In der vorliegenden Studie verbinden sich kulturgeschichtliche und analytische Erwägungen zum »art-song reworking« im späten 15. Jahrhundert. Am Beispiel verschiedener Malheur me bat-Bearbeitungen von Agricola, Josquin und Obrecht werden vor allem inhaltliche Aspekte der Bezugnahme auf die Chanson-Vorlage thematisiert. In einem imaginären Dialog mit einem vergangenen ›Expertenhörer‹ steht dabei die Frage im Vordergrund, auf welche Weise der Schöpfer der betreffenden Chansonmessen bestimmte Eigenarten der zugrunde liegenden Vorlage in seiner Bearbeitung hervorkehrte, abschwächte oder gar zuspitzte. / The present article combines both cultural-historical and analytical reflections on »art-song reworking« of the late fifteenth century. Using the example of several reworkings of Malheur me bat – from Agricola, Josquin, and Obrecht – references are discussed primarily from the point of view of the content. In an imaginary dialog with »expert listeners« of the past, the question is raised, in which manner the composer of the respective chanson masses either highlighted, weakened or exaggerated specific idiosyncrasies of the underlying original.

This thesis investigates the COULD X BE MORE Y phrase (CXBMY), well-known from the television show Friends, to argue for its qualification as a construction. By analyzing the phrase’s formal and functional features, as well as its frequency in the COCA corpus, this thesis compares the findings to the definition of constructions by Goldberg (2006, p. 5). The results prove the hypothesis that CXBMY is a construction since the form-function interrelation conveys its meaning; the form of a yes-no question and emphasis on the main auxiliary is understood based on its function as a rhetorical question and potential parody of the Friends character Chandler, and vice versa. The linguistic information of CXBMY – syntactic, semantic, pragmatic and information packaging – all contribute to describe the meaning of CXBMY, while simultaneously needing one another to create a complete understanding of CXBMY. Consequently, CXBMY has a non-predictability that requires us to store it in a mental constructicon. While CXBMY shows links to other known constructions, such as the SUBJECT AUXILIARY INVERSION CONSTRUCTION and INFORMATION PACKAGING CONSTRUCTION, its specific interrelation between form and function distinguishes CXBMY from other known constructions. Thus, this thesis reaches the conclusion that CXBMY is a construction. Additionally, since the inferential pragmatic function, intonation and information structure of CXBMY is crucial to understand its meaning, this thesis highlights the prominence of these linguistic aspects within Construction Grammar, which have so far been sparsely researched (Leino, 2013; Gras & Elvira-García, 2021; Finkbeiner, 2019).

Consacrée à l’analyse comparée du Cid (1661) et de La Parodie du Cid (1972), cette thèse porte sur la « relation critique » qui a été établie par le biais de la parodie entre les deux textes. Empruntée à Daniel Sangsue, l’expression met en évidence le fait que la réécriture parodique d’une œuvre n’est pas seulement un exercice de divertissement, mais une manière de réaliser une critique de l’intérieur, dont le résultat n’est pas une étude analytique, mais un texte littéraire. Néanmoins, si la parodie ne se limite pas à faire rire, elle se construit, certes, en contraste avec le texte parodié – le comique étant un élément fondamental de cette relation. Comme, de 1941 à 1972, la PDC a subi des modifications, une analyse comparée des versions est aussi devenue impérative pour notre étude. Dans ce cas, nous avons évalué si les changements effectués par le parodiste au fil des années ont contribué à une lisibilité accrue de la pièce et à son adaptation à un public changeant. Écrite en Algérie française et en pataouète, la PDC a exigé également une mise en place des enjeux spécifiques de la pièce et de son époque. C’est pour cela que les rapports entre colonie et métropole aussi qu’entre les différents composants de l’ordre colonial sont ici convoqués et problématisés. Notre hypothèse est que la PDC est – selon une formulation de Sangsue – une « critique en acte», puisque se rapprochant du modèle cornélien, Brua prend aussi ses distances, produisant un texte nouveau. / Devoted to a comparative analysis of Le Cid (1661) and La Parodie du Cid (1972), this thesis focuses on the "critical relationship" that has been established through parody between the two texts. Borrowed from Daniel Sangsue, the concept of parody highlights the fact that the parodic rewriting of a text is not merely an exercise for entertainment, but a way of performing a critique from within, the result of which is not an analytical study, but a literary text. Nevertheless, if the parody is not limited to making people laugh, it is certainly built in contrast with the parodied text - the comic being a fundamental element of this relationship. As the PDC underwent changes between 1941 and 1972, a comparative analysis of the versions of the play also became imperative for our study. In this case, we assessed whether the changes made by the parodist over the years contributed to the increased readability of the play and its adaptation to a changing audience. Written in French Algeria and in Pataouète, the PDC also required a set of the specific issues of the play and its time. This is why the relationship between the colony and metropolis as well as between the different components of the colonial order is summoned and problematized here. Our hypothesis is that PDC is – according to a formulation of Sangsue – a "critique in act", since approaching the Cornelian model, Brua also distances himself, producing a new text.

