Search results

1

Understanding obscenity and offensive humour: What's funny?

100%

Revi R.

The European Journal of Humour Research

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2014

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vol. 2

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issue 3

EN

Humourisation of the offensive occupies a position of distinctive prominence in our study of how we experience humour. The offensive is often found to be closely linked with obscene expressions and the mind’s response towards them. This correlation between the obscene and the offensive is explored. “Being offended” is treated as a psychological state that comes into being when a sacrosanct mental territory is threatened by external, unsolicited experiences. The function of obscenity in delivering offence is explained through the subversive ability of the obscene in the context of class conflict, anthropomorphisation of obscene words and images and the strengthening of illocutionary acts. The humorous effect of delivered offence is investigated through superiority theory (laughter as dissidence and disobedience), relief theory, Bergson’s mechanical theory and a theory of trivialisation is further proposed.

2

Two Obscene Jokes in Aristophanes’ Wasps and Peace

80%

Smith N. D.

Eirene. Studia Graeca et Latina

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2013

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vol. 49

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issue 1-2

147-152

EN

In this paper, I explain passages in Aristophanes’ Wasps and Peace, in which double-meaning jokes are made with reference to the female pubic region. In particular, I claim that the jokes do not simply refer to pubic hair, but instead are intended to refer to the stubble that would remain after depilation.

3

Aristophanes, the accuser of Socrates: some sociolinguistic aspects of comedy

70%

Bednarek B.

Classica Cracoviensia

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2015

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issue 18

39-50

EN

This paper examines the impact of verbal abuse typical of the old Attic comedy on the reputations of real-life citizens of Athens. It can be argued that the way in which comic poets insulted well-known people of their age shared many characteristics with the communicative strategies applied in everyday familiar speech. This may indicate that the only proper reaction to it consisted in accepting the ridicule as if it were not offensive.

4

0 „procesie cywilizacyjnym ” i „ mieszczańskim ” języku poetyckim w Polsce na przełomie XVI i XVII wieku

70%

Wojtowicz W.

Stylistyka

|

2010

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vol. 19

239-262

EN

The paper deals with the relations between poetic language (especially obscenity and scatology) and the social milieu of the recipients of the bourgeois poetry. The humour and the comic are precisely the basic sphere where representations of human sexuality occur. In this context, a distinct reduction o f the comic fields connected to sexuality in the 16th and 17th centuries is vital. Literature is one more testimony of the increasing division into the “sophisticated” and “vulgar” (both in regard to subjective reference as well as to the language used here). “The Civilizing Process” (N. Elias) expressed the elite’s urge to separate from the masses on the level o f custom and language. Further on, the “carnival” language admired for its specific “vitality” (a “popular” spirit is often attributed to it) becomes marginalized - the 18th century classicism is here the crowning of this process. On the other hand, one should be aware that the “subversive” use of the language code is inscribed in the registers o f the early culture. In this period, the “serious” culture of the elites still combined the texts that expressed for instance certain principles of courtly love with their opposites, that can be called burlesque, grotesque or with less justification, realistic. This rule is reflected by collections of bourgeois poetry, including such texts. Not only values o f knightly (or noble) code, “high erotica”, expressed in the official literature, should be included in this “high culture”, but also elements which are their parodies and opposites that sound low and not high. If those texts - mistakenly perceived as “popular” - are being called “camivalesque”, this is only by virtue o f an attempt at positive valorisation o f texts with a predominantly obscene character.

5

Freedom as vulgarity in the poetry of débuting poets at the watershed moment of 1989

70%

Łuszczykiewicz P.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2017

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vol. 45

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issue 7

237-244

EN

The article is dedicated to artistic vulgarity as a form of freedom of art manifesto. The author explains that using obscene and drastic language which breaks social taboos (particularly sexual ones), has often been caused by the need for artistic freedom. This phenomenon can be observed especially in the so-called communist era (1944–1989) but most importantly in the period of political system’s transformation after 1989. By the example of literature, film, theatre and broadly defined popular culture the author analyzes this process, paying special attention to various ‘traps’ in the usage of vulgar language and artistic expressions, as well as the ultimate high art’s retreat from that strategy.

