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Laughing along? 笑吗?
Q2 Social Sciences Pub Date : 2022-08-11 DOI: 10.7592/ejhr.2022.10.2.670
Meredith Marra
Successfully joining a new workplace community is demanding, especially when this involves crossing national boundaries in addition to team boundaries. For outsiders, humour is an area that arguably presents a challenge to full participation, particularly when local understandings are not shared, nor even recognized as distinctive. Newcomers face the challenge of navigating the trajectory from legitimate peripheral member towards core status (adopting the terms of the Community of Practice model). This involves cooperating with others in interaction, including engaging with humour and laughter as a way of indicating belonging. Here belonging is operationalized using the two dimensions proposed by Antonsich (2010), namely (1) a sense of belonging and (2) the politics of belonging as evidenced through negotiation with others. Applying an Interactional Sociolinguistic approach, I offer analysis of naturally occurring workplace interactions and reflections from skilled migrant interns in New Zealand workplaces. I discuss the place of laughter in attempts to demonstrate team membership, arguing that these attempts at belonging require the cooperation and endorsement of insiders. The findings indicate that, however benevolently intentioned, the local colleagues’ use of humour, and their reactions to the humour and laughter produced by the skilled migrant interns, often results in a sense of othering and exclusion. This is keenly felt by the interns who note the difficulties that taken for granted practices create in their acceptance and progress. In many cases the result is laughing along, as an outward signal of fit, rather than laughing with which suggests a deeper sense of belonging. 
成功地加入一个新的工作场所社区是要求很高的,尤其是当这涉及到跨越国界和团队边界的时候。对于外人来说,幽默是一个对充分参与构成挑战的领域,尤其是当当地的理解不一致,甚至不被认为是独特的时候。新来者面临的挑战是如何从合法的外围成员走向核心地位(采用实践社区模型的条款)。这包括在互动中与他人合作,包括幽默和笑声作为一种表明归属感的方式。在这里,归属是使用安东西奇(2010)提出的两个维度来运作的,即(1)归属感和(2)通过与他人谈判证明的归属感政治。运用互动社会语言学的方法,我对自然发生的工作场所互动和新西兰工作场所技术移民实习生的反思进行了分析。我讨论了笑在展示团队成员关系中的作用,认为这些展现归属感的尝试需要内部人士的合作和认可。研究结果表明,无论出于何种善意,当地同事对幽默的使用,以及他们对技术移民实习生产生的幽默和笑声的反应,往往会导致一种他人感和排斥感。实习生们敏锐地感受到了这一点,他们注意到,在接受和进步过程中,被视为理所当然的做法给他们带来了困难。在许多情况下,结果是一起笑,这是一种健康的外在信号,而不是一起笑,这表明了一种更深层次的归属感。
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引用次数: 0
Humour of religious satire and linguistic dexterity of Nigerian stand-up comedy 宗教讽刺的幽默感与尼日利亚单口喜剧的语言灵活性
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr2022.10.1.611
I. J. Adekunle
Stand-up comedy, as a humorous performance, is a quintessential narrative that chronicles sociological realities of human endeavours. Its humour, as a new subgenre of comedy, fused the roles of performers and their audiences in a scintillating way that provokes laughter and, at the same time, gives great excitement. The performers and their audiences are major stakeholders in the performativity of stand-up comedy. Existing scholars have largely examined its realities as a product of entertainment and laughter to the neglect of its deeper sociological realities of religious satire and linguistic dexterity. Therefore, this paper investigates how stand-up humour serves as a tool for critiquing societal foibles of religious gullibility and bewitchment within the Nigerian socio-political space. Besides, the paper examines the linguistic techniques employed by the selected stand-up comedians. This is in a bid to show how stand-up comedians serve as gatekeepers, watchdogs, and social critics of their societies through their humour. Schechner’s Performance, Freudian, and Jungian psychoanalytic theories were used to analyse the embodied behaviours of the stand-up comedians. Three digital discs of live performance recordings were purposively selected. They were: Halleluyan Volume 1 and Ward 2 Comedy Klinic by Godwin Komone Gordons and A Nite of a Thousand Laughs Vol. 13 by Francis Agoda (I Go Dye). The selected live recordings were based on informing religious realities, choice of satiric humour, and performative styles of the performers. Data were subjected to performance and literary analyses.  
