'This is the kind of book that troubles grey-suited committees of academic peers. It's too enjoyable. But that, given its subject, is just what it ought to be, and it treats that subject seriously . . . There isn't a “dull” page anywhere in the book.' – Professor Peter Thomson, Studies in Theatre and Performance Comedy is changing: stand-up comedians routinely sell out stadia, their audience-figures swollen by panel-show appearances and much-followed Twitter feeds. Meanwhile, the smaller clubs are filling up, with audiences as well as aspirants. How can we make sense of it all? This new edition of Getting the Joke gives an insider's look at the spectrum of modern comedy, re-examining the world of stand-up in the internet age. Drawing on his acclaimed first edition, Oliver Double focuses in greater detail on the US scene and its comedians (such as David Cross, Sarah Silverman, Louis CK, Demetri Martin and Margaret Cho); the 'DIY' comedy circuit and its celebrated apostles and visionaries, from Josie Long to Stewart Lee; the growing importance of the solo stand-up show; the role played by Twitter (including an interview with the organiser of the world's first comedy gig on Twitter), and the driving force that is the TV guest slot, be it on Mock the Week or Live at the Apollo. With expanded sections on joke construction, as well as ways to challenge the audience, and a host of new and updated exercises to guide the aspiring comedian, this new edition of Getting the Joke is the only book to combine the history of stand-up comedy with an analysis of the elements and methods that go into its creation. Featuring a range of interviews with working comedians – from circuit veterans to new kids on the block – combined with the author's vast experience, this is a must read for any aspiring stand-up comedian.
Organized thematically, this important five-volume set brings together key essays from the field of historical studies. Including an extensive general introduction by the editor in the first volume, as well as shorter individual introductions in each of the following volumes, this set is essential reading for scholars and students alike. Coverage includes: 1. Foundations - The Classic Tradition - The Old Cultural History - Economic History 2: Society - Social History - Marxism - Annales - History of Mentalities 3: Ideas - History of Ideas/ Intellectual History - History of Science - History of the Arts - History of Religion - History of Sexuality. 4: Culture - History and Anthropology - Microhistory - New Cultural History - History and Memory - The Poetics of History - Narrativity. Postmodernist Historiography and its Critics 5: Politics - Political History - Imperialism and Postcolonial History - World History - World-Systems Analysis
Isn't That Clever provides a new account of the nature of humor - the cleverness account - according to which humor is intentional conspicuous acts of playful cleverness. By defining humor in this way, answers can be found to longstanding questions about humor ethics (Are there jokes that are wrong to tell? Are there jokes that can only be told by certain people?) and humor aesthetics (What makes for a good joke? Is humor subjective?). In addition to humor in general, Isn't That Clever asks questions about comedy as an art form such as whether there are limits to what can be said in dealing with a heckler and how do we determine whether one comedian has stolen jokes from another.
Punk. The sound of the streets, the music of protest, the shouts and screams of the disadvantaged and oppressed, the anguished howl of the underdog, the unclean and the unworthy. Political, agitational, provocative, subversive, awkward, uncompromising, angry and aggressive. Descriptions and definitions of punk – the subculture, the music, the fashion, the lifestyle, the language and the politics – inevitably revolve around stereotypes and generalizations. Consensus, where it can be found, tends to exemplify those same regularly repeated clichés, and important elements become further hidden from view. The use of humour in punk – lyrically, within musical phrasing, song construction and live performance and in the graphic language of punk sleeves, fanzines and posters – is often overlooked. This article comprises two parts. This first part seeks to outline the ways in which humour – through rhetorical codes and strategies including satire, pun, metaphor and metonymy, hyperbole, invective, irony, sarcasm, allegory, exaggeration, parody, repetition, self-deprecation, profanity and the embrace of the absurd or ridiculous were and are central to an understanding of punk language and practice. Within part two of this article, to be published in Punk & Post Punk, further emphasis will be placed on the visual identity of punk and hardcore groups, and on the strategies employed by designers to reflect and support punk's satirical core.
