This edited book brings together scholarly chapters on linguistic aspects of humour in literary and non-literary domains and contexts in different parts of the world. Previous scholarly engagements and theoretical postulations on humour and the comic provide veritable resources for reexamining the relationship between linguistic elements and comic sensations on the one hand, and the validity of interpretive humour stylistics on the other hand. Renowned Stylistics scholars, such as Michael Toolan, who writes the volume’s foreword against the backdrop of nearly four decades of scholarly engagement with stylistics, and Katie Wales, who in this volume engages with Charles Dickens, one of the most eminent satirists in English literature, as well as many other European and African authors who have worked ceaselessly in the area of humour and language, weigh in on the topic of language and humour in this volume. Together, they provide a variety of interesting perspectives on the topic, deploying different textual sources from different media and from different regions of the world. Part of the book’s offering includes integrative stylistic approaches to humour in African, European and American written texts, examinations of social media and political humour in Nigeria, Cameroon and Zimbabwe, pragmatics and humorous stance-taking, incongruity as comedy in works of fiction, and a unified levels of linguistic analysis approach to the investigation of humour. This book will be of interest to academics and students of Linguistics, Stylistics, Communications and Media Studies, and Humour Studies. Taiwo Oloruntoba-Oju is a Professor in the Department of English at the University of Ilorin in Nigeria

This textbook introduces the reader to contemporary approaches to language analysis such as cognitive stylistics and corpus stylistics, reflecting recent shifts in research trends and offering students a practical way to access and understand these developments. The authors lead readers through detailed explanations, guided analyses, examples of research and suggestions for further reading. This textbook makes an ideal introduction to the field of stylistics for students who are new to the area, but who have some background in basic language analysis. It will be of use to students on courses in stylistics, literary linguistics, corpus methods, cognitive linguistics, and language and style.

This volume presents recent developments in the linguistics of humour. It depicts new theoretical proposals for capturing different humorous forms and phenomena central to humour research, thereby extending its scope. The 15 contributions critically survey and develop the existing interpretative models, or they postulate novel theoretical approaches to humour in order to better elucidate its workings. The collection of articles offers cutting-edge interdisciplinary explorations, encompassing various realms of linguistics (semantics, pragmatics, stylistics, cognitive linguistics, and language philosophy), as well as drawing on findings from other fields, primarily: sociology, psychology and anthropology. Thanks to careful overviews of the relevant background literature, the papers will be of use to not only researchers and academics but also students. Albeit focused on theoretical developments, rather than case studies, the volume is illustrated with interesting research data, such as the discourse of television programmes and series, films and stand-up comedy, as well as jokes.

In this new book, Julie Cross examines the intricacies of textual humor in contemporary junior literature, using the tools of literary criticism and humor theory. Cross investigates the dialectical paradoxes of humor and debunks the common belief in oppositional binaries of ‘simple’ versus ‘complex’ humor. The varied combinations of so-called high and low forms of humor within junior texts for young readers, who are at such a crucial stage of their reading and social development, provide a valuable commentary upon the culture and values of contemporary western society, making the book of considerable interest to scholars of both children’s literature and childhood studies. Cross explores the ways in which the changing content, forms and functions of the many varied combinations of humor in junior texts, including the Lemony Snickett series, reveal societal attitudes towards young children and childhood. The new compounds of seemingly paradoxical high and low forms of humor, in texts for developing readers from the 1960s onwards, reflect and contribute to contemporary society’s hesitant and uneven acceptance of the emergent paradigm of children’s rights, abilities, participation and empowerment. Cross identifies four types of potentially subversive/transgressive humor which have emerged since the 1960s which, coupled with the three main theories of humor – relief, superiority and incongruity theories – enables a long-overdue charting of developments in humor within junior texts. Cross also argues that the gradual increase in the compounding of the simple and the complex provide opportunities for young readers to play with ambiguous, complicated ideas, helping them embrace the complexities and contradictions of contemporary life.

