Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 1999-11-08Bitstream added on 2014-06-13T20:07:47Z : No. of bitstreams: 1 guimaraes_lc_me_assis.pdf: 1097312 bytes, checksum: fe734ff53aa716da16667b3bb0ce0d09 (MD5) / Esta pesquisa surgiu da leitura das crônicas do escritor contemporâneo Moacyr Scliar, publicadas no jornal Folha de São Paulo, no período de 16 de março de 1995 a 28 de agosto de 1997. Tem, portanto, como objeto, matérias do gênero crônica, ou seja, narrativas comprometidas com a análise da realidade e voltadas para a reflexão do leitor. Trata-se, assim, de um estudo comparativo que visa a desvelar o processo de recriação paródica nas crônicas de Moacyr Scliar, para expor a forma como o autor trabalha literariamente os fatos veiculados por notícias jornalísticas. Transformadas em crônicas, elas adquirem novas significações e direcionamentos no âmbito da invenção ficcional, provocando efeitos tragicômicos que levam o leitor ao riso reduzido. / Reading the chronicles written by Moacyr Scliar, a contemporary Brazilian writer, brought about this research. Moacyr Scliar's chronicles are published in the paper Folha de São Paulo and we selected the chronicles from March 16, 1995 to August 28, 1997 for analysis. His chronicles present analyses of the complex social reality demanding from the reader some complex processes of reading. Scliar selects news which are far from our common sense, and then he represents them in a fictional world where the tragic and comic effects make the reader chuckle. This work is a comparative study between the news and the chronicles aiming to reveal the parody recreation by Moacyr Scliar's chronicles and how the writer takes the facts from the news to put them into a literary form.

The subject of this work is analyses and interpretation of David Lodge´s campus novels. In the concrete, the diploma paper is focused on sources and elements of comicality, especially humour, satire and parody, in Lodge´s free trilogy Changing Places, Small World and Nice Work. The starting point of this diploma paper is characterisation of the genre of the campus novel, with the inclusion of the social situation in the period of the genesis of this genre, and the short outline of its representatives, with emphasis on the novel of Kingsley Amis Lucky Jim. In the following the work considers the ways of the realisation of comicality in the text and from this basis the practical part derives. The main aim is to point out the ways of usage of comic in Lodge´s campus novels and this purpose is achieved in the analysis of the particular texts.

A l'époque classique, la dérision, entendu comme tout message - délivré par le geste, le dessin, la musique et surtout la parole dont le dessein est de susciter le rire en prenant pour cible quelque chose ou quelqu'un, débordait de toute part l'espace civique athénien. Les lois qui encadraient l'usage de la parole, et donc de la dérision, étaient d'ailleurs assez lâches. Pourtant, pour les esprits du temps, la dérision constituait une offense et pouvait par conséquent semer la haine et la discorde et fragiliser l'équilibre social. La parrhèsia, cette liberté de tout dire que la démocratie athénienne valorisait, n'explique pas seule cette situation paradoxale. Il convient surtout d'invoquer l'importance politique capitale de la dérision. En premier lieu, elle était l'une des modalités principe des affrontements politiques de faible intensité qui flanquaient ce régime de dissensus qu'était la démocratie. En outre, la dérision était un outil critique dont le poète comique se servait pour mettre en exergue les dérèglements et les errements du régime démocratique devant un parterre de citoyens. Elle leur apprenait alors à mieux «habiter» cette démocratie. Dans le même temps la dérision était employée pour rabaisser, sur le plan symbolique, les membres de l'élite confortant en creux la légitimité du peuple être le détenteur du pouvoir. La dérision participait enfin à ce «tissage» de la communauté par lequel les Anciens se représentaient le politique : non seulement elle disposait d'un pouvoir normatif que sa réfraction au sein des institutions civiques décuplait, mais elle était également un moyen de réduire les tensions sociales en les laissant s'exprimer sous une forme temporaire et/ou atténuée. / In classical times, derision, understood as any message-delivered through gesture, through painting, music, and especially through the spoken word- where the purpose was to bring about laughter, taking as its target something or someone, was all over in the Athenian public space. The laws that governed the usage of language, and thus of derision, were at the time quite lax. Even still, for the temperament of the period, derision constituted an offense and could as a consequence fuel the fire of hate and discord, therefore weakening the social balance. Parrhesia, the concept of freedom of speech, that liberty that all of democratic Athens valued, did not by itself explain this paradoxal situation. It served more than anything to invoke the great political importance of derision. To begin with, it was one of the first lines of defense for political confrontations of weak intensity that flanked the regime of dissention that was the democratic politeia. On the other hand, derision was a critical tool, that the comic poet used to pinpoint the dysfunctions and errors of the democracy before an audience of citizens. It taught the people to better partake of their role in that democracy. At the same time, derision was used to belittle, on a symbolic level, the members of the elite and shallowly comfort the legitimacy of the people in their power. Finally, derision participated in the "fabric" of the community: not only as a normative power, with its refraction at the core of civic institutions increased, but equally as a method of reducing social tensions by letting citizens express themselves in an ephemeral and/or muted way.

