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.

O presente trabalho se dispõe a discutir como Schopenhauer elabora seu princípio de razão suficiente, em sua primeira versão (1813), e qual a concepção de verdade empregada pelo autor para justificar o modo de operacionalização da segunda classe - ratio cognoscendi - do referido princípio e como ela se relaciona com as demais. Em face dessas duas questões apresenta-se como o autor desenvolve sua teoria do conhecimento conceitual e dos juízos. Também se busca discutir como a ciência, um saber abstrato, é sistematizada, dado que ela é um conjunto de conhecimentos homogêneos que depende de conceitos e tem sua organização expressada segundo a ratio cognoscendi. Por fim, a presente dissertação esclarece que a verdade nem sempre é o caso, pois, ao Homem, ocorre a capacidade do riso, fenômeno, o qual demonstra que nem sempre o princípio de razão e a concepção de verdade, que é uma de suas expressões e mostra a congruência entre as classes, é obedecido. / This work presents a discussion about how Schopenhauer elaborates his principium rationis sufficientis, in it first version (1813), and which is the truth conception used by the author to justify the way of second class works - ratio cognoscendi - of it principle and how it is the relation among another ones. In face of this two questions, we present how author developes his theory of conceptual knowledge and judgments. We also expect to discuss how science, abstract knowledge (Wissen) is systematized, in so far as it is a class of homogeny knowledges that depend on concepts and have it organization express by ratio cognoscend. Finally, this dissertation explains why truth sometimes is not the case, because to human being happens the laughter capacity, phenomenon, which is one of it expressions and shows the incongruity of the classes, is satisfied.

Riso forasteiro, intruso, estranho, grotesco, imprevisível, transgressor. O presente trabalho formula uma (des)proposta para a pedagogia do cômico a partir de uma investigação dos estranhamentos provenientes de uma prática artística e pedagógica cuja finalidade inicial foi a procura por um riso que invadisse a educação. Dois arquétipos de alunos tipificaram-se nesse caminho: a bela dona Baratinha e a desvirtuada velha Baobá. Dona baratinha despreza seus diferentes. É popular, séria, inteligente e, sempre, elogiada pela escola, por seguir as regras postas. Em contraponto, a feia, depravada, grotesca, ridícula e cômica velha Baobá, como tantas outras, ri à toa. Tem instintos descontrolados, entrega-se sem pudor aos acontecimentos do momento, subverte e, assim, é reprimida e excluída continuamente. Como desenvolver uma mediação do cômico sem que se privilegiem modelos exemplares ou na procura de uma seriedade, que procura belas formas e práticas determinadas? O que a estranheza e a desrazão presentes no estado da velha Baobá, comumente, execrada, podem dizer sobre o cômico? O que poderia resultar de um processo dessa natureza? Interessando-se por essas questões, este trabalho, a partir da metodologia de pesquisa-ação (BARBIER, 2007), foi realizada uma oficina de cômico teatral, com crianças e adolescentes residentes no bairro Guatupê, na região metropolitana de Curitiba-PR. Por meio do estudo dos materiais e dados provenientes da pesquisa-ação, especialmente, do diário de itinerância (idem), revelaram-se os caminhos da pesquisa como desvios tortuosos, como possibilidade de abandonar o que se intentava. A doença, a trapaça, o fracasso, a ação ética e a destruição poética apresentam-se potentes para a produção do riso, conduzindo a pesquisa para construção de cenas bizarras e risíveis como um devir pedagógico. Assumindo a análise como um olhar vesgo e embaçado para a pesquisa, aceitou-se a proposta de que respostas fixadas não deveriam ser formuladas. Jogos de má educação, jogos de atordoar, jogos de destruição foram estruturados a partir da análise dos resultados. Esses jogos são entendidos como (des)propostas em vistas à uma (des)educação, entendendo-se, também a mediação do cômico como uma aceitação do (não)saber. Assim, formas ridículas estruturaram e impulsionaram considerações finais estranhas, erradas, duvidosas, irrelevantes, incompletas, desajustadas, tortas, doentias, debilitadas, grotescas, desconexas. Debilitado, o trabalho revela que a invasão do riso na educação pode tornar-se uma visita indesejável, principalmente pelo caráter transgressor do cômico. Contudo, pode possibilitar uma imersão no novo e no desconhecido, contribuindo para o aprendizado de todos os envolvidos. / Alien laughter, outsider, bizarre, grotesque, unpredictable, transgressive. This thesis formulates a (dis)proposal to the pedagogy of the comic from an investigation of strangeness caused by artistic and pedagogical practices in search for a laugh that could invade the education. Two students archetypes typified this way: the beautiful lady Cockroach and the old distorted Baobá. Lady Cockroach despises her dissimilar. She is popular, serious, intelligent and always praised by the school by following the rules. In contrast, the ugly, vicious, grotesque, ridiculous and comical old Baobá, like so many, she laughs for nothing. She has uncontrolled instincts, delivery up shamelessly to the events of the moment, subverts and, for this, is thus suppressed and deleted continuously. How to develop a comic mediation without prioritizes role models or looking for a serious looking beautiful forms and certain practices? What the strangeness and irrationality present in the state of the old Baobá, commonly execrated, can say about the comic? What could result from such a process? Interested by these issues, this thesis, from the action-research methodology (Barbier, 2007), proposed a theatrical comic workshop for the children and adolescents who lives in Guatupê neighborhood, in the metropolitan region of Curitiba-PR. Through the study of materials and data from the action-research, especially the roaming daily (Barbier, 2007), the search paths have revealed as circuitous detours, as a possibility to leave what was aimed. The disease, cheating, failure, ethical action and poetic destruction are potent for the production of laughter, conducting this research to build bizarre and ludicrous scenes as an educational becoming. Assuming the analysis as a squint and blurry for research, we accepted the fact that fixed answers should not be formulated. This way, bad behavior games, stun games and destruction games were structured from the analysis of results. These games are understood as (un)proposals in view to one (un)education, understanding also the comic mediation as an acceptance of (not)knowing. So ridiculous ways structured and pushed the strange final considerations, wrong, unreliable, irrelevant, incomplete, maladjusted, awry, sick, debilitated, grotesque, disjointed. Weakened, the work reveals that laughter invasion in education can become an unwelcome visitor, especially due to the transgressive character of the comic. However, it can enable an immersion in the new and the unknown, contributing to the learning of all involved.