6

Warstwa językowa jako klucz interpretacyjny serialu "Włatcy móch" Bartosza Kędzierskiego

61%

Skowronek B.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2010

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issue 1

65-76

EN

In the article I discuss the linguistic layer of the animated TV series “Włatcy móch”. Main characters’ language realizes assumptions of the “language of rebellion” and it rebels against the society. Standards of communication functioning in the series reveal the domination of machines of reprisal: school, family and church, and forms of rebellion against them. It is expressed mainly by breaking the linguistic taboo (insults, vulgarisms) and social taboo (various obscenities). However, there is no authentism, because these are elements of conscious linguistic creation. The examined series perfectly meets the standards of mainstream, where the language of rebellion is conforming and adjusting to the requirements of the official media market.

7

Nieobyczajne wiersze "Wirydarza poetyckiego": myśl antropologiczna i kultura literacka

57%

Obremski K.

Tematy i Konteksty

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2020

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vol. 15

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issue 10

338-358

EN

In blurred poems of „Wirydarz poetycki” there is a strong power of sexual desire ant this is the power that rules the human world. There is no such thing as soul in human. They only have bodies that are almost identical to the intimate parts. „Picture is domain of art, literality is domain of pornography” – there in no need to argue with that words of Jerzy Bartmiński. When taking them as most general guide in lecture of blurred poems, we can find the guide which show sus literary culture of this poems.

PL

W wierszach pochodzących z tomu Wirydarz poetycki jest silna siła pożądania seksualnego i to jest siła rządząca ludzkim światem. Podmiot liryczny utworów dowodzi, że w człowieku nie ma czegoś takiego jak dusza. Ludzie mają tylko ciała, które są prawie identyczne z częściami intymnymi. „Obraz jest domeną sztuki, dosłowność jest domeną pornografii” - z tymi słowami Jerzego Bartmińskiego nie trzeba się spierać. Biorąc je za najbardziej ogólny przewodnik w wykładzie wierszy niewyraźnych, możemy znaleźć przewodnik, który ukazuje kulturę literacką tych wierszy.

8

QUASI-TOPONIMY I TOPONIMY KONOTACYJNE DO OZNACZANIA REGIONALIZMU

51%

Bożko І.

Studia Ukrainica Posnaniensia

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2021

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vol. 9

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issue 1

35-43

EN

The article deals with names used to denote small and remote towns and villages. We distinguish two groups of such names: quasitoponyms and real connotative toponyms. Quasitoponyms are based on real toponyms, which they imitate structurally by the means of morphology. Semantically quasitoponyms often contain obscene components or, less frequently, they are etymologically connected to agricultural activity. Connotative toponyms often have similar features: they may contain components which convey pejorative meaning, or refer in their etymology to the notions of agricultural activity. Postmodern mixing of codes, realized in the form of a close textual proximity of a connotative toponym and a foreignism borrowed from English, serves to create a comical effect. The meaning of provinciality is conveyed by connotative toponyms mostly in certain contexts: from microcontext to a wide historical and social context.

PL

Artykuł poświęcony jest nazwom oznaczającym małe i oddalone miasteczka oraz wsie. Wyodrębniono dwie grupy nazw: quasi-toponimy i rzeczywiste toponimy konotacyjne. Quasi-toponimy mają za podstawę rzeczywiste toponimy i zapożyczają ich strukturę oraz morfologię. Pod względem semantycznym w większości przypadków quasi-toponimy zawierają komponenty obsceniczne, rzadziej związane są z działalnością rolniczą. Toponimy konotacyjne mają często podobną semantykę: mogą zawierać komponenty o zabarwieniu pejoratywnym; etymologicznie mogą być związane z pojęciami z zakresu rolnictwa. Postmodernistyczne mieszanie kodów poprzez łączenie toponimów konotacyjnych i ksenizmów – zapożyczeń z języka angielskiego, służy do uzyskania efektu komicznego. Zatem toponimy konotacyjne mają znaczenie regionalizmu tylko w określonych kontekstach: od mikrokontekstu, do szerokiego kontekstu historycznego i społecznego.

9

From Euphemisms to Vulgarisms: Translating King Lear’s Misogynistic Monologue (Act IV, Scene 6) into Polish

51%

Cebrat G. A.

