Search results - CEJSH

1

15th International Pragmatics Conference (IPra2017), 16-21 July 2017, Belfast, Northern Ireland

100%

Chłopicki W.

The European Journal of Humour Research

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2017

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vol. 5

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issue 3

EN

Academic event report on 15th International Pragmatics Conference (IPra2017), 16-21 July 2017, Belfast, Northern Ireland

2

Das Phänomen auf der Zunge. Zu Spezifik und Humorindikatoren der Zungenbrecher

100%

Wowro I.

Linguistische Treffen in Wrocław

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2021

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issue 19

357-372

EN

Tongue-twisters, extremely strange structures, are examples of linguistic acrobatics and creative play with the language. Although they incorporate many comical forms and ideas and are characterized by structural diversity, they rarely become the subject of linguistic research. Many of them are based on repetitions of similarly sounding words or phrases; some are almost meaningless, which, however, does not distort their function but highlights their specificity. For these reasons, among others, the aim of the article is to show and discuss characteristic features of tongue-twisters, methods of creating them and mechanisms for generating comical effects. Tongue-twisters are examined in terms of their formal features (morphology and syntax) and semantic properties (puns, modifications, irony, unexpected content, etc.). The analysis confirms that there are no limits to their flexibility and creative potential. It identifies a wide range of possibilities for their construction and points out their inherent humour indicators even if many tongue-twisters resemble flat jokes.

3

Transferring multilingual humour intralingually: the case of “Big Night”

80%

Magazzù G.

The European Journal of Humour Research

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2019

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vol. 7

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issue 1

EN

Multilingual films usually tackle significant social and political issues. Sometimes, these films adopt linguistic diversity to create confusion and to trigger humour, accomplishing a comic effect. Normally, films about migration and diaspora are multilingual, as they want to recreate the linguistic diversity that exists in reality. There are many cases though in which the translator/adapter faces the struggle of translating into his/her own language. In this paper, we will analyse the Italian dubbing of Big Night, to see how the dialogues have been conveyed and especially how verbally expressed humour and stereotypes from the Italian language and culture are transferred intralingually and to what effect.

4

There Is Method in the Humorous Speaker's Madness: Humour and Grice's Model

80%

Dynel M.

Lodz Papers in Pragmatics

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2008

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vol. 4

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issue 1

159-185

EN

The interdependence between humour and the Cooperative Principle (CP) (Grice 1975/1989b, 1978/1989b, 1989a) appears to be a bone of contention in pragmatic studies on verbal humour. The wellentrenched approach advocated by Raskin and Attardo is that jokes (and also other forms of intentionally produced humour) constitute the non-bona-fide mode of communication standing vis-à-vis the Gricean model and governed by a humour-CP (Raskin 1985, 1987, 1998; Raskin and Attardo 1994; Attardo 1990, 1993, 1994, 1996, 2006), and that they violate, not merely flout, the maxims and even the CP (Attardo 1990, 1993, 1994, 1996, 2006). The aim of the article is to shed new light on the interdependence between humour and the CP with a view to substantiating that the authors who regard humour as an independent communicative mode and as an intrinsic violation of maxims and the CP appear to labour under a serious misapprehension. It will be argued that the Gricean model of cooperative rationality does allow for humorous verbalisations, which normally rely on maxim flouts.

5

Pigs, pastures, pepper pickers, pitchforks: Carl Sandburg’s Rootabaga Stories and the tall tale

80%

Heyman M.

The European Journal of Humour Research

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2017

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vol. 5

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issue 3

EN

Past studies of American nonsense literature have tended to lump it together with the British, for many good reasons. This article, however, distinguishes American nonsense, not just from the British, but from any other tradition, by way of its folk origins and cultural context. One of the least-recognized writers of nonsense is Carl Sandburg, who is famous for his iconic American poetry, but his Rootabaga Stories (1922-30) are some of the best and most distinctive representatives of the genre. Sandburg’s nonsense short stories are lyrical and strange, but their value lies also in their distinctive American origins. They are distinguished in having particularly American themes, cultural tendencies, and geography, but also in their formal techniques, which hearken back to American folklore and the tall tale in particular, as in W. B. Laughead’s Paul Bunyan (1922).

