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Contemporary political satirists 当代政治讽刺作家
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.805
Jacob De Bruyn
The conventional understanding of the church’s prophetic witness is that it is founded on the prophets portrayed in the Hebrew Bible/Old Testament. They communicated God’s message in relation to various issues such as religious practices and loyalty to God, but also, importantly, criticism and denunciation of political and social injustice. Satirical shows, in this study, refer to the satirical news components of TV late-night talk shows, as well as internet based satirical socio-political shows, where satirical commentary forms the common thread with prophetic witness, namely the indictment of political and social wrongdoing. Specific shows referred to in this study are The Daily Show with Trevor Noah, Jimmy Kimmel Live!, Last Week Tonight with John Oliver, Honest Government Ad, and Jonathan Pie. The angle of this paper differs from other studies in that it does not look at Christian/religious themes specifically, rather any issue warranting a prophetic voice, but which is often absent. The challenge addressed in this article is to see if a link between contemporary political satire and prophetic witness can be justified theologically. A cursory overview on satire in the book of Jonah as the most comprehensive representation of the genre within the prophets is done, as well as a discussion on possible prophetic themes and examples in a selection of political satire programmes. The study concludes that, while political satirists are not prophets, when interpreted in the context of God’s kingdom, they do at times speak prophetically.
对教会先知见证的传统理解是,它建立在希伯来圣经/旧约中描绘的先知之上。他们传达了上帝关于各种问题的信息,如宗教实践和对上帝的忠诚,但重要的是,他们还批评和谴责政治和社会不公正。在本研究中,讽刺节目是指电视深夜脱口秀以及基于网络的讽刺社会政治节目中的讽刺新闻成分,在这些节目中,讽刺评论与预言性证人形成了共同的线索,即对政治和社会不法行为的起诉。这项研究中提到的具体节目有《特雷弗·诺亚每日秀》、《吉米·金梅尔现场秀》!,《上周今夜秀》,约翰·奥利弗,诚实政府广告和乔纳森·派。这篇论文的角度与其他研究的不同之处在于,它没有专门关注基督教/宗教主题,而是关注任何需要先知声音的问题,但这往往是不存在的。本文所面临的挑战是,看看当代政治讽刺和先知见证之间的联系是否可以在神学上得到证明。对《约拿书》中的讽刺作了粗略的概述,认为这是先知中最全面的讽刺类型,并讨论了一些政治讽刺节目中可能的预言主题和例子。研究得出的结论是,虽然政治讽刺作家不是先知,但当从上帝的王国的角度来解读时,他们有时确实会预言。
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引用次数: 0
Translating humour in children’s theatre for (unintended) diasporic audiences 为散居(无意)的观众翻译儿童戏剧中的幽默
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.742
Catalina Iliescu-Gheorghiu
This article delves into children’s literature, more specifically, children’s theatre containing humour, and its double process of translation and/or adaptation, both “page to stage” and “stage to stage”, when a different language is involved, and the play is to be performed for an audience belonging to the target culture and an unintended diasporic one. The research perspective is descriptive (of the translational process) and comparative (of the source and target products). On the one hand, it analyses the cognitive and social mechanisms which create humour of different types (literary-stylistic, visual-auditive, and situational/of expectations) and those which allow the existence of ethnic humour. On the other hand, it tackles the translators’ decision-making process and the translation/adaptation strategies reflected by the final product. The material used for this research comprises the literary work in original, the script in the source language, the script in the target language, the recordings of the Romanian performance and the performance in Spanish by the Theatre “Anton Pann” (Romania). The author of this article coordinated the team of translators whose hybridity lies in their condition of first and second generation of Romanian residents in Spain. The results of this insight bring into light the debate on ethnic humour legitimacy and, at the same time, draw scholarly attention to the role played by translators in constructing and perpetuating images of cultures/literatures.
