{"title":"Humour as Survival Strategy in Walter Scott’s Waverley,","authors":"Cristian Vijea","doi":"10.31178/ubr.13.2.3","DOIUrl":"https://doi.org/10.31178/ubr.13.2.3","url":null,"abstract":"Humour will be shown to be present in a selection of novels by Walter Scott, as a strategy to temper hot spirits on the brink of violence and pre-empt conflict in the fictional societies. Despite the contagious effect spreading to the reader himself, this type of humour relies on paralogical hints, language inadequacy or language gaps, which the fictional audience as well as the reader has to fill in. In the process of solving the linguistic inaccuracies, the audience (both fictional and the reader) is forced to notice the deliberate violation of communication and look for meaning elsewhere. The distance between expected and discovered meaning is so great that a bout of laughter is the result, and fictional tensions are depleted of power. It is my claim that the humorous effect constantly brings the intuitive paralogic collapse of a logic which previously fostered conflict by coagulating opposing factions around powerful feelings and pathos.","PeriodicalId":495473,"journal":{"name":"University of Bucharest Review","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Motifs of Disguise/ Imitation in European Literary Tradition (From Antiquity to the Eighteenth Century):","authors":"Oleksandra Nikolova, Kateryna Vasylyna","doi":"10.31178/ubr.13.1.3","DOIUrl":"https://doi.org/10.31178/ubr.13.1.3","url":null,"abstract":"The article defines and examines the connection between the disguise/imitation motifs and the categories of comic and tragic within European literary tradition (from Antiquity to the Eighteenth century). The authors of this research explain the factors that make these motifs popular means of creating comic effect or tragic pathos and highlight the trends in their functioning. Disguise/imitation motifs are shown to be mostly related to situations that violate the usual norms of conformity, hierarchical relations, behavioural canons, and for this precise reason, they have a powerful affective potential, i.e. become capable of evoking strong emotions. The disguise/imitation motifs are appropriate for comic effect due to their archaic genetic links with ritual-laughter culture and their conformity to the very nature of the comic, which is based on contradictions. Tragic pathos arises as a result of tragic consequences of one’s identity loss within disguise/imitation situations, it prompts awareness of the injustice of society and the “cruelty” of fate, which are the cause of the forced rejection of one’s self. The article indicates the prospects of researching disguise/imitation motifs in modern art, where they are often employed in adventurous narratives to increase the plot’s dynamism, heighten dramatic tension, and intensify intrigue.","PeriodicalId":495473,"journal":{"name":"University of Bucharest Review","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“A jest with a sad brow”: Shakespeare’s ambivalent insults","authors":"Nathalie Vienne-Guerrin","doi":"10.31178/ubr.13.1.1","DOIUrl":"https://doi.org/10.31178/ubr.13.1.1","url":null,"abstract":"Shakespeare’s insults are ambivalent creatures that oscillate between humour and pathos. That is what this article aims to show. It focuses on the part insults play in the articulation of humour and pathos in Shakespeare’s plays, Falstaff and his reference to “a jest with a sad brow” appearing as a case in point. Through examples taken from Much Ado About Nothing, Love’s Labour’s Lost, King Henry IV, Hamlet, Othello, and A Midsummer Night’s Dream, the article explores how insults and moments of insult convey the complex and fragile balance between humour and pathos. It shows that Shakespeare’s theatre of insult is based on the tension between laughter and tears, between the ludic and the serious modes or humours of insult, at a time when the word ‘humour’ was mainly conceived in the plural and still referred to fluid(s) rather than wit. This article first analyses how Shakespeare’s plays reveal a breach between humour and pathos by dramatizing, on the one hand what is called “skirmish[es] of wit” in Much Ado About Nothing, and, on the other hand, what is called “heart-struck injuries” in King Lear. After dissociating comic and tragic insults, the article then shows how Shakespeare cultivates moments of insult when the spectators do not know whether they should laugh or cry, moments when insults waver between humour and pathos, between mirth-making and grief-making, moments in which insults hurt even when they are supposed to be humorous. This ambivalence is related to the ambivalence that is at the heart of the way the tongue is represented in Shakespeare’s world which points to its essential volatility, unpredictability and instability.","PeriodicalId":495473,"journal":{"name":"University of Bucharest Review","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666101","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Humour-Pathos Link from Late-Victorian Aestheticism","authors":"Ioana Zirra","doi":"10.31178/ubr.13.1.5","DOIUrl":"https://doi.org/10.31178/ubr.13.1.5","url":null,"abstract":"By using Freud’s theory of humour (1927) and his Jokes in their relation to the unconscious (1905), we follow the dominant features of the humour-pathos nexus from the late Victorian to the postmodernist literary decadence, taking in our stride the two peaking twentieth century modernist texts published by T.S. Eliot and James Joyce in 1922 Britain. We begin with Oscar Wilde’s popular The Importance of Being Earnest (1895) in relation to Walter Pater’s less well-known autobiographical novel Marius the Epicurean (1885), showing what relation the latter has with T.S. Eliot’s The Waste Land and James Joyce’s Ulysses. The modernist genial humour of Eliot’s 1939 Old Possum’s Book of Practical Cats is contrasted with Tom Stoppard’s in Rosencrantz and Guildenstern Are Dead (1966) and with the dark humour closer to pathos in The Life and Songs of the Crow (1970) by Ted Hughes.","PeriodicalId":495473,"journal":{"name":"University of Bucharest Review","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"R. K. Narayan's (Post-)Colonial Perspective:","authors":"Ludmila Volna","doi":"10.31178/ubr.13.2.1","DOIUrl":"https://doi.org/10.31178/ubr.13.2.1","url":null,"abstract":"R. K. Narayan (1906-2001) is considered one of the founding fathers of Indian writing in English, along with Raja Rao, Mulk Raj Anand and G.V. Desani, and is best known for creating the imaginary town of Malgudi. Another important feature of his fiction is what both critics and readers call a gentle or light-hearted humour. Humour has often been used to both subvert and survive various forms of political oppression (see Ştefănescu, Tripathi and Chettri). In Narayan, Malgudi, the centre of the action, is both a colonial and a post-colonial town, created and recreated over years and even decades. Since Malgudi can be considered a metonymy of India (see Mukherjee), Narayan’s use of humour as a subversive device, together with his skilful examination of the cultural and colonial context, can be perceived as a poignant criticism of the British colonial system and what it entailed, specifically the suppression of what constitutes ‘Indianness’, the Indian way of life and cultural values. On the other hand, the light-hearted and subversive irony allows Narayan to offer a more profound insight into the human nature as such, while juxtaposing a colonial and post-colonial context.","PeriodicalId":495473,"journal":{"name":"University of Bucharest Review","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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