جستجوی مقالات مرتبط با کلیدواژه « humor » در نشریات گروه « علوم انسانی »

The type of expressing content by anchors and actors has special importance in the rate and quality of its effectiveness. Studying the tools to recite content and contemplating about them can result in better knowledge of the recitative capacities and in conclusion, more careful application of them by the program-maker. Such a fact is more explicit in comedy programs. For example, if humorous content is expressed weakly and in a non-artistic way, its humor is reduced. Also, if the content is not humorous enough, creative and humorous expression of that can make it audience-friendly. In most of the research in radio comedies, capacities of expression have remained neglected. The goal of this research is to deal with the recitative tools in acting and presenting comedy programs. This research has been done with two methods library and deep interview, and accordingly, interviews were conducted with nine experts in radio comedy. Based on the findings, type and accent are among the most important tools of auditory narrative comedy which cause the audience to laugh via opposition and exaggeration. Also, a successful type is a type adopted from within the society, believable for the audience and strengthens the sympathy in him/her. Features such as humor and impromptu, mastery over public topics, mastery over linguistic styles and having a vibrant voice are among the parameters of a successful anchor.

Along with the developments leading to Constitutional Era, other social developments were emerging, which played a significant role in public awareness and liberation. This process which significantly formed in the area of critical literature in the form of humor and in the realm of press and literature, provided for the enlightenment of graduates` thoughts, intellectuals, carriers and agents of change, and in the final analysis, the general public. With regard to this and considering the profound impact of critical literature, especially humor, in expressing social reality in the language of humor, in this article we attempt to answer the following question: What was the effect of critical literature, especially humor, on the awareness of the public and the ruling elites regarding Iranian backwardness and the formation of Constitutional Revolution? Our hypothesis in the present study is that critical literature, especially in Constitutional Era, with its metaphorical and aesthetic features as well as its elegance has managed to deal with the deepest and most serious problems of the society, and has had a significant impact on public awareness.
As regards method, this is a descriptive – analytical research in which we used some Quentin – Skinner`s interpretive tools titled as “Illocutionary Hermeneutics” based on which the researcher tries to find out the intention of the author or writer of humor from what has been said.

The exploration of laughter’s philosophical significance within the realm of performing arts, particularly the French classical theatre of the seventeenth century, reveals a profound connection to the comedic genre. This literary form, characterized by its gentle yet satirical nature, aims to critique and amend the behavioral and societal flaws of individuals. It often portrays a protagonist whose moral attributes and actions defy societal norms, depicted on stage in an exaggerated manner, amplified and interwoven with theatrical techniques such as verbal wit, comedic behavior, and the humorous repetition of scenarios. Through this lens, comedic dialogue not only elicits laughter but also conveys an ethical message, emerging from the critique of society’s distasteful customs and pervasive misconceptions. The comic and humorous approach offers a fresh, conciliatory perspective on life, contrasting the somber, oppressive reality presented in tragedy, thus serving as a potent vehicle for engaging diverse social groups. This study briefly touches upon the history and evolution of the laughter element, or the comedic genre, within French literature of the sixteenth and seventeenth centuries. It delves into the critical issue and examines the techniques and performances that induce laughter in The Miser, extending the discussion to encompass the philosophy of laughter.

Iraj Mirza, born in 1253 is one of the most successful satirical poets of the constitutional period, and he was given the title of "Saadi No". One of the most important reasons for the success of his satires is the use of a wide range of methods and mechanisms for creating humor in the structure of his poems. Iraj Mirza's poems are mostly taken from social realities, in which he reflects on social issues with a critical and sharp point of view. The current research aims to study and analyze the methods of satire in this poet's poems by using the library study method and in a descriptive-analytical way. The results of the studies show that Iraj Mirza uses various methods and methods to express his humor and make it more effective on the audience, and the secret of the success of his humor lies in the use of these methods. Among the most important of these tricks, we can mention miniaturization, likening to animals, cursing, destroying symbols, criticizing oneself, debating, breaking religious taboos, irony and humorous lines. As a result, the humor techniques used by Iraj Mirza have a significant effect in presenting the intended concepts.

