Orientador: Claudia Zavaglia / Banca: Claudia Maria Xatara / Banca: Maria Gloria Cusumano Mazzi / Banca: Marilei Amadeu Sabino / Banca: Paola Giustina Baccin / Resumo: A língua em uso numa sociedade é produto de uma cultura e reflete o pensamento de um povo. Desse modo, as unidades léxicas, por meio dos significados atribuídos por um grupo social, determinam um olhar específico do universo e um sistema de valores. Com esse embasamento, nosso trabalho centra sua atenção num tipo de item lexical específico: as unidades lexicais que nominam os órgãos referentes às zonas erógenas, dos quais destacamos o pênis, a vulva, as nádegas, o ânus, os testículos e os seios, em língua italiana e em língua portuguesa, variante brasileira, partindo da análise do corpus coletado. Intencionamos demonstrar que para a denominação dos órgãos sexuais do corpo humano tende-se a evitar a terminologia anatômica oficial - relegada a contextos de grande formalidade - e adotar outros itens lexicais em situações informais, que possam denominar as referidas partes do corpo com conotação sexual. Muitas das lexias recolhidas não são aceitas em todos os contextos, mas entre pessoas afeiçoadas, encontra-se um emprego mais intenso e que assinala intimidade. Por essa razão usam-se inúmeros sinônimos que servem para suavizar uma determinada unidade lexical, na tentativa de mascarar preconceitos sociais historicamente construídos. Principiamos nossa pesquisa examinando os referidos itens lexicais sob a luz da teoria da metáfora conceitual - pois muitos dos itens empregados têm base metafórica e, na maioria das vezes, eufemística. O produto de nossa pesquisa é a amostragem de um dicionário onomasiológico especial bilíngue, abrangendo o mencionado tipo de unidade lexical estudado. Apresentamos, ainda, dentro dos verbetes quais são os semas (unidades mínimas de significação) presentes nas principais metáforas relativas aos mencionados órgãos. O acréscimo destes se mostra uma inovação em meio ao argumento erótico-obsceno, praticamente... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The language in use in a society is product of a culture and reflects the way a community thinks. Therefore, the lexical units, through the meanings assigned by a social group, establish a specific look of the universe and a system of values. With this basement, our work centers its attention in a specific lexical type: the lexical units that nominates the organs from the erotic zone, that are the penis, the vulva, the buttocks, the anus, the testicles and the breast, in Italian and Portuguese language, Brazilian variety, by analysing our corpus. We intend to demonstrate that for the denomination of the sexual organs of the human body it usual to avoid the official anatomical terminology - relegated to the contexts of great formality - and to adopt other lexical items during informal situations. Many of the collected items are not accepted in all the contexts, but between known people, they may designate familiarity. Thus, innumerable synonymous are used to alleviate one lexical unit, trying to mask social prejudices historically constructed. We begin our research examinating the cited lexical items under the light of the theory of the conceptual metaphor - because many of the employed items have a metaphorical and also euphemistics basis. The product of our research is a special onomasiological bilingual dictionary, enclosing part of the mentioned studied of the lexical type. We introduce also in the entries of it semes (minimal meaning unit) present in the main metaphors related to these organs. The addition of these semes reveals an innovation in the study of the erotical-obscene argument, practically unexplored by the linguists. We intend, with this research, to be able to collaborate to demystify some prejudices related to the erotical-obscene lexicon, its use and its creation and to stimulate reflections of it, whose examination of the metaphors... (Complete abstract click electronic access below) / Doutor

Orientador: Claudia Zavaglia / Banca: Maria Gloria Cusumano Mazi / Banca: Marilei Amadeu Sabino / Resumo: Este trabalho é dedicado ao estudo de um dos campos lexicais ditos especiais: o das zonas erógenas das línguas italiana e portuguesa, especificamente dos órgãos sexuais masculino e feminino, para o qual elaboramos e apresentamos a proposta de um vocabulário eróticoobsceno em português-italiano e italiano-português. Para concretizá-lo, realizamos um levantamento desses itens lexicais, fornecendo as variações, além de sua respectiva tradução, coletadas de diversos dicionários especializados e Internet. Tendo como base a Lexicologia e a Lexicografia, optamos por confeccionar um vocabulário onomasiológico, isto é, organizado por conceitos que abrangem um mesmo campo semântico -o da vulva e o do pênis. Um dos motivos que nos impulsionou a estudar esse léxico foi, além da intensidade de uso na sociedade atual, a