L’œuvre littéraire de Boris Vian interpelle par la diversité des émotions qu’elle suscite. Elle est pourtant restée longtemps méconnue, masquée par les talents protéiformes de son auteur. Boris Vian, dont la majorité des textes ont été publiés à titre posthume, fut perçu comme un touche-à-tout avant d’être véritablement reconnu comme écrivain, pour finalement entrer dans l’édition de la Pléiade en 2010, cinquante et un an après sa mort. Le premier réflexe est de faire appel à la notion de fantaisie pour analyser son œuvre. Le monde fictionnel qu’il crée est un univers fantaisiste où triomphent imaginaire et inventivité. Pourtant, des univers contradictoires s’entremêlent : féerie et cruauté, légèreté et inquiétude, désinvolture et gravité, imaginaire et réalité. En nous appuyant uniquement sur les textes de fiction en prose (romans, nouvelles et pièces de théâtre), nous nous sommes donc interrogés sur la légitimité de la notion de fantaisie. Son évidence apparente résiste-t-elle à un examen plus poussé ? Ce questionnement nous a conduits à élaborer la notion de « fantaisie noire ». Tantôt féerique, invraisemblable, langagière, comique ou parodique, la fantaisie se heurte à l’intériorité des personnages et à un sentiment d’inquiétude qui contamine les êtres et les choses. La fantaisie cède le pas à la noirceur d’un monde étouffant où le fantasme se révèle dans toute sa puissance. Le retour à la fantaisie n’est alors possible que par des effets de distanciation comiques et une inventivité langagière qui contribue à laisser l’œuvre ouverte. / Boris Vian's literary work calls to mind by the feelings it arouses. For a long time it nevertheless remained unknown concealed by its author's protean talents. Boris Vian, whose texts were mostly published posthumously, wasn't at the beginning seen as a writer to finally get in the Pléiade in 2010, 51 years after his death. To analyse his work it appears natural to consider the idea of fantasy. The fictional world he created remains a fantasist one where imagination and inventiveness prevail. Yet, opposing worlds get mixed up: fairy and cruelty, casualness and anxiety, indifference and seriousness, fantasy and reality. Considering only the fictional texts in prose (novels, short stories and plays) we questionned the legitimity of the fantasy notion. Does its obviousness withstand a further analysis? This questioning drove us to the idea of 'fantaisie noire'. Sometimes magical, incredible, linguistic, comical or parodic, the fantasy collides with the inwardness of the characters and with an anxiety that contaminates both beings and objects. The fantasy defers to an oppresive world where the dream reveals itself in all its power. The come back to fantasy is then only possible by comical detachments and a linguistic inventiveness that contributes to let the work opened.

This Master's thesis analyzes Three Men in a Boat, a famous work by a British author Jerome Klapka Jerome. It is a very popular humorous novel published in 1889 which rightly belongs to the classics of British humour and is still attracting new readers today. The novel has been translated into dozens of languages including Chinese. The thesis is based on comparing the original work to its modern Chinese translation produced by Wang Bi, the analysis is conducted in the direction from English to Chinese. For reference, it also uses the Czech translation by J. Novák. Methodologically, the thesis builds on structuralist terminology created by the Czech translation theorist Jiří Levý. For text analysis, it utilizes an influential theoretical concept invented by the German translation scholar Christiane Nord. It also takes into account specialized studies on humour literature and the problems of its translation. The thesis attempts to define British humour and characterize the author's devices to achieve comic effect. It thoroughly decribes the strategies chosen for translating some of the individual literary devices (e.g. hyperbole, irony, understatement or personification) into Chinese. The complex analysis presents specific examples of translating verbal, cultural and situational humour. It also...

<p>Predmet istraživanja je utvrđivanje efikasnosti kori&scaron;ćenja britanskih humorističkih serija u nastavi engleskog kao stranog jezika, radi usavr&scaron;avanja britanskog izgovora učenika osnovno&scaron;kolskog uzrasta. Cilj ove disertacije je sticanje naučnog saznanja o efikasnosti primene britanskih humorističkih serija u nastavi engleskog kao stranog jezika, prevashodno saznanja o mogućnostima usavr&scaron;avanja izgovora onih engleskih fonema kojih nema u fonolo&scaron;kom sistemu srpskog jezika, kao i fonema koje su karakteristične za izgovorne razlike između britanske i američke varijante engleskog jezika</p> / <p>The object of this research is to determine the efficiency of the use of British sitcoms in teaching English as a foreign language, in order to improve the British English pronunciation of primary school students. The aim of this thesis is to acquire scientific knowledge about the effectiveness of the implementation of British sitcoms in teaching English as a foreign language, primarily the knowledge about the potentials of improving the pronunciation of those English phonemes that are not in the phonological system of the Serbian language and those phonemes that represent the pronunciation differences between British and American varieties of the English language.</p>

