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Project Topic:

LINGUISTIC FEATURES AND HUMOUR IN SELECTED EPISODE OF TEJU BABYFACE

Project Information:

 Format: MS WORD ::   Chapters: 1-5 ::   Pages: 72 ::   Attributes: Questionnaire, Data Analysis
::   207 people found this useful

Project Body:

CHAPTER ONE

1.0 INTRODUCTION

1.1 BACKGROUND OF STUDY

Humour in the entertainment industry has continued to grow with advancement in the level of technology; the contribution to the nascent field of linguistic research on humour in film discourse, which is here used technically as an umbrella term covering characters’ talk in films, series and serials (their differences regardless) representing all genres, with the focal one here being drama has been efficient in recent times.

According to (Horton 1991; Marc 1997; Charney 2005; Dalton and Linder 2005; Trueth 2005; Mills 2005, 2009; Senzani 2010) stated that while semiotic and socio-cultural research on sitcoms and comedies is ample.

It is evident according to (e.g. Gray 2006, Quaglio 2009) that linguistic works on their discourse are rather scarce.

Likewise, relatively little linguistic research has been done into the nature of humour in comedy discourse, although a few exceptions can be found (e.g. Apter 1982a; Palmer 1987; Neale and Krutnik 1990; Stokoe 2008; Dynel 2010, 2011a; Brock 2011, Kozić 2012). In addition to this, a few studies of humorous mechanisms make use of comedy discourse as exemplification data (e.g. Vandaele 2002; Brône 2008). For example, Palmer (1987) forays into the semiotics of humour in films and television comedy. He conducts an analysis of dissociated phenomena grouped as non-verbal gags, comic articulation and comic identity, referring to the notion of peripeteia (incongruity) and syllogism (resolution). Taking sequences of conversation from “Friends”, Stokoe (2008) discusses the way breaches of conversational rules function as legitimate humorous devices exploiting the juxtaposition of appropriate and inappropriate methods for performing dispreferred turns in adjacency pairs. However, the spectrum of sources of humour is much wider than that presented in the literature so far. Therefore, a more extensive discussion against a backdrop of humour theory is in order. Central to the workings of humour in comedy is the fact that the fictional discourse of films operates on two levels of communication: the inter-character level, representing the fictional participants’ interactions, and the recipient’s (i.e. the viewer’s) level, which concerns the viewer’s interpretation of the former, as carefully devised by the film production crew dubbed the collective sender (see Dynel 2011b and the references therein). A mass-mediated artefact, therefore, displays two layers: the characters’ fictional layer, by which recipients are enthralled, and the collective sender’s layer responsible for the construction of the former. Although numerous points of similarity can be found between real-life discourses and fictional discourse (see Dynel 2011c and references therein), the two display inherent divergences. This is relevant also to the nature of humour, whose manifestations may mirror those found in real conversations or may be typical solely of film discourse, which is orientated towards entertaining, yet not necessarily amusing, the recipient (Dynel 2011a). Entertainment is here seen as being a notion superordinate to amusement. It is to this regard that the study wishes to use Teju Babyface to examine the linguistic features and humour in selected episode of Teju Babyface.

1.2 STATEMENT OF PROBLEM

What really instigated the study on linguistic features and humour in selected episode of Teju babyface was due to difficulty experienced in the differentiation of academic writing and humour. Another problem can be caused by translation errors, because of irregularities and discrepancies between certain items that translators attempt to translate.

1.3 AIMS AND OBJECTIVES OF STUDY

The main aim of the research work is to examine the linguistic features and humour in selected episode of Teju Babyface. Other specific objectives of the study include:

  1. To examine the relationship between academic writing and humour
  2. To examines the ways that humour is created in both spoken and written language
  3. To explores the relationship between humour and social attitudes; the status of the targets of humour, the joke tellers and the audience
  4. To investigate on the factors affecting the translation of humour in comedy
  5. To proffer solution to the above problem

1.4 RESEARCH QUESTION

The study came up with research questions in order to ascertain the above objectives. The research questions are stated below as follows:

  1. Is there any relationship between academic writing and humour?
  2. What are the ways that humour is created in both spoken and written language?
  3. Is there any relationship between humour and social attitudes; the status of the targets of humour, the joke tellers and the audience?
  4. What are the factors affecting the translation of humour in comedy?

