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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.
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Akpah, Bartholomew Chizoba. "Satire, humour and parody in 21st Century Nigerian women’s poetry." European Journal of Humour Research 6, no. 4 (December 30, 2018): 133. http://dx.doi.org/10.7592/ejhr2018.6.4.akpah.
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21st century Nigerian women poets have continued to utilise the aesthetics of literary devices as linguistic and literary strategies to project feminist privations and values in their creative oeuvres. There has been marginal interest towards 21st century Nigerian women’s poetry and their deployment of artistic devices such as satire, humour and parody. Unequivocally, such linguistic and literary devices in imaginative works are deployed as centripetal force to criticise amidst laughter, the ills of female devaluation in the society. The major thrust of the study, therefore, is to examine how satire, humour and parody are deployed in selected Nigerian women’s poetry to reproach and etch the collective ethos of women’s experience in contemporary Nigerian society. The study utilises qualitative analytical approach in the close reading and textual analysis of the selected texts focusing mainly on the aesthetics of humour, satire and parody in challenging male chauvinism in contemporary Nigerian women’s poetry. Three long poems: “Nuptial Counsel”, “Sadiku’s Song” and “The Sweet, Sweet Mistress’ Tale” by Mabel Evweirhoma and Maria Ajima respectively were purposively selected. The choice of the selected poems hinges on the artistic vigour, especially the evoking of laughter, mockery and condemnation of hegemonic strictures through the use of satire, humour and parody. The paper employs Molara Ogundipe’s Stiwanism, an aspect of Feminist theory in the analysis of the selected poems. The poets have shown the interventions of humour, satire and parody as linguistic devices in condemning and highlighting peculiarities of women peonage in Nigeria.
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Priydarshi, Ashok Kumar. "Satire and Humour in Jane Austen’s ‘Northanger Abbey’." Journal of Advanced Research in English and Education 04, no. 04 (January 14, 2020): 9–11. http://dx.doi.org/10.24321/2456.4370.201909.
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Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.
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Merziger, Patrick. "Humour in Nazi Germany: Resistance and Propaganda? The Popular Desire for an All-Embracing Laughter." International Review of Social History 52, S15 (November 21, 2007): 275–90. http://dx.doi.org/10.1017/s0020859007003240.
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Two directions in the historiography of humour can be diagnosed: on the one hand humour is understood as a form of resistance, on the other hand it is taken as a means of political agitation. This dichotomy has been applied especially to describe humour in National Socialism and in other totalitarian regimes. This article argues that both forms were marginal in National Socialism. The prevalence of the “whispered jokes”, allegedly the form of resistance, has been exaggerated. The satire, allegedly the official and dominant form of humour, was not well-received by the National Socialistic public. This article will reconstruct the rise of a third form, the “German humour”, and discuss the reasons for its success by looking at why satire failed.
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Ryabova, Galina Nikolaevna. "Humour and satire in everyday life in 1920s Soviet society." European Journal of Humour Research 9, no. 1 (April 3, 2021): 136–54. http://dx.doi.org/10.7592/ejhr2021.9.1.ryabova.
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In the Soviet society of the 1920s, humour and satire existed on two levels: official and unofficial. They have rather diverse forms. At the official level, there were, first of all, satirical articles, humoresques, and cartoons in the newspapers. Newspapers were an integral part of Soviet everyday life. Secondly, there were the performances of propaganda teams (the «Blue Blouse» in particular). These performances took place at any venues: in working clubs and village halls, on the factory floors, in different offices. The repertoire of propaganda teams always included satirical couplets directed against «internal and external enemies». At the unofficial level, there were witty-ditties, funny couplets, and anecdotes. They have various contents: from everyday and romantic issues to political problems. Therefore, at this level humour and satire expressed a critical attitude to the government and popular protest. At each level, humour and satire had their own goals and fulfilled various functions: from ideological to relaxational.
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Golubkov, S. A. "The hidden languages of russian satire and humour." Sphere of Culture, no. 1 (2020): 51–58. http://dx.doi.org/10.48164/2713-301x_2020_1_51.
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FRASER, VERONICA. "HUMOUR AND SATIRE IN THE ROMANCE OF JAUFRE." Forum for Modern Language Studies XXXI, no. 3 (1995): 223–33. http://dx.doi.org/10.1093/fmls/xxxi.3.223.
