Humour of religious satire and linguistic dexterity of Nigerian stand-up comedy

Q2 Social Sciences
I. J. Adekunle
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引用次数: 2

Abstract

Stand-up comedy, as a humorous performance, is a quintessential narrative that chronicles sociological realities of human endeavours. Its humour, as a new subgenre of comedy, fused the roles of performers and their audiences in a scintillating way that provokes laughter and, at the same time, gives great excitement. The performers and their audiences are major stakeholders in the performativity of stand-up comedy. Existing scholars have largely examined its realities as a product of entertainment and laughter to the neglect of its deeper sociological realities of religious satire and linguistic dexterity. Therefore, this paper investigates how stand-up humour serves as a tool for critiquing societal foibles of religious gullibility and bewitchment within the Nigerian socio-political space. Besides, the paper examines the linguistic techniques employed by the selected stand-up comedians. This is in a bid to show how stand-up comedians serve as gatekeepers, watchdogs, and social critics of their societies through their humour. Schechner’s Performance, Freudian, and Jungian psychoanalytic theories were used to analyse the embodied behaviours of the stand-up comedians. Three digital discs of live performance recordings were purposively selected. They were: Halleluyan Volume 1 and Ward 2 Comedy Klinic by Godwin Komone Gordons and A Nite of a Thousand Laughs Vol. 13 by Francis Agoda (I Go Dye). The selected live recordings were based on informing religious realities, choice of satiric humour, and performative styles of the performers. Data were subjected to performance and literary analyses.    
宗教讽刺的幽默感与尼日利亚单口喜剧的语言灵活性
单口喜剧作为一种幽默表演,是一种典型的叙事,记录了人类努力的社会现实。它的幽默,作为一种新的喜剧类型,以一种闪烁的方式融合了表演者和观众的角色,既能引发笑声,又能带来极大的兴奋。表演者和观众是单口相声表演的主要利益相关者。现有学者在很大程度上研究了它作为娱乐和笑声产物的现实,而忽略了它更深层次的宗教讽刺和语言灵活性的社会学现实。因此,本文研究了在尼日利亚社会政治空间中,单口相声如何成为批判宗教易受骗和蛊惑等社会弱点的工具。此外,本文还考察了被选中的单口相声演员所使用的语言技巧。这是为了展示单口相声演员如何通过他们的幽默充当社会的看门人、监督人和社会评论家。Schechner的表演、弗洛伊德和荣格精神分析理论被用来分析单口相声演员的具体行为。有目的地挑选了三张现场表演录音的数字光盘。它们是:戈德温·科蒙·戈登的《哈利路亚》第1卷和《病房2》喜剧《克林克》,以及弗朗西斯·阿戈达(《我去染色》)的《一千笑》第13卷。选定的现场录音是基于告知宗教现实、讽刺幽默的选择和表演者的表演风格。数据经过表演和文学分析。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
European Journal of Humour Research
European Journal of Humour Research Social Sciences-Cultural Studies
CiteScore
1.10
自引率
0.00%
发文量
34
审稿时长
6 weeks
期刊介绍: The European Journal of Humour Research (EJHR) is a peer-reviewed quarterly journal with an international multidisciplinary editorial board. Although geographically-oriented towards the ˋold continentˊ, the European perspective aims at an international readership and contributors. EJHR covers the full range of work being done on all aspects of humour phenomenon. EJHR is designed to respond to the important changes that have affected the study of humour but particular predominance is given to the past events and current developments in Europe.
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