The Language of Comic Narratives: Humor Construction in by Ermida, Isabel
By Ermida, Isabel
The e-book bargains a entire account of ways humor works in brief tales, through proposing a version of narrative comedy that's pragmatically in addition to semantically, grammatically and stylistically trained. it's the first research to mix a sequential research of the comedian brief tale with a hierarchical one, merging jointly horizontal and vertical narratological views in a scientific approach. The e-book covers the most parts of linguistic research and is intentionally interdisciplinary, utilizing enter from philosophy, sociology and psychology which will comment on the character, motivations and services of humor as a cognitive phenomenon in a social context. Crucially, The Language of comedian Narratives combines a scholarly technique with a cautious clarification of keywords and ideas, making it available to researchers and scholars, in addition to non-specialists. furthermore, it stories a wide diversity of historic severe info through analyzing the resource texts, and it offers many funny examples, from jokes to extracts from comedian narratives. hence, it seeks to anchor concept in particular texts, and likewise to teach that many linguistic mechanisms of humor are universal to jokes and longer, literary comedian narratives. The ebook assessments the version of funny narratives on a collection of comedian brief tales through British and American writers, starting from Evelyn Waugh and Dorothy Parker, via Graham Greene and Corey Ford, to David inn and Woody Allen. The validity of the version is proven via a next dialogue of obvious counter-examples.
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Additional resources for The Language of Comic Narratives: Humor Construction in Short Stories (Humor Research)
Besides, it raises such questions as the essential characteristics of the humorous phenomenon, the elements which it comprises, the situations where it occurs, and the various levels at which it functions. Let us begin with a basic characteristic of, or condition for, humor, namely its human character. Aristotle’s maxim – “Laughter is natural to man,” or, as medieval scholastics would phrase it, Risus proprium hominis – has met with little opposition, but there are a few critical voices to point out.
The former has a structural and emotional structure that allows him/her to understand and enjoy humor; whereas the latter possesses certain describable attributes that make it risible. ” Therefore, he adds (1985: 16), humor scholars should ﬁrst devise an ‘idealized community of speakers and hearers of humor’, in Chomsky’s vein, and only then should they set out to attempt an explanation of individual variation. What is the recipient of the humorous act like, then? Or, who is supposed to do the laughing – and why?
Must not let his jesting become buffoonery or mere mimicking. (cf. ) It should be noted that Cicero defends a combination which would today be morally unacceptable: on the one hand, he defends elegance, respect and good manners; on the other, he tacitly supports the legitimacy of laughing at other people’s physical problems. This is indeed an impossible combination by today’s moral standards. According to Graf (1997: 31), deformity and disgrace constituted, in the Greek context, a legitimate motif of mockery, because they stood for the low and marginalised (or deviated) social classes.