Dissertations / Theses: 'Humor studies'

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McCarter, Charles Murdoch. "Humor in Japanese Conversation." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/560774.

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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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Rainey, Kenneth Richard III. "Cross-Cultural Humor Through Comedy Films?" The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525141452462223.

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N, Schönfeldt Sara, and Jelena Miznikova. "The Serious Business of Humor : A qualitative study of humor as a management tool." Thesis, Umeå University, Umeå School of Business, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-35849.

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This research was initiated due to the novelty of the topic. Humor is a common phenomenon in the daily interaction of many people; however this study is particularly interested in humor as used by managers. As a preconception to the study it was assumed that appropriately used humor results in benefits for a leader, thus we wish to explore how managers in Swedish organizations reason about if and how humor can be used as a management tool. For this purpose we employed qualitative research with semi-structured interviewing method. The subjects for investigation reside in Umeå, northern Swedish town, and are leaders in 8 medium/big sized, private, service companies.

The findings of this research suggest that managers often do realize the benefits of using humor and even consider it as a management tool. Our findings furthermore illustrate that the utility of humor to achieve the desired organizational outcomes of reduced stress, group cohesiveness, improved communication, creativity and leadership effectiveness is in fact very situation dependent. We could also see that our respondents tended to attribute the use of humor to their natural skills as they reason that they rarely use humor on purpose. Interestingly though, our findings showed both that managers were aware of the effects of humor and that they often utilized the benefits of humor. We therefore conclude that humor thus instead is consciously used as the managers often clearly are aware of the beneficial effects that humor brings. However, we do believe that it could be difficult to state to what extent one implements the benefits of humor in practice since humor is, as mentioned by the majority of our respondents, simply a part of their personality.

We think that one of the most important things that this study can contribute with would be to inform the reader that it is acceptable and OK to use humor also as a manager or a leader. People do not have to be less serious or effective because they have fun at work. On the contrary there are instead many benefits with humor that our research shows and if implemented, humor could contribute to make the workplace more pleasant.

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Törnqvist, Agne. "Etik, humor, religion : Ett kantianskt perspektiv." Thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-187567.

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Denna uppsats kommer att utforska de etiska begränsningar skämt har när det kommer tillreligiöst laddade skämt. För att besvara detta syfte kommer det krävas att en teoretisk inriktad metod används. Metoden kommer inte att vara riktad mot att beskriva religion, utan istället hur religion bör bemötas. Arbetet kommer därför att bearbeta moralfilosofiska texters arguments hållbarhet. Metoden är alltså kraftigt normativ och inte bara deskriptiv. Utifrån en nytolkning av Immanuel Kants de ontologiska etik visar resultatet att pliktetik kan vara en vägledande utgångspunkt för att bemöta andra trosuppfattningar på ett empatiskt och lyhört sätt som strävar efter samtycke. Samtidigt finns möjligheter till att tolka skämt på ett nyanserat sätt vilket tillåter ett stort spelrum för personer att använda kontroversiella former av humor, särskilt när skämten riktar sig mot orättvisor.

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Cirkelyte, Audrone. "Humor as a Mirroring Self- Reflection : A Case study of a subversive Deaf Humor Aiming the Spotlight at the Hearing Majority." Thesis, Linköpings universitet, Forum för genusvetenskap och jämställdhet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-166769.

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Humor builds the ground to share the common and the uncommon, to ease the uneasiness, to laugh at oneself and the other. It is amusing and rebellious, revealing the obvious from the obscure and challenging the unchallenged. The purpose of this Master thesis is to examine the subversive humor use within Deaf communities, centered around the hearing society, as well as to explore subversive humor’s role in reinforcing the Deaf identity and resisting the often assigned otherness. Taken the form of a case study this thesis analyses two examples: a short film The Kiss, produced by Charlie Swinbourne and the series of graphical drawings from Tais, created by Alícia Sort Leal. Using visual analysis and close reading as analytical methods as well as classical (Superiority, Incongruity, Relief) and contemporary (Reversal) humor theories, this thesis provides an insight into reflective and mirroring effects of humor.

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Klink, Madeline LeNore. "Laugh out loud in real life : women's humor and fan identity." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59730.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 83-91).
The emerging field of fan studies has, until recently, been defined only by the research that has taken place within it. Almost universally, this research focuses on self-identified fans. However, scholars are beginning to examine and debate what the limits of the field should be. This study argues that self-identified fans are not the only group that ought to be examined under the heading of fan studies. It also highlights the fact that humor is rarely discussed in fan studies, and argues that this is a major lacuna. In order to accomplish these goals, this study turns to three examples. The first example is an online discussion community for the Twilight novels, Twatlight, which does not define itself as a fan community but nevertheless exhibits all the characteristics of a fan community and is in conversation with self-identified fan communities. The second example is humorous images produced by the Twatlight community, which use jokes to make serious arguments about the Twilight books. The third example is humorous fan vids produced within the mainstream media fandom vidding community; fan vids have been traditionally treated by fan studies as purely melodramatic artworks. The study concludes that fan studies should define itself as the study of people who are affectively engaged with texts in the context of critical communities.
by Madeline LeNore "Flourish" Klink.
S.M.

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Johnson, Catherine. "A Fish Without A Bicycle: Women's Use of Humor For Social Change." Miami University Honors Theses / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1111067856.

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Mullen, Emily. "Fighting against Indigenous Stereotypes and Invisibility| Gregg Deal's Use of Humor and Irony." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793926.

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Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal’s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly’s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon’s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar.

In a second line of argument, I foreground Deal’s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal’s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.

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Abujbarah, Kinda. "Laughing Back: A Phenomenological Study of Disability Humor Using Culturally Responsive Methodologies." Thesis, Chapman University, 2020. http://pqdtopen.proquest.com/#viewpdf?dispub=27543102.

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Historically, disabled people have not been viewed as innovators of humor because disability is associated with tragedy. My dissertation challenged the association of disability with tragedy by positioning disabled comedians as educators and ambassadors of disability rights. I reviewed the literature on disability and humor as well as disability oppression, which disability humor challenges. I used phenomenology as well as culturally responsive methodologies to examine what disabled comedians are achieving with their humor and what nondisabled audience members learned from attending their performances. Vygotsky’s sociocultural theory of learning was used to examine learning outcomes for audience members. I examined historical and contemporary Black humor, which is much older than disability humor in order to investigate what may be the future of disability humor.

