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In the context of the current discussion about the ethical boundaries of humor, the study attempts to show that an approach based on Mukařovský’s functional theory is not only applicable to the discussion but also competitive. In the first part of the article, the author tries to answer the question of inserting a joke into the field of functions. He understands a joke as a sign that has in its most typical version a dominant f ictive-communicative function. It is precisely in the dominance of the fictive-communicative function of the joke that he sees the reason for the borderline position of the joke between art and life. The fictiveness of jokes creates, on the one hand, the impression that they have as fictitious statements greater independence from nonaesthetic norms, similar to what works of art have. On the other hand, because of the communicative moment jokes have more potential to offend us than do artifacts with a dominant aesthetic function. The second part of the study is dedicated to the relationship between the joke and the listener and attempts to describe other forms in which the semantic energy of the joke can reveal itself.

With the scope of this study, Nasrettin Hodja's jokes on women were selected to understand women with Nasrettin Hodja. Nasrettin Hodja's jokes, one of the universal faces of Turkish culture, are important in terms of literature and the sociology of women. In particular, the social and intellectual foundations of the national and universal dimension of the suggestions that create a perception of women within the framework of the universal dimension of the jokes identified with the Turkish people and intersecting with the realities of humanity should be understood. The social function of Nasrettin Hodja jokes holding the hand of time, the role of social control and culture transmitter, the perception of women that can affect our reflexes with the approach formed by the belief, emotion, thought, and perspective on which it is based should be understood. The translation was intended to contribute to Nasrettin Hodja's international recognition from a certain perspective with a woman's understanding and approach. Out of 371 Nasreddin Hodja jokes, 70 of them related in some way to women were translated from Turkish to English. Alpay Kabacalı's book All Aspects of Nasreddin Hodja's Life, Personality and Jokes was preferred in the translation. Having the ability to represent the quality of humor of Nasreddin Hodja was taken as a criterion in the preference. The work is theoretical. A literature review was conducted. A quantitive, descriptive method was applied. [ABSTRACT FROM AUTHOR]

Time is a concept to describe the sequence of occurrence of events and incidents. In literature, time is also considered as a type of content and an artistic intention of the artist. For each genre, time also has its own characteristics and features. In Vietnamese folk jokes, narrative time is clearly shown through the speed of the story teller. It is expressed quite richly and flexibly: sometimes fast, sometimes slow and sometimes alternating between fast and slow, depending on the content and sometimes depending on the storyteller's talent and experience. Regarding the time of telling stories, the folk storytellers choose the nighttime for the characters to carry out their intentions, thereby criticizing and attacking certain wrong actions. The narrative time's unique characteristics are also clearly shown through the timeline of the events, telling about a short period of time (a moment, or at most a month or two). Thus, narrative time in folk jokes has its own distinctive characteristics. [ABSTRACT FROM AUTHOR]

Jokes are a product of our oral cultural tradition, which we sometimes turn to in our daily lives to laugh, sometimes to make others think, and sometimes to criticize. When it comes to jokes in Turkey, the first person that comes to mind is Nasreddin Hodja. Hodja, greatly beloved by the people, has become an integral part of Turkish culture. Nations have embraced Hodja and attributed him to themselves. The character named Afanti, also found among the Uyghurs, has drawn attention due to its similarity to Hodja. Afanti, similar to Hodja, has been loved by the people as a character who protects the interests of the public, opposes the feudal ruling class, and advocates for the working class. Afanti, who came to China after the 1950s, was accepted by the Chinese people and over time, his jokes transcended national borders. The purpose of this study is to determine whether the Uyghur character Afanti is Nasreddin Hodja. The fact that Nasreddin Hodja's fame has transcended continents and found a place in other nations demonstrates the importance of this study. Through the use of content analysis, a qualitative research method, it is concluded in this study that both characters have similar characteristics. [ABSTRACT FROM AUTHOR]

In this article we will try to show five humorous signs used in Spanish linguistic jokes and that could be used in Spanish teaching. These signs are polysemy, homophony, paronymy, phraseology and diminutives. The election of jokes as a structure to use in teaching is based not only in the fact that it is the main humorous structure, but also in its easy to learn structure. As Attardo (2008) said, joke is the easiest humorous text type. Also, "joke is a humorous unit with no context and selfcontained, which has all the required information to be understood and enjoyed" (Martin, 2008: 37). The goal of this paper is to show how previously mentioned signs work in an internet extracted corpus, so we can get generalizations that can be used in Spanish teaching. [ABSTRACT FROM AUTHOR]

