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ZivR1988TMV*+&342NOl*+Š•q8l*+,-q(ìP¥7i£Fl*+,-q R S T U V W § H ; X ç Š œ Y Z H [
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Greenœ PepicelloR1979T8 PepicelloR1980T¹Ž'*+,-^í••rÇ&°Cy‘’l“ oqRIncongruityT8l•ÜqRResolutionT&<=7ßÄÈWÐrÇ´”dŽy&•–C RAmbiguityT7y,-*+`a@´F7íF¤g&*+,-./Vk 1.p—HRPhonologicalT‹ 2. r˜HRMorphologicalT‹ 3.a™RSyntacticT./@» GoodmanR1983T¹Ž*+,-&./Vk 1.š›RExaggerationT‹ 2.œ•w•RMirroring RealityT‹ 3.‚žRReversalsT‹ 4.,-ZŸ™ RCreating new ideasT 4 ³@
ŸA7 KleinR1989T¹Ž~ 14 ³&*+12./7i(jVk 1.¡Žš¢&c£RSpotting life’s setupsT‹ 2.á¤_¥åRJoke-jitsuT‹ 3.š§RExaggerateT‹ 4.¦§¨ä °A ©äàáRLaugh while the ironyT‹ 5.•µkªŽ%&&«¬RAttitude: whistle a happy tuneT‹ 6.¹-g‹® RReminders: prop powerT‹ 7.¯°á±Vï&²³RLet a smile be your umbrellaT‹ 8.´µ¶&·¸ RChild’s playT‹ 9.«¹ëpº»&w‹RAdd some nonsenseT‹ 10.a¼·¸RWordplayT‹ 11.½k RLet goT‹ 12.¾ëìáŽy&ÎRHe who laughs firstT‹ 13.'¿À£MdÁÀRFinding the advantage in your disadvantageT‹ 14.ÑÒÄÂï&àá•ŽÃRThe world as your laff labT 14 ³. /@
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/Uj2 11 ³7i(jVk 1.w•ËÌRRevelationT‹ 2.š§RExaggerationT‹ 3.ÍÎ R SurpriseT ‹ 4.Ï Ð R DisparagementT ‹ 5.3 4 & € ½ R Release of tensionT ‹ 6.“ o RIncongruityT‹ 7.a¼·¸RWord playT‹ 8.ÑÒrÿ*+RNonverbal humorT‹ 9.Ów RAnecdoteT‹ 10.iÊ*+ROther humorT;11.Ñ*+;øÔRNonhumorus interventionT ./@
»Rf#$•GHIRS 82TFl‚Õ_uxq•„&*+Š•Š|ŽM7MV*+,-&. / k 1.Ö¡r×M5uŠØ€‚ÕÙL;w‹‹ 2.'Ú-Û†^ÜÝÁÀW•Œ×ÝÞª‹ 3.ß-àš£6{|&ˆƒrs *+,-./@ -®7^†&áâ./ iígCRèkš§0“o ./T7é p./ã¼tVìÀmn7 äèklœ•w•qh_7ŒåÇæçè™_íF-m*+`a7é®H‰•ê•ix7ìÀßþ• Ÿh_,-*+`a@» pëȹ-*+ìí&yî7ŒÑïðjñ*+,-&./7äèk¹-g‹®./0Ów @´F7ígCò&*+,-./2tVìÀmn78ïðjñ,-*+`a& ™_@ ŸA7£aœóaÈ(¾¼ô&õö[÷7óaøÐlùpqa¼[÷‹»£a_Èlxúqa ¼7ûì£aÈF˜0p0yü•&ýuÀRTaylor & Taylor, 1983T‹´F7 p*+,-h_ë” dУarÇ°C7èk£a&þvRÿS:0GHI7S 84T0!U&"#r°C@$È;G7¡
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*+3456%&'Ы9*+,-&./@¢/ëp*+,-56%uÐ&Ç0;X ÈÉ7 é§z'(Š|0•)WX78 <&“*+öRNevo, Aharonson, & Klingman, 1998T@FkÄz[ ¢/&*+3456b앆k
Fryœ SalamehR1987TM,ë*+34567æV*+&?@34RHumor immersion
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6@ StevensonR1993T¹Ž&*+,-56;ZÎã•€:;È<®&78[:;=>&••@» PrerostR1994TM,~ë?*+,-&6@7y;ZABÎ12š¢&347i£Cg¸&*+,-./VkDERAbsurdityT0“oRIncongruityT0š§RexaggerationT ./7Ÿ56[AÎ12š ¢34ö <=@ O’MaineR1994TF*+.43456F;ÐÆÇV0GHIJ;Ke8#$š& 34<=@Ÿ3456NO~LìMN7•¥Vk 1.*+œçŠÆÇ&ÊOPQ‹ 2. ˆ*+M,0 RÔF8H¡çŠH&P7‹ 3.H¡H8•Ž&Md‹ 4.¤g*+·mÆÇCSÆÇ<=@•Ž#$ c=Mdú3ÎT[*+&ÆÇ ´ÈU@ Nevo ÎR1998T12«9*+÷&56756£N. ~ 1.9À˜mRgroup formation expectationsT‹ 2.çèÈ*+0*+÷RWhat is humor and what is sense of humorT‹ 3.'á¤RTelling jokesT‹ 4.*+,-&./RTechniques for humor productionT 14 ìMN&34567c=Md[*+÷&«9¶ö ´*&<=@
