Inaug.-Diss.--Bonn. / Vita. Bibliography: p. 244-246.

No description available.

The Japanese, as a people, are very different from the Chinese. As far as one can talk of national characteristics, they are less ebullient and extrovert than the Chinese. A sense of humour seldom appears in their daily life whereas, oddly enough, their art shows a lively wit. The reverse is true of the Chinese who are a witty gay people in life but are not generally so in their art. Peter Swann's provocative statement prompted this investigation regarding the absence or presence of humor in uniquely Japanese art. A secondary aim was to try to define the nature of any humor discovered. The study was limited to three periods of Japanese history in which there was a minimal amount of direct influence from China and in which there developed relatively pure Japanese art forms. Humor is defined as "a critical, yet sympathetic, human response to a stimulus occurring unexpectedly in an otherwise ordered existence." It is discussed as an intellectual-emotional response. The intellectual aspect implies an understanding of events. The emotion encountered is never one of anger, bitterness or sarcasm. It is not noble, sublime or mysterious. It is a response of warmth. The first era studied, the protohistoric period, produced haniwa, clay figures, which were investigated. While it was not possible to state that haniwa were humorous in intent, many emerged exemplifying the foregoing definition of humor. These happy and laughing tomb figures elicit a response of humor today. The nature of the humor-response was of two varieties. One was indeed Swann's "lively wit" and the other emerged as a gentile, subtle type of humor. The second period studied was that of the twelfth and thirteenth centuries in which the main body of emaki was produced. The historical background to the growth of this truly national style of Japanese art was covered and many emaki were investigated. Summarizing the kind of humor found, it became evident that the Japanese is a race able to laugh at itself. Yashiro's "sympathetic smile of good will" is shown in the emaki itself and is elicited from the observer. "Lively wit" was found in scenes from the Shigi-san Engi, the Ban Dainagon Ekotoba and in the Choju Giga. A gentle, subtle humor was observed in the Yamai no Soshi scroll and in the Gaki Zoshi.. In both of these latter emaki, the pathos toned down the nature of the humor making it less lively than in the former scrolls. Finally, the last period under consideration was the two hundred and fifty years of Tokugawa shogun exclusionist policy—l6l5-1867. The Japanese form of art known as ukiyo-e was investigated. It was necessary to understand the historical background of these Japanese prints in order to determine if and when stimuli occurred upsetting a natural order of existence. Again, it was discovered that at least two kinds of humor were present. Overt and "lively wit" was demonstrable, as was a subtle, not-quite-hidden, touch of gentle humor. While there was no difficulty in proving the presence of humor in uniquely Japanese art, the nature of that humor was more difficult to determine. Swann's contention that Japanese art shows a "lively wit" was found to be true, but only in part. A subtle, quiet and warmly sympathetic kind of response was also demonstrated. Examples of these two types of humor were found both in the actual objects investigated and, also, in the nature of the response elicited from the observer. Although humor evinced different characteristics, both types found show a critical, yet sympathetic, response to stimuli occurring unexpectedly in an otherwise ordered, existence. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Humor-evoking events frequently contain aggressive elements. Sex differences have been found for the effects of aggressive content on perceived funniness, (Wilson & Molleston, 1981; Terry & Ertle, 1974; Groch, 1974; Felker & Hunter, 1970) but the findings are not consistent. Sexism is sometimes perceived as a more subtle form of aggression. Sex differences have also been found for the way sexism affects funniness ratings, (Chapman & Gadfield, 1976; Priest & Wilhelm, 1974) but again the findings are inconsistent. The primary purpose of the present study was to determine the relationship between the ratings of sexism and the ratings of funniness for cartoons. A secondary purpose of the present study was to determine to what extent, if any, gender of experimenter influences humor, sex, sexism, and pain ratings.Subjects were 60 female and 58 male introductory Psychology students. There were four experimental groups: two groups of female and two groups of male subjects. A female experimenter was assigned to one male and one female group, and a male experimenter was assigned to one male and one female group. This design facilitated exploration of an experimenter gender x subject gender interaction. Subjects were shown 34 cartoons and asked to rate each for funniness, and then to rate them for the degree of sexual, sexist, and aggressive (pain) content each contained.A preliminary analysis revealed that there were significant relationships between gender of experimenter and funniness ratings, gender of subject and funniness ratings, as well as a gender of experimenter x gender of subject interaction.A step-down multiple regression was performed among the predictor variables experimenter gender and subject gender, with the criterion of funniness, for each of the four experimental conditions. For female subjects, only sexism scores correlated with funniness scores, and the contributions of sex and pain ratings were not significant. For male subjects, only sex scores correlated with funniness scores, and the contributions of sexism and pain ratings were not significant. Comparisons between these results and past research were made.

