Wyniki wyszukiwania - Biblioteka Nauki

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15th International Pragmatics Conference (IPra2017), 16-21 July 2017, Belfast, Northern Ireland

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Chłopicki W.

The European Journal of Humour Research

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2017

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tom 5

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nr 3

EN

Academic event report on 15th International Pragmatics Conference (IPra2017), 16-21 July 2017, Belfast, Northern Ireland

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Humor w badaniach nad przekładem

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Rębkowska A.

Romanica Wratislaviensia

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2016

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tom 63

157-174

EN

Humour, manifesting itself at different semiotic levels of a text, is considered to be one of the most common translation challenges. However, previous studies dealing with translation of humour mainly consist of various aspects of translating humorous phenomena expressed themselves especially at the linguistic level. The aim of the article is to present the most important linguistic theories of humor (structural isotopy, semantic theory of scripts, the general theory of verbal humor, humor seen as a violation of the conversational maxims or as the game with implicatures), as well as some observations in the field of translation studies, and subsequently to develop describing tools for the translation of humorous phenomena in audiovisual texts.

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Środki językowe oddające poczucie humoru młodego Bolesława Prusa

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Machnicka V. , Uniwersytet Przyrodniczo-Humanistyczny w Siedlcach

Acta Universitatis Lodziensis. Folia Linguistica Rossica

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2011

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tom 07

EN

The author concentrates on the linguistic analysis of the early works of Aleksander Głowacki, that is the texts created between 1873 and 1875, which were initially printed mostly in such magazines as “Mucha,” “Kolce,” and “Kurier Warszawski.” The works represent characteristic, juvenile type of literary output and the sense of humour of the author who was just commencing his literary career. In the first part of the article there are definitions concerning various issues in the field of humorous writing. Then the collected material is analysed in several groups according to particular forms and types of linguistic means in order to amuse the readers: I. Titles of the works and collected works, dedications, epigraphs. II. Golden thoughts, aphorisms, proverbs, catchphrases. III. Periphrastic and hyperbolic structures and comparisons. IV. Meaningful proper names. V. Lexical, phraseological, morphological and semantic neologisms, ambiguous vocabulary, stylized texts.

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There Is Method in the Humorous Speaker's Madness: Humour and Grice's Model

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Dynel M.

Lodz Papers in Pragmatics

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2008

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tom 4

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nr 1

159-185

EN

The interdependence between humour and the Cooperative Principle (CP) (Grice 1975/1989b, 1978/1989b, 1989a) appears to be a bone of contention in pragmatic studies on verbal humour. The wellentrenched approach advocated by Raskin and Attardo is that jokes (and also other forms of intentionally produced humour) constitute the non-bona-fide mode of communication standing vis-à-vis the Gricean model and governed by a humour-CP (Raskin 1985, 1987, 1998; Raskin and Attardo 1994; Attardo 1990, 1993, 1994, 1996, 2006), and that they violate, not merely flout, the maxims and even the CP (Attardo 1990, 1993, 1994, 1996, 2006). The aim of the article is to shed new light on the interdependence between humour and the CP with a view to substantiating that the authors who regard humour as an independent communicative mode and as an intrinsic violation of maxims and the CP appear to labour under a serious misapprehension. It will be argued that the Gricean model of cooperative rationality does allow for humorous verbalisations, which normally rely on maxim flouts.

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Transferring multilingual humour intralingually: the case of “Big Night”

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Magazzù G.

The European Journal of Humour Research

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2019

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tom 7

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nr 1

EN

Multilingual films usually tackle significant social and political issues. Sometimes, these films adopt linguistic diversity to create confusion and to trigger humour, accomplishing a comic effect. Normally, films about migration and diaspora are multilingual, as they want to recreate the linguistic diversity that exists in reality. There are many cases though in which the translator/adapter faces the struggle of translating into his/her own language. In this paper, we will analyse the Italian dubbing of Big Night, to see how the dialogues have been conveyed and especially how verbally expressed humour and stereotypes from the Italian language and culture are transferred intralingually and to what effect.

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O ambiwalentnym humorze Karla Michala

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Czernikow O.