One of the difficulties in academic studies of Turkish literature is that some genre and style names or their equivalents that appear in Western literature do not exist in Turkish literature or are included in other genres. One of them is the genre called “Schwank” in German, which is called a joke or story because there is no Turkish equivalent. It was “Nasrettin Hodja’s jokes or storeys” that made this concept the starting point of the study. When looking through foreign sources, it becomes clear that Nasreddin Hodja storeys can be assigned to the “Schwank” genre. For this reason, the characteristics of the “Schwank” genre were investigated and its distinguishing features from jokes and storeys were examined. Because both types given as Turkish equivalents have very different properties. Examining the general characteristics of these two species shows that they do not overlap with the “Schwank” species. For example, storeys differ in their characteristics, such as the number of characters, the events they cover, the manner in which they begin and end, and the reasons for their creation. A joke, on the other hand, has the shortest and most succinct frame of the event. It is used for laughter, and the unusual is addressed in jokes. However, the “Schwank” genre usually deals with events that can happen in people’s lives. Generally, these narratives involve two people or two groups facing each other. This study particularly examined the concepts of the literary genres “joke” and “Schwank” and presented the Turkish concept of the “cheerful story” as a suggestion for the genre “schwank”. In addition, a dictionary article on the genre of light-hearted storeys is presented at the conclusion of the study. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Teaching Turkish as a Foreign Language (IJOTFL) / Uluslararası Yabancı Dil Olarak Türkçe Öğretimi Dergisi is the property of International Journal of Teaching Turkish as a Foreign Language 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.)

Irony as a word means mockery, ridicule, derision, and the like. In Persian literature, there have been many names for all kinds of jokes, with different credits. In contemporary research in this field, irony is used as a word for all texts that are characterized by laughter. In fact, irony is a type of literature that magnifies evil and ugliness. In this descriptive-analytical research, the general and expanded meaning of irony, which includes concepts such as lampoon and facetiae, is used, and after examining the definition and scope of the concept of irony and specifically, situational irony, we will analyze this genre in the sixth chapter of Jami's prose work called Baharestan in order to identify the various statuses that create irony in this text; Finally, we try to analyze why certain statuses are used more frequently. So, in this research, at the theoretical level, the most frequent statuses used to create the situational irony in the classical Persian literature have been discussed and then, at the applied level, the situational irony in a specific literary work has been analyzed using those theoretical tools. On one hand, the descriptive dimension of this paper is based on the explanations about irony, in general, and the situational irony and the statuses which make it, in particular. On the other hand, the analytical aspect of this research is based on the implementation of the aforesaid analysis in the sixth chapter of Jami's Baharestan. The findings of this research show that Jami has used situational irony in more than half of the passages of the sixth chapter of Baharestan, and his most frequent use in creating situational irony has been the status of disagreeable characteristics. In this way, he has ironized both external undesirable traits, such as ugliness, and inner unsavory characteristics, such as oppression. In addition, Jami's use of eight different situations out of the ten most frequent situations that create situational irony in classical Persian literature has displayed a high diversity in the aforementioned book. [ABSTRACT FROM AUTHOR]

This article bridges a gap in the study of Aristophanic humour by better demonstrating how individual jokes (in this case, the para prosdokian 'contrary to expectation' joke) contribute to the wider comic scenes in which they are embedded. After analysing ancient and modern explanations and examples of para prosdokian jokes, this paper introduces the concept of 'comic bit', a discrete unit of comedy that builds humour around a central premise, and establishes how para prosdokian jokes contribute to comic bits in a way that recent theories of para prosdokian cannot account for. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies 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 Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies 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 concerns one recurrent type of conversational joke in Plautus, which consists of three different steps: (1) some problematic formulation by the joke-teller, (2) a request for an explanation by the interlocutor, and (3) a punchline. Using Conversation Analysis methods, the paper describes how the joke-telling routine is responded to by its in-play recipient(s). [ABSTRACT FROM AUTHOR]

The theme of the nightmare is not a very easy one to approach. Quite obviously, we are dealing with something highly unpleasant, but what contributes to the challenge is also the aspect of experience - the experience of the nightmare, and this is implies something that is lived. Thinking about experience, trying to get some knowledge out of it - some kind of knowledge about the worst - is already a means of distancing oneself from it. I suppose one of the ways in which we could define the distress proper to the nightmare is precisely that one cannot get out of it. And it is also what makes the vital need of a separation so urgent, the need expressed in awakening. [ABSTRACT FROM AUTHOR]

