Relevant bibliographies by topics / The Joker

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'The Joker'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "The Joker"

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West, Joel. "The Joker on the Couch." International Journal of Semiotics and Visual Rhetoric 3, no. 1 (2019): 1–11. http://dx.doi.org/10.4018/ijsvr.2019010101.

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Do tests for various mental illnesses work? How reliable are they and how well do they capture what we call “mental illness?” Since the infamous comic book character, the Joker, has often been called a “psychopath,” and this psychopathy is, culturally, conflated with mental illness, how would a model of the Joker be diagnosed using the current standard tools for psychiatric diagnosis? The authors tested this model Joker against DSM-5, ICD-10 and the PCL-R. They then discussed the results of these tests and concluded that the Joker as captured in Alan Moore and Brian Bolland's The Killing Joke is a psychopath according to current medical and psychiatric models. They also discussed issues with the models of mental illness used by these tests.
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Lazić, Davor. "Joker između estetizacije i politizacije resantimana." Filozofska istraživanja 40, no. 4 (2020): 769–84. http://dx.doi.org/10.21464/fi40407.

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Radom se želi razumjeti velika popularnost filma Joker redatelja Toda Filipsa iz 2019. godine. Film i figura Jokera interpretirana je u okviru filozofije, odnosno estetike i politike resantimana. Rad nudi zaključak da film i figura Jokera ponavljaju osjećaj nejednakosti, kao jedno rašireno osjećanje u svijetu, između njegove estetizacije i politizacije.
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Laurent, Franck. "joker." Vacarme 13, no. 3 (2000): 66a. http://dx.doi.org/10.3917/vaca.013.0066a.

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Takovski, Aleksandar. "From joker to the butt and back." Constructing and Negotiating Identity in Dialogue 5, no. 1 (2015): 128–51. http://dx.doi.org/10.1075/ld.5.1.07tak.

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Ethnic humour research has mostly conceived and studied ethnic humour as a humour that sets boundaries between jokers and joke targets and that ridicules the targeted ethnicities by assigning them (non) ethnic, universal qualities like stupidity, cunningness or asexuality. By relying on such universal categories this approach has not produced a satisfactory account of how humour can function as a mode of expressing, negotiating and even questioning ethnic identity. This can be accomplished by considering ethnically specific joke texts and focusing on the discourse of the joke target and his response to joking, rather than the joke text itself. To validate the claim, the study will first draws on theories of ethnic and national identity as to establish a workable understanding of ethnic identity constituents to be able to recognize and discuss their emergence in the material selected. It will then examine how and to what success the question of ethnic identity enactment through humour has been dealt by the ethnic humour theory and by some newer studies of the identity humour relation. After which, I will present the research carried out towards testing the hypothesis that is the discourse of the joke target that provides a more comprehensible insight into the question of ethnic identity display through humour. For this purpose, a corpus of little over than two hundred ethnic jokes coming from several Balkan countries was collected and two questionnaires were conducted in the neighbouring countries of Macedonia and Bulgaria.
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Kryżan-Stanojević, Barbara. "Synonim – pojęcie zapomniane. O dżokeryzacji współczesnego języka." Slavia Meridionalis 10 (August 31, 2015): 169–83. http://dx.doi.org/10.11649/sm.2010.013.

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Forgetting synonyms: on the “jokerization” of everyday languageThe democratization of social relations can bring about linguistic liberalization, where the effectiveness and speed of transmitting information are of utmost importance. Wherever possible, information is presented in a condensed form, as an icon or a gesture. When speaking, we increasingly rely on a limited vocabulary, using very polysemous and broad terms. Such terms undergo jokerization – they begin functioning as wild cards in a card game, being able to represent any other cards depending on the current needs.In addition to internationalisms, which appear as jokers as a matter of course (e.g. Polish super ‘great’ and ekstra ‘great’), native words may also be used as jokers. In this case, in addition to their core meaning, they develop a new joker meaning signaled by new formal features, such as loss of inflections (cf. Croatian mrak lit. ‘dark’, joker ‘great’; guba lit. ‘leprosy’, joker ‘great’). When used in this way, they may form new derivational chains, becoming, in a way, less universal and resisting analytic tendencies. By the same token, derivational morphemes may also acquire joker meanings (e.g. the Croatian naj-).Jokerization, which is based on replacing a synonym chain with a single all-encompassing word, does not prevent communication, but does impoverish it. It is an intermediate stage between verbal and non-verbal communication. This process, common in spoken language, is examined, and illustrations are drawn from computer blogs and forums.
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Javanian, Mohammadreza Hassanzadeh, and Farzan Rahmani. "Killing Joke: A Study of the Carnivalesque Discourse in Todd Phillips’ Joker." Bakhtiniana: Revista de Estudos do Discurso 16, no. 3 (2021): 39–56. http://dx.doi.org/10.1590/2176-457349985.

