Made available in DSpace on 2016-03-22T17:26:00Z (GMT). No. of bitstreams: 1 odete.pdf: 631143 bytes, checksum: ff3ca4a6702b1df5572ae314d46bd4c6 (MD5) Previous issue date: 2007-12-12 / This research aims at analyzing the process of carnavalization in the political columns written by Arnaldo Jabor, trying to discuss the ways and strategies the author uses to give the texts a humored accent and to build irony. The theoretical-methodological basis inserts itself into the dialogical view of discourse and of speech genres of Bakhtin s Circle, as well as the viewpoint of Critical Discourse Analysis about genre, and more specific contributions in respect to irony building. The research data consists itself of four columns by the writer and journalist Arnaldo Jabor, published between 2002 and 2004 in newspapers with national circulation (O Globo newspaper and O Estado de São Paulo newspaper), all of the them connected to the conflict between USA and the Islamic world, personified in the figure of the American president George W. Bush and of the taliban Osama Bin Laden, respectively. The analysis was based on the methodology proposed by Hutcheon (2000) that suggests three analytical perspectives: circumstantial, textual and intertextual, in order to contemplate a deeper analysis of the text, taking into account its relations with the context of production and enunciation. The circumstantial context includes the uttering situation and the communicative context, thus motivating a reflection about the publishing vehicles, their journalistic filiations, their ideal or expected reader, the space in which the column is published, the social-historical moment of enunciation and the career of the author himself, as it is the voice of the author that moves behind the text, constituting him as the ironist. Still in the circumstantial context it seemed necessary to carry out a brief discussion about the journalistic movement called new journalism that showed to influence the context of production. In what concerns the textual context, the analysis considered the lexical selection, the grammatical options, the cohesion mechanisms and the text structure as a whole, as well as the strategies used to build the different characters, in order to perceive the management of humor and irony, and the connection between the texts and carnavalization. Finally, within the intertextual context, the focus was on the dialogical relation among the columns and between the columns and the implied social knowledge. The data analysis pointed to the articulation of three kinds of irony: ludic, content analyzer and of opposition, what reflects the fact that the author, when mobilizing the irony, does not do it only to institute laughter, or humor, but mainly to lead the reader to a reanalysis of the facts observed in the recent world history, which are part of the reader s knowledge. To do so, Jabor takes advantage of a particular use of the ordinary language , creating parodical and carnavalized effects that seem to contribute to the emergence of both humor and irony / O objetivo desta pesquisa é analisar a carnavalização nas crônicas de fundo político de Arnaldo Jabor, procurando discutir de que maneiras e de que estratégias o autor se utiliza para dar à crônica um teor humorístico e para a construção da ironia. A fundamentação teóricomedotodológica insere-se na linha dialógica da linguagem e dos gêneros do Círculo de Bakhtin, bem como procura trazer para o texto a visão da Análise Crítica do Discurso a respeito de gênero, e contribuições mais específicas a respeito da construção da ironia. Os dados de pesquisa constituem-se de quatro crônicas do escritor e jornalista Arnaldo Jabor, publicadas entre 2002 e 2004 em jornais de circulação nacional (Jornal O Globo e Jornal O Estado de São Paulo), referindo-se todas ao conflito entre Estados Unidos e o mundo islâmico, personificados na figura do presidente americano George W. Bush e do taliban Osama Bin Laden, respectivamente. A metodologia de análise baseou-se na metodologia proposta por Hutcheon (2000) que sugere que esta se realize sob três perspectivas: circunstancial, textual e intertextual de maneira a contemplar uma análise mais profunda do texto, observando suas relações com o contexto de produção e enunciação. Desta forma, entende-se o contexto circunstancial como a situação de enunciação e o contexto comunicativo, fato que motivou uma reflexão a respeito dos veículos de publicação das crônicas, sua linha jornalística, seu leitor padrão, o espaço de publicação da crônica, o momento sócio-histórico da enunciação e da carreira do próprio autor, já que é a voz deste que se mobiliza por trás do texto, constituindo, antes de tudo o ironista. Ainda dentro do contexto circunstancial, pareceu-nos necessário realizar uma breve discussão a respeito da corrente jornalística que recebeu o nome de new journalism e que demonstrou influenciar o contexto de produção. No que se refere ao contexto textual, observou-se a seleção lexical, opções gramaticais, mecanismos de coesão e estrutura do texto como um todo, bem como de estratégias de construção dos personagens para se perceber o agenciamento do humor e da ironia, bem como a vinculação entre as crônicas e carnavalização. Finalmente no contexto intertextual voltou-se uma maior atenção para a relação dialógica entre as crônicas e entre as crônicas e os já-ditos socialmente compartilhados. A análise dos dados de pesquisa apontou para a articulação de três tipos de ironia: lúdica, analisadora de conteúdo e de oposição, o que reflete o fato de que o autor, ao mobilizar a ironia, o faz não apenas para instituir o riso popular, o humor, mas também para levar o leitor a uma re-análise de fatos observados na história mundial recente, os quais se encontram entre os já-ditos do leitor previsto das crônicas. Para tanto, Jabor apropria-se de um uso particular da linguagem comum , criando efeitos paródicos e carnavalizados que parecem contribuir tanto para emergência do humor, quanto da ironia