单口喜剧作为一种幽默表演,是一种典型的叙事,记录了人类努力的社会现实。它的幽默,作为一种新的喜剧类型,以一种闪烁的方式融合了表演者和观众的角色,既能引发笑声,又能带来极大的兴奋。表演者和观众是单口相声表演的主要利益相关者。现有学者在很大程度上研究了它作为娱乐和笑声产物的现实,而忽略了它更深层次的宗教讽刺和语言灵活性的社会学现实。因此,本文研究了在尼日利亚社会政治空间中,单口相声如何成为批判宗教易受骗和蛊惑等社会弱点的工具。此外,本文还考察了被选中的单口相声演员所使用的语言技巧。这是为了展示单口相声演员如何通过他们的幽默充当社会的看门人、监督人和社会评论家。Schechner的表演、弗洛伊德和荣格精神分析理论被用来分析单口相声演员的具体行为。有目的地挑选了三张现场表演录音的数字光盘。它们是:戈德温·科蒙·戈登的《哈利路亚》第1卷和《病房2》喜剧《克林克》,以及弗朗西斯·阿戈达(《我去染色》)的《一千笑》第13卷。选定的现场录音是基于告知宗教现实、讽刺幽默的选择和表演者的表演风格。数据经过表演和文学分析。
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引用次数: 2
“Happy wives” and “sad husbands” “快乐的妻子”和“悲伤的丈夫”
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr2022.10.1.612
G. Uwen, Godwin Oko Ushie
The COVID-19 outbreak was declared a pandemic (a global health emergency) following its ravaging spread and increasing death toll that led to the unprecedented multi-sectoral crisis and collateral damage.  These, and the non-discovery of reliable therapeutic medicines combined to generate rising fears and tension across the globe. To cope with these realities, discourse participants devised humorous expressions to create laughter, ease tension and melt fears.  The paper seeks to examine the contextual usage of such humorous expressions used in Nigeria, particularly in Calabar, that denote the sociolinguistic milieu, and shared knowledge and experience of the interactants.  The study adopts Relief and Encryption Theories of Humour because the theories account for the situational appropriateness of the humorous expressions as “coping devices” in coherence with the cognitive, linguistic, situational and social contexts. Data were generated by means of participant observation in on-site and virtual interactions in social media platforms. Findings show that COVID-19 pandemic has exerted irresistible pressure on language resources that stimulated the creation of humorous expressions as coping needs for the consequential circumstance. Specifically, the humorous expressions such as “happy wives”, “sad husbands”, “side chicks are hungry” among others were regularly and contextually deployed for comic reliefs and cognitive recreations to stimulate laughter in crisis.  Linguistically, the expressions are devised English structures and other constructs with codemixed elements derived from the registers of several discourse domains that reflect the Nigerian sociolinguistic environment. The constructs are therefore modelled to demystify the pandemic and unify interactants in order to ease tension and cope with the realities of the preventive and survival protocols.  
新冠肺炎疫情在其肆虐的蔓延和不断增加的死亡人数导致了前所未有的多部门危机和附带损害后,被宣布为大流行(全球卫生紧急事件)。这些,加上没有发现可靠的治疗药物,在全球范围内引发了越来越多的恐惧和紧张。为了应对这些现实,话语参与者设计了幽默的表达方式来制造笑声,缓解紧张情绪,消除恐惧。本文试图考察尼日利亚,特别是卡拉巴尔使用的此类幽默表达的语境用法,这些幽默表达表示社会语言学环境,以及互动者的共同知识和经验。本研究采用幽默的救济和加密理论,因为这些理论考虑了幽默表达作为“应对手段”的情境适当性,与认知、语言、情境和社会语境相一致。数据是通过参与者在社交媒体平台上的现场和虚拟互动中的观察生成的。研究结果表明,新冠肺炎大流行对语言资源施加了不可抗拒的压力,刺激了幽默表达的创作,作为应对相应环境的需要。具体而言,幽默表达,如“快乐的妻子”、“悲伤的丈夫”、“小鸡饿了”等,被定期和情境化地用于喜剧救济和认知娱乐,以在危机中激发笑声。从语言学角度来看,这些表达是由反映尼日利亚社会语言学环境的几个话语领域的语域中衍生出的英语结构和其他具有代码混合元素的结构设计的。因此,对这些结构进行建模,以解开疫情的神秘面纱,统一互动者,从而缓解紧张局势,应对预防和生存协议的现实。
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引用次数: 0
Stereotyping Arab women in jokes circulated on social media during the coronavirus crisis 在冠状病毒危机期间,社交媒体上流传的笑话中对阿拉伯女性的刻板印象
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr2022.10.1.569
Ahmad S. Haider, Linda S. Al-Abbas
Since the outbreak of the coronavirus pandemic in late 2019, fear and panic dominated the content of online news. Simultaneously, there was a prevalence of jokes and satire on the different social media sites. During the crisis, most Arab countries went through a nationwide lockdown for weeks that people found themselves trapped in their homes and resorted to social media to express their frustrations about the prevailing happenings. They began exchanging jokes and parodies on social media that indirectly reflected stereotypes about them. 1424 jokes were collected from Facebook and WhatsApp messages during a period of three months and were categorized based on the themes they covered. Gender-related jokes ranked the highest, and were predominantly targeting women. Hence, this study is an attempt to explore how Arab Women were stereotyped in Jokes circulated on social media during the Coronavirus crisis. The 508 gender-related jokes were analysed in light of the General Theory of Verbal Humor (GTVH). The analysis generated 4 main themes, namely 'marital relations' (33%), 'habits and attributes' (26%), 'beauty and makeup' (23%) and 'violence' (18%). Women were stereotyped as being ugly and less feminine without makeup, talkative, shopaholic, despising and annoying wives, and violent and harmful partners in their private sphere. The study concludes that such negative stereotypes might be unintentionally produced and reinforced through laughter-eliciting humor that circulates fast in the virtual world.
