Impact of aggressive humor on dysfunctional resistance

The present study examined the mediating effects of negative affect at work between abusive supervision and dysfunctional resistance, considering aggressive humor as a moderator. Two hundred and thirty-five full time working employees participated in the study. Correlational results indicated that aggressive humor was related to dysfunctional resistance. However aggressive humor was not related to negative affect at work. Aggressive humor moderated the direct path (i.e., between abusive supervision and dysfunctional resistance), but it did not moderate the indirect paths. Finally, the study found support for negative reciprocity beliefs (Gouldner, 1960). Implications for practice include an emphasis on self-awareness training for managers.     

Humor and the coronary-prone behavior pattern

The belief is widely held that humor is related to recovery from, and perhaps an increased resistance to, coronary and other stress-related diseases. Such generalizations do not typically distinguish between benign and hostile humor. In the present research, the relationship between a measure of proneness to coronary heart disease (CHD) and appreciation of hostile and nonhostile humor is examined. In two studies, one with college students and one with patients suffering from CHD, the relationship between humor preferences and the coronary-prone (Type A) behavior pattern was examined. Each subject was given the Jenkins Activity Survey as a measure of the coronary-prone personality type, and aggressive and nonaggressive jokes to rate for funniness. Hostile humor was preferred to nonhostile humor by all groups, but among those suffering from CHD, those who could be classified as “Type B’s” preferred nonhostile humor. The results indicate that those less prone to CHD appreciate both hostile and nonhostile humor, while Type A’s seem to enjoy hostile humor only.     

企业幽默能否化解消费者抱怨:幽默类型与关系范式的匹配

幽默可以促进沟通效果,实践中许多企业运用幽默来回应消费者抱怨。然而既有文献对于幽默能否以及如何有效化解抱怨缺乏系统深入的研究。本文则基于良性冲突理论与关系范式理论探究了企业幽默式抱怨回应策略对不同关系范式下消费者的影响。通过二手数据分析和实验法,本文发现:对于唤醒度较低的负面情感导致的消费者抱怨,企业幽默(相较于非幽默)的抱怨回应策略更有助于改善消费者品牌态度;而且,不同类型的幽默化回应作用不同,自强型幽默的抱怨回应对改善共有关系范式下消费者品牌态度更有效,自嘲型幽默的抱怨回应则有助于改善共有和交易关系范式下消费者的品牌态度;幽默回应策略与关系范式通过影响消费者的良性评价而作用于品牌态度。     

在线学习环境中教师幽默对学习投入的影响：一个多水平的结构方程分析

以教学幽默风格模型（Instructional Humor Styles）和教学幽默加工理论（Instructional Humor Processing Theory）为基础,通过构建多水平的结构方程模型探索在线学习环境中,教师幽默与学习投入关系。结果表明：（1）教师幽默与学习投入无显著相关;（2）在学生层面,仅学生感知的与课堂相关的教师幽默与学习投入呈显著正相关;（3）学生感知的与课堂相关,与课堂无关和攻击性的教师幽默均能通过积极情绪和消极情绪对学习投入产生影响。此外,自我贬低的教师幽默仅通过消极情绪对学习投入产生作用。本研究首次将教学幽默风格理论模型拓展至在线学习环境中,从教师层面和学生层面验证了该理论在我国的适应性。此外,本研究验证了教学幽默加工理论,揭示了教师幽默对学习投入的内在机制,这对改善在线学习环境中学生的学习投入具有一定的指导意义。     

Attentional biases toward humor: Separate effects of incongruity detection and resolution

Previous research has indicated that the comprehension of humor involves two stages: incongruity detection and incongruity resolution. However, little is known about the temporal parameters of these stages and the degree to which they influence attentional processing. In the current study, 155 participants completed a dot-probe task to examine these questions. On each trial, humor versus control, novel (incongruent but not humorous) versus control, or neutral versus neutral image pairs were presented for 300, 400, or 500 ms. A probe immediately replaced the experimental image (valid trial) or control image (invalid trial). An attentional bias toward humor and novelty by 300 ms was shown by faster probe-detection reaction times (RTs) on valid compared to invalid humor and novel trials for all three exposure times. When compared to the neutral trials, humor and novel stimuli elicited slower RTs, indicating a difficulty in attentional disengagement. An exploratory analysis found that subjective humor ratings predicted the disengagement bias at 500 ms, but not at 400 or 300 ms. These results suggest that incongruity detection biases attention by 300 ms, whereas incongruity resolution may only contribute at 500 ms.     

