Pub Date : 2023-01-09DOI: 10.7592/ejhr.2022.10.4.701
Rashid Yahiaoui
Audiovisual texts are social semiotic constructions that arbitrate reality according to a set of discursive patterns and established beliefs. Therefore, it is natural for translators to re-create and manipulate audiovisual texts to overcome challenges pertaining to religion, culture, and politics, which are the three intrinsic determinants of positioning in any translation project. Leaning on Critical Discourse Analysis (CDA) as a methodological approach, this paper aims to investigate how stereotypes and disparagement humour about Arabs and Muslims are dealt with in translating a segment from Family Guy into Arabic. The focus of the paper is on examining ideology-related shifts, and how and to what degree the students manipulated or mitigated religio-cultural barriers, as well as on assessing the role of visuals in the decision-making process. The students’ translations denote the inextricable intertwining of their authoritative voices and the act of translation, that is, some students consciously attempted to expose the writers’ intentions, while others subverted the text as a protective and resistive measure against the anti-Islamic, racist, sexual humour of the show.
{"title":"Stereotyping and vilifying the other behind the mask of humour – when a chicken smells of fear","authors":"Rashid Yahiaoui","doi":"10.7592/ejhr.2022.10.4.701","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.4.701","url":null,"abstract":"Audiovisual texts are social semiotic constructions that arbitrate reality according to a set of discursive patterns and established beliefs. Therefore, it is natural for translators to re-create and manipulate audiovisual texts to overcome challenges pertaining to religion, culture, and politics, which are the three intrinsic determinants of positioning in any translation project. Leaning on Critical Discourse Analysis (CDA) as a methodological approach, this paper aims to investigate how stereotypes and disparagement humour about Arabs and Muslims are dealt with in translating a segment from Family Guy into Arabic. The focus of the paper is on examining ideology-related shifts, and how and to what degree the students manipulated or mitigated religio-cultural barriers, as well as on assessing the role of visuals in the decision-making process. The students’ translations denote the inextricable intertwining of their authoritative voices and the act of translation, that is, some students consciously attempted to expose the writers’ intentions, while others subverted the text as a protective and resistive measure against the anti-Islamic, racist, sexual humour of the show.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44306185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.663
Alejandro Romero-Reche
In 1939, when the Spanish civil war had recently ended, avant-garde humorists Miguel Mihura and Tono published an absurdist propaganda ‘novel’, María de la Hoz [María of the Sickle], about the republican zone during the conflict. Unlike other Francoist propaganda pieces of the time, it did not focus on the violence or the alleged moral degeneracy of the ‘reds’ but rather on what its authors perceived as the absurdity of egalitarianism and the progressive ideals. The novel, while not contradicting the emerging official ideology, conspicuously overlooked some of its key tenets, particularly those related to nationalism, Catholicism and Franco’s leadership. This article contextualises María de la Hoz in the development process of Spanish avant-garde humour and in Francoist propaganda fiction during and immediately after the civil war in order to analyse the ideological stance it represented and, potentially, reinforced. As a political piece, the book seems to convey the position of an affluent middle class who did not enthusiastically believe in Francoism but preferred it to the republican alternative, caricatured as a communist regime by nationalist propaganda.
{"title":"Avant-garde humour as ideological supplement","authors":"Alejandro Romero-Reche","doi":"10.7592/ejhr.2022.10.3.663","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.663","url":null,"abstract":"In 1939, when the Spanish civil war had recently ended, avant-garde humorists Miguel Mihura and Tono published an absurdist propaganda ‘novel’, María de la Hoz [María of the Sickle], about the republican zone during the conflict. Unlike other Francoist propaganda pieces of the time, it did not focus on the violence or the alleged moral degeneracy of the ‘reds’ but rather on what its authors perceived as the absurdity of egalitarianism and the progressive ideals. The novel, while not contradicting the emerging official ideology, conspicuously overlooked some of its key tenets, particularly those related to nationalism, Catholicism and Franco’s leadership. This article contextualises María de la Hoz in the development process of Spanish avant-garde humour and in Francoist propaganda fiction during and immediately after the civil war in order to analyse the ideological stance it represented and, potentially, reinforced. As a political piece, the book seems to convey the position of an affluent middle class who did not enthusiastically believe in Francoism but preferred it to the republican alternative, caricatured as a communist regime by nationalist propaganda.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45671617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.659
Anja Pabel, Maja Turnšek
This study aims to provide an overview of humorous travel-related memes shared during the COVID-19 pandemic. A total of 80 Internet memes were content analysed for emergent themes. The findings reveal three major themes: playful aggression, making fun of one’s longing for travel, and making fun of new travel realities. The identified themes were linked to the existing literature to better understand the memes being studied. The analysis of memes provides a methodologically agile way to study conditions that may otherwise be overlooked, e.g., peoples’ travel-related desires and concerns while in lockdown.