6

Dowcipy o góralach a tzw. duch góralszczyzny

80%

Tarnogórska M.

Góry, Literatura, Kultura

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2016

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vol. 10

209-218

EN

The aim of this article is to examine the authenticity of popular ‘highlanders’ jokes’ published in many anthologies of humour as well as in separate dedicated volumes often termed ‘highlanders’ humour’ thus suggesting folkloristic sources of the texts. The analysis of representative examples shows that most jokes are thoroughly fictive constructions profiled as ethnic jokes without authentic origins. The anonymous sources of these jokes create them with two main qualities: 1. the tendency to use puns, black humour or even nonsense humour which contrasts with the rather realistic humour of folkloristic texts; 2. incorporating elements of modern reality such as technical gadgets comically incongruous in the context of the stereotypical image of highlanders’ culture. A true portrait of highlander culture, a quality of authentic folklore, is replaced by purely nominal ethnic characteristics, often added to primarily non- ethnic jokes, implying that the ethnic joke is more funny than the same joke without such an ethnic characteristic (for instance, a joke about Scottish avarice is deemed more funny than the same joke about a non-descript miser).

7

O ambiwalentnym humorze Karla Michala

80%

Czernikow O.

Slavia Occidentalis

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2013

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issue 70/2

65-76

PL

The paper tackles the topic of the negative or ambivalent humour in Karel Michal’s short story collection Everyday Spooks. Starting from the concepts of humour (present, e.g., in the theoretical works of Jean-Paul, Baudelaire, and Bachtin) based on the existence of negative features, the author examines the functioning of the degrading role of humour in the Czech writer’s debut volume. Carried out with these tools, the analysis of negative strategies in the humoristic writings of Michal, allows for a reinterpretation of his early texts and makesit possible to view them as perverse moralities.

8

Środki językowe oddające poczucie humoru młodego Bolesława Prusa

80%

Machnicka V., Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach

Acta Universitatis Lodziensis. Folia Linguistica Rossica

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2011

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vol. 07

EN

The author concentrates on the linguistic analysis of the early works of Aleksander Głowacki, that is the texts created between 1873 and 1875, which were initially printed mostly in such magazines as “Mucha,” “Kolce,” and “Kurier Warszawski.” The works represent characteristic, juvenile type of literary output and the sense of humour of the author who was just commencing his literary career. In the first part of the article there are definitions concerning various issues in the field of humorous writing. Then the collected material is analysed in several groups according to particular forms and types of linguistic means in order to amuse the readers: I. Titles of the works and collected works, dedications, epigraphs. II. Golden thoughts, aphorisms, proverbs, catchphrases. III. Periphrastic and hyperbolic structures and comparisons. IV. Meaningful proper names. V. Lexical, phraseological, morphological and semantic neologisms, ambiguous vocabulary, stylized texts.

9

Humor w badaniach nad przekładem

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Rębkowska A.

Romanica Wratislaviensia

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2016

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vol. 63

157-174

EN

Humour, manifesting itself at different semiotic levels of a text, is considered to be one of the most common translation challenges. However, previous studies dealing with translation of humour mainly consist of various aspects of translating humorous phenomena expressed themselves especially at the linguistic level. The aim of the article is to present the most important linguistic theories of humor (structural isotopy, semantic theory of scripts, the general theory of verbal humor, humor seen as a violation of the conversational maxims or as the game with implicatures), as well as some observations in the field of translation studies, and subsequently to develop describing tools for the translation of humorous phenomena in audiovisual texts.

10

Humour in Professional Academic Writing

80%

Warchał K.