The Good,the Bad,and the Funny: An Ethics of Humor

This article begins by reviewing the overwhelmingly negative assessment of laughter and humor in Western philosophy and in Christianity, arguing that that evaluation arises from a misclassification of amusement as a malicious emotion. It then sketches a play theory of humor in which humor is an activity pursued for pleasure which allows participants to violate linguistic and social norms, especially rules about sincerity. Once we understand humor as a kind of play, familiar ethical objections to jokes based on gender and race are seen to be mistaken, and a new approach to the negative ethics of humor becomes possible. What is more, this play theory also explains how humor is morally praiseworthy in many situations.     

Reflections on the revolution at Stanford

We inquire into the question whether the Aristotelian or classical ideal of science has been realised by the Model Revolution, initiated at Stanford University during the 1950s and spread all around the world of philosophy of science—salute Suppes. The guiding principle of the Model Revolution is: a scientific theory is a set of structures in the domain of discourse of axiomatic set-theory, characterised by a set-theoretical predicate. We expound some critical reflections on the Model Revolution; the conclusions will be that the philosophical problem of what a scientific theory is has not been solved yet—pace Suppes. While reflecting critically on the Model Revolution, we also explore a proposal of how to complete the Revolution and briefly address the intertwined subject of scientific representation, which has come to occupy center stage in philosophy of science over the past decade.     

Queens and Jesters of YouTube: Communicating Gay/Lesbian Identities Through Humor in YouTube Channel <Emphasis Type="Italic">Spanish Queens</Emphasis>

Considering the transformative potential humor has for minorities who experience exclusion and marginalization, I seek to explore how Spanish gay and lesbian youth construct and communicate gay/lesbian identities using humor as a rhetorical tool. Furthermore, I explore the potential implications of their use of humor for social relations, both within gay and lesbian communities and with the broader society. I approach this discussion though a critical discourse analysis of videos from Spanish Queens—a collaborative YouTube channel, in which LGBTQ youth from diverse parts of the country share their experiences, thoughts, and opinions about being LGBTQ in Spain. Stereotypical humor was the primary form of humor used by SQ vloggers when addressing gay and lesbian issues related to both identification and social relations. Looking at how SQ vloggers most frequently use stereotypical humor, three common functions emerged in all ten videos: (a) affirming identity and separating gay and lesbian experiences from those of other groups, including making a distinction between sexual orientation and gender identity; (b) challenging the conflation of sexual and gender identities (i.e., contesting the notion of gay men and lesbians identifying as members of the opposite sex); and (c) disarming discourses that construct gay and lesbian individuals as threats at both interpersonal and societal levels.     

Winning Over the Audience: Trust and Humor in Stand-Up Comedy

This article advances a novel way of understanding humor and stand-up comedy. I propose that the relationship between the comedian and her audience is understood by way of trust, where the comedian requires the trust of her audience for her humor to succeed. The comedian may hold (or fail to hold) the trust of the audience in two domains. She may be trusted as to the form of the humor, such as whether she is joking. She may also be trusted as to the content of the joke. This approach has two distinct virtues. The first is that it makes sense of partial successes. These are cases where the humor neither completely succeeds nor fails because the audience does not fully trust the comedian. The second is that it explains intuitions about ethically dubious humor and why certain classes of humor, especially those dealing in racialized and gendered identities, are more readily (but not necessarily) accepted from humorists of those identities.     

幽默的社会理论及其应用研究

幽默的社会理论强调幽默在社会交往情境中娱乐基础上的交际功能,可更好地解释人们日常生活中的幽默现象。根据幽默的社会理论,研究者从幽默发出者的幽默创作、幽默接收者的幽默理解以及各种社会交往情境的幽默应用等角度来探讨幽默。文化背景对幽默的创作和理解具有重要影响,中西方幽默存在文化差异。最后指出社会理论框架下的幽默研究的不足并提出一些建议。     

Signaling trustworthiness: The effect of leader humor on feedback-seeking behavior

ABSTRACT

Given its capacity to cultivate a range of positive outcomes in the workplace, humor has been recognized as a valuable tool for leadership purposes. However, the theoretical understanding of leader humor remains relatively limited and the mechanism through which it influences follower outcomes has not been clearly identified. Drawing on signaling theory, we developed and empirically tested a model which delineates the relationship between leader humor and a specific follower behavior – proactive feedback seeking. We collected data from 304 employees and their respective leaders working in a large Canadian retail organization. Results of our analyses indicate that leader humor can impact subordinate feedback-seeking behavior via its influence on subordinates’ affect-based and cognition-based trust in the leader.     