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Taylor, Phil, and Peter Bain. "‘Subterranean Worksick Blues’: Humour as Subversion in Two Call Centres." Organization Studies 24, no. 9 (November 2003): 1487–509. http://dx.doi.org/10.1177/0170840603249008.
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This article engages in debates stimulated by previous work published in Organization Studies, and more widely, on the purpose and effects of workers’ humour and joking practices. The authors emphasize the subversive character of humour in the workplace, rejecting perspectives which see humour as inevitably contributing to organizational harmony. Drawing on methodologies, including ethnography, which permitted the authors to penetrate the organizational surface of two call centres, rich evidence of satire and joking practices were uncovered. While long-acknowledged motives were revealed, particularly relief from boredom and routine, workers’ use of humour took novel, call centre specific forms. Overwhelmingly, though, humour contributed to the development of vigorous countercultures in both locations, which conflicted with corporate aims and priorities. However, the particular combinations of managerial culture, attitudes to trade unionism and dissent, and the nature of oppositional groupings helped impart a different character to humour between the two call centres. At Excell, the presence of a group of activists seeking to build workplace trade unionism in circumstances of employer hostility was a crucial contrast. These activists were instrumental in their use of humour, aware that it helped make the union popular and served to weaken managerial authority. This evidence, that subversive satire can be allied to a wider collective union organizing campaign at workplace level, makes a distinctive contribution to the recent literature on organizational humour.
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Saputro, Septian. "HUMOR TERKAIT MU’AMMAR AL-QAZ\A>FI (ANALISIS PRAGMATIK)." Adabiyyāt: Jurnal Bahasa dan Sastra 15, no. 2 (December 25, 2016): 197. http://dx.doi.org/10.14421/ajbs.2016.15205.
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Humour functions as a critic, satire, irony or propaganda. By using humour, it is posible to say the truth elegantly and sofly, without disturbing others’ feeling. In pragmatic comunication theory, humour is created from deviations of comunication principles, e.g: Grice principle of comunication and Leech principle of comunication. This research uses the jokes on the former leader of Libyan Mu’ammar al-Qaz\a>fi as the object material. Mu’ammar al-Qaz\a>fi was the leader of controversy as well as he was a dictator. Then, there are assumptions that the humours about al-Qaz\a>fi are not only about entertaiment but also about special aims. The researcher uses pragmatic analysis that covers Grice cooperative principle, Leech politeness principle and speech acts (illocutionary act). The results are that political humour in Libyan was a new kind of humour and it was developed while the revolution was on and in the aftermath. While Ilocutionart Acts, which are found in the humours about al-Qaz\a>fi, are irony, claiming, ordering, complaining, and satiring. The aims in the humours are satire and irony.
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Greene, Viveca. "The Use of Memes and Satire by the Alt-right and Gen Z Activists – Exclusion vs Inclusion." Journal of Intelligence, Conflict, and Warfare 3, no. 3 (April 3, 2021): 176–77. http://dx.doi.org/10.21810/jicw.v3i3.2818.
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On November 27, 2020, Viveca S. Greene presented The Use of Memes and Satire by the Alt-right and Gen Z Activists – Exclusion vs Inclusion at the 2020 CASIS West Coast Security Conference. The presentation was followed by a group panel for questions and answers. Main discussion topics included humour studies, the Alt-Right, satire, and memes.
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Borodenko, Marina, and Vadim Petrovsky. "The semiology of humour." European Journal of Humour Research 9, no. 2 (July 20, 2021): 7–25. http://dx.doi.org/10.7592/ejhr2021.9.2.553.
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A semiology-based approach to understanding humour is being developed and an interpretation of humour as a “counter-sign,” a two-faced sign within the space of conventionality, is put forward. The range of core attributes to interpret the phenomenon of humour is determined. The concepts of the “frame of significance,” “conventionality,” and “meta-communicative marker of conventionality” are elaborated. The general definition of humour is being formulated as a “sign-based identification of non-identifiable signs within the space of conventionality.” An outline is put forward to enable the formal distinction between satire, humour, irony, and jokes. The following questions are addressed: “Why does that which is funny cease to be so if it is repeated many times?”, “Why can the terrifying become funny when recollected?” “Why is the state of bewilderment not always funny but returning to it in one’s thoughts triggers laughter?”
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Puspasari, Maulidya Ayu, and Lisetyo Ariyanti. "FLOUTING MAXIMS IN CREATING HUMOR: A COMPARISON STUDY BETWEEN INDONESIAN AND AMERICAN." Prosodi 13, no. 2 (December 12, 2019): 75–88. http://dx.doi.org/10.21107/prosodi.v13i2.6084.