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ABSTRACT Todd Phillips’ Joker (2019) is the latest cinematic portrayal of the notorious clown prince of Gotham City. Although the previous film adaptations would usually picture him as a villain to Batman’s hero, this version depicts him as a lonely man who has to cope with depression and struggles to be accepted by and fit in the society. Therefore, this version of the character carries a marked aura of socio-political consciousness. The present paper aims to analyze Todd Phillips’ Joker through the lens of the carnival ritual as put forward by Mikhail Bakhtin. The paper will discuss different carnivalesque elements present in Joker, and illustrate how the movie takes full advantage of them to mount an attack against the prevalent, official culture of Gotham. Moreover, it will argue how Joker forms a utopian condition where the constant anarchy results in freedom.
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SUBHAN, JUNED. "The Joker." Critical Quarterly 48, no. 4 (2006): 131. http://dx.doi.org/10.1111/j.1467-8705.2006.00740.x.

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Gaede, Kirsten. "Hammerschlags Joker." kma - Klinik Management aktuell 18, no. 11 (2013): 12. http://dx.doi.org/10.1055/s-0036-1577119.

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Eventuelle Nachzahlungsforderungen von Sozialbeiträgen, vielleicht sogar ein Gerichtsverfahren wegen Förderung der Scheinselbstständigkeit ... – es gibt viele Gründe, weshalb das Thema Honorarärzte Klinikchefs zurzeit Kopfschmerzen, wenn nicht gar Migräne bereitet.
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Banes, Sally, and Barbara W. Grossman. "Jewish Joker." Women's Review of Books 8, no. 9 (1991): 17. http://dx.doi.org/10.2307/4021028.

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Orenstein, Yaron, Yun William Yu, and Bonnie Berger. "Joker de Bruijn: Covering k-Mers Using Joker Characters." Journal of Computational Biology 25, no. 11 (2018): 1171–78. http://dx.doi.org/10.1089/cmb.2018.0032.

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Dissertations / Theses on the topic "The Joker"

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Noiman, Jay Victor. "The joker is wild /." Online version of thesis, 1987. http://hdl.handle.net/1850/8822.

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Carvalho, Danielle Moreira de. "ARS JOKER: o sujeito como representação." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/17712.

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A instalação ARS JOKER é uma obra intermédia interativa, que mescla Pintura e Arte Digital, configurando um espaço alegórico de exibição, criado para envolver o visitante, articulando a vivência da temática: o sujeito como representação. O ambiente tem telas pendentes do teto, inclinadas diagonalmente, conformando um espaço labiríntico, reunindo pinturas de figuras duplicadas, que instigam à exploração, inserindo o visitante em um percurso. Uma das telas exibe imagens projetadas, e, juntamente a outros periféricos, se liga a um programa de computador, que visa captar a imagem do visitante e propor um jogo interativo com essa imagem, perpetuando a coleção e fluxo de imagens propostos pela exibição e permitindo ao visitante construir significados a partir da experiência; ABSTRACT: The ARS JOKER installation is an interative intermedia work that mixes Painting and Digital Art, setting an allegorical exhibition space, created for engaging the visitor, articulating the experimentation of the theme: the subject as representation. The environment has screens hanging from the roof, sloping diagonally, forming a labyrinthine space, including paintings of duplicate figures, which lead to curiosity, inserting the visitor into a route. One of the screens displays projected images, that jointly with other periferics is connected to a computer program which aims to capture the image of the visitor, proposing an interactive game with this image, adding to the collection and flow of images proposed by the show, and allowing the visitor to construct meanings from his own experience.
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Souza, Diego Henrique Oliveira de. "Joker: um realizador de desenhos animados para linguagens formais." Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/18024.

