Humor and Sarcasm

O "fenômeno humorístico" deve ser entendido enquanto o exercício do "olhar humorístico". Este busca uma distância estética que permite a formulação de incongruências num determinado jogo social onde as normas sociais e linguísticas comuns são violadas com o objetivo de produzir o "gosto humorístico". Ou seja, o "fenômeno humorístico" realiza-se num determinado jogo humorístico que, como tal, requer um terceiro, um interlocutor. A análise ética do presente artigo foca-se nos dois agentes do jogo humorístico através de dois casos: o mau humor, que pode ser manifestado pelo interlocutor; e o humor mau, que pode ser manifestado pelo locutor. Propõe-se que um problema ético ignorado na filosofia do humor diz respeito ao interlocutor moralista que, por não conseguir manter a distância estética necessária ao fenômeno humorístico, tenta categorizá-lo em termos éticos e julgar a atitude moral do locutor. Por outro lado, podemos encontrar um problema simétrico: o locutor que, por não entender as características necessárias ao jogo humorístico, não consegue criar o ambiente necessário para que este ocorra. Estes problemas devem ser entendidos, contudo, na sua complexidade e sem deixar de ter em conta os comummente ignorados aspetos positivos do humor.

As short-form funny videos on social networks are gaining popularity, it becomes demanding for AI models to understand them for better communication with humans. Unfortunately, previous video humor datasets target specific domains such as speeches or sitcoms, and mostly focus on verbal cues. We curate a usergenerated dataset of 10K multimodal funny videos from YouTube, called ExFunTube. Using a video filtering pipeline with GPT-3.5, we verify both verbal and visual elements contributing to humor. After filtering, we annotate each video with timestamps and text explanations for funny moments. Our ExFunTube is unique over existing datasets in that our videos cover a wide range of domains with various types of humor that necessitate a multimodal understanding of the content. Also, we develop a zero-shot video-to-text prompting to maximize video humor understanding of large language models (LLMs). With three different evaluation methods using automatic scores, rationale quality experiments, and human evaluations, we show that our prompting significantly improves LLMs' ability for humor explanation.

Die vorliegende Arbeit bezweckt die auffallendsten Merkmale in der jüdischen Denkweise zu demonstrieren und auf die Verschiedenheit der Gesinnungen hinzuweisen, ohne jedoch Partei zu ergreifen. Diese Verschiedenheiten, die zum grössten Teil auf das Wanderleben der Juden
zurückzuführen sind, ergeben die bunte Vielfalt im Denksystem und in der Sprache, Ladino versus Jiddisch. Auch der Boden, der diese verschiedenen Weltbilder ernährt, d.h. das Milieu wird akzentuiert, Spanien versus Osteuropa. Diese Diskrepanz innerhalb derselben Religion, die die Traditionen bereichert, wird textimmanent untersucht.

Schlüsselwörter: Sepharden, Aschkenasim, Religion, Tradition, soziales Leben

This chapter is concerned with the relationship between language, as the vehicle of a person's culture, and self-assessment of one's capabilities (i.e., self-efficacy) via conventional self-report measures. It relies on the assumption that a language "is 'a veil' over the reality of the culture in which it is used, involving an agreement of its users about what there is to be seen and how it should be seen". Thus, the information weighted and integrated into judgments of one's self-efficacy is filtered through, and thus it is shaped by cultural schemas which are elicited by the language used to formulate such judgments. Evidence that supports this viewpoint is reviewed.

This thesis is connected with Muhammad al-Nuwa'lhl as a literary critic and it is divided into two parts. Part one falls into two chapters. The first chapter, serving as a background to the study, gives a broad developmental overview of Modern Arabic Literary Criticism in Egypt until the late 1940s. Chapter two, on the other hand, examines the life and career of al-Nuwalhl and gives a chronological outline of his book-length studies and the kind of reception accorded to them in Arabic literary circles. In part two which falls into four chapters, a synchronic study of al-Nuwalhl's main critical thoughts is attempted along descriptive and analytical lines. However, these thoughts have not been divorced from his predominantly practical criticism. Each of the four chapters in this part is devoted to the study of some specific critical questions or problems which al-Nuwaihl treated, and many of his ideas have been related as much as practicable to similar ideas by other Egyptian critics.

Theory of Mind (ToM) and pragmatic inferences are two key concepts that provide insight into how humans navigate communication and social interactions. ToM refers to the ability to attribute mental states-beliefs, intentions, desires, and knowledge-to oneself and others, allowing one to predict and interpret others' behavior. Pragmatic inferences, on the other hand, involve interpreting the implied meanings of statements within specific contexts. Together, these concepts form a crucial part of cognitive pragmatics, a field that explores how the mind processes communicative acts.