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In a stand up comedy, the Stand-up comedian or also known as comic have to tell about their restlessness to the audience in a funny way. In order to make the audience laugh, they surely need to make the audience understand the topic being discussed. Concerning to the success of a communication, Paul Grice (19890 proposed four cooperative principles that people expected to follow; maxim of quantity, maxim of quality, maxim of relevance, and maxim of manner (Yule, 1996). However, Attardo claims that disobeying maxims is common in a research of humor (Attardo, 1990). Thus, this study is purposed to compare the flout of maxims done by an Indonesian comic and an American comic, its joke techniques which they employ while flouting maxims to create humorous materials and the reason why they flout certain maxim the most and use certain joke techniques. This study uses descriptive qualitative method to observe the result of flouting maxims in Stand up comedy. The result finding of this study will be in a form of descriptive text. The participants of this study are an Indonesian comic named Abdur Arsyad and an American comic named Kevin Hart. The result of this study finds that the maxims each comics flout the most are different which is influenced by the difference of their nationalities and cultures. Kevin flouts maxim of quantity the most because of the influence of American culture which tend to be direct in communication. Meanwhile, Abdur flouts maxim of quality the most because of the influence of Indonesian culture which tend to be indirect in communication. Even though the maxim they flout the most are different, their flout of maxims are similarly employed all types of joke techniques which contributed to create humor. Their flouts of maxims have employed paralanguage, ridicule, satire, and politeness strategy of joke techniques. The similarity of the joke techniques employed by both comics is influenced by their ethnic background. Abdur Arsyad and Kevin Hart have different nationalities, however they have the same ethnic background. Abdur comes from East side of Indonesia, and Kevin is African-American which both are minority in their countries. Therefore, they employ the same joke telling technique to deliver the jokes. It can also be influenced by their joke materials which are similar. Both of them usually bring up the topic of the restlessness of being minority and about social criticism.
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Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (February 25, 2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.
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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers. In this regard, the selected poems in this paper are crowded with anecdotes, the effusive use of humour, suspense and curiosity. The over-arching argument of the paper is that satire is grounded in the poetics of contemporary Nigerian poetry in order to criticize certain aspects of the social ills plaguing Nigerian society. The paper will further examine how satire articulates social issues in the works of contemporary Nigerian poets, including Niyi Osundare, Tanure Ojaide, Chinweizu, Femi Fatoba, Odia Ofeimun, Ezenwa Ohaeto, Obiora Udechukwu and Ogaga Ifowodo. Viewed in the light of artistic commitment, the paper will demonstrate how satire accentuates the role of these poets as the synthesizers/conduits of social and cultural concerns of Nigerian society for which they claim to speak. As representatively exemplified in the selected poems, the paper will essentially focus on the mediation of satire for the impassioned criticism of social and moral vices, militating against Nigeria’s socio-political development.
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Schmitz, Christine. "Maria Plaza: The Function of Humour in Roman Verse Satire ." Gnomon 81, no. 1 (2009): 17–22. http://dx.doi.org/10.17104/0017-1417_2009_1_17.
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SCRIVEN, TOM. "HUMOUR, SATIRE, AND SEXUALITY IN THE CULTURE OF EARLY CHARTISM." Historical Journal 57, no. 1 (January 29, 2014): 157–78. http://dx.doi.org/10.1017/s0018246x13000186.
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ABSTRACTHistories of Chartism have tended to emphasize the hegemony of respectability within the movement, and with histories of the popular press have seen the 1830s as a decisive break with older radical traditions of sexual libertarianism, bawdy political culture, and a satirical, sometimes obscene print culture. However, the basis of this position is a partial reading of the evidence. Work on London Chartists has emphasized their moralistic politics and publications at the expense of their rich populist and satirical press and the clear survival of piracy and romantic literature well into the Chartist period. The neglect of an important early leader, Henry Vincent, has meant the bawdy, sensual, and sometimes scatological letters he sent to his cousin in London have been overlooked as a source on the moral life of the Chartist generation. This article will address this by studying Vincent's letters in the context of London's populist press, particularly the work of his friends John Cleave and Henry Hetherington. Vincent's humour and attitude towards sexuality clearly reflect a broader tendency in London radicalism, while his own efforts as a newspaper editor in Bath indicate that acerbic humour was an important aspect not just of Chartism's political critique, but of its appeal to the provincial working class.