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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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Lewis, Melinda Maureen. ""That's What She Said": Politics, Transgression, and Women's Humor in Contemporary American Television"." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394394312.

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Bartholomew, Sherlene Hall. "An Annotated Bibliography of Literary Mormon Humor." Diss., CLICK HERE for online access, 1998. http://contentdm.lib.byu.edu/u?/MTAF,40619.

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Knauer-Turner, Elisabeth. "Sexual minorities' internalized homophobia, experience of heterosexism, and use of humor." Thesis, University of La Verne, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3662297.

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The purpose of the present study was to explore the associations between level of internalized homophobia, experiences of heterosexism, and gender with endorsement of type of humor (self-enhancing, affiliative, self-defeating, and aggressive) used as a coping skill among sexual minority participants. A survey was created and administered online, and participants were recruited by word of mouth, emails, and online postings on Facebook and craigslist. The sample consisted of 146 participants who identified as a sexual minority (i.e. Gay, Lesbian, or Bisexual), with ages ranging from 18 to 70 years. Results indicated a positive direct correlation between participants' level of internalized homophobia and endorsement of self-defeating humor. Results also indicated a positive direct correlation between participants' experiences of heterosexism and endorsement of self-defeating humor. Results indicated no significant correlations among level of internalized homophobia, experiences of heterosexism, and endorsement of aggressive, affiliative, or self-enhancing humor types. In regard to gender and humor type, men in the sample endorsed greater levels of aggressive humor than women in the sample. Results indicated no significant difference between men and women for self-defeating humor. Future research should continue to explore sexual minorities' use of humor. Implications of the present study suggest that clinicians be alert to and explore consequences of utilizing self-defeating and aggressive humor, especially for sexual minorities with more experiences of heterosexism, higher levels of internalized homophobia, and men using aggressive humor. Additionally, adaptive coping skills, such as affiliative and self-enhancing humor, should be encouraged to promote well-being.

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Couret, Nilo Fernando. "Peripheral Humor, Critical Realism: Latin American Film Comedy, 1930-1960." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4831.

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Latin American film comedies, from the early sound period until the beginnings of the aesthetic and political New Cinemas (1930-1960), mediated modernity in diverse national contexts through affective and aesthetic tactics that shifted the spectator position in the narrative. These film comedies functioned in a mode of "critical realism" that produced historical self-awareness and foregrounded the geopolitical extension and uneven development of modernity. The comedian comedies of Mario "Cantinflas" Moreno (Mexico), Niní Marshall and Luis Sandrini (Argentina), and Oscarito and Grande Otelo (Brazil) demonstrate not only what kind of "peripheral humor" operated within - and traveled beyond - the national context, but also what this kind of humorous social critique reveals about the capacity of film to move viewers, by means of affect, into positions of critical opposition in the public sphere. By examining the linguistic play of these comedians, this study demonstrates four aspects of Latin American comedy that operate via embodiment and spatio-temporal location. First, Cantinflismo had as its basis not merely word play and non-sense, but misdirection, an evasive spatial practice which positioned the viewer to resist social hierarchies within and beyond the nation. Second, Marshall's multiple radio and film characters and her vocal stardom constituted an auditory map of Buenos Aires that created a different spatial intelligibility for her auditors. Third, Sandrini's stutter produced multiple temporalities that, in turn, positioned the audience itself to do a double take regarding its relation to the film text and its location within the standardized time of modernity. Fourth, the palimpsestic parody of the Brazilian chanchanda by Oscarito and Grande Otelo produced an awareness of historicity in a critically realist vein. Taken together, these four parallel examples of comedic practice demonstrate how Latin American film comedies produced a critically proximate spectator capable of perceiving and organizing space and time differently. Affirming that the study of popular film genres should be seen neither as derivate of foreign models nor as defensive authentic cultural expression, the thesis argues that articulating Miriam Hansen's concept of vernacular modernism to Angel Rama's concept of transculturation yields an understanding of popular cinema as a cultural practice of embodiment that foregrounds the differentiated responses to modernization. Furthermore, by re-reading the theories of realism of Gyorgy Lukács and Siegfried Kracauer and the theories of mimesis and innervation of Walter Benjamin through the critical lenses of Henri Bergson and debates about realism in the Latin American literary boom, this study demonstrates how the humor is contingent on thinking within a particular historical context and becoming part of a located collective body. These film comedies produce a critically proximate humorous spectator moved in laughter to examine his/her relation to the film text and his/her historical and geopolitical location within a cultural landscape marked by economic dependency.

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Teixeira, Walkiria França Vieira e. [UNESP]. "Elementos constitutivos do humor em sitcoms: uma análise à luz dos estudos da tradução baseados em corpus." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136270.