本文深入研究儿童文学,更具体地说,包含幽默的儿童戏剧,以及它的翻译和/或改编的双重过程,无论是“页到舞台”还是“舞台到舞台”,当涉及到不同的语言时,戏剧是为属于目标文化的观众和无意的流徙者表演的。研究的视角是描述(翻译过程)和比较(源产品和目标产品)。一方面,分析了产生不同类型幽默(文学文体幽默、视觉听觉幽默和情景/期望幽默)和允许民族幽默存在的认知机制和社会机制。另一方面,研究译者的决策过程和翻译/适应策略。本研究使用的材料包括原著文学作品、源语言剧本、目标语言剧本、罗马尼亚演出录音和“安东·潘”剧院(罗马尼亚)西班牙语演出。本文作者协调的翻译团队,其杂种性在于他们的第一代和第二代罗马尼亚居民在西班牙的状况。这一见解的结果揭示了关于民族幽默合法性的争论,同时也引起了学术界对译者在构建和延续文化/文学形象方面所起作用的关注。
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引用次数: 0
“The General Said” “将军说”
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.731
Desislava Cheshmedzhieva-Stoycheva
Times of trial require resorting to new methods for venting up the tension. Internet memes during the first outbreak of the pandemic proved to be the necessary outlet, while, at the same time, provided a platform for the public to share their opinion, albeit in a humorous way, on the measures imposed, the people involved in the fight against the virus, and basically on everything that determined their everyday lives. The latter has been fostered greatly by the fact that humour is a generally relatable phenomenon. At the same time though, it can also be culture specific and some peculiarities of the embedded message can remain hidden for the general public. In order to trace these opposing aspects in the creation of internet memes, the paper analyses a corpus of 84 memes circulated on Facebook and Instagram in the period of 13 March 2020 – 30 May 2020. The subject in all these memes is General Ventsislav Mutafchiyski, who was in charge of the struggle with COVID-19 pandemic in Bulgaria, and the main methods of analysis are Critical Discourse Analysis (CDA) and Multimodal Discourse Analysis.  The focus is on intertextuality and the paper argues that some of the intertextual links used in the creation of the memes might be left misunderstood by the general public due to the specificity of the message carried or the images that have been selected by the authors of these pieces of digital humour. Thus, mediation, i.e. the time needed to decode the message, would be longer for people who are not familiar with the images or ideas used, while smaller for those aware of them. Additionally, the paper argues that the age of the recipients as well as their personal preferences are also of significance for the proper understanding of the message a meme carries. Furthermore, the analysis also proves the fact that although some images might be used simply as a background and do not carry substantial information, without them one cannot understand the full array of ideas the author/ poster of a particular meme is trying to convey.
考验时期需要采取新的方法来发泄紧张情绪。在第一次大流行爆发期间,网络表情包被证明是必要的出口,同时,为公众提供了一个平台,以幽默的方式分享他们对实施的措施,参与抗击病毒的人,以及基本上决定他们日常生活的一切的看法。幽默是一种普遍相关的现象,这一事实极大地促进了后者的发展。但与此同时,它也可能是文化特有的,嵌入信息的一些特性可能对公众隐藏起来。为了追踪网络模因创造中的这些对立方面,本文分析了2020年3月13日至2020年5月30日期间在Facebook和Instagram上传播的84个模因的语料库。所有这些模因的主题都是Ventsislav Mutafchiyski将军,他负责保加利亚与COVID-19大流行的斗争,主要的分析方法是批评性话语分析(CDA)和多模态话语分析。重点是互文性,论文认为,由于这些数字幽默作品的作者所携带的信息或所选择的图像的特殊性,在创作模因时使用的一些互文链接可能会被公众误解。因此,对于不熟悉所使用的图像或想法的人来说,调解,即解码信息所需的时间会更长,而对于那些知道它们的人来说,则会更短。此外,本文认为,接受者的年龄和个人偏好对于正确理解模因所承载的信息也有重要意义。此外,分析还证明了这样一个事实,即尽管有些图像可能只是作为背景而不携带实质性信息,但没有它们,人们就无法理解特定模因的作者/海报想要传达的全部思想。
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引用次数: 0
Subtitling Arabic humour into English 将阿拉伯语幽默翻译成英语
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.754
Hanan Al-Jabri, G. Alhasan, Sukayna Ali
This article examines how humour in Arabic stand-up comedies is translated into English in an audio-visual context. The study uses a case study of Arabic stand-up comedies streamed on Netflix, including Live from Beirut by Adel Karam and Comedians of the World/ Middle East. The shows which are subtitled into English involve a variety of Arab comedians speaking different dialects, including the Levant dialect (Lebanese, Jordanian, and Palestinian) and Gulf dialects, particularly the Saudi dialect. While several studies were conducted to examine the translation of English humour into Arabic, very few explore the translation of Arabic humour into English, especially in the realm of audio-visual translation. Arabic and English are two different languages reflecting different norms and cultures and, therefore, many linguistic and cultural challenges are expected to arise in the process of translation between them. The study draws on Pederson’s (2005) strategies for translating cultural references and Díaz-Pérez’s (2013) strategies for translating wordplay and puns. The study identifies two types of humour used in the Arabic stand-up comedies, namely language-restricted jokes (wordplay, puns, language variation, and taboo language) and culture-restricted jokes which require knowledge about the concept or character being referred to. Several translation strategies were used by Netflix subtitlers to render these types of jokes into English, including paraphrasing, generalizing, specification, substitution, and omission.
