Academic literature on the topic 'Taboo humour'

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Journal articles on the topic "Taboo humour"

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Heidepeter, Philipp, and Ursula Reutner. "When humour questions taboo." Sex, Death & Politics 28, no. 1 (2021): 138–66. http://dx.doi.org/10.1075/pc.20027.hei.

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Abstract The article examines the ways in which humour twists regular euphemism use. Based on the classical fields of euphemisms anchored in religion, aesthetics, social politics, and amorality, it identifies the characteristics of their twisted variants with a humorous component: playing-with-fire euphemisms that jocosely provoke supernatural forces, innuendo euphemisms that entertain, mocking euphemisms that make fun of others in a teasing or demeaning way, and idealistic euphemisms that uncover obfuscating language and negative realities. Using English, German, French, Italian, Portuguese,
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Wnuk, Agnieszka. "Postmodern world vision? – the grotesque and black humour in postmodern Polish prose." Tekstualia 4, no. 39 (2014): 43–54. http://dx.doi.org/10.5604/01.3001.0013.4488.

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The article considers black humour as an important element of postmodern culture. The term is defi ned as a variety of humour which mocks society, taboo, illness, death, and is linked with pure nonsense and the grotesque. In the article, black humor is analyzed on the example of such Polish writers as Jerzy Pilch, Krzysztof Varga, Wojciech Stamm and Paweł Goźliński, who use it as a way to express postmodern world vision as an ambiguous and dangerous labyrinth.
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Dore, Margherita. "Intertextuality and failed taboo humour in advertising." European Journal of Humour Research 8, no. 3 (2020): 99. http://dx.doi.org/10.7592/ejhr2020.8.3.dore.

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Humour is often exploited in advertising to enhance the positive image of a brand or corporate company, as well as to promote products or services. Advertisers seek the involvement of the audience via covert or overt references that, in their opinion, may trigger humour and, hypothetically, result in a positive customer response. However, using intertextual humour in advertising can sometimes be risky because, even though the ideal interlocutor is supposed to be familiar with the humorous reference the author alludes to, the latter can never be certain of whether it will be favourably received
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Praminatih, Gusti Ayu. "CONSUMING CONCERNS: LANGUAGE STYLE OF HUMOUR ON FOUR FEMALE STAND-UP COMEDIANS." E-Journal of Cultural Studies 14, no. 4 (2021): 42. http://dx.doi.org/10.24843/cs.2021.v14.i04.p04.

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Comedy is a male-dominated world as sociolinguistics theory also mentions that women employ less humour compared to men. However, female comedians also appeared on television. In Indonesia, Stand-Up Comedy Indonesia (SUCI) is a popular stand-up comedy competition broadcasted by a reputable national network channel, Kompas TV. Interestingly, numerous young female stand-up comedians also took part as participants of SUCI. This study aimed to analyse humour performed by four female comedian finalists from different cultural backgrounds such as Arab-Indonesian, Chinese-Indonesian, British expatria
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Magazzù, Giulia. "Non-professional Subtitling in Italy: the Challenges of Translating Humour and Taboo Language." Hikma 17 (December 13, 2018): 75–93. http://dx.doi.org/10.21071/hikma.v17i0.11103.

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Stwora, Anna. "Funny or distasteful? A cross-cultural perspective on surprise and humour in multimodal advertising." European Journal of Humour Research 8, no. 2 (2020): 113. http://dx.doi.org/10.7592/ejhr2020.8.2.stwora.

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Today’s infotainment clutter puts pressure on advertisers to come up with more surprising and more memorable ads. This need for novelty, creativity, and astonishment does set the expectation bar high, steering ads towards various means of eliciting surprise, including humour, shock, and taboo. In this paper, the author will try to investigate a set of multimodal advertising messages which use (debatable) humour and surprise, with a view to finding trans-cultural similarities and differences in terms of ad appreciation. The primary objective of this paper is to explore attitudinal responses of
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Dynel, Marta. "Swearing methodologically : the (im)politeness of expletives in anonymous commentaries on Youtube." Journal of English Studies 10 (May 29, 2012): 25. http://dx.doi.org/10.18172/jes.179.

