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Добірка наукової літератури з теми "Women – Humor"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Women – Humor"

1

Gillooly, Eileen, Nancy Walker, Zita Dresner, Regina Barreca, Candace Lang, and Linda A. Morris. "Women and Humor." Feminist Studies 17, no. 3 (1991): 472. http://dx.doi.org/10.2307/3178286.

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2

Murison, Justine S. "Women, Taste, Humor." Leviathan 21, no. 3 (2019): 24–31. http://dx.doi.org/10.1353/lvn.2019.0044.

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3

Hermawan, Ferry Fauzi, Dana Waskita, and Tri Sulistyaningtyas. "BAHASA, TUBUH, DAN PARADIGMA PATRIARKI DALAM HUMOR KONTEMPORER INDONESIA." Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (June 8, 2017): 30. http://dx.doi.org/10.17509/bs_jpbsp.v17i1.6955.

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This study aims to analyze the construction of women in Indonesia humors that appear through the application of whatsapp conversation. This analysis is based on the opinion of Crawford (2003) and Sen (2012) about gender relations, linguistics, and humors. The focus of the study is the use of indeksial meaning and polysemy in constructing a humorous story in women. After the analysis, it was found that humors developing in the application media of whatsapp conversation tended to perpetuate sexist patriarchal values such as portraying women as a highly compliant and passive. In terms of the structure, most of the humors used several techniques of misalignment to cause the value of humor in the reader's mind. Most of the female figures appeared to be in the private or domestic space. In addition, the data show that most of the humors used figurative polysemy, especially in describing sexual activities. In this case, the women were always associated with inanimate objects, such as in describing sexual activities or woman genitals. The indeksial meanings of the language used were always based on the paradigm and the interests of men that are in line with patriarchal values. This eventually led to symbolic violence on women.Keywords: humors, polysemy, symbolic violence, women
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4

Anam, Khoirul, Rusdhianti Wuryaningrum, and Ahmad Syukron. "Wacana Humor dalam Bajigur TV." Alinea: Jurnal Bahasa, Sastra, dan Pengajaran 9, no. 2 (October 31, 2020): 99. http://dx.doi.org/10.35194/alinea.v9i2.1001.

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Kajian dalam artikel ini terdiri atas empat rumusan yaitu bagaimanakah wujud wacana humor, bagaimanakah prinsip humor, bagaimanakah teknik humor, dan bagaimanakah pemanfaatan WHBTV untuk materi ajar menulis teks anekdot. Penelitian dilaksanakan menggunakan rancangan penelitian kualitatif-etnografi berbahasa dengan pendekatan analisis wacana. Hasil yang ditemukan berwujud wacana ejekan terhadap pekerjaan, penyebab emosi, memanfaatkan kesusahan, tawaran mengecewakan, tipuan, menggoda wanita, melebih-lebihkan hal sepele, memberikan alasan berubah-ubah, menjelaskan hal unik tidak masuk akal, olokan tertentu, dan dugaan salah. Prinsip humor pada wacana ini berupa prinsip kesepakatan berhumor, menggunakan tuturan yang berlebihan, penyampaian kritikan, dan menggunakan kata-kata brutal dalam batas kesopanan. Teknik humor dalam yang digunakan berupa bahasa yang menghasikan humor lewat kata-kata, logika memunculkan efek humor dari hasil pemikiran pemain, dan identitas berupa kekhasan berhumor pemain.Katakunci: anekdot, humor, teknik humorAbstract:The article discusses four research questions including how is the form, the principle and the technique of humour, and how the use of WHBTV for teaching materials to write anecdotal texts. The study was conducted using a qualitative-ethnographic language research design with a discourse analysis approach. The results were found in the form of discourses on ridicule of work, emotional causes, taking advantage of distress, disappointing offers, tricks, flirting with women, exaggerating trivial things, giving fluctuating reasons, explaining unique things that don't make sense, certain ridicule, and wrong allegations. The principle of humour in this discourse is in the form of the principle of agreement with humour, using excessive speech, conveying criticism, and using brutal words within the limits of politeness. The internal humour technique used is in the form of language that produces humour through words, logic creates a humorous effect from the results of the players' thoughts, and identity in the form of player humour.Keywords: anecdotes, humor, humor techniques
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5

Schiau, Ioana. "Women Gossip and Men Brag: Perceived Gender Differences in the Use of Humor by Romanian Older Women." Romanian Journal of Communication and Public Relations 19, no. 1 (April 1, 2017): 69. http://dx.doi.org/10.21018/rjcpr.2017.1.231.