Drawing on interviews, online chat forums, magazines, and scholarly work concerning Peter Dinklage's acting career, this article argues that although the TV industry positions Dinklage to play parts that address his restricted height, his performance as Tyrion Lannister in Game of Thrones (2011-2019) permits exceptional visibility and complex roles for height-restricted actors in fantasy TV. This inspection of the fantasy TV genre and height-restricted actors performing in fantasy TV allows us to understand Dinklage'simpact on Game of Thrones and fantasy television and the professional progression of heightrestricted actors in the entertainment industry.

This study delves into the intricate realm of sarcasm within second language interactions, aiming to elucidate its linguistic, cognitive, and socio-cultural dimensions. Through a multi-faceted approach, the research investigates the mechanisms that distinguish sarcastic expressions from literal ones, exploring syntactic, semantic, and pragmatic markers. Moreover, it delves into the cognitive processes involved in comprehending sarcasm, highlighting how individuals navigate ambiguity and infer speaker intentions. Socio-cultural influences on sarcasm perception and production are also examined, considering the impact of cultural norms, social hierarchy, and power dynamics. By addressing these aspects, the study contributes to a deeper understanding of sarcasm in second-language contexts. Furthermore, it seeks to inform the development of pedagogical strategies and intervention programs tailored to enhance sarcasm comprehension and production among second language learners, thereby equipping them with essential skills for effective communication in diverse linguistic and cultural settings.

Este capítulo presenta las actuaciones de las chirigotas del carnaval de Cádiz como un macrogénero humorístico interactivo multimodal musicalizado. Las trata como “macrogénero” porque engloban varios (sub)géneros más específicos que participan de un fin general, pero muestran características formales, funcionales y temáticas que las diferencian, tales como sus patrones de movimientos, las acciones que realizan y los temas que abordan. A este macrogénero lo considera (i) “humorístico”, por la preeminencia de su propósito cómico; (ii) “interactivo”, por la co-presencia física de la audiencia a la que van dirigidas las actuaciones, con la que las agrupaciones interactúan en el transcurso de las mismas; (iii) “multimodal”, porque la puesta en escena involucra una serie de estímulos visuales, auditivos y verbales que contribuyen a la consecución del fin primordial, y (iv) “musicalizado”, porque los (sub)géneros que comprenden son varios tipos de coplas con las que se pretende alcanzar el fin último y cuya música se convierte, precisamente, en un estímulo y estrategia para ello. Por último, este capítulo también ilustra las distintas estrategias humorísticas mediante las cuales los distintos (sub)géneros comprendidos en actuaciones de las chirigotas intentan conseguir su objetivo fundamental.

sind jeweils in der ersten Hälfte des 20. Jahrhunderts aktiv und haben beide ihre nicht mehr wegzudenkenden Spuren in der Geschichte der europäischen Literatur hinterlassen, gehören allerdings zwei unterschiedlichen Kulturräumen an: der sizilianische Autor der mediterranen, der Prager Autor der mitteleuropäischen Kultur. Aufgrund ihres stark unterschiedlichen kulturellen Hintergrunds könnte man meinen, dass die beiden lediglich ihr zeitgleiches Wirken gemeinsam haben. Dass dem nicht so ist, bestätigt eine ganze Reihe von Gemeinsamkeiten, angefangen bei der interessanten, nur scheinbar oberflächlichen Übereinstimmung, dass die Literaturkritik anhand der Werke beider Autoren Konzepte und Attribute wie "pirandellianisch" und "kafkaesk" geprägt hat, die jeweils paradoxe und beklemmende, oftmals ausweglose Situationen beschreiben, wie unter anderem auch die Definition der Internetversion der Enciclopedia Treccani belegt: Che richiama l'atmosfera tipica dei racconti di Kafka, e quindi inquieto, angoscioso, desolante, o paradossale, allucinante, assurdo: situazioni kafkiane. 1 Pirandelliano agg. -Che si riferisce a L. Pirandello (1867-1936), al suo pensiero e alla sua opera di narratore e drammaturgo: le novelle p.; il teatro p.; i personaggi p.; lo stile pirandelliano. In senso estens. e fig., che presenta stretta analogia con personaggi, situazioni, temi tipici dell'opera di Pirandello, soprattutto con riferimento al suo tema centrale dell'impossibilità di distinguere tra realtà, apparenza e finzione (quindi, spesso, angosciosamente ambiguo, intellettualistico, sconcertante, paradossale): un 'atmosfera p.; una situazione, una vicenda. 2 In beiden Definitionen ist von "Situationen" und "Atmosphären" die Rede, die, auch wenn die Begriffe "paradox" und "beklemmend" nicht explizit genannt werden, doch mit synonymen Begriffen wie "ambigue", "trostlos" und "befremdlich" beschrieben werden. Wenn man sich nun eingehender mit den beiden Autoren beschäftigt, sieht man, dass die Begriffe "pirandellianisch" und "kafkaesk" -neben ihren offensichtlichen Unterschieden -gemeinsam haben, dass sie auf ein bestimmtes Ambiente und einen diegetische Modus der Werke

