Humor har visat sig ha många positiva effekter för individers hälsa och kan även ge positiv utdelning i arbetet. Den har nämligen visat sig bidra till ökad produktivitet och kreativitet i arbetslivet, därför kan man anta att det från företagens sida kan finnas ett intresse av att undersöka humor i arbetet närmare då det kan ge bättre utdelning från de anställda. Tidigare forskning om humor i arbetslivet riktar sig främst till anställda inom olika serviceyrken samt vård- och omsorg. Av den här anledningen beslutade vi oss för att göra en kvalitativ studie på en arbetsplats inom offentlig sektor och undersöka mer om hur individer upplever och eventuellt använder sig av humor på arbetet. Vår förhoppning är att det kan bli ytterligare ett forskningsbidrag till hur organisationer och HR-avdelningar bör förhålla sig till humor eftersom den kan bidra till mer glada och produktiva anställda. Vi har till en början redogjort för tidigare teorier kring ämnet humor och visat hur forskningen utvecklats genom åren. Det görs även en genomgång av begrepp som ofta används i samma mening som humor, till exempel skratt och skämt. Efter att ha sammanställt flera forskares definitioner så kunde vi till slut göra en egen definition på vad vi kallar positiv humor. Eftersom upplevelser av humor är individuella har vi utgått från ett subjektivt synsätt som låter intervjupersonerna själva avgöra vad humor är för dem. I intervjuerna har vi fokuserat på individernas upplevelser av humor på arbetet samt hur de påverkas, vi upplever att fenomenet inte har undersökts genom det perspektivet i någon större utsträckning tidigare. Resultatet i undersökningen visar att humor används flitigt och är uppskattat på arbetsplatsen. Medarbetarna upplevde att humor fyllde viktiga funktioner vad gäller skapandet av relationer samt som en hjälp att hantera svåra situationer i arbetet. Intervjupersonerna beskrev även positiva effekter både vad gäller hälsa men också arbetsprestationen. Humor visade sig vara en viktig ingrediens för intervjupersonerna som inte kunde tänka sig att vara utan den på sitt arbete.

Bakgrund: Forskningen har visat att humor är ett socialt fenomen som kan ses som ett universellt språk. Den har visat sig påverka en rad faktorer positivt, däribland vårdmiljön, relationen mellan sjuksköterska och patient samt patientens hälsa. Humor är inte enbart positivt i en vårdkontext, däremot finns det tillfällen då den bör undvikas. Syfte: Syftet är att belysa användandet av humor i mötet mellan sjuksköterska och patient.Metod: Examensarbetet är en litteraturöversikt där tio vetenskapliga artiklar valts ut, skillnader och likheter har identifierats och slutligen sammanställts. Resultat: Resultatet består av tre huvudteman: Humorns inverkan på avdelningens vårdatmosfär, interaktion mellan sjuksköterska och patient samt humorns effekter. Under huvudtemat interaktion mellan sjuksköterska och patient hittades två underkategorier: kommunikation mellan sjuksköterska och patient samt förlorade tillfällen till humor. I huvudtemat humorns effekter hittades underkategorierna: humor som strategi samt humor som lindring. Diskussion: I resultatdiskussionen följer en diskussion där resultatet implementeras i Travelbees omvårdnadsteori, Human-to-Human Relationship Theory, men också hur ny forskning förhåller sig till resultatet. Travelbees omvårdnadsteori med dess faser kan användas genomgående i resultatet, vilket också ny forskning till stor del visar. Sammantaget bör sjuksköterskan använda sig av humor i en större utsträckning än vad som är fallet idag. / Background: Research has revealed that humor is a social phenomenon that can be seen as a universal language. It has been shown to affect a number of factors in a positive way including the care environment, the relationship between nurse and patient as well as the patient's health. Humor is not only positive in a nursing context, hence there are times when it should be avoided. Objective: The purpose is to illustrate the use of humor in the meeting between nurse and patient.Method: This bachelor thesis is a literature review where ten scientific articles have been selected, similarities and differences are identified and finally compiled. Results: The result consists of three main themes: The impact of humor on the department's care atmosphere, the interaction between nurse and patient and the effects of humor. Under the main theme of interaction between nurse and patient, two sub-categories were identified: communication between nurse and patient as well as lost opportunities for humor. The main theme of humor effects were identified under the categories: humor as strategy and humor as relief. Discussion: In the resultdicussion a debate will follow in which the results are implemented in Travelbees nursing theory, Human- to- Human Relationship Theory, but also how new research relates to the result. Travelbees nursing theory with its phases can be used consistently in the result, which new research also largely shows. Overall, the nurse should use humor, to a greater extent than is the case today.

