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Literature and Humor

Other genres of literature include the following: Benign Humor, the Bildungsroman, the ... In the classical sense, the

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Literature and Humor

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    Slide 1:Literature and Humor

    by Don L. F. Nilsen and Alleen Pace Nilsen

    Slide 2:Stephen King said:

    “Fiction is the truth within the lie.” What does this mean? What is the difference between “truth” and “verisimilitude”? Does fiction (e.g. Red Badge of Courage) or non-fiction (e.g. Stillness at Appomattox) give a more accurate portrayal of the Civil War?

    Slide 3:ANALOGIES: GENRES AND SEASONS

    1ST: SPRING = COMEDY 2ND: SUMMER = ROMANCE 3RD AUTUMN = TRAGEDY 4TH WINTER = IRONY or SATIRE THEN BACK TO SPRING = COMEDY (Frye 131-139)

    Slide 4:SPRING

    Slide 5:SUMMER

    Slide 6:AUTUMN

    Slide 7:WINTER

    Slide 8:1ST: SPRING = COMEDY

    Comedy is based on an unjust law or tradition which in the end is broken. There is always a complication, but the comedy ends in the reestablishment of the natural order of things, and everybody paired off and living happily ever after. Two sub-genres of Comedy are “Comedy of Manners” and Comedy of Humors.”

    Slide 9:COMEDY OF HUMORS

    The Comedy of Humors goes back to the belief of medieval physiology that human dispositions are based on the balance of the four basic fluids, phlegm, blood, black bile, and yellow bile. If the balance is not right a person might be phlegmatic, sanguine, melancholy or bilious. (Nilsens in Raskin [2008] 248)

    Slide 10:If a character’s humors are out of balance, he is a “humors” character, otherwise known as an “eccentric,” or even (as with Flannery O’Connor’s characters) a “grotesque.” Chaucer’s Canterbury Tales is filled with humors characters “ranging from the energetic Wife of Bath to the pretentious but little educated Nun and from the overly religious and hypocritical Monk to the crude rascal of The Miller and the comically romantic Knight.” (Nilsens in Raskin [2008]: 248)

    Slide 11:In Neil Simon’s The Odd Couple, Oscar Madison’s exaggerated sloppiness is placed in opposition to the meticulousness of Felix Unger. (Nilsen & Nilsen 107) In contrast, a Comedy of Manners parodies and satirizes the manners and conventions of high society.

    Slide 12:Alazons and Eirons

    “Alazons and Eirons are stock humorous characters going back to Greek drama. Alazons are overly confident braggarts getting their way by blustering and bullying. At the other extreme, are the eirons, who are sly rogues getting their way through feigned ignorance or dumb luck.” The term “eiron” is related to the term “irony,” because the Eirons say one thing, but mean another. (Nilsens in Raskin [2008] 248) Note that in Japanese culture, the Samurai are the Alazons, and the Ninja are the Eirons.

    Slide 13:Comedy of Manners

    “Comedies of manners frequently stress the superior intellectual and moral values of middle class characters as compared to the established aristocracy.” (Nilsens in Raskin [2008] 247)

    Slide 14:In Oscar Wilde’s The Importance of Being Earnest Jack responds to Lady Bracknell’s question of whether he smokes and she answers, “I am glad to hear it. A man should have an occupation of some kind.” Later, Jack answers one of her questions by saying he doesn’t know, to which she cheerfully responds, “I am pleased to hear it. I do not approve anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone.” (Nilsens in Raskin [2008]: 248)

    Slide 15:In Beaumarchais’s The Marriage of Figaro, which was later made into an opera by Mozart, the unjust law was that the Lord of the Manor had the right to take the virginity of any woman marrying one of the Lord’s serfs. The plot of the play revolves around how Figaro and his bride repeatedly outwit the Lord of the Manor until the couple is married and the Lord is no longer entitled to this privilege. (Nilsen & Nilsen 107)

    Slide 16:In Shakespeare’s The Merchant of Venice, the unjust law relates to the pound of flesh that Shylock is authorized to receive. Portia, the lawyer, overturns the unjust law by arguing that while Shylock may be allowed to take his pound of flesh, he cannot shed one drop of blood in obtaining it. (Nilsen & Nilsen 107)

    Slide 17:COMEDY BECOMES TRAGEDY

    The line which changes Shakespeare’s Romeo and Juliet from a comedy to a tragedy was spoken by Mercutio (a mercurial figure). When Mercutio is wounded in a sword fight Romeo says, “Courage, man, the hurt cannot be much,”

    Slide 18:and Mercutio responds, “No, ‘tis not so deep as a well, nor so wide as a church-door, but ‘tis enough, ‘twill serve.” “Ask for me to-morrow, and you shall find me a grave man.”

    Slide 19:ADDITIONAL EXAMPLES

    COMEDY OF HUMORS: Canterbury Tales, Little Women, “The Owl and the Nightingale,” The Taming of the Shrew COMEDY OF MANNERS: The Importance of Being Ernest, The Rivals (with Mrs. Malaprop)

    Slide 20:2ND: SUMMER = ROMANCE

    The Romance “presents an idealized world, the black-and-white world of our desires, where good things are really good, and bad things are really bad. The Romance involves the Journey, and the Journey involves the Hero, the Villain, the Quest, the Sage, the Prohibition, the Sacrifice, the Dragon, the Treasure, and sometimes the rescue of the Maiden. The epiphany (mountain top, tower, island, lighthouse, ladder, staircase, Jack’s beanstalk, Rapunzel’s hair, Indian rope trick etc.) connects Heaven and Earth” (Frye 203).

    Slide 21:EXAMPLES OF ROMANCE

    The Divine Comedy, The Lion, the Witch and the Wardrobe, Lord of the Rings, Paradise Lost

    Slide 22: 3RD AUTUMN = TRAGEDY

    Tragedy is the opposite of comedy in that the happiness appears at the beginning or the middle. Somebody is privileged, but with a fatal flaw, usually an obsession and hubris which causes the downfall.

