This study aims at revising the Chinese-version Multidimensional Sense of Humor Scale (Ho, Chik, & Thorson, 2008) using Rasch analysis, and to compare differences between two kinds of data collection¡Xweb-based questionnaire and paper-and-pencil questionnaire. Participants were 634 (sample 1) and 587 (sample 2) undergraduate students respectively for item revision and validation. Sample 2 were grouped into 4 groups to test differences between the two kinds of data collection. Rasch Rating Scale Model analysis was used to assess model-data fit, and MANCOVA was employed to compare the differences between the web-based and paper-and-pencil questionnaires. The results indicated that three dimensions of the revised 18-item scale¡Xhumor production, attitudes towards humor, and coping humor¡Xshowed good model-data fit. All items had no statistically significant differential item functioning in genders (boys and girls) and in ways of testing (the web-based and the paper-and-pencil). Reliabilities for humor production, attitudes towards humor, and coping humor were .89, .81, and .81 respectively. The revised scale was further examined through construct-related validity through general self-efficacy and emotional adaptive ability. Furthermore, only the dimension of attitudes towards humor had a statistically significant difference in ways of testing. Suggestions for future research on developing instrument of sense of humor were proposed.

Operationssjuksköterskan träffar dagligen patientersom ska genomgå någon form av kirurgi. Många patienter upplever rädsla och oroi den perioperativa perioden där operationssjuksköterskan har som uppgift attskapa en tillitsfull relation och vara ett stöd för patienten. Humor har visatsig ha en positiv inverkan på interaktionen mellan patient och vårdare. Syfte: Att sammanställa kunskap om hur patientenoch sjuksköterskan kan uppleva humor i omvårdnaden och hur humor kan användassom ett kommunikationsredskap. Metod: Metodenvar litteraturstudie. De 14 inkluderade artiklarna syntetiserades med hjälp avNoblit & Hare’s beskrivning av metasyntes med arbetets syfte somutgångspunkt. Resultat: Humor ikommunikationen mellan sjuksköterskan och patienten ger god respons då detanvänds vid rätt tillfälle. Det framkom att humor kunde verka somrelationsskapande och underlätta kommunikationen. Patienten kunde med hjälp avhumor ge uttryck för- och hantera känslor. Slutsats: Ökad kunskap omhumor och dess användning i kommunikationen kan verka som ett välfungeranderedskap i kommunikationen mellan operationssjuksköterskan och patienten

Humor has been identified as an important factor in the establishment of relationships. This study explores the use of humor in mental health therapy and how clients’ preferences for humor impact an evaluation of the therapy session. Forty-eight individuals currently receiving mental health therapy were examined along with the use of three forms of humor: positive, negative, and instrumental. There was a significant relationship between a preference for negative humor and session evaluation scores in which the more negative humor preferred, the lower the session ratings. Although not significant, other trends were noted between self-enhancing humor and session depth, aggressive humor and session depth, and affiliative humor and positivity. Gender differences and preference for humor were also examined with men reporting higher value on negative humor than women and women reporting greater post-session arousal than men. These findings are discussed in terms of the need for further research to consider factors that may have influenced the present study’s results.

