Although numerous scholars have studied Late Republican humor, this is the first book to examine its social and political context. Anthony Corbeill maintains that political abuse exercised real ...powers of persuasion over Roman audiences and he demonstrates how public humor both creates and enforces a society's norms.
Previous scholarship has offered two explanations for why abusive language proliferated in Roman oratory. The first asserts that public rhetoric, filled with extravagant lies, was unconstrained by strictures of propriety. The second contends that invective represents an artifice borrowed from the Greeks. After a fresh reading of all extant literary works from the period, Corbeill concludes that the topics exploited in political invective arise from biases already present in Roman society. The author assesses evidence outside political discourse-from prayer ritual to philosophical speculation to physiognomic texts-in order to locate independently the biases in Roman society that enabled an orator's jokes to persuade. Within each instance of abusive humor-a name pun, for example, or the mockery of a physical deformity-resided values and preconceptions that were essential to the way a Roman citizen of the Late Republic defined himself in relation to his community.
Originally published in 1996.
ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
When wielded by the white majority, ethnic humor can be used to ridicule and demean marginalized groups. In the hands of ethnic minorities themselves, ethnic humor can work as a site of community ...building and resistance. In nearly all cases, however, ethnic humor can serve as a window through which to examine the complexities of American race relations. InEthnic Humor in Multiethnic America, David Gillota explores the ways in which contemporary comic works both reflect and participate in national conversations about race and ethnicity.Gillota investigates the manner in which various humorists respond to multiculturalism and the increasing diversity of the American population. Rather than looking at one or two ethnic groups at a time-as is common scholarly practice-the book focuses on the interplay between humorists from different ethnic communities. While some comic texts project a fantasy world in which diverse ethnic characters coexist in a rarely disputed harmony, others genuinely engage with the complexities and contradictions of multiethnic America.The first chapter focuses on African American comedy with a discussion of such humorists as Paul Mooney and Chris Rock, who tend to reinforce a black/white vision of American race relations. This approach is contrasted to the comedy of Dave Chappelle, who looks beyond black and white and uses his humor to place blackness within a much wider multiethnic context.Chapter 2 concentrates primarily on the Jewish humorists Sarah Silverman, Larry David, and Sacha Baron Cohen-three artists who use their personas to explore the peculiar position of contemporary Jews who exist in a middle space between white and other.In chapter 3, Gillota discusses different humorous constructions of whiteness, from a detailed analysis ofSouth Parkto "Blue Collar Comedy" and the blogStuff White People Like.Chapter 4 is focused on the manner in which animated children's film and the network situation comedy often project simplified and harmonious visions of diversity. In contrast, chapter 5 considers how many recent works, such asHarold and Kumar Go to White Castleand the Showtime seriesWeeds, engage with diversity in more complex and productive ways.
Presented by Ján L. Kalina, Dr. Humoris Causa Slovart, Bratislava 2020, 488 s. Názvom (a podtitulom) svojej zbierky vtipov Kalina čitateľov vopred upozorňuje, že jej cieľom je nielen pobaviť, no aj ...poučiť, ale aj na skutočnosť, že humor (svojím obsahom aj následkami) vie byť niekedy veľmi vážny. (Neuveriteľné, ale aj takí ľudia žijú medzi nami.) Po dlhom hľadaní vhodného ekvivalentu prejavil záujem o životopis Napoleona Bonaparta, ktorý som (dnes už pre mňa z nepochopiteľných dôvodov) vlastnil. „Syn žartu" a „Pán Tisíc a jedného vtipu" (týmito titulmi som ovenčil Kalinu v recenzii jednej z jeho neskorších memoárových kníh),2 mal pre mňa podstatne vyššiu cenu, než nejaký francúzsky cisár. Zabudol som, komu som túto knihu požičal, ale neznámy zloduch ju zabudol vrátiť. V tejto súvislosti si môže súčasný čitateľ položiť otázku, ako hodnotiť skutočnosť, že J. Kalina sa aktívne podieľal na tejto forme (auto)cenzúry. Hromadne schvaľovali popravu Milady Horákovej,4 požadovali „psovi psiu smrť" počas procesu s členmi „sprisahaneckého centra" Rudolfa Slánskeho, na schôdzach hlasovali za rôzne formy oficiálnej šikany jednotlivcov, ale aj „kulakov", „buržujov" a iných etnických alebo sociálnych vrstiev vtedajšej spoločnosti. Verejne prejavovaný dobrovoľný, ale častejšie vynútený súhlas s potrestaním konkrétnych fyzických osôb znamenal podľa mňa oveľa väčšie poníženie. V takom prípade by síce kniha nevyšla, ale vyhol by sa veľkej časti problémov, do ktorých sa neskôr aj vďaka nej dostal on aj jeho rodina. V tomto prípade život (a „protištátny" vtip) potvrdil, že humor bol v pomeroch totalitných režimov síce veselou, ale často nebezpečnou zložkou vtedajšieho života. Do miestnosti súdu, kde sa cez prestávku v pojednávaní schádzajú všetci strážcovia spravodlivosti, vojde sudca a chytá sa za brucho od smiechu: - Kolegovia, počul som taký skvelý vtip, že ma ide rozhodiť od rehotu. -
Ako sa ukázalo, titul neklamal, ale prím zohrával podtitul diela. Druhým dôvodom je skutočnosť, že Humor som kúpil nie kvôli vede, ale hlavne kvôli humoru, ktorý ma čakal v záverečnej - piatej časti ...knihy. Rozsah kapitoly (26 strán, čo predstavuje takmer 20% celkového textu knihy) je presvedčivým dokladom, že autor pristúpil k problematike s patričnou vážnosťou, ale tiež s primeranou dávkou sebadôvery: „V úvode tejto kapitoly sa treba vyrovnať s faktom, že heretik a ešte k tomu gój píše o židovskom humore. Sem by sa mi hodili (trochu na doplnenie, ale aj ako polemika) názory Efraima K. Sidona, ktoré zverejnil vo svojom novoročnom Listě vrchního rabína (Sidon, 2012: 3). Pri čítaní som sa miestami príjemne pobavil, kým inokedy som sa neubránil tradičnej židovskej reakcii: „... dobrý, ale poznám lepší". PETER SALNER, Ústav etnológie a sociálnej antropológie SAV v Bratislave LITERATÚRA Bonder, N. (2008).
El propósito de este estudio es identificar y comparar las características estructurales, semánticas y culturales de las anécdotas para revelar sus similitudes y diferencias en los idiomas inglés, ...francés y ruso. Basado en el análisis de un pequeño corpus de anécdotas, el presente estudio exploratorio pretende identificar tipos de relaciones léxicas como la homonimia, la polisemia y la paronimia y sus características lingüísticas. Los hallazgos muestran que una característica común del humor nacional ruso, inglés y francés, puede considerarse una crítica.
This book is a guide to humor that can break down the communication barriers between professors and students, who can be so different that they can seem to come from different planets. The chapters ...are: (1) "Why Use Humor?"; (2) "Anatomy of Humor"; (3) "Types and Forms of Humor"; (4) "Sources of Humorous Material"; (5) "Delivering Humor Effectively"; (6) "Using Humor in the Classroom"; (7) "Using Humor in Professional Presentations"; and (8) "Using Humor in Publications and Communications." (Contains 119 references.) (SLD)
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![Professors Are from Mars[R]...](http://api.summon.serialssolutions.com/2.0.0/image/isbn/XR4PS5YY4K/9781579220709_1579220703/small "Professors Are from Mars[R], Students Are from Snickers[R]: How To Write and Deliver Humor in the Classroom and in Professional Presentations")