Este trabalho constitui-se em uma análise dO Pirralho, publicação fundada e dirigida por Oswald de Andrade, que circulou na cidade de São Paulo entre os anos de 1911 e 1918. O objetivo foi descrever e examinar o modo como é retratada, nas páginas dO Pirralho, a pulsante vida social e cultural da cidade que se desenvolvia cada vez mais aceleradamente. A partir daí, buscou-se evidências que demonstrassem a estética presente na organização e apresentação do material publicado (colunismo social, crônicas, colunas, ilustrações etc.). O procedimento empregado para realizar a coleta de dados foi o fichamento sistemático de todos os 248 números do periódico, com ênfase nos elementos que expressavam o caráter inovador e moderno da revista, bem como aqueles que permitiram identificar suas principais características, além de destacar a contribuição de alguns de seus colaboradores. A principal conclusão desta pesquisa é a de que O Pirralho foi um importante veículo das transformações ocorridas no cenário cultural do Brasil nas primeiras décadas do século XX. / This essay consists of an analysis of O Pirralho, a publication founded and directed by Oswald de Andrade and distributed in São Paulo city between 1911 and 1918. The objective of this paper was to describe and examine how the increasingly fast development of the pulsating social and cultural life was being portrayed in the pages of O Pirralho. Based on that, evidences were searched, which indicate the aesthetic present in the organization and presentation of the material published (gossip columns, chronicles, columns, illustrations etc.). The procedure applied in the acquisition of data was a systematic filing of all 248 periodical issues focusing on elements expressing the innovative feature of the magazine as well as those which enabled the identification of its main characteristics, apart from highlighting the contribution of some of its collaborators. The main conclusion of this research is that O Pirallho was an important vehicle for the transformations which took place in Brazil during the first decades of the twentieth century.

Made available in DSpace on 2015-03-05T17:53:49Z (GMT). No. of bitstreams: 0 Previous issue date: 29 / Nenhuma / O objeto de análise desta tese é o sitcom A grande família, da Rede Globo de Televisão (RGT), procurando descrever as estruturas que moldam o programa, identificar os temas tratados e os modelos de comportamento construídos, observando a construção do perfil dos personagens e as propostas de atitudes que são oferecidas aos telespectadores. O estudo de caso, para identificar as propostas de interação do programa e suas lógicas de funcionamento, foi organizado em duas etapas. Na primeira, realizou-se uma observação descritiva das regularidades do programa para captar sua estrutura geral, nos aspectos formais: vinhetas, títulos dos episódios, cenários, figurinos e as temáticas abordadas. Foram observados para isso um total de 106 episódios. Para a segunda fase foram selecionados dez episódios, a partir dos perfis dos personagens e das seqüências e temáticas abordadas. Essa segunda etapa possibilitou identificar um conjunto de estereótipos relacionados às diferentes interações sociais no âmbito familiar/privado / The object of the analysis of this paper is the sitcom A grande família, from Globo Network Television, RGT, seeking to describe the structures that cast the program, identifying the themes presented and the behaviour models built, observing the contruction of the character’s profile and the attitude proposals that are offered to the televiewers. The case study, to identify the proposal of the program interaction and it’s logics of working was organized in two parts. In the first, we made a descriptive observation of the regularity of the program to capture its general structure, in the formal aspects: vignettes, episodes’ tittles, sceneries, patterns and the thematics approached; to do so, it was observed 106 episodes. For the second part ten episodes were selected analyzing the profiles of the characters and the sequences and the thematic approached. This second part made it possible to identify a group of stereotypes related to the different social interactions from the family/private scope that, treated i