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Trakhtenberg, L. A. "«The Breams», a Fable by I. A. Krylov, and its French Source." Russkaya literatura 1 (2020): 99–102. http://dx.doi.org/10.31860/0131-6095-2020-1-99-102.
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The article shows that I. A. Krylov’s fable «The Breams» is based on J.-J. Boisard’s fable «The Pikes». It demonstrates how Krylov transformed the source plot, turning a static situation into a dynamic story, spotlighting a minor image and supplementing humour with satire.
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TWARK, JILL E. "Approaching History as Cultural Memory Through Humour, Satire, Comics and Graphic Novels." Contemporary European History 26, no. 1 (September 29, 2016): 175–87. http://dx.doi.org/10.1017/s0960777316000345.
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Recent empirical research into humour and memory attests to the fact that people remember better when they perceive a word, phrase or image to be humorous. When the proximity of multiple ethnic groups engenders jokes displaying diverse perspectives and what Henri Bergson described as ‘corrective’ satire, such jokes can help remedy racism and fear of the other. Taking a humorous or satirical stance allows artists and writers to explore alternatives to contemporary reality and to uncover truths overlooked or consciously elided by government and mass media discourse. Such is the case with the recent publications on humour discussed here. Although they vary widely by topic and time period, all focus on how power struggles, oppression and violence are represented by means of humour and satire, as well as by the not necessarily jocular but nevertheless related genres of comics and the graphic novel. Recent historical research demonstrates how these creative genres not only critique political events and figures but also preserve, in a sophisticated cultural format, their readers’ short-term everyday working memory and long-term cultural memory of prejudice, subjugation and mass murder. In these texts the authors spotlight how the primary source creators commented on historical events, incorporated historical artefacts in their works and generated countercultural memories that fill gaps in historical narratives from other sources.
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Klitgård, Ida. "”Critical Parents Against Plaster”." MedieKultur: Journal of media and communication research 36, no. 68 (October 1, 2020): 004–24. http://dx.doi.org/10.7146/mediekultur.v36i68.118571.
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In this study, I propose to regard written news satire as a vital vehicle in combatting scientific disinformation. But in order to do so, we must examine the construction of spoof news. How does written news satire convey its social criticism by way of language, discourse and style? And what happens to the content? My case is a spoof article of the 1998 MMR vaccination scandal as rendered in the Danish news satirical website Rokokoposten (2015). The analysis is based on Jakobson’s communication model (1960), Raskin’s semantic model of humour (1985) together with Ermida’s (2012) and Simpson’s (2003) analyses of the discourse of satire. To this will be included a novel approach which regards satire as a kind of intralingual translation. Thus, this paper sheds light on the issue of the news satirist as a knowledge broker.
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Aslanova, N. M. "Sociocultural Aspects of the Contemporary Political Humour and Satire in Italy." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 1 (2020): 129–37. http://dx.doi.org/10.15826/izv1.2020.26.1.014.
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Hollings, James. "REVIEW: Humour cuts through to the truth." Pacific Journalism Review : Te Koakoa 24, no. 2 (November 2, 2018): 263–64. http://dx.doi.org/10.24135/pjr.v24i2.455.
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The Funniest Pages: International Perspectives on Humor in Journalism, edited by David Swick and Richard Lance Keeble. New York: Peter Lang. 2017. 288 pages. ISBN 978-1-4331-3099-1 (hardcover); ISBN 978-1-4539-1781-7 (e-book)
SOME of my most treasured moments in journalism have come, not through some painstaking excoriation of the powerful and corrupt, but thumbing the pages of Private Eye, or watching John Clarke take down the vanity of politicians across the ditch. Satire, humour and the cartoon page are as much journalism as investigative exposés; they’re the foam on the beer of journalism, the froth that stops us gagging on the otherwise relentless wholesomeness.
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Vorobyeva, Maria. "Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil." European Journal of Humour Research 9, no. 1 (April 3, 2021): 155–74. http://dx.doi.org/10.7592/ejhr2021.9.1.vorobyeva.
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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy.
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Orji, Bernard Eze. "Humour, satire and the emergent stand-up comedy: A diachronic appraisal of the contributions of the masking tradition." European Journal of Humour Research 6, no. 4 (December 30, 2018): 24. http://dx.doi.org/10.7592/ejhr2018.6.4.orji.
