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This article relates Chesterton's theology, and that of other theologians, to existing theories of humor. It asks: With regard to the understanding of humor, what is offered by a theological perspective—especially by Chesterton's theology—that cannot be supplied by philosophical and psychological theories? The article situates Chesterton's work in relation to three theories of humor: the superiority theory, the release theory, and the incongruity theory. It then examines two important relationships: first, that between humor, worship, and joy; then, that between humor, cognition, and theology. While focusing on Chesterton's writing, it also considers relevant aspects of the work of other thinkers, including Ian Ker, Duncan Reyburn, Thomas Aquinas, Søren Kierkegaard, Reinhold Niebuhr, Karl Rahner, Peter Berger, Ingvild Sælid Gilhus, Terry Lindvall, and Brian Edgar. The article concludes by suggesting the beginnings of an outline of a theology of humor. [ABSTRACT FROM AUTHOR]

An integrated, miniature, dual-purpose circular patch antenna is proposed for Simultaneous Wireless Information and Power Transmission (SWIPT). The design proposes a proximity-coupled feed to the radiative circular patch for Wireless Information Transfer (WIT) in ${\mathrm {5.7 \text {GHz}}}$ - ${\mathrm {6.0 \text {GHz}}}$ band and an integrated capacitive-coupled feeding network, with full-wave rectification (FWR) using regenerative opposite fringing fields from the radiating edges of the patch for energizing IoT sensors by means of wireless power transfer (WPT) at ${\mathrm {5.2 \text {GHz}}}$ . For the realization, two co-polarized fringing field harvesters are capacitively coupled to the radiating edges of the patch to regenerate those opposite fringes whose currents are effectively matched to the FWR using a pair of Schottky diodes for direct current (DC) power generation. Since the gain and efficiency of the patch, in WIT mode, are favoured when using the FWR network, the effective regenerative fields, which are deemed attractive in modern wireless sensor network (WSN) applications for boosting the lifespan of sensor nodes.

This article offers the state of the question of the texts «de títulos de comedias», a literary paradigm frequent in the 17th century and the beginning of the 18th century, and adds three unpublished pieces (hagiographical and satirical) from different manuscripts of the National Library of Spain. [ABSTRACT FROM AUTHOR]

The article presents a critical analysis of the concept of «universal concreteness» in Voltaire’s philosophy. The content of the ontological and epistemological foundations of Voltaire’s worldview in his historical-philosophical searches is revealed. The abstract nature of the principles of deism and «universal unity» in the philosophy of the French enlightener is the result of the influence of the one-sidedness of representatives of empiricism and rationalism. Voltaire and his associates in their philosophical constructions, argued G. Hegel, proceeded from the principle of universality and the embodiment of the concept of «wit», while the Germans relied on the possibilities of criticism of pure reason. The potential possibilities of the concept of «universal concreteness» in Voltaire’s worldview form the basis of his theoretical and practical philosophy, in particular of human existence, morality and free will. [ABSTRACT FROM AUTHOR]

The present essay provides an analysis of humour in Laurence Sterne’s Tristram Shandy, exploring its various forms, functions, and meanings. After introducing the idea of the lex inversa of humour, which can be observed in Sterne’s unconventional storytelling style, it analyses the “Author’s Preface” that appears at the end of the third volume of the book rather than at its beginning. The essay compares the satirical criticism of modern introductions found in Jonathan Swift’s A Tale of a Tub and the humorous but balanced mixture of wit and judgment in Tristram Shandy’s Preface. It examines the evolution of the concept of humour in the eighteenth century and traces its various meanings in Sterne’s book, from ancient bodily theories to psychological character construction. It argues that Sterne’s portrayal of odd humours aligns him with those who depicted England as a land of freedom, where humour played a crucial role in challenging wrong societal norms and liberating humanity from hypocrisy. This sympathetic form of comedy portrays human flaws for communal laughter, promoting harmony and balance. After addressing the ambiguity surrounding the actual subject of Sterne’s “learned” satire, the essay concludes by emphasising Sterne’s wit as a form of his humour, especially in the paradoxical defence of wit in the “Author’s Preface”, which he contrasts with the false severity of the “grave folks”. The essay argues that Sterne’s humorous strategy provides society with a moral foundation of humanity, sociability, and freedom.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat 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.)

