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244 pages. 9.02x5.98x0.60 inches. In Stock.

This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In good all round condition. No dust jacket. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,550grams, ISBN:085991576X

In shrink wrap. Looks like an interesting title!

Publisher Houndmills Basingstoke Hampshire Macmillan Press 1988

Harry Furniss (1854–1925), a leading contributor to Punch and other important illustrated magazines, was arguably the most significant political caricaturist and illustrator of the late Victorian and Edwardian eras. He was widely celebrated in his time, and his cartoons helped to define the political world in the public mind. The Humours of Parliament was Furniss’s hugely successful illustrated lecture that he staged throughout the U.K., North America, and Australia during the 1890s. Entertaining his audiences with anecdotes, mimicry, and jokes―along with the spectacle of more than 100 magic lantern slides―Furniss gave his audiences an insider’s view of the mysterious workings of Parliament and the leading political personalities of the day, such as Gladstone, Balfour, and Chamberlain.   Reproducing some 150 images drawn from Furniss’s extensive graphic work, The Humours of Parliament: Harry Furniss’s View of Late-Victorian Political Culture, edited and with an introduction by Gareth Cordery and Joseph S. Meisel, presents Furniss’s unpublished lecture text for the first time. The extensive introduction places the show in its biographical, political, and performative contexts. Cordery and Meisel’s volume therefore both documents a pivotal moment in British political and social history and provides a rare case study of an important yet little studied nineteenth-century performance genre: the illustrated platform lecture.  

Harry Furniss (1854–1925), a leading contributor to Punch and other important illustrated magazines, was arguably the most significant political caricaturist and illustrator of the late Victorian and Edwardian eras. He was widely celebrated in his time, and his cartoons helped to define the political world in the public mind. The Humours of Parliament was Furniss’s hugely successful illustrated lecture that he staged throughout the U.K., North America, and Australia during the 1890s. Entertaining his audiences with anecdotes, mimicry, and jokes―along with the spectacle of more than 100 magic lantern slides―Furniss gave his audiences an insider’s view of the mysterious workings of Parliament and the leading political personalities of the day, such as Gladstone, Balfour, and Chamberlain.   Reproducing some 150 images drawn from Furniss’s extensive graphic work, The Humours of Parliament: Harry Furniss’s View of Late-Victorian Political Culture, edited and with an introduction by Gareth Cordery and Joseph S. Meisel, presents Furniss’s unpublished lecture text for the first time. The extensive introduction places the show in its biographical, political, and performative contexts. Cordery and Meisel’s volume therefore both documents a pivotal moment in British political and social history and provides a rare case study of an important yet little studied nineteenth-century performance genre: the illustrated platform lecture.  

Paperback. Humour is a superpower in business. If you're not using it, the joke's on you!Some people think the workplace is no place for funny business. But a recent survey of more than 700 CEOs showed that 98% prefer job candidates with a sense of humour, and 84% think that funny employees do better work.Psychologist Dr Jennifer Aaker and comedian Naomi Bagdonas' research has shown that humour makes us feel more competent and confident, strengthens relationships and boosts resilience during difficult times.Based on their popular course "Humour- Serious Business" at Stanford's Graduate School of Business, (where they help some of the world's most hard-driving, blazer-wearing business minds build levity into their organizations and lives), Humour, Seriously will show you how to use humour to-enhance creativity and problem-solvinginfluence and motivate othersincrease likability and statusbuild bonds and defuse tension within teamscreate a culture where colleagues feel safe, appreciated and joyfulIf you think being funny is unprofessional, think again. Humour is the most under-leveraged tool for power in the working world. No joke! Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Formed in 1972, the extraordinary chemistry between Christy Moore, Dónal Lunny, Andy Irvine, and Liam O’Flynn set them immediately apart from the posse, and they quickly established themselves as the most groundbreaking Irish folk line-up of all time. Throughout the 1970s, Planxty produced six albums and brought traditional Irish folk music to exotic and thrilling new places. Combining the influences of the 1960s’ ballad and folk boom with the dance tunes of traditional Irish music rounded off by a certain rock and roll dynamism they became one of the great symbols of the cultural reawakening of 1970s Ireland. In this first official account of the group Leagues O’Toole, the journalist credited as the catalyst for Planxty’s recent reform, talks to the band’s members and charts the unforgettable journey of the band’s glory days from the business mishaps, constant line-up changes, and industry conflicts, to the hedonism, hilarious escapade,s and the sheer joy of the music through to their hugely successful reformation in 2003. The result is the compulsive and fast-paced story of how four talented musicians became an abiding musical phenomenon.

Zustand: Sehr gut - Gepflegter, sauberer Zustand. Seiten: 244 Sprache: Englisch Produktart: Bücher

You don't have to have a degree in computer science to enjoy this unique collection of funny stories, parodies, laughable true-life incidents, comic song lyrics, and jokey poems from the world of computing. Humour the Computer brings together a selection of some of the best computer-related humorous material culled from a variety of sources: news groups and FTP sites on the Internet, The New Yorker, Punch, New Scientist, BYTE, Datamation, Communications of the ACM, The Journal of Irreproducible Results, and many more. Among other topics, the 70-odd assorted writings embrace the impact of computing on our lives, hilarious hardware, silly software, first encounters with computing, computer companies that we love, programming pains, and absurd academia.

