El humor en las lenguas y letras románicas. A modo de introducción al número monográfico

Enrique Rodrigues-Moura

Romanica Olomucensia 2018, 30(2):173-177  

«Vergine come l’acqua de’ maccheroni»: la «lingua affettiva» e l’umorismo popolare nelle postille di Niccolò Tommaseo alla Crusca veronese del Cesari

"Vergine come l'acqua de' maccheroni": "lingua affettiva" and people's humour in the observations noted down by Niccolò Tommaseo on the Crusca Veronese

Lucia Caserio

Romanica Olomucensia 2018, 30(2):179-190 | DOI: 10.5507/ro.2018.011  

The paper shows Tommaseo's interest in popular humour, in the ironic and parodic usage of Tuscan parlances, and, more generally, in the expressive potentialities of the Italian language. His sensitivity to the "lingua affettiva" emerges right from his early lexicographical studies, as the original notes made about what is known as the Crusca veronese, which are presented here, illustrate. This research consisted of copying every single note handwritten by Tommaseo on the first volume of the dictionary, tracing each note back to his Crusca reference word and comparing each note with Tommaseo's other lexicographic and non-lexicographic...

Entre la agresión y la reivindicación: ironía, parodia y sátira en comentarios al Facebook del presidente mexicano

Between aggression and vindication: irony, parody, and satire in comments on the Facebook page of the Mexican president

María Gabriela Mazzuchino

Romanica Olomucensia 2018, 30(2):191-216 | DOI: 10.5507/ro.2018.012  

This exploratory and qualitative work, focused on the relationship between humour, irony, parody, and satire in the digital medium, performs a discursive analysis of approximately two hundred comments derived from the Mexican President Enrique Peña Nieto's Facebook output on the occasion of Valentine's Day (February 14, 2018). As it is usual in discourse analysis (DA), the main theoretical-methodological framework of the present work, the study of political DA, is studied from within an interdisciplinary framework: the data collected is interpreted through concepts from disciplines such as the daily argumentation theory, communication studies...

L'ironie à rebours dans Le sexe des étoiles de Monique Proulx

The reverse irony of Monique Proulx's Le sexe des étoiles

Véronique Arseneau

Romanica Olomucensia 2018, 30(2):217-229 | DOI: 10.5507/ro.2018.013  

This paper proposes an analysis of the irony in the metafeminist novel Le sexe des étoiles by the Quebec author Monique Proulx. The irony presents itself in multiple ways, but especially by the presence of several narrative voices, creating ironic re-readings of the novel. Using the theories of irony and sarcasm of Hutcheon and Duval and Martinez, this paper lists the various ironic procedures at work in Proulx's novel. It also explores how the narration of Le sexe des étoiles is exponentially ironic with the help of Bakhtine's polyphony theory. Hence, it is possible to state that a re-reading based on the narrative voices creates a reverse...

La parodia en dos novelas de De Santis, El enigma de París y Crímenes y jardines

Parody in two novels by De Santis, El enigma de París and Crímenes y jardines

Inés Casillo

Romanica Olomucensia 2018, 30(2):231-246 | DOI: 10.5507/ro.2018.014  

In this study, the ways in which De Santis parodies the crime novel in his two novels El enigma de París (2007) and Crímenes y jardines (2013) and how parody results in a fantastic text are traced. In the first part, both the framework of the two novels and the theory of irony and of parody will be presented. The structural use of ironic incongruity is seen as a characteristic of parody which differentiates it from other forms of literary imitation or metafiction: the form which is used by parody is always humorous. In the second part, different texts will be analysed, with the analysis being organized according to recurrent themes which...

Esperando a un Narciso postpostmoderno. La ironía iconoclasta postmoderna como arma de doble filo

Waiting for a post-postmodern Narcissus. Postmodern iconoclastic irony as a double-edged sword

Jiří Chalupa

Romanica Olomucensia 2018, 30(2):247-272 | DOI: 10.5507/ro.2018.015  

The present text shows, in the first part, specific examples of how the ironic, sarcastic, parodic, and iconoclastic procedures often used by many authors of postmodern prose destroy/deconstruct what in this work are called "auras" and which can be designated with the synonym "small myth" about certain social phenomena, a "minimyth" that helps some social activities and processes to function smoothly. This iconoclastic behaviour, both of a deliberate type and the type that occurs as "collateral damage", will be observed in fragments of texts by three Spanish authors: Eduardo Mendoza, Arturo Pérez-Reverte, and Juan Eslava Galán. In the second part,...

