DAMASCENO, Francisco Roterdan Fernandes. Os processos de referenciação e recategorização em tomadas de depoimento de acusados. 2002. 150f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2002. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-19T12:39:10Z No. of bitstreams: 1 2002_dis_frfdamasceno.pdf: 459955 bytes, checksum: 2b34a7e44c3e6466a9c2754b7ba0b433 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-19T16:27:51Z (GMT) No. of bitstreams: 1 2002_dis_frfdamasceno.pdf: 459955 bytes, checksum: 2b34a7e44c3e6466a9c2754b7ba0b433 (MD5) / Made available in DSpace on 2014-08-19T16:27:51Z (GMT). No. of bitstreams: 1 2002_dis_frfdamasceno.pdf: 459955 bytes, checksum: 2b34a7e44c3e6466a9c2754b7ba0b433 (MD5) Previous issue date: 2002 / Este trabalho analisa os processos de referenciação e (re)categorização em tomada de depoimento de acusados. A pesquisa parte da análise de nove audiências de instrução processual penal, em varas criminais do Fórum Clóvis Beviláqua, em Fortaleza, gravadas e transcritas. Dessa transcrição obtivemos nove textos-depoimento, que correspondem, respectivamente, a nove termos de interrogatório do acusado, ou seja, nove textos-consignados. Neste sentido, abordamos a relação da Lingüística com o Direito e destacamos perspectivas de tratamento do discurso jurídico, seja em relação à argumentação, seja quanto à referência. Nossa fundamentação teórica parte da enunciação, passando pela crítica à noção clássica de referência. Defendemos uma concepção representacional da referência, que nos leva a conceber os referentes como objetos-do-discurso. Nosso trabalho pretende investigar os processos de referenciação e (re)categorização que se manifestam no texto-depoimento e no texto-consignado como recurso estruturador da unidade textual. Com esse escopo, extraímos do “corpus” exemplos desses processos, classificando-os de acordo com a teoria lingüística adotada. Concluímos que, no texto-depoimento, encontramos maior diversidade de anafóricos e dêiticos do que no texto-consignado. Isto se dá por ser o texto-consignado menor e mais formal. Embora o texto-depoimento se revista também da formalidade que exige o ato, ele é mais espontâneo, favorecendo a manifestação de escolhas lexicais e de estratégias de progressão referencial.

O objetivo dessa dissertação é compreender que aspectos dos feminismos (entendendo o feminismo a partir da pluralidade de correntes que o caracteriza) são debatidos pela youtuber Jout Jout e ressignificados nas manifestações do público na caixa de comentários. Para tanto, mapeamos algumas das práticas da youtuber, principalmente com relação ao “fazer” dos vlogs, um formato de conteúdo gerado por usuário que pode ser considerado um gênero no YouTube. Além disso, mapeamos práticas do público a partir da caixa de comentários para, assim, evidenciar esses sentidos sobre os feminismos que aparecem relacionados ao canal JoutJout Prazer. Nosso quadro teórico traz discussões entre estudos culturais, estudos de recepção e cibercultura para abordar o YouTube, como site de rede social e ambiente dialógico, e a convergência. Também abordamos os principais momentos do desenvolvimento do feminismo para compreender melhor de que forma está emergindo hoje, com uma lógica comunicacional, em canais do YouTube. Para tanto, adotamos a etnografia virtual como aporte metodológico para nos aproximarmos do objeto, nos amparando nos seguintes procedimentos: observação de interações, coleta e análise de dados qualitativos com uso de tecnologias informacionais (software NVivo) e análise de conteúdo qualitativa. Entre os resultados, apontamos práticas de Jout Jout, que envolvem o “fazer” do vlog, como o uso de espaços semi-privados da casa, a edição para dar ritmo à fala, o uso de recursos didáticos e a própria experiência pontuando a abordagem dos temas. Entre as práticas do público, destacamos o uso de jargões, a execução de maratonas e a representação do riso. Além disso, partimos dos perfis do público para mostrar os sentidos que envolvem o feminismo, de Adoradores a Haters. Evidenciamos que há um pensamento difuso em relação ao feminismo na manifestação desse público, pontuado, principalmente, pela falta de articulação e coerência em relação às teorias, correntes e movimentos feministas. / The present thesis aims at comprehending what aspects of feminisms (understanding feminism in its plurality of lines of thought) are debated by Brazilian youtuber Jout Jout and redefined by her public in the comment box. Thus, we have mapped some of youtuber’s common practices, especially regarding “vlog” making, a user-generated content format, which can be considered a consisted genre inside YouTube. Furthermore, we have also mapped public’s practices in the use of comment boxes, in order to emphasize such readings of feminism in JoutJout Prazer's channel. Our theoretical framework brings discussions between cultural studies, reception studies and cyberculture to approach YouTube, comprehended