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Search Results: 1 - 10 of 5035 matches for " (internet) humour "
All listed articles are free for downloading (OA Articles)
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Funny or Aggressive? Failed Humour in Internet Comments
Liisi Laineste
Folklore : Electronic Journal of Folklore , 2013, DOI: 10.7592/fejf2013.53.laineste
Abstract: Jokes, ethnic slurs and parodies often occur in Internet comments, as the general feeling of anonymity allows for and even favours balancing on the verge of the acceptable and the unacceptable. Thus, a humorously intended comment can be perceived as aggressive by other Internet users. This possibility is further enhanced by the fact that the electronic media in general and computer mediated communication (CMC) in particular lacks non-verbal conversational cues that would signal the intentions of the communicator with greater, though not absolute, accuracy. The interrelations between online humour and aggression have so far escaped the attention of researchers, although scholarly discussions concerning these two phenomena in face-to-face interaction have been frequent. This paper analyses comment sequences in the Delfi news portal (www.delfi.ee) from 2000 to 2007. Delfi is an Estonian online news website known for its liberal attitude towards commenting. The aim of the article is to describe the boundaries between humour and verbal aggressiveness and address the notion of failed humour through its occurrence in online communication. In addition to presenting the patterns of humorous and aggressive modalities in comment sequences, some cases in which humour changes into aggressiveness are analysed.
Visuaalne huumor internetis
Anneli Baran
M?etagused. Hüperajakiri , 2012,
Abstract: This article focuses on the role of visual imagery in language understanding. It is commonly held that the use of phraseologisms is most characteristic to spoken language. However, today we are faced with a situation where the usage of written and oral language has blended (in e-mails, on-line communication, social network) on the Internet. Creative use of expressions, even if manifested in an exaggerated or inappropriate manner, may lead to interesting figures of speech. I am going to concentrate on a subgenre of so-called Internet memes – demotivational posters or manipulated photos which contain figurative expressions. Clearly, it is the creative context of the Internet that has given new life to figurative expressions. People are interpreting phraseologisms differently from a traditional vis-à-vis conversation when being engaged in spontaneous virtual communication. In addition, the iconic nature of the motivation involved in understanding figurative expressions makes it possible to use the phrases as a means of visualisation. That is why it is possible to confirm that phraseological units are remarkably more complex phenomena than simple reproducible linguistic units that do not contain metaphors.
Idioomide pildiline kujutamine internetihuumoris
Tomasz Piekot
M?etagused. Hüperajakiri , 2012,
Abstract: The analysis of new media, i.e. Internet, is a serious problem for logocentric communication studies. Usually, only the verbal aspect of genres is described, while other qualities are seen as marginal phenomena. In this paper I want to discuss the practice of visualising idioms in Internet humour. Even a cursory glance at the new media shows two prominent trends: 1) idioms appear in various types of new media texts but tend to dominate in those with a creative function, 2) idioms are spontaneously visualised, i.e. communication partners translate them into visual language. The paper presents results of empirical studies performed on a corpus of demotivators containing idioms. It shows that creative texts, especially humorous ones, subject idioms to different visual transformations. Visual translation may involve the structure of an idiom (individual words) making the visualisation literal, or its metaphoric meaning, in which case the visualisation is figurative (in its two variants – exemplifying or reinterpreting). From the cultural perspective, is it notable that idioms are not very frequent in Internet humour. Demotivators cited idioms in only 1.5% of all demotivating messages in Polish-language Internet. It seems that Internet users have probably found other visual carriers of figurative meaning. Discovering their social status might be the key to understanding the new culture – the culture of the web.
Visual Jokes about Christmas and Santa Claus on the Internet - Why and Why not?
