Humor u kulturi Gluvih

Marina Radić Šestić; Mia Šešum; Vesna Radovanović; Maja Ivanović

doi:10.5937/specedreh19-25478

Marina Radić Šestić University of Belgrade – Faculty of Special Education and Rehabilitation, Belgrade, Serbia
Mia Šešum University of Belgrade – Faculty of Special Education and Rehabilitation, Belgrade, Serbia
Vesna Radovanović University of Belgrade – Faculty of Special Education and Rehabilitation, Belgrade, Serbia
Maja Ivanović University of Belgrade – Faculty of Special Education and Rehabilitation, Belgrade, Serbia

DOI: https://doi.org/10.5937/specedreh19-25478

Keywords: humor, Deaf culture, hearing population

Abstract

Visual experience and visually based linguistic communication are two key aspects of Deaf culture. When incorporated into humor, its members share specific experience. This paper aims to review the available literature in order to determine whether the humor of the deaf differs from the humor of hearing population, and if so, how and to what extent. Richness of humor in deaf culture is reflected in the variety, creativity and complexity of expression, using different strategies. The first strategy is reflected in using sign language to tell stories which are witty and have a comic point. The second strategy consists of imitating animals and humans (caricature). The third strategy refers to using sign language to create invented, fanciful, absurd images that do not exist in reality. The fourth type of humor is in sign language which is difficult to translate. It is a type of humor that has to be seen, and where people enjoy its visual logic and the redundancy of silent film images. The attempt to translate the humorous content of Deaf culture and share it with the hearing population should be seen not only as interlingual, but also as intercultural operation. Hence the lack of understanding between these two social groups.

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Humor in Deaf Culture

Abstract

References