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To explain how comedy can be effectively used in business.

Literature review covering: need for comedy; advantages of using comedy; applicability to business; tips for implementation; and contemporary examples.

There are two immediate benefits of applying comedy in a business setting. First, there is a natural physiological response experienced by both the sender and the receiver. Second, appropriate and effective use of comedy allows for a “humanizing” effect that creates a connection between the speaker and the audience. When applying comedy concepts to business, the speaker may utilize the three components of comedy or apply improvisation principles. However, the presenter should use comedy that is carefully calibrated and without using offensive material. If the individual is interested in applying comedy principles in business, it is recommended that they utilize one of three types of professional organizations that are available to help tailor messages to fit objectives.

The application of the ideas found in this article will help a speaker develop rapport with his/her audience, keeping them more alert and focused on what the speaker is desiring to communicate to them.

Comedy as a topic of business research inquiry for the purpose of improving productivity and performance has received very limited attention in relation to other topic areas. This article is intended to draw interest to this underappreciated subject for both additional research and practical management behavior.

The purpose of this paper is to investigate the practice of comedians in relation to freedom of expression, so as to throw light on the issue of giving or avoiding offence.

The literature of comedy, newspaper coverage of comedy in the UK in 2008, observation of comedians in performance, and a small, informal interview programme with stand up comedians were used in the preparation of the paper.

Stand up comedians, despite their own sense that they defy restriction and popular perception of their material as often offensive, do monitor their material for potential offence. They assess the extent of offence and modify their performances in response. In some cases they apply personal formulae to this process.

The interview programme is too small to claim to be fully representative and is intended only to give an indicative view of the field.

Examination of comedians' practice has implications for information service institutions and the giving of access to potentially offensive content.

The paper may be the first study of comedy in an information science context and it contains implications for further studies that use comedy as an example of content, and creative practice to further develop understanding of information provision issues.

Defines the construct of “comedy” in electronic advertisements, using drama theory to derive a taxonomy of comedic types. Summarizes the controversies that form the background of humour research and proposes a revision in terminology that distinguishes the stimulus (called “comedy”) from the response (called “laughter”). Goes on to discuss the fundamental attributes of comedy from a drama perspective and uses Bergson’s theory of laughter as the cornerstone of two continua mapping four comic types: verbal/physical and romantic/satiric. Uses examples from television and radio commercials to illustrate the way that the classification scheme works in the media context. Discusses each comedic type in terms of associated audience responses relevant to consumer audiences. Concludes with comments on the social function of advertising comedy.

Eating disorders (EDs) remain a major health concern, and their incidence has further increased since the COVID-19 pandemic. Given the equally increasing demands on treatments and service provision and the high levels of relapse post-treatment, it is important that research explore novel and innovative interventions that can further support recovery for individuals with EDs. There is growing evidence that arts interventions are beneficial for recovery from EDs. This study aims to evaluate the feasibility of conducting a stand-up comedy course to support ED recovery.

The study used a qualitative interview study design to evaluate the recovery benefits of participating in stand-up comedy workshops for a pilot group of people in recovery from EDs (n = 10).

The comedy intervention was well-attended and had high acceptability and feasibility. For most individuals, participating in the course had a positive impact, including promoting personal recovery (PR) outcomes across all five elements of the CHIME framework. Unique assets of the course included providing participants with an opportunity to distance themselves from everyday worries of living with an ED; the opportunity to cognitively reframe situations by making them the object of humour; and providing a safe space to (re-)build a positive sense of self.

This is the first study, to the best of the authors’ knowledge, that evaluates stand-up comedy workshops for ED recovery and further demonstrates the potential of arts interventions and the relevance of PR frameworks in this field.

This book chapter reflectively explores the challenges of studying provocation, satire, bad taste and offence in stand-up comedy. The author’s sociological lens on the topic is situated within the broader field of humour studies, which is a relatively small yet creative and innovative field within the human, cultural and social sciences. This lost ethnographic project contains shelved and dormant interview data with a number of stand-up comedians, including the controversial and emotive late Bernard Manning and an early career Steve Coogan. The project also explores the author’s autoethnographic journey into rant poetry, as both a hobbyist and, on further reflection, a way of keeping the project informally but theoretically alive. The issues of censorship, political correctness and informed consent are key ones in the author’s confessional type analysis. Finally, the value and richness of loss, failure and resilience as marginalised yet significant and unacknowledged learning resources in our academic adventures are frankly discussed. The call here is for more lost ethnographic projects to be recognised and appreciated in academia.

