The majority of instructional communication literature has historically focused on the positive outcomes of incorporating humor into the classroom. However, despite the clearly documented instructional benefits of humorous communication, the literature tends to focus solely on instructor-enacted humor. However, humor is not a homogenous concept; therefore, it is imperative to examine it from a number of contexts, including student-enacted humor. Although the Instructional Humor Processing Theory (IHPT) has made a number of theoretical advances in exploring humorous communication in the classroom, it still lacks adequate explanatory power, particularly when examining student-enacted humor. Thus, four expansions to IHPT are proposed: to incorporate (a) the interpersonal attraction experienced toward the sender, (b) the humor orientation of the receiver, (c) the enacted humor style of the sender, and (d) the receiver’s perception of the classroom climate. Results indicate that the aforementioned expansions are theoretically pertinent to examining student-student humorous communication and warrant future research for inclusion to IHPT. The study also discovered sex differences regarding the message sender, along with interaction effects between the sex of the sender and receiver. Theoretical and practical implications of these results are discussed, and directions for future research are provided.

Thesis (Ph. D.)--University of Pennsylvania, 1906. / Bibliography: p. 45-47.

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2017-03-02T13:40:43Z No. of bitstreams: 1 DissHOCN.pdf: 2238096 bytes, checksum: c7d7a0e16723af0db59c15e55bc04dbf (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-03-22T18:33:06Z (GMT) No. of bitstreams: 1 DissHOCN.pdf: 2238096 bytes, checksum: c7d7a0e16723af0db59c15e55bc04dbf (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-03-22T18:33:14Z (GMT) No. of bitstreams: 1 DissHOCN.pdf: 2238096 bytes, checksum: c7d7a0e16723af0db59c15e55bc04dbf (MD5) / Made available in DSpace on 2017-04-17T20:32:33Z (GMT). No. of bitstreams: 1 DissHOCN.pdf: 2238096 bytes, checksum: c7d7a0e16723af0db59c15e55bc04dbf (MD5) Previous issue date: 2016-03-31 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / In this dissertation we propose the study of the many associations conducted by the YouTube channel named Porta dos Fundos while it articulates various media formats and promotes the hybridization between serialized narrative and Brazilian traditional television humoristic shows with the intention of creating new practices, experiences and meanings of consumption, focusing on the web as its main media. Since the narrative ways proposed by Porta dos Fundos are part of an established social, cultural and political ecosystem, this research aims to investigate how that narrative acts together with this ecosystem by means of the thematic behind the sketches. To achieve this objective, we analyze the elements composing: I) the media used to exhibit the narrative (Internet); II) the aesthetics and structural components of the television makeup used while making audiovisual products to the Internet; III) the relationship between those texts and the contemporary context. Therefore, we understand Porta dos Fundos as an audiovisual piece immersed in the spirit of its time, with this research seeking to single out the many clues provided by its text that can help to grasp the social and historical environment that coexists with the narrative. / Esta dissertação propõe o estudo das associações realizadas pelo canal do YouTube, Porta dos Fundos, ao articular os suportes midiáticos e promover a hibridização dos formatos narrativos de ficcionais seriados e dos programas tradicionais de humor da televisão brasileira, a fim de propiciar a produção de novas práticas, experiências e significados de consumo, tendo a web como mídia principal. A pesquisa, por entender que as narrativas propostas pelo Porta dos Fundos estão inseridas em circunstâncias sociais, culturais e políticas, procura investigar seus diálogos com estas por meio dos tratamentos das temáticas dos esquetes. Neste sentido, foram analisados os elementos que constituem: I) o suporte midiático de exibição das narrativas (Internet); II) as configurações estéticas e estruturais da linguagem televisiva que são utilizadas na feitura do audiovisual de Internet; III) as relações dos textos com seu contexto contemporâneo. Compreende-se o Porta dos Fundos como uma obra imersa no espírito de sua época. Este trabalho procura, portanto, individualizar as pistas oferecidas pelos textos do canal, que auxiliam na compreensão do momento social e histórico coexistente às narrativas. / FAPESP: 2014/03189-0

