Made available in DSpace on 2016-12-08T16:52:08Z (GMT). No. of bitstreams: 1 Paula.pdf: 1150058 bytes, checksum: 13b27fb2c05e30868ed91ecbf483bbbf (MD5) Previous issue date: 2011-06-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research aims to investigate the composition of dramatic Fools of three Shakespearean plays, checking the function of humor in the unfolding plot. The Fools studied are: Touch in "As You Like It"; Feste in "Twelfth Night" and the Fool in "King Lear". By reconstructing the comic aspects of ancestral figures and popular culture comic medieval and Renaissance, is investigated in the first chapter, the history of real Fools, their types, characteristics and influences. The second chapter is a description of Fools in Shakespearean plays centered on their main characteristics and an analysis based on the "categories", first of the Fool "Fool", as the one that plays, which amuses, that part of the body, of the passions and of the madness. Second the Fool "Jester", which is more philosophical, playing with the sacred and that part of the reason. Finally, a conclusion that fools of Shakespeare show the true expression of these figures, and its universal force surpasses time and space, keeping always contemporary / A pesquisa objetiva investigar a composição dramática dos Bobos de três peças de Shakespeare, verificando a função do humor no desenrolar da trama. Os Bobos estudados são: Toque de ―Do seu Jeito; Feste de ―Noite de Reis; e o Bobo de ―Rei Lear. A partir da reconstituição dos aspectos cômicos de figuras ancestrais e da cultura cômica popular da Idade Média e do Renascimento, é investigado no primeiro capítulo, a história dos Bobos verídicos, seus tipos, suas características e influências. No segundo capítulo é feita uma descrição dos Bobos na dramaturgia shakespeariana com base nas suas principais características e uma análise embasada nas ―categorias primeiramente do Bobo ―Fool, ou seja, aquele que joga, que diverte, parte do corpo, das paixões e da loucura. E depois do Bobo ―Jester, que é mais filosófico, que joga com o sagrado e que parte da razão. Por fim, conclui-se que os Bobos de Shakespeare mostram a expressão verdadeira dessas figuras, e sua força universal, que ultrapassa tempo e espaço, mantendo-se sempre atuais

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta dissertação analisa marcadores sociais produtores de hierarquia, desigualdade e discriminação entre sujeitos LGBT na cidade de Maputo. A análise das intersecções de gênero, raça, classe social, idade e sexualidade demonstra que os sujeitos LGBT em contextos de sociabilidades, e mesmo nas relações sociais, constroem hierarquias e formas de discriminação, que por sua vez geram sentimentos tais como a humilhação e o desprezo. O estudo discute também de que maneira esses marcadores posicionam determinados sujeitos LGBT na dinâmica de sociabilidade e preferências sexuais no pólo de valorizados, relegando outros ao pólo de desvalorizados. O humor, a jocosidade, e a informalidade observados reforçam os marcadores sociais das diferenças entre os sujeitos LGBT, e ainda informam moralidades por meio de um discurso irônico. A pesquisa é de carácter etnográfico e baseou-se nos métodos e técnicas tradicionais da antropologia: observação-participante e conversas informais com sujeitos LGBT; e incluiu ainda análise de documentos. Um objectivo secundário desta dissertação é contribuir para a construção da história do movimento LGBT moçambicano, que ainda está por ser realizada e o desenho de tal história faz parte do levantamento realizado. / This dissertation analyzes social markers that produce hierarchy, inequality and discrimination among LGBT individuals in Maputo. The analysis of gender and its intersection with race, social class, age and sexuality demonstrates that LGBT individuals in the context of social relations build hierarchies and forms of discrimination, which in turn generate feelings such as humiliation and the contempt. The study also discusses how these markers place certain LGBT subjects, in the dynamics of sociability and sexual preferences, in a valued position, relegating others to the opposite position. The humor, jocoseness, and the observed informality reinforce the social markers of the differences between LGBT individuals, and also inform morality through an ironic discourse. The research is ethnographic and was based on the traditional methods and techniques of anthropology: participant observation and informal conversations with LGBT individuals; and even included document analysis. A secondary objective of this dissertation is to contribute to the construction of the history the Mozambican LGBT movement, which is yet to be held - and the design of such a story is part of the conducted survey.