Does humour make us human, or do the cats and dogs laugh along with us? On Humour is a fascinating, beautifully written and funny book on what humour can tell us about being human. Simon Critchley skilfully probes some of the most perennial but least understood aspects of humour, such as our tendency to laugh at animals and our bodies, why we mock death with comedy and why we think it's funny when people act like machines. He also looks at the darker side of humour, as rife in sexism and racism and argues that it is important for reminding us of people we would rather not be.

Humour can be used as a »weapon« or as a means of coping with problematic historical events, especially in times of war and crisis. The book presents examples from different cultures (Russia, Europe, USA), from different historical epochs (from the Napoleonic era up to the current time) and from different medias (caricature, journalism, film). By looking at the individual cases it becomes possible to recognize some general structural patterns and to gain a deeper insight into the »functioning« of humour and laughter.

This book highlights the importance of secular and profane prints for the reconstruction and understanding of themes popular in the late Middle Ages and early Renaissance, and examines their function as patterns for the other arts, and as sources for moral teaching and entertainment. As successors to the marginal illuminations of medieval manuscripts these prints represent the 'low' arts, and as such have licence for subversion and comedy. They are lower both in medium and subject matter than paintings, concentrating on foolish and sinful behaviour, on world-upside-down situations and on base human passions, all to be discussed as a mirror of human folly and depravity. Indeed, some images cross the barriers of decency, resulting in scatological and grotesque representations. The medieval Church was much exercised by the sin of lust, and women since the Fall were seen as temptresses incarnate, represented on prints as subjugating men, deceiving them and, generally, making fools of them. Peasants, equally lecherous but stupid are depicted carousing at Peasant Festivals, rather than working. Other popular themes are of Wild People, who live in harmony with nature, and protect the procreation of human families, and outcasts, such as beggars, cripples and quacks. Prints also illustrate the historical concerns of the period, such as the Peasants' War in Germany, and the wars in Italy, represented by images of vain soldiers and death. Overall, the picture gained from secular and profane prints is one of humanity abandoning itself to the sins of the flesh and, therefore, folly; real life is in details only, to serve in the interest of a satirical, yet convincing, illustration of the world, often with a didactic aim.

Book is in NEW condition. 1.37

This book highlights the importance of secular and profane prints for the reconstruction and understanding of themes popular in the late Middle Ages and early Renaissance, and examines their function as patterns for the other arts, and as sources for moral teaching and entertainment. As successors to the marginal illuminations of medieval manuscripts these prints represent the 'low' arts, and as such have licence for subversion and comedy. They are lower both in medium and subject matter than paintings, concentrating on foolish and sinful behaviour, on world-upside-down situations and on base human passions, all to be discussed as a mirror of human folly and depravity. Indeed, some images cross the barriers of decency, resulting in scatological and grotesque representations. The medieval Church was much exercised by the sin of lust, and women since the Fall were seen as temptresses incarnate, represented on prints as subjugating men, deceiving them and, generally, making fools of them. Peasants, equally lecherous but stupid are depicted carousing at Peasant Festivals, rather than working. Other popular themes are of Wild People, who live in harmony with nature, and protect the procreation of human families, and outcasts, such as beggars, cripples and quacks. Prints also illustrate the historical concerns of the period, such as the Peasants' War in Germany, and the wars in Italy, represented by images of vain soldiers and death. Overall, the picture gained from secular and profane prints is one of humanity abandoning itself to the sins of the flesh and, therefore, folly; real life is in details only, to serve in the interest of a satirical, yet convincing, illustration of the world, often with a didactic aim.

Unread book in perfect condition.

Maria Plaza sets out to analyze the function of humor in the Roman satirists Horace, Persius, and Juvenal. Her starting point is that satire is driven by two motives, which are to a certain extent opposed: to display humor, and to promote a serious moral message. She argues that, while the Roman satirist needs humor for his work's aesthetic merit, his proposed message suffers from the ambivalence that humor brings with it. Her analysis shows that this paradox is not only socio-ideological but also aesthetic, forming the ground for the curious, hybrid nature of Roman satire.

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How are humorous meanings generated and interpreted? Understanding a joke involves knowledge of the language code (a matter mostly of semantics) and background knowledge necessary for making the inferences to get the joke (a matter of pragmatics). This book introduces and critiques a wide range of semantic and pragmatic theories in relation to humour, such as systemic functional linguistics, speech acts, politeness and relevance theory, emphasising not only conceptual but also interpersonal and textual meanings. Exploiting recent corpus-based research, it suggests that much humour can be accounted for by the overriding of lexical priming. Each chapter's discussion topics and suggestions for further reading encourage a critical approach to semantic and pragmatic theory. Written by an experienced lecturer on the linguistics of the English language, this is an entertaining and user-friendly textbook for advanced students of semantics, pragmatics and humour studies.