Humor is a characteristic of social interaction across all cultures and nationalities and manifests itself anywhere people gather, including the workplace. Considering the potential of humor to positively affect employees' feelings, the current study aimed to develop a model of organizational humor in the Parsian Gas Refinery Company. This study employed a mixed methods design. First, a grounded theory study was conducted to develop a model of organizational humor in the qualitative phase and semi-structured interviews were conducted with 12 managers and supervisors of Parsian Gas Refinery Company. The results of interview analysis and three-stage coding showed that the organizational humor model included 142 open codes, 60 core codes and 26 selective codes, which were categorized into six categories. In the quantitative phase of the study, the model fit was measured by survey method. Thus, based on the results of the qualitative section, a researcher-made questionnaire was compiled and distributed among the statistical sample, which led to the confirmation of five hypotheses. The results of this study help to make the work environment pleasant and improve the quality of employee presence in the organization.

The most important message of Hafez and his deliberation is rogue (Rendy) and fighting against rulers who behave with hypocrisy. The language of an artist Rend in fighting against hypocrisy has two characteristics which are pun and irony. Sarcasm (or Tahkkomiyeh) metaphor is one of the necessary and effective tools and methods to generate irony. In this essay, in order to epic the importance of being precise in the coherence of Hafez's sonnets, we have been meticulous in the regular system of words and meanings and their geometric fit in creating the sarcasm metaphor. In many cases that Hafez explainers voted for mystical aspects of his poems is for the lack of attention to this point of Hafez sonnets, while by paying attention to the usage of Sarcasm metaphor will find that it has no common point with mystical ideas and it is rather a rogue utterance to criticize the group of Sufis. When Sufis, Ascetics, Preachers, Sheikhs, Mohtaseb and those in power abuse their positions, and due to the preaching power and sacred levers at their disposal, it is not possible to confront them and warn the people in a normal way, the poet uses this method to criticize effectively their way of manner.

Stand-up Comedy is a type of audio-visual art that has received serious attention in recent decades. It is a combination of verbal and dramatic arts derived from Oral literature and deeply ingrained in folk culture. Stand-up comedy encompasses different forms of art and performance such as storytelling, acting, music, presenting and oration. Comedians engage with the audience directly on stage, regaling them with amusing anecdotes about life and societal matters, inducing laughter and providing a mental release. The findings of this survey indicate that owing to the distinctive features of stand-up comedy, this form of art will gain significant popularity in future. This particular form of contemporary art serves various purposes including, entertainment, education, creating social solidarity and empathy, as well as critiquing political and societal issues. Its notable interartistic features encompass storytelling, being audience's oriented, being critical, improvisational, flexibility, and drawing on informal language and colloquialisms. The present article explores the history of stand-up comedy in Iran, its functions, its structure and defining characteristics. Additionally, the article delves into the significant themes, elements, styles, and techniques employed by comedians in crafting their performances, and three cases of Iranian performances are analyzed as examples.

The current study aims at investigating the extent of the reflection of basic anxiety according to Karen Horney's theory of psychological criticism in children's and adolescent stories to discuss the pathology of the content of comic stories. According to Karen Horney, most of the aggressive, defensive and affection-seeking behaviors and isolation are rooted in childhood anxiety caused by family and society. The authors of the present study analyze the two collections of juvenile humor stories, “I am not Baba’s servant” by Ahmad Akbarpour and “Cream Love” by Shahram Shafie based on Karen Horney’s psychology and the theory of basic anxiety to identify which aforementioned story has caused anxiety and mental tension in children and adolescent readers.

This study, which has been conducted based on descriptive-analytical method and desk research.

There is a considerable extent of humiliation, fear, anxiety and isolation in the protagonist of the “I am not Baba’s servant” story, as far as David’s anxious and disjointed personality suffers from nightmare because of his father dictatorship and turns to reclusiveness as a defense mechanism of Karen Horneys’s theory. In contrast, the story of “Cream love” narrates the sense of solidarity and love between the members of family in a humorous language and in terms of anxiety mechanism, less feeling of humiliation and distress was observed.

This study, which has been conducted based on descriptive-analytical method and desk research, shows that Shafie has been more successful than Akbarpour in delineating the characters who have more mental health in comparison with the characters of the story of “I am not Baba’s servant”.