grande quantidade de unidades lexicais existentes referentes a ele. Assim, buscamos desvendar e organizar a linguagem erótico-obscena, investigando as bases de sua formação " as metáforas", motivo pelo qual há necessidade de se partir sempre de uma pressuposição erótica, e as limitações morais de seu emprego - os tabus. Uma das razões de essa linguagem ainda ser relegada a um estudo secundário e prescindível se deve ao fato mencionado de ser concebida como tabu lingüístico, ou seja, é proibida de ser dita na maior parte dos contextos sociais. Ao contrário do que se pensa, essa mentalidade tabuística não se restringe a comunidades consideradas primitivas ou ignaras. Em nossa própria sociedade ocidental percebe-se claramente a repulsa por pronunciar determinada unidade lexical. Almejamos ultrapassar essa barreira e despertar reflexões sobre o processo de criação, sobre o uso e sobre as traduções dessas unidades lexicais desprestigiadas socialmente, e servir de fonte de consulta e pesquisa para tradutores, lingüistas, professores de língua portuguesa ou italiana, estudantes, entre outros. / Abstract: This work is dedicated to the study of one of the lexical fields called special: the male and female erogene zones in Italian and Portuguese languages, for which we elaborated and present now the proposal of an erotical-obscene vocabulary in Portuguese-Italian and Italian- Portuguese. To materialize it we made a gathering of these words, presenting its variations, beyond its respective translation, collected from some specialized dictionaries and from the internet. Having as base the Lexicology and the Lexicography Sciences, we have chosen to organize an onomasiologic vocabulary, separated by concepts that enclose one same semantic field - the vulva and the penis. One of the reasons that stimulated us to study this lexicon was, beyond the intensity of its use in the current society, the great amount of words about this subject. Thus, we search to reveal and to organize the erotical-obscene language, investigating the bases of its formation - the metaphors - the reason that it is always required an erotical presupposition, and the moral limitations of its use - the taboos. Another motive of this language still is relegated to a secondary and dispensable study it is attributed to the fact mentioned of being understood as a linguistic taboo, in other words, something forbidden to be said in the most part of the social contexts. But this tabooistic mentality is not limited to the primitive or ignorant communities. In our modern occidental society we recognize clearly this repulse for pronouncing determined lexical unit. We intend to exceed this barrier and stimulate other reflections on the process of creation, the use and the translations of these socially despised words, and became a source for consultation available to translators, linguists, teachers of Portuguese or Italian languages, students, among others. / Mestre

A tese propõe um encontro da trilogia pornográfica da escritora brasileira Hilda Hilst com o pesquisador, e decidiu-se pela forma do ensaio. A trilogia, composta pelos livros O Caderno Rosa de Lori Lamby (1990), Cartas de um Sedutor (1991) e Contos d’escárnio/Textos Grotescos (1992) apresentam uma mudança na trajetória da escritora, que anuncia na passagem para a escrita pornográfica, uma desistência da “literatura séria” e, por fim, entre os anos 1998 - 2004, a escritora assume um novo discurso: a desistência da literatura, quando declara publicamente: “não tenho mais nada a dizer”. Para investigar esses períodos, foi feita uma imersão nos arquivos pessoais da escritora, além da leitura das obras, seguindo a proposição de Didi-Huberman sobre as imagens: o regime da imagem e da imaginação é um local de luta política, principalmente aquelas imagens que portam memórias e têm um poder de transmitir algo de um tempo que se passou. O confronto de diferentes temporalidades se dá como uma estratégia de análise do material de arquivo, uma vez que a hipótese da tese é que, quando Hilda Hilst se “sente livre para fracassar”, acontece junto uma mudança de formato no uso do humor em sua literatura. Através de ferramentas teóricas do campo da psicanálise, da arte, da literatura e da crítica, a pesquisa investiga as noções de erótico, pornográfico e obsceno que compõe o universo da escritora, junto dos seguintes eixos de análise: problematização de imagem, escrita, arquivo, sobrevivência e do realismo grotesco como estratégia para o risível. O método utilizado foi o ensaio, com o objetivo de desenvolver uma pesquisa poética no processo de trabalho. A escrita hilstiana desse período tem por objetivo acordar o leitor com um soco, e aqui, acabou por acertá-lo em cheio. Desse choque se operou uma queda no espaço e uma desestabilização. Diante desta literatura, a tese se constituiu como um percurso de investigação da queda, propondo “Os estudos da gravidade - oscilações entre