1.5 RESEASRCH HYPOTHESIS

H0: There is no significant relationship between humour and social attitudes; the status of the targets of humour, the joke tellers and the audience

H1: There is significant relationship between humour and social attitudes; the status of the targets of humour, the joke tellers and the audience

1.6 SIGNIFICANCE OF STUDY

The study on linguistics and humour in selected episode of Teju babyface will be of immense benefit to the comedy industry, and other entertainment industries as it will discuss in details various concept of humour, the relationship between humour and social attitudes. The study will also be of great benefit to other researchers that wishes to carryout similar research on the above topic.

1.7 SCOPE OF STUDY

The study on linguistics features and humour will be limited to the humour in the selected episode of Teju Babyface as it will cover the relationship between humour and social attitudes.

1.8 LIMITATIONS OF STUDY

Financial constraint- Insufficient fund tends to impede the efficiency of the researcher in sourcing for the relevant materials, literature or information and in the process of data collection (internet, questionnaire and interview).

Time constraint- The researcher will simultaneously engage in this study with other academic work. This consequently will cut down on the time devoted for the research work.

1.9 DEFINITION OF TERMS

HUMOUR: the quality of being amusing or comic, especially as expressed in literature or speech

EPISODE: An episode is a coherent narrative unit within a larger dramatic work such as a film or television series

 

 

 

 

 

 

REFERENCES

Apter, M. (1982a). ‘Fawlty Towers: A reversal theory analysis of a popular television comedy series’. Journal of Popular Culture, 16, pp. 128-138. Apter, M. (1982b). The Experience of Motivation: The Theory of Psychological Reversals. San Diego, CA: Academic Press. Apter, M. & Smith, K.C.P. (1977). ‘The Theory of Humorous Reversals’, in A.J. Chapman & H.C. Foot (eds.) It’s a Funny Thing, Humour, New York: Pergamon. Attardo, S. (1994). Linguistic Theories of Humor. New York: Mouton. Attardo, S. (2000). ‘Irony as relevant inappropriateness’. Journal of Pragmatics 32, pp. 793-826. Attardo, S. (2001). Humorous Texts: A Semantic and Pragmatic Analysis. New York, NY: Mouton de Gruyter. Attardo, S. & Raskin, V. (1991). ‘Script theory revis(it)ed: Joke similarity and joke representation model’. Humor 4, pp. 293-348. Barbe, K. (1993). ‘Isn’t it ironic that, ...: Explicit irony’. Journal of Pragmatics, 6, pp. 579-590. Bednarek, M. (2010). The Language of Fictional Television: Drama and Identity. London/New York: Continuum. Bednarek, M. (2011). ‘The stability of the televisual character: A corpus stylistic case study’, in R. Piazza, M. Bednarek & F. Rossi (eds.), Telecinematic Discourse: Approaches to the Language of Films and Television Series. Amsterdam/Philadelphia: John Benjamins, pp. 185-204. Berger, A. (1993). An Anatomy of Humor. New Brunswick, NJ: Transaction Publishers. Berlyne, D. (1969). ‘Laughter, humor, and play’, in G. Lindzey and E. Aronson (eds.), The Handbook of Social Psychology, Vol. 3, pp. 795-852. Reading, MA: Addison-Wesley. Bok, S. (1978). Lying: Moral Choice in Public and Private Life. New York: Random House. Haugh, M. & Bousfield, D. (2012). ‘Mock impoliteness in interactions amongst Australian and British speakers of English’. Journal of Pragmatics, 44, pp. 1099-1114

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Paper Information

Format:ms word
Chapter:1-5
Pages:72
Attribute:Questionnaire, Data Analysis
Price:₦3,000
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