Humor As Cognitive Play
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Laughter: the Best Medicine?
Laughter: The Best Medicine? by Barbara Butler elcome to a crash COLI~SCin c~onsecli1~11cc.~ol'nvgarivc emotions. Third, Oregon Institute ofMarine Biology Gelotology 101. That isn't a using Iiumor as :I c~ol)irigs(r:itcgy n~ayalso University of Oregon typo, Gelotology (from the I~enefithealth inclirec.tly I)y moderating ad- Greek root gelos (to laugh)), is a term verse effects of stress. Finally, humor may coined in 1964 by Dr. Edith Trager and Dr. provide another indirect Ixnefit to health W.F. Fry to describe the scientific study of by increasing one's level of social support laughter. While you still can't locate this (Martin, 2002, 2004). term in the OED, you can find it on the Web. The study of humor is a science, The physiology of humor and laughter researchers publish in the Dr. William F. Fry from Stanford University psychological and physiological literature has published a number of studies of the as well as subject specific journals (e.g., physiological processes that occur dur- Humor: International Journal of Humor ing laughter and is often cited by people Research). claiming that laughter is equivalent to ex- While at the Special Libraries As- ercise. Dr. Fry states, "I believe that we do sociation annual conference last June, I not laugh merely with our lungs, or chest was able to attend a session by Elaine M. muscles, or diaphragm, or as a result of a Lundberg called Laugh For the Health of stimulation of our cardiovascular activity. It. The room was packed and she had the I believe that we laugh with our whole audience laughing and learning for the physical being. -
Two Studies on the Social Function of Joking As an Outlet for Aggression. John W
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1967 Two Studies on the Social Function of Joking as an Outlet for Aggression. John W. Dresser Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Dresser, John W., "Two Studies on the Social Function of Joking as an Outlet for Aggression." (1967). LSU Historical Dissertations and Theses. 1243. https://digitalcommons.lsu.edu/gradschool_disstheses/1243 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. TWO STUDIES ON THE SOCIAL FUNCTION OF JOKING AS AN OUTLET FOR AGGRESSION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Psychology by John W. Dresser B.A., Pomona College, 1958 M.A., Louisiana State University, 1962 January, 1967 ACKNOWLEDGMENT The author wishes to express his deep appreciation to his major professor, Dr. Robert N. Vidulich, for his advice and en couragement throughout the course of this research, and for his confidence and generous support throughout the author's doctoral program. Particular thanks are also due Dr. Roland L. Frye for his advice on statistical aspects of the present research. A very special appreciation is owed the author's wife, Mrs. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Lost Pigs and Broken Genes: The search for causes of embryonic loss in the pig and the assembly of a more contiguous reference genome Amanda Warr A thesis submitted for the degree of Doctor of Philosophy at the University of Edinburgh 2019 Division of Genetics and Genomics, The Roslin Institute and Royal (Dick) School of Veterinary Studies, University of Edinburgh Declaration I declare that the work contained in this thesis has been carried out, and the thesis composed, by the candidate Amanda Warr. Contributions by other individuals have been indicated throughout the thesis. These include contributions from other authors and influences of peer reviewers on manuscripts as part of the first chapter, the second chapter, and the fifth chapter. Parts of the wet lab methods including DNA extractions and Illumina sequencing were carried out by, or assistance was provided by, other researchers and this too has been indicated throughout the thesis. -
Humour in Nietzsche's Style
Received: 15 May 2020 Accepted: 25 July 2020 DOI: 10.1111/ejop.12585 ORIGINAL ARTICLE Humour in Nietzsche's style Charles Boddicker University of Southampton, Southampton, UK Abstract Correspondence Nietzsche's writing style is designed to elicit affective Charles Boddicker, University of responses in his readers. Humour is one of the most common Southampton, Avenue Campus, Highfield Road, Southampton SO17 1BF, UK. means by which he attempts to engage his readers' affects. In Email: [email protected] this article, I explain how and why Nietzsche uses humour to achieve his philosophical ends. The article has three parts. In part 1, I reject interpretations of Nietzsche's humour on which he engages in self-parody in order to mitigate the charge of decadence or dogmatism by undermining his own philosophi- cal authority. In part 2, I look at how Nietzsche uses humour and laughter as a critical tool in his polemic against traditional morality. I argue that one important way in which Nietzsche uses humour is as a vehicle for enhancing the effectiveness of his ad hominem arguments. In part 3, I show how Nietzsche exploits humour's social dimension in order to find and culti- vate what he sees as the right kinds of readers for his works. Nietzsche is a unique figure in Western philosophy for the importance he places on laughter and humour. He is also unique for his affectively charged style, a style frequently designed to make the reader laugh. In this article, I am pri- marily concerned with the way in which Nietzsche uses humour, but I will inevitably discuss some of his more theo- retical remarks on the topic, as these cannot be neatly separated. -
