Thesis (Ph. D.)--University of Adelaide, Dept. of Classics, 1987. / Includes bibliographical references (leaves 266-273).

Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (leaves 187-200).

The current study was designed to test the theory that daily exposure to humorous material would reduce depressive symptoms. Thirty-eight undergraduate students endorsing depressive symptoms were randomly assigned to either a humor or comparison group. Dependent variables were scores on the Beck Depression Inventory, the Social Activities Scale from the Interpersonal Events Schedule, and the Positive and Negative Daily Affect Schedule. The humor group intervention consisted of take-home videotaped recordings of humorous materials. The comparison group intervention consisted of take-home video taped recordings of educational materials with motivational themes. Results indicated that subjects in both groups exhibited significant reductions in depressive symptoms. However, subjects in the humor group showed significant increases in social activities and daily affectual gains, while the comparison group subjects showed no such changes. Plausible reasons for the current findings as well as implications are discussed.

No description available.

No description available.

Esta tese tem por objetivo analisar a articulação entre riso e história em três textos de gêneros distintos, produzidos na última década do século XX a saber: o romance Avante, soldados: para trás, de Deonísio da Silva; o longa metragem Carlota Joaquina: princesa do Brazil, de Carla Camurati; a minissérie Caramuru: a invenção do Brasil, de Guel Arraes. As três obras apresentam pano de fundo histórico, abordando diferentes episódios da História do Brasil. O primeiro narra o percurso de uma tropa brasileira em um importante momento da Guerra do Paraguai; o segundo relata a história de Carlota Joaquina, esposa de D. João VI e a vinda da coroa portuguesa para o Brasil no início do século XIX e o terceiro conta sobre a união de um português, Diogo Álvares, com uma índia tupinambá, Paraguaçu, na primeira década do século XVI. As produções culturais mencionadas serão analisadas com base na teoria semiótica da cultura de Lotman e na teoria da carnavalização de Bakhtin. Este último fornece os elementos para que se compreendam as formas de riso e riso reduzido que se apresentam nas obras. / This thesis has the aim to analyse the link between History and laughter in three texts which belong to different genre and were produced in the last decade of the twentieth century. The three works are: the novel Avante, soldados: para trás, by Deonísio da Silva; the film Carlota Joaquina: princesa do Brazil, by Carla Camurati; and the tv series Caramuru: a invenção do Brasil, by Guel Arraes. They all present a historical background based on different episodes of the Brazilian History. The first narrates the course of events involving a Brazilian troop in a very important moment of Paraguay\'s War; the second tells the story of Carlota Joaquina, D. João VI\'s wife, and reports the transference of the Portuguese court to Brazil in the beginning of the nineteenth century; and the third talks about the union of a castaway Portuguese , Diogo Álvares, and a tupinambá native inhabitant in the first years after the conquest. All the cultural productions will be analysed based on Lotman\'s Semiotic Theory of Culture and on Bakhtin\'s Carnavalization Theory. The latter provides the elements to understand the forms of laughter and reduced laughter which appear in the texts studied.

