Pursuing a new and timely line of research in world art studies, Humor in Global Contemporary Art is the first edited collection to examine the role of culturally specific humor in contemporary art from a global perspective. Since the 1960s, increasing numbers of artists from around the world have applied humor as a tool for observation, critique, transformation, and debate. Exploring how humorous art produced over the past six decades is anchored in local sociopolitical contexts and translated or misconstrued when exhibited abroad, this book opens new conversations regarding the functioning of humor and the ways in which art travels across the globe. With contributions by an impressive array of internationally based scholars covering six major continental regions, the book is organized into four distinct geographical sections: Africa and the Middle East, Asia and Oceania, South and North America, and Europe. This structure highlights the cultural specificity of each region while the book as a whole offers a critical perspective on the postcolonial, globalized art network. Reflecting on present-day processes of globalization and biennialization, which confront viewers with humorous art from a variety of cultures and countries, this book will provide readers with a culturally sensitive understanding of how humor has become vital to many contemporary artists working in an unprecedentedly interconnected world.

Irony and Humor: From pragmatics to discourse is a complete updated panorama of linguistic research on irony and humor, based on a variety of perspectives, corpora and theories. The book collects the most recent contributions from such diverse approaches as Relevance Theory, Cognitive Linguistics, General Theory of Verbal Humor, Neo-Gricean Pragmatics or Argumentation. The volume is organized in three parts referring to pragmatic perspectives, mediated discourse, and conversational interaction. This book will be highly relevant for anyone interested in pragmatics, discourse analysis as well as social sciences.

Livro de crítica literária que analisa a presença dos portugueses retratados na literatura brasileira. Ganhador de dois prêmios de produção e pesquisa, do governo do Ceará e da prefeitura de Fortaleza. Considera os personagens e movimentações atlânticas, de romances como: “Iracema”, de José de Alencar; “Os Verdes Abutres da Colina”, de José Alcides Pintos; “Desmundo”, de Ana Miranda e “O mundo de Flora, de Angela Gutierrez, entre outras obras.

Hasta hace muy poco, en nuestro debate era una rara avis poder escuchar a ucranianos hablar en primera persona de sus experiencias y compartir sus perspectivas, sus anhelos, como el sujeto histórico que conforman. Este libro, anterior a la invasión rusa a gran escala de 2022, surgió en gran medida en respuesta a ello. Era necesario entonces y sigue siéndolo ahora: el futuro de Ucrania como país europeo libre e independiente, un país normal, con una vida digna, sigue desgraciadamente en cuestión. Que se haya traducido al español un libro así, es muy buena noticia: en nuestra lengua y contexto cultural, es aún enorme el vacío de conocimiento sobre Ucrania - y más aún contada por intelectuales ucranianos.Así que por favor lean a estos autores y autoras ucranianas con calma, sin prejuicios ni ideas preconcebidas: escúchenles, tienen mucho que decir, que contar. Quién sabe, quizás se animen después a coger un avión y un tren - esos magníficos trenes ucranianos que me inspiraron a escribir allí - para conocer de primera mano las historias o, mejor aún, experiencias históricas vivas y personajes vivos que fluyen a través de estas páginas.