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Bergsonismus Cazamianova pojetí humoru

100%
Sevcik M.
Estetika: The Central European Journal of Aesthetics
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2007
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vol. 44
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issue 1-4
57-84
EN
Louis Cazamian develops Henri Bergson's concise remarks, which show humour as a special sort of comical transposition of language. Cazamian stresses that humour is based on transposition, which is inevitably conscious, and he is concerned with the division of humour into four different species according to the modes of transposition. Cazamian focuses especially on the complexity of humour and its impact. Even if a certain view of the world and life, that is, a kind of 'matter' of humour, is obviously suggested by the mechanism of transposition, that is, by the 'form' of humour, it is impossible to determine any universal rule describing the relationship between matter and form. In that sense Cazamian emphasizes the indefinability of humour, and points to the indeterminability of the humorous effect. These arguments demonstrate the essential influence that many important themes of Bergson's aesthetics and philosophy have had on Cazamian's conception of humour, a conception that proves to be integrally Bergsonian.
2

LASKAVOST A HOŘKOST HUMORU V ÚVAHÁCH LOUISE CAZAMIANA

100%
Ševčík M.
Filozofia (Philosophy)
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2019
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vol. 74
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issue 10
866 – 875
EN
The article deals with the problem of kindness of humour in the context of Louis Cazamian’s theory of humour. It highlights Cazamian’s suggestion that the idea of kindness of humour is an outcome of a specific myth. This myth shows the English nation is particularly endowed for humorous witticism, because the spirit of this nation is realistic, piquant and full of cordiality. Cazamian maintains that this myth must be criticized and dismissed, but he also suggests that it, to a certain degree, reflects the nature of experience with humour. Further, the article follows Cazamian’s detailed investigation into various aspects of the relation of kindness and humour. He emphasizes that humour, as a specific kind of mixture of natural and unnatural approach to reality, results in relativism of thought that is not far from tolerance and kindness. He shows as well that kindness is an important part of affectability and affectability is the basis of an important kind of humour. And he also suggests that the apparent kindness of a humourist presents a kind of his or her trick, which he or she uses to calm a person criticized by humorous mockery. Finally, the article stresses, in all these respects, the more detailed view shows that there is only a certain affinity between kindness and humour, not any kind of an essential relation. However, such a more detailed view also shows humour as a very complicated mechanism, in which different and even contradictory tendencies mingle.
3

ANECDOTES IN BAJZA'S BOOK OF HUMOUR (Anekdoty v Bajzovej knihe humoru)

100%
Brtanova E.
Slovenská literatúra (Slovak Literature)
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2011
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vol. 58
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issue 3
230-239
EN
The collection Vesele ucinki a receni (Cheerful teachings and sayings) is the first humorous print medium in the history of Slovak literature. However, the significance of its editor J. I. Bajza´s contribution requires objective assessment. Besides the question of its originality and inspirations there should also be raised a question of the genre and the reflected reality the collection presents. The contents analysis allows stating that the genres of the collection include riddle, humourous short story and anecdote, which outnumbers the others. The anecdotes are not only meant to entertain but also to educate. They reflect the experiences of people´s coexistence in the ethnically and confesionally diverse Central-European region. There are also depicted episodes from everyday life (about social classes, professions and wives as well as various historical and contemporary figures). The editor´s intention was to cultivate the relationships between the contemporaries and influence their conventional opinions and attitudes.
4
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Stereotyp blondynki w dowcipach internetowych

100%
Karwatowska M., Szpyra-Kozlowska J.
Etnolingwistyka. Problemy Języka i Kultury
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2006
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vol. 18
311-328
PL
Celem artykułu jest próba przedstawienia najważniejszych cech charakteryzujących stereotyp blondynki wyłaniający się z dowcipów zamieszczanych w Internecie. Autorki dowodzą, że analizowane kawały stanowią kontynuację dość długiej tradycji, mającej swe źródło w kulturze anglosaskiej. Prezentują główne cechy bohaterki dowcipów, tj. jej intelekt (a raczej jego brak) oraz seksualność – atrakcyjność fizyczną i jednocześnie rozwiązłość. Omawiają również mechanizmy powstawania tego typu humoru. Autorki dowodzą, że omawiane kawały można traktować jako przejaw seksizmu kulturowo-językowego. Twierdzenie to opierają nie tylko na egzemplach uzyskanych z Internetu, ale również na wynikach dwóch ankiet przeprowadzonych na grupie studentów. Ostatecznie proponują podział analizowanego materiału na dwie kategorie: nieco bardziej finezyjne, wyrafinowane, z błyskiem inteligencji dowcipy o rzekomej głupocie blondynek oraz rubaszne, dosadne i często grubiańskie kawały o tematyce seksualnej.
EN
The article presents the most important characteristics of the stereotype of 'blondynka' (a female blond) as it functions in the jokes found on the Internet. The authoresses argue that the jokes continue a rather long Anglo-Saxon tradition. The major characteristics of the woman referred to as 'blondynka' are her lack of intelligence and her sexuality: attractiveness and promiscuousness. Also analyzed are the mechanisms of the emergence of this type of humour. On the basis of the data collected from the Internet as well as from two questionnaires administered to students, they argue that the jokes may be treated as a manifestation of cultural-linguistic sexism. The data are divided into two categories: (i) jokes characterized by sophistication, finesse and ingenuity, dealing with the alleged stupidity of blonds, and (ii) bawdy, crude and frequently boorish jokes with sexual motifs.
5

