Les habiletés sociales, les habiletés émotionnelles et le bien-être font partie de ce que cherchent à développer différents programmes qui visent le développement positif de l’enfant. Les programmes utilisant le rire comme outil d’intervention peuvent rentrer dans ces types de programmes, mais ils sont encore peu étudiés. En effet, rire comporte de nombreux effets bénéfiques, notamment au niveau de la santé physique et psychologique, mais davantage de recherches sont nécessaires pour établir les impacts bénéfiques du rire, particulièrement chez les enfants. Ce mémoire décrit l’évaluation de la mise en œuvre et des effets d’un programme d’exercices de rire qui a été implanté auprès d’élèves de 3e année primaire. Le programme de 10 activités, 1 fois par semaine, a été implanté auprès de 113 élèves provenant de deux écoles de Montréal. Une collecte de donnée a été effectuée avant et après l’animation du programme et le groupe contrôle a suivi un programme de gestion des émotions classique. À la suite de l’évaluation des résultats de la mise en œuvre, les élèves ont été divisés en trois groupes, soit le groupe contrôle (n = 48), le groupe ayant reçu une faible (n = 33) implantation du programme et le groupe ayant reçu une implantation élevée (n = 32). L’évaluation des effets a permis d’observer des résultats significativement positifs au niveau des domaines visés, soit les habiletés sociales, les habiletés émotionnelles et le bien- être. Cependant, les résultats varient selon les groupes d’élèves et leur niveau d’implantation du programme, les élèves ayant reçu le programme de manière optimale obtenant de meilleurs résultats. Des résultats ont également été obtenus au niveau du rendement en mathématique, où les élèves du groupe avec une implantation élevée du programme se sont améliorés de façon notoire comparativement aux élèves des deux autres groupes. Bien qu’il soit important de rester prudent face à l’interprétation des résultats, ceux-ci sont encourageants. Les forces et limites de la recherche, ainsi que les implications pour la psychoéducation et les recherches futures sont discutées. / Social skills, emotional skills and well-being are part of what seek to develop various programs aiming the positive development of children. Programs using laughter as an intervention tool can fit into those types of programs, but they are still understudied. Indeed, laughter has many beneficial effects, notably in terms of physical and psychological health, but more research is needed to establish the beneficial impacts of laughter, especially with children. This thesis describes the evaluation of the program implementation and the evaluation of the effects of a laughter exercise program that was implemented with 3rd grade primary school students. The program of 10 activities, once a week, was implemented with 113 students from two of Montreal’s schools. Data collection was carried out before and after the animation of the program and the control group followed a classic emotion regulation program. Following the evaluation of the results of the implementation, the students were divided into three groups, namely the control group (n = 48), the group having received a low implementation of the program (n = 33) and the group having received a high implementation (n = 32). The evaluation of the effects made it possible to observe significantly positive results at the level of the domains targeted, namely social skills, emotional skills and well-being. However, the results vary depending on the groups of students and their level of implementation of the program. The students that received the program in an optimal way obtained better results. Results were also obtained in terms of mathematics performance, where students in the group with high program implementation improved significantly compared to students in the other two groups. Although it is important to remain cautious when interpreting the results, they are encouraging. Strengths and limitations of the research, as well as implications for psychoeducation and future research are discussed.

Energi är grunden för allt mitt arbete. Utan Energi så finns det inget liv. Vad ska jag göra för att få energi och vad ska jag undvika för att inte förlora den? Ett undersökande i hur jag ska gå till väga för att bli lycklig i mitt liv och med min konst. För mig handlar det om att roligt. AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa………….HAHAHAHA!!!

