<p>This dissertation argues that humour not only constitutes a central aesthetic strategy within contemporary mass media, but can also be understood as a form of cultural production that is central to how we understand our world as a site of value and politics. Drawing on an understanding of liberalism as a politics of “reasonable dissent,” I investigate how humour is thought to operate as an exemplary form of this politics through a consideration of popular and scholarly literature. I then complicate this theoretical and lay consensus regarding humour-as-dissent, through a consideration of the ways in which a range of specific filmic and televisual texts – <em>Jackass</em>, <em>The Office</em>, <em>The Sarah Silverman Program</em>, <em>The Chappelle Show</em>, <em>The Simpsons</em>, <em>South Park</em>, <em>Family Guy</em>, <em>The Daily Show with Jon Stewart</em>, <em>The Colbert Report </em>and <em>Four Lions</em> – produce an aesthetic of humour through the manipulation and mobilisation of textual strategies and affective registers, such as discomfort, absurdity and provocation. Questioning the easy understanding of humour as a means to challenge existing power structures, I instead argue that the currently dominant forms of media humour are better understood as a political aesthetic that opens up new avenues of understanding and critique even as it shuts down and short circuits previously tenable forms of political interpretation. Through an intertwining of close-reading of popular cultural texts and a critical engagement with wider theoretical models of media production and consumption, I thus propose that the aesthetic aspects of mass media, such as humour, can be understood as cultural precursors that inflect the ways in which we can imagine the problems and possibilities of contemporary politics.</p> / Doctor of Philosophy (PhD)

<p>It has been suggested that Canadian society increasingly promotes a rhetoric of tolerance, through the dissemination of multicultural and politically correct discourses. At the same time, there has been a growth in the popularity of performances that seemingly counters this national image; that of risqué stand-up comedy. This dissertation explores if an institutionalized rhetoric of multiculturalism and “PC”, popularized since the late 1980s, is pierced, protracted and parodied within risqué stand-up comedy while remaining confined within spatial and temporal boundaries. Furthermore, this relationship between comedy and multicultural and “PC” discourses illuminates the nature of power circulating within our dialogues about issues of discrimination in contemporary Canadian society. This thesis establishes that both stand-up comic performances and politically correct rhetoric share a carnivalesque nature that while degrades authorial discourses, is ultimately constrained within its self-definition.</p> / Master of Arts (MA)

This thesis, consisting of four chapters, examines the shifting identities in contemporary québécois migrant literature, as well as the way the Other is represented by the authors in our study. The first chapter is devoted to the methodology and the theoretical framework for our research, which, in terms of postcolonial critique, is based on Homi Bhabha’s concept of « third space » as a creative literary space and fertile ground for the exploration of identity. Our study also explores concepts pertaining to specific traits of migrant literature, such as oral tradition, irony and humour, and transcultural identity, from theorists such as Janet Paterson, Linda Hutcheon and Lise Gauvin. The second chapter focuses on the writing of Marie-Célie Agnant and Abla Farhoud, both of whom use the notions of home and of oral tradition to gather the generations and to establish family histories. These two authors portray the image of a grandmother, exiled in Québec, and represent these women as the backbone of their respective families. The third chapter takes a very different approach to the question of Otherness, examining the use of irony and humour as tools for social critique in the work of Dany Laferrière and Pan Bouyoucas, two authors who use humour to mask the serious nature of their subject matter. Their critique of modern society is developed by exploiting the concept of «Otherness». The fourth and final chapter is dedicated to a more contemporary expression of the experience of migration, as portrayed in the work of Kim Thúy and Ying Chen, whose writing signals a significant departure from the themes of the earliest literature classified as « migrant », in the sense that they both adopt a neutrality of tone and create a literary production mostly absent of spatiotemporal reference. For Thúy and ! vi Chen, writing represents an apprenticeship of the French language and of cultural integration. Today’s Québécois migrant literature questions the pluralisation of identities, as well as the concepts of individual identity and collective identity. As such, the developing pluralistic nature of Québécois society is better represented within its literary scene. Within the framework of our study, what interests us the most is the changing face of the migrant identity over the course of the past fifty years, as well as the trajectory of its representation in this body of literature. / Thesis / Doctor of Philosophy (PhD) / This thesis examines the evolution in the representation of migrant identity and the experience of migration at the heart of contemporary Québécois literature. This research questions the pragmatic aspect of literature, specifically the establishment of new identities in twentieth and twenty-first century Québec and Canada. Our corpus explores the literary representation of life on the margins of a host society. By applying the postcolonial research on Otherness and Identity of theorists such as Homi Bhabha, Lise Gauvin and Janet Paterson, we are able to analyse the distinct characteristics of the literary production on memory and history, and on displacement, that originate from what Bhabha calls the gap between cultures.

