This study investigated the experience of humour of people with Asperger’s syndrome. It aimed to explore the lived experience of this phenomenon. A literature review was undertaken which revealed that people with Asperger’s syndrome are thought not to have a sense of humour and a number of theories are proposed to explain the difficulties that may be experienced in regard to humour. In order to gain insight into the lived experience a qualitative approach was adopted using semi structured research interviews with eight, adult, male participants. Interpretative Phenomenological Analysis was then used to illuminate the “insider perspective”. The analysis highlighted four main themes, the experience of difference, the experience of learning, what I find amusing and how I use humour. It was suggested that people with Asperger’s syndrome do have a sense of humour but they may need to put in extra effort to develop it. The importance of individuality and acceptance of differences was also recognised. The report highlighted a number of clinical implications such as the role humour plays in social interactions and the importance of asking questions rather than making assumptions when working with people with Asperger’s syndrome.

Le rire est un comportement humain indiscutablement universel. Abondamment traité par la psychologie et les neurosciences, il demeure néanmoins le laissé-pour-compte de l’anthropologie. Si les connaissances empiriques accumulées à ce jour ont permis de bien le caractériser à des niveaux proximaux d’analyse, la question de son origine évolutionniste est, en contrepartie, souvent évacuée. Or, toute tentative sérieuse de comprendre ce comportement requiert une investigation de sa fonction adaptative et de sa phylogénèse. Le projet entrepris ici consiste en une analyse de cinq hypothèses ultimes sur le rire et l’humour, desquelles sont extraites des prédictions qui sont confrontées à des données empiriques provenant de disciplines diverses. En guise de conclusion, il est tenté de formuler un scénario évolutif qui concilie les différentes hypothèses abordées. / Laughter is a universal and ubiquitous human behavior. Widely investigated by psychology and neuroscience, it is still largely ignored by anthropology. While humor and laughter are well caracterised at proximate levels of explanation, the question of their evolutionary origins remains relatively unexplored. A number of recent hypotheses have yet attempted to shed light on the potential adaptive significance and phylogeny of these behaviors. This project consists of an analysis of five of these ultimate explanations, by confronting their predictions to empirical data from a large array of disciplines. In the end, I propose an evolutionary framework that synthesizes and reconciles these hypotheses.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

In this dissertation I seek to analyse the use of autobiographical monologues and elements in selected scenes from the political revues Foreign Aids (2001) and Elections and Erections (2009) by South African playwright-performer Pieter-Dirk Uys. The purpose of this analysis is to evaluate the use of autobiographical writing in revue performance as an alternative method for presenting autobiography to spectators. My argument is that the unique style and format of the revue-form provides a distinct approach to the live performance of autobiography. The analyses centre on the revues Foreign Aids and Elections and Erections in a literary comparison with Uys’ two prose narrative memoirs, Elections and Erections: A Memoir of Fear and Fun (2002) and Between the Devil and the Deep: A Memoir of Acting and Reacting (2005). These two book-length print memoirs have passages of text that correspond with the autobiographical monologues and other dramatic elements in the revues that I have selected. The aim of providing the comparative analysis of Uys’ revues with his memoirs is to reveal the strengths and weaknesses of these genres insofar as Uys has employed each to attempt to write and perform aspects of his life-story. In order to facilitate these analyses, I have researched international studies on the interdisciplinary field of performance autobiography. I have come to rely on two key theorists of performance autobiography, Sherrill Grace and Deirdre Heddon, and I have applied their theories to my study of Uys’ revues. I discuss several autobiographical scenes in Foreign Aids, comparing them with passages from Elections and Erections: A Memoir of Fear and Fun, and I compare a selected monologue in Elections and Erections, the revue, with a passage containing the same material in Between the Devil and the Deep: A Memoir of Acting and Reacting. The comparison between the revues and the memoirs reveals the narrative and stylistic similarities and differences between Uys’ writing and performance of the self in performance narrative as opposed to prose narrative. The study identifies the most salient features of Uys’ autobiographical performances, including the thematic links between the individual life-story and the concern with social welfare, the sharing of intimate anecdotes regarding his own sex-life and the sexual practices of South Africans, and the relationality between the self and other represented in dialogues where he portrays himself and other characters speaking to each other. / Thesis (M.A)-University of KwaZulu-Natal, Durban, 2011.