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O objetivo deste estudo foi analisar a manutenção do humor no texto midiático, a partir da compilação e análise de três corpora paralelos das legendas em inglês e de suas respectivas traduções para o português dos episódios de três temporadas de cada uma das sitcoms Seinfeld, Friends e The Simpsons. Buscamos analisar elementos que pudessem contribuir para desencadear o humor nas sitcoms, e levantar se as ocorrências de humor seriam recorrentes aos diferentes tipos de sitcoms. Abordamos os estudos sobre humor desenvolvidos por Raskin (1979, 1985), Attardo e Raskin (1991), Attardo (1994, 2002, 2008) e Vandaele (1999b, 2010); os estudos sobre a Tradução do Humor Audiovisual feitos por Gottlieb (1992, 1998, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas e Sánchez (2006), Díaz-Cintas e Remael (2007) e Veiga (2006, 2009). Apoiamo-nos na abordagem interdisciplinar adotada por Camargo (2007, 2008), a qual se fundamenta no arcabouço teórico-metodológico dos Estudos da Tradução Baseados em Corpus lançados por Baker (1993, 1995, 1996, 2000, 2004), para a investigação de ocorrências dos vocábulos, além da metodologia da Linguística de Corpus adotada por Berber-Sardinha (2004). Contamos com o auxílio dos programas computacionais WordSmith Tools e Align Assist para auxiliar no levantamento dos dados. Os resultados apontaram que a frequência de Advérvios de Negação, Intensificadores e Interjeições presentes nas legendas das sitcoms podem se caracterizar como elementos constitutivos do humor.
The objective of this study was to analyze the maintenance of humor in the media text, starting from the compilation and analysis of a parallel corpus of English subtitles and their translations into Portuguese, from the episodes of three seasons of each sitcoms: Seinfeld, Friends and The Simpsons. We analyze the elements that could contribute to trigger the humor in the sitcoms, searching if the occurrences of humor would be recurring to the different types of sitcoms. We based our research in the studies of humor developed by Raskin (1979, 1985), Attardo and Raskin (1991), Attardo (1994, 2002, 2008) and Vandaele (1999b, 2010); the studies of Audiovisual Humour Translation made by Gottlieb (1992, 2001, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas and Sánchez (2006), Díaz-Cintas and Remael (2007) and Veiga (2006, 2009). We rely on the interdisciplinary approach adopted by Camargo (2007, 2008), which is based on the theoretical and methodological framework of Corpus-Based Translation Studies proposed by Baker (1993, 1995, 1996, 2000, 2004), as well as the Corpus Linguistics methodology adopted by Berber-Sardinha (2004), in order to investigate vocabulary occurrences. We rely on the assistance of computer softwares WordSmith Tools and Align Assist to help with data collection. The results pointed that the frequency of Denial Adverbs, Intensifiers and Interjections present in the sitcoms subtitles’ can be characterized as humor elements’ constituents.

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Connor, Jutterstedt Emelie. "Özz Nûjens ståuppkomik som diskursiv praktik: Humor, PK och självmotsägelser." Thesis, Stockholms universitet, Genusvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152109.

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Humour has for a long time been regarded as something unproblematic that in general shouldn’t be taken seriously, and humour research has mainly focused its positive functions and effects. However, humour is indeed a social and discursive practise that, just like others, have social implications. The aim of this essay is, informed by an intersectional perspective, to problematize and critically examine stand-up comedy as discursive practise and to make visible how humour build upon dominating discourses in society. The aim is also to examine the self-contradictory dimension of the jokes. In a critical discourse analysis of Özz Nûjen’s show Dålig stämning (2013), using PC (political correctness) as an overall analytical framework, the analytical categories ‘women’ as well as ‘ethnicity and culture’ are focused. My conclusion is that in all cases of Nûjen’s prerogative of interpretation, ‘stupidity’, as the lowest common denominator, sticks to symbols, bodies and phenomenon that are associated with something deviant or negative. By what is not expressed, a white, normative Swedish PC-identity is constructed as the abstract, preferable subject. Nûjen’s stand-up comedy, i.a. in expressions of self-contradiction, proves to mainly reinforce social norms. Consequently, negative preconceptions and biased representations of reality are cemented. Though Nûjen does contribute to sociocultural change to some extent, the elaborations of the jokes in most cases prove to sustain the social order. A renegotiation of identities is therefore made strictly limited. However, in one case, Nûjen does challenge the notion of identities as fixed and essential, when renegotiating the master status and construction of “The ethnical Other woman”.

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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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Horstman, Lori A. "Humor as a Coping Mechanism in Caregiver Stress." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1377785245.

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Cribbs, Heather. "Humor and Attitude Toward Homosexuals: The Case of Will & Grace." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003131.

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Martin, Ralph S. "Laughing Our Way To Revolution: A History and Analysis of African American Humor." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/599.

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The goal of this thesis is to explain the nature of ethnic humor in American society. This will be achieved through three different processes. First, this thesis will explain the history of African American humor and recount it’s development into it’s own brand of comedy. Second, it will explain the nature of African American humor and how it is a tool used to revolt against the oppressive and hegemonic nature of western society. Additionally, this paper aims to prove that African American humor is a coping mechanism for African Americans. This thesis will also discuss the duality of African American humor as both comedy and social critique. Another aspect this work will explore is how comedians deal with unintended stereotype perpetuation and also how different audiences respond to the racial jokes of the comedians. Finally, this thesis will outline how to better present jokes so that the perpetuation of racism and stereotypes does not happen. As a coping mechanism, African American humor takes stereotypes about African Americans, both positive and negative, and converts them into humorous topics that can make the stereotypes positive (Daube, 2010). This play on stereotypes, although it can be incredibly funny and also makes for great social commentary, is also very dangerous (Apte, 1987). Without proper context and understanding of the joke, it is possible that the intended social critique is not conveyed to the audience and instead the humor unintentionally perpetuates negative stereotypes. The value of African American humor as both entertainment and a coping mechanism is immeasurable (Cater, May, & Bird, 2012)

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Caruthers, Allison S. "The Emotional Consequences of Exposure to Sexual Orientation Inappropriate Humor on Television Comedies." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626238.

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Himes, Susan. "Fat commentary and fat humor presented in visual media : a content analysis." [Tampa, Fla] : University of South Florida, 2005. http://purl.fcla.edu/usf/dc/et/SFE0001407.

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Coronado, Teresa Marie Freeman 1975. "Locating the butt of ridicule: Humor and social class in early American literature." Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/8309.

