Text in English / As some criticism and hesitations have been expressed with regard to the implementation of provocation in psychotherapy, this study aimed to explore the experiences of clients and a therapist who participated in provocative psychotherapy. In order to do this, a concise theoretical description of the nature of provocative psychotherapy was provided along the lines of the work of Frank Farrelly and Maurizio Andolfi. Participants' experiences of provocation in psychotherapy were consequently presented by means of three case studies. A description of the experience of provocation in psychotherapy was co-created through the identifying of certain themes underlying of the three client groups' and the therapist's descriptions of their experiences. This was done by employing a qualitative research methodology to describe the experiences of clients and a therapist who participated in provocative individual-, couple- and family psychotherapy. / Psychology / M.A. (Clinical Psychology)

In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis.  The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.

The purpose of this study is to explore how the relation between gender and humour is maintained and challenged in the Swedish TV show Parlamentet. Using an interactional approach based on Judith Baxter’s theoretical framework for feminist post-structuralist discourse analysis, the study focuses on how communicative strategies are used in negotiating for the ideal position of “the successful comedian”. This position is seen as an ideal position in Parlamentet, where comedians do political parody. In the conversation sequences examined in this study, both verbal and bodily semiotic modes have been analyzed using conversation analysis and multimodal analysis. The study focuses on how different communicative strategies encourage or reject the comedians and how this leads to different possibilities in negotiating for a powerful position, the position of the successful comedian. Humour is culturally seen as a male-coded discourse. The relations between humour and gender that are in focus are the hegemonic notions of women as lacking a sense of humour or being less humorous than men. The notions of gender are based on Judith Butler’s theories and hence seen as something performed through discourse and within a rigid regulatory frame where the subject’s possibilities are not infinite. The results of the study show that the female and male comedians do not have the same possibilities in the negotiation for the position of “the successful comedian”. The male comedians are strongly encouraged to a greater extent than the female comedians. The female comedians are also rejected to a larger extent than the male comedians. The male comedians are mostly rejected by the moderator whereas the female comedians are rejected by the moderator, male comedians and female comedians. The female comedians encourage other comedians to a larger degree than the male comedians. A significant finding of this study is that the relations between humour and gender, where women are seen as less humorous than men, are maintained when female comedians through discourse are made less humorous. However, there are strategies in the interaction that do encourage the female comedians or that lead to female comedian’s resist being rejected. These strategies indicate that the hegemonic cultural notions of women as less humorous than men are also challenged in this public discourse.

This paper focuses on the comic layers in Eddic mythological poetry, namely in Lokasenna, Hárbarðsljóð and Ϸrymskviða, and on their relation to the Old Norse religion. In the past, these comic and seemingly blasphemic poems used to be interpreted as a display of criticism of the religious system or, due to the impossibility to date their origin, as a product of late decadent paganism or even as a Christian satire of this religion. This paper shows that such interpretations are not necessary, and that the comic Eddic poems could have existed as a functional part of the Old Norse religion. It points out the affinity of the categories of religious humour and chaos. Subsequently, it presents various theories, mostly from the field of anthropology of religion, which show that a temporarily confrontation of order with chaos can be a desirable practise for a religion, and that humour can serve as a suitable means to achieve such a confrontation. The second part of the paper focuses on the particular Eddic poems. It analyses in detail their comic layers, and examines the possibilities of their function within the Old Norse religion on the background of the notion of piety and blasphemy in their time. It demonstrates their link to the tradition of ritualized verbal duels and other socio-cultural phenomena,...

