Thesis advisor: Régine Jean-Charles / Practice whereby a host (the one who receives) open his/her door to a guest (the one who is either invited or simply received), hospitality is nowadays under fire as the migrant crisis unfolds the plight of countless strangers who, at the end of their perilous journey across the Mediterranean Sea, come and knock at the doors of Europe, in particular France—birthplace of the Rights of Man. Taking the stand of Louis de Jaucourt on the socio-political challenges of hospitality outlined in his 18th century French article, Hospitalité, as the point of departure of our study, we focus on how hospitality intersects with social criticism through the person of the stranger in the following corpus of literary texts, which spans from the 18th to the 20th century: 1. Lettres persanes (Montesquieu), Lettres philosophiques (Voltaire), and L’Ile des Esclaves (Marivaux); 2. L’Ingénu (Voltaire), Lettres d’une Péruvienne (Françoise de Graffigny), and Ourika (Claire de Duras) ; 3. La Noire de… (Sembène Ousmane), and Xavier, le drame d’un émigré Antillais (Tony Delsham). Here, we enter in dialogue with Julia Kristeva’s essay, Etrangers à nous-mêmes, namely the chapter she writes about philosophers of the Enlightenment: L’Etranger : alter ego du philosophe. She argues that, as a satirical modus operandi, these philosophers withdraw behind the figure of the stranger, who then becomes their “double”, their “mask” (196). We show that Kristeva’s argument is not only limited to the works of 18th century French philosophers, but also to those of their literary heirs, who ascribe rather to the “mask” of the stranger of color, and moreover the hospitality he/she receives in France, as a satirical tool to lay bare the flaws of their own society. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

O presente estudo comparativo buscou traçar os rastros de semelhança na escrita literária do escritor brasileiro Lima Barreto (1881-1922) e do francês Anatole France (1844-1924). A despeito de eventuais diferenças, o que se observou foi um trajeto semelhante no conjunto das duas obras, ancorado numa visão de mundo compartilhada e essencialmente humanista. Neste trajeto, partiu-se da presença de um novo tipo de herói, o herói intelectual, em grande parte o elemento responsável pelo tom reflexivo e digressivo dos romances e pela redução da esfera da ação nas obras. Nos romances Recordações do Escrivão Isaías Caminha, de 1909, La Rôtisserie de la Reine Pédauque e Les Opinions de M. Jérôme Coignard, de 1893, além da configuração de uma escrita colada aos acontecimentos políticos, sociais e culturais da Belle Époque, observou-se um processo de caricaturização que acompanha a obra de ambos e surge como ponto de partida para o estudo das sátiras Os Bruzundangas, publicado postumamente em 1923, e LÎle des Pingouins, de 1908. Em meio a este traçado de caricaturização nos romances, observamos ainda a semelhança na trajetória peripatética dos personagens de Jérôme Coignard e Gonzaga de Sá, cujo itinerário se mescla às transformações pelas quais as cidades do Rio de Janeiro e Paris passam. De forma geral, encontramos nos romances de Lima Barreto e Anatole France uma ironia de aspecto moral e salvacionista que vai, no decurso de alguns romances, colocando em questão a viabilidade deste gênero tão volátil. Diante da intenção corretiva do satirista, o narrador romanesco cede espaço ao modo de imaginação satírica. E no caminho do narrador ao satirista, o herói intelectual vai também perdendo espaço em prol da função última da sátira, de correção de um mundo injusto. / This comparative study aims to delineate similarity traces between the literary writings of the Brazilian author Lima Barreto (1881-1922) and the French writer Anatole France (1844-1924). Despite eventual variations, we noted a similar path in their works, anchored in a shared worldview, substantially humanist. To trace this path, we departed from the presence of a new kind of hero, the intellectual hero, which bestows a reflexive and digressive tone to their novels, minimizing the plot. In the novels Recordações do Escrivão Isaías Caminha, from 1909, La Rôtisserie de la Reine Pédauque e Les Opinions de M. Jérôme Coignard, both from 1893, besides setting up a sort of writing attached to the political, social and cultural events of the Belle Époque, we observed a caricaturing process that follows both literary works. This process emerges as the base line to the study of their satire: Lima Barretos Os Bruzundangas, published posthumously in 1923, and Anatole Frances LÎle des Pingouins, from 1908. Along this caricatural process, we also found another similarity, concerning the trajectory of the peripatetic characters of Jérôme Coignard and Gonzaga de Sá. Their itinerary is mixed with their cities, Rio de Janeiro e Paris, both in remaking processes. Generally speaking, we discovered in Lima Barreto and Anatole Frances novels a kind of moral and rescuer irony that, during some of their novels, questions the feasability of this changeable literary genre. Against the corrective intention of the satirist, the novel storyteller gives way to the satiric mode of imagination. And in the path from the storyteller to the satirist, the intellectual hero also loses his significance to the ultimate function of satire, the correction of an unfair world.

