No doubt there are correlations to be drawn between types of connivance and pathemic states, processes and themes. The analyses of the different media genres in this issue suggest hypotheses that need confirmation. The playful type of connivance in the Spanish advert for AUDI, which compares the exciting life of the four wheels of a car to the implicitly more banal life of the four wheels of a supermarket caddy, is supported by an ironic enunciative process and incoherence of the incongruous type to address a theme where attitudes are not an issue.
The pathemic state it tends to induce is one of simple euphoria.
This tends to induce a more disphoric pathemic state, or at least a forced laugh. This advert tends to induce a pathemic state of mixed euphoria, associated with the disqualification of modern men of good will who get completely lost in a female area of competence, i. Without going into more detail, we put forward several hypotheses that are analysed in depth by Claude Chabrol and Pierre Vrignaud:. What we will now examine is the influence of genre-linked constraints and the way they are brought into cultural inter-discourse, because these provide the context for all the acts of humour investigated.
The diversity is considerable, but several trends can be discerned nevertheless.
A second and less spectacular trend is also emerging, in which self-derision becomes the rule and reaches not only its targets but also its authors. Such a generalisation would no doubt be too simplistic, and many of the analyses in this issue suggest the need for caution and respect for the complexity and diversity of media phenomena involving humour.
What is clear from the outset is the range of variation within the same media genre, in France as in Spain, and naturally the differences, as well as the similarities, between two countries that are socio-economically and perhaps even politically close. In our view, the comparisons presented here tend, instead, to broaden the media corpus that provides the material for discussion on humour in the media; the reasons for limiting the comparison to two countries are purely a matter of contingency, to be overcome through studies of other press material from around the world.
These could correspond to distinct temporalities and forms of inter-discourse, which, according to circumstances, develop to a varying extent and are variously appraised in the different press contexts.
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Finally, these questions suggest the need to fully appraise not only the effects aimed at but also the effects produced. This survey on a particular genre tends to confirm the hypotheses made by most of the contributors: using acts of humour opens up a very broad area for interpretations of discursive sequences at every level. This would allow a closer appraisal of the as yet unresolved but crucial question of the variety of interpretations of humorous discourse, in other words of the active and decisive part played by the recipient in the production of meanings through humour.
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