Black Humor Research Articles

Dark Humour and Invasive Species Storytelling in the Age of Extinction

ABSTRACT This essay explores how humour, specifically dark humour, performs an affective politics of opacity in Australian comedies that invokes parody, absurdity and laughter to address the eco-social challenges of invasive species, including rabbits, brumbies, cane toads and red fire ants. The incongruity between jocular feelings and the gravity of extinction highlights humour’s ambivalent potential for violence and subversion. Through an analysis of cartoons and documentaries that bridge conservation science and the Australian cultural imagination, we identify three dimensions of environmental dark humour: (1) it questions human exceptionalism by foregrounding ambiguity, nonhuman agency and assemblage thinking beyond rational control; (2) it performs a cultural diagnosis of colonial legacies, including eco-nationalism and anti-immigration rhetoric, hegemonic White masculinity, and regional and cultural stereotypes; (3) it allows a cathartic release of affective dissent and taboo feelings by subverting culturally normative emotional attachments to invasive animals and mainstream environmentalism. By considering humour as a crucial technique for survival and ambiguity, we argue for its potential to inspire self-reflective, multispecies and decolonial modes of storytelling that can ethically account for human and nonhuman otherness in the age of extinction.

Aaron Sachs (2023). Stay cool: Why dark comedy matters in the fight against climate change

Aaron Sachs (2023). <i>Stay cool: Why dark comedy matters in the fight against climate change</i>

The dark side of humor: analyzing the relationship between dark triad traits, humor styles, and bullying in university students

The dark side of humor: analyzing the relationship between dark triad traits, humor styles, and bullying in university students

Elements of Postmodernism and the World of Characters in Zh. Korgasbek's Works

The article systematically analyzes the specifics of the prose genre in Kazakh literary studies, the study of postmodernism in national literature, as well as artistic activity, the thematic idea of the prose genre in the works of J. Korgasbek. The conclusions, views and opinions of scientists on postmodernism in Kazakh literature are analyzed. Researchers B. Maitanov, A. Ismakova, L. Safronova, J. Zharylgapov, G. Saulembek and others. guided by the opinions of scientists, the works of Zhusupbek Korgasbek «Sokyr», «Zhansebil», «Zhakondann zhanary», «Olmeytin kus» were analyzed from the point of view of phenomenological, comparative analysis and methods of literary hermeneutics (interpretation, interpretation). Unlike historical prose, postmodern literature freely uses the concepts of time and space, serving human emotions, thoughts and dreams about the future. It is from this point of view that J. Korgasbek also wants to convey the author's ideas to readers based on his works and through the ideas in the artwork to draw attention to important things in the world of mankind. Black humor, which is the main features of postmodernism, violation of the traditional norm, self-mockery (self-irony), the mystery of the world of heroes, the impossibility of knowing the truth, simulacrum, etc. are studied by examples. In addition, the meaning of the heroes' souls in a literary text was developed and studied, as was its interpretation from the point of view of the «reader-author» position in consciousness along with socio-social conditions (existentialism).

Modern Artistic Space: the Problem of Anthropological and Aesthetic Transformation

Introduction. The problem of analyzing the contemporary artistic space has its own evolution, its genesis is reduced to understanding different kinds of transformations in relation to the traditional art as a form of creative perception of reality based on spiritual values. As a result of the evolution of the creative process, most of the contemporary art practices, especially conceptual ones, «expel» anthropological and aesthetic origins from art. To understand why do such processes occur in the field of low-aesthetic reality, the author analyzes the problem of anthropological and aesthetic transformation of modern art, the main trends and place of a person in the contemporary artistic process.Methodology and sources. The author uses, first, hermeneutic methodology of analysis of artistic texts and conceptual approaches of authors; secondly, a set of artistic-aesthetic and artistic-historical methods aimed at identifying and generalizing materials, Dedicated to specific works of art; and, thirdly, philosophical-anthropological methodical analysis of the postmodern cultural situation and place of a person.Results and discussion. As a result of the discussions it was revealed that the characteristics of the current elitist conceptual practices of the postmodern period are: pluralism and offbeat from any canons; frank citation and borrowing; conceptualization of any gestures of the artist; the multiplicity of interpretations; multi-level perception; rejection of imagery; experimenting with new forms; creating the illusion of a «game of reality»; irony, pastiche, black humor and shock value; and finally, the author’s death and the loss of one’s own «I».Conclusion. In modern culture conceptualism becomes an articularized form of expression of the artistic consciousness of postmodernism. As art moves beyond its boundaries, it completely transforms its ontological foundations, then its anthropological core disappears and the author’s «death» occurs. The products of conceptual creativity are some kind simulacrums of language, style or symbols, which simulate pre-existing human values. Such art neantisates person with traditional values, perverts the meaning of creativity itself, transforms the aesthetic and the anthropological attitudes of the creative process.