    Slide 23:EXAMPLES OF TRAGEDY

    The Great Gatsby, Hamlet, King Lear, Macbeth, Othello, Romeo and Juliet

    Slide 24:4TH WINTER = SATIRE

    “Satire demands at least a token fantasy (Utopia and Dystopia), a content which the reader recognizes as grotesque, and at least an implicit moral standard” (Frye 224).

    Slide 25:EXAMPLES OF SATIRE

    HORATIAN SATIRE (mild and amusing): Animal Farm, Brave New World, Gulliver’s Travels, Little Big Man, Lysistrata, Screwtape Letters JUVENALIAN SATIRE (harsh and bitter): 1984, Clockwork Orange, Fahrenheit 451, Lord of the Flies, A Modest Proposal

    Slide 26:4TH WINTER = IRONY

    “Whenever a reader is not sure what the author’s attitude is or what his own is supposed to be, we have irony with relatively little satire” (Frye 223).

    Slide 27:EXAMPLES OF IRONY OR GALLOWS HUMOR

    Catch 22, Catcher in the Rye, Fargo, The Loved One, One Flew Over the Cuckoo’s Nest, Portnoy’s Complaint, Pulp Fiction, Slaughterhouse 5, The World According to Garp

    Slide 28:ADDITIONAL GENRES

    Other genres of literature include the following: Benign Humor, the Bildungsroman, the Cautionary Tale, the Doppelganger Genre, Erotic Humor, Fantasy Humor, Farce, Gothic Humor, the Metamorphosis Genre, Parody, the Picaresque Novel, Pourquoi Stories, and Vernacular Humor

    Slide 29:BENIGN HUMOR

    Benign Humor is non-threatening. It is a mild type of satire with much word play. Examples of Benign Humor include Alice in Wonderland, the Bertie Wooster and Jeeves novels, Peter Rabbit, Through the Looking Glass, The Wind and the Willows, and Winnie the Pooh.

    Slide 30:Lewis Carroll

    After the success of Lewis Carroll’s Alice in Wonderland, and Through the Looking Glass, Queen Victoria gave permission to Lewis Carroll to dedicate his next book to her. He complied by honoring her with a mathematical treatise. (Nilsens in Raskin [2008]: 244)

    Slide 31:BILDUNGSROMAN

    In a Bildungsroman, the character grows. Examples of Bildungsroman novels include Are You There, God? It’s Me, Margaret, The Chocolate War, I Am the Cheese, and Moll Flanders.

    Slide 32:CAUTIONARY TALE

    A Cautionary Tale tells us what not to do. Examples of Cautionary Tales include Aesop’s Fables, The Bidpai Tales, Coyote Stories, La Fontaine’s Fables, Uncle Remus Stories and Urban Legends.

    Slide 33:DOPPELGANGER GENRE

    The Doppelganger Genre concentrates on a single character with two personalities, or two characters with a single personality. Examples of the Doppelganger Genre include Dr. Jeckle and Mr. Hyde, Pride and Prejudice, Rosencrantz and Guildenstern are Dead, Sense and Sensibility, and “Tweedledum and Tweedledee.”

    Slide 34:Erotic Literature

    Erotic literature is sexy, and it is usually humorous. Examples of Erotic Humor include Fear of Flying, Leaves of Grass, Lolita, and Tom Jones, …and others too numerous to mention.

    Slide 35:Ethnic Literature Henry Louis Gates, and Signifying

    In his 1988 The Signifying Monkey: A Theory of African American Literary Criticism, Henry Louis Gates, Jr. says that because African American slaves were denied the use of normal and private communication, they developed double-entendre Trickster signifiers. “Speakers would say something that meant one thing to whites and another to blacks. The humor comes from the realization that simultaneous messages are being communicated and that the authority figures (usually whites) understand only one message while the other participants comprehend both” (Nilsens in Raskin [2008] 258).

    Slide 36:Vine Deloria

    The title of Vine Deloria’s Custer Died for Your Sins: An Indian Manifesto is an example of a pan-Indian joke (especially meaningful only to tribal or family members). Another example of a pan-Indian joke says that when the missionaries came, they had only the Bible, while the Indians had all the land. But now, “They have all the land, and Indians have only the Bible.” (Nilsens in Raskin [2008]: 258)

    Slide 37:Fantasy Humor

    Fantasy Humor requires a special suspension of disbelief, and includes the genre of Science Fiction. Examples of Fantasy Humor include Hitchhiker’s Guide to the Galaxy, The Legend of Sleepy Hollow, The Jungle Book, A Midsummer Night’s Dream, Peter Pan, The Adventures of Walter Mitty, and The Wizard of Oz.

    Slide 38:Farce: A Violent but Innocent Genre

    Jessica Milner Davis says that “whether it be English, medieval Dutch, Spanish, French, Viennese, Russian, improvised commedia dell’arte, or even Japanese kyňgen of nň theatre, farce is both the most violent and physically shocking of dramatic forms of comedy…, but it is almost the most innocent in that unlike satire or burlesque it does not offend either individuals or society.” (Nilsens in Raskin [2008] 264)

    Slide 39:Davis continues, “Equally paradoxically, farce is not particularly fantastic or unrealistic: indeed in terms of acting style, actors assert that the truthfulness-to-life of their character is absolutely essential for the release of laughter by the audience.” But the violence is highly stylized with “precision of timing and intonation notoriously difficult to achieve.” (Nilsens in Raskin [2008] 264)

    Slide 40:GOTHIC HUMOR

    Gothic Humor occurs in haunted houses or in mysterious caves. It is a dark and stormy night, and many of the sights and sounds are mysterious and threatening. Examples of Gothic Humor include Dracula, Frankenstein, The House of Usher, Northanger Abbey, The Langaliers, and Wuthering Heights.

