Tell Us a Joke Challenge Instructions
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Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories PAUL A. CRUTCHER DAPTATIONS OF GRAPHIC NOVELS AND COMICS FOR MAJOR MOTION pictures, TV programs, and video games in just the last five Ayears are certainly compelling, and include the X-Men, Wol- verine, Hulk, Punisher, Iron Man, Spiderman, Batman, Superman, Watchmen, 300, 30 Days of Night, Wanted, The Surrogates, Kick-Ass, The Losers, Scott Pilgrim vs. the World, and more. Nevertheless, how many of the people consuming those products would visit a comic book shop, understand comics and graphic novels as sophisticated, see them as valid and significant for serious criticism and scholarship, or prefer or appreciate the medium over these film, TV, and game adaptations? Similarly, in what ways is the medium complex according to its ad- vocates, and in what ways do we see that complexity in Batman graphic novels? Recent and seminal work done to validate the comics and graphic novel medium includes Rocco Versaci’s This Book Contains Graphic Language, Scott McCloud’s Understanding Comics, and Douglas Wolk’s Reading Comics. Arguments from these and other scholars and writers suggest that significant graphic novels about the Batman, one of the most popular and iconic characters ever produced—including Frank Miller, Klaus Janson, and Lynn Varley’s Dark Knight Returns, Grant Morrison and Dave McKean’s Arkham Asylum, and Alan Moore and Brian Bolland’s Killing Joke—can provide unique complexity not found in prose-based novels and traditional films. The Journal of Popular Culture, Vol. 44, No. 1, 2011 r 2011, Wiley Periodicals, Inc. -
Humor & Classical Music
Humor & Classical Music June 29, 2020 Humor & Classical Music ● Check the Tech ● Introductions ● Humor ○ Why, When, How? ○ Historic examples ○ Oddities ○ Wrap-Up Check the Tech ● Everything working? See and hear? ● Links in the chat ● Zoom Etiquette ○ We are recording! Need to step out? Please stop video. ○ Consider SPEAKER VIEW option. ○ Please remain muted to reduce background noise. ○ Questions? Yes! In the chat, please. ○ We will have Q&A at the end. Glad you are here tonight! ● Steve Kurr ○ Middleton HS Orchestra Teacher ○ Founding Conductor - Middleton Community Orchestra ○ M.M. and doctoral work in Musicology from UW-Madison ■ Specialties in Classic Period and Orchestra Conducting ○ Continuing Ed course through UW for almost 25 years ○ Taught courses in Humor/Music and also performed it. WHAT makes humorous music so compelling? Music Emotion with a side order of analytical thinking. Humor Analytical thinking with a side order of emotion. WHY make something in music funny? 1. PARODY for humorous effect 2. PARODY for ridicule [tends toward satire] 3. Part of a humorous GENRE We will identify the WHY in each of our examples tonight. HOW is something in music made funny? MUSIC ITSELF and/or EXTRAMUSICAL ● LEVEL I: Surface ● LEVEL II: Intermediate ● LEVEL III: Deep We will identify the levels in each of our examples tonight. WHEN is something in music funny? ● Broken Expectations ● Verisimilitude ● Context Historic Examples: Our 6 Time Periods ● Medieval & Renaissance & Baroque ○ Church was primary venue, so humor had limits (Almost exclusively secular). ● Classic ○ Music was based on conventions, and exploration of those became the humor of the time. ● Romantic ○ Humor was not the prevailing emotion explored--mainly used in novelties. -
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European Journal of Humour Research 5 (3) 108–111 www.europeanjournalofhumour.org Book review Quirk, S. (2015). Why Stand-Up Comedy Matters. How Comedians Manipulate and Influence. London and New York: Bloomsbury. 248 pages. As the title and introduction explain, Sophie Quirk’s monograph sets out to investigate the reasons and ways comedians manipulate and influence their audience. The term manipulation, however, should be considered apart from its often negative connotations and should be interpreted as the comedian’s attempt to skilfully communicate with their audience, elicit laughter, and, most importantly in this case, influence their beliefs, attitudes, and behaviour (see p. 2). With these premises, Quirk explores instances of stand-up comedy including some interaction between mainly well-known British comedians (e.g. Eddie Izzard, Stewart Lee, Josie Long) and their audience. She also interviews some of these performers so as to gain a first-hand understanding of the comedians’ performing experience. The book is divided into three main sections, which are well balanced in terms of structural organisation of the topic at hand. Part I comprises of two chapters in which Quirk explains how comedians manipulate and control their audience by, for instance, eliciting laughter at the right time. Drawing on Schopenhauer (1987), Freud (1957), and Douglas (1999), Quirk provides a sound overview of joking in relation to laughter, superiority, relief, incongruity, and challenge. She concludes that: Joking is always part of an ongoing negotiation through which current thought and practices are challenged and tested. Some challenges are gentle and leave their targets in tact [sic]; others are dangerous. -
