Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  political humour
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Ironie in den politischen Wahlreden als Strategie im Kampf um Wähler

100%
Kujawa I.
Linguistische Treffen in Wrocław
|
2022
|
issue 22
101-113
EN
The language of populists uses arguments of strong power of persuasion resulting not from their rationality but from, first of all, the degree of emotions present in the transmission. Populism assumes promoting political ideas consistent with expectations of majority of the public in order to achieve their support, influence them, or to gain power. As the parliament election results show, the number of right-winged parties including right-wing populists in Europe has been rising recently. The common constituent in their narration of the world is the language which is strictly connected with promoting a specific system of values. The article is devoted to irony in political communication. The aim of irony as a tool of political humour is negative valuation, building one’s own image (of a politician, political party, electoral programme) through discrediting of a political opponent. Ironic expressions used by right-wing populists in their political speeches during their meetings with voters are the subject of the analysis of this article. Populism assumes promoting political ideas consistent with expectations of majority of the public in order to achieve their support, influence them or to gain power.
2
Content available remote

The writerly reporter: Saki as correspondent for The Outlook

100%
Birden L. M.
The European Journal of Humour Research
|
2013
|
vol. 1
|
issue 3
EN
In February of 1914 Saki began to write Potted Parliament (‘potted’ being the English expression for ‘in a nutshell’ or ‘for dummies’) for The Outlook, a London weekly. His commentary contains much satire. Through his tone and barbed comments, he does more than report the speeches and events. He also includes conversations, which are not usually presented in Parliamentary reports. In addition, Saki inserts fictional characters into his reports. Several examples of Saki’s reports and the reasons for and results of his fictional insertions are presented here. This technique allows for the satirical tone mentioned above and allows a mix of styles, from the most reportedly to the most humorous. It makes a distinction between the reportedly voice, which is supposed to be faithful to the facts of the Parliamentary sessions, and the voice of the fictional characters, which can carry the comment and the risk of irresponsibility. These observations suggest that Saki was concerned about a certain form of protection from the censorship of the time and from the average reading public which still took political reporting seriously. Saki’s choice of tones constitutes a departure from habitual political reporting which is refreshing and contributed to a release from earnestness.
3
Publication available in full text mode
Content available

Humour as resistance: Disaster humour in post-9/11 United States

88%
James A. B.
The European Journal of Humour Research
|
2014
|
vol. 2
|
issue 3
EN
This paper studies the evolution of political humour in media in the United States after 9/11. Previous research has identified patterns in the evolution of jokes on the Internet but a study of patterns of humour in mainstream media remain scarce. This paper looks at late night television shows and cartoon strips in post-9/11 United States, and tries to plot a pattern in their evolution. Television programs such as The Daily Show or cartoon strips such as The Boondocks and Get Your War On have become major sources of political news, especially for the younger section of the population. These media constitute and react to the business of political news in the United States. This paper attempts to explore what political consciousness is constructed through humour in these media. Any pattern that may emerge out of this study is also reflective of humour’s engagement with politics, especially in a time in which irony was declared to be dead. A comparison of humour on these different fora throws some light on how the United States reacted to 9/11 through humour as well as what material, political or psychological forces drive humour on different kinds of media.
4
Publication available in full text mode
Content available

“The big red giant will explode”: Géza Hofi’s political implicatures from the happiest barracks in the socialist camp

88%
Nemesi A. L.
The European Journal of Humour Research
|
2014
|
vol. 2
|
issue 1
EN
By taking a pragma-rhetorical approach, this article characterises the genre of Géza Hofi’s political humour, developed during the communist Kádár era in Hungary, and investigates implicature as his main rhetorical device for conveying politically sensitive messages to the audience. Three of his most popular and representative performances from the mid-1970s and early 1980s are selected for a thorough investigation of how the use of tropes and certain figures of thought creates implicatures and identification between the actor-humorist and the viewers/listeners. It is demonstrated that Hofi’s theatrical stand-up comedy (or performance comedy) makes a monologic genre quasi-dialogic, another necessary component of the special atmosphere of his performances. The analysis is embedded into the East-Central European political context of the Cold War. In addition, the Hungarian societal climate of that time is also touched upon in order to provide better insight into the Hofi-phenomenon. 
5
Publication available in full text mode
Content available

Not quiet on the Tasman front? The trans-Tasman rivalry in New Zealand’s Great War cartoons

88%
Loveridge S.
The European Journal of Humour Research
|
2014
|
vol. 2
|
issue 4
EN
There is a fascinating idiosyncrasy within New Zealand cartoonist’s depiction of Australia during the Great War. Running parallel to comradely images of fresh-faced ANZACs marching together, New Zealand cartoonists produced acrimonious sketches of their neighbour and ally as dysfunctional and even disloyal. These representations might be considered as charting the limits of neighbourly sentiments and good-natured humour. This article surveys the context, in history and humour, behind these depictions and questions how they fit within the wider panorama of New Zealand’s war effort and the humorous irreverence conventionally considered to be a key aspect of the trans-Tasman relationship.
6
Publication available in full text mode
Content available

Political humour in the right-wing (National Democracy) press: The satirical weekly Szopka (A Puppet Show), 1922–1925

63%
Maj E.
Rocznik Historii Prasy Polskiej
|
2019
|
issue 4
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.