    Slide 41:Paul Lewis studied the role of gothic narratives, and was “struck by the range of possible responses including puzzlement, fear, and humor and by the relation between these responses and gothic sub-genres including didactic gothic, speculative or ambiguous gothic, and mock-gothic.” Lewis argued that “the eruption of fearful mysteries in a narrative is an essential generic element of the gothic.” (Nilsens in Raskin [2008] 265)

    Slide 42:Comedy vs. Tragedy High Comedy and Low Comedy

    In the classical sense, the “comedy” isn’t necessarily funny, but in contrast to the “tragedy” the “comedy” has a happy ending. “High comedy (what we now call ‘smart comedy’ or ‘literary comedy’) relies for its humor on wit and sophistication, while low comedy relies on burlesque, crude jokes, and buffoonery.” (Nilsens in Raskin [2008] 246)

    Slide 43:Phunny Phellows vs. Satirists Masks and Voices

    Daniel Royot said that comedians don masks and borrow voices, and “it is the interplay of such conflicting masks and voices that results in open or subtle incongruities. With only masks, the effect would be simply parodic, grotesque humor as is unfortunately too much of Jerry Lewis’s stuff and that of other “phunny phellows.” On the other hand, if they use just voices without masks, the result is merely satirical.” Royot then contrasts the visual humor of Mel Brooks with the satirical humor of Woody Allen. (Nilsens in Raskin [2008] 260)

    Slide 44:Joe Sandwich and a Unified Theory of Humor

    In The Vale of Laughter, Peter De Vries has a character named Joe Sandwich who says, “No single theory has yet managed to explain all varieties of mirth. Nine tenths of what we laugh at answers to Bergson, another nine tenths to Freud, still another to Kant or Plato, and so on, leaving always that elusive tenth that makes each definition like a woman trying to pack more into a girdle than it will legitimately hold.” (Nilsens in Raskin [2008] 261)

    Slide 45:Laughter and Literature

    In correlating laughter with screen comedians, James Agee concluded that “four of the main grades of laughter are the titter, the yowl, the belly laugh, and the buffo…, which he organized into six categories ranging from the incipient or ‘inner and inaudible’ laugh (the simper and smirk) to the loud and unrestrained howl, yowl, shriek, and Olympian laugh.” (Nilsens in Raskin [2008] 260)

    Slide 46:“Agee’s study demonstrates an interesting crossover between literature and real-life because in a way it is measuring the care and the skill with which authors observe and record people’s actions.” (Nilsens in Raskin [2008] 260)

    Slide 47:METAMORPHOSIS HUMOR

    Metamorphosis Humor always results in a miraculous transformation. Examples of Metamorphosis Humor include Faust, The Metamorphosis, My Fair Lady, Pinnochio, and Pygmalion.

    Slide 48:PARODY

    Parody mimics and exaggerates the style of the original. Examples of Parody include Byron’s Don Juan, Fables for our Times, “Humpty Dumpty ŕ la Poe,” The Rape of the Lock and Lewis Carroll’s “Twinkle Twinkle, Little Bat.”

    Slide 49:Mark Twain and Doggerel Poetry

    Julia Moore’s ‘death’ poetry of the mid-1800s is an example of doggerel poetry. “In Huckleberry Finn, Mark Twain modeled his “Ode to Stephen Bots, Dec’d” on her work. Twain described her as having a rare “organic talent” for humor. She could make “an intentionally humorous episode pathetic and an intentionally pathetic one funny.” (Nilsens in Raskin 261-262)

    Slide 50:THE PICARESQUE NOVEL

    A Picaresque Novel is a mock quest done by a Picaro who doesn’t have any money, power, or prestige. This Picaro lives by his wits as he encounters various powerful eccentrics in his episodic adventures. Examples of Picaresque Novels include Don Quixote, Huckleberry Finn, and Pickwick Papers.

    Slide 51:There are six qualities that are associated with the picaresque novel: “The first-person account tells a part or the whole life of a rogue or picaro. Rogues and picaros are drawn from a lower social level, are of loose character, and if employed, do menial labor and live by their wit and playful language. Picaresque novels are episodic in nature.

    Slide 52:4. Picaresque characters do not mature or develop. 5. The story is realistic. The language is plain (vernacular) and is filled with vivid detail. 6. Picaresque characters serve other higher class characters and learn their foibles and frailties, thus providing opportunities to satirize social castes, national types, and/or racial peculiarities.” (Nilsens in Raskin [2008] 253)

    Slide 53:POURQUOI STORIES

    Pourquoi Stories explain how the world works. Examples of Pourquoi Stories include the Anansi Tales from Africa, and the Paul Bunyan and Pecos Bill stories from the United States.

    Slide 54:VERNACULAR HUMOR

    Vernacular Humor is written the way people actually talk, using colloquial language, and eye dialect, such as “iz” and “wuz.” Examples of Vernacular Humor include Innocents Abroad, A Tramp Abroad, and anything written by Mark Twain or Charles Dickens, but nothing written by James Fennimore Cooper.

    Slide 55:!Women’s Humor Regina Barreca

    Some of the titles of Regina Barreca’s books show how teasing occurs between the sexes: They Used to Call Me Snow White, But I Drifted Perfect Husbands: and Other Fairy Tales Untamed and Unabashed: Essays on Women and Humor in British Literature

    Slide 56:!Regina Barreca said, “Women’s lives have always been filled with humor. It emerged “as a tool for survival in the social and professional jungles” and works as a “weapon against the absurdities of injustice.” “Women did not suddenly get funny in the 1990s any more than women suddenly got ambitious in the 1970s or sexually aware in the 1960s or intelligent in the 1980s.” (Nilsen in [Raskin] 2008: 259)

    Slide 57:!!Wendy Wasserstein

    Wendy Wasserstein said, “When I speak up, it’s not because I have any particular answers; rather, I have a desire to puncture the pretentiousness of those who seem so certain they do.” (Nilsens in Raskin [2008] 259)

    Slide 58:!!!E. B. and Katherine White The Nature of Humor

    “Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the scientific mind.” “Humor won’t stand much blowing up, and it won’t stand much poking. It has a certain fragility, and evasiveness, which one had best respect. Essentially it is a complete mystery.” (Nilsens in Raskin [2008]: 243)

