Cette recherche a pour objet l’étude de la production humoristique et l’appréciation de celle-ci chez les enfants. Pour ce faire, nous avons trois objectifs distincts. En premier lieu observer si l’âge des enfants a un impact sur leur production d’histoires drôles, par la mise en oeuvre d’un protocole permettant la création de productions humoristiques en situation non-naturelle. En second lieu tenter de déterminer ce qui distingue une « histoire drôle », d’une « histoire neutre », en faisant raconter deux types d’histoires à chaque enfant. Et enfin d’observer l’appréciation du caractère humoristique des histoires par des enfants chargés de juger les productions des camarades du même âge. Les résultats portent sur l’analyse des histoires inventées par 69 enfants de 4, 6 et 8 ans séparés en trois groupes d’âges et sur les éléments humoristiques relevés par les enfants eux-mêmes. L’appréciation est évaluée par trois groupes d’enfants-juges composés de trois enfants du même âge que les enfants-auteurs. Les résultats révèlent un impact de l’âge sur la complexification des histoires et sur la diversité des éléments humoristiques relevés en faveur des enfants les plus âgés. La distinction entre les histoires neutres et les histoires humoristiques est mise en évidence par la présence et le nombre d’incongruités relevés dans les récits, on trouve un plus grand nombre d’incongruités dans les histoires humoristiques que dans les histoires neutres, et ce pour les enfants de 4, 6 et 8 ans. Enfin, les histoires humoristiques sont davantage cotées comme drôles par les enfants-juges que les histoires neutres, les histoires drôles sont appréciées par les enfants du même âge que les enfants auteurs. / This study concentrates on the analysis of the production of humoristic stories and how children understand it and respond to it. In order to do so, we have three distinct goals. First, we need to observe whether or not the age of the children has an impact on their production of humoristic stories by implementing a protocol which will allow the creation of humoristic tales outside a natural context. Then, we will attempt to determine what characteristics distinguish a “funny” story from a “neutral” one by making the children tell a story of each kind. Furthermore we will observe attentively the reaction of children charged to judge stories told by children of the same age. The results concentrate on the analysis of the stories created by 69 children aged of 4, 6 and 8 years old divided in three groups according to their age. The results are also about the humoristic elements pointed out by the children themselves. The appreciation is evaluated by three groups of children-judge made of three children of the same age as the children-authors. The results show an impact of the age on the level of complexity of the stories and on the diversity of humoristic elements in favour of the older children. The distinction between neutral and funny stories is emphasized by the presence and the number of incongruities noticed in the tales. We can find a larger amount of incongruity in the humoristic stories than in the neutral ones. This is true for the tales of all the children, whether they are 4, 6 or 8 years old. Finally, the humoristic stories are more often judged as funny by the children-judges in comparison to the neutral stories. Also, the humoristic tales are usually appreciated by the children having the same age as the children-authors.

