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xiii, 79 p. A print copy of this title is available through the UO Libraries. Search the library catalog for the location and call number. / The role of humor among teachers in schools has not received much research attention. The purpose of this study was to explore teachers' perceptions of the uses and effects of humor in the naturalistic setting of an elementary school. A qualitative exploratory case study was conducted. Twenty participants from one school completed a survey on uses and effects of humor, and a focus group was conducted with five of the survey participants. Results were transcribed and coded using the constant comparative coding methods, and themes were developed and compared to the scant prior research findings on the topic. Findings identified a group of teachers who used humor mostly to provide stress relief for themselves and each other and to alleviate some of the stresses associated with teaching young children. Participants also reported the use of humor in sharing stories and events that occurred in the school workplace. Findings also included consistent perceived positive effects from the use of humor in building collegial relationships, in providing rejuvenation, and in preventing burn-out. Teachers reported using humor in positive and productive ways and enjoying positive and productive results. Overall, study participants were in strong agreement in regards to uses and effects of humor in their school workplace. As this was an exploratory study, further research is needed in additional school settings to explore reliability in regards to uses and effects of humor in other schools and with other mixes of teachers. As the scant previous research has shown a correlation between positive collegial relationships and good school climate and improved student learning, it would also be beneficial to conduct additional studies on the role of humor among staff in regards to student achievement. / Adviser: Diane M. Dunlap

Titel Något stort, runt och varmt - En uppsats om social tillhörighet, humor och kommunikation Engelsk titel A terribly funny essey – about social class, humor and communication Författare Emma Aronsson och Nina Lagerstedt Handledare Eva Lundberg Examinator Tanya Elder Termin Vårterminen 2012 Kurskod 2MK300 Universitet Linnéuniversitetet i Växjö, institutionen för samhällsvetenskaper, medie- och kommunikationsvetenskap Introduktion Vitsen med humor är inte bara att skämta och roa utan det är också ett sätt att kommunicera med andra personer i vardagliga situationer och att skapa sociala kontakter. En persons sociala förhållanden, till exempel våra föräldrars och vårt eget yrke, utbildning och inkomst kan påverka den enskilde individen i hur den tänker och handlar. Eftersom humor är kommunikation så borde en persons sociala tillhörighet påverka vad en person har för humor. Problem Vad tycker kvinnor med olika sociala tillhörighet är roligt och varför? På vilket sätt spelar social tillhörighet roll när det kommer till vad kvinnor tycker är roligt och inte? I vilka sammanhang och på vilka sätt använder kvinnor humor för att kommunicera med andra personer? Teori Uppsatsen tar sin utgångspunkt i teorier om kommunikation, humor, social tillhörighet, social klass och genus. Metod Genom fokusgrupper där deltagarna fick diskutera kring nyckelfrågor och videoklipp som vi valde ut på förhand. Resultatet vi fick fram analyserades med de teorier vi har valt att använda oss av. Resultat Alla människor har olika tycke och smak när det gäller humor, en del saker kan de skratta åt tillsammans med någon medan de inte alls skrattar åt samma saker med någon annan. Den här studien visar att social tillhörighet är en faktor som spelar roll när det gäller humor och kommunikation. Människor använder humor på olika sätt för att kommunicera med andra människor, det kan vara för att skaffa sig vänner, känna gemenskap eller hantera svåra situationer.

<p>Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy.</p><p>Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.</p>

