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In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis.  The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.

有鑑於肥胖人口激增，減重需求大增，瘦身減肥一直是女性所關注的議題之一。然而，瘦身減肥意味著某些潛在的衝突，例如：少吃多動、美麗自信與損害健康等矛盾情結，這種矛盾情結正是雙岐態度的特徵。態度包含了情感、認知、行為意圖三種層面，在預測閱聽人的行為意圖時，態度往往是最佳指標。過去的研究發現雙岐態度的高低會影響閱聽人的訊息處理途徑，因此本研究企圖以雙岐態度理論與推敲可能性模式（elaboration-likelihood model，簡稱ELM）來解釋廣告訊息的強弱如何透過雙歧態度而影響廣告效果。 研究結果主要發現，廣告訊息的強弱論點有穩定且一致的主要效果，表示強論點的廣告訊息在廣告、瘦身與產品態度三方面都會產生較正向的評價。雙歧態度高低則無顯著差異，而在部分條件下，強弱論點與雙歧雙歧的交互作用達顯著差異，也就是說低雙歧的人對於強論點的廣告訊息有較正向的廣告效果反應，顯示出雙歧態度對廣告訊息的調節作用。此外，瘦身產品的物理或化學性質對瘦身廣告與瘦身產品的態度都顯著性的影響，女性對於化學性質的瘦身產品有較佳的廣告態度與產品態度。本研究結果隱含著雙歧態度未來研究發展之建議與廣告行銷上的實務策略，雙歧理論仍有待後續研究考證；而行銷業者則必須注意廣告訊息的編碼是否有效，另外，消費者與閱聽人的態度不僅是行為的最佳指標，也是調節廣告效果的要重因素。最後提出研究限制與後續研究發展。 / According to the increase of fatness population and the need of weight-loss, women always pay close attention to reduce weight. However, to lose weight means some potential conflicts, such as less assimilate and more exercise；beauty, confidence and the risk of ruin health. This kind of contradictory complexes are the typical characteristic of ambivalence attitude. On predicting the behavior attention of the audience , the best index is attitude which is composed of affection, cognition, and behavior. Past research has found the level of ambivalence influence the information process of the audience, for this reason, the present research designs to integrate ambivalence attitude and ELM to explain how the argument of AD influence the effects of AD by ambivalence. The main results of the study show the strong arguments of AD are stable and consistency and the ambivalence attitude have no impacts on the effect of AD. In particular situation, the ambivalence attitude has moderation on AD effects. Moreover, the attribution of weight-loss products made some differences evaluation on AD attitudes and product attitudes. The datum reveal women preference chemical weight-loss products, favor chemical weight-loss AD. The results imply that the improvement of ambivalence theory and the suggestions on practical marketing. Further, the attitude of the audience is not only the best index of behavior, but also the significant factor on moderating the AD effects. In conclusion, address the restriction of the present study and the direction of follow-up research.