This chapter focuses on how racism has been shaped in the context of migration flows in the Turkish Republic as one of the legacies of the new century, as its first century ends and moves into the second. Contrary to the widespread belief that “There is no racism in Turkey” since the emergence of modern Turkey as a nation-state, racism against non-Muslims and Kurds that are perceived as external to the polity has persisted. Xenophobia is a more recent phenomenon, linked to the influx of Syrians in the 2010s, yet its target is not limited to Syrians. A dangerous amalgamation of racism and xenophobia has emerged in a new form as xeno-racism, which manifests itself in a cluster of intersectionality directed at refugees. This study examines the rapid rise of xenophobia through its manifestations in pogroms as the most extreme forms of violence.

In the evolving landscape of online discourse, misinformation increasingly adopts humorous tones to evade detection and gain traction. This work introduces Deceptive Humor as a novel research direction, emphasizing how false narratives, when coated in humor, can become more difficult to detect and more likely to spread. To support research in this space, we present the Deceptive Humor Dataset (DHD) a collection of humor-infused comments derived from fabricated claims using the ChatGPT-4o model. Each entry is labeled with a Satire Level (from 1 for subtle satire to 3 for overt satire) and categorized into five humor types: Dark Humor, Irony, Social Commentary, Wordplay, and Absurdity. The dataset spans English, Telugu, Hindi, Kannada, Tamil, and their code-mixed forms, making it a valuable resource for multilingual analysis. DHD offers a structured foundation for understanding how humor can serve as a vehicle for the propagation of misinformation, subtly enhancing its reach and impact. Strong baselines are established to encourage further research and model development in this emerging area.

This systematic review study examines the relationship between language development, executive function, and screen time in early childhood. The early childhood period is a crucial phase for the development of the brain, during which fundamental language and executive function skills undergo rapid evolution. This review synthesizes findings from 14 peerreviewed studies that focused on language development, executive function, and screen time together to provide a comprehensive understanding of their relationship. The findings of current study were categorized under four themes: screen content and adherence to guidelines, parent-child interaction and the family context, passive and active screen time, and attention issues. The findings suggest that interactive and educational screen content may positively influence language development and executive functions when aligned with recommended screen time guidelines. In contrast, excessive passive screen time, such as watching television, has been associated with negative impacts on cognitive and social skills, particularly affecting attention, memory, and emotional regulation. The prevalence of attention problems is found to be higher in individuals who engage in high levels of screen time. This highlights the necessity for balanced consumption of screen media. The review emphasizes the pivotal role of parent-child interaction, where high-quality engagement and verbal scaffolding during screen time can mitigate adverse effects. Furthermore, socioeconomic and cultural factors also play a significant role. Higher socioeconomic status (SES) families are better able to manage screen time and leverage educational content to support development. These findings have the potential to inform the actions of parents, educators, and policymakers. Adherence to recommended screen time guidelines can mitigate the potential negative impact on executive functions and language skills. Furthermore, the importance of limiting passive screen time and ensuring a balance between screen use and real-world interactions and play opportunities is also highlighted.

Publicado em 1870 no Jornal das Famílias e em 1873 na coletânea Histórias da meia-noite (1873), o conto “Aurora sem dia”, de Machado de Assis, apresenta uma sátira sobre poetas e políticos de pouco talento. Luís Tinoco, o protagonista, torna-se escritor da noite para o dia e publica os seus sonetos no jornal Correio Mercantil, um espaço privilegiado de difusão de suas fantasias. Quando se torna deputado, ele espera que seus discursos sejam debatidos na imprensa. Este artigo analisa a relação entre a sátira do conto e a linguagem satírica do Correio Mercantil, que atacava os adversários por meio do humor. Conclui-se que o conto de Machado de Assis não é apenas de uma representação do universo da imprensa, mas também reflete a linguagem jornalística da época. 

Objective: The present study has tackled to assess the interaction between lexical-syntactic and prosodic cues of irony, and the fact that how the cues are represented during the production of irony and sarcasm (as one of highly functional irony subtypes) in spontaneous discourse through an auditory modality.
Methods: For this purpose, spontaneously produced ironic and non-ironic (baseline) utterances via pairs of friends in conversational dyads during and after watching video stimuli were elicited and analyzed for pragmatic, prosodic contrasts. Thereupon any pragmatic strategies (irony subtypes), the observed lexical-syntactic cues accompanied by the prosodic features of the target utterances coded considering TOBI system and using Praat software, were annotated manually in different ELAN tiers.
Results: The statistic results showed higher values of auditory characteristics in ironic utterances versus baseline utterances. The ultimate probing indicated that the prosodic cues, in production task of Persian irony, operate together as a single system and contribute to intelligibility and detection of an ironic speech even in the absence of verbal markers. Furthermore, there were no correlated patterns between certain types of irony and certain pitch patterns and intonational contours.
Conclusions: The results of the present research can be used in Persian language classes in schools and universities.