Most instruction librarians know that library instruction can often be boring to teach, and boring for students, but we also know the value of library instruction and its importance to our students. So what innovative approaches can we take to spice up our instruction and make the topic more appealing? The authors decided that using humor was the best approach. To this end, they went on a quest to: study and learn about comedy; take what they had learned to make themselves funnier; find ways to incorporate comedy into their library instruction; and share what they had learned with other librarians. The rest is history.

This chapter will explore the development of a research project which seeks to capture the experiences of young disabled people who are undertaking a programme with The Comedy Trust. The programme seeks to address the barriers encountered by disabled young people when entering the world of work and to encourage more inclusive recruitment practices. The authors seek to highlight how comedy can be used not only as a tool to promote social justice but also as a research method. The chapter is based on co-produced piece of research which brings together a young disabled person (Harry Georgiou), a careers lead and inclusion mentor based within a special school (Sarah Spoor), a community operations and fundraising manager based within The Comedy Trust (Charlene Davies) and a university academic (Marie Caslin). For all of the team the authors' central aim is to ensure that young disabled people's voices are heard throughout this chapter and the authors will outline how they hope to achieve this. The authors are currently at the very early stages of their project, and with this chapter, the authors hope to provide an insight into the lessons we have learnt so far.

Organization theory and management studies rely on a representational idiom to account faithfully for empirical data, but such research ideals do not always apprehend what is essential in the case at hand. Comedy and the comical remain an underutilized resource within, e.g. the critique of power imbalances and imprudent or illicit behavior in corporations, providing an entirely different set of mechanisms that do not sketch the “broad picture” but target elementary and constitutive empirical data. The purpose of this paper is to explore the possibilities for using such resources in management studies writing.

This paper uses the literature addressing the Enron bankruptcy as an exemplary case wherein an analytical framework recognizing a comic outlook of life can be fruitfully applied. Additional cases are presented to substantiate the proposed model.

The paper advocates a broader repertoire of analytical practices in organization studies, including techniques and modes of representation used in comedy.

The paper proposes a minor literature within management studies, drawing on a performative idiom and the use of comedy techniques, including the debasing of social situations, to extend the repertoire of styles. In the end, such a minor literature may be able to grapple with the current situation, characterized by organizational absurdities that preclude the use of a representational idiom.

The purpose of this paper is to provide first-hand reflections from a public mental health specialist, on developing an innovative comedy-based arts and health project that engaged with UK military personnel.

Project partners included the Academic Department of Military Mental Health at King’s College London and Army Headquarters. The project used a repeat measures design. The intervention group (IG) received a mental health-focussed comedy show and the control group received a standard comedy show. Serving Armed Forces personnel participated in focus groups to inform show scripts, which also contained key mental health messages agreed by the project team. Evaluation questionnaires were given out before and after the show and three months later.

The comedy show format proved to be an acceptable/popular way to present mental health-related messages. Post-show there was a statistically significant reduction in mental health stigmatisation and significantly better mental health and stigma-related knowledge in the IG.

Due to deployment, follow-up participation was limited, reducing the ability to assess whether the effects were durable.

The challenges of working with serving personnel are outlined and some recommendations made to improve future comedy interventions/research with this group.

This study provides a thorough evaluation of an arts and health intervention using a comprehensive survey methodology.

This study focuses on how the creation of a new market identity, defined here by the social categories that specify what to expect of products and organizations, helps legitimize normatively illegitimate products and thereby facilitate the formation of markets for these products. A product is given a legitimate market identity by recombining existing product and status categories in a way that is both isomorphic with and differentiated from these preexisting categories. I argue that the creation of a new market identity helped create a market for feature films that combined legitimate comedy and illegitimate pornography following the legalization of pornography in Denmark in 1969. Topological analyses of the cultural content of all the film posters used to promote Danish films between 1970 and 1978, and regression analyses of the status of the actors appearing in these films document the importance of market identity in legitimizing illegitimacy.