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This theoretical paper addresses the (im)politeness of swear words. The primary objective is to account for their nature and functions in anonymous Internet communication, represented by YouTube commentaries (and exemplified by those following snatches of “Borat”), in the light of recent approaches to (im)politeness, notably: second order (im)politeness, necessarily recruiting first order interpretations; intentionbased approach; and relational work. The emerging postulate is that taboo words can display impoliteness (by manifesting aggression, power-building and abuse) or politeness (by foste
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Donian, Jennalee, and Nicholas Holm. "Trevor Noah and the contingent politics of racial joking." European Journal of Humour Research 9, no. 3 (2021): 30–48. http://dx.doi.org/10.7592/ejhr2021.9.3.525.

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This article takes up the transnational comedy career of Trevor Noah as a way to explore how the political work of racial comedy can manifest, circulate and indeed communicate differently across different racial-political contexts. Through the close textual analysis of two key comic performances –“The Daywalker” (2009) and “Son of Patricia” (2018), produced and (initially) circulated in South Africa and the USA, respectively – this article explores the extent to which Noah’s comic treatment of race has shifted between the two contexts. In particular, attention is paid to how Noah incites, navi
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Weston, Jane. "Bête et méchant." European Comic Art 2, no. 1 (2009): 109–29. http://dx.doi.org/10.3828/eca.2.1.7.

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The weekly French satirical newspaper, Charlie hebdo, which originally ran from 1969 to 1982, pending a revival in 1992, distinguishes itself through its bête et méchant ['stupid and nasty'] humorous heritage, defined in its parent publication, Hara-Kiri, as the freedom to make jokes on potentially any subject, however taboo. Whilst this satirical ethos predominated in Charlie hebdo up to 1982, its enduring place in the publication has become more ambiguous since 1992, with the abrupt sacking of Siné in July 2008 seemingly belying its vigorous defence of provocative humour in the context of th
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Hanna, Esmée. "Morbid curiosity? Discussion of the disposal of amputated limbs on online question and answer sites." DIGITAL HEALTH 5 (January 2019): 205520761989047. http://dx.doi.org/10.1177/2055207619890473.

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Amputation is a growing health issue with implications for the corporeal form and sense of bodily identity. Disposal of the removed limb (the amputate) has historically been suggested to impact on patient adaptation to amputation, although understandings of limb disposal are scarce within existing research. The growth of online question and answer sites has created opportunities for social actors to post and respond to a vast array of topic areas, including those that are seen as morbid or taboo. This paper then explores the discussion of amputate disposal within threads from two popular quest
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Dissertations / Theses on the topic "Taboo humour"

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Chierici, Giulia. "Non-professional Subtitling in Italy: the Fansubbing Phenomenon and the Challenges of Translating Humour and Taboo Language." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/14218/.

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Fansubbing is one of the most common forms of non-professional audiovisual translation today, whose popularity is increasing thanks to digital technology advances. This happens especially in countries like Italy, where English is not the official language. The fansubbing phenomenon is at the same time a source of entertainment and knowledge, and it gives the possibility to fans to watch their favourite programme in their language. Despite being an illegal activity, the phenomenon has several benefits both for the programme itself and for the audience. Through the analysis of the amateur transl
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ANELLI, LAURA. "UMORISMO E DOPPIAGGIO: CENSURA E MANIPOLAZIONE NELLA RISCRITTURA DELLE SITCOM AMERICANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/24617.

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La presente tesi ha come scopo l’analisi della traduzione per il doppiaggio dell’umorismo costruito su argomenti tabù (quali ad esempio riferimenti al sesso, alla sessualità, all’obesità, al consumo di alcol e droghe) presente in quattro sitcom americane, nello specifico Friends, Will & Grace, How I Met Your Mother e 2 Broke Girls. In particolare, partendo dalla teoria della riscrittura proposta da Lefevere (1992,) la ricerca mira ad identificare casi di censura e manipolazione presenti nella traduzione in italiano dei suddetti testi audiovisivi. Con un approccio traduttivo descrittivo, i dial
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ANELLI, LAURA. "UMORISMO E DOPPIAGGIO: CENSURA E MANIPOLAZIONE NELLA RISCRITTURA DELLE SITCOM AMERICANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/24617.

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La presente tesi ha come scopo l’analisi della traduzione per il doppiaggio dell’umorismo costruito su argomenti tabù (quali ad esempio riferimenti al sesso, alla sessualità, all’obesità, al consumo di alcol e droghe) presente in quattro sitcom americane, nello specifico Friends, Will & Grace, How I Met Your Mother e 2 Broke Girls. In particolare, partendo dalla teoria della riscrittura proposta da Lefevere (1992,) la ricerca mira ad identificare casi di censura e manipolazione presenti nella traduzione in italiano dei suddetti testi audiovisivi. Con un approccio traduttivo descrittivo, i dial
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Chen, Tsung-hung, and 陳琮泓. "The Transgression of Taboo and The Humor of Carnival: How "Gan Lin Lao Mu" Can be Talked?" Thesis, 2009. http://ndltd.ncl.edu.tw/handle/70904152178061672902.

