Academic literature on the topic 'Types of satire and humour'
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Journal articles on the topic "Types of satire and humour"
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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 (March 15, 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 convey a relatable sense of humor and how to best achieve this. The BBC required insight on the following key objectives: Identify key characteristics of content that younger audiences find funny; Explain how this compares with the preferences of the BBC’s older audiences; Estimate how far the BBC brand can stretch in humor content across platform; Assess the need for innovation across BBC platforms to accommodate fresh content. The project involved a multi-methodology approach, the centerpiece of which was a content analysis of 800 data points of consumer generated content derived from WhatsApp diaries. The semiotic analysis, informed by foundational thinking on humor schools and humor psychology, used an innovative hashtagging system to create a nuanced taxonomy of the mostly memes and viral videos with the primary types (e.g., #cringe, #pastiche, #awkwardness, #black humour, #satire, #schadenfreude etc.). The BBC received a comprehensive taxonomy of more than 50 humor types, a digest of levers of engagement for operationalising the humour, and maps for strategic channel positioning. The work has helped the BBC innovate in three core areas: rethinking their use of metadata for tagging comedy content on the iPlayer platform, modifying their tone of voice across all parts of the business, and in commissioning original comedy podcasts for the BBC Sounds app.
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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 (September 1, 2017): 249–63. http://dx.doi.org/10.1386/macp.13.3.249_1.
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Mavlonova Ugiloy Khamdamovna. "Similarities and differences between types of comic." International Journal on Integrated Education 3, no. 9 (September 6, 2020): 105–7. http://dx.doi.org/10.31149/ijie.v3i9.596.
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On the pages of literary works, the reader is often confronted with funny characters or episodes, funny names of characters, ridiculous features of speech. In all these cases, we are dealing with manifestations of the comic in literature. The reader understands that the writer set himself the task of causing the audience to laugh, to portray something funny. But at the same time, we cannot fail to notice how different such laughter can be. In literary criticism, it is customary to distinguish the following types of comic: humor, irony, satire and sarcasm. Also, experts distinguish between the techniques of the comic. These include hyperbole, absurdity, grotesque, fantasy, self-exposure and some others.
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Skalicky, Stephen. "Lexical priming in humorous satirical newspaper headlines." HUMOR 31, no. 4 (September 25, 2018): 583–602. http://dx.doi.org/10.1515/humor-2017-0061.
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Abstract Satire is a type of discourse commonly employed to mock or criticize a satirical target, typically resulting in humor. Current understandings of satire place strong emphasis on the role that background and pragmatic knowledge play during satire recognition. However, there may also be specific linguistic cues that signal a satirical intent. Researchers using corpus linguistic methods, specifically Lexical Priming, have demonstrated that other types of creative language use, such as irony, puns, and verbal jokes, purposefully deviate from expected language patterns (e.g. collocations). The purpose of this study is to investigate whether humorous satirical headlines also subvert typical linguistic patterns using the theory of Lexical Priming. In order to do so, a corpus of newspaper headlines taken from the satirical American newspaper The Onion are analyzed and compared to a generalized corpus of American English. Results of this analysis suggest satirical headlines exploit linguistic expectations through the use of low-frequency collocations and semantic preferences, but also contain higher discourse and genre level deviations that cannot be captured in the surface level linguistic features of the headlines.
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Zawawi, Moh, and Devi Laila Maghfiroh. "SARCASM AND THE TRANSLATION QUALITY IN THE SUBTLE ART OF NOT GIVING A FUCK BOOK." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 15, no. 2 (December 31, 2020): 253–60. http://dx.doi.org/10.18860/ling.v15i2.8913.
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Sarcasm is a harsher style of satire in hurtful jokes with a specific purpose. Sarcasm is the dominant language style used in Mark Manson's The Subtle Art of Not Giving A Fuck. This study aims to identify sentence forms of sarcasm and analyze the translation quality of sarcastic expressions. This translation study employs a qualitative descriptive design. The research data takes the form of sentences containing sarcasm and its translation. The data is collected through document analysis, interviews, and focus group discussions. The results showed four types of sarcasm in the book The Subtle Art of Not Giving A Fuck, including ridicule, satire, proximity, and humor. Besides, the translation quality of the book The Subtle Art of Not Giving A Fuck has a high level of accuracy, acceptability, and readability, evidenced by the proper use of eleven translation techniques applied by the translator to 145 data. The frequent techniques contributing to the quality of translation are compensation, adaptation, transposition, and modulation techniques.
