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Приложение на съвременните технологии при оценка на степента на усвояване на междуезиковия трансфер на темпоралните форми (български и английски език)

Author(s): Georgi Dzhumayov / Language(s): Bulgarian Issue: 2/2021

The present study demonstrates the application of modern methods for analysis of acquired knowledge of interlingual transfer at grammatical and semantic level of the temporal systems in indicative mood in modern Bulgarian, English and Spanish. The basic experiment, conducted for the first time in Bulgarian linguistics, consists of two parts and aims to check in a comparative way the degree of acquisition of the temporal categories in English and Spanish by native Bulgarian students. The experiment consists of contrastive examples in declarative affirmative sentences, which illustrate their use. The analysis of the results of the acquired knowledge of transfer from a native to a foreign language is a basis for refining the work of the teacher in the field of grammar.

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Икономиката в контекста на преподаването по български език и информационни технологии

Author(s): Neli Minkova,Zdravka Georgieva / Language(s): Bulgarian Issue: 2/2021

The article presents a lesson, related to the acquisition and application of knowledge in Bulgarian language, Information technology and Economics. The aim is to learn students how to use these skills in practice for their professional realization in life.

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Affect philosophy meets incongruity:

Author(s): Mark Weeks / Language(s): English Issue: 1/2020

The emergence of philosophical affect theory, sourced substantially in Continental philosophy, has intensified scholarly attention around affective potentials in laughter. However, the relationship between laughter’s affect and the comic remains a complicated one for researchers, with some maintaining that the two should be approached separately (Emmerson 2019, Parvulescu 2010). While there is a credible academic rationale for drawing precise distinctions, the present article takes an integrative approach to laughter and the comic. It analyses, then synthesises, points of convergence between key texts in affect philosophy and certain elements of incongruity-based humour theory. Specifically, the article seeks to demonstrate that some integration can bring insight and clarity to discussion of transformative potentials sometimes attributed to forms of comic laughter, especially within cultural studies and social science following the philosophy of Deleuze. This approach may also usefully complicate the concept of incongruity itself.

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Humour as a threat-coding mechanism

Author(s): Edward Greenberg / Language(s): English Issue: 1/2020

The integration of humour’s classical theories such as relief, superiority, and incongruity suggest that the differences and patterns in what we find funny are largely dependent on attaching an “explicably safe” meaning to novel entities. It is argued that humour is a substantial organising influence in human socialisation and personal threat perception. Built on such work as Caleb Warren and A. Peter McGraw’s notion of humour in explicated ambiguity, Tom Veatch’s paradox of humour as a “normal” violation, and V.S. Ramachandran’s False Alarm Theory of humour, an integrational theory is developed and tested against a variety of hypotheses associated with the core findings of classical humour research.

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Език, власт, медия

Author(s): Mariana Georgieva / Language(s): Bulgarian Issue: 2/2021

Media language is a prototype of the public consent for the media to be defined through compromise as a fourth position in the paradigm of power as a philosophical category, whose explications before the media are legislative, executive, judicial. The linguistic norm and the cognitive-rhetorical characteristic of the media discourse are the prototype of the metaphor of the "fourth power". The formation of the information-language culture and the preservation of the language norm is the high social responsibility of the media discourse. The media is a prototype of public consciousness, a “picture” of national identity – a unit of political and socio-economic information and cultural “taste” (a sample of art and its list).

