The European Journal of Humour Research 2021-04-07T19:24:20+02:00 The Editorial Team Open Journal Systems <p>The EJHR is an open-access, academic journal published by <a title="Tertium" href=""><strong>Cracow Tertium Society for the Promotion of Language Studies</strong> </a>and endorsed by <a href="">The International Society for Humor Studies (ISHS)</a>. The EJHR publishes commissioned guest articles, peer-reviewed research articles and commentaries, book reviews and research notes, which are meant to track research projects from the start to the end of the project and provide details on rationale, methodology and project results and outcomes. The journal has a special focus on supporting PhD students and early career researchers by providing them with a forum within which to disseminate their work alongside established scholars and practitioners.<br />The EJHR welcomes submissions that combine research and practice or relevant applications, as well as empirical studies detailing their usefulness to the topic of humour. All papers received undergo a double-blind, peer-review process. In addition to scholars within humor research, we invite those as yet unfamiliar with (or wary of) humor research to enter the discussion. The elaboration of joint methodological frameworks is strongly encouraged. For further details or inquiries you may contact the Editors.<br />No charges are applied either for submitting, reviewing or processing articles for publication.<br />The journal is now listed in important international <a href="">indexing bases</a> including <a href="">Scopus</a> and Scimago ranking :</p> <p><a title="SCImago Journal &amp; Country Rank" href=";tip=sid&amp;exact=no"><img src="" alt="SCImago Journal &amp; Country Rank" border="0" /></a> </p> <p>This publication is supported by the <a href="">CEES</a> and ELM <a href="">Scholarly Press.</a></p> <p><img src="" alt="" width="300" height="118" /> <img src="" alt="" width="300" height="135" /></p> Editorial: humour as an information resource in the media 2021-04-07T18:17:02+02:00 Liliya Rashidovna Duskaeva Editorial 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Terminology as a source of misunderstanding: English and Russian humour term systems 2021-04-07T18:22:38+02:00 Ekaterina Alexanrovna Shcheglova Ksenia Mihailovna Shilikhina <p><em>The field of humour studies has developed its own system of terms for designating its research objects. However, disputes about the boundaries of the concepts and their relationship within the terminological system are not uncommon. Along with the English terminological inventory there exist terminologies developed within other languages. The paper discusses key terms of humour studies in the Russian and English languages. Seven Russian terms – ‘комическое</em><em>’, ‘юмор</em><em>’, ‘ирония</em><em>’, ‘шутка</em><em>’, ‘анекдот</em><em>’, ‘насмешка</em><em>,’ and ‘подшучивание</em><em>’ and </em><em>six</em><em> English terms – ‘the comic’, ‘humour’, ‘irony’, ‘(canned) joke’, ‘mocking,’ and ‘banter’ are described. By looking at dictionary entries, definitions suggested by researchers and contexts in which the words are used as terms, the authors describe their general and terminological meanings and analyse differences of the two terminologies. Though the Russian and English terms originate from the same Greek and Latin words, there are significant differences in the traditions of their usage as scholarly terms. These differences cause difficulties which arise when it comes to translation of Russian texts into English and vice versa. </em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Humour as an information-influencing resource in mass media 2021-04-07T18:17:02+02:00 Liliya Rashidovna Duskaeva <p><em>The purpose of this paper is to show how humour is involved in creating effective media communication. The research method is a stylistic analysis of the media text through establishing the manifestations of humour in its compositional components – paratext, metatext, and intratext. The paper reveals the manifestations of two types of irony – ridicule and banter – in these text components. It is established that banter is a means to demonstrate the event distantly, to reduce unnecessary pathos in the speech of top public officials, and to emphasize public contradictions indirectly. Language markers of banter are most often found in the metatext. In such forms of irony, veiled references and hints are expressed which require an additional cognitive effort to understand. The feelings that motivate irony are hidden behind a mask, and are the opposite of the implied ones expressed in the text: for example, indignation is hidden behind surprise and bewilderment. Banter is typical of business mass media, where every event is transmitted distantly. Ridicule is characteristic of sociopolitical mass media. It is expressed in the conflict charge of the media text – the desire to discredit the object of speech, and often acts as a means of transmitting alienation, demonstrating categorical opposition of one’s position to another’s. Ridicule is created by the saturation of negative-evaluative means, most often manifested in the expression of anger and indignation, which determine ridicule.</em> <em>The text markers of tonality, evaluation and degree of indirect expression form the basis of reading the modality character – i.e. badinage.