Many studies have been conducted on the meaning of the word "Turk". Although various opinions are put forward in these studies, it is seen that it expresses the meaning of "nation" in the Orkhon Inscriptions, the first known written texts. It is known that the word "Turk" is used in works with meanings such as "beautiful, strong, valiant" as well as "the lineage speaking various dialects of Turkish and the person of this lineage". In the works and dictionaries of different cultures (especially Persian and Arabic sources), the word "Turk" appears in many works with the meaning of "beloved" as well as various meanings. However, in addition to positive meanings, there are also negative uses of the word. As far as it can be determined, the use of the word "Turk" in negative meanings started from the works of the 15th century. It is sometimes used in the form of "türk-i bī-rāh", sometimes as a Persian suffix "türkāne", and sometimes as a noun in the sense of "peasant; rude". The 17th century satirical poet Nef'î uses the word "Turk" as an element of humiliation in many couplets in his Sihām-ı Kazā. In this study, the use of the word "Turk" in negative / pejorative meanings in Nasreddin Hodja jokes is analyzed. The work that constitutes the basis of the study is the manuscript titled Hikâyât-ı Hoca Nasreddîn registered in Konya Regional Manuscript Library with the number BY7297. Although it is understood from the library records that the work was endowed in the year 1292 (1875-1876), the date of the work and its author are not known. However, considering the date of donation (1875-1876), it is likely that the date of the manuscript was in the early 1800s. The jokes in the manuscript titled Hikâyât-ı Hoca Nasreddîn were scanned and the Turkish/Turkmen words were identified. Then, these jokes were compared with the jokes in the manuscript collection of the Chingiz Aitmatov Institute of Language and Literature of the National Academy of Sciences of the Kyrgyz Republic, number 007, which has a missing beginning and end. Therefore, Nasreddin Hodja jokes written in Western and Eastern Turkish belonging to the same period are discussed in terms of the perception of Turkishness. In the manuscript titled Hikâyât-ı Hoca Nasreddîn, six jokes in which "Turk" and "Turkmān" type are included are analyzed by bringing together with the jokes in the aforementioned printed work. The language of these jokes belongs to late Chagatai Turkish. For this reason, it was deemed appropriate to compare the jokes in Western Turkish (Hikâyât-ı Hoca Nasreddîn) and Eastern Turkish through the Turkish type. There is no Turkish type in Nasreddin Hodja (Efendi) jokes written in late Chagatai Turkish, registered in Cengiz Aitmatov Institute of Language and Literature number 007. It is seen that this type is found in Nasreddin Hodja jokes in the Anatolian field, but not in jokes written in Eastern Turkish. Although we have seen the use of the word Turkish with a negative meaning in the geography of Eastern Turkish in Nevâyî, it would be appropriate to say that this use is limited and its use in Anatolian Turkish is more common. In the study, the stereotype of "Turk" used as an element of marginalization was evaluated. In this context, the Turkish type is an auto-stereotype in Nasreddin Hodja jokes. In the jokes analyzed, it was seen that the peasant type is more alert than the city dweller, but also a rude type. [ABSTRACT FROM AUTHOR]

One of the important names in our recent minstrel tradition is Âşık Veysel Şatıroğlu. He was born in Sivrialan village (Şarkışla/Sivas). He lost his ability to see after an illness (smallpox) and an accident that happened afterwards. After losing ability to see he met his 'saz' (an instrument). After becoming a minstrel, he met Ahmet Kutsi Tecer who made him very famous countrywide. Except his blindness, in Âşık Veysel's life there are tragic events such as breaking with his first wife, death of his very first children. Because of all these tragic events, it is thought that, Âşık Veysel had unhappy, pessimist, sad characteristic. But, in memories of his close friends and the people who met Âşık Veysel, we see cheerful, witty and joker Âşık Veysel. He usually made his jokes according to the context. Some of the jokes are about death, his blindness, his saz, eating-drinking-smoking and some of the jokes are sexual connoted. He made jokes not only about these subjects; he also made jokes about other subjects and situations. He also told anecdotes according to the context. In this study, the humorous aspect of Âşık Veysel will be introduced, and the memories that are mentioned will be evaluated according to oral tradition. [ABSTRACT FROM AUTHOR]

In this paper I analyze the relation between understanding a joke and laughing about it. To be more explicit, I seek to investigate whether one of them comes first, and if so, which, or whether they come jointly. I elaborate my position by defending the claim that performed jokes, in successful cases, elicit a response in which laughter and understanding occur simultaneously. To develop this theory, I determine the conditions that must be met in order to allow for a joke performance to be successful. This ideal situation of 'successful joking' is given if and only if the recipient both understands the joke and laughs about it. By putting laughter and understanding on an equal footing in my model, I support the idea that the pleasure we experience in joke reception is based both on insight and entertainment. By establishing my model of simultaneity (L/U), I challenge two other positions. The first one suggests that laughter, as a triumphant expression of successful 'data integrity checking' in the reception of a joke, is based on and follows understanding (U-L). The other position regards laughter as the primary phenomenon of the joke and insights only as potential side-effects (L-[U]). [ABSTRACT FROM AUTHOR]

Copyright of E-International Journal of Educational Research is the property of E-International Journal of Educational Research 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.)

