A collection of poems.

Notre travail trouve son origine : d’une part dans la mauvaise réputation du théâtre contemporain auprès du public qui ne le fréquente pas ou plus et qui le juge violent, ennuyeux ou incompréhensible ; d’autre part dans le caractère très circonscrit, sur le plan socio-culturel, du public de ce théâtre. Nous tâchons de faire le lien entre ces deux constats, en utilisant la question du rire comme un révélateur. Notre hypothèse est que la dilution de la perception du rire dans le théâtre contemporain et les efforts ponctuels des spectateurs pour réinjecter du rire dans leur expérience spectatorielle constituent un symptôme de blocage du potentiel subversif de la création théâtrale. Mais, plus profondément encore, il nous semble que cette espèce de dysfonctionnement du rire s’inscrit au cœur d’un problème plus vaste de renouvellement, qui se pose aussi bien pour les formes du spectacle que pour la composition socio-culturelle du public. En effet, le rapport du public et de la scène au rire/à l’humour apparaît lié à certains aspects essentiels du fonctionnement théâtral actuel, notamment : à un refus implicite ou explicite du divertissement, à la systématisation de l’esthétique du choc, à la mise à l’épreuve du spectateur et au traitement des tabous. Il s’agira donc, en interrogeant le déploiement du rire (notamment dysfonctionnel), côté salle et côté scène, d’identifier et d’analyser ce qui relie, en filigrane, les différents obstacles au renouvellement rencontrés par la création théâtrale contemporaine et ce qui contribue réellement à la désaffection du grand public pour un art devenu, au cours du XXème siècle, extrêmement marginal dans la vie quotidienne des individus. / My research was motivated on the one hand by the bad reputation of contemporary theatre among the people who do not or no longer attend it and who think it is violent, boring or hard to understand; on the other hand by the fact that its audience is socio-culturally extremely circumscribed. I try to make a link between those two observations by using the laugh as a revelatory tool. My hypothesis is that the increasing difficulties to perceive laugh in contemporary theatre and the audience’s punctual efforts to reinsert laugh in their theatrical experience are symptoms of a general limitation of the subversive potential in contemporary creation. Most of all, I think that this kind of laugh’s malfunction is a part of a bigger problem affecting the renewal capacity of theatre, in the aesthetic aspects as well as in the socio-cultural audience’s composition. In fact, the relation between the audience or the scene and laugh/or humour seems linked to some essential aspects of the actual theatrical working: the explicit or implicit refusal of entertainment; the systematization of the “shocking effects’ aesthetic”; the audience’s physical or psychological trial; the way taboos are managed. By exploring the way laugh/humour works or malfunctions, from the scene’s and the audience’s perspectives, I want to identify how the different obstacles to theatrical renewal are related and what really contributes to the audience’s disaffection for an art which, along the 20ieth century, has become more and more marginal in people’s day-to-day life.

Este trabalho tem como objetivo analisar o cômico e o riso no Quixote. Para tanto, deter-nos-emos em preceptivas dos séculos XVI e XVII, que trazem à baila discussões sobre o cômico, realizadas por tratadistas cujos trabalhos partiram de uma perspectiva poético-retórica. Os prólogos do Quixote evidenciam a preocupação de Miguel de Cervantes com o riso de seus leitores e revelam que a obra, de acordo com estudiosos como Russell e Close, estava ligada ao entretenimento do público. Assim, o debate que o prólogo de 1615 estabelece com Avellaneda, o dito autor apócrifo, também se converte numa importante leitura para a compreensão do cômico na obra cervantina. Nesse sentido, episódios nos quais a comicidade está presente, tais como o enfrentamento de Dom Quixote com um leão (Cap. XVII, DQ II), evidenciam a preocupação do escritor em compor sua obra a partir de uma mistura estilística, em que a admiração e o riso do leitor são componentes essenciais. Abordamos, ainda, o elemento cômico em Cervantes e em Avellaneda, com o intuito de compreender como os Quixotes de 1605 e 1614, no que tange à comicidade, obedecem a princípios distintos. / This paper aims at analyzing the comical and the laugh in Quixote. In doing so, we center ourselves on the 16th and 17th preceptives that bring up discussions around the comical, made by preceptists whose works were based on a poetic-rhetorical perspective. Quixotes prologues show how much Cervantes was worried about his readers laughing. It also reveals that his work, according to scholars such as Russell and Close, was related to the entertainment of his audience. Thus, the debate established by the prologue of the 1615 edition, by Avellaneda the so-called apocryphal author , also constitutes a relevant study for us to understand the comical in the work of Cervantes. In this sense, episodes such as the one in which Don Quixote defies a lion (Chapter XVII, DQ II) make evident that the writer is worried about composing his work based on a stylistic mixture, in which the readers admiration and laugh are its essential components. Finally, we approach the comic element in Cervantes and in Avellanedas works, as to understand how both Quixotes (the one published in 1605 and the one published in 1614) are bound to different principles of comicalness.

