The Importance of Not Being Earnest: The feeling behind laughter and humorJohn Benjamins Publishing, 1. feb. 2007 - 167 síður The thesis of this book is that neither laughter nor humor can be understood apart from the feeling that underlies them. This feeling is a mental state in which people exclude some situation from their knowledge of how the world really is, thereby inhibiting seriousness where seriousness would be counterproductive. Laughter is viewed as an expression of this feeling, and humor as a set of devices designed to trigger it because it is so pleasant and distracting. Beginning with phonetic analyses of laughter, the book examines ways in which the feeling behind the laughter is elicited by both humorous and nonhumorous situations. It discusses properties of this feeling that justify its inclusion in the repertoire of human emotions. Against this background it illustrates the creation of humor in several folklore genres and across several cultures. Finally, it reconciles this understanding with various already familiar ways of explaining humor and laughter. |
From inside the book
Niðurstöður 1 - 5 af 58
Síða 2
... fits into this picture. The primary aim ofthis book, then, is to focus attention on the feeling of nonseriousness: when and why people experience it and why it should so often be associated with laughter. Later we can turn to some ofthe ...
... fits into this picture. The primary aim ofthis book, then, is to focus attention on the feeling of nonseriousness: when and why people experience it and why it should so often be associated with laughter. Later we can turn to some ofthe ...
Síða 3
... first on the structure ofjokes and then on some other varieties of humorous folklore, including riddles and limericks. Chapter 10 samples preplanned humor in certain varieties of writing. Chapter 11 compares a few manifestations of ...
... first on the structure ofjokes and then on some other varieties of humorous folklore, including riddles and limericks. Chapter 10 samples preplanned humor in certain varieties of writing. Chapter 11 compares a few manifestations of ...
Síða 4
... fit. These imagined larger systems are often called “theories.” Understanding, then, is advanced by a productive interplay between observing and imagining. To speak of “the scientific method” as if it were some straightforward ...
... fit. These imagined larger systems are often called “theories.” Understanding, then, is advanced by a productive interplay between observing and imagining. To speak of “the scientific method” as if it were some straightforward ...
Síða 10
... fit on some otherlevel. (Norrick, 1986: 237) The locution “sense in nonsense” was borrowed from Freud, who seems also to have been aware ofthe importance of pseudo-plausibility (Freud, 1960 [1905]). But Norrick went further, suggesting ...
... fit on some otherlevel. (Norrick, 1986: 237) The locution “sense in nonsense” was borrowed from Freud, who seems also to have been aware ofthe importance of pseudo-plausibility (Freud, 1960 [1905]). But Norrick went further, suggesting ...
Síða 13
... first in oral traditions and then in writing. Summary To summarize, the feeling of nonseriousness, often but not always expressed with laughter, is understood here as a reaction to situations it would be counterproductive to take ...
... first in oral traditions and then in writing. Summary To summarize, the feeling of nonseriousness, often but not always expressed with laughter, is understood here as a reaction to situations it would be counterproductive to take ...
Aðrar útgáfur - View all
The Importance of Not Being Earnest: The Feeling Behind Laughter and Humor Wallace L. Chafe Takmarkað sýnishorn - 2007 |
The Importance of Not Being Earnest: The Feeling Behind Laughter and Humor Wallace Chafe Engin sýnishorn í boði - 2007 |
The Importance of Not Being Earnest: The Feeling Behind Laughter and Humor Wallace L. Chafe Engin sýnishorn í boði - 2007 |
Common terms and phrases
abnormal asked associated ation Attardo behavior benefit brain breathing buildup Chapter 9 component conflict conversation creaky voice difficult diflerent elicit laughter elicit the feeling emotion Example 9.1 exhalation experience expressed expulsion of air fact feeling of nonseriousness final finally find first fit five followed funny glottal stops grandmother Hertz human Iames Iamie imagine incongruity initiating pulse intensity interpretation joke kind Koestler kyoka language larynx laugh pulses laugh track laughter and humor limericks linguistic listener lungs Miles milliseconds mitigate Navajo nonhumorous Norrick observations oflaughter ofthe one’s person Pete phrase pitch plausible play pleasure produced pseudo-plausible pseudo-plausible absurdity punchline question recovery inhalation reflection response Salvatore Attardo scenario sequence seriously shows simultaneous situations smiling someone sound Speaker specific spectrogram speech Spock story studies suggested syllable talking things tickling tion tremolo triggered Victor Raskin vocal folds vocal tract voiced inhalation voiceless laugh pulse vowel word