Em determinado período de sua história, o Charlie Hebdo passou a abordar o tema do fundamentalismo islâmico em suas charges. A figura sagrada para os muçulmanos foi, então, representada satiricamente em diversas edições, até que em 7 de janeiro de 2015, após uma série de conflitos entre o jornal e os extremistas islâmicos, a sede do semanário francês foi alvo de um ataque terrorista, com doze vítimas fatais. É para esse contexto que nossa pesquisa direciona a sua atenção. Analisaremos um conjunto de oito charges publicadas pelo Charlie Hebdo no período de 8 de fevereiro de 2006 a 6 de janeiro de 2016. O propósito, ao examinar semioticamente esse corpus, é descrever os mecanismos de construção do sentido das charges para compreender de que maneira o chargista, como um éthos ou um modo polemizador de presença, exacerbou satiricamente a doutrina islâmica e a figura religiosa emblemática para provocar o riso e criticar o fundamentalismo. Em nossa pesquisa, a noção de gênero será incorporada com o apoio teórico de Bakthin (2003; 2008; 2010; 2014; 2016), o que permitirá reconhecer as principais características da charge, conforme determinada temática, composição e estilo. Também a partir dos apontamentos bakhtinianos, definiremos mecanismos discursivos presentes nas charges: ironia, humor, sátira e polêmica. Dessa definição, surgirão os elementos que despontam as características do gênero e, consequentemente, o estilo Charlie Hebdo de satirizar. Com base nesse ponto, esperamos compreender o que teria força argumentativa para provocar a ira dos fundamentalistas. Em nosso estudo, buscaremos expor, sobretudo, os princípios relativos à semiótica greimasiana. Consideraremos, portanto, para nossa investigação as bases da semiótica narrativa e discursiva (GREIMAS; COURTÉS, 2016). Mas teremos o respaldo ainda da semiótica visual (FLOCH, 1985; 1986a; 1986b; 2013), com o intuito de entender como a forma do plano da expressão e do plano do conteúdo, conforme postulada por Hjelmslev (2003), vai ao encontro da substância da expressão e do conteúdo nesses textos verbo-visuais. Ao tomar corpo, nossa pesquisa encontrará apoio teórico e metodológico também na semiótica tensiva (ZILBERBERG, 2011). Nesse ponto, mostraremos os segmentos das charges que fazem crescer a intensidade da voz satírica e o seu potencial para causar atritos com o sujeito fundamentalista. Os resultados demonstrarão que a voz satírica do Charlie Hebdo é construída essencialmente por meio da presença exacerbada do outro, cujos valores julgados negativos são intensamente expostos. O alvo da crítica, o fundamentalismo islâmico, é assim desmoralizado por suas próprias atitudes. Essa forma de fazer sátira remete ao modelo de construção do gênero charge; entretanto, o que parece diferenciar o conteúdo das charges analisadas é a instalação da relação dialógica (BAKHTIN, 2016) entre sujeitos extremamente antagônicos, com intensa probabilidade de conflito nos (des)encontros das enunciações interdiscursivas. / At some point in its history, Charlie Hebdo began to address the theme of Islamic fundamentalism in its cartoons. Since then, the holy image for Muslims was satirically represented in several editions. It had happened up to January 7, 2015, when, after a series of misunderstandings between the newspaper and Islamic extremists, the headquarters of the French weekly newspaper was the target of a terrorist attack, having as consequence, twelve fatal victims. It is in this context that our research is directed. We will analyze a set of eight cartoons published by Charlie Hebdo in the period from February 8, 2006 to January 6, 2016. The purpose in examining semiotically this corpus, is to describe the mechanisms of construction of the meaning of the cartoons to understand how the cartoonist, as an ethos or a polemizing mode of presence, satirically exaggerated Islamic doctrine and the emblematic religious image to provoke laughter and criticize fundamentalism. In our research, the notion of genres will be incorporated with the theoretical support of Bakthin (2003; 2008; 2010; 2014; 2016), which will allow us to recognize the main characteristics of the cartoon, according to a specific theme, composition and style. Also from the Bakhtinian notes, we will define discursive mechanisms present in