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x, 196 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This project critiques the performance of class identity through the works of eighteenth- and nineteenth-century colonial and early national period authors using the lens of humor, primarily as posed by Elliot Oring and Henri Bergson's theories of laughter and the ridiculous. My argument is that under the guise of laughter these works conceal the underpinnings of an American class system which can be revealed through close reading and historical research. In my dissertation, I examine the performance of each author in his or her own autobiography and the reflection of that performance within the larger frame of the development of American status structures. The characters in the texts of the authors I work with in this project demonstrate the use of the comic persona to, as scholar Robert Micklus states, "locate the butt of ridicule anywhere but in their own mirrors"; however, in my project I examine this within the context of class. Chapter I examines the work of Madame Sarah Knight, The Journal of Madame Knight, and William Byrd II's The Secret History of the Line --both of whom use humor to disguise their class insecurities. In Chapter II, I examine the performance of class hierarchy, as seen through Franklin's Autobiography and John Robert Shaw's John Robert Shaw: An Autobiography of Thirty Years, 1777-1807. In Chapter III, I examine the complications of race involved in class relations, using John Marrant's autobiography, A Narrative of the Life of John Marrant, a Free Black. Chapter IV examines David Crockett's humorous performance of the middle landscape frontiersman as part of a valorized national identity in The Narrative of David Crockett. The ideology that prompts the so-called invisibility of class in United States society today requires us to examine it under a critical lens; this project uses humor as that lens. In questioning the laughter of early American texts, we can see the class divides of early American society being created--an important step to realizing how these divides are maintained in our world today.
Adviser: Gordon Sayre

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Rosen, Sarah M. "Dark Humor and Suicide: Exploring Viewer Suicidality in "The Long Way"." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/777.

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Death, dying, and the actual loss of life are some of the broadest sweeping concepts that typically evoke a wide array of emotions from sadness and anger to fear and despondence. It is unlikely that the first words associated with death are comedy, humor, or laughter. However, that is precisely what creators and comedians of dark, death, and gallows humor seek to achieve. For my senior capstone project, I have created a short fictional narrative film encompassing the traits of a dark comedy. However, noticing that few dark comedies delve into topics surrounding suicide, I wondered if it was possible to achieve the same comedic and filmic effects with suicide as dark comedies do with death. Is it possible to generate humor from suicide and desiring death? What is implied if humor is derived from the inability to reach death on one’s own volition?

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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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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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Bentley-Edwards, Melissa Ann. "Laughing in the Shadow: The Role of Humor in Ghost Story Telling." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etd/2201.

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The ghost story concert is a popular modern form of presenting ghost stories to ticket buying audiences and is one of the last stomping grounds of the oral tradition. Attendees come to be scared but not terrified. Tellers employ humor to release tension during the tale. When does humor release tension while maintaining the momentum of the story? When does the humor employed deflate it into a comical tale and diffuse suspense altogether? In an effort to answer these questions, four variants of a single story, Tailypo, were analyzed for the presence of tension and humor inducing stimuli employing Rothbart's diagram of Schematic Representation of Affective Response to Sudden, Intense, or Discrepant Stimulation. Rothbart's model has previously been applied to affective response to horror film; here it has been applied to oral storytelling.

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Molander, Christoffer. "Amiable Humor and Dual Address in The Adventures of Tom Sawyer." Thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144102.

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The humor of Mark Twain has long fascinated his readers. Critics such as Messent (2007), Budd (2005), Gerber (1988) and Camfield (2005) have all analyzed Mark Twain’s humor to reveal nuances and to help further the understanding of what makes Twain’s writing humorous. However, there is a distinct gap in the research so far conducted investigating Twain’s humor in relation to young readers, which this paper will begin to address. Twain’s novel The Adventures of Tom Sawyer (2007) poses a relevant subject for this research as Twain explicitly (in the preface to the novel) professes to write both for children and adults simultaneously. Writing in such a way can be categorized as either “double address” or “dual address”, understanding these terms according to the definitions of Barbara Wall (1991). In this paper I will argue that Mark Twain manages to create “dual address” in Tom Sawyer by using what Greg Camfield (2005) calls “amiable humor” and constructing scenes out of childhood in order to produce delight and nostalgia. By reading closely excerpts of the book and analyzing Twain’s specific use of humor through three prominent theories—superiority theory, relief theory and incongruity— it becomes possible to identify what the implied reader is meant to find humorous, and therefore if Twain manages to establish a “dual address”. An understanding of Twain’s humor from the perspective of both young and adult reader furthers our understanding of the novel by revealing Twain’s implementation of complex “dual address” narration and its implications.

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Huovinen, Miriam. "Ironi – ett vapen att framföra kritik : Allvarsam kritik levereras med humor i Miika Nousiainens roman Hallonbåtsflyktingen." Thesis, Stockholms universitet, Institutionen för slaviska och baltiska språk, finska, nederländska och tyska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152435.

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I denna uppsats har jag undersökt vad ironi är och hur den uppstår i Hallonbåtsflyktingen, en roman utgiven på finska av Miika Nousiainen (2007) och översatt till svenska av Mårten Westö (2009). Jag har utgått från Linda Hutcheons och Katharina Barbes teorier om ironi i min analys. Jag har även undersökt varför mottagandet av boken varit skiftande mellan Finland och Sverige. Ironins primära syfte är att framföra kritik och dess sekundära syfte är att roa. Kritiken i Hallonbåtsflyktingen framförs genom smicker på ett passivt aggressivt sätt. Det finska jämförs med det svenska genom stereotypen som kanal. Ironi uppstår genom inkongruens, när något inte stämmer i sammanhanget. Dessutom använder författaren upprepningar, förstoringar och förminskningar som metoder för att skapa ironi. Författaren har en intention, eller ett syfte med att skriva boken, men tolkningen av ironi sker i det osagda hos läsaren. Faktorer som läsarens bakgrundserfarenhet, värderingar och normer påverkar tolkningen. Eftersom läsaren i Finland har en annan historisk och kulturell bakgrund jämfört med läsaren i Sverige har mottagandet av boken varierat. En del läsare, i båda länderna, finner humorn i den medan andra inte uppskattar den. Maktaspekten går som en röd tråd genom boken och ironi i sig är ett vapen i kampen mot obalanser i maktförhållanden. Den har förmågan att förändra. Hallonbåtsflyktingen belyser maktobalanser inom bland annat politik och religion, kolonialism och postkolonialism, ekonomi samt genusfrågan.
In my study I have examined what irony consists of and how it arises in Hallonbåtsflyktingen, a novel written in Finnish by Miika Nousiainen (2007) and translated into Swedish by Mårten Westö (2009). As a base for my analysis I have used Linda Hutcheon’s and Katharina Barbe’s theories on irony. In addition, I have examined why the reception of the book differed between Finland and Sweden. The prime purpose of irony is to deliver criticism and its secondary purpose is to entertain. Criticism in Hallonbåtsflyktingen is delivered by flattery in a passive aggressive way. The Swedish society is compared to the Finnish society through stereotypes. Irony happens when something does not fit in the context. It is considered incongruent. Methods like repetition, hyperboles and meiosis are used to create irony. The author does have an intention with the book, a reason to write. However, irony happens when the reader interprets text in the unsaid. The reader’s background and values influence the interpretation. Since the Finnish reader has a different history and background compared to the Swedish reader the book’s reception has varied, to a large extent, between the countries. Some readers find it humorous whilst others do not appreciate the humour. Power issues are present throughout the book and irony in itself is a weapon in the fight against the issues. Irony has the ability to change power imbalances. In Hallonbåtsflyktingen power imbalances are implicitly criticised through irony in the areas of politics, religion, colonialism, postcolonialism, economics and gender imbalances.