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RMartin & Lefcourt, 1983; Martin & Lefcourt, 1984; Nevo, Aharonson, & Klingman, 1998T0âg‹®yà bRTurner, 1980T `„@»"#$´¤g&*+,-“ŽÈïð>*ìÀ&*+,-r47>Ÿ ´“*Žy&*+,-(¦ÈÆÊC&@$È;G7"“Žá¡¢ <µžŽ’7dV“**+,-r4&Á²+ö@ RËT"#$&úÌ•V͘š7åÎ͘š¢ÈoœÏ"#$c=U{ȼæ&7ÐÑÒ’& J$ígë\›œ•78ÅƜ͘šÈo ´˜m@ o*;<‚'ÒŒ
RëT*+œ,-4RCreativityT Á§&‡ˆ7¹ *+÷•7,-4ĹòRGetzels & Jackson,1962; Humke & Schaefer, 1996; Kovac, 2000; Treadwell, 1970; Verma, 1981; Ziv, 1980;T@» AmabileR1987T8 VanGundyR1984TßjŽ*+È,-4&ëìP7@´F7'H˜;X…7âã íF¤g"34;ìÞ’,-434&¢V7¡>*+,-&34y¹ºHš;,-4RvlÓÓq ¸lóÓqT@ R{TSimonR1986TMVl Ôw‹qrã×ÝìÀÕx7´F7 Ôw‹[;H ‡Þ&ß <71Ÿ;H122nsÔÖÿ@';H56…7âãíF2g"#$qI&*+,-h_7¤56 fgÔÖÿ7«=;H& <C@è¦H&;H7âãíFdl2g|LqF*+&fg”d7'H ‰&Z^Ä×ÝH‰•&Õx8×Ô@ RüTÄÅ8v£¤g*+d <ÐÄÅÊ6&9:Œ¹ºÄÅT&<r7íØÙúY•œÄÅ T&Úš÷-78ØÙúY•[ÄÅ&ÛÜRMartin & Lefcourt, 1983; Pollio, 1995T@´F7"56í FÐÄÅT7¤IÄÅ•íd56‰I;*+,-./7FÝ<ÄÅTÄÅÊ6;9:@
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Ø è ] ^k 2002 B 1 é 14 ] ðúê•]^k 2002 B 6 é 28 ]
A Course Design for Creative Training of Humor and the
Effects of an Empirically Evaluative Study
F
A-C
HUNGC
HIOU ANDH
SUEH-C
HIHC
HENS
HU-L
INGC
HODepartment of Educational Psychology
Department of Psychology
and Counseling
Fu Hsing Kang College
National Taiwan Normal University
ABSTRACT
This study was to design a humor-creating training course and to explore its effectiveness. In the pilot study, 3218 jokes collected from Internet were reanalyzed by a framework proposed by Chen etc. (1999). Seven most often used humor-creating skills were found: homonym, word-combination, lexical ambiguity, syntactic ambiguity, erroneous inference, reinterpretation, and metaphorical inference. In the formal study, a humor-creating course was set up and 15 students from the Fu Hsing Kang College participated the experimental and control group respectively. Before and after the training course, all participants received a humor-creating test. The results suggested: (a) the frequency of using humor-creating skills was increased significantly in the tests; (b) when the skill is designated, the training effect was found only in word-combination skill condition. However, with no restriction, the experimental subjects scored higher on humor-creating test than the controls; (c) skills of homonym, word-combination, lexical ambiguity and syntactic ambiguity revealed better training effects as compared to others.
KEY WORDS: evaluative effects, humor, creative humor training course
Bulletin of Educational Psychology, 2003, 34(2), 179-198 National Taiwan Normal University, Taipei, Taiwan, R.O.C.