A Hip-Hop Copying Paradigm for All of Us
Pace University DigitalCommons@Pace Pace Law Faculty Publications School of Law 2011 No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson Jr. Elisabeth Haub School of Law at Pace University Follow this and additional works at: https://digitalcommons.pace.edu/lawfaculty Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Horace E. Anderson, Jr., No Bitin’ Allowed: A Hip-Hop Copying Paradigm for All of Us, 20 Tex. Intell. Prop. L.J. 115 (2011), http://digitalcommons.pace.edu/lawfaculty/818/. This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Law Faculty Publications by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. No Bitin' Allowed: A Hip-Hop Copying Paradigm for All of Us Horace E. Anderson, Jr: I. History and Purpose of Copyright Act's Regulation of Copying ..................................................................................... 119 II. Impact of Technology ................................................................... 126 A. The Act of Copying and Attitudes Toward Copying ........... 126 B. Suggestions from the Literature for Bridging the Gap ......... 127 III. Potential Influence of Norms-Based Approaches to Regulation of Copying ................................................................. 129 IV. The Hip-Hop Imitation Paradigm ............................................... -
Blob and Its Audience: Making Sense of Meta- Television
MEDIA@LSE MSc Dissertation Series Compiled by Dr. Bart Cammaerts, Dr. Nick Anstead and Ruth Garland Blob and its audience: making sense of meta- television Giulia Previato, MSc in Media and Communications Other dissertations of the series are available online here: http://www.lse.ac.uk/media@lse/research/mediaWorkingPapers /ElectronicMScDissertationSeries.aspx Dissertation submitted to the Department of Media and Communications, London School of Economics and Political Science, August 2013, in partial fulfilment of the requirements for the MSc in Media, Communication and Development. Supervised by Dr Pollyanna Ruiz The Author can be contacted at: [email protected] Published by Media@LSE, London School of Economics and Political Science ("LSE"), Houghton Street, London WC2A 2AE. The LSE is a School of the University of London. It is a Charity and is incorporated in England as a company limited by guarantee under the Companies Act (Reg number 70527). Copyright in editorial matter, LSE © 2014 Copyright, Giulia Previato © 2014. The authors have asserted their moral rights. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the publisher nor be issued to the public or circulated in any form of binding or cover other than that in which it is published. In the interests of providing a free flow of debate, views expressed in this dissertation are not necessarily those of the compilers or the LSE. MSc Dissertation of Giulia Previato Blob and its audience: Making sense of meta-television Giulia Previato ABSTRACT This dissertation deals with the audience’s interpretations of Blob, an Italian satirical and meta-televisual programme. -
THIS ISSUE: Comedy
2014-2015 September ISSUE 1 scene. THE JOURNAL OF THE INTERNATIONAL SCHOOLS THEATRE ASSOCIATION THIS ISSUE: Comedy www.ista.co.uk WHO’S WHO @ ISTA… CONTENTS Patron 2 Connections Professor Jonothan Neelands, by Rebecca Kohler National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education 3 Comedy d’un jour and Chair of Creative Education in the Warwick Business School (WBS) at the University of by Francois Zanini Warwick. 4 Learning through humour Board of trustees by Mike Pasternak Iain Stirling (chair), Scotland Formerly Superintendent, Advanced Learning Schools, Riyadh. Recently retired. 8 Desperately seeking the laughs Jen Tickle (vice chair), Jamaica by Peter Michael Marino Head of Visual & Performing Arts and Theory of Knowledge at The Hillel Academy, Jamaica. 9 “Chou” – the comic actor in Chinese opera Dinos Aristidou, UK by Chris Ng Freelance writer, director, consultant. 11 Directing comedy Alan Hayes, Belgium by Sacha Kyle Theatre teacher International School Brussels. Sherri Sutton, Switzerland 12 Videotape everything, change and be Comic, director and chief examiner for IB DP Theatre. Theatre teacher at La Chataigneraie. grateful Jess Thorpe, Scotland by Dorothy Bishop Co Artistic Director of Glas(s) Performance and award winning young people’s company 13 Seriously funny Junction 25. Visiting. Lecturer in the Arts in Social Justice at the Royal Conservatoire of Scotland. by Stephen Finegold Honorary life members 15 How I got the best job in the world! Dinos Aristidou, UK Being a clown, being a -
English Christmas Pantomime: Theatre Or Community Activism
