DOCSLIB.ORG

Intercultural Communication and the Essence of Humour

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Intercultural Communication and the Essence of Humour View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Utsunomiya University Academic Information Repository 宇都宮大学国際学部研究論集 200, 第29号, 23−34 23 Intercultural communication and the essence of humour Remann Andrew Introduction large amount of insight into understanding a particular A major focus of studies in intercultural language group’s culture, communication styles, communication deals with developing awareness strategies and perspectives. of how language and culture function and interact In cross cultural communication, humour is within mutually recognizable, global or universal often used as a powerful speech act for breaking the environments. Cross cultural communication requires ice, building relationships or diffusing a difficult awareness of the assumptions one makes as well as situation. However, universal, the idea of “funny” is awareness of the assumptions and expectations of rarely translatable and is highly personal, context and others. Generally, the basic assumptions essential to culture specific. As a result many jokes, sarcastic or normal communication are underlying and hidden. ironical remarks which may be deeply tied to culture Gudykunst and Kim (2003) note that as a result of are often unperceived, misunderstood or offensive. the covert nature of cultural assumptions they are This presentation will explore examples of humour taken for granted and therefore difficult to explain. in communication and describe ways in which they An observable example of cultural assumptions in may be applied to the EFL classroom, used to bridge practice involves speech acts or communicative cultures and work as a mutual communication strategy. situations and rituals. Speech acts are words or The first section will provide background on various phrases that accompany social situations to facilitate methods, mediums and styles of humour as well as communication. Culturally universal speech acts such several case studies and examples from Japan, U.K. as greeting or thanking, are for the most part easy to Canada and America. The final section will report on a translate and understand, as these exist in most cultures survey of Japanese University student’s perceptions of and languages. However there are many cases in which “funny” by analysing and ranking several examples communicative situations are unique or culture specific of humour from a selection of international film and and are difficult to interpret or transfer. These acts do television media. In conclusion the factors effecting not cross over as there may not be a corresponding the success or failure of humour in interpersonal and situation in the target language or culture. High intercultural settings will be clarified. context languages such as Japanese, which rely heavily on shared knowledge and relationships for Introduction and Relevance to Intercultural communication and negotiation of meaning have Communication many such conventions (Hall 1976). Some examples Although laughter is a universal neurological include the expressions宜しくyoroshiku, お疲れ様 event, what makes us laugh is dependent on many otsukaresama or the procedures of 告白kokuhaku. variables and therefore problematic to quantify, These are strong relationship building devices which generalise or explain in relations to humour. Humour are virtually impossible to translate into English as the may produce other reactions besides laughter and equivalent social situations do not exist. Decoding the laughter may not always be a sign of amusement. The dynamics behind various speech acts can provide a challenge of understanding this has been the endless 24 Remann Andrew quest of many including jesters, bards, entertainers, can become embarrassing, nonsensical, inappropriate, writers, comedians, sociologists, psychologists, offensive or plain meaningless. As stated by Immanuel philosophers and linguists. There are three basic Kant "Laughter is an effect that arises if a tense theories of humour which highlight the social, expectation is transformed into nothing." Whether psychological and philosophical influences. These or not expectations can be managed or light hearted include; Incongruity theory, Superiority theory and and playful intended utterances are indeed perceived Relief theory. as such, is the key to instilling laughter. Of crucial ・Incongruity theory sees humour as a response importance is the understanding and awareness of or reaction to ambiguity, logical impossibility, context. This affects all other variables and essentially irrelevance, or inappropriateness. Such determines the fate of any humorous endeavours. cognitive shift humour is most associated Awareness of context includes knowing your with philosophers Immanuel Kant and audience, being sensitive to both cultural and personal Søren Kierkegaard. This type of humour is taboos, values and perspectives as well as a basic characteristic of the typical joke formula sense of appropriateness. Timing is a factor of this and which establishes a belief, provides confirming requires understanding of language, degree of shared evidence and then breaks from that train of background knowledge, sensitivity to environment thought by proving that the original premise was and advanced discourse awareness. Intent is also indeed false. crucial as it is often veiled and may well be part of the ・Superiority theory, initially developed by humour. How intent is interpreted will determine