o peso e a leveza”, como resultados da pesquisa poética. / The thesis proposes a meeting between the Hilda Hilst’s pornography trilogy and the researcher in the essay form. The trilogy is composed by the books “The Pink Book of Lori Lamby (1990)”, “Letters of a seductive (1991)” e “Mockery Short Story/Grotesque Writing (1992)” presenting a change in the author’s trajectory, which is announced in the route to the pornography writings, a called forsake of the “serious literature”, and lastly, between the years 1998 – 2004, the writer assumes a new speech; the forsake of literature, when she declares publicly: “I have nothing else to say”. To investigate these periods of time, an immersion work was made in the personal archives of the author, besides the reading of the author’s works, followed by the proposition of Didi- Huberman about the images: the image system of imagination is a place of political fight mainly in those images that carry memories and have the strength to transmit something of a lost time. The confrontation of different times is an analyses strategy of the archives material, once the thesis hypothesis is that when Hilda Hilst “feels free to fail” occurs together a change of the format in the use of humor in her literature. By the theoretical tools of the psychoanalyses field, the art, the literature and the critic, the research investigates the concepts of erotic, pornography and obscene, that composes the authors universe, along with the following analysis axes: questioning of image, writing, archive, survival and the grotesque realism as a strategy for the laughable. The method was the essay as an objective to develop a poetic research in the work progress. The hilstian writing of this period has as an objective wake up the reader with a punch, and here in this work has just hit her (the author Hilda) in the face. From this shock, a falling into the space and a destabilization operated. Thereby having in mind this literature, the thesis was built as a route in the investigation of fall, proposing The studies of gravity - fluctuation between the weight and lightness, as the results of this poetic research.

Si l’on accepte l’idée qu’à la différence du roman moderne, le roman contemporain ne cherche pas absolument à reconstituer la figure de l’humain, mais la pense plutôt comme une image « trans-individuelle » de l’humain, la prise en compte de l’Obscène dans le contexte de la Littérature Négro-africaine de ces 30 dernières années prend sens. La rupture grotesque avec la linéarité, le recours au langage comme activité de défoulement face aux tabous et à la tradition, permettent de dire autrement un avenir qui de plus en plus nous échappe. Nous proposons de comprendre l’irruption de l’Obscène dans les nouvelles écritures romanesques africaines comme un symptôme de contemporanéité et une nouvelle approche de la part des écrivains de la quatrième génération, de réquisitionner véritablement le sens du mot individu dans le contexte négro-africain dominé par le pouvoir. Si, selon le dictionnaire Petit Larousse, l’Obscène est « ce qui blesse ouvertement la pudeur par des représentations d’ordres sexuelles », il a des conséquences éthiques profondes dans un contexte Négro-africain où existent des tabous culturels forts sur la mise en scène de l’intimité sexuelle. Nous chercherons à expliquer à quel prix l’Obscène peut s’ériger en élément de littérarité ou en une théorie capable de nourrir le sujet qui la pratique. Cependant, une communauté est-elle encore possible par delà le bouleversement des valeurs éthiques entraîné par une éventuelle esthétique de l’Obscène? / If we accept the idea that unlike modern novel, contemporary novel does not absolutely seek to recreate the human figure, but rather thinks of it as a « trans-individual » image of the human being, then the taking into account of the Obscene in the « Negro-African » literature's context of these last 30 years makes sense. The ludicrous break with the linearity and the use of language as cathartic effect enable to express differently a future which is more and more beyond our control.We are trying to understand the upsurge of the Obscene in the new african fiction writings as a contemporary symptom and a new approach on the part of tthe authors of the fourth generation, to truly comandeer the sense of the word « individual » in the « Negro-African » context.If, according to the Petit Larousse dictionary, the Obscene is « what offends openly the modesty through sexual representations », it has deep ethical consequences in a « Negro-African » context where strong cultural taboos on sexual initmacy productions exist. We will try to explain at what cost the Obscene can set itself up as an element of literarity or as a theory able to sustain the subject practising it. However, is a community still possible beyond the disruption of the ethical values caused by a possible aesthetic of the Obscene ?