Journal of Literature and Art Studies, July 2016, Vol. 6, No. 7, 804-810 doi: 10.17265/2159-5836/2016.07.011 D DAVID PUBLISHING English Christmas Pantomime: Theatre or Community Activism Pete Reader, MFA Seton Hall University, South Orange, NJ, USA How is English Christmas panto community activism? The structure of pantomime has not changed in a hundred years, but allows for local creativity to work within its framework to be both family entertainment and social satire. This basic structure is founded on a children’s story like Puss’n’boots or Cinderella. The story and character types remain the same; but the community can add their own jokes and commentary to make the play relevant to themselves and their community. What is added by the community says a lot about who they are and what they care about. The company Price-Waterhouse-Coopers produces their pantomime as management training and team building while engaging the community. The Basel Swiss panto raises money for African Charities. The Maplewood, NJ panto raises money for the homeless and the Jaguar Charity panto in Birmingham performs to disadvantaged children and adults. The productions can be extravagant or threadbare, but share the same goal of raising cheer and goodwill to the benefit of the community. What is it, then, about panto that brings a community together in such civic mindedness? Keywords: English Christmas pantomine, community engagement, theatre, activism Historical Overview English Christmas Pantomime is an odd form of theatre that serves as a vehicle for local communities to come together, in a form of civic activism, to present plays for the benefit of the community and local charities. -
Humor in Language
Humor in Language Oxford Research Encyclopedia of Linguistics Humor in Language Salvatore Attardo Subject: Applied Linguistics, Cognitive Science, Pragmatics, Semantics, Sociolinguistics Online Publication Date: Mar 2017 DOI: 10.1093/acrefore/9780199384655.013.342 Summary and Keywords Interest in the linguistics of humor is widespread and dates since classical times. Several theoretical models have been proposed to describe and explain the function of humor in language. The most widely adopted one, the semantic-script theory of humor, was presented by Victor Raskin, in 1985. Its expansion, to incorporate a broader gamut of information, is known as the General Theory of Verbal Humor. Other approaches are emerging, especially in cognitive and corpus linguistics. Within applied linguistics, the predominant approach is analysis of conversation and discourse, with a focus on the disparate functions of humor in conversation. Speakers may use humor pro-socially, to build in-group solidarity, or anti-socially, to exclude and denigrate the targets of the humor. Most of the research has focused on how humor is co-constructed and used among friends, and how speakers support it. Increasingly, corpus-supported research is beginning to reshape the field, introducing quantitative concerns, as well as multimodal data and analyses. Overall, the linguistics of humor is a dynamic and rapidly changing field. Keywords: humor, smiling, laughter, irony, sarcasm, GTVH, joke, jab-line, punch line 1. Humor in Language Scholarly research on humor goes back to Plato and Aristotle and extends to practically all fields of inquiry, including mathematics and medicine. There exist several scholarly societies for the study of humor, and numerous journals and book series are dedicated entirely to humor research. -
Defamatory Humor and Incongruity's Promise
JUST A JOKE: DEFAMATORY HUMOR AND INCONGRUITY’S PROMISE LAURA E. LITTLE* Can’t take a joke, eh? A little levity is good for body, mind, and soul, y’know. Suing over THAT little schoolyard jab? I say you’re either “thin- skinned or a self-important prig . .”1 I. INTRODUCTION At what point does a joke become a legal wrong, justifying resort to defamation law? And at what point must a lawyer tell his or her client to steer clear of humor—or at least keep jokes focused exclusively on public figures, officials, and matters of clear public interest? The challenge of drawing the line between protecting and restricting humor has dogged United States courts for years. And what a difficult line it is to chart! First, the line must navigate a stark value clash: the right of individuals and groups to be free from attack on their property, dignity, and honor versus the right of individuals to free expression. To make matters more complicated—in fact, much more complicated—the line must not only account for, but also respect, the artistry of comedy and its beneficial contributions to society. In regulating defamation, American courts deploy a familiar concept for navigating the line between respecting humor and protecting individual * Copyright 2012 held by Laura E. Little, Professor of Law, Temple University’s Beasley School of Law; B.A. 1979, University of Pennsylvania; J.D. 1985 Temple University School of Law. I am grateful for the excellent research assistance of Theresa Hearn, Alice Ko, and Jacob Nemon, as well as the helpful comments of my colleague Professor Jaya Ramji-Nogales. -
