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Book review : Oppliger, Patrice A. and Eric Shouse (2019). The Dark Side of Stand-Up Comedy. Cham: Palgrave Macmillan.

100%
Lindfors A.
The European Journal of Humour Research
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2022
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vol. 10
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issue 2
159-161
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A multimodal generic perspective on Nigerian stand-up comedy

51%
Ogoanah F. N., Ojo F. O.
The European Journal of Humour Research
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2018
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vol. 6
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issue 4
EN
Studies in stand-up comedy in Nigeria have recently begun to gain serious attention. Several articles that describe the psychological and socio-cultural contexts of joke texts of stand-up comedy in Nigeria have appeared within the last few years (Orhiunu 2007; Imo 2010; Adetunji 2013; Filani 2015, 2016, etc.). However, one aspect of the phenomenon that is yet to be explored is the function of a multimodal generic framework and its contributions to the humorous content of the genre. While it is important to maintain the spoken text as many writers have done, the “multiple embodied modes” (Norris 2008: 13) that amplify the spoken text must be given due consideration. This study, therefore, examines the Nigerian stand-up comedy from the perspective of a multimodal-ESP theory to genre analysis. This theory takes cognizance not only of joke-texts, but also the visual features that enhance the performance. The material for analysis is videoed data of a popular stand-up comedy show in Nigeria, “A Nite of a Thousand Laugh.” The study demonstrates that stage management, nonverbal cues (e.g. gesture, movements, and gaze), speeches, body postures, and music/sounds contribute to the communicative value and the production of the genre. Also, it shows how plausible multimodal-ESP approach to genre is in the description of stand-up comedy in the Nigerian context and how the knowledge can be integrated into the teaching and learning of technology-mediated communications (TMC), such as using English for entertainment purposes. 
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Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy

51%
Filani I.
The European Journal of Humour Research
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2015
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vol. 3
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issue 1
EN
The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self-praising and self denigrating.  
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Identifying humor in stand-up comedy: A preliminary study

51%
Wawrzyniuk J.
Linguistics Beyond and Within
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2021
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vol. 7
86-97
EN
This paper describes a preliminary study examining how the audience of stand-up comedy approach humor analysis. By expanding the scope of the General Theory of Verbal Humor (Attardo 2001), it was possible to use the framework to aid and systematize the interpretation process, resulting in shifting the theory’s focus from humor production to humor perception. The first part of the paper introduces the main premise of stand-up comedy. The second part is devoted to the theoretical aspects, namely the theory of humor. The third part discusses the methodology of the preliminary study: a two-step interpretation task done by four audience members. The fourth and the fifth sections present the results of the study and discuss the implications. The outcome of the analysis gives an understanding as to what the audience may focus on during the interpretation process, which allows for identification of differences in humor perception.
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Pustijalakomoodia Eestis: estraadietendustest Comedy Estoniani

44%
Laineste L.
Mäetagused
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2012
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vol. 52
9-30
EN
The article describes stand-up comedy in Estonia in relation to the local history of the genre. The aim is to cast light upon how the cultural context, but also the performer and audience interaction, works in achieving popularity of comic performance. The figure of a comedian as a “negative exemplar” as described by Lawrence Mintz in 1985, provides an excellent entrance point into discussing the different degrees of status of the genre in both the Soviet period and recent years. Two periods in Estonian history – totalitarian Soviet time and democratic present time – are under surveillance. During the Soviet period, public shows and recordings of estrada performances were highly valued among the audiences, providing commentary on the shortcomings of the regime and daily life in a seemingly innocent manner. The topics and popularity of the most iconic of these performances are analysed side by side with the repertoire of comedians from Comedy Estonia. The latter, a recent importer of Anglo-American tradition of stand-up in Estonia, also has a devoted audience and established topics, but these differ significantly from the Soviet predecessor, that of estrada. Through a historically situated analysis, it is possible to describe the adoption of traditions (and texts within it) in a meaningful way, so that foreign becomes native and starts functioning as an aspect of collective identity, be it on the level of the entire nation or just a group of fans. The empirical part of the study presents material from both periods, referring comparatively to some legendary comic texts from the Soviet period and routines of Comedy Estonia comedians. The main focus of the analysis is on the topics and targets that are prevalent in these very distinctive periods and, consequently, on the popularity of the different “stages” of local Estonian stand-up.
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Performing Arabness in Arab American Stand-up Comedy

32%
Fouad Selim Y.
American, British and Canadian Studies Journal
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2014
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vol. 23
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issue 1
77-92
EN
This article deals with the dramatic art of stand-up comedy. It locates Arab American stand-up comedy within a broader American humorous tradition and investigates the way Arab American performers use this art to negotiate and (re)construct their identity. The main question in this article is the way Arab American stand-up comedians define their relationship to the Arab and the western worlds in the process of establishing their Arab American identity. Three humor theories - the relief theory, the incongruity theory, and the superiority theory - are deployed in the study to examine the representation of Arabness in selected Arab American performances. The study argues that Arab American comics minstrelize their own diasporic origin through reinscribing a range of orientalizing practices in order to claim their Americanness.
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A study of coinages: the case of a stand-up comedy