This thesis explores the functions of laughter in Japanese communication. In orientation it contrasts markedly with previous studies and is the first study to have been based on such a large volume of data. In this paper I have focused on laughter as it serves to maintain a co-operative relationship between the participants in a conversation. I find that in the process of communication, people necessarily have to lay themselves open to others, and in doing so they become conscious of the barrier surrounding and protecting their field, i.e. their �inner world�. I hypothesise that in Japanese at least it is consciousness of this barrier that causes the occurrence of laughter in discourse. In other words, people laugh as part of the process of opening up to others, and also to show their intention to be co-operative. By laughing, people are either confirming that they belong to the same in-group, or they are pretending to belong to the same in-group in order to show co-operation. In my model, laughter is classified: A: Joyful laughter for identifying with the in-group B: Balancing laughter for easing tension C: Laughter as a cover-up. A is also divided into 3 subcategories, B into 3, and C into 2 according to the subject of the utterance and the direction of movement into the protective barrier. Two types of statistical analysis were applied to the data in order to the test the validity of the classification. Keywords: interpersonal communication; laughter; field; barrier; co-operation; joy; balancing; cover-up gender

Thesis (M.A.)--Miami University, Dept. of Theatre, 2009. / Title from first page of PDF document. Text in English and Korean. Includes bibliographical references.

Thesis (M.A.)--University of Hong Kong, 1987. / Also available in print.

A tese aborda o humor e o riso na educação, sob duas perspectivas: a primeira, os compreende como objetos da história e da filosofia conforme a tradição ocidental; a outra, na qual o bufão, valendo-se dos dispositivos do riso e da máscara, é o arquétipo que vem dialogar com o professor e acompanhar o processo pedagógico. A tese advoga por um personagem conceitual, de caráter grotesco, para tensionar a lógica dos discursos. A metodologia, embalada pelos matizes de Nietzsche quando desenha um futuro para a Gaia Ciência, potencializada por Bakhtin e a condição coletiva dos enunciados, sustentada entre a tensão da razão estética, de Chantal Maillard, e o riso sagrado, de Georges Bataille, é a da dramatização no interior do pensamento. Esse exercício permite circular por dispositivos nos quais o diálogo do pedagogo com os seus parceiros se mobiliza e abre a guarda que impede a aproximação do contra-senso, no fronteira com a lógica previsível. Desde a tradição helênica até o mundo contemporâneo, o humor e o riso vão ganhando formas de controle e adequação, e aquilo que se presta ao ridículo/risível é cercado por seus limites éticos. A pesquisa permite uma aproximação com narrativas de professores e com registros detalhados de eventos escolares, dando atenção às diferentes definições da ironia, da paródia, da sátira e do grotesco. Os textos históricos e as narrativas contemporâneas formam um panorama que evidencia, para além da manifestação sensível de um estado de ânimo, a necessidade de conhecimento do riso e de suas estratégias de sobrevivência no intervalo dos discursos monológicos ou didáticos. O humor e o riso, nesse contexto, são vistos ora como potentes catalizadores da crítica, ora como artifícios convenientes, tratados como um bálsamo para os acordos e conflitos dentro de uma comunidade. O movimento fundamental, para a dinâmica do diálogo interno entre o professor e seus duplos, se encontra na espiral, que habita o ventre do poder e está no cerne do chapéu de guizos do bufão. / This dissertation discusses humour and laughter in education from two perspectives: the first one focusing them as objects of history and philosophy, in the Western tradition; the second one, where the buffoon, through the devices of laughter and mask, is the archetype that establishes a dialogue with the teacher and follows the pedagogical process. The thesis argues for a conceptual character, with grotesque characteristics, to strain the logic of discourse. The methodology used is dramatization within thought, inspired by Nietzsche’s hues when he designs a future for Gaya Science, potentialized by Bakhtin and the collective condition of enunciations, and balancing upon Chantal Maillard’s tension of the aesthetic reason and the sacred laughter of Georges Bataille. This exercise allows the reinvention of devices where the teacher’s dialogue with his/her humorous partners is mobilized and thus lowers the guard that prevents an approximation with nonsense, on the borders of predictable logic. From the Hellenic traditions to the contemporary world, humour and laughter are given control and adjustment, and the theme or object of ridicule is surrounded by ethical restrictions. The research allows an approximation with teachers’ narratives and detailed records of classroom events focusing on different definitions of irony, parody, satire and the grotesque. Historic texts and contemporary narratives form a panorama that make evident, beyond the sensible manifestation of a state of mind, a need for knowledge about laughter and its survival strategies in the interval of monological or didactic discourses. Humour and laughter, in this context, are seen sometimes as powerful catalysts of criticism, and other times as convenient artifices, used as a balsam for the agreements and conflicts within a community. The fundamental movement for the dynamics of the internal dialogue between the teacher and his/her doubles lies in the spiral that resides in the belly of power and is the core of the buffoon’s cap’n bells.