in this instance as a social network website as well as a dialogical environment, and convergence. A historical approach to the most meaningful moments of the development of feminist studies, in order to create a clearer comprehension of how it emerges nowadays, under the scope of communication logics, in YouTube channels, is presented. Therefore, we have applied virtual ethnography as methodology for research the objects under assessment, generating the following procedures: the observation of audience interactions, a compilation and analysis of qualitative data with support of information technologies (Nvivo software), and qualitative analysis. Amongst the results, we highlight Jout Jout practices concerning the “vlog” making, for example the use of semi-private spaces of the house as video set, the edition to give rhythm to her speech, the use of didactic resources and the own experience permeating the approach of the subjects. Amongst the public practices, we have emphasized the use of vernacular language, binge-watching and laughter representation. Moreover, we use public's profiles to establish speeches related to feminism, distributed in Lovers and Haters. We have attested that there is a diffuse understanding regarding feminism in the public's manifestations, increased, especially, by the lack of voice and articulation, coherence and knowledge of theory, schools of thought and movements related to feminism.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A pesquisa busca compreender como a lógica e as ferramentas das Tecnologias da Informação e Comunicação atuais são apropriadas socialmente na participação dos assuntos cívicos, com ênfase na política. Como percurso, são revisitados os conceitos tradicionais da democracia e situa-se a discussão nas maneiras como os valores democráticos são paulatinamente incorporados aos ambientes digitais contemporâneos, apresentados como elementos importantes na aquisição cognitiva do público. Como recorte demográfico, estuda-se a juventude eleitora conectada, residente na cidade do Rio de Janeiro. Ao fim do trabalho, aplica-se uma pesquisa de caráter quantitativo com amostra representativa do público, na busca por compreender a opinião política, o posicionamento perante a democracia, os hábitos culturais relacionados aos meios massivos e TIC de comunicação, identificando, por fim, os repertórios de ação reconhecidos como tal na esfera pública com o suporte da comunicação digital. / The research identifies how young voters, ICT users, living at Rio de Janeiro city, appropriates the logic and tools of information and communications technologies nowadays in order to participate in civic affairs, specifically on politics. To accomplish this task, it is revisited traditional concepts of democracy, considering the ways democratic values are gradually incorporated into the environment of contemporary ICT resources, remarkable elements in the cognitive acquisition of young audiences. At the end of the study, it is applied a survey with a representative sample of connected youth in Rio. The main goal is understand political opinion, positioning towards democracy, cultural habits related to the mass media and ICT, identifying repertoires of action recognized as such in the public sphere with the support of digital communication.

O cotidiano e as práticas culturais compõem o cenário da análise no presente estudo de recepção, diante de um fenômeno comunicacional do rádio de audiência popular, o programa Comando Maior da Rádio Farroupilha AM, sediada em Porto Alegre, líder em audiência no segmento “AM” e “Popular”. Neste estudo, busca-se compreender os vínculos estabelecidos, denominados de relações de solidariedade, entre este programa e sua audiência, considerando a atuação do atual condutor a partir das percepções de dois grupos de receptores: a audiência no programa e a audiência do programa, enfocando na noção de solidariedade a partir de categorias já existentes no campo da comunicação e que permitem o entendimento da noção pelo sentido de solidariedade. No intuito de compreender tal contexto, os objetivos específicos foram desdobrados, dessa forma, procuramos identificar as estratégias utilizadas pelo programa para estabelecer vínculos com a audiência; verificar como a audiência percebe o papel do condutor do programa no encaminhamento das estratégias; identificar, junto à audiência presente no programa (que vai até emissora) e audiência do programa (realiza escuta em seu cotidiano), suas percepções sobre a solidariedade. Vale-se do Enfoque Integral da Audiência ou Modelo das Multimediações, idealizado pelo pesquisador Guilhermo Orozco Gómez, como proposta teórico-metodológica, assim, utilizamos para análise da recepção radiofônica a mediação rádio-sociocultural como central, no entendimento do rádio em seu aspecto tecnológico, institucional e cultural; e as mediações individual e institucional. A técnica qualitativa empregada, como ferramenta