Abstract Simultaneous wireless information and power transfer (SWIPT) has recently attracted researchers and may help to satisfy future technology demands. SWIPT allows wireless power transfer (WPT) and wireless information transfer (WIT) to coexist based on shared resources. Recent studies have shown that, due to the nonlinearity of the rectifiers, high-PAPR (peak to average power ratio) waveforms provide better performance in terms of energy harvesting, making the design of power signals essential. In addition, these power signals should consume the smallest amount of resources for the WIT. In this paper, a new waveform design is proposed where the information and power signals are superposed using the same frequency and time resources. The power signal is composed of a high peak modulated rectangular wave sent during the cyclic prefix of the orthogonal frequency-division multiplexing (CP-OFDM) system, which is discarded at the information receiver, such that it does not interfere with the OFDM data symbol. Although the pulse is restricted to be within the cyclic prefix, there might be a small amount of interference caused by channel dispersion. Simulations and measurements show that a good choice of signal parameters can minimize interference on the information symbols and simultaneously provide good performance in terms of energy harvesting.

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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.)

I have previously argued that aspects of fashion's appeal and allure are bound up in a concept of wit. This wit is comprised of surprise—the sudden provision of an unexpected creative insight via a novel quip or image or—and seduction—pleasurable play, mutual challenge, and the desire to led astray from orthodox thinking in intriguing ways. However within fashion studies, the idea prevails that fashion is largely regarded as explicable in terms of a singular, integrated, commercially-oriented fashion system. I will examine Roland Barthes' influential The Fashion System to explore how the idea of the "fashion system" functions as a sign of fashion itself. I will then analyze the oeuvre of Viktor & Rolf—couturiers who explicitly and persistently comment on the construction of the "fashion system"—to demonstrate how their work might critique and complement this system through a theoretical conception of wit. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Eskişehir Osmangazi University Faculty of Theology is the property of Journal of Eskisehir Osmangazi University Faculty of Theology 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.)

Unique among other rhetorical devices, wit can appear complex and banal simultaneously. The clever language can express thought equal to the weight of lengthy discourse in a few words, often with amusing effect. However, despite the complexity of the device, wit only offers a momentary chuckle or clarification of events, easily forgotten in a larger context. This dichotomy of wit operates the plot and theme in many literary texts. Intelligent protagonists employ the device to remedy their problems, believing that the complexity of the response ensures its effectiveness. However, because wit consists of only words, the device falls short of enacting change that action or direct discourse could more appropriately handle. This paper examines the role of wit in Hamlet and Catch-22 to determine how characters rely on wit to affront their problems but succeed only in amplifying them.

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC 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.)

Jane Austen is celebrated for her wit and wittiness. She famously defended novels in Northanger Abbey, for example, on the basis that they display 'the liveliest effusions of wit'. Critics have long been occupied with detailing the implications of Austen's wit, but without due attention to Austen's own explicit deployment of the word within her writing. Offering a re-evaluation of Austen's use of 'wit', this article provides a much-needed examination of how the term is implemented by Austen in her fiction (from her juvenilia, and through her six major novels), contextualises wit's meaning through its seventeenth-, eighteenth-, and nineteenth-century senses, and reveals that 'wit' did not necessarily have the positive connotations often presumed in modern suppositions. It transpires that, seemingly paradoxically, Austen routinely adopts the label 'wit' ironically to expose an absence of true wit, whilst concurrently avoiding the application of the word in moments displaying true wit. This article argues for the need to understand the crucial distinction between wit and true wit in Austen's fiction. [ABSTRACT FROM AUTHOR]

Simultaneous wireless information and power transfer (SWIPT) has recently attracted researchers and may help to satisfy future technology demands. SWIPT allows wireless power transfer (WPT) and wireless information transfer (WIT) to coexist based on shared resources. Recent studies have shown that, due to the nonlinearity of the rectifiers, high-PAPR (peak to average power ratio) waveforms provide better performance in terms of energy harvesting, making the design of power signals essential. In addition, these power signals should consume the smallest amount of resources for the WIT. In this paper, a new waveform design is proposed where the information and power signals are superposed using the same frequency and time resources. The power signal is composed of a high peak modulated rectangular wave sent during the cyclic prefix of the orthogonal frequency-division multiplexing (CP-OFDM) system, which is discarded at the information receiver, such that it does not interfere with the OFDM data symbol. Although the pulse is restricted to be within the cyclic prefix, there might be a small amount of interference caused by channel dispersion. Simulations and measurements show that a good choice of signal parameters can minimize interference on the information symbols and simultaneously provide good performance in terms of energy harvesting. [ABSTRACT FROM AUTHOR]

