Dissertations / Theses on the topic 'Humour'
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Sugiura, Yoriko. "Humour et humeur chez Louis-Ferdinand Céline : une esthétique du noircissement." Rouen, 2009. http://www.theses.fr/2009ROUEL018.
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Chez Céline, le rire occupe indéniablement une place importante. Mais, il est loin d’être franc, en s’associant à l’élément a priori non-comique. Il se caractérise aussi par sa nature d’impliquer le moi dans l’objet à rire. Selon nous, l’humour seul est en mesure de désigner pertinemment ce rire ambivalent. Nous privilégions aussi la notion d’humeur noire (la mélancolie), corrélat de l’humour, qui forme l’envers de ce rire. L’analyse s’attache à élucider les éléments qui rendent le rire célinien sombre ou ambigu : l’identité masculine, le passé perdu, l’idéal déchiré, le pouvoir oppressant et la réalité hostile. Au cours de l’analyse, on découvre une tension quasi constante entre le désir de chanter la perte et la volonté de subvertir l’état négatif par le rire, deux façons éminentes chez Céline de se confronter à la réalité. L’étude vise ainsi à dégager l’humour en tant que mode à la fois d’autodéfense et de subversion qui permet à l’écrivain de survivre avec la part négative du réelIndisputably, in Céline’s work, laughter plays a large part. But this laugh is far from being open because it runs with an a priori noncomic element. And one of its main characteristic is to make the self the laughing stock of it. The notion of humour is, according us, the only concept which seems relevant to name this ambivalent laugher. We also privilege the notion of humeur noire (melancholy) connected to humour, which form the other side of this laugh. The analysis is dedicated to elucidate the elements which make the celinian laugher dark or ambiguous : male identity, lost past, broken ideal, oppressive power and hostile reality. Along this work, we discover an almost constant tension between the desire to express his loss and the willingness to subvert the negative state of mind through laugher, two eminent celinian ways to face pain. The study aims at defining humour as both a self-defence and a subversion which allow the writer to survive on the negative side of reality
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Turner, Michèle. "Theories of humour and the place of humour in education." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63806.
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Weaver, Simon John. "Humour, rhetoric and racism : a sociological critique of racist humour." Thesis, University of Bristol, 2007. http://hdl.handle.net/1983/51e45dac-cd8d-448f-840a-506d4d9f9953.
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This thesis is a sociological examination of racist humour that uses a) linguistic models of humour to highlight how the mechanisms of humour work rhetorically, and b) the sociological theories of Zygmunt Bauman on the characteristics of order-building discourse in modernity and postmodernity. These ideas are applied to four specific modes or case studies of racist humour to show how it impacts on modem and postmodern discourse. In my first case study, embodied racist humour, a derivative of biological racism, is identified as a racism primarily aimed at black people in the US context, by expressing racist dichotomies and images of the removal of the black `other'. Second, culturally racist humour is shown to have a similar impact on racism aimed at British Asians. Third, the humour of black and Asian comics is examined as a key site of resistance to embodied and cultural racism, but one that is fraught with problems associated with the rearticulation of racism. Lastly, in the postmodern period, liquid racism is highlighted as an increasingly confused and diluted type. Throughout the thesis, racist humour is shown to have a series of interconnected roles in supporting the meaning systems of racism. Overall, the thesis provides a means of analysing racist humour, and in so doing moves sociological humour studies beyond accounts that fail to negotiate the particular semantic frame and functions of racist humour.
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Ferchaud, Dominique. "Humour et personnalité." Nice, 1987. http://www.theses.fr/1987NICE2011.
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Cette recherche vise à déterminer si la création humoristique est influencée par des facteurs affectifs de la personnalité. Nous avons conjointement utilisé le test de frustation de Rosenzweig et des dessins humoristiques sans légende dont le thème principal est également la frustation du "héros". La consigne était de trouver des légendes aussi drôles et amusantes que possible pour les vingt et un dessins sélectionnés. Les légendes, cotées selon les critères d'agression du test, étaient ensuite comparées, pour chaque sujet, au profil d'agression du Rosenzweig. Cette étude, menée sur cinquante sujets a montré que les sujets extra-punitifs donnent en majorité des légendes ironiques. Les sujets intropunitifs et impunitifs privilégient les réponses humoristiques. Chaque sujet était préalablement soumis à un entretien sur le rire et l'humour, composé d'une dizaine de questions semi-ouvertes. Ces entretiens ont fait l'objet d'une étude clinique. Ils mettent à jour notamment l'importance du rire dans l'existence de chaque sujet, son image d'humoriste, son incidence sur sa participation aux dessins, le type de relation instaurée avec l'autre au travers du rire et les types de mécanismes de défense mis en jeu dans ces relationsThe purpose of this study is to determine whether humoristic creation is influenced by somme affective data of personality. We both used the Rosezweig picture frustation study and some cartoons without caption, also based on the main "hero"'s frustation. Subjects were instructed to find some captions as funny and amusing as possible for the 21 selected cartoons. The captions were scored with the test's criteria of agression. Then, each subject's aptions were compared with his final scring of agression in the Rosenzweig's test. The comparison between the test and the cartoons showed that the extrapunitive subjects found more ironic captions. Intropunitive and impunitive subjects was previously interviewed on laugh and humor. A clinical investigation of these interviews was done. 50 subjects composed our sample : they were different in age, sex and social classes. It disclosed the importance of laugh in each subject's every day life, his self-evaluation of his humoristic abilities and its consequence on his participation to the cartoon, the kind of connections he put up with other people thaks to laugh and the kind of defense he set up in theses connections
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Ferchaud, Dominique. "Humour et personnalité." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376050190.
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Poirier, Michelle A. "Humour is good medicine, the Algonquin perspective on humour in their culture and of outsider constructions of Aboriginal humour." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0026/MQ52362.pdf.
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Poirier, Michelle A. (Michelle Adele) Carleton University Dissertation Canadian Studies. "Humour is good medicine: the Algonquin perspective on humour in their culture and of outsider constructions of aboriginal humour." Ottawa, 2000.
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Filip, Hallbäck. "Humour Noir (eller svart humor) : Termens upphovsperson kliver in i filmvetenskapens värld." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70590.
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The essay is a theoretical analysis on genre, based on André Breton's views on black humor. Breton is believed to be the person who is the mind behind the term "black humor", but his views on black humour have not – as far as I’m concerned – been applied in a film-scientific context. There is no cohesive view of the genre concept, as reflected in four selected genre theorists' texts that I selected. Texts that also have been published in various decades. The disposition for my essay is to begin by clarifying the definition of “black humour” by Breton and then highlight the key ideas of Leo Braudy, Thomas Schatz, Rick Altman and David Bordwell. In the end, I will try to interpret the ways in which black humor can be formed as a genre of its own. My conclusion is that there is no clear answer to how black can be formed as its own genre, but on the other hand there are a number of critical perspectives on the genre concept. Together, all theorists demonstrates complex relationships between ideological roots and present-day added significance. In the final discussion, I argue that there is a need to continue studying more about "black humor" by adding additional relevant dimensions and linking them to genre theory.
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Cowan, Mary Louise. "There's nothing funny about the evolution of humour : the impact of sex, style, and status on humour production and appreciation." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21792.