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Haladay, Jane Melinda. "Solemn laughter: Humor as subversion and resistance in the literature of Simon Ortiz and Carter Revard." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278729.

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Since earliest contact, Europeans have projected myriad qualities onto the being they erroneously named "Indian." Through text representations, Euramericans have constructed and reproduced profound distortions of indigenous peoples that have shaped political and material realities for Native Americans by reducing them to delimiting "types." Simultaneously, Native writers have a parallel history of representing whites as the embodiment of confusing and "uncivilized" strangeness. In writing which resists colonial definitions of externally imposed "Indianness," contemporary Native writers have increasingly recast historically racist representations by asserting authentic self-descriptions while depicting whiteness as "Other." This thesis examines the ways in which two contemporary Native writers---Simon Ortiz, Acoma, and Carter Revard, Osage---use humor as a literary strategy to subvert the Euramerican stereotypes of the "Indian" as "noble" or "wild savage" and "unscientific primitive" in order to reconstruct authentic Native identity from the true center, that lived by Native people themselves.

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Diedring, Kelly. "Framing Environmental Messages: Examining Audience Response to Humor, Shock, and Emotional Treatments." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002349.

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Bond, Nathaniel Peter. "Lessons in Immorality: Mishima's Masterpiece of Humor and Social Satire." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/988.

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From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film. Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just. Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature. In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.

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Perego, Elizabeth Marie. "Laughing in the Face of Death: Humor during the Algerian Civil War, 1991-2002." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492608880090522.

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Krelko, Rebecca Elizabeth. "Homophobia, Humor and Male Rape: Family Guy's Role in the Modern Construction of Hegemonic Masculinity." Ohio University Art and Sciences Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouashonors1366995686.

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Mironenko, Dmitry. "A Jester with Chameleon Faces: Laughter and Comedy in North Korea, 1953-1969." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11604.

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This dissertation is a study of ordinary North Korean people who have persevered in the face of tremendous social, political, and economic trials throughout their country's modern history and a tribute to their unflagging ingenuity and good humor that allowed them to hold onto their humanity. Focusing on the question of agency within the realm of everyday living, my inquiry examines the emergence of a laughing subject during the post-Korean War period and the state's efforts to discipline him through cinema in the succeeding decade. A product of the new Soviet-sponsored cultural policy of the 1950s that promoted social and political satire across the socialist world, the jester became an identity tactically adopted by various individuals, which was responsible for the proliferation of nonconformist practices in North Korea. Using Michel de Certeau's concept of the everyday as a sphere of creative inventiveness, this work describes and analyzes the small acts of "comic disobedience" by means of which the ordinary person has been able to outmaneuver the existing order and create a thriving underground culture of antidiscipline. Spanning a variety of media from print cartoons to live-action cinema to animation, the official response to the jester's challenge, on one hand, sought to create identifiable comic characters and, on the other, effectively demarcate between humor and satire with a view of turning a jarring cacophony of laughing voices into a harmonious chorus of collective mirth serving the state's needs. Based on Bakhtin's notion of heteroglossia, my method of analysis suggests that, despite the government's attempts to eliminate any ambiguity from newly constructed ideological texts, the ordinary individual always finds myriad ways to exercise autonomy through his unending playful subversion of official discourse. By tracing the evolution of this dynamic in the North Korean streets, movie theaters, and film studios over the course of nearly two decades, I argue that the production of formal film comedy was inextricably bound up with the state's desire to interpellate a politically loyal and socially conformist subject and should be seen as part of the larger everyday aesthetic of living that took root within the socialist world.
East Asian Languages and Civilizations

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Peterson, Reed Monty. "An Account of My Perplexities: The Humorous Essays of Kita Morio." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/305365.

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Kita Morio has been one of the most successful humorists of Japan's postwar period, but his work has received little attention from scholars. The intent of this study is to provide an introduction to the humorous essays of Kita Morio. In particular, after the principles of the humor mechanism are established, the nature of the essays as a type of I-novel is examined. The focus is then turned to the authorial persona that Kita uses in his humorous essays, and an overview of that manufactured fictional character and the world he inhabits is created. Finally, five individual essays are examined in the context created by the preceding chapters, with particular attention given to the manner in which humor functions in the essays, as well as the manner in which the reader can find comfort in them. Translations of the five essays examined in the final chapter are provided in the Appendix.

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Parker, Herb. "Acting Shakespeare is Outrageous!: Playing the Bard for Beginners." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/0415790972.

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Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations, and remember just how non-realistic and presentational Shakespeare’s plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic―the very definition of outrageous. With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! helps actors use the words Shakespeare wrote as a tool to perform him, and to create exciting and moving performances.
https://dc.etsu.edu/etsu_books/1138/thumbnail.jpg

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Slotte, Nadja. "”Ja jag har mens, hurså?” : En retorisk studie om humorns betydelse för argumentationenkring ett tabubelagt ämne." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-58871.

