NutzerInnen von gewalthaltigen Medien geben einerseits oftmals zu, dass sie fiktionale, gewalthaltige Medien konsumieren, behaupten jedoch gleichzeitig, dass dies nicht ihr Verhalten außerhalb des Medienkontexts beeinflusst. Sie argumentieren, dass sie leicht zwischen Dingen, die im fiktionalen Kontext und Dingen, die in der Realität gelernt wurden, unterscheiden können. Im Kontrast zu diesen Aussagen zeigen Metanalysen Effektstärken im mittleren Bereich für den Zusammenhang zwischen Gewaltmedienkonsum und aggressivem Verhalten. Diese Ergebnisse können nur erklärt werden, wenn MediennutzerInnen gewalthaltige Lernerfahrungen auch außerhalb des Medienkontexts anwenden. Ein Prozess, der Lernerfahrungen innerhalb des Medienkontexts mit dem Verhalten in der realen Welt verknüpft, ist Desensibilisierung, die oftmals eine Reduktion des negativen Affektes gegenüber Gewalt definiert ist. Zur Untersuchung des Desensibilisierungsprozesses wurden vier Experimente durchgeführt. Die erste in dieser Arbeit untersuchte Hypothese war, dass je häufiger Personen Gewaltmedien konsumieren, desto weniger negativen Affekt zeigen sie gegenüber Bildern mit realer Gewalt. Jedoch wurde angenommen, dass diese Bewertung auf Darstellungen von realer Gewalt beschränkt ist und nicht bei Bildern ohne Gewaltbezug, die einen negativen Affekt auslösen, zu finden ist. Die zweite Hypothese bezog sich auf den Affekt während des Konsums von Mediengewalt. Hier wurde angenommen, dass besonders Personen, die Freude an Gewalt in den Medien empfinden weniger negativen Affekt gegenüber realen Gewaltdarstellungen zeigen. Die letzte Hypothese beschäftigte sich mit kognitiver Desensibilisierung und sagte vorher, dass Gewaltmedienkonsum zu einem Transfer von Reaktionen, die normalerweise gegenüber gewalthaltigen Reizen gezeigt werden, auf ursprünglich neutrale Reize führt. Das erste Experiment (N = 57) untersuchte, ob die habituelle Nutzung von gewalthaltigen Medien den selbstberichteten Affekt (Valenz und Aktivierung) gegenüber Darstellungen von realer Gewalt und nichtgewalthaltigen Darstellungen, die negativen Affekt auslösen, vorhersagt. Die habituelle Nutzung von gewalthaltigen Medien sagte weniger negative Valenz und weniger allgemeine Aktivierung gegenüber gewalthalten und nichtgewalthaltigen Bildern vorher. Das zweite Experiment (N = 103) untersuchte auch die Beziehung zwischen habituellem Gewaltmedienkonsum und den affektiven Reaktionen gegenüber Bildern realer Gewalt und negativen affektauslösenden Bildern. Als weiterer Prädiktor wurde der Affekt beim Betrachten von gewalthaltigen Medien hinzugefügt. Der Affekt gegenüber den Bildern wurde zusätzlich durch psychophysiologische Maße (Valenz: C: Supercilii; Aktivierung: Hautleitreaktion) erhoben. Wie zuvor sagte habitueller Gewaltmedienkonsum weniger selbstberichte Erregung und weniger negative Valenz für die gewalthaltigen und die negativen, gewalthaltfreien Bilder vorher. Die physiologischen Maßen replizierten dieses Ergebnis. Jedoch zeigte sich ein anderes Muster für den Affekt beim Konsum von Gewalt in den Medien. Personen, die Gewalt in den Medien stärker erfreut, zeigen eine Reduktion der Responsivität gegenüber Gewalt auf allen vier Maßen. Weiterhin war bei drei dieser vier Maße (selbstberichte Valenz, Aktivität des C. Supercilii und Hautleitreaktion) dieser Zusammenhang auf die gewalthaltigen Bilder beschränkt, mit keinem oder nur einem kleinen Effekt auf die negativen, aber nichtgewalthaltigen Bilder. Das dritte Experiment (N = 73) untersuchte den Affekt während die Teilnehmer ein Computerspiel spielten. Das Spiel wurde eigens für dieses Experiment programmiert, sodass einzelne Handlungen im Spiel mit der Aktivität des C. Supercilii, dem Indikator für negativen Affekt, in Bezug gesetzt werden konnten. Die Analyse des C. Supercilii zeigte, dass wiederholtes Durchführen von aggressiven Spielzügen zu einem Rückgang von negativen Affekt führte, der die aggressiven Spielhandlungen begleitete. Der negative Affekt während gewalthaltiger Spielzüge wiederum sagte die affektive Reaktion gegenüber Darstellungen von gewalthaltigen Bildern vorher, nicht jedoch gegenüber den negativen Bildern. Das vierte Experiment (N = 77) untersuchte kognitive Desensibilisierung, die die Entwicklung von Verknüpfungen zwischen neutralen und aggressiven Kognitionen beinhaltete. Die Teilnehmer spielten einen Ego-Shooter entweder auf einem Schiff- oder einem Stadtlevel. Die Beziehung zwischen den neutralen Konstrukten (Schiff/Stadt) und den aggressiven Kognitionen wurde mit einer lexikalischen Entscheidungsaufgabe gemessen. Das Spielen im Schiff-/Stadt-Level führte zu einer kürzen Reaktionszeit für aggressive Wörter, wenn sie einem Schiff- bzw. Stadtprime folgten. Dies zeigte, dass