Orientador : João Carlos Kfouri Quartim de Moraes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T14:12:42Z (GMT). No. of bitstreams: 1 Cantos_Jorge_D.pdf: 2955048 bytes, checksum: 3aff3469be90f1800d7e541875fb21c3 (MD5) Previous issue date: 2006 / Resumo: O objeto desta tese de doutorado sobre Erasmo de Roterdã e a Pedagogia da Sátira é analisado como uma problemática da teoria pedagógica e da história da filosofia. O período abrange o final do século XV e os primeiros decênios do século XVI, os quais correspondem à época do humanismo renascentista que cria as bases do pensamento moderno. A investigação consiste, a partir das intenções e justificativas que Erasmo apresenta em seu Epistolário, no tratamento analítico de sua sátira, a qual se insere no discurso metafórico, com o intuito de evidenciar seu alcance pedagógico. Ou seja, a sátira é como um jogo, como um faz-de-conta, capaz de, mostrando jocosa e construtivamente as verdades, cumprir papel pedagógico transformador. Delimitada ao primeiro tomo do Epistolário de Erasmo, que abrange os anos de 1484 a 1514 e 1523, lido e traduzido diretamente do latim, esta pesquisa tem por objetivo comprovar que, para ele, a sátira, necessariamente vinculada à sua proposta educacional, consiste em um método tão privilegiado de educação a ponto de se poder pensá-Ia como pedagogia. Para isso, indo às fontes e adotando o método demonstrativo, nesta pesquisa exploratória são utilizadas determinadas categorias de análise: paradigmáticas (correção, natureza, desapego, humildade, verdade, sinceridade, adaptação, letras humanas, letras divinas, virtude, piedade, proposta educacional, método, amizade, sodalício, utilidade e moral), lingüísticas (provérbios, diálogo, ironia, elogio, comédia, apologia, diatribe e libelo) e pedagógicas (paciência, moderação, liberdade, mordacidade, riso, construção e pedagogia). O resultado é a constatação de que no primeiro tomo de seu Epistolário ele reafirma, sistematicamente, intenções, argumentações, definições, idéias e expressões de absoluta valorização da linguagem figurada, particularmente da sátira. Isso autoriza o pesquisador a pensar a sátira de Erasmo, e por extensão a do Renascimento, como a proposta de uma nova e necessária pedagogia, a pedagogia da sátira, que supera a antiga pedagogia do castigo e do medo pela pedagogia do incentivo e da liberdade / Abstract: Current doctoral thesis on Erasmus of Rotterdam and the Pedagogy of Satire involves the problematization of the pedagogical theory and the history of Philosophy. The period comprises the final decades of the 15th and the first decades of the 16th century, or rather, the Humanist Period that establishes the bases ofmodem thought. Dealing with Erasmus's intentions and justifications in his Epistolary, current research is an analytic investigation on the satire, studied within the metaphoric discourse, so that its pedagogical implication may be revealed. Satire is rather a type of game and a make-belief which fulfills transformational pedagogical roles through the playful constructiveness of the truth. Research, restricted to the first volume of Erasmus's Epistolary, from 1484 to 1514 and 1523, read and translated from the original Latin version, aims at establishing that, for Erasmus, satire is wholly linked to the educational scheme and is such a highly privileged educational method that it may be rightly defined as a sort of pedagogy. Paradigmatic (correction, nature, disinterestedness, humility, truth, sincerity, adaptation, human writing, divine writing, virtue, piety, educational proposals, method, friendship, solidarity, utility and morality), linguistic (proverbs, dialogue, irony, praise, comedy, apology, preaching and libels) and pedagogical (patience, moderation, freedom, mordacity; laughter, construction and pedagogy) categories of analysis are used in current research by going to the original sources and by employing the demonstrative method. Results show that in his first volume of the Epistolary Erasmus systematically states the intentions, arguments, definitions, ideas and expressions for the absolute valorization of figurative language, especially for satire. Erasmus's satire, and consequently satire in the Renaissance, is the basis for a new and much needed pedagogy. The pedagogy of the satire goes beyond the old pedagogy of punishment and fear which will be thus replaced by the pedagogy of freedom and encouragement / Doutorado / Filosofia / Doutor em Filosofia

Made available in DSpace on 2017-07-10T17:56:08Z (GMT). No. of bitstreams: 1 Lays_Matias_Mazoti.pdf: 1746780 bytes, checksum: 5c9a847a241c01fcd45771755d0e2ceb (MD5) Previous issue date: 2011-09-03 / The humorous representation of the Brazilian history could always be perceived in several artistic formats: images, movies, literary texts, theatrical pieces and also in the music. In the folk music, beyond the conception the act of telling jokes , it was assumed, sporadically, a character scenic, performative and grotesquely. Thinking on this question, I seek in this work to analyze the main humorous productions of the hillbilly duo partner, observing, especially, a articulation between comic features used - satire and parody - with the current issues in the social environment of the 1930s and 1940s. However, you