Darbo objektas - reklamos parodija ir jos kūrimo būdai. Tikslas: nustatyti reklamos daromą įtaką žmogaus psichologijai ir ištirti juoko kūrimo principus reklamų parodijose. Išsikelti uždaviniai: aprašyti reklamos kūrimo būdus bei atskleisti reklamos ir jos parodijos daromą įtaką individui; remiantis anketavimo būdu aprašyti visuomenės požiūrį į reklamą ir jos parodiją, atskleisti anekdotų ir reklamos parodijų žanrų panašumus bei išskirti personažus būdingus abiems žanrams; nustatyti bendrus literatūrai ir folkloristikai juoko kūrimo principus reklamų parodijose. Rašant darbą naudoti metodai: aprašomasis – analitinis, lyginamoji analizė. Darbą sudaro įvadas bei trys dėstymo dalys. Pirmoje dalyje aptariami reklamos kūrimo būdai bei jos įtaka žmogaus psichologijai, analizuojama, kuo svarbus yra juokas ir kaip per reklamos parodiją sukuriama atsvara profesionaliajai reklamai, taip pat pateikiama autoriaus atliktos apklausos analizė, kurioje atsiskleidžia visuomenės požiūris į reklamą ir jos parodijavimą. Antrojoje dalyje aptariami reklamų parodijų ir anekdotų žanrų panašumai, lyginami populiariausi personažai. Trečioji dalis skirta humoro kūrimo principams reklamų parodijose aptarti. Darbas baigiamas išvadomis, literatūros ir šaltinių sąrašu bei priedais. Anketų duomenys rodo, kad reklama ir jos parodijomis domisi didžioji dalis apklaustųjų. Tai lemia informacinė reklamos funkcija bei humoristiškai pateikiamos originalių reklamų parodijos. Reklama individui daro tiek teigiamą... [toliau žr. visą tekstą] / The object of this work - a parody of advertisement and ways to create them. The aim: to determine the impact of advertisement for psychology of human and explore the ways to create laugh in advertising parodies. Tasks: describe the ways of creating advertisement and disclose advertisement and parodies of advertising impact on the individual; based on questionnaires, describe public attitudes towards advertisement and parody; display anecdotes and advertising parodies genres similarities and identify typical characters of both genres; determine typical principles of making laugh in advertising parodies of literature and folklore. In this work are used these methods: a descriptive - analytical, comparative analysis. The work consists of an introduction and three parts. The first part discusses ways to create advertisement and its influence on human psychology, also examines the importance of laugh and how a parody makes a balance in professionally created advertisement, as well layed the author's analysis of the survey, which reveals public attitudes towards advertisement and parody. The second part deals with advertising parodies and jokes genre similarities, comparing the most popular characters. The third part is devoted to discuss the principles of laugh in advertising parodies. The paper ends with conclusions, references and a list of accessories. Data of survey suggests, that the majority of the respondents are interested in advertising and parodies. This... [to full text]

Inledning: Humor, glädje och skratt har varit lika framträdande i det mänskliga livet som i litteraturen, teatern och konsten sedan civilisationens begynnelse, precis som sorgen och det tragiska. Detsamma kan dock inte sägas om psykoterapin. Uppmärksamheten på humorns funktion i terapeutisk behandling har varit ytterst begränsad. Frågeställningar: Vilken betydelse har humor när den uttrycks i den psykoterapeutiska kontexten och processen? Metod: Studie är kvalitativ. Fem psykoterapeuter intervjuades med hjälp av semistrukturerade intervjuer som sedan analyserades och tolkats utifrån en fenomenologisk hermeneutisk ansats. Resultat: Humor i terapi kan öppna upp tillvaron, ge en känsla av gemenskap, erbjuda förhållningssätt till döden samt skänka insikt. Humorn kan i sig utgöra en prognostisk indikator. Men den kan också utgöra hindrande försvar. Att bjuda in patienten till det humoristiska ställer krav på försiktighet, kan röra en fråga om överlevnad, kan uttryckas som klarifiering och slutligen utgöra ett förhållningssätt som kan internaliseras. Diskussion: Humor kan utgöra en mycket verksam och utvecklande del i terapin där patienten genom humor kan utvecklas i riktning mot ökad öppenhet, frihet och rörlighet vilket möjliggör distans och ökad reflektionsförmåga och