Made available in DSpace on 2016-04-28T20:40:12Z (GMT). No. of bitstreams: 1 Juliana Leal Dorneles.pdf: 2826387 bytes, checksum: 0a6799478de66766b62c9358f82dcbe7 (MD5) Previous issue date: 2009-08-12 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This study deals with the clown s art inasmuch as art can reawaken something dead in the living. It also deals with the value that contemporary culture nourishes in laughter and humorism in the 21st century. To this purpose, we have developed our sign of art in clown with the help of Deleuze and Guattari s signs theory; through the observation of clown shows, scenes and comical happenings; as well as through the researcher s own experience of clown s language. Clown s humour happens in the rupture of expectations, in the fraudulent dismissal of plans of reference and routine plans, and in the courage to expose oneself to failure and disillusion. We arrived at the conclusion that the blind incorporation of the cult of humour as an oil for social interaction is a trap to the comic artist, but that the vigour or the art s sign and the provocation of the laughable is independent of the humouristic society. Laughter needs the path of reference in order to break it. Living without a well structured reference plan is the contemporary illusion of the evolutionary men, who thinks that it is possible to substitute the living experience of the reference plan for the flexibility that takes nothing seriously. However, for the humourist, even this plan of flexibility is worth a joke when it becomes a reference plan. The effect of a clown s laughter is similar to the effect of small black rats that jump off dark alleyways in horror films, and the clown s art is perhaps something of an even more accidental order. This study intends to make valuable what is vigourous in the clown as a sign of art and as such to contribute to the discussion around laughter and humour in contemporary society, as well as looking into its clinical, political and aesthetic implications. Alongside the thesis is a DVD that contains scenes of some of the cited clowns, which punctuate the type of reflection used in this thesis / Este trabalho trata da arte do palhaço naquilo em que a arte pode acordar algo de morto no vivo. Trata também do apreço que a cultura contemporânea nutre pelo riso e pelo humorismo no século XXI. Para isso, construímos nosso signo de arte no palhaço com a ajuda da teoria dos signos em Deleuze & Guattari, bem como da observação de espetáculos, cenas e acontecimentos cômicos de palhaços, além da própria experiência da pesquisadora com a linguagem. O humor do palhaço se faz na quebra com as expectativas, na trapaça aos planos de referência e aos planos habituais, e na coragem de se expor ao fracasso e à desilusão. Chegamos à conclusão de que a incorporação cega ao culto do humor de azeite social é uma armadilha para o artista cômico, mas que o vigor do signo de arte e provocação do risível é independente da sociedade humorística. O riso precisa do caminho de referência, para poder quebrar. Viver sem o plano de referência é a ilusão contemporânea do homem evolutivo, que acha que é possível substituir a vivência do plano de referência pela flexibilidade que não leva nada a sério. Mas para o humorista, até este plano da flexibilidade é digno de piada quando ele se torna um plano de referência. O efeito de um riso de palhaço é tal qual o efeito dos ratos pretos que saltitam dos becos escuros nos filmes de terror, e sua arte é talvez de uma ordem quase acidental. Este trabalho pretende assim fazer valer o que de vigor tem no palhaço como signo de arte e assim contribuir para as discussões sobre o riso e o humor no contemporâneo, bem como suas implicações clínicas, políticas e estéticas. Apresentamos junto com a tese um DVD com cenas de alguns palhaços citados, que marcam o tipo de reflexão que se confere na tese

This Bachelors essay takes an in-depth look at how meaning is created through advertisements with references to art. What reasons can be found for why art, a phenomenon that draws highly on analogue reactions, is still widely used in advertisements today in a society that is more and more digitalized. Through a strategic selection of ads picked to illustrate variations in how art is used in advertising, different forms of how meaning is created through these ads are analysed. Semiotic analyses are applied to six different ads that all use art in some way. Methods such as social semiotics and multimodal analysis-tools lay the foundation for how the analyses are made. The semiotic analysis focuses on distinguishing certain factors of the ads that motivate the use of famous artworks. Based on results from previous research in the field I choose to look at three different reasons to why artworks are used in advertisements; humour, seriousness and exclusivity. Furthermore, this bachelors essay also includes a comparative analysis. Half of the advertisements included were produced in Sweden, the other half in Singapore. This comparative aspect of the essay is motivated by the fact that Sweden and Singapore are the two most digitalized countries in the world. This led to an interest in whether the analogue reactions which advertising with references to art are based on may differ between these two countries. The study shows that humour and exclusivity are the two main functions that give reason to the use of art in the analysed advertisements. Furthermore, the semiotic analyses found that humour-based ads tend to depend more on the relation between words and image to create meaning. Advertisements based on exclusivity tend to be more reliant on the visual aspects of the image. A tendency towards visual links between the products and the artwork used in the advertisements could also be found. The comparative aspect of the study found a similar focus on humour and exclusivity in the advertisements, though different forms of humour. A more transparent use of exclusivity in the advertisements from Singapore than the Swedish ones could also be distinguished.