must understand artistic production within the field of various socio-cultural transformations that prevailed at the time, once it was from these very changes that hillbilly music could find space to face the urban prejudice city through appropriation of this new representation of the hillbilly ensuring, this way, its own identity. / A representação humorística da história brasileira sempre pôde ser percebida em diversos formatos artísticos: imagens, filmes, textos literários, peças teatrais e também na música. Na música popular, ultrapassando a concepção do ato de se contar piadas , assumiu, por vezes, um caráter cênico, performático e caricatural. Pensando sobre essa questão, busco nesse trabalho analisar as principais produções humorísticas da dupla caipira Alvarenga e Ranchinho, atentando-se, sobretudo, a articulação entre os recursos cômicos utilizados sátira e paródia - com as questões vigentes no meio social das décadas de 1930 e 1940. Esses aspectos foram pensados a partir do campo das diversas transformações sócio-culturais que vigoravam naquele momento, uma vez que foi a partir dessas próprias mudanças que a música caipira pôde encontrar espaço para enfrentar os preconceitos citadinos - via apropriação humorística dessa nova representação do caipira garantindo, assim, sua própria identidade

A literatura machadiana apresenta uma dualidade entre a tragicidade e a comicidade que esta dissertação pretende explorar e entender. A apuração de tais aspectos foi dividida em duas partes: a primeira trata da obra machadiana como um todo, sem atentar para qualquer texto em especial; e a segunda aponta, através da análise de três contos, a convivência dessas duas características contrastantes. Como Machado adota uma miscelânea nos gêneros literários, será preciso analisar o teatro e a sátira menipéia dos quais se serviu para a confecção de tais contos, disso decorreu nossa preocupação em avaliá-los / Machado de Assis literature presents a duality between tragic and comic, which this dissertation aims to explore and understand. The investigation of such aspects has been divided in two parts: the first one approaches Machados work as a whole, with no focus on any text in particular; the second part, through the analysis of three short stories, points out the coexistence of those two contrasting characteristics. Since Machado adopts a variety of literary genres, we deem it necessary to analyse both the theater and the menippean satire he has put into use to create such short stories, thus our concern in evaluating them.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-08-17T14:30:48Z No. of bitstreams: 1 mariacristinagomesbarbosadelima.pdf: 2278865 bytes, checksum: 3f4d819fb9bfa08c4402ef6fdc2ab737 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-24T11:40:59Z (GMT) No. of bitstreams: 1 mariacristinagomesbarbosadelima.pdf: 2278865 bytes, checksum: 3f4d819fb9bfa08c4402ef6fdc2ab737 (MD5) / Made available in DSpace on 2017-08-24T11:40:59Z (GMT). No. of bitstreams: 1 mariacristinagomesbarbosadelima.pdf: 2278865 bytes, checksum: 3f4d819fb9bfa08c4402ef6fdc2ab737 (MD5) Previous issue date: 2017-07-03 / As obras de Machado de Assis revelam os interesses que estão ocultos nas relações interpessoais e analisa o perfil psicológico dos personagens ocasionando, simultaneamente, o sentimento de contentamento e de repulsa através do sua estratégia verbal. O objetivo principal desse estudo consiste na análise de significado das características mais relevantes dos personagens que compõem o jogo amoroso apresentado no romance, escopo desse estudo, através de uma abordagem inovadora, representada por uma simbologia proveniente de sua semelhança à Rosa dos Ventos. Nesse sentido, os personagens que permitiram ao narrador conduzir o enredo com serenidade e comicidade, casal Palha (formado por Cristiano Palha e Sofia), Carlos Maria e Rubião, foram explorados e adaptados a uma nova interpretação através das “Rosas de Quincas Borba”. Esse estudo correlacionou as peculiaridades dos personagens da obra com as particularidades dos principais pontos cardeais, resultando numa análise contemporânea e interdisciplinar sobre esse apreciável romance acerca da sociedade brasileira do século XIX. / Machado de Assis works reveal the interests which are hidden in interpersonal relationships and analyse the psychological profile of the characters that cause simultaneously the feeling of pleasing and repulsing through the using of their verbal strategy. The main aim of this study consists in analyzing the significance of the most relevant characteristics of the characters that consists the whole love life presented in the novel, which is the scope of this study, through an innovative approach that is represented by a symbolism similar to the book “Rosa dos Ventos”. In this sense, the characters who allow the narrator to lead the plot by serenity and comically ways is the couple (Cristiano Palha and Sofia) and Carlos Maria and Rubião, who are emphasized and adapted to a new interpretation through “Rosas de Quinca Borba”. This study correlated the characters peculiarities with the peculiarities of the main cardinal points, resulting in contemporary and interdisciplinary analyses about this remarkable novel of the nineteenth century Brazilian society.