In the psychological literature little has been written about the use of humor in therapy. Especially lacking is empirical data regarding the topic. In the current study I investigated the relationship between a personality characteristic, sense of humor, and the amount of humor used by a therapist in a mock therapy session. A 2 x 3 factorial design was implemented with participant's sense of humor and the amount of humor used by the therapist being the independent variables. I hypothesized that a moderate amount of humor would result in more positive ratings of the therapist than either the low or high humor conditions. I also hypothesized that participants who had a greater sense of humor would rate the therapist more positively. Results revealed a partial confirmation of the hypotheses. The greatest amount of humor used by the therapist resulted in decreased ratings of the therapist for a measure of appropriateness of humor and a measure of warmth and empathy. Also, the therapist who used the most humor was rated significantly less rigid and dull than the therapist who used no humor. Suggestions forfuture research in the area are given. / Department of Psychological Science

Inledning: Humor, glädje och skratt har varit lika framträdande i det mänskliga livet som i litteraturen, teatern och konsten sedan civilisationens begynnelse, precis som sorgen och det tragiska. Detsamma kan dock inte sägas om psykoterapin. Uppmärksamheten på humorns funktion i terapeutisk behandling har varit ytterst begränsad. Frågeställningar: Vilken betydelse har humor när den uttrycks i den psykoterapeutiska kontexten och processen? Metod: Studie är kvalitativ. Fem psykoterapeuter intervjuades med hjälp av semistrukturerade intervjuer som sedan analyserades och tolkats utifrån en fenomenologisk hermeneutisk ansats. Resultat: Humor i terapi kan öppna upp tillvaron, ge en känsla av gemenskap, erbjuda förhållningssätt till döden samt skänka insikt. Humorn kan i sig utgöra en prognostisk indikator. Men den kan också utgöra hindrande försvar. Att bjuda in patienten till det humoristiska ställer krav på försiktighet, kan röra en fråga om överlevnad, kan uttryckas som klarifiering och slutligen utgöra ett förhållningssätt som kan internaliseras. Diskussion: Humor kan utgöra en mycket verksam och utvecklande del i terapin där patienten genom humor kan utvecklas i riktning mot ökad öppenhet, frihet och rörlighet vilket möjliggör distans och ökad reflektionsförmåga och därmed handlingsutrymme och möjlighet till insikt och i slutändan förändring. Patienten ingår också härigenom i ett sammanhang med sin egen och andras död och livsvillkor. En terapeut med sinne för humor och med god självkännedom kan med hjälp av bl.a. klarifieringar och gemensamma ordlösa tolkningar skapa något som utgör i sanning ett lekområde värt namnet. / Introduction: Humor, joy and laughter have been as prominent in human life as in literature, theater and the arts since the beginning of civilization, just as the sorrow and the tragic. The same can not be said for psychotherapy. Attention to the function of humor in the therapeutic treatment has been extremely limited. Research questions: What meaning has humor when expressed in the psychotherapeutic context and process? Method: The study is qualitative. Five psychotherapists were interviewed using semi-structured interviews which are then analyzed and interpreted on the basis of a phenomenological hermeneutic approach. Results: Humor in therapy can open up your world, giving a sense of community, provide approaches to death and give insight. The humor can itself be a prognostic indicator. But it can also be prohibitive defense. Inviting the patient to the humorous requires caution, can be a matter of survival, can be expressed as clarification, and finally provide an approach that can be internalized. Discussion: Humor can be a very active and challenging part of the therapy where the patient through humor can be developed in the direction of greater openness, freedom and mobility which allows for distance and increased reflectivity and thus room for maneuver and ability for insight and ultimately change. The patient is also included herein through in a context of their own and others dead and living conditions. A therapist with a sense of humor and with good self-knowledge can, with the help of clarification and joint nonverbal interpretations, create something that represents truly a play space worthy of the name.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 67-74).

Thesis (Ed.D.)--Teachers College, Columbia University, 1993. / Typescript; issued also on microfilm. Sponsor: Keville Frederickson. Dissertation Committee: Maxine Greene. Includes bibliographical references (leaves 197-206).

