Titlebook: Humour in Society; Resistance and Contr Chris Powell,George E. C. Paton Book 1988 Chris Powell and George E. C. Paton 1988 control.humour.r

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Auschwitz Jokes, defined as sacred, taboo or disgusting which more often than not provide the principal grist for humorous mills. In a history of world atrocities which unfortunately includes far too many instances, it would be hard to think of any one example more gruesome than the methodical murder of millions of

grovel

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A Phenomenological Analysis of Humour in Society,ble channels for exploration of its social import. One of the more interesting points to be made is that many sociologists have made quite suggestive and indeed often telling comments on humour .. The most obvious examples are writings on ‘minority’ or ‘subordinated’ groups which allude to the use o

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integrated

,‘Jokers Wild’: Humour in Organisational Culture, life. Is it, for example, a device utilised by individuals for coping with uncertainty, exploring ambiguous situations, releasing tension or distancing unpleasantness? Or does it owe its genesis to social structures, and the contradictions and paradoxes within them? If so, does it subvert these soc

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Racist Humour and Racist Ideology in British Television, or I Laughed Till You Cried,ns of expressing humour, the stimuli which are potentially humorous and, indeed, the significance attached to the possession of ‘a(chǎn) sense of humour’ clearly vary with culture. In Britain, there are strong cultural sanctions for those lacking a demonstrable capacity for humour, and humour itself is va

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Scriptwriters and Producers: A Dimension of Control in Television Situation Comedies,t: the relationship between the writer of situation comedies and the producer of the programmes (largely as a company employee). There are three linked areas which need consideration here: the initial stages of planning a programme, control over the artefacts (cast, script and over-all process), and

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Representations of Women and Men in , Sex Cartoons,much-imitated genre, variously known as the ‘girlie’ or ‘soft porn’ or ‘men’s entertainment’ magazine. This last, more euphemistic, designation accords with .’s own proud boast on its contents page that it is ‘the men’s entertainment magazine’. It is also the advocate and disseminator of a widely-de