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碩士<br>南華大學<br>教育社會學研究所<br>97<br>The purpose of this study is based on "The Legend of Jiangxi," the text of humorous animation for the main study, this type of humor in the text of a large number of ceremonial use of anti-civilization, anti-normative terms as a humorous word of the text of the material, so this study is based on "Civilization╱uncivilized "default to the basic analysis, however, so the use of anti-civilization, what a joke foul language, and social implications of that? Acts of anti-civilization thought of a attack, or attempt to ridicule and negative characteristics of this ant
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Dube, Liketso. "Exploration of Ndebele carnival literature posted on Facebook walls and how it provides an escape route from censorship in Zimbabwe." Thesis, 2020. http://hdl.handle.net/10500/27415.

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This thesis is an exploration of tabooed literary creations that it terms carnival literature. To achieve the objective of establishing the effectiveness of posting material on Facebook walls of the selected group and individual accounts to escape censorship, the thesis compared traditional graffiti, particularly latrinalia, to ‗cyber‘ graffiti (social media) with Facebook as a case study. Lev Vygotsky‘s Activity Theory helped the study link graffiti, vulgarities, humour and Facebook to the Ndebele society‘s response to tabooing of carnival literature. The thesis argued that participating in
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Van, Niekerk Lariza. "Funksionele aspekte van Afrikaanse eksosentriese komposita." Thesis, 2006. http://hdl.handle.net/10500/2338.

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Text in Afrikaans<br>An account of certain functional aspects of Afrikaans exocentric compounds is presented in this dissertation. This study builds on the preliminary survey presented in the dissertation 'n Korpusanalise van Afrikaanse eksosentriese komposita (Van Niekerk, 2001). Exemplary material is obtained from an extensive corpus, consisting of lexicographical and academic matter, as well as colloquial spoken language. Language is man's primary means of communication, used to convey knowledge and information. Lexical items are used to name and refer to all kinds of concepts, aspe
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Books on the topic "Taboo humour"

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Axtell, Roger E. Do's and taboos of humor around the world: Stories and tips from business and life. J. Wiley, 1999.

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Parker, Lara, ed. Vagina Problems. Brilliance Audio, 2020.

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Parker, Lara, ed. Vagina Problems. St. Martins Griffin, 2020.

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Bucaria, Chiara, and Luca Barra. Taboo Comedy: Television and Controversial Humour. Palgrave Macmillan, 2016.

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Taboo Comedy: Television and Controversial Humour. Palgrave Macmillan, 2018.

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Taboo Comedy: Television and Controversial Humour. Palgrave Macmillan Limited, 2016.

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Dobrian, Joseph. I Didn't Mean to Be Kind: Commentary on Religion, Politics, and Other Taboo Topics. Rex Imperator, 2021.

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Parker, Lara. Vagina Problems: Endometriosis, Painful Sex, and Other Taboo Topics. St. Martin's Press, 2020.

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Parker, Lara, ed. Vagina Problems: Endometriosis, Painful Sex, and Other Taboo Topics. St. Martin's Griffin, 2020.

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Axtell, Roger E. Do's and Taboos of Humor Around the World: Stories and Tips from Business and Life. Wiley, 1998.

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Book chapters on the topic "Taboo humour"

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Sienkiewicz, Matt. "Phrasing!: Archer, Taboo Humour, and Psychoanalytic Media Theory." In Taboo Comedy. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59338-2_5.

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Freitas, Elsa Simões Lucas. "Crude and Taboo Humour in Television Advertising: An Analysis of Commercials for Consumer Goods." In Taboo Comedy. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59338-2_10.

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Smit, Lizelle. "Gender Tensions, Taboos and Textual Acts in Melina Rorke's Autofiction." In Autofiction, Emotions, and Humour. Routledge, 2022. http://dx.doi.org/10.4324/9781003356295-6.

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"Arab Cartoonists and Religion: The Interdependence of Transgression and Taboo." In Muslims and Humour. Bristol University Press, 2022. http://dx.doi.org/10.51952/9781529214697.ch007.