the Plato and Aristotle, emphasizes the aggressive reception of humour. A harmless joke, a witty remark, feelings that fuel humour and states that humour an interesting anecdote, a sarcastic comment or a sharp arises from a thrill or euphoria created when insult can originate from the same utterance however feeling supremacy over others. This type of the consequences will vary greatly depending on the humour would likely involve belittling a peer, audience’s reception and interpretation. If one is not in satire, sarcasm empathizing with a fool or jester. tune with the audience or the context, a well intended ・Relief theory, which is most associated with ice breaker could backfire as a searing rebuke. In this Freud, views humour as a basic method regard, especially in cases of cross cultural discourse, for releasing negative energy or feelings of careful consideration of time, place and occasion repression. This would include any type of light conventions is essential. Within these communication hearted and frivolous humour such as sight styles and politeness strategies, social distance, degree gags, clown antics or simple word play. of formality and basic etiquette all play important Trying to determine the essence behind humour has roles. “Men show their character in nothing more vast implications for understanding language and clearly than by what they think laughable.” Johann communication strategies, psychology and cognitive Wolfgang von Goethe. processes as well as social, personal or cultural For humour to be successfully understood and values, beliefs, attitudes and perspectives. The key enjoyed across the cultural divide; not only must to understanding these processes and conventions the purveyor be aware of the previously mentioned on either a personal or social level requires a deeper social conventions, but also adept at communication, consideration of the structure and method of humour in selecting content, sensing an opportunity and spinning a particular context, timing and intent. Most attempts at a good yarn (story). This skill is typically referred to humour fail because one or more of these elements are as a “sense of humour”. A sense of humour also either; misinterpreted, ignored or too ambiguous. As requires being able to forgo logical conclusions and a result an otherwise amusing quip, joke or anecdote abandon your belief system or reliance on common Intercultural communication and the essence of humour 25 sense. Most humour depends on shared knowledge and variety shows, scatological referencing, irony, sarcasm background, however, in intercultural situations this is or the ubiquitous and formulaic logic bending joke. usually the one element that is missing and the cause The following will highlight some relevant examples of most cultural conundrums and misunderstandings. of humour from Japan, Britain, America and Canada. In an analysis of various types of humour, Lee (1994) In Japan humour is governed by strong concluded that humour is the most challenging social conventions especially hierarchy, harmony, form of intercultural communication. Lee stated formality, context, membership and insider/shared that humour is a communicative situation in which perspectives. The protocols created by these social we must make new conventional rules that involve forces characterised as uchi内 (private) /soto外 explicitly discussing the cultural knowledge that we (public) and tatemae建前 (overt,formal)/hone本音 take for granted in the humorous message. However (covert, hidden) make it almost impossible for humour in most instances, this information is not stated as it is to be spontaneous or unexpected in a natural setting. often an essential part of the humour itself. Types of Although Japanese are very humorous, fun loving humour which are deeply rooted in culture, linguistic people and not significantly different from any other knowledge or “insider” perspectives usually fail group in regard to enjoying laughter; the time, place to cross over the cultural abyss. Most universally and acceptability for uncontrolled outbursts is carefully
Load more

Recommended publications
  • Jim Tfijpatpr Iewpttiitg Fjpralji FRENCH, NAZIS DECIDE TO
    f:-?' LOCAL STOftES WILL BE OPEN UNTIL 9 O’CLOCK TONIGHT AVBBAOB DAILT COOCLAnON tm Um Month at Oetobw, IMS THE WEATHER Fmeoast of D. & Weethe 6.201 Bartfnrd et Uw A ein Jimtfijpatpr iEwpttiitg fJpralJi CSoody and oaldar Tbnnday wllli nla ehnagliig to ■now tonight. MANCHESTER - A CITY OF VH.LAGE CHAK^l V0L.LVm.,N0.46 Advertising sa Pag# U) MANCHESTER, CONN., WEDNESDAY, NOVEMBER'S. 1938 (FOURTEEN PAGES) PRICE niR E E CENT8 > There’s Strike Here Despite All This Work KEMP JURY SWORN STOCK YARDS , n TRADE STANDS FRENCH, NAZIS DECIDE . IN TH 0U(ai HEALTH SULL IN. ROW ; TO SETTLE DISPUTES OF TWO DOUBTFUL No Uvestock Comes Into 4^ •TNCUBATOR- BABIES OAOT Judge McEvoy AnBomices IN THEIR FIGHT TO LIVE Open Market In Hurd Day FUTURE BY TALKS Decision To Allow Ques- BufiTalo, N. T.. Nov. 2S:-(AP) Of Strike Of 575 CJ.0. 'Incubator" babies greedUy drnnk "eye drop* MEMBERS o r CONGRESS S tioned Veniremen To Take toOay and gained Umon Yard Employes. TO GET SMOOTHER RIDE Cbamberiam And RbSCki;; strength In their l.OOO to one IBRITISH TOLD ; fight to live. Washington, Nov. 23.—(A P)_ Seats Before Trial Starts Ju st » week old. the twins, s Members of the next Congress Chicago, Nov. 28.—(A P)—Live- are going to get a smoother ride Arriye In Paris So« All-! **®y b o r a t h r e e OF CENSORING tf stock trading In the Chicago union on "toe smallest railroad In toe months prematurely to Mrs. James L. Wylde.