die im Spiel enthaltenen neutralen Konzepte mit aggressiven Knoten verknüpft werden. Die Ergebnisse dieser vier Experimente wurden diskutiert im Rahmen eines lerntheoretischen Ansatzes um Desensibilisierung zu konzeptualisieren. / Users of violent media often state that they consume fictional violent media and claim that this does not influence their behavior outside of the media context. Media users reason that they can easily distinguish between things learned in a fictional context and things learned in reality. In contrast to these claims, meta-analyses report medium-sized effects between media violence consumption and aggressive behavior. These effects can only be explained if media users also apply learning experiences from the media outside the media context. One of the processes linking learning experiences in the media context to behavior in the real word is desensitization, which is often defined as a reduction of negative affect towards violence. To investigate the process of desensitization, four experiments were conducted. The first hypothesis investigated in these experiments was that persons who have a higher level of violent media exposure show less negative affect towards depictions of real violence compared to persons with a lower level. However, it was assumed that this reduction in reaction would be limited to depictions of real violence and would not be found in response to depictions of nonviolent pictures electing negative affect. The second hypothesis referred to the role of affect experienced during exposure to media depictions of violence, assuming that especially people who enjoy the violence while consuming the media show less negative affect towards depictions of real violence. The final hypothesis addressed cognitive desensitization effects and predicted that media violence use leads to transfer effects from responses to violent cues to initially neutral stimuli The first experiment (N = 57) examined to what extent the habitual use of media violence predicts the self-reported affect (Valence and Arousal) towards depictions of real violence and nonviolent pictures eliciting negative affect. Habitual media violence exposure predicted less negative valence and less arousal toward violent pictures and negative nonviolent pictures. The second experiment (N = 103) also examined the relationship between habitual media violence exposure and the affective reactions towards images of real violence as well as negative, nonviolent scenes. Additionally, affect while watching violent media was added as a second predictor. The affect toward the images was also obtained by psychophysical measures (Valence: activity of C. Supercilii; Activation: skin conductance). As in experiment 1, habitual media violence exposure predicted less self-reported negative valence and less self-reported arousal for the violent pictures and the negative nonviolent pictures. The physiological measures replicated this result. However, a different pattern emerged for the enjoyment of violent media. People who enjoyed violent media more showed a reduction of affective responsivity toward violence on all four different measures. Additionally, for three of the four measures (skin conductance, self-reported negative valence and the activity on the C. Supercilii) this relationship was limited to the violent pictures, with no or little effect on the negative, but nonviolent pictures. A third experiment (N = 73) studied affect while participants played a violent computer game. A game was specially programmed in which specific actions could be linked to the activity of the C. Supercilii, an indicator for negative affect. The analysis of the C. Supercilii showed that repeatedly performing aggressive actions during the game led to a decline in negative affect accompanying the aggressive actions. The negative affect during aggressive actions in turn predicted less negative affective responses to violent images of real-life violence but not to nonviolent, negative images. The fourth experiment (N=77) showed cognitive desensitization effects, which involved the formation of links between neutral and aggressive cognitions. Participants played a first-person shooter game either on a ship or a city level. The relationship between neutral constructs (ship/city) and aggressive cognitions was measured using a lexical decision task. Playing the game in a ship/city level led to shorter reaction time for aggressive words following ship/city primes respectively. This indicated that the neutral concepts introduced in the game had become associated with aggressive cognitions. The findings of these four experiments are discussed in terms of a learning theory approach to conceptualizing desensitization.