de investigação, foi a etnografia da audiência, incluindo as entrevistas etnográficas em um contexto de aproximação do cotidiano e da vida dos dois grupos de receptores visando, assim, identificarem-se as formas adquiridas nas relações de solidariedade estabelecidas com a audiência, a partir de ações realizadas pelo programa e pela participação de seu atual condutor. / Daily life and cultural practices compose the scenario for analysis in this reception study, facing a communicational phenomenon of popular audience radio, the show Comando Maior of the Porto Alegre-based Farroupilha AM Radio, the leader in the "AM" and "popular" audience segment. In this study, we seek to understand the established linkages, known as solidarity relations, between this program and its audience, considering the performance of the current host from the perceptions of two groups of receptors: the audience at the show and the audience of the show, focusing in the notion of solidarity using categories that already exist in the communication field and that allow an understanding of the concept by the very meaning of solidarity. In order to comprehend this context, the specific objectives were unfolded, this way, we tried to identify the strategies the show uses to connect with the audience; to see how the audience perceives the role of the show host in directing strategies; and to identify in the audience at the show (which goes to the radio station) and in the audience of the show (which listens to it daily), their perceptions of solidarity. As theoretical and methodological framework, it had recourse to the Integral Approach to the Audience or Multiple Mediation Model, idealised by the researcher Guillermo Orozco Gómez, therefore, for the analysis of the radio reception we attributed to the radio-cultural mediation a central role in the understanding of the radio in its technological, institutional and cultural aspects; letting the individual, institutional and situational mediations, as well as the mediation game, for the remainder of the analysis. The qualitative method utilised as a research tool was the ethnography of the audience, including ethnographic interviews in a context of approximation to the quotidian and lives of the two groups of receptors, thus aiming at identifying the acquired forms of solidarity in the relations established with the audience, from actions taken by the show and the participation of its current host.

When people 'go to the theatre' we know that they are audiences. When young people go to Contact, however, they might be audiences, performers and/or theatre makers - they might play all three or more roles. Contact's users blur existing concepts and terminology. When we want to know more about theatre audiences, audience research offers models based on the distinction between audiences and theatre makers. If we want to know more about Contact's users, however, a model reflecting the blending of audiences and theatre makers' roles has yet to be developed. This thesis engages with Contact's users. It maps some of their multiple roles and experiences by asking two main questions: What are the practices of the people attending Contact and how can these practices be researched? A range of qualitative methods is necessary in order to investigate the wide variety of Contact's users' roles and experiences. Individual and group interviews are drawn from audience research, creative workshops are drawn from communication studies, and participant observation and visual research from the social sciences. Finally, a new method, Walking Fieldwork, is adapted for the use in theatre. A number of case studies are employed to investigate Contact's users. These case studies involve the observation of young actors during rehearsals and performances, the observation of participants in an outreach project, the investigation of audiences' experiences of two productions, and several short post-show interviews with general Contact audiences. This study found evidence that the relationship between theatre makers and audiences is changing. The term 'theatre user' is introduced as it opens up an area of overlap between the two and fits contemporary practices at Contact more closely. Contact's users function as communities, participants and co-creators. The descriptions of these roles and experiences contained in this thesis are understood as an initial exploration into practices of contemporary theatre users. However, further research is needed to build a more detailed understanding of these practices. In terms of research methods, this study found that the academic field of audience research needs to develop methods which are sensitive to both the backgrounds of theatre users and the theatrical context. The argument is put forward that audience research should become more aware of methods for the investigation of human experience and should enter into a 'methods-dialogue' with other academic fields of study.