A tese aborda o humor e o riso na educação, sob duas perspectivas: a primeira, os compreende como objetos da história e da filosofia conforme a tradição ocidental; a outra, na qual o bufão, valendo-se dos dispositivos do riso e da máscara, é o arquétipo que vem dialogar com o professor e acompanhar o processo pedagógico. A tese advoga por um personagem conceitual, de caráter grotesco, para tensionar a lógica dos discursos. A metodologia, embalada pelos matizes de Nietzsche quando desenha um futuro para a Gaia Ciência, potencializada por Bakhtin e a condição coletiva dos enunciados, sustentada entre a tensão da razão estética, de Chantal Maillard, e o riso sagrado, de Georges Bataille, é a da dramatização no interior do pensamento. Esse exercício permite circular por dispositivos nos quais o diálogo do pedagogo com os seus parceiros se mobiliza e abre a guarda que impede a aproximação do contra-senso, no fronteira com a lógica previsível. Desde a tradição helênica até o mundo contemporâneo, o humor e o riso vão ganhando formas de controle e adequação, e aquilo que se presta ao ridículo/risível é cercado por seus limites éticos. A pesquisa permite uma aproximação com narrativas de professores e com registros detalhados de eventos escolares, dando atenção às diferentes definições da ironia, da paródia, da sátira e do grotesco. Os textos históricos e as narrativas contemporâneas formam um panorama que evidencia, para além da manifestação sensível de um estado de ânimo, a necessidade de conhecimento do riso e de suas estratégias de sobrevivência no intervalo dos discursos monológicos ou didáticos. O humor e o riso, nesse contexto, são vistos ora como potentes catalizadores da crítica, ora como artifícios convenientes, tratados como um bálsamo para os acordos e conflitos dentro de uma comunidade. O movimento fundamental, para a dinâmica do diálogo interno entre o professor e seus duplos, se encontra na espiral, que habita o ventre do poder e está no cerne do chapéu de guizos do bufão. / This dissertation discusses humour and laughter in education from two perspectives: the first one focusing them as objects of history and philosophy, in the Western tradition; the second one, where the buffoon, through the devices of laughter and mask, is the archetype that establishes a dialogue with the teacher and follows the pedagogical process. The thesis argues for a conceptual character, with grotesque characteristics, to strain the logic of discourse. The methodology used is dramatization within thought, inspired by Nietzsche’s hues when he designs a future for Gaya Science, potentialized by Bakhtin and the collective condition of enunciations, and balancing upon Chantal Maillard’s tension of the aesthetic reason and the sacred laughter of Georges Bataille. This exercise allows the reinvention of devices where the teacher’s dialogue with his/her humorous partners is mobilized and thus lowers the guard that prevents an approximation with nonsense, on the borders of predictable logic. From the Hellenic traditions to the contemporary world, humour and laughter are given control and adjustment, and the theme or object of ridicule is surrounded by ethical restrictions. The research allows an approximation with teachers’ narratives and detailed records of classroom events focusing on different definitions of irony, parody, satire and the grotesque. Historic texts and contemporary narratives form a panorama that make evident, beyond the sensible manifestation of a state of mind, a need for knowledge about laughter and its survival strategies in the interval of monological or didactic discourses. Humour and laughter, in this context, are seen sometimes as powerful catalysts of criticism, and other times as convenient artifices, used as a balsam for the agreements and conflicts within a community. The fundamental movement for the dynamics of the internal dialogue between the teacher and his/her doubles lies in the spiral that resides in the belly of power and is the core of the buffoon’s cap’n bells.

