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Satire, humour and parody in 21st Century Nigerian women’s poetry

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Akpah B. C.
The European Journal of Humour Research
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2018
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vol. 6
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issue 4
EN
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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Book review. Delia Chiaro (2018), The Language of Jokes in the Digital Age. #like #share #lol. Abingdon/New York: Routledge.

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Georgalou M.
The European Journal of Humour Research
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2019
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vol. 7
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issue 1
EN
Delia Chiaro (2018), The Language of Jokes in the Digital Age. #like #share #lol. Abingdon/New York: Routledge, 166 pp.
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Book Review. Quirk, Sophie (2015) Why Stand-Up Comedy Matters. How Comedians Manipulate and Influence

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Dore M.
The European Journal of Humour Research
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2017
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vol. 5
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issue 3
EN
As the title and introduction explain, Sophie Quirk’s monograph sets out to investigate the reasons and ways comedians manipulate and influence their audience. The term manipulation, however, should be considered apart from its often negative connotations and should be interpreted as the comedian’s attempt to skilfully communicate with their audience, elicit laughter and, most importantly in this case, influence their beliefs, attitude and behaviour (see p. 2). With these premises, Quirk explores instances of stand-up comedy including some interaction between mainly well-known British comedians (e.g. Eddy Izzard, Stewart Lee, Josie Long, etc.) and their audience. She also interviews some of these performers so as to gain a first-hand understanding of the comedians’ performing experience.
4
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Ad augusta per absurda

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Vareille A.
Studia Romanica Posnaniensia
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2007
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vol. 34
275-293
EN
Alphonse Allais's works are unjustly termed "funny" by some. His contemporaries regarded him as one of the best representatives of nonsense literature. Today, thanks to studies based on psychoanalysis, sociocriticism and more recent research on humour, his works can be considered as partaking of a certain commitment. As a result, jokes could be viewed as an aesthetic or political way to question reality and they could be reconsidered to be as highly esteemed as the ideas of great philosophers like Jeremy Bentham or Friedrich Nietzsche or the works of more "serious" authors like Jules Laforgue, Remy de Gourmont or Raymond Roussel. To make the reader know himself and to understand the world through nonsense - this is the paradoxical and original aspect of Allais'a works.
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Book review: Brône G., Feyaerts, K. and Veale, T. (eds.) (2015). Cognitive Linguistics and Humour. Berlin: Mouton de Gruyter. 248 pp.

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Piata A.
The European Journal of Humour Research
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2016
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vol. 4
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issue 4
EN
Book review: Brône G., Feyaerts, K. and Veale, T. (eds.) (2015). Cognitive Linguistics and Humour. Berlin: Mouton de Gruyter. 248 pp.
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Book review: Dynel, Marta (2013). Developments in Linguistic Humour Theory. Amsterdam: John Benjamins. 425 pp.

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Ioana R. V.
The European Journal of Humour Research
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2016
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vol. 4
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issue 3
EN
Book review: Dynel, Marta (2013). Developments in Linguistic Humour Theory. Amsterdam: John Benjamins. 425 pp.
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Book review: Beverly J. Rasporich. 2015. Made-in-Canada Humour: Literary, Folk and Popular Culture. Amsterdam: John Benjamins. Hardbound. 300 pp. ISSN 2212-8999

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Ciurezu I.
The European Journal of Humour Research
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2017
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vol. 5
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issue 1
EN
Made-in-Canada Humour is a journey through space and time in Canadian humour. Rasporich, Arts Professor at the University of Calgary, masterly creates a general picture of Canadian humour culture, thus revealing its particularities. What I particularly enjoyed about this research is the fact that the story line is easy to follow. The author structured the chapters geographically, leading the reader through Canadian humour from East to West. The strong point of the research lies in the large amount of examples provided, thus becoming a useful tool for scholars who study Canadian humour in particular, but also for those who want to better understand the Canadian culture.Made-in-Canada Humour is an analysis of the way in which humour was understood in the 19th and 20th centuries. As she stated from the beginning of the book, Rasporich wrote it with the intent of recording cultural history, rather than developing humour theories. The author claims from the beginning that the issue she addresses is whether Canadian cultural identity revolves around ‘not being American’. Rasporich is intrigued by the cliché that Canadian cultural identity is more or less invisible. In this context, beginning with the study of literary humour and ending with the analysis of the forms of folk humour and popular culture, the author tries to establish to what extent humour and culture interact.
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Humour in supplier-customer interactions: the views of Australian tourism operators

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Pabel A., Pearce P. L.
The European Journal of Humour Research
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2019
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vol. 7
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issue 3
EN
Much of the existing literature on the tourism-humour relationship focuses on the perceptions of tourists. Little research exists on the views of tourism operators. This study aims to gain a better understanding of the perceptions of tourism operators when deliberately including humour into interactions with customers. The research is based on three workshops with tourism industry stakeholders in North Queensland. Three interactive workshops were delivered by the author from May to July 2017 with the purpose of informing tourism industry stakeholder on how to use humour effectively in interactions with customers. Twenty-three (23) participants joined the humour workshops. The findings of this study explore what tourism operators’ perspectives and concerns are when using humour with customers as a strategic tool for customer engagement.
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FromWodehouseto theWhite House: A Corpus-Assisted Study of Play, Fantasy and Dramatic Incongruity in Comic Writing and Laughter-Talk