Made available in DSpace on 2014-06-11T19:35:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-06Bitstream added on 2014-06-13T20:45:53Z : No. of bitstreams: 1 cassoli_t_dr_assis.pdf: 734720 bytes, checksum: 927cec9fa2c8ae7feada2fe35803f549 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho propõe como campo de problematização a presença dos palhaços enquanto técnicos do riso em instituições hospitalares. Entendemos que os efeitos de objetivação destas ações, pelos saberes da psicologia e da medicina, oferecem novas materialidades para os atuais processos de subjetivação, voltados para o desenvolvimento de capital humano no interior de políticas públicas, que buscam a felicidade dos indivíduos e das populações mesmo em situações limites da existência como a morte, a doença, a guerra. Para tanto tomamos, como material de análise, as práticas discursivas da psicologia e da medicina a respeito dos palhaços humanitários que respondem aos objetivos das organizações não governamentais. As práticas analisadas surgem na década de oitenta, nos Estados Unidos da América e, a partir dos anos noventa consolidaram-se nos hospitais do Brasil e de vários outros países do mundo. Levantamos a hipótese de que o riso emerge nestas intervenções enquanto elemento de uma estratégia de governança das condutas em que o palhaço efetiva-se como uma tática do processo de humanização da saúde. O riso aparece na instituição como um indicador de saúde do indivíduo, refere-se à eficiência de modos de subjetivação frente à doença e ao tratamento que, nestas intervenções, relacionam o princípio do prazer do riso à idéia de felicidade. Problematizamos tal relação, pois, em nosso entender, a produção de felicidade tornou-se uma das principais estratégias do capitalismo ao atualizar em suas práticas o homo oeconomicus / This research proposes as a field of questioning the presence of clowns as laughing technicians in institutions such as hospitals. We believe that the effects of these actions by objectifying knowledge of psychology and medicine provide a new material for the current processes of subjectivity. They are focused on the development of human capital within public policies that seek the happiness of individuals and populations even in extreme situations of life, like death, disease, war. For both, we took for analysis the discursive practices of psychology and medicine about humanitarian clowns that respond to the goals of non-governmental organizations. The practices analyzed arise in the eighties in the United States of America, and from nineties on, they were consolidated in hospitals in Brazil and worldwide. We have as main hypothesis that laughter emerges in these interventions as an element of governance strategy of behavior nowadays, where the clown is executed as a tactic in the process of humanization of health. Laughter appears in the institution as an indicator of individual health, as to the efficiency of their modes of subjectivity against the disease and treatment, which is related to the pleasure principle of laughter to the idea of happiness. We problematize that, because in our view, the production of happiness has become one of the main strategies of capitalism to update in their practices the homo economicus