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.

Orientador: Trajano Augusto Ricca Vieira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T19:29:04Z (GMT). No. of bitstreams: 1 Mishima_Monica_M.pdf: 782171 bytes, checksum: bb2993137c39da78a010d4647e1830a0 (MD5) Previous issue date: 2011 / Resumo: Ao percorrer as obras satíricas de Luciano de Samósata, notamos a incongruência entre as falas e as ações de algum personagem (ou de muitos) como motivo de riso. De acordo com Quentin Skinner e Verona Alberti, diversos pensadores da Antiguidade Clássica estabelecem tal contraste entre o que se é e o que se aparenta ser como única causa do humor. Pretendemos, com o presente estudo, esboçar como essa teoria clássica do riso se apresenta na obra O Banquete ou os Lápitas, sátira aos filósofos do autor supracitado / Abstract: Going through the satirical works of Lucian of Samosate, we may notice the incongruence between the speech and the actions of one or many characters as the reason for laughter. According to Quentin Skinner and Verona Alberti, some thinkers from the Classical Antiquity stablished the contrast of what one is and what one appears to be as the sole motive for laughing. Through this research, we intend to sketch how the classical theory of laughter is presented in Symposium or the Lapiths, a satire on philosophers by the aforementioned author / Mestrado / Linguistica / Mestre em Linguística