    [Show full text]
  • Teaching Shakespeare: Text Clues 101
    Teaching Romeo and Juliet Workshop Saturday, October 26, 2019 Instructor: Kevin Long Teaching Shakespeare: Text Clues 101 ...everyone according to his cue. A Midsummer Night’s Dream Definitions Know exactly what you are saying at all times. Use the Lexicons, Shakespeare’s Words, Shakespeare A to Z, Shakespeare’s Bawdy, and footnotes. Anoint two dueling “Lexicon Masters” each day. Make dictionary work COOL! Verse & Prose Shakespeare is about 75% verse (poetic line form) and 25% prose form. The form of writing might indicate a clue as to the type of character you are playing. Prose is sometimes an indication that the character might be of a lower class, comic or mad, while verse might indicate that your character is of higher class, intelligent, clever, etc. Pay particular attention to when a character switches from poetry to prose and visa versa. This is a major clue from Shakespeare. Verse PRINCE And for that offence Immediately we do exile him hence. I have an interest in your hearts’ proceeding: My blood for your rude brawls doth lie a-bleeding; But I’ll amerce you with so strong a fine That you shall all repent the loss of mine. I will be deaf to pleading and excuses, Nor tears nor prayers shall purchase out abuses: Therefore use none. Let Romeo hence in haste, Else, when he is found, that hour is his last. Bear hence this body, and attend our will: Mercy but murders, pardoning those that kill. Romeo and Juliet, Act 3, scene 1 Prose NURSE Well, you have made a simple choice, you know not how to choose a man: Romeo? no, not he; though his face be better than any man’s, yet his leg excels all men’s, and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare.
    [Show full text]
  • 'Rather Life': Promoting Dada and Surrealism
    Dada and Surrealism: A Very Short Introduction Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in more than 25 languages worldwide. The series began in 1995, and now represents a wide variety of topics in history, philosophy, religion, science, and the humanities. Over the next few years it will grow to a library of around 200 volumes – a Very Short Introduction to everything from ancient Egypt and Indian philosophy to conceptual art and cosmology. Very Short Introductions available now: ANCIENT PHILOSOPHY Continental Philosophy Julia Annas Simon Critchley THE ANGLO-SAXON AGE COSMOLOGY Peter Coles John Blair CRYPTOGRAPHY ANIMAL RIGHTS David DeGrazia Fred Piper and Sean Murphy ARCHAEOLOGY Paul Bahn DADA AND SURREALISM ARCHITECTURE David Hopkins Andrew Ballantyne Darwin Jonathan Howard ARISTOTLE Jonathan Barnes Democracy Bernard Crick ART HISTORY Dana Arnold DESCARTES Tom Sorell ART THEORY Cynthia Freeland DRUGS Leslie Iversen THE HISTORY OF THE EARTH Martin Redfern ASTRONOMY Michael Hoskin EGYPTIAN MYTHOLOGY Atheism Julian Baggini Geraldine Pinch Augustine Henry Chadwick EIGHTEENTH-CENTURY BARTHES Jonathan Culler BRITAIN Paul Langford THE BIBLE John Riches THE ELEMENTS Philip Ball BRITISH POLITICS EMOTION Dylan Evans Anthony Wright EMPIRE Stephen Howe Buddha Michael Carrithers ENGELS Terrell Carver BUDDHISM Damien Keown Ethics Simon Blackburn CAPITALISM James Fulcher The European Union THE CELTS Barry Cunliffe John Pinder CHOICE THEORY EVOLUTION Michael Allingham Brian and Deborah Charlesworth CHRISTIAN ART Beth Williamson FASCISM Kevin Passmore CLASSICS Mary Beard and THE FRENCH REVOLUTION John Henderson William Doyle CLAUSEWITZ Michael Howard Freud Anthony Storr THE COLD WAR Galileo Stillman Drake Robert McMahon Gandhi Bhikhu Parekh GLOBALIZATION PLATO Julia Annas Manfred Steger POLITICS Kenneth Minogue HEGEL Peter Singer POLITICAL PHILOSOPHY HEIDEGGER Michael Inwood David Miller HINDUISM Kim Knott POSTCOLONIALISM HISTORY John H.
