Uppsatsen har haft som mål att skapa förståelse för hur hashtagkampanjen #JeSuisCharlie komatt användas på den sociala medieplattformen Twitter efter attacken mot satirtidskriften CharlieHebdo i Paris, den 7 januari 2015. Med kritisk diskursanalys som metod har vi sökt studera påvilka sätt vissa twittrare använde sig av kampanjen och hur de identifierade sig med Charlie.Charlie Hebdo kom för vissa twittrare att bli en symbol för det fria ordet, men det fanns även desom inte ville ställa sig bakom Charlie Hebdos budskap. Vi har därför också sökt analysera detavståndstagande som formulerades mot kampanjen bland vissa twittrare. Detta till följd av dereflektioner som uppstod över att så många valde att identifiera sig med en tidning som tidigarekritiserats för att vara islamofobisk. Analysen visar hur #JeSuisCharlie därmed kom att bli entvetydig och komplex symbol för yttrandefrihet, som också bidrog till att reproducerakonfliktlinjer mellan det demokratiska ”Väst” och de muslimska ”Andra”.

Em determinado período de sua história, o Charlie Hebdo passou a abordar o tema do fundamentalismo islâmico em suas charges. A figura sagrada para os muçulmanos foi, então, representada satiricamente em diversas edições, até que em 7 de janeiro de 2015, após uma série de conflitos entre o jornal e os extremistas islâmicos, a sede do semanário francês foi alvo de um ataque terrorista, com doze vítimas fatais. É para esse contexto que nossa pesquisa direciona a sua atenção. Analisaremos um conjunto de oito charges publicadas pelo Charlie Hebdo no período de 8 de fevereiro de 2006 a 6 de janeiro de 2016. O propósito, ao examinar semioticamente esse corpus, é descrever os mecanismos de construção do sentido das charges para compreender de que maneira o chargista, como um éthos ou um modo polemizador de presença, exacerbou satiricamente a doutrina islâmica e a figura religiosa emblemática para provocar o riso e criticar o fundamentalismo. Em nossa pesquisa, a noção de gênero será incorporada com o apoio teórico de Bakthin (2003; 2008; 2010; 2014; 2016), o que permitirá reconhecer as principais características da charge, conforme determinada temática, composição e estilo. Também a partir dos apontamentos bakhtinianos, definiremos mecanismos discursivos presentes nas charges: ironia, humor, sátira e polêmica. Dessa definição, surgirão os elementos que despontam as características do gênero e, consequentemente, o estilo Charlie Hebdo de satirizar. Com base nesse ponto, esperamos compreender o que teria força argumentativa para provocar a ira dos fundamentalistas. Em nosso estudo, buscaremos expor, sobretudo, os princípios relativos à semiótica greimasiana. Consideraremos, portanto, para nossa investigação as bases da semiótica narrativa e discursiva (GREIMAS; COURTÉS, 2016). Mas teremos o respaldo ainda da semiótica visual (FLOCH, 1985; 1986a; 1986b; 2013), com o intuito de entender como a forma do plano da expressão e do plano do conteúdo, conforme postulada por Hjelmslev (2003), vai ao encontro da substância da expressão e do conteúdo nesses textos verbo-visuais. Ao tomar corpo, nossa pesquisa encontrará apoio teórico e metodológico também na semiótica tensiva (ZILBERBERG, 2011). Nesse ponto, mostraremos os segmentos das charges que fazem crescer a intensidade da voz satírica e o seu potencial para causar atritos com o sujeito fundamentalista. Os resultados demonstrarão que a voz satírica do Charlie Hebdo é construída essencialmente por meio da presença exacerbada do outro, cujos valores julgados negativos são intensamente expostos. O alvo da crítica, o fundamentalismo islâmico, é assim desmoralizado por suas próprias atitudes. Essa forma de fazer sátira remete ao modelo de construção do gênero charge; entretanto, o que parece diferenciar o conteúdo das charges analisadas é a instalação da relação dialógica (BAKHTIN, 2016) entre sujeitos extremamente antagônicos, com intensa probabilidade de conflito nos (des)encontros das enunciações interdiscursivas. / At some point in its history, Charlie Hebdo began to address the theme of Islamic fundamentalism in its cartoons. Since then, the holy image for Muslims was satirically represented in several editions. It had happened up to January 7, 2015, when, after a series of misunderstandings between the newspaper and Islamic extremists, the headquarters of the French weekly newspaper was the target of a terrorist attack, having