Hāfez does not have a favorable opinion of Sufis. Whenever he mentions a mystic, an old man, a Sufi, and their alternative meanings, such as Ahl -e- Khalvat, Khalvt Gozideh, Kootah Astinan, Pashmineh Poosh, Ahl-e-Khaneghah, and monastery, it is accompanied by humor and elaboration. Understanding and explaining the meaning of these satires and elaborations requires attention to the form and structure of Hāfez's sonnet. The inaccuracy in Hāfez's method has led scholars to evaluate this satire and elaboration in a positive light and to think that Hāfez has a different view of Sufis and mystics because they have neglected the humorous use of mystical expressions. From the beginning of the ninth century, Hāfez has been called the exaggerated title Lesan –Ol- Ghaib (Unseen language), and this title has been used for Hāfez as a kind of dignity. Despite the prevalence of this title, the issue of adaptation in Hāfez's lyric poems is also a point that scholars have listed in detail. The combination of Hāfez's adaptation and divination is seemingly difficult and unacceptable, which is why some scholars have sought to present an acceptable concept of the title of Hāfez's Lesan – Ol-Ghaib. Mentioning words related to sufism or quoting sufi miracles in Hāfez's Divan has led some scholars to consider Hāfez's view of sufi personality, work, and deeds positive; Hāfez should be considered a mystic and a sufi. For this reason, in this article, in order to explain the position of mystics and Hāfez's view of them, we have chosen an important and common dignity in mystical texts that has been used in Hāfez's divan: to bring fish out of the sea in order to remove the slander of a sufi. The result of the research shows that if Hāfez has been called Lesan – Ol-Ghaib, it is not because of his divination and prophecy, but this title indicates his deep and extensive study in such a way that he has been able to combine speech in a new way. Based on the words of the sufis, Hāfez has been able to reject and deny their inaccuracies or to offer a special reading of the miracles of the sufis in accordance with his thought. Saying such things, of course, causes the sufis and ascetic to be hostile to him but Hāfez in front of them refers to their own interpretations and he uses the miracles that the sufis claim to dispel slander to better show the sin of the hypocritical Sufis.

The purpose of this study was to investigate the effect of workplace humor on teachers, psychological well-being mediated by interpersonal forgiveness of physical education teachers. The research method was descriptive-correlation. The statistical population of the study was all physical education teachers in Sistan region (Sistan and Baluchestan province) in the academic years 2020-2021 (N=256). 154 teachers were studied by stratified random sampling. Data collection instruments were questionnaires of workplace humor, psychological well-being and interpersonal forgiveness. For data analysis the Pearson correlation coefficient and structural equation modeling were used.Data analysis was done with the help of SPSS and Lisrel software. Based on the results workplace humor both directly and indirectly, mediated by interpersonal forgiveness, had a positive and significant effect on teachers' psychological well-being. According to research results, it is suggested to the top managers of the education organization that by holding training workshops humor and forgiveness, they promote the psychological well-being of teachers.

This article deals with the aesthetic analysis of three important stylistic dimensions (language, meaning, and music) in Rofūzehā (The Failed Ones), the satirical poetry collection of Abolfazl Zarūī Nasrābād. Inconsistencies and defamiliarizations in the realm of humor occur in various domains and delight the audience. By applying some rules to these three stylistic dimensions, Zarūī has created inconsistencies in poetry and has thus enlivened the humor in his work. The present authors have aimed to reveal the subtleties and techniques of Zarūī's humor and extract frequent features in determining the poet's stylistic identity. The research method is descriptive-analytical and library-based. The results of the research show that he has displayed his skills in the field of language through techniques such as coinage, colloquial writing, westernization, and traditionalism. Concerning meaning, he has transformed speech by nonsensical composition, omission, revelation, and contradiction. As for music in his poetry, he has created a proportionate and coherent atmosphere for humor by breaking the usual rules of meter, rhyme, and rhythm.