(2024) Luigi Pirandellos Sechs Personen suchen einen Autor im Urteil von Karl Kraus, in Europa in der deutschen Literatur
der Moderne (1880–1933). Tagungsbeiträge, a cura di A. Aurnhammer / L. Crescenzi / A. Venturelli / M. Zanucchi,
Studi Germanici, Roma, pp. 153-166.

This paper explores various philosophical, sociological, and critical perspectives on irony as a research subject. This study aims to bridge the knowledge gap in the existing literature on the study of irony. Numerous views have emerged to deconstruct this complex expression and to understand its essence and functions within different social and cultural contexts. Some perspectives perceive irony as a liberation tool, offering individuals a significant space to critique social systems and prevailing ideologies. Conversely, others see it as a false ideology, destroying morals and taste. Some scholars view irony as a mechanism for domination and superiority, or even as a means of demeaning opponents. While some consider it excessive entertainment, opposing seriousness, others find it a powerful instrument for social reform. In addition to discussing these various opinions, this paper also addresses the distinction between irony and other similar expressions, such as laughter, humor, jest, teasing, and joking.

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تقدم هذه المقالة محاولة في استكشاف بعض الآراء الفلسفية والسوسيولوجية والنقدية التي تناولت السخرية كموضوع للبحث، كما تهدف إلى سد الفجوة المعرفية المتعلقة بالأدبيات حول دراسة السخرية. لقد برزت العديد من الآراء التي حاولت تفكيك هذا التعبير المعقد وفهم ماهيته ووظائفه في مختلف السياقات الاجتماعية والثقافية. بعض هذه الآراء ترى السخرية أداة للتحرر، حيث تتيح للأفراد مساحة مهمة لنقد النظام الاجتماعي والأيديولوجيات السائدة، في المقابل يراها البعض الآخر بمثابة أيديولوجية زائفة، محطمة للأخلاق والذوق. وآخرون يعتبرونها كآلية للهيمنة وفرض التفوق، وتحقير الخصوم. بينما هناك من يعتبرها وسيلة للتسلية المفرطة وضد الجد، في حين يجدها البعض الآخر أداة فعالة للإصلاح الاجتماعي. إلى جانب هذه الآراء المختلفة، نناقش إمكانية التمييز بين السخرية وتعبيرات أخرى مماثلة مثل الضحك، والفكاهة، والهزل، والمداعبة، والمزاح، والنكتة.

Dans cet article, nous presentons une approche pour mesurer la similarite semantique entre des textes heterogenes et de qualite differente provenant de differentes sources Web. Notre approche commence par extraire le contenu des textes par deux methodes : (i) utilisation d'un systeme d'extraction que nous avons implante et qui identifie tous les mots contenus dans un texte donne, (ii) utilisation d'un thesaurus multilingue (AGROVOC). Ensuite, nous combinons les resultats des deux approches afin de mesurer la similarite entre les representations textuelles des documents. Afin d'evaluer les resultats, nous nous appuyons sur deux ensembles de donnees heterogenes issus du Web (tweets et articles scientifiques). (Resume d'auteur)

Cet article décrit la participation de l'équipe LinkMedia de l'IRISA à DeFT 2017. Notre équipe a participé aux 3 tâches : classification des tweets non figuratifs selon leur polarité (tâche 1), l'identification du langage figuratif (tâche 2) et la classification des tweets figuratifs et non figuratifs selon leur polarité (tâche 3). Pour ces trois tâches, nous adoptons une démarche d'apprentissage artificiel. Plus précisément, nous explorons l'intérêt de trois méthodes de complexité croissante : i) les k plus proches voisins issues de la recherche d'information, ii) le boosting d'arbres de décision, et iii) les réseaux neuronaux récurrents. Nos approches n'exploitent aucune ressource externe riche (lexiques, corpus annotés) et sont uniquement fondées sur le contenu textuel des tweets (et d'autres tweets pour la dernière approche). Cela nous permet d'évaluer l'intérêt de chacune de ces méthodes, mais aussi des représentations qu'elles exploitent, à savoir les sacs-de-mots pour la première, les n-grams pour la deuxième et le plongement de mots (word embedding) pour les réseaux neuronaux.

Is laughter a sin? Or is it man’s best medicine? Is laughter now trivialised, mechanised or even weaponised by contemporary media? This book explores the social history of laughter in the West, from classical antiquity to the present day. Engaging with a range of thought from Plato to Nietzsche, it moves from classical to modern thought, considering the changing emotional climate of societies – including the postmodern "dictatorship of happiness" – and the role played by the technological changes of the last century in shaping our interpretation of laughter. A broad, historical study of the physical and emotional aspects of laughter, as well as its social role, A Cultural History of Laughter will appeal to scholars of sociology, history and cultural studies, among other fields of knowledge.