Almost all scientific disciplines have been researching humour since ancient times, so that the impression can arise that it has been thoroughly examined and explained. The number of publications on the subject „humour“, which has been increasing for many decades, registers differentiated approaches to various aspects of humour such as its manifestations, functions, means an mechanism, which can be reflected both on the linguistic level and on the visual level. Since humour is also regarded as a social phenomenon, the social context and the current refernce to reality should also be taken into account when examining it. The anthology „Mit Humor ist nicht immer zu spaßen. An der Grenze von Spaß und Ernst“ by Iwona Wowro und Mariusz Jakosz (eds.) provides seventeen contributions whose authors follow these starting points in their analyses and deal with humorous texts realized orally and linguistically.

AbstractThe word ‘humor’ in Persian literature has different meanings. In the contemporary period, it is used as a ‘literary term’ with a difference in definition compared to the joke. The purpose of the present study is to investigate the meanings of humor in specialized sources, cultures, and related books in contemporary literature in order to find a rather comprehensive definition. The two research questions posed in the study are: what meaning or meanings are meant by the term humor? Is it possible to consider a clear and unique definition of humor in contemporary Persian literature and what text is an example of humor? The findings of this research show that the different meanings found by ‘humor’ are related and overlapping making it very difficult to find a clear definition for the term ‘humor’ or a single use for it. Introduction The meaning of ‘humor’ is considered self-evident in the general studies related to this field. This is despite the fact that the word ‘humor’ like many words of the language has been used throughout history to convey different meanings, and the idea of ​​a single meaning for it in various historical texts is a false assumption. Based on this, it is necessary to determine first what is meant by ‘humor’ in any research and which of the different meanings of humor is intended. Accuracy in the different meanings of humor, describing the semantic changes of this word, or in other words, the development of the meaning that ‘humor’ has found in the Persian language and literature, and providing a model to express the relationship and ratio of the different meanings of ‘humor’, are the most important topics that the present study has addressed. Materials and MethodsThis research has been done in two parts using the descriptive-analytical method. In the first part, an attempt is made to understand ‘what is humor’ through the accuracy of its lexical meaning. Finding the roots of the word humor and accuracy in the meaning of this word in various historical texts and based on the chronological order of these texts could indicate the change or development of the meaning of this word over time. In the next section, it is pointed out that the word ‘humor’ has been used as a ‘literary term’ in the contemporary period, and on this basis, it is necessary to ‘define’ this term precisely. Research FindingsHumor is used in Persian literature with different meanings:4-1. Humor in the Literal Sense: RidiculeThe Persian literary works of the 5th to 8th centuries AH show that the primary meaning of humor in the Persian language corresponds to the meaning of this word in the Arabic language or a meaning close to it. The use of humor to instill this meaning has continued in the works of some writers and poets of the early years of the 14th century.4-2. Semantic Development of Humor: Jokes‘Laughter’ is not only the consequence of the semantic spectrum surrounding the word mocking, but more than that, it is the consequence of another semantic spectrum, which today can be considered as the central word ‘joke’. In different eras, words and terms such as Mataiba, Fakahe, Hazel, Elegance, Joke, Latifah, and Khusmezgi have been included in this spectrum. The first semantic evolution of the word ‘humor’ in the Persian language caused the meaning of this word to develop and include this range of meanings in addition to the previous meanings.4-3. Semantic Transformation: Humor as a Literary TermWhat became the basis for the evolution of the meaning of the word ‘humor’ as a literary term was the acquaintance of Iranians during the Qajar period with European literature, especially comedy shows and literary satire works. Paying attention to examples of the literary term humor and finding its importance in literature was one of the details of this change of literary discourse. The change in the literary discourse caused works such as ‘Cherand and Parand’ by Dehkhoda, which was published in Sourasrafil newspaper, the poems of ‘Ashrafuddin Qazvini’ in Nasim Shamal newspaper, and the play Jafar Khan from Farang, written by Hasan Moghaddam, which were considered among the distinguished works of that time. However, with the previous literary standards, these works were not worth much. Discussion of Results and Conclusions‘Humor’ is used today as a word that means joke, mockery, and the words close to these two. In contemporary literary texts, humor and mockery are still used with synonymous meanings. Humor is also used to mean jokes and humor. Besides these, humor is used as a kind of literary expression. The literary term humor has the cultural and literary coordinates of the Persian language and is not a translation of any foreign term. There is no uniformity in the translation of Western terms into Farsi, and in different books, the term humor is equivalent to different words.In the contemporary period, none of the different meanings of humor have been lost and humor is still used in its various meanings. Despite the efforts that have been made in recent decades, this literary term does not have a precise and agreed-upon definition, and its characteristics are mostly described. According to the presented meanings, examples of three different meanings of humor are sometimes indistinguishable. It is possible to show the texts that both the literary terms of humor apply to them, they are related to jokes and humor, and they are examples of sarcasm and mockery. But the ratio of these texts is not the same with each of these three concepts. Examples of the literary term humor can be shown as a set within a triangle, one vertex of which is humor, the second vertex is a joke, and the third vertex is mockery. The distance that each item has from each of the three vertices of the triangle indicates its relationship with the literary term humor, mockery, and joke.