{"title":"Travel-related humour and COVID-19","authors":"Anja Pabel, Maja Turnšek","doi":"10.7592/ejhr.2022.10.3.659","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.659","url":null,"abstract":"This study aims to provide an overview of humorous travel-related memes shared during the COVID-19 pandemic. A total of 80 Internet memes were content analysed for emergent themes. The findings reveal three major themes: playful aggression, making fun of one’s longing for travel, and making fun of new travel realities. The identified themes were linked to the existing literature to better understand the memes being studied. The analysis of memes provides a methodologically agile way to study conditions that may otherwise be overlooked, e.g., peoples’ travel-related desires and concerns while in lockdown.\u0000 ","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46119890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.676
Kristina Stankevičiūtė
The practice of fashion memes is a rather fresh exercise on the fashion scene, and it has been enjoyed by both the audiences and the brands. Fashion media have turned their attention to the phenomenon as well, addressing its scope, authorship and function from various angles. Scholarly research of the field is very scarce, though. The article seeks to contribute to the emerging field of fashion meme research by analysing a Lithuanian author of original fashion memes, a self-proclaimed fashion critic the Pink Poodle – an imaginary social media personality active on Facebook and Instagram platforms. The subjects of Pink Poodle memes are objects of media photographs from local and global public events (such as the Presidential Inauguration or an international cinema festival opening, Grammy Awards, Oscars) that demonstrate, from Poodle’s perspective, disagreements with fashion and/or aesthetics in general. The aim of the article is to reflect on the function of irony and sarcasm of the fashion meme as an instrument for fashion criticism, and the role of (visual) irony on the perception of fashion in the contemporary society. The text also addresses the role of independent fashion criticism that the practice of fashion meme creation seems to provide, and the function that this kind of intermediary between fashion and its audiences may perform.
{"title":"Irony in fashion memes","authors":"Kristina Stankevičiūtė","doi":"10.7592/ejhr.2022.10.3.676","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.676","url":null,"abstract":"The practice of fashion memes is a rather fresh exercise on the fashion scene, and it has been enjoyed by both the audiences and the brands. Fashion media have turned their attention to the phenomenon as well, addressing its scope, authorship and function from various angles. Scholarly research of the field is very scarce, though. The article seeks to contribute to the emerging field of fashion meme research by analysing a Lithuanian author of original fashion memes, a self-proclaimed fashion critic the Pink Poodle – an imaginary social media personality active on Facebook and Instagram platforms. The subjects of Pink Poodle memes are objects of media photographs from local and global public events (such as the Presidential Inauguration or an international cinema festival opening, Grammy Awards, Oscars) that demonstrate, from Poodle’s perspective, disagreements with fashion and/or aesthetics in general. The aim of the article is to reflect on the function of irony and sarcasm of the fashion meme as an instrument for fashion criticism, and the role of (visual) irony on the perception of fashion in the contemporary society. The text also addresses the role of independent fashion criticism that the practice of fashion meme creation seems to provide, and the function that this kind of intermediary between fashion and its audiences may perform.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71370266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.599
Ana Junça Silva, A. Caetano, R. Rueff Lopes
This study investigated: (a) the mediating role of affect between humour events and well-being at work and (b) the moderating role of psychological work climate in the indirect relationship between humour events and well-being at work, via affect. The moderated mediation model was tested through a study with 93 full-time employees. We used regressions and bootstrapping analyses to test the moderated mediation model. The findings indicated a significant association between humour events and well-being at work with affect as a mediator. Moreover, psychological work climate was found to significantly moderate the indirect relationship between humour events and well-being at work via affect, such that it become stronger when individuals were in a positive psychological work climate. This paper adds considerable evidence of the relationship between humour-related events and their impact on individuals’ well-being. Psychological work climate strengthens the association between affect and well-being after humour events.