Made available in DSpace on 2014-06-11T19:26:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-03-03Bitstream added on 2014-06-13T19:13:41Z : No. of bitstreams: 1 buzalaf_mn_dr_assis.pdf: 10244985 bytes, checksum: f2e514d8dcddb78c8997a8dfa628a1d7 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O período de censura militar sobre o Pasquim, entre seu lançamento, em 1969, até 1975, evidencia aspectos sobre a capacidade de produção intelectual no campo da imprensa alternativa passíveis de uma análise mais acurada. A formação de uma geração em torno do jornal, e em nome dele, ajudou a manutenção e a continuidade do semanário, mesmo com as diferentes formas de tentar acabar com sua circulação. Através de uma linha editorial humorística de representação do cotidiano daqueles anos, o Pasquim passou por três fases de censura durante o período: uma censura circunstancial, que coexiste com o início do jornal; uma censura prévia, feita por militares cariocas que censuravam o material jornalístico próximos aos redatores; e uma censura centralizada em Brasília, que visou prejudicar o processo de produção do jornal. Nesta tese, o Pasquim torna-se fonte e objeto de pesquisa. As trezentas primeiras capas representam o semanário como um todo: a geração que alimentava suas páginas e seu processo de produção; as entrevistas diferentes em formato, conteúdo e linguagem; as frases-editoriais, que definiam o jornal semanalmente; e as ilustrações, principalmente do ratinho-mascote, Sig. O discurso subjetivo, coloquial e humorístico do Pasquim, aliado aos documentos do governo Ernesto Geisel e reportagens da imprensa internacional sobre a censura ao jornal, evidenciam o jogo de ação e reação que se estabeleceu naqueles anos. Censurado desde seu início, o Pasquim persiste e resiste às pressões militares, evidenciando, em seu estilo e linguagem, os elementos de integração entre os novos grupos culturais ligados à geração de 60, e os elementos de repressão das variadas formas de censura ao semanário. / The period of time military censorship over Pasquim, between its launch, in 1969, until 1975, highlights aspects about the intellectual production capacity on the alternative press field that are liable to an accurate analysis. The development of a generation around the newspaper, and after its name, helped the maintenance and the continuity of the weekly publication, besides the different forms of mining its circulation. Using a humoristic editorial guidance of representing the quotidian of those years, Pasquim overcame three phases of censorship during the period: a circumstantial censorship, that coexists with the beginning of the newspaper; a prior censorship, executed by militaries in Rio de Janeiro that censored the journalistic material close to the editorial staff; and a censorship centralized in Brasília, which aimed to damaged the newspaper production process. In this thesis, Pasquim becomes the source and the object of research. The first three hundred covers represent the weekly publication in its totality: the generation that feeded its pages and its production process; the innovative in format, content and language; the editorial sentences that defined the newspaper every week; and the illustrations, especially of Sig, the mascot mouse. The subjective, colloquial and humoristic discourse, allied to Ernesto Geisel´s government documents and articles from the international press about the censorship over the newspaper, evidences the action and reaction dynamics established in those years. Censored from its beginning, Pasquim insists and resists the military pressures, evidencing, in its style and speech, the integrational elements among the new cultural groups connected to the 60´s generation and the repression elements of the different forms of censorship over the weekly newspaper.

Orientador: Zélia Lopes da Silva / Banca: Maximiliano Martin Vicente / Banca: Sérgio Augusto Queiroz Norte / Banca: Rozinaldo Antonio Miani / Banca: Laura Antunes Maciel / Resumo: O período de censura militar sobre o Pasquim, entre seu lançamento, em 1969, até 1975, evidencia aspectos sobre a capacidade de produção intelectual no campo da imprensa alternativa passíveis de uma análise mais acurada. A formação de uma geração em torno do jornal, e em nome dele, ajudou a manutenção e a continuidade do semanário, mesmo com as diferentes formas de tentar acabar com sua circulação. Através de uma linha editorial humorística de representação do cotidiano daqueles anos, o Pasquim passou por três fases de censura durante o período: uma censura circunstancial, que coexiste com o início do jornal; uma censura prévia, feita por militares cariocas que censuravam o material jornalístico próximos aos redatores; e uma censura centralizada em Brasília, que visou prejudicar o processo de produção do jornal. Nesta tese, o Pasquim torna-se fonte e objeto de pesquisa. As trezentas primeiras capas representam o semanário como um todo: a geração que alimentava suas páginas e seu processo de produção; as entrevistas diferentes em formato, conteúdo e linguagem; as frases-editoriais, que definiam o jornal semanalmente; e as ilustrações, principalmente do ratinho-mascote, Sig. O discurso subjetivo, coloquial e humorístico do Pasquim, aliado aos documentos do governo Ernesto Geisel e reportagens da imprensa internacional sobre a censura ao jornal, evidenciam o jogo de ação e reação que se estabeleceu naqueles anos. Censurado desde seu início, o Pasquim persiste e resiste às pressões militares, evidenciando, em seu estilo e linguagem, os elementos de integração entre os novos grupos culturais ligados à geração de 60, e os elementos de repressão das variadas formas de censura ao semanário. / Abstract: The period of time military censorship over Pasquim, between its launch, in 1969, until 1975, highlights aspects about the intellectual production capacity on the alternative press field that are liable to an accurate analysis. The development of a generation around the newspaper, and after its name, helped the maintenance and the continuity of the weekly publication, besides the different forms of mining its circulation. Using a humoristic editorial guidance of representing the quotidian of those years, Pasquim overcame three phases of censorship during the period: a circumstantial censorship, that coexists with the beginning of the newspaper; a prior censorship, executed by militaries in Rio de Janeiro that censored the journalistic material close to the editorial staff; and a censorship centralized in Brasília, which aimed to damaged the newspaper production process. In this thesis, Pasquim becomes the source and the object of research. The first three hundred covers represent the weekly publication in its totality: the generation that feeded its pages and its production process; the innovative in format, content and language; the editorial sentences that defined the newspaper every week; and the illustrations, especially of Sig, the mascot mouse. The subjective, colloquial and humoristic discourse, allied to Ernesto Geisel's government documents and articles from the international press about the censorship over the newspaper, evidences the action and reaction dynamics established in those years. Censored from its beginning, Pasquim insists and resists the military pressures, evidencing, in its style and speech, the integrational elements among the new cultural groups connected to the 60's generation and the repression elements of the different forms of censorship over the weekly newspaper. / Doutor