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Noriega, Octav, and Gregorius Genep Sukendro. "Satirisme Cerdas Iklan Djarum 76 Filter Gold Versi Caleg Cerdas (Analisis Semiotika Roland Barthes)." Prologia 4, no. 1 (February 26, 2020): 82. http://dx.doi.org/10.24912/pr.v4i1.6438.
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This research discusses satirism in Djarum 76 Filter Gold advertisement - Caleg Cerdas version. This research uses Roland Barthes's semiotic thinking approach. Where the meaning of the message is obtained from the first sign (denotation) in the form of audiovisual that appears and captured by our five senses and has another meaning behind the first meaning (connotation) and the second meaning (myth). Djarum 76 Filter Gold advertisement Caleg Cerdas version aired during the democratic party took place or before May 21, 2019. The element of satirism in this ad is displayed with humor where these elements as a whole can be found scene by scene in this ad. From the results of the study there were six (6) types of satirism / satire for the legislative candidates: Empty Brain, Ecek-Ecek Brain, Off-Air Brain, Wani Piro Brain, Dugem Brain and Music. After concluding, it can be concluded that there is a satirism contained in Djarum 76 Filter Gold adverstisment – Caleg Cerdas version is legitaslitve candidates are stupid, believes in mystical things and hopes somethins instant without working hard. Penelitian ini membahas tentang bagaimana gaya satirisme cerdas dalam iklan Djarum 76 Filter Gold versi Caleg Cerdas. Penelitian ini menggunakan pendekatan pemikiran semiotika Roland Barthes. Dimana makna pesan tersebut diperoleh dari tanda pertama (denotasi) berupa audio visual yang muncul dan ditangkap oleh panca indera kita serta memiliki makna lain dibalik makna pertama (konotasi) dan makna kedua (mitos). Iklan Djarum 76 Filter Gold versi Caleg Cerdas ditayangkan saat pesta demokrasi berlangsung atau sebelum tanggal 21 Mei 2019. Unsur satirisme pada iklan ini ditampilkan dengan penuh humor dimana unsur-unsur ini secara keseluruhan dapat ditemukan adegan per adegan dalam iklan ini. Dari hasil penelitian terdapat enam(6) macam sindiran/satire untuk para caleg yaitu: Otak Kosong, Otak Ecek-Ecek, Otak Off-Air, Otak Wani Piro, Otak Dugem dan Musik. Setelah disimpulkan, dapat disimpulkan terdapat makna satir yang terkandung pada iklan Djarum 76 Filter Gold versi Caleg Cerdas berupa seorang caleg yang kurang pintar yang mempercayai hal klenik atau mistis dan mengharapkan suatu hal yang instan tanpa bekerja keras.
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Arthur Montagne, Jacqueline. "The Comic Latin Grammar in Victorian England." Journal of Latin Cosmopolitanism and European Literatures, no. 4 (November 16, 2020): 2–31. http://dx.doi.org/10.21825/jolcel.vi4.8569.
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This paper presents the first scholarly analysis of The Comic Latin Grammar by Percival Leigh, a satirical textbook of Latin grammar published in London in 1840. Sections I and II analyze the role of Latin education and the rapid publication of Latin grammar books during the nineteenth century. Sections III and IV conduct close readings of the Comic Latin Grammar to assess its techniques of parody and allusion. I conclude that the textbook achieves its satire of Latin learning by embedding two tiers of humor in its lessons designed for two types of readers: those with and without a background in Classical education. In this way, Leigh uses parody as a mechanism for constructing and enforcing social boundaries, but also satirizes the use of Latin as a shibboleth for polite society.
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Schwarz, Uta, Stefan Hoffmann, and Katharina Hutter. "Do Men and Women Laugh About Different Types of Humor? A Comparison of Satire, Sentimental Comedy, and Comic Wit in Print Ads." Journal of Current Issues & Research in Advertising 36, no. 1 (January 2, 2015): 70–87. http://dx.doi.org/10.1080/10641734.2014.912599.
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Saura, Jose Ramon, and Jonathan Gomez Punzon. "Defining the Types of «Fakers» in Social Media." Marketing and Management of Innovations, no. 4 (2020): 231–36. http://dx.doi.org/10.21272/mmi.2020.4-18.