PLEASANT AND USEFUL FUN. THE ROLE OF THE JOKE IN CULTURE

100%
Tomanek P.
Kultura i Społeczeństwo
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2007
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vol. 51
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issue 1
27-49
EN
The paper is an attempt to clarify the social background of the joke as well as its cultural role. After pointing out some of the main features of the phenomenon of humour the author proceed to define the joke as a cultural form and then compare it to the myth in terms of Roland Barthes' semiotic theory. The consequent view of the joke as a semantic inversion of the myth is supported by the further analysis of several selected series of jokes being told in Poland.
6

HUMOR A STRACH V POETIKE SÚČASNÝCH POVESTÍ

100%
Panczová Z.
Slovenský národopis (Slovak Ethnology)
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2013
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vol. 61
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issue 2
142 – 154
EN
Although there are many discrepancies in definitions of contemporary legends as a folklore genre, one characteristic seems beyond dispute: the goal of the plot is to excite the interest of the audience through an uncommon (unbelievable) story which is told as if it were true. The expected impacts of such stories are feelings of shock, amusement or fear. It is interesting that in the same genre two such different emotional impacts are dominant, and furthermore they are very often present as parts of the same narrative situation or even in the same story. The aim of this paper is to describe two theories which attempt to explain the common principles of the poetics of horror and humour. They were developed by authors exploring the field of the philosophy or theory of art, but in the view of this author they could be inspiring and useful also in folklore studies.
7

Satyra jako praktyka dyskursywna

88%
Sidoruk E.
Białostockie Studia Literaturoznawcze
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2012
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vol. 3
241-248
EN
The article constitutes an analysis of the concept of satire as a discursive practice proposed by Paul Simpson. What the author considers the main forte of Simpson's model is its definition of the nature of satire without references to the categories of “satirical intent” and the “ideology” of the satirist. The author claims that such an approach allows a new perspective on the way literary satire is perceived.
8

Multum facetias in dicendo prodesse saepe, Cic. De or. II 227 - dowcip w retorycznej teorii i praktyce

88%
Nowak M.
Symbolae Philologorum Posnaniensium Graecae et Latinae
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2010
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vol. 20
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issue 1
69-84
EN
The article analyses and compares different passages of Cicero's dialogue De oratore and Quintilian's Institutio oratoria, which bring up the issue of using humour and jokes by speakers in order to gain a rhetoric victory and win the listeners over.
9

KORONA NEEXISTUJE!“ HUMOR AKO KOMUNIKAČNÁ STRATÉGIA V ČASE KRÍZY

88%
Kállayová V., Tužinská Helena (0000-0003-1135-3007 H.
Slovenský národopis (Slovak Ethnology)
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2023
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vol. 71
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issue 1
11 - 28
EN
The study provides an ethnographic probe into the lives of the members of the PCR test team during the pandemic of COVID-19. The aim is to show the use of humour as a communication strategy in times of crisis from the perspective of symbolic anthropology and ethnography of communication, especially theories of danger and joke. The approach of state health institutions have often failed to meet the needs of society, affecting patients’ access to information, the treatment of diseases or the identification of positive patients. Humour helped to prevent the conflicts, signalled forgiveness and influenced attitudes towards adherence to the rules. We focus on interpersonal and interactional aspects of communication, social identification of the respondents, as well as the influence of political culture. Coping strategies are followed through: (1) representations of dirt and the boundaries of the body, (2) the re-contextualization of the statements and acts, (3) the boundaries of the joke in relation to feelings of safety, and (4) the subversive effect of humour and flirtation in a time of the disciplining of bodies. The study demonstrates how laughter bridges the gap resulting from the conflicting informational inputs. The re-contextualisation of the teams’ motto: Corona does not exist! is interpreted in its socio-pragmatic dimension.
10