Theater, as one of the literary types, has created a link between literature and performing arts. There have been two types of theater, comedy and tragedy. In the past, the type of tragedy was superior to the type of comedy. In the seventeenth century in France, with the appearance of Molière, comedy flourished and a revolution took place in the classical theater. In Iran, playwriting does not have much history. But its traditional and religious forms have always existed. In this article, we have done a comparative study of two comedy plays, Molière's The Miser and Akhundzadeh's The Tale of the Miserly Man. In the two studied works, miserliness is shown as one of the biggest moral pests that not only affects family relationships, but also involves social relationships. In this article, we have benefited from the theories of Michel Viegnes in the field of theater and his classification of types of humor and the theories of Ménandre, the ancient Greek playwright, in the field of classification of the characters of classical plays, and by examining and comparing the content, character, we have discussed the structure of two works to see how and in what cases Akhundzadeh imitated Molière and what was his purpose in writing this play. In fact, the era of comedy flourishing can be considered the post-Renaissance era and the 17th century. With the emergence of playwrights such as Molière, it became possible to pass from the rule of tragedy to the flourishing era of comedy, and the kings and princes of tragedy gave way to trivial characters of comedy. Molière had a significant influence on the playwrights of the world and also influenced the Iranian theater during the constitutional period. The plays of Mirza Fath Ali Akhundzadeh (1228-1295), an Iranian writer, thinker and critic, were among the first plays written following European plays. The title, structure, characters, and content of his play The Tale of the Miserly Man also convey his impression of Molière's The Miser.

Comparative literature arose in France in the nineteenth century. Researchers of French comparative literature or the "French school of comparative literature" emphasized the issue of "relationship" between literatures. According to Guyard, "the researcher of comparative literature should focus on the exchange of themes, opinions, books or feelings between two or more literatures." (Guyard, 1958:12) With Guyard and after him Pierre Brunel, comparative literature becomes more of a science than a type of literary criticism. In addition to the issue of historical investigation, Yves Chevrel also brings the issue of boutiques into this topic. In his opinion, "comparative literature should add comparative boutique studies to its studies." (Chevrel, 2016: 48) In the American school of comparative literature, which is led by René Wellek (1903-1995), the historical study is abandoned and the focus is placed on the works themselves: "Everything It should be examined from the perspective of a literary work." (Brunel & Chevrel, 1989: 189-190) As mentioned, Akhundzadeh was influenced by Molière and the similarity between these two works is not accidental. Therefore, in this article, our research will be comparative literature based on the French school and we will discuss the influence of thoughts and themes and the comparative style of two works. To examine the types of humor in these two plays, we will rely on the theories of Michel Viegnes, a French writer and researcher, and to examine the characters of the plays, we will rely on the theories of Ménandre, the ancient Greek playwright.

 3-1. Content review As one of the freedom-loving playwrights of the Qajar era, Akhundzadeh criticized the traditional customs of the society through theater. Moliere's theater can also be defined as a realistic reflection of the performance of the members of a society. In this section, we will discuss the socio-political content of the plays and the analysis of the characters.  3-1-1. Socio-political and anthropological satire Moliere's play The Miser and Akhundzadeh's play are both social comedies. Moliere's The Miser depicts the bourgeois society of Paris during the reign of Louis XIV. Harpagon is a typical example of the 17th century bourgeois, who later became a type of personality in such a way that today in France, a stingy person is called Harpagon. Akhundzadeh's story of the miserly man also portrays the society of Iran in the early 13th century. In their works, these two playwrights describe the characters with a realistic, anthropological and sociological perspective and thus study different human aspects. In the preface of Tartuffe, Molière clearly states that "comedy can be effective in reforming some customs and traditions." (Molière, 2016: 5) In fact, for both authors, the main purpose of art is to cultivate positive qualities in human beings. According to Akhundzadeh: "It should be known that what is meant by the art of "comedy" is moral refinement. It means knowing the ugly and beautiful of human nature by looking at the shape and resemblance" (Adamiyat, 1349: 63). 3-1-2. Personality psychology According to the theories of Ménandre, the ancient Greek dramatist, the characters of the classical drama belong to three categories of people: 1) young people who intend to get married but face obstacles; 2) A slave and servant who is very clever and cunning and removes obstacles to marriage; and 3) secondary funny characters that provide joy and happiness in the theater scene. (Blanchard, 2000: 22-24) The main characters of both plays under our study are miserly and domineering old men, young people in love and simple-hearted, clever and cunning servants, and wise women. The choice of such characters actually shows the classicity of these two plays. Boileau emphasizes that "in Molière's plays, humor is created due to the mocking aspect that is rooted in the psychology of the character" (Conesa, 1995: 146). 3-2. Structural investigation Akhundzadeh, like Molière, is not only concerned with showing some social and moral problems, but also emphasizes the artistic aspect of writing. In his plays, although he maintained the "unity of action", Molière questioned the "unity of place" and "unity of time". In other words, he followed the principle of classical theater according to which the plot should revolve around a single event. But refuse to limit this event to one day and one place. Akhundzadeh also wrote his play The Tale of the Miserly Man in a classical style and in five chambers (curtains) and did not limit it to a fixed place and time of one day. 3-2-1. Language and style The language of Akhundzadeh's play, like Molière, is close to reality and effective. The story of the play and the dialogues of the actors are told with sweet and attractive expressions. In that period, the written language and the spoken language were significantly different. In this play, Akhundzadeh tried to distance himself from the common prose of his era and use spoken language for the characters. Regarding the similarities of the language of the two plays in question, it can be pointed out that the language used is vernacular. In this play, Molière's language is a natural and spontaneous language that shows the reality of the present and is performed quickly and impromptu by the actors. Another characteristic of Molière's language is his writing rhythm, to the point where we sometimes see a special rhythm in consecutive sentences and answers (Attaque des répliques). 3-2-2. A combination of humor Writers and theoreticians have always tried to classify its types since the emergence of comic theater. In this research, we try to explain the types of humor from Michel Viegnes’s point of view. Viegnes divides humor into three types: personality humor, verbal humor, and situational humor. (Viegnes, 1992: 88) Molière and Akhundzadeh have used all three types of humor in their plays.One of the theater techniques mentioned by Michel Viegnes is the monologue ou soliloque technique. With soliloque, in fact, the character "thinks out loud" (Viegnes, 1992: 60) and this issue provides reasons for laughter. Like Molière, Akhundzadeh used monologue to show the humor of a characterThe scope of comic language or verbal humor is very wide. And "Includes exaggeration and exaggeration, changes in the construction and shape of the language, playing with words." (Viegnes, 1992: 9) According to Michel Viegnes: "In all languages, people have laughed at people whose way of speaking is out of the norm." (Ibid.)According to Michel Viegnes, "situation comics go beyond speech and include all kinds of kicking, spinning jumps, spinning on heels, and...." (Viegnes, 1992: 98).