This thesis examines four taboo words (Jesus, God, fuck, ass) used in the films Jaws, Shampoo, and One Flew Over the Cuckoo's Nest. The dominant method of research is semantic, drawing on language theories of I.A. Richards and Alfred Korzybski. Investigation led to these conclusions: (1) Symbolic use of taboo terms is accompanied by positive attitudes, while non-symbolic use, which is more frequent, is accompanied by negative or neutral attitudes. (2) Casual non-symbolic pronunciation is leading to separation of the symbol from its referent. (3) Through this methodology, it is possible to ascertain the speaker's intent and his attitude toward the audience, but not his attitude toward the referent.

本研究透過性別的觀點，以大專院校之女學生為例，探討女生性受到電話性騷擾侵害之經驗，包括女性如何去認定電話性騷擾，受到電話性騷擾時的反應方式、如何解決，非受害者對於電話性騷擾的態度，以及一個組織（校方）在面臨其成員（學生）受此侵害時如何因應。本研究透過對受害女同學的訪談，以及bbs之文章，做為研究分析的基本資訊。 女性所認定電話性騷擾的形式主要分為二大類：一是內容與性(sexuality)有關，另一類則是內容與性無關，主要是性別(gender)關係的影響。電話性騷擾雖然沒有對女性造成直接的身體傷害，但許多女性卻因此而感到相當恐懼，嚴重者甚至需要改變日常生活作息；女性在電話性騷擾事件中所受到的傷害，不僅只來自於接到電話的當時，更因事後遭受他人對她遭受此事件的態度而蒙受二度傷害，這樣的二度傷害常來自於大眾對電話性騷擾的迷思，因此如何使得電話性騷擾受到重視，並避免使受害女害再受到二度傷害，破除迷私是相當重要之事。另外由學校對騷擾事件的處理過程中，可以看到校方組織與學生對於電話性騷擾事件認知的差異，使得處理方式不但未讓學生感到滿意，甚至有憤怒的情緒產生，因此處理者在面臨處理此類事件時須思考如何能夠照顧到被害者的情緒。 由於電話性騷擾是性別權力不平等所造成的問題，要保護女性免於電話性騷擾的侵害，應是教導女性提昇她的主體性，要不再是以減低風險的方式來使女性免於受到侵害，減低風險的解決方式所付出的代價就是女性的很多自由或是主體性就被消失掉，為了提昇女性在此方面的主體性，再策略上的做法可以透過公開、廣泛的討論和教育，使女性了解電話性騷擾的本質，讓女性在面臨電話性騷擾時能夠勇敢沉著地理解騷擾者的言語，而且也能跨出社會所貸給她的種種桎棝，以她自己為主體來選擇以何種方式來回應騷擾者，不再只是形式上的積極而已。

University of Macau / Faculty of Social Sciences and Humanities / Department of English

Στην παρούσα μεταπτυχιακή εργασία, αρχικά, γίνεται λόγος για τα γενικά τυπικά χαρακτηριστικά που διέπουν το άσεμνο λεξιλόγιο, κυρίως της Ελληνικής. Στη συνέχεια, επιχειρείται μια μορφολογική ανάλυση των συστατικών που χρησιμοποιούνται για τον σχηματισμό των λέξεων του άσεμνου λεξιλογίου. Ωστόσο, βασικός στόχος είναι η διερεύνηση των σημασιολογικών και πραγματολογικών χαρακτηριστικών που διέπουν αυτό το ιδιαίτερα ενδιαφέρον τμήμα του λεξιλογίου μας. Παράλληλα, ασχολούμαι με περιπτώσεις υποκορισμού ή μεγέθυνσης μέσα στο άσεμνο λεξιλόγιο, με τους μηχανισμούς δανεισμού, με φαινόμενα ευφημισμού και δυσφημισμού και άλλα. Αναλυτικότερα, στο πρώτο κεφάλαιο, το οποίο λειτουργεί ως εναρκτήριο στάδιο ένταξης στο αντικείμενο μελέτης της εργασίας, παρουσιάζω τα περιθωριακά ιδιώματα της ελληνικής καθώς και τη δομή και λειτουργία των ειδικών λεξιλογίων στα οποία εντάσσεται και το προς εξέταση λεξιλόγιο. Στο τέλος του κεφαλαίου εξετάζω τις διαδικασίες και τους μηχανισμούς δανεισμού που υιοθετούνται για την εισαγωγή νέων λέξεων στην Ελληνική από άλλες γλώσσες, οι οποίες επηρέασαν και εμπλούτισαν με αυτόν τον τρόπο το άσεμνο λεξιλόγιο. Στο δεύτερο κεφάλαιο ασχολούμαι με τις διαδικασίες σχηματισμού των λημμάτων του άσεμνου λεξιλογίου. Μορφολογικές διαδικασίες σχηματισμού λέξεων όπως είναι η παραγωγή και η σύνθεση, αλλά και δομές όπως οι συμφυρμοί, λεξικοποιημένες εκφράσεις κ. ά, θα με απασχολήσουν ιδιαίτερα στο κεφάλαιο αυτό. Το τρίτο κεφάλαιο είναι αφιερωμένο στις εννοιακές σχέσεις, στις σχέσεις δηλαδή των λέξεων με άλλες λέξεις, με τις οποίες σχετίζονται. Το βασικό θεωρητικό πρότυπο πάνω στο οποίο θα βασιστώ για την ανάλυση της λεξικής σημασιολογίας είναι αυτό που προτείνεται από τον Cruse (1986, 2004). Εννοιακές σχέσεις, όπως αυτή της πολυσημίας, της συνωνυμίας, της μετωνυμίας, της μερωνυμίας και της μεταφοράς θα με απασχολήσουν ιδιαίτερα. Στη συνέχεια, στο τελευταίο κεφάλαιο με τίτλο «Άσεμνο λεξιλόγιο και Πραγματολογία» αφού αναφερθώ στα κίνητρα που ωθούν στην χρήση αυτού του λεξιλογίου, θα εξετάσω τις λειτουργίες και τη χρήση των λέξεων αυτών μέσα σε συγκεκριμένα εκφωνήματα. Το