This book provides a wide spectrum of research on young children’s humor and illuminates the depth and complexity of humor development in children from birth through age 8 and beyond. It highlights the work of pioneers in young children’s humor research including Paul McGhee, Doris Bergen, and Vasu Reddy. Presenting a variety of new perspectives, the book examines such issues as play, humor, laughing and pleasure within the context of learning and development. It looks at humor, wordplay and cartoons that can be used as educational tools in the classroom. Finally, it provides explorations of humor within a cultural and spiritual context. The book presents diverse and creative methods to study humor and provides practical implications for adults working with children. The book offers a powerful springboard for moving research and practice toward a deeper understanding of young children’s humor as an integral and meaningful component of early development and learning.

Here is the first book that is geared toward practical applications of humor with children. Health care professionals, counselors, social workers, students, and parents will find this to be a fascinating, instructive volume that illustrates how to effectively incorporate humor into children’s lives to produce enormously positive results. With a strong “how to” focus, this enlightening volume addresses the use of humor in the classroom--to promote learning and to foster higher levels of creative thinking. Experts who are on the cutting edge of humor and its benefits for children examine the importance of humor in fostering social and emotional development and in adapting to stressful situations. And for the scholarly reader, Humor and Children’s Development documents the major research trends focusing on humor and its development. This excellent resource--certain to spark further debate and research--offers an unrivaled opportunity to further understand children’s behavior and development. Humor and Children’s Development was featured in the February 1990 issue of Working Mother magazine in article titled “Let Laughter Ring!” by Eva Conrad. The chapter entitled “Humor in Children’s Literature” by Janice Alberghene was one of the finalists for the Children’s Literature Association’s Literary Criticism Award for the best critical article of 1988 on the subject of children’s literature.

Laugh-out-loud, fresh teen comedy with an on-trend witchy spin - Sabrina the Teenage Witch for a new generation! Morgan Charmley has spent her entire thirteen years on the planet attempting to prove she has control over her witch powers so that she's allowed to attend a normal school. And the day has finally arrived! But will she be able to make friends and fit in with non-magical teenagers? Can she resist using her powers to make herself popular or turn her teachers into toads? Can she keep her spells a secret? Perfect for fans of Louise Rennison, Zoella and Holly Bourne

A humor collection for middle graders composed of thirty-four prose selections--short stories and chunks from novels.

In this new book, Julie Cross examines the intricacies of textual humor in contemporary junior literature, using the tools of literary criticism and humor theory. Cross investigates the dialectical paradoxes of humor and debunks the common belief in oppositional binaries of ‘simple’ versus ‘complex’ humor. The varied combinations of so-called high and low forms of humor within junior texts for young readers, who are at such a crucial stage of their reading and social development, provide a valuable commentary upon the culture and values of contemporary western society, making the book of considerable interest to scholars of both children’s literature and childhood studies. Cross explores the ways in which the changing content, forms and functions of the many varied combinations of humor in junior texts, including the Lemony Snickett series, reveal societal attitudes towards young children and childhood. The new compounds of seemingly paradoxical high and low forms of humor, in texts for developing readers from the 1960s onwards, reflect and contribute to contemporary society’s hesitant and uneven acceptance of the emergent paradigm of children’s rights, abilities, participation and empowerment. Cross identifies four types of potentially subversive/transgressive humor which have emerged since the 1960s which, coupled with the three main theories of humor – relief, superiority and incongruity theories – enables a long-overdue charting of developments in humor within junior texts. Cross also argues that the gradual increase in the compounding of the simple and the complex provide opportunities for young readers to play with ambiguous, complicated ideas, helping them embrace the complexities and contradictions of contemporary life.

The book offers a comprehensive account of how humor works in short stories, by presenting a model of narrative comedy that is pragmatically as well as semantically, grammatically and stylistically informed. It is the first study to combine a sequential analysis of the comic short story with a hierarchical one, merging together horizontal and vertical narratological perspectives in a systematic way. The book covers the main areas of linguistic analysis and is deliberately interdisciplinary, using input from philosophy, sociology and psychology so as to touch upon the nature, motivations and functions of humor as a cognitive phenomenon in a social context. Crucially, The Language of Comic Narratives combines a scholarly approach with a careful explanation of key terms and concepts, making it accessible to researchers and students, as well as non-specialists. Moreover, it reviews a broad range of historical critical data by examining the source texts, and it provides many humorous examples, from jokes to extracts from comic narratives. Thus, it seeks to anchor theory in specific texts, and also to show that many linguistic mechanisms of humor are common to jokes and longer, literary comic narratives. The book tests the model of humorous narratives on a set of comic short stories by British and American writers, ranging from Evelyn Waugh and Dorothy Parker, through Graham Greene and Corey Ford, to David Lodge and Woody Allen. The validity of the model is confirmed through a subsequent discussion of apparent counter-examples.