Summary
Background
Equine recurrent uveitis (ERU) has been associated with Leptospira spp. infection. No information exists concerning the prevalence of Leptospira‐associated ERU in Belgium and about ...the sensitivity of detection of Leptospira in different ocular media.
Objectives
To establish the prevalence of intraocular Leptospira spp. in ERU‐affected and healthy eyes of horses examined at the Equine Clinic of the University of Liège by real‐time PCR and to compare the results of the aqueous and vitreous humour of the same eye.
Study design
Cross‐sectional.
Methods
Sixty‐six eyes from 59 client‐owned horses with a diagnosis of equine recurrent uveitis (ERU‐group) were studied from May 2015 to December 2017. Fifty healthy eyes from 28 euthanised horses for unrelated reasons examined during the same period were included in the control group. Intraocular fluids (aqueous and/or vitreous humours) from ERU‐affected eyes were sampled and analysed by real‐time PCR for Leptospira spp. Aqueous and vitreous humours from the control group were processed in the same way.
Results
Both groups were comparable regarding age, sex, eye sampled (OS/OD), humours sampled (aqueous/vitreous humour) but not regarding breeds, with an over‐representation of Warmbloods and Appaloosas in the ERU‐group. The prevalence of Leptospira spp. was 30.3% (20/66 eyes) in the ERU‐group. Leptospira spp. DNA was identified in 11 aqueous and 17 vitreous humours with eight horses testing positive in both humours, nine horses testing positive for vitreous humour alone and third horses for aqueous humour alone. The phi‐correlation between aqueous and vitreous humour Leptospira‐PCR results is 0.47 suggesting a low association. All the control eyes were negative.
Main limitations
The diagnostic method selected for this study (lipL32 qPCR) did not allow identification of the serovars.
Conclusions
Leptospirosis is a potential cause of ERU in Belgium. Testing both intraocular media is advised whenever possible.
The Summary is available in Spanish – see Supporting Information
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BFBNIB, FZAB, GIS, IJS, KILJ, NLZOH, NUK, OILJ, SBCE, SBMB, UL, UM, UPUK
Incongruity often makes people laugh. You have to be smart to say stupid things. It requires to be even smarter for understanding them. This paper is a shameless attempt to formalise this intelligent ...behaviour in the case of an agent listening to a joke. All this is a matter of revision of beliefs, surprise and violation of norms.
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BFBNIB, GIS, IJS, KISLJ, NUK, PNG, UL, UM, UPUK
En los últimos años han surgido géneros (especialmente audiovisuales) que podríamos denominar híbridos, puesto que comparten características formales o funcionales de varios géneros tradicionales. En ...la línea de estas investigaciones, el objetivo de este estudio es la caracterización discursiva de un género híbrido con fuertes componentes conversacionales y humorísticos. Nuestro objeto de estudio ha sido el programa radiofónico de improvisación llamado «Nadie Sabe Nada», de la Cadena Ser, presentado por Andreu Buenafuente y Berto Romero. Dada la interacción aparentemente espontánea y no guionizada entre los presentadores, la pregunta de investigación es si se trata de una conversación coloquial o no y qué diferencias se encuentran con la conversación coloquial prototípica. Para ello, y desde la perspectiva de análisis de la conversación coloquial de Briz et al. (2002) y de la lingüística del humor de Ruiz Gurillo (2012, 2014), se han buscado características típicamente coloquiales en el corpus de «Nadie sabe nada» en el nivel fónico, pragmático, morfosintáctico, léxico y estructural para observar las semejanzas y diferencias entre la conversación y el género estudiado. Los primeros resultados muestran que este programa supone un género híbrido entre el monólogo de humor clásico y la conversación coloquial. Aunque los límites no sean taxativos, la intención comunicativa (transaccional) de los hablantes marca una línea clara entre la convesación coloquial prototípica y el discurso humorístico. Este género híbrido se ha denominado «conversación humorística».
After the referendum on the self-determination of Catalonia held on 1 October 2017, the Guardia Civil sent the Supreme Court a report listing acts of alleged violence against police forces that had ...been sent to Catalonia to stop the referendum from being held. According to the report, the most violent events took place in the village of Sant Esteve de les Roures, a non-existent town. From that moment on, Sant Esteve de les Roures came to life online, as profiles were created for all the services and institutions of the town of 750,000 inhabitants, presided over by its mayor, Josep Orni. The aim of this paper is to trace the general public’s spontaneous creation of Sant Esteve de les Roures, a town invented by the Guardia Civil, as an illustration of creativity and an example of a community overcoming a political crisis through humour.
Could humour make advertisements worse? Dikčius, Vytautas; Adomavičiūtė, Karina; Venskuvienė, Ieva
European journal of humour research,
01/2023, Volume:
10, Issue:
4
Journal Article
Peer reviewed
Open access
The aim of this study is to assess the impact of sexist advertisements on the perception of advertisements’ violation, ridiculousness and consumers’ intention to purchase a product by considering ...different cases of interaction between the type of advertisement (sexism without humour and sexism with humour), the direction of sexism and the respondents’ gender. The study uses a two-by-two factorial design experiment to investigate data obtained by means of a questionnaire (183 responses). Data analysis revealed that the involvement of humour in sexist advertising has a negative impact on the perception of the advertisement and consumers’ intention to purchase. Furthermore, the direction of sexism (against women vs men) appears significant when it is paired with humour. The results of the study fill a research gap regarding the impact of the interaction between the type of advertising, the direction of sexism, and the respondents’ gender on the perception of specific advertisements and intention to purchase the advertised product.