Humor and the Rebellious Spirit of the Early Adolescent Boy

In my companion article on the making of the reliably religious boy (D. Capps, 2006c) I presented my argument that, whereas the younger boy of three to five is becoming religious as a result of his emotional separation from his mother, the early adolescent boy (age 11–14) has become reliably religious in that he has developed a religious habit of mind, a habit reflected in his embrace of the religions of honor and hope. I presented myself as a case study in this regard. I noted, however, that there is a third form of religion, that of humor, and that it relativizes—and thereby preserves—the religions of honor and hope. I also noted that religion and spirituality are capable of being differentiated. I suggested that my own spirituality took the form of rebellion and that this spirit of rebellion fueled and was fueled by the religion of humor. Employing Freud’s writings on humor, I explain in this article how this works.     

幽默平面广告的适用性研究

为了探讨哪一类别商品的平面广告更适合于采用幽默的诉求方式,研究随机选取160大学生为被试,以16则改编平面广告为实验材料,以广告类型（幽默,非幽默）、商品类别为自变量,以广告评价、广告顺序为协变量,以商品的印象程度、喜爱程度、购买意向为因变量,进行平衡设计实验。结果表明,幽默广告具有较好广告效果,可以提高受众对大宗工具、小奖赏和小工具型商品的记忆;幽默平面广告更适用于低风险、功能性商品,不适用于高风险、享乐性商品。     

In Search of Authenticity: A Heideggerian Quest

Martin Heidegger's conception of authentic resoluteness gives us a picture of life as an unfolding story aimed at a fulfillment of a specific sort. Such resoluteness provides a focus and continuity to a life that can help an individual find meaning and order during times of personal difficulties. This phenomenology of an attempt to live an authentic life gives an image of how such a personal quest might be worked out. In this article, I talk about how Heidegger's concept of authenticity has affected my life ever since I learned about it from lectures and secondary sources in 1961. The narrative conception of life as a story adding up to something is an idea that has helped me through difficult times, and I continue to embrace it to this day.     

Hannah Gadsby’s Nanette: Connection Through Comedy

Hannah Gadsby: Nanette (2018) is a brilliant and masterful work of comedy in which Gadsby announces she is quitting comedy. In this article, I draw on classical and contemporary humor theory to explore the comedic content of Nanette and critique Gadsby’s reasons for quitting. Although I largely agree with Gadsby’s concerns about comedy, I argue that the very show in which she presents them, Nanette, stands as evidence against their universal truth. Gadsby argues that comedy is no longer conducive to her health for at least three related reasons. First, the self-deprecatory comedy out of which she has built her career is a symptom of her humiliation which she is no longer willing or able to showcase for the pleasure of others. I argue that while self-deprecatory humor can, of course, be a sign of humiliation, it needn’t be. Comedians, including those on the margins, can and do effectively employ self-deprecation without humiliation or denigration of self, and one way comedians do this is as a ruse to expose the ignorance of the audience or of comic targets not present. Second, Gadsby analyzes jokes and argues their two-part structure, set-up and punch line, is inadequate for telling the whole story of the trauma she has endured as a lesbian who, as she puts it, presents as “gender not-normal.” However, I maintain that, although jokes may not be, stand-up sets are often complete wholes with beginnings, middles, and ends. In fact, Nannette is a prime example of such complex comedy. Finally, she argues that the comedian’s job is to create and dispel tension, but she is no longer willing to take responsibility for or do anything to dispel the tension created when she speaks of her past trauma. But I discuss how Gadsby, as a true master of her craft, is able to create a highly successful and very funny comedy show in which she completely controls the tension while explicitly choosing to leave significant portions of it with the audience. In fact, super stand-up comedy can introduce tension it neglects to remove without sacrificing the humor. Indeed, Hannah Gadsby’s Nanette is a prime example of comedy that powerfully does precisely this.     