    [Show full text]
  • Nocturnal Projections a Note on the Cinemas of Serbian Surrealism Krzysztof Fijalkowski
    Nocturnal Projections A Note on the Cinemas of Serbian Surrealism Krzysztof Fijalkowski urrealism’s encounter with flm Croats and Slovenes was in efect centred has prompted much research and exclusively on its capital Belgrade. What publication ever since studies such makes it unique among the history of Sas Ado Kyrou’s Le Surréalisme au cinema surrealist groups beyond France is that (1953) or Paul Hammond’s Te Shadow a number of its leading members were and its Shadow (1978), some of it of not only well-informed about activities excellent quality and extending the subject in the nascent Paris group well before into unexplored territories. But, so far as I its ofcial inauguration in 1924, but have been able to tell, among all of them would participate extensively in the there is a chapter of this story that remains latter’s activities, establishing lasting to be written: the importance of cinema friendships, signing the French group’s for the Serbian surrealist group, active tracts and contributing to publications between around 1923 and 1933 (a group such as La Révolution surréaliste (itself not that is indeed one of the best-kept secrets in fact the frst formal surrealist journal in the history of the movement) is missing since the Serbian periodical Svedočanstva from all of these accounts. Signifcantly, (Testimonies) was launched a week earlier this would be a narrative built of absences and only a month after Breton’s First and impossibilities. Lost flms, unflmed Manifesto). At its height – the group’s (unflmable) scripts, collages and writings greatest momentum was gained at the start that fgure a ‘cinema by other means’ of the 1930s – organised around a core of (Pavle Levi), flm criticism languishing in over a dozen poets, theorists, artists and the vaults of obscure libraries .
    [Show full text]
  • Daniel Goldmark, Lawrence Kramer, and Richard Leppert, Eds., Beyond the Soundtrack: Representing Music in Cinema
    Journal of Film Music 3.1 (2010) 95-97 ISSN (print) 1087-7142 doi:10.1558/jfm.v3i1.95 ISSN (online) 1758-860X Daniel Goldmark, Lawrence Kramer, and Richard Leppert, eds., Beyond the Soundtrack: Representing Music in Cinema Berkeley, Los Angeles, and London: University of California Press, 2007. [xiii, 324 pp. ISBN: 0520250703. $24.95 (trade paper)] Music examples, illustrations, figures, tables, filmography, bibliography, indices. MattHew Brown Eastman School of Music [email protected] ne of the most interesting developments over clear representational and expressive powers, whereas the past few years has been the emergence others insist that these powers are extremely limited.1 O of film music as a legitimate subject for The promise and the problems posed by film scholarly research. This move is an important one music are both on display in the recent set of essays not only because it acknowledges the significant role Beyond the Soundtrack: Representing Music in Cinema. The film music plays in contemporary culture, but also book collects sixteen papers delivered at a conference because it promises to foster exchanges between sponsored by the University of Minnesota in April experts in such diverse field as film studies, media/ 2004. Motivated by a desire to stop treating music cultural studies, aesthetics, historical musicology, “as a subordinate element” in films, this conference music theory, and music psychology. That being explored the ways in which films “conceptualize the case, the development has also shown just how music” and how they “position music and musicality problematic film music can be. Indeed, although as parts…of a fictional world” (p.