Efficacy of Wet Cupping in the Management of Sciatica: A Case Report

Sciatica, a prevalent and debilitating condition, is characterized by radiating pain along the sciatic nerve, often resulting from lumbar disc herniation, spinal stenosis, or degenerative disc disease. In Unani medicine, the condition is referred to as Irq-un-Nasa, considered a subtype of Waja-ul-Mafasil (joint pain). Unani texts attribute the cause of Irq-un-Nasa to the accumulation of morbid humors (khilt) like Khilt-e-Balgham or Khilt-e-Dam, causing inflammation and obstruction in the affected nerves and joints.This study evaluates the effectiveness of Hijama (wet cupping therapy) in treating sciatica through two case reports. Case 1 involves a 38-year-old female with L5-S1 disc herniation and left-sided sciatica, while Case 2 concerns a 42-year-old male with right-sided sciatica due to lumbar spondylosis. Both patients underwent four sessions of Hijama over 28 days. Results were measured using the Visual Analogue Scale (VAS) for pain assessment. These findings indicate that Hijama effectively alleviated sciatica pain in both cases. The therapeutic effect of Hijama is believed to involve neural, haematological, and immune mechanisms, promoting pain relief, blood circulation, and immune modulation. The results suggest Hijama as an effective, low-cost alternative for managing sciatica. Keywords: Irq-un-Nasa, lumbar disc herniation, Low Back Pain, Unani medicine, Hijama, wet cupping therapy.

‘If parody does not prickle it does not work’: Reflections on the Interpretive Challenges of Dark Parody in the Dutch and South African Courts

Focusing on the nexus of humour and the right to free speech, this article introduces the concept of ‘dark parody’ to address parodies that reuse existing material with a dark, humorous twist and explores how courts deal with two of the main interpretive challenges presented by a ‘dark parody’: (1) interpreting the distance between the parody and the copyright/trademark protected work it parodies, and (2) its use of dark humour. Using a metahermeneutic approach, the article analyses how the main features of parody, the legal criteria applied to parody in courts of law, and the role of dark humour influence the judicial interpretation process regarding (dark) parody in the context of copyright and trademark law. Based on this analysis, the article proposes the theoretical framework of ‘parodic distance’ to address the interpretive challenges systematically presented by dark parody via six main categories—content, style, context, message, function and affect—from which the distance between a parody and the original can be interpreted. Applying this framework to two case studies [Mercis c.s. v. Punt.nl, Court of Appeal of Amsterdam; Laugh It Off Promotions v. South African Breweries, Constitutional Court of South Africa], the article provides a comparative analysis of how these courts currently deal with interpretive issues surrounding dark humour in copyright and trademark law and shows how the framework of parodic distance can be a potentially useful conceptual tool that provides a shared vocabulary to complement judicial interpretation and legal discourse at the nexus of dark parody and the law.

A qualitative exploration of the views of paramedics regarding the use of dark humour

Introduction: Dark humour, often known as black comedy or gallows humour, is a distinct kind of humour that explores subjects that are generally taboo or uncomfortable. Identifying the function and impact of black humour is important given the prevalence of life-or-death situations, crucial clinical judgements and emotionally charged situations in the pre-hospital environment. The primary aim is to investigate the world of dark humour within the setting of experienced paramedics. Methods: A qualitative approach was employed. Ten paramedics, each with over 24 months’ experience, were recruited via word of mouth and snowball sampling. Semi-structured interviews were conducted between October 2023 and January 2024, and data were studied using thematic analysis.Results: Four themes were identified: the perceptions of dark humour from the public, students and colleagues; the use of dark humour in building resilience and improving perseverance; the negatives to mental health of prolonged use of black humour; and the benefits of humour use to develop camaraderie within the ambulance service.Conclusion: The study explored the views of a small sample of paramedics on this subject. Dark humour was identified as both a beneficial coping mechanism for resilience and a means of fostering camaraderie. Conversely, a chronic reliance on dark humour can have negative mental health implications. Utilising the usage of coping mechanisms such as dark humour as a yardstick to measure mental well-being could be an important first step in adopting a more holistic approach to mental health within the paramedic community.