Martina Haag’s method of self-mockery used in her chronicles is characterized by her wish to live up to various ideals. This essay brings out the subversive power of self-deprecatory hu-mor expressed in her book Hemma hos Martina. The author’s strategies and kinds of humor are being studied, leading up to what this humor accomplishes. General theories on humor, by Mary Ann Rishel, Maria Ohlsson, Henri Bergson, Joannne R. Gilbert and Simon Critchley are being applied to find the essence of her craftsmanship in writing comedy. The analysis also goes more closely into the style and language, to give a deeper understanding of how she creates jokes, and also how she relates to her ideals through language. The main thrust of the analysis, though, builds on theories on self-deprecatory humor. Haag is included into Joanne R. Gilbert’s theory on self-deprecation and The Whiner within the field of stand-up comedy. Some American feminist critics have rejected self-deprecatory humor as being anti-feminist, stating that women applying this particular kind of humor merely reinforce stereoty-pes, and put themselves down. This paper objects to those critics, leaning on Haag’s book. I wish to show that Haag is not demeaning towards herself, but towards the cultural norms and expectations in our present society. In this context, I show how Haag manages to demystify and criticize ideal representations of women, by lampooning them and revolting against them. In this way, her book turns into a satirical critique of cultural values. My essay illustrates how Haag objectifies herself, making regular use of stereotypes. This is necessary, since these two elements are essential to most humor. Haag confirms stereotypes to make people laugh. This laughter brings about awareness in the reader, making Haag’s work a social critique of current values and norms concerning women.

This thesis focuses on the use of feminist humor as a method of coalition building among African American women. It is motivated by the central question: what are the ways in which comedic performances may act as both a rebellious counter to dominant views of women of color in the United States and a way to articulate feminist ideologies? More specifically, I am interested in how African American women utilize comedy to articulate specific standpoints and build solidarity. As comedy is often used to persuade and perhaps bond audiences, it is important to continue research in the rhetoric of humor—especially that which takes into account comedy that challenges hegemonic systems and builds cohesion among oppressed groups. I wish to address ways in which theories of humor may work to include not only feminist modes comedy, but performances that also address the intersections of oppressions—including race, class, sexuality, etc. I will be examining the 2001 film The Queens of Comedy starring standup comedians Laura Hayes, Adele Givens, Sommore, and Mo’Nique. A follow-up on the 2000 movie and live standup tour The Original Kings of Comedy, the film depicts the four women’s comedic routines at the Orpheum Theatre in front of a predominately Black and predominately female audience. I argue that the Queens’ use of humor acts as a method to articulate intersections of oppression from a Black female perspective. This creates a specific counterpublic space, defies dominant views of Black American women and fosters cohesion among sympathetic audiences. The first chapter works towards a theory of feminist humor—one that builds off of current comedy research by integrating radical feminist thought (mostly that of Black feminisms). Chapter two identifies anti-feminist dimensions of the Queens’ performances in order to understand unsuccessful (and perhaps harmful) methods of rhetorical humor. Chapter three closely examines dimensions of the Queens’ performances that articulate Black feminist thought and how those performances encourage coalition building among Black women. Chapter four will draw critical implications and address concerns for those interested in humor as a method of encouraging social stability and change. / text

As Memórias de um Sargento de Milícias são reconhecidas pela crítica especializada como um marco na literatura nacional, pelo êxito que tiveram em tratar de forma cômico-irônica das circunstâncias socioculturais do Brasil da primeira metade do século XIX. Ao tecer seus elogios à obra, não é incomum que os críticos comparem seu autor com Machado de Assis. No entanto, as comparações costumam se restringir a comentários genéricos, sem o escrutínio analítico. Assim, o presente trabalho de pesquisa parte do questionamento sobre os pontos de convergência, similaridades e diferenças entre os autores. Notamos que ambos recorrem ao humor, à caricatura e à ironia em seus textos e que estes elementos estéticos servem a propósitos satíricos em suas obras. Portanto, buscamos analisar, a princípio, como estes componentes se manifestam nelas. No recorte comparativo, optamos por analisar a novela O Alienista no cotejo com as Memórias de um sargento de milícias, uma vez que é nesta obra machadiana que o humor, a caricatura e a verve satírica se encontram mais destacados. Sendo ambos os textos satíricos, tratamos de determinar quais os estilos deste gênero a que se filiam, o que os define, como se manifestam nas obras estudadas, quais são os objetos de motejo e de que modo são escarnecidos. Finalmente, examinamos se estes textos se prestam ao julgamento e à condenação moral da conduta de suas personagens, se são distanciados e como se dá esse distanciamento. / Memórias de um Sargento de Milícias are acknowledged by specialized critics as a milestone in Brazilian literature, for the novel was greatly successful in tackling the socio-cultural circumstances of the first half of the 19th Brazil in a comic-ironic way. When complimenting this work, it is not uncommon that critics compare its author to Machado de Assis. However, these comparisons tend to be restricted to general comments, without the analytical scrutiny. Thus, this research work questions at first how these authors are similar and converge and what differs them. We have noticed that both recur to humor, caricature and irony in their texts and that these aesthetic elements lend themselves to satire. Therefore, our starting point is to analyze how these aspects manifest in their narratives. We have opted, as a research focus in relation to Memórias de um Sargento de Milícias, to analyze O Alienista, once this is the narrative by Machado de Assis in which humor, caricature and the satirical verve outstand the most. Being both texts satirical, we set out to determine which style of this genre they abide by, what defines them, how they manifest in the narratives studied, what the objects of mockery are and by what manner they are derided. Finally, we examined if these texts engage in moral judgements and condemnation of their characters, if they are detached and how this detachment takes place.