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Nowadays, internet users spend much of their time on social networks, where they share and generate content, support the causes and activities they like, get in touch with their peers, and generate audio-visual content. Besides, they also share their opinions with other users, thus producing User-Generated Content (UGC). The authors noted that UGC lacks proven scientific, professional, or academic quality. However, when content is generated massively in social networks, it can get viral and achieve the most significant engagement of users in the community. Furthermore, there is evidence that the content with the most significant impact on other users is the one that achieves the greatest engagement and support. The scientific review analysis indicated that usually, the content that achieves more impact and engagement in social media is related to fake news or published by fake users. In this context, the present study aims to theorize and define the concept of «faker» based on a review of previous studies. Main results show that a «faker» is a user who is not a real person, but pretends to be such. Based on the results of the exploratory analysis, the following 6 types of users classified as fakers were identified and analyzed: conspiranoid (users who share compulsive and self-taught content in which they share minimal details of the theory they support, have powerful firm beliefs, and always find a way to verify their hypotheses); proselytizing (users who try to gain followers by any means and convince other followers to follow them); narcissists (users who base their content on love and attraction to themselves and generate false content that reflects their own image as the main message); creators of chaos (users whose main objective is to generate chaos in social networks and base their arguments and theories on personal, professional, or political relationships among other users to generate conflicts that will increase the chaos within a closed community); satyr humor (users who generate content focused on the satire targeting public, mythological, ideological, or other characters or entities and defame others by focusing on the actions of public characters); paranoid tyrants (users who focus on the analysis of the information overload, which makes it difficult to interpret the contents on the Internet today). In the frame of this paper, the authors provided a discussion of important theoretical and practical implications of obtained results for the marketing industry and digital marketing in social media. Keywords: faker, fake content, social media, social network, UGC.
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Zekavat, Massih. "Reflexive humor and satire: a critical review." European Journal of Humour Research 7, no. 4 (January 14, 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 dealing with more impersonal, social and philosophical concerns.
Dissertations / Theses on the topic "Types of satire and humour"
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Chamberlain, Hugh Jonathon. "Heterodoxy and humour in the Nun's Priest's Tale, a study of the tale's clerical satire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq21532.pdf.
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Benard, Clementine. "John Donne : de la satire à l'humour." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR076/document.
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Cette étude s'attache à démontrer comment les écrits satiriques du poète élisabéthain John Donne (1572-1631) lui permettent de développer une esthétique propre, qui ne se cantonne pas qu'au corpus satirique strict mais trouve également une résonance dans le reste de son œuvre. Traditionnellement considérée comme une tendance marginale dans sa poésie, la satire chez Donne s'exprime à travers d'autres textes, laissant ainsi transparaître un « esprit satirique ». Le jeu et la prise de distance du poète vis-à-vis des conventions littéraires, sociales et religieuses de son époque nous permettent de mettre au jour une poétique dominée par le doute et la mélancolie. Cette humeur noire, selon la théorie médicale des humeurs, nous conduit vers l'humour et le comique : fort peu examinés chez Donne, ces concepts transparaissent pourtant à la lecture des textes les moins explorés par la critique, dévoilant ainsi une esthétique qui donne sa cohérence au corpus. John Donne n'est pas que le chef de file de la poésie métaphysique : son statut de satiriste lui confère également celui d'humoristeThis study aims to show how the satiric writings of Elizabethan poet John Donne (1572-1631) display a specific aesthetics, which is also to be found in all his work and not only in his satiric texts. Although it has traditionally been considered as a fringe element in Donne's poetry, satire appears in other writings, thus disclosing a ''satiric spirit''. By playing and distancing himself from the literay, social and religious standards of his time, the poet's work reveals an aesthetics ruled by doubt and melancholy. According to the system of medicine called ''humorism'', melancholy is a black fluid that brings us to humour and comedy : even though they have been rarely examined in Donne studies, these concepts do stand out after a close reading of the least sought-after poems. It thus unites and makes the whole of Donne's poetry coherent. Not only is he the best representative of the metaphysical poets, he is also a satirist as well as a humorist
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Piat, Emilie. "L’humour dans la poésie féminine britannique contemporaine (1945-2000) : stratégies et figures." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA046.