    Slide 59:!!AMERICAN LITERATURE WEB SITES I

    AMERICAN HUMOR STUDIES ASSOCIATION OF MLA (DAVID SLOANE): http://www.newhaven.edu/UNH/Special/AHSA/AHSAHomePage.htm SANDRA CISNEROS: http://www.sandracisneros.com/flash/books/books_05_front.html JACK GANTOS: http://www.jackgantos.com/jackgantos_print.html LIT TRIPS ON GOOGLE EARTH: http://www.youtube.com/watch?v=jPiiAqXKy3g&faeture=related LOST: http://www.youtube.com/watch?v=3cZy8SGLkQk PHILIP ROTH SOCIETY (DEREK ROYAL) http://rothsociety.org

    Slide 60:J. K. ROWLING: http://www.jkrowling.com/ ART SPIEGELMAN: http://lambiek.net/artists/s/spiegelman.htm LEMONY SNICKET: http://www.lemonysnicket.com/VileVideos/video1.html LEMONY SNICKET: http://www.lemonysnicket.com/VileVideos/video1.html ART SPIEGELMAN: http://lambiek.net/artists/s/spiegelman.htm TROPING: http://www.tvtropes.org YA-LIT WEB QUESTS: http://www.asu.edu/clas/english/englished/yalit/webquest.htm

    Slide 61:Related PowerPoints

    Gallows Humor Irony Paradox Parody Poetry Satire

    Slide 62:References: Altschuler, Glenn C., and Patrick M. Burns. “Snarlin’ Carlin: The Odyssey of a Libertarian.” Studies in American Humor 3.2 (2009): 42-57. Ammons, Elizabeth, and Annette White-Park. Tricksterism in Turn-of-the Century American Literature. Hanover, NY: Tufts University Press, 1994. Antonopoulou, Eleni. “A Cognitive Approach to Literary Humour Devices: Translating Raymond Chandler,” in Vandaele, 235-257. Attardo, Salvatore. “Humor and Irony in Interaction: From Mode Adoption to Failure of Detection.” in Say Not to Say: New Perspectives on Miscommunication Eds. Luigi Anolli, Rita Ciceri, and Giuseppe Riva. Amsterdam, Netherlands: IOS Press, 2002, 159-179. Attardo, Salvatore. “Irony as Relevant Inappropriateness.” Journal of Pragmatics 32 (2000): 793-826. Attardo, Salvatore. “Irony Markers and Functions: Towards a Goal-Oriented Theory of Irony and Its Processing, in Rask 12 (2000): 3-20.

    Slide 63:Baker, Russell. Russell Baker’s Book of American Humor. New York, NY: W. W. Norton, 1993. Barber, C. L. Shakespeare’s Festive Comedy: A Study of Dramatic Form and Its Relation in Social Custom. Cleveland, OH: Meridian Books, 1966. Barreca, Regina. They Used to Call Me Snow White, But I Drifted. New York, NY: Viking, 1991. Barreca, Regina. Perfect Husbands: and Other Fairy Tales. New York, NY: Harmony Books, 1993. Barreca, Regina. Untamed and Unabashed: Essays on Women and Humor in British Literature. Detroit, MI: Wayne State University Press, 1994. Barreca, Regina. The Penguin Book of Women’s Humor. New York, NY: Penguin, 1996. Barreca, Regina, ed. Last Laughs: Perspectives on Women and Comedy. New York, NY: New York, NY: Gordon and Breach, 1988.

    Slide 64:Barreca, Regina, ed. New Perspectives on Women and Comedy. Philadelphia, PA: Gordon and Breach, 1992. Bennett, Barbara. Comic Visions, Female Voices: Contemporary Women Novelists and Southern Humor. Baton Rouge, LA: Louisiana State University Press, 1998. Bier, Jesse. The Rise and Fall of American Humor. New York, NY: Holt, Rinehart and Winston, 1968. Bird, John. “Mark Twain: Citizen of the World.” Studies in American Humor 3.2 (2009): 85-97. Blair, Walter. Native American Humor 1800-1900. New York, NY: American Book Company, 1937. Blair, Walter. Horse Sense in American Humor from Benjamin Franklin to Ogden Nash. New York, NY: Russell and Russell, 1942.

    Slide 65:Blair, Walter. Davy Crocket: Legendary Frontier Hero: His True Life Story and the Fabulous Tall Tales Told about Him. Springfield, IL: Lincoln-Herndon Press, 1986. Blair, Walter, with Hamlin Hill. America’s Humor: From Poor Richard to Doonesbury. New York, NY: Oxford University Press, 1978. Blair, Walter, with Raven McDavid Jr. The Mirth of a Nation: America’s Great Dialect Humor. Minneapolis, MN: University of Minnesota Press, 1983. Blake, Ann. “The Comedy of Othello.” The Critical Review 15 (1972): 46-51. Blasingame, James. “The Graveyard Book.” English Journal 99.2 (2009): 83-84. Blount, Roy, ed. Roy Blount’s Book of Southern Humor. New York, NY: W. W. Norton, 1994. Boatright, Mody C. Folk Laughter on the American Frontier. New York, NY: Macmillan, 1994. Botkin, B. A. A Treasury of American Folklore. New York, NY: Crown Publishers, 1944. Brunvand, Jan Harold. “A Classification for Shaggy Dog Stories.” The Journal of American Folklore January, 1963, 42-68.

    Slide 66:Bryant, Gregory A., and Jean E. Fox Tree. “Is There an Ironic Tone of Voice?” Language and Speech 48 (2005): 257-277. Bryant, J. A. Shakespeare and the Uses of Comedy. Lexington, KY: The University of Kentucky, 1986. Budd, Louis J., and Edwin H. Cady, eds. The Best from American Literature. Durham, NC: Duke University Press, 1992. Campbell, Oscar James. Shakespeare’s Satire. London, England: Oxford University Press, 1943. Camfield, Gregg. Necessary Madness: The Humor of Domesticity in Nineteenth-Century American Literature. New York, NY: Oxford University Press, 1997. Camfield, Gregg. Sentimental Twain: Samuel Clemens in the Maze of Moral Philosophy. Philadelplhia, PA: University of Pennsylvania Press, 1994. Carlson, Richard S. The Benign Humorists. New York, NY: Archon, 1975.