Humour and Caricature Teachers Notes Humour and Caricature
Humour and Caricature Teachers Notes Humour and Caricature “We all love a good political cartoon. Whether we agree with the underlying sentiment or not, the biting wit and the sharp insight of a well-crafted caricature and its punch line are always deeply satisfying.” Peter Greste, Australian Journalist, Behind the Lines 2015 Foreward POINTS FOR DISCUSSION: Consider the meaning of the phrases “biting wit”, “sharp insight”, “well-crafted caricature”. Look up definitions if required. Do you agree with Peter Greste that people find political cartoons “deeply satisfying” even if they don’t agree with the cartoons underlying sentiment? Why/why not? 2 Humour and Caricature What’s so funny? Humour is an important part of most political cartoons. It’s a very effective way for The joke cartoonists to communicate their message to their audience can be simple or — and thereby help shape public opinion. multi-layered and complex. POINTS FOR DISCUSSION: “By distilling political arguments and criticisms into Do a quick exercise with your classmates — share a couple clear, easily digestible (and at times grossly caricatured) of jokes. Does everyone understand them? Why/why not? statements, they have oiled our political debate and What does this tell us about humour? helped shape public opinion”. Peter Greste, Australian Journalist, Behind the Lines foreward, http://behindthelines.moadoph.gov.au/2015/foreword. Why do you believe it’s important for cartoonists to make their cartoons easy to understand? What are some limitations readers could encounter which may hinder their understanding of the overall message? 3 Humour and Caricature Types of humour Cartoonists use different kinds of humour to communicate their message — the most common are irony, satire and sarcasm. -
The Incongruity of Incongruity Theories of Humor
THE INCONGRUITY OF INCONGRUITY THEORIES OF HUMOR Tomáš Kulka ABSTRACT: The article critically reviews the Incongruity Theory of Humor reaching the conclusion that it has to be essentially restructured. Leaving aside the question of scope, it is shown that the theory is inadequate even for those cases for which it is thought to be especially well suited – that it cannot account either for the pleasurable effect of jokes or for aesthetic pleasure. I argue that it is the resolution of the incongruity rather than its mere apprehension, which is that source of the amusement or aesthetic delight. Once the theory is thus restructured, the Superiority Theory of Humor and the Relief Theory can be seen as supplementary to it. KEYWORDS: Humor, Resolution of Incongruity Socrates: And when we laugh ... do we feel pain or pleasure? Protarchus: Clearly we feel pleasure. (Plato, Philebus, 50) In the literature on humor and laughter it is customary to distinguish between three classical theories: The Superiority Theory (Plato, Aristotle, Hobbes), the Relief Theory (Spencer, Freud) and the Incongruity Theory (Cicero, Kant, Schopenhauer, Kierkegaard).1 The three theories are usually seen as rivals, competing for the most plausible answers to ques- tions like: „Why do we laugh?“, „What is the nature of humor?“, or „What does the comical consist of?“ The Superiority Theory says that the comical is perceived as inferior and our laughter is an expression of the sudden realization of our superiority. The Relief Theory emphasizes the liberating effect of humor. Laughter is seen as a discharge of surplus energy which alleviates psy- chic tension. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
On Laughter Supervisor: Rebekah Humphreys Word Count: 21991
Postgraduate Dissertation coversheet & feedback form: THIS SHEET MUST BE THE FIRST PAGE OF THE ASSIGNMENT YOU ARE SUBMITTING (DO NOT SEND AS A SEPARATE FILE) For completion by student: Student Name: Reuben Hind Student University Email: Student ID number: Educational Module code: CSPH7017 26001675 support needs: No Dissertation title: On Laughter Supervisor: Rebekah Humphreys Word count: 21991 I confirm that this is my original work and that I have adhered to the University policy on plagiarism. Signed R J Hind …………………………………………………………………………………………………………… Email submission:if you are submitting this form via email, please tick this box (as a substitute for your signature) to confirm that you agree to the above declaration. 1 ABSTRACT. Much of Western Philosophy has overlooked the central importance which human beings attribute to the Aesthetic experiences. The phenomena of laughter and comedy have largely been passed over as “too subjective” or highly emotive and therefore resistant to philosophical analysis, because they do not easily lend themselves to the imposition of Absolutist or strongly theory-driven perspectives. The existence of the phenomena of laughter and comedy are highly valued because they are viewed as strongly communal activities and expressions. These actually facilitate our experiences as inherently social beings, and our philosophical understanding of ourselves as beings, who experience passions and life itself amidst a world of fluctuating meanings and human drives. I will illustrate how the study of “Aesthetics” developed from Ancient Greek conceptions, through the post-Kantian and post-Romantic periods, which opened-up a pathway to the explicit consideration of the phenomena of laughter and comedy, with particular reference to the Apollonian/Dionysian conceptual schemata referred to in Nietzsche’s early works. -