Półrocznik Językoznawczy Tertium

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2020

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vol. 5

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issue 1

77-96

PL

Artykuł jest próbą analizy technik i metod zastosowanych przez tłumaczy w trakcie przekładu wyrazów i wyrażeń obscenicznych występujących w tragedii Williama Shakespeare’a Król Lear na język polski. Analiza skupia się na tłumaczeniach monologu szalonego króla (Akt IV, scena 6, wersy 107-132), który jawi się jako mizoginistyczny atak na kobiety, seksualność, oraz cudzołóstwo. Materiał tekstowy stanowi 15 przekładów sztuki, począwszy od najstarszego tłumaczenia, dokonanego przez Ignacego Hołowińskiego i opublikowanego w 1841 roku, a skończywszy na wersji Jerzego S. Sity z roku 2001. Artykuł analizuje wybrane zdania i jednostki leksykalne, pochodzące z siedmiu fragmentów monologu, pod kątem technik i strategii tłumaczeniowych zastosowanych przez poszczególnych tłumaczy przy przekładaniu pojęć uważanych za nieprzyzwoite, a dotyczących kobiecego ciała, seksu, rozpusty, cudzołóstwa, itp. Przeprowadzona analiza wykazuje ewolucję sposobów przekładu, związanych z epoką w której polski tekst powstał i jej uwarunkowaniami kulturowo-społecznymi, a także z rozwojem badań nad twórczością i językiem Shakespeare’a, i pozwala śledzić zmiany, począwszy od eufemistycznego stylu tłumaczeń powstałych w XIX. wieku, poprzez filologiczne tłumaczenia Tarnawskiego i Chwalewika, a skończywszy na współczesnych, miejscami ‘niecenzuralnych,’ tekstach Słomczyńskigo, Barańczaka, a zwłaszcza Sity, który nie zawahał się użyć wulgaryzmów.

EN

The paper investigates the issue how Polish translators of William Shakespeare’s King Lear dealt with rendering Lear’s monologue (Act IV, Scene 6, ll. 107-132), being a misogynistic tirade of the mad king against adultery, sexuality, and women in general. The play was translated into Polish at least fifteen times in the 19th and 20th centuries, beginning with the oldest published rendition by Ignacy Hołowiński (1841) and concluding with the most recent one by Jerzy S. Sito (2001). The paper analyses seven selected fragments taking into consideration lexical and stylistic choices made by the translators of the monologue in order to show how changing attitudes to sexual taboo and Shakespearean obscenities affected the translations in question. The analysis reveals the evolution of translators’ attitudes to those issues (also affected by contemporary Shakespearean research): from euphemistic treatment of the topic in the 19th century, through philological translations of Tarnawski and Chwalewik, to unrestricted modern renditions of Słomczyński and Barańczak, and the extreme case of straightforward obscene translation of Jerzy S. Sito

10

Specyfika formatu Jersey Shore

51%

Wyderka J.

Studia Krytyczne/ Critical Studies

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2019

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issue 8

116-136

PL

Celem niniejszego artykułu jest charakterystyka formatu Jersey Shore oraz zbadanie jego odbioru wśród grup fokusowych. Analizie w szczególności zostały poddane: aspekt etyczny formatu oraz jego rola zarówno w funkcjonowaniu jednostki, jak i grupy odbiorców. Badania przeprowadzone przy pomocy metody wywiadu grupowego (FGI) na dwóch grupach studentów opierają się na trzech obszarach badawczych, które określają stosunek respondentów do formatu Jersey Shore, badają poziom identyfikacji studentów z zaprezentowanymi zachowaniami uczestników reality show oraz umożliwiają zlokalizowanie omawianego programu między kreacją programu a rzeczywistością, a także badają wrażliwość widzów i ich poczucie etyki w odniesieniu do formatu Jersey Shore. Badania pomagają określić specyfikę programu, definiując ją na podstawie osobistych odczuć respondentów, których istotnymi konkluzjami zdaje się być wspólna refleksja nad fenomenem formatu oraz jego przyszłością.

EN

The purpose of this article is to define the Jersey Shore format and to examine its reception among focus groups. In particular, the analysis covered the ethical aspect of the format and its role in the functioning of the individual as well as the group of recipients. Research conducted with the help of the group interview method (FGI) on two groups of students is based on three research areas that determine respondents’ attitude to the Jersey Shore format, examine the level of student identification with presented behaviors of reality show participants and enable locating the discussed reality between program creation and reality, and also examine the viewers’ sensitivity and their sense of ethics in relation to the Jersey Shore format. The research helps determine the specificity of the program, defining it on the basis of personal emotions of the respondents, whose important conclusions seem to be a common reflection on the phenomenon of the format and its future.

11

Early Mandarin Profanity and Its Middle Mongolian Reflection in the Vocabulary of the Wu Bei Zhi 武備志

43%

Apatóczky Á. B.