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Le seul consensus autour de la poésie féminine contemporaine est celui d’une grande diversité. Sur le plan thématique et formel, autant que du point de vue de l’origine des poètes, il semble difficile de réunir sous un paradigme unique les œuvres écrites par des femmes. C’est également l’un des aspects que soulignent l’ensemble des ouvrages consacrés à l’humour : le terme renvoie à des phénomènes si différents qu’il est presque impossible de le réduire à une définition qui recouvre l’ensemble de ses manifestations. C’est pourtant précisément en raison de cette difficulté définitionnelle que l’humour constitue un prisme de choix pour parcourir la poésie féminine contemporaine. Par nature protéiforme, l’humour est « transgenre » ; il subvertit l’ordre social et les instances de pouvoir réel ou symbolique, mais remet aussi en question les identités génériques et sexuelles. Rien d’étonnant à ce que les femmes poètes y voient une arme pour s’attaquer aux idées reçues, aux stéréotypes et aux métaphores figées, notamment celles qui prétendent définir l’identité féminine. Mettant en adéquation ce qui se passe sur le plan de l’énonciation, de la réception, de la rhétorique et de la prosodie, l’humour est donc envisagé comme une modalité d’écriture, c’est-à-dire un ensemble de formes traduisant un positionnement particulier. Cette posture, qu’elle prenne le nom d’irrévérence, d’incongruité ou de décalage, témoigne à la fois des liens complexes que les femmes entretiennent avec la tradition poétique et des stratégies qu’elles ont développées pour y parvenir, dans lesquelles se dessine une même volonté, en explorant les lieux communs et les espaces de consensus, de redessiner les contours de la poésie contemporaineThe only consensus around the question of contemporary women poetry is that of its diversity: the themes and forms of the poems written by women are almost as varied as the origins of the poets themselves. Diversity is also one of the aspects underlined by most of the publications on the subject of humour. The term applies to so many phenomena that it is virtually impossible to reduce it to a final definition. Yet it is precisely because humour is so difficult to define that it constitutes a particularly appropriate prism to approach contemporary women poetry. Humour is by essence “transgender”. It subverts social order as well as instances of real or symbolical power, and challenges sexual and generic identities. Unsurprisingly, women poets have seen it as a choice weapon to attack received opinions and stereotypes, especially when those aim at defining femininity. Humour should therefore be considered as a form of writing, or rather a set of forms, expressing a specific positioning and operating on the level of enunciation, reception, rhetoric and prosody. This posture, which can be interpreted as irreverence, incongruity or difference, testifies of the complex ties women have established with the poetic tradition. But to do so, women have also developed strategies which enable them to explore common knowledge and accepted truths, and thus redefine the contours of contemporary poetry
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Alston, Sylvia, and n/a. "Where meaning collapses: a creative exploration of the role of humour and laughter in trauma." University of Canberra. Professional Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20091215.114305.
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The thesis consists of a full-length novel and an exegesis that examines the ways in which humour can be used to restore the symbolic order and serve as a means of regaining control, thus allowing those involved in the most disturbing, painful and challenging situations to feel less powerless.
The research component of the thesis involved critical reading, fieldwork, observations, and personal interviews. The texts examined include works by Michael Billig, Henri Bergson and Julia Kristeva, in particular her reference to the act of laughing at the abject as a kind of horrified 'apocalyptic laughter', a compulsion to confront that which repels (Kristeva 1982, pp. 204-206). As part of the fieldwork, I completed training to become a Laughter Club leader. Laughter Clubs are based on the notion that laughter, even fake laughter, is beneficial. This concept is explored in more detail in the exegesis. The fieldwork also included training in laughter-generating activities for students and staff at two local primary schools. The observational component, which involved the Australian War Memorial, the 'Reveries: Photography and Mortality' exhibition, Norwood Crematorium and the children's garden and babies' rose garden at the Gungahlin cemetery, enabled me to examine images and memories of death as well as the responses of other visitors. The final component of my research involved personal interviews. The participants in these interviews were drawn from a diverse range of fields including: volunteers at a local hospice, hospital clowns, general practitioners, cancer survivors and their carers, a psychiatrist, nurses, a paramedic, a police officer, a hospital teacher and bereaved parents.
The findings from this research provided the framework for the creative piece, a novel set in present-day Canberra. The story begins one autumn evening when thirteen-year-old Sam is found unconscious and bleeding from a head wound. By the time Maggie, Sam's widowed mother, arrives at the hospital, Sam has regained consciousness. His x-rays show a large mass in his brain and he is kept in for further tests. The results confirm that Sam has an inoperable tumour. Maggie and Sam rely on humour in their interactions both with each other and with other people as a means of maintaining that 'baseline of social control' (Kristeva 1982, p. 99), staying on the edge of what Kristeva refers to as the place 'where meaning collapses' (p. 2).