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Det finns ett utbrett tabu kring menstruation i vårt samhälle. Det är något som ska döljas och inget det ska pratas om. En av de personer som tröttnat på tabut är Youtubern Clara Henry som har skrivit boken "Ja jag har mens, hurså?". Med den ger hon läsaren den kunskap om mens hon menar att vi borde fått lära oss i skolan men aldrig fick samt problematiserar tabut kring mens och uppmanar läsarna till att vara med och bryta det. Detta gör hon genom ett humoristiskt smyckat språk vilket bidrog till mitt val av humor som huvudteori för analysen samt stilfigurers påverkan på argumentationen. Genom de hermeneutiska metoderna kritisk retorikanalys, närläsning och stilanalys kom jag genom analysen fram till att Henry använder sig av många varierade stilfigurer som skapar en humoristisk argumentation kring mens och dess tabu vilket. Humorn kan bidra till en lättnad hos menstruerande personer samt nya sätt att prata om detta tabubelagda ämne.

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Tay, Geniesa. "Embracing LOLitics: Popular Culture, Online Political Humor, and Play." Thesis, University of Canterbury. Media and Communication, 2012. http://hdl.handle.net/10092/7091.

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The Internet, and Web 2.0 tools can empower audiences to actively participate in media creation. This allows the production of large quantities of content, both amateur and professional. Online memes, which are extensions of usually citizen-created viral content, are a recent and popular example of this. This thesis examines the participation of ordinary individuals in political culture online through humor creation. It focuses on citizen-made political humor memes as an example of engaged citizen discourse. The memes comprise of photographs of political figures altered either by captions or image editing software, and can be compared to more traditional mediums such as political cartoons, and 'green screens' used in filmmaking. Popular culture is often used as a 'common language' to communicate meanings in these texts. This thesis thus examines the relationship between political and popular culture. It also discusses the value of 'affinity spaces', which actively encourage users to participate in creating and sharing the humorous political texts. Some examples of the political humor memes include: the subversion of Vladimir Putin's power by poking fun at his masculine characteristics through acts similar to fanfiction, celebrating Barack Obama’s love of Star Wars, comparing a candid photograph of John McCain to fictional nonhuman creatures such as zombies using photomanipulation, and the wide variety of immediate responses to Osama bin Laden's death. This thesis argues that much of the idiosyncratic nature of the political humor memes comes from a motivation that lies in non-serious play, though they can potentially offer legitimate political criticism through the myths 'poached' from popular culture.

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Benson, Josef. "Rock, Paper, Scissors." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001976.

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Shumway, Jacob Holt. ""Laughter Is Part of My War Effort": The Harmonizing and Humanizing Influences of Laughter in Andrea Levy's Small Island." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7435.

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Most critical analyses of humor in postcolonial literary settings have focused on its power to critique and subvert dominant hegemonic systems in ways that tend to divide participants according to predictable dichotomies. Yet humor theorists have long recognized laughter's equivalent potential as a bonding mechanism. An examination of the rhetorical functions of humor in Andrea Levy'sSmall Islandreveals the extent to which these affiliative forms of humor can be successfully deployed across cultural divides within a migrant context, as well as the risks and limitations inherent to such an approach. Ultimately, the novel's gentle, inviting, and accessible humor provides the basis for a convincing, character-driven appeal to reduce racial prejudice.

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Cardmarker, Amanda, and Caroline Beaufoy. "Parlamentet - politik på humornivå : en narrativ och samtalsanalytisk studie." Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4104.

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Då humor spelar en stor roll i våra vardagliga liv, inte minst som förmedlare av seriösa samhällsfenomen (Palmer, 2004), kändes det intressant för oss att belysa en medieform som har såväl humor som samhällspolitiska ämnen på agendan. I anknytning till vårt syfte och våra frågeställningar, vilka innefattar en jämförelse mellan två utvalda avsnitt ur TV-serien Parlamentet, har vi använt oss av två teoretiska utgångspunkter; narrativ teori och samtalsanalys.

Vi har arbetat med en kvalitativ och textanalytisk metod och applicerat de teoretiska utgångspunkterna narrativ teori och samtalsanalys till vårt empiriska material i analysen. De begrepp vi valde ur narrativ teori är Mishlers modell, innehåll och humor som berättarstrategi, och ur samtalsanalysen valde vi att fokusera på struktur, tur- och turtagning och multimodalitet. Vi har låtit begrepet politikens medialisering fungera som en fond till vår studie, och vi har följt upp våra resultat genom dessa glasögon i slutdiskussionen.

Analysen visar att det finns likheter, men framför allt skillnader mellan avsnitten, ur både narrativ och samtalsanalytisk synvinkel. Med hjälp av teorin har vi studerat helheter och delar ur avsnitten för att kunna ge en övergripande bild av vår analys. Det resultat vi fick fram var bland annat skillnader och likheter mellan komikernas roller och avsnittens innehåll och form diskuterar vidare i slutdiskussionen.

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Oliveira, Rosangela Aparecida Dantas de. "O que cabe entre essas quatro retas? Análise discursiva de tiras cômicas argentinas e brasileiras sobre as copas de 1994 e 2014." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-02052018-164431/.