NUNES, Bruna Fontenele. O escritor numa casca de noz: Lima Barreto e Osman Lins nas trincheiras do campo literário. 2017. 135f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-10-05T11:42:53Z No. of bitstreams: 1 2017_dis_bfnunes.pdf: 944922 bytes, checksum: 0724d9219a76b81c3973524cd9fbe5b2 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-10-05T14:46:50Z (GMT) No. of bitstreams: 1 2017_dis_bfnunes.pdf: 944922 bytes, checksum: 0724d9219a76b81c3973524cd9fbe5b2 (MD5) / Made available in DSpace on 2017-10-05T14:46:50Z (GMT). No. of bitstreams: 1 2017_dis_bfnunes.pdf: 944922 bytes, checksum: 0724d9219a76b81c3973524cd9fbe5b2 (MD5) Previous issue date: 2017 / The reader can find on Guerra sem testemunhas (1969) the lines that compose Osman Lins´ writing. Those lines seem to indicate a simulated truth, inside the Avalovara (1973) author´s literary project, which is, the irreparable loneliness that comes from those who express themselves through the word. The inability to communicate becomes, then, necessary condition in the writing business. Similarly to what Foucault tell us about the insane speech, the writer´s speech needs to find itself disassociated from that language which reins the immediate life, that legitimate the consecutive actions directed to useful means, and employ a battle which only glory is, maybe, keeping the dignity. About this choice, there is an incontestable similarity between the moral imperatives that justify two fictionists, apparently radically different from each other: Osman Lins e Lima Barreto. This work has as its goal to analyze the congruencies between those two authors´ writing on which they seemed to meet, without leaving at side those aspects that last and shine in each writing. To achieve this goal, we arm ourselves with the reflections that come from philosophers and literary critics that came before us, such as: Jean-Paul Sartre, Pierre Bourdieu, Antonio Candido, Roland Barthes, Gaëtan Picon, Michel Foucault, Étienne de La Boétie, José Murilo de Carvalho, Nicolau Sevcenko, Leyla Perrone-Moisés, and many others. The first chapter of this dissertation presents a brief debate about the motivations and the discussions between those authors inside the literary field, having as background the argumentative lines from the Guerra sem testemunhas author, Osman Lins. At this stage, we observe the literary field´s peculiarities, in relation to other fields of power, to, shortly thereafter, investigate the Brazilian literary field. From the understanding of the rules of the “field”, exhaustively acquired by Pierre Bourdieu, on his As regras da arte (1992), we question the position occupied by some notable writers from the begins of the last century, to identify Lima Barreto e Osman Lins´ trenches. The second chapter reacquires the Sartre´s concept of negativity to clarify how Lima Barreto´s option for an engaged language directed him to an irreversible loneliness, transmuted in his fiction. Before realizing the hermeneutic job of Vida e morte de M.J. Gonzaga de Sá (1919), we concede to the reader a scenery that makes it possible to see the carioca fictionist´s literary project essentials. Through the acknowledgment of those pieces, we take the reasons that made Barro´s writing a representation of the contradictions of his time. The third chapter is dedicated to the meeting between those authors. As we did in the second chapter, we evaluate and debate Osman Lins´ literary project, at his phase before Nove, Novena (1966), work that signs his break from the traditional narratives, highlighting how the personal mythologies from the Pernambuco´s author helped to build his writing. The romance, which is the object of our studying and interpretation, is O fiel e a pedra (1961). About this narrative, Bernardo Cedro fights against Nestor´s tirany, similarly to Osman Lins, who, at many opportunities, refused to give in to the resources enjoyed by those inside and outside the literary power. Our main goal is to survey the unsuspected similarities between Osman Lins e Lima Barreto. / Em Guerra sem testemunhas (1969), o leitor poderá encontrar os fios que tecem a escritura de Osman Lins. Essas linhas parecem direcionar-se para uma verdade simulada, no interior do projeto literário do autor de Avalovara (1973), qual seja, a solidão irreparável daquele que se exprime pela palavra. A incomunicabilidade se torna, portanto, condição necessária no ofício de escrever. À semelhança do que nos diz Foucault a respeito do discurso do louco, o discurso do escritor precisa achar-se dissociado daquela linguagem regente da vida imediata, que legitima a consecução das ações destinadas a fins úteis, e empreender uma batalha cuja única glória é, talvez, a conservação de sua dignidade. Há, nessa escolha, uma similitude inconteste entre os imperativos morais que justificam a obra de dois ficcionistas, em aparência de todo