Em Memórias póstumas de Brás Cubas, percebe-se uma referência frequente à natureza. Pela análise das situações em que ela se apresenta, podese notar que lhe são atribuídas funções e papéis variados e que, portanto, não é possível que se a defina como unidade. Ora o narrador a imputa o domínio de forças metafísicas, ora a determinação dos sentimentos humanos. De modo geral, o narrador recorre à natureza quando se evidencia o caráter condenável de sua conduta, sugerindo que suas ações não poderiam ter-se dado de outro modo, em vista de forças naturais. Em contraste com os contextos históricos apresentados na narrativa, os argumentos naturalistas de Brás Cubas são pouco convincentes, o que põe em relevo o cinismo irônico do defunto autor, de modo que seus pretextos e justificativas infundadas acabem por acusá-lo. Na tentativa de embasar seu discurso, o narrador distorce e se apropria de teorias e correntes de pensamento, como Positivismo, Naturalismo, Darwinismo Social. Ao instrumentalizar-se de conceitos filosóficos e teorias sociais, o romance redunda na paródia desconstrutiva destes e do próprio narrador. O modo como essa instrumentalização cômico-irônica se dá é o que se procurou demonstrar com este trabalho. / In Memórias póstumas de Brás Cubas, it can be noted a frequent reference to nature. Analyzing the situations in which it is presented, one can perceive that different roles and functions are ascribed to it; thus, as a consequence, it cannot be defined as a unity. At times the narrator makes it responsible for metaphysical forces, at other times he attributes to nature the power to determine human feelings. In general, Brás Cubas recurs to nature when the condemnable character of his conduct is evident, suggesting that his actions could not have been otherwise due to natural forces. In contrast with the historical contexts presented in the narrative, Brás Cubas naturalist arguments are little convincing, what highlights the self-accusing sarcasm of the dead author, in a way that his flimsy pretexts and justification end up turning against him. In the attempt to ground his discourse, the narrator distorts and makes use of theories and systems of thought, such as Positivism, Naturalism and Social Darwinism. By doing so, the novel results in a deconstructive parody of these systems and of the author himself. Demonstrating the way it happens in the narrative is the aim of this research.