The thesis "Role of the Men's Lifestyle Magazines in the Czech Media Market with Focus on the Maxim Magazine" deals with the analysis of five lifestyle magazines for men situated in the Czech Republic in 2011 - Playboy, Esquire, FHM, ForMen, and Maxim. The thesis begins with a brief introduction into the history of the studied magazines in the Czech Republic and further examines them from the content, language, and graphics perspective. Special attention is dedicated to Maxim as it is the most successful magazine in the segment. With the help of the discourse analysis in the interpretation of Teun A. van Dijk the work focuses on five categories that characterize the magazine discourse: the ambivalent approach to the traditional "heroic" masculinity, the way Maxim communicates with its readers, the role of humour (especially irony) and the magazine's view on homosexuals and women. The thesis demonstrates the ideological - sexist - base of the Maxim discourse with the support of demonstrative examples.

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Made available in DSpace on 2016-04-26T20:24:17Z (GMT). No. of bitstreams: 1 Gisela Barroso Istamati.pdf: 571052 bytes, checksum: c8761afbeb7d9fd7a9e54014c8dc2235 (MD5) Previous issue date: 2016-03-11 / The debate regarding the limits of expression have always been present in several scopes of discussion, whether political, social or academic. Notwithstanding, the analysis of the humoristic manifestation of this right is proposed when it concerns politicians, the people s legal representatives, thus questioned: does humor directed to politicians have constitutional limits? In this sense, the hypothesis of this work is that it shall have a greater tolerance in relation to the comunicative excesses of humor when concentrated to politicians and candidates. To verify if this work theory is subject to being concrete, the solid theoretical base exam was developed to comprehend the concept regarding the right to freedom of expression considering, essentially, of four focuses: a) negative and positive freedom; b) instrumental and constructive justification; c) prima facie preferential position; and d) internal and external theory to the limits of the fundamental rights. Furthermore, it is verified to which interpretation the Supreme Federal Court grants this right. Subsequently, these aspects examined were confronted with being applied to the analysis of the Direct Action of Inconstitutionality No. 4.451 ( jornalistic humor on candidature case ). With this, in conjunction with the theorical base developed, I seek to provide an adequate answer to the problem proposed in this work and, thus, verifying if the hypotheses becomes concrete in face of the Brazilian judicial order / O debate sobre os limites da liberdade de expressão sempre esteve presente em diversos âmbitos de discussão (políticos, sociais ou acadêmicos). Não obstante, o que se propõe é a análise da manifestação humorística deste direito quando se volta a políticos, representantes legais do povo, assim problematizado: o humor direcionado a políticos tem limites constitucionais? Neste sentido, a hipótese deste trabalho é que deve haver uma maior tolerância em relação aos excessos comunicativos do humor quando concentrado aos políticos e candidatos. Para verificar se esta hipótese de trabalho é passível de ser concretizada, desenvolveu-se o exame de sólida base teórica para compreender o conceito acerca do direito à liberdade de expressão a partir, essencialmente, de quatro enfoques: a) liberdade negativa e positiva; b) justificação instrumental e construtiva; c) posição preferencial prima facie; e d) teoria interna e externa aos limites dos direitos fundamentais. Ainda, verifica-se qual interpretação o Supremo Tribunal Federal confere a este direito. Em seguida, estes aspectos examinados foram aplicados à análise da Ação Direta de Inconstitucionalidade nº 4.451 ( caso humor jornalístico sobre candidaturas ). Com isso, em conjunto com a base teórica desenvolvida, busco fornecer uma resposta adequada ao problema proposto neste trabalho e verificar, assim, se a hipótese se concretiza frente ao ordenamento jurídico brasileiro