The purpose of this study is to explore the relationship between language, identity construction and learning in the context of the Vehicle programme, a vocational program in Swedish upper secondary schools. The study focuses on language practices and the norms of language, gender and school work that are negotiated in conversations between pupils and between pupils and teachers. The language practices are considered as talk-in-interaction, and identity construction and learning are understood as processes in socially situated activities. The Vehicle programme has its basis in mechanics with links to the vehicle and transport trades, and can be identified as a male-coded program in several respects. The pupils participating in this study were both boys and girls attending a school situated in the North of Sweden. The study was conducted through an ethnographic approach, employing plural methods including observation, field notes, audio-recordings of conversations, and interviews with pupils in focus groups and individually. Recorded conversations were analysed using tools from conversation analysis. The analysis is based on Judith Butler’s theory of gender as performance, Raewyn Connell’s theory of hegemonic masculinity, and Penelope Eckert’s theory of the heterosexual market. A socio-cultural theory of learning describing communities of practice, by Lave and Wenger, which has also been applied to linguistics by Eckert and McConnell-Ginet, forms the basis of the theoretical framework. The analyses of conversations show that the language practices were confrontational, direct and humorous; characteristics that have strong connections to notions of a masculine conversational style. The pupils were not as aware of interactional patterns as they were of the words they used. Thereby the norms in the community of practice, which were based on notions of masculinity and heterosexuality, were not noticed, and worked as undercurrents in the interaction. The girls participated in the language practices in the same ways as the boys, but contrary to the boys, the girls interpreted the language practices as effects of other things than gender, for example as signs of being independent or daring. They also experienced that adjusting to the expectations of normative middle-class femininity was more oppressive than adjusting to the norms that were negotiated within the community of practice. The conversation analyses also show some of the complexity in teachers’ work and their role as mediators of norms and values. Peer reactions to individual pupil turns in the classroom conversations were of more importance for the development of the conversations than teacher responses. Thus there was usually a homogenization of the expressed perspectives. Norms of heterosexuality were constantly reconstructed in interaction within the community of practice and they controlled the pupils’ understanding of what was perceived as normal or deviant behaviour. Thereby the pupils constrained each other’s school performances in the core subjects and reconstructed a difference between being theoretical and practical, a process that was partly supported by the school as an institution. Generally, the pupils in the community of practice had to balance their identity constructions in relation to the peer group, teacher expectations, and their own ambitions, for which reason learning turned out to be more than just a process of acquiring knowledge.

Bakgrunden: Sinne för humor är individuellt, är en del av personligheten samt kan vara ett viktigt verktyg i omvårdnadsarbetet. Humor kan vara en gratis medicin som rätt anpassad kan ha positiva effekter på patienten som att lindra smärta, ge avslappning och hjälpa patienten att skapa distans till svårigheter. Trots det inbjuder sällan sjuksköterskan till humor med patienten i omvårdnadsarbetet. Syftet var att beskriva sjuksköterskans möjligheter till och användning av humor i omvårdnadsarbetet. Metod för fördjupningsarbetet var en allmän litteraturstudie baserad på 11 kvalitativa och kvantitativa artiklar. Resultatet presenteras utifrån kategorierna Sjuksköterskans möjligheter till humor och Sjuksköterskans användande av humor. Resultatet visar att sjuksköterskan både har inre och yttre möjligheter att använda humor, men att det inte i första hand används i omvårdnaden av patienten, utan som stresshantering för sjuksköterskan. Slutsatsen är att sjuksköterskan behöver hjälp att hantera svåra eller stressfulla situationer på andra sätt än genom humor, för att humor ska bli möjligt och kunna användas som en positiv del i omvårdnadsarbetet med patienten. Hantering av svåra eller stressfulla situationer kan ske genom handledning eller etiska reflektioner, enskilt och i grupp. / Background: The sense of humour is individual, a part of the personality and can be an important tool in nursing care. Humour can be a free medicine and if used correctly, it has positive effects on the patient concerning relieving pain, providing relaxation and helping the patient to create a distance to difficult situations. Despite the knowledge, the nurse seldom initiates humour with the patient in nursing care. The aim was to describe the nurse's opportunities to and use of humour in nursing care. Method for the composition was a general literature review based on 11 qualitative and quantitative articles. The results are presented through the categories The nurse´s opportunities to humour and The nurse's use of humour. The result shows that the nurse has both internal and external opportunities to use humour, but it is not primarily used in the care of the patient, instead it is used by the nurse to cope with stressful situations. The conclusion is that the nurse needs help to deal with difficult or stressful situations in other ways than through humour, in order for humour to be used in a positive way with the patient in nursing care. Dealing with difficult or stressful situations could happen through tutoring or ethical reflections, individually and in groups.