Esta tese tem por objetivo analisar a articulação entre riso e história em três textos de gêneros distintos, produzidos na última década do século XX a saber: o romance Avante, soldados: para trás, de Deonísio da Silva; o longa metragem Carlota Joaquina: princesa do Brazil, de Carla Camurati; a minissérie Caramuru: a invenção do Brasil, de Guel Arraes. As três obras apresentam pano de fundo histórico, abordando diferentes episódios da História do Brasil. O primeiro narra o percurso de uma tropa brasileira em um importante momento da Guerra do Paraguai; o segundo relata a história de Carlota Joaquina, esposa de D. João VI e a vinda da coroa portuguesa para o Brasil no início do século XIX e o terceiro conta sobre a união de um português, Diogo Álvares, com uma índia tupinambá, Paraguaçu, na primeira década do século XVI. As produções culturais mencionadas serão analisadas com base na teoria semiótica da cultura de Lotman e na teoria da carnavalização de Bakhtin. Este último fornece os elementos para que se compreendam as formas de riso e riso reduzido que se apresentam nas obras. / This thesis has the aim to analyse the link between History and laughter in three texts which belong to different genre and were produced in the last decade of the twentieth century. The three works are: the novel Avante, soldados: para trás, by Deonísio da Silva; the film Carlota Joaquina: princesa do Brazil, by Carla Camurati; and the tv series Caramuru: a invenção do Brasil, by Guel Arraes. They all present a historical background based on different episodes of the Brazilian History. The first narrates the course of events involving a Brazilian troop in a very important moment of Paraguay\'s War; the second tells the story of Carlota Joaquina, D. João VI\'s wife, and reports the transference of the Portuguese court to Brazil in the beginning of the nineteenth century; and the third talks about the union of a castaway Portuguese , Diogo Álvares, and a tupinambá native inhabitant in the first years after the conquest. All the cultural productions will be analysed based on Lotman\'s Semiotic Theory of Culture and on Bakhtin\'s Carnavalization Theory. The latter provides the elements to understand the forms of laughter and reduced laughter which appear in the texts studied.

The phenomenon of laughter has intrigued many philosophers, psychologists, sociologists, and – most recently – linguists. While laughter is conventionally thought of as a component of the phenomenon of humor, this paper seeks to empirically illustrate how laughter may be used in unconventional ways, i.e. in response to nonhumorous (and in fact discordant) sequences in conversation. The term coping laughter refers to laughter that attempts to remedy, correct, reframe, or distract from something that is undesirable in a conversation. This paper proposes that there are two types of coping laughter (IN-laughter and RE-laughter) that accomplish different functions based on who initiates the laughter. Eight data samples are analyzed within the analytical frameworks of politeness and conversational framing with special treatments of the evolution of laughter and the structure of conflict. / text

Piñata: A Dark Comedy is a dark comedy written to explore what an audience is willing to laugh at and what remains when the laughter has finished. Set in a tavern, Piñata showcases the comedic on goings of a few young adults. Stephen enacts an extensive scheme to show Marcy that her boyfriend is no good for her. Stephen’s friend Wick attempts to cope with haunting trauma as his sister, Lily, does what she can to get Stephen’s attention. The characters navigate each others desires and needs through witty banter and outrageous stories. These comedic antics build in intensity until the play reaches a shocking climax. This moment thrusts the audience into a state of discomfort. The play is prefaced with a critical chapter that explores the way in which the play deals with its audience and how the play utilizes audience laughter. / February 2016

Le tragique semble être au coeur de la littérature contemporaine. En effet, la mort de la tragédie classique ne signifie pas la disparition du tragique. Au contraire, celui-ci survit et prend de nouvelles formes. C'est précisément cette "nouvelle forme" que nous analysons dans notre thèse intitulée "L'oeuvre de Marguerite Duras ou l'expression d'un tragique moderne". L'oeuvre durassienne participe de ce que Jean-Marie Domenach nomme "le retour du tragique". Notre étude porte sur la vision tragique de Duras. Elle examine aussi l'évolution du tragique durassien en le comparant souvent au tragique antique. Nous essayons, également, les rapports complexes qui existent, chez Duras, entre le tragique et le comique. Nous tentons, en outre, de voir comment Duras réussit à dépasser ce tragique moderne en développant une esthétique du détachement / The tragic seems to be at the heart of contemporary literature. Indeed, the death of the tragedy does not mean taht the tragic has disappeared. On the contrary, the latter has survived and has taken on new forms. It is pricesely this "new form" that we analyze in our thesis entitled "The work of Marguerite Duras or the expression of a modern tragic". Duras' work is part of what Jean-Marie Domenach names "the return of the tragic". Our thesis studies Duras' vision of the tragic. It also examines the evolution of this tragic as we compare it with the tragic of the Antiquity. We also try to study the complex link between the tragic and the comic in Duras' work. We attempt to inderstand how Duras succeeds in surpassing the modern tragic as she develops an aesthetic of detachment