本文探讨了阿拉伯语单口喜剧中的幽默如何在视听环境中被翻译成英语。该研究对Netflix上播放的阿拉伯单口喜剧进行了案例研究,包括阿德尔·卡拉姆(Adel Karam)的《贝鲁特直播》(Live from Beirut)和《世界/中东喜剧演员》(comic of World/ Middle East)。这些配有英文字幕的节目中,有许多阿拉伯喜剧演员说着不同的方言,包括黎凡特方言(黎巴嫩语、约旦语和巴勒斯坦语)和海湾方言,尤其是沙特方言。虽然对英语幽默的阿拉伯语翻译进行了一些研究,但很少有研究探讨阿拉伯语幽默的英语翻译,特别是在视听翻译领域。阿拉伯语和英语是两种不同的语言,反映了不同的规范和文化,因此,在它们之间的翻译过程中,预计会出现许多语言和文化上的挑战。本研究借鉴了Pederson(2005)的文化参考翻译策略和Díaz-Pérez(2013)的双关语和双关语翻译策略。该研究确定了阿拉伯单口喜剧中使用的两种幽默类型,即语言受限的笑话(双关语、双关语、语言变异和禁忌语)和文化受限的笑话,这些笑话需要了解所涉及的概念或角色。Netflix的字幕编纂者使用了几种翻译策略来将这些类型的笑话翻译成英语,包括释义、概括、规范、替代和省略。
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引用次数: 0
Creative uses of language to invoke sex-related taboos in Churchill Raw comedy shows 丘吉尔原创喜剧节目中创造性地使用语言来唤起与性有关的禁忌
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.821
Simon Wanjala Nganga
Churchill Raw event facilitates creative self-expression of young comedians through the incorporation of a variety of sex-related taboo topics. Yet, the multicultural nature of the participants in the Nairobi-based event makes the communication of such topics particularly problematic, as they can also be deemed offensive. Drawing on theoretical and methodological principles from Interactional Sociolinguistics (Gumperz, 2003), this article investigates how sex-related taboos are drawn into performances using euphemistic linguistic resources, such as puns, metaphors, metonymy, codeswitching and so on. As data we use 10 video recordings of comedians and 2 two-hour interviews with the key comedians. By focusing on situated uses of euphemistic language in the context of comedy in the African city of Nairobi, this article demonstrates that contrary to the general perception, young people observe sex-related taboos by using euphemistic language resources.
Churchill Raw活动通过融入各种与性相关的禁忌话题,促进了年轻喜剧演员的创造性自我表达。然而,内罗毕活动参与者的多元文化性质使这些主题的交流特别成问题,因为它们也可能被视为冒犯。本文借鉴《互动社会语言学》(Gumperz,2003)的理论和方法论原理,研究了与性有关的禁忌是如何利用双关语、隐喻、转喻、代码转换等委婉的语言资源被引入表演的。通过关注非洲城市内罗毕喜剧背景下委婉语言的情境使用,本文表明,与普遍看法相反,年轻人通过使用委婉语言资源来遵守与性有关的禁忌。
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引用次数: 0
Identity investment in stand-up comedy and online sketches 对单口喜剧和网络小品的身份投资
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.802
M. Constantinescu
The article focuses on identity investment in stand-up comedy and online sketches performed by Romanian (or of Romanian descent) comedians acting abroad (France and United Kingdom). It aims at highlighting various humorous strategies that could be construed around a shared feature: the importance of the performer’s stage identity (persona). The analysis is based on a theoretical framework which combines stance(taking) studies and discourse approaches to humour. Immigrant’s (as marginal performers) humour reveals subversive humour: a means of coping with reality, aimed to expose and challenge power structures. The comedians explore stereotypes regarding Romanian or Eastern European immigrants in France and the UK. The differences in staging the stereotypes depend on the comedian’s identity investment in the persona he creates during the humorous performance, as well as on the degree of marginality he assumes for that persona.