Yes / This article explores the use made of humour in three different private sector organisations. It draws on observations of managers working towards a management qualification and, from the jokes they exchange, it argues that studying humour may offer insights into sentiments not easily articulated in `serious¿ conversation. Humour¿s ambiguity enables contentious statements to be made without fear of recrimination. Equally, constructing jokes by juxtaposing two different frames of reference provides a glimpse of alternative (and shared) perceptions of `reality¿. This sensitivity to complexity makes humour a particularly appropriate vehicle for conveying ambitions, subversions, triumphs and failures and this article considers some of the `serious¿ messages underlying the jokes.

Bakgrund: Ett skratt sprunget ur humor, höjer immunförsvaret, sänker stressnivån, höjer blodtrycket och minskar smärta. Humor är socialt konstruerat och unik för varje individ. Den grundutbildade sjuksköterskan förväntas ha en kommunikativ förmåga samt bedriva personcentrerad vård. Målet inom omvårdnad är att främja hälsa och förebygga sjukdom, där humor kan vara ett recept på läkande medicin. Syfte: Att undersöka humorns betydelse inom omvårdnad utifrån sjuksköterskans perspektiv. Metod: En litteraturstudie bestående av 12 vetenskapliga studier med kvalitativ ansats där datan identifierades genom innehållsanalys. Resultat: Fem kategorier och 10 underkategorier identifierades. Kategorierna var: Humor i patientmötet som redogör för humorns betydelse i omvårdnadskommunikationen mellan sjuksköterskan och patient, Den avgörande humorn vilken sammanför humor med erfarenhet, Humor i kroppen och knoppen vilken beskriver humorns fysiologiska och psykologiska påverkan på individen, Den könsliga humorn belyser humorns skiftande i uttryck och betydelse beroende på kön och Varning för humor beskriver hur humorn kan riskera relationen mellan sjuksköterska och patient och på så vis resultera i negativa konsekvenser. Konklusion: Humorn är både enkel och komplex. Den är unik i sin uttrycksform och betydelse utifrån varje person. Humor bidrar inte endast till ett fysiskt och psykiskt välbefinnande utan har även en god effekt på inlärning och minne. Humor är en konstform baserad på erfarenhet och det krävs mer forskning kring området för att ta humorn inom omvårdnaden på allvar. / Background: A laugh produced by humour increases the immune system, lowers stress levels, raises blood pressure and reduces pain. Humour is socially constructed and unique to each individual. The registered nurse is expected to have a communicative ability as well as conduct a person-centred care. The goal in nursing is to promote health and prevent disease, where humour can be a recipe as healing medicine. Purpose: To examine the importance of humour in nursing from a nurse perspective. Method: A literature review consisting of 12 scientific studies with a qualitative approach in which the data is identified through content analysis. Results: Five categories and 10 subcategories were identified. The categories were: Humour in the patient interaction which explains the importance of humour in nursing communication between the nurse and the patient, The decisive humour which brings together humour with experience, Humour in the body and the bud which describes the physiological and psychological impact of humour on the individual, The gender of humour highlights the changing expression of humour and meaning depending on gender and Warning for humour describes how humour can risk the relationship between nurse and patient and thus result in negative consequences. Conclusion: Humour is both simple and complex. It is unique in its form of expression and meaning based on each person. Humour not only contributes to physical and mental wellbeing but also has a good effect on learning and memory. Humour is an art form based on experience and more research is needed to take humour in nursing seriously.

Cette étude s'intéresse aux phénomènes inhérents à la traduction au confluent des deux domaines en plein essor que sont la traduction de l'humour et la traduction audiovisuelle. Elle s'attache, par l'analyse de la série télévisée française Kaamelott, à la traduisibilité de l'humour verbal malgré les restrictions techniques liées au sous-titrage. Plus particulièrement, cette étude décrit brièvement le contexte de production propre à la série ainsi que les concepts clés que sont l'humour et la traduction audiovisuelle avant d'établir une taxonomie des procédés d'humour verbal dans les dialogues originaux. Les neuf procédés retenus sont ensuite décrits et leur traduction analysée, afin de démontrer, entre autres, que l'humour verbal relevé dans Kaamelott est presque toujours traduisible selon les mêmes procédés.