Theory and Practice of Second Language Acquisition

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2019

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vol. 5

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issue 1

43-54

EN

Professional written academic genres are not typical sites of humour, especially in their final, published forms. In this paper, I argue that academic discourse as construed today not only does not preclude humour in written research genres but – in some text segments or in response to specific communicative needs – is perfectly compatible with it. In particular, I focus on these occurrences which engage the reader and contribute to the writer-reader rapport: humorous titles, humorous comments or asides, personal stories, and literary anecdotes. I also suggest that making university ESL/EFL students aware of the fact that “serious” writing tasks do offer some room for humour may draw their attention to the human face of academic writing, that is to the interactive, dialogic, and personal aspects of written academic communication.

11

Cykl o Teosiu Kefirku Małgorzaty Strękowskiej-Zaremby wobec wzorca powieści detektywistycznej

80%

Mityk I.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2018

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vol. 6

74-83

EN

Małgorzata Strękowska-Zaremba is the author which writes a children’s novels. In her cycle of Teoś Kefirek she was inspired by classic pattern of detective novel, but she was able to modify it. She tries to work out her own style, creates colorful characters and fixes them in the 21st century realities and on the other hand she is capable of using conventional elements of genre and renews them with her own suggestions. She also intertwined the moments of great suspense with situations full of humour on account of young readers.

12

Stereotypy w dowcipach macedońskich

71%

Błaszak M.

Poznańskie Spotkania Językoznawcze

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2016

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issue 32

137-146

EN

The goal of the article Stereotypes in Macedonian Jokes is to demonstrate that jokes are based on stereotypes which tend to be consolidated and disseminated by means of jokes. Stereotypes occur in every social group, they hand down social tradition from generation to generation despite the fact that a picture of a group in question has evolved for many years. The article provides examples of Macedonian jokes about various national, social and ethnic groups. These examples serve to present Macedonian prejudices as well as a positive perception of the mentioned groups. The research is based on jokes downloaded from Macedonian websites. The research methodology allows to classify the content into different types of stereotypes: ethnic, national, related to professions or social groups.

PL

Artykuł Stereotypy w dowcipach macedońskich ma na celu ukazanie, że dowcipy powstają dzięki stereotypom, są przez nie utrwalane i rozpowszechniane. Stereotypy występują w każdej grupie społecznej, przekazują tradycję społeczną z pokolenia na pokolenie, pomijając fakt, że dany obraz grupy przez wiele lat ewoluował. Autorka w artykule podaje przykłady macedońskich dowcipów o różnych grupach narodowych, społecznych czy etnicznych. Na tej podstawie przedstawia zarówno uprzedzenia Macedończyków występujące na przykład w stosunku do określonych narodowości, jak i pozytywne postrzeganie tych nacji. Przedmiotem badań są dowcipy zaczerpnięte z macedońskich stron internetowych, a zastosowana przez autorkę metoda badawcza pozwala na klasyfikację treści według różnych rodzajów stereotypów: etnicznych, narodowych, klas zawodowych czy grup społecznych.

13

Le jeu de la sémiose. L’humour comme opération sémiotique ludique dans Cent mille milliards de poèmes de Raymond Queneau

71%

James A.

Quêtes littéraires

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2023

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issue 13

143-153

EN

What is the value of play for a reader when the literary text itself is radically conceived as a ludic device? The Ouvroir de Littérature Potentielle’s flagship product, Raymond Queneau’s Cent mille milliards de poèmes, a collection of combinatory poems, is an exemplary interrogation of reading, in view of the double problematic it raises: auctorial effacement and lectorial activity. The aim of this article is to pave the way for an epistemological re-qualification of the notion of humour, by approaching it as a (playful) practice of making sense, and more specifically here as an interpretative practice. Based on a dialectical conception of play, inherited from Kant’s “free play of the faculties”, it is intended as an opportunity for an unusual rapprochement between humour and literary reading. With the author’s ambivalent complicity, the reader’s own staging merges with the work’s semiosis.