La recherche entreprise est une étude des œuvres romanesques de Luigi Pirandello, étude dont le fil conducteur est le rapport inextricable d’ordre et de désordre. Prisonniers d’une forme, les personnages pirandelliens tentent de se libérer à travers un questionnement existentiel sans fin qui leur fait prendre conscience des limites de leur être, mais aussi de leur difficulté à communiquer. Confrontés au regard de l’ « Autre », ils apparaissent toujours porteurs d’un masque, ce qui leur dénie toute identité stable et définitive. Et il n’est pas étonnant, dans ces conditions, que chaque personnage soit tout à la fois « un, personne et cent mille ». D’où le relativisme de Pirandello et sa théorie de l’humorisme qui vise à montrer les choses dans leur profondeur et leur abyssale complexité. En effet, pour Pirandello la réalité est multiple et changeante en fonction des points de vue. De plus, elle est souvent le résultat d’une série de hasards qui la mettent à l’épreuve du chaos, ce qui induit, chez les personnages, doute, incertitude et mal-être. C’est pourquoi leur quête de vérité et d’authenticité sera toujours infinie, sans cesse renouvelée. Entre désir de fuite et retours en arrière, leur vie sera – quelle qu’en soit la forme – illusoire. Tout au plus une fiction. / The research undertaken here is a study of Pirandello’s novels ; a study with the inextricable relationship between order and disorder as a main theme. Imprisoned in their form, Pirandello’s characters attempt to free themselves through an endless existential questioning which makes them aware of their limitations as beings, and their difficulties to communicate. Confronted to the eyes of “others”, they always appear with a mask on, which denies them any stable and clear-cut identity. As a consequence it is not surprising that each character is at once “one, nobody and a hundred thousand”. This explains Pirandello’s relativism and his theory of humour which aims at showing things in depth and in their abyssal complexity. Indeed, in Pirandello’s view, reality is multiple changing depending on the points of view; Moreover, it is often a series of chances which puts it to the test of chaos, which entails doubt, uncertainty and discomfort on the characters. That is why their quest of truth and authenticity will always be infinite, continually renewed between the will to escape and backwards looks to the past, their lives –whatever their forms – will be illusory- a fiction at the most.

This thesis offers the first critical examination of the sound of laughter in Romantic poetry. Part one locates laughter in the history of ideas of the seventeenth and eighteenth centuries, and explores the interplay between laughter and key intellectual, aesthetic, ethical, and social issues in the Romantic period. I chart a development in thinking about laughter from its primary association with ridicule and the passions up to the early decades of the eighteenth century, to its emerging symbiosis with politeness and aesthetic judgement, before a reassertion of laughter's signification of passion and naturalness by the end of the eighteenth century. Laughter provides an innovative means of mapping cultural markers, and I argue that it highlights shifts in standards and questions of taste. Informed by this analysis, part two offers a series of historically aware close readings of Romantic poetry that identify both an indebtedness to, and refutation of, earlier and contemporaneous ideas about laughter. Rather than having humour or comedy as its central concerns, this thesis identifies the pervasive and capricious influence of the sound of the laugh in the writing of Robert Burns, William Blake, William Wordsworth, Samuel Taylor Coleridge, Leigh Hunt, Lord Byron, Percy Shelley, and John Keats. I detect the heterogeneous representations of laughter in their work that runs across a diverse range of genres, poetic forms, themes, and contexts. As such, I argue against the serious versus the humorous binary which prevails in literary criticism of Romanticism, and suggest that laughter articulates the interplay between the elegiac and the comic, the sublime and the ridiculous, the solitary and the communal. Moreover, I detect a double-naturedness to the sound of laughter in Romantic poetry that registers the subject's capacity to signify both consensus and dispute. This inherent polarity creates a tension in the poems as laughter ironically challenges what it also affirms. Never singularly fixed, the sound of laughter reveals the protean nature of Romantic verse.