Slavia Occidentalis

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2013

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nr 70/2

65-76

PL

The paper tackles the topic of the negative or ambivalent humour in Karel Michal’s short story collection Everyday Spooks. Starting from the concepts of humour (present, e.g., in the theoretical works of Jean-Paul, Baudelaire, and Bachtin) based on the existence of negative features, the author examines the functioning of the degrading role of humour in the Czech writer’s debut volume. Carried out with these tools, the analysis of negative strategies in the humoristic writings of Michal, allows for a reinterpretation of his early texts and makesit possible to view them as perverse moralities.

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Pigs, pastures, pepper pickers, pitchforks: Carl Sandburg’s Rootabaga Stories and the tall tale

80%

Heyman M.

The European Journal of Humour Research

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2017

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tom 5

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nr 3

EN

Past studies of American nonsense literature have tended to lump it together with the British, for many good reasons. This article, however, distinguishes American nonsense, not just from the British, but from any other tradition, by way of its folk origins and cultural context. One of the least-recognized writers of nonsense is Carl Sandburg, who is famous for his iconic American poetry, but his Rootabaga Stories (1922-30) are some of the best and most distinctive representatives of the genre. Sandburg’s nonsense short stories are lyrical and strange, but their value lies also in their distinctive American origins. They are distinguished in having particularly American themes, cultural tendencies, and geography, but also in their formal techniques, which hearken back to American folklore and the tall tale in particular, as in W. B. Laughead’s Paul Bunyan (1922).

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Dowcipy o góralach a tzw. duch góralszczyzny

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Tarnogórska M.

Góry, Literatura, Kultura

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2016

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tom 10

209-218

EN

The aim of this article is to examine the authenticity of popular ‘highlanders’ jokes’ published in many anthologies of humour as well as in separate dedicated volumes often termed ‘highlanders’ humour’ thus suggesting folkloristic sources of the texts. The analysis of representative examples shows that most jokes are thoroughly fictive constructions profiled as ethnic jokes without authentic origins. The anonymous sources of these jokes create them with two main qualities: 1. the tendency to use puns, black humour or even nonsense humour which contrasts with the rather realistic humour of folkloristic texts; 2. incorporating elements of modern reality such as technical gadgets comically incongruous in the context of the stereotypical image of highlanders’ culture. A true portrait of highlander culture, a quality of authentic folklore, is replaced by purely nominal ethnic characteristics, often added to primarily non- ethnic jokes, implying that the ethnic joke is more funny than the same joke without such an ethnic characteristic (for instance, a joke about Scottish avarice is deemed more funny than the same joke about a non-descript miser).

9

Humour in Professional Academic Writing

80%

Warchał K.

Theory and Practice of Second Language Acquisition

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2019

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tom 5

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nr 1

43-54

EN

Professional written academic genres are not typical sites of humour, especially in their final, published forms. In this paper, I argue that academic discourse as construed today not only does not preclude humour in written research genres but – in some text segments or in response to specific communicative needs – is perfectly compatible with it. In particular, I focus on these occurrences which engage the reader and contribute to the writer-reader rapport: humorous titles, humorous comments or asides, personal stories, and literary anecdotes. I also suggest that making university ESL/EFL students aware of the fact that “serious” writing tasks do offer some room for humour may draw their attention to the human face of academic writing, that is to the interactive, dialogic, and personal aspects of written academic communication.

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Cykl o Teosiu Kefirku Małgorzaty Strękowskiej-Zaremby wobec wzorca powieści detektywistycznej

80%

Mityk I.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2018

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tom 6

74-83

EN

Małgorzata Strękowska-Zaremba is the author which writes a children’s novels. In her cycle of Teoś Kefirek she was inspired by classic pattern of detective novel, but she was able to modify it. She tries to work out her own style, creates colorful characters and fixes them in the 21st century realities and on the other hand she is capable of using conventional elements of genre and renews them with her own suggestions. She also intertwined the moments of great suspense with situations full of humour on account of young readers.

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Stereotypy w dowcipach macedońskich

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Błaszak M.