FR

Quelle est la valeur du jeu pour un lecteur lorsque le texte littéraire se pense lui-même radicalement comme un dispositif ludique ? Le produit inaugural de l’Ouvroir de Littérature Potentielle que fut le recueil de poésie combinatoire des Cent mille milliards de poèmes de Raymond Queneau interroge la lecture de façon exemplaire, eu égard à la double problématique qu’il suscite, de l’effacement auctorial et de l’activité lectorielle. Cet article voudrait ouvrir la voie à une requalification épistémologique de la notion d ’humour, en l’abordant comme une pratique (ludique) de mise en sens, et plus particulièrement ici comme pratique interprétative. À partir d’une conception dialectique du jeu, héritée du libre « jeu des facultés » de Kant, il se veut l’occasion d’un rapprochement peu commun entre l’humour et la lecture littéraire. Avec l’ambivalente complicité de l’auteur, la mise en scène du lecteur se confond avec la mise en sens de l’œuvre.

14

Niejednoznaczność wypowiedzi humorystycznych a kompetentne komunikowanie się

71%

Kucharski A.

Człowiek i Społeczeństwo

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2020

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vol. 50

EN

The aim of this paper was to discuss competent communication, specifically humorous statements containing ambiguity. Attention was brought to difficulties when deciding between informative and humorous manners of communication. It is not easy to differentiate between the two manners, which means we do not always adjust to the correct manner when speaking with our conversationalist. It brings special difficulties, when the communicator knowingly does not state what manner his speech should be received in. Farther, we cannot always form a phrase in a certain manner, even if the manner is known to us, which can lead to further issues in communication. Communication competency, including humour competency is not only the ability to understand and appreciate the humorous aspect in the message, but also the ability to formulate a humorous statement appropriate for the situation and to the aims raised by an individual.

15

Badania dyskursu ludycznego w opolskiej szkole stylistycznej

70%

Brzozowska D.

Oblicza Komunikacji

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2012

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vol. 5

101-110

EN

The aim of the article is to present ludic discourse studies in the Opole school of stylistics. First, the author presents the very term “discourse” and its collocations, showing how fashionable it is, in how many different contexts it can be used and why it can be useful also in humour studies. Then she outlines the premises and most important achievements of two collaborating schools: Lublin ethnolinguistic school and Opole stylistics school. This is the background of ludic discourse studies conducted by the latter.

16

On the "Dark Side": Facebook humour used for inclusion and exclusion

70%

Mullan K.

The European Journal of Humour Research

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2022

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vol. 10

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issue 2

96-115

EN

This study examines the use of online humour in a subversive local community Facebook group set up in 2017 by disgruntled members banned from a similar group “in opposition to [the original group’s] arbitrarily-applied rules, [its] enforced happiness, and [its] suppression of any post that isn't about giving away lemons or asking to borrow small appliances”. The dissatisfaction with the guidelines and the administration of the original Facebook group provides rich material for humorous posts in the new group, many with varying degrees of aggression directed at the founder and certain members of the “Dark Side”, as the original group is frequently referred to. This article will demonstrate how the use of humour in this new rival Facebook group is used for the purposes of inclusion and exclusion, and how it contributes to a sense of belonging in this online community of practice (Lave & Wenger 1991) created by a small group of self-declared dissidents. It will be shown how the humour shapes the identity of the group through the members’ shared ideologies and beliefs (Tanskanen 2018), and how the humorous messages intended to denigrate and belittle the “Dark Side” reinforce unity among the group members, since the feeling of superiority over those being ridiculed coexists with a feeling of belonging (Billig 2005). Fifteen single comments or multi-post threads were chosen for analysis. These appeared during the first twenty months of this rival group’s existence, and included primarily affiliative and/or aggressive humour (Meyer 2015) directed at the original group. The analysis was carried out using elements of computer-mediated discourse analysis (Herring 2004), and an insider participant-observer online ethnographic approach. The examples chosen illustrate how the humour is used to unite the members of this subversive group by dividing them from the original one, to create the joking culture (Fine and de Soucey 2005) of the new group, and in so doing, creates and sustains the members’ shared identity as irreverent breakaway troublemakers.