自2019年末冠状病毒疫情爆发以来,恐惧和恐慌占据了网络新闻的主要内容。与此同时,不同的社交媒体网站上充斥着笑话和讽刺。在危机期间,大多数阿拉伯国家经历了长达数周的全国封锁,人们发现自己被困在家中,并求助于社交媒体来表达他们对当前事件的不满。他们开始在社交媒体上交流笑话和戏仿,间接反映了对他们的刻板印象。在三个月的时间里,从Facebook和WhatsApp的消息中收集了1424个笑话,并根据它们所涵盖的主题进行了分类。与性别有关的笑话排名最高,而且主要针对女性。因此,这项研究试图探索在冠状病毒危机期间,社交媒体上流传的笑话中,阿拉伯女性是如何被定型的。根据言语幽默通论(GTVH)对508个与性别有关的笑话进行了分析。该分析产生了4个主要主题,即“婚姻关系”(33%)、“习惯和属性”(26%)、“美丽与化妆”(23%)和“暴力”(18%)。女性被定型为丑陋、不化妆、健谈、购物狂、鄙视和讨厌的妻子,以及在私人领域暴力和有害的伴侣。研究得出结论,这种负面的刻板印象可能是通过在虚拟世界中快速传播的引发笑声的幽默无意中产生和强化的。
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引用次数: 1
Ain’t that funny? A jurisprudential analysis of humour in Europe and the U.S. 这不是很有趣吗?欧美幽默的法理分析
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr.2022.10.1.649
Natalie Alkiviadou
This paper provides a legislative and jurisprudential comparative of European and U.S. case Law on humour. Whilst the Europe-U.S. comparison, in the ambit of expression, has been looked at extensively, there has yet to be a focus on the varying ways in which humour is treated in the two spheres.  What will become evident is the intricacy of cultivating just legal tests to be used by the judiciary in deciphering an inherently abstract theme. At the core of these tests at the European level, is a balancing exercise between the right to offend and the right to be free from offence. However, the multitude of available interpretative routes, in addition to the array of differing human responses to humour, renders such tests and their application legally fragile. This reality raises concerns vis-à-vis the fundamental right of freedom of expression and becomes particularly topical within the current digital age and the ‘polarizing dynamics of social media.’ Godioli (2020:1) The analysis will demonstrate that humour receives much greater protection in the U.S. Framework due to the First Amendment whereas the highest regional human rights court in Europe, namely the European Court of Human Rights is quick to limit humorous speech on grounds of offending others, thereby demonstrating a backsliding of the fundamental freedom of expression, including humorous expression in the region.