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The sense of humour is a uniquely human skill and understanding humour is an important and rewarding part of social interaction. This thesis begins by discussing the definition of humour, followed by a review of the evidence we have that humour is an evolved and adaptive behaviour. Humour may play an important role in helping individuals to bond and signal cooperation, which may be further communicated by the humour style which is used to communicate. Research has also demonstrated that humour is an attractive quality in a mate, though the precise reasons for this are currently debated (Chapter 1). Empirical work in the first section of the thesis is consistent with evidence demonstrating that humour is attractive and sexually selected for. Chapter 2 tests the influence of modality and relationship context in an effort to further our understanding of why humour is attractive and provides evidence that more attractive people are rated as being funnier than less attractive people. Humour was also found to be more attractive for short-term relationships than long-term relationships, possibly due to the similarity between funniness and flirtatiousness. In Chapter 3, attractiveness ratings of vignettes in the style of personal advertisements, which contained either aggressive or affiliative humour, demonstrated the importance of humour style. An affiliative humour style was more attractive for long-term relationships whereas an aggressive humour style was more attractive for short-term relationships. Further testing provided evidence that humour styles were associated with personality traits which are highly relevant in a mating context, helping to explain the functions of different humour styles. The second section of the thesis examines the relationship between humour, cooperation, and dominance as an alternative explanation for the evolution of humour. Chapter 4 contains an extended introduction to the physical, verbal, and nonverbal cues to dominance and the sex differences that exist in expressive behaviours. Chapter 5 continues this theme and elaborates further on the function of humour in group situations, before providing empirical evidence of how humour is used in the context of a competitive ‘desert-island’ style conversation between same-sex dyads. Chapter 6 further expands on this line of research as empirical evidence presented in this chapter demonstrates that males may be using humour as a way of communicating the desire to cooperate with other males who are of a similar level of dominance. The communication of dominance is further examined in Chapter 7, where ethological evidence showed that males who were more physically dominant tended to knock doors with greater frequency than males who were less physically dominant. In the final chapter of the thesis (Chapter 8), the evolution of humour is discussed in light of the evidence presented in Chapters 2-7. The thesis presents evidence to suggest that humour production is an important skill for males for two reasons. Firstly, a good sense of humour is a highly attractive quality to females and may be a cue to genetic quality or good partner qualities, depending on the humour style used. Secondly, it may be important for males to use humour to signal cooperation to other males in order to form alliances. In females, the evidence presented in the thesis suggests that humour production may be a way for females to demonstrate romantic interest or flirtatiousness but the function of humour use between females remains largely inconclusive.
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Gheorghiu, Rares Cosmin. "Dark Humour in Photography." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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With the invention of photography and the camera, people have been given the possibility to immortalize moments in time that evoke incongruities in everyday life and document photographic jokes laughing in the face of death or ridiculing a certain class of people or race. Therefore, the camera has served as a means for different types of laughter not always with the subject as the humourist but the photographer himself. The aim of this work is to analyse how photographic humour works and its diachronic development throughout the years with particular focus on dark humour and how the latter is processed cognitively. Furthermore, this paper seeks to answer the questions of why some pictures make us laugh more than others and how has humour shifted according to the society and times we live in.
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Robson, James. "Humour, obscenity and Aristophanes." Tübingen Narr, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2778171&prov=M&dok_var=1&dok_ext=htm.
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Mihalcea, Rada. "The language of humour." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:a1cc3d1e-cc83-44dd-a2dd-6910fde3d252.
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Humour is one of the most interesting and puzzling aspects of human behaviour. Despite the attention it has received from fields such as philosophy, linguistics, and psychology, there have been only few attempts to create computational models for humour recognition and analysis. In this thesis, I use corpus-based approaches to formulate and test hypotheses concerned with the processing of verbal humour. The thesis makes two important contributions. First, it brings empirical evidence that computational approaches can be successfully applied to the task of humour recognition. Through experiments performed on very large data sets, I show that automatic classification techniques can be effectively used to distinguish between humorous and non-humorous texts, using content-based features or models of incongruity. Moreover, using a method for measuring feature saliency, I identify and validate several dominant word classes that can be used to characterize humorous text. Second, the thesis provides corpus-based support toward the validity of previously formulated linguistic theories, indicating that humour is primarily due to incongruity and humour-specific language. Experiments performed on collections of verbal humour show that both incongruity and content-based features can be successfully used to model humour, and that these features are even more effective when used in tandem.
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Orellana, Benado Miguel. "A philosophy of humour." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670407.
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Кобякова, Ірина Карпівна, Ирина Карповна Кобякова, and Iryna Karpivna Kobyakova. "Linguistic mechanism of humour." Thesis, Національного педагогічного університету імені М.П. Драгоманова, 2019. http://essuir.sumdu.edu.ua/handle/123456789/72792.
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Стаття присвячена розгляду проблеми гумору і шляхів його перекладу в тексті. Серед мовленнєвих функцій особливе місце займає лінгвлкреативна функція, яка обумовлена мисленням.Объект исследования представлен универсальной категорией юмора, предмет – оязыковлением ее глобальной структуры в английском дискурсе. Категория юмора анализируется в режиме словоцентричного и текстоцентричного подходов к эмпирическому материалу в модусах языка и речи.
Humour is a universal phenomenon touching upon heterogeneity of language modi. Humour subsystem is on the constant move and development. Basic tenets of humour are backgrounded by relevant situations, words, texts, genres and discourses.
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Vogel, Susan Carter. "Humor : a semiogenetic approach /." Bochum : Brockmeyer, 1989. http://catalogue.bnf.fr/ark:/12148/cb355389499.
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藍詠蘭 and Wing-lan Lam. "Humour in Lao She's prose." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40676572.
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Phillipson, Polly. "Phenomenological processes underlying coping humour." Thesis, University of East London, 2001. http://roar.uel.ac.uk/1284/.
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In Comparison to other psychological topics, research into humour is relatively limited, despite humour being a ubiquitous phenomenon and an important coping tool. The few studies that have been performed have mainly adopted the approach of quantifying humour using psychometric measures. The inconsistent findings of these studies prompted the starting point of this thesis, which replicates a study testing the stress moderating effects of humour according to various psychometric measures. This replication, which produced nonsignificant results, raised important questions on the effectiveness of this methodology and initiated a shift from a positivist to a constructivist paradigm, which subsequently shaped the focus of the thesis. The thesis presents a study of people's use of humour as a means of coping with stress and difficulty, using reversal theory as a conceptual framework. The intention was to generate a deeper and more coherent understanding of the processes underlying coping humour and to work towards developing a theory of coping humour based on experiential evidence. The method of approach was an empirical, qualitative investigation and analysis within a constructivist paradigm. The main data presented are interviews in which the discussion of coping humour experiences was encouraged. A repeated content analysis, guided by the principles of grounded theory, was essential in uncovering layers of meaning in the phenomenological data. This led to an interpretative account of coping humour, expressed in the form of a model. The model of coping humour contains six dynamically interacting elements, which offer a criterion for coping humour to work effectively. The model's constituent elements expand existing theories of humour by giving them greater depth and coherence. Furthermore, the model can operate as an interpretative framework, accommodating the unique variation of each episode of coping humour. The main contribution of this thesis is to provide a model of coping humour that offers a working theory substantiated by experiential evidence that is both generative and evolving. A further contribution is to highlight weaknesses within current measures of humour, and to offer suggestions for improvement based on the more realistic and meaningful portrayal of humour that has been generated.
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Robson, James Edward. "Humour and obscenity in Aristophanes." Thesis, King's College London (University of London), 2000. https://kclpure.kcl.ac.uk/portal/en/theses/humour-and-obscenity-in-aristophanes(a0c2c40d-343a-48fa-a468-564fdf3cd8d8).html.
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Al-Malki, Waleed Hassan. "Pharmacology of aqueous humour formation." Thesis, University of Glasgow, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443403.
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Sit, Arthur John. "Hydrodynamics of aqueous humour outflow." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/11499.
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Vinet, Dominique. "Tom Sharpe : humour et société." Bordeaux 3, 1993. http://www.theses.fr/1993BOR30048.
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Cette these est une etude synchronique puis diachronique de l'oeuvre romanesque de tom sharpe. On y distingue tout d'abord les aspects specifiques du comique, la satire sociale, la caricature et les types de situations, les procedes stylistiques et la fonction therapeutique du rire. L'etude des constantes de l'oeuvre permet la mise en evidence, dans la deuxieme partie, de trois groupes : les romans sur l'apartheid, les farces et la triologie de wilt. L'analyse contrastee de ces oeuvres postule que le mode litteraire vecteur du regard que l'auteur porte sur la societe dont il fait la satire est d'autant plus efficace que son choix est approprie a la situation decrite : alors que l'humour macabre manifeste le rejet de l'apartheid, et que l'emergence d'une conscience humoristique chez wilt montre qu'il cherche sa place dans la societe anglaise contemporaine, les farces qui jouent sur la degradation des mythes dans la comedie apparaissent plus superficielles et ne partagent pas la dimension philosophique des autres romansThis thesis is a synchronic then diachronic study of tim sharpe's novels. In the first part, it distinguishes the aspects of comedy such as social satire, caricature and situations, as well as stylistic effects and the therapeutic function of laughter. The study of invariable factors allows to split sharpe's work into three categories : the south african novels, the farces and the trilogy of wilt. The comparative analysis assumes that the literary mode sustaining the view that the writer casts on the society he satirizes is all the more effective as it is relevant : when grom humour expresses loathing for apartheid and the self-consciousness of the humourist rises in wilt's mind as he look for his place in the english society, the farces which rely on the comic degradation of myths seem more superficial as they lack the philosophic depth of the other novels
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Cafferata, Chiara. "Investigations on vitreous humour dynamics." Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3421873.