Humour is their anchor, enabling them to maintain a grip on their new normality. And, as if having a dying child isn't enough to cope with, Maggie is being pursued by a handsome and slightly younger man.
Both the findings in my exegesis, and the creative work they led to, suggest that although there has been an enormous amount of research undertaken over the previous thirty or so years, there is no conclusive proof that humour can be closely correlated with health. At best, humour can provide a means of controlling that which would otherwise be outside our control.
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Nancarrow, C. R. "Verbal humour : levels of expectation : an examination of strategies with a limited corpus /." Thesis, [Hong Kong : University of Hong Kong], 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12324115.
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Gavrilova, Tatjana. "Формы и приемы комического в драматургии М.Булгакова(пьесы «Бег», «Багровый остров», «Иван Васильевич»)." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_165752-76141.
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После рассмотрения пьес «Бег», «Багровый остров» и «Иван Васильевич» можно выделить общие закономерности в области приемов комического, характерные для всех трех произведений. Итак, наиболее частотными приемами комического, используемыми при создании сюжетных ситуаций и обрисовке характеров действующих лиц, являются: прием несоо��ветствия (между словом и делом, видимостью и явным положением вещей, внешностью героя и его поведением); смена «масок» и ролей; алогичность, абсурдность поведения действующих лиц. Общим для пьес является и обращение писателя к «говорящим» именам и фамилиям в качестве приема комического, что позволяет автору дать более точную характеристику героям. Несмотря на наличие общих приемов комического (как в изображении сценических ситуации, так и речи действующих лиц), пьесы «Бег», «Багровый остров» и «Иван Васильевич» обладают и принципиальным различием в области форм комического. Так, доминирующей формой комического в пьесе «Бег» является ирония, в «Багровом острове» - сатира, в комедии «Иван Васильевич» - переплетение сатиры и юмора.Magistrinio darbo tikslas – komiškumo formų ir raiškos būdų nagrinėjimas M. Bulgakovo pjesėse „Bėgimas“, „Purpurinė sala“ ir „Ivanas Vasiljevičius“. Išnagrinėjus M. Bulgakovo kūrinius, galima išskirti bendrus dėsningumus komiškumo raiškos būdų srityje, kurie yra būdingi visoms trims pjesėms. Dažniausiai naudojami komiškumo raiškos būdai yra šie: nesuderinimas tarp veikėjo žodžių ir jo veiksmų, „kaukių“ keitimas, veikėju veiksmų absurdiškumas. Visoms trims pjesėms yra būdingi parodija ir groteskas kaip komiškumo raiškos būdai, „kalbantys“ veikėjų vardai ir pavardės. Trijų pjesių komiškumo formos yra skirtingos: pjesėje „Bėgimas“ dominuoja ironija, „Purpurinėje saloje“ – satyra, komedijoje „Ivanas Vasiljevičius“ – satyra ir humoras.
The purpose of work - consideration of comic forms and means in M. Bulgakov plays "Running", “The Crimson Island " and "Ivan Vasiljevich". After consideration of plays of М. Bulgakov, it is possible to note the general comic means which are typical to all plays. The most often comic means which are used at creation of subject situations and characters of heroes are the following: the means of discrepancy; change of "masks" of heroes; absurdity of behaviour of characters. Means of a parody and use of "speaking" names and surnames are often. Comic forms in each play are different: in "Running" - irony, in “The Crimson Island” - satire, in a comedy "Ivan Vasiljevich" - satire and humour.
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Duret, Marie. "Pour une poétique de la comédie dans le théâtre contemporain [de Beckett aux Deschamps]." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030140.