Audiovisual texts are social semiotic constructions that arbitrate reality according to a set of discursive patterns and established beliefs. Therefore, it is natural for translators to re-create and ...manipulate audiovisual texts to overcome challenges pertaining to religion, culture, and politics, which are the three intrinsic determinants of positioning in any translation project. Leaning on Critical Discourse Analysis (CDA) as a methodological approach, this paper aims to investigate how stereotypes and disparagement humour about Arabs and Muslims are dealt with in translating a segment from Family Guy into Arabic. The focus of the paper is on examining ideology-related shifts, and how and to what degree the students manipulated or mitigated religio-cultural barriers, as well as on assessing the role of visuals in the decision-making process. The students’ translations denote the inextricable intertwining of their authoritative voices and the act of translation, that is, some students consciously attempted to expose the writers’ intentions, while others subverted the text as a protective and resistive measure against the anti-Islamic, racist, sexual humour of the show.
There is a fascinating idiosyncrasy within New Zealand cartoonist’s depiction of Australia during the Great War. Running parallel to comradely images of fresh-faced ANZACs marching together, New ...Zealand cartoonists produced acrimonious sketches of their neighbour and ally as dysfunctional and even disloyal. These representations might be considered as charting the limits of neighbourly sentiments and good-natured humour. This article surveys the context, in history and humour, behind these depictions and questions how they fit within the wider panorama of New Zealand’s war effort and the humorous irreverence conventionally considered to be a key aspect of the trans-Tasman relationship.
Cet entretien rend compte de l’échange que nous avons eu avec Noémie Honein et Léna Merhej – deux artistes libanaises particulièrement connues pour leurs travaux en bande dessinée – au sujet de leurs ...trajectoires, ainsi que de leurs quêtes, interrogations et pratique artistiques. Leurs parcours, singuliers et témoignant de générations différentes, convergent dans leur volonté de mettre en récit et en dessin l’intimité. Dans De l’importance du poil de nez, Noémie Honein explore son expérience de la maladie, alors qu’à l’âge de vingt ans elle apprend être atteinte d’un cancer. La mise en récit de cette période de sa vie, sous forme de bande dessinée, s’apparente à un voyage à la découverte de ses relations intimes : celles qu’elle entretient avec sa famille et celles qu’elle développe avec son corps qui se métamorphose au fur et à mesure des thérapies. Elle interroge ainsi son rapport à la sexualité, également affectée par la maladie. Née d’une mère allemande et d’un père libanais, Léna Merhej consacre l’un de ses premiers travaux Laban et confiture, ou comment ma mère est devenue Libanaise à narrer une intimité familiale traversée par la guerre du Liban (1975-1990), la reconstruction du pays, et encore la guerre de l’été 2006. Elle y explore la question des identités plurielles dans la pratique du quotidien et joue habilement avec les stéréotypes d’une prétendue identité libanaise. En 2007, Léna Merhej fonde au Liban, avec trois autres artistes et dessinateurs, la revue Samandal (« salamandre » en arabe), dont la vocation est d’être, à l’image de cet amphibien, une entité hybride. Il s’agit, à l’origine, d’un projet expérimental destiné à soutenir la publication d’œuvres de ce premier groupe d’artistes. La revue se transforme rapidement en un collectif et élargit ses horizons pour inclure les bandes dessinées d’autres artistes du monde arabe et d’ailleurs. En 2016, Samandal publie en France, pour des raisons de censure, aux éditions Alifbata, le numéro intitulé Ça restera entre nous : un ouvrage sans fard sur le thème de la sexualité qui offre des planches illustrées, dans quatre langues (arabe, français, anglais et italien), de 27 artistes internationaux. Lever le voile sur les expériences singulières des corps – celles de la sexualité et celles de la maladie – invite à explorer les contextes dans lesquels celles-ci prennent forme : les vécus personnels de ces femmes sont en effet intimement mêlés à des conjonctures politiques et à l’expérience collective. Ces deux artistes – qui vivent désormais entre la France et le Liban – se racontent, parlent de leur famille et dressent aussi le portrait de leur pays d’origine, le Liban.
Making fun of power Orest Semotiuk; Viktoriya Shevchenko
European journal of humour research,
01/2023, Volume:
10, Issue:
4
Journal Article
Peer reviewed
Open access
The paper deals with Ukrainian President’s Zelensky image in political cartoons and memes. They are forms of political humour and can be examined in an interdisciplinary manner. The first part ...describes theoretical aspects, functions, and elements of political humour and political satire, main features and types of cartoons and memes. In the second part, the corpus of 198 political cartoons and 1121 memes from March 2019 to December 2020 is analysed with computer-aided content analysis and multimodal discourse analysis. The analysis units are social context, formed by the domestic and foreign political events in Ukraine in the research period, joke techniques and communication levels in the cartoons and memes. These units are examined chronologically and thematically. The research is based on the hypothesis about the interdependence of social context and subversive/supportive humour in the construction of Zelensky’s image.
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