Orientador: Clara Germana de Sa Gonçalves Nascimento / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-06T11:21:49Z (GMT). No. of bitstreams: 1 Miachon_Emile_M.pdf: 1586197 bytes, checksum: fa901c776d9ce5e191305a5348dc4868 (MD5) Previous issue date: 2006 / Resumo: A pesquisa enfoca o trabalho artístico e suas potencialidades para o aprendizado e a formação dos indivíduos. Nossa experiência referenda-se a um grupo de Teatro de Bonecos e nosso locus é a escola pública, enquanto lugar de encontro, entre o espetáculo teatral e a reação da platéia. Esta ação cultural que rompe com as rotinas escolares, pode instigar a construção de conhecimentos pela experiência estética. Explicitamos o viés das sensibilidades, para além da racionalidade instrumental e da lógica mecanicista. Buscamos pistas e ressonâncias nos olhares dos espectadores para esboçarmos uma concepção de educação, que valoriza elementos de diferentes culturas, especialmente a cultura popular, que inclui, amplia possibilidades, liberta pela reflexão crítica e forma as consciências. Aproximamo-nos das questões referentes ao Teatro de Bonecos, dialogando com seus elementos: quadros, episódios, cenas, temas, técnicas de manipulação, riso, grotesco, musicalidade, dança, estrutura dramática, focando a reação do público. Nosso objetivo é aprofundar os conhecimentos sobre o Teatro de Bonecos no Brasil, em seu contexto histórico, formado pela colonização e domínio de fora, resgatando seu sentido de resistência expressa na cultura popular. Destacamos nessa abordagem o riso, o elemento cômico e suas possibilidades para auxiliar na formação, de ser re-significado, resgatando sua ambigüidade. As escolas, inseridas na sociedade moderna, ao se abrirem para novas experiências, podem ampliar o aprendizado, que, necessariamente, inclui a cultura no seu cotidiano. Pretendemos conscientizar educadores e artistas sobre a necessidade de pesquisas na área. As dificuldades deste trabalho artístico e o sentido de ruptura do mesmo são abordados, buscando condições para fomentarmos políticas culturais, que ajudem a manter vivo o Teatro de Bonecos, como uma das opções para se garantir o acesso de todos a diferentes expressões artísticas, enriquecendo assim seu capital cultural / Abstract: The purpose of this research is to reflect on the artistic work and its potentialities for the learning and the formation of individuals. Our experience is authenticated with a group of Puppet Theater and our regard is for the public school, as the spot of this meeting, between the theatrical show and the audience¿s response. This cultural action, which breaks the school routines, can instigate the construction of knowledge through the aesthetic experience. We make explicit the bias of the sensibilities beyond the instrumental rationality and the mechanistic logic. We search for clues and resonance in the spectators¿ looks to sketch a conception of education, which values elements of different cultures, especially the popular culture, which includes, extends possibilities, frees through critical reflection and forms the consciences. We approach our look to the issues concerning the Puppet Theater, dialoguing with its elements: episodes, scenes, subjects, manipulation techniques, laughter, grotesque, musicality, dance, dramatic structure, focusing on the audiences¿ response. Our objective is to deepen the knowledge on Puppet Theater in Brazil, in its historical context, formed by colonization and the great influence from abroad, restoring its sense of resistance, expressed in popular culture. In this approach we draw attention to laughter, the comic element and its possibilities to assist in the formation, as redefined, restoring its ambiguity. The schools, inserted in modern society, when opening up to new experiences, can extend the learning, which necessarily includes the culture in their daily routine. We intend to make educators and artists aware of the need for researches in this area. The difficulties of this artistic work and its sense of rupture are approached, looking for conditions to foment cultural policies, which can help maintain the Puppet Theater alive, ensure that all have access to different artistic expressions, enriching their cultural capital / Mestrado / Politicas de Educação e Sistemas Educativos / Mestre em Educação

Este trabalho tem o objetivo de estudar alguns aspectos do gênero cômico na novela exemplar El coloquio de los perros de Miguel de Cervantes. Com este propósito, foram escolhidos os quatro primeiros episódios da obra: o matadouro de Sevilha, Berganza como cão pastor, o rico comerciante e o oficial de justiça, tendo como ponto de partida o estudo analítico da comicidade, levando em conta a maneira como se constitui no corpus selecionado, seja por intermédio do elemento burlesco, seja pelo satírico, com a perspectiva de promover o entretenimento, o riso. Para realizar tal análise observou-se como essas formas discursivas se constituem no interior da narrativa/diálogo, destacando o que as distingue em cada episódio selecionado, a fim de desvendar de que maneira esse diálogo cômico-filosófico nos remete a uma censura sócio-moral, um dos temas centrais dessa obra de Cervantes. / This work aims to study some aspects of the comic genre in the exemplary novel El coloquio de los perros by Miguel de Cervantes. For this purpose the first four episodes of the work were selected: Slaughterhouse of Seville, Berganza as shepherd dog, the wealthy merchant and the bailiff. The chosen starting point was the analytical study of the comicality, taking into account the way it is constituted in the selected corpus, either through the burlesque element, or by the satirical one, with the perspective to promote entertainment, laughter. For such analysis, it was observed how these discursive forms are constituted within this narrative/dialogue, highlighting what distinguishes each one in the selected episodes, in order to unravel how this comical-philosophical dialogue leads us to a socio-moral censure, one of the central themes of this work of Cervantes.