    Slide 67:Cerf, Bennet, ed. An Encyclopedia of Modern American Humor. Garden City, NY: Doubleday, 1954. Charney, Maurice, ed. Comedy: A Geographic and Historical Guide, Volumes I and II. Westport, CT: Praeger, 2005. Clark, William Bedford, and W. Craig Turner. Critical Essays on American Humor. Boston, MA: G. K. Hall, 1984. Coats, Karen. “Between Horror, Humour, and Hope: Neil Gaiman and the Psychic Work of the Gothic.” The Gothic in Children’s Literature: Haunting the Borders. Ed. Anna Jackson, Karen Coats, and Roderick McGillis. New York, NY: 2008, 77-92. Cohen, Sarah Blacher. Comic Relief: Humor in Contemporary American Literature. Detroit, MI: Wayne State University Press, 1978. Cohen, Sarah Blacher. Jewish Wry: Essays on Jewish Humor. Detroit, MI: Wayne State University Press, 1987. Colston, Herbert. “Contrast and Assimilation in Verbal Irony.” Journal of Pragmatics 34.2 (2002): 111-142.

    Slide 68:Colston, Herbert, and J. O’Brien. “Contrast and Pragmatics in Figurative Language: Anything Understatement can do, Irony can do Better.” Journal of Pragmatics 32.11 (2000): 1557-1583. Corrigan, Robert W., ed. Comedy: Meaning and Form. San Francisco, CA: Chandler Publishing, 1965. Cowan, Louise. The Terrain of Comedy Dallas, TX: Dallas Institute of Humanities and Culture, 1984. Cox, James. Mark Twain: The Fate of Humor. Princeton, NJ: Princeton University Press, 1966. Culler, Jonathan, ed. On Puns: The Foundation of Letters. New York, NY: Blackwell, 1988. Curcň, Carmen. “Irony, Negation, Echo and Metarepresentation.” Lingua 100.4 (2000: 257-280. Daniell, David. “Shakespeare and the Traditions of Comedy.” The Cambridge Companion to Shakespeare Studies. Ed. Stanley Wells. Cambridge, England: Cambridge University Press, 1986. Davis, Jessica Milner. Farce. London, England: Transaction Publishers, 2005.

    Slide 69:Davis, Jessica Milner. Farce: Rebellion, Revenge and Realpolitik. Piscataway, NJ: Transaction Books, 2001. Davis, Jessica Milner. “Kyňgen as Comic Relief: The Structure, Style and Comic Typology of Classical Kyňgen Plays from the Isumi and Ókura Schools.” Australian Journal of Comedy 7.1 (2001). Deloria, Vine, Jr. Custer Died for Your Sins: An Indian Manifesto. Norman, OK: University of Oklahoma Press, 1988. Drennan, Robert E., ed. The Algonquin Wits: A Crackling Collection of Bons Mots, Wisecracks, Epigrams, and Gags. Secaucus, NJ: Citadel Press, 1983. Dudden, Arthur. American Humor. New York, NY: Oxford University Pres, 1987. Eisterhold, Jodi, Salvatore Attardo, and Diana Boxer. “Reactions to Irony in Discourse: Evidence for the Least Disruption Principle.” Journal of Pragmatics 38.8 (2006): 1239-1256.

    Slide 70:Falk, Robert. American Literature in Parody: A Collection of Parody, Satire, and Literary Burlesque of American Writers Past and Present. New York, NY: Twayne, 1955. Feinberg, Leonard. Introduction to Satire. Ames, IA: The Iowa State University Press, 2nd Edition. Santa Fe, NM: Pilgrims Process, 2008. Feinberg, Leonard. The Satirist. Ames, IA: The Iowa State University Press, 1964. Finney, Gail, ed. Look Who’s Laughing: Gender and Comedy. Langhorne, PA: Gordon and Breach, 1994. Flashner, Graham. Fun with Woody: The Complete Woody Allen Quiz Book. New York, NY: Holt, 1987. Flescher, Jacqueline. “The Language of Nonsense in Alice.” Yale French Studies 43 (1969): 128-144.

    Slide 71:Fletcher, M. D. Contemporary Political Satire: Narrative Strategies in the Post-Modern Context. New York, NY: University Press of America, 1987. Foakes, R. A. Voices of Maturity in Shakespeare’s Comedies. London, England, 1972. Folgado, Vicente López . “ ‘A Musical Comedy without Music.’: P. G. Wodehouse’s Sense of Humour. Dimensions of Humor: Explorations in Lilnguistics, Literature, Cultural Studies and Translation. Ed. Carmen Valero-Garcés. Valčncia, Spain: Universitat de Valčncia, 2010, 55-78. Fowler, Dorreen, and Ann J. Abadie, eds. Faulkner and Humor. Jackson, MS: University Press of Mississippi, 1986. Friedman, Bruce J., ed. Black Humor. New York, NY: Bantam, 1965.

    Slide 72:Frye, Northrop. “The Argument of Comedy.” English Institute Essays. Ed. D. A. Robertson. New York, NY: Columbia University Press, 1949. Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton, NJ: Princeton University Press, 1957. Gale, Stephen. Encyclopedia of American Humorists. New York, NY: Garland, 1988. Gale, Stephen. Encyclopedia of British Humorists. New York, NY: Garland, 1994. Galińanes, Cristina Larkin. “Relevance Theory, Humour and the Narrative Structure of Humorous Novels.” Revista Alicantina de Estudios Ingleses 13 (2000): 95-106.

    Slide 73:Galińanes, Cristina Larkin, “Funny Fiction: Or, Jokes and Their Relation to the Humorous Novel.” Poetics Today 26.1 (2005): 79-111. Galligan, E. The Comic Vision in Literature. Athens, GA: University of Georgia Press, 1984. Galloway, David. The Absurd Hero in American Fiction: Updike, Styron, Bellow, Sallinger, 2nd Edition. Austin, TX: University of Texas Press, 1981. Gates, Henry Louis, Jr. The Signifying Monkey: A Theory of African American Literary Criticism. New York, NY: Oxford University Press, 1988. Geismar, Maxwell. Ring Lardner and the Portrait of Folly. New York, NY: Thomas Y. Crowell, 1972. Gibbs, Raymond W. “Irony in Talk among Friends.” Metaphor and Symbol 15 (2000): 5-27.