    [Show full text]
  • Ronnie Barker Authorised Biography Free
    FREE RONNIE BARKER AUTHORISED BIOGRAPHY PDF Bob McCabe | 272 pages | 28 Aug 2007 | Ebury Publishing | 9780563522461 | English | London, United Kingdom Ronnie Barker Authorised Biography by Bob McCabe - Penguin Books Australia Full of original contributions interviews and illustrations on one of the best-loved entertainers in showbiz. Ronnie Barker is one of the best-loved and most celebrated entertainers in British television history. As well as starring in the ever popular and Ronnie Barker Authorised Biography acclaimed sitcoms Porridge and Open All Hours, he was, of course, one of the bespectacled Two Ronnies, who topped the TV Charts for more than 15 years and are returning to our screens in spring A celebration of Ronnies life and career, published to coincide with Ronnies Ronnie Barker Authorised Biography birthday, this book contains original contributions from people who have worked with and know him best including John Cleese, David Jason who provides the forewordDavid Frost, Eric Idle, Michael Palin. Written with the full consent and collaboration of Ronnie himself, this biography is full of interviews and unseen personal illustrations from his own collection. Bob McCabe is a respected author and journalist and contributes regularly to film magazines and BBC radio arts programmes. He is the author of several books. Bob McCabe. Search books and authors. Ronnie Barker Authorised Biography. View all online retailers Find local retailers. Full Ronnie Barker Authorised Biography original contributions interviews and illustrations on one of the best-loved entertainers in showbiz Ronnie Barker is one of the best-loved and most celebrated entertainers in British television history. Also by Bob McCabe.
    [Show full text]
  • [Japan] SALA GIOCHI ARCADE 1000 Miglia
    SCHEDA NEW PLATINUM PI4 EDITION La seguente lista elenca la maggior parte dei titoli emulati dalla scheda NEW PLATINUM Pi4 (20.000). - I giochi per computer (Amiga, Commodore, Pc, etc) richiedono una tastiera per computer e talvolta un mouse USB da collegare alla console (in quanto tali sistemi funzionavano con mouse e tastiera). - I giochi che richiedono spinner (es. Arkanoid), volanti (giochi di corse), pistole (es. Duck Hunt) potrebbero non essere controllabili con joystick, ma richiedono periferiche ad hoc, al momento non configurabili. - I giochi che richiedono controller analogici (Playstation, Nintendo 64, etc etc) potrebbero non essere controllabili con plance a levetta singola, ma richiedono, appunto, un joypad con analogici (venduto separatamente). - Questo elenco è relativo alla scheda NEW PLATINUM EDITION basata su Raspberry Pi4. - Gli emulatori di sistemi 3D (Playstation, Nintendo64, Dreamcast) e PC (Amiga, Commodore) sono presenti SOLO nella NEW PLATINUM Pi4 e non sulle versioni Pi3 Plus e Gold. - Gli emulatori Atomiswave, Sega Naomi (Virtua Tennis, Virtua Striker, etc.) sono presenti SOLO nelle schede Pi4. - La versione PLUS Pi3B+ emula solo 550 titoli ARCADE, generati casualmente al momento dell'acquisto e non modificabile. Ultimo aggiornamento 2 Settembre 2020 NOME GIOCO EMULATORE 005 SALA GIOCHI ARCADE 1 On 1 Government [Japan] SALA GIOCHI ARCADE 1000 Miglia: Great 1000 Miles Rally SALA GIOCHI ARCADE 10-Yard Fight SALA GIOCHI ARCADE 18 Holes Pro Golf SALA GIOCHI ARCADE 1941: Counter Attack SALA GIOCHI ARCADE 1942 SALA GIOCHI ARCADE 1943 Kai: Midway Kaisen SALA GIOCHI ARCADE 1943: The Battle of Midway [Europe] SALA GIOCHI ARCADE 1944 : The Loop Master [USA] SALA GIOCHI ARCADE 1945k III SALA GIOCHI ARCADE 19XX : The War Against Destiny [USA] SALA GIOCHI ARCADE 2 On 2 Open Ice Challenge SALA GIOCHI ARCADE 4-D Warriors SALA GIOCHI ARCADE 64th.
