This research was conducted for eight months on the island of South Kalimantan, Indonesia. This study examines Mamanda. Mamanda is a traditional South Kalimantan theater that still survives in the ...global era. Mamanda is liked because it is rich in humor that can entertain the entire audience and relieve fatigue because it can invite laughter. However, if it is interpreted more deeply, humor has a pragmatic function that it wants to convey to its listeners. Therefore, this study examines more deeply the function of humor in Mamanda. This study aims to describe the form and function of humor in Mamanda. This research uses the descriptive qualitative method. The data in this study, in the form of a recording of Mamanda's performance, played at the Mamanda Parade, a series of events to commemorate the anniversary of Banjarmasin, South Kalimantan. The informants in this study consisted of twenty people with different backgrounds, all of whom were players who played an active role in the show. The research method used is descriptive qualitative to describe the results in detail using a series of clear sentences. The results showed that there were four types of humor in mamanda, namely, language humor, behavioral humor, gossiping humor, and pornographic humor. The functions of humor are as a function of advising, a function of criticism, a function of satire, and a function of tolerance.
One question that needs to be asked in understanding the consequences of humour in service encounters is whether the prevalent bivariate approaches capture the full range of humour consequences. ...Therefore, this study examines the influence of frontline employees' (FLEs) combined use of affiliative and self-defeating humour on customers' perceptions of service quality in 268 service encounters. Bivariate results show that the positive effect of affiliative humour is much stronger than the negative effect of self-defeating humour. On the contrary, response surface analyses show that bad may be stronger than good. FLEs' humour use is particularly advantageous with customers who appreciate humour, while for those who do not, there is an optimal margin effect when affiliative humour exceeds self-defeating humour.
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In this introductory article to a special issue on ‘the politics and aesthetics of humour’, we argue that today in the Global North, humour forms a heavily debated topic, which is deeply embedded in ...political struggles over who are included and excluded in post-9/11 nation states. Under influence of the recent shift from post-politics to hyper-politics in the European and Anglo-American public sphere, we observe a repoliticisation of humour. To understand how humour in this cultural conjuncture is related to processes of power distribution and contestation, a cultural studies approach is needed. We outline the following four main characteristics of such an approach: (1) it studies humour in the plural, as a set of cultural and aesthetic conventions embodied in practices that are not guided by one grand social or political function, (2) it seeks to understand how humour is embedded in relationships of power, and contributes to the negotiation, contestation and maintaining of social hierarchies, (3) it looks specifically at the form and style of humour, its aesthetics and how on this formal level, political meaning is created and (4) it contends that, while humour often purposefully creates confusion and ambiguity, through its rhetorical and aesthetic operations it also has the ability to foreground particular interpretations, thus making the meaning of comic utterances less undecided than is often claimed.
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This paper focuses on response strategies to humour as listener activities. Drawing on authentic discourse data collected in two workplaces, one in Hong Kong and one in New Zealand, we explore the ...complex and versatile listener activity of responding to two particularly ambiguous and thus interesting types of humour: teasing and self-denigrating humour.
Using the framework of rapport management (
Spencer-Oatey, 2000) we look at how these types of humour are responded to in relationships that are unequal in terms of power: we explore some of the ways in which subordinates in our workplace data deal with the potentially face-threatening situation that emerges when their superiors use self-denigrating humour or teasing. A particular focus is on listeners’ strategies to resolve this tension and to manage sociality rights as well as to do face-work (by considering interlocutors’ quality and identity face).
Our analysis indicates that by employing and often combining various different response strategies, listeners achieve a range of functions simultaneously: they signal recipiency, respond to the hierarchical relationship between interlocutors, and they attend to their own as well as their superiors’ face needs. However, members of the different workplaces differ substantially in their choice of response strategies. We argue that analyses of response strategies in asymmetrical relationships and rapport management strategies in general need to take into consideration both the wider socio-cultural context in which they occur as well as the specific norms and practices that characterise interlocutors’ communities of practice (CofPs).
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35.
On the comic and laughter Propp, V. I︠A; Perron, Paul; Debbèche, Patrick
On the comic and laughter,
c2009, 20091231, 2017, 2009, 2009-11-07, 2009-12-31
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The author of the widely acclaimed Morphology of the Folktale has written an original, comprehensive, and exciting study on how humour works, and on everything you wanted to know about the genre, in ...a clear, approachable, and insightful manner.