Signifiant originellement un mélange, un pot-pourri, le terme latin satura renvoie aussi à un genre poétique qui a pour ingrédient principal l’humour, souvent caustique, féroce, voire agressif. La littérature de l’extrême contemporain n’y échappe pas, bien qu’elle ait été encore peu étudiée sous ce rapport. L’exploration et la caractérisation de ce corpus littéraire satirique contemporain est le premier enjeu de ce volume, qui s’attache aussi à analyser les spécificités de ce discours dans un cadre épistémologique héritant des modèles de la sociologie de la littérature et des propositions de la sociocritique, tout en accordant une place à la narratologie et la rhétorique.

Conveying information in a false or indirect manner in consideration of listeners' wants (i.e. being polite) seemingly contradicts an important goal of a cooperative speaker: information transfer. We propose that a cooperative speaker considers both epistemic utility, or utility of providing the listener new and accurate information, and social utility, or utility of maintaining or boosting the listener's self-image (being polite). We formalize this tradeoff within a probabilistic model of language understanding and test it with empirical data on people's inferences about the relation between a speaker's goals, utterances and the true states of the world.

A todos aqueles cujas ideias construíram meu conhecimento e àqueles que julgarão úteis algumas de minhas ideias na construção de seu próprio conhecimento. Ao Romero,, por seu companheirismo e carinho, que o fizeram presente em toda minha trajetória, compartilhando comigo desde o gosto pelas orquídeas até a agitação de minha vida acadêmica. À Silvana, ao Gustavo, ao Gílson, que me ensinaram que o carinho e a acolhida tornam possível sentir "o lar" em duas casas distintas: minha gratidão e afeto. À Vera, irmã e amiga, superando qualquer distância ou obstáculocerteza de carinho e de apoio. A minhas filhas: Daniela, Lisiane, Larissa; a meu neto, Ian, com os quais estou sempre aprendendo. AGRADECIMENTOS A minhas filhas, Daniela, Lisiane e Larissa, a meu neto Ian e a meu marido, Romero, a meus genros, Cláiton (de forma especial, pelos trabalhos com o AutoCad), Danilo e Eltinho, a toda minha família, que me incentivou e compreendeu minhas ausências. A minha irmã, Silvana Cursino Guimarães, meu cunhado, Gilson Lisboa de Matos e meu sobrinho Gustavo Guimarães de Matos, cujo carinho e disponibilidade tornaram-nos co-participantes desta tese. À Regina Dell'Isola, cuja orientação lúcida, competente e disponível extrapolou as exigências de sua função; por terse tornado uma amiga muito especial _ otimista, alegre e atenta _, cuja obra sobre o assunto (pré)destinou esse convívio prazeroso: compartilharmos o fascínio pela inferência. À família da Regina Dell'Isola: minha amiga Helena, meus amigos André e Adriano, que sempre me acolheram com gentileza em sua casa, tornando mais agradável as horas de estudo ali realizadas. À Prof. Dra Anne Reboul, que gentilmente aceitou orientar-me no estágio no Institut des Sciences Cognitives da Universidade Claude Bernard Lyon 1, propiciando-me a riqueza de conhecimentos aos quais eu não tivera acesso. Ao pesquisador do Institut des Sciences Cognitives, Mateus Joffily, cuja generosidade e respeito humano "preencheram" meu "titre de séjour" em Lyon. Ao Professor Dr. Fábio José Rauen, pela gentileza ímpar em disponibilizar-me material excelente e inacessível para mim, pela amizade demonstrada, pelo prazer de sua participação em minha Banca. Aos Dr. Luiz Francisco Dias e Dra. Beatriz Décat, cuja amizade e desempenho em sala de aula terão parte marcante em minhas lembranças da UFMG. A ambos e ao Dr. Jerônimo Coura Sobrinho (presença sempre amiga), meu agradecimento por participarem de minha banca e pelas valiosas contribuições com a versão final deste trabalho. À Professora Dra.Vânia Bernardes Arruda-Fernandes, que me alertou para a importância da "incongruência" e cujas contribuições me ajudaram a "avançar" em minhas primeiras descobertas. Agradeço sua presença em minha Banca e, na sua pessoa, homenageio todos aqueles que, ao comentarem uma dissertação ou uma tese, preocupam-se em "contribuir para enriquecê-la". Ao Professor Dr. Luiz Carlos Travaglia, cujos "mecanismos criadores do riso" atiçaram meu interesse pela estrutura do texto humorístico, por me ter "apresentado" Koestler e sua "bissociação", e pela lucidez e ponderação com que me guiou na etapa de dissertaçãoque deu início à atual pesquisa. Ao Professor Dr. Hugo Mari, cujas aulas formidáveis me incutiram o gosto pela Pragmática. Aos Professores da FALE e da FAFICH que, durante o curso, mostraram-me caminhos diversificados para abordar o texto. Ao Dr. Waldenor Barros Moraes Filho, da UFU, que, por considerar ainda "da casa" os ex-alunos do Mestrado, mantém-nos atualizados em publicações, eventos e bolsaso que tornou possível minha candidatura ao estágio do Colégio Doutoral Franco-Brasileiro. Ao Professor Dr. Alessandro Rodrigues Pimenta, cuja visão clara e didática, me fez entrever os encantos da Lógica. À Capes, pela bolsa do programa do Colégio Doutoral Franco-Brasileiro. Um agradecimento paralelo, mas especial, à Nancy Santos Silva, responsável pelos bolsistas da França e aos colegas do Programa que respondem pelo endereço grupocdfb@ yahoogrupos.com.br, rostos "invisíveis", mas cuja presença constante e amiga foi meu sustentáculo. A todos os alunos-mestres do curso de Pós-graduação que puseram em prática nossa sugestão de interpretação de textos de humor orientada pela Relevância.