De légendaires, les grandes figures féminines des mythes anciens sont devenues, au fil du XIXe siècle, emblématiques. Le mouvement s’amplifie vers la fin du siècle et l’imaginaire « féminin » se nourrit alors d’un discours social qui contribue à construire la féminité en termes de menace et de dépravation. Les figures mythiques prêteront leurs traits à celle de la femme fatale, devenue le symbole de la dégénérescence de la société française. Engrangeant dans son corps représenté tous les vices du siècle, la figure féminine nous est apparue éminemment révélatrice quant à la compréhension d’une époque. Or, la figure de la femme fatale s’avère fondamentalement ambivalente et Lilith, pouvant à la fois incarner l’amour et la destruction, affiche ce double visage de la féminité. Nous démontrons qu’il existe une relation étroite entre la profonde ambivalence du mythe de Lilith et les représentations de la femme fatale et pour ce faire, procédons à une analyse comparative de l’œuvre de Rachilde et Octave Mirbeau qui, dans La Jongleuse et Le Jardin des supplices, réécrivent le mythe de Lilith. De la comparaison des deux Lilith, ressortent deux représentations extrêmement contrastées de la femme fatale : alors que Rachilde dresse toute droite son héroïne dans son désir ascensionnel, Mirbeau construit une Clara toute en mollesse et assoiffée de chair. Par l’analyse des rapports qui s’articulent entre deux écritures, nous démontrons que la dualité inhérente au mythe de Lilith répond à l’instabilité d’une société aux prises avec de multiples angoisses en matière d’identité sexuelle. Cette comparaison nous amène aussi à nous interroger quant aux traces d’une certaine sexuation dans la voix littéraire. / Over the course of the nineteenth century the legendary female figures of ancient myth had become emblematic of the female sex. This association grew stronger toward the end of the century and the “feminine imaginary” fed itself on a social discourse that contributed to the construction of femininity in terms of menace and depravity. The mythical figures that lent their faces to representations of the femme fatale became symbols of the degeneration of French society. With all of the vices of the century gathered into her body, this female figure appears to us as eminently revealing as to the understanding of an era. However, the figure of the femme fatale is fundamentally ambivalent, and the mythical figure of Lilith, which can embody love as well as destruction, represents the two opposing aspects of nineteenth century representations of femininity. This study shows that there is a direct relationship between the profound ambivalence that characterizes the myth of Lilith and representations of the femme fatale. To this end, we undertake a comparative analysis of the works of Rachilde and Octave Mirbeau, who rewrite the myth of Lilith in The Juggler and The Torture Garden. Two extremely contrasting representations emerge from the comparison between the two “Liliths”: as Rachilde portrays her upstanding heroine’s desire to transcend her body, Mirbeau constructs his Clara as soft and mired in the body, thirsty for carnal pleasure. By examining the relationships that become apparent between these works, we demonstrate that the duality inherent in the myth of Lilith responds to the instability of a society grappling with multiple anxieties regarding sexual identity. This comparison, therefore, allows us to interrogate the traces of a specific mode of sexuation in the literary voice.

Le grand projet à l’origine de la réalisation de cette thèse est de proposer une nouvelle manière de comprendre la nature instable et décloisonnée du pop art, ce courant pictural presque sorti de l’histoire de l’art pour s’ériger en signe diffus de la culture populaire.Les enjeux plus conceptuels, qu’il dissimule derrière une imagerie devenue familière, sont pourtant d’une importance capitale pour la reconfiguration de la définition contemporaine de l’œuvre d’art. Toujours entre surface et profondeur, l’image pop se développe insidieusement.Le concept de « coïncidence des opposés », hérité d’une tradition théologico-philosophique dont Nicolas De Cues est le dépositaire le plus illustre, nous servira d’outil opératoire pour tenter de comprendre les implications sémantiques liées à la nature glissante de cet espace artistique aux contours flous. L’instabilité de ses frontières s’exprime d’abord par la proximité entre « art » et « non-art ». Elle s’illustre ensuite et surtout par le développement d’une multitude de microstructures internes reproduisant le même schéma conceptuel de « coïncidence des opposés ». Nous utiliserons alors, pour faciliter notre approche philosophique le concept d’ « ambivalences instables ».Trois grands moments jalonneront notre enquête. Ils seront synthétisés par les trois notions suivantes : « le paradoxe de la destruction créatrice », « la littéralité anti-littérale », et « la désacralisation hyper-sacralisée ». / The aim of this PhD project is to propose a new way of understanding the profoundly unstable and essentially decompartmentalized nature of pop art, this pictorial stream which is almost going beyond the scope of art history to elevate itself to be a vague symbol of popular culture.However, its familiar image hides more conceptual matters of dispute which are of crucial importance when it comes to reconfiguring the contemporary definition of a work of art. Always between surface and depth, pop imagery is developing insidiously.The “coincidence of opposites” concept, inherited from a theological-philosophical tradition, with Nicolas De Cues as its most famous depositary, will be used as an operating tool in our attempt to understand the semantic implications bound to the changing nature of this artistic space, the limits of which are still clearly blurry. This fuzziness of its frontiers appears first and foremost through the proximity between “art” and “non-art”, and then, most of all, through the development of a multitude of internal microstructures mimicking the pattern of the “coincidence of opposites” concept. In order to facilitate the philosophical flexibility of our approach, we will therefore use the concept of “unstable ambivalences”. Three milestones mark our investigation. They are summarized by the three following notions: “the creative destruction paradox”,”anti-literal literalism” and ”hyper-sacralized desecration”.

Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear. / This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.

Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear. / This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.

Made available in DSpace on 2016-04-29T13:30:54Z (GMT). No. of bitstreams: 1 Gustavo Henrique Carretero.pdf: 690985 bytes, checksum: 42482f79754e5b5b16cf81848b4d2f94 (MD5) Previous issue date: 2011-11-28 / The study aimed to identify how categories individual and society they relate and how they are theorized in Freud s work, as well as reflect on such elements from the particular conception of: the Society of Critical Theory proposed by the first generation of the Frankfurt School, especially Adorno and Marcuse. To this end, they were selected three representative works of Freud s thinking about the relationship between individual and society, which were: Totem and Taboo , Psychology of Groups and Analysis of the Ego and Malaise in Civilization . This material was analyzed according to the contributions of Adorno and Marcuse. The study indicates that, for the frankfurtian authors, culture appears as a factor mediating the relationship between individual and society to Freud, however, the author defends the cultural processes at the expense of freedom and autonomy of individuals. Such aspect constitutes itself how one of the contradictions of Freud s though, given that psychoanalysis is guided in the liberal model. Such element turns out in critical of decay of such model of constitution of the individual in the transition from competitive capitalism to monopolist. At the same time, the works of Freud suggests that the contradictions of culture end up being subjective to the individual. In addition, the emotional ambivalence generated by the contradictions of culture, is manipulated to become in accession of the individual goals to social goals. Adorno and Marcuse realize that the Freudian model points to the liberal individual and seek to reinterpret psychoanalysis, each in its own way, to the light of the transformations of capitalism and new social cultural settings. It is considered the opinion of recent authors, suported by lacanians concepts which differ from the Frankfurtians, disagreeing that the structural conception of the subject in its relation to language, implies the denial of the historicity of social bonds in which they occur / A pesquisa teve como objetivo identificar como as categorias individuo e sociedade se relacionam e são teorizadas na obra freudiana, assim como refletir sobre tais elementos a partir de uma concepção particular: a da Teoria Critica da Sociedade proposta pela primeira geração da Escola de Frankfurt, especialmente Adorno e Marcuse. Para tanto, foram selecionadas três obras representativas do pensamento freudiano a respeito da relação entre individuo e sociedade, as quais foram: Totem e Tabu , Psicologia dos Grupos e Análise do Ego e Mal-Estar na Civilização . Tal material foi analisado de acordo com as contribuições de Adorno e Marcuse. O estudo indica que, para os autores frankfurtianos, a cultura aparece como elemento de mediação da relação entre individuo e sociedade para Freud, todavia, o autor defende os processos culturais em detrimento da liberdade e autonomia dos indivíduos. Tal aspecto se constitui como uma das contradições do pensamento freudiano, haja vista, que a psicanálise se pauta no modelo liberal. Tal elemento acaba por se tornar em critica da decadência de tal modelo de constituição do individuo na passagem do capitalismo concorrencial para o monopolista. Ao mesmo tempo, as obras de Freud sugerem que as contradições da cultura acabam por se tornar em subjetividade nos indivíduos. Alem disso, a ambivalência emocional, gerada pelas contradições da cultura, é manipulada para se tornar em adesão das metas individuais ás sociais. Adorno e Marcuse percebem que o modelo freudiano aponta para o individuo liberal e procuram reinterpretar a psicanálise, cada um á sua maneira, á luz das transformações do capitalismo e das novas configurações sociais e culturais. Registra-se a opinião de autores recentes, sustentados pelas concepções lacanianas, que divergem dos frankfurtianos, ao discordarem que a concepção estrutural do sujeito, em sua relação com a Linguagem, implique na nega. o da historicidade dos laços sociais em que eles se inserem