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The vitreous humour is the substance that fills the posterior chamber. The vitreous body ensures the adherence of the retina to the underlying layers and acts as a barrier for heat and drug transport between the anterior and the posterior segments of the eye. In the medical literature many authors have postulated the existence of a connection between the fluid dynamics within the vitreous chamber during eye movements (especially when the substance filling the chamber is a liquid) and the occurrence of the retinal detachment.
In the present PhD Thesis the vitreous humour dynamics is studied by means of both an experimental and a numerical point of view.
The experiments consist in the measurement of the velocity field on the equatorial plane of a magnified model of the vitreous chamber using PIV techniques. The vitreous chamber has been modeled by means of a cavity carved in a rigid Perspex container. Two different geometries were used: a spherical geometry and a deformed geometry, which closely resembles that of the real eye. The model is filled with Glycerol, a highly viscous Newtonian fluid, and it is mounted on the shaft of a computer controlled motor, which rotates according to a generic time law. Visualizations of the fully three-dimensional flow show that the primary flow occurs on planes perpendicular to the axis of rotation. Secondary flows can be detected, the magnitude of which is however three or four orders smaller than the primary flow. In the case of spherical geometry, theoretical results, based on a simplified solution, are shown to be in very good agreement with the experimental findings. The maximum value of the shear stress at the wall does not significantly depend on the amplitude of saccadic
movements but is strongly influenced by the vitreous viscosity. Velocity fields are found to be strongly influenced by the deformed geometry of the domain. When using the deformed model the formation of a vortex in the vicinity of the lens is invariably observed. The path described by this vortex during a
period of oscillation is found to depend on the Womersley number of the flow. The second part of the Thesis is devoted to the formulation of a numerical model which provides a direct numerical simulation of the flow of a viscous fluid inside an oscillating sphere. The problem is formulated in the primitive velocity-pressure form. Replacing the continuity equation by the Poisson equation for the pressure supported by an independent condition of integral character an uncoupled formulation of the problem is derived. The equations are discretized in time by means of a non-fractional-step scheme. A spectral technique is used to transform the original problem in a sequence of ordinary differential problems for the coefficients of a spherical harmonics expansion of the variables. Spectral techniques have been tested on a simplified problem providing encouraging results.L’umor vitreo `e la sostanza che riempie la camera posteriore dell’occhio. Esso assicura l’aderenza della retina agli strati sottostanti e costituisce una barriera per il trasporto di calore o sostanze tra la camera anteriore e la camera posteriore dell’occhio. Molti autori nella letteratura medica hanno ipotizzato una connessione tra la dinamica del vitreo durante i movimenti oculari (specialmente nei casi in cui la sostanza che riempie la camera `e un liquido) e l’insorgenza del distacco retinico. Nella presente Tesi di Dottorato lo studio della dinamica del vitreo oculare `e stato affrontato secondo un approccio sperimentale e numerico. Gli esperimenti hanno riguardato la misura dei campi di moto che si realizzano sul piano equatoriale di un modello in scala amplificata della camera vitrale attraverso l’utilizzo della tecnica PIV. La camera vitreale `e stata modellata per mezzo di una cavit`a ricavata in un contenitore rigido di perspex. I contenitori usati hanno due diverse geometrie: una sferica e una sferica deformata che riproduce verosimilmente la reale conformazione della camera. Il modello `e stato riempito con glicerina, un fluido newtoniano ad elevata viscosit`a, e montato sull’albero di un motore che `e stato fatto ruotare secondo una generica legge di tipo. Attraverso visualizzazioni del moto tridimensionale si `e osservato come il moto principale si sviluppi su piani ortogonali all’asse di rotazione. Sono stati anche osservati moti secondari la cui intensit`a risulta essere di tre-quattro ordini di grandezza inferiori al moto principale. Nel caso di modello sferico i risultati sperimentali sono stati confrontati con una teoria semplificata mostrando un buon accordo con quest’ultima. Il massimo valore della tensione tangenziale`e risultato non dipendere in modo significativo dall’ampiezza del movimento ma di essere influenzato dalla viscosit`a del fluido interno alla camera. I campi di moto sono fortemente influenzati dalla geometria del dominio. Usando il contenitore deformato in tutti gli esperimenti `e stata osservata la formazione di un vortice. Il percorso descritto dal vortice durante un periodo di oscillazione `e risultato dipendere dal numero di Womersley del moto. La seconda parte della Tesi `e dedicata alla formulazione di un modello numerico consistente in una simulazione numerica diretta del moto di un fluido viscoso all’interno di una sfera oscillante. Il problema `e formulato nelle variabili primitive pressione-velocit`a. Sostituendo l’equazione di continuit`a con l’equazione di Poisson per la pressione, associata ad una condizione al contorno indipendente di tipo integrale, si `e ricavata una formulazione disaccoppiata dl problema. Le equazioni sono state discretizzate nel tempo per mezzo di uno schema non frazionario. Il problema originale `e stato trasformato attraverso una tecnica spettrale in una sequenza di problemi alle derivate ordinarie per i coefficienti di espansione in armoniche sferiche delle variabili del problema. Le tecniche spettrali sono state testate per la soluzione di un problema semplificato fornendo risultati confortanti.
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Bartkuvienė, Vilija. "Humoro vertimas H. Fielding romanuose "Bridžitos Džouns dienoraštis" ir "Bridžitos Džouns dienoraštis:ties proto riba"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20051014_140642-35429.
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The paper consists of a Content, Introduction, three chapters (two of them are theoretical, and the last chapter is a practical one), then follows Conclusions, References, Summary and Appendix containing the remnant examples and a piece of information about the author of the novels. In the first chapter the definitions of humour itself and its cultural and linguistic aspects are being discussed. Since humour is rather elusive as a theoretical concept we are going to mention only the definitions or theories that are related to the research. As humour is often culturally specific it nearly always contains some piece of sociocultural information shared between the sender and the recipient. Unless the recipient is aware of it, the joke fails to perform its function. The relevance of E. Nida’s theory of dynamic equivalence to the translation of humour and other translation problems such as cultural and linguistic ones are being analyzed in the second chapter. The problem of this type of translation is that of recasting the humorous effect. Eugene Nida’s theory of dynamic equivalence requires analysing the source language text and then restructuring it before transferring it to the target language in such a way that will make a perfect sense in the target language. The third chapter is a practical one and it deals with the achievements and failures of translating humour in the above-mentioned novels, i.e. Bridget Jones’s Diary and Bridget Jones’s Diary: the Edge of Reason by Helen... [to full text]
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Leavey, W. A. "Canadian military humour, a perspective on Canadian Army humour during World War Two and Korea." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ44915.pdf.
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Ruggeri, Susan. "The experience of humour in Asperger's syndrome." Thesis, University of Wolverhampton, 2010. http://hdl.handle.net/2436/113716.
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This study investigated the experience of humour of people with Asperger’s syndrome. It aimed to explore the lived experience of this phenomenon. A literature review was undertaken which revealed that people with Asperger’s syndrome are thought not to have a sense of humour and a number of theories are proposed to explain the difficulties that may be experienced in regard to humour. In order to gain insight into the lived experience a qualitative approach was adopted using semi structured research interviews with eight, adult, male participants. Interpretative Phenomenological Analysis was then used to illuminate the “insider perspective”. The analysis highlighted four main themes, the experience of difference, the experience of learning, what I find amusing and how I use humour. It was suggested that people with Asperger’s syndrome do have a sense of humour but they may need to put in extra effort to develop it. The importance of individuality and acceptance of differences was also recognised. The report highlighted a number of clinical implications such as the role humour plays in social interactions and the importance of asking questions rather than making assumptions when working with people with Asperger’s syndrome.
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Ohali, Avigail. "Le rire des sages : l'humour dans la Mishna et la Tosefta." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA082.