Cette recherche tente de montrer comment la lodyans (en créole) ou « l'audience » (en français) est un genre littéraire typiquement haïtien. La lodyans peut être décrite comme l'art de raconter des histoires. Elle commence avec cette définition donnée par Georges Anglade : « La lodyans est un genre littéraire spécifiquement haïtien dont les racines plongent au plus profond de la culture haïtienne, au même niveau que la langue créole d'Haïti et le vodou haïtien. La personne qui raconte la lodyans ou les histoires est appelée un lodyanseur ». De 1905 jusqu'à nos jours, de nombreux écrivains haïtiens se sont servis de la lodyans comme d'un arrière-plan pour leurs œuvres littéraires. Parmi eux, on peut citer Justin Lhérisson, Fernand Hibbert, Maurice Sixto, et Gary Victor. Ce groupe comprend aussi Georges Anglade, le premier à avoir écrit une théorie du genre ; René Depestre, Frank Etienne et Dany Laferrière, sans être des lodyanseurs, ont été très influencés par le style de ceux qui se sont reconnus comme tels. En nous appuyant sur l'œuvre de ces lodyanseurs, et sur la critique de Mikhaïl Bakhtine, nous souhaitons prouver que la lodyans est un genre classique, même lorsqu'il frôle le grotesque. / This study will seek to explore lodyans (in Creole) or « l’audience » (in French) as a Haitian literary genre. Lodyans can be described as the art of telling stories. Hughes St. Fort in his review of Haitian Laughter written by Georges Anglade (2006), cites the writer who describes it as follows: ‘‘The lodyans is a uniquely Haitian literary genre whose roots are found in the deepest soil of Haitian culture, at the same level as Haitian Creole language and Haitian vodou. The person who tells the lodyans or stories is known as a lodyanseur’’. From the 1905 to present, many Haitian writers have been used loydyans as a background for their literary works. Among them we cite the following: Justin Lhérisson, Fernand Hibbert, Maurice Sixto, and Gary Victor. This group also includes Georges Anglade, the first to write a theory of the genre; René Depestre, Frankétienne and Dany Laferrière who are not lodyanseurs, but are very influenced by the writing style of those known as such. Based on the works of these lodyanseurs, and the critique of Mikhail Bakhtin, we wish to prove that lodyans is a classical genre even when it borders on the grotesque.

O objetivo desta dissertação é estudar o pensamento trágico e a manifestação do riso trágico como formas de aprovação incondicional da vida, portanto como alternativa às ilusões que determinam valores e condicionam a aprovação da vida à supressão do dado trágico do mundo. Desse modo, elege como principal objeto de investigação a relação entre a escolha trágica e as crenças humanas desde suas bases epistemológicas, morais, éticas etc. A partir dessa relação, podemos verificar o problema e a função das ilusões humanas, que nada mais são do que as próprias bases e crenças provenientes do pensamento não trágico, isto é, do pensamento que aprova a vida em determinadas condições, excluindo certos aspectos da realidade como o nada, o acaso e a desordem, ou simplesmente o dado trágico do mundo. O pensamento trágico emerge como uma intuição desse dado trágico do mundo, que podemos negar ou aprovar. Friedrich Nietzsche, o filósofo que apontou a emergência dessa escolha, desenvolve uma forma de denúncia ao ardil que nega a vida em seu aspecto dionisíaco, cujos maiores inimigos são os princípios e valores dos ideais da tendência socrática, de racionalização da vida, e da moral judaico-cristã, de negação dos instintos em vista de uma vida melhor em outro mundo. Além do próprio pensamento trágico, de inspiração nietzschiana, que culmina na filosofia trágica, desenvolvida em larga medida por Clément Rosset, também o riso trágico se coloca como uma forma de destruição, ainda que isso não seja a sua finalidade. Sua manifestação é expressão de júbilo da vida vivida no instante, sem preconcepções a respeito do que é o certo e o errado, o bem e o mal, o belo e o feio etc. Em vista disso, o percurso expositivo se concentrou primeiramente no pensamento e, posteriormente, no riso trágicos, mas tanto de um modo como de outro o resultado é o mesmo: vemos a destruição das ilusões, ou das bases e das crenças humanas, contra os abismos dionisíacos e a aprovação incondicional da vida, ou amor fati, que nos permite compreender o estado psicológico de celebração e festa mesmo diante da morte. / The aim of this dissertation is to study tragic thinking and the manifestation of tragic laughter as forms of unconditional approval of life, therefore as an alternative to the illusions that determine values and condition the approval of life to the suppression of the tragic data of the world. In this way, it selects as the main object of investigation the relation between the tragic choice and the human beliefs from its epistemological, moral, ethical, etc. bases. From this relation, we can verify the problem and the function of human illusions that are nothing but the very foundations and beliefs derived from nontragic thinking, that is, of the thought that approves life under certain conditions, excluding certain aspects of reality as nothingness, chance and disorder, or simply the tragic data of the world. Tragic thinking emerges as an intuition of this tragic data of the world, which we can deny or approve of. Nietzsche, the philosopher who pointed to the emergence of this choice, develops a form of denunciation to the riddle that denies life in its Dionysian aspect whose greatest enemies are the principles and values of the ideals of the \"Socratic tendency,\" of rationalization of life, and of Judeo-Christian morality, of denying instincts for a better life in another world. In addition to the Nietzschean-inspired tragic thinking that culminates in the tragic philosophy, developed to a large extent by Clément Rosset, also tragic laughter sets itself as a form of destruction, even if that is not the purpose. Its manifestation is the expression of joy of life lived in the instant, without preconceptions with what is right and wrong, good and evil, beautiful and ugly, etc. In view of this, the expository course focused first on tragic thought and then on tragic laughter, but in one way or another the result is the same: we see the destruction of illusions, or human foundations and beliefs, against the Dionysian abysses and the unconditional approval of life, or amor fati, which allows us the psychological state of celebration and party even in the face of death.