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Masking is a phenomenon that is traced to almost all human ages. From its prehistoric and primitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its use as forms of character delineation in the commedia dell’Arte of the 16th and 18th century Europe, as well as its age long association with carnivals due largely to its analogous to humour and entertainment. Masking, as comic as it may seem, has been critical of humanity’s social dispositions from time past. As humans, the façade of the mask is a leeway to speak truth to power and also an opportunity for the performance of self in ways that are at variant with the real self. As topical as the activities of the masquerade are to the society, no academic quest has been directed to investigate how humour and satire have always been associated with the masquerade. Following the social criticism, humour and entertainment which have become evidently inherent in the emergent stand-up comedy, scholars have directed their critical attention towards this new live theatre without considering the humorous functions of the masquerade for an academic enquiry. It is against this backdrop that this paper has decided to investigate and re-establish historically the humorous contributions of the masking art in almost all facets of human conditions. The resources for the paper were a combination of library and historical research. The paper established that satire and humour, as enjoyed in all venues of stand-up comedy acts in Nigeria, are just a contemporary addition to what masks had done in the past but for dearth of proper documentation of these contributions. The masking tradition has been a source of humour and sarcasm to issues bordering on human relations all over the world
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Meisner, Natalie, and Donia Mounsef. "Gender, Humour and Transgression in Canadian Women’s Theatre." Prague Journal of English Studies 3, no. 1 (September 1, 2014): 47–63. http://dx.doi.org/10.2478/pjes-2014-0017.
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AbstractAre humour and laughter gender-specific? The simple answer, like most everything that is ideological, is “yes”. Many feminists in recent years have grappled with the question of humour and how it is often the site of much contestation when it comes to women using it as a tool of transgression. This paper probes the seemingly timeless antipathy between humour and representations of femininity through recourse to performance and theories of the body. This article holds the term “woman” up to scrutiny while simultaneously examining the persistence of both critical and philosophical recalcitrance and the way humour continues to function in both gendered and violent ways. How does gender “do” or “undo” humour? Laughter is no simple matter for women, due to the legacy of profoundly polarized and hyper-sexualized historical ambivalence between femininity and laughter. Acknowledging the problematic nature of the category “woman”, and after clearing some terminological distinctions (comedy, humour, irony, satire, and parody), this article investigates humour’s complicated and volatile relationship to gender and the way the laughing body of women on stage presents a fascinating double helix of sexual aggression and power
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Wintersteiner, Werner. "“Nichts als der Tod und die Satire”." Daphnis 47, no. 1-2 (March 5, 2019): 344–78. http://dx.doi.org/10.1163/18796583-04701005.
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Grimmelshausen’s Simplicius Simplicissimus, the classic novel of the Thirty Years War, is a unique critique in an exuberant narrative form. The double perspective (the hero narrates, as an old man, his own life), the doubt as a principle, irony as the fundamental tone – these are his main strategies to analyse the ambivalence of human behaviour as well as to check critically social models of a more peaceful society. Grimmelshausen refuses any philosophical, political or theological justification of violence. However, his irony, his humour and his narrative power make the lecture of his work a pleasure until today. The comparison with a modern African novel, Ahmadou Kouroumas Allah Is Not Obliged, reveals similarities as well as differences and proves one more time the topicality and constant relevance of this Baroque novel.
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Scripnic, Gabriela, and Diana Elena Popa. "From hostile humour to stereotyping in televised satire Les Guignols de l’Info." Constructing and Negotiating Identity in Dialogue 5, no. 1 (June 23, 2015): 90–106. http://dx.doi.org/10.1075/ld.5.1.05scr.
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Humour displayed by today’s media targets both individuals and communities and the degree to which it is perceived as a mere humoristic act or, more seriously, as an insult depends on a series of factors which point to: its creator (the goal he/she (c)overtly assumes to reach), its addressee (whether he/she is a witness or a target), and the context in which the act is performed (institutionalized vs non-institutionalized). This study takes into account several examples from the French show Les Guignols de l’Info in order to bring forth the language tools and discourse strategies by means of which the creators of the show build up a negative image of the Romanian people.
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Keane, Catherine. "The Function of Humour in Roman Verse Satire: Laughing and Lying (review)." Classical World 101, no. 1 (2007): 111–12. http://dx.doi.org/10.1353/clw.2007.0082.
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da Costa e Silva, V. L. "Anti-tobacco posters in Brazil: fighting smoking with humour, satire and ridicule." Tobacco Control 2, no. 3 (September 1, 1993): 189–90. http://dx.doi.org/10.1136/tc.2.3.189.