Alice au pays des merveilles et Nietzsche n'ont en commun ni la dentelle ni la chanson. Quelque chose de beaucoup plus fort les unit toutefois; nous le découvrirons peut-être ce jour où voleront les cochons. Ou à la fin de cette pièce, selon le bon vouloir des principaux-ales intéressé-e-s. Pendant ce temps, du fin fond de leur enclos, ils et elles n'en peuvent plus d'attendre. Leur salut ? L'heure du glas ? Leur heure de gloire ? Grands incapables, pugilistes décadents qui se tuent à ne pas se tuer, se déchaînent dans le verbiage, s'érigeant malgré eux contre toute forme de verve. Combattre cet Autre qui s'immisce insidieusement en soi et qui conduit à la perte du moi. C'est dans une folle lucidité que les égos se dérangent sans échanger, s'attaquent sans s'atteindre, hurlent sans être entendus, dans l'espoir, peut-être, de se réveiller in the land of Nod. Comme l’indique le titre, Chroniques de maux (de l’extrême ordinaire) met en scène une suite de chroniques dans lesquelles les principaux-ales intéressé-e-s témoignent de leur mal-être, et ce, à travers l’exploration de lieux communs. La dramaturgie tente, entre autres, de mettre en place une poésie de l’invective et de l’humour; une esthétique du trash-talking et de la logorrhée. Une importance particulière est accordée au rythme et au langage. L’atmosphère alterne résolument lourdeur et ludisme. La pièce Rouge Gueule, d'Étienne Lepage, présente une mécanique visant manifestement à « attaquer » l'Autre, qu’il s’agisse d’un personnage ou du lecteur-spectateur. Les attaques se perpètrent d'une part par un humour cru, influencé par la culture populaire, le trivial; un humour qui fonctionne de manière plutôt classique en convoquant des procédés aisément repérables et sans cesse réutilisés par l'auteur. D’autre part, la mécanique de « combat » se manifeste par l'invective, ainsi que par une violence caractérisée, du début à la fin, par un manque dans la motivation des actions. Ainsi, l’étude Attaques à vide. Bousculer la situation théâtrale au confluent de l’humour et la violence s’intéresse à Rouge Gueule, aux relations qu'entretiennent l’humour et l'univers brutal de la pièce, dans la perspective où l’humour est inextricablement lié à la violence. Une attention particulière est portée sur le personnage type de Lepage de même que sur l’esthétique de « l'arsenal » trash. Cette dernière est analysée afin de mieux circonscrire les attaques : sont-elles des moyens, et le cas échéant, pour parvenir à quelle fin puisque la fable, et donc la « quête », dans le théâtre contemporain est souvent remise en question. Cette étude verra comment les attaques « à vide », sont, chez Lepage, la force motrice de ce que Hans-Thies Lehmann nomme la « situation théâtrale ». / Alice in wonderland and Nietzsche have in common neither the lace nor the song. However, something much stronger unites them; we shall discover it maybe this day when pigs will fly, or at the end of this play, according to the goodwill of the characters within. Meanwhile, by the very depths of their enclosure, they can’t wait anymore. For what ? Their salute ? The hour of the knell? Their hour of glory? Tremendous incapables, decadent pugilists who kill themselves trying not to kill themselves, who burst out in verbosity, setting themselves up in spite of themselves against eloquence. Fighting this Other who interferes insidiously in itself and who drives to the loss of the me. It is in a crazy lucidity that egos disturb each other without exchanging, attack without reaching, roar without being heard, in the hope, maybe, of waking up in the land of Nod. As indicated in the title, Chroniques de maux (de l’extrême ordinaire) stages a series of chronicles among which the characters are testifying their ill-being. The language and the situation of utterance of this play without acts, falls within resolutely "poetic-trash" esthetics, and the atmosphere aims to alternate heaviness with playfulness. Rouge Gueule, by Étienne Lepage, presents a structure aiming obviously at "attacking" the Other, whether it is about a character or about a reader-spectator. Attacks commited on the one hand by raw humor, influenced by the popular culture, the trivial; a humor which works in a rather classic way by using processes easily identifiable and ceaselessly reused by the author. On the other hand, the structural design of "fight" shows itself by the invective, as well as by the violence characterized, from the beginning to the end, by a lack in the motivation of the actions. So, this study, Attaques à vide. Bousculer la situation théâtrale au confluent de l’humour et la violence, looks into Rouge Gueule, by being interested in the relations that maintain the humor and the brutal universe of the play, in the perspective where the humor is inextricably connected to the violence. A particular attention is dedicated to the typical character of Lepage as well as the esthetics of the trash "arsenal". The latter is analyzed to better circumscribe the attacks: are they the means, and, if so, to what end considering that the fable, and thus the "quest", in contemporary theater is often questioned. This study will see how, in Lepage’s play, the "vacant" attacks are the driving strength of what Hans-Thies Lehmann appoints the "theatrical situation".

