Em 1931, Oswald de Andrade cria e publica O Homem do Povo, jornal em que manifesta seu ativismo comunista, e no qual satiriza a sociedade capitalista e burguesa no Brasil de seu tempo. Suas edições, no total de oito, foram publicadas em março e abril de 1931, contando com a participação de Patrícia Galvão (Pagu) e Queiroz Lima e com a parceria de importantes intelectuais como o crítico Astrojildo Pereira. O trabalho tem por objetivo analisar propriedades expressivas e críticas das construções do jornal, sobretudo nas formulações do ativista Oswald de Andrade. Para isso foram selecionados do jornal principalmente os editoriais escritos por Oswald de Andrade, vários artigos que levam a sua assinatura, e outros assinados por pseudônimos ou anônimos, evidenciados os traços peculiares de sua escrita e ideias. Por meio da pesquisa investigativa, leitura e análise do corpus, destacam-se três elementos substanciais presentes na sua escrita: o humor do jogo de espírito irreverente, a reflexão vinculada aos propósitos de sua própria formulação crítica a respeito da antropofagia, e a subversão, em que resume elementos de estética e política, cuja configuração se manifesta na própria organicidade do jornal. Tais ingredientes, em analogia com outros articulistas, dão sustentação à substância satírica que permeia o jornal O Homem do Povo. Assim, observa-se nas diferentes estratégias de sua linguagem, metafórica ou não, que Oswald de Andrade continuamente alia-se aos colaboradores para representar um mundo às avessas, alvejando a sociedade capitalista e suas elites. Neste sentido, interessa exibir que, por suas elaborações hiperbólicas, o jornal, provocativamente, serve de instrumento na procura de evidenciar, por diversos meios e modos, o destronamento do burguês e a entronização do povo. Nessa tarefa, Oswald de Andrade busca se reinventar criticamente, ao transpor pela atividade jornalística seu espaço legitimado na burguesia e balizar-se por projetos voltados para o povo. Nesse exercício desdobra-se em seus pseudônimos e se posiciona como líder de um grupo, fazendo da palavra e do humor escudo e arma, construindo paradoxos, trocadilhos, ironias e hipérboles. Com isso Oswald de Andrade aciona o potencial crítico dos recursos da linguagem expressiva e comunicativa que, no jornal O Homem do Povo, serve para denunciar, provocar e ridicularizar valores consagrados pela burguesia e pelo sistema capitalista que a sustenta, fundindo o embate político do articulista e o embate estético do escritor modernista. / In 1931, Oswald de Andrade creates O Homem do Povo, a newspaper in which he publicly declares his communist activism, and in which he satirizes both, capitalism and the bourgeois society at the time. Its eight editions, were published in March and April of 1931 together with the participation of both Patricia Galvão (Pagu) and Queiroz Lima. Such a work intended to analyze both expressive and critical properties of Oswald de Andrades constructions at the journal and to put in evidence points of contact between the aesthetic and political aspects of the activists formulations. For doing it so, Oswald de Andrades editorials were selected such as articles signed by him and others which clearly evidence his writings and ideas. Through reading and corpus analyses it is detected three substantial elements such as: the irreverent spirit game, the reflection tied to purposes of his own critical formulation as far as anthropophagy is concerned and the subversion where he summarizes aesthetics and political elements; the configuration of which shows itself in the setting of the journal. Such ingredients, allied to comicality back up the satirical element that permeates O Homem do Povo. So, it can be observed in any of the different strategies of his vocabulary, either metaphoric or not, that Oswald de Andrade continually tries to represent an upside down world having the capitalist society and its elites as targets. In that way, it is interesting to show that, due to his hyperbolic elaborations, the writer-journalist in a teasing way tries to put in evidence the bourgeois decline and the ascension of the people through many different ways and methods. In such a work, Oswald de Andrade looks forward to reinvent himself critically, by transposing his legitimate space in bourgeoisie through journalist activity and determining projects which concerns the proletariat, that is to say, the lower social class. While doing so he creates many different pseudonyms and situate himself as a leader of the referred class, using words and humor as both shield and weapon, building paradoxes, puns, irony and hyperboles. By doing so, Oswald de Andrade turns on the critical power of his communicative and expressive language that at O Homem do Povo is used for denouncing, teasing and making ridicule consecrated values of the bourgeoisie and of the capitalist system that supports it linking both the political resistance of the journal´s editor and the aesthetic resistance of the modernist writer.