62 Prevalence of gallows (aka dark) humour in healthcare: The first qualitative evidence

62 Prevalence of gallows (aka dark) humour in healthcare: The first qualitative evidence

The Laughter That Kills: A Critical Look at Black Comedy in Vonnegut's Slaughterhouse-Five

Kurt Vonnegut's Slaughterhouse-Five employs black humour as a potent tool to critique the absurdities and horrors of war. By exploring the intricate relationship between Vonnegut's writing techniques and the representation of war in his novel, the present article questions the proposition that black comedy could effectively instigate significant social or political change, arguing that despite its potential for critique, humour may inadvertently blur the lines between dissent and complicity, encouraging passive spectatorship rather than active moral engagement. We aim to demonstrate that while black comedy provides a powerful tool for grappling with the absurdity of war, its use also risks trivializing the profound moral and existential implications of conflict. This may undercut the urgency of its anti-war message, foster a distorted understanding of human condition and create a dissonance between the absurdity of war and the gravity of its consequences. Ultimately, it may even frame suffering as a source of amusement.

Dark Triad and Humor Styles: A Study on White Collar Workers from Türkiye

Humor plays a crucial role in psychological functioning, influencing goal achievement, emotional regulation, and interpersonal interactions. This study explores the effects of dark triad on humor styles and to inquire about the inconsistent relations previously reported between narcissism and self-enhancing humor within a Turkish sample. Utilizing the Humor Styles Questionnaire and the Dirty Dozen Dark Triad inventory, data were collected from 468 white-collar employees working in various companies through online questionnaire. The results indicated that Narcissism positively affects all humor styles, while Psychopathy significantly associated with aggressive, self-enhancing and self-defeating humor. In contrast, Machiavellianism shows a negative effect with self-defeating humor. These findings underscore the complex interplay between personality traits and humor, suggesting that while Narcissism may enhance both positive and negative humor styles, Psychopathy predominantly influences negative styles, and Machiavellianism appears less involved. The study discusses the implications of these results and provides suggestions for future research.

“Cut on the Bias”: Toni Cade Bambara as a Touchstone of Black Feminist Humor Studies

ABSTRACT As a writer, editor, scholar, and activist, Toni Cade Bambara left an indelible imprint on African American literature and Black feminist thought. This article elucidates Bambara’s significance to Black women’s humorous practice and articulates the mutuality between Black feminism’s ongoing project to render Black women visible and to recover and engage in the bounty of Black women’s humorous expression. Through her “cut on the bias” approach to using humor in the short story “Medley,” Bambara offers an “alternate design sensibility” of racial and gender difference that illuminates the perspective of being Black and female.

Doctoral memes as public pedagogy? Or, heaven knows I’m miserable now

ABSTRACT Social media afford the proliferation of doctoral memes across numerous, generally anonymous, accounts spread over multiple platforms – the timeline where the PhD candidate starts off gleaming with health and beaming in delight and ends up an overweight, dishevelled wreck. Or the exhausted cat who has managed to write one line of their thesis in an entire day. But should these memes be a cause for concern? After all, it’s just humour, albeit somewhat dark. My exploratory thematic analysis of a corpus of 292 doctoral memes and a theorisation of memes as public pedagogy, point to strong resonances between the memes and research on the doctoral experience. This enhances their credibility as a source of information. Based on the analysis, I suggest we might seriously examine doctoral meme-based learning, focusing on the potential of their gallows humour to support identity formation, community building, coping and wellbeing. Memes may be small but could potentially do useful work for both doctoral researchers and their supervisors.

The Analysis of the Film Triangle of Sadness from the Narrative Space

This thesis explores the use of narrative space in the black comedy film Triangle of Sadness, directed by Ruben stlund. The film reveals the hypocrisy between people and the struggles surrounding class inequality through contrasts and reversals. The thesis is based on the theory of spatial narrative and analyzes the film text through three categories of narrative space geographic space, emotional space, and metaphorical space. Geographic space is examined through the settings of the yacht and the island, reflecting modern civilization and nature. Emotional space is analyzed through intimate and confined environments that enhance the emotional tension between characters. Metaphorical space is illustrated through symbolic elements such as the octopus and the exchange of sexual capital, critiquing social and gender dynamics. In this film, spatial narrative effectively reveals and critiques issues of class inequality, using spatial construction to enhance the film s satirical impact.

Critical Discourse Analysis of Aravind Adiga’s The White Tiger

Critical Discourse Analysis (CDA) is part of Discourse Analysis which deals with the way meaning is further explored beyond the realm of sentences. Its use in literature takes the exploration further by making critical inquiry in to the source of the problem or the conflict. By critically looking at conversations and writings that are being used in the society, Critical Discourse Analysis aims to attach the source of all problems in a story to a systemic failure of socio-political powers. In so doing, it tries to take an active role to correct the wrongs in the society by highlighting the conversational and textual rhetoric of the state or related entities. This article investigates the ways and methods in which Aravind Adiga has used discourse in his novel, White Tiger to highlight the plight of the millions of poor Indians who were living under the shadows of the few economically affluent political elites in postcolonial India. His novel, crafted in the form of a series of letters addressed to the Chinese premier, utilizes the ordinary discourse of the people in the lower strata of the society. Techniques of satire and dark humor have predominantly been used to narrate the individual story of the protagonist in a way that represents the wider society which was struggling to break the ‘rooster coop’ and survive with economic and political liberty.