    [Show full text]
  • Writing As Aesthetic in Modern and Contemporary Japanese-Language Literature
    At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2021 Reading Committee: Edward Mack, Chair Davinder Bhowmik Zev Handel Jeffrey Todd Knight Program Authorized to Offer Degree: Asian Languages and Literature ©Copyright 2021 Christopher J Lowy University of Washington Abstract At the Intersection of Script and Literature: Writing as Aesthetic in Modern and Contemporary Japanese-language Literature Christopher J Lowy Chair of the Supervisory Committee: Edward Mack Department of Asian Languages and Literature This dissertation examines the dynamic relationship between written language and literary fiction in modern and contemporary Japanese-language literature. I analyze how script and narration come together to function as a site of expression, and how they connect to questions of visuality, textuality, and materiality. Informed by work from the field of textual humanities, my project brings together new philological approaches to visual aspects of text in literature written in the Japanese script. Because research in English on the visual textuality of Japanese-language literature is scant, my work serves as a fundamental first-step in creating a new area of critical interest by establishing key terms and a general theoretical framework from which to approach the topic. Chapter One establishes the scope of my project and the vocabulary necessary for an analysis of script relative to narrative content; Chapter Two looks at one author’s relationship with written language; and Chapters Three and Four apply the concepts explored in Chapter One to a variety of modern and contemporary literary texts where script plays a central role.
    [Show full text]
  • Investor Information 2016（4.7MB）
    INVESTOR INFORMATION 2016 Connecting to the future Tokyo Broadcasting System Holdings, Inc. Consolidated Financial Highlights Net Sales Operating Income (Millions of Yen) (Millions of Yen) 354,338 346,538 352,351 347,817 348,539 17,179 16,188 15,696 15,728 12,162 12/3 13/3 14/3 15/3 16/3 12/3 13/3 14/3 15/3 16/3 Ordinary Income Prot Attributable to Owners of Parent (Millions of Yen) 22,678 (Millions of Yen) 18,915 14,497 18,096 17,671 12,811 11,671 14,313 9,173 9,644 12/3 13/3 14/3 15/3 16/3 12/3 13/3 14/3 15/3 16/3 Total Assets Total Net Assets (Millions of Yen) (Millions of Yen) 653,732 649,970 456,118 458,208 555,159 559,626 579,039 385,971 344,473 322,597 12/3 13/3 14/3 15/3 16/3 12/3 13/3 14/3 15/3 16/3 Contents 2 To Our Stakeholders 13 Major Indices 3 At a Glance 15 Segment Information 4 Organization 17 TBS Television 5 Corporate Data 20 Financial Data of Major Group Companies 6 Business Report 22 TBS Networks 9 Consolidated Financial Statements Financial Figures The nancial gures used in this report are those used in the Japanese ”Tanshin,” which has been created in accordance with the provisions set forth in the Japanese Financial Instruments and Exchange Act. Thus, all gures have been rounded down to the nearest million yen. Forward-Looking Statements This report contains forward-looking statements based on management’s assumptions and beliefs in light of the information currently available.