César Bruto: las incorrecciones del Homo typographicus

César Bruto: incorrectness from a Homo typographicus

Laura Cilento

Romanica Olomucensia 2018, 30(2):273-286 | DOI: 10.5507/ro.2018.016  

César Bruto is a heteronym for Carlos Warnes, an Argentine writer and humorist who developed his career between 1935 and 1980. By 1942 his Cesar Bruto section in Cascabel magazine had become a massive attraction; this paper aims to understand its peculiar humoristic formula. In spite of the notorious incompetence of Bruto as a writer, in this paper the claim is made that this is only one of the dimensions of his humoristic success; the rest of them are based on the material conditions brought by the journalistic media as a device that intertwines with the literary text and propels the fictional contract that is assumed with the reader. The research...

Le bijou rocaille de Diderot, un exemple d'humour rococo

Diderot's rocaille jewel: an example of rococo humour

Juan Manuel Ibeas-Altamira

Romanica Olomucensia 2018, 30(2):287-298 | DOI: 10.5507/ro.2018.017  

Was Denis Diderot, the philosopher of Langres, a humorist? The idea may seem surprising, considering the popular assumption that the philosophers of the European Enlightenment, in which Diderot played a primary role, had a very serious plan. Diderot occupies a unique position within the history of literature, and is often cited as both a genius and the first truly modern writer: outstandingly, humour plays a fundamental role in this consideration. The object of this study is the libertine novel Les Bijoux Indiscrets (The Indiscreet Jewels in English), the most mysterious of his creations. This paper analyses the artist's experience of...

Ce que l'ironie et l'humour révèlent de nos pensées : l'exemple de Marcu Biancarelli, Michel Houellebecq et Angelo Rinaldi

What irony and humour reveal about our thoughts: the example of Marcu Biancarelli, Michel Houellebecq, and Angelo Rinaldi

Ferdinand Laignier

Romanica Olomucensia 2018, 30(2):299-314 | DOI: 10.5507/ro.2018.018  

This paper focuses on the notions of irony and humour which articulate a multiple disturbing comic schema within the novels of Marcu Biancarelli, Michel Houellebecq, and Angelo Rinaldi. With their ironic verve and black humour, the narrators aspire to transcend their supposed mediocrity, their self-destructive impulses, their desire for renewal to soften a subversive and nihilistic character caused by a violent and real disappointing thought. However, if irony, humour, and sarcasm provide an echo to the derision of the real, they never remain a safe haven. In order to assert itself and to shake off the tight bridle of the real consumed by injustices...

« Les charmants contours de la danseuse ». Le portrait de l'humour dans le Traité du style de Louis Aragon

"Les charmants contours de la danseuse". A portrait of humour in Traité du Style by Louis Aragon

Mathieu Perrot

Romanica Olomucensia 2018, 30(2):315-332 | DOI: 10.5507/ro.2018.019  

Louis Aragon's work has rarely been read for his humoristic views. Nevertheless, humour was a serious enough concept for the poet to write a few pages about it in his 1928 poetic essay Traité du style, where he connects humour to poetry. And yet, how is to portray such a protean abstraction as humour if not by poetically listing what it is not? In addition to providing a close reading of a passage in Traité du style, this paper discusses examples of humour taken from Aragon's novels and poetry, as well as critical thoughts from Breton, Bergson, and Freud about humour. It also draws on recent studies by Jean-Marc Moura and Dominique Noguez....

Pour une lecture bergsonienne du Bal des voleurs de Jean Anouilh

Towards a Bergsonian reading of Le Bal des voleurs by Jean Anouilh

Marie Voždová, Jiřina Matoušková

Romanica Olomucensia 2018, 30(2):333-345 | DOI: 10.5507/ro.2018.020  

The play The Thieves' Carnival (Le Bal des voleurs) by the French playwright Jean Anouilh, written in 1938 and published in the set of "Pink Plays" in 1942, occupies an exceptional place in the theatrical universe of the author, as it is his only comedic ballet. In this paper, the different aspects of Anouilh's laughter and sense of the comic reflected by the behaviour of the characters featured in the play are shown. In order to perform a detailed thematic analysis, several theoretical approaches to the category of comedy are followed, including the famous thesis by Henri Bergson entitled Laughter. An Essay on the Meaning of the Comic,...

Gómez-Pablos, Beatriz (2017), América en el Diccionario de Autoridades

Ivo Buzek

Romanica Olomucensia 2018, 30(2):247-349  

Sosa Cabanas, Alberto (ed.) (2018), Reading Cuba: discurso literario y geografía transcultural

Marta Hudousková

Romanica Olomucensia 2018, 30(2):349-351  

Zatloukal, Jan (éd.) (2014), Correspondance Henri Pourrat – Jan Čep (1932-1958). Ce n’est qu’un mot pour l’amitié..., Cahiers Henri Pourrat

Samuel Bidaud

Romanica Olomucensia 2018, 30(2):351-353