as consequence, twelve fatal victims. It is in this context that our research is directed. We will analyze a set of eight cartoons published by Charlie Hebdo in the period from February 8, 2006 to January 6, 2016. The purpose in examining semiotically this corpus, is to describe the mechanisms of construction of the meaning of the cartoons to understand how the cartoonist, as an ethos or a polemizing mode of presence, satirically exaggerated Islamic doctrine and the emblematic religious image to provoke laughter and criticize fundamentalism. In our research, the notion of genres will be incorporated with the theoretical support of Bakthin (2003; 2008; 2010; 2014; 2016), which will allow us to recognize the main characteristics of the cartoon, according to a specific theme, composition and style. Also from the Bakhtinian notes, we will define discursive mechanisms present in the cartoons: irony, humor, satire and polemic. From this definition, the elements that emerge the characteristics of the genre and, consequently, the Charlie Hebdo style of satirizing will appear. Based on this, we aim to understand what could have an argumentative force to provoke the wrath of fundamentalists. In our study, we will try to expose, above all, the principles related to greimasian semiotics. We will therefore consider for our investigation the bases of narrative and discursive semiotics (GREIMAS and COURTÉS, 2016). But we will still have the support of visual semiotics (FLOCH 1985, 1986a, 1986b, 2013), in order to understand how the form of the plane of expression and the content plane, as postulated by Hjelmslev (2003), meets the substance of expression and content in these verbal-visual texts. Whereas the development of these points brings consistence to our research, we will also find theoretical and methodological support in the tensive semiotics (ZILBERBERG, 2011). At this point, we will show the segments of the cartoons that increase the intensity of the satirical voice and its potential to cause friction with the fundamentalist subject. The results will demonstrate that Charlie Hebdo\'s satirical voice is essentially built through the exacerbated presence of the other, whose negatively judged values are intensely exposed. The target of criticism, Islamic fundamentalism, is thus demoralized by its own attitudes. This way of doing satire refers to the construction model of the genre \"cartoon\"; However, what seems to distinguish the content of the analyzed cartoons is the establishment of the dialogical relationship (BAKHTIN, 2016) between extremely antagonistic subjects, with an intense probability of conflict in the (dis) encounters of interdiscursive enunciation.

Em determinado período de sua história, o Charlie Hebdo passou a abordar o tema do fundamentalismo islâmico em suas charges. A figura sagrada para os muçulmanos foi, então, representada satiricamente em diversas edições, até que em 7 de janeiro de 2015, após uma série de conflitos entre o jornal e os extremistas islâmicos, a sede do semanário francês foi alvo de um ataque terrorista, com doze vítimas fatais. É para esse contexto que nossa pesquisa direciona a sua atenção. Analisaremos um conjunto de oito charges publicadas pelo Charlie Hebdo no período de 8 de fevereiro de 2006 a 6 de janeiro de 2016. O propósito, ao examinar semioticamente esse corpus, é descrever os mecanismos de construção do sentido das charges para compreender de que maneira o chargista, como um éthos ou um modo polemizador de presença, exacerbou satiricamente a doutrina islâmica e a figura religiosa emblemática para provocar o riso e criticar o fundamentalismo. Em nossa pesquisa, a noção de gênero será incorporada com o apoio teórico de Bakthin (2003; 2008; 2010; 2014; 2016), o que permitirá reconhecer as principais características da charge, conforme determinada temática, composição e estilo. Também a partir dos apontamentos bakhtinianos, definiremos mecanismos discursivos presentes nas charges: ironia, humor, sátira e polêmica. Dessa definição, surgirão os elementos que despontam as características do gênero e, consequentemente, o estilo Charlie Hebdo de satirizar. Com base nesse ponto, esperamos compreender o que teria força argumentativa para provocar a ira dos fundamentalistas. Em nosso estudo, buscaremos expor, sobretudo, os princípios relativos à semiótica greimasiana. Consideraremos, portanto, para