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Grâce à sa vaste production littéraire, le judaïsme rabbinique, d’abord minoritaire, est devenu l’orthodoxie juive à la fin de l’antiquité. Les écrits rabbiniques ne cherchent pas à faire rire, mais nous avons constaté que les études académiques sur l’humour des rabbins de l’antiquité contribuent de manière significative à la compréhension des textes rabbiniques. Ces études ainsi que les théories modernes sur l’humour, les outils d’analyse littéraire et notre propre développement méthodologique, nous ont permis d’analyser les récits humoristiques dans les écrits tannaïtiques. Les résultats des travaux sur l’humour dans le Talmud Yerushalmi, le Talmud Babli et le midrash aggada, trouvent un écho dans les résultats de notre étude. Nous avons découvert dans la Mishna et la Tosefta une très grande variété de formes et de fonctions de l’humour. L’étude exhaustive des récits humoristiques dans ces deux corpus nous a permis de développer des nouvelles perspectives sur ces textes et leurs protagonistes, notamment concernant les polémiques internes et externes au mouvement rabbinique, les traits de caractère de certains sages et leur manière d’étudier, l’évolution de l’humour entre la Mishna, la Tosefta et les Talmudim. La grande majorité des récits que l’on trouve dans la Mishna et la Tosefta n’est pas humoristique, mais cette proportion est inversée dans certaines thématiques : dans les polémiques internes au mouvement tannaïtique nous avons noté un équilibre entre les textes humoristiques et sérieux, et de surcroît, dans les polémiques avec des groupes extérieurs au mouvement tannaïtique, les textes humoristiques sont majoritaires. L’humour des tanna’im s’avère être complexe et varié, il permet de faire remonter les origines de l’humour juif à l’époque tannaïtique, d’expliquer certains textes énigmatiques, et de mieux connaître la pensée des tanna’imThanks to their extensive literature, the rabbinic movement which was a marginal minority during the early centuries CE became, by late antiquity, the Jewish mainstream, and the rabbinic practice of Judaism became Jewish orthodoxy. Rabbinic writings do not aim to make one laugh, but we have noticed that academic research into the ancient rabbis’ humor contribute significantly to the understanding of rabbinic writings.Our tools for analyzing the humor in tannitic texts are based on previous studies, modern theories about humor, literary analysis techniques and our own personally developed methodology. The research results about humor in the Talmud Yerushalmi, the Talmud Babli and in Midrash Aggada are echoed in the results of our work.We have found in the Mishna and the Tosefta humor in various forms and functions. A comprehensive study of humorous anecdotes in these two textual corpora lends a new perspective about the rabbis and their writings: it also sheds light on the rabbis’ personalities and the house of study atmosphere, struggles within the rabbinic movement as well as with outside opponents, and the evolution of humor between the Mishna, the Tosefta and the Talmudim. The large majority of the stories found in the Mishna and the Tosefta are not humorous, but this proportion is reversed in certain themes: in polemics within the tannaitic movement we find an equal number of humorous and serious texts, and in polemics with opponents to the tannaitic movement, humorous texts are predominant. The tannaitic humor is complex and diversified, it traces the origins of modern Jewish humor not only to the Talmud but back to the tannaitic period, it helps explain some enigmatic texts, and to better know the tannaitic ideology
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Lundh, Stefan, and Christian Ewerman. "Humor i mötet mellan patienter och sjuksköterskor / Humour in the meeting between patients and nurses." Thesis, Kristianstad University College, Department of Health Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-4818.
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Abstract på svenska:
Bakgrund: Studier har visat att humor är en betydelsefull faktor inom hälso- och sjukvård och att olika former av humor kan skapa en känsla av välbefinnande. I interaktionen mellan patienter och sjuksköterskor har skratt och humor visat sig ge positiva effekter vad det gäller att skapa en avslappnad atmosfär. Syfte: Syftet med studien är att belysa humors betydelse i mötet mellan patienter och sjuksköterskor. Metod: Studien är en systematisk litteraturstudie som baseras på 8 utvalda och granskade artiklar. Resultat: Sex huvudkategorier framkom under artikelanalysen, Humorns betydelse för mötet mellan patienter och sjuksköterskor, Humor som copingstrategi för patienter och sjuksköterskor, Humor som försvarsmekanism, Sjuksköterskors användning av humor i mötet med patienter, Humor som arbetsredskap i komplicerade omvårdnadssituationer samt Vid vilka möten bör humor undvikas. Diskussion: Humor ger en positiv känsla för de flesta av sjuksköterskorna och patienterna. Humor är ett användbart redskap framförallt i skapande av kommunikation och relation men fungerar även som en hjälp för patienterna att hantera sin livssituation. Humor ger en känsla av samhörighet mellan patienter och sjuksköterskor och skapar ett band dem emellan. Det finns även situationer där humor skall användas med försiktighet eller undvikas. Humor skall användas vid rätt tidpunkt och framförallt passa in i situationen.
Abstract in English:
Background: Studies have shown that humour is an important factor in the health Care and various forms of humour can create a sense of well being. In the interaction between patients and nurses have laughter and humour proved to have positive effects in terms of creating a relaxed atmosphere. Aim: The purpose of this study is to highlight the importance of humour in the meeting between patients and nurses. Method: This systematic literature study was made based upon 8 scientific articles that have been reviewed. Findings: Six main categories emerged under Article analysis, The importance of humour in the meeting between patients and nurses, Humour as a defence mechanism, Nurses use of humour in the meeting with patients, Humour as a tool in complex care situations and At which meetings should humour be avoid. Conclusion: Humour is a positive feeling for most of the nurses and patients. Humour is a useful tool especially in the creation of communication and relationship but also functions as a help for patients to manage their life situation. Humour provides a sense of affinity between patients and nurses and creates a bond between them. There are also situations where humour should be used with caution or be avoided. Humour should be used at the right time and in the right situation.
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Fathy, Hala M. "Jeux d'humour et mythe personnel dans le récit d'Antonine Maillet." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ52104.pdf.
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Kennedy, Karelle. "L'appréciation de l'humour engagé et de l'humour absurde au Québec : une étude exploratoire comparative." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/26135.
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Inspirée par le fait que l’humour engagé tend à disparaître de la sphère humoristique au Québec, cette recherche exploratoire s’intéresse à l’appréciation de l’humour engagé en comparaison avec l’humour absurde. Deux figures représentatives québécoises de ces types d’humour ont été retenues, soit Guy Nantel et André Sauvé.
À l’aide d’une méthodologie mixte, c’est-à-dire une analyse du contenu manifeste (quantitatif) complétée par une analyse de contenu latent (qualitatif), nous avons analysé des critiques ayant pour objet les spectacles des deux sujets humoristes. Les critiques analysées proviennent de deux sources : les spectateurs et les médias.
Dans un premier temps, l’analyse de contenu manifeste a dévoilé un écart d’appréciation entre les critiques concernant Nantel et celles concernant Sauvé, ce dernier ayant obtenu une moyenne plus élevée. Dans un deuxième temps, l’analyse de contenu latent a permis de dégager certaines tendances au sujet de l’appréciation des deux types d’humour qui ont été examinées en fonction de six thèmes récurrents dans les critiques. Entre autres, la rigueur intellectuelle et l’intelligibilité du discours sont ressorties comme des propriétés très appréciées des critiques des médias et des spectateurs.
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Francis, Katherine Lorrianne. "Sense of humour and mental health /." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09HS/09hsf8189.pdf.
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Williams, Karen Elizabeth. "Humour in children's literature, 1800-1840." Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/humour-in-childrens-literature-18001840(68a38fe1-1c46-423f-923a-17633825c305).html.
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By reclaiming a wide range of comic works in key literary genres, my thesis proposes that contrary to prevailing critical discourse, humour was a widespread, intrinsic and valued part of children’s literature in the period 1800-1840. Histories of children’s literature in this era are inexorably tied to an antithetical configuration of instruction versus amusement. Although in recent criticism this binary has been challenged, the critical discussion of amusing texts remains limited to a narrow canon of works operating in opposition to the moral tale and other instructive texts. My thesis widens the scope for humour in this period by interrogating juvenile works and wider print culture in four under-researched areas: the ‘papillonnade’ poetry of the first decades of the nineteenth century, the new phenomenon of the juvenile Christmas annuals, chapbooks for children, and drama as related to the child. Such an approach embraces literature that was accessible to children across the social spectrum and accordingly reveals both synergies and tensions in attitudes towards humour and the use of the comic across the class divide. Underpinning my analysis, is a rich heritage of philosophical and historical approaches to laughter that reveal a complex and dialogic relationship between comedy, the child and these wider perspectives. This critical link allows for a nuanced reading of humorous texts that cements the placement of laughter within the history of children’s literature and anticipates the later humour of better-known works by Lewis Carroll and Edward Lear in mid-century.