Poznańskie Spotkania Językoznawcze

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2016

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nr 32

137-146

EN

The goal of the article Stereotypes in Macedonian Jokes is to demonstrate that jokes are based on stereotypes which tend to be consolidated and disseminated by means of jokes. Stereotypes occur in every social group, they hand down social tradition from generation to generation despite the fact that a picture of a group in question has evolved for many years. The article provides examples of Macedonian jokes about various national, social and ethnic groups. These examples serve to present Macedonian prejudices as well as a positive perception of the mentioned groups. The research is based on jokes downloaded from Macedonian websites. The research methodology allows to classify the content into different types of stereotypes: ethnic, national, related to professions or social groups.

PL

Artykuł Stereotypy w dowcipach macedońskich ma na celu ukazanie, że dowcipy powstają dzięki stereotypom, są przez nie utrwalane i rozpowszechniane. Stereotypy występują w każdej grupie społecznej, przekazują tradycję społeczną z pokolenia na pokolenie, pomijając fakt, że dany obraz grupy przez wiele lat ewoluował. Autorka w artykule podaje przykłady macedońskich dowcipów o różnych grupach narodowych, społecznych czy etnicznych. Na tej podstawie przedstawia zarówno uprzedzenia Macedończyków występujące na przykład w stosunku do określonych narodowości, jak i pozytywne postrzeganie tych nacji. Przedmiotem badań są dowcipy zaczerpnięte z macedońskich stron internetowych, a zastosowana przez autorkę metoda badawcza pozwala na klasyfikację treści według różnych rodzajów stereotypów: etnicznych, narodowych, klas zawodowych czy grup społecznych.

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Niejednoznaczność wypowiedzi humorystycznych a kompetentne komunikowanie się

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Kucharski A.

Człowiek i Społeczeństwo

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2020

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tom 50

EN

The aim of this paper was to discuss competent communication, specifically humorous statements containing ambiguity. Attention was brought to difficulties when deciding between informative and humorous manners of communication. It is not easy to differentiate between the two manners, which means we do not always adjust to the correct manner when speaking with our conversationalist. It brings special difficulties, when the communicator knowingly does not state what manner his speech should be received in. Farther, we cannot always form a phrase in a certain manner, even if the manner is known to us, which can lead to further issues in communication. Communication competency, including humour competency is not only the ability to understand and appreciate the humorous aspect in the message, but also the ability to formulate a humorous statement appropriate for the situation and to the aims raised by an individual.

13

Self-Censorship Between Self-Ridicule and Self-Reflection

70%

Jakimiak A.

Didaskalia. Gazeta Teatralna

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2022

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nr 168

200-232

EN

This essay investigates the notion of humour as a tool used to highlight the acts of self-censorship in theatre and performing arts and its subversive potential. By referring to the examples from the process of working on the Imaginary Europe performance directed by Oliver Frljić, the essay problematizes the acts of self-prevention committed by artists who decide to withdraw a certain figure of speech in order not to cause harm towards minorities or underprivileged groups. I revisit theories that tackle humour and reveal its complexity (Billig, McGowan and Zupančič), and I refer to the work of artists who combine humour with self-reflection in the process of undermining and questioning theatrical hierarchies and mechanisms of power.

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Humorous nonsense and multimodality in British and American children's poetry

70%

Chrzanowska-Kluczewska E.