Since its founding in 1943, Medievalia et Humanistica has won worldwide recognition as the first scholarly publication in America to devote itself entirely to medieval and Renaissance studies. Since 1970, a new series, sponsored by the Modern Language Association of America and edited by an international board of distinguished scholars and critics, has published interdisciplinary articles. In yearly hardbound volumes, the new series publishes significant scholarship, criticism, and reviews treating all facets of medieval and Renaissance culture: history, art, literature, music, science, law, economics, and philosophy.

Inspired by Exploring the Language of Poems, Plays and Prose, Mick Short's classic introduction to stylistics, Language and Style represents the state-of-the-art in literary stylistics and encompasses the full breadth of current research in the discipline. Written by leading scholars in the field, chapters cover a variety of methodological and analytical approaches, from traditional qualitative analysis to more recent developments in cognitive and corpus stylistics. Addressing the three, key literary genres of poetry, drama and narrative, Language and Style is divided into carefully balanced sections. Based on original research, each chapter demonstrates a particular analytic technique and explains how this might be applied to a text from one of the literary genres. Framed by helpful introductory material covering the foundational principles of stylistics, the chapters act as practical exemplars of how to carry out stylistic analysis. Comprehensive and engaging, this invaluable resource is essential reading for anyone interested in stylistics.

Thinking about sensory experiences and evaluating human artifacts is an important part of Western European cultural and intellectual history. This book investigates from different perspectives the origins of this practice and the rich discourse of aesthetic value in classical antiquity.

The present publication has been conceived as a critical reflection, in different disciplinary fields, on the social, institutional, and cultural impact of the recent COVID-19 pandemic in Asia and Africa. The issues presented here were first discussed as part of a larger research project at two conferences, held in Rome in June and October 2022. After extensive revision, these results have now been collected as fully developed articles in the current two volumes: the first focuses on the cultural, artistic, and media-related facets of the pandemic; the second on its social and institutional implications. This Volume I examines the effects of the traumatic events brought about by the COVID-19 pandemic on various cultural phenomena, artistic expressions, and social media communication, analysing among other themes the creation of new narratives and the modalities of personal and collective responses. The articles cover vast geographical areas, spanning from the Middle East to the Indian Subcontinent and East Asia, and aim at making their multiple visions converge in one compact perspective of empathic connection.

Ancient Greek comedy relied primarily on its text and words for the fulfilment of its humorous effects and aesthetic goals. In the wake of a rich tradition of previous scholarship, this volume explores a variety of linguistic materials and stylistic artifices exploited by the Greek comic poets, from vocabulary and figures of speech (metaphors, similes, rhyme) to types of joke, obscenity, and the mechanisms of parody. Most of the chapters focus on Aristophanes and Old Comedy, which offers the richest arsenal of such techniques, but the less ploughed fields of Middle and New Comedy are also explored. Emphasis is placed on practical criticism and textual readings, on the examination of particular artifices of speech and the analysis of individual passages. The main purpose is to highlight the use of language for the achievement of the aesthetic, artistic, and intellectual purposes of ancient comedy, in particular for the generation of humour and comic effect, the delineation of characters, the transmission of ideological messages, and the construction of poetic meaning. The volume will be useful to scholars of ancient drama, linguists, students of humour, and scholars of Classical literature in general.

This book advances a model for the analysis of contemporary satirical humour. Combining a range of theoretical frameworks in stylistics, pragmatics and discourse analysis, Simpson examines both the methods of textual composition and the strategies of interpretation for satire. Verbal irony is central to the model, in respect of which Simpson isolates three principal “ironic phases” that shape the uptake of satirical humour. Throughout the book, consistent emphasis is placed on satire’s status as a culturally situated discursive practice, while the categories of the model proposed are amply illustrated with textual examples. A notable feature of the book is a chapter on the legal implications of using satirical humour as a weapon of attack in the public domain. A book where Jonathan Swift meets Private Eye magazine, this entertaining and thought-provoking study will interest those working in stylistics, humorology, pragmatics and discourse analysis. It also has relevance for forensic discourse analysis, and for media, literary and cultural studies.