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Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers the author's insights on race and black humor. The author says that weatherman Scott Stevens blamed the Japanese Mafia for causing Hurricane Katrina by using a Russian-made Cold War device. The author says that Stevens' racist responses to the hurricane were a second-rate parody of black humor fiction, which forced him to explain this conspiracy theory. The author also discusses the black humor in Brian Aldiss' "Another Little Boy" and the rise of nuclear fiction.

As a writer, editor, scholar, and activist, Toni Cade Bambara left an indelible imprint on African American literature and Black feminist thought. This article elucidates Bambara's significance to Black women's humorous practice and articulates the mutuality between Black feminism's ongoing project to render Black women visible and to recover and engage in the bounty of Black women's humorous expression. Through her "cut on the bias" approach to using humor in the short story "Medley," Bambara offers an "alternate design sensibility" of racial and gender difference that illuminates the perspective of being Black and female. [ABSTRACT FROM AUTHOR]

The article explores the influence of new technologies on the social ideas of Kharkiv inhabitants in the late imperial period. The main methodological approach of this paper is the qualitative content analysis of the main Kharkiv periodical issues, such as «Utro», «Juzhnyj kraj», and «Zhalo». First of all, we studied the attitude toward the new transport system, such as tram and horse-drawn railway. The aviation as entertainment is described. Attention was paid to the criticism of telephone. The phenomenon of imagined invention is highlighted. In results, it was found that there was an ambivalent attitude to the innovation among Kharkiv inhabitants. On the one hand, it was positive and enthusiastic, on the other new technologies arose a fear, sometimes even a demonization of machines. Such negative view could be partly explained by imperfection and a risk of being injured, which increased by ignorance of safety rules. [ABSTRACT FROM AUTHOR]

Frances McDonald's book, "Posthumorism: The Modernist Affect of Laughter," challenges the premise of humor studies by exploring posthumorist laughter, which she argues lies outside the field. McDonald draws on affect studies to analyze various texts, including Nathanael West's "The Day of the Locust" and Hélène Cixous' "The Book of Promethea," to demonstrate how writers use language to make laughter a central focus. She also incorporates philosophical concepts from Gilles Deleuze and Félix Guattari to present posthumorist laughter as a disruptive force that goes beyond individual emotions and traditional notions of humor. While McDonald's book has been criticized for its totalizing rhetoric and overlooking the diversity of modernist art, it offers a thought-provoking critique of humor studies and opens up new possibilities for understanding laughter. [Extracted from the article]

"Dead Funny: The Humor of American Horror" by David Gillota is a book that explores the relationship between humor and horror in American horror films. The author argues that humor is a prominent aspect of horror and contributes to the tone, themes, and structure of the genre. The book examines various humorous modes and devices used in horror, such as parody, comic monsters, body humor, camp, awkward humor, and satire. It offers close readings of films and analyzes their use of humor to provide social critique and commentary. Overall, the book provides new perspectives on the intersection of humor and horror in American cinema. [Extracted from the article]

The article offers criticism on East Asian war films including "One and Eight," directed by Zhang Yimou, "Devils on the Doorstep," directed by Jiang Wen, and "Fires on the Plain," directed by Ichikawa Kon, focusing on the films' use of the concept of the anti-hero and black humor. The author highlights the films' emphases on individuals' experiences of violence and war and argues that the they undermine nationalist and historical narratives of war.

Copyright of L'Homme: Revue Française d'Anthropologie is the property of Editions EHESS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"Stay Cool: Why Dark Comedy Matters in the Fight against Climate Change" by Aaron Sachs explores how dark humor can help us confront the climate crisis. Sachs argues that dark humor serves as a coping strategy, creates distance in heated debates, and builds camaraderie among those who share similar concerns. The book also examines the intersections between African American and Jewish traditions of dark humor and climate change humor. While the book offers lively anecdotes and a personable voice, it may overlook social justice concerns and lacks in-depth analysis and theoretical exploration. [Extracted from the article]

This observation about the connection between power and audience laughter provides a fascinating perspective, one that is well illuminated by Noé's analysis of Kristen Schaal's special. Noé presents this dynamic between Schaal and the audience as a critical defining element of alternative comedy and reasons that the audience is receptive to a woman "performing disengagement with power" (67); Schaal is popular because she is willing to give up, take back, and exchange power with the audience throughout the performance. While the women comedians do escape the mainstream audience's traditional views of gender by performing in alternative spaces, it is alternative comedy's potential to play with power that shapes their comedic mode, particularly the power to control people's laughter. [Extracted from the article]

