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" . . . extremely valuable . . . enthusiastically recommend[ed] . . . " —Western Folklore These hilarious and slightly off-color stories, although gathered in Indiana, reflect the ancient origin and universality of the joke. The chuckle, the grin, the uncontrolled belly-laugh evoked by Jokelore attest to the popularity of this ancient form of folk literature.
The Genius of the Jewish Joke focuses on what is distinctive and unusual about Jewish jokes and Jewish humor. Jewish humor is humor by Jews and about Jews, in whatever medium this humor is found. Jokes are defined as short stories, meant to amuse, with a punch line, though Jewish humor exists in many other forms—riddles, comic definitions, parodies—as well. The book makes a "radical" suggestion about the origin of Jewish humor—namely, that Sarah and Abraham's relation to God, and the name of their son Isaac (which, in Hebrew, means laughter), recognizes a special affinity in Jews for humor. Abraham does not sacrifice Isaac (humor) and, thus, humor and the Jews are linked early in Jewish history. Berger discusses techniques of humor and how they can be used to analyze jokes. He also compares "Old World Jewish Humor"—the humor of the shtetl, with its fabulous schlemiels, schlimazels, schnorrers, and other characters—and "New World Humor"—the humor of Jewish doctors, lawyers, accountants, and other professional types living mostly in the suburbs nowadays. Jewish humor is contrasted with other forms of ethnic humor, such as Polish jokes and Italian American jokes. This humor, in addition to providing pleasure, reveals a great deal about Jewish character and culture and, in addition, the human condition. Now available with a new introduction by the author, The Genius of the Jewish Joke is an entertaining and informative inquiry into Jewish humor that explores its distinctiveness, its unique spirit, and its role in Jewish identity.
The following pages are not the product of an overworked imagination, but a record of actual happenings. The characters who pass in review before the reader are real personages whose various experiences have gladdened many adjacent firesides.
Forged in a London fire ritual in 1979 and reborn with their original line-up in 2008, Killing Joke have been creating uncompromising music for over 40 years. In addition to their incandescent self-titled debut in 1980, they have released essential albums in each of the past four decades: Night Time (1985), Pandemonium (1994), Killing Joke (2003) and Pylon (2015). But Killing Joke are more than a band; they are a primal force that exerts an intangible gravity on both its members and its fans. They have influenced countless groups across multiple genres – including Metallica, Nirvana and Nine Inch Nails – while their own style ranges across post-punk, dub, industrial, world music, electronica and alt-metal. Their equally eclectic lyrics traverse social alienation, dystopian futures, the folly of hubris, Cold War dread, paganism and the occult. Above all, their work embodies a process of self-discovery whose aim is nothing less than the revelation and integration of our darkest urges. Killing Joke On Track covers the fifteen studio albums and almost 200 songs of Killing Joke’s vocation to date, including obscure gems, live albums and compilations. It’s a celebration of a band who are often challenging, always provocative, but ultimately life-affirming. Nic Ransome spent most of the past 20 years as a screenwriter and is currently researching toward a PhD. Straight out of school in the mid-1980s, he self-published a rock fanzine then played bass in a short-lived space-punk band, before dabbling in theatre. He spent the next ten years doing a series of bullshit jobs to earn a living before rekindling a teenage obsession with movies, which eventually led to a seven-year stint at legendary British film company Hammer. This book is Nic turning full circle back to his first love as an adult: writing about music, specifically a band of which he’s been a fan going on 42 years. He lives in Suffolk, UK.
Draitser uses humor as a means of understanding the attitudes and customs, beliefs and idiosyncrasies, and inter- and intra-group relationships of this multinational society. In analyzing the jokes, he seeks to determine what makes them funny, why certain groups are targeted, and even why a mediocre joke can be received with great enthusiasm.
Brings together a range of contributions on the linguistics of humour. This title elucidates the whole gamut of humorous forms and mechanisms, such as surrealist irony, incongruity in register humour, mechanisms of pun formation, as well as interpersonal functions of conversational humour
The Oxford Handbook of American Folklore and Folklife Studies surveys the materials, approaches, concepts, and applications of the field to provide a sweeping guide to American folklore and folklife, culture, history, and society. Forty-three comprehensive and diverse chapters explore the extraordinary richness of the American social and cultural fabric, offering a valuable resource not only for scholars and students of American studies, but also for the global study of tradition, folk arts, and cultural practice.
In this American Folklore Series volume, Josepha Sherman presents the rich and varied folklore of the American Jew. This affectionate and unflinching examination of the traditions of American Jews offers insights for expert and casual students of folklore and makes an ideal gift for anyone interested in the origins of Jewish culture. Includes line drawings, collection notes, motif index, and bibliography.
CHOICE: OUTSTANDING ACADEMIC TITLE A scholarly and thought-provoking work that places Jewish humor at the center of a discourse about Jewish and German relations through most of the twentieth century. At Wit’s End explores the fascinating discourse on Jewish wit in the twentieth century when the Jewish joke became the subject of serious humanistic inquiry and inserted itself into the cultural and political debates among Germans and Jews against the ideologically charged backdrop of anti-Semitism, the Jewish question, and the Holocaust. The first in-depth study to explore the Jewish joke as a crucial rhetorical figure in larger cultural debates in Germany, author Louis Kaplan presents an engrossing and lucid work of scholarship that examines how “der jüdische Witz” (referring to both Jewish wit and jokes) was utilized differently in a number of texts, from the Weimar Republic to the rise of National Socialism, and how it was re-introduced into the public sphere after the Holocaust with the controversial publication of Salcia Landmann’s collection of Jewish jokes in the reparations era (Wiedergutmachung). Kaplan reviews the claims made about the Jewish joke and its provocative laughter by notable writers from a variety of ideological perspectives, demonstrating how their reflections on this complex cultural trope enable a better understanding of German–Jewish intercultural relations and their eventual breakdown in the Third Reich. He also illustrates how selfcritical and self-ironic Jewish Witz maintained a fraught and ambivalent relationship with anti-Semitism. In reviewing this critical and traumatic moment in modern German–Jewish history through the deadly discourse on the Jewish joke, At Wit’s End includes chapters on the virulent Austrian anti-Semitic racial theorist Arthur Trebitsch, the Nazi racial propagandist Siegfried Kadner, the German Marxist cultural historian Eduard Fuchs, the Jewish diasporic historian Erich Kahler, and the Jewish cabaret impresario Kurt Robitschek, among others. Shedding new light on anti-Semitism and on the Jewish question leading up to the Holocaust, At Wit’s End provides readers with a unique perspective by which to gain important insights about this crucial historical period that reverberates into the present day, when potentially offensive humor coupled with a toxic political climate and xenophobia can have deadly consequences.