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Made available in DSpace on 2014-12-17T15:47:56Z (GMT). No. of bitstreams: 1 DiegoHOS_DISSERT.pdf: 2899752 bytes, checksum: d3160b774efd6749eced9bb34d4a74cf (MD5) Previous issue date: 2011-08-31<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>Using formal methods, the developer can increase software s trustiness and correctness. Furthermore, the developer can concentrate in the functional requirements of the software. However, there are many resistance in adopting this software development approach. The main reason is the scarcity of adequate, easy to use, and useful tools. Developers typically write code and test it. These tests usually consist of executing the program and checking its output against its requirements. This, however, is not always an exhaustive discipline. On the other side, using formal methods one might be able to investigate the system s properties further. Unfortunately, specification languages do not always have tools like animators or simulators, and sometimes there are no friendly Graphical User Interfaces. On the other hand, specification languages usually have a compiler which normally generates a Labeled Transition System (LTS). This work proposes an application that provides graphical animation for formal specifications using the LTS as input. The application initially supports the languages B, CSP, and Z. However, using a LTS in a specified XML format, it is possible to animate further languages. Additionally, the tool provides traces visualization, the choices the user did, in a graphical tree. The intention is to improve the comprehension of a specification by providing information about errors and animating it, as the developers do for programming languages, such as Java and C++.<br>Usando m?todos formais, o desenvolvedor pode aumentar a confiabilidade e corretude do software. Al?m disso, o desenvolvedor pode concentrar-se mais nos requisitos funcionais. Por?m h? muita resist?ncia em se adotar essa abordagem de desenvolvimento de software. A raz?o principal e a escassez de suporte ferramental adequado, ?til e de f?cil utiliza??o. Os desenvolvedores normalmente escrevem o c?digo e o testam. Estes testes geralmente consistem em checar se as sa?das est?o de acordo com os requisitos. Isto, contudo, nem sempre e poss?vel de maneira exaustiva. Por outro lado, usando M?todos Formais um desenvolvedor e capaz de investigar profundamente as propriedades do sistema. Infelizmente, linguagens de especifica??o formal nem sempre possuem ferramentas como animador ou simulador e ?s vezes n?o h? interfaces gr?ficas amig?veis. Por?m, algumas dessas ferramentas possuem um compilador, que gera um Sistema de Transi??es Rotuladas (LTS). A proposta deste trabalho ? desenvolver um aplicativo que fornece anima??o gr?fica para especifica??es formais usando o LTS como entrada. O aplicativo inicialmente suporta as as linguagens B, CSP e Z. Usando o LTS em um formato XML especificado ? poss?vel animar outras linguagens formais. Adicionalmente a ferramenta disponibiliza visualiza??o de traces, escolhas feitas pelo usu?rio, em um formato de ?rvore gr?fica. A inten??o ? melhorar a compreens?o de uma especifica??o, fornecendo informa??es sobre erros e animando-a, como os desenvolvedores fazem com linguagens de programa??o como Java e C++.
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Efthymiadou, Panagiota, and Panagiota Koukouvinou. "The Joker Returns: A new perspective on the violent Clown Prince of Crime." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21160.

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The new “Joker” movie, directed by Todd Phillips, was released in 2019 and brought a range of fervent and controversial discussion both in critics and audiences. Nevertheless, the “Joker” persona is tightly associated with comics and the superhero movie genre, and usually depicted in a particular way. However, the new movie differs in vital points. This study aims to explore the differences that lie between the “Joker”, and his depiction in the superhero genre. In order to investigate this inquiry, we conducted an exploratory research, and used latent content analysis. From our results, we extrapolate that the new movie constructs a more humane and approachable image of the “Joker”, as opposed to the “nameless” and “cold-blooded” villain. Simultaneously, we concluded that the movie adopts a more realistic and less entertaining approach towards violence, a prominent characteristic in superhero movies
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Jonsson, Dan E. "You get what you fucking deserve! : Karaktärsanalys av Joaquin Phoenix's porträttering av Joker." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99660.