Stand-Up Comedy and Open Mike Nights
____________________________________________________________________ STAND-UP COMEDY AND OPEN MIKE NIGHTS By Steve North, the Comedy Coach _____________________________________________________________________ If you’re trying to get going in standup comedy, open mike nights can be the only early option. Navigating them and doing what works can be tricky, depressing, or sometimes exhilarating and a learning experience. But let’s start with a truth here. Stand up comedy is about the only skill that people jump up on stage to “give it a try” or to “learn.” If you were learning to play the piano, would you go to bars, jump up in front of audiences and start banging on the piano in front of them? Probably not. So first thing, get yourself trained somehow. Not all classes are good, and many teachers don’t know how to teach too well, but you’re still better off learning in a safer environment. Unfortunately, doing an open mike night can be like test driving a racing car on a rutted cracked unmarked race track – many techniques that work in an open mike night would bomb in a real comedy club environment. That said, many will go to open mikes anyway, so here are the goods, bads, and some tips: BAD. So many open mikers use blue words and material so often that the audience becomes de- sensitized, and it makes material that would normally work fine just seem like a boy- scout in a sex club. Women’s material seems to revolve around their vaginas and periods, and it’s hard to find an open miker male who doesn’t use his dick in almost every piece of comedy material. -
Stand-Up Comedy Performance and the Management of Hecklers
“Joke’s on You!”: Stand-up Comedy Performance and the Management of Hecklers *****ABSTRACT***** Stand-up comedy performance provides a space for audiences to experience collective effervescence. The biggest challenge to that effervescence is the heckler, and the ways in which comedians deal with hecklers underscore cultural understandings of what is or is not funny. I explore stand-up comedy shows on various levels to understand different forms of heckling and strategies for managing disruption through Michael Reay’s work on the social origins of humor and Jeffrey Alexander’s cultural pragmatics model. After explicating these theoretical models in relation to stand-up comedy, examples from live performances in Philadelphia and Boston, as well as selections from televised comedy performances, are used to examine heckling incidents and identify the advantages and risks involved in each type of response. Sameer Rao Haverford College, Department of Sociology Senior Thesis, 2010-2011 Advisor: Professor Lisa McCormick Table of Contents Acknowledgements ................................................................................................. 2 Introduction………………………………………………………………………...3 Chapter 1: Understanding Humor through a Sociological Lens…………….……..8 Chapter 2: Stand-up Performance within the Cultural Pragmatics Model ............ 13 Chapter 3: Management of Hecklers and the Effervescence of Comedy Shows…30 Conclusion………………………………………………………………....……..42 Appendix A: Methodology and Choices for Methods ........................................ -
Tearing up the Rules
Jewish RENAISSANCE A FRESH PERSPECTIVE ON JEWISH CULTURE SPONSORED BY DANGOOR EDUCATION JULY 2018 £7.25 TEARING UP THE RULES VIENNA’S CULTURE REVOLUTION IS THERE LIFE AFTER ROTH? AMOS OZ MOROCCO MEETS VENEZUELA The future of Jewish fiction Peace is still possible The restaurant that’s defying the crisis JR Pass on your love of Jewish culture for future generations Make a legacy to Jewish Renaissance ADD A LEGACY TO JR TO YOUR WILL WITH THIS SIMPLE FORM WWW.JEWISHRENAISSANCE.ORG.UK/CODICIL GO TO: WWW.JEWISHRENAISSANCE.ORG.UK/DONATIONS FOR INFORMATION ON ALL WAYS TO SUPPORT JR CHARITY NUMBER 1152871 JULY 2018 CONTENTS WWW.JEWISHRENAISSANCE.ORG.UK JR YOUR SAY… Reader’s rants, raves 4 and views on the April issue of JR. WHAT’S NEW We announce the 6 winner of JR’s new arts award; Mike Witcombe asks: is there life after Roth? FEATURE Amos Oz on Israel at 10 70, the future of peace, and Trump’s controversial embassy move. FEATURE An art installation in 12 French Alsace is breathing new life into an old synagogue. NATALIA BRAND NATALIA © PASSPORT Vienna: The writers, 14 artists, musicians and thinkers who shaped modernism. Plus: we speak to the contemporary arts activists working in Vienna today. MUSIC Composer Na’ama Zisser tells Danielle Goldstein about her 30 CONTENTS opera, Mamzer Bastard. ART A new show explores the 1938 32 exhibition that brought the art the Nazis had banned to London. FILM Masha Shpolberg meets 14 34 the director of a 1968 film, which followed a group of Polish exiles as they found haven on a boat in Copenhagen.