The purpose of this diploma thesis is to show insufficiencies and mistakes in three post- war translations (by Božena Šimková, Eva Kondrysová and Eva Ruxová) of Jane Austen's Pride and Prejudice. The thesis focuses on the translations and reception of Jane Austen's work, analysis of the first sentence of the whole novel (which is crucial for its understanding) and the issue of the translation of propria, toponyms, cultural facts, humour and irony, adaptation of social roles names, phraseology. The main part of the bachelor thesis is comparison of the translations of British cultural facts of the 18th and 19th century, the forms of expressing humour and irony and translation of chosen phraseologisms or idioms. Their misinterpretation could cause severe misunderstanding.

Cette recherche tente de montrer comment la lodyans (en créole) ou « l'audience » (en français) est un genre littéraire typiquement haïtien. La lodyans peut être décrite comme l'art de raconter des histoires. Elle commence avec cette définition donnée par Georges Anglade : « La lodyans est un genre littéraire spécifiquement haïtien dont les racines plongent au plus profond de la culture haïtienne, au même niveau que la langue créole d'Haïti et le vodou haïtien. La personne qui raconte la lodyans ou les histoires est appelée un lodyanseur ». De 1905 jusqu'à nos jours, de nombreux écrivains haïtiens se sont servis de la lodyans comme d'un arrière-plan pour leurs œuvres littéraires. Parmi eux, on peut citer Justin Lhérisson, Fernand Hibbert, Maurice Sixto, et Gary Victor. Ce groupe comprend aussi Georges Anglade, le premier à avoir écrit une théorie du genre ; René Depestre, Frank Etienne et Dany Laferrière, sans être des lodyanseurs, ont été très influencés par le style de ceux qui se sont reconnus comme tels. En nous appuyant sur l'œuvre de ces lodyanseurs, et sur la critique de Mikhaïl Bakhtine, nous souhaitons prouver que la lodyans est un genre classique, même lorsqu'il frôle le grotesque. / This study will seek to explore lodyans (in Creole) or « l’audience » (in French) as a Haitian literary genre. Lodyans can be described as the art of telling stories. Hughes St. Fort in his review of Haitian Laughter written by Georges Anglade (2006), cites the writer who describes it as follows: ‘‘The lodyans is a uniquely Haitian literary genre whose roots are found in the deepest soil of Haitian culture, at the same level as Haitian Creole language and Haitian vodou. The person who tells the lodyans or stories is known as a lodyanseur’’. From the 1905 to present, many Haitian writers have been used loydyans as a background for their literary works. Among them we cite the following: Justin Lhérisson, Fernand Hibbert, Maurice Sixto, and Gary Victor. This group also includes Georges Anglade, the first to write a theory of the genre; René Depestre, Frankétienne and Dany Laferrière who are not lodyanseurs, but are very influenced by the writing style of those known as such. Based on the works of these lodyanseurs, and the critique of Mikhail Bakhtin, we wish to prove that lodyans is a classical genre even when it borders on the grotesque.