Since 2007 the American sitcom the Big Bang Theory has spread throughout the world. With its twenty million watchers it is one of the most popular sitcoms of our time. The starting point for this essay is that the humourus series with the more or less geeky main characters is more than just entertainment - it is a part of the mediatization of religion. This means that media is affecting the recipients’ view on religion in general and the personal religion. As we watch TV, we get socialized into how to act in our every day life. In this case, it is about religion depicted as entertainment. Through a film analysis of a number of selected scenes from the first three seasons of the series, this essay stresses the representation of the religious traditions Judaism, Christianity, Hinduism and religion in general. On the basis of etnocentrism, exitocism and a differentiation between religious praxis and religious beliefs my conclution is that Jews are portrayed in a very ”modern” and secular way, Christians are narrow-minded and quite stupid and Hindus are doing strange rituals and believe in very unreasonable phenomena. Religion in general is portrayed as something accepted but it should be rational and religous practice has its own time and place.

This thesis is an empirical examination of the articulation of comic offence and the practices of comic censure as conducted in media discourse. Making complaints about comic discourse is a risky endeavour. The joker can retort that it was `just a joke' or can charge the complainer with lacking a sense of humour and libels can fail and be very costly. The main focus is on the discursive strategies and practices used when claiming that comedy has caused offence. This is an under-researched area in humour studies. The ambivalence involved in negotiations between ethical and comic discourse is a central tenet of the thesis. Two main avenuesf or expressing comic offence are used in the thesis: letters of complaint written to the editor of comic discourse and charges of offensive comedy made through the law of defamation. The thesis adopts an eclectic approach to data collection and analysis. The research draws on different data sources: letters pages and readers' letters printed in the satirical magazine Private Eye, newspaper articles reporting on libel cases brought against Private Eye and interviews with editors, journalists, cartoonists and libel lawyers working for Private Eye. Content analytic techniques are used when analysing the readers' letters to provide a clear overview of the general pattern of complaint involved and the common consequences of such complaint. Composition analysis is used to assess how the editor of Private Eye constructs the letters page. Here I explore the strategies employed by the editor when defendingc criticisms that offence has been causeda nd assessh ow the editor discursively treats the offended reader. To examine in closer detail the characteristic ways in which reader's structure their expression of grievance, I then employ more qualitative modes of analysis: linguistic discourse analysis and symbolic cultural analysis. Attention then shifts to the second main avenue for expressing comic offence: the law of defamation. I conduct a quantitative content analysis of Private Eye's libel litigation history to provide an overview of the types of individual who utilise the law of defamation and the bases on which reputations are damaged. Textual analysis is used to assessh ow newspapersre port libel casesb rought against Private Eye in order to explore the press' role in the debate of comic offence and comic censure. In my conclusion I discuss what the thesis suggests about the ethical considerations of humour and comedy and I highlight the importance of the thesis for humour studies. The thesis finishes with some recommendations for future research.