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.

La thèse porte sur les représentations de la société malgache dans les nouvelles d’un auteur des années 30, écrivant en malgache, Alfred RAMANDIAMANANA (1886-1939). Ecrivain, poète et nouvelliste au début de l’époque coloniale à Madagascar de 1906 à 1939, Ramandiamanana, nostalgique de l’époque précoloniale va s’affilier à une société secrète nationaliste découverte vers la fin de 1915 qui fut un mouvement intellectuel dont les principaux objectifs étaient de préserver l’unité nationale et la lutte pour le développement de Madagascar. Pendant presque trente ans il a publié soit des poèmes, soit des textes d’analyses, soit des nouvelles, dispersés dans les premiers journaux non confessionnels malgaches du début du XXe siècle. D’où l’intérêt de s’interroger sur le sens que prennent ses diverses formes d’écrits tout en les remettant dans leur contexte historique.La thèse se présente en deux volumes. Le volume I Analyse étudie l’articulation entre l’histoire et le contexte politique ainsi que le statut de la langue malgache par rapport à la langue française introduite par la colonisation. Durant cette période de pacification coloniale, la presse étant muselée par la censure, la répression étant sévère, l’analyse porte sur les façons dont les intellectuels se sont approprié la langue en intégrant la critique de la société coloniale et de la société malgache de l’époque en utilisant un langage codé. L’auteur utilise également le rire pour faire passer son message aux lecteurs. Ses œuvres expriment l’engagement culturel de l’auteur. Le deuxième volume comprend les 48 textes en malgache avec la traduction française réalisée par Nirina Vololomaharo RAZAIMIANDRISOA. Le vocabulaire utilisé, ainsi que le contexte d’écriture n’est pas toujours connu du public actuel, des explications détaillées dans des notes de bas de page sont fournies. / The thesis focuses on the representations of the Malagasy society in the short stories of the writer of the 30s, writing in Malagasy, Alfred RAMANDIAMANANA (1886-1939).Writer, poet and short story writer at the beginning of the colonial era in Madagascar from 1906 to 1939, Ramandiamanana, nostalgic of the pre-colonial era joined a secret nationalist society discovered towards the end of 1915. The secret society turned out to be an intellectual movement whose main objectives were to preserve the national unity and the struggle for the development of Madagascar. For nearly thirty years, he published either poems, or text analysis, or short stories, dispersed in the first Malagasy non-denominational newspapers of the early twentieth century. It becomes therefore interesting to reflect on the direction taken by these various forms of writings while putting them in their historical context.The thesis is presented in two volumes. Volume I, the Analysis, examines the relationship between history and politics as well as the status of the Malagasy language in relation to the French language introduced by colonialism. During this period of colonial pacification, the press was muzzled by censorship and the repression was severe. Thus, the analysis focuses on the ways in which the intellectuals took over ownership of the language while taking into account the critique of the colonial society and the Malagasy society of the time, using a coded language. The author also uses laughter to get his message across to the readers. His works express the cultural commitment of the author.Volume II consists of 48 texts in Malagasy with the French translation by Nirina Vololomaharo RAZAIMIANDRISOA. Granted that the language used and the context are not always known to the public today, detailed explanations are provided in footnotes.