这篇文章的重点是罗马尼亚(或罗马尼亚裔)喜剧演员在国外(法国和英国)表演的单口喜剧和网络小品的身份投资。它旨在强调各种幽默策略,这些策略可以围绕一个共同的特征来解释:表演者舞台身份(人物)的重要性。该分析基于一个理论框架,该框架结合了立场(采取)研究和幽默的话语方法。移民(作为边缘表演者)的幽默揭示了颠覆性幽默:一种应对现实的手段,旨在揭露和挑战权力结构。喜剧演员们探索了法国和英国对罗马尼亚或东欧移民的刻板印象。刻板印象的形成差异取决于喜剧演员对他在幽默表演中塑造的角色的身份投资,以及他对这个角色的边缘化程度。
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引用次数: 0
Humor and allusions on screen 屏幕上的幽默和典故
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.787
Kateryna Pilyarchuk
Contemporary texts often require a reader or viewer with vast background knowledge. One of the reasons behind this is intertextuality: every text is reliant, to a certain extent, on previous written, filmed, or painted artifacts. Conveying intertextuality by means of another language implies that a translator recognizes allusions and their function, analyses their recognizability in the target culture, and offers a solution that maintains their pragmatic effect. In the case of a multimodal product like an animated cartoon, the translator is also tasked with bringing the verbal channel to conformity with the non-verbal one. This article focuses on translation strategies of allusions to examine whether the distance between the original and target language plays a crucial role in conveying allusive humour. The research corpus is complete Season 5 of The Simpsons animated sitcom and its three translations: German, Ukrainian, and Russian. Selected scenes are discussed in light of the General Theory of Verbal Humour (Attardo, et al. 2002) and strategies for translating allusions (Leppihalme, 1992). The findings suggest that the distance between languages is not a key factor when searching for effective translation solutions, and that it is a translator’s competence that plays a major role in humour translation.
当代文本通常需要具有丰富背景知识的读者或观众。这背后的原因之一是互文性:每一篇文本在一定程度上都依赖于以前的书面、拍摄或绘画作品。通过另一种语言传递互文性意味着译者认识到典故及其功能,分析其在目标文化中的可识别性,并提供保持其语用效果的解决方案。在像动画片这样的多模式产品的情况下,译者还负责使语言渠道与非语言渠道相一致。本文着重探讨典故的翻译策略,以考察原文和译文之间的距离是否在典故幽默的传达中起着至关重要的作用。研究语料库是《辛普森一家》动画情景喜剧第五季及其三个译本的完整部分:德语、乌克兰语和俄语。根据语言幽默的一般理论(Attardo等人,2002)和典故翻译策略(Leppihalme,1992)对所选场景进行了讨论。研究结果表明,在寻找有效的翻译解决方案时,语言之间的距离不是一个关键因素,译者的能力在幽默翻译中起着重要作用。
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引用次数: 0
What did the Portuguese laugh at 200 years ago? 200年前葡萄牙人嘲笑什么?
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.773
J. Ferreira
This article aims to identify the existence of a laughter community in Portugal in the late eighteenth and early nineteenth centuries. Based on research into the beginnings of humour in periodicals published in Portugal, a corpus consisting of newspapers published between 1797 and 1835 was analysed, from the first in which humour was used systematically as a resource (Almocreve de Petas) until the establishment of the Constitutional Monarchy. With the concept of laughter community in mind, evidence was sought that it was present in the period that covers the political, social and economic transition from the Ancien Régime to modern society, having as main players writers, editors, printers, readers and listeners, in a process of production, reception, circulation and appropriation of ideas and meanings. This process, which developed in the public sphere, also played a part in forming incipient public opinion. To detect evidence of this community, clichés, jocular expressions and comic stories conveyed by the periodicals were identified. Very often they were found to have kept the same meaning they had at the time, while some expressions have survived with slight changes, and others simply no longer make people laugh.
