Satirical poetry is generally considered as a one of the most important genres of the classical Arabic literature. Genre of poetry was in the pre-Islamic and early Islamic society highly appreciated and the Arabs used to regard it as the only form of the real literature. Unlike prose which was limited to the folklore and educational literature esteemed the Arabs poetry as a real art expression and the poet hold also very strong position within the traditional Arab society. Arabic satirical poetry is believed to grow up from curses and lampoons declaimed by traditional Arab wizards, kāhins, and due to the fact that faith in the power of word was still very deeply rooted in people's minds, Arabic satirical poetry was ascribed a very good reputation. The development of society after the rise of Islam also had a very strong impact upon the function of traditional genres of the Arabic poetry. From its original function of discouraging and threating enemies satirical poetry developed into the means of poet's subsistence, political propaganda and society entertainment. Arabic satirical poetry became an independent genre of art. This thesis deals with the origin and the development of Arabic satirical poetry from its emergence in the pre-Islamic period until it reached its peak during the reign of Umayyad...

Made available in DSpace on 2016-04-27T19:32:33Z (GMT). No. of bitstreams: 1 Augusto Cesar Mauricio Borges.pdf: 978601 bytes, checksum: c7fb5b182d2c14d01b4de78468c6d96c (MD5) Previous issue date: 2009-08-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research studies the phenomenon of political satire in the city of São Paulo's Belle Époque, specifically the chronic character of the irreverent comedy Juó Bananére, pseudonym of Alexander R. M. Machado, on the then President of the Republic Marshal Hermes da Fonseca and bureaucracy that tied the body of political support. Our study indicated that part of the so-called small press played a significant role in the development and dissemination of the contents of humorous political critique in the First Republic. As part of this process, the political satire of Juó Bananére not only fulfilled its role of social entertainment, but also has a critical function of load positioning and policy intervention. Due the particular historical juncture, the main issue of our work talkect to materials published by the periodic watching the harmony of all these satires with the political-matters agenda of the seminary O Pirralho and the oligarchies of São Paulo in the São Paulo defeat in the elections of 1910. Looking at the political satire from the years 1911 to 1915, under the administration of Hermes da Fonseca, this work drag the relevant debating about history, city, politics and humor discussing the work of Alexander R. M. Machado at the seminary O Pirralho / Esta pesquisa estuda o fenômeno da sátira política na cidade de São Paulo da Belle Epoque, mais especificamente a crônica irreverente do personagem cômico Juó Bananére, pseudônimo de Alexandre R. M. Machado, sobre o então Presidente da República Marechal Hermes da Fonseca e a burocracia que compunha seu corpo político de sustentação. Nosso estudo indicou que parte da chamada pequena imprensa desempenhou um papel significativo no desenvolvimento e na divulgação do conteúdo humorístico da crítica política na Primeira República. Como parte integrante desse processo, a sátira política de Juó Bananére cumpriu não só seu papel de entretenimento social como também adquiriu uma função crítica carregada de posicionamento e intervenção política. Em virtude da conjuntura histórica específica, a problemática central de nosso trabalho dialogou com materiais publicados no periódico observando a consonância dessas sátiras com a agenda político-programática do semanário O Pirralho e das oligarquias de São Paulo no contexto da derrota paulista nas eleições de 1910. Analisando a sátira política entre os anos de 1911 a 1915, período em que vige a administração de Hermes da Fonseca, este trabalho levantou as discussões pertinentes sobre a relação História, Cidade, Política e Humor discutindo a obra de Alexandre R. M. Machado no semanário O Pirralho

