scholarly journals Translating Euphemisms in an Audio-Visual Medium. The Case of Stand-Up Comedy

2020 ◽  
Vol 17 (1) ◽  
pp. 63-73
Author(s):  
Luminiţa Frenţiu
Keyword(s):  
Visual Medium ◽  
Stand Up Comedy

AbstractThe present paper investigates the difficulties in preserving humour in translating euphemisms in a specific, popular comedy genre: stand-up comedy. The investigation goes beyond the lexical level and focuses on the constraints of the audio-visual translation as well.

Funny How? The Effects of Ethnic Humor in Stand-Up Comedy

2008 ◽  
Author(s):  
Kristin E. Henkel ◽  
John F. Dovidio ◽  
Alexander Zavras
Keyword(s):  
Stand Up Comedy

Open Mic?

2020 ◽  
Vol 6 (4) ◽  
pp. 42-67
Author(s):  
Stephanie Brown
Keyword(s):  
Fan Studies ◽  
Production Studies ◽  
Gender Expression ◽  
Ethnographic Interviews ◽  
Stand Up Comedy ◽  
The Ideal

This article draws on ethnographic interviews conducted between May 2016 and May 2017 with stand-up comics in Chicago and Urbana-Champaign, Illinois, all of whom described the experience of being marked as, or associated with, women within the historically masculine comedic space. Drawing on feminist comedy studies, production studies, and fan studies, the article explores the cultural logics of comedic authenticity and their material effects on embodied performances of marked comics in local live comedy. It argues that marked bodies are rarely able to achieve the ideal performance of “authenticity.” While stand-up comedy is often theorized optimistically as a fruitful site from which to subvert assumptions about identity, gendered or otherwise, comics paradoxically feel pressure to conform to appropriate gender expression on stage in order to be legible to audiences and other comics historically influenced by masculine comedic taste.

ANALISIS TINDAK TUTUR EKSPRESIF DALAM WACANA STAND UP COMEDY INDONESIA SESI 3 BABE CABITA DI KOMPAS TV

Caraka ◽  
2020 ◽  
Vol 6 (2) ◽  
pp. 90
Author(s):  
Risang Krista Pratama ◽  
Asep Purwo Yudi Utomo
Keyword(s):  
Stand Up Comedy

Cinema and the Haptic in Modern Japan

Screen Bodies ◽  
2018 ◽  
Vol 3 (1) ◽  
pp. 23-36
Author(s):  
Daisuke Miyao
Keyword(s):  
The Body ◽  
Film Culture ◽  
Visual Medium ◽  
German Cinema ◽  
The Status ◽  
The Senses ◽  
Modern Japan

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

Vision, Touch, and the Value of Pictures

2018 ◽  
Author(s):  
Dominic McIver Lopes
Keyword(s):  
Visual Experience ◽  
Visual Medium ◽  
Aesthetic Experiences ◽  
Line Drawings

Since those born blind can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Conceding this, Robert Hopkins denies that raised-line drawings can be works of pictorial art: tactile experiences of raised-line drawings are not aesthetic experiences. This paper addresses Hopkins’s concerns. The reasons given for evaluating a picture aesthetically can cite its tactile qualities instead of its visual qualities. In particular, a raised-line picture can be valued for how it evokes a tactile experience of a worldly scene, just as a visual picture can be valued for how it evokes a visual experience of its subject.

Intervention

2017 ◽  
Author(s):  
Loré Lixenberg
Keyword(s):  
Mezzo Soprano ◽  
Stand Up Comedy

Mezzo soprano Loré Lixenberg looks back at the delights and dangers of collaborative projects, and of working with improvisation in contexts ranging from stand-up comedy to opera. The Intervention reflects on the particular opportunities and challenges that singers face in working with their bodies, and with their personal and dramatic identities.

Impersonated personae – paralanguage, dialogism and affiliation in stand-up comedy

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Lorenzo Logi ◽  
Michele Zappavigna
Keyword(s):  
Social Values ◽  
Voice Quality ◽  
Substantial Contribution ◽  
Cultural Stereotypes ◽  
Stand Up Comedy ◽  
Semiotic Resources ◽  
The Creation

Abstract This paper argues that paralinguistic resources employed by stand-up comedians to construe textual personae (impersonated characters) make a substantial contribution to the creation of humor by allowing the comedian to distance themselves from particular social values and by referencing shared cultural stereotypes. A stretch of stand-up comedy discourse is analyzed to explore how gesture and voice quality contribute to the construal of projected personae. These are mapped in relation to the interaction between comedian and audience to discern how they evoke specific social values. The results suggest that textual personae are deployed by the comedian to embody stereotypes that connote particular value positions, and that the comedian can construe blended or hybrid personae through the use of multiple semiotic resources. Impersonation thus constitutes a powerful resource for negotiating social values in order to generate tension and create humor.

Sign in / Sign up

Export Citation Format

Share Document