Humorous narratives such as latife and anecdotes have a rich literature in oral and written culture. While most of these humorous narratives were written in prose in a narrative style, some of them were interpreted in verse. One of the jokes written in verse during the Ottoman period is Sivaslı Edîb's unknown Hekîmnâme. The only available copy of the work is the author's own manuscript and is located in Ankara University Faculty of Language History Geography Library İsmail Saib I 1846. Written in simple Turkish, this 144 couplets of poetic anecdote is written in the verse form of masnavi. The work is about the tricky game played by a wine-loving Rind in order to meet the Armenian Hekim, whom he is in love with. In the work, which has a short introduction of four couplets, which we can call preface; first, the states of the Armenian Hekim and Rind are described at length, then Rind's conversation with Hekim, his actions to obtain Hekim and the process of reuniting with him are described. In this study, the unknown poetic anecdote called Hekîmnâme and its author Sivaslı Edîb are discussed. In the introduction, the joke and letaif genre are briefly mentioned. In the first chapter, based on the available data, comments are made on the identity of Sivaslı Edîb, the author of Hekimnâme. In the second part, the only known copy of Hekimnâme is introduced and its language, style and spelling features are mentioned, followed by a summary of the work. In the last part, the original of the work is presented in a Latinized form. [ABSTRACT FROM AUTHOR]

Concepts of experimentation and measurement are explored using statistics educational fun items and illustrated by sharing our process in conducting an experiment on cartoon captions. [ABSTRACT FROM AUTHOR]

The study aims at analysing the impact of frame shifting on the recognition of a text as satirical. Frame shifting is a characteristic feature of both humour and irony, which, in turn, are often found in satire. However, what leads a text to be identified as satire is not just the presence of humour or irony. Several features, in fact, interact together to let the satirical interpretation emerge. A behavioural test containing two satirical texts and two jokes was presented to 40 English native speakers in order to verify the influence of frame shifting, along with other parameters, on the perception of a text as either humorous or satirical. Results showed that frame shifting is perceived as stronger in humorous texts with respect to satirical ones. This may be due to the fact that in humorous texts the frame shift gets the slots to be filled with material that is just incongruous and unexpected thus contributing to the general effect of amusement and entertainment. In contrast, in satirical texts, the materials introduced trigger further inferences that determine a shift in attitudes, turning the general effect into criticism and moral condemnation. [ABSTRACT FROM AUTHOR]

The study provides an ethnographic probe into the lives of the members of the PCR test team during the pandemic of COVID-19. The aim is to show the use of humour as a communication strategy in times of crisis from the perspective of symbolic anthropology and ethnography of communication, especially theories of danger and joke. The approach of state health institutions have often failed to meet the needs of society, affecting patients’ access to information, the treatment of diseases or the identification of positive patients. Humour helped to prevent the conflicts, signalled forgiveness and influenced attitudes towards adherence to the rules. We focus on interpersonal and interactional aspects of communication, social identification of the respondents, as well as the influence of political culture. Coping strategies are followed through: (1) representations of dirt and the boundaries of the body, (2) the recontextualization of the statements and acts, (3) the boundaries of the joke in relation to feelings of safety, and (4) the subversive effect of humour and flirtation in a time of the disciplining of bodies. The study demonstrates how laughter bridges the gap resulting from the conflicting informational inputs. The recontextualisation of the teams’ motto: Corona does not exist! is interpreted in its socio-pragmatic dimension. [ABSTRACT FROM AUTHOR]

This article features V. F. Khodasevich’s poem The Mummers and explains why horror replaces humor in the main character’s self-analysis. According to M. M. Bakhtin, the voice of the Persona fades or becomes distorted if it sounds alone, outside the Chorus. In this particular case, falling away from the Chorus provokes the fear of losing self-identity. The speaker identifies himself as Me / Not-Me based on the sacred boundaries between Mine and Someone Else’s. This situation is most clearly manifested in the line when the eyes of the speaker meet those of the mummer in a certain "uncoordinated" way, which can be interpreted as separation. The Yuletide chronotope makes the artistic world of the poem unfamiliar and alien. The masquerade blurs the boundaries between the worlds, and the speaker discovers that participation in this ritual requires personal responsibility. The open meeting of Me and The Other is anything but one-sided, and the ritual game appears to have a deep and serious meaning.

Did Łukasz Górnicki in “Dworzanin polski” and Baldassare Castiglione in “Il Libro del Cortegiano” think that women have no sense of humor? --- This article is an attempt to determine whether Łukasz Górnicki and Baldassarre Castiglione really thought that women don’t have a sense of humour. Some scholars suggest that Górnicki in “Dworzanin polski” put women away from the discussion because he considered them incapable of understanding jokes. In order to solve this conundrum, a thorough analysis and interpretation of the literary works of the indicated authors will be carried out, i.e. both “Il Libro del Cortegiano” and “Dworzanin polski”. The author of the article will also try to prove that Łukasz Górnicki and Baldassarre Castiglione showed a positive image of women too. Moreover, it will present what skills and abilities – according to the mentioned writers – should have women.