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Skinner, Jan. "Experiencing humour: A critical care phenomenon." Thesis, Australian Catholic University, 1997. https://acuresearchbank.acu.edu.au/download/b3457ad8a05188b5584c3a400226e77870c660e60417f230e0e150924fb04dd1/1706537/Skinner_1997_Experiencing_humour_a_critical_care_phenomenon.pdf.
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Humour, whilst frequently occurring within the Critical Care environment, has been traditionally viewed as both macabre and in poor taste. However, for the Registered Nurse working in this setting, humour plays a vital role in the day to day functioning at the unit level, and is identified as an important component in the development of interpersonal relationships between both co-workers and clients. Therefore, by describing this experience, the thesis seeks to elucidate this concept of humour and the experience of this phenomenon for the Registered Nurse working within the Critical Care environment.
On reviewing the literature it becomes evident that humour is identified as conducive to both the physical and psychological wellbeing of an individual. In many ways, humour provides positive benefits in times of stress, as well as in the event of personal disillusionment and crises. Humour's role in one's daily life, as well as the recognised paucity of literature concerning the topic of humour in the area of Critical Care, and the Critical Care Unit's bent toward jocularity and play then lends itself to further exploration of this fascinating topic. Therefore, it is from this foundation that the impetus for this research thesis emerges.
The research study engages Husserlian phenomenology (Kersten, 1982) as the methodology for the explication of the meaning of humour as experienced by the Registered Nurse working within the Critical Care environment. Colaizzi's (1978) method for data analysis is employed to explicate the formulated meanings which evolve from the data. As an adjunct to this, aspects of both Bergum (1994) and Wolcott's (1990, 1994) notion of narrative storytelling of critical events, and the importance of this concept within data collection and analysis, have been incorporated within the work.
Six themes emerging from the data focus on humour as it is experienced for the participants within the study. The first of these themes identifies humour in response to the culture of the environment and is evidenced by the group's socialisation, supportive relationship and role referencing through the use of jocularity and play. The second theme emerges through the consistent use of humour in response to the event of cardiac arrests and death or dying. Registered Nurses make constant reference to the use of humour at these times as a coping mechanism, to relieve tension and support co-workers during stressful situations.
In conjunction with these two themes, the four remaining themes relate to the use of humour. Firstly is the use of humour in response to the receptiveness of other individuals. The timing and nature of humorous interplay has been described as dependent on the feedback from the recipient. Co-workers and clients alike are often tested informally as to their response when mirth is employed and the nurse gauges this response as a trigger for future interactions.
Furthermore, the use of humour as a method for communication is identified as a theme emerging from the data. Participants cite this strategy as an aid in the development of co-worker and client relationships. Communicating through humour enables life experiences to be better understood, bringing a humanness to the relationship that builds rapport and provides the basis for shared understanding between individuals. The data also outline the use of humour as a means for cheering co-workers and clients. The essence of this theme consistently weaves a path through much of the research study.
Finally, the very nature of nursing practice undertaken during the nurse's daily working life within the Critical Care Unit sets the scene for episodes of jocularity and wit. Care of the client involves the development of personal relationships whereby the nurse may perform the most intimate tasks for that individual. This milieu gives rise to the generation of humorous play that may place the client at ease during stressful and embarrassing times.
Whilst the participants' data have been analysed for the development of each theme, the thesis has then returned to the current literature for discussion. From this discussion, the implications for future nursing practice and the subsequent questions for future research have been outlined. This then paves the way for further research into the area of humour within the Critical Care environment, and indeed other settings. In conclusion, it would appear that the essence of humour as it is experienced for the Registered Nurse working within the Critical Care environment, whilst informally acknowledged, has not been well understood or explicated within the literature. Therefore, this thesis seeks to illuminate this for the reader by describing the experience of humour for the Registered Nurse working within the Critical Care Unit.
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Goulipian, Armand. "Humour et métaphysique chez Graham Greene." Clermont-Ferrand 2, 1997. http://www.theses.fr/1997CLF20020.
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Vers la fin de sa vie Greene a été attiré par l'aspect comique de la réalité, beaucoup plus que par son côté tragique. Son regard et son écriture ont été influencés par une perspective qu'on pourrait qualifier d'humoristique. Dans ses derniers romans se joue une comédie qui est à la frontière de la tragédie, et ne s'en distingue pas toujours facilement. Le domaine de l'humour est souvent mystérieux. Chez Greene il paraît conduire paradoxalement à une réalité métaphysique qui se cacherait sous les masques variés ce cet humour. Masques et caricatures pourraient évoquer une vérité cachée, difficile à appréhender directement. La réalité mystérieuse de l'amour pourrait constituer un premier pas vers un au-delà métaphysiqueTowards the end of his life, graham greene was more attracted by the comic side of reality than by its tragic one. His conceptions and his writings were influenced by what could be called a humoristic outlook. In the last novels comedy borders on tragedy, and is not easily distinguished. The field of humour is often mysterious. In greene's work it seems to point paradoxically to a metaphysical reality concealed under the various masks of humour. Masks and caricatures might suggest a hidden truth, hard to apprehend directly. Love's mysterious reality might be a first step towards a metaphysical beyond
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Franklyn, Blair Scott. "Towards a Theory of Postmodern Humour: South Park as carnivalesque postmodern narrative impulse." The University of Waikato, 2006. http://hdl.handle.net/10289/2252.
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The philosopher Martin Heidegger describes humour as a response to human 'thrownness' in the world. This thesis argues that there is a form of humour which can be usefully described as postmodern humour and that postmodern humour reflects the experience of being 'thrown' into postmodernity. Postmodern humour responds to and references the fears, fixations, frameworks and technologies which underpin our postmodern existence. It is further contended that South Park is an example of postmodern humour in the way that it exhibits a carnivalesque postmodern narrative impulse which attacks the meta-narrative style explanations of contemporary events, trends and fashions offered in the popular media. South Park's carnivalesque humour is a complex critique on a society in which television is a primary instrument of communication, a centre-piece to many people's lives, and a barometer of contemporary culture, while at the same time drawing attention to the fact that the medium being satirised is also used to perform the critique. A large portion of this thesis is devoted to examining and interrogating the discursive properties of humour as compared to seriousness, an endeavour which also establishes some interesting links to postmodern philosophical discourse. This can be succinctly summarized by the following: 1. Humour is a form of discourse which simultaneously refers to two frames of reference, or associative contexts. Therefore humour is a bissociative form of discourse. 2. Seriousness is a form of discourse which relies on a singular associative context. 3. The legally and socially instituted rules which govern everyday life use serious discourse as a matter of practical necessity. 4. Ambiguity, transgression and deviancy are problematic to serious discourse (and therefore the official culture in which it circulates), but conventions of humorous discourse. 5. Humorous discourse then, challenges the singularity and totality of the official discourses which govern everyday life. Subsequently, humour has been subjected to a variety of controls, most notably the 'policing the body' documented in the writings of Norbert Elias and Michel Foucault. 6. Humour can therefore be understood to function in a manner similar to Jean-Fran ois Lyotard's concept of little-narrative's, which destabilize the totality of official meta-narratives. Furthermore, this thesis proposes strong links between the oppositional practices of the medieval carnival, as outlined by Mikhail Bakhtin, and the produced-for-mass-consumption humour of South Park. However, it also demonstrates that although South Park embodies the oppositional spirit of the carnival, it lacks its fundamentally social nature, and therefore lacks its politically resistant potency. More specifically it is argued that the development and prevalence of technologies such as television, video/DVD, and the internet, allows us to access humour at any time we wish. However, this temporal freedom is contrasted by the spatial constraints inherent in these communication/media technologies. Rather than officially sanctioned times and places for carnivalesque social gatherings, today, individuals have the 'liberty' of free (private) access to carnivalesque media texts, which simultaneously help to restrict the freedom of social contact that the carnival used to afford. Further to this, it is argued that the fact that South Park, with its explicit derision of authority, is allowed to circulate through mainstream media at all, implies asymmetric conservative action on the part of officialdom. In this sense it is argued that postmodern humour such as South Park is allowed to circulate because the act of watching/consuming the programme also acts as a deterrent to actual radical activity.
