جستجوی مقالات مرتبط با کلیدواژه « laughter » در نشریات گروه « ادبیات و زبان ها »

Content for laughter and sarcasm, whether in the frame of comedy or in the context of ridiculous works, has a long history. The experiences of the practitioners in this field have had a great impact on the general thoughts and lifestyle of the people, and in recent centuries, theorists have examined the philosophy of its operation from various angles. The most significant theorization in this field is Bakhtin's dialogism, which is based on the language play he names as heteroglossia. after the concept has been discussed in the study of novel and other discourses of social and literary satires such as "Carnival,"  "parody," and so on. The interpretation and deconstruction of polyphonic conversational logic within the infrastructure of creative misreading and the humor in carnival discourse and parody can be conducted in terms of employing Russian Formalist notion of familiarization,  the disconnection and isolation of text from normal structure in French deconstruction and the psychological evolution of humor to creativity.The result of this descriptive study, an analysis based on library and internet sources, indicates that Persian parodies share intertextual features and borrow from polyphonic language of Carnival. These parodies are the same as literary comedies that has gone through a journey from the domain of humor to creativity with an intentional failure in the imitation of the content, language or style of serious works.

In order to insist upon discursive reconfiguration of violence in Shakespeare’s comedies, critics bring examples of civic and political violence, and matrimonial/domestic and erotic manipulations in plays’ real and fantastic worlds. In plays such as The Merchant of Venice, The Taming of the Shrew and A Midsummer Night’s Dream, the manifests of non-physical violence could be identified in an epitomical manner, and afterwards one could see how such manifests of violence could be recognized in Shakespeare’s other comedies.

Considering the reconfiguration of violence and elimination of physical violence, the present study reads violence in Shakespeare’s aforementioned comedies as a discursive violence. For devising a definition of this kind of violence, it uses Slavoj Zizek’s ideas on the issue of violence and how he defines violence discursively. In his definition, Zizek discriminates between the objective violence, which comes from impersonal, exclusive, systematic and so-called objective nexuses of power and subjective violence, which comes from subjective rendition of each individual from implementation of violence in sites for which objective violence has not defined any containment strategy. In the case of subjective violence, intentions and motivations behind violence are murky and uncontainable, giving its operation the necessary fluidity. While discussing the manifests of subjective violence, the present study finds instances of what Zizek calls to be antimonies; discursive points around which two rational arguments can be represented without any promise of resolution.Literature ReviewIn the first part entitled “Objective and Subjective Violence in Shakespeare’s Comedies”, the study discerns between two kinds of violence in Shakespeare’s comedies through the utilization of Zizek’s notions on violence in Violence: Six Sideway Reflections. In “The Antimony of Victimization in Shakespeare’s Comedies”, the study utilizes Zizek’s notion of antimony next to notions of other critics such as Dympna Callaghan in Shakespeare without Women, Natasha Korda in “Household Kates: Domesticating Commodities in The Taming of the Shrew, Emily Detmer in “Civilizing Subordination: Domestic Violence and The Taming of the Shrew”, Michael Taylor in “The Darker Purpose of A Midsummer Night’s Dream” and Lisa S. Starks-Estes in Violence, Trauma and Virtus so that a less optimistic interpretation of seemingly emancipative and empowering moments for the marginalized characters – or the plays’ others – could be represented, which in turn, could show the workings of non-physical yet effective violence and subjugation against such characters. Finally, in “Discursive Laughter in William Shakespeare’s Comedies”, the present study brings Edward Berry’s discussion of Carnivalesque and Hobbesian laughter and locate Shakespearean laughter in the middle of them.

In the present study, it is indicated that the domain of the marginalized characters of Shakespeare’s comedies is in a site where the objective violence has no authority and it is subjects themselves that need to inflict the violence on them on the basis of their rendition of it. Zizek observes that these renditions are affected by what is not included in the symbolic order of the objective violence and that is why Petruchio starts not behaving in a physically violent manner, Shylock is not treated in a conventional legal term and Hermia and Helena are not contained through rational means of recuperation. It is as if all of these characters need to be dealt within antimonic sites where every possibility of resilience and liberation can be recuperated through subjective interpretations of the suppressors.

In this article, we explain the relationship between laughter and the effects of human thinking, which includes theorizing and thus predicting world events. Our hypothesis is that human beings theorising acts are about to escape or control the pains of life in order to make the world events predictable. But predictability is like a double-edged sword, because on the one hand it can eliminate human pains, and on the other hand it leads to monotony, habit, boredom and daily life. In this regard, laughter opposes uniformity, monotony, and predictability, calls for the emergence of undefined and unpredictable behaviors to save mankind from the boredom and numbness caused by thinking, theorizing and predictability. Throw him a world with new rules that govern the relationships between its events and convey the joy of breathing in a fresh and undiscovered universe. Laughter introduces a new world that, like narcotics, is full of joy and forgetfulness.

This study examines the narrative approach of Shahnameh by Ferdowsi based on Bakhtin’s dialogism. The logic of dialogue, a narrative that describes the relationship between different views through dialogue and interaction and considers dialogue as the only way of communication. Dialogism is supplemented by concepts such as "polyphony", "the other voice" and "Carnival". One of the necessary constituents of carnivalistic life is laughter. In Shahnameh there are three kinds of laughter, one of which is considered closer to Bakhtin’s laughter; it is a laughter that causes ridicule and humiliation. Other types of laughter are those of joy and an analogy of nature. In this article the carnivalistic laughter and laughter in Shahnameh are compared with each other to find out the correspondence between dialogism and Shahnameh. In this study, we attempt to study the word "laughter" and its derivatives in Shahnameh using descriptive-analytic method and evaluate it on the basis of Bakhtin's theory of dialogism, and also find out its similarities and differences with Bakhtin's carnivalistic laughter.

Epigrams refer to a literary genre containing some exciting events which lead to laughter. The structure and content of this literary genre will be investigated in this article and it will be shown that epigrams divide into some categories based on their form and content. It is finally concluded that the devices which evoke laughter are the same figures of speech which create beauty in Persian prose and verse.