Since the early 2000s, Social Media has become part of the everyday activity of billions of people. Museums and galleries are part of this major cultural change - the largest museums attract millions of Social Media 'friends' and 'followers', and museums now use Social Media channels for marketing and audience engagement activities. Social Media has also become a more heavily-used source of data with which to investigate human behaviour. Therefore, this research investigated the potential uses of Social Media information to aid activities such as exhibition planning and development, or fundraising, in museums. Potential opportunities provided by the new Social Media platforms include the ability to capture data at high volume and then analyse them computationally. For instance, the links between entities on a Social Media platform can be analysed. Who follows who? Who created the content related to a specific event, and when? How did communication flow between people and organisations? The computerised analysis techniques used to answer such questions can generate statistics for measuring concepts such as the 'reach' of a message across a network (often equated simply with the potential size of the a message's audience) or the degree of 'engagement' with content (often a simple count of the number of responses, or the number of instances of communication between correspondents). Other computational analysis opportunities related to Social Media rely upon various Natural Language Processing (NLP) techniques; for example indexing content and counting term frequency, or using lexicons or online knowledge bases to relate content to concepts. Museums, galleries and other cultural organisations have known for some time, however, that simple quantifications of their audiences (the number of tickets sold for an exhibition, for example), while certainly providing indications of an event's success, do not tell the whole story. While it is important to know that thousands of people have visited an exhibition, it is also part of a museum's remit to inspire the audience, too. A budding world-class artist or ground-breaking engineer could have been one of the thousands in attendance, and the exhibition in question could have been key to the development of their artistic or technical ideas. It is potentially helpful to museums and galleries to know when they have inspired members of their audience, and to be able to tell convincing stories about instances of inspiration, if their full value to society is to be judged. This research, undertaken in participation with two museums, investigated the feasibility of using new data sources from Social Media to capture potential expressions of inspiration made by visitors. With a background in IT systems development, the researcher developed three prototype systems during three cycles of Action Research, and used them to collect and analyse data from the Twitter Social Media platform. This work had two outcomes: firstly, prototyping enabled investigation of the technical constraints of extracting data from a Social Media platform (Twitter), and the computing processes used to analyse that data. Secondly, and more importantly, the prototypes were used to assess potential changes to the work of museum staff information about events visited and experienced by visitors was synthesised, then investigated, discussed and evaluated with the collaborative partners, in order to assess the meaning and value of such information for them. Could the museums use the information in their event and exhibition planning? How might it fit in with event evaluation? Was it clear to the museum what the information meant? What were the risks of misinterpretation? The research made several contributions. Firstly, the research developed a definition of inspiration that resonated with museum staff. While this definition was similar to the definition of 'engagement' from the marketing literature, one difference was an emphasis upon creativity. The second set of contributions related to a deeper understanding of Social Media from museums' perspective, and included findings about how Social Media information could be used to segment current and potential audiences by 'special interest', and find potential expressions of creativity and innovation in the audience's responses to museum activities. These findings also considered some of the pitfalls of working with data from Social Media, in particular the tendency of museum staff to use the information to confirm positive biases, and the often hidden biases caused by the mediating effects of the platforms from which the data came. The final major contribution was a holistic analysis of the ways in which Social Media information could be integrated into the work of a museum, by helping to plan and evaluate audience development and engagement. This aspect of the research also highlighted some of the dangers of an over-dependency upon individual Social Media platforms which was previously absent from the museums literature.