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Joaquin Phoenix gestaltning av karaktären Arthur Fleck i filmen Joker (Todd Phillips, 2019) prisades med en Oscar för bästa huvudroll. Filmen är en ursprungshistoria om den klassiska antagonisten till Batman och belyser de bakomliggande faktorer som bidrar till Arthur Flecks resa från offer till våldsverkare. Uppsatsen belyser utanförskap och hur det är att leva i samhällets periferi på grund av, men inte begränsat av, mental ohälsa, stigmatisering och normavvikande beteende. Den belyser också individens förhållande till maskulinitet och de förväntningar samhället har på denne i hur man skall agera och reagera. Todd Phillips målar upp en dystopisk tillvaro där staden Gotham är lika kylig och kall som dess palett, där våld är en del av vardagen och anses vara ett universalverktyg för att lösa diverse konflikter. Arthur är en skör individ som tvingas in i en våldsspiral (av flertalet olika anledningar) som till slut förgör honom, i hans ställe träder den våldsbejakande nihilisten fram: Jokern.
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Hutton, Zina. "Queering The Clown Prince of Crime: A Look at Queer Stereotypes as Signifiers In DC Comics’ The Joker." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3702.

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The goal of this thesis is to explore the way heterosexism and homophobia are present in the coding that has created an implied and monstrous queer identity for the Joker, present in many versions of the character over the past forty years. Through close readings of several of the Joker’s most iconic appearances, queer theory texts, and analytical essays on pop culture, this paper will analyze the use of queer signifiers present in the comics and the way that these portrayals of the Joker are rife with harmful and heterocentric perceptions of what comic creators have seen as necessary signifiers for queerness. Additionally, I will be using knowledge gleaned from my own preexisting work with fan and cultural studies in order to talk about the way that this portrayal of the Joker has been developed within fandom/fan communities and how it is continually replicated in superhero media.
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Josephson, Agneta. "Jokern – dialogkonstnär i spelet." Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7827.

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Sammanfattning I stora delar av världen används forumteater för att motverka förtryck. När forumteater spelas har jokern en nyckelroll. Undersökningens syfte är att ta reda på vad de i studien ingående jokrarna uppfattar som jokring och hur de uppfattar jokring samt att skapa beskrivningskategorier för dessa uppfattningar. Frågeställningen är: Hur beskriver jokrar jokring? I undersökningen har korta intervjuer med 19 jokrar analyserats. Jokrarna kommer från 11 länder. Intervjuerna är hämtade från den internationella hemsidan för Teater för förtryckta. Metoden i undersökningen är huvudsakligen fenomenografisk. Resultat: Jokring är att leda forumteaterprocessen med dialogen i centrum. Fyra uppfattningar av aspekter hos jokerns roll har framkommit, här beskrivna metaforiskt: Jokern som etiker/filosof, jokern som samhällsförändrare, jokern som hantverkare och jokern som psykolog. Jokern stimulerar med hjälp av forumteatern till dialog. Jokrarna i undersökningen har uppfattningen att dialogen utgör både medel och mål med jokring och med forumteater. Dialogen uppfattas ske med olika medel, olika riktning och med olika föresatser.  Den sker visuellt, med tal och i handling. Den har sitt fokus, sin riktning, gentemot individerna i publiken, mot publiken som grupp och/eller mot den samhällsgrupp som publiken antas komma ifrån. Föresatsen med jokerns dialog är att stödja och/eller utmana. Avsikten med undersökningen har varit att få ökad kunskap om jokring och att skapa underlag för fortsatt arbete för ökad kunskap om jokring.
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Landahl, Henrik. "All it takes is one bad day to reduce the sanest man alive to lunacy. : En analys av the Jokers ondska kopplat till hans narrativ." Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445620.

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In my essay, I illuminate evil from the perspective of whether we can explain evil deeds through the perpetrator's narrative. As an object for my study, I have chosen a popular culture perspective - the character The Joker - which has been portrayed several times. The purpose of the essay is to study if we understand and can come to terms with evil deeds if we also know the perpetrator's narrative. The starting point for this reasoning is the question of whether evil deeds can always be defined as evil? I have limited my thesis to be based on theories based on traditional and historical research in the field of evil. The material I have used for my analysis is limited to the shape of The Joker in the script of the films The Dark Knight and The Joker. Methodologically, the essay is based on textual idea analysis - around evil and myths.  Out of the scripts of The Joker and The Dark Knight I have developed a hypothesis which I finally discuss the reasonableness and test logically. Theoretically, I have based my study on Lars Svendsen's analysis of evil, John Martin Fischer's analysis of the meaning of the narrative and Claudia Card's discussion of grey areas. Based on these, I have analysed, discussed and argued to test my hypothesis and answer the question of the essay: Is The Joker's narrative an explanation for his evil deeds? The study's method and analysis have generated a result that shows that this is not the case. The Joker has made his own free choices that have made him who he is and what he does. His narrative is not an explanation for his demonic evil deeds.
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Yida, Valéria. "Figurações da crueldade do Coringa nos quadrinhos de Batman: a piada mortal." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19568.