Guntis Pakalns
Folklore : Electronic Journal of Folklore , 2012,
Abstract: This article analyses a collection of Christmas-related images and video clips found on the Internet. The author started collecting this material in 2005, since that time the material in the form of a PowerPoint presentation has been shown to diverse audiences discussing the context (mainly from the perspective of a folklore researcher) while observing the reaction of the audience.The central part of the article is devoted to a brief overview of the most characteristic groups of the jokes (with links to the images, video and descriptions of the traditions): Santa Claus as the bringer of presents, his trip from the northland and his friend Rudolph the Red-Nosed Reindeer, arrival through the chimney, different other persons wearing Santa’s hat (politicians, terrorists, women, animals, etc.), Santa’s sexuality, drunken Santa, Santa murdered/killed, etc. In addition, the regional version – Ded Moroz and Snegurochka (Father Frost and the Snowgirl) – is discussed here. Parodies related to the topic – the Christmas tree, snowmen and figures made of snow, elves, angels, Chinese horoscope’s “animals of the year”.Some hypotheses regarding the differences, functions, selection and perception of the worldwide available jokes in different social situations (western and post-Soviet world) are put forward, also considering social groups and situations, the time before and after Christmas. Why would people need such jokes? An attempt is made to explain it by different “levels of joking” – starting with “simply jokes” with their specific context in the tradition of the particular subject matter and the carnival-like sense of the reversed world (also used by the traders, making the originally rather eerie Santa Claus look like a friendly joker in the “shopping mythology”) and jokes as a kind of psychological self-defence – trying to compensate, by way of irony and black humour, for the rapidly changing and excessive tediousness, seriousness, sacralisation, or right the opposite – secularisation, commercialisation of the mass media imposed Christmas traditions and the holiday stress.
To what Extent are Jokes Reactional? (Based on a Joke Cycle about Yury Luzhkov’s Dismissal)
Anastasiya Astapova
Folklore : Electronic Journal of Folklore , 2013, DOI: 10.7592/fejf2013.53.astapova
Abstract: The article concentrates on jokes that appeared immediately after the dismissal of Yury Luzhkov, Mayor of Moscow, in 2010. As soon as he was fired after eighteen years in the same position of mayor, the Internet was flooded with jokes about his dismissal as well as numerous discussions on internet forums and blogs. I collected the jokes as well as opinions from the discussions, categorised them by their themes, and tried to understand how these two phenomena (jokes and discussions on the Internet) correlate with each other, in order to understand whether the axiom that folklore is a mirror of society is true.
Sense of humour in patients with depression – review [Poczucie humoru u pacjentów z depresj – przegl d badań]
Braniecka, Anna,Parnowska, Dorota,Radomska, Anna
Psychiatria Polska , 2012,
Abstract: In recent years there has been increasingly emphasised the importance of developing a sense of humour in patients with depression, which is considered an important competence promoting recovery processes and preventing relapse. Research on the sense of humour in depression focuses on two main areas. The first one concerns the answer to the question whether depressed patients are able to make use of their sense of humour. Results of current studies in this field lead to ambiguous conclusions. Some of them point to the deficits held by these patients in terms of perception, understanding and appreciation of humour, while others demonstrate the presence of the general susceptibility to humorous stimuli and the readiness to use the sense of humour. The second area of research focuses on the effectiveness of therapeutic programmes aimed at developing a sense of humour in depression. The results showed that they have limited efficacy – short term, observed only in some aspects or determined to a greater extent by pharmacological treatment than by implemented programmes. The reasons for their limited effectiveness seem to be largely due to an excessively wide range of impacts, not focused on the most desirable styles of humour, as well as specific needs, preferences and attitudes for patients with depression.
Ethnic Humour: What do Portuguese People Laugh at?
Pedro Martins
Folklore : Electronic Journal of Folklore , 2012,
Abstract: The concept of ethnic humour may be defined as a type of humour in which fun is made of different traits (especially personality, behaviour and customs) of a group and/or its members thanks to their social, political, cultural and economic background.Within Portuguese society we may find numerous jokes, riddles and puns about several nations and countries with which Portugal, by virtue of its historical past, had some kind of connection. From an anthropological perspective it is then particularly interesting to try to identify the reasons hidden behind each and every nation’s selection. By recalling the three major humour theories we are sure that the jokes, riddles and puns were especially generated either to release tension regarding a tragic situation or to reveal the incongruity of certain behaviour, thus showing Portuguese superiority over the other nations.It is therefore the aim of the article not only to introduce and share with you a part of Portuguese humour but also to analyse what may be the particular cause of its original creation and today’s usage.