Wit is one of the most important notions in European culture during the Renaissance and the Baroque. This article shows, with examples from Caramuel, Góngora and Cervantes, that there are three traditions of this notion in the European culture of the 16th and 17th centuries: wit as mental subtlety, related to Theology and Philosophy; wit as verbal acuity, related to Rhetoric and Poetry; and wit as a bodily temperament, related to physics, medicine, politics, and satire. Although the bibliography is extremely extensive, these three traditions can be emblematized with the following treatises: Examen de ingenios para las ciencias (1575) by Juan Huarte de San Juan; Agudeza y arte de ingenio (1648) by Baltasar Gracián; and Il cannocchiale aristotelico (1663) by Emanuele Tesauro. [ABSTRACT FROM AUTHOR]

Silent poems was a visual poetic genre practiced in Italy, Spain and their colonies during the 17th and 18th centuries. Being occasional texts, presented at contests and poetry fairs, they were not printed, but handwritten. In the case of New Spain, one of the few representatives of the genre that have been reached so far is Manuel Quiroz Campo Sagrado (ca. 1751-1821). This communication makes a reading of three silent poems contained in the manuscript Afectos tiernos al santísimo sacramento de el Altar. The document is in the Biblioteca Franciscana (Cholula) has recently been included in the author's bibliography and has not yet been studied by any specialist. The poems are described and analyzed under the precepts of art and ingenuity, present in conceptual baroque poetry, although the case of Campo Sagrado is special, since it is a late representative. [ABSTRACT FROM AUTHOR]

Glamour is usually theorized within fashion studies as a visual illusion, distant and unattainable, often associated with celebrity elites. Yet glamour also possesses a power of attraction and fascination that could also be described as a form of seduction. How might an idea of seduction inform our understanding of the glamour of fashion? Using an empirical example of a camouflage couture dress by Jean-Paul Gaultier as a point of departure, I will explicate an unusual and interdisciplinary historical text — the notorious witch-hunting bible, the Malleus Maleficarum—to elaborate a theory of glamour as systemic, powerful, and immersive. Furthermore, this theory of glamour is predicated on a seductive form of wit. I will draw on Jean Baudrillard's Seduction, which itself connects seduction and wit to the glamour of fashion, to argue that it is precisely a concept of wit that might allow us to conceptualize the glamour of fashion not as an unattainable illusion, but as an immersive, powerful and effective phenomenon. This revised definition of glamour possesses important implications for how we might think fashion itself. [ABSTRACT FROM AUTHOR]

Copyright of Nüsha is the property of Oku Anonim Sirketi 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 Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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 Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid 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.)

Unique among other rhetorical devices, wit can appear complex and banal simultaneously. The clever language can express thought equal to the weight of lengthy discourse in a few words, often with amusing effect. However, despite the complexity of the device, wit only offers a momentary chuckle or clarification of events, easily forgotten in a larger context. This dichotomy of wit operates the plot and theme in many literary texts. Intelligent protagonists employ the device to remedy their problems, believing that the complexity of the response ensures its effectiveness. However, because wit consists of only words, the device falls short of enacting change that action or direct discourse could more appropriately handle. This paper examines the role of wit in Hamlet and Catch-22 to determine how characters rely on wit to affront their problems but succeed only in amplifying them. [ABSTRACT FROM AUTHOR]

Jane Austen is celebrated for her wit and wittiness. She famously defended novels in Northanger Abbey, for example, on the basis that they display ‘the liveliest effusions of wit’. Critics have long been occupied with detailing the implications of Austen’s wit, but without due attention to Austen’s own explicit deployment of the word within her writing. Offering a re-evaluation of Austen’s use of ‘wit’, this article provides a much-needed examination of how the term is implemented by Austen in her fiction (from her juvenilia, and through her six major novels), contextualises wit’s meaning through its seventeenth-, eighteenth-, and nineteenth-century senses, and reveals that ‘wit’ did not necessarily have the positive connotations often presumed in modern suppositions. It transpires that, seemingly paradoxically, Austen routinely adopts the label ‘wit’ ironically to expose an absence of true wit, whilst concurrently avoiding the application of the word in moments displaying true wit. This article argues for the need to understand the crucial distinction between wit and true wit in Austen’s fiction.