περιβάλλον μέσα στο οποίο εμφανίζονται οι λέξεις αυτές αλλά και οι διαφορετικοί πολιτισμοί και η νοοτροπία των ομιλητών, όπως θα δούμε στο κεφάλαιο αυτό παίζει πολύ σημαντικό ρόλο. Ολοκληρώνοντας, θα επικεντρωθώ σε λέξεις που χαρακτηρίζονται ως άσεμνες και μπορούν να θεωρηθούν, με βάση πραγματολογικές μελέτες (μεταξύ αυτών Fraser, 2008) ότι λειτουργούν ως δείκτες οργάνωσης λόγου και συγκεκριμένα ως δείκτες προσοχής (attention markers). / Words are extremely important to people. They constitute a means of communication. It is through them that we express our thoughts, feelings and emotions. They are an integral part of our everyday life and they are with us wherever we go. Every word, of any kind, deserves our full attention and needs to be studied, no matter what kind of vocabulary it may be part of. The present thesis is about a very vibrant and expressive part of our language. It concerns “obscene vocabulary”, a domain on which very few scientific studies have been carried out to date. In this thesis I decided to examine the morphological, semantic and pragmatic aspects of the “obscene vocabulary” of the Modern Greek language. In the first chapter, I present the “marginal” jargons of the Modern Greek language, of which “obscene vocabulary” constitutes a part, based on the existing literature so far. Moreover, I propose an appropriate classification of the Greek data, based on Jay (1997). I also look into cases of euphemisms and calumny, and the way they are used in Modern Greek. In addition, I present some cases of loans concerning not only words, but expressions and even affixes coming from other languages as well. Loans and calques seem to constitute a great part of the Greek “obscene vocabulary”, most of them coming from Italian, French and Turkish. The second chapter is about the way that words and expressions of the “obscene vocabulary” are formed. It seems that this kind of vocabulary is highly productive in compound words. What is more, some prefixes and suffixes of the “purist Greek” which are not very productive in the Modern Greek common vocabulary, combined with popular words, they are frequently used to form “obscene” words, resulting in funny word formations. It should be noted here, that the formation of such words is subject to the same constraints as the rest of the vocabulary of the Modern Greek language. Finally, I look into compound expressions, lexicalized phrases, blends and the diminutive and augmentative suffixes and prefixes which are used in order to make a word sound less offensive, more familiar and even positive. The third chapter consists of a semantic analysis of the “obscene vocabulary” of the Modern Greek language, based on Cruse (1986, 2004) and Veloudis (2005). I look into polysemous and synonymous pairs of words and also into notions such as meronymy, metonymy and metaphors, concerning mostly parts of the human body. Finally, I try to analyze the pragmatic aspects of the Greek “obscene vocabulary” This field concerns the circumstances in which this kind of vocabulary is used, human communication, the intonation and the gestures that accompany the use of “obscene vocabulary” and every possible kind of social and psychological reasons, as well as the motives that make someone use this kind of vocabulary. Different languages reflect different cultures and have a different degree and way of using “obscene vocabulary”.