    Slide 74:Gibbs, Raymond W., and Herbert L. Colston, eds. Irony in Language and Thought. New York, NY: Lawrence Earlbaum, 2007. Grauer, Neil A. Remember Laughter: A Life of James Thurber. Lincoln, NE: University of Nebraska Press, 1995. Grawe, Paul H. Comedy in Space, Time and the Imagination. Chicago, IL: Nelson-Hall, 1983. Gurewitch, Morton. The Ironic Temper and the Comic Imagination. Detroit, MI: Wayne State University Press, 1994. Harris, Charles B. Contemporary American Novelists of the Absurd. New Haven, CT: College and University Press, 1971.

    Slide 75:Hayden, Bradley. “In Memoriam Humor: Julia Moore and the Western Michigan Poets.” English Journal 72.5 (1983): 22-28. Hill, Hamliln, and Walter Blair. America’s Humor: from Poor Richard to Doonesbury. New York, NY: Oxford University Press, 1978. Hogan, Walter. Humor in Young Adult Literature: A Time to Laugh. Lanham, MD: Scarecrow Press, 2005. Hudson, Barbara. “Sociolinguistic Analysis of Dialogues and First-Person Narratives in Fiction,” in Language: Readings in Language and Culture, 6th Edition. Eds. Virginia Clark, Paul Eschholz, and Alfred Rosa. New York, NY: St. Martin’s Press, 1998, 740-748.

    Slide 76:Hunt, Leigh. Wit and Humour. London, England: Smith, Elder and Col, 1846. Hutcheon, Linda. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York, NY: Methuen, 1985. Hynes, William J., and William G. Doty, eds. Mythical Trickster Figures: Contours, Contexts, and Criticisms. Tuscaloosa, AL: University of Alabama Press, 1993. Inge, M. Thomas. The Frontier Humorists: Critical Views. New York, NY: Archon, 1975.

    Slide 77:Inge, M. Thomas. “One Universal Priceless Trait: American Humor.” American Studies International 25.1 (1987): 28-45. Inge, M. Thomas. Perspectives on American Culture: Essays on Humor, Literature, and the Popular Arts. Cornwall, CT: Locust Hill Press, 1994. Johansen, Ruthann Knechel. The Narrative Secret of Flannery O’Connor: The Trickster as Interpreter. Notre Dame, IN: University of Notre Dame, 1994. Jurich, Marilyn. Sheherazade’s Sisters: Trickster Heroines and Their Stories in World Literature. Westport, CT: Greenwood Press, 1998. Kehl, Del G. “Thalia Pops Her Girdle: Humor in the Novels of Peter De Vries.” Studies in American Humor. February, 1983: 184-189.

    Slide 78:Kehl, Del G. “Humor of the New Southwest in the Fiction of Larry McMurtry.” Southwestern American Literature Spring, 1989: 20-32. Kehl, Del G. “Varieties of Risible Experience: Grades of Laughter and their Function in Modern American Literature.” HUMOR: International Journal of Humor Research 13.4 (2000): 379-394. Kehl, Del G. “Thalia Does the Charleston: Humor in the Fiction of F. Scott Fitzgerald.” in F. Scott Fitzgerald in the Twenty-first Century Eds. Jackson R. Bryer, Ruth Prigozy, and Milton R. Stern. Tuscaloosa, AL: University of Alabama Press, 2003, 202-222. Kelly, Fred C. George Ade: Warmhearted Satirist. Indianapolis, IN: Bobbs-Merrill, 1947. Keough, William. Punchlines: The Violence of American Humor. New York, NY: Paragon House, 1966.

    Slide 79:Kharpertian, Theodore D. A Hand to Turn the Time: The Menippean Satires of Thomas Pynchon. London, England: Associated University Press, 1990. Kiley, Frederick, and J. M. Shuttleworth, eds. Satire: From Aesop to Buchwald. New York, NY: Odyssey/Bobbs-Merrill, 1971. Kiley, Frederick, and Walter McDonald. A Catch-22 Casebook. New York, NY: Thomas Y. Crowell, 1973. Kotthoff, Helga. “Responding to Irony in Different Contexts: On Cognition in Conversation.” Journal of Pragmatics 35 (2003): 1387-1411. Larkin Galińanes, Cristina. “How to Tackle Humour in Literary Narratives.” in Dimensions of Humor: Exlorations in Linguistics, Literature, Cultural Studies and Translation. Ed. Carmen Valero Garcés. Valčncia, Spain: Universitat de Valčncia, 2010, 141-168. Leacock, Stephen, ed. The Greatest Pages of American Humor. New York, NY: Doubleday, 1936.

    Slide 80:Leacock, Stephen, ed. Humor and Humanitiy. New York, NY: Henry Holt, 1938. Levin, Harry, ed. Veins of Humor. Cambridge, MA: Harvard University Press, 1972. Levy, Barbara. Ladies Laughing: Wit as Control in Contemporary American Women. New York, NY: Gordon and Breach, 1997. Lewis, Paul. Comic Effects: Interdisciplinary Approaches to Humor and Literature. Albany, NY: State University of New York Press, 1989. Lewis, Paul. “Mysterious Laughter: Humor and Fear in Gothic Fiction.” Genre 14 (1981): 309-327. Lewis, Paul. “Poe’s Humor: A Psychological Analysis.” Studies in Short Fiction 27 (1989): 531-546. López Folgado, Vicente. “A Musical Comedy without Music: P. G. Wodehouse’s Sense of Humour.” in Dimensions of Humor: Exlorations in Linguistics, Literature, Cultural Studies and Translation. Ed. Carmen Valero Garcés. Valčncia, Spain: Universitat de Valčncia, 2010, 53-76.