Syftet med studien är att undersöka hur digitala verktyg inom IKT används i fritidshemmet. Sett utifrån frågeställningen så kan vi se ett problem med att styrdokumenten utifrån dess skriftliga form är oerhört abstrakta och tolkningsbara. I styrdokumenten finner vi IKT:s syfte och sammanhang, men inte hur det ska integreras i fritidshemmets kontext under strukturerade former. Studien utgår från ett fenomenografiskt perspektiv, eftersom undersökningen grundar sig utifrån pedagogernas uppfattning av integreringen. För att närma oss detta så använde vi oss av observation och semistrukturerad intervju som metod för att få fram det empiriska underlaget utifrån de 5 medverkande pedagogerna. I studiens resultat påvisas en viss skillnad utifrån integreringen och motiveringen av digitala verktyg inom fritidshemmets kontext.

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Playing violent video games may provoke aggression. Psycho-physiological methods may provide knowledge about the underlying psychological processes. Most previous studies have been performed in laboratory settings at daytime with adults. Thus the aim of this thesis was to investigate psycho-physiological (autonomic and HPA related reactions), sleep-related and emotional responses in teenage boys to playing a violent and a non-violent video game at home before going to sleep. In Study I the autonomic responses differed between the violent and the non-violent game during playing and more distinctly during sleep. In Study II the HPA axis was not affected by video gaming at all. In Study III, the effect of habits of playing violent games was assessed (≤ 1h/day and ≥ 3h/day). High versus low experience of violent gaming were related to different autonomic, sleep-related and emotional processes at exposure to a violent and a non-violent game, during playing and during sleep. The present thesis demonstrated that violent and non-violent games induce different autonomic responses during playing and – more distinctly – during sleep. Frequent gaming seems to influence physiological, sleep-related and emotional reactions, possibly as an expression of desensitization processes.

In humour studies research, there have been few attempts to elucidate why black humour was such a prevalent, powerful force in late twentieth century culture and why it continues to make a profound impression in the new millennium. As Dana Polan (1991) laments: ???Rarely have there been attempts to offer material, historically specific explanations of particular manifestations of the comic???.1 This thesis offers an interdisciplinary analysis of black humour in the late twentieth century. I contend that the experience of black humour emerges from the intricacies of human beliefs and behaviours surrounding death and through the diverse rituals that shape experiences of loss. I suggest that black humour is an attempt to articulate the tension between the haunting absence and disturbing presence of death in contemporary society. Chapter 1 of this thesis offers an historical and etymological perspective on black humour. In Chapter 2, I argue that the increasing privatisation and medicalisation of death, along with the overt mediatisation of death, creates a problematic juxtaposition. I contend that these unique social conditions created, and continue to foster, an ideal environment for the creation and proliferation of black humour. In Chapters 3 and 4, I examine the structures and functions of black humour through three key theories of humour: incongruity, catharsis and superiority. Chapter 5 looks at ways in which the experience of black humour creates resolutions and forces dissonances for people entwined with loss. In this final chapter, I also consider how black humour may help people make meaning from issues surrounding death. Throughout this theoretical discussion, I interweave the analysis of a range of scenes from contemporary black comic texts (i.e. plays, screenplays and television scripts). On the whole, this thesis works towards a more complex, specific understanding of the phenomenon of black humour within a social context.