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Esta tese apresenta os resultados de uma pesquisa sobre tiras cômicas de produção local na Argentina e no Brasil, tendo como recorte temático o futebol e seu papel na construção identitária de ambos os países. Abordamos as tiras cômicas como um gênero discursivo, ou seja, como um dispositivo comunicacional sócio-historicamente condicionado (Maingueneau, 2010) e as analisamos levando em conta sua inserção na espacialidade social. Trata-se de um trabalho comparativo e interdisciplinar em que nos valemos de referenciais teóricos tanto dos estudos discursivos e enunciativos, como também de reflexões advindas de outros campos do conhecimento, como a História (Campos, 2015; Franco-Júnior, 2007), a Sociologia (Bordieu ([1976]-2002; Archetti, 1995; Alabarces, 2014), a Antropologia (Guedes, 2006) e a Comunicação (Martín-Barbero, 1991). Para operacionalizar a análise, mobilizamos o conceito de cena da enunciação (Maingueneau, 2001, 2006). No exame da cena englobante e da cena genérica das tiras cômicas, reconstruímos sua historicidade na Argentina e no Brasil, enfocando especificamente sua publicação rotineira nos jornais diários. Nesse percurso, constatamos que diferenças verificadas na formação sócio-histórica desses países repercutem na inserção do gênero na respectiva espacialidade social. Para a análise das cenografias, nos debruçamos sobre um corpus composto por tiras argentinas e brasileiras publicadas respectivamente nos jornais Clarín e Folha de S. Paulo por ocasião das Copas do Mundo de 1994 e 2014. Baseando-nos também nas categorias propostas por Charaudeau (2006) para o estudo do discurso humorístico, na análise dessas tiras (i) investigamos que efeitos de sentido são construídos sobre as derrotas e as vitórias das seleções argentina e brasileira nas citadas edições da Copa; (ii) examinamos os procedimentos utilizados para obter o humor e seus possíveis efeitos, (iii) observamos que relações interdiscursivas se estabelecem, (iv) identificamos posicionamentos a respeito do futebol e da Copa. Contrastados os resultados, relevamos as semelhanças e diferenças com relação aos temas anteriores observadas nas produções de ambos os países.
This thesis shows the results of a research on comics strips from local production in Argentine and in Brazil, focus on football and its role in the identity construction of both countries. Approaching the comic strips as a discursive genre, that is, as a sociohistorically conditioned communicational device (Maingueneau, 2010) and analyzing them considering their insertion in the social spatiality. It is a comparative and interdisciplinary work in which we use theoretical references from both the discursive and enunciative studies, as well as reflections from other fields of knowledge, such as History (Campos, 2015; Franco-Júnior, 2007). Sociology (Bordieu ([1976] -2002, Archetti, 1995, Alabarces, 2014), Anthropology (Guedes, 2006) and Communication (Martín-Barbero, 1991). In order to analyze, we mobilized the concept of the scene of enunciation (Maingueneau, 2001, 2006). From the exam of the encompassing and generic scene of the comic strips, we reconstructed its historicity in Argentina and Brazil, focusing specifically on its routine publication in the daily newspapers. Along the way, we found that the differences identified in the socio-historical formation of these countries rebound in the insertion of the gender in the respective social spatiality. Analyzing the scenographies, we considered a corpus composed of Argentine and Brazilian strips published respectively in the Clarín and Folha de S. Paulo newspapers by the 1994 and 2014 World Cup occasions. Based on the categories proposed by Charaudeau (2006) for the study of humorous discourse, in the analysis of these strips (i) we investigated what kind of meaning effects are built on the defeats and victories of the Argentine and Brazilian teams in the aforementioned editions of the Cup; (Ii) we examined the procedures used to obtain the humor and its possible effects, (iii) we observed that the interdiscursive relationships are established, (iv) identified positions regarding to soccer and the World Cup. Contrasting the results, we highlighted the similarities and differences in relation to the previous themes observed in the productions of both countries.

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Lucas, Anne M. "Strategic Nonviolence and Humor: Their Synergy and Its Limitations: A Case Study of Nonviolent Struggle led by Serbia’s Otpor." Kent State University Honors College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1292889981.

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Lundborg, Tobias, and Patrik Merovuo. "”Jävla Muminfitta” : Verbala förolämpningar och 34 andra humortyper isvenska komediserier på TV." Thesis, Jönköping University, HLK. Media and communication science, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-10448.

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Humor is as interesting as it is hard to define. It has travelled a long way since Hippokratestheory about body fluids and how someone, if lacking one of these, were called a humorist andwere laughed at.In this thesis we developed a new method for categorizing types of humor in Swedish comedyseries on TV. We chose six different shows (Grotesco, KvarteretSkatan, Morgonsoffan, Fredaghelaveckan, Parlamentet and Hjälp!) from the two most popular TV-channels in Sweden(SVT1 & TV4).We based or method on previous researchers’ work and came to find some categories that wererepresented in most of the previous work. Our own method came to contain seven categorieswhich we believe is enough to obtain all kinds of humor in Swedish comedy series on TV.In our study we saw that most of the humor fell under the category that we called unnormalityhumor,a category which contained incongruity which many researchers believe is afundamental part of humor.Our opinion is that the unnormality-category became too wide in our study and that we perhapsshould have divided it into two or possibly three categories to see a more distinctive result.Nonetheless, our result offers an interesting starting point for future comparative studiesfocusing on similar subjects.

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Billingsley, Amy. "Humorwork, Feminist Philosophy, and Unstable Politics." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24550.

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This dissertation examines humor as a situated practice of reappropriation and transformation undertaken by a subject within a social world. I bring together insights from humor studies, philosophy of humor, and feminist philosophy (especially feminist continental philosophy) to introduce the concept of humorwork as an unstable political practice of reappropriating and transforming existing images, speech, and situations. I argue that humorwork is an unstable politics because the practice of reappropriation and transformation often exceeds the intentions of the subject practicing humor, taking on a continued life beyond the humorist’s intentions. By focusing on the practice of humor, the subject who produces it, their social and political world, the affects circulated through political humor, and the politics of popular and scholarly discourse about humor, I push against a reductive, depoliticized concept of humor and the trivializing gesture of “it’s just a joke.” Instead, I argue that humorists are responsible and connected to (if not always blameable) for the social and political life of their humorwork, despite the unstable and unpredictable uptake of humor against a humorist’s intentions.

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Cho, Sarah. "Family Dinner." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1567.

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Family Dinner examines the social construction of the Asian American family in the most hyper dysfunctional way. The characters in the play do not necessarily have to be played by an Asian American but the family holds Asian American values and ideals. Therefore, through a different cultural lens, the hope is to effectively blend the cultural values that are physically and culturally familiar no matter what the race of a family it may be. This creates a point of entry for audience members of difference cultural and social background to simultaneously view the play with a familiar point of view. The objective is then to critique the absurdity in the social cultural values and to redefine the meaning of the All-American family. Lastly, what needs to be acknowledged is that the play, in its current draft and form, is a play that is still in process. The process of rewriting is significant to the writer because it is in this act of rewriting where the writer learns to hone his or her own technique in the art of playwriting.

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Johansson, Josefin. "Memes som debattinlägg – trivial underhållning eller vass visuell argumentation? : En retorisk analys av digitala memes i drevet mot Pepsis reklamfilm." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-58877.