Made available in DSpace on 2014-12-17T15:06:46Z (GMT). No. of bitstreams: 1 MariaGSpdf.pdf: 3284342 bytes, checksum: a4e914fb67685fa4ad8f2f9f896266f1 (MD5) Previous issue date: 2009-10-08 / The aim of this paper is to present the study of the laughter in Tutam?ia, by Jo?o Guimar?es Rosa, throughtout the four forewords and ten novels selected from the author s literary work. It is based on the psychoanalytical theory of Sigmund Freud and Jacques Lacan about the laughter (and delight in the humorous nuances) and the unconscious mind. By taking the laughter as the point of exploitation and understanding, the narration can be understood from an esthetical pattern established on the variety of orallity retained by the narrator and the cordel pamphlets (known as string literature ) and its bypassing on the classical literature and the popular literature revealing its own logical linguistic and conception apart from the official one. It is taken a comparative conception of life in the Fran?ois Rabelais characters and some characters from Tutam?ia having Melim-Meloso as a paradigm showing how one s life can be happy in spite of all adversities by using laughter as the antidote potion against human being s misery and pain to achieve sense of freedom and pleasure / Esta disserta??o tem como objeto de estudo a an?lise do chiste em Tutam?ia, de Jo?o Guimar?es Rosa, a partir dos 04 (quatro) pref?cios e 10 (dez) contos selecionados da obra. Apresenta como principal refer?ncia a teoria psicanal?tica sobre o chiste e o inconsciente, de Sigmund Freud e Jacques Lacan. Ao lado do chiste como fio condutor do estudo, ? abordada a quest?o da narrativa como uma est?tica fundamentada na multiplicidade de vozes do narrador, na oralidade dos folhetos de cordel, intermediada por uma intertextualidade entre a tradi??o culta e a tradi??o popular, em que se sobressai uma l?gica ling??stica e conceitual ?s avessas, ao contr?rio dos c?nones oficiais da l?ngua. Por fim, ? estabelecida uma an?lise comparativa entre a concep??o de vida dos personagens rabelaisianos e alguns personagens de Tutam?ia, tendo como paradigma o personagem de Melim-Meloso, atrav?s do qual a alegria de viver sobrep?e-se a todas as adversidades da vida, veiculando a mensagem de que o chiste, o riso, ? o melhor ant?doto contra as dores e pesares da travessia humana, encontrando-se a servi?o de uma maior liberdade e prazer de cria??o

A presente dissertação tem por objetivo compreender o sentido que Nietzsche confere ao riso no interior de seu pensamento. Para tanto, foi preciso considerar o riso à luz do conceito de vontade de potência, de modo a determinar o aspecto sob o qual Nietzsche o interpreta e o motivo pelo qual esse riso é digno de seus investimentos filosóficos. Deste modo, partimos com a noção de que o riso se exprime como um juízo avaliativo: atitude valorativa que, no caso da valoração nobre, manifesta (e quer) aumento de forças. A partir desse primeiro tópico, analisamos o conceito de gaia ciência [alegre saber], apresentado em livro homônimo, com o qual o riso se irradia pelo pensamento e se torna um fator imprescindível diante das questões e tarefas a que Nietzsche se coloca. Aqui, o riso atua como páthos afirmativo e efeito da elevação de potência; os pensamentos a ele correspondentes são igualmente afirmativos, o que, por sua vez, permite um vigor filosófico para a crítica radical dos valores. A idiossincrasia desse riso de Nietzsche, se vê, pois, realçada quando o cotejamos com temas tais como a linguagem, o estilo, a crítica e o conceito de tartufesco. Com efeito, a partir de tais considerações procuramos esboçar algumas linhas acerca da relação do riso com a ideia do além-do-homem, bem como compreender a inovação que Nietzsche promove na história do pensamento filosófico sobre o riso. / The present dissertation aims to comprehend the meaning that Nietzsche gives to laughter within his thought. Therefore, it was necessary to accept laughter under the concept of will to power in order to precise the aspect in witch Nietzsche interprets it and the motive that makes laughter worthy of his philosophical investments. Thus, we start with the notion of laughter as an evaluative judgment, an evaluative attitude, which in the case of noble valuation, manifests (and wants) increase of forces. From this topic, we analyzed the concept of a gay science(presented in the eponymous book); in witch, laughter became an important factor regarding the issues that Nietzsche arise. Here, laughter works as an affirmative páthos and effect of an elevation of power, the thoughts related to laughter are correspondingly affirmative, which in turns allows a philosophical strength towards the radical critics of values. The idiosyncrasy of Nietzsches laughter highlights when collated with themes as language, style, critics and the concept of tarffufe. Indeed, from these considerations we may be able to outline a conclusion on laughters relation with the idea of overman, and understand the innovation that Nietzsche promotes on the history of philosophical thought about laughter.