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Massarani, Luisa, Padraig Murphy, and Rod Lamberts. "COVID-19 and science communication: a JCOM special issue. Part 2." Journal of Science Communication 19, no. 07 (December 14, 2020): E. http://dx.doi.org/10.22323/2.19070501.
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As COVID-19 continues its devastating pathway across the world, in this second part of the JCOM special issue on communicating COVID-19 and coronavirus we present further research papers and practice insights from across the world that look at specific national challenges, the issue of “fake news” and the possibilities of satire and humour in communicating the seriousness of the deadly disease.
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Ponton, Douglas M. "“Never in my life have I heard such a load of absolute nonsense. Wtf.” Political satire on the handling of the COVID-19 crisis." Russian Journal of Linguistics 25, no. 3 (December 15, 2021): 767–88. http://dx.doi.org/10.22363/2687-0088-2021-25-3-767-788.
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This paper problematises political satire in a time when the COVID-19 virus has provoked numerous deaths worldwide, and had dramatic effects on social behaviour, on a scale unknown in western nations since World War II. Most populations have endured lockdown, periods of enforced domestic imprisonment, which led to images of the empty streets of big cities appearing in media, symbols of the drastic changes that the health emergency was making necessary. Yet, from the outset, comic memes began to circulate across (social) media, while in mainstream print media political satirists continued to lampoon official responses to the ongoing crisis. The paper thus aims to explore the connection of political satire and humour, asking two principle research questions: firstly, how to explain the humorous effects of these multimodal artefacts in such depressing circumstances; secondly, from a pragmatic perspective, to account for their overall socio-political function.The study uses memes taken from various online sources (Facebook, Twitter, Google) during the crisis, analysed according to a mixed approach that blends notions from Humour studies, especially incongruity (Morreall 2016), with insights from linguistic pragmatics (e.g. Kecskes 2014). The findings emphasise the emotional dimension of this form of satire, as the memes work against the backdrop of a range of feelings (anger, bitterness, disappointment, frustration, despair, etc.), many of which have been widely generated by the COVID-19 crisis and political responses to it. In short, to paraphrase Walter Benjamin (2008: 378), man may run out of tears but not of laughter. The findings contribute to our understanding of online satire as an emergent genre, one that uses the affordances of new media to extend the social potentialities of a traditional subversive discourse form.
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Olusegun, Elijah Adeoluwa. "The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà." European Journal of Humour Research 6, no. 4 (December 30, 2018): 118. http://dx.doi.org/10.7592/ejhr2018.6.4.olusegun.
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This article explores the deployment of humour in Wole Soyinka’s new and full-length play Alápatà Apátà. The emergence of Moses Olaiya (otherwise known as Baba Sala) on the Nigerian theatre scene at a time it was dominated by such colossuses as Hubert Ogunde, Duro Ladipo, and Kola Ogunmola, as a popular jester and comic actor has elevated the phenomenon called áwàdà to a popular form of art. The idea of serious theatre involving mostly tragedy had dominated the Nigerian theatrical scene to an extent that little attention is devoted to the less popular form of comedy until it was given impetus by the dexterity of Moses Olaiya. In the dramatic literary circle, Wole Soyinka bestrides the Nigerian space with his biting and humorous satire in such plays as The Lion and the Jewel, The Jero Plays, Childe International amongst others. With a great mastery of satire and humour, in his most recent play Alápatà Apátà, we witnessed a reincarnation of Moses Olaiya. However, Soyinka does not focus only on the character of Moses Olaiya (whom he dedicates the play to), he explores the misapplication of Yoruba language’s accent resulting in semantic oddity. The incongruity that can arise from the misunderstanding of language and its nuances is brought to the fore in our understanding of the theoretical exploration of the phenomenon called áwàdà. This article thus situates Wole Soyinka’s Alápatà Apátà within the literary and theatrical explication of humour in the Nigerian context showing that ‘that which is comic’ resonates as a universal human phenomenon irrespective of language.
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Jackson, Robin. "Socrates’ Iolaos: Myth and Eristic in Plato's Euthydemus." Classical Quarterly 40, no. 2 (December 1990): 378–95. http://dx.doi.org/10.1017/s0009838800042968.