{"title":"A supportive climate may protect well-being from negative humour events","authors":"Ana Junça Silva, A. Caetano, R. Rueff Lopes","doi":"10.7592/ejhr.2022.10.3.599","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.599","url":null,"abstract":"This study investigated: (a) the mediating role of affect between humour events and well-being at work and (b) the moderating role of psychological work climate in the indirect relationship between humour events and well-being at work, via affect. The moderated mediation model was tested through a study with 93 full-time employees. We used regressions and bootstrapping analyses to test the moderated mediation model. The findings indicated a significant association between humour events and well-being at work with affect as a mediator. Moreover, psychological work climate was found to significantly moderate the indirect relationship between humour events and well-being at work via affect, such that it become stronger when individuals were in a positive psychological work climate. This paper adds considerable evidence of the relationship between humour-related events and their impact on individuals’ well-being. Psychological work climate strengthens the association between affect and well-being after humour events. \u0000 ","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48635972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.686
Monika Kirner-Ludwig, Aleksandra V. Soboleva
This paper takes an intercultural approach to identifying and discussing rendition strategies of one specific punchline recurrent in scripted telecinematic discourse: That’s what she said. While this formulaic punchline demonstrates a relatively high salience in the US, particularly in oral and scripted genres, it issues more than one challenge to translators seeking to render it for other speech communities in a manner that acknowledges and retains the source pattern’s complexity as a discursively triggered and formulaic pragmatic idiom. We shall focus here on two specific target cultures, i.e. the Russian and the German, in demonstrating the challenges that this complex and linguistically as well as cognitively multi-faceted formula poses for its appropriation into either cultural sphere. Our study is based on a self-compiled parallel dataset of context-embedded source occurrences of That’s what she said and their renditions into German and Russian, thus offering immediately contrastive insights into the rendition strategies that translators have been employing to interculturally transfer this highly evasive idiomatic formula from one speech community to others.
{"title":"An intercultural pragmatic approach to English-Russian and English-German renditions of the formulaic \"That’s what she said\"-punchline in telecinematic discourse","authors":"Monika Kirner-Ludwig, Aleksandra V. Soboleva","doi":"10.7592/ejhr.2022.10.3.686","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.686","url":null,"abstract":"This paper takes an intercultural approach to identifying and discussing rendition strategies of one specific punchline recurrent in scripted telecinematic discourse: That’s what she said. While this formulaic punchline demonstrates a relatively high salience in the US, particularly in oral and scripted genres, it issues more than one challenge to translators seeking to render it for other speech communities in a manner that acknowledges and retains the source pattern’s complexity as a discursively triggered and formulaic pragmatic idiom. We shall focus here on two specific target cultures, i.e. the Russian and the German, in demonstrating the challenges that this complex and linguistically as well as cognitively multi-faceted formula poses for its appropriation into either cultural sphere. Our study is based on a self-compiled parallel dataset of context-embedded source occurrences of That’s what she said and their renditions into German and Russian, thus offering immediately contrastive insights into the rendition strategies that translators have been employing to interculturally transfer this highly evasive idiomatic formula from one speech community to others.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49223067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.597
M. S. Rahman, Farida Binte Wali
A growing body of evidence suggests that there is a link between laughter and memory. However, no research has been done to show a link between simulated laughter (laughter yoga) and the enhancement of working memory. Because laughter has numerous benefits, we examined whether simulated laughter can improve healthy adults’ working memory (WM). A total of 30 participants (15 experimental and 15 control) were enrolled in this study. The research design was experimental and pretest-posttest with a control group. Participants in the laughter yoga intervention group had eight sessions twice a week for four weeks, whereas the control group received no intervention. We assessed all participants before and after laughter activity with the WM measures (Corsi Block Test and Digit Span). The laughter intervention programme focused on simulated laughter (laughter yoga) without relying on humour, jokes, or comedy. The results revealed a significant improvement in the memory of both visual and verbal WM performances in the experimental group after the intervention programme. In contrast, the study found no significant differences in the control group. Simulated laughter intervention is the easiest, practical, and cost-efficient method that seems to affect WM positively.
