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In the course of history, humour has been more explored in literature, but little emphasis has been laid on it in teaching for higher education students. Intended or spontaneous, humour can play an important role in teaching and can facilitate teacher-student communication. It is a good pedagogical method whose main aim is to enhance students’ learning. The teaching-learning process can acquire special valences through humour. Humour enlivens the atmosphere in the classroom, helps students overcome learning difficulties and creates social bonds between participants in the act of communication. The present work aims to highlight humour complexity in the educational process. It also focuses on approaching humour from such perspectives as: definition, semantic richness,and pedagogical implications.

fter outlining the notion of fiction in Borges from the joy that the latter reads in Don Quixote, we seek to show how Foucault's work does not present a joyful reading of Cervantes' novel. He sees in it the tragic testimony of a madness that isolates itself, the laughter of reason in the face of madness that confuses words and things. In contrast, the Lacanian reading of the baroque shows the lack in the midst of representation, and thus the option of reading, in Don Quixote, a certain critique of reason in reason. We end by showing that chance through the plays of the signifier in the transformation of Mambrino’s helmet into the baciyelmo.

The study deals with the main features of Vladimír Borecký’s general theory of the comic. First, it introduces Borecký’s conception of the structuring features of the comic. It then examines the specificity of the main configurations of the comic that Borecký discusses, i.e. naivety, irony, humour, and absurdity. The study highlights Borecký’s conception of the position of these configurations in the ontogenetic development of the individual and in cultural development. The study also compares Borecký’s thoughts with the conceptions of other theorists of the comic. On the one hand, with James Sully’s genetic and pluralistic conception of laughter and the comic, and on the other hand, with Louis Cazamian’s conception of humour. In conclusion, the study shows that in both Borecký’s and Cazamian’s reflections one can trace a tendency to conceive of absurdity as the ultimate manifestation of the comic.

The first part of the article with the title Reverberations of Caragialism in Andrei Pleșu’s essays, completes the effort of systematizing the Caragialian literary legacy, by adding to the post-Caragialian literary corpus the publicistic essays written by Andrei Pleșu. In volumes such as Faces and masks of transition (Chipuri și măști ale tranziției), Comèdies at the gates of the Orient (Comèdii la porțile Orientului), The public obscenity (Obscenitatea publică), we find sufficient evidence of Andrei Pleṣu’s belonging to the literary trend of Caragialism. In this first part of the article, we point out that essential components from the paradigm of Caragialism, such as the irony and the sarcasm, the politics, the parade patriotism and the gastronomy are alluded to and revalued in Andrei Pleșu’s essays, in a way that highlights both the viability of the model and Pleșu’s endowment with an exceptional humoristic talent and satirical sense, worthy of a literary follower of I.L. Caragiale.

This article presents a qualitative study that examines hate speech (HS) from the perspectives of the most representative minority communities in Portugal, namely Afro-descendants, Roma, and LGBTQ+. The empirical research employed three focus groups, each with a representation of these communities (n=17), with the primary goal of investigating how members of these groups perceive and experience HS within the Portuguese social and geopolitical context. The results indicate that covert HS can be more detrimental than overt HS since the targeted individuals are often caught off guard and unsure how to respond, contributing to the continuation of systems of oppression and social decline. Additionally, our qualitative data show that covert forms of HS often manifest in the form of compliments and humour, common in various settings, such as the workplace, the media, and the online environment. These devices are communicative strategies anchored in both positive and negative stereotypes and may lead to the normalization of HS in Portuguese society. In this regard, this research draws attention to the significance of identifying covert forms of HS and devising strategies, such as counter-speech, to debunk them. Furthermore, it highlights the need for automatic detection of covert HS since these forms are prevalent in digital platforms.