Thesis (Ph. D.)--Ludwig-Maximilians-Universität zu München, 1978. / Vita. Includes bibliographical references (p. 177-183).

Inaug.-diss.--Frankfurt am Main, 1936. / Lobenslauf. "Literaturnachweis": p. 51.

Thesis (PhD)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his creative work. Honiball became famous as a political cartoonist and played an important role in the rise of the National Party, seeing that his association with the Nasionale Pers provided him with a forum as opinion-former. It is said that his comic strips Oom Kaspaas, Jakkals en Wolf and Adoons-hulle influenced different age groups and even people who were not Afrikaners. It was however mainly Afrikaans-speaking people who strongly identified with these strips due to the strong Afrikaans character thereof. Various instances own Honniballiana, where it is being preserved and is available for research purposes. A number of marketing initiatives were launched to promote the work of Honiball, mainly by TO Honiball-Promosies. Despite the fact that much of his work is dated, new interest is generated by utilising his work in educational programmes. Honiball's body of work is a source for culture-historical research seeing that it offers references to the tangible and intangible culture of Afrikaans-speaking South Africans during his lifetime. / AFRIKAANSE OPSOMMING: Etlike definisies bestaan van die begrip humor, afhangend van die persepsie daarvan. Sodanige persepsies word beïnvloed deur onder andere gedeelde ondervindings, kultuur, milieu en individuele kreatiwiteit. Pikturale humor word onderverdeel in verskillende sub-genres, soos die karikatuur, spotprent en strokie. Hierdie sub-genres toon elk 'n afsonderlike ontwikkelingsgang, plaaslik en globaal. Die werk van TO Honiball vorm deel van dié tradisie. Sy kunstenaarspersoonlikheid en humorsin word eweneens onmiskenbaar verbeeld in sy skeppings. Honiball het bekendheid verwerf as politieke spotprenttekenaar en het 'n belangrike rol gespeel in die opgang van die Nasionale Party, omdat sy verbintenis met die Nasionale Pers aan hom 'n forum gebied het om as meningsvormer op te tree. Daar word beweer dat sy strokiesreekse Oom Kaspaas, Jakkals en Wolf en Adoons-hulle verskillende ouderdomsgroepe en selfs mense van ander volksgroepe as die Afrikaner bereik het. As gevolg van die eg- Afrikaansheid daarvan het egter hoofsaaklik Afrikaanssprekendes sterk aanklank daarby gevind. Verskillende instansies is in besit van Honiballiana, waar dit bewaar word en beskikbaar is vir navorsingsdoeleindes. 'n Aantal bemarkingsinisiatiewe is geloods om Honiball se werk te promoveer, hoofsaaklik deur TO Honiball-Promosies. Ten spyte van die feit dat talle voorbeelde van sy werk gedateer is, word nuwe belangstelling gegenereer deur middel van die aanwending van sy werk in opvoedkundige programme. Honiball se oeuvre bied bronne vir kultuurhistoriese navorsing aangesien dit verwysings bied na die geestelike en stoflike kultuur van Afrikaanssprekendes gedurende sy leeftyd.

Orientador: Tania Regina de Luca / Banca: Silvia Maria Azevedo / Banca: Laura Moutinho Nery / Resumo: A partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época / Abstract: From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time / Mestre

No description available.

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