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[ES] La presente tesis doctoral se desarrolla, de modo autoetnográfico, como aportación de resultados de una investigación artística propia pretendiendo generar conocimiento a través de una objetivación de lo subjetivo. En ella abordamos el tema de lo ridículo en la escultura, entendida en el sentido expandido del término. Partiendo de una contextualización conceptual e histórica previa, procederemos a deconstruir recursos y estrategias, siempre enfocadas en torno al concepto de lo ridículo, de nuestra propia trayectoria artística. Desarrollaremos de este modo, con especial atención, el concepto de hipertrofia como complejo recurso expresivo de exageración selectiva, tanto a nivel formal como conceptual y perceptivo. La hipertrofia como modo de expresar pero también de percibir y procesar la realidad, para una mayor intensidad comunicativa, tanto en la expresión de lo ridículo como en cualquier otro ámbito. La presente tesis doctoral recoge los resultados de veinticinco años de investigación artística propia en el campo de la escultura y la instalación. Aborda el tema de lo ridículo en la escultura, tema central en nuestra investigación, entendida en el sentido expandido del término y más concretamente la descripción de recursos, tanto formales como conceptuales, para su representación. Comenzamos el trabajo, dividido en dos partes, realizando una semblanza de lo ridículo como lenguaje. Relacionamos el término con otros que le son afines, como humor, desafío o absurdo e introducimos la hipertrofia, concepto que más tarde desarrollamos más extensamente, como medio para su consecución. Desarrollamos después lo ridículo desde la forma en su representación mediante la aplicación en parámetros formales tales como la escala, el material o la proporción, de la referida hipertrofia. Pasamos luego a realizar una breve panorámica histórica, focalizada en la representación de lo ridículo a lo largo de distintas épocas, aportando ejemplos a modo de contextualización temporal de nuestro trabajo, hasta llegar a la actualidad, de la cual realizamos una selección de obras y autores que, de un modo u otro, pueden ser entendidos como influencia o, al menos, como coincidencia en nuestros montajes. Una vez desarrollado el contexto pasamos, ya en la segunda parte, a referirnos ya directamente a nuestro trabajo y a su carácter como expresión de lo ridículo, mencionando las figuras retóricas y otros recursos comunicativos que usamos en la obra propia. Definimos, llegados a este punto, la hipertrofia como aportación central de nuestra investigación, del modo ya mencionado como recurso expresivo, pero también como modo de percepción selectiva para la creación, entre otros, en el ámbito de lo ridículo. Planteamos pues la hipertrofia como un recurso creativo extenso, más bien un modo de relacionarse con la realidad y proyectarse sobre ella en una fructífera interacción. Desarrollamos finalmente, a modo de ejemplo, la hipertrofia a través de sus múltiples aplicaciones como concepto fundamental que vertebra nuestra obra de búsqueda de lo ridículo desde enfoques diversos. / [CAT] La present tesi doctoral es desenvolupa, de manera autoetnográfica, com a aportació de resultats d'una investigació artística pròpia pretenent generar coneixement a través d'una objectivació del que és subjectiu. Hi abordem el tema del ridícul en l'escultura, entesa en el sentit expandit de el terme. Partint d'una contextualització conceptual i històrica prèvia, procedirem a deconstruir recursos i estratègies, sempre enfocades al voltant de el concepte del ridícul, de la nostra pròpia trajectòria artística. Desenvoluparem d'aquesta manera, amb especial atenció, el concepte d'hipertròfia com complex recurs expressiu d'exageració selectiva, tant a nivell formal com conceptual i perceptiu. La hipertròfia com a manera d'expressar però també de percebre i processar la realitat, per a una major intensitat comunicativa, tant en l'expressió del ridícul com en qualsevol altre àmbit. La present tesi doctoral recull els resultats de vint i cinc anys d'investigació artística pròpia en el camp de l'escultura i la instal·lació. Aborda el tema del ridícul en l'escultura, tema central en la nostra investigació, entesa en el sentit expandit del terme i més concretament la descripció de recursos, tant formals com conceptuals, per a la seva representació. Comencem el treball, dividit en dues parts, fent una semblança del ridícul com a llenguatge. Relacionem el terme amb altres que li són afins, com humor, desafiament o absurd i introduïm la hipertròfia, concepte que més tard desenvolupem més extensament, com a mitjà per a la seva consecució. Desenvolupem després el ridícul des de la forma en la seva representació mitjançant l'aplicació en paràmetres formals com ara l'escala, el material o la proporció, de la referida hipertròfia. Passem després a fer una breu panoràmica històrica, focalitzada en la representació del ridícul al llarg de diferents èpoques, aportant exemples a mode de contextualització temporal del nostre treball, fins arribar a l'actualitat, de la qual vam realitzar una selecció d'obres i autors que, d'una manera o altra, poden ser entesos com a influència o, al menys, com coincidència en els nostres muntatges. Un cop desenvolupat el context passaem, ja a la segona part, a referir-nos ja directament al nostre treball i al seu caràcter com a expressió del ridícul, esmentant les figures retòriques i altres recursos comunicatius que fem servir en l'obra pròpia. Definim, arribats a aquest punt, la hipertròfia com a aportació central de la nostra investigació, de la manera ja esmentat com a recurs expressiu, però també com a mode de percepció selectiva per a la creació, entre d'altres, en l'àmbit del ridícul. Plantegem doncs la hipertròfia com un recurs creatiu extens, més aviat una manera de relacionar-se amb la realitat i projectar-se sobre ella en una fructífera interacció. Desenvolupem finalment, a manera d'exemple, la hipertròfia a través dels seus múltiples aplicacions com a concepte fonamental que vertebra la nostra obra de cerca del ridícul des d'enfocaments diversos. / [EN] This doctoral thesis is developed, in an autoethnographic way, as a contribution of the results of our artistic research, trying to generate knowledge through an objectification of the subjective. In it we address the issue of the ridiculous in sculpture, understood in the expanded sense of the term. Starting from a previous conceptual and historical contextualization, we will proceed to deconstruct resources and strategies, always focused around the concept of the ridiculous, of our own artistic trajectory. In this way, we will develop, with special attention, the concept of hypertrophy as a complex expressive resource of selective exaggeration, both at a formal, conceptual and perceptual level. Hypertrophy as a way of expressing but also of perceiving and processing reality, for greater communicative intensity, both in the expression of the ridiculous and in any other field. This doctoral thesis collects the results of twenty-five years of own artistic research in the field of sculpture and installation. It addresses the issue of the ridiculous in sculpture, a central theme in our research, understood in the expanded sense of the term and more specifically the description of resources, both formal and conceptual, for its representation. We begin the work, divided into two parts, making a semblance of the ridiculous as a language. We relate the term to others that are related to it, such as humor, defiance or absurdity, and we introduce hypertrophy, a concept that we later develop more extensively, as a means of achieving it. Later we develop the ridiculous from the form in its representation through the application in formal parameters such as scale, material or proportion, of the referred hypertrophy. We then proceed to carry out a brief historical overview, focused on the representation of the ridiculous throughout different periods, providing examples as a temporary contextualization of our work, up to the present, from which we make a selection of works and authors that, in one way or another, can be understood as an influence or, at least, as a coincidence in our montages. Once the context has been developed, we proceed, in the second part, to refer directly to our work and its character as an expression of the ridiculous, mentioning the rhetorical figures and other communication resources that we use in our own work. We define, at this point, hypertrophy as the central contribution of our research, in the way already mentioned as an expressive resource, but also as a selective perception mode for creation, among others, in the field of the ridiculous. We therefore propose hypertrophy as an extensive creative resource, rather a way of relating to reality and projecting ourselves onto it in a fruitful interaction. Finally, we develop, as an example, hypertrophy through its multiple applications as a fundamental concept that backs up our work of searching for the ridiculous from different approaches. / Llorens García, A. (2020). La realidad hipertrofiada. Modos de representación de lo ridículo en la escultura y en la obra propia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/157636