The European Journal of Humour Research

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2017

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tom 5

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nr 3

EN

Nonsense and humour are two cognitive and linguistic phenomena that frequently overlap. The focus of this article falls on chosen instances of humorous nonsense poetry, targeted at English-speaking children, which contains verbal and visual modes of expression. Formal sources of nonsense-creation in natural language can be several, among others semantic anomaly, syntactic ill-formedness and structural ambiguity, phonetic and graphological experimentation. The interplay of nonsense with the visuality of the text in children's poetry assumes three distinct forms: 1) visual poems, 2) multimodal texts,, where illustrations, often nonensical and funny in themselves, support the verbal text, and 3) texts based on the phonetic play. Examples will be drawn from the classics of the Anglophone children's poetry: Mother Goose, the Victorian classics L. Carroll and E. Lear, 20th-c. British and American poets - L. Hughes, e.e. cummings, T. Hughes, J. Agard, as well as the Polish-British pair W. Graniczewski and R. Shindler. In all the poems to be analyzed multimodality has an important role to play in the creation and strengthening of the effect of humorous bisociation/incongruity. A tight intertwining of the phonetic, semantic and visual layers in such texts becomes an additional challenge for their translators. The theoretical keystone for our considerations remains H. Bergson's study Laughter (1900/2008), which deftly combines the Superiority, the Incongruity and the Release Theory of Modern Humour Studies. Bergson rightly links the sources and effects of the nonsensical and the comic to the notion of game/play and to the idea of dream-like illusion they create.

15

People don’t buy from clowns. Zur Wirkung humorvoller Werbekommunikation – theoretische Grundlagen

70%

Pociask J.

Germanica Wratislaviensia

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2015

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tom 140

225 - 240

EN

Today we can observe the overload in the advertising market, which has had its consequences in both: the perception of advertisements (indifference and even reactance) and the necessity of changing the techniques of persuasion. The main problem is to attract attention of consumers, because the recipients possess limited possibility of stimulus perception. It forces the advertisers to be more creative while making advertisements by using emotional strategies in advertising. One factor which can be such an effective, stylistic device is humour, because firstly it fulfills the recipients’ expectations (advertising has to amuse) and as a result, creates a positive attitude towards the message. The attitude influences perceiving of advertised products which become accepted by recipients. Secondly, relevant humorous elements in the message can influence the potential consumers nearly on all levels of perception.

16

“No harm done”: Teachers’ humorous talk about children’s safety

70%

Sullivan R. K.

The European Journal of Humour Research

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2014

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tom 2

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nr 1

EN

This paper presents and discusses the forms of humour employed by New Zealand primary school teachers when talking about children’s safety in the outdoor classroom. A discourse analysis, guided by the notion of interpretative repertoires (Potter & Wetherell 1990, 2004), suggests a tension between safe practice and enjoyment with humour as a mediating factor. Three repertoires were named from analysis: safe practitioner; adventurous risk-taker; fun, pleasure and excitement seeker. A surprising and unexpected aspect was the place of humour in teachers’ talk, as analysis indicated that humour was an interpretative resource employed in all three repertoires. I suggest humour is a mechanism through which teachers negotiate and manage both providing for children’s enjoyable outdoor educational activities and ensuring their safety.

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Европа погледната со очите на македонската писателка. Mакедонската писателка погледната со очите на Европа

70%

Танески [Taneski] З. Z.

Slavia Meridionalis

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2012

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tom 12

EN

Europe looked with the eyes of the Macedonian writer. Macedonian writer looked at the eyes of Europe In this text the emphasis is put on the topic of the individual and transtemporal identity phenomen of Macedonian writer in European point of view and also of European imagology picture in the eyes of Macedonian writer. In that case, the paper explores the specific forms of irony and humour in the postmodern novel “Hidden camera” by Macedonian writer Lidija Dimkovska, originally published in Macedonia in 2004, and later translated into several languages. This novel deals with the creative image, fictional and imagological conceptions of Macedonian view on European space today and also the European view on Macedonian modern realities. (This novel was translated in year 2007, for example, into Slovak language and in 2010 into Polish). Lidija Dimkovska witness that personal histories in a specific geo‑political (European) space makes an individuals history itself when our personal histories touch, cope with each to other, are crucified on their paths, and go parallel to each other to exchange their content, edges, myths and realities. The eternal questions about identity, love, death, freedom etc. always wait for personal answers, and here is the home for Dimkovska’s writing. Of course, the answers can be very different and filled with even contradictory feelings, but what is important for this writer in writing, is that her whole being writes, with all its possible strength. In proportion with the Slovak hole reception of “Hidden camera”, the contribution points out the need for synthetic reconstruction of the whole scientific research of irony forms and aplications of them in this novel, and also the rehabilitation of metodological problems of common sense. Еuropa oglądana oczyma pisarki macedońskiej. Macedońska pisarka widziana oczyma Europy Autor, podejmując w artykule kwestie indywidualnego zjawiska tożsamości macedońskiej w kontekście imagologicznego widzenia rzeczywistości, dokonał analizy powieści Lidii Dimkovskiej Ukryta kamera, która ukazała się w Macedonii w 2004 roku. Utwór, przetłumaczony na kilka języków europejskich, wpisujący się w nurt literatury postmodernistycznej, stał się dla autora pretekstem do badań nad jego recepcją i do przeprowadzenia porównań: w jaki sposób współcześnie postrzega się w Europie wykreowany wizerunek Macedonii, a w jaki przestrzeń europejską widzi ze swojej perspektywy macedońska pisarka. Zaprezentowany obraz tych relacji, ich krzyżowania się i wzajemnego przenikania został błyskotliwie przedstawiony w powieści Dimkovskiej przez wyzyskanie humoru i ironii. Choć w tekście odnotowano polską i słowacką recepcję utworu, skoncentrowano się przede wszystkim na jego słowackim przyjęciu (tłumaczenie na język słowacki ukazało się w roku 2007, a na język polski w 2010). Zastosowanie przeciwstawnego oglądu pozwoliło wykazać, iż obie perspektywy łączą się w sugestywnym przesłaniu artystycznym, wobec którego nie istnieją żadne granice twórcze.