The essay is a theoretical analysis on genre, based on André Breton's views on black humor. Breton is believed to be the person who is the mind behind the term "black humor", but his views on black humour have not – as far as I’m concerned – been applied in a film-scientific context. There is no cohesive view of the genre concept, as reflected in four selected genre theorists' texts that I selected. Texts that also have been published in various decades. The disposition for my essay is to begin by clarifying the definition of “black humour” by Breton and then highlight the key ideas of Leo Braudy, Thomas Schatz, Rick Altman and David Bordwell. In the end, I will try to interpret the ways in which black humor can be formed as a genre of its own. My conclusion is that there is no clear answer to how black can be formed as its own genre, but on the other hand there are a number of critical perspectives on the genre concept. Together, all theorists demonstrates complex relationships between ideological roots and present-day added significance. In the final discussion, I argue that there is a need to continue studying more about "black humor" by adding additional relevant dimensions and linking them to genre theory.

L’objet de cette étude est de dégager une idée de scène de l’écriture théâtrale de Beckett. L’interrogation est suscitée par la place particulière que semble occuper l’oeuvre dans le champ théâtral, que l’on pense aux dramaticules qui remettent en cause le partage du « théâtre de texte » et de ce que l’on approche plutôt aujourd’hui à travers l’idée de « performance », ou au fait que « le cas Beckett » est souvent convoqué pour exemplifier les rapports difficiles entre texte et mise en scène. On propose de penser que ces singularités sont les symptômes d’une entreprise plus radicale de mise en crise de la catégorie de l’incarnation qui informe implicitement une certaine compréhension du fait théâtral. L’exploration des assises philosophiques du refus beckettien de l’incarnation, et l’étude de la manière dont la poétique dramatique de l’écrivain met en volume, à divers niveaux, un conflit entre « la vie » et « l’abstrait », là où l’art théâtral est habituellement décrit comme reposant sur leur fusion, permettront de dégager, au croisement du théâtre et de la philosophie, des motifs théoriques qui travaillent en profondeur la conception traditionnelle de la scène, et de dessiner une autre idée, beckettienne, de scène. Qualifier l’apparition scénique des pièces de l’écrivain sera donc, simultanément, l’occasion d’envisager l’écriture théâtrale en d’autres termes, et notamment loin de l’opposition du texte et de la scène. / This work aims to define an idea of the stage through the study of Beckett’s dramatic texts. Our line of enquiry arises from the unusual position of his works within the theatrical field : whether one calls to mind the short plays which do not fit the division into « text-based theatre » and what is more commonly approached today through notions of « performance », or the fact that « the case of Beckett » is often evoked to exemplify the problematic relations that can exist between text and stage direction. We put forward the hypothesis that these particularities are the symptoms of the way Beckett’s plays undertake more radically to jeopardise the categories of incarnation and embodiment on which a certain understanding of theatre is grounded. Exploring the philosophical bases of Beckett’s refusal of incarnation/embodiment, and studying the way his poetics on various levels acts so as to throw into relief a conflict between « the living » and « the abstract », when dramatic art is usually described as their fusion, allows us to shed light on theoretical patterns shaping the traditional conception of the theatre, and to put forward another idea, a Beckettian idea, of the stage. Describing the way his plays conceive of scenic apparition will then also be a way to think of writing for the theatre in other terms, ones far removed from the opposition of text and stage.