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Disparagement humour and anti-obesity attitudes

Author(s): Jacob Burmeister,Robert Carels / Language(s): English Issue: 1/2020

People with obesity are often the target of disparaging humour. The typical derision of obesity found in everyday life also extends into the realm of the media. Many assumptions have been made about the effects this type of humour may have on the public’s attitudes toward people with obesity, but little empirical research exists. In the present research, two studies sought to uncover whether jokes and humorous media depictions of people with obesity affect individuals’ attitudes. In Study 1, participants (N = 271) either read a list of derogatory jokes about obesity, read a list of derogatory comments about obesity, or read a list of jokes that were unrelated to obesity. All participants were then asked to report their 1) attitudes toward people with obesity in several domains, 2) level of belief in stereotypes about obesity and 3) judgement of the social acceptability of jokes about obesity. Participants’ scores on these dependent measures did not differ across groups suggesting obesity jokes do not have an immediate impact on attitudes. In Study 2, participants (N = 146) were shown video clips from film and television programmes that featured derogatory humour targeting obese characters. Again, participants’ scores on dependent measures did not differ across groups. The results of these studies suggest that brief exposure to derogatory weight-related humour may not affect individuals’ attitudes toward people with obesity as might be assumed. Longer exposure to disparaging humour may be required to shift individuals’ attitudes about people with obesity.

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Sharing humour digitally in family communication

Author(s): Anastasiya Fiadotava / Language(s): English Issue: 1/2020

This paper offers a folkloristic perspective on the features and dynamics of sharing humorous content digitally within a family in the context of daily communication. The data, collected from 60 Belarusian families via oral interviews and an online survey (175 respondents), were subjected to quantitative and qualitative content and context analysis. The results suggest that sharing humour digitally within a family can take various forms, some of which parallel oral face-to-face interactions, while others complement them. The most preferable ways of sharing are those that ensure the privacy of conversation, thus providing family members with an opportunity to follow the customary patterns of communication while adapting them to the new spatiotemporal circumstances. Even though the process of selecting humorous content to share with one’s family does not necessarily involve conscious reflection on the sharer’s part, some tendencies clearly transpire from the data. For example, visual and generic forms of humour are more popular than textual and personal ones. Sharing such humour presupposes certain considerations about its recipients, thus making the fact that one’s audience is their family an important consideration in the practice of digital sharing.

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Beyond rhythm and lyrics:

Author(s): Ganiu Abisoye Bamgbose / Language(s): English Issue: 4/2019

Extant studies on Nigerian hip-hop have approached the genre as an act and as an art from psycholinguistic, social, sociolinguistic and pragmatic dimensions. However, the possibility of evoking humour through the careful deployment of language by Nigerian hip-hop artistes is a phenomenon which has largely escaped the attention of scholars within the ambit of applied linguistics. This research, therefore, investigates how Nigerian hip-hop artistes, beyond the rhythm and lyrics of their songs, poke fun at their listeners. The study employs Sperber and Wilson’s Relevance Theory to analyse the humorous utterances in four purposively selected hip hop songs: Jo o, by Jahbless, Eyan Mayweather by Olamide, Penalty by Small Doctor and Lyrically by Lil Kesh. The choice of artistes was based on consideration for the two popular subgenres of Nigerian hip-hop, which are rap and dance hall, while the choice of tracks was based on consideration for their humorous potential. The humorous utterances are either name-induced or object/phenomenon induced. The study finds that simile, metaphor, hyperbole, punning, teasing, putdown and litotes, complemented with linguistic devices such as polysemy and repetition, are the humour techniques that are deployed to amuse listeners. Humour strategies adopted by Nigerian hip-hop artistes are comparing, contrasting and extending corresponding concepts, distorting collective knowledge of people, social events and situations and manipulating shared cultural representations. Nigerian hip-hop songs are spiced with humorous utterances which can only be deciphered by people who share the socio-cultural world of the artistes. The referring expressions used by the artistes can help enlarge the vocabulary of Nigerian English.

