Meta-communicative signals and Humorous Verbal Interchanges. A Case Study

The aim of this article is to provide a system for analysis of verbal humorous interactions that incorporates both the General Theory of Verbal Humor and the meta-communicative level. The integration will be accomplished using a two-pronged analytical model of humorous interactions. According to the General Theory of Verbal Humor, the first phase will trace the humor in the text with particular attention given to the Script Opposition and to the Logical Mechanism; the second will monitor the meta-communicative level, focusing on meta-communicative signals. Information about the humorous frame constitutes a seventh Knowledge Resource, called Meta-Knowledge Resource. Applying this model to an Italian film starring the comic actor Tot\uf2 produced two results: 1) the definition of two kinds of humor on- and off-stage depending on the presence of Meta-Knowledge Resource and 2) a description of the \u201cideal author\u201d postulated by the text. The second result is achieved by an analysis that combines on- and off-stage humor with verbal and referential humor

Book review Zirker, Angelika and Winter-Froemel, Esme (Eds.) (2015). Wordplay and Metalinguistic/Metadiscursive Reflection: Authors, Contexts, Techniques, and Meta-Reflection. Berlin: De Gruyter, 311 pp.

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Clowning in health care settings. The point of view of adults

Within the past decade, there has been a surge of interest in investigating the effects of clown intervention in a large variety of clinical settings. Many studies have focused on the effects of clown intervention on children. However, few studies have investigated clowning effects on adults. This paper presents an overview of the concept of medical clowning followed by a literature review conducted on the empirical studies drawn from three data bases (PubMed, PsycINFO, and Google Scholar), with the aim of mapping and discussing the evidence of clowning effects on non-children, namely adults. The following areas were investigated: Adult and elderly patients (mainly those with dementia), observers of clowning, namely non-hospitalized adults who are at the hospital as relatives of patients or health-care staff, and finally clowns themselves. The main results are that 1) clown intervention induces positive emotions, thereby enhancing the patient\u2019s well-being, reduces psychological symptoms and emotional reactivity, and prompts a decrease in negative emotions, such as anxiety and stress; 2) clown doctors are also well-perceived by relatives and healthcare staff and their presence appears to be useful in creating a lighter atmosphere in the health setting; 3) few pilot studies have been conducted on clown doctors and this lacuna represents a subject for future research

The use of humor by therapists and clients in cognitive therapy

The purpose of this study was to investigate several aspects of humour in cognitive therapy. Eight first therapy sessions were examined and seven examples of humour originating from the therapists or the clients are reported: three represent examples of humour initiated by the client, while four are representative of humour initiated by the therapist. This research focuses on the use of humour in psychotherapy and provides evidence that when the clients initiated humour, the therapists responded in three different ways, namely, by aligning themselves with the client, disaligning themselves, or by using a strategy comprising both alignment and disalignment. Diversely, in cases in which the therapist initiated humour, four different forms of humour were identified (i.e. rhetorical humour, humour relating to a surrealistic meaning, role shifting and humour relating to register). In these cases, the clients always laughed, thereby signaling their support. An analysis of these cases demonstrates that humour is an easily integrated therapeutic tool which may be used to favour positive changes

Do clowns really taste funny? An investigation of the relationship between humor and playfulness in clown doctors

Healthcare clowning represents a well-established method for relieving patients and their relatives of discomfort during hospitalization. Although studies concerning the effectiveness of this approach are increasing in number, state-of-the-art studies conducted to evaluate the psychological characteristics of clown doctors are scarce. In this cross-sectional study, a convenient sample of 210 clown doctors (143 females, 67 males) aged between 18 and 75 years (M = 47.34, SD = 12.31) completed a demographic questionnaire, the Comic Styles Markers, and the Short Measure for Adult Playfulness. The results demonstrated that clown doctors bring higher levels of fun, benevolent humor, and nonsense and a lower level of cynicism compared to the populace. Moreover, the participants with more experience tend to use less irony, sarcasm, and cynicism than those with less experience. Playfulness was primarily related to the lighter styles of humor, and specific differences between the Whiteface and the Auguste clown doctors were observed. The results are discussed with reference to previous studies conducted on groups of clown doctors

Pleasures of the Mind: What Makes Jokes and Insight Problems Enjoyable

In this paper, a parallel analysis of the enjoyment derived from humor and insight problem solving is presented with reference to a \u201cgeneral\u201d Theory of the Pleasures of the Mind (TPM) (Kubovy, 1999) rather than to \u201clocal\u201d theories regarding what makes humor and insight problem solving enjoyable. The similarity of these two cognitive activities has already been discussed in previous literature in terms of the cognitive mechanisms which underpin getting a joke or having an insight experience in a problem solving task. The paper explores whether we can learn something new about the similarities and differences between humor and problem solving by means of an investigation of what makes them pleasurable. In the first part of the paper, the framework for this joint analysis is set. Two descriptive studies are then presented in which the participants were asked to report on their experiences relating to solving visuo-spatial insight problems (Study 1) or understanding cartoons (Study 2) in terms of whether they were enjoyable or otherwise. In both studies, the responses were analyzed with reference to a set of categories inspired by the TPM. The results of Study 1 demonstrate that finding the solution to a problem is associated with a positive evaluation, and the most frequent explanations for this were reported as being Curiosity, Virtuosity and Violation of expectations. The results of Study 2 suggest that understanding a joke (Joy of verification) and being surprised by it (Feeling of surprise) were two essential conditions: when they were not present, the cartoons were perceived as not enjoyable. However, this was not enough to explain the motivations for the choice of the most enjoyable cartoons. Recognizing a Violation of expectations and experiencing a diminishment in the cleverness or awareness initially attributed to the characters in the cartoon were the aspects which were most frequently indicated by the participants to explain why they enjoyed the joke. These findings are evaluated in the final discussion, together with their limitations and potential future developments

Negotiating narrative: dialogic dynamics of Known, Unknown and Believed in \u201cHarry Potter and the Deathly Hallows\u201d

Within the framework of KUB Theory (Bongelli and Zuczkowski 2008, Zuczkowski et al. 2011), information communicated verbally can ultimately be reduced to one of three categories: what the speaker knows (Known), what the speaker does not know (Unknown) and what the speaker believes (Believed). Dialogic communication can be considered as an exchange of information originating in one of these categories and directed towards another. The present study investigates the interaction of Known, Unknown and Believed information in the dialogues found in Chapter 10 of Harry Potter and the Deathly Hallows. It demonstrates how these three categories of information can contribute to a reading of the plot and its progression, and also how aspects of the protagonists\u2019 characters emerge through the language they use in their dialogic communication