Advancing the concept of multimodal voicing as a tool for describing user-generated online humour, this paper reports a study on humorous COVID-19 mask memes. The corpus is drawn from four popular ...social media platforms and examined through a multimodal discourse analytic lens. The dominant memetic trends are elucidated and shown to rely programmatically on nested (multimodal) voices, whether compatible or divergent, as is the case with the dissociative echoing of individuals wearing peculiar masks or the dissociative parodic echoing of their collective voice. The theoretical thrust of this analysis is that, as some memes are (re)posted across social media (sometimes going viral), the previous voice(s) – of the meme subject/author/poster – can be re-purposed (e.g. ridiculed) or unwittingly distorted. Overall, this investigation offers new theoretical and methodological implications for the study of memes: it indicates the usefulness of the notions of multimodal voicing, intertextuality and echoing as research apparatus; and it brings to light the epistemological ambiguity in lay and academic understandings of memes, the voices behind which cannot always be categorically known.
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Purpose. The purpose of this study is to examine how affiliative humour, which can bedefined as a positive humour style focusing on enhancing connections, is associated with collaborating, ...compromising, and avoiding conflict management styles in organisations. Study design. An online survey was conducted following the convenience sampling method to test the proposed hypotheses. The sample consisted of 257 teachers working at public schools in Adana, who are master’s degree students in Adana Alparslan Turkes Science and Technology University, Turkey. Exploratory factor analysis, correlation analysis, and regression analysis were conducted in line with the research goals. Findings. As a result, affiliative humour was found to be significantly correlated with compromising and collaborating. Nonetheless, avoiding was found to have no significant relationship with affiliative humour. Compromising was the only significant variable in the regression model, which explaineda limited variance in affiliative humour. Implications for practice. Managers may deliberately tend to “produce” humour to benefit from it in conflicting situations. Nonetheless, managerial control for theuse of humour does not guarantee the expected productivity. Therefore, employees may be advised to acknowledge the benefits of positive humour styles — in case of this study, affiliative humour — inmanaging interpersonal conflicts. Value of the results. To the best of the authors’ knowledge, a limited number of studies exist focusing directly on the association between affiliative humour and interpersonal conflict. Hence, the results are considered to fill the gap in the literature by clarifying that compromisingis the only conflict management style that has a positive impact on affiliative humour.
This article examines intertextuality in digital humour through a combination of tools from pragmatics and decoloniality. The study draws on a dataset of Spanish image macros that intertwine highbrow ...and lowbrow intertextual references. The analysis is framed by key theoretical concepts at the discursive and hierarchical levels. Specifically, three domains of the colonial matrix of power (knowledge, humanity and governance) are used as analytical categories to identify specific intertextual strategies and hierarchies present in the data. The visual and verbal components of the items are analysed through critical discourse analysis with attention to their salient signs. The use of the colonial matrix of power as an analytical tool for identifying hierarchies in intertextual references stands out as a methodological application with the potential to be further replicated in discourse analysis.
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The present study investigated the structure and facet-to-facet systematic links (controlled for other links) across the temperamental basis of humor along with humor traits using network analysis. ...Undergraduate students (N = 747) completed the state-trait cheerfulness inventory and humor trait measures (e.g., comic styles, benevolent and corrective humor, humor styles, gelotophobia). The EBICglasso estimator was used to conduct partial correlations between facets in the network. Results showed cheerfulness, seriousness, and bad mood were largely interconnected to humor-related traits, further providing evidence for criterion validity of the temperamental basis of humor model. The nodes humorlessness in cheerful evoking situations (i.e., SE6), cheerful interactive style (CH5), verbal humor, laughter, katagelasticism, humor in everyday life, prevalence of sadness (i.e., BM2), and gelotophobia were strength central personality traits. The correlation stability-coefficients were 0.75 for strength, edge weight, and expected influence, suggesting that centrality indices were highly stable. Implications regarding the theoretical model for the temperamental basis of humor and meaningful components that emerge visually in the network (e.g., laughing at others, laughing with others, mixed styles) are discussed.
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A Decade of Dark Humoranalyzes ways in which popular and visual culture used humor-in a variety of forms-to confront the attacks of September 11, 2001 and, more specifically, the aftermath. This ...interdisciplinary volume brings together scholars from four countries to discuss the impact of humor and irony on both media discourse and tangible political reality. Furthermore, it demonstrates that laughter is simultaneously an avenue through which social issues are deferred or obfuscated, a way in which neoliberal or neoconservative rhetoric is challenged, and a means of forming alternative political ideologies.
The volume's contributors cover a broad range of media productions, including news parodies (The Daily Show with Jon Stewart,The Colbert Report,The Onion), TV roundtable shows (Politically Incorrect with Bill Maher), comic strips and cartoons (Aaron McGruder'sThe Boondocks, Jeff Danzinger's editorial cartoons), television drama (Rescue Me), animated satire (South Park), graphic novels (Art Spiegelman'sIn the Shadow of No Towers), documentary (Fahrenheit 9/11), and other productions.
Along with examining the rhetorical methods and aesthetic techniques of these productions, the essays place each in specific political and journalistic contexts, showing how corporations, news outlets, and political institutions responded to-and sometimes co-opted-these forms of humor.
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