Made available in DSpace on 2016-04-28T19:34:42Z (GMT). No. of bitstreams: 1 Sandra Falcao da Silva.pdf: 1955669 bytes, checksum: 5979b9dc0fbc2a0e8f4915b1bb3c6228 (MD5) Previous issue date: 2009-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study aims at identifying and analyzing the linguistic and discursive mechanisms in the humorous discourse in Diogo Mainardi chronicles. Fifteen chronicles from Veja magazine (2005-2008) have been selected for a corpus to develop this research. Some of them appear in the book Lula é minha Anta (2007). Regarding our object, the discursive strategies related to humor have been highlighted in the chronicler s texts with the purpose of inferring the possible effects with social sense upon their potential readers. A discursive approach of the language has been employed. This study has started out with a theoretical reference based on Discourse Analysis theories in the media context. Considering the objective of this work, reference thinkers on humor and more specifically on irony have been contemplated as well. The necessary theoretical support has been extracted from these theories for the examination of the features that made the humor particular, and especially, in our adopted discourse conception aiming at understanding the discursive functions of humor in Mainardi chronicles. The research material analysis has revealed that the social sense of the humorous act depends on an adhesion contract proposed by the speaker-enunciator to the interlocutor that demands an interactive work on the construction of text meaning based on shared knowledge. Intertextuality and interdiscourse so provide the humorous act that point at some such socialdiscursive imaginariness commonly found in the protagonists. All things considered, the linguistic and discursive mechanisms related to the humour, highlighted in Mainardi s chronicles, proved it to be an evident strategy, due to its controversial nature, to convince the reader and get his/her support with the purpose of creating an opinion about current facts. The selected corpus has specificities showing the appealing potential of humorous discourse in the media that, despite aggressive, has the ability of captivating due to its performance through language with like and dislike pathos discursive intents. This less conventional kind of humor in our society has drawn our interest and could justify the present study / Este trabalho tem por objetivo identificar e analisar os mecanismos linguísticodiscursivos do discurso humorístico nas crônicas de Diogo Mainardi. Para o desenvolvimento da pesquisa, selecionamos um corpus composto de quinze crônicas publicadas na revista Veja, no período de 2005 a 2008, parte delas reunida no livro Lula é minha anta (2007). Em função de nosso objeto, buscamos colocar em evidência as estratégias discursivas ligadas ao humor, a fim de depreender dos textos do cronista efeitos possíveis de sentido social sobre os potenciais leitores das crônicas. Valendo-nos de uma abordagem discursiva da linguagem, partimos de um referencial teórico embasado em teorias da Análise do Discurso em contexto midiático. Em função de nosso objetivo, pensadores de referência sobre o humor e, mais especificamente, sobre a ironia foram igualmente contemplados. Dessas teorias, retiramos os subsídios teóricos necessários ao exame das características que particularizam o humor e, em especial, à concepção de discurso adotada na pesquisa, com vistas à compreensão das funções discursivas do humor nas crônicas de Mainardi. A análise do material de pesquisa revelou que o efeito de sentido social do ato humorístico depende de um contrato de conivência que o locutor-enunciador propõe ao destinatário-interlocutor do discurso, exigindo um trabalho interativo na construção da significação dos textos, com base em conhecimentos partilhados. Intertexto e interdiscurso conferem, assim, ao ato humorístico uma confluência de saberes que sinalizam determinados imaginários sociodiscursivos comuns aos protagonistas de discurso. A partir disso, os mecanismos linguístico-discursivos ligados ao humor, colocados em evidência nas crônicas de Mainardi, revelaram-se uma eficiente, porque controversa, estratégia de persuasão e de adesão dos leitores, com vistas à formação de uma opinião sobre fatos da atualidade. As especificidades do corpus selecionado trouxeram à luz o potencial de sedução do discurso humorístico na mídia que, ainda que agressivo, tem a capacidade de nos cativar porque joga, por meio da linguagem, com visadas discursivas de pathos, de agrado e de desagrado. Esse tipo de humor, pouco convencional em nossa sociedade, despertou nosso interesse, justificando o estudo realizado