32%
Onyshchuk M.
Forum Filologiczne Ateneum
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2022
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vol. 10
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issue 1
51-66
PL
Niniejszy artykuł przedstawia studium przypadku dotyczące neologizmów w dyskursie mediów społecznościowych. Głównym źródłem rozważań jest interakcja w mediach społecznościowych oraz analiza nowo tworzonych wyrazów jako charakterystycznych form słownych pojawiających się w programach komediowych i odzwierciedlających bieżące wydarzenia w przestrzeni społecznej. W tekście uwzględnione zostały warunki wstępne, powstawanie neologizmów w stand-upowym dyskursie komediowym oraz ich percepcja przez non-native speakerów. Zastosowane metody pozwalają ocenić potencjał derywacyjny neologizmów, omówić najbardziej produktywne techniki słowotwórcze jak również opisać reakcje respondentów na neologizmy, badając jednocześnie poprawność interpretacji danych jednostek. Uzyskane wyniki wskazują na charakterystyczną rolę cyfrowych innowacji językowych we współczesnym języku angielskim. Dowodzą one hipotezy, że twórczość satyryczna ma silny wpływ na nasze społeczeństwo i język, którego używamy. Nakreślono również potencjalne przyszłe kierunki badań w dziedzinie neologii mediów społecznościowych w innych niepowiązanych językach.
EN
This paper investigates neologisms in data retrieved from stand-up comedies. It postulates social media interaction as a main source of new words, and analyses coined words as specific wordforms in the stand-up comedy routines that mirror current society events. Preconditions, formation of coined words in the stand-up comedy discourse, and their perception by non-native speakers are considered. The article touches the derivational potential of new coinages, discusses the most productive word-building techniques, and describes respondents’ reactions to coinages in order to understand whether they can adequately interpret the words’ meanings. Obtained results demonstrate the relevance of digitally coined words in modern English. They prove the hypothesis that satirical work across the world has a strong impact on our society and the language we use. Potential future research in the field of social mass media neology on the basis of other non-related languages is suggested.
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Креатив или примитив? Анализ текстов публичных выступлений в жанре cтендап с точки зрения теории языковой игры

20%
Васильева О.
Acta Universitatis Lodziensis. Folia Linguistica Rossica
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2022
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issue 21
155-164
EN
This article studies the features of language game implementation in the modern media products. The object of the study is stand-up comedy texts. Stand-up performance is a solo, humorous performance in front of an audience. The repertoire of stand-up comedians includes author’s monologues, short jokes, and improvisation with the audience. These performances are based on a language game element implemented in a certain structure. The purpose of this article is to identify stand-up genre speech techniques in public performances and analyse them from the language game theory viewpoint. The language game, comical, and verbal creativity concepts are considered in the article. The main methods of research are descriptive, observation, generalization, data classification methods. The linguistic examples of comedy texts are analysed from the language game implementation viewpoint at various language levels: phonetic, word-formation, lexical, syntactic. The public performances analysis makes it possible to determine the structure according to which jokes are developed; the techniques of language game which are widely used by stand-up comedians. This analysis allows some negative features to be determined (profanity, parasitic words, meaningless phrases), which can worsen the language game understanding. The article draws attention to the role of stand-up comedy genre public performances in the learning of comic aesthetic category realized in witty and fluent speech. The perspective of the study is to analyse the performances of female stand-up comedy and identify the influence of gender on the language of comedy texts.
RU
Статья посвящена изучению особенностей реализации языковой игры в современных медийных продуктах. Объектом исследования послужили тексты жанра стендап-комедии. Выступления в жанре стендап понимаются как сольное юмористическое выступление перед живой аудиторией. В репертуар стенадап-комиков входят авторские монологи, короткие шутки, импровизации с залом. Цель настоящей статьи заключается в определении речевых приемов в публичных выступлениях и анализе их с точки зрения теории языковой игры. Рассматриваются понятия языковой игры, комичного выступления, вербальной креативности. Основным методом исследования является описательный, в рамках которого применены приемы наблюдения, обобщения, классификации данных. В статье проанализированы языковые примеры комедийных текстов с точки зрения реализации языковой игры на различных уровнях языка: фонетическом, словообразовательном, лексическом, синтаксическом. В ходе анализа авторских монологов резидентов стендап-шоу определена структура, в соответствии с которой строится шутка; выявлены приемы языковой игры, которые преимущественно применяют стендап-комики. Наблюдения позволили вычленить и отрицательные черты (ненормативная лексика, слова-паразиты, бессодержательные фразы), затрудняющие восприятие языковой игры. В статье делается вывод о роли публичных выступлений жанра стендап-комедии в воспитании эстетической категории, реализуемой в остроумной и легкой речи. Перспективой исследования является анализ выступлений женской стендап-комедии и выявление влияния гендерной принадлежности на язык комедийных текстов.
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