the cartoons: irony, humor, satire and polemic. From this definition, the elements that emerge the characteristics of the genre and, consequently, the Charlie Hebdo style of satirizing will appear. Based on this, we aim to understand what could have an argumentative force to provoke the wrath of fundamentalists. In our study, we will try to expose, above all, the principles related to greimasian semiotics. We will therefore consider for our investigation the bases of narrative and discursive semiotics (GREIMAS and COURTÉS, 2016). But we will still have the support of visual semiotics (FLOCH 1985, 1986a, 1986b, 2013), in order to understand how the form of the plane of expression and the content plane, as postulated by Hjelmslev (2003), meets the substance of expression and content in these verbal-visual texts. Whereas the development of these points brings consistence to our research, we will also find theoretical and methodological support in the tensive semiotics (ZILBERBERG, 2011). At this point, we will show the segments of the cartoons that increase the intensity of the satirical voice and its potential to cause friction with the fundamentalist subject. The results will demonstrate that Charlie Hebdo\'s satirical voice is essentially built through the exacerbated presence of the other, whose negatively judged values are intensely exposed. The target of criticism, Islamic fundamentalism, is thus demoralized by its own attitudes. This way of doing satire refers to the construction model of the genre \"cartoon\"; However, what seems to distinguish the content of the analyzed cartoons is the establishment of the dialogical relationship (BAKHTIN, 2016) between extremely antagonistic subjects, with an intense probability of conflict in the (dis) encounters of interdiscursive enunciation.

Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história. / This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.

A Apocolocintose do divino Cláudio é a desconstrução da apoteose atribuída pelo senado romano a Cláudio, princeps morto em 54 d.C. e penúltimo César da dinastia Júlio-Claudiana. Este texto de Sêneca estrutura-se de acordo com o gênero sátira menipéia, em que se mesclam prosa e verso, coloquialismos e formas cultas, além de intensas relações que se estabelecem com outros textos greco-romanos. Para isso, Sêneca insere fatos da vida de Cláudio e relaciona-os com situações inesperadas no céu, na terra e no inferno, em um percurso fictício que o princeps romano realiza nesta dessacralização. O texto de Sêneca é uma reação ao exílio sofrido nas mãos deste mesmo princeps, a quem o filósofo veio a servir em 49 d.C. Também é uma reação aos desmandos e crueldades perpetradas por Cláudio e uma forma de enaltecer a imagem de Nero, alçado ao governo de Roma após a morte de Cláudio. Esta dissertação de Mestrado compreende uma introdução ao gênero sátira menipéia, seguida de tradução e notas da Apocolocintose do divino Cláudio, bem como de um comentário críticoanalítico em que se examinam as intenções de Sêneca nesta invectiva contra Cláudio. / Divine Claudios Apocolocintose is the destruction of the apotheosis given by the Roman senate to Claudio, princeps who died in 54 after Christ, and the penultimate Caesar of the Julian-Claudian dynasty. The text by Seneca is, in its structure, in accordance with the genre menippean satire, in which prose and verse, colloquialism and erudite forms of composition are entwined. Besides, the text has intense links with other Greek-Roman texts. In order to do that, Seneca inserts facts of Claudios life and relates them with unexpected situations in heaven, on earth and in hell, in a fictitious path the Roman princeps carries out in this dissacralization. Senecas text is a reaction due to the exile he had to undergo through the hands of the princeps himself, who the philosopher served in 49 after Christ. Its also a reaction to the whimsy deeds and cruelties done by Claudio, and a way of highlighting Neros image, who took the government after Claudios death. This Masters degree paper comprehends and introduction to the genre menippean satire, translation and notes of Divine Claudios Apocolocintose as well as a critic-analytic comment on which Senecas intentions are examined in the invective against Claudio.

