Chapter 6
Humor and critical literacy – or what and how we can learn about humor from its sociopragmatic analysis
Article outline
- 6.1Introductory remarks
- 6.2Why teach about humor?
- 6.3What is critical literacy?
- 6.4Why teach about the sociopragmatics of humor within a critical literacy framework?
- 6.5Designing critical literacy courses on humor
- 6.6A critical literacy approach to pandemic memes: Setting the agenda
- 6.7Humor and memes during the COVID-19 pandemic
- 6.8Classical art memes
- 6.9The aims and data of the analysis
- 6.10Data analysis
- 6.10.1AF3/Text
- 6.10.1.1Recontextualized portraits
- 6.10.1.2Recontextualized interactions
- 6.10.1.3Recontextualized paintings through meme producers’ commentary
- 6.10.1.4Compositions including recontextualized paintings
- 6.10.1.4.1Combinations of different paintings
- 6.10.1.4.2Compositions made of the same painting
- 6.10.1.4.3Compositions of paintings and contemporary photos
- 6.10.1.5Summarizing the analysis in AF3/Text terms
- 6.10.2AF2/Genre
- 6.10.2.1The sociopragmatic functions of pandemic memes
- 6.10.2.1.1Pandemic memes as sociopolitical criticism
- 6.10.2.1.2Pandemic memes as coping and bonding mechanisms
- 6.10.2.1.3In between criticism and coping/bonding: Pandemic memes about the ‘new normal’
- 6.10.2.2Generic hybridization in pandemic memes
- 6.10.2.3Summarizing the analysis in AF2/Genre terms
- 6.10.3The analysis in AF1/Sociocultural Assumptions terms
- 6.11Scrutinizing pandemic memes in class
- 6.11.1Students’ collection of humorous data
- 6.11.2Teachers’ familiarity with humor theory
- 6.11.3Critical readings of humorous discourse
- 6.11.4Debating diverse interpretations of humorous discourse
- 6.11.5A comparative perspective – humorous vs. non-humorous discourse
- 6.11.6Sharing perspectives in new texts
- 6.12Summary
-
Notes