Rocznik Orientalistyczny

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2018

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issue 2

12

Obscénnosť v textoch Honzy Krejcarovej

41%

Zajac P.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

15-24

EN

The starting point for this reflection on the poetry by Honza Krejcarová are two proposals by Roman Jakobson about obscenity. According to Jakobson, function is the ‘fundamental and intentional organizer’ of a text and the crucial marker or attribute of its ‘poeticity’. Jakobson demonstrates this on the example of the diaries by Mácha, i.e., autobiographical texts, which for him acquire a poetic function. Their obscenity is acceptable for him not on a cultural-historical, but poetological basis. Jakobson rehabilitates the poetic function of obscenity, but at the same time passes up the opportunity to demonstrate the functional difference between poetry and prose, lyrical and autobiographical genres. This reflection on the function of obscenity in Krejcarová’s poems V zahrádce otce mého (In My Father’s Garden, 1948) and in her letter to Zbyněk Fišer (Egon Bondy) and Julie Nováková (probably from 1962) is based on the double meaning of obscenity as an erotic, bodily function and as the basic existential attribute of an infamous, disreputable and/or insignificant person. Through this doubleness, Honza Krejcarová unexpectedly alludes to obscenity in the work by Božena Němcová. Finally, this reflection looks closely at the poetological difference between Krejcarová’s poetic texts and her letters as examples of the autobiographical genre. In addition, it shows how Krejcarová’s poetry, by turning around the relationship between the metaphor and the metonymy, creates a poetry of total realism.

13

Zagadkowe „źwierzę o jednym oku”, czyli o fraszce III 78 Kochanowskiego

41%

Eder M.

Prace Filologiczne. Literaturoznawstwo

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2017

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issue 7(10)

17-31

EN

The paper discusses one of the epigrams by Jan Kochanowski, published in his collection of epigrams called Fraszki (Trifles). The epigram in question, entitled A Riddle (Gadka), was subject to several interpretations exploiting either obscene or scatological readings. The present study aims to show that these two allegedly discrete body-centric perspectives might overlap, since they tend to coincide quite often in the context of European literature of the 16th and 17th centuries.

14

„…s použitím všech sprostých a obskurních slov“: Jana Krejcarovás Poetik des Obszönen zwischen Revolte und Melancholie

41%

Vojvodík J.

Slovo a smysl - Word & Sense

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2017

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vol. 14

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issue 28

25-31

EN

Against the backdrop of the outright phobic tabooisation and removal of eroticism and sexuality from the arts and from all areas of public life in the ‘socialist society’ following February 1948, the erotic texts of Jana Krejcarová represent a ‘total’ provocation and subversion of the sexless socialistic realism and its petty prudishness. The extreme obscenity of Jana Krejcarová’s erotic texts, which also contain elements of parody and irony, coupled with the high degree of aggressivity and fierceness (especially the ‘Letter’ addressed to Egon Bondy from the year 1962), can be read and interpreted also as ‘revenge’ for the devaluation of physicality and sexuality. Nevertheless, the subversive excesses in her ‘poetry of the obscene’ constitute another, latent plane, on which obscenity appears as an ambivalent phenomenon: as an excess and the tearing down of all boundaries it refers to its ‘opponents’: order, the setting of boundaries, and melancholy.

Refine search results

Understanding obscenity and offensive humour: What's funny?

Two Obscene Jokes in Aristophanes’ Wasps and Peace

Aristophanes, the accuser of Socrates: some sociolinguistic aspects of comedy

0 „procesie cywilizacyjnym ” i „ mieszczańskim ” języku poetyckim w Polsce na przełomie XVI i XVII wieku

Freedom as vulgarity in the poetry of débuting poets at the watershed moment of 1989

Warstwa językowa jako klucz interpretacyjny serialu "Włatcy móch" Bartosza Kędzierskiego

Nieobyczajne wiersze "Wirydarza poetyckiego": myśl antropologiczna i kultura literacka

QUASI-TOPONIMY I TOPONIMY KONOTACYJNE DO OZNACZANIA REGIONALIZMU

From Euphemisms to Vulgarisms: Translating King Lear’s Misogynistic Monologue (Act IV, Scene 6) into Polish

Specyfika formatu Jersey Shore

Early Mandarin Profanity and Its Middle Mongolian Reflection in the Vocabulary of the Wu Bei Zhi 武備志

Obscénnosť v textoch Honzy Krejcarovej

Zagadkowe „źwierzę o jednym oku”, czyli o fraszce III 78 Kochanowskiego

„…s použitím všech sprostých a obskurních slov“: Jana Krejcarovás Poetik des Obszönen zwischen Revolte und Melancholie