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The present study investigates perceived gender differences in the producion and social use of humor in the interpersonal communication of Romanian older women, aged 60 and above. The study is a qualitative investigation, based on semi-structured interviews. The aim was to understand the perceptions and motivations that women have when using humor in social interactions, and to explore the functions that humor serves in their day-to-day communication. A previous quantitative investigation found statistically significant gender differences between Romanian older men and women on a sense of humor scale, and suggested that the use of humor in interpersonal communication had stronger social benefits for women (Schiau, 2016a). Drawing on these findings, and keeping in mind other studies that discuss the different use of humor by men and women, this study aims to investigate specific gender differences in the production of humor, as perceived by the participants.
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6

Moake, Timothy R., and Christopher Robert. "Gender, formal organizational status and humor use: perceptions of social acceptance." Journal of Managerial Psychology 37, no. 4 (December 10, 2021): 332–45. http://dx.doi.org/10.1108/jmp-11-2020-0593.

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PurposeHumor can be a useful tool in the workplace, but it remains unclear whether humor used by men versus women is perceived similarly due to social role expectations. This paper explored whether female humorists have less social latitude in their use of aggressive and affiliative humor in the workplace. This paper also examined how formal organizational status and the target's gender can impact audience perceptions.Design/methodology/approachTwo scenario-based studies were conducted where participants rated the foolishness of the humorist. For Study 1, participants responded to a scenario with an aggressive, humorous comment. For Study 2, participants responded to a scenario with an affiliative, humorous comment.FindingsResults suggested that high-status female humorists who used aggressive humor with low-status women were viewed as less foolish than low-status female humorists who used aggressive humor with low-status women. Conversely, status did not impact perceptions of male humorists who used aggressive humor with low-status women. Results also indicated that high-status women who used affiliative humor were viewed as less foolish when their humor was directed toward low-status men versus low-status women. Conversely, no differences existed for high-status men who used affiliative humor with low-status men and women.Practical implicationsNarrower social role expectations for women suggest that interpersonal humor can be a riskier strategy for women.Originality/valueThis study suggests that women have less social latitude in their use of humor at work, and that organizational status and target gender influence perceptions of female humorists.
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7

Vitulli, William F., and Deborah L. Parman. "Elderly Persons' Perceptions of Humor as a Gender-Linked Characteristic." Psychological Reports 78, no. 1 (February 1996): 83–89. http://dx.doi.org/10.2466/pr0.1996.78.1.83.

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Attitudes toward the role that humor is supposed to play in the repertoires of men and women may explain the extent to which elderly people avail themselves of humor's potential benefits. 96 volunteers consisting of 24 men (ages 59–90 years) and 72 women (ages 51–93 years) responded to Vitulli's Humor Rating Scale. The rating scale measured attitudes toward male-oriented humor, female-oriented humor, general humor values, and an index of “differentiation of humor by gender.” A 2 × 2 factorial (split-plot) analysis of variance suggested a possible interaction between gender of participant and gender-oriented scales. Elderly men and women agreed on “general humor values,” and they both rated humor as an important quality for men on the male-oriented rating scale, yet a post hoc Scheffé test showed a significant gender effect on the female-oriented rating scale. Elderly women perceived humor as an important quality for women, whereas elderly men did not. Cohort effects and social situations in senior citizens' living complexes may account for some of the findings.
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8

Myers, Scott A., Barbara Lorene Ropog, and R. Pierre Rodgers. "Sex Differences in Humor." Psychological Reports 81, no. 1 (August 1997): 221–22. http://dx.doi.org/10.2466/pr0.1997.81.1.221.

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This study examined how 48 men and 88 women at a small southern university differed in their orientation toward and their uses of humor. They completed two self-report scales with reference to their general use of humor. Analysis indicated that the men reported a greater frequency of attempts at humor than women; men perceived these attempts as more effective than did the women; and the men reported using humor for negative affect more often than women.
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9

Sillars, Angela A., Christina Nicolaides, Alexander Karan, Robert Wright, Megan L. Robbins, and Elizabeth L. Davis. "Gender differences in the associations of reappraisal and humor styles." HUMOR 33, no. 2 (May 27, 2020): 317–40. http://dx.doi.org/10.1515/humor-2019-0016.