17

Book review : Dore, Margherita (2020). Humour in Audiovisual Translation: Theories and Applications. New York: Routledge.

70%

Leggieri A.

The European Journal of Humour Research

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2022

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vol. 10

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issue 2

162-165

18

Pagulus kui naljaasi

70%

Merivoo-Parro M.

Mäetagused

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2012

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vol. 50

159-174

EN

Most researchers agree that the essence of humour lies in its social nature. Thus it is only reasonable to assume that there is a link between laughter and success in relationships with other people and circumstances. Indeed, such conclusions have been drawn. Humour is said to develop the capacity to foster a multi-perspective comprehension of life, which can in extreme situations determine the difference between surviving and perishing. The people who fled Estonia during World War II and did not want to return for fear of being repressed by the Soviet regime, were generally allowed to apply for immigration in Western countries as refugees. This article pertains to some aspects of humour used in the written press by the New York Estonian refugee community in 1949. The character of a young lady called Salme is narrating her family’s first clumsy steps in their new homeland. The body of the text is in the form of letters addressed to former schoolmates who have not yet immigrated to their new permanent countries of residence, but are presumably still living in a displaced persons’ camp in Germany. It is argued that Salme’s letters were designed to provide comic relief from tensions common to new immigrants and old refugees. By showcasing the problems, concerns and actions that most (if not all) New York refugee Estonians could relate to, they promoted a light-hearted view of the difficulties of this particular type of existence. This set of texts is also used to make observations regarding the collective identity of the writers and their perceived audience, the intra-group relationships and connections with the outer world, Americans, the City and the array of cultural differences that they entail.

19

People don’t buy from clowns. Zur Wirkung humorvoller Werbekommunikation – theoretische Grundlagen

70%

Pociask J.

Germanica Wratislaviensia

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2015

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vol. 140

225 - 240

EN

Today we can observe the overload in the advertising market, which has had its consequences in both: the perception of advertisements (indifference and even reactance) and the necessity of changing the techniques of persuasion. The main problem is to attract attention of consumers, because the recipients possess limited possibility of stimulus perception. It forces the advertisers to be more creative while making advertisements by using emotional strategies in advertising. One factor which can be such an effective, stylistic device is humour, because firstly it fulfills the recipients’ expectations (advertising has to amuse) and as a result, creates a positive attitude towards the message. The attitude influences perceiving of advertised products which become accepted by recipients. Secondly, relevant humorous elements in the message can influence the potential consumers nearly on all levels of perception.

20

Individual differences in the way observers perceive humour styles

70%

Brown R., Findlay B. M., Brinker 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

Humour has been conceptualized as styles, which vary based on their function (Martin, Puhlik-Doris, Larsen, Gray, and Weir, 2003). Research examining if and how observers perceive this intent is limited. The current study addresses this research gap by examining the perceptions of Martin et al.’s (2003) four humour styles. Additionally and of particular interest, was whether self-defeating humour and another self-directed humour style, self-deprecating humour, were perceived as two independent humour styles. Despite being similar in content, self-deprecating humour is associated with higher self-esteem and self-defeating humour with lower self-esteem. Two hundred and four students watched comedy clips and completed a survey online. Participants were asked to categorize each video clip by humour style and to rate the self-esteem of the target (i.e. comedian). Results revealed that humour styles are distinguishable by observers with participants predominantly selecting one humour style over the others for each clip. In support of the second hypothesis, targets who were categorised as using self-deprecating humour were perceived as having higher self-esteem than those categorised as using self-defeating humour, illustrating a distinction in the perception of these humour styles at an interpersonal level.

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