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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-23T11:50:22Z No. of bitstreams: 1 Valéria Yida.pdf: 23709999 bytes, checksum: 433480f21038e2eb21eb7cb5efeacde0 (MD5)<br>Made available in DSpace on 2016-12-23T11:50:22Z (GMT). No. of bitstreams: 1 Valéria Yida.pdf: 23709999 bytes, checksum: 433480f21038e2eb21eb7cb5efeacde0 (MD5) Previous issue date: 2016-12-08<br>This research analyzes the Joker’s figurations of cruelty in the comic book Batman: A Piada Mortal (Batman: The Killing Joke, 1988). The cruelty of this character, understood as the wish to cause pain and suffering to another, has his own style in his lewd speech, in the following of an aesthetic of horror by the image-synthesis of his red rictus shaped mouth, as well as a plot that stages rituals of exhibitionism and sadism, in which the Joker's victims are offered in honor to Batman. This research contributes to the study of the villain in superhero genre comics, a character who, among clashes and truces with the hero, creates a field of tension that moves a suspenseful narrative of action and twists with an appeasing ending that invites the reader to the next adventure of the series. Cruelty is the Joker’s passion that wants to destabilize and corrupt the hero, composing the dynamics of a dense, ambiguous and sinister relationship between Batman and him. The aim of this research lies in this: what makes the Joker’s cruelty so outstanding in his relationship with Batman? By which means this cruelty determines and qualifies the Joker criminal acts, modifying his bound with the hero over the comics? The goal is to delimit the Joker’s imponderable of cruelty through its figurations that make him the quintessential villain in Batman stories. A two-way theoretical foundation was used: the via governed by image, professed by Thierry Groensteen, examining the complex system of narrative in which the drawing and the words are networked, and the psychoanalytical via in the Lacan’s trait unaire and perversion concepts, with the support of the Joker character’s approach to the literary figure of the sadean libertine<br>Esta pesquisa analisa as figurações da crueldade do Coringa nos quadrinhos de Batman: A Piada Mortal (Batman: The Killing Joke, 1988). A crueldade desse personagem, entendida como a vontade de causar dor e sofrimento ao outro, tem estilo próprio na sua fala devassa, seguindo uma estética do horror na imagem-síntese da sua boca vermelha em forma de ricto, bem como um enredo em que se encenam rituais de exibicionismo e sadismo, nos quais as vítimas do Coringa são oferecidas em louvor a Batman. Esta pesquisa contribui para o estudo do vilão nos quadrinhos do gênero super-herói, personagem que, em confrontos e tréguas com o herói, cria um campo de tensão que movimenta uma narrativa cheia de suspense, ação e de reviravoltas, com um desfecho apaziguador que convida o leitor a uma próxima aventura da série. A crueldade é a paixão do Coringa que quer desestabilizar e corromper o herói, compondo a dinâmica da relação densa, ambígua e sinistra entre ele e Batman. A questão da presente pesquisa reside nisto: o que torna a crueldade do Coringa tão marcante na relação deste com Batman? Por quais vias a crueldade determina e qualifica os atos criminosos do Coringa, modificando o vínculo dele com o herói ao longo destes quadrinhos? O objetivo é delimitar o imponderável da crueldade do Coringa por meio de suas figurações, que o tornam o vilão por excelência nas histórias de Batman. Utilizamos duas vias de fundamentação teórica: a via regida pela imagem, preconizada por Thierry Groensteen, examinando o sistema complexo da narrativa em que o desenho e a palavra funcionam em rede; e a via psicanalítica, no tocante aos conceitos lacanianos de traço unário e de perversão, com apoio da aproximação do personagem Coringa à figura literária do libertino sadeano
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Sandberg, Helena. "Visuell stil och intertextualitet i hjärndöda Blockbusters : -”She got to you with her perfumed words and her perky breasts”." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96300.