本文对欧美幽默判例法进行了立法和法理比较。虽然欧美在表达范围内的比较已经被广泛研究,但人们还没有关注幽默在这两个领域的不同处理方式。显而易见的是,培养司法部门用来解读一个固有抽象主题的公正法律测试的复杂性。在欧洲层面,这些测试的核心是在冒犯权和免受冒犯权之间取得平衡。然而,除了人类对幽默的一系列不同反应外,多种可用的解释途径使这种测试及其应用在法律上变得脆弱。这一现实引发了人们对言论自由基本权利的担忧,并在当前的数字时代和“社交媒体两极分化的动态”中成为特别热门的话题Godioli(2020:1)分析将表明,由于第一修正案,幽默在美国框架中得到了更大的保护,而欧洲最高地区人权法院,即欧洲人权法院,很快以冒犯他人为由限制幽默言论,从而表明基本言论自由的倒退,包括该地区的幽默表达。
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引用次数: 2
Joke identification, comprehension and appreciation by Spanish intermediate ESL learners: an exploratory study 西班牙语中级ESL学习者笑话识别、理解与欣赏的探索性研究
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr2022.10.1.633
Santiago Arróniz Parra, Manuel Padilla Cruz
This paper reports on an exploratory study examining joke identification, appreciation and comprehension by Spanish intermediate ESL learners. The study is based on a relevance-theoretic classification of jokes, which assumes that humorousness results from manipulation of three parametres: make-sense frames, cultural information and utterance interpretation. It firstly ascertains whether Spanish ESL learners recognise orally-delivered samples of seven types of purportedly jocular texts. Secondly, it examines whether these learners actually regard such texts as comical and why. Finally, it looks into the learners’ interpretative problems in order to single out which joke type(s) is/are more challenging. The study relies on quantitative and qualitative data elicited through an online questionnaire comprising four tasks. The results indicate no correlation between joke identification and appreciation, and independence of successful joke recognition from sophisticated interpretative skills. Jokes involving invalidation of an activated make-sense frame were most easily identified and found most funny, but jokes exploiting cancellation of an initial, seemingly plausible, interpretation posed more difficulties.
本文对西班牙语中级ESL学习者的笑话识别、欣赏和理解进行了探索性研究。本研究基于笑话的关联理论分类,该分类假设幽默是由三个参数的操纵引起的:意义框架、文化信息和话语解释。它首先确定了西班牙语ESL学习者是否认可口头传递的七种据称是诙谐的文本样本。其次,它考察了这些学习者是否真的认为这些文本是滑稽的,以及为什么。最后,它研究了学习者的解释问题,以找出哪种笑话类型更具挑战性。该研究依赖于通过包括四项任务的在线问卷得出的定量和定性数据。研究结果表明,笑话识别和欣赏之间没有相关性,成功的笑话识别独立于复杂的解释技能。涉及激活的有意义框架无效的笑话最容易识别,也最有趣,但利用取消最初看似合理的解释的笑话带来了更多困难。
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引用次数: 0
Antiracism in Othello sketch comedy, 1967-1999 奥赛罗小品喜剧中的反种族主义,1967-1999
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr2022.10.1.596
S. Hamrick
Despite Shakespeare’s rejection of comic, racist stereotypes in Othello, minstrel shows offered racist blackface caricatures of slaves and others of African descent that filtered through British Music Hall and Variety to television sketch comedy. Analyses of twenty-five screened appropriations of Othello provide a cultural history of racism for 1967-1999. The article recovers an antiracist tradition overlooked in comedy studies.
尽管莎士比亚拒绝了《奥赛罗》中的喜剧性、种族主义刻板印象,但吟游诗人的节目提供了奴隶和其他非洲裔的种族主义黑人漫画,这些漫画通过英国音乐厅和《综艺》渗透到电视小品喜剧中。对《奥赛罗》25部经过筛选的作品的分析提供了1967-1999年种族主义的文化史。这篇文章恢复了在喜剧研究中被忽视的反种族主义传统。
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引用次数: 0
Ambivalent laughter: the key to preserving playtime 模棱两可的笑声:保留游戏时间的关键
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr.2022.10.1.634
Michael Nugent
Arguments over the future of school playtime continue back and forth. Opinions range from the interval period envisaged as a waste of teaching and learning time to sentiments supporting a child’s right to free play. Neither view, however, addresses the principal issue.If all laughter is ambivalent, which is the issue proposed here, then the central means by which pupils communicate on the primary school playground cannot be an indication of their contentment alone. The double, contradictory nature of ambivalency means that pupils’ laughter can also be an indication of their unhappiness. Playtime’s substantially serious dimension, therefore, invalidates any claims that playtime is simply a frivolous occasion and therefore expendable.Mikhail Bakhtin’s work on the language of relationships and on ambivalent laughter provides this qualitative study with the fresh insights that can make a positive contribution to the ongoing playtime debate.