One potent, yet little recognized tool in therapy is humour. As the desire to be entertained through humour is near universal the establishment and return of a positive sense of humour may be considered a goal of therapy. The goal of Gestalt exploration is awareness. From its origin Gestalt theory includes addressing body experiences such as laughter and emotional expression through humour. In Gestalt Theory a contact boundary disturbance such as deflection refers to the ways in which individuals may refuse contact with their environment in order to avoid aware¬ness. The goal of this study was to explore the implementation of humour as a deflective technique where contact boundary disturbances occur, to bring about change. Aspects of humour, namely the ability to perceive the comic as well as the ability to produce it, aid therapy and relationship building, and help the client to deflect in a way that enhances emotional well-being. / Humor, geringskat in terapie, is 'n uiters sterk hulpmiddel. Aangesien die behoefte om vermaak te word deur humor universeel is, is die terugkeer van 'n positiewe sin vir humor 'n deurdagte doel vir terapie. Die doel van die Gestalt eksplorasie is bewuswording. Van die begin af sluit Gestalt teorie liggaamservaringe soos lag en emosioneie uitdrukking deur humor in. In Gestalt Teorie verwys 'n kontakgrens versteuring soos defleksie, na die wyse waarop individue kontak met die omgewing vermy, om sodoende bewuswording te vermy. Die doel van die studie was om die implementering van humor as deflektiewe tegniek, waar kontak grens versteuringe en weerstande voorkom, as verandering teweeg kan bring. Aspekte van humor, naamlik die moontlikheid om die komiese waar te neem, sowel as om dit te produseer, versterk terapie and vehoudingsbou, beide aspekte help die klient om te deflekteer op so 'n wyse dat emosioneie goedvoel bevorder word. / Social Work / M. Diac. (Play Therapy)

En la creación literaria latinoamericana del siglo XX, la narrativa de los autores judíos ha proseguido un trayecto aparte, casi silencioso, en relación con la escritura canónica del continente. No obstante, hacia los años setenta, surge una producción literaria judía femenina que hoy ha alcanzado un renombre internacional. Esta tesis estudia la peculiaridad literaria del humor judío femenino argentino contemporáneo en torno a la definición de la identidad y rol de género, para comprender cómo se resignifica la hibridez cultural en el texto literario. El humor como catarsis de conflictos problematiza la relación entre lo propio y lo ajeno mediante una puesta en tela de juicio de la realidad para manifestarse como una preocupación, una responsabilidad y un compromiso crítico. A través del análisis de las obras de Alicia Steimberg, Silvia Plager y Ana María Shúa, la investigación reconfigura la vida judía diaspórica y el sentido de ser mujer respecto a la importancia del ámbito culinario en cuanto al influjo de la modernidad argentina en la tradición judía. En este estudio, se analizarán las novelas Músicos y relojeros, Como papas para varenikes y Risas y emociones de la cocina judía donde las diferentes reflexiones de Steimberg, Plager y Shúa en relación con la historia judía elaboran discursos con singulares diferencias en la intención humorística. En la primera parte de la tesis, se hará mención de diversas perspectivas teóricas que destacan las implicaciones psicológicas, sociales y psicoanalíticas respecto al humor en general, el humor de la minoría, el humor femenino y el humor judío. En los tres capítulos subsiguientes, se procederá a una lectura de los textos antes mencionados para interpretar las preocupaciones de nuestro tema frente a los dictámenes que la religión y sociedad desean imponer. Finalmente, la conclusión aborda la evolución de una visión entre humor negro, humor como crítica social y humor como lúdico juego en paralelo con una búsqueda de la identidad híbrida actualizada mediante una crítica de lo tradicional. / Dans la création littéraire latino-américaine du xx siècle, les récits des auteurs juifs ont poursuivi une trajectoire isolée, presque silencieuse, par rapport à l’écriture canonique du continent. Cependant, aux environs des années soixante-dix surgit une production littéraire juive féminine que de nos jours a atteint une renommée internationale. Cette thèse étudie la spécificité littéraire de l’humour juif féminin contemporain autour de la définition de l’identité et le rôle de genre afin de comprendre comment se résignifie l’hybridité culturelle dans le texte littéraire. L’humour comme catharsis de conflits problématise la relation entre le soi et l’autrui à travers un jugement de la réalité afin de se manifester comme une préoccupation, une responsabilité et un compromis critique. L’analyse des œuvres d’Alicia Steimberg, Silvia Plager et Ana María Shúa reconfigure la vie juive diasporique et le sens de l’univers féminin à travers l’importance du domaine culinaire ainsi que l’influence de la modernité argentine dans la tradition juive. Cette étude analyse les romans Músicos y relojeros, Como papas para varenikes et l’œuvre Risas y emociones de la cocina judía où les réflexions de Steimberg, Plager et Shúa élaborent des discours en relation avec l’histoire juive avec différentes intentions humoristiques. Dans la première partie de cette thèse, on étudie diverses perspectives théoriques qui soulignent les implications psychologiques, sociales et psychanalytiques de l’humour en général, l’humour de la minorité, l’humour féminin et l’humour juif. Dans les trois chapitres suivants, on procède à une lecture des textes mentionnés ci-haut afin d’interpréter les préoccupations de nôtre sujet de recherche par rapport aux règles que la religion et la société désirent imposer. Finalement, la conclusion aborde l’évolution d’une vision entre l’humour noir, l’humour comme critique sociale et l’humour comme jeu ludique en parallèle d’une recherche de l’identité hybride actuelle à travers une critique du traditionnel. / In the Latin American literary creation of the twentieth century, the fictions of Jewish authors have pursued a secluded trajectory, almost silent, compared to the continent canonical writing. However, around the seventies came a female Jewish literary production that has achieved international fame. This thesis examines the literary specificity of contemporary female Jewish humour around the definition of identity and the role of gender in order to understand the cultural hybridity representation in the literary text. Humour as catharsis of conflicts analyzes the relationship between the self and others, through a judgment of reality to manifest as a concern, responsibility and a critical compromise. The analysis of the fictions of Alicia Stemberg, Silvia Plager and Ana María Shúa reconfigure the Jewish Diasporas and the meaning of the feminine universe through the importance of the culinary field as well as the influence of Argentine modernity in Jewish tradition. This study analyzes the novels Músicos y relojeros, Como para varenikes and the short histories Risas emociones the cocina judía where Steimberg, Plager and Shúa describe the Jewish history with different humorous intentions. In the first part of this thesis, various theoretical perspectives that emphasize the psychological, social and psychoanalytic implications of humour in general, minority humour, female humour and Jewish humour are studied. In the following three chapters, we proceed to a reading of the texts mentioned above in order to interpret the concerns of our research from the rules that religion and society impose. Finally, the conclusion discusses the evolution of a vision between black humour, humour as a social critique and humour as a playful game as a search of the hybrid identity through a critique of traditions.

