Because I Tell a Joke or Two explores the complex relationship between comedy and the social differences of class, region, age, gender, sexuality, ethnicity and nationhood. It shows how comedy has been used to sustain, challenge and to change power relationships in society. The contributors, who include Stephen Wagg, Mark Simpson, Stephen Small, Paul Wells and Frances Williams, offer readings of comedy genres, texts and performers in Britain, the United States and Australia. The collection also includes an interview with the comedian Jo Brand. Topics addressed include: * women in British comedies such as Butterflies and Fawlty Towers * the life and times of Viz, from Billy the Fish to the Fat Slags * queer readings of Morecambe and Wise, the male double act * the Marx brothers and Jewish comedy in the United States * black radical comedy in Britain * The Golden Girls, Cheers, Friends and American society.
A death-defying, more or less historically accurate parody of Bill O’Reilly’s bestselling Killing series, from one of the writers of the Harvard Lampoon’s Nightlight and one other red-blooded American. Infamous conservative TV personality, newspaper columnist, and Great American Educator Bill O'Reilly has killed off Lincoln, Kennedy, Jesus, and Patton in his bestselling history series. But the everyman from Levittown is hardly done: herein, Vintage Shorts presents the next batch of deaths by O’Reilly. Witness the lives and untimely ends of American heroes like Ronald Reagan and Albus Dumbledore, and villains from Hitler and bin Laden to Stewart and Colbert. God bless America and Benghazi conspiracies. An eBook short.
From the shopping mall to the corner bistro, knockoffs are everywhere in today's marketplace. Conventional wisdom holds that copying kills creativity, and that laws that protect against copies are essential to innovation--and economic success. But are copyrights and patents always necessary? In The Knockoff Economy, Kal Raustiala and Christopher Sprigman provocatively argue that creativity can not only survive in the face of copying, but can thrive. The Knockoff Economy approaches the question of incentives and innovation in a wholly new way--by exploring creative fields where copying is generally legal, such as fashion, food, and even professional football. By uncovering these important but rarely studied industries, Raustiala and Sprigman reveal a nuanced and fascinating relationship between imitation and innovation. In some creative fields, copying is kept in check through informal industry norms enforced by private sanctions. In others, the freedom to copy actually promotes creativity. High fashion gave rise to the very term "knockoff," yet the freedom to imitate great designs only makes the fashion cycle run faster--and forces the fashion industry to be even more creative. Raustiala and Sprigman carry their analysis from food to font design to football plays to finance, examining how and why each of these vibrant industries remains innovative even when imitation is common. There is an important thread that ties all these instances together--successful creative industries can evolve to the point where they become inoculated against--and even profit from--a world of free and easy copying. And there are important lessons here for copyright-focused industries, like music and film, that have struggled as digital technologies have made copying increasingly widespread and difficult to stop. Raustiala and Sprigman's arguments have been making headlines in The New Yorker, the New York Times, the Financial Times, the Boston Globe, Le Monde, and at the Freakonomics blog, where they are regular contributors. By looking where few had looked before--at markets that fall outside normal IP law--The Knockoff Economy opens up fascinating creative worlds. And it demonstrates that not only is a great deal of innovation possible without intellectual property, but that intellectual property's absence is sometimes better for innovation.
Here, in his own words, is the story of one of the greatest wrestlers ever—Rowdy Roddy Piper. The bagpipe-playing legend gets down and dirty about the world of professional wrestling—and his own career.
This is the best of the Society's papers over the past three years—from lynchings to el pato boat building; from sunbonnets to hammered dulcimers; from jokes about droughts and lawyers to tales of folk, gospel and blues music; from gravemarkers to bottle trees, and more.
The book opens up with my thoughts on why relationships today are a joke. I talk about how they have broken down over the years. How there is no affection, no love towards each other. It is all about lust and sex nowadays. All we do is get it done, in and out so to speak. This is how it is with these relationships today. There are points that are made that could enable you to have a better relationship if you choose to accept them. Trust me, when you are in a good relationship you tend to think, feel, love, hug, kiss, rest, relax, trust, communicate, and be happier with life. Thank you for purchasing this book!
