Thesis--Karnatak University. / Includes bibliographical references (p. [1]-4)(3d group).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1961. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Rutgers University, 2008. / "Graduate Program in History." Includes bibliographical references (p. 268-282).

Zugl.: Bochum, Universiẗat, Diss., 1993. / Zugl.: Bochum, Univ., Diss., 1993.

Thesis (Ed. D.)--Illinois State University, 1990. / Title from title page screen, viewed November 23, 2005. Dissertation Committee: Richard C. Youngs (chair), Walter D. Pierce, Elmer A. Lemke, Larry D. Kennedy. Includes bibliographical references (leaves 69-76) and abstract. Also available in print.

Project (D. Min.)--Iliff School of Theology, 2006. / Includes abstract. Includes bibliographical references (leaves [161-166]).

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

No description available.

The purpose of this study was to determine if using a humor program affected hospital oncology and osteology patients' recuperation times or use of pain medications. A quasi-experimental, retrospective study was designed. Thirty pairs of patients were identified from existing records at a hospital that has a comprehensive humor program. One patient in each pair had used the humor program, the other had not. Chi-square analysis on the demographic variables of race, marital status, smoking status and sex showed no significant association between humor usage and all variables except sex. No correlation was found between patient age and humor program use. Independent t-tests (a = 0.05) were performed on the duration of stay for treatment and control populations, for the oncology and the osteology groups. No statistically significant differences were found in either population. Two independent t-tests (a = 0.05) were performed to analyze pain medication usage. The first examined the differences in the mean percent of p.r.n. pain medications used. Neither population showed statistically significant differences. The second t-tests examined coded scores for changes in pain medication orders. Again, no statistically significant differences were found in either population. / Department of Physiology and Health Science

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.