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 16
Síða 17
... larynx, tongue, lips, and sometimes the nose. And, like the sounds of speech, laughter depends on expelling “used” air from the lungs (air with depleted oxygen and a higher level of carbon dioxide), before a following inhalation ...
... larynx, tongue, lips, and sometimes the nose. And, like the sounds of speech, laughter depends on expelling “used” air from the lungs (air with depleted oxygen and a higher level of carbon dioxide), before a following inhalation ...
Síða 18
... larynx, the area below the dashed line, with the tongue and lips playing lesser roles. Figure 2.2 shows four different ways of representing visually the sound of a particular laugh, in this case a laugh produced by a woman. Visual ...
... larynx, the area below the dashed line, with the tongue and lips playing lesser roles. Figure 2.2 shows four different ways of representing visually the sound of a particular laugh, in this case a laugh produced by a woman. Visual ...
Síða 19
... larynx, where they are typically modified in ways that make them more audible. The larynx is a primary source of loudness in both laughter and speech. In most though not all laughter, the vocal folds within the larynx are set to ...
... larynx, where they are typically modified in ways that make them more audible. The larynx is a primary source of loudness in both laughter and speech. In most though not all laughter, the vocal folds within the larynx are set to ...
Síða 20
... larynx without the addition of voicing, there is usually some laryngeal friction that makes the explosive exhalations more audible than the exhalations of normal breathing. The vocal folds are able to vibrate at a wide range of ...
... larynx without the addition of voicing, there is usually some laryngeal friction that makes the explosive exhalations more audible than the exhalations of normal breathing. The vocal folds are able to vibrate at a wide range of ...
Síða 21
... larynx, usually but not always with the addition of voicing, they continue upward into the mouth where they are inevitably modified further. Events in the mouth, above all manipulations of the tongue, are chiefly responsible for shaping ...
... larynx, usually but not always with the addition of voicing, they continue upward into the mouth where they are inevitably modified further. Events in the mouth, above all manipulations of the tongue, are chiefly responsible for shaping ...
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