nossa investigação as bases da semiótica narrativa e discursiva (GREIMAS; COURTÉS, 2016). Mas teremos o respaldo ainda da semiótica visual (FLOCH, 1985; 1986a; 1986b; 2013), com o intuito de entender como a forma do plano da expressão e do plano do conteúdo, conforme postulada por Hjelmslev (2003), vai ao encontro da substância da expressão e do conteúdo nesses textos verbo-visuais. Ao tomar corpo, nossa pesquisa encontrará apoio teórico e metodológico também na semiótica tensiva (ZILBERBERG, 2011). Nesse ponto, mostraremos os segmentos das charges que fazem crescer a intensidade da voz satírica e o seu potencial para causar atritos com o sujeito fundamentalista. Os resultados demonstrarão que a voz satírica do Charlie Hebdo é construída essencialmente por meio da presença exacerbada do outro, cujos valores julgados negativos são intensamente expostos. O alvo da crítica, o fundamentalismo islâmico, é assim desmoralizado por suas próprias atitudes. Essa forma de fazer sátira remete ao modelo de construção do gênero charge; entretanto, o que parece diferenciar o conteúdo das charges analisadas é a instalação da relação dialógica (BAKHTIN, 2016) entre sujeitos extremamente antagônicos, com intensa probabilidade de conflito nos (des)encontros das enunciações interdiscursivas. / At some point in its history, Charlie Hebdo began to address the theme of Islamic fundamentalism in its cartoons. Since then, the holy image for Muslims was satirically represented in several editions. It had happened up to January 7, 2015, when, after a series of misunderstandings between the newspaper and Islamic extremists, the headquarters of the French weekly newspaper was the target of a terrorist attack, having as consequence, twelve fatal victims. It is in this context that our research is directed. We will analyze a set of eight cartoons published by Charlie Hebdo in the period from February 8, 2006 to January 6, 2016. The purpose in examining semiotically this corpus, is to describe the mechanisms of construction of the meaning of the cartoons to understand how the cartoonist, as an ethos or a polemizing mode of presence, satirically exaggerated Islamic doctrine and the emblematic religious image to provoke laughter and criticize fundamentalism. In our research, the notion of genres will be incorporated with the theoretical support of Bakthin (2003; 2008; 2010; 2014; 2016), which will allow us to recognize the main characteristics of the cartoon, according to a specific theme, composition and style. Also from the Bakhtinian notes, we will define discursive mechanisms present in the cartoons: irony, humor, satire and polemic. From this definition, the elements that emerge the characteristics of the genre and, consequently, the Charlie Hebdo style of satirizing will appear. Based on this, we aim to understand what could have an argumentative force to provoke the wrath of fundamentalists. In our study, we will try to expose, above all, the principles related to greimasian semiotics. We will therefore consider for our investigation the bases of narrative and discursive semiotics (GREIMAS and COURTÉS, 2016). But we will still have the support of visual semiotics (FLOCH 1985, 1986a, 1986b, 2013), in order to understand how the form of the plane of expression and the content plane, as postulated by Hjelmslev (2003), meets the substance of expression and content in these verbal-visual texts. Whereas the development of these points brings consistence to our research, we will also find theoretical and methodological support in the tensive semiotics (ZILBERBERG, 2011). At this point, we will show the segments of the cartoons that increase the intensity of the satirical voice and its potential to cause friction with the fundamentalist subject. The results will demonstrate that Charlie Hebdo\'s satirical voice is essentially built through the exacerbated presence of the other, whose negatively judged values are intensely exposed. The target of criticism, Islamic fundamentalism, is thus demoralized by its own attitudes. This way of doing satire refers to the construction model of the genre \"cartoon\"; However, what seems to distinguish the content of the analyzed cartoons is the establishment of the dialogical relationship (BAKHTIN, 2016) between extremely antagonistic subjects, with an intense probability of conflict in the (dis) encounters of interdiscursive enunciation.

