Notion Of Humor Research Articles

Constructing Myths via Art of Controversy: A Semiotic Analysis on Political Cartoons

This paper sought to analyze the different ways of expressing opinions the author utilized in Philippine editorial cartoons and argued how humor in the political cartoons serve to present crucial issues and criticize political leaders and their contemptible practices. The researcher attempted to observe the myths implied by the signs and if it correlates with the myth created by the citizens as part of the society. The researcher used the 10 political cartoons related to COVID-19 found in the Philippine Daily Inquirer Newspaper between March 20th and April 20th in the year 2020. Utilizing Berger’s (2004) notion of humor as code violations, the semiotic variation of the Incongruity Theory of Humor and Barthes’s (1991) connotative (in Chandler, 2005) and mythological meaning of the sign, the study examined the meanings of the humorous signifiers in the editorial cartoons and analyzed how they constructed myths of modern (Philippine) society which appear natural and normal. These cartoons that are shown in this survey are very relevant to the issues that Filipinos are facing now. The researcher realized that the political cartoons could have been better explained in phrases as far as the analysis and integration of respondents’ ideas is concerned.

Humor as a threat-coding mechanism

The integration of humour’s classical theories such as relief, superiority, and incongruity suggest that the differences and patterns in what we find funny are largely dependent on attaching an “explicably safe” meaning to novel entities. It is argued that humour is a substantial organising influence in human socialisation and personal threat perception. Built on such work as Caleb Warren and A. Peter McGraw’s notion of humour in explicated ambiguity, Tom Veatch’s paradox of humour as a “normal” violation, and V.S. Ramachandran’s False Alarm Theory of humour, an integrational theory is developed and tested against a variety of hypotheses associated with the core findings of classical humour research.

Mark Twain, White Elephants, and Siamese Twins

Abstract The essay discusses how Twain's humor can be read in the context of the liminal. It explores how Twain's moves between absurdity and serious meaning, jarring illogic and rationality, might be read in the context of Freud's notion of humor—its dislocating effects as an unconscious welling up that subverts the customary logic of the world.

Aristophanes' Cloudcuckooland to Terry Pratchett's Discworld: Comedy as social conscience

ABSTRACTBuilding on S. Critchley's notion of humour as Superego II, this article proposes a model of comedy as social conscience as a generic classification within political comedy based on the function of comedy within the society in which it is produced and consumed. Considering Aristophanic comedy in terms of its function within Athenian society and extrapolating to Terry Pratchett's Discworld as a contemporary equivalent, this article defines comedy as social conscience as a comedic text in any medium, that is popular and accessible, that creates intertextual relationships and mobilizes contemporary discourses to create a reflexive awareness in the audience, recognizing the self as part of the society requiring growth and transformation.

Вуковски и вавилонски хумор у Андрићевим романима „На Дрини ћуприја“ и „Травничка хроника“

Although proverbially considered a writer of exceptionally tragic anthropological vision, Andric is a prime humourist. Seemingly contradictory at first glance, this claim makes perfect sense when the notion of humour is dislodged from the realm of common language practice and examined more closely in the light of aestheticism and literary theory, by means of which a clear division emerges, which separates humour from other laughter-generating literary devices, such as irony, comedy and the grotesque. The basic feature of genuine literary humour is reflected in its extreme closeness with the tragic elements in any given text, and this is precisely what makes interpretations of Andric in this context purposeful. The humour in his text is sometimes founded on oral traditions and a superb knowledge of local folklore, as is the case in his novel The Bridge on the Drina , and sometimes thrives on the clash of cultures and civilisations, different customs and mentality, as seen in The Days of Consuls . Regardless of whether we talk of Vuk’s humour or the Babel’s humour , it is the one element in Andric’s novels that most successfully marks the tragic elements in terms of style, sometimes it even goes beyond and becomes a form of surpassing the absurdity of human existence in an artistic fashion.