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Face aux incertitudes génériques liées à la perte des contours stricts entre les genres, qui se renforce dans les années 1950 avec les oeuvres du « Nouveau Théâtre », la théorisation de la comédie contemporaine et sa définition selon des critères génériques s'avèrent problématiques. Puisque les structures, les procédés d'écriture et les intentions des comédies divergent suivant les auteurs et leurs pratiques, dans une démarche descriptive et analytique, cette thèse propose un état des lieux de la situation de la comédie contemporaine française d'un point de vue générique. Trois manières d'écrire la comédie se dessinent. Les auteurs composent dans le genre, en pratiquant l'intertextualité, à partir des comédies classiques françaises, de la farce ou du vaudeville. Profitant d'un cadre structurel établi, ils s'approprient et radicalisent les procédés de ces genres issus de la tradition. Ils usent ensuite de techniques de composition coutumières du drame et de la tragédie pour créer des comédies catastrophiques qui superposent le comique et le tragique et jouent avec l'« horizon d'attente » de la comédie. Ils élaborent enfin des comédies scéniques à partir du plateau, en s'appuyant sur les formes comiques populaires. Malgré leur diversité, ces comédies présentent des éléments de poétique communs : elles maintiennent une ligne de fable, l'existence de personnages et la présence de dialogues, qui tendent à la conversation. Le comique reste l'élément essentiel du genre et se retrouve dans la vitalité des comédies burlesques, l'équivoque des comédies humoristiques et la critique des comédies satiriques. Forte de son hétérogénéité, puisant dans sa tradition qu'elle réinvente et osant l'inédit, la comédie contemporaine persiste en tant que genreTheorizing about contemporary comedy and defining it according to generic criteria has been getting harder and harder ever since the frontiers between literary genres became blurry, especially since the 1950s with the influence of the "Nouveau Théâtre". Since the structures, literary devices, and intentions of comedies vary according to their authors and the latter's practices, we will adopt a descriptive and analytical approach in assessing the situation of French contemporary comedy from a generic point of view. Three ways of writing comedy will emerge from our study. Some authors compose their texts from within the generic frame of comedy by building intertextual bridges with French classic comedy, farce or vaudeville and by exaggerating the traditional devices of the genre. Some choose to use composition techniques usually found in drama or tragedy in order to create comedies that end in disaster thus juxtaposing comedy and tragedy in a playful attitude with comedy's usual "horizon of expectation". Finally, others write comedies from the stage onwards and draw on popular comic conventions. Despite their diversity, these comedies share common poetic traits: they are all built around a storyline, characters and dialogues that verge on idle talk. The comic remains the essential element of the genre, be it in the vitality of burlesque comedies, the ambiguity of humorous comedies, or the criticism of satirical comedies. Contemporary comedy, buoyed by its heterogeneity and its ability to reinvent its own traditions, remains a relevant genre in today's theatrical landscape
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Madiga, Cécile. "L'humour camerounais d'expression française dans "Le Messager Popoli" : étude sémiolinguistique." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3056.
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L’humour constitue l’objet d’étude de cette recherche qui a pour support Le Messager Popoli (LMP), presse satirique camerounaise. L’objectif principal est de démontrer qu’au-delà de ses fonctions ludique, marketing, critique et de démarcation médiatique, l’humour est révélateur de l’identité linguistique camerounaise. En postulant que le jeu dans LMP repose sur le code langagier, l’humour y est étudié sous l’angle de l’incongruité linguistique, autrement dit, sous le rapport de la rupture de la norme linguistique du fait de la distance interlinguistique entre le français standard et le français tel qu’il est employé dans ce journal. Ce travail met en exergue les mécanismes de l’humour et dégage leur fonctionnement. Il présente l’humour de LMP comme étant le produit d’une construction sémiologique qui puise ses arômes savoureux dans l’environnement linguistique de son contexte de gestation et dans la fertilité créatrice de ses rédacteurs. Il tente aussi, par le biais de l’humour, de saisir la dynamique du français camerounais et, à travers lui, la société camerounaise. La présente recherche ne néglige pas l’aspect du non verbal (iconique) qu’elle présente comme complémentaire du message verbal, mais surtout comme la photographie-identitaire de la société que l’iconique donne en représentation. Ce qui justifie de l’approche sémiolinguistique choisieThe humor is the object of study of this research was to stand Le Messager Popoli (LMP), Cameroonian satirical press. The main objective is to demonstrate that beyond its fun features, marketing, media criticism and demarcation of humor is indicative of the Cameroonian linguistic identity. Assuming that the game in LMP is based on language code, the humor is studied in terms of linguistic incongruity, that means in the report of the out of the language standard because of the distance between the French interlingual standard and French as used in this paper. This work highlights the mechanisms of humor and releases their operation. It has humor LMP as the product of a semiotic construction draws its tasty flavors in the local context of pregnancy and in the creative fertility of its editors. It also attempts, through humor, to grasp the dynamics of French Cameroon, and through him, the Cameroonian society. This research does not neglect the aspect of non-verbal (iconic) presents it as complementary to the verbal message, but especially as photography-identity of the company that gives the iconic representation. It is what justifies the semiolinguistic chosen approach
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Bertron, Juliette. "De la parodie dans l'art des années 1960 à nos jours." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL028/document.