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AbstractReappraisal is an effective emotion regulation strategy that draws on cognitive processes–like changing one’s thoughts to change one’s feelings–that are similar to those implicated in humor. Yet, very little is known about the links between the dispositional tendency to use reappraisal and individuals’ humor styles (e. g. aggressive, affiliative, self-deprecating, self-enhancing). Importantly, there are gender differences both in emotion regulatory processes and in the use of humor styles. We examined gender differences in reported use of humor styles, the associations between reappraisal and humor styles, and whether gender moderated those associations. Participants (N=250) were recruited through Amazon Mechanical Turk and self-reported their dispositional use of reappraisal and four humor styles. Men reported greater use of aggressive humor compared to women. Dispositional use of reappraisal was positively associated with self-enhancing humor. In addition, reappraisal use was positively related to greater use of affiliative humor, and this association was stronger for men than women. For men, greater use of reappraisal was associated with greater use of self-defeating humor, but reappraisal was negatively associated with self-defeating humor for women. Findings extend insight from prior work and suggest that both reappraisal and specific ways of using humor draw on aspects of self-regulatory competence rooted in cognitive change abilities, and the patterns of association differ in interesting ways for men and women.
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Lawless, Tiffany J., Conor J. O’Dea, Stuart S. Miller, and Donald A. Saucier. "Is it really just a joke? Gender differences in perceptions of sexist humor." HUMOR 33, no. 2 (May 27, 2020): 291–315. http://dx.doi.org/10.1515/humor-2019-0033.

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AbstractBenign violation theory suggests humor mocking normative values is funny if the humor is non-threatening. Research suggests sexism toward women (versus men) is particularly threatening due to inequalities in social power. In Study 1, we examined whether men and women differ in how amused and offended they were by sexist humor. We predicted men would perceive sexist humor as more funny and less offensive than women would. In Study 2, we examined whether perceptions of threat were related to perceptions of sexist jokes. We predicted women would perceive more threat than men from sexist humor, which would lead to lower amusement and greater perceived offensiveness. Across both studies, jokes targeting women were perceived to be less funny, more offensive, and more sexist than jokes targeting men. Additionally, greater perceptions of threat were related to greater perceptions of jokes as offensive and sexist. However, women were not more threatened than men by sexist jokes. While these findings were not entirely consistent with our hypotheses, our findings suggest disparagement humor targeting lower-status groups is perceived more negatively than disparagement humor targeting higher-status groups and these perceptions may be inextricably rooted in threat posed to lower-status groups.
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Дисертації з теми "Women – Humor"

1

Gibbs, Fran French 1945. "Humor as Experienced by Hearing Impaired Women." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/565553.

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Chastain, Stephanie G. "The gendering of humor : toward a feminist narrative /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6673.

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3

Geddes, Tara. "Gender humor as a reflection of attitudes toward women and men." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ35059.pdf.

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4

Karman, Barbara A. "Women and Humor: A Linguistic and Rhetorical Analysis of Joke Target." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366049215.

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5

Hill, Gregory Thomas. "Sex and gender differences in humor, creativity, and their correlations /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004286.

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6

Lyn, Francesca. "Graphic Intimacies: Identity, Humor, and Trauma in Autobiographical Comics by Women of Color." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5904.

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Graphic Intimacies: Identity, Humor, and Trauma in Autobiographical Comics by Women of Color examines works of comics art about the lived experience of the comics’ creator. These graphic narratives address racialized difference and the construction of identity while also using humor to negotiate their narrations of traumatic events. I argue that these creators employ the structure of comics to replicate the fragmentary nature of memory. Comics allow for the representation of trauma as being intimately linked to corporeality. The comics medium allows creators to make visible and present fractured versions of the self, a product of traumatic fragmentation. Drawing traumatic memories becomes a symbolic enactment of transformation. Comics become a way of coping with the fragmentary nature of traumatic memory, permitting a consolidation of memory even when a totality is impossible. Graphic Intimacies examines representative texts by four autobiographical cartoonists: Lynda Barry, Belle Yang, MariNaomi, and Whit Taylor. Each of these cartoonists engages in critiques of social issues through the negotiation of a multilayered identity. For instance, Barry’s One Hundred Demons (2002) explores her identity as a white-passing Filipino American growing up in a low-income neighborhood. In Forget Sorrow: An Ancestral Tale (2011), Yang a Taiwanese born Chinese American artist, tells the story of her father’s family in order to heal from the trauma of intimate partner abuse. Biracial Japanese American artist MariNaomi explores her disconnection from her Japanese heritage while chronicling her experiences working in Japanese-style hostess bars in Turning Japanese (2016).
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7

Forrette, John Michael. "Humor Styles and Acceptance as Predictors of Quality of Life in Men and Women with Coronary Artery Disease." Xavier University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1564589976674187.