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Martin Scorsese expressed dissatisfaction stating that superhero movies lacks uniqueness and emotional and psychological depth. In his opinion, these movies depict spectacle rather than character. Scorsese is not alone in his view - this has been a general opinion among film critics for decades. Justin Wyatt examines the recipe for commercial success in his book High concept: Movies and marketing in Hollywood from 1994. Film theorist Kristin Thompson however, denounces the idea that High Concept or post-classicism changes structures in narrative. This thesis examines visual style and intertextuality in three films released in 2019: Avengers: Endgame, Hellboy and Joker. Are there similarities and/or differences in relation to Wyatt’s theories? All three movies use style and intertextuality to tell their stories and they all have excess scenes to please the audience visually. However, they still use classic Hollywood narrative with three acts and cause-and-effect storylines.
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Books on the topic "The Joker"

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Beatty, Paul. Joker, joker, deuce. Penguin Books, 1994.

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Alattas, Hussien. Joker-joker politik. Jaharah Enterprise, 1992.

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Azzarello, Brian. Joker. DC Comics, 2008.

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Dirk, Luyten. Joker. HouteKiet, 1988.

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Ranulfo. Joker. Joanna Cotler Books, 2006.

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Thanvi, Shaulat. Joker. Ahluwalia, 2000.

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Budi, Valiant. Joker. 2nd ed. GagasMedia, 2011.

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Morgenstern, Susie Hoch. Joker. Animax-l'École des loisirs, 2006.

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Raymond, Claude. Joker. NBJ, 1986.

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Illustrator, Reid Michael, ed. Joker. Stone Arch Books, 2006.

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Book chapters on the topic "The Joker"

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Reed, Shon M., and Breanna Boppre. "Labeling Theory and Joker." In Theories of Crime Through Popular Culture. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54434-8_13.

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Dynel, Marta. "Joker in the pack." In The Pragmatics of Humour across Discourse Domains. John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/pbns.210.15dyn.

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Schutzman, Mady. "The joker never dies." In Radical Doubt. Routledge, 2018. http://dx.doi.org/10.4324/9781315456171-7.

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Vogel, Sabine B. "Das Ornament als Joker." In Muster im Transfer. Böhlau Verlag, 2015. http://dx.doi.org/10.7788/9783412218829-013.

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Jaeger, Lars. "Die Joker im Spiel." In Wege aus der Klimakatastrophe. Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-63550-6_10.

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Richardson, Chris. "Introduction." In Batman and the Joker. Routledge, 2020. http://dx.doi.org/10.4324/9780367809874-1.

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Richardson, Chris. "Dragged into desire." In Batman and the Joker. Routledge, 2020. http://dx.doi.org/10.4324/9780367809874-2.

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Richardson, Chris. "Lavender lapels and poison pansies." In Batman and the Joker. Routledge, 2020. http://dx.doi.org/10.4324/9780367809874-3.

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Richardson, Chris. "With the lights out." In Batman and the Joker. Routledge, 2020. http://dx.doi.org/10.4324/9780367809874-4.

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Fink, Klaus-J. "Die Selbstbezichtigung als Joker der Einwandbehandlung." In Vertriebspartner gewinnen. Gabler Verlag, 2003. http://dx.doi.org/10.1007/978-3-322-94586-0_13.

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Conference papers on the topic "The Joker"

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Al-Radaideh, Amer, Ali Jhemi, and Mohammad-Amin Al-Jarrah. "System Identification of the Joker-3 Unmanned Helicopter." In AIAA Modeling and Simulation Technologies Conference. American Institute of Aeronautics and Astronautics, 2012. http://dx.doi.org/10.2514/6.2012-4725.

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Devillers, Laurence, Sophie Rosset, Guillaume Dubuisson Duplessis, et al. "Multifaceted Engagement in Social Interaction with a Machine: The JOKER Project." In 2018 13th IEEE International Conference on Automatic Face & Gesture Recognition (FG 2018). IEEE, 2018. http://dx.doi.org/10.1109/fg.2018.00110.

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Guri, Mordechai, Yuri Poliak, Bracha Shapira, and Yuval Elovici. "JoKER: Trusted Detection of Kernel Rootkits in Android Devices via JTAG Interface." In 2015 IEEE Trustcom/BigDataSE/ISPA. IEEE, 2015. http://dx.doi.org/10.1109/trustcom.2015.358.