därmed handlingsutrymme och möjlighet till insikt och i slutändan förändring. Patienten ingår också härigenom i ett sammanhang med sin egen och andras död och livsvillkor. En terapeut med sinne för humor och med god självkännedom kan med hjälp av bl.a. klarifieringar och gemensamma ordlösa tolkningar skapa något som utgör i sanning ett lekområde värt namnet. / Introduction: Humor, joy and laughter have been as prominent in human life as in literature, theater and the arts since the beginning of civilization, just as the sorrow and the tragic. The same can not be said for psychotherapy. Attention to the function of humor in the therapeutic treatment has been extremely limited. Research questions: What meaning has humor when expressed in the psychotherapeutic context and process? Method: The study is qualitative. Five psychotherapists were interviewed using semi-structured interviews which are then analyzed and interpreted on the basis of a phenomenological hermeneutic approach. Results: Humor in therapy can open up your world, giving a sense of community, provide approaches to death and give insight. The humor can itself be a prognostic indicator. But it can also be prohibitive defense. Inviting the patient to the humorous requires caution, can be a matter of survival, can be expressed as clarification, and finally provide an approach that can be internalized. Discussion: Humor can be a very active and challenging part of the therapy where the patient through humor can be developed in the direction of greater openness, freedom and mobility which allows for distance and increased reflectivity and thus room for maneuver and ability for insight and ultimately change. The patient is also included herein through in a context of their own and others dead and living conditions. A therapist with a sense of humor and with good self-knowledge can, with the help of clarification and joint nonverbal interpretations, create something that represents truly a play space worthy of the name.

Este trabalho tem como objetivo analisar o cômico e o riso no Quixote. Para tanto, deter-nos-emos em preceptivas dos séculos XVI e XVII, que trazem à baila discussões sobre o cômico, realizadas por tratadistas cujos trabalhos partiram de uma perspectiva poético-retórica. Os prólogos do Quixote evidenciam a preocupação de Miguel de Cervantes com o riso de seus leitores e revelam que a obra, de acordo com estudiosos como Russell e Close, estava ligada ao entretenimento do público. Assim, o debate que o prólogo de 1615 estabelece com Avellaneda, o dito autor apócrifo, também se converte numa importante leitura para a compreensão do cômico na obra cervantina. Nesse sentido, episódios nos quais a comicidade está presente, tais como o enfrentamento de Dom Quixote com um leão (Cap. XVII, DQ II), evidenciam a preocupação do escritor em compor sua obra a partir de uma mistura estilística, em que a admiração e o riso do leitor são componentes essenciais. Abordamos, ainda, o elemento cômico em Cervantes e em Avellaneda, com o intuito de compreender como os Quixotes de 1605 e 1614, no que tange à comicidade, obedecem a princípios distintos. / This paper aims at analyzing the comical and the laugh in Quixote. In doing so, we center ourselves on the 16th and 17th preceptives that bring up discussions around the comical, made by preceptists whose works were based on a poetic-rhetorical perspective. Quixotes prologues show how much Cervantes was worried about his readers laughing. It also reveals that his work, according to scholars such as Russell and Close, was related to the entertainment of his audience. Thus, the debate established by the prologue of the 1615 edition, by Avellaneda the so-called apocryphal author , also constitutes a relevant study for us to understand the comical in the work of Cervantes. In this sense, episodes such as the one in which Don Quixote defies a lion (Chapter XVII, DQ II) make evident that the writer is worried about composing his work based on a stylistic mixture, in which the readers admiration and laugh are its essential components. Finally, we approach the comic element in Cervantes and in Avellanedas works, as to understand how both Quixotes (the one published in 1605 and the one published in 1614) are bound to different principles of comicalness.