This research applies an interdisciplinary method of discussion to read George Martin’s A Game of Thrones, an epic fantasy, under the light of Nancy Katherine Hayles’ theories concerning modern laws of physics and literature. The plot of the novel has prominent intricacy with vulnerability and flightiness of its storyline and characters which remains open to abundant literary interpretations. This article uses thermodynamics to refer to a type of physics concerned with temperature and heat, and their link to energy, entropy and the physical qualities of radiation and matter. The conduct of these quantities is ruled by thermodynamic laws that transfer a perceptible description utilizing quantifiable macroscopic physical features. This research traces them within the system of Westeros, a fictitious continent enduring countless tensions and wars, in which entropy is manifested metaphorically. Martin shows how thermodynamics and entropy function and bring chaos, and bases his fantasy on the violation of scientific laws to epitomize the ontology of physics and give meaning to his imaginary world. Regarding this, the researchers show and conclude how Martin interplays physics and literature to decipher the reality of this chaotic world and propose a realistic framework to see the mechanism of universe in fantasy and reality.

The study focuses on two main topics: the General Theory of Verbal Humor (GTVH) and types of verbal humor. It seeks to analyze the various types of verbal humor, particularly in Ellen DeGeneres's program with Jackie Chan. To achieve this, Shade's theory will be used to explore types of verbal humor, while Attardo's theory will be employed to analyze the Knowledge Resources (KRs) from GTVH, including Script Opposition (SO), Language (LA), Logical Mechanism (LM), Target (TA), Situation (SI), and Narrative Strategy (NS). In addition, the authors utilized Sudaryanto's theory along with qualitative and descriptive approaches to accomplish the study's objectives. The authorss used a qualitative approach that began with data from transcripts and involved data collection, analysis, and interpretation. According to the authors's research, there are 26 various types of verbal humor in Ellen De-Generes' show with Jackie Chan in episodes 148 and 154. Satire was the most frequent type of verbal humor, occurring six times, followed by jokes, anecdotes, sarcasm, and riddles, which happened three times, and tall tales and wit, which appeared twice. The analysis was done step-by-step following the GTVH's (KRs) order to investigate verbal humor at its core.

We report three studies providing evidence that Japanese college students judge emoticons to express emotions as much as empathetic verbal expressions. The effect is observed in the judgements to the message where the emoticon was included, but also in judgements to the replies to that initial message. The results hold for emails as well as for more recent messaging apps.

und die Ironie. "Die Witze, die von Fremden über Juden gemacht werden, sind zu allermeist brutale Schwänke, in denen der Witz durch die Tatsache erspart wird, daß der Jude den Fremden als komische Figur gilt. Auch die Judenwitze, die von Juden herrühren, geben dies zu, aber sie kennen ihre wirklichen Fehler wie deren Zusammenhang mit ihren Vorzügen, und der Anteil der eigenen Person an dem zu Tadelnden schafft die sonst schwierig herzustellende subjektive Bedingung der Witzarbeit."-Sigmund Freud • Beim Bombenangriff auf Tel Aviv: Arabisch-Israelischer Krieg. Bombenangriff auf Tel Aviv. Zalman Zelig sitzt im Keller und klärt: "Wenn die Engländer uns schon müssen schenken ein Land, das ihnen nicht gehört: Warum nicht gleich die Schweiz?"

Die Bedeutung des Wortes "Witz" ist vielseitig. Wir können mit Leichtigkeit eine je andere Seite in den Vordergrund treten lassen. Sagen wir zum Beispiel: "Was soll denn der Witz des Ganzen sein?" so fragen wir eher nicht nach der Pointe, sondern nach dem Zweck des Ganzen, und sagen wir: "Jetzt machst du aber einen Witz", so meinen wir "das meinst du aber jetzt nicht ernst", und ordnen es unter "nur gespielt" ein. In einem entsprechenden Kontext kann mit "witzig" etwas wie "lächerlich" gemeint sein ("eine witzige poesie, das konkrete") und ein gedehntes "seeehr witzig" kann "ich finde das gemein und blöd von dir" bedeuten, ein ausgerufenes "was für ein Witz!" kann für "was für ein Blödsinn!" stehen.