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Conceptual blending in English and Serbian question-and-answer jokes:

Author(s): Predrag Niketić / Language(s): English Issue: 4/2019

This paper analyzes English and Serbian question-and-answer jokes using the cognitive linguistic theoretical framework of conceptual blending, which relies on mental spaces as cognitive packets of information used to interpret the world around us and within us. The analysis is used to illustrate how culture influences humour: specifically, how the Anglo-American culture, the dominant and best-known foreign culture in Serbia, is used as a basis of jokes in English as well as in Serbian. It is shown that the jokes in English can work on a non-English-speaking Serbian recipient culturally, but only if not impeded by linguistic obstacles, such as untranslatable puns. The selected Serbian jokes illustrate intercultural merging, as they use elements from both Anglophone and Serbian pop cultures to create humour that is difficult to transfer back to Anglophone audiences, but now due to linguistic as well as cultural transfer issues. These issues revolve around humour translation, which is made difficult by linguistic aspects, cultural aspects, or both. Conceptual blending and the mental spaces involved provide a useful tool for adapting cultural/linguistic barriers to obtain more or less workable joke translations.

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Commentary piece

Author(s): Massih Zekavat / Language(s): English Issue: 4/2019

Because most theories of humour emphasize its intersubjective and/or semantic nature, they fail to fully appreciate and explain self-directed humour. Through a critical exploration of the implications of different theories of humour and satire, this paper argues that the spectrum of reflexive humour and satire can be categorized according to the figure of the satirist and the target of satire, both of whom can feature individual or collective social selves. Depending on the satirist and the scope of satire, the functions of reflexive humour may range from securing psychological homeostasis to dealing with more impersonal, social and philosophical concerns.

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Appropriate and relevant humour in the university classroom:

Author(s): Farhana Bakar / Language(s): English Issue: 4/2019

When used for the purpose of teaching and learning, humour must be relevant and appropriate to the context. However, what constitutes appropriate and relevant humour is unclear. Past studies have focussed mostly on classifying appropriate and relevant types of humour. Additionally, students’ and teachers’ perceptions of what these constitutes are likely to differ, meaning that the effectiveness of the humour used by teachers may vary depending on the context. With this in mind, it is important to consider teachers’ and students’ perceptions of the appropriateness and relevance of humour. For this paper, five award-winning teachers and 10 students were interviewed regarding their perceptions and experiences of the use of humour in university teaching. Four themes were identified that relate to teachers’ and students’ perceptions regarding the appropriateness of humour: Appropriate humour is relevant humour; Appropriate humour happens at a suitable time and in a suitable manner; Appropriate humour enhances teachers’ credibility; and Inappropriate humour is disrespectful humour. Three themes were identified related to the relevance of humour: Relevant humour is related to the learning content; Relevant humour is related to daily experiences in life; and Irrelevant humour is humour that students do not understand. On the basis of this study, this paper offers pedagogical suggestions for teachers who wish to use humour effectively by taking into consideration what humour is considered appropriate/inappropriate and relevant/irrelevant.

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Social media-based visual humour use in tourism marketing:

Author(s): Jing Ge / Language(s): English Issue: 3/2019

Tourism firms using visual social media marketing are struggling with its implementation, specifically in formulating engagement-based visual message strategies. Yet, creating such appealing posts can lead to positive brand and financial outcomes. Humour has been identified as a potent tool for social media communication, given its capability to develop social interactions. Yet, how humour works on social media is not well understood – specifically its visual form. Treating humour as a symbolic resource, this study adopted a compound content analysis-semiotic analysis to identify visual content and its symbolic meaning embedded in destination marketing organization (DMO)’s social media posts. 200 Sina Weibo posts containing humour images initiated by 5 Chinese provincial DMOs were collected. The results show 6 types of humour content and 6 types of symbolic meaning – none of which are product-related. This study advances the tourism literature and humour theory, and offers tourism firms a holistic view of how to fully leverage social media-based visual humour to achieve consumer reach and engagement.

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“America First, the Netherlands Second” on YouTube:

Author(s): Maja Turnšek,Petr Janeček / Language(s): English Issue: 3/2019

This study attempts to provide initial tentative insights into the audience reception of intertwining political satire and destination marketing imagery by analysing the “America First, the Netherlands Second” video and a student sample audience response. In 2017, a series of YouTube videos named “America First” went viral. The video that started the viral phenomenon was “America First, the Netherlands Second”, responding in a satirical manner to the “America First” message of the inaugural speech of U.S. president Donald J. Trump. They achieved extreme popularity both in number of views and number of new memetic videos with similar satirical messages. These videos were a form of political expression and at first sight did not seem to have much in common with communication in tourism. However, the videos included typical destination marketing imagery, intertwined with satirical representations, thus representing a humorous “spoof” on destination marketing. The study analyses participants’ memory recall, eye-tracking movements and focus group responses in order to provide initial conclusions on how audiences respond to the intertwining of satirical political expression and destination marketing imagery.

