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Dissertations / Theses on the topic 'Arab wit and humour'
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1
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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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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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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Boost, Jörn Max Friedrich. "An examination of the role of wordplay in Freud's theory of humour." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948741.
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Boost, Jörn Max Friedrich. "An examination of the role of wordplay in Freud's theory of humour." [Hong Kong : University of Hong Kong], 1985. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367680.
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Kuoch, Phong. "Laughing for a change : Racism, humour, identity and social agency /." Burnaby, B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/670.
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Thesis (M.A.) - Simon Fraser University, 2005.Theses (Faculty of Education) / Simon Fraser University. Includes bibliographical references. Also issued in digital format and available on the World Wide Web.
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Reinshagen-Joho, Liane. "Humour : the other intelligence : Curt Goetz and Jorge Ibargüengoitia /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/6677.
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Balisch, Loretta Faith. "Scrub growth, Canadian humour to 1912, an exploration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1994. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ36198.pdf.
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Hagemann, Michael Eric. "Humour as a postcolonial strategy in Zakes Mda's novel, The heart of redness." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&.
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This thesis sought to demonstrate that humour and the grotesque are the primary tools by which Mda achieve his postcolonial strategies of "writing back"
, that is, of asserting an identity in the face of colonial pressures, apartheid and the growing selfishness of many in the new, post-democratic South African society.
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Piat, Emilie. "L’humour dans la poésie féminine britannique contemporaine (1945-2000) : stratégies et figures." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA046.
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Le seul consensus autour de la poésie féminine contemporaine est celui d’une grande diversité. Sur le plan thématique et formel, autant que du point de vue de l’origine des poètes, il semble difficile de réunir sous un paradigme unique les œuvres écrites par des femmes. C’est également l’un des aspects que soulignent l’ensemble des ouvrages consacrés à l’humour : le terme renvoie à des phénomènes si différents qu’il est presque impossible de le réduire à une définition qui recouvre l’ensemble de ses manifestations. C’est pourtant précisément en raison de cette difficulté définitionnelle que l’humour constitue un prisme de choix pour parcourir la poésie féminine contemporaine. Par nature protéiforme, l’humour est « transgenre » ; il subvertit l’ordre social et les instances de pouvoir réel ou symbolique, mais remet aussi en question les identités génériques et sexuelles. Rien d’étonnant à ce que les femmes poètes y voient une arme pour s’attaquer aux idées reçues, aux stéréotypes et aux métaphores figées, notamment celles qui prétendent définir l’identité féminine. Mettant en adéquation ce qui se passe sur le plan de l’énonciation, de la réception, de la rhétorique et de la prosodie, l’humour est donc envisagé comme une modalité d’écriture, c’est-à-dire un ensemble de formes traduisant un positionnement particulier. Cette posture, qu’elle prenne le nom d’irrévérence, d’incongruité ou de décalage, témoigne à la fois des liens complexes que les femmes entretiennent avec la tradition poétique et des stratégies qu’elles ont développées pour y parvenir, dans lesquelles se dessine une même volonté, en explorant les lieux communs et les espaces de consensus, de redessiner les contours de la poésie contemporaineThe only consensus around the question of contemporary women poetry is that of its diversity: the themes and forms of the poems written by women are almost as varied as the origins of the poets themselves. Diversity is also one of the aspects underlined by most of the publications on the subject of humour. The term applies to so many phenomena that it is virtually impossible to reduce it to a final definition. Yet it is precisely because humour is so difficult to define that it constitutes a particularly appropriate prism to approach contemporary women poetry. Humour is by essence “transgender”. It subverts social order as well as instances of real or symbolical power, and challenges sexual and generic identities. Unsurprisingly, women poets have seen it as a choice weapon to attack received opinions and stereotypes, especially when those aim at defining femininity. Humour should therefore be considered as a form of writing, or rather a set of forms, expressing a specific positioning and operating on the level of enunciation, reception, rhetoric and prosody. This posture, which can be interpreted as irreverence, incongruity or difference, testifies of the complex ties women have established with the poetic tradition. But to do so, women have also developed strategies which enable them to explore common knowledge and accepted truths, and thus redefine the contours of contemporary poetry
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Orr, Billie Y. "Humour and social support as moderators of life event stress in students." CSUSB ScholarWorks, 1985. https://scholarworks.lib.csusb.edu/etd-project/220.
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Fraser, Robert Duncan. "Ram alley, or Merry tricks (Lording Barry, 1611) : a critical edition." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47147/.