    Slide 81:Lynn, Kenneth, ed. The Comic Tradition in America: An Anthology of American Humor. New York, NY: Norton, 1968. Lynn, Kenneth. Mark Twain and Southwestern Humor. Westport, CT: Greenwood Press, 1959. MacDonald, Dwight, ed. Parodies: An Anthology from Chaucer to Beerbohm—And After. New York, NY: Random House, 1960. McAndrews, Kristin M. Wrangling Women: Humor and Gender in the American West. Reno, NV: University of Nevada Press, 2006. Matthews, Charles. “Satire in the Alice Books.” Criticism 12 (1970): 105-119. Meredith, George. “An Essay on Comedy.” in Comedy Ed. Wylie Sypher. Baltimore, MD: Johns Hopkins University Press, 3-60. Mey, Jacob. Pragmatics: An Introduction, 2nd Edition. Malden, MA: Blackwell, 2001. Mintz, Lawrence E., ed. Humor in America: A Research Guide to Genres and Topics. Westport, CT: Greenwood Press, 1988.

    Slide 82:Muir, Frank. Oxford Book of Humorous Prose: From William Caxton to P. G. Wodehouse, A Conducted Tour by Frank Muir. New York, NY: Oxford University Press, 1990. Nilsen, Alleen Pace, and Don L. F. Nilsen. Encyclopedia of 20th Century American Humor. Westport, CT: Greenwood/Oryx Press, 2000. Nilsen, Alleen Pace, and Don L. F. Nilsen.“Irony.” Comedy: A Geographic and Historical Guide (Co-Author: Alleen Pace Nilsen). Ed. Maurice Charney. Westport, CT: Praeger/Greenwood Press, 2005, 394-409. Nilsen, Alleen Pace, and Don L. F. Nilsen. “Literature and Humor” in Raskin 243-280. Nilsen, Alleen Pace, and Don L. F. Nilsen. “Names for Fun: M. E. Kerr, Gary Paulsen, Louis Sachar, and Polly Horvath.” in Names and Naming in Young Adult Literature. Eds. Alleen and Don Nilsen. Lanham, MD: Scarecrow Press, 2007, 1-22.

    Slide 83:Nilsen, Don L. F. “The Graveyard Book.” The Journal of Adolescent and Adult Literacy 53.1 (2009): 79-80. Nilsen, Don L. F. Humor in American Literature: A Selected Annotated Bibliography. New York, NY: Garland, 1992. Nilsen, Don L. F. Humor in British Literature from the Middle Ages to the Restoration: A Reference Guide. Westport, CT: Greenwood Press, 1997. Nilsen, Don L. F. Humor in Eighteenth- and Nineteenth-Century British Literature: A Reference Guide. Westport, CT: Greenwood Press, 1998. Nilsen, Don L. F. Humor in Irish Literature: A Reference Guide. Westport, CT: Greenwood Press, 1996. Nilsen, Don L. F. Humor in Twentieth-Century British Literature: A Reference Guide. Westport, CT: Greenwood Press, 2000.

    Slide 84:Novak, William, and Moshe Waldoks, eds. The Big Book of Jewish Humor. New York, NY: Harper and Row, 1981. Novak, William, and Moshe Waldoks, eds. The Big Book of New American Humor: The Best of the Past 25 Years. New York, NY: Harper Perennial, 1990. Olsen, Lance. Circus of the Mind in Motion: Postmodernism and the Comic Vision. Detroit, MI: Wayne State University Press, 1990. Pifano, Diana. “Igor Delgado Senior’s “Epopeya Malandra”: A Study of Parody and Humor in Literature.” in Dimensions of Humor: Exlorations in Linguistics, Literature, Cultural Studies and Translation. Ed. Carmen Valero Garcés. Valčncia, Spain: Universitat de Valčncia, 2010, 223-242. Pinsker, Sanford. “The Graying of Black Humor.” Studies in the 20th Century 9 (1972): 15-33. Pollard, Arthur. Satire. London, England: Methuen, 1970.

    Slide 85:Praeger, Charles. 20th-Century Humor. New York, NY: Viking Press, 1978. Pratt, Alan R., ed. Black Humor: Critical Essays. New York, NY: Garland, 1993. Pughe, Thomas. Comic Sense: Reading Robert Coover, Stanley Elkin, Philip Roth. Basel: Birkhauser Verlag, 1994. Raskin, Victor, ed. Primer of Humor Research. New York, NY: Mouton de Gruyter, 2008. Raskin, Victor. Semantic Mechanisms of Humor. Dordrecht: D. Reidel, 1985. Redfern, Walter. Puns. New York, NY: Blackwell, 1984. Richler, Mordecai, ed. The Best of Modern Humor. New York, NY: Alfred A. Knopf, 1983.

    Slide 86:Rohman, Chad. “Mark Twain’s A Connecticut Yankee in King Arthur’s Court: Serio-Comic and Carnival Prospects Unfulfilled.” Studies in American Humor 3.2 (2009): 21-41. Rozett, Martha Tuck. “Othello, and the Comic Tradition.” Bulletin of Research in the Humanities 85 (1982): 386-411. Rourke, Constance. American Humor: A Study of the National Character. Tallahassee, FL: Florida State University Press, 1931. Royot, Daniel. L’Humour Américan: Des Puritains aux Yankees. Lyon, France: Presses Universitaires de Lyon, 1980. Rubin, Louis D., Jr., ed. The Comic Imagination in American Literature. New Brunswick, NJ: Rutgers University Press, 1983. Ruiz Moneva, Angeles. “Irony in Relevance Theory: Recurrent Features, Critical Stances and Possible Trends.” The Atlantic Literary Review 2.1 (2001): 161-189. Safer, Elaine B. The Contemporary American Comic Epic: The Novels of Barth, Pynchon, Gaddis, and Kesey. Detroit, MI: Wayne State University Press, 1988.

