This delightful, thought-provoking book tackles head-on the assumption that laughter and humour are necessarily good in themselves. The author proposes a social theory that places humour central to ...social life. Billig argues that all cultures use ridicule as a disciplinary means to uphold norms of conduct and conventions of meaning.
En este trabajo reflexionamos sobre una nueva tendencia característica de los últimos años de emplear carteles de cine de películas clásicas y contemporáneas para ejercer una crítica política en ...clave humorística. A partir de herramientas digitales como Photoshop, los propios espectadores/usuarios están reimaginando y resignificando el tradicional cartel cinematográfico como una nueva forma de humor gráfico que retrata ingeniosamente la actualidad política de un país. En este trabajo nos detenemos en el caso de España, donde es posible observar varios ejemplos de este tipo de carteles manipulados digitalmente mediante los cuales los propios usuarios -y no ya únicamente los dibujantes y medios tradicionales- están retratando y denunciando la actualidad política española a través del humor.
Pese al creciente uso del humor en la publicidad, el humor gráfico sigue siendo un elemento extraño. Este trabajo analiza la campaña que el dibujante gallego Kiko da Silva hizo para el Colegio de ...Dentistas de Pontevedra y Ourense en 2015 con el fin de advertir a la población de los posibles riesgos de las nuevas franquicias dentales y promocionar como alternativa a los dentistas «de toda la vida». Se ha revisado parte de la bibliografía sobre el humor en la publicidad, se han analizado los dos anuncios de la campaña y se ha entrevistado tanto al humorista que la ejecutó como a los publicistas que la diseñaron. Se ha llegado a la conclusión de que las tiras ayudaron a fijar la atención del lector y a hacerle reflexionar sobre el tema tratado.
Vorarbeit zur Laserkühlung Loos, Andreas
Physik in unserer Zeit,
05/2019, Volume:
50, Issue:
3
Journal Article
Als kühl wird er beschrieben, reserviert, „wenngleich offen und ohne Verstellung“, auch als „sehr genial und liebenswert“. Sein Humor klingt tatsächlich staubtrocken. Als Assistent erhält er für die ...Experimentalphysik‐Vorlesung die Aufgabe, einen Glasblock zu durchbohren, mit dem Ziel, feine Drähte durchzuziehen, um anschließend mit Hochspannung ein Loch in den Block zu sprengen. Jahre später erzählt er einem Kollegen: Die Sprengung im Hörsaal sei die Mühe des Bohrens wahrlich nicht wert gewesen. (Immerhin war sie wohl ein Kracher, was man von der Anekdote nicht sagen kann.)
Grab those paddles. Charge 300. Clear! "Ouch!" Now how do you feel? "Great!" Humor can be used as a systematic teaching or assessment tool in your classroom and course Web site. It can shock students ...to attention and bring deadly, boring course content to life. Since some students have the attention span of goat cheese, we need to find creative online and offline techniques to hook them, engage their emotions, and focus their minds and eyeballs on learning. This book offers numerous techniques on how to effectively use humor in lectures and in-class activities, printed materials, course Web sites and course tests and exams.These techniques can convert any course into an adult version of Sesame Street. "If Dr. Hannibal Lecter ate books, this one would make a tasty hors d' oeuvre." -- Clarice Starling"A non-page-turning marvel...I could stop reading at any point and know I 'm not missing anything." -- Forrest Gump"Not as much fun as Quidditch, but would be required reading for faculty at the Hogwarts School." -- Harry Potter"How did you get this book published? Read my letters: YOUR KNOT FUNY!" -- Bart Simpson
Political humour is employed to define the boundaries between opposing political groups and to express discontent against politicians and political acts. The sociopolitical context of its production ...and circulation not only influences its form, content, functions, and targets, but also determines whether it will be accepted, banned, or manipulated to serve the political agendas of certain groups. Hence, political humour becomes a ritual site where political identities are constantly constructed and (re)negotiated. Drawing on studies coming from different sociocultural communities, the authors underline the variety of humorous genres and communicative functions related to political humour, while they point out that humour research needs to look beyond the metapragmatic stereotype often surrounding the use of humour in politics.
Mark Twain, American Humorist examines the ways that Mark Twain's reputation developed at home and abroad in the period between 1865 and 1882, years in which he went from a regional humorist to ...national and international fame. In the late 1860s, Mark Twain became the exemplar of a school of humor that was thought to be uniquely American. As he moved into more respectable venues in the 1870s, especially through the promotion of William Dean Howells in the Atlantic Monthly, Mark Twain muddied the hierarchical distinctions between class-appropriate leisure and burgeoning forms of mass entertainment, between uplifting humor and debased laughter, and between the literature of high culture and the passing whim of the merely popular.
An important and timely expansion of American racial discourse. Tucker’s demonstration of how the comic is not (just) funny and how rage is not (just) destructive is a welcome reminder that willful ...injustice merits irreverent scorn. --Derek C. Maus, coeditor of Post-Soul Satire: Black Identity after Civil Rights
Adroitly explores how comic rage is a skillfully crafted, multifaceted critique of white supremacy and a soaring articulation of African American humanity and possibility. Sparkling and highly readable scholarship.--Keith Gilyard, author of John Oliver Killens: A Life of Black Literary Activism
A combustible mix of fury and radicalism, pathos and pain, wit and love--Terrence Tucker calls it comic rage, and he shows how it has been used by African American artists to aggressively critique America’s racial divide.
In Furiously Funny , Tucker finds that comic rage developed from black oral tradition and first shows up in literature by George Schuyler and Ralph Ellison shortly after World War II. He examines its role in novels and plays, following the growth of the expression into comics and stand-up comedy and film, where Richard Pryor, Spike Lee, Whoopi Goldberg, and Chris Rock have all used the technique.
Their work, Tucker argues, shares a comic vision that centralizes the African American experience and realigns racial discourse through an unequivocal frustration at white perceptions of blackness. They perpetuate images of black culture that run the risk of confirming stereotypes as a means to ridicule whites for allowing those destructive depictions to reinforce racist hierarchies. At the center of comic rage, then, is a full-throated embrace of African American folk life and cultural traditions that have emerged in defiance of white hegemony’s attempts to devalue, exploit, or distort those traditions. The simultaneous expression of comedy and militancy enables artists to reject the mainstream perspective by confronting white audiences with America’s legacy of racial oppression.
Tucker shows how this important art form continues to expand in new ways in the twenty-first century and how it acts as a form of resistance where audiences can engage in subjects that are otherwise taboo.
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