No description available.

Bakgrund: Cancersjuka patienter kan uppleva en svår och tung tillvaro. Patienterna kan ha ett behov av att avdramatisera situationen och få en stund av lättnad (Birgegård & Glimelius, 2002). Humor kan tillföra något positivt i tillvaron samt underlätta i svåra situationer. Skratt kan öka välmående och bidra till en känsla av lättnad (Holland & Sheldon, 2000). Syfte: Att beskriva betydelsen av humor för cancersjuka patienter. Metod: Studien är en systematisk litteraturstudie baserad på åtta kvalitativa vetenskapliga artiklar. De vetenskapliga artiklarna är kvalitetsgranskade med hjälp av en granskningsmall modifierad utifrån Forsberg och Wengström, (2008) samt Willman Stoltz och Bahtsevani, (2011). Inkluderade artiklar analyserades med en kvalitativ innehållsanalys. Resultat: Humor visade sig vara betydelsefullt för kommunikation, en lättare och mer hanterbar situation, skapandet av en behaglig relation, överlevnad, identitet, skydd och en positiv förändring. Det framkom även att humor kan betyda en känsla av plikt samt att humor inte alltid har någon betydelse. Slutsats: Humor och skratt kan göra livet lite lättare och kan vara betydelsefullt vid vård av cancersjuka patienter.

No description available.

Abstract The purpose of the study was to investigate the playfulness and the humor sense on a comparative analysis of different personalities. The samples of this study were by employment service in thirty organizations on questionnaire. The measure instruments used in this study include ¡§Adult Playfulness Scale¡¨, ¡§Multidimensional Sense of Humor Scale¡¨, ¡§Locus of Control Scales¡¨ and ¡§PANAS Scales¡¨. The samples of this study were 1213 employees. The results of survey were analyzed by one-way ANOVA, descriptive statistics analysis, reliability analysis, and factor analysis. The results of the study were as follows: 1. There were significant differences in the playfulness of the employees under the different sex, age, marriage status, job position, Type A personality, Locus of Control personality, Positive Affectivity, and Negative Affectivity. 2. There were significant differences in the humor sense of the employees under the different sex, age, marriage status, Locus of Control Personality, Positive Affectivity, and Negative Affectivity. 3. There were comparative analysis the highest trend between the playfulness and the humor sense on employees of sex for male, age under thirty, graduated above mater degree, Control Personality, the high tread Positive Affectivity, and the low tread Negative Affectivity.

Zugl.: Dortmund, Univ., Diss. u.d.T.: Gottwald, Claudia: Zum Lachen über Behinderung in der Geschichte

Thesis--PlanB (M.S.)--University of Wisconsin--Stout, 2004. / Includes bibliographical references.

Zugl.: Wuppertal, Kirchliche Hochsch., Diss., 2008/2009

Thesis (M.A.)--University of Hong Kong, 1986.

The aims of this study are twofold: (1) to examine the development of linguistic humor interpretation and comprehension by second language (L2) Spanish learners by using a linguistic humor instrument comprised of comic strips, considering the linguistic properties of Spanish; and (2) to see whether and how reading comprehension ability is reflected in the understanding of four types of linguistic-based humor (i.e. semantic, syntactic, phonological, and morphological). Also discussed are the comprehension strategies utilized by the participants during humor processing. To address these goals, a mixed methods approach was implemented through a linguistic humor multiple-choice questionnaire together with a think-aloud protocol. Results are discussed with reference to Raskin’s (1985) Semantic-Script Switch Theory of Humor (SSTH). The data indicate: (1) comprehension of linguistic-based humor increases with L2 study; (2) L2 learners struggle most with polysemic lexical items; and (3) cognate status and pseudofamiliar words impede comprehension. Considering the analysis of the data, a reassessment of the SSTH and how it applies to L2 humor processing is suggested. Notably, linguistic-based scripts tend to dominate access to other non-linguistic based scripts because L2 learners remain within the linguistic-script frame and are unable to access and/or utilize non-linguistic scripts such as background knowledge. Furthermore, L2 learners contend with error scripts as an additional obstacle, which NS do not experience. The findings suggest that learners should be encouraged and explicitly taught about lexical depth in order to increase their ability to infer meaning from context, thereby increasing their metalinguistic knowledge base. Recommendations are made for the adjustment of the SSTH theory to be more inclusive of L2 learning environments. Finally, suggestions for the L2 classroom include: (1) methods to increase metacognitive awareness; and (2) pedagogical approaches to introduce language-based humor. / text

“Hitchcock and Humor: a Study in Collaborative Authorship” presents three case studies that examine how Hitchcock’s humor, a critical component of his touch, fluctuates and varies in accordance with his collaborators and his creative control. The first collaboration addressed involves Hitchcock’s dealings with producer David O Selznick on both Rebecca (1940) and Spellbound (1945). By tracing each film through its initial treatments to its final screenplay, the each man’s individual contribution comes to light and explains why Rebecca lacks the humor required for the full Hitchcock touch whereas Spellbound does provide comic moments. Under Selznick, Hitchcock first established a working relationship with actor Cary Grant. The two would continue to collaborate as the years went on and made four films together in all: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North by Northwest (1959). In each subsequent film Hitchcock’s methods of humor mesh more with Grant’s screwball persona culminating in a Hitchcock classic full of funny moments. Along with Hitchcock’s wit and Grant’s physical comedy, North by Northwest owes a debt of gratitude to its screenwriter Ernest Lehman who created the original script simply out of sketches of characters and moments. The third case study examines the humor in Frenzy (1972). While Hitchcock’s recent films had failed to reproduce the Hitchcock touch for an uncharacteristic lack of humor, Frenzy is laced with tongue-in-cheek action. The story was based on Arthur La Bern’s novel Goodbye Piccadilly, Farewell Leicester Square (1972) and was adapted to the screen by playwright Anthony Shaffer to create what many call Hitchcock’s return to form. These case studies reveal that the inclusion of humor in Hitchcock’s films comes about when Hitchcock has the freedom away from the pressures of the studio and studio heads to assert his creative control with the collaborators and films of his choosing, preferably collaborators whose aesthetics compliment his own, and preferably films whose genre allows for generous tongue-in-cheek. / text