Before he received his diagnosis of Asperger Syndrome (AS) in the 1970s, Marc Fleisher was considered mentally retarded; yet he went on against the odds to gain two maths degrees and to undertake post-graduate studies in maths. In this engaging story Marc relates how, supported by his family and by services for people with autism, and despite family tragedy and personal difficulties, he learnt to get the most out of life. He shares, with humour and candour, a multitude of practical tips for people with AS, and those around them, rounding off his story with appendices on astronomy, parallel universes, and the mathematics of unfeasibly large numbers.
Comic Relief: A Comprehensive Philosophy of Humor develops an inclusive theory that integrates psychological, aesthetic, and ethical issues relating to humor Offers an enlightening and accessible foray into the serious business of humor Reveals how standard theories of humor fail to explain its true nature and actually support traditional prejudices against humor as being antisocial, irrational, and foolish Argues that humor’s benefits overlap significantly with those of philosophy Includes a foreword by Robert Mankoff, Cartoon Editor of The New Yorker
Of all the characters in modern Jewish fiction, the most beloved is Tevye, the compassionate, irrepressible, Bible-quoting dairyman from Anatevka, who has been immortalized in the writings of Sholem Aleichem and in acclaimed and award-winning theatrical and film adaptations. And no Yiddish writer was more beloved than Tevye’s creator, Sholem Rabinovich (1859–1916), the “Jewish Mark Twain,” who wrote under the pen name of Sholem Aleichem. Beautifully translated by Hillel Halkin, here is Sholem Aleichem’s heartwarming and poignant account of Tevye and his daughters, together with the “Railroad Stories,” twenty-one tales that examine human nature and modernity as they are perceived by men and women riding the trains from shtetl to shtetl.
It's Best to Start Early, but It's Never Too Late -- A Step-by-Step Guide for Every Age
Author: Linda Eyre
Publisher: Golden Books Adult Publishing
Category: Family & Relationships
Linda and Richard Eyre stress that it's never too soon-or too late-to start discussing sex and values with your children, and they've got proven strategies to make it easier. For parents who want to go beyond the birds and the bees talk, How to Talk to Your Child About Sex provides thoughtful, clear, specific guidance on when and, most important, how to help children begin to learn and understand sex, love, and commitment from the most positive viewpoint possible. Preliminary "as needed" talks with three-to eight-year-olds The age eight Big Talk Follow-up talks with eight-to thirteen-year-olds Behavior discussions and guidelines with eleven-to sixteen-year-olds Discussions of perspective and personal standards with fifteen-to nineteen-year-olds
Good Humor, Bad Taste is the first extensive sociological study of the relationship between humor and social background. Using a combination of interview materials, survey data, and historical materials, the book explores the relationship between humor and gender, age, regional background, and especially, humor and social class in the Netherlands. The final chapter focuses on national differences, exploring the differences between the American and the Dutch sense of humor, again using a combination of interview and survey materials. The starting point for this exploration of differences in sense of humor is one specific humorous genre: the joke. The joke is not a very prestigious genre; in the Netherlands even less so than in the US. It is precisely this lack of status that made it a good starting point for asking questions about humor and taste. Interviewees generally had very pronounced opinions about the genre, calling jokes "their favorite kind humor", but also "completely devoid of humor" and "a form of intellectual poverty". Good Humor, Bad Taste attempts to explain why jokes are good humor to some, bad taste to others. The focus on this one genre enables Good Humor, Bad Taste to have a very wide scope. The book not only covers the appreciation and evaluation of jokes by different social groups and in different cultures, and its relationship with wider humor styles. It also describes the genre itself: the history of the genre, its decline in status from the sixteenth century onward, and the way the topics and the tone of jokes have changed over the last fifty years of the twentieth century.