Esta pesquisa busca referências que especifiquem o Humor Gráfico como uma das formas com que se constrói o discurso jornalístico. Desenvolve a questão a partir do uso da imagem pelo homem desde a pré-história, ao definir os sinais e elaborar suas significações O fio condutor do trabalho sustenta que a imagem é detentora de linguagem própria e que cada ser humano possui mecanismos inatos para assimilar seu discurso não-verbal. O trabalho trata em sua parte final da configuração da imagem no mundo contemporâneo como uma linguagem já inserida no meio informativo, porém não reconhecida. / This research looks for references that specify the Graphic Humour as one of the ways with which the journalistic discourse is built. The issue is developed from the study of the use of the image since prehistory, when the man making forms into signs and elaborating their significances. The common thread of this work comes when sustaining that the image has its own language and that every human being possesses innate mechanisms to assimilate the no-verbal discourse of the images. At the final part, the work treats of the configuration of the image in the contemporary world as language already inserted in the informative discourse, but not yet recognized.

A tese aborda o humor e o riso na educação, sob duas perspectivas: a primeira, os compreende como objetos da história e da filosofia conforme a tradição ocidental; a outra, na qual o bufão, valendo-se dos dispositivos do riso e da máscara, é o arquétipo que vem dialogar com o professor e acompanhar o processo pedagógico. A tese advoga por um personagem conceitual, de caráter grotesco, para tensionar a lógica dos discursos. A metodologia, embalada pelos matizes de Nietzsche quando desenha um futuro para a Gaia Ciência, potencializada por Bakhtin e a condição coletiva dos enunciados, sustentada entre a tensão da razão estética, de Chantal Maillard, e o riso sagrado, de Georges Bataille, é a da dramatização no interior do pensamento. Esse exercício permite circular por dispositivos nos quais o diálogo do pedagogo com os seus parceiros se mobiliza e abre a guarda que impede a aproximação do contra-senso, no fronteira com a lógica previsível. Desde a tradição helênica até o mundo contemporâneo, o humor e o riso vão ganhando formas de controle e adequação, e aquilo que se presta ao ridículo/risível é cercado por seus limites éticos. A pesquisa permite uma aproximação com narrativas de professores e com registros detalhados de eventos escolares, dando atenção às diferentes definições da ironia, da paródia, da sátira e do grotesco. Os textos históricos e as narrativas contemporâneas formam um panorama que evidencia, para além da manifestação sensível de um estado de ânimo, a necessidade de conhecimento do riso e de suas estratégias de sobrevivência no intervalo dos discursos monológicos ou didáticos. O humor e o riso, nesse contexto, são vistos ora como potentes catalizadores da crítica, ora como artifícios convenientes, tratados como um bálsamo para os acordos e conflitos dentro de uma comunidade. O movimento fundamental, para a dinâmica do diálogo interno entre o professor e seus duplos, se encontra na espiral, que habita o ventre do poder e está no cerne do chapéu de guizos do bufão. / This dissertation discusses humour and laughter in education from two perspectives: the first one focusing them as objects of history and philosophy, in the Western tradition; the second one, where the buffoon, through the devices of laughter and mask, is the archetype that establishes a dialogue with the teacher and follows the pedagogical process. The thesis argues for a conceptual character, with grotesque characteristics, to strain the logic of discourse. The methodology used is dramatization within thought, inspired by Nietzsche’s hues when he designs a future for Gaya Science, potentialized by Bakhtin and the collective condition of enunciations, and balancing upon Chantal Maillard’s tension of the aesthetic reason and the sacred laughter of Georges Bataille. This exercise allows the reinvention of devices where the teacher’s dialogue with his/her humorous partners is mobilized and thus lowers the guard that prevents an approximation with nonsense, on the borders of predictable logic. From the Hellenic traditions to the contemporary world, humour and laughter are given control and adjustment, and the theme or object of ridicule is surrounded by ethical restrictions. The research allows an approximation with teachers’ narratives and detailed records of classroom events focusing on different definitions of irony, parody, satire and the grotesque. Historic texts and contemporary narratives form a panorama that make evident, beyond the sensible manifestation of a state of mind, a need for knowledge about laughter and its survival strategies in the interval of monological or didactic discourses. Humour and laughter, in this context, are seen sometimes as powerful catalysts of criticism, and other times as convenient artifices, used as a balsam for the agreements and conflicts within a community. The fundamental movement for the dynamics of the internal dialogue between the teacher and his/her doubles lies in the spiral that resides in the belly of power and is the core of the buffoon’s cap’n bells.