{"title":"The effect of laughter yoga on working memory","authors":"M. S. Rahman, Farida Binte Wali","doi":"10.7592/ejhr.2022.10.3.597","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.597","url":null,"abstract":"A growing body of evidence suggests that there is a link between laughter and memory. However, no research has been done to show a link between simulated laughter (laughter yoga) and the enhancement of working memory. Because laughter has numerous benefits, we examined whether simulated laughter can improve healthy adults’ working memory (WM). A total of 30 participants (15 experimental and 15 control) were enrolled in this study. The research design was experimental and pretest-posttest with a control group. Participants in the laughter yoga intervention group had eight sessions twice a week for four weeks, whereas the control group received no intervention. We assessed all participants before and after laughter activity with the WM measures (Corsi Block Test and Digit Span). The laughter intervention programme focused on simulated laughter (laughter yoga) without relying on humour, jokes, or comedy. The results revealed a significant improvement in the memory of both visual and verbal WM performances in the experimental group after the intervention programme. In contrast, the study found no significant differences in the control group. Simulated laughter intervention is the easiest, practical, and cost-efficient method that seems to affect WM positively.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44001415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.688
Mohamed Mifdal
The analysis of memes posted on Moroccan Facebook pages during the first wave of Covid-19 pandemic shows that the use of humour by Moroccans is not only motivated by achieving mirth but it also vehicles critical views about issues of common concern debated in the digital public sphere. Some of these memes were used to cope with fear and uncertainty. However, most memes harboured mixed feelings about the situation and were used for social control and the expression of conflict and resistance, addressing issues of behaviour, governance and communication. This article uses a social semiotic approach to analyse the collected memes (460 from personal and communal pages) as a multimodal discourse in terms of context, culture, and media affordances. This article contends that the study of these memes can be a key to understanding how Moroccans used humour to cope with danger and radical uncertainty, build identification and strengthen social cohesion. It also highlights the polyvocality of humour in times of the pandemic and the gradual shift from inclusive, conformist and sympathetic humour to disparaging, exclusive and challenging humour as the pandemic lingered, consensus began to crack, social control was challenged and injunctive norms were replaced by survival values. The results show how these memes are indicative of the way humour changes mechanisms and functions in terms of contingent motivations.
{"title":"Covidly humorous memes","authors":"Mohamed Mifdal","doi":"10.7592/ejhr.2022.10.3.688","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.688","url":null,"abstract":"The analysis of memes posted on Moroccan Facebook pages during the first wave of Covid-19 pandemic shows that the use of humour by Moroccans is not only motivated by achieving mirth but it also vehicles critical views about issues of common concern debated in the digital public sphere. Some of these memes were used to cope with fear and uncertainty. However, most memes harboured mixed feelings about the situation and were used for social control and the expression of conflict and resistance, addressing issues of behaviour, governance and communication. This article uses a social semiotic approach to analyse the collected memes (460 from personal and communal pages) as a multimodal discourse in terms of context, culture, and media affordances. This article contends that the study of these memes can be a key to understanding how Moroccans used humour to cope with danger and radical uncertainty, build identification and strengthen social cohesion. It also highlights the polyvocality of humour in times of the pandemic and the gradual shift from inclusive, conformist and sympathetic humour to disparaging, exclusive and challenging humour as the pandemic lingered, consensus began to crack, social control was challenged and injunctive norms were replaced by survival values. The results show how these memes are indicative of the way humour changes mechanisms and functions in terms of contingent motivations.\u0000 ","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45028574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.665
Nikola Novaković
In Edward Gorey’s numerous scenes of breakfasts, lunches, dinners, and afternoon teas, food and drink often feature with more or less prominence and are sometimes even found in the titles of his books, such as in The Fatal Lozenge (1960) or The Unknown Vegetable (1995). Their seemingly innocent appearance is often tied to violence or death: a head is discovered in a breadbox, a woman murders her husband by lacing his tea with atropine, a boy dies of exposure after being punished for “splashing his soup”, and several characters are consumed by more or less fantastic creatures. And yet, throughout all such gruesome events, Gorey’s characteristically playful and absurd humour adds levity to scenes of food-related death, misery, downfall, and even murder. Whether much attention is drawn to such events (such as in The Unknown Vegetable, where the entire story revolves around the discovery of a giant turnip-like vegetable that leads to a woman being buried alive) or whether they are merely mentioned in offhanded comments, Gorey couches them in a frame of the ridiculous and the nonsensical. It is therefore the aim of this paper to explore how Gorey achieves this curious combination of the grotesque and the humorous in scenes revolving around food, and how this approach extends to a general confusion of tone in his darkly funny, seriocomic creations in which any manner of horror may be lurking in peaches, cakes, crackers, boiled turnips, a recipe for fudge, a family picnic, or under a haunted tea cosy.