Submitted by Luís Carlos Viana Júnior null (binguinha_viana@hotmail.com) on 2017-09-12T17:01:53Z No. of bitstreams: 1 Versão Final Diseertação Luís Carlos Viana Júnior.pdf: 2316901 bytes, checksum: 2eb52a273aba1b25ee4909a6d0a36e70 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-12T18:09:06Z (GMT) No. of bitstreams: 1 vianajunior_lc_me_arafcl.pdf: 2316901 bytes, checksum: 2eb52a273aba1b25ee4909a6d0a36e70 (MD5) / Made available in DSpace on 2017-09-12T18:09:06Z (GMT). No. of bitstreams: 1 vianajunior_lc_me_arafcl.pdf: 2316901 bytes, checksum: 2eb52a273aba1b25ee4909a6d0a36e70 (MD5) Previous issue date: 2017-07-14 / Na presente pesquisa, partimos da premissa de que ao desenvolver a competência humorística em alunos de língua estrangeira (LE) enriquece-se o trabalho com a competência comunicativa. Assim, nosso objetivo é analisar como esse processo ocorre no ensino de espanhol como língua estrangeira (ELE) a alunos brasileiros. Para tanto, temos como base teórica Raskin (1985), o qual disserta sobre a competência humorística relacionando-a com os escritos de Grice (1975) sobre princípios próprios dos estudos pragmáticos. Ademais, discutimos sobre a competência comunicativa (HYMES, 1971), além dos conhecimentos e habilidades que a constituem, baseando-nos em teorias de autores como Canale e Swain (1980) e Bachman (1990), que aplicaram esses conceitos ao ensino de LE. A partir dessas teorias, observamos que há uma junção de diversos aspectos para que um interlocutor seja eficaz nas situações comunicativas com que se possa deparar. Portanto, no ensino de LE, é necessária uma ação que supere os limites da ênfase na estrutura (competência linguística) e que incorpore ao ensino de LE os princípios da Pragmática, na busca por aproximar o contexto de aprendizagem ao contexto de uso da língua. Com base nesses preceitos, analisamos duas coleções didáticas de espanhol, aprovadas em 2015 no Programa Nacional do Livro Didático (PNLD), para verificar como o humor é apresentado e se essas propostas permitem o desenvolvimento da competência humorística e, consequentemente, da competência comunicativa nos estudantes. Na análise, em um primeiro momento, realizamos um levantamento da presença dos enunciados humorísticos, destacando em quais gêneros textuais e em que estágio da aprendizagem do estudante são mais recorrentes, bem como quais as tipologias de humor, de acordo com a classificação de Raskin (1985), estão presentes. Encontramos uma variedade bastante escassa de gêneros e tipologias, que, em sua maioria, eram vinhetas que traziam o humor étnico. Apesar de observarmos o humor apresentado nas obras didáticas com o viés da repressão, também havia casos em que aparecia como crítica a outros problemas socioculturais. Finalmente, segundo o Guia dos Livros Didáticos 2015, que apresenta os critérios para a seleção das coleções didáticas, os livros devem expor as relações entre as culturas hispanofalantes e a brasileira, o que, conforme constatamos, ocorre nos enunciados humorísticos. No entanto, a falta de enunciados mais específicos das culturas hispanofalantes de forma que o estudante tenha contato com outras esferas culturais é um ponto negativo nos livros analisados. Com isso, concluímos que a competência humorística ainda pode ser melhor adequada e aproveitada nas séries didáticas e observamos ganhos quando é desenvolvida concomitantemente com outras competências, pois promove o desenvolvimento da competência comunicativa como um todo. / This research begins with the premise that the developing of humor competence in foreign language teaching can enrich the communicative competence. Thus, our objective is to analyze how this process occurs in the teaching of Spanish as a foreign language in Brazilian students. Therefore, our theory will be based on Raskin (1985), who writes about humorous competence related to Grice’s thoughts (1975) about pragmatic principles. In addition, we have discussed what Hymes (1971) named as communicative competence, aside from knowledge and skills which compose it. In this regard, we will search theories that apply these thoughts in the teaching of foreign languages, for example, Canale and Swain (1980) and Bachman (1990). Departing from these theories, it is possible to realize the involvement of various knowledge and important skills to make an efficient interlocutor in his/her communicative situations. Consequently, it is necessary an action that goes beyond the emphasis in the structure (linguistic competence) and that increases the pragmatic principles in the teaching of foreign languages in order to approximate the learning context and the contexts of language usage. From all these precepts, an analysis of Spanish teaching textbooks (approved in 2015 by the Programa Nacional do Livro Didático) was made, in order to verify how humor is presented in these educational series and if this is an efficient way to develop the humorous competence and also the students’ communicative skills. That is, it is necessary to understand how the textbook presents humor and if this method enables the student of foreign languages to develop humorous competence. In the analisys, first of all, we conducted a survey regarding the presence of humor at which textual genre, stage and each typology taking (Raskin, 1985) as a theoretical basis. And we found a rather scarce variety of genres and typologies - mostly vignettes containing ethnical humor. We also noticed that humor must be used with caution and responsibility in the didactic series, since it has the power of repression. However, it can also be used as a correction for many sociocultural problems as it has happened in this work in one of the analyzed collections. However, in none of the collections there was an effective work that divided the development of humorous competence during a book, because the statements were only concentrated in a single stage of the process. At the same time, the qualitative analysis has brought quite relevant results, because despite the small variety of humorous statements, a work of exploration of the genres was done. Finally, according to the Guia de Livros Didáticos 2015 which presents the criteria for the selection of these didactic series, the books should present the links between the Spanish and Brazilian cultures, and this was made in the humoristic statements. However, the lack of more specific statements of Spanish-speaking cultures, relevant to the students to have more contact with other cultural spheres, is a negative aspect of such material. With that being said, we come to the conclusion that the humorous competence can still be better worked out and used in the didactic series and that nowadays, it already shows great gains when it is utilized concomitantly with other competences, because it promotes the development of the entire communicative competences.