O humor revela-se frequentemente como uma característica marcante nos rituais umbandistas. Diante disso, este estudo propõe-se investigar, numa perspectiva etnopsicológica, se e em que medida as teses psicanalíticas (freudianas e lacanianas) sobre o chiste e o cômico podem ajudar a compreender o humor na umbanda. A pesquisa de campo foi realizada na Fraternidade de Umbanda Esotérica Caboclo Pena Branca, em Ribeirão Preto, cujos rituais se mostraram comumente bem humorados. Procedeu-se a uma escuta participante, que implica em uma escuta psicanalítica, na qual a participação é entendida e utilizada como instrumento de refinamento da audição. Nessa medida, a implicação do pesquisador em campo foi indispensável, pois o efeito de sentido é também produzido nele, que escuta e ri. Após a análise dos episódios espirituosos, foi possível constatar que a compreensão psicanalítica do humor é aplicável às suas ocorrências no ritual umbandista. Nas falas dos próprios adeptos do terreiro, o riso revela seu uso terapêutico, é parte de um tratamento que quebra defesas, o que se coaduna com a perspectiva freudiana de descarga de catexias. No entanto, segundo as teses psicanalíticas, frequentemente os chistes permitem a expressão de impulsos agressivos dirigidos ao ouvinte, enquanto na umbanda a função de ser objeto do riso é deslocada para personagens cômicos que representam o que poderia haver de repreensível no outro, deslocando a censura sobre os seus filhos para o enredo de uma comédia atuada por espíritos. Além disso, ao brincar com metáforas e sentidos novos, os espíritos dão eco à complexidade do sujeito humano, refletindo-a além de intelectualizações. / Humor frequently reveals itself as an outstanding feature in Umbanda religious rituals. Given that, this study seeks to investigate, from an ethnopsychological perspective, if and to what extent psychoanalytic theories (Freudian and Lacanian) about wits and comic may help to understand Umbanda humor. The field research was conducted at Fraternidade de Umbanda Esotérica Caboclo Pena Branca in Ribeirão Preto, where the rituals generally proved to be humorous. The method was the participant listening, that involves a psychoanalytic listening in which participation is understood and utilized as an instrument of audition refinement. Thus, the researcher\'s involvement while in the field was essential since the effect of meaning is also produced on this individual who listens and laughs. After analyzing the witty episodes, it was concluded that the psychoanalytic understanding of humor is applicable to these occurrences in Umbanda ritual. In the religious own speeches, the laughter exposes its therapeutic uses; it is part of a \"treatment\" for \"breaking defenses\", which is consistent with the Freudian idea of catharsis. However, according to psychoanalytic theories wits regularly allow the expression of aggressive impulses, while in Umbanda the objects of laughter are comic characters that represent what could otherwise be considered objectionable, displacing the \"censure\" to a comedy plot acted by spirits. Moreover, while playing with metaphors and new meanings, the spirits mirror non-rational aspects of human complexity.

A tarefa de traduzir envolve diversos fatores a serem levados em consideração no momento da elaboração do escopo que servirá de orientação na busca, pelo tradutor, em atingir os objetivos pretendidos com o texto que ele produzirá. Com o objetivo de apontar os elementos mais relevantes presentes nas histórias em quadrinhos infantis com efeitos humorísticos, selecionamos um corpus com as histórias de A Turma da Mônica para servir de base para nossa análise. As histórias foram estudadas em dois idiomas, português e inglês, com o objetivo de identificar os fatores linguísticos e as marcas culturais presentes na obra original, compará-los com a tradução, observando as estratégias usadas pelos tradutores na tentativa de solucionar os possíveis desafios que esses fatores representaram para a obtenção de um resultado satisfatório. Ao final, os resultados fornecidos por meio da análise detalhada do processo de recuperação das situações de humor, das marcas culturais e dos fatores linguísticos contidos nos textos de partida apontaram o grau de dificuldade que cada um dos fatores apresentou para os tradutores. / The translation task involves several factors to be taken into consideration when drafting the scope that will guide the search, by the translator, to achieve the desired goals with the text he will produce. Aiming to pinpoint the most relevant elements present in children\'s stories in the form of comics, with humorous effects, we selected a corpus of Monicas Gang stories to support our analysis. The stories were studied in two languages, Portuguese and English, aiming to identify the linguistic factors and the cultural markers present in the original work, compare them with the translation, observing the strategies used by the translators in an attempt to resolve the possible challenges that these factors posed so as to obtain a satisfactory result. The results provided through detailed analysis of the recovery process of the humor situations, the cultural markers and the linguistic factors contained in the source texts will determine the degree of difficulty that each of the factors presented to the translator.