O presente texto pretende apresentar a investigação, a partir de referenciais práticos e teóricos, sobre as possibilidades, caminhos e princípios da construção de uma Pedagogia do Palhaço, que venho desenvolvendo, desde 2000 - proposta educativa que tem como principais concepções e propostas pedagógicas as técnicas do ator-criador, do arteiro, do atuador, do artivista e do educador para a paz, que se constitui a partir dos elementos da Arte do palhaço, como o riso (enquanto deflagrador do pensamento sério), o corpo jogador, a transgressão e a inversão, na relação com a Educação, na interface com as Ciências Sociais e com as Artes, e em conformidade com minhas próprias experiências enquanto ator, palhaço, jogador de capoeira, contador/colecionador de histórias e educador. A partir da pesquisa qualitativa, através do levantamento e do estudo bibliográfico, assim como, através do método autobiográfico, selecionei materiais escritos e iconográficos sobre minha trajetória profissional e docente, problematizando-os e colocando-os sob perspectiva para a consolidação desta Pedagogia, que se aproprie do riso, do jogo e do corpo do palhaço como estratégias dialógicas; a pensar uma práxis provocadora pedagógica que caiba nos corpos dos/as profissionais que trabalham com a educação de crianças e de jovens. / This paper aims to present the research, based on practical and theoretical references, on the possibilities, ways and principles of the constrution of a Clown Pedagogy, I have been developing since 2000 educational proposal whose main pedagogical conceptions and proposal are the actor-creators techniques, the mischievous, the actuating, the artivista and the educator for peace, created from the Clown arts elements such as laughter (as precipitant of serious thought), the body player, transgression and inversion, in relation to Education, the interface with the Social Sciences and the Arts, and in accordance with my own experiences as an actor, clown, capoeira player, Story Teller/ Collector of stories and educator. Starting from the qualitative research through the survey and bibliographical study, as well as through the autobiographical method, I have selected written and iconographic material about my professional career and teaching, questioning them and putting them in perspective for the consolidation of this pedagogy which appropriates laugh, play and clown body as dialogical strategies; to think a pedagogical provocative práxis that fits in bodies of the professionals working with the education of children and youth.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to discuss the transgressor character of the joke, conceiving it as an instrument of socio-political and institutional critique, according as it found the opportunity to contest, covertly, authority figures, despite of social restrictions. The first chapter, entitled A Brief History of laughter in three stages, aims to present the story of laughter along the major historical periods of mankind, namely, the greco-roman Antiquity, the middle ages and modernity. Over the centuries, laughter was the subject of countless debates among politicians and intellectuals about their merits in sociocultural order, always marked by alternating moments of elation and interdiction. In the second chapter, entitled The joke and its vicissitudes in the Freudian discourse, we propose to investigate the problem of jokes on the life and work of Freud. Initially, we address the german and jewish cultural heritage, whose influence proved decisive to attract the interest of the author for the matter concerned. Then we present the status of the jokes in Freud´s work, highlighting two specific texts related to that issue, namely, Jokes and Their Relation to the Unconscious (1905) and Humor (1927). In the third chapter, entitled To the clipboard comrades: clashes between the jokes and censorship in contemporary society, we will analyze some contemporary examples that show this relationship. We emphasize, above all, two satirical tabloids: the Pasquim and the Charlie Hebdo. It should be noted that both weeklies faced a strong censorship by more conservative institutions, notably the military government and religious fundamentalism. / Este trabalho tem por objetivo discutir o caráter