La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en particulier ceux qui jouèrent dans les scènes comiques des œuvres concernées. Les derniers chapitres, qui explorent la manière dont les œuvres du corpus furent interprétées sur les scènes de l’Opéra et du théâtre de Bade, ainsi qu’à l’Opéra-Comique et au théâtre de Weimar, mêlent l’ensemble de ces sources et croisent aspect scéniques et musicaux. / The practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements.

This thesis deals with the dramatic work of Jara Cimrman, which is based on the cooperation of two authors named Zdenek Sverak and Ladislav Smoljak. In the introductory chapters we analyze the genesis of mystifying legend named Jara Cimrman, then his way from the radio show to the theatre and also his own cult, which all leads to the general poetics of the Theatre of Jara Cimrman. We can find some related attributes in this theatre, like specific acting, phenomenon of their workshops and imaginative humour. All of these attributes leads to the definition of repetitive stereotypes in the plays of this theatre. In this thesis we also try to define the genre of the plays, also their subject matter, topics and their motives. The aim of this thesis is to describe these motives and also its gradual progress as in the particular dramas, so in the social atmosphere of those days.

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.

Not Dead At All is a nontraditional thesis, a creative product, the result of a combination of media production and social research. This paper is an attempt to explain the creative and production process behind the creation of an original media content, using the social research as a tool to increase the likeability of our characters and therefore increase the show’s chances of success.

This thesis deals with jokes and gender as social meaning. Here gender identity is regarded as one kind of social meaning. The gender identity of the individual is produced in interaction with other persons and is also conditioned by cultural codes. Of particular interest is how social identity is constituted by linguistic means. This is discussed using a model of indexicality, i.e. how linguistic features index one or more dimensions of the social context. Especially the indirect and constitutive relations between language and gender are discussed in terms of stances, acts and activities. In this context the speech act joking is seen as an example of a male gender constituent. A second theoretical angle consists of introducing some linguistic theories of humour and applying them to two empirical materials. The first material consists of audiovisual recordings of school pupils’ group discussions with no adult leader present. The pupils work with the same task, both in unisexual and mixed groups. The study focuses on describing how the speakers present suggestions of their own, and respond to the suggestions of others. The suggestions have lent themselves to being grouped into three categories: serious suggestions, playful suggestions, and joking suggestions. Identifying jokes in conversation can be difficult; thus four criteria for joke identification are applied: intention, structure, reaction and convention. Two types of structural criteria are used: semantic and rhetorical. The second material consists of a questionnaire administered to university students, which asks whom the informant apprehends as funny. A general tendency in the answers is that men only mention men, while women single out both women and men. Another tendency is that few women are found in the answers of the questions concerning the mass media, while women mention many funny women in the questions about their own everyday experiences. In this study it is argued that language use not only reflects our place in culture and society but also helps to constitute that place. Women and men encounter different cultural codes, and thus their performance of different speech acts also differs. This has an impact on the speakers’ social identity, one of which is gender identity.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

This dissertation is a study of the comic intermezzo’s literary origins and musical practice in the years before Pergolesi’s La serva padrona (1733). It begins with a chronological examination of Italian comic plays and operas written between 1660 and 1723. During these years comic playwrights adopted a style of writing speech from the improvised theatre which makes use of what Richard Andrews (1993) refers to as “elastic gags.” This style of comedy flourished under Medici patronage in Florence in the last decades of the seventeenth century and then spread to Venice, Rome and Naples during the first years of the intermezzo’s development. It is a style of comedy shared with the plays of Molière, and other contemporaneous French authors. This dissertation examines several scenes based on French works which have previously not been identified as having earlier sources. The decision to adapt these earlier sources for the intermezzo did not occur in a vacuum. The practice of comedy in the intermezzo was conditioned by the artistic, social and political climate of Italy. This study investigates the relationship between intermezzos and the milieus which produced them. The success of some intermezzos, like Il marito giocatore (1719), resulted from a combination of their artistic merit and their broad social appeal, while others, like Albino e Plautilla (1723), were musically adept but remained obscure because their humour was specific to the world they satirized. Both intermezzos are indebted to earlier French sources. Many others which are metatheatrical in nature draw on contemporary debates about opera. A final section examines selected arias from the intermezzo repertory using incongruity theory. Comic theory makes clear that the intermezzo’s musical language was not a new development. Just as librettists drew on earlier written traditions to form the literary text of the intermezzo, composers drew on existing musical practices to create humour. The intermezzo was therefore not naively comic—a portrait of the genre which is all too common—but rather a repertory which was thoroughly enmeshed within contemporary artistic practice and a wider social and cultural world.