HAL is a multidisciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés. Distributed under a Creative Commons Attribution 4.0 International License La pré-annotation automatique de textes cliniques comme support au dialogue avec les experts du domaine lors de la mise au point d'un schéma d'annotation

L'essor du traitement automatique des langues (TAL) se vit dans un monde où l'on produit de plus en plus de contenus en ligne. En particulier sur les réseaux sociaux, les textes publiés par les internautes sont remplis de phénomènes « non standards » tels que les fautes d'orthographe, l'argot, les marques d'expressivité, etc. Ainsi, les modèles de TAL, en grande partie entraînés sur des données « standards », voient leur performance diminuer lorsqu'ils sont appliqués aux contenus générés par les utilisateurs (CGU). L'une des approches pour atténuer cette dégradation est la normalisation lexicale : les mots non standards sont remplacés par leurs formes standards. Dans cet article, nous réalisons un état de l'art de la normalisation lexicale des CGU, ainsi qu'une étude expérimentale préliminaire pour montrer les avantages et les difficultés de cette tâche.

There has been much scholarship regarding Jewish humor and where it might come from. Of course, Jews are not all the same. There are, or have been, Jews in most countries of the world, so there is no single shared Jewish culture or even history-at least over the last 2,000 years. If there is something Jews all over the world do share, it is probably the Hebrew Bible and the early Rabbinic literature as well. Those who believe that Jewish humor only dates back to the 17 th century in Eastern Europe, overlook the rich vein of irony, sarcasm, and wit that permeates the foundational texts forming a cornerstone of Jewish cultural expression. Was there a lack of sarcasm in the Torah and Rabbinic literature that you missed 3,000 years of irony, scorn, and derision?

John James Osborne was a 20th Century English playwright, screenwriter, actor, and critic of contemporary politics. His works include The Devil Inside Him, The Great Bear, Personal Enemy, Look Back in Anger, The Entertainer, Epitaph for George Dillion, The World of Paul, Luther, The Blood of the Bambergs, Under Plain Cover, Inadmissible Evidence, The Bond Honored, The Hotel in Amsterdam, Time Present, Hedda Gabler and others. A 20th Century famous English playwright, screenwriter, actor and social critic was John James Osborne. Osborne's major works are The Devil Inside Him, The Great Bear, Personal Enemy, Look Back in Anger, The Entertainer, Epitaph for George Dillon, The World of Paul Sickey, Luther, The Blood of Bamberg, Under Plain Cover, Inadmissible Evidence, A Patriot for Me, The Hotel in Amsterdam, Time Present, West of Suez, Hedda Gabler, The End of Me Old Cigar, The Picture of Dorian Gray, Watch it Come Down, Try A Little Tenderness, The Father and others. His kitchen sink realist play Look Back in Anger mirrors the class conflict and marital problems in 1950s England. The play gave prominence to the phrase "angry young man", which was originally addressed to 26-year-old Osborne by Royal Court Theatre's Press to promote the play. After the end of the Second World War in 1945, a group mostly of middle or working-class British writers including John Osborne, Kingsley Amis, John Brain, Alan Sillitoe, and John Wain started questioning the social orders, values, hypocrisy and orthodox, these prominent 1950s group led the 'Angry Young Man Movement'. In Osborne's Look Back in Anger, the angry young man is Jimmy Porter whose anger reflects several social issues, his ill-treatment and verbal abuse to everyone give birth to several questions and possibilities. Marital problems in the Porter family are mainly created by Jimmy himself. Jimmy's character and behavior are not surprising but realistic and common in a huge number of post second world war households. But this angry young man commits mental cruelty to his wife Alison. This article would find if any mental cruelty to Alison is committed by her angry husband Jimmy.