Text in Afrikaans / Loosit is a pastoral care model which may be applied to primary school children in South Africa and the use thereof is explored in this research project. Loosit consists of a series of plays as well as a discipleship program. These plays, humoristic yet contextually relevant to children, are done on a set resembling school toilets. Children are encouraged to write to the leading character, Uncle Jani Tor, and to post the letters in the `toilet` post box. Themes focused on in this project are problems with friends, social pressure, problems in the family and death. There is a specific focus on the ethics of Loosit as a model of pastoral care applicable to children. / Practical Theology / M. Th. (Practical Theology)

Text in Afrikaans / Loosit is a pastoral care model which may be applied to primary school children in South Africa and the use thereof is explored in this research project. Loosit consists of a series of plays as well as a discipleship program. These plays, humoristic yet contextually relevant to children, are done on a set resembling school toilets. Children are encouraged to write to the leading character, Uncle Jani Tor, and to post the letters in the `toilet` post box. Themes focused on in this project are problems with friends, social pressure, problems in the family and death. There is a specific focus on the ethics of Loosit as a model of pastoral care applicable to children. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology)

L’humour constitue l’objet d’étude de cette recherche qui a pour support Le Messager Popoli (LMP), presse satirique camerounaise. L’objectif principal est de démontrer qu’au-delà de ses fonctions ludique, marketing, critique et de démarcation médiatique, l’humour est révélateur de l’identité linguistique camerounaise. En postulant que le jeu dans LMP repose sur le code langagier, l’humour y est étudié sous l’angle de l’incongruité linguistique, autrement dit, sous le rapport de la rupture de la norme linguistique du fait de la distance interlinguistique entre le français standard et le français tel qu’il est employé dans ce journal. Ce travail met en exergue les mécanismes de l’humour et dégage leur fonctionnement. Il présente l’humour de LMP comme étant le produit d’une construction sémiologique qui puise ses arômes savoureux dans l’environnement linguistique de son contexte de gestation et dans la fertilité créatrice de ses rédacteurs. Il tente aussi, par le biais de l’humour, de saisir la dynamique du français camerounais et, à travers lui, la société camerounaise. La présente recherche ne néglige pas l’aspect du non verbal (iconique) qu’elle présente comme complémentaire du message verbal, mais surtout comme la photographie-identitaire de la société que l’iconique donne en représentation. Ce qui justifie de l’approche sémiolinguistique choisie. / The humor is the object of study of this research was to stand Le Messager Popoli (LMP), Cameroonian satirical press. The main objective is to demonstrate that beyond its fun features, marketing, media criticism and demarcation of humor is indicative of the Cameroonian linguistic identity. Assuming that the game in LMP is based on language code, the humor is studied in terms of linguistic incongruity, that means in the report of the out of the language standard because of the distance between the French interlingual standard and French as used in this paper. This work highlights the mechanisms of humor and releases their operation. It has humor LMP as the product of a semiotic construction draws its tasty flavors in the local context of pregnancy and in the creative fertility of its editors. It also attempts, through humor, to grasp the dynamics of French Cameroon, and through him, the Cameroonian society. This research does not neglect the aspect of non-verbal (iconic) presents it as complementary to the verbal message, but especially as photography-identity of the company that gives the iconic representation. It is what justifies the semiolinguistic chosen approach.