A study of aqueous humour proteins in patients of primary open angle glaucoma  [PDF]
Meena Zaidi, Azra Jilani, Padmawati Bhattacharya, Najmul Islam, Shahid Alam
Advances in Bioscience and Biotechnology (ABB) , 2010, DOI: 10.4236/abb.2010.12015
Abstract: Aims: To investigate the changes in the protein composition of aqueous humour in primary open angle glaucoma patients and non-glaucomatous subjects. Patients and Methods: Case control study was conducted at a university hospital to compare the protein profile of aqueous humour obtained from patients of primary open angle glaucoma with those of non glaucomatous subjects. Protein concentration of the aqueous humour samples collected from both glaucomatous and non-glaucomatous patients at the time of surgery was estimated by the Bradford protein assay method. Sodium dodecylsulfate polyacrylamide gel electrophoresis of the samples was also performed. Results: Geometric mean of protein concentration of the samples was 55.73 mg/dl (range: 31-72) in the test group and 46.46 mg/dl (range: 27-65) in the control group and a statistically significant (p ≤= 0.001) difference in protein concentration of aqueous humour between the two groups was observed. Electrophoretic study revealed differences in the aqueous protein composition of the two groups. The glaucomatous group exhibited protein bands of 10 kDa, 20 kDa, 30 kDa, 50 kDa, 60 kDa, 70 kDa, and 90 kDa while the control subjects demonstrated bands of 6 kDa, 10 kDa, 30 kDa, 70 kDa, 90 kDa. Interestingly, almost all the proteins detected in this study corresponded to the molecular weights of heat shock proteins. Conclusions: Primary open angle glaucoma patients differed in protein compositions and had higher concentration of aqueous humour proteins than non glaucomatous patients.
Pupils laugh at teachers: the forms and functions of teacher-focused school humour
Klára ?e?ová
Pedagogicka Orientace , 2012,
Abstract: The article is related to the issue of pupil humor aimed at teachers in the setting of lower secondary schools and is based on an analysis of pupils' written narratives. The data are categorized according to various situational modes in which the teachers find themselves as objects of humor - unintended comic mode, mode of pupil snare and mode of teacher joke. The analysis shows a number of functions of the school humor, especially in terms of acceptable expression of hostile feelings among pupils and teachers.
Modes of Representing the Holocaust: a Discussion of the Use of Animation in Art Spiegelman's Maus and Oryl Yadin and Sylvie Bringas's Silence
Jessica Copley
Opticon1826 , 2010, DOI: 10.5334/opt.091003
Abstract: Since Theodor Adorno’s famous dictum that ‘to write poetry after Auschwitz is barbaric’, the issue of whether it is ethical to represent the Holocaust in art, and if so, the means by which it is ethical to do so, has constituted one of the major polemical discourses of our time. Prominent questions such as ‘Who has the right to try and represent the Holocaust?’, ‘How should we represent the Holocaust?’ and ‘How can we address the issue of responsibility in a post-war world?’ have motivated artistic representations and the critics who discuss these representations. In this essay, I aim to consider the success of two works which employ the somewhat controversial format of animation in dealing with aspects of testimony, trauma, language and responsibility. The first, Art Spiegelman’s 1984 comic book strip Maus, anthropomorphised Germans into cats and Jews into mice in order to narrate events experienced by Spiegelman’s father, Vladek, during the war and the postbellum father-son relationship. Although Maus was initially criticised for its use of the comic book format, traditionally viewed as adolescent, it later went on to receive the Pulitzer Prize for its literary success and as such provided a benchmark for the potential of animated formats. The second, Orly Yadin and Sylvie Bringas’s 1998 animated short film Silence, combines two styles of animation and a small amount of archival footage to tell the story of Tana Ross, a child survivor of Theresienstadt (Terezin) who, hidden by her grandmother during the war, escaped Auschwitz.
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