These two playwrights, in fact, study different human types and their disadvantages from a sociological and anthropological point of view, and depict the complexity of the human spirit in order to force the society of their age to think about their weaknesses through a humorous language.The style of both authors is classic, but it has undergone many changes and innovations. In fact, they present a mixture of comedy and tragedy to the audience.In this research, we come to the conclusion that with the help of comparative study, we can identify the roots of the currents of thought that influence the literature of the interior. With the help of comparative study, from an aesthetic, content and even theoretical point of view, literature can be studied not individually, but in its relationship with foreign literature. The comparison of the studied works is to test their similarities and convergences in order to consider literary phenomena in their transnational reality. Akhundzadeh's acceptance of this foreign genre, drama, and its rules, is important. In fact, with the help of this comparative study, we examined the entry and acceptance of a style, a theory, a theme in the literature of the country. Akhundzadeh's play is actually a kind of rewriting and literary representation in a transnational perspective. The purpose of literature is not only to connect with its reader and accept the work by him, but it is the influence of languages and thoughts on each other and the influence and influence, and as a result, progress and innovation in literature.

 The purpose of this study was to investigate the mediating role of humor in the relationship between the traits of borderline personality disorder and suicidal tendencies in public hospital employees of Lorestan province. This study is applied in terms of purpose and descriptive in terms of data collection, which was conducted using structural equation model method. The statistical population of this study is made up of all the employees of the public hospitals of Lorestan province, using cluster random sampling, the number of 148 people was determined as a sample and according to Beck's suicide tendency questionnaire (1979). The borderline personality disorder subscale was answered based on the MCMI questionnaire and the humor questionnaire of Martin et al. (1981). The analysis of the hypotheses of this study was done by the method of structural equation modeling with SmartPLS software. Results showed that borderline personality disorder traits have a significant direct relationship with humor and suicidal tendencies. Also, the results of the final adjusted model showed that personality disorder traits with suicidal tendencies have an indirect effect with the mediating role of humor. The results of this study, by obtaining a suitable fit of the data with the model, showed that three conceptual frameworks, borderline personality disorder traits, suicidal tendencies and humor have theoretical intersection points in the hospital staff community. Are of Lorestan province and can be used in the form of a model and be taken into consideration in future planning.