Estudio comparado de los ensayos de José Ortega y Gasset relacionados con la teoría estética y la obra ensayística de Luigi Pirandello, en especial "L´Umorismo", considerada síntesis de la poética del escritor. La tesis afronta la problemática del ensayo como género literario. Una vez delimitado éste dentro de los géneros narrativos, se propone el análisis comparado de los ensayos seleccionados de Ortega y Pirandello dentro del panorama de crisis finisecular de ambas culturas, la española y la italiana; así como las distintas apuestas estéticas de ambos autores en relación con los tratamientos del humor, la belleza, la retórica y el arte moderno. El trabajo aporta información sobre la recepción de ambos autores en Italia y España a lo largo del siglo XX, además de la traducción de un texto pirandelliano inédito titulado "Un supuesto poeta humorista del s, XIII". / This PHD thesis about Comparative Literature is entitled: Modern Essay: Pirandello and Ortega e Gasset, and it proposes a comparative study of four masterpieces of this genre: L´Umorismo from Italian author Luigi Pirandello and Meditaciones del Quijote, Ideas sobre la novela and Deshumanización del arte from the Spanish writer José Ortega y Gasset. Textual comparison of those works in of the philology features is completed with a reception prospective of them in each national or international culture. It is important for the author a critic consideration about similarities and also differences between aesthetic and poetic ideas of both writers, specially on behalf of the developing of modern essayism as a central literary form of thinking during the last century.

Ce mémoire porte sur la question du stéréotype féminin dans sa valeur construite et normative. Plus spécifiquement, nous aborderons ce type de catégorisation d'identité de genre mis en relief de manière critique par l'utilisation de stratégies du grotesque dans la série Fashion de Cindy Sherman. En substituant un canon grotesque à la représentation de la féminité à l'intérieur du champ de la photographie de mode haute couture, l'artiste met en évidence les structures qui régissent la création et le maintien d'un tel stéréotype. En premier lieu, nous procéderons à la définition de la notion de stéréotype produit dans le domaine de la représentation médiatique pour démontrer comment celui-ci est naturalisé et partagé culturellement. À l'aide de théories féministes, nous ciblerons la particularité du stéréotype dans sa version « féminine » en tant que sujet passif et soumis à un regard de type masculin. En nous basant sur la pensée foucaldienne, nous verrons qu'un ensemble de règles et de codes identitaires sera intégré à titre de normes dans une discipline du corps féminin. Dans un deuxième temps, nous cernerons de manières conceptuelle et historique la particularité de la mode qui, bien que faite de changements subits et aléatoires, sous-tend une vision statique de la différence des sexes en catégories de genre. Également, nous définirons le vêtement en tant que symbole de mascarade de la féminité qui exige la participation de la femme au jeu de la séduction. Enfin, nous verrons que les stratégies visuelles humoristiques permettent d'appuyer les discours critiques et politiques des pratiques artistiques contemporaines par la déconstruction des structures de la représentation. En dernier lieu, nous observerons les œuvres Fashion de Cindy Sherman, en analysant l'impact qu'elles créent sur les habitudes du corps-regardant par l'insertion de personnages qui défient les conventions de la féminité en mode. En transgressant les limites du présenté et du présentable en photographie de haute couture, l'artiste démontre que la femme est confinée à une logique de domination qui régule sa conduite par diverses instances externes et internes : le regard de l'autre, le rire, l'association de la féminité à la moralité, l'enveloppe vestimentaire, la maîtrise des limites du corps. Au terme de ces recherches, les stratégies du grotesque observées dans l'œuvre de Sherman nous apparaissent comme étant des outils particulièrement efficaces pour permettre une déconstruction de la vision stéréotypée du genre féminin ainsi qu'une mise en évidence des structures qui conditionnent le regard du spectatorat. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : art contemporain, Cindy Sherman, Fashion, stéréotype, genre, féminisme, représentation, mode, humour, grotesque.