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8

Thornton, Meghan Schwain Kristin. "The impression of humor Mary Cassatt and her rendering of wit /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6530.

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Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.
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9

Hoover, Jessica. "Let's Bump Up the Lights: Exploring "The Carol Burnett Show" as a Cultural Antecedent to Feminist Media Studies." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc1538695/.

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This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.
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Hoover, Jessica. "Let's Bump Up the Lights: Exploring The Carol Burnett Show as a Cultural Antecedent to Feminist Media Studies." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538695/.

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This thesis argues that textual and historical analysis of The Carol Burnett Show reveals that the program utilized slapstick, women's comedy and feminist humor to create comedic parodies of television commercials, melodramas and women's films, and soap operas. Their television commercial parodies reflect Second Wave feminist critiques of media advertising contemporary with the program. Comparison of the work of early feminist film theorists and media critics to the program's parodies of film and soap opera reveal an interest in texts that address a female audience and that The Carol Burnett Show was making similar critiques to feminist media scholars in the years before it became a field of inquiry.
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Книги з теми "Women – Humor"

1

Fuchs Abrams, Sabrina, ed. Transgressive Humor of American Women Writers. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56729-7.

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2

Nicole, Hollander, ed. Women who love cats too much. Holbrook, Mass: Adams Pub., 1995.

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3

Silver, Rose, ed. Women who joke too much. New York: Berkley Pub. Group, 1995.

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4

Johnston, Joyce. Women Dramatists, Humor, and the French Stage. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900.

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5

Maitena. Women on the edge. New York: Riverhead Books, 2004.

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6

Copyright Paperback Collection (Library of Congress), ed. Jokes women won't laugh at. New York: Berkley Books, 2002.

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7

Holder, Judith. Grumpy old women. Bath: BBC Large Print, 2006.

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8

Holder, Judith. Grumpy old women. Bath: BBC Large Print, 2005.

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9

Holder, Judith. Grumpy Old Women. London: Ebury Publishing, 2009.

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10

Bergman, Gregory. WTF? women. Avon, Mass: Adams Media, 2011.

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Частини книг з теми "Women – Humor"

1

Holmes, Lucy. "Humor and psychoanalysis." In Women and Psychoanalysis, 150–53. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003096375-15.

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2

Wojcik-Andrews, Ian. "The Politics of Humor." In New Perspectives on Women and Comedy, 101–10. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003273714-10.

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3

Geller, Sue. "Using Humor to Combat Inequities." In Association for Women in Mathematics Series, 335–41. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66694-5_18.

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4

Oumlil, Kenza. "Using Humor to Talk Back." In North American Muslim Women Artists Talk Back, 60–87. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429292927-4.

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5

Johnston, Joyce. "Virginie Ancelot’s Comedy for Women." In Women Dramatists, Humor, and the French Stage, 99–135. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_4.

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6

Johnston, Joyce. "Revisiting Women, Humor, and the French Stage." In Women Dramatists, Humor, and the French Stage, 1–23. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137452900_1.

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Evans, Anne-Marie. "Funny Women: Political Transgressions and Celebrity Autobiography." In Transgressive Humor of American Women Writers, 155–73. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56729-7_9.

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Fuchs Abrams, Sabrina. "No Joke: Transgressive Humor of American Women Writers." In Transgressive Humor of American Women Writers, 1–16. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56729-7_1.

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Morris, Linda A. "Roz Chast: From Whimsy to Transgression." In Transgressive Humor of American Women Writers, 175–201. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56729-7_10.

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Gilbert, Joanne. "“My Mom’s a Cunt”: New Bawds Ride the Fourth Wave." In Transgressive Humor of American Women Writers, 203–30. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56729-7_11.

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Тези доповідей конференцій з теми "Women – Humor"

1

Magalhães, Maria Cristina Figueroa, João Gabriel Vicentini Karvat, Jéssica Heloise Camargo de Lima, and Ricardo Pasquini Neto. "SELF-PERCEPTION OF HAPPINESS IN WOMEN WITH BREAST CANCER." In Brazilian Breast Cancer Symposium 2022. Mastology, 2022. http://dx.doi.org/10.29289/259453942022v32s2066.