The study about the types of comicality, and in special the humor, worried the romantics and had an influence on the studies in the beginning of the XX century. Freud, influenced and influencing this context, writes two works that treat about this thematic. In this paper, the theme humor goes to some discussions: the humoristic laugh like the framing of the affection and the effect of the affable speech of the Superego for this formation. When the plastic represented by the humoristic laugh is understood, it takes into consideration that this process gathers two possibilities of a trap, both can be constituted either as by the invoking drive or as the scopic drive. The first, by the affable and consolatory speech of the superego, that seems to work as a voice-tamer, the sonority of this speak offers a new place that is not only the deadly imperative. The second trap would be the humoristic laugh, which can be thought as a look-tamer. The contained laugh that frames the sensation of the mockery play in front the risk confronted, even knowing that this challenge persists for out of your edge, which can be approached to tears. To think the effects of the artistic and esthetic characteristics of the humor, two episodes of the work Dom Quixote de La Mancha are taken as illustration. The parts of the romance help to think how the laugh, through the imagistic and sonorous expression, can frame the affections or overflow in excess. This esthetic comprehension helps to situate your reach, that either can be the share of the pleasure or the lonely reaffirmation of the jouissance. Thereby, the humoristic smile can work as a trap for the affection, frames it reveling, retracted, that what terrifies can be faced, even that's not annihilated; the rest is excess. Therefore, even in a risky way, the humor is capable of constructing the utterance of the loss, that remits the subject to their desire. [ABSTRACT FROM AUTHOR]

The stereotype of the "feminist killjoy" (AHMED, 2018), of a woman without sense of humour, is embodied in a hackneyed retort which, often, attempts to reinforce this image: "Woman, it was a joke". With John L. Austin (1962) we would say that with this phrase we are faced with a possible case of undoing things with words. The idea of this text is precisely to analyse this ability to disrupt the effectiveness of the words spoken, resorting to the non-seriousness of what is said. Examining the effects and strategies of undoing what has been done will lead us to dwell in detail on the communicative situation that such a phrase summons up. This will shed light, not only on the role of the sender, but also on two key figures that contribute to understanding this phrase: the aforementioned killjoy, in the role of the receiver, and, what I will call, the illocutionary accomplice or, in other words, the role of the thirdness in the doing and undoing of things with words. [ABSTRACT FROM AUTHOR]

This article presents a qualitative study that examines hate speech (HS) from the perspectives of the most representative minority communities in Portugal, namely Afro-descendants, Roma, and LGBTQ+. The empirical research employed three focus groups, each with a representation of these communities (n=17), with the primary goal of investigating how members of these groups perceive and experience HS within the Portuguese social and geopolitical context. The results indicate that covert HS can be more detrimental than overt HS since the targeted individuals are often caught off guard and unsure how to respond, contributing to the continuation of systems of oppression and social decline. Additionally, our qualitative data show that covert forms of HS often manifest in the form of compliments and humour, common in various settings, such as the workplace, the media, and the online environment. These devices are communicative strategies anchored in both positive and negative stereotypes and may lead to the normalization of HS in Portuguese society. In this regard, this research draws attention to the significance of identifying covert forms of HS and devising strategies, such as counter-speech, to debunk them. Furthermore, it highlights the need for automatic detection of covert HS since these forms are prevalent in digital platforms. [ABSTRACT FROM AUTHOR]

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Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias 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.)

Judge Rinder is a British reality TV court show. It has much in common with the US archetype Judge Judy. But there are differences. One is Judge Rinder’s humour, and more specifically his wit. Using a research database of Judge Rinder cases. The article examines the nature and effects of humour in this courtroom setting. It explores the role of the judge, the form the humour takes and the interactions and social relations it generates. A distinctive feature of the analysis is consideration of the impact of the audio-visual technologies, and the techniques and conventions developed around them, upon the interactions and social relations the onscreen humour generates with viewers. While the camera aligns the screen audience with the judge and the laughter track infects the audience with emotion the judge generates, the paper cautions against assuming that all viewers have the same emotional experience. Judge Rinder es un reality show judicial británico. Tiene mucho en común con el arquetipo de Judge Judy, de EEUU; pero hay diferencias. Una consiste en el humor del juez Rinder, y, más en concreto, en su ingenio. Utilizando una base de datos de investigación de los casos de Judge Rinder, el artículo analiza la naturaleza y los efectos del humor en ese escenario judicial. Explora el rol del juez, la forma que adquiere el humor y las interacciones y relaciones sociales que éste genera. Una característica distintiva del análisis es la consideración del impacto de las tecnologías audiovisuales, y de las técnicas y convenciones desarrolladas alrededor de aquéllas, sobre las interacciones y las relaciones sociales que el humor televisivo genera en los espectadores. Mientras la cámara alinea a la audiencia con el juez y la risa contagia a la audiencia la emoción generada por el juez, el artículo advierte contra la deducción de que todos los espectadores experimentan una misma emoción. Available from: https://doi.org/10.35295/osls.iisl/0000-0000-0000-1036

Abstract: The present analysis of intensity in Romanian audiovisual advertising relies both on a linguistic and a multimodal approach. Our interest is double: confronting findings with various studies on contemporary Romanian language and verifying the contribution of extralinguistic sources to linguistic intensity. Some of the humoristic effects of intensity are also presented.