Autour de l’année 1585 paraissent en France des recueils dialogués cultivant l’hybridité formelle et le mélange des tons : les Contes et discours d’Eutrapel de Noël du Fail, les Matinées et les Apresdisnées de Cholières ainsi que les Serées du libraire-imprimeur poitevin Guillaume Bouchet. Exploitant une des potentialités du Décaméron de Boccace, ils mettent l’accent sur la pratique des « devis », c’est-à-dire sur les conversations nouées par des compagnies conteuses. Ces « contes et discours bigarrez » font alterner les bribes de nouvelles, les anecdotes plaisantes et les railleries avec les matières les plus graves, fiches historiques, apophtegmes édifiants et développements juridiques. En un curieux mélange, l’art de « rencontrer » (de dire des bons mots) s’y mêle à l’érudition la plus ostentatoire. Au carrefour de l’histoire des formes littéraires et de la sociabilité, les notions de « facétie » et de « devis » permettent d’interroger la singularité de ces textes, en termes à la fois poétiques et sociaux. Le genre de la facétie humaniste y est de mieux en mieux assimilé, tandis que le dialogue philosophique cède la place à de souples conversations, qui redéfinissent les rapports des plaisanteries aux savoirs. En décrivant les réactions des interlocuteurs, ces textes mènent aussi une réflexion sur la sociabilité et les normes de la civilité. Alors que le royaume est en proie aux guerres civiles, ces conversations facétieuses esquissent des modèles de coexistence originaux, valorisant la liberté de parole, les conflits ludiques et les ententes paradoxales. À la veille du Grand siècle se décide un tournant important de l’histoire de la conversation, entre urbanité et rusticité, politesse et gauloiserie. / Dialogued works, hybrid in form and presenting a variety of tone, make their appearance around the year 1585, in the Contes et discours d’Eutrapel by Noël du Fail, Cholières’ Matinées and Apresdisnées, and Serées, by Poitou-native printer and bookseller, Guillaume Bouchet. Inspired by a potentiality offered by Boccaccio’s Decameron, the authors place the accent on the practice known as “devis”, or conversations that are started up in a storytelling mode. These “contes et discours bigarrez” alternate snatches of novellas, pleasant anecdotes and teasing mockery with more serious material, including historical notes, edifying apophthegms and legal developments. In a curious mélange, the art of “rencontrer” (being witty) is offset by showy erudition. At the crossroads of the history of literary forms and sociability, the notions of “facétie” and “devis” enlighten the singularity of these texts, in both poetic and social terms. The genre of humanistic witticism is increasingly integrated, while philosophical dialogue gives way to agile conversation, which redefines the relation between joking and learning. In describing the reactions of the persons addressed, these texts also invite research into the sociability and the civility codes of the day. At a time when the kingdom is rife with civil wars, these facetious or witty conversations are original models for coexistence, where freedom of speech, playful clashes and paradoxical agreements play leading roles. Part urbane, part countrified, between courteous and bawdy, an important turning point in the history of conversation is reached here, on the eve of the Grand Siècle.

Since 1990, the usage of emojis has increased and become a part of our everyday communication.The ambiguous nature of emojis has been shown by multiple previous studiesbut there is a qualitative gap in research of what the meaning of these emojis are. On thesocial media app TikTok emojis, in combination with written text, are used by users of theapp to communicate with each other, and the content creators, via the comment sectionof videos. This study researches in which laughable context specific emojis, representinglaughter, appeared. Laughter has always been a part of human communication and was previously referredto as being a way of showing agreement. Laughter was a way to give a preferred answer toa humorous situation. Later research has expanded this claim to other dimensions wherelaughter is not only a response to humor, but also a way of making dispreferred answersagreeable. Laughter is a way of affiliation and is a quick way to establish a relationshipwith another person. This study collected thirteen examples from the comment section on the digital app,TikTok. All examples were related to laughter and contained at least one emoji. To beselected as an example, the original comment also needed a direct response. All exampleswere analysed with multimodal interaction analysis. When preforming the analysis, thefocus was recipient design, preference, common ground and affiliation. In line with previous studies, the results confirm the ambiguous nature of emojis butalso that laughter can be represented in many different ways. One meaning found wasgenuine, hysterical laughter which was represented by both face with tears of joy emojiand rolling on the floor laughing emoji. Another meaning found was the embarrassinglaughter context where the comment creator is looking for someone to relate to the loudlycrying emoji and the grinning face with tear of sweat emoji were present. The skull emojiwas used in context where the laughter was some what hysterical and the context wasfunny, but there was serious truth behind the laugh. The amount of emojis used makes adifference in meaning but also how the text that the emojis are related to in the comment isexpressed. This study contributes to the field of internet linguistics and conversation analysis andcould hopefully give more insight to the digital communication of today.