Puns and pain in Palestine

Ahmed Masoud’s The Shroud Maker packs a powerful punch in using the implicative potential of black comedy as a site of resistance. Masoud deploys black comedy to resist and assert control over the exploitative discourse and action against the Palestinians living in Gaza. He does this by using black humour as a tool of alienation to detach people from their trauma, break the fourth wall to make the audience complicit, as a weapon to challenge Israeli dominant discourse, and to assert Palestinian control over the war’s narrative. Dark humour walks the thin line between humour and conflict in the play where “battered by injustice, but still defiant,” the eighty-four-year-old protagonist, Hajja Souad, a shroud maker by profession, introduces trauma through humour and then tips the balance in favour of trauma. Through her offensive jokes and satiric thrust, the play confronts the desensitisation of violence against Palestinians by evoking a reaction in the audience—laughter, followed by reflection on their laughter. While the balancing act between humour and trauma is maintained, The Shroud Maker argues that humour is perhaps the most effective way of communicating and ascribing responsibility to its spectators. Ahmed Masoud puts forth an alternative way of discussing political violence and war beyond the dominant western narrative that marginalises the Palestinian voice. Relaying the tragedy of violence and culture wars through dark humour underscores the message of resistance, coping and persistence in Palestine.

Elemen-Elemen Black Comedy dalam Film The Menu

In the film The Menu, culinary dishes are used to peel off the social disgrace and sins of the elite without them ever suspecting before. This research aims to find out how culinary offerings and the arrogance of elite class dining wrapped in black comedy are represented in the film The Menu. The research method used is qualitative-descriptive using watch-listen-note data collection techniques. The researcher watched the film, paid attention to the details of each scene, transcribed the dialogue, and recorded every conversation and scene related to important culinary topics wrapped in black comedy in the film. Meanwhile, data analysis techniques use the Miles and Huberman model, namely data reduction, data presentation, and drawing conclusions. In the analysis, the researcher identified the data, sorted and classified the data, and finally interpreted it using gastronomic theory as a guide. Data sources include words, phrases and sentences in the film The Menu. From this research it was found that the culinary delights in the film The Menu are presented in 7 culinary stages: The Island, Breadless Bread Plate, Memory, The Mess, Palate Cleanser, Man's Folly and the dessert S'mur. And the arrogance of elite class dining wrapped in black comedy is depicted in several scenes of their teasing questions, both to the chef and his assistants and to the culinary offerings, as well as the answers of the chef and the crew themselves, from the time the customers entered Hawthorn Island until the time the seven dishes were served.

Race-ing Masculinity

Studies about representations of Latinidad in US and European media have identified stereotypes like criminalization and hypersexualization. Furthermore, it has been argued that comedy operates as a double-edged sword in exposing racism, as humor can be deployed to simultaneously mask/justify and show/denounce racial discrimination and monolithic representations of Latinidad. Using a feminist intersectional perspective that foregrounds constructions of masculinities and racialization/migration as exclusionary factors, this essay discusses how RTVE Playz, the digital platform of the Spanish public television aimed at young audiences, represents Latinidad in its series Riders (2021). Situated within the dynamics of racialization in Spain, Riders stands out as an example of dark humor that both complicates and reinforces stereotypes. Through a close reading of the series, we assess its response to current social, political and cultural citizenship challenges.

Black humor and the awakening of personality

The book "A Pig That Goes Its Own Way" depicts a pig's "free and natural existence," a rebellion against the animal's loss of freedom, which is the true reality of the educated youth's existence. The pig's stubborn pursuit of freedom and resistance to discipline in its natural state creates a mottled light and shadow against the dark backdrop of its existence. The author laughs through tears, intentionally preventing the language from sinking into the dark abyss, which is precisely the technique of black humor.

“Yet in His Idle Fire:” Once More unto the Bertram and All’s Well

As a bitter comedy, a dark comedy, and a problem play (all of these so-called), All’s Well has suffered both neglect in the theater for most of its post-creation existence, and vilification from critics for over two centuries, especially in the twentieth. As a result, it is seldom taught and therefore even less often read. More’s the pity, since the real All’s Well is a most entertaining and otherwise rewarding play to experience in the theater and in the study, and far above its traditional status as a disappointment and even “a seedy, seamy affair.” The conventional misreadings center on Bertram, the notorious bed-trick, the ending, and the tonality of the whole. The purpose here is to set these to rights and Helena into perspective as the script seems to present them, and identify this play as a special kind of near-romantic comedy that manages its dramatic vicissitudes so well that All’s Well ends well indeed.