{"title":"“E is for Ernest who choked on a peach”","authors":"Nikola Novaković","doi":"10.7592/ejhr.2022.10.3.665","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.665","url":null,"abstract":"In Edward Gorey’s numerous scenes of breakfasts, lunches, dinners, and afternoon teas, food and drink often feature with more or less prominence and are sometimes even found in the titles of his books, such as in The Fatal Lozenge (1960) or The Unknown Vegetable (1995). Their seemingly innocent appearance is often tied to violence or death: a head is discovered in a breadbox, a woman murders her husband by lacing his tea with atropine, a boy dies of exposure after being punished for “splashing his soup”, and several characters are consumed by more or less fantastic creatures. And yet, throughout all such gruesome events, Gorey’s characteristically playful and absurd humour adds levity to scenes of food-related death, misery, downfall, and even murder. Whether much attention is drawn to such events (such as in The Unknown Vegetable, where the entire story revolves around the discovery of a giant turnip-like vegetable that leads to a woman being buried alive) or whether they are merely mentioned in offhanded comments, Gorey couches them in a frame of the ridiculous and the nonsensical. It is therefore the aim of this paper to explore how Gorey achieves this curious combination of the grotesque and the humorous in scenes revolving around food, and how this approach extends to a general confusion of tone in his darkly funny, seriocomic creations in which any manner of horror may be lurking in peaches, cakes, crackers, boiled turnips, a recipe for fudge, a family picnic, or under a haunted tea cosy.","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48934798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-11DOI: 10.7592/ejhr.2022.10.3.652
Matilde Eiroa
This article analyses the social reaction to Francisco Franco’s exhumation from his burial place in the Valley of the Fallen at the end of 2019. This decision was taken by virtue of compliance with the so-called Historical Memory Law approved in 2007 and generated a great social debate. Apart from opinions in favour and against that decision coming from the political spectrum of the left and right, respectively, we observed a new attitude, that of humour, present in tweets and memes. By analyzing a collection of memes that circulated in Twitter and WhatsApp groups, our research shows that the new media have brought in content and symbolism that ridicule the late dictator, trivialise the treatment given to the “Caudillo” [Leader] of Spain for nearly four decades and contribute to an uninhibited interpretation of memory policies.
{"title":"The humour factor","authors":"Matilde Eiroa","doi":"10.7592/ejhr.2022.10.3.652","DOIUrl":"https://doi.org/10.7592/ejhr.2022.10.3.652","url":null,"abstract":"This article analyses the social reaction to Francisco Franco’s exhumation from his burial place in the Valley of the Fallen at the end of 2019. This decision was taken by virtue of compliance with the so-called Historical Memory Law approved in 2007 and generated a great social debate. Apart from opinions in favour and against that decision coming from the political spectrum of the left and right, respectively, we observed a new attitude, that of humour, present in tweets and memes. By analyzing a collection of memes that circulated in Twitter and WhatsApp groups, our research shows that the new media have brought in content and symbolism that ridicule the late dictator, trivialise the treatment given to the “Caudillo” [Leader] of Spain for nearly four decades and contribute to an uninhibited interpretation of memory policies. \u0000 ","PeriodicalId":37540,"journal":{"name":"European Journal of Humour Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42765713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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