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Horlacher, Stefan. "A Short Introduction to Theories of Humour, the Comic, and Laughter." Brill | Rodopi, 2009. https://tud.qucosa.de/id/qucosa%3A36440.
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Establishing a decisive nexus between gender, laughter, and media, this article not only critically discusses the often contradictorily defined concepts of humour, the comic, and laughter but also introduces to the most important theories in these fields with reference to Henri Bergson, Friedrich Nietzsche, Charles Baudelaire, Sigmund Freud, Mikhail Bakhtin, Helmuth Plessner, Anton C. Zijderveld, Judith Butler, Bernhard Greiner, Hans Robert Jauß, Peter L. Berger, and others. Basic concepts such as the “significantly comic” versus the “absolutely comic” or the “comedy of denigration and exclusion” versus the “comedy of valorization and inclusion” are interrogated and the link between comedy, citationality, performativity as well as parody is established. Moreover, this article explores the sociological, psychoanalytical, bodily and theological dimensions to laughter and questions notions such as the carnivalesque and the grotesque. It is argued that the liberating potential of “full laughter” can be understood as the return of the body, of the repressed, and of the Other, and that if it is precisely this ‘other realm’ which ultimately makes laughter possible, laughter simultaneously is humankind’s best means of dealing with it.
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Pinto, Fabiana dos Anjos. "Do humor da crônica à crônica de humor." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6009.
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Com base no pressuposto de que o humor é um fenômeno regularmente presente em crônicas, esta tese pretende investigar as origens dessa relação. Por que motivo leitores diversos, estudiosos das Letras e do Jornalismo são categóricos nessa associação? Além disso, se o humor constitui traço marcante do gênero, como se caracterizam as estratégias que o possibilitam? Para que essas questões sejam respondidas, apresentamos a trajetória do fenômeno humorístico nas crônicas anteriores e posteriores à chegada da imprensa no Brasil. Ademais, com corpus oriundo do jornal O Globo, trabalhamos com a teoria semiolinguística do discurso, especificamente com o contrato de comunicação e com os modos de organização do texto. Nosso objetivo geral, em suma, é verificar até que ponto procedimentos discursivos vários podem explicar o funcionamento do humor em crônicas jornalísticas contemporâneas, contribuindo para que elas se tornem um ícone de sedução dos cadernos dos jornais, transmutando-se em colunas de entretenimentoBased on the presupposition that humor is a phenomenon that is usually present in chronicles, this thesis aims at investigating the origins of such relation. Why are diverse readers, language and journalism students categorical when it comes to this association? Moreover, if humor is a remarkable feature of the genre, how are the strategies that enable it characterized? In order to answer these inquiries, we present the trajectory of the humorous phenomena in chronicles prior and subsequent to the arrival of the Press in Brazil. Besides, we have worked with the semiolinguistic theory of the discourse with a corpus taken from O Globo a Brazilian newspaper. The corpus stems specifically from the communication contract and the modes of discursive-textual organization. Our main aim, in summary, is to investigate to what extent various discoursive procedures can explain the operation of humor in contemporary journalistic chronicles, contributing to their becoming of an icon of seduction in the different sections of newspapers, which eventually lead them to turn into entertainment columns
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Av-Gay, Hadas. "Humour and empathy in children's social relationships." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2449.
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This study explored the link between use of humour and empathy among elementary school age children. Based on research demonstrating high levels of empathy in individuals who behave pro-socially and lower levels of empathy in individuals who behave antisocially, it was hypothesized that empathy (cognitive and affective) would be positively associated with positive uses of Humour, and negatively associated with negative uses of Humour. To this end, the Humour Styles Questionnaire (HSQ), developed for use with adults, was adapted for use with children and administered to 191 children (ages 8-13 from two elementary schools) along with a self-report measure of Cognitive and Affective Empathy. Factor analytic results verified a four factor solution for the HSQ, tapping use of Affiliative, Self -Enhancing, Self-Defeating and Aggressive Humour.
Correlational analyses showed that the links between empathy and humour varied across types of humour and across boys and girls. Boys reporting higher levels of Cognitive Empathy were more likely to use humour in positive ways (Affiliative and Self-Enhancing Humour) and less likely to use humour to taunt others (Aggressive Humour) or to self-deprecate (Self-Defeating Humour). Boys who reported greater Affective Empathy were also less likely to use humour aggressively. For girls, greater Affective Empathy was associated with less use of Aggressive Humour and more use of Affiliative and Self-Enhancing Humour. Affiliative and Self-Enhancing Humour were also more likely among girls reporting greater Cognitive Empathy.
Results of hierarchical regression analyses revealed that Cognitive Empathy contributed significantly to the variance in Self- Defeating, Affiliative and Self-Enhancing use of Humour, above and beyond sex effects. Affective Empathy was found to have a unique contribution, above and beyond sex effects, to the variance in Aggressive and Self-Defeating Humour.
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Binsted, Kim. "Machine humour : an implemented model of puns." Thesis, University of Edinburgh, 1996. http://hdl.handle.net/1842/586.
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This thesis describes a formal model of a subtype of humour, and the implementation of that model in a program that generates jokes of that subtype. Although there is a great deal of literature on humour in general, very little formal work has been done on puns, and none has been implemented. All current linguistic theories of humour are over-general and not falsifiable. Our model, which is specific, formal, implemented and evaluated, makes a significant contribution to the field. Punning riddles are our chosen subtype of verbal humour, for several reasons. They are very common, they exhibit certain regular structures and mechanisms, and they have been studied previously by linguists. Our model is based on our extensive analysis of large numbers of punning riddles, taken from children's joke books. The implementation of the model, JAPE (Joke Analysis and Production Engine), generates punning riddles, from a humour independent lexicon. Pun generation requires much less world knowledge than pun comprehension, making it feasible for implementation. To support our claim that all of JAPE's output is punning riddles, we conducted an evaluatory experiment. We took JAPE texts, human-generated texts, nonsense non-jokes and sensible non-jokes, and asked joke experts to evaluate them. For joke experts, we used 8-11 year old children, since psychological research suggests that this age group enjoys, and can recognize, punning riddles better than other age groups. The results showed that JAPE's output texts are, in fact, recognizably jokes. The evaluation showed that our model adequately describes a significant subtype of verbal humour. We believe that this model can now be expanded to cover puns in general, as well as other types of linguistic humour.
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Olachea-PeÌrez, RubeÌn. "Humour, comedy and Mexican cinema : 1990-2001." Thesis, University of Warwick, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398721.
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Maria, Kmita. "The importance of humour in educational staffrooms." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/4187.
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Staffroom humour constitutes an integral part of teachers’ workplace culture and contributes to the quality of workplace relationships, yet it remains under-researched in the field of educational research. This thesis explores the importance of humour in relationships between teachers and its meaning for the overall workplace culture. This research has two foci; one intended and one acquired. Originally this research was set up to investigate staffroom humour in three educational settings. However, humour between participants and I became another focus of the research. Therefore, apart from exploring how staff use humour in the staffroom and what influences staffroom humour, this research also explores how and why humour was used in interactions between participants and myself. Research was undertaken in three post-16 educational settings in England. This takes the form of a case study and uses a mixture of qualitative methods: group and individual semi-structured interviews, unstructured participant observations and the collection of funny artefacts. Findings show that humour at each workplace is distinctive and makes a unique contribution to workplace culture. Workplace humour is spatially and temporally conditioned. Space and time are crucial conditions determining the use of humour, more important than work politics. Different humour functions are located within workplace relationships and not outside of them. Workplace humour serves to construct, nurture or contest relationships. Contesting and the constructing/nurturing of relationships do not need to be mutually exclusive. Degrees of familiarity between staff, just like type of humour, serve as indicators of the type of work relationship. Familiarity is crucial in deciding who uses humour and how within the workplace. Humour used between participants and researcher reveals a number of expectations and complexities that humour research entails. It also shows how interconnected participants’ and researcher’s behaviours are. What needs to be recognised is the value and role of humour in both relationships between teachers and the participant–researcher relationship. Humour research represents specific challenges and opportunities for rapport, data collection and access negotiation that should be explored further.
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Beaudoin, Axelle. "Transition vers la parentalité : humour et résilience." Thèse, Université du Québec à Trois-Rivières, 2013. http://depot-e.uqtr.ca/6905/1/030586280.pdf.