Thesis (MEd (Education and Social Science))--Cape Peninsula University of Technology, 2010 / The purpose of this study is to discover the critical reader-responses of Grade 4 children to a novel written by Judy Blume (1980). The theoretical framework is based on the socio-cultural theories of learning, as well as Rosenblatt's critical reader response theory (1986). I examine the following issues: Cambourne's (2004) principles of engagement, Feuersteins' Mediated Learning Experience (1991), Vygotsky's Zone of Proximal Development (1978), Erikson's Industry versus Inferiority (in Boeree, 2006), as well as Scaffolding (Vygotsky in Olivier 2010, 22-23). The literature review includes the most recent published literature pertaining to my research. Video interviews, as well as reflective journalling were used to gather data. My research answers the following research question: What are the critical reader responses of Grade 4 children to Superfudge, by Judy Blume? My argument, based on Rosenblatt's critical reader-response theory (1986) accurately reflected the manner in which the Grade 4 children rnade meaning of prescribed texts. My data was analysed qualitatively, using an inductive approach. In my findings five themes emerged: finding an authentic voice, gaining identity, the entertainment value of the novel, family dynamics with specific reference to siblings and the relocation of families. The discussion examines insights which emerged from my research. These insights are reviewed in relation to my theoretical frames and relevant literature. In conclusion the process of critical reader-response theory empowers children to develop critical thinking skills and habits that underlie effective reading.

Over the striking development of the Czech search after ``the past of the women{\crqq} the question of the meaning of the iconographic sources for this gender historical research stays always open. If appeared the partial studies seeking gender aspects in the pendent, if need be the book painting, then as yet lurk of explorers region of burlesque, that is offering above all in the satiric and the humorous magazines. This construed diploma work is sight on the meaning, the estimation, the critique and the interpretation of burlesques, that are finding in the humorous and the satiric magazines, where are as the main topic women. This work is presentation search gender aspects, namely above all from the male view of wide problems private and public life of the women from the second half of the nineteenth century to the year 1914 as well as problems of the social position of the women in a given period and estimation of burlesques like historical source. This study is amplified with the visual appendices like demonstration contemporary burlesques.

A research report submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in partial fulfillment of the requirements for the degree of Master of Arts in Translation Johannesburg, 2016 / The aim of this paper is to investigate how the different types of humour in Neil Gaiman and Terry Pratchett's Good Omens have been translated into French and German as De Bons Présages and Ein Gutes Omen, respectively. This study applies frame semantics to analyse how the translators recreated the humour of the ST in the instances that they were able to do so. This theory examines how context is created and what expectations arise from an individual’s knowledge of context i.e. their understanding of the context and what the reader or hearer associates with it. The novel involves several subplots, but the same humorous elements such as puns, parody and an invented archaic variety of English appear throughout the book and it is the aim of this study to determine how these elements were dealt with by the translators. I will compare the two translations and determine how, and if each translator was able to recreate the same frames that made the ST humorous. / MT2017

No description available.

This thesis has two components : a novel and an exegesis. Pangamonium is a comic novel that parodies and satirises adventure romances and travel accounts as well as global imperialisms. Francis, an American journalist who has lived in Australia, travels to a tiny Asian country, Panga, a kingdom that has been taken over by a military dictatorship. There he meets Easter, an African on a quest to find the grave and buried treasure of his pirate ancestor. The odd couple endure a comic odyssey together and ultimately liberate a group of enslaved children from a vibrator factory. The Ludic Mode of Pangamonium is an exegesis of the novel. It explores the ludic mode, which it considers an open play of signification characterised by freedom, reflexivity and subversion, and it explores the work of Nabokov, Calvino and Borges to explicate manifestations of play. Pangamonium is also examined in the light of its mythic hero quest structure and its relationship to the discourses of Orientalism and Neocolonialism. / Thesis (Ph.D.) - School of Humanities, 2007.