GOAL This is the funniest book I have ever written - and the ambiguity here is deliberate. Much of this book is about deliberate ambiguity, described as unambiguously as possible, so the previous sentence is probably the fIrst, last, and only deliberately ambiguous sentence in the book. Deliberate ambiguity will be shown to underlie much, if not all, of verbal humor. Some of its forms are simple enough to be perceived as deliberately ambiguous on the surface; in others, the ambiguity results from a deep semantic analysis. Deep semantic analysis is the core of this approach to humor. The book is the fIrst ever application of modem linguistic theory to the study of humor and it puts forward a formal semantic theory of verbal humor. The goal of the theory is to formulate the necessary and sufficient conditions, in purely semantic terms, for a text to be funny. In other words, if a formal semantic analysis of a text yields a certain set of semantic proptrties which the text possesses, then the text is recognized as a joke. As any modem linguistic theory, this semantic theory of humor attempts to match a natural intuitive ability which the native speaker has, in this particular case, the ability to perceive a text as funny, i. e. , to distinguish a joke from a non-joke.
It is said that everyone has a story to tell, a voice that deserves to be heard. There are many thousands of children with special needs who have long been ignored, rejected and excluded from our schools, our communities, and, sadly, from our Bible classes. We believe that these children are loved deeply and completely by our Lord and that they too are called to come unto Him. This book speaks to the heart and to the head. Teachers and pastors will find inspiration and information, reminding them that God calls us to include all children, no matter the challenge. In addition, the book includes wonderfully practical elements with many ideas that can be easily integrated into any classroom. By combining philosophy and strategies, this book will equip the typical church volunteer teacher to meet the needs of all the children in her classroom.
You know how to enjoy friends and family, good food, and good times, but do you enjoy being a Christian? Author Sam Storms presents a fresh and liberating perspective on why a relationship with God is not only possible but also irresistibly pleasurable. Once you discover that God delights in your company, your desire for Him will only be satisfied by drawing closer to His unquenchable love through a life of passionate service.
Listed from A to Z, this book looks at a broad range of issues arising out of modern and postmodern human and Jewish experience. Beginning with the first page, readers will want to read more - and ask more.
A teenage daughter and her disturbed online lover plot her mother’s brutal murder in this classic true-crime thriller by New York Times bestselling journalist M. William Phelps. “Phelps is the Harlan Coben of real-life thrillers.” —Allison Brennan An online love affair, a mother’s anguish, a shockingly brutal murder… Jeanne Dominico was a hard-working single mother. Nicole, her fourteen-year-old daughter, was on the honor roll—and head over heels in love with an older teen she’d met through the Internet. Once the lovers met in person, Jeanne sensed trouble. If only she’d known that the life in danger was her own. With a history of psychological trouble and family misfortune, Billy Sullivan demanded obsessive and controlling power over Nicole. The twisted Romeo and Juliet responded to Jeanne’s motherly concern with brutal fury—her fiancé discovered Jeanne’s beaten, barely recognizable body on the kitchen floor. Nicole’s stunning confession and guilty plea led to Billy’s sensational trial, where a sordid tale of love, loss, betrayal, and murder finally took a cold-blooded killer offline—and on line for justice. INCLUDES 16 PAGES OF SHOCKING PHOTOS “Phelps is one of America’s finest true-crime authors.” —Vincent Bugliosi “Phelps knows how to work it.” —Marilyn Stasio, The New York Times Book Review “Master of true crime.” —Real Crime magazine “Anything by Phelps is an eye-opening experience.” —Suspense Magazine
Overreading in Derrida, Deleuze, Levinas, Žižek and Cavell
Author: Colin Davis
Publisher: Stanford University Press
Category: Literary Criticism
The "ancient quarrel" between philosophy and literature seems to have been resolved once and for all with the recognition that philosophy and the arts may be allies instead of enemies. Critical Excess examines in detail the work of five thinkers who have had a huge, ongoing impact on the study of literature and film: Jacques Derrida, Gilles Deleuze, Emmanuel Levinas, Slavoj Žižek, and Stanley Cavell. Their approaches are very different from one another, but they each make unexpected interpretive leaps that render their readings exhilarating and unnerving. But do they go too far? Does a scribbled note left behind by Nietzsche really tell us about the nature of textuality? Can Hitchcock truly tell you "everything you always wanted to know about Lacan"? Does the blanket hung up in a motel room invoke the Kantian divide between the knowable phenomenal world and the unknowable things in themselves? Contextualizing the work of the five thinkers in the intellectual debates to which they contribute, this book analyzes the stakes and advantages of "overreading."