The Dignity (al-Karama) Uprising of May of 2021 broke many "rules of engagement" between Palestinians and the settler state of Israel, including that of sarcasm and humor. Spreading swiftly from Jerusalem to all of historic Palestine, the uprising defied cooptation by the Palestinian Authority, an entity that has long maintained a buffer between its people and the settler state. Hence, and throughout the confrontations, a point-blank range was created allowing for the usage of all sorts of "weapons" in the Palestinian people's humble arsenal, humor included. This essay, originally written during the uprising and in Arabic, records the Palestinians' ability to ridicule the Israeli settler violence to which it is subjected, through black comedy - "sprinkling sugar on their own death." By contextualizing the grand event of 2021 politically and culturally, and de-theorizing humor to its core, this article brings to the historical record the Jerusalemites' invention of "red humor," colored with their blood, that appeared in different performative acts targeting Israeli human power; military machinery; repressive policies; and modes of "negotiation." Tracing the "black" into the "red" in expressions of humor as a tool in the arsenal of this uprising offers a record of a powerful, and often used, means of empowerment and resistance for Palestinians. [ABSTRACT FROM AUTHOR]

Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From the start, Clements reminds readers that dominant classes in society have used and continue to use humor and art to keep lower classes in their place. One wonders about the humor Clements might have encountered in totalitarian societies such as those in in North Korea, Taliban/Isis-controlled Afghanistan, or Communist-controlled Uyghur China. Clements is at pains to note humor's benefits in any culture and speaks of the humanizing role of humor in culture even as he emphasizes its limits. [Extracted from the article]

Wood shows how Sykes's comedy in her performances at the White House Correspondents' Dinner and in her two comedy specials ( I I'ma Be Me i and I What Happened, Ms. Sykes? Wood honors Mabley while telling a more complex story about Black women in stand-up comedy. Graph From the outset, Katelyn Hale Wood's book on stand-up comedy, I Cracking Up: Black Feminist Comedy in the Twentieth and Twenty-First Century United States i , prioritizes Black feminist joy. [Extracted from the article]

Gehring is clearly more interested in writing an entertaining book for Hitchcock aficionados than he is in critically intervening in either humor or Hitchcock studies. In his prologue, Gehring explains that Hitchcock's humor has a "dark comedy base" on which several other genres of comedy stand (22). The endnotes tied to Gehring's discussion of "dark comedy" and "screwball comedy" also led me to references to Gehring's own books on those topics. [Extracted from the article]

Humor by African American women writers has been largely overlooked and undervalued owing in part to the misguided expectation of feminine, subordinate behavior that precludes the expression of aggression and irreverence associated with humor. This article reappraises Jessie Redmon Fauset's reputation as a sentimental, bourgeois female writer, looking at how she uses irony and satire to challenge racial and gender stereotypes and become a pioneering female humorist of the Harlem Renaissance. In her essay "The Gift of Laughter" and her best-known novel, Plum Bun (1928), Fauset uses humor as an indirect form of social protest to subvert racial and gender stereotypes of the New Woman and the New Negro Woman and to unsettle bourgeois, sentimental conventions of the marriage plot and the passing plot. Through a reframing of Fauset's novel in light of recent theories of Black feminist humor, this article helps to restore Fauset's rightful place among the leading and lasting voices of the Harlem Renaissance. [ABSTRACT FROM AUTHOR]

Burge's reminder of a forgotten figure is also a reminder that American politics in the nineteenth century was even more polarized and uncivil than ours, with nearly every one of the many newspapers of the time house organs for particular parties, many of them indulging in the kind of acerbic personal attacks Burge recovers for us. Editors: I greatly enjoyed reading Kirsten Leng's article "Comedy as a Practice of Care: Restorative Laughter and Reciprocal Empathy in the Pandemic", in which she argues that comedy can be understood as a practice of care, meaning that it has affective and nurturing dimensions.[1] She draws on the statements and comments of late-night comedians during the COVID-19 pandemic, who, although professionally paid, offered their comedy as a form of care for their audiences under difficult conditions in an attempt to establish genuine connection. Day also observes that feminist comics use anger to generate comic catharsis. [Extracted from the article]