dessemelhantes: Osman Lins e Lima Barreto. Este trabalho tem por objetivo analisar as confluências entre as escrituras destes autores, nas circunstâncias em que eles se observavam imiscuídos, sem, contudo, deixar de resguardar aquilo que perdura e reluz em cada escritura. Para tanto, nós nos valemos da contribuição reflexiva de filósofos e de críticos literários que nos antecederam, são eles: Jean-Paul Sartre, Pierre Bourdieu, Antonio Candido, Roland Barthes, Gaëtan Picon, Michel Foucault, Étienne de La Boétie, José Murilo de Carvalho, Nicolau Sevcenko, Leyla Perrone-Moisés, entre outros nomes. O primeiro capítulo da dissertação apresenta um breve debate acerca das motivações e dos embates dos escritores dentro do campo literário, tomando por base algumas das linhas argumentativas delineadas por Osman Lins em Guerra sem testemunhas. Nesse estágio, observamos as particularidades do campo literário em relação aos outros campos de poder, para, em seguida, analisarmos o campo literário brasileiro. A partir do entendimento das regras do “campo”, exaustivamente perquiridas por Pierre Bourdieu, em As regras da arte (1992), nós questionamos as posições ocupadas por alguns escritores notáveis do início do século passado, a fim de localizar as trincheiras de Lima Barreto e Osman Lins. O segundo capítulo retoma o conceito sartreano de negatividade com o propósito de esclarecer como a opção de Lima Barreto por uma literatura engajada o conduziu a um isolamento irreversível, transmudado em sua ficção. Antes de realizar o trabalho hermenêutico de Vida e morte de M.J. Gonzaga de Sá (1919), concedemos ao leitor um cenário que lhe possibilita avistar o essencial do projeto literário do ficcionista carioca. Por intermédio do conhecimento dessas peças, depreendemos algumas das razões que fizeram da escritura barretiana uma representação das contradições de seu tempo. O terceiro capítulo é dedicado ao encontro entre os ficcionistas. Assim como fizemos no segundo capítulo, avaliamos e discutimos o projeto literário de Osman Lins, em sua fase anterior a Nove, Novena (1966), obra que assinala seu rompimento com as narrativas tradicionais, destacando de que maneira as mitologias pessoais do escritor pernambucano contribuíram para forjar sua escritura. O romance, objeto de nossa análise e interpretação, é O fiel e a pedra (1961). Na narrativa, Bernardo Cedro se insurge contra a tirania de Nestor, de maneira similar a Osman Lins, que, em diversas oportunidades, se recusou a ceder às facilidades de quem comunga com o poder dentro e fora do campo literário. Nosso intento fundamental é perscrutar a similitude insuspeita entre Osman Lins e Lima Barreto.

Este trabalho tem como objetivo analisar, como proposta de ensino, o humor em crônicas, tomando como corpus especificamente as de Luis Fernando Verissimo. Pretende-se demonstrar que o gênero textual crônica humorística é relevante no ensino enquanto aproximação com a língua e serve também para o entendimento de fenômenos linguísticos, semânticos e pragmáticos como a polissemia, a ambiguidade, a ironia, a metáfora, a metonímia. Partimos da relevância de se trabalhar a leitura literária na escola, defendida pelos PCN, com o propósito de promover o letramento em todas as suas etapas. Acreditamos que esse trabalho só é possível com o texto, e, portanto, este deve ser explorado em sala de aula em todas suas variedades. Os estudos sobre discurso e interação, sobre o uso dos gêneros textuais na escola, especialmente das crônicas e dos processos de leitura e interpretação das mesmas, corroboram para a nossa pesquisa. Em um segundo momento, abordamos as teorias filosófica, de Bergson; psicanalítica, de Freud; discursiva, de Possenti e cognitiva, de Salomão, como explicação da construção e do entendimento do humor e seus mecanismos de significação. / This work aims to bring, as a teaching proposal, the humor in chronic, taking as corpus specifically those of Luis Fernando Verissimo. We intend to demonstrate that chronic humorous genre is important in education as approach to language and also serves for the understanding of linguistic phenomena, semantic and pragmatic as polysemy, ambiguity, irony, metaphor, metonymy. We start from the relevance of working the literary reading in school, supported by the PCN, in order to promote literacy in all its stages. We believe this work is made available with the text, and therefore this should be explored in class in all its varieties. Studies of discourse and interaction, on the use of textual genres in school, especially of chronic and reading processes and interpretation of them corroborate our research. In a second step, we address the philosophical theories of Bergson; psychoanalytic theories of Freud; discursive theories of Possenti and cognitive theories of Salomão, as an explanation of the construction and understanding of humor and their significance mechanisms.