<p>  </p> <p>It is well established that people are highly sensitive to timing in interaction and that delay of response is consequential in shaping the interaction (Davidson, 1984; Jefferson, 1989; Pomerantz, 1984; Roberts, Francis, & Morgan, 2006). There is also crosslinguistic evidence that people of different language backgrounds orient to these delays as problematic, though with different levels of tolerance (Roberts, Margutti, & Takano, 2011). However, few studies, if any, have focused on the timing of responsive actions such as laughter or open class repair initiators (OCRI; e.g., English “what?” or Japanese <em>nani).</em> Both types of actions fill the slot of responses but are semantically-underspecified. They provide no overt comment on the speaker’s talk; although laughter does have a sociocultural association with humor and positive affect. In effect, laughter and OCRI are “agnostic” responses whose interpretations are highly dependent on contextual factors. This dissertation explores the phenomena of laughter and OCRIs in relation to timing and delay and the possibility of crosslinguistic variation by examining delayed laughter and delayed OCRI in American English and Japanese via two inter-related studies.</p> <p>The first phase examined delayed laughter and delayed OCRI in naturally-occurring conversation (telephone calls) using the analytic framework of Conversation Analysis (CA). The data for this analysis came from the CallFriend – English (Northern US) and CallFriend – Japanese corpora of audio-only telephone call conversations between friends and are accessible through the TalkBank database (MacWhinney, 2007). The English corpus contains 31 half-hour conversations, and the Japanese corpus consisted or 32 half-hour conversations. The results suggest little crosslinguistic variation in the sequence and function of delayed laughter and delayed OCRI. However, the results of this phase indicate that delayed laughter is often found as a hearer’s response to the speaker’s delicate and is typically oriented to by the speaker as an affiliative signal, unless additional indications of disaffiliation also co-occur in the interaction. Delayed laughter also functions as a forecast of an upcoming action that may spark trouble in the interaction or pose a face threat (such as an imperative.) On the other hand, delayed OCRI seem to indicate the hearer’s surprise at some sequential trouble, such as a disjunctive topic, or in a sequence of disaffiliation.</p> <p>The second phase takes these insights gleaned from the CA phase and investigates them experimentally by asking native speakers of English and Japanese to report their perceptions of laughter or OCRI at one of three different delay lengths. Participants for this study were recruited via the online crowdsourcing platforms Amazon Mechanical Turk (for English native speakers; n = 413) and Crowdworks (for Japanese native speakers; n = 240). Participants were asked to complete an online Qualtrics survey in which they listen to short, simulated telephone calls and rate their perceptions of agreement, surprise, and avoidance in the context of a recipient’s delayed laughter or OCRI. The experiment was conducted as a between-groups design, so for each language group, participants were exposed to either the laughter or the OCRI condition at one of three delay levels (0ms, 400ms, or 600ms). The results support the CA findings, as the participants reported that laughter expressed more agreement and avoidance than OCRI, and OCRI expressed more surprise than laughter, regardless of delay length. As with the CA findings, there was little crosslinguistic variation, but there was indication that native English speakers were more likely than Japanese speakers to perceive laughter as an expression of agreement and OCRI as an expression of surprise.</p> <p>The overall results suggest that delayed laughter is typically oriented to as an affiliative action by the co-participant while OCRI is more of a neutral action that has the potential to be a face-threatening action. Because these non-linguistic features are understudied, this dissertation contributes to our understanding of how the perceptions of seemingly agnostic responses are shaped by temporal characteristics and interactional sequence. </p>