This thesis is the first book-length study to explore the function of Russian obscene language (mat) in late Soviet and post-Soviet prose published between the late 1970s and the late 1990s. This period was characterised by radical socio-ideological transformations that also found expression in major shifts of established literary and linguistic norms. The latter were particularly strongly reflected in the fact that obscene language, which was banned from official Soviet discourse, gradually found its way into literary texts, thereby changing the notion of literary language and literature. The thesis breaks new ground by employing obscene language as a prism through which to demonstrate how its emergence in literature reflected and contributed to the shifts of established literary norms and boundaries. A second aim of the thesis is to trace the diachronic development of Russian literary mat. Primary sources include novels by authors pioneering the use of mat in fiction in the late 1970s, as well as texts by writers associated with ‘alternative prose’ and postmodernism. Applying a methodological framework that is based on an approach combining Bakhtinian dialogism with cultural narratology, the study demonstrates what the use of mat means and accomplishes in a given literary context. The methodological framework offers a systematic approach that does justice to the dynamic relationship between text and context, allowing for an analysis of the role of obscene language on all narrative levels while also taking the socio-historical context into account. The thesis offers not only new ways of interpreting the novels selected, it also provides new insight into the role of verbal obscenity in the process of ‘norm negotiation’ that has shaped and transformed Russian literary culture since the late 1970s. By accentuating the dialogic nature of obscene language, this study reveals that mat is a defining element of Russian (literary) culture, with implications for all facets of Russian identity.

Purpose – This thesis investigates why archaeological museums tend to have a separate section for erotic and/or sexual objects. The aim is to understand why these rooms are needed and if they are considered outdated in the year 2020. Three case studies will be discussed in this thesis: Museo Archeologico Nazionale di Napoli, Altes Museum, and Museo Arqueológico Rafael Larco Herrera. Analysis – The qualitative data collected through interviews will be analyzed and presented in case studies. I apply two theories: power theory according to Michel Foucault and Clive Grey and queer theory. Method – To answer my questions, I interview museum workers responsible for the erotic display from the three case studies. All museums have a separate exhibition regarding erotic objects, so-called "secret museums". Methods that have been in use is qualitative method together with phenomenology. Findings – The findings show that the phenomenon “secret museum” was born in the mid-1700s when Pompeii and Herculaneum were excavated and several objects with erotic motives were found. Today several archaeological museums exhibit these objects in separate rooms, sometimes with restrictions. When these exhibitions were first formed only educated men were allowed to enter. It was considered that the objects would be misunderstood by the lower class and even hurt the relationship between men and women if women were to be exposed to pornography. The results from the three case studies show that people are still sensitive to objects regarding erotica or sexualities and that the separate area is for the visitors to choose if they want to enter or not. The result also shows that there is a respect for the history around this phenomenon and the rooms are in themselves museology history that needs to be preserved.  Paper type – Two years master's thesis in Museum and Cultural Heritage studies.