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Examine fully the writers use of humour in The Opposite Sex by Laurie Lee This essay aims to examine the use of humour in Laurie Lee's short story 'The Opposite Sex'. It tells the story of a teenage boy who is led to his first sexual experience. As much of Laurie Lee's writing was autobiographical or loosely based upon his own life we may assume that this is the tale of Lee's first sexual encounter, yet there is no definite proof to support this argument. Lee was born in 1914 and raised in his birth-town of Slad, Gloucestershire where he later went on to set many of his novels, including 'The Opposite Sex'. His other works were set in countries in which he had spent a lot of time whilst travelling as a young man during and after the Second World War. This essay title has asked to examine humour throughout 'The Opposite Sex' which proved to be difficult task as humour can be difficult to define. This is because different people have completely different senses of humour. Some people laugh hysterically at a particular joke while others would be offended or just simply, would not find it funny. Different jokes and styles of humour would then appeal to different audiences and this is why I think Laurie Lee proved to be comical within 'The Opposite Sex'. Lee used a mild, suggestive use of humour as well as some sexual innuendo instead of 'slapstick', comical jokes. Humour is therefore a personal and individual thing and I think Laurie Lee could be taking a wry look at his own awkwardness as a teenage boy. The opening paragraph of 'The Opposite Sex' describes the attitude towards sex which is and was held by people in the country. He describes the subject of sex as being a very open topic which no-one was embarrassed or afraid to talk about. He describes how 'free' people felt when discussing the subject of sex: "Sex on the country was like grain in the wood, self-renewing as the daily paper, never obsessive, nor crowding the attention, but always going on if you cared to look for it." He sets the scene by describing the country attitude towards sex (as in the opening paragraph) and goes on to use a long and complicated metaphor to describe his level of success when it came to sex: "My moment, after years of lazily inspecting the pitch, came when I was suddenly called on to play." Laurie Lee then gives us some description of the main character, whom we cannot automatically assume is Laurie Lee himself, and the physical setting of the scene and village boys.
Australian humour is very unique to Australia, and many other cultures find it quite unusual. It can be described as dry, anti-authoritarian, self-mocking, very ironic and as to stretch the boundaries of what is acceptable. Our humour is seen through our use of slang, print cartoons, radio sketches, comedy series’ on television, films, everyday life and in Australian literature. According to the Collins Dictionary and Thesaurus , humour means, “The quality of being funny; the ability to appreciate or express that which is humorous; situations, speech or writings that are humorous”. Due to its unique qualities, it will become apparent that Australian humour is quiet different to that of America and England and other nations. To highlight the importance of humour through the development of Australian identity, five main elements have been identified. These are, the part Australian humour plays in Australian identity, its unique qualities, its integral part in the Australian identity, the role of humour in times of great hardship and other nation’s perceptions of Australian humour. It is through these elements that it will become evident that humour is an important part of the development of the Australian identity.
Barbara Ehrenreich employed the use of humor multiple times in Nickel and Dimed; it was perhaps her most frequently used rhetorical device. Ehrenreich was trying to portray the tragedy and heartbreak of the situation by using that sort of hopeless, sardonic humor. She also used her humor as a way to camouflage topics that would otherwise be off-limits. Although some of the humor included in the narrative may have seemed distasteful, it all had a purpose and was rarely used inappropriately.
What is the most common perception held in this country concerning the people and the way they live in the South? The perception most of the country has about life down here in the South is one of slow-paced living, simple-minded people, and stubborn, unwarranted pride. One of the best ways to combat this perception is through the use of humor; Lewis Grizzard was one of the best at this, because he could take the experiences from his own life as well as the lives of others in the South and turn them into humorous semi-fictional stories. He was one of the preeminent fictional authors this country has ever seen because of his ability to connect with people and joke about everyday life in the south, without offending the subjects of those jokes, despite the popular opinion the rest of the country held.
As Tina Fey learned throughout her life, being able to laugh at yourself is a key component to success. In her 2011 book, Bossypants, Tina Fey constantly pokes fun at herself, but in the best way possible. She discusses her childhood, her awkward stages of growing up, and some of her most embarrassing moments as an adult. By utilizing self-deprecating humor, Tina Fey makes her novel amusing and entertaining—something that contributed greatly to her success as a comedian.
To begin, I will give a brief overview on the effect emotions have on our media viewing experience. In particular, I will be examining the work of Noem Carroll and Carl Plantinga. Second, I will give a brief overview of the research that connects political humor viewing to positive outcomes including increased political knowledge, and the ability to learn various view points as well as greater understanding of one’s own viewpoint. Though, I understand that their is a raging debate between cognitivist and non-cognitivist. My goal is not to take a position on the debate, but I am merely going to give a brief overview of the literature on film and emotion. On one hand, Carl Plantinga argues that emotions can be defined as "Concern Based Construals.” To highlight this meaning, let us imagine that as I am writing this paper, I hear loud noises, as this is going on, unconsciously, my heart rate increases and respiration increase and I begin to develop the emotion of fear. This is similar to Noel Carroll’s theory of emotion, if not complimentary to Plantinga’s view. Carroll would say that emotions act as searchlights to help us focus on the perceptions necessary to deal with the current experience. Plantinga would concede that many of the affects associated with emotions occur in the cognitive unconscious. So, Plantinga is not saying that, “Emotions are mere judgements,” As Robert Solomon would claim, but emotions are driven by experience based on one’s personal perception. In other words, Plantinga is saying the these construals are based on one’s personal experiences, whether conscious or not. However, something should be said about Construals in of itself, th...