When is it acceptable to make fun of religion, and when does it become disrespectful? On January 7, 2015, the headquarters of the French satirical news paper Charlie Hebdo was subjected to a terrorist attack that claimed the lives of 12 staff members, due to the publishing of caricatures picturing the prophet Muhammed. The reactions that followed the attack circled around two perspectives; the importance of freedom of expression and the obligation to show respect for certain institutions and traditions in society. How come the caricatures can elicit such completely different reactions? This is the question that this thesis uses as a starting point for the examination of the subject caricatures and satire. The thesis examines caricatures and satire from a rhetorical perspective. It distinguishes four rhetorical aspects of caricature, and discusses if these rhetorical aspects can be what makes the difference regarding how provocative a drawing is considered. The thesis then uses the four rhetorical aspects found, to analyze two caricatures from the French satiric magazine Charlie Hebdo.

Sammanfattning/Abstract I ett demokratiskt samhälle är yttrandefrihet samt rätten att utöva den religion som man tillhör två viktiga förutsättningar. I Frankrike har det uppstått flera debatter gällande yttrandefriheten och religionens förhållande till varandra. I denna uppsats har jag valt att undersöka hur franska journalister ser på detta förhållande. I studien deltog sex yrkessamma journalister; två kvinnor och fyra män. Två av männen arbetar som karikatyrtecknare på den kontroversiella satirtidningen Charlie Hebdo. Resterande intervjupersoner arbetar, eller har arbetat, på välkända franska nyhetstidningar; Le Monde, L´Express och Le Parisien. Jag genomförde kvalitativa forskningsintervjuer utifrån följande huvudteman: Yttrandefrihet och religion, Muhammedkarikatyrer, Islam i Frankrike och laïcité (sekularisering). Jag har haft ett fenomenologiskt förhållningssätt till min intervjumetod och analys av transkriberingarna. Jag analyserade mina resultat utifrån medieetik, i synnerhet Anthony Giddens Struktureringsteori. Jag jämförde även mina resultat med tidigare forskning kring ämnet och kom fram till att de är i linje med Risto Kunelius, Elisabeth Eide, Oliver Hahn och Roland Schroeders internationella analys av kontroversen kring Jyllands-Postens Muhammedkarikatyrer från år 2005. Majoriteten av mina informanter anser att yttrandefriheten bör prioriteras och är ett pris som man måste betala för ett fungerande demokratiskt samhälle. De anser även att man bör, ur ett etiskt perspektiv, använda sitt sunda förnuft och sin intelligens, för att inte göra någon annan upprörd i onödan.

Utifrån den dödliga attacken som ägde rum mot tidskriften Charlie Hebdo i januari 2015 har en dokumentanalys av svenska mediers bevakning av händelsen genomförts. Utgångspunkten i arbetet är Cohens moralpanikbegrepp. Frågorna som ställdes var hur bevakningen av attentatet såg ut, om konceptet för moralpanik kan appliceras på den svenska mediebevakningen, samt vilken definition som ligger till grund för mediernas rubricering av dådet som en terrorattack. Resultaten visar att attentatet ägnades mycket utrymme i den tryckta pressen, dock med vissa interna skillnader i innehållet, samt att delar av moralpanikbegreppet går att applicera på mediebevakningen. Det framkom även att media inte följer lagstiftarens definition då dådet rubricerades som en terrorhandling. / Based on the deadly attack that took place against the journal Charlie Hebdo in January 2015, a document analysis of the Swedish media coverage of the event is performed. The premise of the work is Cohen's moral panic concept. The questions that were asked was how the coverage of the attack was portrayed, if the concept of moral panic can be applied to the Swedish media coverage, and what the basis are for the media's characterization of the crime as a terrorist act. The results show that the attack was devoted much attention in the press, with some internal differences in the content, and that parts of the moral panic concept can be applied to the media coverage. It also emerged that the media did not follow the legislature's definition when the deed was classed as a terrorist act.