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Béranger, Eliane. "Rire / faire rire et chemin spirituel : une esthétique de la dévotion /." [S.l. : s.n], 2004. http://catalogue.bnf.fr/ark:/12148/cb41011912j.
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Yakin, Orhun. "Translation of humour with special reference to the cartoons in 'Leman' and other popular weekly humour magazines of Turkey." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4367/.
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In this dissertation, the various strategies of humour translation have been analysed by taking various cartoons with speech bubbles from the popular Turkish humour weekly magazine Leman and other similar publications. Generally considered as an extremely problematic, sometimes next to impossible, task within the translation studies, humour translation requires and deserves special attention since, as it was explained in the related sections, it may unite or separate people within the context of one single joke. As we also have stated elsewhere in the text, the description of both humour and translation, as two separate concepts, are not available in certain and decisive terms. This is especially true for the concept of humour which also covers the areas of laughter, jokes, wit, satire, irony and many others which are all interchangeable with each other. This fact makes an all-round definition very difficult. We also tried to show that, the visual humour or the visual aspect of humour could be a valuable asset for a foreign recipient who genuinely wishing to understand humour products from a different and remote culture. We wanted to show, and to some extent share, that the cartoons, provided they are not strictly political or crammed with regional issues and accents, could be fathomed by an outsider with the help of a decent translation and an adequate amount of contextual and cultural background information. We have assumed, from the very beginning of this project, that the contemporary Turkish humour, particularly cartoons that are represented in Leman and other similar publications, was interesting enough to become a dissertation subject, particularly those with stock types or characters since they have the potential of becoming snapshots of a country which is still considered as alien (or other) by the West. As far as this writer concerned, the main points of interest concerning Turkey by the British public could roughly be summarised in two points: a bargain trip to the seaside during the summer season and some occasional football matches Manchester United plays against Turkish teams in Istanbul. Especially the latter always attracts heavy press coverage during and after a match. We wanted to show that there are other cultural aspects exist in Turkey as well and such aspects could be transferred to other cultures by ways of translation. The material we have chosen is both visual and prose at the same time and although they function as a unity, they also complement each other. It is proposed that, although a perfect translation is always a desirable concept in almost every field, the translation of humour is possible within certain frameworks. The visual side of cartoons, as in situation comedies, contributes immensely to the comprehension of the message, which should be considered as the most important feature of the joke. To this end, a variety of cartoons are selected from both Lenicyn and other similar humour weeklies and translated with an adequate amount of background and contextual information that provided beforehand. This background information also includes, as far as the material in question permits, a close analysis of the language and the subject matter. To provide a better insight for the reader, a summary of Turkish humour and humour magazines are added alongside a section on the issue of humour itself.
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Messerli, Thomas C. Verfasser], Miriam A. [Akademischer Betreuer] [Locher, and Andreas [Akademischer Betreuer] Langlotz. "Repetition in telecinematic humour: how US American sitcoms employ formal and semantic repetition in the construction of multimodal humour." Freiburg : Universität, 2021. http://d-nb.info/1236501314/34.
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Karlsson, Lisa, Jennifer Arvidsson, and Susanne Malén. "Humor - ett redskap i sjuksköterskans profession." Thesis, Högskolan i Halmstad, Akademin för hälsa och välfärd, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-32768.
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Bakgrund: Humor är ett brett begrepp som definieras på olika sätt. Humor har stor betydelse i kommunikation och bemötande och finns i alla vårdmiljöer. Ett gott bemötande främjar hälsa, vilket är grundläggande i sjuksköterskans profession. Humor har många fysiologiska och psykologiska effekter, till exempel ökad frisättning av endorfiner, minskad oro och stress. Syfte: Syftet med studien var att belysa hur sjuksköterskan kan använda sig av humor i sin profession. Metod: En litteraturstudie genomfördes med en systematisk sökning i tre databaser som genererade i 14 resultatartiklar. Databearbetningen utgick ifrån en manifest innehållsanalys. Resultat: Resultatet belyser tre teman: humorns betydelse i interaktion med patienten, humorns betydelse i interaktion med medarbetare och humorns betydelse för sjuksköterskan. I interaktion med patienten används humor relationsskapande, för att patienten ska känna sig unik, uppleva välbefinnande, för att öka följsamheten, underlätta för och få mer kunskap om patienten. Även olämplig humoranvändning belyses i temat. I interaktion med medarbetare används humor för att hantera arbetet, skapa gemenskap och kommunicera underliggande mening och avsikt. Humor har betydelse för sjuksköterskan som copingstrategi och för att hantera stress. Slutsats: Humor har stor betydelse i sjuksköterskans profession och påverkar många människor i sjuksköterskans närhet. Kunskap om humorns effekter behöver implementeras i sjuksköterskeutbildningen och medvetandegöras i professionen.Background: Humour is a wide concept, defined in several ways. Humour is important for communication and encounter, existing in all healthcare settings. A good encounter promotes health, which is essential in the nursing profession. Humour has many physiological and psychological effects, for example increased release of endorphins, reduced anxiety and stress. Aim: The aim of the study was to illustrate how the registered nurse can practice humour in the nursing profession. Method: A literature review was conducted with a systematic search in three databases that generated in 14 result articles. A manifest content analysis was the foundation of the data analysis. Findings: The findings illustrate three themes: the importance of humour in interaction with the patient, the importance of humour in interaction with co-workers and the importance of humour for the registered nurse. In interaction with the patient humour is used to build relationships, make the patient feel unique, enhance wellbeing, make it easier for the patient, increase compliance and gain more knowledge of the patient. Inappropriate use of humour is also illustrated in the theme. In interaction with co-workers humour is used to manage work, create communion and communicate underlying meaning and intention. Humour is important for the nurse as a coping strategy and to manage stress. Conclusion: Humour has great importance in the nursing profession and affects many people in presence of the nurse. Knowledge about the effects of humour needs to be implemented in the nursing education and acknowledged in the nursing profession.
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Söderström, Elenor, and Sandi Bonde. "Humor och demens : En litteraturstudie." Thesis, Högskolan i Halmstad, Hälsa och omvårdnad, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-38618.
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Med en allt äldre befolkning ökar insjuknandet i demenssjukdomar och allt tyder på en fortsatt kraftig ökning. Symtom som uppstår vid demens påverkar individen fysiskt, psykiskt och socialt. Det finns inget botemedel mot demenssjukdom men det finns läkemedel som lindrar symtom. Humor har visat sig vara användbart inom omvårdnaden för sjuksköterskor och patienter. Studiens syfte var att belysa humorns betydelse vid demenssjukdom, ur de demenssjukas, informella och formella vårdgivares perspektiv. Metoden som användes var en litteraturstudie där resultatet grundades på tolv resultatartiklar varav nio var kvalitativa och tre var kvantitativa. Resultatet visade på att humor i omvårdnad vid demens kan bevara vårdtagarens unika människovärde. Genom att stärka kommunikationen och relationen mellan demenssjuk och vårdare, främjas positiva känslor för både de med demens och deras vårdare, underlättar anpassningen till den nya situationen som demens innebär för de med demens och deras vårdare och lyfter fram det personliga och individuella. Sjuksköterskor och övrig vårdpersonal kan använda humor i omvårdnaden av patienter med demens. Det behövs dock ytterligare forskning inom området som kan ligga till grund för utbildning och användning av humor i vårdandet av personer med demenssjukdom.With an aging population, the onset of dementia is increasing and all indicates a continued significant increase. Symptoms that occur in dementia affect the individual physically, psychologically and socially. There is no cure for dementia but there are medicines that relieve symptoms. Humor has proved useful in nursing care for nurses and patients. The purpose of the study was to highlight the importance of humor in dementia, from the perspective of individuals living with dementia, informal caregivers and formal caregivers. The method was a literature study where the result was based on twelve articles, of which nine qualitative and three quantitative. The result showed that humor in nursing in dementia can preserve the healthcare provider's unique human dignity. By strengthening communication and the relationship between dementia and caregivers, promoting positive feelings for both those with dementia and their caregivers, facilitates the adaptation to the new situation that dementia imply for those with dementia and their caregivers and highlighting the personal and individual. Nurses and other healthcare professionals can use humor in nursing patients with dementia. However, further research is needed in the area that can be used as a basis for education and use of humor in the care of people with dementia.
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Alston, Sylvia, and n/a. "Where meaning collapses: a creative exploration of the role of humour and laughter in trauma." University of Canberra. Professional Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20091215.114305.