My thesis is intended to analyse the interactions between Greek and Roman Comedy and Cynicism. My study, that considers all the complex issues related to the sources of Cynicism, is developed using a double perspective. On the one hand, I examine the formal debts that Cynical tradition has contracted towards Comedy and the different functions of the geloion in the communicative forms used by Cynics. In this perspective, I also analyse the passages where the ancient sources put into relation Cynics with Comedy or with a specific comedian and the passages in which the attribution fluctuates between comedians and Cynics. On the other hand, I study the representation of Cynics in Comedy. Therefore, the significant part of my research is committed to the collection and to the comments of the comic verses where there is a reference to Cynics or where scholars have suspected an allusion to them. In this analyse, I devote a special attention to the comparison between the representation of Cynics in Comedy and these in other sources. From this analysis we can infer that there are not many differences about elements used to the representation, but rather a risemantisation and a different connotation of same elements. / Mon travail de thèse se propose d’analyser les interactions entre Comédie grecque et latine et Cynisme. Mon étude, qui prend en compte toutes les problematiques complexes liées aux sources du Cynisme, se developpe selon deux directions. D’un côté, j’étudie les dettes formelles que la tradition cynique a envers la comédie et les différentes fonctions du geloion dans les formes communicatives adoptées par les Cyniques. Dans cette première perspective, j’analyse aussi les passages où les sources anciennes associent les Cyniques à la Comédie ou à un comique en particulier et les passages pour lesquels l’attribution oscille entre comiques et Cyniques. De l’autre, j’étudie la manière dont les Cyniques sont représentés par les comédiens. La partie la plus consistante de la thèse est donc dédiée au receuil et au commentaire ponctuel des vers comiques dans lesquels figure une référence explicite aux Cyniques ou dans lesquels les chercheurs ont soupçonné une allusion.