Целью данной статьи является выявление сюжетов, периодически повторяющихся в шутках стендап-комиков. Для достижения данной цели было выявлено определение шутки, сюжета, а также связь сюжета с отношением автора произведения к собственному создаваемому миру. В статье представлена типология шуток в жанре стендап-комедии. Автор выделяет несколько критериев классификации шуток, к которым относятся объект шутки (биографические, автобиографические и событийные шутки), тематика шутки (привычки, знакомые люди, рефлексия на тему действительности и т.д.), способ разрушения ожидания (противопоставление, аллюзия, гротеск, градация). Проведенное исследование позволяет утверждать, что структура шутки как последовательность установки или экспозиции, основной части и разрушения ожидания не определяется сюжетом шутки.

This study examines Japanese enactment, an interactional phenomenon wherein participants in conversation act out themselves or others by utilizing specific designs of lexis, grammar, and prosody, as well as body movements. While these enactments can often be observed when a speaker depicts what someone said, did, or thought in the past, this article explores hypothetical enactments. Unlike enactments that are designed as representing real utterances and/or body movements performed in the past, hypothetical enactments are designed with linguistic and contextual features that indicate that they are fictitious. The data were drawn from a collection of video-recorded ordinary conversations in Japanese. Employing Conversation Analysis as its analytical framework, this study focuses on how Japanese speakers use hypothetical enactments to respond to co-participants' complaints about a third party who is absent from an ongoing here-and-now interactional site (i.e., third-party complaints). The findings reveal that complaint recipients may produce hypothetical enactments as jokes or advice. When complaint recipients provide hypothetical enactments as jokes, they depict an improbable situation sarcastically. When complaint recipients provide hypothetical enactment as advice, they often demonstrate taking an alternative approach toward an antagonist. These enacted hypothetical scenarios may or may not be collaboratively extended by other participants, depending on how those participants treat the proposed scenarios. [ABSTRACT FROM AUTHOR]

The word ‘humor’ in Persian literature has different meanings. In the contemporary period, it is used as a ‘literary term’ with a difference in definition compared to the joke. The purpose of the present study is to investigate the meanings of humor in specialized sources, cultures, and related books in contemporary literature in order to find a rather comprehensive definition. The two research questions posed in the study are: what meaning or meanings are meant by the term humor? Is it possible to consider a clear and unique definition of humor in contemporary Persian literature and what text is an example of humor? The findings of this research show that the different meanings found by ‘humor’ are related and overlapping making it very difficult to find a clear definition for the term ‘humor’ or a single use for it. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

We created a 20-item parent-report measure of humor development from 1 to 47 months: the Early Humor Survey (EHS). We developed the EHS with Study 1 (N = 219) using exploratory factor analysis, demonstrating the EHS works with 1- to 47-month-olds with excellent reliability and a strong correlation with age, showing its developmental trajectory. We replicated the EHS with Study 2 (N = 587), revealing a one-factor structure, showing excellent reliability, and replicating a strong correlation with age. Study 3 (N = 84) found the EHS correlated with a humor experiment, however it no longer correlated once age was accounted for, suggesting low convergent validity. Subsamples of parents from Studies 2 and 3 showed excellent inter-observer reliability between both parents, and good longitudinal stability after 6 months. Combining participants from all studies, we found the EHS is reliable across countries (Australia, United Kingdom, United States), parent education levels, and children's age groups. We charted expected humor development by age (in months), and the expected proportion of children who would appreciate each humor type by age (in months). Finally, we found no demographic differences (e.g., country: Australia, Canada, United Kingdom, United States; parents' education) in humor when pooling all data. The EHS is a valuable tool that will allow researchers to understand how humor: (1) emerges; and (2) affects other aspects of life, e.g., making friends, coping with stress, and creativity. The EHS is helpful for parents, early years educators, and children's media, as it systematically charts early humor development. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science 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 Linguistische Treffen in Wrocław is the property of Oficyna Wydawnicza ATUT 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.)