A presente tese tem por objetivo investigar as dinâmicas de apropriações humorísticas (com ênfase na questão da imagem, mas considerando o que é da ordem textual) de celebridades em blogs. Persegue-se, com isso, examinar como tais dinâmicas de apropriações vinculam-se às diferentes categorias de celebridades e expressões do humor. O referencial teórico do trabalho abrange uma revisão sobre a temática das celebridades e os autores relevantes do campo definido como celebrity studies, as articulações entre humor, riso e comicidade — e como o fenômeno do digital trash tem permeado as lógicas de apropriações humorísticas no contexto da web, além de problematizar o conceito de apropriação a partir de áreas distintas, tais como as artes visuais, a filosofia da linguagem e a comunicação. Para operacionalizar a pesquisa, elabora-se uma análise comparativa entre as postagens de dois blogs de humor sobre celebridades: o “Morri de Sunga Branca” e o “Te Dou Um Dado?”. Esta análise tem seu caráter qualitativo amparado em dados quantitativos, a partir da coleta de dados da produção de ambos os blogs entre os meses de Abril e Setembro de 2014 (resultando em um total de 81 postagens do “Morri de Sunga Branca e 351 do “Te Dou Um Dado?”). Também foram extraídos os dados das fanpages dos blogs no Facebook, utilizando-se o aplicativo Netvizz, de modo a observar o direcionamento das postagens para o ambiente dos blogs, bem como averiguar aspectos relativos às métricas e processualidades de cada um deles. Os resultados demonstram indícios de que a quantidade de postagens não significa, necessariamente, maior retorno em métricas para um blog, e apontam para um conjunto de 7 recursos comuns de apropriação no que se refere às imagens, tanto em um ambiente como em outro. Tais recursos constituem-se de: fotografia, GIF, montagem, screenshot de site, screenshot de site de rede social, screenshot de frame — de vídeo, de programa televisivo ou filme — e vídeo. Por fim, como desdobramento da análise, se verifica a existência de um conjunto de tipos de celebridades que aparecem, de forma geral, em blogs como estes. Assim, com base em autores que já haviam estabelecido algum tipo de categorização de conjunto de celebridades formula-se uma proposta de tipologia de celebridades levando-se em consideração o que se viu nas postagens do “Morri de Sunga Branca” e do “Te Dou Um Dado?”. A tipologia em questão contempla as seguintes categorias — sendo as cinco primeiras ancoradas em Rojek (2008): Celebridade Adquirida (dividida entre Global e Local), Celebridade Atribuída, Celebridade Conferida, Celetóide, Celeator, Webcelebridade, Celebridade Fronteiriça e Sujeito Tangencial à Visibilidade Midiática. / This thesis’ main objective is to investigate the dynamics on the comical appropriation (with an emphasis on imagery, but also considering the textual aspect) of celebrities on blogs. We thus examine how these dynamics of appropriation are linked to the different celebrity categories and humor expressions. Our theoretical approach encompasses a review of the theme of celebrity and the relevant authors on the field of celebrity studies, the links among humor, laughter and comicality – and how the phenomena of digital trash has permeated the logic in humorous appropriation on the Web, as well as analyzing the concept of appropriation from distinct areas such as visual arts, philosophy of language, and communication. The method of the research is a comparative analysis of posts on two Brazilian humor blogs on celebrities: “Morri de Sunga Branca” and “The Dou um Dado?”. The qualitative analysis is supported by quantitative data, from data collection pertaining to the publishings of both blogs from April through September of 2014 (a total of 81 posts from “Morri de Sunga Branca” and 351 from “Te Dou um Dado?”). We also collected data from their fan pages on Facebook using the app Netvizz to better observe the redirectioning from these posts to the blog platform, and to investigate metrics and processes of each of them as well. The results show signs that the quantity of posts does not necessarily mean highest metrics on the blogs, and point to a set of 7 common appropriation resources of the images, on both sites. These resources are: photographs, GIF, collage, website screenshots, social networks screenshots, frame screenshots – of a video, TV program or motion picture – and video. Lastly, as a development of the analysis, we may observe a set of subtypes of celebrities that are generally featured on blogs like these. Based on authors who had already proposed some sort of categorization of types of celebrities, we propose a typology of celebrities based on data extracted from posts of “Morri de Sunga Branca” and “Te Dou um Dado?” – the first five types as proposed by Rojek (2008): Ascribed Celebrity (Global or Local), Achieved Celebrity, Attributed Celebrity, Celetoid, Celeactor, Web celebrity, Borderline Celebrity and Person Subject to Tangential Media Visibility.