The results of three studies are discussed in this thesis. In the first study, possible relationships between jealousy, aggression, sexual desire and post-conflict sex were investigated in a sample of 128 students and professionals from the East Midlands area. A model was proposed which predicted that jealousy will affect aggression; aggression will affect sexual desire and sexual desire will affect the possibility of post-conflict sex. Correlational analysis revealed that jealousy was significantly correlated to aggression and sexual desire; also, a strong significant relationship was found between aggression and post-conflict sex. Correlations were also discovered between aggression and sexual desire and between sexual desire and post-conflict sex. Further analysis using Structural Equation Modelling tested and supported a model which showed that jealousy influenced aggression and sexual desire, which in turn may influence post-conflict sex. The second study explored partners' possible conciliatory acts in post-conflict situations. The aim was to gain insight in the peace-making process and identify the ways in which . partners attempt to reach closure over an argument and return to how they were before the argument occurred. Interviews with 13 males and females were conducted. The interviews were transcribed and analysed using Thematic Networks Analysis. The results revealed that participants reached 'Perceived Closure' through four possible pathways a) Avoiding further conflict, b) Gaining control of the situation, c) Providing/receiving assurances, and d) Achieving normality. The exact processes involved in these pathways were found to be defined by clusters of basic themes. The themes that emerged showed that participants used affection, sex, distancing, apology and humour in order to return to normality and reach closure. This process was shown to be gradual as participants reported adopting a step-by-step approach that involves trying to gain control of their feelings and the situation, avoiding further arguments, reinstating feelings of security and safety and attempting to reinstate a sense of normality. The third study was designed to explore post-conflict conciliatory acts and investigate possible correlations with relationship satisfaction and positive and negative conflict outcomes patterns. The sample consisted of 139 partiCipants from the East Midlands area. The main findings were that participants who adopt constructive conflict styles (as shown from positive conflict outcomes) tend experience higher relationship satisfaction. Use of post-conflict conciliatory strategies was also predictive of higher relationship satisfaction.

'Hungry Ghosts' is an account of thirty-six hours of a young woman's life following her arrival in Singapore. Sarah, the protagonist of the novel, is accompanying her partner Paul on a business conference. It is increasingly apparent that Sarah's motives for leaving her home town, Adelaide, have more to do with her need to escape than her commitment to Paul. A room in an international hotel offers Sarah the comforts of a cocoon, where signs of previous occupation and ties to the past are erased on a daily basis. But Sarah is obviously dislocated from her surroundings, which are in turn out of step with the external environment: the air-conditioning is freezing; the orchids are plastic and nod in an artificial breeze. In this sterile environment Sarah is troubled by flashbacks of what she has left behind. Sarah begins to emerge from her cocoon, venturing into a big city that, for her, could be anywhere. She recognizes places generic to big cities as well as a few unique landmarks, becoming aware of the continual and universal tensions of progress and the past. In this way the novel becomes a study of the role of memory, ghosts and the absent dead, all of which play a part in informing Sarah's present and her understanding of the future. At the hotel Sarah encounters a group of war ‘pilgrims'. A mother, her son Bradley and an elderly British Army Major are all on a 'pilgrimage', and, in their different ways, all trying to make peace with the past and its insatiable ghosts. As Sarah learns their stories and witnesses the battles they wage, she is forced to challenge her own beliefs about being able to leave traumatic events behind. Her absent mother haunts her on the sun-drenched streets of fast-moving Singapore. A bond begins to form between herself and Bradley who, like Sarah, has been left out-of-whack by a recent calamity. 'Hungry Ghosts' explores several dualities: the claims of the past, both cultural and personal, balanced against the demands of the future; private memories that must be reconciled with the demands of public living and progress; the world of the mind that is dependent on the physical body occupying 'real' space. The novel examines the strangely transitory spaces that people can find themselves in: the liminal areas of grief, travel, dislocation, the unfamiliar. It asks why, in an age of globalisation, the claims of place, and in particular of home, remain so strong. My exegesis, written as three essays, addresses three aspects of my manuscript, ‘Hungry Ghosts’. In the first essay I look at the importance of ‘place’ in my novel, and the different types of ‘places’ I explore. In the second essay I look at how contemporary theories on war commemoration, coupled with my own research and witnessing of ‘actual’ events, have informed my depiction and treatment of the theme of war memory. In my final essay I reflect on the role mourning has played in the development of my manuscript, considering both the challenges it has presented to my narrative and the ways in which it has strengthened it. / Thesis (Ph.D.) - University of Adelaide, School of Humanities, 2009