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The object of this thesis is to produce a critical edition of Lording Barry's play Ram Alley (first published in 1611 by Robert Wilson and printed by George Eld). This edition will consist of (a) an annotated, modernised spelling version of the text, that text being based on a bibliographic study of the first quarto, and (b) an introduction which will cover: the printing of the first quarto, the life of Lording Barry and his critical reception, the play's place in and contribution to early Jacobean city comedy (particularly in relation to the use of wit and bawdy in masculine self-definition), and the problems of annotating a text which is so reliant for its humour on bawdy innuendo. The annotation will be very much fuller than is normal for an edition of an early modern play text, aiming to provide not just explanation but also commentary on and contextualisation of the language, contemporary and cultural references, characterisation, and action. This play is something of a by-way in the early Jacobean drama, and, like its author, is little known. It is, however, a competent example of the type of comedy produced for the private theatres and reflects, therefore, on the work of other, better known dramatists, in particular Thomas Middleton. In terms of original contribution to the field of study, this thesis will, it is hoped, add to our knowledge and understanding of: 1. the text of Ram Alley 2. the production of the first quarto of Ram Alley 3. the working practices of the printer, George Eld (who was also responsible for the first quarto of Troilus and Cressida and of Shakespeare's Sonnets) 4. the nature and hermeneutics of wit in Ram Alley 5. approaches to editing early modern dramatic comedy 6. Jacobean city comedy as a genre.
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Leung, Shan Mui Stella. "The use of praise and humour in ESL classrooms by native speaking teachers (NS) and non-native speaking Chinese teachers of English (NNS) : a cross-cultural comparative study in the Hong Kong context." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/380.
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Ward, Matthew. "The sound of laughter in Romantic poetry." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6814.
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This thesis offers the first critical examination of the sound of laughter in Romantic poetry. Part one locates laughter in the history of ideas of the seventeenth and eighteenth centuries, and explores the interplay between laughter and key intellectual, aesthetic, ethical, and social issues in the Romantic period. I chart a development in thinking about laughter from its primary association with ridicule and the passions up to the early decades of the eighteenth century, to its emerging symbiosis with politeness and aesthetic judgement, before a reassertion of laughter's signification of passion and naturalness by the end of the eighteenth century. Laughter provides an innovative means of mapping cultural markers, and I argue that it highlights shifts in standards and questions of taste. Informed by this analysis, part two offers a series of historically aware close readings of Romantic poetry that identify both an indebtedness to, and refutation of, earlier and contemporaneous ideas about laughter. Rather than having humour or comedy as its central concerns, this thesis identifies the pervasive and capricious influence of the sound of the laugh in the writing of Robert Burns, William Blake, William Wordsworth, Samuel Taylor Coleridge, Leigh Hunt, Lord Byron, Percy Shelley, and John Keats. I detect the heterogeneous representations of laughter in their work that runs across a diverse range of genres, poetic forms, themes, and contexts. As such, I argue against the serious versus the humorous binary which prevails in literary criticism of Romanticism, and suggest that laughter articulates the interplay between the elegiac and the comic, the sublime and the ridiculous, the solitary and the communal. Moreover, I detect a double-naturedness to the sound of laughter in Romantic poetry that registers the subject's capacity to signify both consensus and dispute. This inherent polarity creates a tension in the poems as laughter ironically challenges what it also affirms. Never singularly fixed, the sound of laughter reveals the protean nature of Romantic verse.
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Estrada, Luttikhuizen David. "L'expressió escrita i els continguts de l'humor a la literatura infantil i juvenil catalana de 1904 a 2004: educació en els valors." Doctoral thesis, Universitat de Girona, 2008. http://hdl.handle.net/10803/7669.
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L'humor permet entendre i organitzar el món. És un aspecte en l'educació de la identitat cultural que comença tan aviat com la canalla pot seguir una narració oral, i que s'intensifica a mesura que la lectura esdevé un hàbit. L'humor escrit ofereix recursos expressius i camps semàntics determinats per la llengua, i continguts i referents culturals determinats pels valors socials; el seu codi inclou convencions amb el lector sobre la presentació i l'argument. Com a estratègia d'adaptació, l'humor es va modificant segons les circumstàncies socials al llarg del temps. El present treball es centra en la literatura per a infants i joves escrita en català com a idioma original i editada entre el 1904 i el 2004.Humour helps us to understand and organise the world. It is an aspect in the formation of cultural identities which develops as soon as children can follow an oral narrative, and is further intensified as reading becomes a habit. Written humour displays expressive resources and semantic fields determined by the language, and contents and referents determined by social values; its code includes conventions with the reader regarding form and plot. Being a social strategy, humour evolves through time depending on the circumstances. This research focuses on literature for children and adolescents originally written in the Catalan language and published between 1904 and 2004.
