Humor

Pointenlose Bildkomik

by Lino Wirag

Essay on contemporary pictoral humour without punchline

No One Is Safe from the Parodist (Part 1) by Barbara Ardinger

by Feminism and Religion

Originally published on the Feminism and Religion project

Now, with only a minimum purchase, you can save your loved ones—your friends—your neighbors—your business... more Now, with only a minimum purchase, you can save your loved ones—your friends—your neighbors—your business associates—from eternities of suffering and torment. Our new Multi-Level Marketing company guarantees Eternal Salvation for you and your entire downline.

Confessions of a Greek Player #2

by Andreas Andreou

Satyrica, Vol. IV, Issue 2 (October 2011), King's College London Classics Society.

Confessions of a Greek Player #3

by Andreas Andreou

Satyrica, Vol. IV, Issue 3 (November 2011), King’s College London Classics Society.

Confessions of a Greek Player #4

by Andreas Andreou

Satyrica, Vol. IV, Issue 5 (January 2012), King’s College London Classics Society.

Confessions of a Greek Player #5

by Andreas Andreou

Satyrica, Vol. IV, Issue 6 (February 2012), King’s College London Classics Society.

El nacimiento del humor en China

by Xavier Ortells

El nacimiento del humor en China tiene fecha, lugar y padre claros: fue en 1924, en dos artículos del intelectual Lin... more El nacimiento del humor en China tiene fecha, lugar y padre claros: fue en 1924, en dos artículos del intelectual Lin Yutang (1895 - 1976) publicados en el suplemento literario Chenbao (Chenbao fulu) (1). Fue en estos artículos donde Lin, recién llegado de Europa con una tesis sobre literatura china completada en Harvard y Leipzig, acuñó el neologismo 'youmo' (幽默) como transcripción fonética del inglés 'humor'. Tal neologismo no ocupó, obviamente, un vacío: hasta ese momento, el término 'huaji' (滑稽) servía para referirse a lo cómico. ¿Por qué creyó Lin que 'huaji' no era suficiente? ¿Qué diferencias semánticas introdujo el nuevo 'humor'? ¿Qué nueva realidad social venía a denotar la nueva palabra? Este artículo explora las distintas motivaciones detrás de esta operación lingüística, su contexto político y cultural, así como su recepción, no exenta de polémica, que enzarzó a los máximos representantes de la modernidad intelectual china en una batalla por el lugar del humor en la sociedad.

Seguiremos al pendiente: Anselmo Guiú como pretexto en la obra de Guillermo Sheridan

by Raúl Bravo Aduna

Guillermo Sheridan no es sólo un académico y ensayista notable; es, también, un humorista capaz de poner en entredicho... more Guillermo Sheridan no es sólo un académico y ensayista notable; es, también, un humorista capaz de poner en entredicho la supuesta solidez de los géneros literarios y periodísticos. En este ensayo, Raúl Bravo Aduna elabora un análisis minucioso de estos rasgos de la obra de Sheridan en la figura de un personaje tan mordaz como jocoso: el reportero Anselmo Guiú.

Karikatuur ja/või kunst. Valdkondade vahekorrast Eestis Priit Pärna loomingu näitel / Cartoons and/or Art. On the relationship of Two Fields in Estonia, Based on Priit Pärn's Creative Career.

by Mari Laaniste

M. Laaniste, Karikatuur ja/või kunst. Valdkondade vahekorrast Eestis Priit Pärna loomingu näitel / Cartoons and/or Art. On the relationship of Two Fields in Estonia, Based on Priit Pärn's Creative Career. – Kunstiteaduslikke Uurimusi / Studies in Art and Architecture 2009, vol. 18 (no. 1-2), p. 111-145, English summary p.146-150.

On Priit Pärn's work as a cartoonist, illustrator and graphic artist in the 1970s and 1980s Estonia.

“Red Laughter”: On Refined Weapons of Soviet Jesters

by Serguei Alex. Oushakine (Сергей Ушакин)

Social Research Vol. 79 : No.1 : Spring 2012

The Voice and the Void: On Humor and Postmodernity

by Miriam Fernández-Santiago

The (il) logics of Postmodern Humor

by Miriam Fernández-Santiago

The Joke Sublime. An Essay on Postmodern Time

by Miriam Fernández-Santiago

Entre líneas.  Junio 2001 (79-87).
ISSN:1578-1321

The Deconstructive Power of Humor: Textual Deconstruction and Renewal in T. Pynchon’s Parasites

by Miriam Fernández-Santiago

Power and Culture in America: Forms of Interaction and Renewal. Salamanca: Ediciones Almar, 2001 (195-201).

The Text’s Bauble or Pynchon’s Metafiction in Mason & Dixon

by Miriam Fernández-Santiago

BABEL AFIAL, 2002. vol.10. 91-106. ISSN: 1132-7332.

“Resist the Usual": Young & Rubicam’s Soft Sell Strategies in Radio Comedy Programming

by Cynthia B. Meyers

Paper presented at the Society of Cinema and Media Studies Conference, Boston, MA, 22 March 2012, as a part of "Time to Smile" panel.

Although most ad agencies producing radio programming in the 1930s used hard sell advertising strategies, Young &... more Although most ad agencies producing radio programming in the 1930s used hard sell advertising strategies, Young & Rubicam followed soft sell principles, including the use of humor, emotional appeals, and advertising integration into program texts, in order to avoid alienating audiences.

Kurt Vonnegut's Last Laugh

by Robert Tally

Published on the Continuum Literary Studies blog (15 March 2012).

'Five years ago, on March 14, 2007, the much beloved American satirist Kurt Vonnegut fell down the front steps of his... more 'Five years ago, on March 14, 2007, the much beloved American satirist Kurt Vonnegut fell down the front steps of his New York City brownstone, smashing his head on the sidewalk; four weeks later, he died. So it goes.

On the communicative function of exaggeration: How to be a million times clearer

by Craig Stewart

with Roger J. Kreuz, Communication Research Reports (2003), Vol. 20, No. 4

Three experiments tested whether manipulating the degree of exaggeration affects either the effectiveness or the... more Three experiments tested whether manipulating the degree of exaggeration affects either the effectiveness or the clarity of the communicative goal" to be humorous. " In Experiment 1, level of exaggeration had no effect on ratings of how funny a statement was. In Experiment 2, highly exaggerated statements resulted in significantly higher ratings ofhow likely a speaker was trying to be funny than either somewhat exaggerated or not exaggerated statements. In Experiment 3, the findings of Experiment 2 were replicated, but a manipulation of prototypicality of exaggeration had no effect. These experiments indicate that extreme exaggeration more clearly conveys what a speaker's intended communicative goal is, but does not increase the speaker's effectiveness in achieving that communicative goal.

L'espace public à l'épreuve du rire: à la recherche de nos voix

by Marie Quévreux

draft
published in Implications Philosophiques, 1er july 2011
http://www.implications-philosophiques.org/

Humorous Elements Inherent in Postmodernist Works

by Claire Jones