Humor’s effect on the audience’s relationship to the object, or speaker, of humor has often been neglected, and creating a framework by which scholars can examine how humor works to alter the relationship between audience and other fills this gap. Additionally, the definition of science fiction relies on the existence of a cognitively estranging other and under this definition, humor has not been thoroughly studied. This thesis attempts to explain how humor affects audiences cognitively, utilizing Hegel’s theory of self and other, and then applies this theoretical explanation to the field of science fiction and examines its effects. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

This dissertation is a qualitative study of six daughter-caregivers' narratives of their experiences in caring for their mothers who were afflicted with a progressive dementia such as Alzheimer's disease. Many correlational and experimental studies have attempted to show whether humor can be utilized to reduce stress, or promote wellbeing. Results are mixed. This outcome is due in part to the ways different kinds of humor may function in different circumstances for different individuals. Few studies have analyzed directly how humor may function in circumstances where it is generated in a natural context that is potentially threatening to highly relevant personal values. The family caregiving context provides a setting for generating narratives about how individuals cope with such circumstances. This study analyzes six caregiver narratives in terms of personal problem-solving processes and emotion regulation under conditions of chronic stress. This study addresses how caregiver-humor may function in this context. These caregivers exhibited and reported a variety of non-humorous coping strategies such as problem-solving to change aspects of the situation where appropriate. They evaluated and changed thoughts, feelings, and attitudes to develop new meaning, to find benefits, and to develop more integrated frames of reference for meeting caregiving challenges. Caregiver humor was embedded in this natural problem-solving process. This study extends support for the contentions from prior research and theory that humor can, under certain conditions, support stress relief and the development of attitudes that are conducive to promoting increased well-being in situations that seriously challenge or threaten valued outcomes. The personal experience narratives of these participants provide evidence that supports many humor theories and extends the range of their application. Participants utilized humor in ways that confront and to some extent resolve the incongruities of caregiving by regulating emotion and motivation, and by celebrating mastery and adaptation to life's challenges. The data support the proposition that, specifically, humor may diminish the impact of negative affect, and boost the motive power of positive affect in problem-solving processes. / text

"Memoire présenté pour l'obtention de la maîtrise d'Enseignement de lettres modernes." / Typescript (photocopy). Includes bibliographical references (leaves 104-108).

"Memoire présenté pour l'obtention de la maîtrise d'Enseignement de lettres modernes." / Typescript (photocopy). Includes bibliographical references (leaves 104-108).

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The purpose of this study was to gain a better understanding of sexually aggressive behavior through the examination of humor appreciation among male undergraduates. As compared to nonaggressive males, sexually aggressive males showed a significantly greater appreciation for humor which negatively stereotyped females, portrayed prejudicial views of rape-and rape victims, and contained content related to male sex drive and virility. Differences in humor appreciation were also found for males with high sex drive. Additional findings included correlations between aggressive drive and sexually aggressive status, as well as between sex drive and likelihood to rape.

This thesis spans two fields – South African dance and the philosophy of humour – and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe how choreographers are dealing thematically and stylistically (but not formally) with the concept of the ‘New’ South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attention. Chapter Two, I offer a defence for humour’s more profound critical aspects, suggesting that humour can in fact be seen as critical ‘thinking in action’. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capacities of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba’s Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.

This thesis spans two fields - South African dance and the philosophy of humour - and attempts to link them through an understanding of their formal mechanisms. I attempt to establish two main ideas: that there is a need for a critical praxis in South African dance, and that humour in dance can be part of this process. In Chapter One, I discuss elements of the South African dance and theatre industries pre- and post-1994 towards arguing my first point (that South African dance would benefit from a critical praxis). I probe some of the challenges facing artists and describe howchoreographers are dealing thematically and stylistically (but not formally) with the concept of the 'New' South Africa. Through an investigation of concerns voiced by critics regarding choreographic form in the country, I argue that South African dance would benefit from critical formal investigations in dance-making. Finally, I discuss traditional views of humour in South African dance/theatre and in philosophy, which suggest that humour is predominantly seen as frivolous and unworthy of serious attenfion. In Chapter Two, I offer a defence for humour's more profound critical aspects, suggesting that humour can in fact be seen as critical 'thinking in action'. A discussion of theories about humour reveals that the basis for humour is the incongruous. A subsequent discussion of form in theatre and dance shows how the incongruous might work within dance form to create meta-dance. In this way, I attempt to link the two fields of humour and South African dance and to make the connection between the critical capaci~ies of meta-dance and those of humour. I suggest, in other words, that humour in dance can create a critical awareness, of the likes advocated in Chapter One. In Chapter Three, I discuss aspects of two works: my own This part should be uncomfortable (2008) and Nelisiwe Xaba's Plasticization (2004). The two analyses differ from each other as does the humour in both works. Despite the differences, I argue that humour in both works is operating on a critical level that includes a meta-level of signification.

Theories and research in the field of disparaging humor were reviewed, and sexist humor was studied as representative of this field. The relationships of sex-role identification, self-esteem, and attitudes toward women to the judgement of humor in sexist material were investigated. The Scale of Sexist Humor, developed for this investigation, utilized a set of 50 cartoons and jokes devised to approximate overlapping standard curves on the dimensions of sexist content and humor. Subjects were 57 males and 70 female undergraduate students. Each subject performed a forced Q^-sort of the cartoons and jokes, thereby rating them on a five-point scale of funniness, then completed instruments designed to evaluate sex-role identification (the Personal Attributes Questionnaire), self-esteem (The Texas Social Behavior Inventory), and attitudes toward women (the Attitudes Toward Women Scale), A demographic information sheet was also obtained from each subject to utilize in ancillary analysis.

A nonexperimental descriptive study was conducted to determine the interrelatedness among coping strategies, humor and burnout among nursing education faculty. The conceptual framework of this study was based on the constructs of coping strategies and humor which were conceptualized as having a direct relationship to burnout. Areview of the literature concerning coping, humor and burnout supported this proposition and emphasized the need for empirical testing. Coping Humor Scale. Wavs of Coping Questionnaire and Maslach Burnout Inventory were the instruments used to measure the constructs. Academic history and demographic data sheets were also used. Hie instruments were mailed to 285 nursing faculty teaching in programs of nursing in the Dallas /Fort Worth, Texas area. The return rate for the mailing was 70.07%. Burnout among nursing education faculty showed a low degree of emotional exhaustion (54.8%), a low degree of depersonalization (84.7% and a low degree of personal accomplishment (60.7%). The findings did not reveal a high or low degree of burnout but rather a pattern of burnout suggestive of a different stage. Humor as a coping mechanism during stressful events was not frequently used. The highest proportion of nursing education faculty used distancing (46.53%) as a coping strategy. The second strategy used was planful problem solving (11.3%) with escape-avoidance used the least (3.34%). Multiple regression was used to test the research questions related to the predictor variables of coping, academic history and demographic data as they relate to each criterion variable of burnout. The use coping strategies (including humor) to predict various stages of burnout revealed only weak variable predictors. Academic history and demographic were also weak predictors for burnout.