Cohen, Comic Relief: Humor in Contemporary American Literature
Studies in English, New Series Volume 4 Article 39 1983 Cohen, Comic Relief: Humor in Contemporary American Literature Charles Sanders University of Illinois, Urbana-Champagne Follow this and additional works at: https://egrove.olemiss.edu/studies_eng_new Part of the American Literature Commons, and the English Language and Literature Commons Recommended Citation Sanders, Charles (1983) "Cohen, Comic Relief: Humor in Contemporary American Literature," Studies in English, New Series: Vol. 4 , Article 39. Available at: https://egrove.olemiss.edu/studies_eng_new/vol4/iss1/39 This Article is brought to you for free and open access by the Studies in English at eGrove. It has been accepted for inclusion in Studies in English, New Series by an authorized editor of eGrove. For more information, please contact [email protected]. Sanders: Cohen, Comic Relief: Humor in Contemporary American Literature SARAH BLACHER COHEN, ED. COMIC RELIEF: HUMOR IN CONTEMPORARY AMERICAN LITERATURE. URBANA, CHICAGO, AND LONDON: THE UNIVER SITY OF ILLINOIS PRESS, 1978. 339 pp. $15.00. The year was 1983. Praisers of the literary imagination who believed that their praises should reflect some impassioned bit of the imaginative—those artist-critic-scholar-teacher out-of-sorts like Guy Davenport, or Richards Gilman and Howard, or George Steiner, or the brothers Fussell, for whom “excellence...is ever radical”—all these had been interned upon the new Sum-thin-Else Star. (To a neighbor ing star, rumor has it, must eventually come Sanford Pinsker, Earl Rovit, Max F. Schulz, and Philip Stevick, especially if they insist on writing with a brio that places them in brilliant relief to the twelve others with whom they have presently, unfortunately, been asso ciated.) A few remaining disciples of letters and the fine arts were now relocated in the High Aesthetic Education Camp of the One Galactic University Sandbox, Inc. -
“The Grin of the Skull Beneath the Skin:” Reassessing the Power of Comic Characters in Gothic Literature
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 12-2011 “The grin of the skull beneath the skin:” Reassessing the Power of Comic Characters in Gothic Literature Amanda D. Drake University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Drake, Amanda D., "“The grin of the skull beneath the skin:” Reassessing the Power of Comic Characters in Gothic Literature" (2011). Dissertations, Theses, and Student Research: Department of English. 57. https://digitalcommons.unl.edu/englishdiss/57 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “The grin of the skull beneath the skin:” Reassessing the Power of Comic Characters in Gothic Literature by Amanda D. Drake A Dissertation Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy English Nineteenth-Century Studies Under the Supervision of Professor Stephen Behrendt Lincoln, Nebraska December, 2011 “The grin of the skull beneath the skin:” 1 Reassessing the Power of Comic Characters in Gothic Literature Amanda D. Drake, Ph.D. University of Nebraska, 2011 Advisor: Dr. Stephen Behrendt Neither representative of aesthetic flaws or mere comic relief, comic characters within Gothic narratives challenge and redefine the genre in ways that open up, rather than confuse, critical avenues. -
ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details. -
Humour and the Young Child
RESEARCH 4 19/2006/E Catherine Lyon Humour and the young child A review of the research literature What exactly is a sense of humour? Finally, does having a sense of hu- vision of a socially acceptable means On the basis of relevant research mour matter? Do children with a of expressing hostility and softening results on children and adults, ma- sense of humour have more friends, of an assertive/dominating style of ny favourable aspects of humour do better in school, or enjoy better interaction (McGhee, 1988). He states are presented. We learn that hu- emotional and physical health or not? rather unequivocally, “It is concluded mour is a skill that can be trained, Is a sense of humour inborn or some- that development of heightened early and this is where the use of media thing we can encourage? If we can humor helps to optimize children’s in the development of children’s teach a sense of humour, how do we social development.” humour comes into play. do that? Humour is frequently used to dispel Unlike other psychological constructs anxiety; by secondary reinforcement, (e. g., intelligence or extraversion) humour becomes a learned motive to there is no standard conception of experience mastery in the face of 1. What the research tells us sense of humour upon which re- anxiety – the “whistling in the dark” searchers generally agree (Martin, phenomenon. In studies investigating about humour and its 1998). With the caveat that this field stress and a sense of humour, e. g. development is currently made up of multiple ap- Martin and Lefcourt (1983 – cit.