O cotidiano e as práticas culturais compõem o cenário da análise no presente estudo de recepção, diante de um fenômeno comunicacional do rádio de audiência popular, o programa Comando Maior da Rádio Farroupilha AM, sediada em Porto Alegre, líder em audiência no segmento “AM” e “Popular”. Neste estudo, busca-se compreender os vínculos estabelecidos, denominados de relações de solidariedade, entre este programa e sua audiência, considerando a atuação do atual condutor a partir das percepções de dois grupos de receptores: a audiência no programa e a audiência do programa, enfocando na noção de solidariedade a partir de categorias já existentes no campo da comunicação e que permitem o entendimento da noção pelo sentido de solidariedade. No intuito de compreender tal contexto, os objetivos específicos foram desdobrados, dessa forma, procuramos identificar as estratégias utilizadas pelo programa para estabelecer vínculos com a audiência; verificar como a audiência percebe o papel do condutor do programa no encaminhamento das estratégias; identificar, junto à audiência presente no programa (que vai até emissora) e audiência do programa (realiza escuta em seu cotidiano), suas percepções sobre a solidariedade. Vale-se do Enfoque Integral da Audiência ou Modelo das Multimediações, idealizado pelo pesquisador Guilhermo Orozco Gómez, como proposta teórico-metodológica, assim, utilizamos para análise da recepção radiofônica a mediação rádio-sociocultural como central, no entendimento do rádio em seu aspecto tecnológico, institucional e cultural; e as mediações individual e institucional. A técnica qualitativa empregada, como ferramenta de investigação, foi a etnografia da audiência, incluindo as entrevistas etnográficas em um contexto de aproximação do cotidiano e da vida dos dois grupos de receptores visando, assim, identificarem-se as formas adquiridas nas relações de solidariedade estabelecidas com a audiência, a partir de ações realizadas pelo programa e pela participação de seu atual condutor. / Daily life and cultural practices compose the scenario for analysis in this reception study, facing a communicational phenomenon of popular audience radio, the show Comando Maior of the Porto Alegre-based Farroupilha AM Radio, the leader in the "AM" and "popular" audience segment. In this study, we seek to understand the established linkages, known as solidarity relations, between this program and its audience, considering the performance of the current host from the perceptions of two groups of receptors: the audience at the show and the audience of the show, focusing in the notion of solidarity using categories that already exist in the communication field and that allow an understanding of the concept by the very meaning of solidarity. In order to comprehend this context, the specific objectives were unfolded, this way, we tried to identify the strategies the show uses to connect with the audience; to see how the audience perceives the role of the show host in directing strategies; and to identify in the audience at the show (which goes to the radio station) and in the audience of the show (which listens to it daily), their perceptions of solidarity. As theoretical and methodological framework, it had recourse to the Integral Approach to the Audience or Multiple Mediation Model, idealised by the researcher Guillermo Orozco Gómez, therefore, for the analysis of the radio reception we attributed to the radio-cultural mediation a central role in the understanding of the radio in its technological, institutional and cultural aspects; letting the individual, institutional and situational mediations, as well as the mediation game, for the remainder of the analysis. The qualitative method utilised as a research tool was the ethnography of the audience, including ethnographic interviews in a context of approximation to the quotidian and lives of the two groups of receptors, thus aiming at identifying the acquired forms of solidarity in the relations established with the audience, from actions taken by the show and the participation of its current host.

Le metal symphonique est un genre musical qui mêle la musique classique à la musique metal. Nightwish, un groupe d'origine finlandaise, est parmi les représentants les plus reconnus du genre. Prenant pour point de départ les œuvres musicales de ce dernier, la présente recherche interroge, d'un point de vu sociologique, la dimension combinatoire de son metal symphonique. Des sources d'origines différentes – le metal symphonique a tout d'un oxymore – sont assemblées, peut-être continuées par Nightwish. De la construction collective d'un groupe qui modèle, par les particularités individuelles de ses membres, les œuvres qu'il réalise, aux pratiques des amateurs de Nightwish, en passant par les influences du groupe et son monde imaginaire, cette thèse suit – dans le processus de l'œuvre – la trace de la continuation. D'un acteur du monde Nightwish à l'autre, l'œuvre musicale ne serait-elle pas un processus continué, une résurrection, à chaque audition, d'une créature mythique, créée et recréée sans cesse ? / Symphonic metal is a musical genre that mixes classical music with metal music. Nightwish, a band from Finland, is one of the most recognized of the genre. Starting with its musical art works, this thesis questions, with a sociological approaches, the combinatorial dimension of its symphonic metal. References sources from different origins – symphonic metal has everything of an oxymoron – are assembled, maybe continued by Nightwish. From the collective elaboration of a band which models, by the individual peculiarities of its members, the art works it makes, to Nightwish' amateurs practices, by way of the influences of the band and its imaginary world, this thesis follows – in the art work process – the idea of continuation. From an actor of Nightwish' world to another, would musical art work not be a continued process, a resurrection, at each listening, of a mythic creature, made and remade, again and again?