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 essay reads Joseph Addison' views on imagination and on a set of interrelated tropes--wit, metaphor, personification--from the perspective afforded by the interaction view of metaphor. By adopting this analytical standpoint, the essay documents how Addison relies, often unwittingly, on a propositional model of signification in order to put forward his strongest claims on literary language, imagination, and aesthetic judgment. Such a model constitutes a significant departure from Addison's starting point, the referential model of signification that premises and circumscribes John Locke's account of rhetorical language. This reading offers not only a synthesizing account of Addison's views across a range of texts, but it also enables a new and more nuanced placement of Addison in eighteenth-century aesthetics. [ABSTRACT FROM AUTHOR]

Copyright of Výtvarná Výchova is the property of Charles University Prague, Faculty of Education 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 Výtvarná Výchova is the property of Charles University Prague, Faculty of Education 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 Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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 Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 historical, cultural and ethnographic study of street cries, with which vendors advertise their products, shows an original oral expressiveness linked to wit, cleverness and humor, in the context of popular comic culture of Rabelaisian roots. The focus on the Andalusian context allows to identify. More specifically, the codes, topics and meanings of what is considered south of Spain "a unique art of trickery", related to language games, such as mockery, jokes and hoaxes (burla, guasa or camelo). As a performative deformation of language, the jocose street cries compete to get their way against others with ingenious occurrences characterized by irony, funny metaphors, freedom of speech, seductive exaggeration, erotic and even coarse equivocations, tricks, boastful jokes and carnivalesque inversion of order. This work links the verb of trickery in the street cries to the pícaro, the valiente, the flamenco, and other models and codes of behavior that have singularly become ingrained in Southern Spain. These, as a whole, highlight an oblique, mocking outlook on reality, truth and values such as honor and honesty.

The bilingual edition comprises five full translations of Shakespeare’s sonnet cycle: by Modest Chaikovskiy (1914), Samuil Marshak (1948), Aleksandr Finkel’ (1976), Ignatiy Ivanovskiy (2001), Vladimir Mikushevich (2004), as well as additional versions (of varied quality) by about 50 translators of the XIX–XXI centuries. V. Makarov provided commentary to the original sonnets. A. Gorbunov involves the reader in the mysteries of the sonnets and the hypotheses surrounding them. V. Florova discusses the main tendencies and approaches to Shakespeare sonnets studies in English criticism in the XVII– XX centuries. E. Pervushina surveys the translation-history of the sonnets in Russia. E. Khaltrin-Khalturina enlarges and deepens the frame of reference through an examination of the sonnets that were inserted into Shakespeare’s plays.

In seventeenth-century France (dominated by the phenomenon of « galanterie »), life at court and in the salons is characterized by a culture of playful conversation, which is encouraged by the influence of préciosité. This oral playful culture translates into a ludic literature in prose or verse which continues the social conversation through a proliferation of minor genres, often gathered in collective miscellanies, such as published letters or billets, portraits and maxims, odes, madrigals, songs, sonnets or fictional genres. This study focusses on verbal games, or games of conversation, and their literary avatars. After looking at the French context, it shows that these conversation games, which were born within a specific salon culture, were not as popular in England as they were in France. The second half of this study focusses on the adaptation in Restoration England of one of the French literary works that was produced by the salon game culture: Aphra Behn’s La Montre, or The Lover’s Watch (1686) which revises a narrative by Balthazar de Bonnecorse. It studies the strategies of adaptation and mediation applied to this characteristic product of the French ludic gallant literature, here tailored for a Restoration mixed readership.

A careful reading of Wuthering Heights shows that, notwithstanding the grimness permeating its various narratives, there are elements in the text which may be said to be of essentially comic interest. That Emily Brontë seems to have no mean gift for comedy is apparent enough, say, through Joseph's witty utterances; through the satirical portrait of the housekeeper Zillah; through the silly things said by some of the main characters as youngsters; and through a number of more or less farcical incidents and episodes, to cite a few obvious examples. Much less obvious, on the other hand, are some of the ways in which Emily gives us to understand that her two principal narrators, Lockwood and Nelly Dean, should be viewed as somewhat comic figures, thereby confirming for us the idea that, for all its distressing content, her novel nevertheless represents a happy blending of comedy with tragedy. [ABSTRACT FROM AUTHOR]

Image parodies emerge at the same time as Erasmus of Rotterdam's text In Praise of Folly from 1511, which also exerted great influence on painters. Thus it is obvious to connect the first parodies by artists like Albrecht Dürer or Urs Graf with the literary fashion of the paradoxical encomium. In this context, both the success of the Erasmian text and the spread of parodic pictorial procedures that began in Northern Europe are connected to the possibility of open and hidden criticism. Erasmus allows himself simple jokes, but at the same time he criticizes the image cult of the Catholic Church or a misunderstood Marian piety. Image parodies are also accompanied by an open genre structure of varying character, which can be ironic in the sense of paradoxical encomium and polemical with reference to satire and the Reformation disputes. [ABSTRACT FROM AUTHOR]

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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.)