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Si la parodie est loin d'être une pratique nouvelle, la première occurrence connue du terme remontant à l'Antiquité, elle a été jusqu'alors principalement envisagée comme un genre ou comme une figure littéraires. Et pourtant ses formes, ses connotations et ses procédés sont exploités par de nombreux artistes plasticiens. Dans les années 1960, l'avènement de la société de consommation et ses effets sur la reproductibilité de l'œuvre d'art donnent à la parodie un essor nouveau. Transformant l'histoire de l'art en un répertoire accessible dans lequel puiser à loisir pour créer à partir de, la reproductibilité offre des conditions idéales au jeu parodique. Comprendre comment et pourquoi des artistes d'horizons fort divers, des années 1960 à nos jours, se saisissent de la parodie, à des fins aussi bien personnelles que contextuelles, est l'objet de cette étude. État des lieux de la notion, la première partie s'attache à définir le terme et se penche sur les parodies réalisées depuis le milieu du XIXe siècle, des Salons caricaturaux au postmodernisme en passant par les avant-gardes historiques. La deuxième partie se construit autour du ludique, du comique et du satirique, compris comme autant de couleurs et de régimes. Enfin, la troisième partie est consacrée à la part réflexive de la parodie. Art sur l'art, cette dernière participe à une mise en cause institutionnelle et aspire à la dénudation du faire artistique lui-même. Tout au long de cette étude, la parodie apparaît comme une pratique essentiellement ambivalente, entre mauvais genre et pratique cultivée, gaminerie et jeu élitiste, dégénérescence de l'art et sursaut de créativité, destitution et aveu d'admiration, outrage et hommageThe word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. The first part of this study is articulated around the precise definition of the term and a chronological view of the parodic art since the middle of the 19th century, from the Salons caricaturaux to postmodernism including historical avant- gardes. The notions of playfulness, comic and satiric will be discussed in the second part, in order to grasp the multiple shades of parody. The third and last part is devoted to the specular aspect of parody that leads to a questioning of the artistic institutions and aims to unveil the artistic practices themselves. Across these pages, parody appears as an ambivalent process, oscillating between mauvais genre and sophistication, childishness and elitism, barrenness and creative rebirth, destitution and admiration, outrage and tribute
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Lecostey, Isolde. "La littérature à l'épreuve du sourire : éléments pour une étude de l'humour noir au XXe siècle." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100107.
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Cette thèse apporte des éléments de description et d’analyse du registre littéraire que constitue l’humour noir. Elle s’appuie sur les réflexions développées par André Breton dans son Anthologie de l’humour noir (1966), tout en les resituant au sein des théories surréalistes et en démontrant que l’auteur construit un registre parfaitement adapté à la défense de ses opinions sur l’art et la modernité. La sélection effectuée par l’Anthologie peut alors être abordée sous un nouvel angle et étudiée d’un point de vue littéraire : l’humour noir peut ainsi être défini comme un registre bipolaire, reposant sur la confrontation entre deux tendances, l’une herméneutique et l’autre terroriste, mais qui interrogent toutes deux la valeur des discours tenus sur le monde. Les manifestations littéraires de l’humour noir peuvent ainsi être analysées, de même que les évolutions que connaît le registre à la suite de la Seconde Guerre mondiale. L’humour noir gagne en effet en popularité au sein des médias et les auteurs qui vont avoir recours à ce registre vont prendre en compte sa proximité avec des genres littéraires peu légitimes. Ces évolutions du registre sont étudiées à travers les œuvres de trois auteurs : Joyce Mansour, Roland Topor et Jean-Pierre Martinet. Leurs récits reposent sur des procédés similaires qui visent dans l’ensemble à déstabiliser les schémas narratifs traditionnels. Ainsi, l’humour noir interroge le lecteur sur ses habitudes de lecture et rompt le contrat passé avec l’auteur afin de remettre en cause l’idée d’une communauté possible à travers le partage – inégal – d’une culture et d’une langue communes. L’humour noir postule ainsi l’existence d’une communauté introuvable par la littérature, au sein de récits qui revendiquent leur illégitimitéThis dissertation offers new elements for the description and the analysis of the literary register that is dark humour. It is based on the considerations that André Breton developed in his Anthologie de l’humour noir (1966), and at the same time, it replaces them within the surrealist theories, in order to demonstrate that the author creates a register perfectly suited to the defence of his opinions about art and Modernity. The selection that is made in the Anthologie can henceforth be approached with a fresh eye and analyzed