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Where is the humour in tourism promotion?

Author(s): Miriam Porres-Guerrero,Concepción Foronda-Robles / Language(s): English Issue: 3/2019

This paper discusses humour and tourism, with a focus on “Spain Marks”, an internationalcampaign used to promote Spain as a tourism destination. The importance of this relationshipsuggests that the use of humour in marketing works as an engagement and loyalty strategy, aswell as to portray the uniqueness of a destination. The “Spain Marks” campaign wasinnovative in its use of humour because it offered a fresh and contemporary image of Spain asa tourism destination. This campaign has been specially selected for its exceptional ironiccharacter. The study aims to understand the humour appreciation of this specificadvertisement using an online survey that was completed by 40 participants. The resultsindicate that the use of humour is a difficult task because what is perceived as fun, attractiveand ironic in any tourism campaign is highly subjective.

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Assessing humour use in accommodation establishments:

Author(s): Marit Piirman,Stephen Pratt,Melanie Smith,Heli Tooman / Language(s): English Issue: 3/2019

This paper contributes to a relatively under-researched area of humour studies in hospitality by analysing the use of different forms of humour in accommodation establishments. The main purpose of the study was to gain a better understanding of how humour is used in marketing communication and service processes, and the ways in which it contributes to the guest experience. A range of research methods were used including desktop research on how humour is currently used in accommodation settings, a focus group consisting of international participants, and two online surveys with both accommodation providers and accommodation guests. The latter was undertaken in Estonia. The results indicate that multiple forms of humour are used in accommodation establishments to provide information and enhance the guest experience, however, it was also clear that many humorous events happen spontaneously rather than being planned for or ‘staged’. This study also proposes a decision support model to guide accommodation establishments in how humour could be applied more effectively in their marketing communication and service processes.

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Developing the humour repertoire concept to guide future tourism-humour research

Author(s): Anja Pabel,Philip L. Pearce / Language(s): English Issue: 3/2019

The central interest in this study is to develop and position the humour repertoire concept fortourism and leisure research. The term humour repertoire encompasses the totality of aperson’s abilities and skills to both appreciate and produce humour. Such skills include theindividual’s ability to tell/retell humorous (travel) stories, jokes from their life and travels, andthe ability to see travel and leisure situations as amusing. A framework outlining the role ofthe humour repertoire is presented and an online empirical study is reported to addressselected components of the conceptual scheme. The results show a weak association betweenhumour appreciation and production, indicating that researchers examining humour intourism need to be careful in building generic implications from selected work. Attention isthen given to the multiple social and contextual factors beyond the individual level that need tobe considered when assessing humour in diverse tourism contexts. Fresh research directionsare indicated by considering the richness of the repertoire framework and links to cognitiveschema research.

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Gender stereotypes depicted in online sexist jokes

Author(s): Anastasia Nelladia Cendra,Teresia Dian Triutami,Barli Bram / Language(s): English Issue: 2/2019

This research aimed to explore gender stereotypes depicted in online sexist jokes collectedfrom laughfactory.com. Linguistically speaking, jokes as a subtype of humour have become acommon phenomenon in our everyday lives. Unfortunately, not all jokes can bring positivevibes for everyone. Yet, these forms of jokes are still commonly found, especially on theInternet. Some online sources, including websites of jokes, present a lot of collections of jokesfor fun, but a number of the jokes are categorized as sexist jokes, which might also beregarded as offensive in a certain context. Data were collected from the laughfactory.comwebsite and then were analysed by using the three-dimensional model of Critical DiscourseAnalysis (CDA) and the General Theory of Verbal Humour (GTVH). Results showed that themajority of the jokes observed were targeted at women (90%) and a small number wastargeted at men (10%). Women were stereotyped as sexual objects, emotionally expressivebeings, homemakers, being talkative, being stupid or brainless, and belonging to a lower classthan men. Men, on the other hand, were stereotyped as worse than women.