Nous prenons comme point de départ l’extraordinaire profusion des marques d’intensité insérées dans L’histoire de Manon Lescaut et du chevalier des Grieux afin d’analyser leurs différentes fonctions communicatives en tenant compte de leur inscription dans un contexte discursif déterminé pour étudier ensuite leur rôle dans quelques stratégies narratives spécifiques. Nous nous intéressons d’abord à la relation entre l’intensité et le registre pathétique qui traverse les genres littéraires au XVIII siècle, puis aux valeurs sémantico-pragmatiques de la construction consécutive intensive et aux effets de généricité signalés par Adam (2011) pour d’autres genres de discours. Finalement, nous analysons les stratégies d’intensification mis en œuvre dans le roman afin de capter l’intérêt du lecteur et de générer des situations plutôt humoristiques.

In this paper, the authors intend to reflect upon the social time interrupted by humor, as a discourse recipe, and by comedy, as a performative resource. The incongruity of the significations produced by this stylistic form means a suspension of the tipification rules in the life-world daily interactions. These moments of suspension are designated by time out. In this text, the authors show how humour and comedy connect with common time and time out to reveal interpretation keys to disclose the intersubjective social fabric.

This article on my proposal of an annotated translation of Stephen Leacock’s comic novel Sunshine Sketches of a Little Town (1912) comprises the scrutiny of a rather non-hegemonic and overlooked discursive literary channel: humour. My analysis of the novel and reflection upon some of the excerpts translated elaborate upon the role of the translator as an active agent for the diffusion of epistemologies that deviate from normativity – highlighting how the translation of comic effects contribute to the dissemination of such deviation in time and space.

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Employee well-being has been a focus area for Human Resource managers as well as top management alike. The belief that healthy, happy employees would be more efficient, and consequently contribute more, has verily driven the research to understand the implications of different aspects of an employee's health and happiness. Based on the work of key humour researcher Dr. Paul McGhee, it has been established that humour does play a key role in ensuring a happy and healthy workforce. The current study attempts to evaluate the benefits of the use of humour at the workplace, primarily in terms of influencing the work culture. The data for the study has been collected from the hotel sector and has been analysed to understand the use of humour and its influence on the work culture. The findings suggest that the presence and use of humour has a strong positive impact on work culture. The researchers also found that, contrary to previous literature, the use of humour did not depend on demographic variables like age, tenure in the current organization or total work experience. Furthermore, the study also attempts to understand how the use of humour would impact the work culture. In this regard, the researchers found that certain dimensions of humour at the workplace, had a stronger impact on the culture and it is expected that the findings would guide the behaviour of leaders and managers in the creation of a mutually beneficial workplace. [ABSTRACT FROM AUTHOR]

In this paper, based on the studies of Bakhtin (2002) and Ducrot (1987), we aim to analyze the construction of humor through polyphony and intertextuality in the video "É pau, é pedra", produced by “Porta dos Fundos” channel. Through the analysis of the argumentative game that occurs between the characters, comprehensible in the universe of humor, we analyze the argumentative scale given by the interlocutors, which brings the polyphony of the text: voices that represent the desire for virility, and sometimes represent other social desires. The intercrossing of voices occurs in a construction of exclusion: these are issues that cannot be reconciled, assuming a dialogue that foresees preferences. The size of the penis, in this case, represents the obsession with the manly role. Intertextuality includes and excludes interlocutors by making specific intertextual references. Like polyphony, intertextuality also produces humor in the text. [ABSTRACT FROM AUTHOR]

This article aims to explore the relationship between error and humour as they appear in a corpus of British cartoons depicting the world of work and business. This analysis reveals not only the strategies used by the cartoonists concerned, but also the fact that the theme of error is extremely rich, for example because it can be linked to questions of British mentality and culture. The potential role of these documents as teaching tools in a Business English course in Applied Languages will also be examined

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Copyright of Comunicação Pública is the property of Escola Superior de Comunicacao Social 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.)