手稿覆寫本. / Thesis (M.A.)--香港中文大學. / Shou gao fu xie ben. / Includes bibliographical references (leaves 388-431). / Thesis (M.A.)--Xianggang Zhong wen da xue. / 導論 --- p.1-8 / Chapter (一) --- 什么是諷刺小說 --- p.1-4 / Chapter (二) --- 諷刺小說的作用及在文學中的地位 --- p.5-8 / Chapter 第一章 --- 散論中國的諷刺文學 --- p.9-51 / Chapter (一) --- 最早的諷刺文學 --- p.9-14 / Chapter (二) --- 諷刺小說出現前的中國諷刺文學 --- p.15-30 / Chapter (三) --- 諷刺小說的蘊釀 --- p.31-47 / Chapter (四) --- 中國諷刺小說的正式形成 --- p.48-51 / Chapter 第二章 --- 諷刺小說形成于清代的原因 --- p.52-79 / Chapter (一) --- 產生儒林外史的時代背景 --- p.54-61 / Chapter (二) --- 清代小說的技巧日趨成熟 --- p.62-71 / Chapter (三) --- 吳敬梓的天才和條件 --- p.72-78 / Chapter 第三章 --- 儒林外史的主題思想 --- p.80-120 / Chapter (一) --- 儒林外史所諷刺的內容 --- p.80-97 / Chapter (二) --- 諷刺的目的 --- p.98-103 / Chapter (三) --- 吳敬梓的理想道路 --- p.104-111 / Chapter (四) --- 從儒林外史主題思想看吳敬梓的思想實質 --- p.112-120 / Chapter 第四章 --- 儒林外史的諷刺藝術 --- p.121-184 / Chapter (一) --- 意在言外的筆法 --- p.121-132 / Chapter (二) --- 點破的功夫 --- p.133-139 / Chapter (三) --- 对比的手法 --- p.140-149 / Chapter (四) --- 正筆與反意 --- p.150-159 / Chapter (五) --- 借此諷彼 --- p.160-168 / Chapter (六) --- 明刺 --- p.169-175 / Chapter (七) --- 寓諷刺於戲劇性情節中 --- p.176-184 / Chapter 第五章 --- 儒林外史西歐著名諷刺小說的比較 --- p.185-245 / Chapter (一) --- 共同的基礎 --- p.189-209 / Chapter (二) --- 西歐幾部著名諷刺小說的藝術特點 --- p.210-225 / Chapter (三) --- 從比較中看儒林外史的民族特色 --- p.226-239 / Chapter (四) --- 汲長補短 --- p.240-243 / Chapter (五) --- 儒林外史的世界性評價 --- p.244-245 / Chapter 第六章 --- 諷刺小說在晚清的發展 --- p.246-294 / Chapter (一) --- 譴責小說的出現 --- p.246-249 / Chapter (二) --- 從諷刺發展為譴責的原因 --- p.250-255 / Chapter (三) --- 譴責小說的典型筆法 --- p.256-276 / Chapter (四) --- 譴責小說在藝術表現方法的缺點 --- p.277-291 / Chapter (五) --- 清代諷刺小說後勁不繼 --- p.292-294 / Chapter 第七章 --- 魯迅把諷刺小說推向一個新高峰 --- p.295-346 / Chapter (一) --- 魯迅小說諷刺技巧的特徽 --- p.295-332 / Chapter (二) --- 繼承與發展 --- p.333-344 / Chapter (三) --- 中國諷刺小說呈現了一個新局面 --- p.345-346 / Chapter 第八章 --- 諷刺小說創作的幾點原則 --- p.347-386 / Chapter (一) --- 冷嘲還是熱諷 --- p.349-357 / Chapter (二) --- 真實與誇張 --- p.357-368 / Chapter (三) --- 婉而多諷 --- p.369-372 / Chapter (四) --- 典型性與特性 --- p.373-377 / Chapter (五) --- 正與反 --- p.378-380 / Chapter (六) --- 感而能諧 --- p.381-386

The aim of this work is to map fake Czech profiles on social networks Facebook and Twitter. "Fake profiles" in this case mean those where authors are acting as a well-known person, company or institution. Best known Czech profiles are Twitter's @schwarzenbergk, @kardinalvlk or @ovcacek_jiri and Facebook profile @jiriovcacekunofficial. After a general introduction to the topic, which includes, among other things, a brief look at the topic of political satire and the introduction of social networks, including the regulation they take to protect personality, the main part follows. It analyzes 8 different Czech false profiles. The content of the posts, the account statistics, the most successful posts and possibly other related information are presented. An important part of the work are interviews with authors of these profiles as well as with counterparts: real people or companies. This offers a close look at the backstage of the creation and running of the profile and, on the other hand, the possibility to gain the reaction of the concerned party. A comparative analysis of false and real Jiří Ovčáček's Facebook profiles is conducted in this part as well. The next section is included in order to bring a wider view of the issue. It is devoted to similar profiles abroad, which gives the possibility...