transgressor da piada, concebendo-a enquanto um instrumento de crítica sócio-político-institucional, na medida em que nela encontramos a possibilidade de contestar, de forma dissimulada, as figuras de autoridade, a despeito das restrições sociais. O capítulo inicial, intitulado Uma breve história do riso em três tempos, tem como escopo apresentar a história do riso ao longo dos principais períodos históricos da humanidade, a saber, a Antiguidade greco-romana, a idade média e a modernidade. Ao longo dos séculos, o riso foi tema de incontáveis debates entre políticos e intelectuais no que tange a seus méritos na ordem sociocultural, sempre marcado por momentos alternados de exaltação e interdição. No segundo capítulo, cujo título é A piada e suas vicissitudes no discurso freudiano, nos propomos a investigar a problemática das piadas na vida e obra de Freud. Inicialmente, abordamos a herança cultural germânica e judaica, cuja influência mostrou-se decisiva para atrair o interesse do autor pela problemática em questão. Em seguida, apresentamos o estatuto das piadas na obra freudiana, destacando dois textos específicos relacionados àquela temática, a saber, Os chistes e sua relação com o inconsciente (1905) e O humor (1927). No terceiro capítulo, intitulado À prancheta camaradas: embates entre as piadas e a censura na contemporaneidade, analisaremos alguns exemplos contemporâneos que evidenciam essa relação. Destacamos, sobretudo, dois folhetins satíricos: o Pasquim e o Charlie Hebdo. Cabe salientar que ambos os semanários enfrentaram uma forte censura por parte de instituições mais conservadoras, notadamente, o governo militar e o fundamentalismo religioso.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho tem por objetivo analisar o riso e os elementos propiciadores do risível nas obras Alô, Doçura! Os protocolos secretos da AMOAL (2008), do escritor amazonense Simão Pessoa, e Era uma vez o amor mas tive que matá-lo (2006b) e Técnicas de masturbación entre Batman y Robin (2010), do escritor colombiano Efraim Medina Reyes, à luz dos pressupostos teóricos, principalmente de Henri Bergson, Vladímir Propp e Mikhail Bakhtin. Para tanto, foi necessário discutir as relações literárias entre a Amazônia e a América Latina e inserir os escritores na narrativa contemporânea. Também foi necessário estudar os movimentos contraculturais Geração Beat e Geração McOndo, assim como a estética do realismo sujo, com o objetivo de verificar suas influências na produção literária dos referidos escritores. A partir da metodologia utilizada, imbricada na Literatura Comparada, busquei um diálogo entre o corpus ficcional e os pressupostos teóricos e percebi que o humor do riso medieval, ou seja, o riso carnavalizado e grotesco, está presente ainda hoje na contemporaneidade. Ao final da análise pude constatar que Simão Pessoa e Medina Reyes estão filiados à tradição literária carnavalesca e à estética do riso. / This work has for objective to analyze the laughter and the elements which do it of the laughable in the works Alô, Doçura! Os protocolos secretos da AMOAL (2008), of the amazon writer Simão Pessoa, and Era uma vez o amor mas tive que matá-lo (2006b) and Técnicas de masturbación entre Batman y Robin (2010), of the Colombian writer Efraim Medina Reyes, to the light of theoretical presuppositions, mainly of Henri Bergson, Vladimir Propp and Mikhail Bakhtin. For so much, it was necessary to discuss the literary relationships between the Amazonian and Latin America and to insert the writers in the contemporary narrative. It was also necessary to study the counterculture movements Beat Generation and McOndo Generation, as well as the aesthetics of the dirty realism, with the objective of verifying its influences in the referred writers literary production. Starting from the used methodology, interlaced in the Compared Literature, looked for a dialogue between the corpus fictional and the and the theoretical presuppositions and I noticed that the humor of the medieval laughter, in other words, carnivalization and grotesque laughter, it is still today present in the contemporary hood. At the end of the analysis I could verify that Simão Pessoa and Medina Reyes are adopted to the carnival literary tradition and the aesthetic of the laughter.

