Humorous Relations: Attentiveness,pleasure and risk

Abstract

This article focuses on the structures of humor and joke telling that require particular kinds of attentiveness and particular relationships between speaker and audience, or more specifically, between classmates. First, I will analyze the pedagogical and relational preconditions that are necessary for humor to work. If humor is to work well, the person engaging in humor needs to gauge their interlocutors carefully. I discuss, too, the kinds of listening necessary for listening for the joke, including attentiveness to complex possibilities for meaning. This attentiveness to complexity is linked to curiosity and a willingness to be startled, two qualities that are central to the risk and pleasure of learning discussed by Socrates and Maria Lugones. Examining the place of risk in Socrates’ teaching and the place of serious play in Maria Lugones’ discussion of difference, I suggest that humor can help to illuminate complicities and invite more robust interactions with difference, creating pleasurable encounters to work through difficult social divisions.     

“幽默”中的语用礼貌原则

“幽默”作为语言交际的重要手段,在社会交往中起着重要的作用。礼貌原则作为人际交往所遵循的重要原则,“幽默”与其存在密切的关系。本文将对其展开深入的论述,一方面讨论“幽默”中如何体现礼貌原则的若干准则;另一方面分析如何运用“幽默”来弥补礼貌原则的一些不足。     

‘We need a committee for men's rights’: reactions of male and female viewers to reverse gender discrimination in Korean comedy

This study investigates the ideological implications of Nambowon (‘the Committee for Men's Rights’), one of the most popular sketches in a live comedy series entitled Gag Concert in Korea. The sketch humorously criticizes women who take advantage of men in various situations and always ends with a funny slogan demanding equal rights for men and the end of reverse gender discrimination. We treat Nambowon not as an idiosyncratic text but as part of Korean television programs that portray the rising social status of women as well as gender differences. Previous studies of gender and comedy have typically focused on textual meanings, and relatively little work exists to explain the audience's reception. Thus, we explore why audiences enjoy the show and whether and why there are differences in the reactions of male and female viewers to the portrayal of gender in Nambowon.     

左琴科幽默艺术理论探析

左琴科的幽默艺术理论,阐明了社会主义社会对幽默讽刺的客观要求,揭示了幽默学的社会作用,指出了幽默学的创作源泉与动力,因而奠定了左琴科“开创苏联幽默散的先驱”的地位。     

合作原则的违反与幽默的产生

幽默是一种语言艺术，其产生的原因很多。本文通过举例分析，从语用学角度，探讨了说话者在会话中因违反“合作原则”而产生的幽默效果。     

概念整合对幽默言语的阐释力

本文从认知的角度,利用概念整合网络及图表形式清晰地将幽默效果的获取这一动态的过程呈现出来,一方面丰富了国内关于幽默言语的研究,有助于人们对幽默言语的欣赏,另一方面也有助于人们对概念整合相对于概念隐喻理论的优势的了解。     

美国黑色幽默小说成因及其现实意义管窥

黑色幽默小说作为一种具有美国特色的独特的文化现象,其成因纷繁复杂。文章从存在主义哲学的影响力、战争的破坏力以及高新科技的奴役力三个“合力”方面较为全面地论述了黑色幽默小说的成因及其现实意义,以期能引起人们对该小说流派研究的更加重视。     

外语界幽默言语研究述评

幽默研究具有悠久的历史,从语言学的角度进行幽默研究也向来不乏代表作。对1999年至2008年4月间发表于国内10种外语类核心期刊上与幽默相关的35篇文章分析表明：试图使用单一的理论全面解释幽默言语是行不通的,多角度、多学科的合作将是幽默言语研究的大势所趋。     

概念合成理论对言语幽默生成的阐释

从认知的角度,利用概念合成理论较清晰地将言语幽默生成这一动态的过程呈现出来,一方面丰富了国内关于幽默言语的研究,有利于人们对幽默言语的理解。另一方面证明了概念合成理论对幽默的生成机制有很强的阐释力,同时也有助于人们对概念合成理解的进一步了解。     

《老友记》中的语言与文化——以《打牌记》为例

本文以《打牌记》为例，对其中一些难以理解或易被忽略的语言和文化现象进行解释，以帮助英语学习者更好地理解《老友记》中的双关、谚语等语言现象和涉及到的文化背景知识。