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.

Plusieurs études de la « couverture » médiatique accordée à la vie personnelle, publique et privée, de Théodore Roosevelt montrent qu’il attira plus d’attention journalistique que nombre de ses successeurs. L’on ne saurait sous-estimer la contribution capitale des caricaturistes, même les plus sévères, à l’inaltérable popularité de Roosevelt pendant quelque trente ans. Il y a lieu de penser que nul autre président ne fut pour eux une source d’inspiration aussi constante et aussi réjouissante. Le but de la présente thèse est de replacer l’émergence de l’image caricaturée de Roosevelt dans le contexte d’une prise de conscience globale du pouvoir de la caricature sur l’opinion publique. L’humour devenant un formidable outil d’opposition ou de propagande lorsqu’il est associé à la politique, il convient d’explorer les caractéristiques de l’humour politique à l’époque de Roosevelt, et notamment en quoi il se distingue d’autres formes de critique du pouvoir en place. Est proposé dans un premier temps une rétrospective historique de la caricature politique en Europe et son émergence aux États-Unis, suivie de l’analyse en détail du « moment décisif », avec le très célèbre Thomas Nast, de l’histoire de la caricature américaine. Vient ensuite une évaluation de l’impact des caricatures sur la carrière politique de Théodore Roosevelt au moyen de plusieurs études de cas, identifiés comme les moments clés, dont la finalité est de vérifier s’il existait une véritable corrélation entre les actions du président et son image médiatique : cow-boy légendaire, homme politique au destin national, héros militaire, chef de l’exécutif controversé. / Several studies of the media coverage of Theodore Roosevelt’s personal, public and private life reveal that he attracted more media attention than many of his successors. The importance of the contribution of even the most caustic cartoonists to his enduring popularity for thirty years should not be underestimated. There are reasons to believe that no other president offered a more constant and delightful source of inspiration. The objective of this dissertation is to contextualize several cartooned images of Roosevelt within the growing awareness of the power of cartoons on public opinion. When combined with politics, humor becomes a tremendous tool for the spreading of official propaganda or of the opposition’s creed. We will therefore assess the characteristics of political humor during Roosevelt’s age and how it is distinct from other types of criticism of the establishment. We will first present a brief history of political cartoons in Europe and their rise in the United States, followed by a detailed assessment of the legacy of the famous cartoonist Thomas Nast, which represents a « defining moment » in the history of American political cartoons. This will be followed by an evaluation of their impact on Theodore Roosevelt’s political career by means of several case studies of decisive moments. The objective will be to determine whether there is a correlation between Roosevelt’s actions and his media image: mythical cowboy, politician with a national destiny, war hero, controversial chief executive.