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Performing gender through stand-up comedy in Spanish

Author(s): Leonor Ruiz-Gurillo / Language(s): English Issue: 2/2019

The aim of this paper is to examine Eva Hache’s humorous gender-related monologues,broadcast in the show El Club de la Comedia [The Comedy Club] in Spain between 2012 and2013. The corpus comprises 24 stand-up monologues, which have been analysed bothquantitatively and qualitatively. The present paper offers a case study in three different ways.First, an analysis of different humorous sequences makes it possible to distinguish arepresentation of both feminine and masculine identities, as well as a confrontation betweenthe two genders. In fact, Eva Hache’s style supports the feminine identity and facilitates theteasing and mockery of men. Second, a polyphonic study of men as speakers (locutors) andutterers (Ducrot 1996) will serve to differentiate certain features of their identity from adiscursive perspective. Finally, a detailed examination of humorous sequences shows howthese performative sequences can prove useful to maintain hierarchy, to reinforce an in-group,i.e. a women’s group, to solidify men’s group boundaries, and even to subvert gendernormativity (Bing 2004). As it will be demonstrated in our analysis, humorous markers andindicators play an important role in the construction of jab lines and the final punch line ofthese sequences. Furthermore, the results show that there are few strategies aimed atchallenging the status quo in this corpus, although they illustrate an ongoing movementtowards a feminist humour that has been almost non-existent in Spain so far.

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Hybrid humour as cultural translation:

Author(s): Merouan Bendi / Language(s): English Issue: 2/2019

Humour is a phenomenon that is pervasive in the human heritage in all its different ethnic andcultural diversity; however, humorous effects might exceed the mere pleasure or laughter toserve as a strategy of survival. Hybrid humour has an important societal role in breakingpsychological barriers between people as well as in denouncing dominant discourses,criticising realities, and promoting resistance. This paper investigates hybrid humour ascultural translation, particularly Beur verbal humour in France. The first section of this paperexplores the notion of cultural translation. The second part is devoted to investigating thehybridisation of cultures from a postcolonial perspective, and subsequently interpreting thenotion of hybrid humour as a translational act. Finally, I analyse a set of hybrid jokes made bythe Franco-Algerian humourist Fellag.

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Incongruous liaisons:

Author(s): Izuu Nwankwọ / Language(s): English Issue: 2/2019

Nigerian humourists have always told risible jokes within myriad pre-colonial satirical acts.Following on their heels in recent times, stand-up comedy has emerged as one of the mostprevalent art forms in the country, providing entertainment through laughter-eliciting jokes.Accompanying this development also, is an increasing attitude of offence-taking which hasseen post-mortem criticisms and castigation of comedians. Not much scholarly attention hasbeen paid to this menacing backlash against ostensible “inappropriate jokes” and the fact thatstand-up humour is primarily derived from causing offence. What happens is that jokeperformances take place within liminal moments, which allows for audience’s suspension ofoffence and the performer’s unwritten consent to stay within socially accepted bounds of goodhumour. Through performance analysis, this paper sets out to study how four randomlyselected Nigerian comics—I Go Dye, Basket Mouth, Klint da Drunk and AY—deploy selfcensorshipin averting offence within their joke routines. The essay finds that despite thespecificities of stand-up arts, which place peculiar demands on artists’ joking capabilitiesespecially in its dependence on courting audiences’ participation and familiarity, thesecomedians have devised specific means through which they circumvent the stringency ofeliciting mirth through insult. Hence, their jokes and those of others who have learned theirtrade well, often elicits hilarity rather than offence.

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