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There are various approaches to the explanation of humor in the field of humor research. Some of these theories, while providing interesting insight into the phenomenon known as humor, remain limited in their ability to account for how humor is recognized. Others do not even address the issue. This thesis compares five different theories in humor research by analyzing the humorous short story "My Watch" by Mark Twain. These theories are: 1. a typological approach to humor, 2. a social- functional model, 3. incongruity theory, 4. Grice's Cooperative Principle taken from linguistic pragmatics, and 5. the General Theory of Verbal Humor devised by V. Raskin and S. Attardo. The comparative analysis, following an extensive review of the literature, first interprets the humor in the short story in the light of each theoretical model. During the course of the analysis, the limitations inherent in each theories' treatment of humor are illustrated and these argue and provide evidence for the adoption of the General Theory of Verbal Humor because of its greater sophistication in building a model of humor recognition. Furthermore, in analyzing Twain's short story this thesis establishes the generalizability of this more sophisticated theory to at least some types of literary humor, specifically the tall tale. Finally, further research implications and general connections between the theoretical approaches discussed in this thesis and the teaching of the English language to non-native speakers highlight the practicality of applying insights from humor research to the field of teaching.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

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The present study examined the relationship of sense of humor to affect and coping with humor ability. The participants were 147 Introductory Psychology students from Ball State University. Participants first took the Situational Humor Response Questionnaire (SHRQ: Martin & Lefcourt, 1984), then observed 1 of 3 videos (i.e., sad, neutral, or humorous), which was then followed by the Coping with Humor Scale (CHS: Martin & Lefcourt, 1983) and the Multiple Affect Adjective Check List (MAACL: Zuckerman & Lubin, 1965). The results indicate that sense of humor is inversely related to depression and hostility regardless of video condition but not with anxiety. Low sense of humor participants were influenced greatly as a function of the video condition but the high sense of humor paticipants were not. High sense of humor paticipants used humor to cope more than the low sense of humor participants in the sad video condition. The findings indicate that sense of humor is strongly related to depression, that depression levels can be reduced with a humor stimulus, and that those with a high sense of humor are more likely to use humor to cope with problems. / Department of Psychological Science

The material of this thesis is the area of personal humour roughly covered by τὸ ὸνομαστὶ κωμῳ<greek letter>ε<greek letter>ν - the body of jokes which involve reference or allusion to individuals from the contemporary or near contemporary world, and which gave rise to the ancient compilation of κωμῳδούμεν<greek letter>ι. In an introductory chapter I draw on the combined evidence of plays and fragments to give some impression of the role of this type of satire in Old Comedy as a whole in the later fifth century, stressing in particular the overlap between Aristophanes' choice of targets and his rivals', and suggesting that this indicates the genre's capacity to create publicity for its own exploitation. The second chapter analyses the treatment of personal jokes in the scholia on Aristophanes, and shows that this typically involves a questionable model of satire, largely taken over by modern commentators on the plays, as a reflector of the truth about its targets. In the third chapter I argue that we need to adopt a view of Aristophanes as a much more active creator of publicity and of satirical images which may often owe as much to the appeal of popular stereotypes of disapproved behaviour as to the facts about the individuals to whom they are comically attached. Chapter four concentrates on choral jokes, demonstrating in particular the special scope for inventive satirical colour allowed by the separation of the major choral sections from the concerns of the dramatic episodes. The final chapter focusses on a variety of functional, formal and technical aspects of personal jokes: these include the ways in which jokes are integrated into the composition of dialogue; comically expressive uses of antilabe; the importance of the position of a name within the structure of a joke; and visual elements in personal satire. An index of names and references is included.

This thesis sought to demonstrate that humour and the grotesque are the primary tools by which Mda achieve his postcolonial strategies of &quot / writing back&quot / , that is, of asserting an identity in the face of colonial pressures, apartheid and the growing selfishness of many in the new, post-democratic South African society.

On the eve of the Second World War, high school English teacher Leon Ormond writes about a minor skirmish he has with a history teacher over the pedagogical usefulness of wit. After telling her about his book, Laugh and Learn: The Art of Teaching with Humor, she tells him, “Only morons laugh.” Ormond goes on to describe her as one who exhibits “a countenance curiously reminiscent of an ancient Greek tragic mask”—she was “an exemplary member of the Cult of Pedagogic Pallbearers.” Although educators, historically, have often frowned upon humor, humorous writing—especially satirical writing—helps students understand the fundamentals of rhetoric and composition in a way that is both engaging and intellectually demanding. While often misunderstood within the larger culture, and perhaps equally underused in academic culture, satiric writing can be a creative and critical heuristic for the learning and practice of various rhetorical principles in the introductory composition classroom, an alternate discourse that can teach fundamental communication concepts while challenging mainstream thinking. Chapter one explores various historical, theoretical, and pedagogical concerns about the use of humor. Chapter two outlines a positive case for the inclusion of satiric writing in college composition. Chapter three describes my own efforts at teaching satire in four introductory composition classes at Western Kentucky University. An appendix examines the difficult relationship between the satiric genre and the once dominant school of literary criticism known as New Criticism, focusing on New Critic Robert Penn Warren’s work with seventeenth-century satirist, John Marston.

Zugl.: London, King's College, Diss.

Thesis (Ph. D.)--University of Adelaide, 1990. / Typescript. Includes bibliographical references (in v. 3).