关于学校游戏时间未来的争论仍在继续。意见的范围从被认为是浪费教学时间的间歇期到支持儿童自由玩耍权利的情绪。然而,这两种观点都没有涉及主要问题。如果所有的笑声都是矛盾的,这就是这里提出的问题,那么学生在小学操场上交流的核心手段就不能仅仅表明他们的满足感。矛盾心理的双重矛盾性意味着学生的笑声也可能是他们不快乐的表现。因此,游戏时间的严重性否定了任何关于游戏时间只是一个无聊的场合,因此是可以消耗的说法。米哈伊尔·巴赫金关于关系语言和矛盾笑的研究为这项定性研究提供了新的见解,可以对正在进行的游戏时间辩论做出积极贡献。
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引用次数: 1
“Kwatakwata by June diεε…” “夸克瓦塔六月天…”
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr2022.10.1.600
Lillian Phillips-Kumaga, Rachael Hansen-Garshong, C. Ackom, C. A. Teku, Annabella Osei‐Tutu
The first phase of the COVID-19 pandemic has been described as stressful. People make light of stressful situations in different ways. Ghanaians are known to be able to make humour out of any situation. During the first phase of the COVID-19 pandemic, Ghanaians shared memes and posters on social media, making light of the seriousness of the problem. "Kwatakwata by June diεε…" shortened from the phrase: "kwatakwata by June diεε na obiara awu" to wit "Latest by June, we will all be dead" has become a catchphrase on social media and the streets of Ghana to make fun of the serious impact of the virus. This current study examines internet humour that became popular with Ghanaians during the first phase of the COVID-19 pandemic in Ghana. We examined videos, memes, and posters from various social media sites to learn about the Ghanaian use of humour during a public health crisis. Content analysis of the data showed that Ghanaians created humorous content to express how they felt about what was going on and also educate citizens about the pandemic. Recurring themes within the content analysis include  humour concerning death, isolation, and keeping children occupied.  We note that Ghanaians largely used self-enhancing humour.  We discuss these themes to show the types of internet humour Ghanaians shared during the first phase of the COVID-19 pandemic.
COVID-19大流行的第一阶段被描述为压力很大。人们以不同的方式减轻压力。众所周知,加纳人在任何情况下都能幽默。在2019冠状病毒病大流行的第一阶段,加纳人在社交媒体上分享表情包和海报,对问题的严重性轻描淡写。“Kwatakwata by June diε na obiara awu”是由短语“Kwatakwata by June diε na obiara awu”缩短而成的,意思是“最迟6月,我们都会死”,这已经成为加纳社交媒体和街头的流行语,用来取笑病毒的严重影响。目前的这项研究调查了在加纳COVID-19大流行的第一阶段在加纳人中流行的网络幽默。我们研究了各种社交媒体网站上的视频、表情包和海报,以了解加纳人在公共卫生危机期间如何使用幽默。对数据的内容分析表明,加纳人创造了幽默的内容来表达他们对正在发生的事情的感受,并向公民宣传这一流行病。在内容分析中反复出现的主题包括关于死亡、孤立和让孩子有事可做的幽默。我们注意到,加纳人主要使用自我提升的幽默。我们讨论这些主题是为了展示加纳人在COVID-19大流行第一阶段分享的网络幽默类型。
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引用次数: 0
Hideous or hilarious? The fine line between disgust and humour 隐藏还是搞笑?厌恶和幽默之间的细微差别
Q2 Social Sciences Pub Date : 2022-04-14 DOI: 10.7592/ejhr.2022.10.1.618
Justyna Jajszczok
The article compares disgust as defined by the Parasite Avoidance Theory and humour explained through the Benign Violation Theory in order to analyse whether their affinity could be explained by analogous evolutionary conditioning. Both disgust and humour can be seen as specific, involuntary reactions toward particular triggers, and both may be connected with certain types of violations, particularly violations of body and violations of social norms. Moreover, disgust-sensitivity and humour-sensitivity are assumed to be largely dependent on personal circumstances and thus very difficult to predict before exposure to triggers. According to these theories, the fundamental difference between disgust and humour is that while the success of the latter is predicated on its benignness, the former must necessarily appear malignant enough to elicit the desired effect. The final part of the article is a case study of a “disgusting” joke by British comedian Jimmy Carr, in which various violations recognised by PAT and BVT are analysed.
本文比较了寄生虫回避理论所定义的厌恶和良性侵害理论所解释的幽默,以分析它们的亲和性是否可以用类似的进化条件来解释。厌恶和幽默都可以被看作是针对特定诱因的特定的、不自觉的反应,两者都可能与某些类型的侵犯有关,尤其是对身体和社会规范的侵犯。此外,厌恶敏感性和幽默敏感性被认为在很大程度上取决于个人环境,因此在接触触发因素之前很难预测。根据这些理论,厌恶和幽默之间的根本区别在于,后者的成功是建立在其善意的基础上的,而前者必须表现得足够恶毒,才能引发预期的效果。文章的最后一部分是对英国喜剧演员吉米·卡尔的一个“恶心”笑话的案例研究,分析了PAT和BVT识别的各种违规行为。
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引用次数: 2
期刊
European Journal of Humour Research
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