January 7, 2015, the satirical magazine Charlie Hebdo, which among other things has published satirical images of the Prophet Muhammad, became a victim of a terror attack where 12 people lost their lives. This horrible act was performed to avenge Islam and the Prophet Muhammad, something that aroused reactions all over the world. In the media a debate began whether to re-publish the drawings that might have caused the attack or not. Despite the fact that freedom of expression has an important role in the society there were different opinions on the matter.   The aim of this study is to identify how the swedish newspapers Svenska Dagbladet and Dagens Nyheter and the turkish newspapers Today’s Zaman and Hürryiet Daily News framed the circumstances around the terror attack against Charlie Hebdo. By applying a framing analysis on 40 columns with various authors, 20 from each country, we could discern five dominant frames within the texts: Je suis Charlie, why publish/not publish caricatures, motives behind the attack, impacts of the attack and solutions. Our theoretical basis of the study include the concepts of freedom of expression, cultural differences and framing. The results showed similarities as well as differences between the turkish and the swedish journalists ways of framing the circumstances around the attack. In each frame we have identified what the authors consider to be the main issue, the underlying cause and suggestions on how to solve the problem. Here we saw patterns between the different frames, where many of the subjects were demonstrated in several frames.

Ce travail de recherche met à l'épreuve l'hypothèse de la mystification entendue comme stratégie communicationnelle manifestée par des tendances spécifiques où la dialectique entre obscurcissant et révélant jouent un rôle fondamental dans la production des formes symboliques. Dans ce cadre, le concept de mystification comme paradigme de sens est en rapport avec un modèle de communication qui se manifeste partout où s'impose la médiation entre le sacré et le profane ainsi que le maintien de l'ordre symbolique. Les médias non seulement qu'ils utilisent la mystification comme une stratégie, mais ils fonctionnent dans le paradigme de la mystification notamment quand il s'agit d'intervenir pour préserver l'ordre social par une production des formes symboliques spécifiques. Pour identifier les thèmes récurrents qui apparaissent dans les représentations médiatiques internationaux, des thèmes qui fournissent des indications sur les tendances qui sont spécifiques pour le paradigme de la mystification, l'analyse empirique aborde la production et la transmission des formes symboliques concernant les représentations médiatiques dans le contexte de l'attaque terroriste contre journal Charlie Hebdo du 7 Janvier 2015. / The present research work advances the following hypothesis – mystification is acommunicational strategy manifested through specific trends where the dialectic between obscuring and revealing plays a fundamental role in the production of the symbolic forms. It is therefore proposed that the concept of the mystification paradigm requires a communication model that manifests itself wherever the mediation between sacred and profane and maintaining the symbolic order are required. Media not only use this model as a strategy but function in the mystification paradigm especially when it is supposed to intervene for preserving the social order through a specific production of symbolic forms. To identify recurring themes that arise in the media representations generated by the international press, themes that provides indicators of particular trends that are specific in the mystification paradigm, an empirical analysis of this production and transmision of the symbolic forms has been employed in the special context of the terrorist attack against the journal Charlie Hebdo on January 7, 2015.