Subjaz a este trabalho o objetivo de analisar como o riso e o risível são construídos lingüisticamente. A fundamentação teórica baseia-se em Bergson, Propp, Bahktin, Todorov, Raskin e Attardo. Inicialmente, procedemos a uma retomada histórica, buscando conhecer como o riso e o risível foram explicados por vários pensadores e teóricos de diferentes épocas. De Aristóteles a Freud, pudemos constatar o domínio de três grandes correntes teóricas: a psicológica, a sociológica e a psicanalítica. Somente quando a Lingüística se fixa como ciência, já no século XX, o fenômeno do riso passa a ser estudado sob a perspectiva estritamente lingüística. No segundo capítulo, procedemos à contextualização do corpus e buscamos verificar como a produtividade do humor ? o dizer muito com pouco ? se constrói em outra mídia. Se a comicização extratextual revelou-se típica nos textos analisados, também pudemos detectar que o humor de José Simão constantemente se realiza via paródia e apresenta características do cômico grotesco. Explicitar e exemplificar a Teoria Semântica do Humor, proposta por Raskin - para quem todo texto risível envolve a sobreposição de scripts e a presença de um gatilho que permite a passagem do modo sério (bona fide) para o modo joke telling (non-bona fide) ? foram as ações que nortearam a elaboração do nosso terceiro capítulo. Já o quarto capítulo foi dedicado exclusivamente ao humor das palavras, ou seja, ao humor verbal cuja motivação inicial decorre de se explorarem os aspectos sonoros, significantes. O último capítulo, dedicado à análise, permitiu-nos constatar como a clássica divisão de Cícero (humor da res e humor da verba) permanece atual: as piadas trocadilhescas e as situacionais bem o comprovam. / The aim of this paper is to analyse as the humor and the laugh are linguistic made. The theory?s statement is based on Bergson, Propp, Bahktin, Todorov e Attardo. Firstly we made a historical retrospective, trying to know as the humor and the laugh were explained by several thinkers and theorists throughout the different ages. From Aristotle to Freud we could realize the domain of the three remarkable current theories: the psychological, the sociological, the psychoanalytic. Only when the Linguistic was considered as a science - which happened just on the XX century - the humor´s phenomenon started to be studied from a proper linguistic side of view. On the second chapter, we focused the corpus and we tried to verify how the humor?s productivity - as to say lots in few words - is made in another media. We noted that extratextual comic action was the typical one in the studied texts and we also realized that José Simão?s humor is often parodist and so it shows typical characteristics of the grotesque comic. To explain and to give some examples of the ?Semantic Theory of Humor? proposed by Raskin - to whom all the humor texts involves a overlap of scripts and the presence of a trigger which provides the passage from the bona fide to the joke telling mode ? were the actions that leaded the elaboration of the third chapter. The fourth chapter was dedicated specifically to the humor of the words, it is to say: the verbal humor which bases come from the sonorous aspects of the words. The last chapter, dedicated to the final analysis, let us realized as the classic division of Cicero (humor of res and humor of verba) remains between us: the jokes and the punners can prove it.