Generation Z (Gen Z) represents something of a quintessence for the broken promises that now seem to make up the promise of higher education. But if despair indicates the dark side of generational malaise around things like civic engagement, community, and student learning, the dark humor that has emerged out of these generations points to modes of democratic citizenship that are more about reconciliation than resignation. This essay offers a critical reflection on Gen Z humor, its place in college and university classrooms, and its usefulness as a resource for reconsidering how teaching and learning might be tied to a comically examined life. It proceeds with a fresh look at pedagogies of hope as developed by Paulo Freire, Martha C. Nussbaum, bell hooks, Henry A. Giroux, and others. This examination allows for the conceptualization of a comic poësis for understanding how instructional practices that meet students on uncommon ground contribute to the production, creation, and care for personhood as well as public culture. Ultimately, this essay balances theories of a comic teaching praxis with actual activities from the classroom to meditate on a pedagogy of reconciling curricula with who and where students are, beginning and ending with feedback loops [ABSTRACT FROM AUTHOR]

The article discusses the Shakespeare authorship debate and highlights Elizabeth Winkler's book, "Shakespeare Was a Woman and Other Heresies," which presents arguments for various candidates who may have written Shakespeare's works. The article mentions the controversy surrounding the book and the differing opinions of scholars and actors. It also explores the use of circumstantial evidence in the Oxfordian case for Edward de Vere as the true author of Shakespeare's works. The article concludes by discussing the limited acceptance of the Oxfordian theory in academic circles and the efforts of librarians to incorporate Oxfordian scholarship. [Extracted from the article]

Dharmveer Bharati's1 'Gulki Banno'2 portrays the life of Gulki, a young woman who is a humpback. Set in Allahabad of the 1970s, it describes Gulki's struggle for survival and lays bare the manner in which deformity or disability is seen in our society. This article shows the varied ways by which her impaired body is associated with evil and deviance and is the object of children's pranks and adult's derision. It engages the reader with the issues of spousal abuse, juvenile delinquency, a disabled's search for space and, most perceptibly, the selfish motives behind the display of philanthropy. The analysis probes the underlying dimensions of moral and physical disability, underlining how multiple shades of the comic weave through the story to impending tragedy. [ABSTRACT FROM AUTHOR]

Atwood is considered as an asset in the world of Canadian Literature, who has, to her credit, more than a score of books of popularity novels, short stories, a bouquet of poems and a length of literary criticism. The various works of the writer have reached across the globe, winning her paramount glory and honourable awards. The Robber Bride turns out to be the eighth novel of Atwood. Atwood's works are noted for her wisdom and strikingly versatile craft of writing that few dares to express in their writing. The Robber Bride is shockingly unique and despite a counter part of Grimm's book. The paper aims to give an in-depth reading of the novel The Robber Bride which reveals the psyche of a woman, indeed a complicated knot to unfasten. It is usually stated that the most complex phenomenon is human psyche and to unravel its mysteries is a Himalayan task. [ABSTRACT FROM AUTHOR]

Copyright of Asclepio is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Collegium Antropologicum is the property of Croatian Anthropological Society and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Woody Allen's short fiction has received much less scholarly attention than his films. Scholars who have investigated the humorous qualities of Allen's short stories and casual pieces have noted his penchant for absurdity and non sequitur, his use of the Little Man as a vehicle for humor, and the linguistic dimensions of his joke scripts rather than his Jewish comic sensibilities. Beginning with a brief overview on how Jewish humor has contributed to the comic achievements of American culture and drawing on analyses of the main characteristics of Jewish humor, this article adds to the scholarship by exploring the influence of Jewish humorous traditions on Woody Allen's short fiction. [ABSTRACT FROM AUTHOR]

The article focuses on the use of masculinity and dark humor in the book "Slaughterhouse-Five," by Kurt Vonnegut. The author explores how Vonnegut was able to use black humor in a way that was optimistic, calling this "gray humor." The book's depiction of World War II and the bombing of Dresden, Germany is examined. The author discusses how the Vietnam War impacted the book's reception and examines how the book attempts to portray the dehumanizing effects of war, especially on boys.

The article examines the depiction of tragedy, humor and violence in Alicia Borinsky's book "Mina cruel." According to the article, the author employs burlesque parody, black humor and allegorical satire in an effort to resist the rhetoric of victimization. It was noted that Borinsky employed comic exaggeration, allegorical satire and the grotesque to point to the aberrant historical reality that characterized Argentina.