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Pahuta, Lida. "The limitations of ethnic humour : can ethnic humour function as an anti-racist discourse?" 2004. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=94980&T=F.
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Gordon, Robert Lawrence Payet. "A qualitative study of humour theory." Thesis, 1998. http://hdl.handle.net/10413/6157.
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This qualitative study of humour theory provides a broad descriptive account of the current status of humour theory within the multidisciplinary context of human and social studies. The nature of qualitative research is examined in terms of its relevance to humour research studies. Qualitative research is found to be a generic term applying to a range of types of data collecting approaches that fall outside the ambit of quantitative paradigms. Quantitative
methods are shown as having limited applicability to humour studies which are primarily reliant on data collecting. Humour is examined in terms of its biological, phylogenetic and historical antecedents. The emergence of schools of humour theory is discerned; and a study is made of changing social perceptions of humour in terms of the 'ruling discourse'. Humour
theory is examined in terms of parameters of contemporary research which entails the processes of defining humour and theorizing about humour in terms of a variety of variables. Critiques are provided of Murdock and Ganim's macro-level descriptive study of humour definitions and theories as well as of Apter's reversal theory of humour. Reflectivity is employed as a qualitative approach to analyse the personal experience of a 'humorous event'. Attention is also given to the relevance of orality, oral tradition and anthropological perspectives to humour research. Finally, recommendations are made for further research.Thesis (M.A.)-University of Natal, 1998.
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Rasepae, Kelebileone Matshidiso Monica. "Facilitating learning through humour in a private nursing education institution in Gauteng." Thesis, 2014. http://hdl.handle.net/10210/9915.
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M.Cur. (Nursing Education)Humour, as an instructional approach is used to facilitate learning and it has been found to have immeasurable benefits to nursing education (Ulloth, 2003b; Chabeli, 2008). However, the use of humour is a challenging activity, especially in nursing education, owing to the profession’s serious nature. Previous studies recommended continued exploration of the teaching and learning situations in order to improve the way nursing education students are educated. Despite the studies conducted about the use of humour to facilitate learning, there is still an absence of guidelines to assist nurse educators to use and integrate humour into the teaching content to enhance the learning of learner nurses at a nursing education institution in Gauteng. The purpose and objective of this study was to explore and describe the experiences of learner nurses regarding the effects of humour in facilitating learning in order to describe the guidelines to facilitate learning through humour at a nursing education institution in Gauteng. A qualitative, explorative, descriptive and phenomenological research design that is contextual in nature was employed (Burns & Grove, 2009:54; Mouton, 1996:102– 107). A non-probability purposive sampling method was used to select participants. The study was conducted into two phases. Phase one consisted of the exploration and description of the experiences of learner nurses with regard to the effect of humour in facilitating learning, through focus group interviews. Phase two of the study consisted of a conceptualization of the findings and a description of guidelines to facilitate learning through humour at a nursing education institution in Gauteng. Tesch’s qualitative open coding method of data analysis (in Creswell, 2012:244 - 245) was used to analyse the data obtained. Trustworthiness was ensured in accordance with Lincoln and Guba (1985:316-327). Ethical considerations were observed using DENOSA’s ethical standards (DENOSA, 1998:7). The three main categories that emerged from the data were positive effects of humour, negative effects of humour, and the effects of an absence of humour. These main categories and sub-categories in conjunction with their related themes were conceptualized and supported by the relevant literature.
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"Humour as a moderator of the relationship between academic expectancy stress and academic self-concept." Thesis, 2015. http://hdl.handle.net/10210/13735.
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M.A. (Counselling Psychology)A correlation between academic achievement and academic self-concept has been well established during past studies. Academic self-concept may be influenced by the experience of academic stress, especially academic expectancy stress which is stress derived from the expectations of the self and significant others. With debilitating effects that academic expectancy stress may have on students, interventions need to be put in place to assist students in coping with the workload and also to protect their academic self-concept. The use of humour in an educational setting has been shown to be successful in assisting students in performing well academically. Different humour styles may, however, play a role in the relationship between academic expectancy stress and academic self-concept. This study focused on humour styles (self-enhancing, affiliative, self-defeating and aggressive humour styles) as moderators in the relationship between academic expectancy stress and academic self-concept. The sample of this study consisted of 976 undergraduate students from the University of Johannesburg. The Humour Styles Questionnaire, Academic Expectations Stress Inventory and the Academic Self-concept Scale were used to gather data. A correlational analysis was initially done to determine the relationships between the variables and to check for multicollinearity. Next, a moderated multiple regression analysis was done to determine if the four humour styles moderate the relationship between academic expectancy stress and academic self-concept ...
