Title: The Language Humour in Andvertising Author: Radka Čimingová Department: Department of czech language and literature Supervisor: PhDr. Radka Holanová, Ph.D. Abstract: The presented work deals with linguistic analysis of means that frame humour in printed advertising. The analysis of the language humour is based on a selected advertising sample. This sample was used to identify, classify and specify individual linguistic means in more detail. Humour is interpreted as a play on words that is built around updating, change, intentional breaking of established rules, incongruity and around the relationship between language and extralinguistic reality. This play resulting in a comic tone of the advertisement concerns meaning as well as graphic form of individual linguistic means, usage of different varieties of lexis, intertextual connection and the relationship between words and pictures. The work covers all these aspects of the linguistic play on words as well as describes the theoretical context in which the play takes place and specifies the basic terms connected to the subject of the thesis, i.e. advertising and humour. Keywords: Advertising, Humour, Language

Natálija Moutvicová Humour in Karel Poláček's Proses This work presents the works of one of the most popular czech writer and journalist Karel Poláček in the backround of his tragic life. The author's works devide to journalistic works, literary works and works for film and theater. This work contents analysis of humour as a specific kind of comics in Karel Poláček's writings. The term "humour" is defined by the theory of Henri Bergson,Vladimír Borecký and others. Particularly detailed is engaged in his short stories and supreme humorous novels. This work compares two author's creative periods and studies the development of his humour. It focuses to themes, motives, typical characters and the distinctive style artistic practices of author. Poláček's humour is directed against cliché and phrases. This work tries to compare the Poláček's humour with humour in the works of other czech authors from twentieth century.

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.

Social constructivism, known as Vygotskian theory, has been implicated in improving spoken language skills of upper-secondary school students. This qualitative study aims to investigate the perspectives of students regarding the teachers’ use of humour in ESL lessons both in Italy and Sweden. A secondary aspect of the study was to assess the use of humour in second language acquisition related to language learning and communicative competence based on dialogism and interaction. Semi-structured interviews were conducted with 20 participants (5 males and 5 females from each of the respective countries). After analysis using phenomenography, results indicate that humorous dialogic instruction and interaction, as well as non-verbal forms of humour such as gesticulation and facial expression, have the possibility to dramatically increase the focus and interest in lesson content which facilitates better communicative understanding of English. Immediacy is perceived to improve feelings of well-being and harmony within the classroom. Humour and openness are considered important and necessary factors in improving motivation and self-belief during oral tasks as facilitated an effective, communicative learning climate. The study also proposes that there are four factors (teacher, student, subject and task) which affect learning processes, and moderation of humour, the fifth factor, acts as a scaffold to assist in stretching students’ knowledge within the ZPD.

The main interest of this thesis lies in the analysis of the German Democratic Republic (GDR), as it is represented in movies. The times before and after the Cold War period in Germany have often been discussed in both literature as well as movies. However, most academic essays which focus on how this time is remembered by current societies are analyzing literature rather than movies. Most analyses of film neglect the exploration of cultural memory, even though there are a variety of different film genres that deal with this topic. This paper will fill this gap in film research by showing that movies set in the GDR can help to convey a cultural memory just as much as literature. The diversity of movies set in the GDR is great: many movies tell sad and serious stories about families under government surveillance, or of people who were killed by trying to escape to West-Germany. This thesis however, focuses on films with humorous aspects. Although most film reviewers criticise comedies about the GDR as being purely nostalgic, this thesis shows that the humour used in specific movies is able to collect a memory and therefore, can be seen as a vehicle of cultural memory. The movies Sonnenallee directed by Leander Haußmann and Good Bye Lenin! directed by Wolfgang Becker are analyzed in this paper because they are comparable insofar that they both show the GDR from a youthful point of view from different time periods. Sonnenallee takes place in the 70ies and therefore, 20 years before the fall of the Berlin Wall. Good Bye Lenin?, in contrast, covers both the time before and after the fall of the wall. Another reason for selecting these movies is the fact that they are criticized for only portraying the clichés and stereotypes of East-German-figures, which should be reproved. The first part of the thesis explains the theory and main arguments of Aleida and Jan Assmann’s concept of cultural memory. In order to reconstruct their train of thought, it is necessary to summarize the work of their predecessors Maurice Halbwachs, Aby Warburg, and Pierre Nora. The second part moves on to discuss the term ‘Erinnerungs-film’, coined by Astrid Erll, whose main research interest lies in understanding the dif-ferent kinds of memories occurring in movies. The following chapter focuses on the use of comedy in the selected films, as it is important to understand how humorous scenes are created in those movies. The main part of the thesis is the analysis of Sonnenallee and Good Bye Lenin! found in chapter five. Two different types of approaches are chosen: first, a comparison between Haußmann’s movie Sonnenallee and Thomas Brussig’s book Am kürzeren Ende der Sonnenallee, and then a picture-sound-analysis of selected scenes from Becker’s movie Good bye Lenin!. The comparison shows the advantages that the movie has over the book in terms of displaying humour as a means to convey cultural memory. The inter-pretation part of the thesis shows how funny scenes can be critically interpreted and found to be useful in creating cultural memory rather than putting them down as purely nostalgic.

