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- Creators: Bludworth, Jamie L
- Creators: Department of English
Description
Approaches to Holocaust representation often take their cues from both academic and public discourse. General opinion demands serious engagement that depicts the full range of the brutality and inhumanity of the genocide and the victimization of targeted groups perpetrated by the National Socialists. Such a treatment is considered necessary to adequately represent the Holocaust for generations to come. The analysis of four texts will show that humor is not only appropriate but is also an important addition to Holocaust discourse. This study argues that humor plays an important role as a stylistic tool for discussing the Holocaust as well as for its remembrance and representation. Jurek Becker's novel Jakob der Lügner and Ruth Klüger's autobiography Weiter Leben: Eine Jugend are witness-texts by Jewish authors. Humor in these two works helps the authors engage and work their experiences. Klüger's autobiography also utilizes humor to critically engage in the discussion of Holocaust representation. This study also analyzes two non-witness Jewish texts: the stage play Mein Kampf by George Tabori and the feature film Mein Führer, die wirklich wahrste Wahrheit über Adolf Hitler by Dani Levy. These two works utilize overt humor to challenge established Holocaust representations. Drawing on ideas from Mikhail M. Bakhtin, Julia Kristeva, Giorgio Agamben, the core argument of this study demonstrates humor performs two main functions in the Holocaust literature and film chosen for this investigation. First, it restores a potential loss of dignity and helps victims endure the incomprehensible. Second, it challenges the prevailing truth and the established order.
ContributorsMeirich, Hanni (Author) / Gilfillan, Daniel (Thesis advisor) / Ghanem, Carla (Committee member) / Holian, Anna (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Vermillion Comedic Anthology comprises of three works of fiction, each around fifteen pages in length. The stories were written throughout the course of Hunter Vermillion’s residency in the English: Creative Writing (Fiction) program at Arizona State University. The first story Study-a-Broad, was written in his capstone fiction class, while the second story Herald’s Horticulture was the first piece Hunter wrote in his first fiction class.
The content of these stories is edgy, humorous, satirical (unlike this abstract), and generally absurd—all this while retaining elements of realism. “Realism” in the sense that any of these stories could occur; there are no supernatural elements contained. However, the actions and characters are so exaggerated that their purposes are to call attention to the character/societal flaws to which they reflect. The more edgy elements of these stories are not included for shock value; in fact, just the opposite. Their sparse use is purposeful to call extra attention to a certain scene or action. Often a story’s use of crude language is intended characterize these despicable actions as negative—to show that a boss should not be treating those around him like servants, for instance (as is the case in the story Fore!).
Disclaimer aside, the true intention of these stories is simple: to entertain. These are humorous pieces, aimed at poking fun at some typical college, workplace, and neighborhood drama. That’s not to say the pieces are devoid of any deeper meaning, because as described above, they seek to satirize overlooked bits of culture. However, the overarching goal of the Vermillion Comedic Anthology is to entertain readers and provide them much need escape from the stresses of the world.
The content of these stories is edgy, humorous, satirical (unlike this abstract), and generally absurd—all this while retaining elements of realism. “Realism” in the sense that any of these stories could occur; there are no supernatural elements contained. However, the actions and characters are so exaggerated that their purposes are to call attention to the character/societal flaws to which they reflect. The more edgy elements of these stories are not included for shock value; in fact, just the opposite. Their sparse use is purposeful to call extra attention to a certain scene or action. Often a story’s use of crude language is intended characterize these despicable actions as negative—to show that a boss should not be treating those around him like servants, for instance (as is the case in the story Fore!).
Disclaimer aside, the true intention of these stories is simple: to entertain. These are humorous pieces, aimed at poking fun at some typical college, workplace, and neighborhood drama. That’s not to say the pieces are devoid of any deeper meaning, because as described above, they seek to satirize overlooked bits of culture. However, the overarching goal of the Vermillion Comedic Anthology is to entertain readers and provide them much need escape from the stresses of the world.
ContributorsVermillion, Hunter Dane (Author) / Ison, Tara (Thesis director) / Hoyt, Heather (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
While there is an extensive literature on the theoretical and anecdotal basis of
humor being a key aspect of psychotherapy, there is relatively little research. In this study, I addressed whether the frequency of therapist humor is related to subsequent therapeutic alliance ratings by the client. I also examined if therapist humor use is related to improvement in client symptomology. I hypothesized that there will be a positive correlation between humor use and the working alliance while there will be a negative correlation between humor use and client symptomology. Video recordings of therapy sessions were coded for humor (defined by laughter present in response to the therapist) or no humor (laughter not present). These ratings were correlated to client perceptions of the working alliance (using the WAI-S) and client symptomology. I found no correlations between humor and changes in working alliance or client symptomology. The results suggest that humor use in counseling does not seem to matter, however possible limitations of the study mitigate such conclusions.
humor being a key aspect of psychotherapy, there is relatively little research. In this study, I addressed whether the frequency of therapist humor is related to subsequent therapeutic alliance ratings by the client. I also examined if therapist humor use is related to improvement in client symptomology. I hypothesized that there will be a positive correlation between humor use and the working alliance while there will be a negative correlation between humor use and client symptomology. Video recordings of therapy sessions were coded for humor (defined by laughter present in response to the therapist) or no humor (laughter not present). These ratings were correlated to client perceptions of the working alliance (using the WAI-S) and client symptomology. I found no correlations between humor and changes in working alliance or client symptomology. The results suggest that humor use in counseling does not seem to matter, however possible limitations of the study mitigate such conclusions.
ContributorsCheung, Ryan Cheuk Ming (Author) / Tracey, Terence J. (Thesis advisor) / Bludworth, Jamie L (Committee member) / Kinnier, Richard T (Committee member) / Arizona State University (Publisher)
Created2019