Notions of community and civic participation, and the role journalism plays in establishing, reinforcing or disrupting them, have been part of American life since the early days of the republic. Equally American, and closely connected with them, are the ideas that our public institutions and elected officials are appropriate targets for both journalistic scrutiny and comedic satire. Press and speech protections that James Madison and Thomas Jefferson wrote into the Constitution have served journalists and satirists - and those who work both camps, such as Ben Franklin, Mark Twain and H.L Mencken - during critical times in our history. Indeed, the blurring of lines between news and entertainment, public policy and popular culture, is not a new phenomenon. Yet, re cent concerns that journalism is being subsumed within the larger field of mass communication and competing with an increasingly diverse group of narratives that includes political satire are well-founded. Changes in media technology and acute economic uncertainty have hit traditional news outlets at a time when Americans clearly want a voice they can trust to challenge institutions they believe are failing them. And during the first decade of the twenty-first century, none has filled that role as uniquely as Jon Stewart, host of The Daily Show on the Comedy Central Network. When Time recently asked readers to identify "the most trusted newsperson in America," Stewart was the runaway winner. That matched an earlier survey by the Pew Center in which Stewart tied Brian Williams, Tom Browkaw, Dan Rather and Anderson Cooper as the journalist respondents most admire. Scholarly work on Stewart typically builds on surveys that show young adults get political information from his show (Pew, ANES). It also challenges his frequent claim that he is nothing more than a stand-up comedian peddling satire, and it argues that his shtick, which he calls "fake news," is actually a quasi-journalistic product. This study moves beyond those issues by reviving questions about the role news media play in creating community. It applies research though the method of the interpretive turn pioneered by James Carey, and challenges the notion that Stewart's viewers are no more than fans who tune in to him as isolated individuals seeking entertainment. It argues that they seek him out because the para-political talk he offers helps them connect with a larger community of like-minded fellows. It draws on Mills' distinctions between mass media and public media, and it uses Freud's interpretation of jokes as a vehicle to address ruptured relationships and wish-fulfillment to examine the demand for a public conversation lacking in the news offered by aloof network anchors who became the faces of broadcast journalism during the latter part of the twentieth century. Finally, it considers the broader implications this nexus between media satire and news reporting - and the communities that are building around it - has for journalism and its traditional role in our participatory democracy. Research for this study, especially ideas and perceptions about how mainstream media work, is grounded in my own professional experience of fifteen years as a daily newspaper reporter, political writer and press secretary in three major political campaigns. Ideas and observations about stand-up comedy come from a year-long ethnography of The Comedy Cellar, a stand-up club in Greenwich Village known for political humor, from numerous visits to tapings of The Daily Show, The Colbert Report and Tough Crowd, and from interviews with a number of stand-up comedians (apart from the ethnographic work) and writers for those shows. Ideas about the interplay between traditional journalism and so-called "fake news," the narrative offered by Stewart and others, come from interviews with roughly a half-dozen nationally recognized journalists who reported on the 2004 presidential campaign. A significant amount of archival research in the popular press - specifically newspapers and news magazines - was necessary because it is a large repository for background into Stewart's professional life and training, and that is essential context for a specific dialogue about the changing landscape of American journalism. Finally, impressions and findings about Stewart's audience and the Americans who are increasingly turning to satire as a vehicle for information to locate themselves in our participatory democracy came largely from observations and interviews conducted in Washington D.C. for four days before, during and after the Rally to Restore Sanity. Early scholarship on the increasingly complex relationship between satire and traditional journalism has focused on the satirists and attempted to define their narratives as something more than comedy - some type of popular journalistic hybrid or emerging narrative that is a new form of journalism. This study acknowledges that debate but moves beyond it. In fact, it is grounded in the idea that although the television shows are new, there is nothing new about satirists using the media of their day to challenge powerful institutions, including public office holders. Instead, it approaches the rise of these satirists by asking what is happening in America that is causing citizens to turn away from traditional sources of news and information in favor of the narratives they offer. It examines the likelihood that the popular demand for Stewart's narrative signals a larger shift in the way Americans think about news and where they go to get it - away from institutional journalism and its longstanding ethos of objectivity and the authoritative voice and toward more independent voices that essentially return to iconic ideas of the press as a tool for building community and enabling conversations between publics rather than acting as the mass medium it did in the latter part of the twentieth century.

For the last decade, The Daily Show with Jon Stewart (TDS), a (Comedy Central) cable comedy show, has been increasingly seen as an informative, new, even revolutionary, form of journalism. A substantial body of literature appeared, adopting this view. On closer inspection, it became clear that this view was tenable only in specific circumstances. It assumed that the comedic structure of the show, TDS' primary text, promoted cognitive polysemy, a textual ambiguity which encouraged critical inquiry, and that TDS' audiences perceived it accordingly. As a result I analyzed, through a dual - encoding/decoding - analytical approach, whether TDS' comedic discourse educates and informs its audiences in a manner which encourages independent or critical reading of the news. Through a multilayered textual analysis of the primary and tertiary texts of the show, the research presented here asked, "How does TDS' comedic narrative (primary text) work as a vehicle of televised political news?" and "How does TDS' audience decode its text?" The research identified flaws in the existing literature and the limits inherent to any similar endeavors. It became apparent that, due to TDS' comedic discourse and its host's political transparency, the primary text does not promote cognitive polysemy, because it offers one dominant reading that is easily deciphered. Furthermore, due to its specific comedic structure, the primary text does not encourage dissenting or critical reading of the show's presentation of the news. Close reading of specific audience-authored tertiary texts indicated that TDS offered a dominant encoded reading which was either easily accepted or slightly negotiated, according to the views of the news outlet presenting the TDS excerpt.

Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios. / This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.