Submitted by Carolina GonçAlves Souza null (pedagogacarol@yahoo.com.br) on 2017-09-26T07:31:00Z No. of bitstreams: 1 souza_cg_dr_rcla.pdf: 3123337 bytes, checksum: 0355a06a33884f8c5ea6d79d4d9d6fc8 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-27T20:54:27Z (GMT) No. of bitstreams: 1 souza_cg_dr_rcla.pdf: 3123337 bytes, checksum: 0355a06a33884f8c5ea6d79d4d9d6fc8 (MD5) / Made available in DSpace on 2017-09-27T20:54:27Z (GMT). No. of bitstreams: 1 souza_cg_dr_rcla.pdf: 3123337 bytes, checksum: 0355a06a33884f8c5ea6d79d4d9d6fc8 (MD5) Previous issue date: 2017-07-28 / A presente tese de doutorado tem por intento buscar compreender o que vem a ser o aspecto da humanização no boneco-personagem Pinóquio, adentrando, interrogando, conhecendo, ainda que parcialmente, em quais condições a obra foi escrita. O percurso metodológico seguiu de acordo com o paradigma indiciário proposto por Ginzburg e a ideia de artesania desenvolvida por Santos, entrelaçando pesquisa bibliográfica à releitura da obra, seguindo pistas referentes à vida do autor – Carlo Collodi, compondo uma narrativa científico-poética. Os aportes teóricos sobre o estudo da linguagem abarcam os escritos de Bakhtin, Rancière, Benjamin e Deleuze e Guattari, além das provocações de Calvino sobre a escrita. Autores como Marcheschi, Bertacchini, Biagi, Lorenzini e Bronzuoli somaram ao estudo da obra As aventuras de Pinóquio. O levantamento bibliográfico inicial indicou que a maioria das pesquisas brasileiras não buscou compreender o processo de humanização do boneco na relação/tensão com o seu criador. A pesquisadora, artista, atenta para a superfície da obra, nas passagens em que a narrativa se desdobra, anda pelas bordas, inventa outro texto: uma leitura renovada, em que a potência do riso toma forma. Pinóquio, pelo riso, mostra para além de uma vida impertinente, uma escrita inventiva de seu autor. / This doctoral dissertation aims to comprehend what is the aspect of humanization in the character-doll Pinocchio, incoming, interrogating, knowing, even partially, under what conditions the manuscript was written. The methodological course followed according to the evidential paradigm proposed by Ginzburg and the idea of craftsmanship developed by Santos, associating bibliographical research to the re-reading of the manuscript, following clues regarding to the life of the author - Carlo Collodi, composing a scientific-poetic narrative. The theoretical contributions on the study of language include the writings of Bakhtin, Rancière, Benjamin and Deleuze and Guattari, as well as Calvin's provocations on writing. Authors like Marcheschi, Bertacchini, Biagi, Lorenzini and Bronzuoli added to the study of the manuscript The Adventures of Pinocchio. The initial bibliographic review indicated that most of the Brazilian researches did not seek to understand the humanization process of the doll in relation/tension with its creator. The researcher, artist, focused on the surface of the manuscript, in the ways in which the narrative stretches out, walks along the edges, invents another text: a renewed reading, in which the power of laughter takes shape. Pinocchio, through laughter, shows beyond an impertinent life, an inventive writing of its author.