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Devillers, Laurence, Sophie Rosset, Guillaume Dubuisson Duplessis, et al. "Multimodal data collection of human-robot humorous interactions in the Joker project." In 2015 International Conference on Affective Computing and Intelligent Interaction (ACII). IEEE, 2015. http://dx.doi.org/10.1109/acii.2015.7344594.

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Guobin, Sui, Chao Wenhan, and Luo Zhunchen. "Joker at SemEval-2018 Task 12: The Argument Reasoning Comprehension with Neural Attention." In Proceedings of The 12th International Workshop on Semantic Evaluation. Association for Computational Linguistics, 2018. http://dx.doi.org/10.18653/v1/s18-1191.

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Betty Susanti, HS, Tahrun, and Mulyadi. "Delusion Side of Arthur Fleck as the Main Character in Joker Movie by Todd Philips’." In International Conference on Education Universitas PGRI Palembang (INCoEPP 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210716.177.

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Dupin De Saint-Cyr, Florence, and Henri Prade. "Jokes and Belief Revision." In 17th International Conference on Principles of Knowledge Representation and Reasoning {KR-2020}. International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/kr.2020/34.

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The paper deals with a topic little studied in artificial intelligence: the understanding of humor. In this preliminary study, we try to identify the basic mechanism at work in quips and narrative jokes. It seems that in many cases a belief revision process is operating, leading to an unexpected conclusion, through the punchline of the jest. We propose a formal modeling of jokes based on belief revision. Namely the punchline, which triggers a revision, is both surprising and explains perfectly what was reported in the beginning of the joke. This also suggests a way of ranking jokes in terms of surprise and strength of explanation, using possibilistic logic.
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Gorbova, E. V. "ASPECTUAL TRIPLETS OF THE RUSSIAN VERB IN DIACHRONY: EVIDENCE FROM THE RUSSIAN NATIONAL CORPUS." In International Conference on Computational Linguistics and Intellectual Technologies "Dialogue". Russian State University for the Humanities, 2020. http://dx.doi.org/10.28995/2075-7182-2020-19-321-347.

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The paper deals with the so-called aspectual triplets of the Russian verb. Based on the data from the Russian National Corpus, it proposes a diachronic method to study triplets as well as a two-component model of the Russian aspect as an alternative to the traditional word-based classification model. The first component of the model is a morphological mechanism of the imperfectivizing suffixation of prefixed verbs that is inflectional (ras-kry-t’PFV — ras-kryva-t’IPFV2 ‘disclose, reveal’), but has a limited scope of action (prefixed verbs only). The second component of the model is the actionality (lexical aspect) with a maximal scope. Related to the verb class as a whole, it is especially crucial for non-prefixed simplexes. Actionality enables the functioning and perfective / imperfective characterization of simplexes which do not fall under the inflectional grammatical aspect. The analysis of ten biimperfective triplets resulted in several observations and conclusions. One of them concerns the role of a ‘joker’, which all imperfective simplexes (IPFV1) have in the aspectual triplets as (quasi)synonyms for corresponding secondary imperfectives (IPFV2). A working hypothesis on the predominance of IPFV1 over PFV in every triplet, based on the broader polysemy of the former, has not been confirmed. However, the two-component model has explanatory power for the cases of reverse frequency (PFV over IPFV1) through its lexical aspect component. Another working hypothesis on a possible increase or a decrease in the number of secondary imperfectives in diachrony was partially confirmed — an increase was noted for the 20/21st century.
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Zrehen, Stephane, and Michael A. Arbib. "Understanding jokes." In the second international conference. ACM Press, 1998. http://dx.doi.org/10.1145/280765.280856.

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Shahaf, Dafna, Eric Horvitz, and Robert Mankoff. "Inside Jokes." In KDD '15: The 21th ACM SIGKDD International Conference on Knowledge Discovery and Data Mining. ACM, 2015. http://dx.doi.org/10.1145/2783258.2783388.

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Reports on the topic "The Joker"

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Lydia Chilton, Lydia Chilton. Why are jokes funny? Experiment, 2012. http://dx.doi.org/10.18258/0006.

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Carruthers, John. The effects of a course in American jokes on a class of intermediate level ESL students. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5539.

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Van Metre, Lauren. D’auto-défenseurs à justiciers: Un cadre typologique pour les groupes armés communautaires. RESOLVE Network, 2020. http://dx.doi.org/10.37805/cbags.fr.2020.2.