Syftet med denna kvalitativa studie har varit att undersöka vilken betydelse humor tillskrivs av professionella i behandlingsarbete med ungdomar, vilken betydelse humor beskrivs ha i att skapa meningsfulla relationer med ungdomarna samt vilken betydelse humor upplevs ha för de professionellas egna samarbete. Studiens empiri är baserad på två fokusgruppsintervjuer om fyra deltagare vardera samt två enskilda semi-strukturerade intervjuer. Sammantaget har 10 informanter från fyra verksamheter deltagit i studien. Studiens vetenskapsteoretiska perspektiv är socialkonstruktivism. Studiens empiri har primärt förståtts genom Erving Goffmans dramaturgiska perspektiv och begreppen “Roll” samt “Ram”, Michel Foucaults diskursperspektiv och begreppet “Biomakt”. Som komplement har även begreppet “Att göra kön” Från Candace West och Don Zimmerman använts. Det empiriska materialet har bearbetats med en tematisk analys där fyra huvudsakliga teman identifierats: “Professionalitet och humor”, “Kommunikation och humor”, “Relation och humor” samt “Kultur, klimat och humor”. Dessa teman utgör grunden för studiens analys- och resultatdel, och blir på så vis också det som tolkas för att besvara studiens frågeställningar. Den tolkning vi gjort av studiens material visar att humor beskrivs som en ständigt närvarande faktor i arbetet med ungdomarna, samt även inom personalgruppen där den uppges fungera som en coping-strategi. Humor återges av de professionella som en funktion som kan fungera avväpnande i spända situationer, exempelvis kan den ge en mänsklig aspekt i det första mötet med institutionen. Det som främst belystes i materialet var att humorns främsta egenskap var att verka relationsskapande. Vidare redogjordes för att humor var något som främst “bara finns” i sammanhanget, men att ett korrekt användande av humor är en stor del av den professionella rollen. Återkommande i studien betonades att ett korrekt användande var svårt att formulera, då användandet i sig är väldigt kontextbundet och att en stor del “fingertoppskänsla” är av yttersta vikt. / The purpose of this qualitative study has been to investigate the how the importance of humour is described by professional social workers in residential care. Additionally, the significance humour is given in creating meaningful relationships with adolescents as well as its importance for the professionals own cooperation has been investigated. The empirical material from this study is based on two focus group-interviews consisting of four participants each and two semi-structured interviews with one professional each. A total of ten informants from four different institutions were interviewed for this study. The theoretical perspective of the study is social constructivism.The studies empirical material have foremost been understood through Erving Goffman’s dramaturgical perspective including his theoretical concepts of “Role” and “Frame”, and Michel Foucault’s discourse perspective and the concept “Biopower”. The concept “Doing gender” from Candace West and Don Zimmerman was also used as a complementary perspective in the analysis. The empirical material of the study has been processed with a thematic analysis in which four main themes were developed. “Professionalism and humour”, “Communication”, “Relation and humour” and “Culture, climate and humour”. These themes made the foundation of the analysis- and results chapter of the study, and was therefore also what was interpreted to answer the question formulation of the study. The interpretation made out of the empirical material of the study show that humour is a constantly present factor in the work with the adolescents as well as with the professionals themselves where humour worked as a coping-strategy. Humour has a disarming feature in tense situations, and can for example give a human touch in the first meeting with the institution. What was mostly highlighted in the material was that the primary characteristic of humour was its function to aid people in forming relationships. Furthermore humour was described merely as something that’s “just there” in the context, but that a proper usage of humour played a major role in what it meant to be a professional. Recurrent in the study was how the professionals emphasized that a proper usage of humour was difficult to formulate since the usage in itself was described as very contextual and that a great deal of sensitivity is of utmost importance.

Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the

Il presente studio propone un’indagine critica del pensiero di Johann Caspar Schmidt, meglio noto come Max Stirner, volta sia a investigare la sua posizione all’interno del contesto filosofico della prima metà del XIX secolo, e più in generale della storia della filosofia, sia a valutare la cogenza e l’attualità della sua proposta teoretica. L’ipotesi guida della ricerca mira all’approfondimento dell’idea, già prospettata da alcuni studiosi, di una valenza ironica della riflessione stirneriana in direzione di una complessa strategia parodica, che assume come fulcro l’umorismo e si declina in un duplice movimento convergente nel plesso concettuale “unico-proprietà”. Mediante un puntuale confronto testuale con i suoi avversari diretti – Feuerbach, Bruno Bauer e Hegel – si mostrerà come Stirner operi un raddoppiamento di tali corpi di pensiero e una parodia dei propri stessi assunti, al fine di delegittimare l’ambito della significazione e attingere il piano dell’evenemenzialità dell’esistenza e della storia. La parodia stirneriana assume pertanto valenza euristica e pragmatica in quanto prospetta una diversa idea di soggettività intesa come struttura di differenza sempre operante e apre a inedite configurazioni etiche e politiche, caratterizzate da un ripensamento delle nozioni di uso e consumo. / This research proposes a critical inquiry of the thought of Johann Caspar Schmidt, best known as Max Stirner, both for investigate his peculiar position in the philosophical context of the early half of XIX century, and in the history of philosophy in general, and for understand the theoretical and topical interest of his proposal. The aim of the analysis is the widening of an ironic value of his work, suggested for some critics, in order to assert that Stirner makes a complex and humoristic parody of his contemporary context of thought – in particular of the works of Feuerbach, Bruno Bauer and Hegel – and of his own assumptions for displace the philosophical discours from the level of the meaning to the level of the event. In this way, his parody attains a heuristic and pragmatic function, suggesting a different idea of subjectivity as structure of difference and new ethical and political forms, based on the reconsideration of the notions of use and consumption.