Alam Pikir Masyarakat Madura yang Terepresentasikan Melalui Lagu Ta’ Andi’ Rokok (Cia-Cia) by Panakajaya Hidayatullah

“…Some discourse then construct some dominant subjects which are,tarétan (cousins), kanca tatanggâ (neighbour), kanca main (friends), oréng teggâs (fi rm person), oréng sabbâr (patient person), humourist, and honest person. While some subordinate subjects are Bhâlâ Jâuh (extended family), moneylender, the other, oréng lécak (the indecisive), temperamental person, serious person, and deceitful.…”
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The representation of the “emotive-I” of Christina Rossetti’s identity in her children’s poetry by Anna Pikalova

“…The different types of the “emotive-I” include “lyricist”, “optimist”, “prankster”, “humourist”, “dreamer”, “fantasizer”, “cardiocentric”, “pessimist”, and “ingenuous”. …”
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Satire, Parody and Scatology in Roald Dahl’s Children Literature by Patricia MARTÍN ORTIZ

“…The purpose of this paper is to analyse the humouristic element in Roald Dahl´s children literature. …”
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Die gebruik van humor om kreatiewe skryf in die onderrig van Afrikaans te stimuleer: ’n gevallestudie by E. Kruger

“…The use of humour to stimulate creative writing in the teaching of Afrikaans: a case study This article reports on of a qualitative research programme in which humouristic material was used as part of an Afrikaans language teaching programme. …”
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The “Letters to Cunceição” and the cearense political humourism (1919-1930). by eduardo lucio guilherme amaral, Eduardo Lúcio Guilherme Amaral

“…By this way, it analyses the “Cartas a Cunceição” (Letters to Cunceição), a humouristic column published in a A Lucta (The Struggle) a political newspaper in Sobral (CE) between the years of the 1919 to 1923.…”
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Mon portrait par Bonnat : imaginaire scénique de l’homme politique républicain by Florence Fix

“…His academic and dark style however was criticized by art critics and humourists; hence his portraits put on stage in character comedies have to be read as critics of the very people they represent and of himself as an official artist.…”
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El humor reprimido. Tiras y viñetas del diario Clarín durante los años de represión y censura (Argentina, 1974 – 1982) by Florencia Levín

“…This article explores, through the study of graphic humour in the Clarín (the most influential newspaper in the country), the social attitudes of humourists regarding the military regime (1976-1983) and discusses the consensus-resistance concepts with which cultural spaces in dictatorships are usually interpreted. …”
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Incongruous liaisons: Routes of humour, insult and political (in)correctness in Nigerian stand-up jokes by Izuu Nwankwọ E.

“…Nigerian humourists have always told risible jokes within myriad pre-colonial satirical acts and now, stand-up comedy. …”
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Editorial: Dis laf fit kill person - An overview of Nigerian humour by Ibukun Filani

“…In Nigeria, in relation to the aforesaid functions, everyday citizens and professional humourists use humour to express their expectations from and disappointments in the socio-political leadership of the country. …”
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Are Jordanians (still) 'humourless'? by Yousef Barahmeh

“…However, it was not until 2011 that a large number of ordinary people and humourists began more fully engage with carnivalesque and subversive humour that resist power and demand change. …”
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De Swift a Sterne: reflexões sobre o humor britânico na obra de Machado de Assis = From Swift to Sterne: reflections on British humour in the works of Machado de Assis by William Valentine Redmond

“…<br><br>The British humourists, especially Swift and Sterne are traditionallyseen as writers who influenced Machado de Assis’ works. …”
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Scrutinising intertextuality in humour: moving beyond cultural literacy and towards critical literacy by Villy Tsakona

“…Humourists often resort to previous texts to create their jokes, thus establishing intertextual links between them. …”
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Lyrical lessons: The potential of informative comedy music as supplementary teaching material by Matthew McKeague

“…The comedic arts have provided opportunities for humourists to spread information to audiences, sometimes intentionally and other times as a side effect while trying to create laughter. …”
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