HUMOR V ČESKOSLOVENSKÝCH LÉGIÁCH A V DOBROVOĽNÍCKOM VOJSKU V ROKOCH 1914 – 1920

75%
Vrábel F.
Vojenská história
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2018
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vol. 22
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issue 1
97 - 106
EN
The study deals with the topic of legionary humour which was aimed at entertaining, making laugh as well as reflecting the deficiencies and criticising the conditions, the Czechoslovak legionaries were dissatisfied with. Members of the Czechoslovak Foreign Army and later, in 1919, even the domestic troops (in particular the educational unions where usually the former journalists, writers or teachers were serving), published a number of different hand-written, printed as well as illustrated periodicals. These contained prose, poetry, dialogues, drawings and illustrations, some of them at high level, some average as well as quite poor, published due to a lack of better material.
11
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ŠPECIFICKÉ PODOBY SATIRY V DRAMATICKÝCH REALIZÁCIÁCH LASICU A SATINSKÉHO

75%
Haluzová L.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 1
49 – 65
EN
The study employs literary-theoretical knowledge from the field of comedy, emphasising satire as an expressive element of comicality. The study focuses on a comparison between literary source texts and their adaptations in the drama creation of Milan Lasica and Július Satinský. The study identifies satirical elements present in these adaptations as a result of genre shifts between pretext and post-text within the corresponding period context of the origin of the works.
12
Content available remote

SOCIOŠTYLISTICKÁ ANALÝZA ROMÁNU DOMINIKA DÁNA „NOC TEMNÝCH KLAMSTIEV“ – NÁČRT METÓDY

75%
Slančová D.
World Literature Studies
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2020
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vol. 12
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issue 2
85 – 96
EN
The study analyses the linguistic means representing social phenomena, structures and processes in Dominik Dán´s criminal novel “Noc temných klamstiev” (2009, Night of dark Deceptions). Methodologically, it is based on the concept of interactive stylistics, specifically its socio-stylistic subsystem. The main aim of the analysed linguistic means in the structure of the novel is (i) to characterise the setting, characters, situations and relations; (ii) to indicate the more complex stylistic qualities, mainly the contrast with the often humorous solution between textual tension and de tension; and (iii) to be a part of irony as the main author´s attitude towards reality.
13
Content available remote

Humor Kundery - o kilku (nie)śmiesznych tekstach

75%
Cieliczko M.
Bohemistyka
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2015
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vol. 15
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issue 3
226 - 250
EN
The article refers to the phenomenon of laughter present at the chosen writings of Milan Kundera. Admittedly, he combines both artistic and theoretical approaches to the laughter, Kundera (and the author of the article) is interested mainly the first approach, literary one. In Kundera’s books laughter appears in many different ways, therefore author intentionally quotes a lot to give the floor to the writer. Attentive analysis of the citations and whole texts allows her to propose two lines of perception of this phenomenon: as a coincidentia oppositorum (part one: The Antipodes of Laughter) and as a “language”, specific way of communication (part two: »Dia- logues« (full of) Laughter).
14

FUN AND LAUGHTER PROMOTE WELL-BEING IN EARLY CHILDHOOD EDUCATION AND CARE: PEDAGOGY OF FUN AND BIG HUMOUR

63%
Boye Koch A.
Pedagogický časopis (Journal of Pedagogy)
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2023
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vol. 14
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issue 1
37 – 57
EN
In Danish early childhood education and care (ECEC), fun is often emphasised as a key pedagogical tool but is used rather unreflexively. While well-being and happiness have been studied in various ways, the potential of fun is not included in theoretical discussions regarding happiness and well-being, although most people identify having fun as a fundamental reason for being happy. A researcher and three student assistants spent six months in three ECEC settings with a focus on episodes characterised by fun and laughter. Participant observation and interviews were conducted. Empirical data illustrate how fun appears in ECEC as laughter, smiles, attentiveness, intensity and ecstasy. Fun arises momentarily in a sense of lightness and freedom, as a means of communication, in physical play, when rules and expectations are broken, in frivolous references to lower body functions and in experiences of excitement. Pedagogues use fun based on child sensitivity, improvisation, courage to let go of control, informality, energy and a sense of humour. Danish humour philosophy distinguishes between small humour and big humour. Pedagogues with the ability to practice big humour are preferred in order to establish an ECEC culture characterised by fun, laughter and episodes of small humour that promote well-being in children.
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