本文旨在确定在18世纪末和19世纪初葡萄牙存在的笑声社区。基于对葡萄牙出版的期刊幽默起源的研究,分析了1797年至1835年间出版的报纸语库,从幽默第一次被系统地用作一种资源(Almocreve de Petas)到君主立宪制的建立。考虑到笑共同体的概念,人们寻求证据表明,它存在于从古代社会向现代社会的政治、社会和经济过渡时期,在思想和意义的生产、接受、流通和占有过程中,作家、编辑、印刷商、读者和听众是主要角色。这一过程在公共领域发展起来,也在形成初期的公众舆论方面发挥了作用。为了发现这一群体存在的证据,我们确定了这些期刊所传达的陈词滥调、诙谐的表达和喜剧故事。很多时候,人们发现它们保持了当时的意思,而有些表达方式只做了轻微的改变就保留了下来,而另一些表达方式则不再让人发笑。
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引用次数: 0
Flirting with the Israeli Prime Minister, humorously 幽默地和以色列总理调情
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.789
Galia Hirsch, Pnina Shukrun-Nagar
This article examines a specific type of supportive, make-believe, playful humour called here flirting humour, which serves to create a positioning of symmetry and intimacy, while posing a mitigated threat to the face of the addresser and addressee. We focus on two sub-categories of this humour prevalent in online readers’ comments to Facebook posts published by the Israeli prime minister Benjamin Netanyahu during the March 2020 electoral campaign: (1) humorous confessions of lust and love by women, even marriage proposals; (2) humorous gestures of camaraderie, mostly by men, including informal social invitations and friendly requests for favours – all directed to Netanyahu. We suggest that this humour reflects characteristics identified with the Israeli Sabra individuals (e.g., directness, openness, easy-goingness, mischievousness) and the Israeli society (camaraderie, informality). Furthermore, we argue that flirting humour, which is particularly dominant among Netanyahu’s supporters, is associated with his dual self-positioning: while the symmetrical and intimate scenarios his supporters humorously create reflect Netanyahu’s positioning as “one of the guys”, the humorous framing reflects awareness of his hierarchical superiority, and acceptance of his self-positioning as a great leader. Thus, flirting humour contributes both to the solidification of Netanyahu’s supporters, and the reinforcing of his position among them.
这篇文章探讨了一种特定类型的支持性、假装的、好玩的幽默,在这里被称为调情幽默,它有助于创造对称和亲密的定位,同时减轻对发件人和收件人的威胁。我们关注了这种幽默的两个子类别,这两个子类别普遍存在于网络读者对以色列总理本雅明·内塔尼亚胡在2020年3月竞选期间发布的脸书帖子的评论中:(1)女性对欲望和爱情的幽默忏悔,甚至求婚;(2) 幽默的同志情谊手势,主要是男性的,包括非正式的社交邀请和友好的人情请求——所有这些都是针对内塔尼亚胡的。我们认为,这种幽默反映了以色列萨布拉人的特点(例如,直率、开放、随和、顽皮)和以色列社会的特点(友情、不拘小节)。此外,我们认为,在内塔尼亚胡的支持者中特别占主导地位的调情幽默与他的双重自我定位有关:虽然他的支持者幽默地创造的对称和亲密的场景反映了内塔尼亚胡作为“其中一个家伙”的定位,但幽默的框架反映了他对等级优越性的认识,以及接受他作为伟大领袖的自我定位。因此,调情幽默既有助于巩固内塔尼亚胡的支持者,也有助于加强他在支持者中的地位。
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引用次数: 0
Laughing at political opponents 嘲笑政敌
Q2 Social Sciences Pub Date : 2023-06-30 DOI: 10.7592/ejhr.2023.11.2.792
Orest Semotiuk
The paper is devoted to the analysis of the discursive dimension of the standoff between supporters of 6th Ukrainian President Volodymyr Zelensky and those of his predecessor Petro Poroshenko. This dimension is implemented in Internet memes as one of the forms of political satire. Memes can be defined by their goals, frame of reference and means. The discursive practices used in memes aiming at the symbolic defamation of a political opponent and his electoral base are considered, taking into account the target, the focus, and the presentation of political satire about the protagonists Zelensky and Poroshenko. The corresponding parameters (goal-target, frame of reference-focus, means-presentation) constitute the analytical framework for the examination of the interrelations between political participation, political humour, political satire, and political discourse in this paper.
本文致力于分析乌克兰第六任总统弗拉基米尔·泽连斯基的支持者与其前任彼得罗·波罗申科的支持者之间对峙的话语层面。作为政治讽刺的一种形式,这一维度在互联网模因中得到了体现。模因可以通过其目标、参照系和手段来定义。模因中使用的话语实践旨在象征性地诽谤政治对手及其选举基础,考虑到了对主角泽连斯基和波罗申科的政治讽刺的目标、焦点和表现。相应的参数(目标-目标、参考框架-焦点、手段-呈现)构成了本文研究政治参与、政治幽默、政治讽刺和政治话语之间相互关系的分析框架。
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引用次数: 0
期刊
European Journal of Humour Research
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