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The àwàdà phenomenon: Exploring humour in Wole Soyinka’s Alápatà Apátà

100%
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.
2
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Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo

91%
Gómez-de-Tejada J.
Studia Romanica Posnaniensia
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2020
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vol. 47
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issue 1
5-17
PL
Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.
3
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Book review. Massih Zekavat (2017). Satire, Humor, and the Construction of Identities. Amsterdam and Philadelphia: John Benjamins.

72%
Vincent H.
The European Journal of Humour Research
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2019
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vol. 7
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issue 1
EN
Massih Zekavat (2017). Satire, Humor, and the Construction of Identities. Amsterdam and Philadelphia: John Benjamins Publishing Company, 210 pp.
4
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Nowości lubelskie - przyczynek do dziejów humoru bibliograficznego w Polsce

72%
Matczuk A.
Folia Bibliologica
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2010
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vol. 52
9-26
5
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Book review. Milner Davis, Jessica (ed.) (2017). Satire and Politics: The Interplay of Heritage and Practice. London: Palgrave Macmillan.

72%
Mathieu-Lessard J.
The European Journal of Humour Research
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2019
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vol. 7
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issue 2
EN
Satire and Politics: The Interplay of Heritage and Practice, edited by Jessica Milner Davis, explores the multifaceted connections between satire and politics in the Anglosphere, with a particular focus on Australasia. Its nine chapters present research in literary and cultural history, visual and media studies as well as quantitative research on the impact of satire and broader reflections on satire. With topics ranging from the representation of the larrikin in political cartooning to the political co-option of satire, Satire and Politics is a well-rounded collection that I strongly recommend. At once timely and rooted in history, the volume provides a critical perspective on the current overwhelming presence of satire in multiple media (particularly television satire and political cartoons), while grounding its exploration in historical research.
6
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Holocaust Satire on Israeli TV: the Battle against Canonic Memory Agents

72%
Steir-Livny L.
Jednak Książki. Gdańskie Czasopismo Humanistyczne
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2016
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issue 6 "The Holocaust and the Contemporary World"
197-212
EN
For many years, Israeli culture recoiled from dealing with the Holocaust from a humorous or satirical perspective. Since the 1990, a new unofficial path of memory has begun taking shape in Israel. Texts that combine the Holocaust with humor are a major aspect of this new memory. The case study includes three skits by The Chamber Quintet (Hahamishia Hakamerit, “Matar” Productions, Channels 2-Tela’ad, Channel 1, 1993-1997), the first who dared to use satire to criticize the Holocaust memory agents in Israel. The paper analyzes the changes in the attitude towards Holocaust humor in Israel through theories of trauma and secondary trauma. Contrary to perceptions that these satirical skits disrespect the Holocaust and its survivors, the paper argues that these skits do not constitute cheapening mechanisms, but are nurtured by pain and criticism of a post-traumatic society.
7
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Irish Bards in Shakespeare's Richard III and As You Like it

58%
Breeze A.
Language. Culture. Politics. International Journal
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2021
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vol. 1
129-136
EN
Shakespeare alludes twice to Irish bards. In Richard III, the king mentions a prophecy by one of his imminent death; in As You Like It, Rosalind jokes on how Irish bards can supposedly rhyme rats to death. Both refer to supposed bardic powers of seeing the future and of ritual cursing of enemies. A survey of the literature shows satire and prophecy as going back to ancient times. There is in addition ample material on the (sometimes deadly) eects of satire in medieval and later Ireland, where it is known from chronicles, legal tracts, handbooks of poetry, and various surviving poems. There are in addition comic tales on how bards exploited their power, including an eleventh-century one on King Guaire's Burdensome Company, wherein the poet SenchÆn rhymes to death certain mice that had spoiled an egg reserved for him. Shakespeare's references can thus be related to traditions well-known in Gaul and medieval (or early modern) Ireland and Scotland.
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