Le corpus des ‘comédies élégiaques’ ou ‘comédies latines’ du XIIe et du XIIIe siècle a été perçu comme un ensemble de textes étranges, dont la place dans la tradition littéraire était, pourtant, clairement définie. La notion de ‘comédie élégiaque’ désigne en effet la tradition théâtrale comme point de référence essentiel dans la formation du ‘genre’. L’objectif de la présente thèse est de déconstruire le concept de ‘comédie élégiaque’ et de décrire les textes du corpus, composés au XIIe siècle, tout en respectant leur historicité. Le mot ‘comique’ se rapporte ici à comoedia en tant que phénomène historique et non pas aux catégories anthropologique, philosophique ou psychologique ; ‘faire rire’ n’est ici qu’une des réponses possibles. La révision des sources fondamentales pour la formation des savoirs médiévaux de la comédie antique, ainsi que la lecture des poetriae du XIIe et XIIIe siècle, permet de préciser le sens du terme comoedia, employé par les auteurs des comoediae du Val de Loire et par leurs lecteurs. L’étude des rapports des comédies élégiaques avec la tradition de la comédie antique implique, en outre, l’examen de leurs paratextes et de leurs cotextes, dont l’ensemble est déterminé par les manuscrits conservés. Ainsi, l’analyse du contexte historique, idéologique et théorique, ajoutée à l’étude des manuscrits des comédies élégiaques, permet de définir ces compositions en tant que textes qui forment et incarnent les règles rhétoriques et éthiques exposées dans les poetriae. / The corpus of ‘elegiac comedies’, or 12th and 13th-century ‘Latin comedies’, was perceived as an anthology of some curious texts, the literary tradition of which was, nevertheless, clearly defined. Indeed, the notion of 'elegiac comedy’ designates the theatrical tradition as a point of reference, which is essential for the formation of' the ‘genre’. The objective of this thesis is to deconstruct the concept of ‘elegiac comedy’ and to describe the 12th-century texts of the corpus in exact accordance with their historicity. The word ‘comic’ refers here to comoedia as a historical phenomenon and not to some categories of anthropological, philosophical or psychological nature; the ‘laughter’ is not but one of the possible answers. The revision of the sources fundamental for the formation of medieval knowledge of ancient comedy as well as the interpretation of 12th- and 13th-century poetriae help to shed light on the meaning of the term comoedia employed both by the authors of comoediae from the Loire Valley and by their readers. The study of the relations of the elegiac comedies with the tradition of ancient comedy involves, moreover, the examination of their paratexts and co-texts, the body of which is determined by the preserved manuscripts. Thus, the analysis of the historical, ideological and theoretical context, as well as the study of manuscripts of the elegiac comedies, define these compositions as the texts that form and embody the rhetorical and ethical rules exhibited in the poetriae.

The number of displaced people around the world today is unprecedented in world history, with a third of those displaced below the age of 18. These children often undergo traumatic experiences which can cause serious mental health issues before and during their flight as well as afterwards when resettling in a new country. In Sweden, they are offered psychological aid in order to better deal with these issues and hence recover. However, due to the cultural stigma attached to mental health problems, psychosocial aid is often ruled out by the child themselves. In addition, up to 30% of these unaccompanied children have been reported to suffer from PTSD, where merely speaking about one's issue can trigger a relapse of the trauma. There is therefore a shortage of pragmatic approaches to help tackle the challenges that these children faces. The aim of this thesis is to investigate how creative programs such as the organisation Clowns without Borders works with unaccompanied refugees and how their methods affect the wellbeing of these children. This thesis explores the effects that laughter and playing has on a child’s well-being using a qualitative field research approach. The research is a contribution to the field of development since it offers new grounds on how to work towards increasing the living standards of resettled displaced persons.

Submitted thesis follows up clowning as phenomenon that can be approached in different ways and understood from different points of view. The perspective depends on a theoretical base and methodological tools, including a conceptual apparatus. Because the viewpoint of the phenomenon is the core of submitted theses, I have decided to use as a methodological tool discoursive analysis, particularly bakhtinian analysis. Theoretical background is provided by Mikhail Bakhtin's theories and concepts (dialogism, heteroglossia, speech genres) and Julia Kristeva's theory of intertextuality (that was inspired by bakhtinian thinking). One of key terms of this theses is the concept of transgression which relates to supposition that transgression is one of principal features of clowning. The theses submits confrontation of two different approaches to the phenomenon of clowning. First one is provided by structuralist model by Paul Bouissac. Bouissac describes clowning as an abstract system, relatively static and closed code, which is builded of stabilized signs. His conception presents clowning as a phenomenon firmly tied up with the circus structure. Although Bouissac defines transgression as a characteristic feature of clowning, from his point of view is this transgression limited by borders of circus. Crossing...