Orientador: Sônia Aparecida Moreira França / Banca: Lilia Ferreira Lobo / Banca: Julio Roberto Groppa Aquino / Banca: Heliana de Barros Conde Rodrigues / Banca: Cristina Amélia Luzio / Resumo: O presente trabalho propõe como campo de problematização a presença dos palhaços enquanto técnicos do riso em instituições hospitalares. Entendemos que os efeitos de objetivação destas ações, pelos saberes da psicologia e da medicina, oferecem novas materialidades para os atuais processos de subjetivação, voltados para o desenvolvimento de capital humano no interior de políticas públicas, que buscam a felicidade dos indivíduos e das populações mesmo em situações limites da existência como a morte, a doença, a guerra. Para tanto tomamos, como material de análise, as práticas discursivas da psicologia e da medicina a respeito dos palhaços humanitários que respondem aos objetivos das organizações não governamentais. As práticas analisadas surgem na década de oitenta, nos Estados Unidos da América e, a partir dos anos noventa consolidaram-se nos hospitais do Brasil e de vários outros países do mundo. Levantamos a hipótese de que o riso emerge nestas intervenções enquanto elemento de uma estratégia de governança das condutas em que o palhaço efetiva-se como uma tática do processo de humanização da saúde. O riso aparece na instituição como um indicador de saúde do indivíduo, refere-se à eficiência de modos de subjetivação frente à doença e ao tratamento que, nestas intervenções, relacionam o princípio do prazer do riso à idéia de felicidade. Problematizamos tal relação, pois, em nosso entender, a produção de felicidade tornou-se uma das principais estratégias do capitalismo ao atualizar em suas práticas o homo oeconomicus / Abstract: This research proposes as a field of questioning the presence of clowns as laughing technicians in institutions such as hospitals. We believe that the effects of these actions by objectifying knowledge of psychology and medicine provide a new material for the current processes of subjectivity. They are focused on the development of human capital within public policies that seek the happiness of individuals and populations even in extreme situations of life, like death, disease, war. For both, we took for analysis the discursive practices of psychology and medicine about humanitarian clowns that respond to the goals of non-governmental organizations. The practices analyzed arise in the eighties in the United States of America, and from nineties on, they were consolidated in hospitals in Brazil and worldwide. We have as main hypothesis that laughter emerges in these interventions as an element of governance strategy of behavior nowadays, where the clown is executed as a tactic in the process of humanization of health. Laughter appears in the institution as an indicator of individual health, as to the efficiency of their modes of subjectivity against the disease and treatment, which is related to the pleasure principle of laughter to the idea of happiness. We problematize that, because in our view, the production of happiness has become one of the main strategies of capitalism to update in their practices the homo economicus / Doutor

A l'époque classique, la dérision, entendu comme tout message - délivré par le geste, le dessin, la musique et surtout la parole dont le dessein est de susciter le rire en prenant pour cible quelque chose ou quelqu'un, débordait de toute part l'espace civique athénien. Les lois qui encadraient l'usage de la parole, et donc de la dérision, étaient d'ailleurs assez lâches. Pourtant, pour les esprits du temps, la dérision constituait une offense et pouvait par conséquent semer la haine et la discorde et fragiliser l'équilibre social. La parrhèsia, cette liberté de tout dire que la démocratie athénienne valorisait, n'explique pas seule cette situation paradoxale. Il convient surtout d'invoquer l'importance politique capitale de la dérision. En premier lieu, elle était l'une des modalités principe des affrontements politiques de faible intensité qui flanquaient ce régime de dissensus qu'était la démocratie. En outre, la dérision était un outil critique dont le poète comique se servait pour mettre en exergue les dérèglements et les errements du régime démocratique devant un parterre de citoyens. Elle leur apprenait alors à mieux «habiter» cette démocratie. Dans le même temps la dérision était employée pour rabaisser, sur le plan symbolique, les membres de l'élite confortant en creux la légitimité du peuple être le détenteur du pouvoir. La dérision participait enfin à ce «tissage» de la communauté par lequel les Anciens se représentaient le politique : non seulement elle disposait d'un pouvoir normatif que sa réfraction au sein des institutions civiques décuplait, mais elle était également un moyen de réduire les tensions sociales en les laissant s'exprimer sous une forme temporaire et/ou atténuée. / In classical times, derision, understood as any message-delivered through gesture, through painting, music, and especially through the spoken word- where the purpose was to bring about laughter, taking as its target something or someone, was all over in the Athenian public space. The laws that governed the usage of language, and thus of derision, were at the time quite lax. Even still, for the temperament of the period, derision constituted an offense and could as a consequence fuel the fire of hate and discord, therefore weakening the social balance. Parrhesia, the concept of freedom of speech, that liberty that all of democratic Athens valued, did not by itself explain this paradoxal situation. It served more than anything to invoke the great political importance of derision. To begin with, it was one of the first lines of defense for political confrontations of weak intensity that flanked the regime of dissention that was the democratic politeia. On the other hand, derision was a critical tool, that the comic poet used to pinpoint the dysfunctions and errors of the democracy before an audience of citizens. It taught the people to better partake of their role in that democracy. At the same time, derision was used to belittle, on a symbolic level, the members of the elite and shallowly comfort the legitimacy of the people in their power. Finally, derision participated in the "fabric" of the community: not only as a normative power, with its refraction at the core of civic institutions increased, but equally as a method of reducing social tensions by letting citizens express themselves in an ephemeral and/or muted way.