Made available in DSpace on 2016-04-28T19:33:25Z (GMT). No. of bitstreams: 1 Nilton Tadeu de Queiroz Alonso.pdf: 33281801 bytes, checksum: fcbd89c6c5a270eeffd6b04806049712 (MD5) Previous issue date: 2010-11-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The main object of this work is the study of sexual diversity slang in São Paulo, especially the one spoken by people who frequently attend the regions of the City Centre and Jardins . From a first-hand corpus, we intend to investigate sociolinguistic aspects that are present in the use of the slang-word as a group sign. Within the diversity context, we focus on the cryptological features of the slang, the expressiveness and the recurrence of laughter as an effect of the cryptology itself. With an inductive-deductive logical development, divided into stages marked by the presentation itself and the six chapters, we follow a socio-linguistic-semantic-cognitive-pragmatic path. Having sociolinguistics as theoretical basis, to demonstrate the various aspects involved and mobilized during the use of a linguistic sign and cryptological, we turn to some notions of Semantics, Conversation Analysis, Discourse Analysis, Cognitive Linguistics, Pragmatics, Sociology and Anthropology. The slang-word from this group, as evidenced by the glossary collected, consists of the linguistic framework that structures the speech: for "creation" slang, speakers tend to respect diversity and the following aspects phonological, morphological and syntactic rules which apply in the current communication process, directing and allowing/sparing creativity to the semantic aspect of the linguistic sign. Based on the analysis undertaken, it is possible to say that laughter can also be an effect (sense) obtained by the sense cryptological present in this slang-word used by the speakers who belong to the sexual diversity group, aiming to carry an irreverent behavior (associated with the laughter), and with humor, also maintain, if necessary, a feeling of superiority to its non-members (with the narrow sense) / O tema central deste trabalho é o estudo da gíria da diversidade sexual paulistana, especialmente daquela falada pelos frequentadores das regiões do Centro e dos Jardins. A partir de um corpus de primeira mão, pretendemos a investigação de aspectos sociolinguísticos presentes no emprego do vocábulo gírio como signo de grupo. No contexto da diversidade, centramo-nos no caráter criptológico da gíria, na expressividade e na ocorrência do riso como um efeito de sentido proveniente dessa criptologia. Com um desenvolvimento lógico indutivo-dedutivo, dividido em etapas e marcado pela própria apresentação dos seis capítulos, seguimos um percurso sócio-linguístico-semântico-cognitivo-pragmático. Tendo como eixo teórico norteador a Sociolinguística, para demonstrarmos os vários aspectos envolvidos e mobilizados durante o uso de um signo linguístico e criptológico, recorremos a algumas noções da Semântica, Análise da Conversação, Análise do Discurso, Linguística Cognitiva, Pragmática, Sociologia e Antropologia. O vocábulo gírio desse grupo, tal como comprova o glossário coletado, é constituído pelo arcabouço linguístico que estrutura a fala: para a criação gíria, os falantes da diversidade tendem a respeitar e a seguir os aspectos fonético-fonológicos, morfológicos e sintáticos que vigoram no processo de comunicação corrente, direcionando e reservando a criatividade para o aspecto semântico do signo linguístico. Com base nas análises desenvolvidas, podemos afirmar que o riso também pode ser um efeito (de sentido) obtido pelo sentido criptológico presente no vocábulo gírio empregado pelos falantes que integram o grupo da diversidade sexual, com o objetivo de ostentar um comportamento irreverente (associado ao riso) e, com humor, também manter, se necessário, um sentimento de superioridade em relação aos não integrantes (associado ao sentido restrito)

