Search results - CEJSH

1

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.

2

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

3

W obronie humoru

100%

Cieśla-Korytowska M.

Ruch Literacki

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2022

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issue 6

1007-1024

EN

This article argues that humour is a distinct category, applicable to literature, fine art, and even music, and takes up nineteenth-century art as a case in point.

4

Humor w badaniach nad przekładem

80%

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.

5

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.

6

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.

7

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).

8

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).

9

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.

10

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.

11

Humour in Professional Academic Writing

80%

Warchał K.

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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.

12

What is Chekhovs Siren Whispering to Us? On the Unavoidability of the ‘Impossible’ Creation of the Humanities

80%

Neuger L.

Wielogłos

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2012

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vol. 2

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issue 12

127-133

EN

The focus of my reflections on hermeneutics and the humanities is the short story or comic tale by Anton Chekhov entitled “The Siren” (1887) where we encounter two irreconcilable conceptions of representation; the story contains within it a philosophical aporia, but makes no attempt one way or another to resolve it. I believe that the non-metaphysical “adhesion” of this aporia is precisely its humour. Is such a humorous hermeneutics of uncertainty (of oneself) or such a comic approach to what we call the humanities, which is not sceptical because it to a certain extent a priori affirms the world as well as one’s own imperfection, at all possible? If I understand Chekhov correctly, then he confronts us with the problem of the uinavoidability of precisely this “impossible” creation of the humanities.

13

Środki językowe oddające poczucie humoru młodego Bolesława Prusa

80%

Machnicka V.

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.

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

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.

16

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.

17

“No harm done”: Teachers’ humorous talk about children’s safety

70%

Sullivan R. K.

The European Journal of Humour Research

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2014

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vol. 2

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issue 1

EN

This paper presents and discusses the forms of humour employed by New Zealand primary school teachers when talking about children’s safety in the outdoor classroom. A discourse analysis, guided by the notion of interpretative repertoires (Potter & Wetherell 1990, 2004), suggests a tension between safe practice and enjoyment with humour as a mediating factor. Three repertoires were named from analysis: safe practitioner; adventurous risk-taker; fun, pleasure and excitement seeker. A surprising and unexpected aspect was the place of humour in teachers’ talk, as analysis indicated that humour was an interpretative resource employed in all three repertoires. I suggest humour is a mechanism through which teachers negotiate and manage both providing for children’s enjoyable outdoor educational activities and ensuring their safety.

18

Appropriate and relevant humour in the university classroom: insights from teachers and students

70%

Abu Bakar F.

The European Journal of Humour Research

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2019

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vol. 7

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issue 4

EN

When used for the purpose of teaching and learning, humour must be relevant and appropriate to the context. However, what constitutes appropriate and relevant humour is unclear. Past studies have focussed mostly on classifying appropriate and relevant types of humour. Additionally, students’ and teachers’ perceptions of what constitutes appropriate and relevant humour are likely to differ, meaning that the effectiveness of teachers’ humour use may vary depending on the context. With this in mind, it is important to consider teachers’ and students’ perceptions of the appropriateness and relevance of humour. For this paper, five award-winning teachers and 10 students were interviewed regarding their perceptions and experiences of the use of humour in university teaching. Four themes were identified that relate to teachers’ and students’ perceptions regarding the appropriateness of humour: Appropriate humour is relevant humour; Appropriate humour happens at a suitable time and in a suitable manner; Appropriate humour enhances teachers’ credibility; and Inappropriate humour is disrespectful humour. Three themes were identified related to the relevance of humour: Relevant humour is related to the learning content; Relevant humour is related to daily experiences in life; and Irrelevant humour is humour that students do not understand. On the basis of this study, this paper offers pedagogical suggestions for teachers who wish to use humour effectively by taking into consideration what humour is considered appropriate/inappropriate and relevant/irrelevant. The study presented in this paper was funded by Postgraduate Publishing , University of Otago, New Zealand. I also would like to take this opportunity to acknowledge and thank Dr Vivienne Anderson, Assoc Prof Dr Vijay Kumar Mallan, and Prof Tony Harland for their feedback on the author’s PhD thesis from which this paper is derived.

19

Vestibules to the “world of topsyturvydom” – paratexts in nonsense anthologies

70%

Hołobut A., Hołownia O.

The European Journal of Humour Research

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2017

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vol. 5

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issue 3

EN

In this article we examine eighteen selected nonsense anthologies published in the UK since the 1920s, working on the assumption that they define, re-shape and visually reinterpret the genre for a general audience in parallel to scholarly approaches to nonsense. In the first part of our paper we look at the process of anthologising and its main functions, followed by an overview of key nonsense anthologies. In the second part, we inspect peritexts that influence the reception of these collections and, by extension, the perception of literary nonsense, looking specifically at book titles, cover designs, tables of contents, prefaces and postfaces. In doing so we hope to reveal the implied reader of the anthologies, comment on their coverage relative to the established Victorian canon and recognise the distinctive features of the genre, foregrounded by the anthologists’ editorial and aesthetic choices.

20

The power of metonymy in humour: stretching contiguous relations across different layers of meaning

70%

Tabacaru S., Feyaerts K.

The European Journal of Humour Research

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2015

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vol. 4

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issue 2

EN

This paper is grounded in Cognitive Linguistics (CL), which sees metonymy as a conceptual phenomenon, in which one conceptual entity (the source) provides mental access to another entity (the target) within the same conceptual domain (Radden & Kövecses 1999), as opposed to metaphor, which is seen as a mapping between different domains (Lakoff 1987). Our view on metonymy slightly deviates from the mainstream CL-approach, as we reinterpret the criterion of the single domain as an epiphenomenon of the conceptually defined contiguous relationship (Feyaerts 1999), which we take to be metonymy’s categorical feature. In this contribution, we analyse the structural role of metonymy in humorous interactional sequences as they occur in the American television-series House M.D. and The Big Bang Theory. As our examples qualify as staged communicative acts, the interpretation of which involves processing meanings on different layers, we use Clark’s (1996) layering model to account for the humorous uses of metonymies and to show that metonymic connections lie at the heart of pragmatic inferencing. In line with – and at the same time extending – earlier work (Feyaerts & Brône 2005) on the potential of metonymic chaining to generate humorous and expressive meanings, this study demonstrates how a metonymic relationship may extend across different layers of meaning – the ‘serious’ discourse base space and a ‘non-serious’ pretence space – to generate a humorous meaning, based on the common ground between the speakers and the audience.

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