Despite popular opinions of the ´dark Middle Ages´ and a ´gloomy early modern age´, many people laughed, smiled, giggled, chuckled, enternained and rediculed each other. This volume demonstrates how ...important laughter had been at times and how diverse the situations proved to be in which people laughed. The contributions examine a wide gamut of significant cases of laughter in literary texts, historical documents, and art works. Laughter reflected a variety of concerns, interests, and intentions, and the collective approach in this volume to laughter in the past opens many new windows to the history of mentality, social and religious conditions, gender relationships, and power structures.
This is an updated edition of Good Humor, Bad Taste: A Sociology of the Joke, published in 2006. Using a combination of interview materials, survey data, and historical materials, it explores the ...relationship between humor and gender, age, social class, and national differences in the Netherlands and the United States. This edition includes new developments and research findings in the field of humor studies.
Pornind de la ideea unui demers cumulativ, Cosmina-Maria Berindei compară imaginarul cu un „muzeu etnografic ce se compune din obiecte care au, fiecare în parte, o poveste: au fost confecţionate de ...către un meşter, au avut unul sau mai mulţi proprietari şi au cunoscut un traseu propriu, înainte de a deveni obiecte de inventar.Iadul este locul în care îşi vor petrece eternitatea cei care nu fac parte din universul social al comunităţii, fiind vinovaţi de practici amendate de către aceasta.CosminaMaria Berindei apreciază că „îngăduinţa nemăsurată privitoare la posibilitatea omului de a avea un destin postum fericit nu vine (...) dintr-o atitudine identică cu aceea care se articulează în modernitatea noastră, în care iadul aproape că a dispărut din imaginar" (p. 351), ci din faptul că, bazându-se pe o religiozitate arhaică, imaginarul culturii tradiţionale româneşti nu conţine ideea judecăţii morale prin care să fie legitimat accesul la un destin fericit.Sunt reprezentări iconografice ale temelor enumerate mai sus, realizare pe pereţii unor biserici din România: biserica de lemn din Şurdeşti (MM), biserica de lemn din Ieud-Deal (MM), Biserica reformată din Mungeni (HR), Mănăstirea Voroneţ (SV), biserica de lemn din Fereşti (MM), Mănăstirea Humor (SV), biserica de lemn din Pojori-Cema (VL), biserica din Fârtăţeşti (VL), Biserica din Dozeşti (VL), Mănăstirea Hurezi (VL) şi alte câteva.
Why do modern Americans believe in something called a sense of humor and how did they come to that belief? Daniel Wickberg traces the cultural history of the concept from its British origins as a way ...to explore new conceptions of the self and social order in modern America. More than simply the history of an idea, Wickberg's study provides new insights into a peculiarly modern cultural sensibility.
The expression "sense of humor" was first coined in the 1840s and the idea that such a sense was a personality trait to be valued developed only in the 1870s. What is the relationship between Medieval humoral medicine and this distinctively modern idea of the sense of humor? What has it meant in the past 125 years to declare that someone lacks a sense of humor? How is the joke, as a twentieth-century quasi-literary form, different from the traditional folktale? Wickberg addresses these questions, among others, using the history of ideas to throw new light on the way contemporary Americans think and speak.
The context of Wickberg's analysis is Anglo-American; the specifically British meanings of humor and laughter from the sixteenth century forward provide the framework for understanding American cultural values in the nineteenth and twentieth centuries. The genealogy of the sense of humor is, like the study of keywords, an avenue into a significant aspect of the cultural history of modernity. Drawing on a wide range of sources and disciplinary perspectives, Wickberg's analysis challenges many of the prevailing views of modern American culture and suggests a new model for cultural historians.
The book is intended to provide a definitive view of the field of humor research for both beginning and established scholars in a variety of fields who are developing an interest in humor and need to ...familiarize themselves with the available body of knowledge. Each chapter of the book is devoted to an important aspect of humor research or to a disciplinary approach to the field, and each is written by the leading expert or emerging scholar in that area. There are two primary motivations for the book. The positive one is to collect and summarize the impressive body of knowledge accumulated in humor research in and around Humor: The International Journal of Humor Research. The negative motivation is to prevent the embarrassment to and from the "first-timers, " often established experts in their own field, who venture into humor research without any notion that there already exists a body of knowledge they need to acquire before publishing anything on the subject-unless they are in the business of reinventing the wheel and have serious doubts about its being round! The organization of the book reflects the main groups of scholars participating in the increasingly popular and high-powered humor research movement throughout the world, an 800 to 1, 000-strong contingent, and growing. The chapters are organized along the same lines: History, Research Issues, Main Directions, Current Situation, Possible Future, Bibliography-and use the authors' definitive credentials not to promote an individual view, but rather to give the reader a good comprehensive and condensed view of the area.
Modern black humour represents a rich history of radical innovation stretching back to the antebellum period. Laughing Fit to Kill reveals how black writers, artists, and comedians have used humour ...across two centuries as a uniquely powerful response to forced migration and enslavement. Glenda Carpio traces how, through various modes of “conjuring,” through gothic, grotesque and absurdist slapstick, through stinging satire, hyperbole, and burlesque, and through the strategic expression of racial stereotype itself, black humourists of all sorts have enacted “rituals of redress.” In highlighting the tradition and tropes of black humourists, Carpio illuminates the reach of slavery’s long arm into our contemporary popular culture. She convincingly demonstrates the ways that, for instance, Richard Pryor and Dave Chappelle’s modes of post-Civil Rights tragicomedy are deeply indebted to that of William Wells Brown and Charles Chesnutt’s 19th-century comedic conjuring. Likewise, she reveals how contemporary iconoclasts such as Ishmael Reed and Suzan-Lori Parks owe much to the intricate satiric grammar of black linguistic expression rooted in slavery. Carpio also demonstrates how Robert Colescott’s 1970s paintings and Kara Walker’s silhouette installations use a visual vocabulary to extend comedy in a visual register. The jokes in this tradition are bawdy, brutal, horrific and insurgent, and they have yet to be fully understood. Laughing Fit to Kill provides a new critical lexicon for understanding the jabbing punch-lines that have followed slavery’s long legacy.
This title deals with the construction of diverse forms of humour in everyday oral, written, and mediatised interactions. It sheds light on the differences and, most importantly, the similarities in ...the production of interactional humour in face-to-face and various technology-mediated forms of communication, including scripted and non-scripted situations. The book draws on a variety of up-to-date approaches and methodologies, and will appeal to scholars in discourse analysis, conversation analysis, interactional sociolinguistics, pragmatics, ethnography of communication, and social semiotics.
This book is the first extensive sociological study of the relationship between humor and social background. Using a combination of interview materials, survey data, and historical materials, it ...explores the relationship between humor and gender, age, social class, and national differences in the Netherlands and the United States. The exploration of social differences in sense of humor starts off from one specific, and not very prestigious, humorous genre: the joke.Good Humor, Bad Tasteexplains why jokes are good humor to some, bad taste to others.