Made available in DSpace on 2016-04-28T19:33:28Z (GMT). No. of bitstreams: 1 Maria Jose Nelo.pdf: 986765 bytes, checksum: bdf40fb7708be5c453cc91decbdb3f0f (MD5) Previous issue date: 2011-04-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis aims 1) generally at contributing studies on the laughable and laughter both in verbal texts and texts expressed by semiotic means other than the multimodal ones; and, 2) more specifically at examining whether the laughable is a discursive or textual genre; at identifying the functions and actions performed by the speaker and interlocutor as participants of a discursive context; at evaluating the argumentative strategies used by the speaker, who, intending to secure the interlocutor s laughter causes him/her to accept a new opinion; at investigating the intersection of the intertexts and interdiscourses in the production of the laughable and laughter. In considering that both laughter and the laughable have been dealt with in uni and interdisciplinarity, this thesis places both laughter and the laughable in the intersection of intertexts and interdiscourses, forming an integrative view, once it is crucial to tackle them by a muldisciplinary view, viewing the cognitive sciences as transdisciplinarity. Thus, an integrative model was chosen, so as to discuss enunciative, textual, discursive, historic, interactional, anatomical/physiological and cultural aspects.In this sense, this research has adopted the following methodological procedures: 1) theoretical/analytical procedure: theoretical review of the different treatments given to laughter and the laughable, besides other studies concerning text and discourse, with socio-interactional point of view; 2) selection of the corpora; the material selected for the analysis comprises jokes, stories, chronicles of daily life and editorial cartoons. The findings suggest that intertexts and interdiscourses form the actions which integrate the illocutionary act provoking laughter with the perlocutionary act of the one who laughs / Esta tese tem por objetivo geral contribuir com os estudos do risível e do riso tanto em texto verbais, quanto os expressos por outras semióticas além dos multimodais; e, por objetivos específicos: 1) verificar se o risível é um gênero discursivo ou textual; 2) identificar as funções e as ações praticadas pelo locutor e pelo interlocutor, enquanto participantes de um contexto discursivo; 3) examinar as estratégias argumentativas utilizadas pelo locutor que, ao objetivar o riso de seu interlocutor, leva-o a aceitar uma opinião nova; e, 4) investigar a intersecção dos intertextos e interdiscursos na produção do risível e do riso. Ao considerar que o riso e o risível têm sido tratados na uni e interdisciplinaridade, esta tese situa tanto o riso quanto o risível na intersecção de intertextos e interdiscursos, numa visão integradora, visto que é fundamental tratá-los por uma visão multidisciplinar, tendo por transdisciplinaridade as ciências da cognição. Assim, optou-se por um modelo integrador de forma a tratar de aspectos: enunciativos, textuais, discursivos, históricos, interacionais, anatômico- fisiológicos e culturais. Nesse sentido, a pesquisa adotou os seguintes procedimentos metodológicos: 1) procedimento teórico-analítico: revisão teórica dos diferentes tratamentos sobre o risível e o riso, e outros estudos relativos a texto e discurso, com o ponto de vista socio-interacional; 2) seleção dos corpora, o material selecionado para análise é composto de chistes, histórias, crônicas do cotidiano e charges jornalísticas. Os resultados indicam que os intertextos e os interdiscursos compõem as ações que integram o ato ilocucional de provocar o riso com o ato perlocucional de quem ri

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.

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