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The Euthydemus presents a brilliantly comic contrast between Socratic and sophistic argument. Socrates' encounter with the sophistic brothers Euthydemus and Dionysodorus exposes the hollowness of their claim to teach virtue, unmasking it as a predilection for verbal pugilism and the peddling of paradox. The dialogue's humour is pointed, for the brothers' fallacies are often reminiscent of substantial dilemmas explored seriously elsewhere in Plato, and the farce of their manipulation is in sharp contrast to the sobriety with which Socrates pursues his own protreptic questioning. But the strategies of this text are complex: the Euthydemus may be a playful satire of the desire to confound, yet beneath its knockabout humour a serious purpose is also visible.
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Gardner, Kevin J. "John Gay, Court Patronage, and The Fables." Reinardus / Yearbook of the International Reynard Society 27 (December 31, 2015): 98–111. http://dx.doi.org/10.1075/rein.27.05gar.
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John Gay’s fables comprise an extended satire on the artifice of court life and of the hypocrisy and vanity of courtiers, an ironic perspective from a satirist whose own life was marked by the pursuit of court preferment and patronage. This essay explores the central themes of Gay’s fables and sets them within the context of his letters and earlier poems. His earliest efforts to achieve court preferment through panegyrical poetry lack consistency in high standards of poetic accomplishment; however, Gay’s two extraordinary sets of fables, rich in humour and satire in their varied explorations of the morality of courtiers and court life, succeed in spite of his antithetical impulses about court patronage.
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Bebber, Brett. "The Short Life ofCurry and Chips: Racial Comedy on British Television in the 1960s." Journal of British Cinema and Television 11, no. 2-3 (July 2014): 213–35. http://dx.doi.org/10.3366/jbctv.2014.0204.
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This article analyses Curry and Chips (ITV, 1969), a situation comedy that relied heavily on racial humour to satisfy its audiences. Like other sitcoms during this era in British television, it capitalised on extant anxieties about the increasing migration of formerly colonised subjects to Britain. Johnny Speight and Spike Milligan, the programme's creators, believed that forwarding vulgar racial epithets and bigoted humour put English attitudes to immigration under examination. But the programme proved popular because of its appeal to white workers, who viewed depictions of the challenges of integrating non-white workers in a comedic context with some pleasure. Under the thin guise of political satire, the programme recirculated ethnic stereotypes and racist discourses to make its humour apparent. Audience research and letters of complaint also reveal that Curry and Chips appealed to audiences sympathetic to the racist attitudes forwarded by the programme's characters and failed to change white Britons’ perspectives on migration and integration. Because of the debate it caused about the appropriateness of its humour, Curry and Chips lasted only a single series before being banned by the Independent Television Authority. Like other forms of racial humour, the comedy resonated with working-class anxieties but negated the programme's utility as progressive parody.
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Yurchyshyn, Vita. "Types of satire interpretation in British media discourse." Synopsis: Text Context Media 27, no. 2 (2021): 77–85. http://dx.doi.org/10.28925/2311-259x.2021.2.6.
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The Subject of the Study is types of satire interpretation in British media discourse. The material for the research includes texts from British satirical magazine Private Eye (2020) covering articles on social and political topics. The aim of the survey is to identity types of satire interpretation based on the order of activation of contextual sources in British media discourse. To achieve the aim, the method of discourse analysis and functional pragmatic analysis were applied. As a result of the study based on relevance theory the role of context in satire interpretation was determined and the characteristics of six contextual sources the reader resorts to while interpreting satire in British printed media were established. The study claims that in some cases several contextual sources are activated simultaneously on different stages of satire interpretation, i.e. in disambiguation and in derivation of implicated premises and conclusions to yield both explicatures and implicatures. The research establishes that contextual information helps to simplify the process of satirical intentions identification, thus saving cognitive effort and increasing contextual effect in the process of satire interpretation. Taking into account the order of activation of contextual sources and the nature of interaction of context and explicitly expressed information, the study singles out four types of satire interpretation in British media discourse: a) fast satirical interpretation when satirical intentions are made vivid at the beginning of satire interpretation; b) satirical interpretation in which satirical intentions become manifest in the middle of interpretation process; c) satirical interpretation and explicit interpretation occur simultaneously; d) satirical interpretation becomes obvious only at the end of interpretation. Further research in this direction could be done in identification of prototypical types of satire interpretation in media discourse and impact of these types of interpretation on cognitive effect of satirical utterances.
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Eisenberg, Julie. "Sex, Satire and ‘Middle-Class Morality': Reflections on Some Recent Defamation Cases." Media International Australia 92, no. 1 (August 1999): 19–31. http://dx.doi.org/10.1177/1329878x9909200105.