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Partington A.
Lodz Papers in Pragmatics
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2008
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vol. 4
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issue 2
189-213
EN
In this paper I consider two discourse types, one written and literary, the other spoken and semi-conversational, in an attempt to discover if there are any similarities in the ways in which humour is generated in such apparently diverse forms of communication. The first part of the paper is concerned with the explicitly comic prose of P. G. Wodehouse, whilst in the second part of the paper, we investigate the laughter-talk, defined as the talk preceding and provoking, intentionally or otherwise, an episode of laughter, occurring during press briefings held at the White House during the Clinton era and the subsequent Bush administration. Both studies, by employing corpus analysis techniques together with detailed discourse reading, integrate quantitative and qualitative approaches to the respective data sets.
10
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Book review: Chiaro, D. & Baccolini, R. (eds.). (2014). Gender and Humour: Interdisciplinary and International Perspectives. New York: Routledge.

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Abedinifard M.
The European Journal of Humour Research
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2015
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vol. 3
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issue 4
EN
Book review: Chiaro, D. & Baccolini, R. (eds.). (2014). Gender and Humour: Interdisciplinary and International Perspectives. New York: Routledge.
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Žáci se smějí učitelům: podoby a funkce školního humoru zaměřeného na učitele

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Šeďová K.
Pedagogická orientace (Journal of the Czech Pedagogical Society)
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2012
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vol. 22
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issue 1
41-65
EN
The article is related to the issue of pupil humor aimed at teachers in the setting of lower secondary schools and is based on an analysis of pupils’ written narratives. The data are categorized according to various situational modes in which the teachers find themselves as objects of humor – unintended comic mode, mode of pupil snare and mode of teacher joke. The analysis shows a number of functions of the school humor, especially in terms of acceptable expression of hostile feelings among pupils and teachers.
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The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà

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Olusegun E. A.
The European Journal of Humour Research
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2018
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vol. 6
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issue 4
EN
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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Ambiwalencja jako próba odzyskania autentyzmu w reprezentacji Szoa. Przykład Arnošta Goldflama

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Firlej A.
Poznańskie Studia Slawistyczne
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2023
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issue 24
27-41
EN
The starting point for this research is the crisis in discourse and pedagogy related to the representation of the Holocaust, as well as the crisis of empathy in its perception, signaled by, among others, Ernst van Alphen. With the passage of time increasing numbers of representations appear that push the boundaries of inappropriateness, requiring new approaches and new scientific findings. The Czech playwright Arnošt Goldflam, a representative of the second generation of survivors and at the same time an artist associated with the independent culture of the 1960s and 1970s, uses the category of ambivalence in his plays about the Holocaust, which may be considered as flirting with inappropriate representations of Shoah, leading to a convincing attempt to overcome its crisis.
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Figure-Ground Duality in Humour: A Multi-Modal Perspective

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Veale T.
Lodz Papers in Pragmatics
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2008
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vol. 4
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issue 1
63-81
EN
Creativity with words or pictures is not simply a matter of communicating a message, but of communicating it well, in a way that is effective, original and which defies convention. Effectiveness here pertains to the pragmatic goals of the communicator, and the extent to which these are achieved, while originality pertains to the manner in which the message is framed. Language, for instance, provides a wealth of conventions for framing a message; indeed, the vast part of language is a solidified body of culturally received conventions, which fix the meaning of words and phrases and determine the contextual appropriateness of specific terms, topics and conversational strategies. To frame a message in a novel manner that stretches or even subverts these conventions, a communicator must imbue the elements of communication-whether words, gestures or pictorial elements-with additional meanings. This duality of meaning is not arbitrary, however, or communication cannot succeed. Rather, a creative communicator must draw out secondary meanings that are already implicit in the stock elements of communication, in a way that the audience can understand, appreciate and replicate. Duality thus lies at the heart of creative communication, allowing a communicator to say one thing and simultaneously convey another, secondary message that may augment or subvert the overt content of the communication. This mechanism, which draws out and gives prominence to that which is normally unseen or implicit, is Figure-Ground Reversal.
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Children’s development of humour in everyday interactions: two case-studies in French and Brazilian Portuguese

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Del Ré A., Dodane C., Morgenstern A., Vieira A. J.
The European Journal of Humour Research
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2020
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vol. 8
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issue 4
EN
In order to understand how children learn to recognize and use humor in their own cultural environment, we have chosen to study their production in two different languages and cultures. We studied a French-speaking monolingual child and a Brazilian Portuguese-speaking child, video-recorded once a month up to seven years old. The detailed multimodal linguistic coding of our data enabled us to draw the multimodal paths the two children followed from the first instances of shared amusement initiated by the adult, expressed mainly through reactive behavior such as laughing, to the children’s own verbal production of successful humor in dialogue. Our study demonstrates that the production of children’s humor is closely linked to the family input (their micro-culture), and to children’s multimodal linguistic and meta-cognitive development. We did not observe important differences between the two children at the macro-cultural level, but there were noticeable inter-individual differences.
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Nowości lubelskie - przyczynek do dziejów humoru bibliograficznego w Polsce

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Matczuk A.
Folia Bibliologica
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2010
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vol. 52
9-26
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