The research includes critical analysis of scientific literature, discoursive analysis of stand-up comedy show scripts. The following methods used in the research to reveal the pragmatic effectiveness of the speech influence on public are: the statistic method and the method of translating. The linguistic material was collected with the use of the lingvocultural approach and based on the stand-up comedy show scripts and their translation into Russian language. The research reveals the peculiarities of creating comical effect in English-language stand-up comedy and the aspects of saving the comical effect during the translation of stand-up comedy shows into Russian language. The results of the research may be used as a guidance for translation of prose, interpreting humorous texts, revealing the role of cultural aspect in the process of creating and understanding comedy. It is also appropriate as a teaching material for students majoring in cognitive linguistics, psycholinguistics, the theory of translation and intercultural communication. / В исследовании используется критический анализ научной литературы, дискурсивный анализ скриптов «живых» выступлений в жанре стендап комедии. Также в ходе исследования используется статистический метод и метод перевода, позволяющие определить степень эффективности речевого воздействия выступающего на публику в рамках изучения прагматического потенциала речевых фрагментов, представленных в форме монолога. Выбор языковых явлений для анализа осуществляется с применением лингвокультурологического подхода, на основе скриптов выступлений в жанре стендап шоу на английском языке и текстов их перевода на русском языке. В ходе исследования выделяются особенности создания комического эффекта в стендап комедии в английском языке, а также приемы и способы сохранения комического эффекта при переводе на русский язык. Результаты исследования могут быть использованы при переводе художественных текстов, интерпретации юмористических текстов, раскрытии роли культурного аспекта в процессе создания и понимания комического, а также в преподавании таких лингвистических дисциплин в высших учебных заведениях, как когнитивная лингвистика, психолингвистика, теория перевода и межкультурная коммуникация.

The purpose of this study is to determine how stand-up comedians outside the U.S. have succeeded to adapt the art of stand-up comedy to their own regional contexts and to define the extent of the influence of American comedians on comedians from other countries, discussing the concept of Americanisation and globalised media. Two stand-up comedy presentations, one by American comedian Bill Hicks, Revelations; and one by Swedish comedian Magnus Betnér, Inget är heligt, were analysed using comparative content analysis in order to determine similarities and differences in the subjects addressed during the presentations along with similarities and differences in the style of performance. In-depth interviews were conducted as part of this research with professional comedians from Costa Rica: actor and stand-up comedian Hernán Jiménez, and members of the comedy group “La Media Docena” Édgar Murillo and Erik Hernández.