Orientador: Neyde de Castro Veneziano Monteiro / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T12:07:12Z (GMT). No. of bitstreams: 1 Carrico_Andre_D.pdf: 1783260 bytes, checksum: c9a5a18ffa00d8e2a3758ff220df8120 (MD5) Previous issue date: 2013 / Resumo: O principal objetivo da tese Os Trapalhões no Reino da Academia: Revista, Rádio e Circo na poética trapalhônica é analisar as raízes da formação do ator cômico brasileiro a partir de três tradições da cena nacional, presentes na poética do grupo cômico Os Trapalhões: o Teatro de Revista (Mussum), o Humorismo Radiofônico (Zacarias) e o Circo (Dedé e Didi). Para isso, localizamos os elementos dessas vertentes nos personagens-tipo desse grupo por meio do registro cênico em sua obra cinematográfica e televisiva. O projeto trapalhônico nos permitiu apontar a permanência de procedimentos universais de tradição popular, aportados pela formação desses cômicos, e a clareza na transmissão de princípios cênicos de artistas que os antecederam. Alicerçados por esses saberes, Os Trapalhões naturalizaram a figura do palhaço e souberam conjugar as potencialidades individuais de cada integrante do grupo, misturando e atualizando códigos e configurando uma poética reveladora da vitalidade de nossas escolas cômicas / Abstract: The main objective of the thesis The Trapalhões in the Academy Kingdom: Revue, Radio and Circus in trickster poetic is to analyze the roots of the education of Brazilian comic actors from three traditions of the national scene in the poetics of the comedy group The Trapalhões: Revue (Mussum), Radio Comedy (Zacarias) and Circus (Dedé and Didi). To this end, we have located the elements of these characters in the scenic register of their work in Cinema and TV. The project of The Trapalhões allowed us to show the permanence of universal procedures of the popular tradition, wich were brought from the origin of these comics, and the clarity in conveying the scenic principles from artists who preceded them. Substantiated by those knowledge, The Trapalhões have naturalized the figure of the clown and have combined the individual strengths of each member of the group, mixing and updating codes and configuring a poetic telling of our comic schools / Doutorado / Artes Cenicas / Doutor em Artes

Orientador: Sírio Possenti / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T21:38:07Z (GMT). No. of bitstreams: 1 Avila_FernandaGoesdeOliveira_M.pdf: 1586975 bytes, checksum: f48cfb52cbc594ea9197f9a0b811a713 (MD5) Previous issue date: 2012 / Resumo: O objetivo central deste trabalho é a análise de um corpus constituído por um conjunto de "piadas de Joãozinho". Neste material, queremos avaliar, tendo como base teórica a Análise do Discurso francesa, quais são suas condições de produção, procurando compreender as razões histórico-sociais e a representação masculina estereotipada nesse material. A finalidade dessa análise é verificar a ideologia machista presente nas piadas de Joãozinho: a construção da masculinidade a partir da transgressão de regras sociais. O que nos parece relevante neste tema são as seguintes questões: "Por que se faz humor sobre a relação entre professor e aluno?"; "Por que nessas piadas os meninos são postos como maus alunos?"; "Por que nesse discurso o professor é ridicularizado?"; "Em que medida o que se fala nas piadas representa 'verdades'?"; "Quais são os gatilhos linguísticos que tornam essas questões motivo de riso?". Na tentativa de elucidar as questões acima apresentadas, nosso arcabouço teórico é constituído principalmente pela literatura sobre o humor (Freud, 1905; Bergson, 1900; Propp, 1976; Raskin, 1985; Bakhtin, 1987; e Possenti, 1998), sobre a escola (Carvalho 2001, 2003; Menandro e Souza, 2010) e, especialmente, a literatura sobre os homens (Nolasco, 1993, 1995; Bourdieu, 2009). E as bases da análise são sustentadas pela Análise do Discurso francesa, especialmente no que se refere aos conceitos relativos às condições de produção, estereotipia, ethos, simulacro, memória discursiva. O ponto de partida para a análise é compreender o funcionamento do discurso humorístico, e a partir disso desconstruir o imaginário social predominante de que as piadas de Joãozinho são produzidas ingenuamente por crianças com o propósito de provocar espanto nos adultos. Posteriormente, buscaremos mostrar que as piadas de Joãozinho são feitas sob o simulacro de vozes infantis e são resultado de condições históricas de disputa na relação dos alunos com a escola e fruto da tentativa de os meninos (re)afirmarem sua masculinidade. Objetivamos, portanto, evidenciar que a partir dessa tensão entre aluno e escola e a (má) conduta dos meninos são criados estereótipos que são posteriormente postos em circulação pelo discurso humorístico por meio de uma técnica linguística / Abstract: The aim of this paper is the analysis of a corpus consisting of a set of "little Johnny jokes". In this material, we want to evaluate, based on theoretical Discourse Analysis French, what are their conditions of production, seeking to understand the historical and social reasons and stereotypical male representation in this material. The purpose of this analysis is to examine the ideology