This dissertation analyzes the discourse of three infotainment television shows built around their hosts – characters who have gained considerable importance and influence in their respective countries: American Jon Stewart (host of The Daily Show with Jon Stewart); British comedian Sacha Baron Cohen (the actor who incarnates the popular characters Borat, Bruno, and Ali G in the Da Ali G Show), and Peruvian Jaime Bayly (host of the Peruvian TV show El Francotirador/The Sniper). These three shows responded to their specific national, cultural, social, and political contexts, while simultaneously demonstrating important similarities: they parody journalistic genres while questioning traditional journalism authority and arbitrary media norms; they use humor to develop political, social, and cultural critiques; and they revolve around a talented character who is a media celebrity. Drawing upon theory and literature related to media spectacle, infotainment, tabloidization, celebrity, and the carnivalesque, this research analyzes the three media characters’ discourse and critiques within their respective national and cultural contexts in order to understand their role in those societies and how they negotiate discursive power in the public sphere. This analysis also seeks to reveal how Stewart challenges the mainstream news media by exposing the difficulties of debate in the U.S.; how the subaltern voices of Ali G, Bruno, and Borat position Sacha Baron Cohen to confront hegemonic culture and identity; and how ambiguity and contradiction allow Bayly to be a transgressor in a society where entertainment has a particular political history. This research establishes commonalities and differences among these three representative cases in relation to the broader, global phenomenon of satiric infotainment, and introduces the notion of “critical infotainment” to characterize this satiric trend that combines entertainment, comedy, journalism, popular culture, and politics to develop social critique. Critical infotainment is interpreted as a result of and a transgressive reaction to the process of tabloidization and the cult of celebrity in the media spectacle era. Finally, this dissertation includes recommendations for future critical infotainment experiments to fill the gap left by the traditional press in today’s mediascape. / text

Les chansons populaires et les bouts rimés, sources trop longtemps négligées par l'historiographie, offrent une lunette d'observation originale pour qui désire étudier une société. À travers leurs propos, il est permis de découvrir les traces d'une culture populaire où une multitude d'informations circule dans toutes les classes sociales, démocratisant ainsi l'accès à l'information grâce au caractère oral souvent attaché à la forme brève versifiée. Réfutant l'idée d'opposition entre une culture populaire et une autre réservée aux élites, l'analyse de la poésie d'actualité à Paris au début de la seconde moitié du XVIIIe siècle permet d'affirmer l'existence d'une « culture ordinaire » où tous ont la capacité d'acquérir des bases communes. Parmi celles-ci il est permis, à l'aide d'une analyse sérielle, qualitative et d'une confrontation des propos de la poésie d'actualité et d'une écriture de témoignage, de dégager une importante présence d'informations politiques participant alors à une politisation ordinaire de la société. Les chansons et les bouts rimés circulant dans les années 1750 donnent l'occasion au peuple de s'initier à la politique du royaume et ce processus est stimulé par une culture du divertissement dans laquelle la poésie d'actualité s'inscrit. L'étude comparée des propos des chansons et bouts rimés permet de déceler la présence d'une opinion publique défavorable à la monarchie qui prend racine dans toutes les classes sociales de la population allant jusqu'à témoigner de la désacralisation royale qui s'amorce au tournant des années 1750. De ce fait, l'analyse de la poésie d'actualité nous offre la possibilité de découvrir un médium de communication puissant et qui, grâce à son caractère oral, démocratise l'accès à l'information bien plus que les livres et gazettes qui sont, à l'époque, l'apanage d'un groupe plus restreint de lecteurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : chanson, poésie, culture, politique, satire, Paris, XVIIIe siècle