Edutainment fun items can engage students in discussing and learning key concepts about descriptive statistics. [ABSTRACT FROM AUTHOR]

This research deals with the subject of the Prophetic method of joking. The research explains the existence of two sets of people in regards to joking. Many people view joking as a permissive behavior with no regulations and boundaries and no consideration for time or people receiving the joke. Others have an exaggerated belief that joking reduces one’s status and prestige and is in conflict with Sharia and its provisions. Through the descriptive-analytical approach, this research shows the meaning of joking and its legal ruling, the regulations of joking, and the wisdom of its legitimacy through the Prophet’s approach to joking. The research concluded with a set of results, the most important of which stresses that joking, according to the Sharia regulations, has the rule of desirability. The Prophet used joking in several rulings, including enlisting happiness, consoling, expressing love, and chasing away boredom. In addition, joking is used for educational purposes to correct and discipline those who have offended and erred. There is no contradiction between the hadiths that forbid joking and the hadiths that permit joking. The hadiths that forbade joking should be taken into account if it is in violation of the Sharia rulings as well as those that permitted it and mandated it within the Sharia rulings. [ABSTRACT FROM AUTHOR]

Copyright of Revista Electrónica de Psicología Iztacala is the property of Facultad de Estudios Superiores Iztacala 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 is devoted to the characteristics of Russian-language internet memes that use or allude to the character of Stierlitz, the legendary intelligence agent created by the writer Yulian Semyonov and adapted for the screen in the TV series Seventeen moments of spring, directed by Tatyana Lioznova. The analysis focuses not only on the memes directly referring to the series and jokes about Stierlitz, but also on examples using associations related to the character and the film (in the textual and/or iconic layer) to humorously illustrate phenomena occurring in contemporary Russia. The first group of memes can be seen as the continuation of the Stierlitz jokes still popular in Russia, while the second group includes memes whose main characters are contemporary Russian political activists and politicians (e.g. Vladimir Putin and Alexei Navalny), as well as those referring to current events in the country and the world (e.g. the coronavirus pandemic and the introduction of the Russian vaccine). In both cases, punchlines from jokes or precedent statements combined with an iconic layer are used to create comic effects.

The study of the speech-genre and formal-semantic properties of Russian anecdotes on bribery is based the corpus of anecdotes, which also include jokes of Russian-speaking Ukrainians, differing from Russian ones only in the names of the “protagonists” appearing in them. It is established that the main means of creating a pun in a joke are the lexical and grammatical polysemy and homonymy, playing off the phonetic similarities and spontaneous humor. The comic effect in jokes on bribery can also be created by playing off idioms – their literalization or replacement of components. According to the corpus of anecdotes, the authorities act as an almost “exclusive” subject of bribery – officials of all ranks, police authorities and lawmakers. In the corpus of jokes on corruption, the axiological and praxeological aspects of bribery are traced clearly: the general attitude of society towards a bribe and its assessment. The research claims the ubiquity of bribery in power structures, and with regard to the miraculous disappearance of corruption, one can feel extreme pessimism as it is ineradicable and inescapable. Humor as the ability to notice the ridiculous side of someone or something and present it in a maliciously mocking form in the corpus of jokes on bribery is practically absent due to the domination of sarcasm and irony. In jokes, all the denunciatory pathos is directed at bribe-takers, towards whom there is hatred, impotent rage and hyperbolic cruelty. The “fight against corruption” is purely imitative, but it has several nonfictitious functions: a tool for reprisal against competitors and those who do not fit into corruption schemes. Among socio-cultural functions of the jokes on corruption, in addition to the entertainment function, the article identifies the cathartic-therapeutic function, aimed at relieving a psychological stress caused by the prevalence of bribery, and the aggression function, specified in the outrage by corruption.

The article examines narrative strategies in their historical dynamics. It singles out the so-called narrative worldview and the ethos of narrativity as basic parameters of a narrative strategy. Heroic legends and fairy tales inherited a precedent worldview and the ethos of peace from mythology. The post-mythological development of religious consciousness leads to a narrative strategy of the parable type that implies an imperative world model and prescriptive ethos, as implemented, for example, in the Old Testament. The narrative strategy of the New Testament stands out due to the constructive combination of the precedent worldview and a fundamentally new ethos of personal solidarity. The practice of telling jokes and ancient Greek adventure novels develop a circumstantial world model and the ethos of self-realization. Finally, the classic novel explores the probabilistic worldview and becomes a basis of several new narrative strategies that vary in their ethos.

Since their publication, the Muhammad cartoons featured in Jyllands Posten and Charlie Hebdo have become a symbol of free speech and Western values. These cartoons used provocation as a tool to discuss the limits of free speech and the scope of social self-censorship. In a just society, should the possibility of laughter be distributed equally? Should cartoonists and editors only publish jokes that are universally laughable? What is the proper reaction to these kinds of provocative jokes once the possibility of censorship is ruled out in a liberal context? Is counterspeech or even cancellation a legitimate response? [ABSTRACT FROM AUTHOR]

This article discusses the use of gamification in early childhood education. Initially, it is made a bibliographic approach with theoretical foundations from authors such as Vygotsky, Piaget, Benjamin and others who defend the use of educational games and a recreational activities in teaching-learning process. The gamification is a method that uses elements and dynamics of games, but it is not necessarily played as a game. Thus, such a concept can contribute to the engagement of students in teaching-learning process. As objectives of this study, we correlate the theories of this authors to promote gamification as a means of promoting the teaching-learning process. In this context, through empirical, descriptive and exploratory research, have a practical example of how the teacher can create his first gamification project for early childhood education. After of to analysis the theory and to present a practical example, it possible to verify this concept as a mediating instrument to enhance the learning and commitment of students. [ABSTRACT FROM AUTHOR]

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press 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.)