É possível rir da ciência? Qual seria a relação entre o cômico e a ciência? Onde está o humor na ciência? No âmbito do ensino, os alunos riem das piadas com física? É preciso entender ou saber conceitos de física para entender a piada? É pensando nestas questões que articulamos a presente pesquisa, que visa estudar a relação entre o humor e a ciência e suas implicações didáticas. Para tanto, iniciamos nossa pesquisa a partir de um estudo das teorias sobre o humor e sua evolução ao longo da história, seguida de um levantamento de obras, tais como: O Guia do Mochileiro das Galáxias de Douglas Adams, As cosmicômicas de Italo Calvino, tiras e charges, entre outras, nas quais enxergamos uma aproximação entre ciência e humor. Com a base teórica, investigamos os resultados de intervenções didáticas nas quais foram utilizados materiais midiáticos pesquisados. Para a elaboração e realização das atividades e da pesquisa, nós nos apoiamos em uma metodologia que engloba três etapas: análise, formulação e aplicação/intervenção. Em que na primeira, o material é estudado, em seguida é realizada a produção de uma proposta de atividades, que, por fim, é realizada em um espaço educacional, seja ele formal ou não. No presente trabalho, a investigação foi realizada em dois momentos distintos. O primeiro envolvendo estudantes do ensino superior, tanto da Escola de Artes Ciências e Humanidades da Universidade de São Paulo, quanto da Universidade Júlio de Mesquita Filho - UNESP, Campus Rio Claro, e no segundo com alunos do ensino fundamental II, no âmbito do projeto Banca da Ciência na Escola. Como resultado, concluímos que, no geral, a relação entre humor e ciência se encontra fora da ciência, e relacionada com outros conteúdos. Pudemos observar que, de fato, há uma estreita relação entre o riso e a compreensão de um conteúdo científico, e, que o humor, devido a sua aproximação com o lúdico, possibilita, e necessita, um espaço dinâmico para a sua utilização. Portanto, o humor apresenta um papel importante tanto no processo de ensino-aprendizagem quanto no engajamento à ciência. / Is it possible to laugh from Science? What would it be the relationship between something funny and science? Where is the humor on science? On the scope of teaching, do the students laugh from physics puns? Is it necessary to understand or to know physics concepts to \"get\" the joke? It is thinking on these questions that we have articulated this current research, that aims to study the relationship between humor and science, and its didactical implications. To do so, we started this research studying the humors theories and its evolution trough history, followed by a study of media works, such as Douglas Adams\' Hitchhiker\'s Guide to the Galaxy, Italo Calvino\'s Cosmicomics, comic stripes, among others, on which we saw an approximation of science and humor. With this theoretical background, we have investigated the outcomes of didactical interventions on which the works researched were used. For the elaboration and realization of the activities and the research, we supported a methodology that can be divided in three steps, analysis, elaboration and intervention. On the first step, the work its studied, on the second step one intervention its elaborated, and, on the third step, the intervention takes place on an education environment, be it formal or nonformal. On the current work, the investigation was performed on two different moments. The first involving students from undergraduate courses, such as Escola de Artes, Ciências e Humanidades da Universidade de São Paulo, and, Universidade Júlio de Mesquita Filho - UNESP, Campus Rio Claro, and on the second moment, with students from secondary education on the project Science stand at school. As results, we have concluded that, in general, the relation between humor and science can be found outside the science, and related with others subjects. We could also observe that, indeed, there is a strait relationship among laugh and the comprehension of a scientific content, and, that the humor, due its proximity with ludic activities, allows, and requires, a dynamical space for its use. Therefore, the humor has an important role in teaching and learning process an in the engagement of science

Subjaz a este trabalho o objetivo de analisar como o riso e o risível são construídos lingüisticamente. A fundamentação teórica baseia-se em Bergson, Propp, Bahktin, Todorov, Raskin e Attardo. Inicialmente, procedemos a uma retomada histórica, buscando conhecer como o riso e o risível foram explicados por vários pensadores e teóricos de diferentes épocas. De Aristóteles a Freud, pudemos constatar o domínio de três grandes correntes teóricas: a psicológica, a sociológica e a psicanalítica. Somente quando a Lingüística se fixa como ciência, já no século XX, o fenômeno do riso passa a ser estudado sob a perspectiva estritamente lingüística. No segundo capítulo, procedemos à contextualização do corpus e buscamos verificar como a produtividade do humor ? o dizer muito com pouco ? se constrói em outra mídia. Se a comicização extratextual revelou-se típica nos textos