This article aims to examine the production by cartoonist Chiquinha by highlighting how important guidelines of feminist movements are present in her work. By drawing attention to the analysis of the self-portraits produced by the cartoonist and the use of grotesque style in her drawings, we will analyze how the cartoonist criticizes political control over the female body, essentialized forms of understanding men and women, and the normative patterns imposed on women, which are important themes for feminist critique. Through this approach, we want to highlight the humour produced by women, for women and with a feminist orientation, which still lacks significant space in the field of Cultural History of Humour. [ABSTRACT FROM AUTHOR]

This paper analyze how comic aspects present in the performance of male homosexual characters conclude discursive formations on homosexuality in Brazilian telenovelas. The corpus of the study contemplates personages of novels from 21h of Rede Globo, namely, Felix (Amor à vida) and Téo Pereira (Império). From the debugging of 30 scenes, previously selected from each telenovela, were chosen and transcribed 15 of each, totaling 30 scenes. The corpus was analyzed according to the references of the Latin American cultural studies and queer studies. The study discussed the developmental arc of each character and the role of comic in the construction of his sexuality, as well as how the discursive formations present in the telenovelas reiterate moral deprecations historically attributed to homosexuals. Although they can be generically framed in the group of homosexual characters constantly defenestrated, both present interstitial aspects between the abjection and assimilation to the familista logic, a resource used by the culture of the media in order to pasteurize the differences in the scope of the relations of gender and sexuality. [ABSTRACT FROM AUTHOR]

In this paper, the authors intend to reflect upon the social time interrupted by humor, as a discourse recipe, and by comedy, as a performative resource. The incongruity of the significations produced by this stylistic form means a suspension of the tipification rules in the life-world daily interactions. These moments of suspension are designated by time out. In this text, the authors show how humour and comedy connect with common time and time out to reveal interpretation keys to disclose the intersubjective social fabric. [ABSTRACT FROM AUTHOR]

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In this paper we reflect on the discourse of political humor and its constitution from gestures of interpretation related to inscription and movement of subjects and senses in/among affiliation and memory networks. As analysis unit, we have chosen an electronic cartoon that textualizes the electoral dispute between the political parties PT and PSDB aired in 2015 on the website charges.com.br by Maurício Ricardo. Analysis of the selected text allowed us to observe the work of subject-author signifying the political events, as well as on the network of meanings regarding Brazilian political memory. This article enrolls in the theoretical field of French and Brazilian tradition of Discourse Analysis taking as basic references Pêcheux and Orlandi’s works.

This article has as an analytical corpus a set of 69 memes opposed to Dilma Rousseff that viralized in the Brazilian web between the period of June 2014 and August 2016 and investigates the contents mobilized during the public campaign in favor of the parliamentary coup occurred in Brazil in 2016. The analysis of these productions, as tools in the political disputes that culminated in the coup, is a way of interpreting the contemporary dynamics of Brazilian politics and the very place given to the figure of women and the feminine in public space. The collected memes show that comedy is built largely on gender inequalities and by not problematizing such an underlying framework we reinforce it. As an analytical strategy, we propose the classification of memes into four interpretive keys inspired by feminist political theory: (1) Depersonalization or invisibility, (2) Humiliation or ridicule, (3) Objectification or sexualization, and (4) Aggression or violence. By identifying the devices that support comedy from shared discursive parameters, the research demonstrates how the generalized dimension of political humor has mobilized sexist and misogynist stereotypes that have not only struck Dilma Rousseff but have reinforced the very symbolic place of women in national politics. [ABSTRACT FROM AUTHOR]

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Notre article se pose pour but de démontrer quelques-unes des stratégies narratives et rhétoriques mises en place par le romancier, journaliste, poète et académicien contemporain, né en République du Congo, Alain Mabanckou. Plus précisément, nous essaierons de discuter la tension dynamique entre les tribulations tragiques et les aboutissements comiques des aventures des protagonistes principaux, ainsi que d'analyser des éléments de l'humour dans leur discours. Nous nous concentrerons principalement sur deux ouvrages, le premier roman de Mabanckou, Bleu Blanc Rouge (1998) et un autre, assez récent, Black Bazar (2009). Notre hypothèse de travail est que la tension susmentionnée est influencée ou même découle d'une corrélation avec une hétérotopie foucaultienne, et avec des transitions dynamiques entre deux topoi principaux : celui de Paris représentant la Métropole et celui de Brazzaville, Pointe-Noire ou un village typique ordinaire quelque part dans la République du Congo, symbolisant le chronotope postcolonial, chargé de son passé colonial.