    [Show full text]
  • Discourse Types in Stand-Up Comedy Performances: an Example of Nigerian Stand-Up Comedy
    http://dx.doi.org/10.7592/EJHR2015.3.1.filani European Journal of Humour Research 3 (1) 41–60 www.europeanjournalofhumour.org Discourse types in stand-up comedy performances: an example of Nigerian stand-up comedy Ibukun Filani PhD student, Department of English, University of Ibadan [email protected] Abstract The primary focus of this paper is to apply Discourse Type theory to stand-up comedy. To achieve this, the study postulates two contexts in stand-up joking stories: context of the joke and context in the joke. The context of the joke, which is inflexible, embodies the collective beliefs of stand-up comedians and their audience, while the context in the joke, which is dynamic, is manifested by joking stories and it is made up of the joke utterance, participants in the joke and activity/situation in the joke. In any routine, the context of the joke interacts with the context in the joke and vice versa. For analytical purpose, the study derives data from the routines of male and female Nigerian stand-up comedians. The analysis reveals that stand-up comedians perform discourse types, which are specific communicative acts in the context of the joke, such as greeting/salutation, reporting and informing, which bifurcates into self- praising and self denigrating. Keywords: discourse types; stand-up comedy; contexts; jokes. 1. Introduction Humour and laughter have been described as cultural universal (Oring 2003). According to Schwarz (2010), humour represents a central aspect of everyday conversations and all humans participate in humorous speech and behaviour. This is why humour, together with its attendant effect- laughter, has been investigated in the field of linguistics and other disciplines such as philosophy, psychology, sociology and anthropology.
    [Show full text]
  • This Sporting Life: Sports and Body Culture in Modern Japan William W
    Yale University EliScholar – A Digital Platform for Scholarly Publishing at Yale CEAS Occasional Publication Series Council on East Asian Studies 2007 This Sporting Life: Sports and Body Culture in Modern Japan William W. Kelly Yale University Atsuo Sugimoto Kyoto University Follow this and additional works at: http://elischolar.library.yale.edu/ceas_publication_series Part of the Asian History Commons, Asian Studies Commons, Cultural History Commons, Japanese Studies Commons, Social and Cultural Anthropology Commons, and the Sports Studies Commons Recommended Citation Kelly, William W. and Sugimoto, Atsuo, "This Sporting Life: Sports and Body Culture in Modern Japan" (2007). CEAS Occasional Publication Series. Book 1. http://elischolar.library.yale.edu/ceas_publication_series/1 This Book is brought to you for free and open access by the Council on East Asian Studies at EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in CEAS Occasional Publication Series by an authorized administrator of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. This Sporting Life Sports and Body Culture in Modern Japan j u % g b Edited by William W. KELLY With SUGIMOTO Atsuo YALE CEAS OCCASIONAL PUBLICATIONS VOLUME 1 This Sporting Life Sports and Body Culture in Modern Japan yale ceas occasional publications volume 1 © 2007 Council on East Asian Studies, Yale University All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permis- sion. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
    [Show full text]
  • When the Margin Cries: Surrealism in Yugoslavia
    Sanja Bahun-Radunovic When the Margin Cries: Surrealism in Yugoslavia HE CURRENT GEOPOLITICAL REDEFINING of the notions of the center and the margin accelerated rediscovery of “minor” Tcultures. The study of their import and influences, however, remains largely focused upon the post-Second World War period. Yet, it was precisely modernist apprehensiveness of fixed structures that initiated a subversion of these geo-cultural categories. Nowhere was the urge to restructure geopolitical hierarchies felt more powerfully than in the avant-garde. The geographic effect of this principle was an emphatic internationalization of the avant-garde activity and the establishment of multifaceted relations between the avant-garde “centers” (Paris, Berlin, New York, Moscow) and their counterparts in the cultural “periphery” (Buenos Aires, Athens, Bucharest, Cairo). These unique cross-cultural dialogues fermented in surrealism. Even though Paris served as an indisputable (if self-assigned) center, this site of desire was, quite “surrealistically”, infused and indeed formed by the periphery. We have discovered many loci of the “centripetal” surrealist forces and the literature on, for instance, Brazilian, German, or even Egyptian surrealism abounds. Yet, one surrealist grouping seems to have escaped the record: apart form a brief mentioning in several most comprehensive books, the Yugoslav surrealists have hardly received any critical attention outside their own country1. At the same time, the Belgrade 1 Maurice Nadeau’s classical Histoire du surréalisme suivie de documents surréalistes (Nadeau 1945) mentions the Belgrade Circle only parenthetically. Gérard Durozoi’s Le surréalisme (2002), even though criticizing Nadeau’s book for failing to account for the global spread of the movement, does not escort much more attention to the Serbian BAHUN-RADUNOVIC Sanja, «When the Margin Cries: Surrealism in Yugoslavia», RiLUnE, n.
    [Show full text]