Die vorliegende Masterarbeit beschäftigt sich mit den Schmäh-Führen-Strategien im Roman "Salz der Erde" von Ernst Hinterberger, in der Fernsehserie "Ein echter Wiener geht nicht unter" und im Social-Media-Projekt "Wiener Alltagspoeten". Das Ziel dieser Arbeit ist es, die Fragen zu beantworten, wie man Schmäh führt und ob sich der Wiener Schmäh im Laufe der Jahre verändert hat. Dabei wird auch gezeigt, welche Schmäh-Führen-Strategien die Wiener verwenden, um die daraus resultierenden Dialoge zwischen ihnen komisch oder ironisch zu gestalten.
Diese Masterarbeit basiert auf wissenschaftlichen Arbeiten aus den Bereichen Linguistik, Literaturwissenschaft und Psychologie. Im theoretischen Kapitel der vorliegenden Arbeit wird erläutert, wie Wiener Schmäh definiert wird und was seine Merkmale sind. Der analytische Teil der Arbeit konzentriert sich auf die Schmäh-Führen-Strategien im Ernst Hinterbergers Roman "Salz der Erde", in der Fernsehserie "Ein echter Wiener geht nicht unter" sowie im Social-Media-Projekt "Wiener Alltagspoeten". In diesem Teil der Arbeit wird zweimal eine Zusammenstellung von wiederkehrenden Strategien und deren Häufigkeit vorgestellt.
Aus der durchgeführten Analyse wurde deutlich, dass trotz des Zeitablaufs in den meisten Fällen immer noch die gleichen Schmäh-Führen-Strategien verwendet werden. Einige der Strategien haben an Popularität gewonnen oder verloren, aber es ist auch möglich, Kommunikationsstrategien zu identifizieren, die heute noch genauso populär sind wie in den 1970er Jahren – das sind diejenigen, die als die wichtigsten für den Wiener Schmäh angesehen werden sollten.

La présente communication présente les projets scientifiques et les réalisations de deux collections hébergées par la plateforme de ressources orales Cocoon : la Collection Pangloss, qui concerne principalement des langues de tradition orale (sans écriture), du monde entier ; et la Collection AuCo, dédiée aux langues du Vietnam et de pays voisins. L’objectif est un progrès solidaire des recherches et de la documentation linguistique. L’accent est mis sur les perspectives ouvertes pour la recherche en phonétique/phonologie par certaines réalisations récentes dans le cadre de ces deux Collections.

Der Beitrag analysiert das Verhältnis zwischen Karl Kraus, Salomo Friedlaender, Dada und der Gestalttherapie vor dem Hintergrund des Antisemitismus und der jüdischen Identitätskonstruktion von 1900 bis 1933. Es wird kritisiert, dass der Begriff des "Anti-Journalisten" die kreative und subversive Natur von Kraus' Arbeit nicht angemessen beschreibt. Als Alternative wird Salomo Friedlaenders Begriff der "schöpferischen Indifferenz" vorgeschlagen. Erstens wird die konkrete Verbindung zwischen Kraus und Friedlaender über Herwarth Walden, den Herausgeber des "Sturm", herausgearbeitet. Zweitens werden die inhaltlichen und stilistischen Parallelen zwischen Friedlaenders Philosophie und Kraus' journalistischer Arbeit sowie die Einflüsse von Friedlaenders Ideen auf den Dadaismus und die Gestalttherapie von Fritz Perls herausgestellt.                            In diesem Zusammenhang werden Bezüge zu F.W.J. Schelling, Friedrich Nietzsche und Max Stirner dargelegt. Es wird drittens diskutiert, ob Friedlaenders Konzept der schöpferischen Indifferenz auch im Zusammenhang mit Identitätsfragen deutsch-jüdischer Autoren, Antisemitismus und Assimilation gelesen werden kann. Als Fazit offenbart sich Kraus‘ Ringen um die kontinuierliche Bewegung der Assimilation in dieser Lesart als geradezu postmoderne Möglichkeit der kreativen Teilnahme und Transformation der eigenen Umgebung und wird so als universalistisch und gesamtgesellschaftlich ausgerichtetes Unterfangen eines Weltbürgertums sichtbar, das als schöpferische Indifferenz im Angesicht des Antisemitismus der Gefahr der identitären Fest-Stellung und damit dem jüdischen Selbsthass zumindest ein Stück weit entgeht.

This paper seeks to study the unforgettable character of Jimmy Porter in John Osborne’s Look Back in Anger (1956), arguing that he epitomizes the then-forgotten literary archetype of the Byronic hero, a point frequently overlooked in existing analyses. Through an in-depth examination of Porter’s complex persona and of the key moments and dynamics in the play, the paper draws parallels between him and some of the most significant Byronic heroes in literary history. In doing so, the paper aims to contribute a fresh perspective to the interpretation of this character, to show how John Osborne brought the riveting archetype back to life in a post-war context, and to enrich the broader discourse on Byronic heroes in 20th-century drama.

The current chapter presents a distinction between individualistic versus collectivistic cultures based on communication styles. In particular, this distinction involves the concept of "face," and cultural communicative preferences for, respectively, negative politeness and positive politeness. In light of this distinction, the chapter further investigates four social aspects of irony: (a) humor, (b) status enhancement, (c) aggression, and (d) emotional control. In a series of pilot studies 1 , the perception of these social aspects was tested in two groups of participants coming from individualistic versus collectivistic cultures and responding to both critical and praise irony. The results suggest that the individualistic group found the ironic utterances funnier and more status enhancing than the collectivistic group. While no statistically significant difference was found for aggression ratings, the results revealed that in the individualistic group, irony was rated as more face-threatening when a person's poor performance was targeted, while in the individualistic group, this effect occurred when moral behavior was targeted rather than the situation.

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