Raskin (1985) introduces his approach as being concerned with ‘verbal humor’, but his analyses are based on all types of humor conveyed in language, that is, our ‘verbally expressed’ humor. The widely-cited general theory of verbal humor (Attardo, 1994), which we have not space to discuss here, is about humor expressed in language, not merely humor dependent on specific language devices. To complicate matters further, Norick (2004) uses non-verbal to describe jokes which cannot be effectively conveyed in written language, since they are dependent on audible material (e.g. tone of voice) or on non-linguistic devices such as gestures; ‘verbal’ jokes would then be those which can be expressed successfully in writing. In this chapter, we will stay with the terms outlined earlier: anything conveyed in language is ‘verbally expressed humor’; ‘verbal humor’ is dependent on language-specific devices, ‘referential humor’ is based solely on meaning.
Since the dawn of the Victorian Era, society has perpetuated unrealistic gender performance ideals that supposedly find their roots within biological sexual differences. Judith Butler has spent a lifetime seeking to break the mold todays social constructions, specifically surrounding gender and sexuality. The theory this pioneer pegged is now known as Queer Theory, and brought forth in the education system through Queer Studies courses. In the text Sexing the Body: Gender Politics and the Construction of Sexuality by author Anne Fausto-Sterling, gender and sex are similarly challenged on both a social and biological level. When reviewing Fausto-Sterling’s work in conjunction with Queer Studies and Human Sexuality, an efficient and effective format is loosely based upon a Critical Literary analysis.
Although modern science has allowed us to develop many complex medicines, laughter is still the strongest one available in the real world and in the book. Laughter proves to be a strong medicine in more ways than one and is completely free, allowing anyone to use it at anytime. It allows us to connect socially with people, it can be used as a way of overthrowing power, and it is good for your health. As Randle McMurphy showed in the novel, One Flew Over the Cuckoo’s Nest, laughter can lighten the mood in the darkest situations.
The taboo around feminism had prevented meaningful discourse about gender inequalities for a long time. The women’s movement of the 1960’s and 70s and the sexual revolution had a profound effect on the acceptability of not only discussing feminist issues, but satirizing them. The feminist movement of the 20th century marked a distinct shift from women serving as the objects of humor, to women becoming the creators and subjects of comedy. In the 1993 novel The Dyke and The Dybbuk, Ellen Galford used the mode of comedy as a progressive way of discussing the inherently serious subject matter of gender norms. Through the parody and manipulation of conventional gender roles and gender stereotypes, by way of Kokos the dybbuk’s witty narration and
The spectrum of therapeutic techniques available within the health care continuum is very complex and varied. From traditional medicine, to holistic remedies, and anything in between, nurses have a rather large arsenal at their disposal when it comes to treating the patients that are under their care. Humor as an alternative therapy has long been understood as a proven means to aid in the recovery process. “With so much power to heal and renew, the ability to laugh easily and frequently is a tremendous resource for surmounting problems, enhancing your relationships, and supporting both physical and emotional health” (Smith & Segal, 2015). The purpose of this paper is to discuss situations in which humor would be a viable alternative therapy
According to Gazzaniga, Heatherton, and Halpern in Psychological Science, an effective to regulate emotion is through humor (430). Humor allows individuals to distance themselves from negative emotions and can strengthen social connections to others (Gazzaniga, Heatherton, and Halpern 431). In Native American communities, laughter and humor are often utilized to cope with stereotypes imposed upon Native Americans by non-Native people. Illustrations of this occurrence can be found throughout works by Native peoples, such as that by Sherman Alexie. These sources involve Native Americans embracing, rebelling against, and bringing attention to stereotypes about who they are and who the can be, all while using humor to cope with the emotions involved
Humor can come in many different forms. Many people are aware of the blatant humor of slapstick, but it takes a keener mind to notice the subtle detail in sarcasm or satire. In A Modest Proposal, Jonathan Swift was able to create a piece of literature addressing the faults of the Irish culture while embedding in a humorous essay. Swift’s satire allows for the gravity of the Irish standings to be exploited under the disguise of a proposal for economic benefit.
The two authors Jaroslav Hasek and Franz Kafka, born in the same year of 1883 and the same city of Prague, were exposed to many similar experiences growing up in the time preceding World War I. These contemporaries witnessed first-hand the gradual decay of Central-European power and values, and they observed their home-country of Austria-Hungary vanish into non-existence after the war (Fiedler 183). Although later in life the two authors developed very different political opinions and writing styles, their experiences led them both to view the world through thick lenses of absurdism and humor. Indication of their interpretations of life is most apparent in each author’s largest literary work. Though both The Good Soldier
Similar to many other lively pleasures, humor can only be experienced if it resonates with a person. Without some kind of comprehension, there cannot be any type of reaction. Only once an outlandish statement, inappropriate remark, or unexpected situation, is remotely understood will a person be able to label it comical or sober. Since there are billions of people worldwide with their own languages including it’s respective idioms, euphemisms, the age old saying of “there is truth in every joke” applies to each culture individually.
Humor is the tendency to look at things from the mirthful or incongruous side. It is the quality that makes something laughable or amusing. Humor is the ability to perceive, enjoy, or express what is amusing or comical. It is the source of laughter and the catalyst of smiles. Humor is the spark that lights our eyes as well as the cause of tears that never grows old. Humor is a state of mind.