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This article examines recent defamation cases, especially the Hanson and Abbott and Costello cases, as studies of how courts distil meanings from publications and judicial perceptions about how ordinary readers interpret publications. It explores the difficulty in defining the line between publications that are tasteless, tacky or hurtful and those that are defamatory, particularly those which deal at the fringes of sexual morality or subversive humour. Finally, it addresses the question of whether defamation law creates a parallel system of censorship.
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Pal, Chinder. "Wit, Humour and Satire in R.K. Narayan’s Selected Short Stories in Malgudi Days." Journal of Advances and Scholarly Researches in Allied Education 15, no. 4 (June 1, 2018): 44–48. http://dx.doi.org/10.29070/15//57231.
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Luqiu, Luwei Rose. "The cost of humour: Political satire on social media and censorship in China." Global Media and Communication 13, no. 2 (May 3, 2017): 123–38. http://dx.doi.org/10.1177/1742766517704471.
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Silva, Patrícia Dias da, and José Luís Garcia. "YouTubers as satirists: Humour and remix in online video." JeDEM - eJournal of eDemocracy and Open Government 4, no. 1 (October 18, 2012): 89–114. http://dx.doi.org/10.29379/jedem.v4i1.95.
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This article aims to discuss the role humour plays in politics, particularly in a media environment overflowing with user-generated video. We start with a genealogy of political satire, from classical to Internet times, followed by a general description of “the Hitler meme,” a series of videos on YouTube featuring footage from the film Der Untergang and nonsensical subtitles. Amid video-games, celebrities, and the Internet itself, politicians and politics are the target of twenty-first century caricatures. By analysing these videos we hope to elucidate how the manipulation of images is embedded in everyday practices and may be of political consequence, namely by deflating politicians' constructed media image. The realm of image, at the centre of the Internet's technological culture, is connected with decisive aspects of today's social structure of knowledge and play. It is timely to understand which part of “playing” is in fact an expressive practice with political significance.
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HURMELINNA-LAUKKANEN, PIA, KWADWO ATTA-OWUSU, and EEVA-LIISA OIKARINEN. "YOU ARE JOKING, RIGHT? — CONNECTING HUMOUR TYPES TO INNOVATIVE BEHAVIOUR AND INNOVATION OUTPUT." International Journal of Innovation Management 20, no. 08 (December 2016): 1640021. http://dx.doi.org/10.1142/s1363919616400211.
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While humour is present in everyday business in practice, its strategic meaning and effectiveness are rarely investigated in relation to innovation processes or their management. In this study, we suggest that different types of humour can have both positive and negative effects on innovative work behaviour and the innovation output of individuals, and that the nature of the effects depends to an extent on whether these types of humour are present in interaction within or across organisational boundaries. Theoretical discussion and empirical evidence derived from a quantitative analysis illustrate the diversity of relationships. The results indicate that while humour is, in general, more relevant for innovation within organizations, it also bears importance with regard to external relationships, especially considering innovative work behaviour. Likewise, generally speaking, aggressive humour has negative connotations while, affiliative, coping, and reframing types of humour are associated with positive undertones. However, these connections are not self-evident. Acknowledging differences helps managers to monitor and encourage the use of humour in varying forms of interaction within and beyond their organisations for creating supportive conditions for innovation.
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Nordenstam, Anna, and Margareta Wallin Wictorin. "Women's Liberation." European Comic Art 12, no. 2 (September 1, 2019): 77–105. http://dx.doi.org/10.3167/eca.2019.120205.
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In Sweden, publication of original feminist comics started in the 1970s and increased during the following decade. This article describes and analyses the Swedish feminist comics published in the Swedish radical journals Kvinnobulletinen and Vi Mänskor, as well as in the Fnitter anthologies. These comics, representing radical feminism, played an important role as forums for debate in a time when feminist comics were considered avant-garde. The most prominent themes were, first, the body, love and sexualities and, second, the labour market and legal rights. The most frequent visual style was a black contour line style on a white background, recalling the comics of Claire Bretécher, Aline Kominsky-Crumb and Franziska Becker. Humour and satire, including irony, were used as strategies to challenge the patriarchy and to contest the prevailing idea that women have no sense of humour.
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Bex, Tony. "Book Review: On the Discourse of Satire: Towards a Stylistic Model of Satirical Humour." Language and Literature: International Journal of Stylistics 15, no. 1 (February 2006): 118–20. http://dx.doi.org/10.1177/0963947006060558.
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