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Objective: The aim of this study was to establish correlations between well-being and breast cancer (BC)-related aspects. Methods: Women with BC diagnosis (n=42) were interviewed and National Gross Happiness was assessed through an adaptation of the Second Gross National Happiness Survey Questionnaire. Cancer-related data were also assessed, such as staging, anatomopathological results, hormonal status, and surgical modality. Results: The mean age during BC diagnosis was 43.8 years. The overall happiness self-perception (HSP) score found was 8.8 out of 10. Unhappy feelings or deprived humor were reported by 61.8% of the interviewed women. Good doctor-patient relationship (DPR) during treatment was reported by 92.3% of the study population, and those who reported it had higher overall HSP scores in comparison with those who reported problems regarding their DPR. Besides, 97.6% of the interviewed women had surgical treatment, and our data showed no significant changes in the overall HSP scores among patients undergoing mastectomy and lumpectomy. Conclusion: Women with BC are prone to experience unhappiness and have deprived humor, despite having high overall HSP scores. Besides, in contrast to our original thoughts, the modality of surgical treatment did not have a significant impact on HSP scores.
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2

Necula, Lidia Mihaela. "GENDER-ING ADVERTISEMENTS: TROPING THE FEMALE BODY." In 10th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscss.2023/s10.45.

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One of the most compelling of all cultural and economic institutions, advertising is a genuine entertainer whose dramatic performance allows for the intrinsic and interdependent relationship between representational, interactive and compositional meanings. Traditional portrayals of the female body in advertising have been heavily relying on non-verbal modes generating a multiplicity of problematic messages co(n)textualized by extra-linguistic features that interact within the cognitive environment of the target audiences with a view to ultimately troping and exploiting the female body for commercial purposes. From the sexualization of women�s bodies, to the use of unrealistic and idealized body standards that promote narrow beauty ideals, to the fragmentation and the dismembering of the female body, or to the technique of retouching and digital manipulation, the current paper looks into tropes used in advertising (viz. metaphors, metonymies, euphemisms, irony and humour) in a selection of gender-ing ads (both vintage and modern) mediating the female body figure.
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Madhuwanthi, I. M. U. "Enhancing young readers' expectations in Sri Lankan chapter book series: a review based on user feedback for 'Kacha Kacha Simona." In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.4.

Повний текст джерела
Анотація:
“Kacha Kacha Simona” was a pioneering chapter book series of Sinhala literature, categorized under chapter books the children story genre, authored and published from the year 2017 by the Sri Lankan writer I.M. Uthpala Madhuwanthi alias ‘Sandha Uthpalawee’. At present, “Kacha Kacha Simona” book series which is also considered a significant milestone of the author’s writing career has evolved into a trilogy targeting not only readers aged 7 to 11, but also beyond. The book series “Kacha Kacha Simona”, accompanied with delightful illustrations, captures the essence of the author’s childhood experiences. The series revolves around the protagonist, a talkative, playful, yet innocent girl with a strong determination for her studies. The books showcase Simona’s family, pets, hobbies, and her profound appreciation for the little joys of life. Also the storyline revolves around Simona’s journey as she prepares for and faces the grade five scholarship examination, a significant challenge that alters the course of her life. The first book in the series, “Kacha Kacha Simona” was an island-wide success, not only among children but also with adults. The author’s personal handling of story development, illustrations, book layout, cover design, publishing, distribution, sales and marketing showcased her multifaceted talent. The positive reception received from the audience including fan mail and drawings from readers inspired the author to create the second installment of the series, “Kacha Kacha Simona - Vibhaga Boothaya '' in 2020. In the year 2021, the third book “ Kacha Kacha Simona – Duwana Iskole” was also published and they all received an overwhelming amount of love and attention from young readers.The author introduced a unique page layout and a presentation style, setting a new trend in Sri Lankan children’s story books. The trilogy was also recognized for its educational value by the Ministry of Education as all three installments were certified as suitable for Sri Lankan school libraries. The series’s success can be attributed to four key elements consistently praised by its young audience based on their feedback. First, the narration style is engaging and captivating, keeping children enthralled throughout the reading experience. Second, humor is artfully woven into the narrative, providing moments of laughter and joy. Third, the author’s simple writing style resonates well with young readers, making the books accessible and relatable to their real life experiences. Fourth, the delightful illustrations complement the story, enhancing the overall appeal of the series. Taking “Kacha Kacha Simona’s user feedback into consideration, this study reveals the desired expectations of young readers of Sri Lankan chapter book series.
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