e Squared: A Novel by Matt Beaumont

By Matt Beaumont

Hijinks galore one of the deliriously humorous advert women and men during this digital epistolary novel

e's wickedly hilarious staff from the Miller Shanks advert service provider is again with extra place of work shenanigans. the employees has moved directly to Meerkat360, a swish and self-consciously hip boutique corporation, the place they're joined by means of a clean forged of industrial-strength nutjobs. via e-mails, texts, and web publication entries they pitch advert campaigns—Estée Lauder's new Margaret Thatcher body spray, anyone?—mangle love lives, and infrequently navigate workplace and relatives politics.

Armed with the acid wit of e upgraded with the complete arsenal of contemporary cyber instruments, e2 leaves you rolling in your cubicle ground and snorting vile vending-machine espresso from your nostrils.

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New York: Harper & Row. Direct address as a resource for humor Neal R. Norrick & Claudia Bubel This chapter explores the use of direct address to create humor in scripted jokes and in everyday conversation based on examples from corpora of transcribed conversational English. We take direct address to include any reference to a real or imagined listener with a proper or invented term of address. We show how forms of address in humor build on, extend and subvert the standard system. Direct address always has both an ‘attention, identification’ function and a ‘contact, expressive’ function, with one more prominent in any given context, but both these functions play various roles in the creation of humorous discourse, for instance when reciprocal direct address between friends, partners and family members leads to humorous banter in conversation.

The final word of the punch-line is a form of address, Kemosabe, allegedly a phrase from a Native American language meaning ‘trusty scout’. This form of address simultaneously underlines Tonto’s Indian heritage and the difference between him and the Lone Ranger. The incorporation of the name ‘Kemosabe’ conveys the deprecation characteristic of contexts involving knowledge displays: here Tonto talking down to the Lone Ranger, who has failed to see the implications of the situation. The characteristic fake Indian talk of ‘what you mean’ further enhances the distance between the two characters.

Sometimes what started as self-disclosure veered off into fantasy and entertainment, especially in male groups. Another source of disclosure was topic change by a participant, sometimes to deal with a problem such as mitigation of a request by accounting for the need or making an apology, so that the teller introduces the topic. We also found elicitation of private information by friends, sometimes leading to disclosures, and sometimes to boasts. However, disclosures sometimes are, like other topics, suggested by incidental stimuli, like something in the context, or by mistakes that lead to teasing by friends, and self-disclosing by the participant whose weakness has been exposed by the gaffe.

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