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4 The European Journal of Humour Research

4 Filani I.

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“Laf wan kill me die” (I almost died laughing): An analysis of Akpos jokes and the readers’ responses

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Studies on humour have acknowledged that responses to jokes are important aspects of a joking exchange; however, investigation of joke recipients’ responses has received little attention from humour scholars. Moreover, the linguistic investigations of jokes have been limited to native speakers’ contexts, leaving ESL contexts out. Therefore, this study examines readers’ responses to a genre of jokes in Nigerian online spheres, Akpos jokes, with a view to characterising their forms and functions. Akpos jokes are humorous narratives created around an imaginary character called Akpos. Jokes are randomly collected from a blog and readers’ responses were derived from a Facebook page in which Akpos jokes are published. Using computer paralanguage and language mixing in writing the jokes and the responses, the jokes and the reactions to them mirror the online and the Nigerian ESL contexts in which they are situated. Readers use their responses to indicate affiliation, disaffiliation with the joke, or to introduce something that has nothing to do with the subject of the joke or humour. Readers also use their responses to argue for and/or against the humorousness the jokes.

Book review: Winter-Froemel, E. and Thaler, V. (eds.) (2018) Cultures and Traditions of Wordplay and Wordplay Research. The Dynamics of Wordplay 6. Berlin & Boston: De Gruyter.

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Book review

Editorial: Dis laf fit kill person - An overview of Nigerian humour

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In Nigeria, in relation to the aforesaid functions, everyday citizens and professional humourists use humour to express their expectations from and disappointments in the socio-political leadership of the country. Common Nigerian jokes indicate the country’s travails with ethnicity and failed political leadership. They also enunciate populist perspectives on nationhood, identity and the challenges of everyday living. In spite of the centrality of humour to daily life in Nigeria, scholarly interests in its sociocultural, political, rhetorical, interactional and interpersonal dimensions have been very minimal. According to Obadare (2016), it is as if once something is categorised as humour, it is expunged from any serious interrogations. There are diverse and numerous dimensions of humour in Nigeria, given the country’s extensive and still expanding popular culture landscape. A handful of these dimensions are examined in the papers that make up this special issue of EJHR.

Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy

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The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self-praising and self denigrating.