Cette thèse est le fruit d'une étude comparative de la peinture et de la poésie des XVIe et XVIIe siècles. Dans ce document, la poésie et la peinture se répondent, s'entrecroisent, s'éclairent à tour de rôle, grâce à une analyse comparée des similitudes et différences qu'elles expriment sur le même thème, qui est le portrait satirique baroque. Notre étude est ancrée dans une approche esthétique de l'univers visuel baroque, et met l'accent sur la réception des œuvres d'art par le spectateur. Quant à la poésie, nous nous éloignerons du modèle classique de la satire, pour pénétrer la littérature satirique, riche d'une langue imagée, et bien souvent obscène. Notre thèse est composée de cinq chapitres. Nous donnerons tout d'abord une définition du portrait en poésie et en peinture. Dans un deuxième temps, nous montrerons qu'en représentant un individu, l'artiste dévoile également son âme, et que, dans cette époque tourmentée, l'âme apparaît à travers laideur et difformité dans les portraits sociaux et misogynes. Le troisième chapitre sera consacré à la notion d'esthétique paradoxale, qui montre l'homme et l'univers de façon renversée, comme un écho au monde bouleversé du tournant de XVIème siècle, avec les conséquences que cela implique sur le récepteur de l'œuvre d'art. Nous analyserons ensuite plus particulièrement la poésie misogyne de Sigogne, avant de conclure notre travail sur l'étude du monde fantastique et surnaturel qui s'empare de sa poésie, et de la poésie baroque de manière générale.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the novel Os tambores silenciosos (1977), by Josué Guimarães, and attemps to verify how the elements of the grotesque, the satire and carnivalization are used to construct the characters and the plot with the purpose of a critical representation of two critical historical periods corresponding with each other: the 1930 s and the contemporary construction of the text - the 1970 s. The censorship, the authoritarianism and the political repression are common to both periods. These aspects are dramatized in Os tambores silenciosos, which employs satirical elements and the construction of unusual situations that represent military and their arbitrary attitudes, flattering and weak politicians and violent policemen, denouncing the arbitrariness of a dictatorial regime. This work aims to highlight the grotesque, the carnivalization and the menippean satire, based on the Mikhail Bakhtin s theoretical formulations, in order to understand adequately the relations suggested by the presence of comic and unusual events in the novel under consideration. / Esta dissertação analisa o romance Os tambores Silenciosos (1977) e busca verificar como os elementos do grotesco, da sátira e da carnavalização são utilizados na construção das personagens e do enredo com vistas à representação crítica de dois períodos históricos correspondentes entre si: a década de 1930 e a época contemporânea à construção do texto década de 1970. A censura, o autoritarismo e a repressão política são comuns aos dois períodos. Tais aspectos são tematizados em Os tambores silenciosos, que se vale de elementos satíricos e insólitos na construção de personagens e situações que representam militares e suas atitudes arbitrárias, políticos impotentes e bajuladores e policiais violentos, denunciando a arbitrariedade de um regime ditatorial. Esta dissertação, ao destacar o grotesco, a carnavalização e a sátira menipéia, com base nas formulações teóricas de Mikhail Bakhtin, busca compreender adequadamente as relações sugeridas pela presença do cômico e do insólito na obra de Josué Guimarães.

This research pursuits analyze inside of universal literacy that is multiple, the satirical poems of Brazilian writer of Romanticism called Luiz Gama. Making analysis in theories supported by studies in a satirical humor in literature, we will observe as this humor was configured in a poetical structure like social and politics critique form in XIX century. Moreover, we analyze like the critical literary was revealed, in a white and elitist literary environment in a formation of the Brazilian literary canon. With this, the investigation will settle the artistic productions from this poet who was strongly constituted literarily cut above the previously established canonic concepts in period of his production, assuming with this, a position of ethical formularizations from the uncommon, but behold for literary field. / Conselho Nacional de Desenvolvimento Científico e Tecnológico / A pesquisa analisa, com base em estudos críticos como os de Henri Bergson e Georges Minois, que analisaram a inserção crítica do riso satírico na literatura, a contribuição do poeta do Romantismo brasileiro Luiz Gama, cujos versos foram estruturados poeticamente sob a forma de crítica social e política no século XIX. Além disso, analisa e classifica, frente à recepção do texto, no qual o leitor teve papel de destaque, uma poesia-comunicação social , observando sua recepção diante da crítica literária daquele momento histórico que, normalmente, se situava em um ambiente literário branco e elitista quando do julgamento da formação do cânone literário brasileiro. Com isso, as investigações povoarão as produções artísticas desse poeta que se constituiu inovador literariamente, frente aos conceitos canônicos preestabelecidos no período de sua produção, assumindo com isso, uma posição de formulações éticas do incomum, mas contemplada pelo campo literário.

The aim of this dissertation is to critically explore elements of comedy and satiric elements in two television dramas of D.M. Mothibi, / African Languages / M.A. (African Languages)

The work aims to analyse and interpret the Czech satirical output of the second half of the 19th century considering the so called Parnassianism. Following the work Concepts of Satire in the National Revival Literature, the first part introduces the genre of satire, its origination and forming during the literary history, then the concept of Parnassianism is worked out together with its current state of research. In the second part, the initial premises are confronted with the results of the studies of the particular works in which the poetics and the literary genre are implemented. The attention is paid to the pieces written by S. Čech: poems Evropa, Hanuman and Šotek and three prosaic texts with the main character called Matěj Brouček - Pravý výlet pana Broučka do Měsíce, Nový epochální výlet pana Broučka, tentokráte do XV. století and Matěj Brouček na výstavě.