This thesis deals with humour on Facebook, I examine the themes and practices of humorous posts that are related to the direct election of the President of the Czech Republic,in particular to the two candidates who got into the second round of presidential elections, Karel Schwarzenberg and Miloš Zeman. In the theoretical part I introduce humour from a theoretical point of view. I identify three central theories, types of jokes and function of laugh. In subsequent chapters I define the basic assumptions that lead to the involvement of fans in the creation of online posts, which can circulate through social networks. I present new tools in online political marketing and summarize the basic topics of the official campaigns of both candidates. In the practical part I analyze, using the grounded theory, how and why Facebook users worked with humour in posts which respond to the presidential election. The material which was searched, can be described as illustrated jokes, photos with or without text, collages, comics or cartoons from official and unofficial Facebook pages of both candidates. The research showed that humour had primarily negative role during the campaign. Humour was a tool to defame and ridicule the candidate, jokes showed his shortcomings. It also warned voters what could happen in the...

One potent, yet little recognized tool in therapy is humour. As the desire to be entertained through humour is near universal the establishment and return of a positive sense of humour may be considered a goal of therapy. The goal of Gestalt exploration is awareness. From its origin Gestalt theory includes addressing body experiences such as laughter and emotional expression through humour. In Gestalt Theory a contact boundary disturbance such as deflection refers to the ways in which individuals may refuse contact with their environment in order to avoid aware¬ness. The goal of this study was to explore the implementation of humour as a deflective technique where contact boundary disturbances occur, to bring about change. Aspects of humour, namely the ability to perceive the comic as well as the ability to produce it, aid therapy and relationship building, and help the client to deflect in a way that enhances emotional well-being. / Humor, geringskat in terapie, is 'n uiters sterk hulpmiddel. Aangesien die behoefte om vermaak te word deur humor universeel is, is die terugkeer van 'n positiewe sin vir humor 'n deurdagte doel vir terapie. Die doel van die Gestalt eksplorasie is bewuswording. Van die begin af sluit Gestalt teorie liggaamservaringe soos lag en emosioneie uitdrukking deur humor in. In Gestalt Teorie verwys 'n kontakgrens versteuring soos defleksie, na die wyse waarop individue kontak met die omgewing vermy, om sodoende bewuswording te vermy. Die doel van die studie was om die implementering van humor as deflektiewe tegniek, waar kontak grens versteuringe en weerstande voorkom, as verandering teweeg kan bring. Aspekte van humor, naamlik die moontlikheid om die komiese waar te neem, sowel as om dit te produseer, versterk terapie and vehoudingsbou, beide aspekte help die klient om te deflekteer op so 'n wyse dat emosioneie goedvoel bevorder word. / Social Work / M. Diac. (Play Therapy)