Esta tese visa a esmiudar, a partir de uma abordagem marcadamente intratextual, a questão do humor e da alegria em Tutaméia: terceiras estórias de Guimarães Rosa. No primeiro capítulo, apresentam-se considerações mais teóricas e gerais sobre o tema, que aparece, em Rosa, matizado pelas sombras da angústia, da dormência, do trágico; ambos, alegria e humor, espontam de uma hermenêutica inteiramente varada pela consciência do absurdo. No segundo capítulo, discute-se a relação entranhada da própria forma lacunar da obra com esse espírito intransparente, ao mesmo tempo melancólico e venturoso, que a constitui. No último capítulo, interpreta-se o prefácio Aletria e hermenêutica, esquadrinhando os artifícios de composição de parte de suas anedotas, e trazendo à luz a fabulação paradoxal, chistosa e sublime do texto. / This thesis aims to go through, from a markedly intratextual approach, the matter of humour and joy in Tutaméia: third stories by Guimarães Rosa. In the first chapter, rather theoretical and general considerations are presented on the theme that appears, in Rosa, tinted by the shadows of anguish, of dormancy, of the tragic; both, joy and humour altogether, emerging from a hermeneutic which is entirely transpassed by the awareness of the absurd. In the second chapter, is discussed the deeply rooted relationship of the lacunal form itself of this Rosas work with the opaque spirit that constitutes it, melancholic and blissful at the same time. In the last chapter, the preface Aletria and hermeneutics is interpreted, scrutinizing the composition artifices of part of its anecdotes, and bringing some light to the texts paradoxical fabulation, witty and sublime.

Essa dissertação tem como objetivo analisar os contos da escritora Dorothy Parker em diálogo com seus poemas, tendo em vista a modernidade com a qual construiu suas histórias e o papel do humor em sua criação. Ao analisar as obras dessa autora de grande destaque nos Estados Unidos da América do Norte, nos anos 1930, veremos como o humor se transforma numa importante ferramenta que se relaciona com a construção do feminino e com a questão social da mulher, a fim de desestabilizar e transformar o status quo. O estudo, com o apoio teórico de Vladimir Propp e de Henri Bergson, intenciona demonstrar que, embora Dorothy Parker possa ser considerada uma escritora datada, seu senso satírico continua atual e reflete claramente o contexto no qual as mulheres estavam inseridas. / The aim of this study is to analyse Dorothy Parker´s short stories in dialogue with her poems in order to show the modernity of her writings and the function played by humour. Analysing the works of the great american writer in the thirties, we see how humour is used as a tool in the construction of the feminine and the social role of women, with the purpose of destabilizing and making a change in the status quo. The theoretical framework based on Vladimir Propp and Henri Bergson helps to demonstrate that in spite of Dorothy Parker´s work being considered dated by some, the satiric sense that emerges from her writings is still present in our times and reveals the context in which those women were inserted.