Este trabalho inclui a tradução e análise do romance História de uma cidade (1869) do escritor russo Mikhail Evgráfovitch Saltykov-Schedrin (1826-1889). Trata-se de uma obra essencialmente satírica e paródica, que descreve os governantes e o povo de um local fantástico, onde o desvario e o despotismo daqueles conjugam-se com a ignorância e a passividade deste. Ao discutir questões de poder, Saltykov-Schedrin recorre a dados históricos sobre a Rússia e parodia, inclusive, o estilo dos livros de história. Apesar da ligação estreita com a versão histórica oficial, na qualidade de obra literária, o romance ganha um colorido cômico e irônico, mesclando fatos da época do surgimento da nação com acontecimentos pontuais da segunda metade do século XIX. Propõe-se aqui analisar os procedimentos estilísticos e linguísticos que distinguem o autor e a obra. / This work offers a direct translation from Russian into Portuguese of History of a town (1869) written by the Russian author Mikhail Evgrafovitch Saltykov-Schedrin (1826-1889) and analyses its satirical aspects. The author depicts in this novel a fantastic town, where despotic governors rule passive people. Discussing political and social problems of Russia in the 19th century, Saltykov-Schedrin also talks about power relation in every society. With irony and humor, the novel is closely related to the Russian history and in this sense parodies history books. Besides its close relation to history, the novel is a literary masterpiece, combining comic caricatures of Russian sovereigns and ministers and the foolish way in which people react to them. The first part of this work deals with the translation; the second presents some linguistic and stylistic aspects of the novel.

Made available in DSpace on 2015-03-26T13:44:24Z (GMT). No. of bitstreams: 1 texto completo.pdf: 1832719 bytes, checksum: f2760053531616e979e6244010d7b44a (MD5) Previous issue date: 2011-02-28 / This dissertation is a comparative study between some satirical poems by Gregório de Matos e Guerra and the epistolary poem Cartas Chilenas by Tomás Antônio Gonzaga. These poets lived and produced in distinct centuries. Gregório de Matos was a poet in the 17th century and Tomás Antônio Gonzaga in the 18th century. This work investigates the satirical ways that both poets poeticize, often convergent, promoting a fruitful continuity of the satire in Brazilian literature. Moreover, it aims to distinguish and value the particularities of its inventive act. This study also aims to demonstrate that the historical factor is not a determining element of the artistic quality of the satirical poem, but is such for the thematic quality of the like, relating to the aforementioned poems. According to the final considerations, one can conclude that the satirical compositions reviewed were led by the poetry of two artists that revolutionized the verse of their time from the 17th and 18th centuries' poetic meter and through a subtle understanding of the world. / Esta dissertação é um estudo comparativo entre alguns poemas satíricos de Gregório de Matos e Guerra e o poema epistolar Cartas Chilenas, de Tomás Antônio Gonzaga. Estes poetas viveram e produziram em séculos distintos. Gregório de Matos foi poeta no século XVII, e Tomás Antônio Gonzaga, no século XVIII. Este trabalho investiga os modos satíricos de poetar de ambos, às vezes convergentes, às vezes divergentes, promovendo uma continuidade fecunda da Sátira na Literatura Brasileira. Além disso, visa a distinguir e valorizar as particularidades de seu ato inventivo. Este estudo também busca demonstrar que o fator histórico não é elemento determinante para a qualidade artística do poema, mas, nos poetas citados, é parte integrante de sua temática. As considerações finais permitem afirmar que as composições satíricas tratadas se conduziram pela poesia de dois artistas que recriaram sua época em versos por meio da medida poética dos séculos XVII e XVIII, e por um sutil entendimento do mundo.

The purpose of this bachelor’s thesis is to analyse how the American adult cartoon sitcom South Park (Parker & Stone, 1997) is criticising Donald J. Trump and his presidential campaign through the use of satire and the relative tools of satire. The show prominently features arguably bizarre plotlines and themes, with usually unexpected outcomes. The subject South Park and satire, both together and separated, has a fair share of previous research in articles and literature. However, South Park’s well-known, sharp, ruthless and absurd satire, in this case, towards Donald J. Trump has shown to be rather under-researched, probably due to the topic being still relatively fresh. Therefore, looking at how South Park effectively uses one of their own original characters, Mr. Garrison, to represent and satirise Donald J. Trump and his presidential campaign is motivated. The thesis is limited to only analysing two episodes from South Park season 19 (S19E02 & S19E08) and South Park season 20 including all ten episodes. South Park episodes does most of the times have two to three plot lines running simultaneously, thus this thesis also imitates itself to only analyse and focus on satire towards Donald J. Trump and his presidential campaign, and not analysing, for example the internet troll controversy based story, known as Skankhunt42. To be able to do a satirical analysis, this bachelor’s thesis has on forehand established a theory on what satire is, before analysing the satire. This is due to the term satire being a very loose and complex term, difficult to determine and encapsulate. This bachelor’s thesis is the result of a satirical analysis the satire of South Park towards Donald J. Trump and his presidential campaign, by uniquely using their original character Mr. Garrison to act as a satirical representation. It has through the analysis come to conclude that South Park as a show creates a solid satirisation throughout second, and eight episode of season 19, and every episode of season 20 until episode seven, Oh, Jeez!, where Donald J. Trump had only managed to become president-elect, but in the show, Mr. Garrison had actually become president. Making the satire redundant from that point.