analisados, também pudemos detectar que o humor de José Simão constantemente se realiza via paródia e apresenta características do cômico grotesco. Explicitar e exemplificar a Teoria Semântica do Humor, proposta por Raskin - para quem todo texto risível envolve a sobreposição de scripts e a presença de um gatilho que permite a passagem do modo sério (bona fide) para o modo joke telling (non-bona fide) ? foram as ações que nortearam a elaboração do nosso terceiro capítulo. Já o quarto capítulo foi dedicado exclusivamente ao humor das palavras, ou seja, ao humor verbal cuja motivação inicial decorre de se explorarem os aspectos sonoros, significantes. O último capítulo, dedicado à análise, permitiu-nos constatar como a clássica divisão de Cícero (humor da res e humor da verba) permanece atual: as piadas trocadilhescas e as situacionais bem o comprovam. / The aim of this paper is to analyse as the humor and the laugh are linguistic made. The theory?s statement is based on Bergson, Propp, Bahktin, Todorov e Attardo. Firstly we made a historical retrospective, trying to know as the humor and the laugh were explained by several thinkers and theorists throughout the different ages. From Aristotle to Freud we could realize the domain of the three remarkable current theories: the psychological, the sociological, the psychoanalytic. Only when the Linguistic was considered as a science - which happened just on the XX century - the humor´s phenomenon started to be studied from a proper linguistic side of view. On the second chapter, we focused the corpus and we tried to verify how the humor?s productivity - as to say lots in few words - is made in another media. We noted that extratextual comic action was the typical one in the studied texts and we also realized that José Simão?s humor is often parodist and so it shows typical characteristics of the grotesque comic. To explain and to give some examples of the ?Semantic Theory of Humor? proposed by Raskin - to whom all the humor texts involves a overlap of scripts and the presence of a trigger which provides the passage from the bona fide to the joke telling mode ? were the actions that leaded the elaboration of the third chapter. The fourth chapter was dedicated specifically to the humor of the words, it is to say: the verbal humor which bases come from the sonorous aspects of the words. The last chapter, dedicated to the final analysis, let us realized as the classic division of Cicero (humor of res and humor of verba) remains between us: the jokes and the punners can prove it.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-04-10Bitstream added on 2014-06-13T20:03:04Z : No. of bitstreams: 1 rodrigues_rr_dr_arafcl.pdf: 9388200 bytes, checksum: cd4e4a54b3a15263c7c92c52a76e9f4f (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Este trabalho compara dois momentos da contística de Luiz Vilela. Para depreender um conceito de literariedade, expõe a fortuna crítica do ficcionista. De depoimentos e entrevistas do escritor, configura a sua ars poetica. Apresenta e desenvolve os conceitos de narrador-ausente e autor-explícito. Essas formulações decorrem da descoberta de que certa voz extradiegética se faz presente na trama ficcional dos contos. O trabalho mostra de que forma tal voz se entremeia ao discurso narrativo, e o significado dessa opção estética, em particular nos contos de enunciador não figurativizado, o narrador-ausente. Para mostrar a emersão do autor, o trabalho estuda o riso literário, estabelecendo uma semiose que deriva das gradações discursivas entre riso de acolhida e riso de exclusão, e, tendo por referencial a semiótica greimasiana, analisa procedimentos textuais e mecanismos enunciativos. O corpus é composto por doze contos. A hipótese que norteia a pesquisa é de que a fratura que presentifica o autor-explícito constrói a literariedade e o sentido ideológico da ficção de Luiz Vilela. / This work compares two moments of the short stories written by Luiz Vilela. In order to understand a concept of literarity, it exposes the critique of this fiction writer. Based on the writer’s speech and interviews, it configures his ars poetica. It presents and develops the concepts of absent-narrator and explicit-author. These formulations come from the discovering that a certain extradiegetic voice is present in the fictional plot of the short stories. The work shows in what way this voice is inserted in the narrative discourse, and the meaning of this aesthetic option, particularly in the short stories of a non-figurative enunciator, the absent-narrator. With the purpose of showing the author’s emersion, the work studies the literary laugh, establishing a semiosis that is originated from the discoursive gradations between welcoming laugh and exclusion laugh, and, having as a reference the Greimasian Semiotics, it analyses the textual procedures and the enunciative mechanisms. The corpus is composed of twelve short stories. The hypothesis that guides the research is that the fracture which denotes the explicit-author constructs the literarity and the ideological meaning of the fiction by Luiz Vilela.