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Yus's and Jodłowiec's Relevance-Theoretic Approaches to Jokes: A Critical Comparison

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Biegajło M.

Anglica. An International Journal of English Studies

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2013

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nr 22/2

87-99

EN

The prime objective of this paper is to compare Yus’s (2003, 2004, 2008, 2011, 2012ab) and Jodłowiec’s (1991ab, 2008) accounts of jokes based on the assumptions of Relevance Theory (RT; Sperber and Wilson 1995, 2002, 2004). To meet this objective, I explore Yus’s and Jodłowiec’s classifications and models of joke comprehension since there is a strong link between the two phenomena.

19

The dangers of controlling memes through copyright law

70%

Capelotti J. P.

The European Journal of Humour Research

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2020

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tom 8

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nr 3

EN

Intertextuality plays a great role in the production and comprehension of various forms of humorous expressions, such as parodies and memes. The latter often rely on previous facts, images, videos, statements etc., to express a certain comic idea. Nowadays, memes and parodic videos are not just made by comedians, but also by ordinary people on social networks, mostly using images, videos and gifs found in search engines like Google. However, attempts at regulating the use of such materials, particularly from the point of view of copyright, threaten the freedom of this sort of humorous expression. The article discusses a case from Brazil in 2017, when the then President Michel Temer tried to stop the unauthorised use of his image in the creation of memes, stating that the pictures in the Presidency’s website were available for journalistic purposes only, and any other use needed the government’s consent. This strange situation, that could give the president the power of approving the satire made at his expense, was itself the subject of various memes, which ultimately forced the government to step back. The article then discusses similar risks of a directive recently approved by the European Parliament, which, under the flag of protecting copyright, may have a controversial chilling effect in the creation of memes and satiric videos.

20

Visuaalne huumor internetis

70%

Baran A.

Mäetagused

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2012

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tom 52

123-140

EN

This article focuses on the role of visual imagery in language understanding. It is commonly held that the use of phraseologisms is most characteristic to spoken language. However, today we are faced with a situation where the usage of written and oral language has blended (in e-mails, on-line communication, social network) on the Internet. Creative use of expressions, even if manifested in an exaggerated or inappropriate manner, may lead to interesting figures of speech. I am going to concentrate on a subgenre of so-called Internet memes – demotivational posters or manipulated photos which contain figurative expressions. Clearly, it is the creative context of the Internet that has given new life to figurative expressions. People are interpreting phraseologisms differently from a traditional vis-à-vis conversation when being engaged in spontaneous virtual communication. In addition, the iconic nature of the motivation involved in understanding figurative expressions makes it possible to use the phrases as a means of visualisation. That is why it is possible to confirm that phraseological units are remarkably more complex phenomena than simple reproducible linguistic units that do not contain metaphors.