from a literary point of view : dark humour would then be defined as a bipolar register, built on a confrontation between two tendencies, a hermeneutic one and a terrorist one, but which both question the value of the speeches that pretend to represent reality. The literary features of dark humour can thus be analyzed, as well as its evolutions after the Second World War. Indeed, at that time, dark humour becomes more popular in the media, and the authors who use it take into account its acquaintances with literary genres that lack legitimacy. The evolutions of the register are studied through the work of three writers : Joyce Mansour, Roland Topor and Jean-Pierre Martinet. Their narratives follow similar patterns which, on the whole, aim to dismantle the traditional narrative schemes. Thus, dark humour questions the reader about his reading habits and breaks the contract entered into with the author, in order to call into question the possibility of a community unified by the – unequal – share of a common culture and language. Dark humour thereby postulates the existence of a community that cannot be found by literature, within narratives that claim their illegitimacy
Books on the topic "Types of satire and humour"
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Conference, Asociación Española de Estudios Irlandeses International. Humour and tragedy in Ireland. Málaga: Universidad de Málaga, 2005.
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Sanderson, Terry. The Potts correspondence and other gay humour. London: Other Way Press, 1987.
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Moore, Michael (director). Stupid white men ... and other sorry excuses for the state of the nation! New York: ReganBooks [u.a.], 2003.
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Stupid white men: And other sorry excuses for the state of the nation! Leicester: W. F. Howes, 2003.
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Stupid white men-- and other sorry excuses for the state of the nation! New York: ReganBooks, 2004.
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Mike contre-attaque!: Bienvenue aux Etats Stupides d'Amérique. Paris: La Découverte, 2003.
Find full textBook chapters on the topic "Types of satire and humour"
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Popa, Diana Elena. "Chapter 6. Political satire dies last." In Studies in Political Humour, 137–65. Amsterdam: John Benjamins Publishing Company, 2011. http://dx.doi.org/10.1075/dapsac.46.10pop.
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Lippitt, John. "Illusion and Satire: Climacus as Satirist." In Humour and Irony in Kierkegaard’s Thought, 12–26. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598652_2.
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Higgie, Rebecca. "Under the Guise of Humour and Critique: The Political Co-Option of Popular Contemporary Satire." In Satire and Politics, 73–102. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56774-7_3.
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Thomson, Rodney M. "Satire, Irony, and Humour in William of Malmesbury." In Disputatio, 115–27. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.disput-eb.3.1645.
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Plester, Barbara. "Execution of a Joke: Types and Functions of Humour." In The Complexity of Workplace Humour, 39–66. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-24669-7_3.
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Skovgaard-Petersen, Karen. "Journeys of humour and satire: Peder Paars and Niels Klim." In Ludvig Holberg (1684–1754), 116–34. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315593098-8.
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McIntyre, Dan, and Jonathan Culpeper. "Activity Types, Incongruity and Humour in Dramatic Discourse." In Language and Style, 204–22. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06574-2_13.
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Henry, Matthew A. "“Upper-Lower-Middle-Class Types”: Socioeconomic Class on The Simpsons." In The Simpsons, Satire, and American Culture, 135–66. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137027795_6.
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Zabalbeascoa, Patrick. "Solution-Types for Representing Dubbed Film and TV Multilingual Humour." In Linguistic and Cultural Representation in Audiovisual Translation, 165–83. New York : Routledge, [2018] | Series: Routledge Advances in translation and interpreting studies, 32: Routledge, 2018. http://dx.doi.org/10.4324/9781315268552-10.
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Hörschelmann, Kathrin, and Elisabeth El Refaie. "Youth Citizenship beyond Consensus: Examining the Role of Satire and Humour for Critical Engagements in Citizenship Education." In Youth Cultures in the Age of Global Media, 225–41. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137008152_14.
Full textReports on the topic "Types of satire and humour"
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.
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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.