In the age of digitalization several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens meaning that a systematization and mapping of both Swedish and EU based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. Howevwer, some discussions have been going on in both Swedish and EU legal spheres, mostly in the EU who are going to legislate more in the field of AI. In Sweden there have been no legislative processes when it comes to AI in copyright law however there have been some governmental organisations and essays that have shed a light on the matter. I conclude this master thesis by writing about the findings of each question as has been mentioned above, namely that AI becomes a significant factor in deciding if a deepfake achieves copyright protection or not and the same can be said about parodies. After this I make a concluding analysis of the urgency of a need for laws that tackle AI in the area of immaterial laws listing other areas that might need it more than immaterial laws as has been explored throughout this thesis as well and that Sweden need to take part in every discussion about this to form a sustainable legal framework for AIs in the context of immaterial laws. This will open up for a clear framework when assessing different technologies that use AI like deepfakes as well.

In the age of digitalizarion several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways, all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens, meaning that a systematization and mapping of both Swedish and EU-based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. However, some discussions have been going on in both Swedish and EU legal spheres, mostly in the EU who are going to legislate more in the field of AI. In Sweden there have been no legislative processes when it comes to AI in copyright law however there have been some governmental organisations and essays that have shed a light on the matter. I conclude this master thesis by writing about the findings of each question as has been mentioned above, namely that AI becomes a significant factor in deciding if a deepfake achieves copyright protection or not and the same can be said about parodies. After this I make a concluding analysis of the urgency of a need for laws that tackle AI in the area of immaterial laws listing other areas that might need it more than immaterial laws as has been explored throughout this thesis as well and that Sweden needs to take part in every discussion about this to form a sustainable legal framework for AIs in the context of immaterial laws. This will open up for a clear framework when assessing different technologies that use AI like deepfakes as well.

This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.)