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The thesis consists of a full-length novel and an exegesis that examines the ways in which humour can be used to restore the symbolic order and serve as a means of regaining control, thus allowing those involved in the most disturbing, painful and challenging situations to feel less powerless.
The research component of the thesis involved critical reading, fieldwork, observations, and personal interviews. The texts examined include works by Michael Billig, Henri Bergson and Julia Kristeva, in particular her reference to the act of laughing at the abject as a kind of horrified 'apocalyptic laughter', a compulsion to confront that which repels (Kristeva 1982, pp. 204-206). As part of the fieldwork, I completed training to become a Laughter Club leader. Laughter Clubs are based on the notion that laughter, even fake laughter, is beneficial. This concept is explored in more detail in the exegesis. The fieldwork also included training in laughter-generating activities for students and staff at two local primary schools. The observational component, which involved the Australian War Memorial, the 'Reveries: Photography and Mortality' exhibition, Norwood Crematorium and the children's garden and babies' rose garden at the Gungahlin cemetery, enabled me to examine images and memories of death as well as the responses of other visitors. The final component of my research involved personal interviews. The participants in these interviews were drawn from a diverse range of fields including: volunteers at a local hospice, hospital clowns, general practitioners, cancer survivors and their carers, a psychiatrist, nurses, a paramedic, a police officer, a hospital teacher and bereaved parents.
The findings from this research provided the framework for the creative piece, a novel set in present-day Canberra. The story begins one autumn evening when thirteen-year-old Sam is found unconscious and bleeding from a head wound. By the time Maggie, Sam's widowed mother, arrives at the hospital, Sam has regained consciousness. His x-rays show a large mass in his brain and he is kept in for further tests. The results confirm that Sam has an inoperable tumour. Maggie and Sam rely on humour in their interactions both with each other and with other people as a means of maintaining that 'baseline of social control' (Kristeva 1982, p. 99), staying on the edge of what Kristeva refers to as the place 'where meaning collapses' (p. 2).
Humour is their anchor, enabling them to maintain a grip on their new normality. And, as if having a dying child isn't enough to cope with, Maggie is being pursued by a handsome and slightly younger man.
Both the findings in my exegesis, and the creative work they led to, suggest that although there has been an enormous amount of research undertaken over the previous thirty or so years, there is no conclusive proof that humour can be closely correlated with health. At best, humour can provide a means of controlling that which would otherwise be outside our control.
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Neto, Francisco Secundo da Silva. "O Cearà Moleque Dà um Show: Da HistÃria de uma InterpretaÃÃo sobre o que Faz Ser Cearense ao EspetÃculo de Humor de Madame Mastrogilda." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=3753.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorA idÃia de um âCearà molequeâ desde os fins do sÃculo XIX vem sendo gestada simbolicamente em narrativas ficcionais relatos memorialÃsticos revistas e jornais fazendo parte assim de um imaginÃrio e memÃria coletivos Tal rÃtulo pressupÃe que o âpovo cearenseâ à irreverente e alegre por natureza Contudo o sentido de um âCearà molequeâ precisa ser relativizado sob que perspectiva à utilizado como à interpretado e incorporado à cultura A partir de meados dos anos 1980 um grupo de artistas comeÃou a fazer shows de humor em bares e pizzarias nas noites da cidade de Fortaleza Deste entÃo esses profissionais sÃo tomados principalmente pelos meios de comunicaÃÃo locais como mais uma forma de expressÃo de um âCearà molequeâ ou de uma âmolecagem cearenseâ Uma pergunta cabÃvel à que âmolecagemâ à essa que eles fazem? Para ajudar a responder tal questionamento escolhi como campo de investigaÃÃo o trabalho do humorista Eddi Lima o qual figura hoje como um desses profissionais do humor no Cearà cuja figura representada à Madame Mastrogilda Destarte procuro de modo especÃfico por meio da observaÃÃo do show humorÃstico de Madame Mastrogilda (Eddi Lima) e de entrevistas com o humorista que a interpreta descrever e explicar a maneira como este provoca o riso como faz humor
The idea of a âCearà molequeâ has been simbolized through the literature in brochures newspapers and magazines since the 19th century making its part in the collective imaginary and memory That label means that the people from Cearà are funny and humorous by nature However the meaning of a âCearà molequeâ is relative it is necessary to know which perspective it is utilized how it is interpreted and symbolically assimilated In the middle of the 1980âs a group of artists started to present humor shows at bars and pizzerias (pizza parlor) in the city of Fortaleza Since then these professionals are taken mainly by the local means of communication as another expression of a âCearà molequeâ or âmolecagem cearenseâ So a possible question is which is the âmolecagemâ of those artists To help answering that question I have studied the humorist Eddi Lima he is among of those artists that were mentioned Thus IÂve searched in a specific way through the Madame Mastrogilda (Eddi Lima) humor showÂs watching and through interviews with the humorist which interprets that character to describe and explain the way how that artist provokes some laughs how he deals with this ability to the humor
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Larsson, Oskar, and Jacob Vaknin. "Spelaren i komedins rampljus : En studie av fumblecore utifrån Cohens dimensioner kring identifikation." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17033.
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Den här studien undersöker hur identifikationsprocessen i fumblecore-spel ter sig utifrån Cohens dimensioner kring identifikation. För att undersöka detta utvecklades en artefakt som designades utifrån tre teorier kring humor (Superiority Theory, Incongruity Theory och Relief Theory) samt definierade karaktäristiska element som tillsammans utgör spel inom genren. Undersökningen genomfördes på tolv respondenter där data samlades in genom observation, frågeformulär och kvalitativa intervjuer där frågorna baserades på Cohens fyra dimensioner kring identifikation (emotionell empati, kognitiv empati, motiverande identifikation och absorberande identifikation) för att mäta detta. Resultatet visade på att respondenter projicerar sina egna känslor och mål på karaktären och använder denne som ett medel att utföra sina önskade handlingar. Således är det snarare karaktären som tar på sig spelarens identitet och anammar dennes perspektiv och målsättning än spelaren som tar på sig karaktärens.This study examines how the identificatory process in fumblecore games plays out according to Cohen’s dimensions about identification. To examine this, an artifact was developed based on three theories on humour (Superiority Theory, Incongruity Theory and Relief Theory) as well as prominent characteristic elements that defines games within the genre. The survey was conducted on twelve respondents where data was collected through observation, questionnaires and qualitative interviews where the questions were based on Cohen's four dimensions about identification (emotional empathy, cognitive empathy, motivational identification and absorbing identification) in order to measure this. The result showed that respondents project their own feelings and goals on the character and use this as a means of performing their desired actions. Thus, it is rather the character that takes on the player's identity and embraces his perspective and goal rather than the player who takes on the character’s.
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Ghazvinian, John H. "'A certain tickling humour' : English travellers, 1560-1660." Thesis, University of Oxford, 2003. https://ora.ox.ac.uk/objects/uuid:92106603-8325-4eab-a2bb-a1f1808c0437.
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The story of early modern English travellers has generally been treated by scholars as a subplot to larger narratives - whether political history, art history, or, more recently, textual criticism and constructions of the 'other'. It has never been discussed as a distinct development within the cultural history of England, with a narrative of its own. Furthermore, historians have traditionally explained away, dismissed as irrelevant, or simply ignored the fact that a growing number of travellers claimed to be motivated by their 'mere curiosity to see', rather than recognising it as a critical aspect of the new phenomenon. This thesis attempts to be a corrective to both these tendencies. It begins with the relationship between the traveller and the State, answering questions about the government's attitude to travel, the process of getting a licence to go abroad, fears about Catholic conversion, and how these things changed over time. It goes on to answer basic questions about who was travelling and what the tour abroad was actually like. The results of an exhaustive study of nearly 2,000 passport records are presented, in an effort to demonstrate the growing popularity of foreign travel in these years. Part Two focuses on the vigorous debate over the value of travel for the young, and the genre of travel advice literature that arose over time. The hostility evoked by the idea of 'curiosity', as well as concerns over travellers being too young, are discussed. The final part of the thesis challenges the assumption that this period merely witnessed the 'rise of the Grand Tour'. Travel to Spa for the recovery of health and the growth of domestic resorts such as Bath and Buxton are looked at, while a final chapter examines those travellers who extended their tours beyond Europe, and ventured into the Levant and beyond.