Made available in DSpace on 2014-06-11T19:31:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-07-14Bitstream added on 2014-06-13T20:41:24Z : No. of bitstreams: 1 barbosa_vt_dr_jabo.pdf: 445036 bytes, checksum: 7be58e66156743e0a9907a1b3018df87 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A leishmaniose ocular canina envolve um complexo de alterações decorrentes da atuação do agente nos diversos tecidos oculares. Valendo-se de cães com sorologia positiva para a doença, portadores (G1) ou não (G2) de alterações oftálmicas, com este estudo avaliou-se: o exame parasitológico de esfregaço a partir de swab conjuntival, a presença do parasito, pela PCR, em fragmento conjuntival e no humor aquoso (HA) e as concentrações protéicas, pela eletroforese, no HA. O parasitológico de esfregaço a partir do swab conjuntival foi positivo em 60% e 38,1% dos animais do G1 e do G2, respectivamente, com a oddsratio de 2,438 para positividade em tal parâmetro nos cães do G1, comparativamente aos do G2. A positividade na PCR de fragmento conjuntival foi maior no G1 (p < 0,005), com oddsratio igual a 17,31 quando comparados G1 e G2. O parasito não foi detectado no HA de qualquer dos grupos. Houve correlação fracopositiva entre as concentrações de IgG e de albumina séricas e do HA. Diferenças significativas foram encontradas entre os grupos, quando comparadas as proteínas totais, IgG, e proteína de peso molecular 33 kDa no HA. A haptoglobina foi detectada apenas no HA dos cães do G1. Os dados apontam para uma tendência dos cães com sinais oftálmicos serem positivos no parasitológico de esfregaço a partir do swab conjuntival e na PCR de conjuntiva, podendo, o método ser útil no diagnóstico parasitológico da leishmaniose visceral canina. Proteínas de fase aguda merecem mais avaliações quanto ao seu valor diagnóstico para esta enfermidade / Canine ocular leishmaniasis involves several ophthalmic alterations owing to the action of the parasite in numerous ocular tissues. Therefore, dogs serologically positive for leishmaniasis either presenting (G1) or not (G2) ocular alterations were enrolled in this study to evaluate the conjunctival cytology as a method for the diagnosis of this disease, the detection of the parasite in conjunctival tissue samples and in the aqueous humor using PCR, as well as the serum and aqueous humor protein concentrations determined by electrophoresis. The parasitological evaluation of the swabs disclosed 60% and 38.1% of positivity in dogs of groups 1 and 2, respectively, with a calculated oddsratio of 2.438 for a single animal testing positive in this procedure when ocular changes existed. The documented PCR results were more expressive in G1 dogs (P<0,005), with an oddsratio of 17,81 for the animals of this group testing positive using this method as compared to G2. The parasite was not found in the aqueous humor of either group. A weak positive correlation was calculated between the serum and aqueous humor IgG and albumin concentrations, and significant differences were found to exist between groups regarding total protein, IgG, and 33 kDa protein measured in the aqueous humor. Also, haptoglobin was detected only in the aqueous humor of G1 dogs. Our data suggest a tendency of dogs with ocular signs testing positive on the conjunctival swab exams and PCR, being these methods useful in the diagnosis of canine leishmaniasis. However, acute phase proteins require a more detailed evaluation concerning its diagnostic value for this disease