    Slide 87:Safer, Elaine B. Mocking the Age: The Later Novels of Philip Roth. New York, NY: State University of New York Press, 2006. Schmitz, Neil. Of Huck and Alice: Humorous Writing in American Literature. Minneapolis, MN: University of Minnesota Press, 1983. Schulz, Max F. Black Humor Fiction of the Sixties. Athens, OH: Ohio University Press, 1973. Schuster, Charles. “Mikhail Bakhtin as Rhetorical Theorist.” Landmark Essays on Bakhtin, Rhetoric, and Writing, Ed. Frank Farmer. Mahway, NJ: Hermaoras Press, 1998, 1-12. Schwoebel, J., S. Dews, E. Winner, and K. Srinivas. “Obligatory Processing of the Literal Meaning of Ironic Utterances: Further Evidence.” Metaphor and Symbol 15 (2000): 47-61. Shalit, Gene. Laughing Matters: A Celebration of American Humor. New York, NY: Doubleday, 1987.

    Slide 88:Shelley, Cameron. “The Bicoherence Theory of Situational Irony.” Cognitive Science 25.5 (2001): 775-818. Shloss, Carol. Flannery O’Connor’s Dark Comedies. Baton Rouge, LA: Louisiana State University Press, 1980. Sloane, David E. E. “Adventures of Huckleberry Finn”: American Comic Vision. Boston, MA: G. K. Hall, 1988. Sloane, David E. E. American Humor Magazines and Comic Periodicals. Westport, CT: Greenwood Press, 1987. Sloane, David E. E. The Literary Humor of the Urban Northeast, 1830-1890. Baton Rouge, LA: Louisiana State University Press, 1983. Sloane, David E. E. Mark Twain as a Literary Comedian. Baton Rouge, LA: Louisiana State University Press, 1979. Sloane, David E. E. Mark Twain’s Humor: Critical Essays. Hamden, CT: Garland, 1993.

    Slide 89:Sloane, David E. E. New Directions in American Humor. Birmingham, AL: Univ of Alabama Press, 1998. Sloane, David E. E. “A Wide Perspective on Humor: A Primer for Humor Research.” Studies in American Humor 3.2 (2009): 110-116. Snodgrass, Mary Ellen. The Encyclopedia of Satirical Literature. Santa Barbara, CA: ABC-CLIO, 1996. Sonnichsen, C. L. The Laughing West: Humorous Western Fiction, Past and Present. Athens, OH: Ohio University Press, 1988. Spacks, Patricia Meyer. “Logic and Language in Through the Looking-Glass.” Etc. 18.1 (1961): Spalding, Henry D. Encyclopedia of Jewish Humor: From Biblical Times to the Modern Age. New York, NY: Jonathan David, 1969.

    Slide 90:Spalding, Henry D. Joys of Jewish Humor. New York, NY: Jonathan David, 1985. Stephenson, Mimosa. “Humor in Uncle Tom’s Cabin.” Studies in American Humor 3.2 (2009): 4-20. Sypher, Wyllie, ed. Comedy. Garden City, NY: Doubleday Anchor, 1956. Thompson, Todd Nathan. “Slavery, Stereotypes, and Satire: Laughing Fit to Kill. Studies in American Humor 3.2 (2009): 98-109. Tillman, Aaron. “‘Through the Rube Goldberg Carzy Straw’: Ethnic Mobility and Narcissistic Fantasy in Sarah Silverman: Jesus Is Magic.” Studies in American Humor 3.2 (2009): 58-84.

    Slide 91:Tilton, John W. Cosmic Satire in the Contemporary Novel. Lewisburg, PA: Bucknell University Press, 1927. Trachtenberg, Stanley, ed. Dictionary of Literary Biography, Volume 11: American Humorists. Detroit, MI: Bruccoli Clark/Gale Research, 1982. Triezenberg, Katrina E. “Humor Enhancers in the Study of Humorous Literature.” HUMOR: International Journal of Humor Research 17.4 (2004): 411-418. Triezenberg, Katrina E. “Humor in Literature” in Raskin (2008) 523-542. Ulea, V. A Concept of Dramatic Genre and the Comedy of New Type: Chess, Literature, and the Film. Carbondale, IL: Southern Illinois University, 2002. Utsumi, Akira. “Verbal Irony as Implicit Display of Ironic Environment: Distinguishing Ironic Utterances from Non-Irony.” Journal of Pragmatics 32.12 (2000): 1777-1806.

    Slide 92:Vandaele, Jeroen, ed. Humour and Translation. Special Issue of The Translator 8.2, 2002. Walker, Nancy, and Zita Dresner. Redressing the Balance: American Women’s Literary Humor from Colonial Times to the 1980s. Jackson, MS: University Press of Mississippi, 1988. Wallace, Ronald. No Harm in Smiling: Vladimir Nabokov’s “Lolita.” Columbia, MO: University of Missouri Press, 1979. Watkins, Mel. On the Real Side: Laughing, Lying, and Signifying. New York, NY: Simon and Schuster, 1994. Watts, Robert. “The Comic Scenes in Othello.” Shakespeare Quarterly 19 (1968): 349-354.

    Slide 93:Wechsler, Robert. Columbus ŕ la Mode: Parodies of Contemporary American Writers. North Haven, CT: Catbird Press, 1993. Weisenberger, Steven. Fables of Subversion/Satire and the American Novel 1930-1980. Athens, GA: University of Georgia Press, 1995. Wernblad, Annette. Brooklyn Is Not Expanding: Woody Allen’s Comic Universe. Cranbury, NJ: Associated University Presses, 1992. White, E. B., and Katherine S. White. A Subtreasury of American Humor. New York, NY: Coward-McCann, 1941. Winston, Mathew. “‘Humour Noir” and ‘Black Humor.’” in Veins of Humor in Levin (1972): 269-284.

    Slide 94:Wood, James. The Irresponsible Self: On Laughter and the Novel. New York, NY: Farrar, Straus and Giroux, 2004. Yacowar, Maurice. Loser Take All: The Comic Art of Woody Allen. New York, NY: Frederick Ungar, 1982. Yan, Gao. The Art of Parody: Maxine Hong Kingston’s Use of Chinese Sources. New York, NY: Peter Lang, 1996. Yus Ramos, Francisco. “On Reaching the Intended Ironic Interpretation.” International Journal of Communication 10.1-2 (2000): 27-78. Ziv, Avner, ed. Jewish Humor. Tel lAviv, Israel: Papyrus, 1986.

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