O objetivo da presente dissertação de mestrado é propor uma análise de parte das crônicas humorísticas de Benedito Bastos Barreto, o Belmonte. A análise desta produção literária, escrita entre 1932 e 1935, tem como eixo as temáticas mais constantes na escrita de Belmonte: a rejeição do governo de Getúlio Vargas e do Nazi-fascismo e as severas críticas à modernidade técnica. Em suas críticas ao Nazi-fascismo, elaboradas na primeira metade da década de trinta do século passado, o cronista demonstrou precocidade e ineditismo frente aos jornalistas e jornais paulistas da época, sendo que estes tendiam a se calar ou a demonstrar simpatia perante a ascensão dos governos Fascistas de Hitler e Mussolini. E, ao elaborar críticas à modernidade técnica, sugerimos que Belmonte não apenas repudiava o incrível potencial bélico demonstrado com ineditismo na Primeira Guerra Mundial , como também apontava para a complexa e problemática modernização da cidade de São Paulo, assim como a aspectos atribulados da sua história recente. / The purpose of the present dissertation is to propose an analysis of some humoristic chronicles of Benedito Bastos Barreto, the Belmonte. The analysis of this literary work, written between 1932 and 1935, has the most often thematics on Belmontes writing as main point: the rejection of Getúlios Vargas government and of the Nazi-fascism, as well as the severe critics to the technical modernity. In his critics against the Nazi-fascism, elaborated during the first half of the thirties of the last century, the chronist demonstrates to be precoce and unheard of when compared to the jornalists and the newspapers of his time, for those used to keep quiet or demonstrate appreciation for the rising of Hitlers and Mussolinis fascist governments. And, as he elaborates critics to the techincal modernity, we sugest that Belmonte did not just repudiate the amazing warlike potencial that was demonstrated for the first time on the First World War , as well as he also indicates the complex and problematic modernization of São Paulo city, and the troubled aspects of its recent history.

Syfte: Mänskligheten strävar alltid efter att utvecklas och kreativitet är en central del i processen då världen ständigt blir mer komplex. Forskning inom området kreativitet är således en nödvändighet för ett modernt och framåtsträvande samhälle. Likaså inom marknadsföring ges kreativitet utrymme då marknaden idag är hårt konkurrensutsatt och utsatt för ett överflöd av marknadsföring. Det är därför av stor vikt att differentiera sig från mängden för att bli uppmärksammad och kreativitet är en betydelsefull del i att göra marknadsföring synlig. Syftet med studien är att söka förståelse kring vilka kreativa marknadsföringskomponenter som bidrar till uppmärksamhet samt hur de påverkar graden av uppmärksamhet. Syftet är även att minska det existerande forskningsgapet inom området.Design/metod: En empirisk undersökning av uppmärksammade reklamfilmer har gjorts för att uppnå studiens syfte och inspiration är till stor del hämtad från kulturanalys. Studien innehåller en kvalitativ analys av nio reklamfilmer där fyra marknadsföringskomponenter med koppling till kreativitet har identifierats och analyserats. De komponenter som inkluderats i studien är originalitet, humor, storytelling samt kändiseffekt och tidigare forskning och teorier inom dessa områden har legat till grund för studien.Resultat: Resultatet av studien visar att samtliga marknadsföringskomponenterna återfanns i fem av de nio reklamfilmer som analyserades. Originalitet och storytelling återfanns i de fyra resterande reklamfilmerna. Samtliga av komponenterna konstateras därför bidra till att öka uppmärksamheten kring en reklamfilm dock i olika stor utsträckning. Originalitet och storytelling är tillsynes en nödvändighet medan humor och kändiseffekten är komponenter som kan öka chanserna ytterligare för en reklamfilm att nå stor uppmärksamhet. Studien har även resulterat i slutsatsen att humor i större utsträckning återfinns bland uppmärksammade reklamfilmer. Studien bekräftar även tidigare forskning som visar att oväntade element är den form av humoristisk reklam som till största delen återfinns i dagens reklam.Framtida forskning: För framtida forskning rekommenderas det att studien utökas med analys av fler mediekanaler, observationer under längre tidsperiod samt intervjuer med respondenter som för första gången utsätts för reklamen. Det för att öka överförbarheten samt trovärdigheten och göra studiens resultat mer generellt applicerbart inom marknadsföring. / Program: Civilekonomprogrammet