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Metaphor as a means of creating a humorous effect in Bulgarian media texts 2021-04-07T18:17:02+02:00 Elena Viktotrovna Stoyanova <p><em>The paper is devoted to the questions of metaphor as a linguistic means and cognitive mechanism for creating a humorous effect in Bulgarian media texts. There is a similarity between the nature of metaphors and the humor, the ability of perception which refers to the evolutionary acquisition. The relationship of metaphor and humor is manifested in the comparison of the contradictory and the combination of the disproportionate. The humorous effect created by the metaphor in the media discourse is included in the general context and is the result of deliberate efforts, in accordance with pragmatic, linguistic and cultural settings. Despite the universality of humor and metaphor, the interpretation of knowledge, modeled by a comic metaphor, is governed by the sociocultural factor. The implicit functions of the metaphor fit into the functional and pragmatic parameters of media discourse, making the metaphor an integral part of media speech. The collected material allows us to conclude that there are single comic metaphors in Bulgarian media texts, or metaphors create the humorous effect of a fragment / whole media text based on one or more metaphorical models. Increasingly, in a modern Bulgarian media discourse, a metaphor is implemented as a construct script for the semantic development of the text. </em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Language mechanisms of building the ironic texts and ways of their linguistic research (linguistic pragmatic aspect) 2021-04-07T18:17:02+02:00 Tatiana Vladimirovna Chernyshova <p><em>The article is devoted to the study of means and ways of modeling the comic effect in contemporary ironic media texts as well as to characterizing the method of their linguistic description in the linguistic pragmatic aspect. Special attention is paid to the ways of linguistic analysis of the conflict in ironic media text, which is the object of a court case. Within the complex linguistic analysis, including the semantic analysis to reveal the “semantic aspects,” and on the material of the editions Kommersant and Moskovsky Komsomolets, the authors described the signals of irony as language play and as a socially marked way of communication, defining their stylistic variety. On the example of ironic media text which is the object of a court case, it is established that the basic way to model the comic (ironic) subtext in contemporary media texts is the contrast used both at textual and subtextual levels. The article draws the conclusion that the comic form of presentation of the ironic text content cannot be the object of a court case because it is connected with the evaluation and expression of the author’s own opinion.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Sarcastic evaluation in mass media as a way of discrediting a person: Greta Thunberg case 2021-04-07T19:24:20+02:00 Yulia Mikhailovna Konyaeva Anastasiya Aleksandrovna Samsonova <p><em>The article is devoted to the analysis of a sarcastic evaluation of a person, which leads to their discrediting in media texts. Sarcastic evaluation is considered in terms of linguistic praxeology: the language and compositional means of nomination, description, and actions are analyzed. In a media text, these means interact with the means of expressing the category of deviance and forming semantic nodes. The category of deviance can manifest itself, on the one hand, in exuberance or the absurd, while on the other, in simplification or insufficiency of the sign revelation. Also, specific sarcastic speech techniques are identified. They are based on the discrepancy of referent and illocutionary meanings in the person’s speech portrait. The study of Russian media discourse about Swedish eco-activist Greta Thunberg revealed the active use of linguistic means expressing sarcastic evaluation to demonstrate the opposing viewpoint in relation to the transmitted semantic position of “Other”. When the media represents Greta in the totality of her disadvantages, this enters into a polemic against those who support the ideas of this person. With the help of sarcasm, the media shows the absurdness and failure of these ideas. In this case, a sarcastic evaluation becomes an instrument of discrediting not only the person him/herself, but also his/her views and associates. Linguistic means of sarcastic evaluation are widely represented in discrediting media texts. The most important of them are means such as absurdity, hyperbole, alogism, simplification, etc</em><em>.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research The humorous dimension of intertextual relations in contemporary Slovak creolized media text 2021-04-07T18:17:02+02:00 Irina Dulebova Linda Krajchovichova <p><em>In the article, we focused on the aspect of humour in the contemporary Slovak media discourse through the prism of the humorous potential of intertextuality. In order to grasp manifestations of intertextuality and understand how the intertextual joke functions, we turned to the concept of verbal and non-verbal precedent phenomenon (as the intertextual code of the linguo-cultural society) established in the modern Russian scholarship. </em><em>Through the covers of the popular Slovak weekly .tyždeň from 2014-2019 (in total 271 issues of which 90 have an intertextual nature, and 62 of 90 "intertextual covers" can be characterized as "intertextual jokes"), we analyze what types of precedent phenomena are most commonly used in the recent Slovak creolized text and what methods of working with intertext are applied in order to achieve the intertextual joke.</em><em> We have come to the conclusion that "the effect of defeated expectation" and the creation of the inconsistency of the connotative meaning of the precedent phenomenon and the situation (context) in which it is used, are the most frequent methods of achieving the intertextual joke. </em><em>It was interesting to discover that for the deciphering of intellectual "intertextual riddles" with a humorous effect, Slovak authors predominantly provide the Slovak reader with precedent phenomena connected not with the Slovak, but with the European or worldwide cultural space, or that the visual precedent phenomena are more dominant over the verbal precedent phenomena in conveying the intertextual jokes in the creolized texts.