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Étant donné la présence et la diversité influentes et croissantes des groupes armés communautaires (GAC) dans les États touchés par un conflit, il est essentiel de développer des cadres analytiques et des typologies pour soutenir les acteurs internationaux, étatiques et communautaires interagissant avec les groupes armés en tant qu’acteurs politiques et sécuritaires. Les deux questions clés sont : 1) comment les GAC peuvent être engagés, gérés ou transformés pour jouer un rôle constructif dans les communautés locales dans les États faibles, fragiles ou touchés par un conflit ; et 2) comment leurs opérations peuvent exacerber la fragilité et la violence en s’attaquant par exemple aux communautés ou en s’alignant sur d’autres groupes armés non étatiques. Alors que l’attention se tourne de plus en plus sur la fragilité et la prédation de l’État en tant que causes profondes de la violence intrastate et de l’émergence de l’extrémisme violent, il est essentiel d’inclure les GAC dans toute analyse des réseaux politiques et sécuritaires informels qui sont dominants dans les États fragiles en l’absence d’institutions publiques formelles.
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Guidati, Gianfranco, and Domenico Giardini. Synthèse conjointe «Géothermie» du PNR «Energie». Swiss National Science Foundation (SNSF), 2020. http://dx.doi.org/10.46446/publication_pnr70_pnr71.2020.4.fr.

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La géothermie de faible profondeur avec des pompes à chaleur correspond à l’état actuel de la technique et est déjà largement répandue en Suisse. Au sein du futur système énergétique, la géothermie de moyenne à grande profondeur (1 à 6 km) devrait également jouer un rôle important, notamment en matière de fourniture de chaleur pour les bâtiments et les process industriels. Cette forme d’utilisation de la chaleur géothermique nécessite un sous-sol bien perméable, permettant à un fluide – généralement de l’eau – d’engranger la chaleur naturellement présente dans la roche et de la transporter jusqu’à la surface. Dans les roches sédimentaires, cette condition est généralement vérifiée du fait de la structure naturelle, tandis que dans les granites et les gneiss la perméabilité doit être générée artificiellement par injection d’eau. La chaleur ainsi récupérée augmente au fur et à mesure de la profondeur de forage : la température souterraine atteint environ 40°C à 1 km de profondeur et environ 100°C à 3 km de profondeur. Pour entraîner une turbine à vapeur en vue de produire de l’électricité, des températures supérieures à 100°C sont nécessaires. Étant donné que cela implique de forer à des profondeurs de 3 à 6 km, le risque de sismicité induite augmente en conséquence. Le sous-sol peut également servir à stocker de la chaleur ou des gaz, par exemple de l’hydrogène ou du méthane, ou encore à enfouir de façon permanente du CO2. À cet effet, les mêmes exigences que pour l’extraction de chaleur doivent être vérifiées et le réservoir doit en outre être surmonté d’une couche étanche, empêchant le gaz de s’échapper. Le projet conjoint « Énergie hydroélectrique et géothermique » du PNR « Énergie » était avant tout consacré à la question de savoir où en Suisse trouver des couches de sol appropriées, répondant de manière optimale aux exigences des différentes utilisations. Un deuxième grand axe de recherche concernait les mesures visant à réduire la sismicité induite par les forages profonds et les dommages aux structures qui en résultent. Par ailleurs, des modèles et des simulations ont été élaborés dans le but de mieux comprendre les processus souterrains qui interviennent dans la mise en œuvre et l’exploitation des ressources géothermiques. En résumé, les résultats de recherche montrent que la Suisse jouit de bonnes conditions pour l’utilisation de la géothermie de moyenne profondeur (1-3 km), tant pour le parc de bâtiments que pour les processus industriels. L’optimisme est également de mise en ce qui concerne le stockage saisonnier de chaleur et de gaz. Le potentiel de stockage définitif de CO2 dans des quantités pertinentes s’avère en revanche plutôt limité. Concernant la production d’électricité à partir de la chaleur issue de la géothermie profonde (&gt; 3 km), il n’existe pas encore de certitude définitive quant à l’importance du potentiel économiquement exploitable du sous-sol. Des installations de démonstration exploitées industriellement sont absolument nécessaires à cet égard, afin de renforcer l’acceptation par la population et les investisseurs.
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