In this research work is analyzed a problem of violence in media effects on juveniles and its prevention. The main purpose of the work is to analyze media effects on juvenile's character, and to provide possible ways for its prevention considering media as one of a necessary attribute in modern life. In the work the author analyzes some theories of scholars in the world and Lithuania. Generalizing the results of the criminology research, the author draws some conclusions: effects of media violence undoubtedly exists. The topic of prevention is divided into two parts and dealing with a problem of macrosocial (at national lewel) and microsocial level (family or school) ambience. There are also analyzed rating systems of some foreign countries.

In humour studies research, there have been few attempts to elucidate why black humour was such a prevalent, powerful force in late twentieth century culture and why it continues to make a profound impression in the new millennium. As Dana Polan (1991) laments: ???Rarely have there been attempts to offer material, historically specific explanations of particular manifestations of the comic???.1 This thesis offers an interdisciplinary analysis of black humour in the late twentieth century. I contend that the experience of black humour emerges from the intricacies of human beliefs and behaviours surrounding death and through the diverse rituals that shape experiences of loss. I suggest that black humour is an attempt to articulate the tension between the haunting absence and disturbing presence of death in contemporary society. Chapter 1 of this thesis offers an historical and etymological perspective on black humour. In Chapter 2, I argue that the increasing privatisation and medicalisation of death, along with the overt mediatisation of death, creates a problematic juxtaposition. I contend that these unique social conditions created, and continue to foster, an ideal environment for the creation and proliferation of black humour. In Chapters 3 and 4, I examine the structures and functions of black humour through three key theories of humour: incongruity, catharsis and superiority. Chapter 5 looks at ways in which the experience of black humour creates resolutions and forces dissonances for people entwined with loss. In this final chapter, I also consider how black humour may help people make meaning from issues surrounding death. Throughout this theoretical discussion, I interweave the analysis of a range of scenes from contemporary black comic texts (i.e. plays, screenplays and television scripts). On the whole, this thesis works towards a more complex, specific understanding of the phenomenon of black humour within a social context.

The primary goal of this thesis was to provide a snapshot of the portrayal of bullying on teen television. Drawing from contextual factors studied in the National Television Violence Study (Smith et al., 1998), a content analysis of 82 episodes (representing 10 series) and 355 acts of bullying was conducted to examine portrayals of physical, verbal, indirect, and cyber bullying in terms of bully and victim social status, motivations, humor, punishments/rewards, character support for bullies, harm shown to victims, interventions by third parties, and anti-bullying episode themes. The analysis revealed significant differences across bullying types for all variables except third party intervention, with portrayals of physical and verbal bullying identified as most “high-risk” (i.e. depicting bullying in ways that research suggests increase the likelihood of negative effects), and portrayals of cyber bullying identified as least “high-risk” for the majority of contextual elements. More generally, the analysis demonstrated that a substantial amount of bullying on teen television sends some concerning messages to young viewers, including the notion that bullying can be funny, harmless, and go without punishment. Complementing the content analysis, an exploratory textual analysis of 294 online fan posts related to bullying portrayed on Glee was performed to capture a representation of potential audience interpretations and intertexts (consumed alongside the television text). The analysis pointed to four major themes across posts: categories of bullying, messages about bullying promoted by characters, contextual elements of bullying, and feelings about characters involved in bullying. In terms of audience responses, the themes highlighted how some fans think critically about bullying portrayals and their implications, distinguish between different types of bullying, and identify with characters. In terms of intertexts, the trends suggested that fans might be exposed to a variety of messages that both criticize and support high-risk depictions of bullying, and defend and rebuke bullying behavior (depending on the characters involved). Combined, the content analysis and textual analysis underlined the importance of media bullying as a topic of scholarly inquiry, revealing that teen bullying is a unique and complex media phenomenon that audiences respond to and interpret in a multitude of ways.