Entender a multiplicação das faces e funções do humor na prosa de Antônio Lobo Antunes é o objetivo desta tese. Frente à vasta obra, o foco da análise foi dirigido para a Trilogia sobre o poder. Agrupados pela temática e sem prejuízo da feição individual de cada romance, o trio, O Manual dos Inquisidores, O Esplendor de Portugal e Exortação aos Crocodilos, tece painel sobre a violência e o medo que se instauraram em Portugal e suas colônias de África no período pré e pós- Revolução dos Cravos com enredos aparentemente incompatíveis com o processo da comicidade, do humor e do riso. Sem explicitar apenas os recursos técnicos e o fazer artesanal do texto antuneano, estudou-se a tessitura estilística da comicidade para entender os mecanismos e elementos que imprimem representatividade cômica ao texto de Lobo Antunes. Mesmo que Bergson, Propp, Bakhtin, Kyser tenham contribuído com a base teórica de produção do cômico, são as teorias de Freud sobre humor e chiste que melhor abarcam a prosa de Antunes. Essas teorias ajudaram a mostrar que, em Lobo Antunes, os processos que resultam em humor, muita vez, possuem características antagônicas aos \"modelos\" estabelecidos. Para demonstrar as dimensões possíveis do jogo textual e do jogo irônico nos romances da Trilogia, lançou-se mão das teorias, entre outros, de São Tomás de Aquino, Huizinga, Callois, Piaget e Iser. Evidenciou-se, também, que o humor da Trilogia é áspero porque corrói, desbasta e denuncia os abusos do poder, das instituições e os absurdos do mundo moderno. / The aim of this thesis understands the multiplication of the faces and the humour functions in Lobo Antunes\' prose. Facing his great literary work, the analysis focus was pointed towards the Trilogy about power. Gathered by the thematic and without prejudice the individual feature of each romance, a set of three, \"O Manual dos Inquisidores, O Esplendor de Portugal and Exortação aos Crocodilos\", comments about the violence and the fear that was established in Portugal and its African colonies in the Pre and Post Cravos Revolution period with plots apparently incompatible to the comicality, humour and laugh process. Not only making explicit the technical resources and Antunes\' handicraft text, but it was also studied the comicality stylistic contexture to understand the mechanisms and elements that transcribe comic representativity to Lobo Antunes\' text. Bergson, Propp, Bakhtin, Kyser contributed to the theoretical basis of the comic production, but Freud´s theories about humour and pleasantry comprise better Antonios\' prose. These theories helped to show that, in Lobo Antunes, the processes that result in humour may have antagonistic characteristics to the \"established models\". To demonstrate the possible dimensions of the textual and ironic games in the Trilogy novels, it was made use of Callois and Iser from among. It also became evident that Trilogy humour is austere because destroys slowly, devastates and informs against the abuse of power, the institutions and the nonsense modern world.

A constituição humorística de Sagarana (1946) fornece a base desta tese de doutoramento, em Literatura Brasileira. Assim, tem-se como corpus de análise contos desta obra do escritor João Guimarães Rosa (1908 1967), e, embora privilegiando-a como um todo, no conjunto de suas nove narrativas, foram selecionadas três delas para análise e composição dos capítulos deste estudo, a saber: O burrinho pedrês, Traços biográficos de Lalino Salãthiel ou A volta do marido pródigo e Corpo fechado. A abordagem estabelece a intersecção de duas vertentes de constituição e construção da obra: uma, no plano formal, corresponde aos recursos expressivos de comicidade, realizados através de procedimentos de humor, ironia, paródia, sátira, e outros. Para tanto, a fundamentação teórica centra-se, basicamente, nas reflexões de autores como Bergson, Propp, Pirandello, Freud. A outra, no plano temático, orienta-se pela representação da sociedade plasmada nas narrativas e a correspondência desta representação com a realidade nacional, como relações de poder, de violência, de submissão, instituições de Estado, e outros. Críticos do autor que realizaram abordagem sob tal enfoque foram selecionados como referência. A investigação revelou, finalmente, que nesta obra seminal do autor mineiro já se configuravam as linhas mestras de um projeto literário e uma visão de mundo, perpassados pelo humor. E mais, sob a leveza do véu humorístico, o autor realiza profunda reflexão acerca da sociedade (brasileira), do mundo e do homem (humano). / Humour in Sagarana (1946) is the basis of this doctoral thesis in Brazilian Literature. The corpus consists of the short stories of João Guimarães Rosa (1908 - 1967), and though the thesis refers to his nine short stories, three of them were selected for analysis and make up the chapters of this study, namely: O burrinho pedrês [The dappled donkey\"], Traços biográficos de Lalino Salãthiel ou A volta do marido pródigo [\"Biographical traces of Latino Salathiel or the return of the prodigal husband,\"], and Corpo fechado [Invulnerable]. The approach examines the intersection of two elements of the creation and construction of Rosas stories: on the formal level, the comedy is produced by humour, irony, parody, and satire. Here, the theories used are those of Bergson, Propp, Pirandello, and Freud. On the thematic level, Rosas subjects reflect Brazilian reality: power relations, violence, submission, and state institutions. Critics of Rosa who have approached his work using this focus are referred to. The study concludes that these seminal works of Rosa, in which humour plays a large part, already shaped the outlines of Rosas literary project and world view. Moreover, Rosas light humour enables him to reflect on Brazilian society, the world, and mankind.