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Nasri, Chourouq. "Arab Cartoonists and Religion: The Interdependence of Transgression and Taboo." In Muslims and Humour, edited by Bernard Schweizer, Lina Molokotos-Liederman, and Yasmin Amin. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529214673.003.0008.

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Arab cartoonists operate in a very complicated climate and have to struggle against different forms of cultural and political control. In this chapter, selected cartoons are analysed to show that the relationship between Arab cartoonists and religion is complex and contradictory and to try to understand the parameters within which Arab cartoonists strive for agency.
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Elyildirim, Selma. "Taboo words in the creation of humour." In The Rouen Meeting. Harrassowitz, O, 2018. http://dx.doi.org/10.2307/j.ctvcm4frz.20.

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Eriksen, Benjamin, and Didrik Søderlind. "Humanistisk og ateistisk humor: Om humor hos (og om) livssynshumanister og ateister." In Ingen spøk. Cappelen Damm Akademisk/NOASP, 2019. http://dx.doi.org/10.23865/noasp.69.ch14.

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In this chapter, we wanted to examine aspects of atheist and Humanist comedy and humor, as these genres have been plagued with a superior attitude and an exclusionary nature. While criticism of religion and iconoclasm have been a hallmark of atheism and Humanism since time immemorial, the relatively new addition of condescending and belittling humor has caused rifts between believers and non-believers in recent years. We examined this trend by looking at the defining characteristics of representative humor and comedy that appear in atheist and Humanist circles and juxtaposing these with the defining characteristics of humor in general and observing what these discrepancies mean. While blasphemous and taboo humor have long been commonplace, intentionally ridiculing or belittling a group of people for the sole purpose of garnering laughs does not conform to the Humanist ideal of upholding human dignity, so this would be an important question to resolve. For the purposes of this inquiry, we decided to identify the defining features of good atheist/Humanist comedy and see how these correspond to what can be construed as ill-intentioned comedy. We also examined stereotypes and prejudices among atheists and Humanists with the express purpose of using these to establish a humoristic baseline for these cultures to identify with.
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Anker, Elizabeth S. "Paul Beatty, the Rhetoric of War, and the Selling Out of Civil Rights." In Cannons and Codes. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197509371.003.0015.

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Elizabeth Anker situates Paul Beatty’s The Sellout in a literary tradition that enlists satire as an instrument of critique. Anker demonstrates that Beatty violates race-related taboos in order to confront readers with the avoidances that those taboos impose. Beatty’s biting humor, with its slippage between metaphor and reality, serves to disrupt the self-satisfaction and complacency that mark conventional narratives about the legacy of the Civil War and the civil rights movement in American constitutional politics. The Sellout shows us, in Anker’s view, that the tradition of written constitutionalism and its celebratory symbolism of “quill and ink” has often served instead to enable and legitimize the criminalization and disenfranchisement of African Americans. Moreover, courts have assimilated a racialized language of urban combat—including the so-called wars on poverty, drugs, and crime—that has perpetuated structural racism, reinforcing standards of decorum and good citizenship that have operated as barriers to inclusion in the liberal democratic public sphere.
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Soper, Kerry D. "Deadpan Irreverence with Cosmic Proportions." In Gary Larson and The Far Side. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817280.003.0003.

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In this chapter the explores the comedic devices and themes on display in The Far Side. First, he looks into Larson’s working methods as a comedian, charting his process from free associative brainstorming into strategies of refining and clarifying his jokes, and finally receiving critical feedback from editors. Second, using specific cartoons as examples, he analyzes the humor of Larson’s work in relation to basic theories of what makes us laugh: surprising incongruities, irreverent treatments of taboo subject matter, and comic depictions of violence or misfortune that evoke in the reader mingled emotions of sympathy and schadenfreude. He then explores a number of the comedic devices commonly used in The Far Side, considering ways that Larson modified or combined them in original ways: wordplay that literalized figurative speech or tested the logic of clichéd maxims; in medias res (in the middle of the action) vignettes that required readers to complete a narrative; cross-overs between animal and human worlds; gothic or morbid deconstructions of comforting social myths; and cheeky parodies of a variety of genres, mediums and discourses. Throughout the chapter the author periodically breaks away from close readings of Larson’s cartoons to paint in broad strokes the larger philosophical meanings circulating around The Far Side, suggesting ways that his comedy often became pointedly satiric, borrowing from the philosophical traditions of naturalism, absurdism, and the carnivalesque.
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