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Abstract:

Syftet med denna uppsats är att undersöka hur digitala memes kan skapas för att fungera som inlägg i pågående debatter. För att göra detta analyseras tre av de fotobaserade memes som skapades med anspelningar på Pepsis omtalade reklamfilm ”Live for Now” från 2017. Vidare studeras på vilka sätt dessa memes fungerar identifikationsskapande samt hur identifikation kan fungera övertygande. Detta analyseras med hjälp av en hermeneutisk retorisk metod tillsammans med visuell och postmodern retorikteori. Analysens resultat visar att memes som medium tilltalar en stor publik och appellerar såväl till känslor som värderingar och kan på sådant sätt skapa identifikation. Dess argumentativa styrka står dock att finna i de dolda budskapen, vilka enbart uppfattas av mottagare med särskild förförståelse. Här bidrar särskilt humor och stilfigurer till att skapa identifikation.

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Santos, Simone Olsiesky dos. "Representações de gênero, transgressão e humor nas figuras infantis dos desenhos animados contemporâneos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36307.

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Le principal but de cette thèse a été d'analyser les représentations de genre et d’enseignant introduites par les dessins animés “Billy et Mandy, Aventuriers de L'audelà" (The Grym Adventures of Billy & Mandy) et "Les Razmoket" (Rugrats), en mettant accent particulièrment sur leur rapport avec l’humour. La perspective adoptée est celle des Études Culturelles post-structuralistes avec des contributions venant d'autres domaines d'études telles que la Communication et la Psychanalyse Lacanienne. Pour y arriver, on a sélectionné, transcrit et analysé des épisodes de ces dessins animés exhibés entre 1991 et 2010 par les chaînes de télévision CartooNetwork et Nickelodeon. Les réflexions développées cherchent à observer dans le récit des dessins animés les représentations du/des personnages, en particulier celles des enfants, en les reliant aux concepts de genre, pouvoir, transgression, école et d'autres. En abordant ces questions, on a vérifié que l'utilisation de l'humour est un recours textuel puissant, un artifice employé par les dessins animés dans la fabrication de stéréotypes qui produisent le sujet-enfant. En ce qui concerne les questions de genre, le mouvement fondamental de ce travail a été de donner de la visibilité aux relations de pouvoir qui s’y forment, certains par le biais de la transgression, d'autres par la voie de l'affaiblissement. En ce qui concerne les représentations de l'école et des enseignants, il a été possible de vérifier certaines ruptures avec la figure “sacré” de l’enseignant (affectueuse, dévouée et maternelle). Cependant, les représentations d'école et d'éducation ne diffèrent pas du modèle traditionnel de l'école moderne, qui englobe le classement, l'organisation du temps et des espaces, en établissant des contenus et des évaluations fondées sur des concepts. Dans d'autres espaces éducatifs analysés dans les épisodes en question, il existe clairement des relations de pouvoir, de gouvernance et de contrôle. En résumé, on a avons observé que dans les discours des dessins étudiés destinés aux enfants, on peut observer les stéréotypes qui agissent dans la production de subjectivités féminines et masculines en tant que des pédagogies culturelles.
Esta tese tem como principal objetivo analisar as representações de gênero e de professor/a trazidas pelos desenhos animados ”As Terríveis Aventuras de Billy & Mandy” (The Grym Adventures of Billy & Mandy) e “Os Anjinhos” (Rugrats), considerando, em especial, a sua conexão com o humor. A perspectiva adotada foi a dos Estudos Culturais pós–estruturalistas, contando com aportes de outros campos de estudo como o da comunicação e psicanálise lacaniana. Para a consecução do objetivo, foram selecionados, transcritos e analisados episódios dos referidos DAs exibidos entre 1991 e 2010 pelos canais por assinatura CartooNetwork e Nickelodeon. As reflexões desenvolvidas buscaram olhar, na narrativa dos desenhos animados, as representações dos/as personagens, especialmente as/os infantis, articulando-as aos conceitos de gênero, poder, transgressão, escola, entre outros. Na abordagem dessas questões, foi enfatizado o uso do humor como recurso textual potente, artifício do qual se valem os desenhos animados na fabricação de estereótipos que produzem o sujeito infantil. Em relação a questões de gênero, o movimento fundamental desse trabalho foi dar visibilidade às relações de poder que ali estão sendo constituídas, algumas, pela via da transgressão, outras pela via da fragilização. Em relação às representações de escola e docência foi possível verificar algumas rupturas com a figura “consagrada” de professora (afetiva, dedicada e maternal). Entretanto, as representações de escola e de ensino não diferem do modelo tradicional da escola moderna, englobando seriação, organização de tempos e espaços, priorizando conteúdos e avaliações por conceitos. Nos outros espaços educativos analisados nos episódios recortados, há claras relações de poder, governamento e controle. Em síntese, observou-se que, nos discursos dos referidos desenhos, direcionados para o público infantil, é possível visualizar estereótipos que agem na produção de subjetividades femininas e masculinas, as quais atuam enquanto pedagogias culturais.
This thesis aims at analysing gender and male and female teacher representations by animated television series “The Grim Adventures of Billy & Mandy” and “Rugrats”, especially considering their association with humour. We have used the poststructuralist Cultural Studies perspective with the help from other study fields such as communication and Lacanian psychoanalysis. For this objective we have selected, transcribed and analysed episodes of the films presented between 1991 and 2010 in channels CartooNetwork and Nickelodeon. Reflections have sought to examine representations of characters, especially children’s, linking them to concepts of gender, power, transgression, school, and others linked to them. When treating these questions, we have stressed on the use of humour as a potential textual tool, a device animated television series use to create stereotypes producing the infant-subject. Concerning gender, the key movement of this work was towards visibility for power relations shaped there, some by transgression, some by frailty. Concerning school and teacher representations, we have found some ruptures with the ‘established’ female teacher figure (affectionate, devoted and motherly). However, school and education representations are not different from the traditional model of the modern school, including serialisation, time and space organisation, stressing on content and grade evaluation. In other educational spaces we have analysed in particular episodes, there are clear relations of power, government and control. In sum, we have observed that, in discourses in the particular child-directed animated series, it is possible to view stereotypes producing male and female subjectivities, which act as cultural pedagogies.

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Dissertations / Theses on the topic 'Humor studies'

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