Made available in DSpace on 2016-04-28T19:34:25Z (GMT). No. of bitstreams: 1 Elisabete Delpoio.pdf: 415928 bytes, checksum: 951183d428c17ed92b1e25660d14d0f9 (MD5) Previous issue date: 2008-05-07 / The current paper has as the main purpose to analyze the political humor linguistic-discoursing construction in written media. The corpus analysis is built with texts from the recognized newspaper, not only in São Paulo but also in Brazil: Folha de S. Paulo. In this analysis the main subject is the personal performance of ex-federal deputy Severino da Silva in his public career. We believe that such humoristic texts can drive us towards admirable experiments concerning the language questions and the humor, as discursive phenomena, translate an opinion maker characteristic trait. The theoretical statement is based on the concepts of humor introduced and debated, mainly, by Bergson (2004), Propp (1992), Alberti (2002), Minois (2003), Raskin (1985), Possenti (2000) and Travaglia (1990). First of all, we proceeded with context structure of the corpus and a brief description of political career of Severino Cavalcanti. We moved forward with a historical retrospective, looking for to explorer how the humor was explained by several thinkers and academics. We were able to evidence the sociological and political aspects of humor. Considering that we left clear the weapons linguistic-discursive used in order to build the essence of humor. Finally, after the corpus analysis, we realized that the humor itself can reveal the truths and punish those ones who audacity to deviate from used society convivial / O presente trabalho tem como objetivo principal analisar a construção lingüístico-discursiva do humor político em textos da mídia impressa. O corpus de análise é composto por textos do jornal Folha de S. Paulo sobre a vida pública do ex-deputado federal Severino Cavalcanti. Acreditamos que os textos humorísticos possibilitam excelentes experimentos com as questões da língua e o humor, como fenômeno discursivo, traduz um caráter de formador de opinião. A fundamentação teórica baseia-se em conceitos de humor apresentados e discutidos, principalmente, nos trabalhos de Bergson (2004), Propp (1992), Alberti (2002), Minois (2003), Raskin (1985), Possenti (2000) e Travaglia (1990). Inicialmente, procedemos à contextualização do corpus e a uma breve descrição sobre a vida política de Severino Cavalcanti. Fizemos uma retomada histórica, buscando conhecer como o humor foi explicado por vários pensadores e teóricos. Nós pudemos constatar os aspectos sociológicos e políticos do humor. Explicitamos, então, os instrumentos lingüístico-discursivos para a construção do humor. Finalmente, depois da análise do corpus, observamos que o humor por si só pode revelar verdades e punir aqueles têm que a ousadia de se afastar das normas sociais

Made available in DSpace on 2016-04-28T19:59:18Z (GMT). No. of bitstreams: 1 Cilene Trindade Rohr.pdf: 1344775 bytes, checksum: fa9ab60656ec3c71a7d14320cf26f7b4 (MD5) Previous issue date: 2009-06-30 / Our study focused on the short story Theory of Medallion (1881), of Machado de Assis, with the aim of studying how the author articulates the use of parody understood in its double sense of parallelism and reversal in light of the theoretical foundations of Hutcheon (1995) for whom the parody is ironic "trans-contextualizing", that is, repetition with critical difference and Bakhtin (1993), which highlights the dialogical structure of parody speech: a "premeditated hybrid" between the parodied speech and the one which parodies it, without, however, destroying it. Although there are some studies in the critical fortune of this short story that go in that direction, such as: Almeida (2006) and Rego (1989), we would deal with parody under another perspective, that is, in the context of the serious-comic tradition, especially the Menippean satire, whose dialogical root is closely examined by Bakhtin as the original cell of Romanesque speech. It is under such strain which Machado was explicitly influenced by, as he has obliquely registered in a metafictional passage on Theory of Medallion: "you must not only use the irony, this movement at the corner of the mouth, full of mysteries, invented by a Greek of the decadence, contracted by Lucian, transmitted to Swift and Voltaire, common feature of the skeptical and insolent " that the subtitle "Dialogue" is materialized as a parody of a gender included in the tradition of the classical Platonic dialogues. By means of discourse analysis of the ambivalent Machadian short story, we point out the moments in which he was under a different discourse - that of The Republic of Plato - which now approached, now pushed away, in an alternate game of hiding-revealing in the manner of Machado, a reader of Lucian of Samosata. Our goal, however, was not only to unveil the parody construction within the narrative structure. We also intended, through this exemplary short story inside the short stories of the author, to reflect on the formative aspect that engenders, either at the level of gender as a hybrid of, at least, three matrices: the serious-comic of Menippean, the Platonic dialogue and the essay or "story-theory" (Bosi, 1999) or at the level of Machadian project of national literature whose cornerstone is the formation of a skillful reader capable of understanding, through an inside out reading, the critical hidden under the supposed praise of the picture of the medallion, typical successful citizen of the Brazilian society of the nineteenth century, which is nourished only of appearances / Nosso estudo centrou-se sobre o conto Teoria do Medalhão (1881), de Machado de Assis, tendo por objeto de investigação o modo como o autor articula o recurso da paródia entendida no seu duplo sentido de paralelismo e inversão à luz dos fundamentos teóricos de Hutcheon (1995), para quem a paródia é transcontextualização irônica, isto é, repetição com diferença crítica e Bakhtin (1993), que destaca a estrutura dialógica do discurso paródico: um híbrido premeditado entre o discurso parodiado e aquele que o parodia, sem, contudo, destruí-lo. Embora haja na fortuna crítica desse conto alguns estudos que caminham nessa direção, como os de: Almeida (2006) e Rego, (1989), aqui trataremos da paródia sob uma outra perspectiva, isto é, no contexto da tradição do sério-cômico, especialmente da sátira menipéia, cuja raiz dialógica é analisada rigorosamente por Bakhtin como célula originária do discurso romanesco. É no âmbito dessa linhagem - à qual Machado explicitamente se filia, conforme deixa registrado obliquamente num lance metaficcional em Teoria do Medalhão: somente não deves empregar a ironia, esse movimento ao canto da boca, cheio de mistérios, inventado por algum grego da decadência, contraído por Luciano, transmitido a Swift e Voltaire, feição própria dos céticos e desabusados. que o subtítulo Diálogo se materializa enquanto paródia de um gênero inscrito na tradição clássica dos diálogos platônicos. Por meio da análise do discurso ambivalente do conto machadiano, pudemos apontar os momentos nos quais havia sob ele um outro discurso o de A República de Platão do qual ora se aproximava, ora se distanciava, num jogo alternado de ocultar-revelar, bem ao gosto de um Machado leitor de Luciano de Samósata. Nosso objetivo, porém, não se limitou apenas ao desvelamento da construção paródica no âmbito da estrutura narrativa. Pretendemos, outrossim, por meio desse conto exemplar dentro da obra contística do autor, refletir sobre o aspecto formativo que engendra, seja em nível de gênero enquanto híbrido de, ao menos, três matrizes: o sério-cômico da menipéia, o diálogo platônico e o ensaio ou conto-teoria (Bosi, 1999) , seja em nível do projeto machadiano de literatura nacional cuja pedra de toque está na formação de um leitor capaz de perceber, por meio de uma leitura dos avessos, a crítica oculta sob o pretenso elogio da figura do medalhão, típico cidadão bem sucedido da sociedade brasileira do século XIX, que se nutria, apenas, das aparências