A threshold theory of the humor response

The humor response has long been considered mysterious, and it is given relatively little attention in modern experimental psychology, in spite of the fact that numerous studies suggest that it has substantial benefits for mood and health. Existing theories of humor fail to account for some of the most basic humor phenomena. On most occasions when a humor response occurs, certain verbal or visual stimuli (the "setup" stimuli, which function as an establishing operation) must precede a critical stimulus (such as a "punch line" or the final panel or critical feature of a cartoon), which then occasions a sudden "revelation" or "understanding"; this revelation is often accompanied by the humor response. We suggest that the setup stimuli increase the strength of the revelatory response to a point just below the threshold of awareness and that the critical stimulus, properly designed and timed, edges the revelatory response to a point just above threshold. We also suggest that it is this threshold phenomenon that produces most instances of the humor response. We discuss these issues in the context of some notable humor of Carl Rogers and B. F. Skinner.     

Tunes of religious resistance? Understanding Hamas music in a conflict context

Hamas (Harakat al-Muqawamat al-Islamiyya) was established in 1987 as a resistance organization against Israel and as an alternative to Fatah. One of the resistance tools of Hamas is music, which it produces, performs, records, and uses. Music in the Palestinian context can be seen as creating a political space for expression that the Israelis cannot control; inasmuch as as Hamas was established as a result of the occupation, so also, to a large extent, was its music. Palestinian resistance music has existed ever since the 1948 al-nakba (the catastrophe), and music centers in Cairo and Beirut have been influential factors in its production. Originally, the music was constituted by a wide range of popular music, which included lyrics about the Palestinian struggle. This article scrutinizes how Hamas music is being created, how it is used, and how it is linked to the organization??s resistance struggle against Israel and for a Palestinian homeland in the context of the Israeli?CPalestinian conflict. It concludes that Hamas resistance music is not permeated by the religious affiliation of the organization. Rather, it has as its aim social connection, spreading the messages of the organization, and exhorting resistance against Israel. In addition to resistance music, Hamas produces and uses music of grief and tributes to political and religious leaders, as well as anashid, songs different from the resistance music saturated by a religious character.     

How Many Feminists Does It Take To Make A Joke? Sexist Humor and What's Wrong With It

In this paper I am concerned with two questions: What is sexist humor? and what is wrong with it? To answer the first question, I briefly develop a theory of humor and then characterize sexist humor as humor in which sexist beliefs (attitudes/norms) are presupposed and are necessary to the fun. Concerning the second question, I criticize a common sort of argument that is supposed to explain why sexist humor is offensive: although the argument explains why sexist humor feels offensive, it does not place responsibility for the offense in the humorist or audience that enjoys sexist humor. I develop an alternate account of the offense in sexist humor that places responsibility for offense in precisely those quarters.     

儒、释、道文化对幽默的态度

儒释道这三种中华传统文化中的主流文化,对于幽默有着各自独特的看法.儒家文化对幽默持模棱两可态度,一方面贬低幽默,认为幽默使人随意而不重视人伦,另一方面又认为幽默能够使人变得仁爱.佛家文化对幽默持积极态度,认为幽默是一种智慧的参悟.而道家是一个非常强调幽默的哲学流派,无论是其核心思想还是表达方式都无不体现着幽默的光芒.从学术角度梳理这三种文化对幽默的态度,可以促进幽默,使得幽默在当今中国人的生活中发挥着更加积极的作用.     

The Comic in the Midst of Tragedy's Grief with Tig Notaro,Hannah Gadsby,and Others

The function of the comic in the midst of tragedy is not clear. After all, is it simply comic relief that wounded nations, communities, or individuals seek? Tragedy has long been cast as memory and mourning while comedy offers for the masses a Nietzschean moment of joyful forgetting and for the Stoic mind a measure of transcendence from our grief. The latter view came into prominence for modern American culture with the nineteenth-century satirist Mark Twain, who wrote that “the secret source of humor itself is not joy but sorrow,” which has been interpreted through the often-quoted formula: comedy is tragedy plus time. The assumption is that we need some distance emotionally in order to mock or transcend the tragic. While we grant the humor of transcendence can produce some momentary relief through emotional distance, we wonder if there might be another way that humor can deal with suffering? Popular psychology often speaks of five stages of grief, and while that progression seems too linear and simplistic, we find that the now much more inclusive comic stage has something to offer their audiences struggling to make sense of a volatile world.