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No. of bitstreams: 2 Dissertação - Enelice Milhomem Jacobina Teixeira - 2018.pdf: 2412819 bytes, checksum: a774037f1ad89201edcf9c3feb5d58c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-15 / Research on religious intolerance, following the attack on Charlie Hebdo Weekly in January 2015 in Paris, France, provocative event of narratives on the subject. We carry out research with the students of a school (Elementary School), of the Municipal Department of Education in Goiânia. The problem referred to religious intolerance, discussed in the history lessons of CICLO III, group "G" (7th Year), in 2015, following the groupings "H" and "I" (8th and 9th years), until 2017. The investigative tools were elaborated with inquiries based on journalistic and scientific texts about the attack on the weekly Charlie Hebdo. The students hypothetically wondered what they would choose if they were in the bombing: being a terrorist or a cartoonist, justifying their options. After observing the students' narratives, we relate them to religious intolerance. We analyze the narratives of the students about the attack, using as theoretical contribution the historical education. Subsequently, we used texts, cartoons and other sources on religious intolerance, attacks, immigration, xenophobia, Islam, interculturalism, among others. After the interventions based on these texts, we applied the research instruments for the second time, in order to verify the possible changes in the reconstructed narratives of the students, with observation and changes in their historical awareness. We identified in the narratives in the second intervention that there was little progress in relation to religious tolerance and respect for freedom of expression of religious and non-religious. We then developed a third intervention, using, however, other investigative tools that questioned why Charlie Hebdo's cartoons were offensive to the Islamic religion and asked for an explanation of what religious intolerance is today. After answering these last requests, we noticed changes, since some students demonstrated a change in the historical consciousness presenting critical temporal orientation. / Investigação sobre a intolerância religiosa, a partir do atentado ao Semanário Charlie Hebdo, em janeiro de 2015, em Paris, na França, acontecimento provocativo de narrativas sobre a temática. Realizamos a investigação com os estudantes de uma escola (Ensino Fundamental), da Secretaria Municipal de Educação em Goiânia. A problemática referiu-se à intolerância religiosa, discutida nas aulas de história do CICLO III, agrupamento “G” (7º. Ano), em 2015, acompanhando os agrupamentos “H” e “I” (8º. e 9º. anos), até 2017. O instrumental de investigação foi elaborado com indagações apoiadas em textos jornalísticos e científicos sobre o atentado ao Semanário Charlie Hebdo. Os estudantes hipoteticamente imaginaram o que escolheriam se estivessem no atentado: ser terrorista ou cartunista, justificando suas opções. Após a observação das narrativas dos estudantes, relacionamos as mesmas com a intolerância religiosa. Analisamos as narrativas dos estudantes sobre o atentado, utilizando como aporte teórico a educação histórica.  Posteriormente, recorremos a textos, charges e outras fontes sobre intolerância religiosa, atentados, imigração, xenofobia, Islamismo, interculturalidade, entre outros. Após as intervenções pautadas nestes textos, aplicamos o instrumental de investigação pela segunda vez, a fim de verificarmos as possíveis alterações nas narrativas reconstruídas dos estudantes, com observação e alterações na consciência histórica dos mesmos. Identificamos nas narrativas na segunda intervenção que houve pouco avanço em relação à tolerância religiosa e ao respeito à liberdade de expressão de religiosos e não religiosos. Desenvolvemos, então, uma terceira intervenção, usando, no entanto, outro instrumental de investigação que questionou o motivo de as charges do Semanário Charlie Hebdo serem ofensivas à religião islâmica e solicitou uma explicação sobre o que é intolerância religiosa na atualidade. Respondidas estas últimas solicitações, percebemos alterações, visto que alguns estudantes demonstraram mudança na consciência histórica apresentando orientação temporal crítica.

This study aims to examine the argumentation regarding freedom of speech and the statement “je suis Charlie” (“I am Charlie”) in eight opinion articles from different Swedish web magazines. Two doctotral dissertations who’s main topics are the freedom of speech and different types of arguments regarding freedom of speach, was used in this study. The study also uses the actual Swedish law surrounding the freedom of speech, as well as the freedom of the press and breaches of these laws. Also mentioned as different types of theories are; utilitarianism and journalism ethics and standards. This is a qualitative study using rhetorical analysis as a main method, but the study also uses some tools from the field of argument analysis, such as theses and main arguments. The results from this study shows, amongst other things, that various arguments can be used when trying to get your view surrounding the freedom of speech across. However there seems to be a clear difference between the writers who argue that the freedom of speech is more important than the right to not having to be discriminated by a statement or an utterance, and the writers who argue that the right to not having to be discriminated by a statement is more important than the right to potentially disciminate someone while uttering something. The writers who share the first view presented here, that the freedom of speech is more important, are also the ones who support the expression ”I am Charlie”, and the writers who don’t think that the freedom of speech is of more importance than the right to not having to be discriminated, does not support the expression ”I am Charlie”. However, while looking at this study, it’s imoportant that the reader bares in mind that the results from it doesn’t say anythning about anything else apart from the articles studied.