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-17Bitstream added on 2014-06-13T18:49:15Z : No. of bitstreams: 1 bochio_al_me_ia.pdf: 5328341 bytes, checksum: 90f36879232d0a05aec86fc21652d1a3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Com o advento do computador, novos paradigmas de imagem surgiram e uma nova relação com aquele que a frui se impôs. Nesta dissertação, analisamos as potencialidades das imagens compreendidas em tal contexto e os seus desenvolvimentos em instalações interativas através dos seus modos de solicitar a participação do público. Para este estudo, tomamos como direção o parâmetro de Pierre Lévy: a possibilidade de reapropriação e recombinação dos elementos materiais da imagem pelo público. Buscamos, ainda, dois aspectos iniciais que consideramos pertinentes ao nosso objeto de estudo: a realização de entrevistas com o público e a vivência com tais imagens e instalações. O primeiro esteve presente unicamente em um momento inicial da pesquisa, apenas para tomarmos consciência das dimensões e dos aspectos do diálogo proporcionado pelas imagens. No que concerne ao segundo, optamos por vivenciar e analisar imagens de três instalações participantes do Festival Internacional de Linguagem Eletrônica – File 2009, que aconteceu no período da pesquisa. A partir da análise das imagens selecionadas, com a apresentação de um projeto de instalação interativa de nossa autoria e, ainda, através da abordagem dos conceitos que perpassam as instalações interativas e das potencialidades em aberto de suas imagens, surgiram reflexões a respeito da maneira de como a imagem se manifesta ao público, como este é inserido na imagem e como dela passa a tomar parte. Com isso, pudemos articular os conceitos e as práticas que envolvem essas produções, procurando criar um discurso mais particular para o recorte dado a essa pesquisa / With the advent of computers new image paradigms have emerged and a new relationship with the one that possess have prevailed. In this dissertation, we analyze the image potencials seen in that context and its development in interactive installations through the ways of asking for the audience to join. For this study, we took as a guidance the Pierre Lévy’s parameter the reappropriation possibility and the recombination of others image material elements by the audience. Yet we search two initial aspects considered relevant to the study: interviewing the audience and the experience with such images and installations. The first one was present only in an initial phase of the research. Only so we can be counscious of the dimensions and the dialog aspect given by the images. As for the second one, we have chosen to live and analyze images from three installations of the Festival Internacional de Linguagem Eletrônica – File 2009. From the analysis of the selected images with a Project presentation of interactive installation o four authorship and yet through the concept approach that pass by the interactive installations and of the open potentiality of its images, it will generate reflexions about the way the image manifests itself to the audience, how it is inserted on the image and posses it. With all that, we could articulate concepts and the practices that involve those productions, trying to create a more particular speech to the focus given to this research

Submitted by Caroline Periotto (carol@ufscar.br) on 2016-10-03T14:04:56Z No. of bitstreams: 1 DissJSSer.pdf: 2473054 bytes, checksum: e4708a9a610c725b396d7b29f5aa79eb (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-10T19:51:44Z (GMT) No. of bitstreams: 1 DissJSSer.pdf: 2473054 bytes, checksum: e4708a9a610c725b396d7b29f5aa79eb (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-10T19:51:53Z (GMT) No. of bitstreams: 1 DissJSSer.pdf: 2473054 bytes, checksum: e4708a9a610c725b396d7b29f5aa79eb (MD5) / Made available in DSpace on 2016-10-10T19:52:06Z (GMT). No. of bitstreams: 1 DissJSSer.pdf: 2473054 bytes, checksum: e4708a9a610c725b396d7b29f5aa79eb (MD5) Previous issue date: 2015-12-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Supported by the Classic Laugh and Humor Theories as background, according the approach of the anthropology of performance and the ethnographic work carried out in a comedy club in São Paulo city, this work aims to understand the construction of the comic in stand-up comedy performance through three areas of analysis, namely: 1) local relations, text and scenario; 2) the oral narrative as bases of stand-up comedy; 3) the public as counterpart. Seeking to bring out the humorous experience, seated in the performer-space-audience triad, this study brings, in ethnographic narrative, elements that influence and build the stand-up comedy into its scenic context, such as the environment, interactions of the audience and extra scenic components, which act as an emergency supports of the comic genre. It also discusses about the comedian training, aesthetic limitation, the textual production, live scenes and other elements, in order to the compression of the laughter and the stand-up performance. In turn, the audience laughter, as a comedian purpose and expectation of the public, emerges from the negotiations between the present, whose narratives outweigh the telling of jokes and laughter comes over as part of the scene than simply as a result of the jokes. / Tendo como pano de fundo a articulação das Teorias Clássicas do Riso e do Humor e à luz da abordagem da Antropologia da Performance, somado ao trabalho etnográfico em um clube de comédia na cidade de São Paulo/SP, esta dissertação busca compreender a construção do cômico na performance stand-up comedy, por meio de três eixos de análise, a saber: 1) relações locais, texto e espaço cênico; 2) a narrativa oral como matriz performática da stand-up; 3) o público como contraparte. Buscando trazer à tona a experiência humorística, assentada na tríade performer-espaço-audiência, trago na narrativa etnográfica elementos que condicionam e constroem a cena stand-up comedy no seu contexto cênico, tal como o ambiente, as interações com e da a audiência, bem como componentes extra cênicos que funcionam como sustentáculos da emergência cômica neste evento. Trato ainda da formação do comediante, das delimitações estéticas, da produção textual, das cenas ao vivo, entre outros elementos, que são abordados para a compressão do riso e do exercício performático da stand-up. Por sua vez, o riso da audiência, como objetivo do comediante e expectativa do público, emerge da negociação entre os presentes, cujas narrativas superam o ato de contar piadas e o riso surge mais como parte integrante da cena do que como simples resultado das piadas.