幽默，是把雙面刃。其雙面性來自於其所具有的四個功能：認同、澄清、強化、區隔(Meyer, 2000)。現場喜劇演員在設計表演橋段時，為求笑聲的回饋，往往會忽略幽默的後兩種功能：強化和區隔，使得笑點中蘊含的歧視再度被加深。在面對性別和性傾向主題時，這樣的現象更是無可避免。 本篇研究將以《卡米地喜劇俱樂部》的站立喜劇為例，選擇切合性別與性傾向主題的表演橋段進行質化研究，將主題分為四類：男性、女性、男同性戀、女同性戀，以幽默的三個理論：優越論、不一致論、紓解論，以及佛洛伊德對笑的觀察為分析基礎。我們想要知道幽默的呈現手法選擇和幽默的主題，是否有一定程度的相關性？在這四大主題內的歧視，是針對整個族群，又或者是針對特定的次族群進行？最重要的是，這樣的歧視背後的意涵為何？又可能造成怎麼樣的傷害？我們旨在透過詮釋幽默形成的脈絡，帶領大家看見幽默下潛藏的性別和性傾向歧視，並加以反思。 研究結果顯示，相較於幽默主題，幽默的手法和站立喜劇演員自身的性別具有更加顯著的關聯性。男性演員較常使用優越論和有意圖的笑話，女性演員則更常運用不一致論和紓解論中的降階不一致感。以男性為主題時，男性演員表面上看起來是在嘲笑特定族群的男性，但本質上都還是建立在父權對女性的偏見之上；男性演員在貶低地位較自己高的男性時，最常見的作法，就是將對方說成男同性戀。這也顯示了男性演員不單是將男同性戀貶低到男性異性戀之下，更將無能跟男同性戀劃上等號。女性演員在攻擊男性的時候，由於父權主義作祟，男性在上位、女性在下位，難以鬆動兩者的階層，其殺傷力往往小的多。以女性為主題時，男性演員多從外貌或身材進行攻擊，將其獨立於女性主體之外，並反向以局部決定了一個女性的好壞。但由於反映了觀眾不敢講的話，男性演員在紓解論的庇護下，得以免於責難。男性演員針對特定族群女性的表演，不但反映了社會對其的刻板印象，更反映了更深層、父權下對女性的厭女情結。女性演員在談論女性主題時，即使嘗試實踐幽默中的認同、澄清功能 (Meyer, 2000)，卻很有可能再度落入父權刻板印象。兩難的是，由於男性地位在父權框架裡是較高的，一旦女性演員以攻擊男性的方式為女性發聲，可能會因為反抗父權而沒了笑聲。女性演員提到己身婚姻狀況時反映了社會對未婚男女的差別待遇。相較於未婚的男性，未婚女性容易被視為是「有問題」的，這也反映了父權下的社會期望值裡，女性是被設定成「適當年齡時結婚走入家庭」的刻板角色。面對男同性戀主題時，男性演員對男同性戀的再現反映了「男同性戀很陰柔」的刻板印象，並錯將性別氣質和性傾向劃上等號。這同時也反映了男同性戀跟陰柔的特質，在父權之下都是個可以被嘲笑的錯誤。以女同性戀為主題時，女性演員也同樣反映了「女同性戀很陽剛」的刻板印象，並反映了同性戀在異性戀主流下的出櫃困境。 / The four main functions of humor, a double-edged sword, are: identification, clarification, enforcement, differentiation (Meyer, 2000). While planning their performances, live stand-up comedians, to pursue laughter, tend to neglect the latter two functions of humor: enforcement and differentiation. This makes prejudices beneath punch lines to be rooted deeper, which are even more inevitable when comedians deal with gender and sexual orientation topics. This study takes as examples stand-up comedies from Live Comedy Club Taipei and we choose performances that touch upon the gender and sexual orientation topics to conduct qualitative research. Based on the nature of the topics, we divide the performances selected into four categories: male, female, gay, and lesbian. We take the three main theories of humor, namely, superiority theories, incongruity theories, and relief theories, and also Humor in Freud as our basis to analyze these performances. We set out to explore the following questions. Is there a connection between the way humor is delivered and the specific topic of humor? Are the underlying prejudices in these four major topics against the target group as a whole or a specific sub-group? Most important of all, what lies beneath these prejudices, and what damage do they cause? Through interpreting how humor comes into existence, we aim to reveal the gender and sexual orientation prejudices in humor, and further reflect upon such phenomena. The result shows, in terms of the four topics, how humor is delivered is more relevant to the gender of the comedian. Male comedians favor the superiority strategy and tendentious jokes, while female comedians tend to use the strategies of incongruity and descending incongruity of relief strategy. In male topics, male comedians seem to target specific subgroups of males, while their performances are in fact based on prejudices against women rooted in patriarchy. If male comedians want to degrade males in higher position, the most common way for them to do so is to insinuate the homosexuality of the target. This suggests that male comedians degrade homosexual men and view them as incompetents. Female comedians' attacks on males are weaker due to patriarchy, in which males are in higher positions and females in lower ones. In female topics, male comedians attack women on their appearance or figure, isolate these characteristics from women's entity, and evaluate females by parts. Since male comedians say what the audience dares not to say aloud, they can escape blame, as suggested by the Relief Theory. Performances against specific groups of women by male comedians reflect not only social stereotypes but also misogyny from patriarchy. Besides prejudices from male comedians, even female comedians may fall into the patriarchy trap as well while trying to identify and clarify themselves, which are two of humor’s functions (Meyer, 2000). Female comedians are in a dilemma due to the higher position of men in patriarchy. If female comedians voice for females by attacking males and thus rebel against patriarchy, consequences are that they may lose laughter from the audience. The discrimination between unmarried men and unmarried women appears while a female comedian mentions her marital status. Compared to unmarried men, unmarried women are more easily to be seen as deficient, which reflects that under the expectation from patriarchy, women are expected to get married and form a family at the proper ages. In gay topics, a recurrent theme from the male comedians’ performances is that gay are born to be feminine and confuses gender with sexual orientation. This also shows that under patriarchy, gay and femininity are mistakes that can be laughed at. In lesbian topics, the female comedian also shows the stereotype that lesbians are born to be masculine, and reflects the dilemma for homosexuals to come out under the world of heterosexuals.

<p>Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy.</p><p>Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.</p>

Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy. Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.

The Best Medicine is an animated documentary that explores the true stories behind the live performances of stand-up comedians. The film juxtaposes live stand-up performances with candid interview footage combined with animation and illustration. Three subjects– Michael Burd, Casey Stoddard, and Jacob Kubon– discuss alcoholism, childhood abuse, and sexual anxiety, respectively. Their candid, intimate interviews reveal personal information, creating a new context with which to understand live stand-up comedy performance. This illustrates themes of finding humor in dark or painful circumstances and the cathartic nature writing and performance.