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Jacobs, Susanne. "The implementation of humour as deflective technique in contact boundary disturbance." Diss., 2007. http://hdl.handle.net/10500/1603.
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One potent, yet little recognized tool in therapy is humour. As the desire to be entertained through humour is near universal the establishment and return of a positive sense of humour may be considered a goal of therapy. The goal of Gestalt exploration is awareness. From its origin Gestalt theory includes addressing body experiences such as laughter and emotional expression through humour.
In Gestalt Theory a contact boundary disturbance such as deflection refers to the ways in which individuals may refuse contact with their environment in order to avoid aware¬ness.
The goal of this study was to explore the implementation of humour as a deflective technique where contact boundary disturbances occur, to bring about change. Aspects of humour, namely the ability to perceive the comic as well as the ability to produce it, aid therapy and relationship building, and help the client to deflect in a way that enhances emotional well-being.Humor, geringskat in terapie, is 'n uiters sterk hulpmiddel. Aangesien die behoefte om vermaak te word deur humor universeel is, is die terugkeer van 'n positiewe sin vir humor 'n deurdagte doel vir terapie. Die doel van die Gestalt eksplorasie is bewuswording. Van die begin af sluit Gestalt teorie liggaamservaringe soos lag en emosioneie uitdrukking deur humor in. In Gestalt Teorie verwys 'n kontakgrens versteuring soos defleksie, na die wyse waarop individue kontak met die omgewing vermy, om sodoende bewuswording te vermy. Die doel van die studie was om die implementering van humor as deflektiewe tegniek, waar kontak grens versteuringe en weerstande voorkom, as verandering teweeg kan bring. Aspekte van humor, naamlik die moontlikheid om die komiese waar te neem, sowel as om dit te produseer, versterk terapie and vehoudingsbou, beide aspekte help die klient om te deflekteer op so 'n wyse dat emosioneie goedvoel bevorder word.
Social Work
M. Diac. (Play Therapy)
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Campbell, Sheldon Troy. "Stages on pages : a comparative study of Pieter-Dirk Uys' one man shows as an autobiographical alternative to memoir." Thesis, 2011. http://hdl.handle.net/10413/7981.
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In this dissertation I seek to analyse the use of autobiographical monologues and elements in selected scenes from the political revues Foreign Aids (2001) and Elections and Erections (2009) by South African playwright-performer Pieter-Dirk Uys. The purpose of this analysis is to evaluate the use of autobiographical writing in revue performance as an alternative method for presenting autobiography to spectators. My argument is that the unique style and format of the revue-form provides a distinct approach to the live performance of autobiography. The analyses centre on the revues Foreign Aids and Elections and Erections in a literary comparison with Uys’ two prose narrative memoirs, Elections and Erections: A Memoir of Fear and Fun (2002) and Between the Devil and the Deep: A Memoir of Acting and Reacting (2005). These two book-length print memoirs have passages of text that correspond with the autobiographical monologues and other dramatic elements in the revues that I have selected. The aim of providing the comparative analysis of Uys’ revues with his memoirs is to reveal the strengths and weaknesses of these genres insofar as Uys has employed each to attempt to write and perform aspects of his life-story. In order to facilitate these analyses, I have researched international studies on the interdisciplinary field of performance autobiography. I have come to rely on two key theorists of performance autobiography, Sherrill Grace and Deirdre Heddon, and I have applied their theories to my study of Uys’ revues. I discuss several autobiographical scenes in Foreign Aids, comparing them with passages from Elections and Erections: A Memoir of Fear and Fun, and I compare a selected monologue in Elections and Erections, the revue, with a passage containing the same material in Between the Devil and the Deep: A Memoir of Acting and Reacting. The comparison between the revues and the memoirs reveals the narrative and stylistic similarities and differences between Uys’ writing and performance of the self in performance narrative as opposed to prose narrative. The study identifies the most salient features of Uys’ autobiographical performances, including the thematic links between the individual life-story and the concern with social welfare, the sharing of intimate anecdotes regarding his own sex-life and the sexual practices of South Africans, and the relationality between the self and other represented in dialogues where he portrays himself and other characters speaking to each other.Thesis (M.A)-University of KwaZulu-Natal, Durban, 2011.
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Van, Tonder Anna Magrieta. "On the serious social implications of humorous art." Diss., 2007. http://hdl.handle.net/10500/2259.
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Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new dynamic into a postmodern culture of play where truth and meaning remain infinitely suspended in an ungrounded state of possibility.Art History, Visual Arts & Music
M.A. (Visual Arts)