Chances are that edutainment fun items can engage students in discussing and learning key concepts about probability. [ABSTRACT FROM AUTHOR]

Введение. Малая проза С. Силина еще недостаточно изучена литературоведами, однако его произведения вызывают интерес среди читателей разных возрастов и могут быть отнесены к двухадресной литературе, т. е. литературе, адресованной как детям, так и взрослым. Анализ произведений писателя, использующего приемы садистских стишков, страшной истории и анекдота, способствует более глубокому осмыслению основных тенденций развития современной российской прозы для детей. Цель – выявить жанровое своеобразие малой прозы С. Силина в соотнесении с фольклорной традицией. Материал и методы. Теоретической базой исследования послужили труды фольклористов Е. М. Мелетинского, Е. Курганова, О. Н. Гречиной, М. В. Осориной и др. Материал исследования – рассказы С. Силина. Результаты и обсуждение. Проведенный анализ позволил выявить характерные особенности малой прозы С. Силина. Писатель использует приемы нескольких фольклорных жанров: легкое отношение персонажей к смерти, гротеск, парадокс, юмористическая концовка, мнимое благополучие финала. Дети и взрослые представлены носителями гипертрофированно усиленных отрицательных качеств. Малая проза писателя адресована как взрослым, так и юным читателям. Заключение. В своем творчестве С. Силин трансформирует жанры городского фольклора: страшных историй, садистских стишков, анекдотов, чтобы заострить проблемы «отцов» и «детей», дать возможность взрослым и детям увидеть друг друга со стороны. К характерным особенностям малой прозы писателя относятся: легкое отношение к смерти, отсутствие катарсиса, абсурдный финал, наделение персонажей гипертрофированными качествами (жестокость, недисциплинированность, непослушание и т. д.). Рассказы чаще всего имеют кольцевую композицию, свидетельствующую о том, что основной конфликт произведения остался неразрешенным. Важную роль играют заглавия: в них содержится основная проблема рассказа. Использование фольклорных жанров позволяет автору донести до своих читателей в привычной с детства игровой форме важные педагогические идеи, а также выявить социальные, общественные и семейные проблемы.

This paper investigated jokes written on tailgates and posters in English in an Indonesian context to identify and understand the different variations of the joke meanings as non-verbal communication. Data, consisting of jokes on tailgates and posters, were collected online and examined phonologically and pragmatically using a document analysis. The data were analyzed in order to identify, categorize and classify the words and phonics and then interpret the meanings. Results showed that three jokes written on tailgates and two jokes written on posters contained funny or amusing aspects due to phonological and pragmatic factors, as in “She Book Carry Do It†which means “Sibuk Cari Duit†in Indonesian and “Busy to find money†in English. Â

The article examines the function of figurative language in Dickens’s novels in the light of its specific dialogism. Dickens’s dialogism mentioned by M. Bakhtin manifests itself through the so-called double voicing and socio-ideological heteroglossia. It also continues in the form of a dialogue between the author and the reader. The second type of the dialogue includes the first one. The essay explores the hitherto understudied influence of Dickens’s communicative urge for the continuous contact with his reader in his fiction, including its discursive aspects. My research is an attempt to converge these two approaches as I trace the interdependence and the process of transition between the dialogue that develops in the frame of the voice orientation and the dialogue between the author and reader that leads Dickens to extensive dialogism. The analysis shows that the figurative discourse implements two functions: it intensifies heteroglossia and at the same time clarifies the author’s intention and also organizes the space of the author’s and reader’s communication, appealing to the reader to emotionally engage in the process. Figurative and emotional force of Dickens’s language is a means to strengthen the dialogical discourse and to multiply its forms.

Humour is considered to be a universal human trait but at the same time, very subjective. The present research focuses on the comparative analysis of humour translation in the situational comedy The Simpsons. Humour is a problematic trait for translators because it depends not only on the language but also on the context and cultural information. Translators need to be well informed about important current cultural information, social stereotypes on professions, sex roles, races, intra-culturally connoted places or historical events. Translators need to be skilled enough and know about the different types of humour and translation strategies for various jokes. The translation is a decision-making process of choosing what to do with the form of expression and what the author wants to achieve by choosing one or the other forms. Created in the USA, the sitcom (an abbreviated version of the situation comedy) has always been an extremely popular genre of a television show. Broadcasted in many languages to various audiences around the world, The Simpsons is the longest-running animated sitcom. This article reveals differences between Russian and Lithuanian humour translations, found in the animated American sitcom The Simpsons. The identified humorous instances in the original version were selected and classified according to Zabalbeascoa’s (1996) classification of jokes.