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Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2018-08-28T18:43:15Z No. of bitstreams: 1 2017 - Rennan Furtado.pdf: 3276259 bytes, checksum: 8cafeadb184e367812582c17e230792f (MD5) / Made available in DSpace on 2018-08-28T18:43:15Z (GMT). No. of bitstreams: 1 2017 - Rennan Furtado.pdf: 3276259 bytes, checksum: 8cafeadb184e367812582c17e230792f (MD5) Previous issue date: 2017-03-29 / CAPES / This work aims to develop a didactic mediation, of collaborative basis, for anaphoric direct objetcs study and use, from stand up comedy discursive genre, in groups of youngsters and adults who did not continue their studies and those who have not joined primary and/or elementary school at appropriate age. This is youth and adults education (EJA). The aim is to encourage student's participation in Portuguese classes, in public schools of the State of Rio de Janeiro (NEJA) assuming that the use of stand up comedy discursive genre would stimulate them to develop reading activities, textual production and reflection on linguistic uses, focusing on the study and use of anaphoric direct object. For this purpose, this research was based on Collaborative Learning Theory (BEHRENS, 2013), which enabled the organicity of mediation in order to promote a participatory education in which the interaction between student and teacher is the basis of the work. In addition, in linguistic theories we searched assumptions to justify the proposal. Namely: Referencing Theory (KOCH and ELIAS, 2012; CHAN, 2004) and the continuous variation of Linguistics (BORTONI-RICARDO, 2004, 2005), with emphasis on continuous orality-literacy. The first one allowed the understanding of anaphoric relations, especially the Anaphoric Direct Objetc one, in a text; the second one enabled the recognition that linguistic accomplishments, variables, such as those in this category, are in a continuous line rather than on opposite sides. We also keep this continuous association with the discursive genres continuous proposed by Marcuschi (2001). This work also aimed to achieve specific objectives in Portuguese classes just as teaching referral strategies in acusativess forms, as well as other more general like promoting discussion, the collectivity, the sharing of ideas and mutual respect between teacher and students. / Este trabalho tem por objetivo desenvolver uma media??o did?tica, de base colaborativa, para estudo e uso do objeto direto anaf?rico (ODA), a partir do g?nero discursivo stand-up comedy, em turmas de educa??o para jovens e adultos que n?o deram continuidade aos estudos e para os que n?o ingressaram no Ensino Fundamental e/ou M?dio com a idade apropriada. Trata-se do segmento Educa??o de Jovens e Adultos (EJA). Busca-se incentivar a participa??o, nas aulas de L?ngua Portuguesa, dos alunos inseridos nos cursos da Educa??o de Jovens e Adultos da rede p?blica do estado do Rio de Janeiro (NEJA), partindo-se da hip?tese de que o uso do referido g?nero os estimularia a desenvolver atividades de leitura, produ??o textual e reflex?o sobre usos lingu?sticos, com foco no estudo e uso do ODA. Para tanto, esta pesquisa baseou-se na Teoria Colaborativa de Aprendizagem (BEHRENS, 2013), que possibilitou a organicidade da media??o para promovermos um ensino participativo em que a intera??o entre aluno e professor constitui a base do trabalho. Al?m disso, buscamos, em teorias lingu?sticas, pressupostos para fundamenta??o da proposta. A saber: a teoria da Referencia??o (KOCH E ELIAS, 2012; CAVALCANTE, 2004) e a dos Cont?nuos de varia??o lingu?stica (BORTONI-RICARDO, 2004, 2005), com ?nfase no cont?nuo oralidade-letramento. A primeira permitiu o entendimento das rela??es anaf?ricas, sobretudo a do ODA, em um texto; a segunda possibilitou o reconhecimento de que as realiza??es lingu?sticas, as vari?veis, como as dessa categoria, situam-se em uma linha cont?nua e n?o em lados opostos. Procedemos ainda ? associa??o desse cont?nuo com o cont?nuo dos g?neros discursivos proposto por Marcuschi (2001). Este trabalho buscou, ainda, atingir objetivos espec?ficos da disciplina de L?ngua Portuguesa, como ensinar estrat?gias de referencia??o em formas acusativas, al?m de outros mais gerais, como promover o debate, a coletividade, o compartilhamento de ideias e o respeito m?tuo entre professor e alunos.

Indiana University-Purdue University Indianapolis (IUPUI) / Before the “sick” comedians arrived onto the comedy landscape political and culturally based humor was considered taboo, but the 1950s witnessed a dramatic transformation to the art of stand-up comedy. The young comedians, including Lenny Bruce and Mort Sahl, became critical of American Cold War policies and the McCarthyistic culture that loomed over the nation’s society. The new stand-up comics tapped into a growing subculture of beatniks and the younger generation at large that rebelled against the conservative ideals that dominated the early post-war decade by performing politically and socially laced commentary on stage in venues that these groups frequented. The two comedians that best represent this comedic era are Jewish comics Mort Sahl and Lenny Bruce. Their comedy was more politically oriented than the other “sick” comics, and they started an entertainment revolution with their new style. They became legendary by challenging the status quo during a historically conservative time, and inspired numerous comics to take the stage and question basic Cold War assumptions about race, gender, and communism.