No definition is possible for all aspects of irony. From the perspective of this research, irony requires the presence of three people: the ironist, the victim, and the ironic observer. The ironist refers to a concept with his words or actions, knowingly (with the intention of deception) or unknowingly, but the victim takes the opposite. An ironic observer is someone (often a reader) who is aware of and laughs at the victim's misconception. In fact, irony is based on multiple meanings (sentences are multifaceted, words have multiple meanings, actions and situations have multiple inferences), some of its meanings are in conflict with each other.This study categorizes the types of irony, with a formalist approach, in terms of the type of code, the position of the victim, intertextuality, the degree of irony transparency, and density (the scattering of irony in the text). The research method is descriptive analysis, and its field of study is children's stories. In this regard, this article seeks to answer how irony is formed in children's stories with a formative approach. The present article is useful for humorists in the field of children, and the author has not seen a similar research regarding the classification of ironies, either in domestic or foreign articles.

Irony or double speaking is one of the artistic-literary techniques that, in literature, is equivalent to terms such as sarcasm, praise, contradiction, etc. In the present study, an attempt is made to examine and compare the different aspects of this literary industry in Saadi's Gulistan and Ubayd Zakani’s Akhlaq al-ashraf. In this study, firstly, a descriptive-analytical method is used to look at the political-social situation of the era of both authors; then, the analysis and comparison of ironic types in both books are discussed along with examples. According to the findings of this research, the most types of irony used in Golestan, considering the prevailing conditions of the society as well as the political and social suffocation of that time, which created the shade of humor and veiling of words in the context of the text of the book, are structural, situational, fateful, and verbal. Also, in Akhlaq al-ashraf, the most frequently-used type is rhetorical irony, and there is no special case of structural, radical, fateful, dramatic, and romantic types.

The word ‘humor’ in Persian literature has different meanings. In the contemporary period, it is used as a ‘literary term’ with a difference in definition compared to the joke. The purpose of the present study is to investigate the meanings of humor in specialized sources, cultures, and related books in contemporary literature in order to find a rather comprehensive definition. The two research questions posed in the study are: what meaning or meanings are meant by the term humor? Is it possible to consider a clear and unique definition of humor in contemporary Persian literature and what text is an example of humor? The findings of this research show that the different meanings found by ‘humor’ are related and overlapping making it very difficult to find a clear definition for the term ‘humor’ or a single use for it.

Considering the importance of having a cheerful atmosphere and friendly interaction of senior managers with the employees and the preference of humorous leaders over serious leaders, this research aims to provide a humorous leadership model by studying thermal power generation industry, in a qualitative way according to the Grounded Theory method. The research is exploratory in nature and applied-developmental in terms of purpose. Based on the judgmental-targeted sampling method and with the aim of achieving theoretical saturation, a semi-structured interview was held with 21 CEOs of power plants, who were familiar with the concept of humor and its application. The reliability of the conducted interviews was confirmed by Cohen's kappa test and the agreement coefficient of 82% indicated a good agreement between the experts. Based on the analysis, 135 main concepts were extracted, and finally 9 main categories were identified. Then, the humorous leadership model was presented with the Charmaz approach was presented for the first time in Iran's production organizations, considering its characteristics and components. The results indicate that humorous leadership can help the country's thermal power generation industry in the competitive world to use this style for improving the work environment and gain a competitive advantage over competitors.

Shahrashob is one of the types of Persian poetry that has a close connection with folk literature. This type of poetry, which is called by other names such as Shahrangiz, Dehrashob, Falak Ashob, etc., is of two types in Persian literature; In the first type, the poet praises and condemns the people of a city or a class of society in his poem. But in the other type, which has more literary value, the poet describes the craftsmen and defines their profession and industry, and in this way provides the audience with valuable historical information in the field of occupations, customs, beliefs and folk culture. One of the important features of Shahrashob is the use of humor in them.
In riots that deal with the people of a city or a class, the humor is often in the form of satire, but in riots that describe the people who speak and introduce their industry, more streaks of humor are seen. One of the reasons for the prominence of humor in the second type of chaos is the use of a wide range of humor techniques, which can be classified and analyzed based on common theories in humor. Based on the statistical results of this research, the humor techniques used in Chaos City have different frequencies. For example, the techniques of "minimization", "simile to animals", "ridiculous simile" and "sarcasm" have the highest frequency and techniques based on verbal games have the lowest frequency