and figurative range
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Frank, Mary Catherine. "One text, two varieties of German: fruitful directions for multilingual humour in “translation”." European Journal of Humour Research 7, no. 1 (2019): 91. http://dx.doi.org/10.7592/ejhr2019.7.1.frank.

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A heterolingual text is characterised by the presence of two or more different languages, or two or more varieties of the same language (Corrius & Zabalbeascoa 2011: 115). This article discusses possible methods of translating into English of a text containing two varieties of German: Ottokar Domma’s Der brave Schüler Ottokar [The Good Schoolboy Ottokar]. In these stories, about a schoolboy growing up in the German Democratic Republic (GDR) in the 1960s, Domma creates a zone of friction between child narrator Ottokar’s everyday German and the language of GDR officialdom (“official discours
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