The second edition of the highly successful Handbook ofDiscourse Analysis has been expanded and thoroughly updated toreflect the very latest research to have developed since theoriginal publication, including new theoretical paradigms and discourse-analytic models, in an authoritative two-volumeset. Twenty new chapters highlight emerging trends and the latestareas of research Contributions reflect the range, depth, and richness of currentresearch in the field Chapters are written by internationally-recognized leaders intheir respective fields, constituting a Who’s Who ofDiscourse Analysis A vital resource for scholars and students in discourse studiesas well as for researchers in related fields who seek authoritativeoverviews of discourse analytic issues, theories, and methods
This handbook provides a comprehensive review of new developments in the study of the relationship between the brain and language, from the perspectives of both basic research and clinical neuroscience. Includes contributions from an international team of leading figures in brain-language research Features a novel emphasis on state-of-the-art methodologies and their application to the central questions in the brain-language relationship Incorporates research on all parts of language, from syntax and semantics to spoken and written language Covers a wide range of issues, including basic level and high level linguistic functions, individual differences, and neurologically intact and different clinical populations
Abe and his friend Sol are out for a walk together in a part of town they haven't been in before. Passing a Christian church, they notice a curious sign in front that says "$1,000 to anyone who will convert." "I wonder what that's about," says Abe. "I think I'll go in and have a look. I'll be back in a minute; just wait for me." Sol sits on the sidewalk bench and waits patiently for nearly half an hour. Finally, Abe reappears. "Well," asks Sol, "what are they up to? Who are they trying to convert? Why do they care? Did you get the $1,000?" Indignantly Abe replies, "Money. That's all you people care about." Ted Cohen thinks that's not a bad joke. But he also doesn't think it's an easy joke. For a listener or reader to laugh at Abe's conversion, a complicated set of conditions must be met. First, a listener has to recognize that Abe and Sol are Jewish names. Second, that listener has to be familiar with the widespread idea that Jews are more interested in money than anything else. And finally, the listener needs to know this information in advance of the joke, and without anyone telling him or her. Jokes, in short, are complicated transactions in which communities are forged, intimacy is offered, and otherwise offensive stereotypes and cliches lose their sting—at least sometimes. Jokes is a book of jokes and a book about them. Cohen loves a good laugh, but as a philosopher, he is also interested in how jokes work, why they work, and when they don't. The delight at the end of a joke is the result of a complex set of conditions and processes, and Cohen takes us through these conditions in a philosophical exploration of humor. He considers questions of audience, selection of joke topics, the ethnic character of jokes, and their morality, all with plenty of examples that will make you either chuckle or wince. Jokes: more humorous than other philosophy books, more philosophical than other humor books. "Befitting its subject, this study of jokes is . . . light, funny, and thought-provoking. . . . [T]he method fits the material, allowing the author to pepper the book with a diversity of jokes without flattening their humor as a steamroller theory might. Such a book is only as good as its jokes, and most of his are good. . . . [E]ntertainment and ideas in one gossamer package."—Kirkus Reviews "One of the many triumphs of Ted Cohen's Jokes-apart from the not incidental fact that the jokes are so good that he doesn't bother to compete with them-is that it never tries to sound more profound than the jokes it tells. . . . [H]e makes you feel he is doing an unusual kind of philosophy. As though he has managed to turn J. L. Austin into one of the Marx Brothers. . . . Reading Jokes makes you feel that being genial is the most profound thing we ever do-which is something jokes also make us feel-and that doing philosophy is as natural as being amused."—Adam Phillips, London Review of Books "[A] lucid and jargon-free study of the remarkable fact that we divert each other with stories meant to make us laugh. . . . An illuminating study, replete with killer jokes."—Kevin McCardle, The Herald (Glasgow) "Cohen is an ardent joke-maker, keen to offer us a glimpse of how jokes are crafted and to have us dwell rather longer on their effects."—Barry C. Smith, Times Literary Supplement "Because Ted Cohen loves jokes, we come to appreciate them more, and perhaps think further about the quality of good humor and the appropriateness of laughter in our lives."—Steve Carlson, Christian Science Monitor
Many consider Bernard Lonergan the outstanding Catholic philosopher of the twentieth century, and his Insight: A Study in Human Understanding (1957) is a brilliant but difficult work that has challenged innumerable readers.What Is Lonergan Up to in Insight? is an accessible introduction to the leading ideas of Lonergan's massive and major achievement in which he focuses on the dynamics of scientific method. Using Plato's Myth of the Cave as the guiding metaphor, Father Tekippe, who studied under Lonergan, introduces readers to the main ideas of Lonergan's magnum opus. He does not comment, summarize, nor substitute for Insight, but instead communicates faithfully Lonergan's own leading inspirations. Having studied Lonergan for thirty years, Father Tekippe brings the reader into the intricacies of the inner mind. Chapters relate the more abstract theological questions: Knowing and Morality," "Being: The Object of the Pure Desire to Know," "The Idea of God," "The Existence of God," "Reflective Insight," and "Question, Inquiry, and the Heuristic," as well as the practical, everyday inquiries: "Insight in Common Palance," "Insight in Sports," "Insight and the Detective Story," "Insight in Jokes," and "Great Insights in Science." Undergraduate and graduate students, those in catechetical and ministry schools, and al those interested in Lonergan's theology will appreciate this introduction to one of the most respected and influential works of our time. Terry J. Tekippe is a priest of the Archdiocese of New Orleans. He studied under Lonergan at the Gregorian University in Rome and has been a Lonergan Fellow at Boston College. He wrote a dissertation on Lonergan in theology (Fordham University) and in philosophy (Tulane University). He has edited the Lonergan Studies Newsletter and Papal Infallibility: An Application of Lonergan's Theological Method (1983). He published Lonergan and Thomas on the Will: An Essay in Interpretation (1993), and his Theology: Love's Question (1991) is an adaption of Lonergan's theological method for beginners. "
THE STORY: The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an af
Masters of Spinjitzu: a new force to save the world! Sensei Wu wants Zane to become a Master of Ice -- but he's already a master of snow. There's no mountain anywhere that's a match for his snowboard. But he'll need more than his passion for sports to master Spinjitzu. . . .