This thesis targets the British sound film especially comedies from 1930{\crq}s till mid 1970{\crq}s because after this period there is greater TV production which took over feature film production. There is described the production of the main studios such as Gainsborough Pictures and Gaumont-British, Ealing Studios and Rank Organisation. I aim then to classify some film styles such as farce, slapstick, burlesque, screwball and romantic comedy, satire and parody. The last target is to find some famous Czech film makers or actors, who worked or are still involed within the British film production. There are name such as Herbert Lom and Anny Ondráková.

The monographic thesis mainly solves poetry and prose of Josef Mach, the Czech writer, journalist and clerk. It watches literary progress of his poetics according to the era context, influenc of places, historical and social events and inspirations of other artists who surrounded him. The work look into the texts and lyrics by a diachronic and synchronic way. The section about his original works is followed by a chapter about translations of several novels, because he acted even on this literary field. Then the general outline of the reception of Mach's personality and works since the time of his life until today. The whole thesis is introduced by Mach's biography to which it returns in many topics because his works have an empiric character and it is closely connected to the life. The object of the thesis is to sum information about all these topics and give it as a base for future expert research.

The aim of the thesis is to confront predominantly Celtic nations depicted in the comic series about Aste rix by René Goscinny and Albert Uderz with information derived from literary as well as archaeological sources and consequently to describe current stereotypes and political and social events appearing in the series. Since its origin, Asterix series has become a world phenomenon with readers across both the social and age spectrum. Numerous allusions to the recent past, which the authors decided to humorously comment on through their cartoon characters, can be found in the series. However, each of the stories takes place in the historical background of the times around the year 50 BC, and it seems interesting to observe to what extent Uderzo and Goscinny stick to the sources and when their fantasy takes over. Keywords: Asterix, René Goscinny, Albert Uderzo, phenomenon, Celtic nations, ancient times, the Gauls, the Belgae, the Picts, the present nations, international