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Humour as a strategy for news delivery: the case of Meduza 2021-04-07T18:17:03+02:00 Viktoria Vladimirovna Vasileva Liubov Yurevna Ivanova <p><em>In this article, humour is viewed as a strategic resource for informing in media discourse. It is analyzed through the case of “Evening Meduza”, a Russian-language nightly newsletter, received via email or Telegram messenger. A media linguistics analysis of polycode hypermedia text is used to identify communicative linguistic means, contributing to a comic reinterpretation of news on the paratextual, intratextual and visual-illustrative level. </em><em>News messages in the newsletter are created in the format of compressed “packagings” (a term borrowed from Chafe) with embedded links, following which an addressee goes to the page with source text or concomitant informational resources. Humour is analyzed in packagings as well as in whole text and paratext blocks. Humorous means are revealed in three vectors of analysis: empathy in packaging texts, paratextual focus interaction, and news visualization. </em><em>The change of narrative perspectives in text packages allows the authors to shift the focus of contrast within a newspiece and create humorous content while showing empathy to readers with different presuppositional expectations. The author’s signature always includes a prepositive ironic addition (attribution) that highlights one of the issue’s news elements and forces the audience to reread the newsletter in order to understand the semantic relation. Subheadings create a comic contrast, focusing on individual parts of the reference content while preparing the reader to perceive the news of the day interconnectedly. A mandatory humorous component in the block “And – picture” was found to show the news event in a visual semiotic code using a demotivator style that expresses a pun.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Linguistic ridicule as a reflection of the confrontation between the political power and society 2021-04-07T18:17:03+02:00 Alla Vladimirovna Kornienko <p><em>This paper presents the words, collocations, and expressions which have been announced as winners of the Word of the Year contest, held on an annual basis in Russia for the last 12 years. Taken together, all these lexical units allow us to draw conclusions about some current trends in the modern-day Russian public discourse, namely its explicit politicization, increased emotionality, and the use of word play in an indirect dialogue with the political authorities. The inner meaning of word play, which is particularly widespread in social networks, represents the users’ critical attitude, aiming to undermine conventional values through ridicule. Illustrative examples reflecting the views of the Facebook community (winners of the “Word of the Year”) are cited in the paper.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Humour and satire in everyday life in 1920s Soviet society 2021-04-07T18:17:03+02:00 Galina Nikolaevna Ryabova <em>In the Soviet society of the 1920s, humour and satire existed on two levels: official and unofficial. They have rather diverse forms. At the official level, there were, first of all, satirical articles, humoresques, and cartoons in the newspapers. Newspapers were an integral part of Soviet everyday life. Secondly, there were the performances of propaganda teams (the «Blue Blouse» in particular). These performances took place at any venues: in working clubs and village halls, on the factory floors, in different offices. The repertoire of propaganda teams always included satirical couplets directed against «internal and external enemies». At the unofficial level, there were witty-ditties, funny couplets, and anecdotes. They have various contents: from everyday and romantic issues to political problems. Therefore, at this level humour and satire expressed a critical attitude to the government and popular protest. At each level, humour and satire had their own goals and fulfilled various functions: from ideological to relaxational.</em> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil 2021-04-07T18:17:03+02:00 Maria Vorobyeva <p><em>Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy.</em></p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Book review: Knospe, Sebastian, Onysko, Alexander & Goth, Maik (eds.). (2016). Crossing Languages to Play with Words: Multidisciplinary Perspectives. Berlin/Boston: De Gruyter. 2021-04-07T18:17:03+02:00 Marianthi Georgalidou <p>Book review </p> 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Book review: Ritchie, Graeme (2018). Comprehension of Jokes: A Cognitive Science Framework. London and New York: Routledge. 2021-04-07T18:17:03+02:00 Anastasiya Astapova Book review 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Book review: Gibson, Janet M. (2019). An Introduction to the Psychology of Humour, London & New York: Routledge. 2021-04-07T18:17:03+02:00 Giovannantonio Forabosco Book review 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Book review: Tucker, Terrence T. (2018). Furiously Funny: Comic Rage from Ralph Ellison to Chris Rock. Gainesville: University Press of Florida. 2021-04-07T18:17:03+02:00 Tereza Walsbergerová Book review 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research Book review: Schweizer, Bernard (2019). Christianity and the Triumph of Humor: From Dante to David Javerbaum. New York: Routledge. 2021-04-07T18:17:03+02:00 Steven Gimbel Bernard Schweizer's new book "Christianity and the Triumph of Humor" examines the relationship between Christian theology and pronouncements of the acceptability of humor. While some theologians rule out the permissibility of humor altogether, others seek to allow "good humour," however Schweizer contends that there is no such line that can be drawn. As such, the relationship becomes more more philosophically interesting. As we take an historical look, there is an increasingly liberal attitude for humor, allowing more and more into the sphere of acceptable objects of joking. 2021-04-03T00:00:00+02:00 Copyright (c) 2021 The European Journal of Humour Research