La Reine des pommes et Trop de soleil tue l’Amour sont des romans policiers qui portent une réflexion sur l’écriture elle-même à partir des mécanismes de la dérision (humoristique, ironique et grotesque). L’humour et l’ironie sont ainsi des techniques littéraires utilisées par Mongo Beti et Chester Himes pour rendre un compte exact de leurs sociétés respectives en pleine décrépitude. De ce point de vue, cet article vise à montrer que l’humour et l’ironie sont au service de l’absurde et sous-tendent le grotesque chez ces écrivains. Dès lors, nous pourrions conclure que La Reine des pommes et Trop de soleil tue l’Amour se sont inspirés du grotesque et de la satire pour sémiotiser le non-sens afin d’en dégager une signification.

Il est permis de penser qu’un matériel pédagogique humoristique – dessins humoristiques représentant ou évoquant le monde du travail, par exemple – présente un intérêt certain pour les apprenants de l’anglais des affaires et du commerce. Mais pour que tout l’intérêt potentiel de ces supports soit atteint, il est essentiel que l’enseignant tienne compte des difficultés qu’ils supposent. Cet article se propose d’apporter aux enseignants qui souhaitent adopter cette approche, des éléments méthodologiques leur permettant d’aider leurs étudiants dans la compréhension de certaines astuces de l’humour, compétence qui leur permettra d’appréhender cet aspect de la culture cible

This paper analyses, through the French Discourse Analysis point of view, the meaning effects of humorous speech on male sexuality and the Conversion Therapy disseminated by a conservative wing of Brazilian Christianity. The work is organized as follows: first, the relationship between speech, humour and jokes; then a brief background of homosexuality as a category is presented; and finally, the corpus of a Brazilian YouTube channel "Porta dos Fundos" sketch - "The Cure" - is analyzed. It is possible to conclude that the linguistic themes from comic speech are means of production and reproduction of an ideology and that the investigated discourse is a contrasting element about the sayings of non-heterosexual contingent and morally reprehensible practices. It has been noticed that the lines spoken by the characters in the comical production disagree with the religious, medical and patriarchal discourses, allowing a reflection on the crystallization of what means to be gay. [ABSTRACT FROM AUTHOR]

Ever since the rise of Political Correctness in America, the “code of good practice” is the proper procedure. The author approaches political correctness from different perspectives, from politics to the Declaration of the Rights of Man to humour. A general view of the concept is presented which includes a look into the meaning of the expression, very often associated with hypocrisy or with the “Langue de bois”, leading to the conclusion that it is man’s great capacity for adaptation that allows him to continuously develop new oratory strategies.

Os humoristas britânicos, especialmente Swift e Sterne são tradicionalmente vistos como escritores que influenciaram a obra de Machado de Assis. Entretanto, foi o crítico Eugenio Gomes que provou, com precisão, a sutileza e o bom gosto que Machado obteve dessa influência. Em uma abordagem contemporânea, torna-se interessante questionar essa idéia de influência e examinar, à luz da intertextualidade, esse contato do humor entre as obras de Machado e as dessas duas grandes figuras da Literatura na Língua Inglesa.The British humourists, especially Swift and Sterne are traditionallyseen as writers who influenced Machado de Assis’ works. However it was the critic Eugenio Gomes who showed with precision the sublety and excellent taste of Machado obtained through this influence. With our contemporary approaches, it becomes interesting to question the idea of influence and examine in the light of intertextuality this contact of humour between the works of Machado and those of these two great figures of Literature in the English Language.

If, during centuries, France has postulated verisimilitude in all literary endeavours as a general rule for lucidity and good taste, throughout postmodernity it has been France’s philosophers, semioticians, literary theorists and writers who have questioned this. All fiction is under suspicion; intertextual relations are spoken of, authorship is renounced, emphasis is placed on the arbitrariness of literature that is subjected to literality, etc. Through humour and boundless imagination the short stories of Apollinaire show us a world that goes beyond the limits of the true-to-life; that is, they provide a new approach to a reality “with multiple possible meanings”.

Conor McPherson (1971) is considered to be one of the most innovative Irish playwrights, with an amazing gift for storytelling. However, he is a screen writer and film director as well. So far, he has written the script of I Went Down (1997), Saltwater (2001), The Actors (2003) and The Eclipse (2009); the last three he has also directed. McPherson was responsible for the adaptation of Samuel Beckett's Endgame for Channel Four's "Beckett on Film" series. This article aims at showing how he transposes Beckett's stage directions of the play Endgame to the screen.

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