Abstract The main aim of this study was to investigate if four humour styles, affiliative, self-enhancing, aggressive, and self-defeating humour can be related to all five dimensions of the Big Five Factor Model of personality and study if gender has any influence on those relation-ships. A survey questionnaire was distributed among 72 individuals from Kalmar County, in the South-east of Sweden. There were 42 women and 30 men. A humour test questionnaire, Humour Scale Questionnaire (HSQ), with 32 items was used and the Big Five Factor test with 40 items was used for personality test. The results showed that men have a more aggressive humour than women and that the older we get the less affiliative and self-enhancing humour we have. There was no correlation between age and defeat humour style. When it comes to personality it turned out that women are more goal oriented and more open as well as nicer than men. Women are also more extrovert and they have a tendency to feel unpleasant emo-tions more easily than men.

The aim of this qualitative study was to attain an increased understanding as to how several upper-secondary school students perceived and experienced teachers using humour during classroom discourse. The study was based on the following questions: What does humour mean to the students? What are the forms of humour utilized by teachers? How do students perceive the use of humour with regards to learning processes? Are there recommendations and cautionary measures for teachers to consider when incorporating humour in teaching? Methodology used was a semi-structured interview of 13 questions. Participants consisted of six students aged 16 to 19 years. The length of the interviews varied between 20-35 minutes. Results of the interviews indicated that openness and understanding the unique sense of humour existing in each classroom, as well as self-confidence and a moderate use of humour, are necessary to effectively incorporate humorous text and anecdotes in lessons to facilitate learning processes. However, the study revealed that openness is pivotal in the construction and maintenance of positive learning climates. Students did not experience humour during ESL lessons, indicating a possible lack of contextual knowledge in language teaching practices.

<p>Abstract</p><p>The main aim of this study was to investigate if four humour styles, affiliative, self-enhancing, aggressive, and self-defeating humour can be related to all five dimensions of the Big Five Factor Model of personality and study if gender has any influence on those relation-ships. A survey questionnaire was distributed among 72 individuals from Kalmar County, in the South-east of Sweden. There were 42 women and 30 men. A humour test questionnaire, Humour Scale Questionnaire (HSQ), with 32 items was used and the Big Five Factor test with 40 items was used for personality test. The results showed that men have a more aggressive humour than women and that the older we get the less affiliative and self-enhancing humour we have. There was no correlation between age and defeat humour style. When it comes to personality it turned out that women are more goal oriented and more open as well as nicer than men. Women are also more extrovert and they have a tendency to feel unpleasant emo-tions more easily than men.</p>

Texte remanié de: Th. doct.--Lett.--Aix-Marseille 1, 1999. Titre de soutenance : L'humour dans les intéractions conversationnelles : jeux et enjeux. / Bibliogr. p. 237-243.

Diss.--philosophische Fakultät--Freiburg--Albert-Ludwig Universität. / Bibliogr. p. 209-230. Index.