present in sexist in little Johnny jokes: the construction of masculinity from the transgression of social rules. What seem relevant in this theme are the following questions: "Why does humor about the relationship between teacher and student?"; "Why do these boys are made jokes and bad students?"; "Why this discourse the teacher is ridiculed?"; "To what extent the talk of the jokes is 'truth'?"; "What are the linguistic triggers that make these issues a laughingstock?". In an attempt to elucidate the issues outlined above, our theoretical framework is mainly the literature on mood (Freud, 1905; Bergson, 1900; Propp, 1976; Raskin, 1985; Bakhtin, 1987, and Possenti, 1998), about the school (Carvalho 2001, 2003 and Menandro e Souza, 2010) and especially the literature on men (Nolasco, 1993, 1995; Bourdieu, 2009). And the foundations of analysis are supported by the French Discourse Analysis, especially with regard to concepts related to the production conditions, stereotypy, ethos, simulacrum, discursive memory. The starting point for analysis is to understand the functioning of the humorous speech, and from that to deconstruct the dominant social imaginary that little Johnny jokes are naively produced by children for the purpose of causing terror in adults. Subsequently, we try to show that little Johnny jokes are made under the pretense of voices and children are the result of historical conditions of competition in respect of pupils with the school and the fruit of the boys attempt to (re) assert their masculinity. Our objective, therefore, evident that from this tension between student and school and (bad) conduct of the boys is created stereotypes that are subsequently put into circulation by the humorous speech by means of a technical language / Mestrado / Linguistica / Mestre em Linguística

Net neutrality is currently one of the most topical government policies up for debate. In the following paper, I will examine three cases in which net neutrality has been threatened by internet service providers and the Federal Communications Commission and reinforced by public interest groups, major website companies, and the public. The online regime has been a critical instrument in the outcome of all three cases, highlighting the role and influence of internet users in the virtual and physical public spheres. Some say that the battle is already lost. FCC Chairman Ajit Pai and his Republican majority in the agency are set on and have the capacity to push through legislation that will undo strict regulation of ISPs set by the Obama administration. The vote has yet to take place later this month, but the result should not detract the democratic nature and value from the decade-long debate. Net neutrality has been demonstrative of a civil society, one that uses all the tools, techniques, and platforms available to them in the fight against corporate interest. For its relation to First Amendment rights, its goals of redeeming public interest to rightful owners, and its use of new public spheres to organize civic participation, net neutrality is not only necessary for the success of the Internet, but the debate around it is also indicative of and essential to the growth of democratic debates around public policy.

Les palimpsestes poétiques de Johann Jakob Bodmer (1698–1783) se caractérisent incontestablement par des dialogues socratiques et ironiques. À un moment de l’histoire des sciences et de la critique, les parodies littéraires et les satires polémiques confirmèrent la position de l’auteur zurichois dans la querelle littéraire allemande ce que ma thèse met à jour. Le programme rationaliste des réformes éducatives qui se profilait dans ces fictions innovatrices de critique littéraire, est mon premier axe d’étude. À quel point la pédagogie de Rousseau, basée sur un modèle d’ « éducation négative », pouvait être considérée comme un dispositif du programme pédagogique et politique de Bodmer est un deuxième axe d’étude.Le choix des textes prend en compte toute une gamme de pratiques diverses et variées de la parodie et de la satire. En se fondant sur une analyse exemplaire du démontage des adversaires, les relations de la critique, c’est-à-dire les relations et mouvements de la poésie, se dévoilent. Nous avons utilisé une méthode comparatiste pour l’analyse des palimpsestes de Bodmer ; cette enquête s’est fondée sur les approches de l’intertextualité et du dialogue en rapport avec la notion dialectique de Jean Starobinski (*1920) ainsi que sur les théories de l’esthétique de la réception de l’École de Constance. / Certainly the poetic palimpsests of Johann Jakob Bodmer (1698–1783) are characterised by Socratic and ironic dialogues. At a certain point in the history of sciences and of critics and as my thesis demonstrates, the literary parodies as well as polemic satires confirmed Bodmer's point of view with reference to the German literary dispute. One axis of my investigation was the rationalistic programme of educational reforms, which profiled those innovative fictions of literary criticism. Another axis, examined at what point the pedagogy of Rousseau, based on the model of a "negative education" could possibly be an instrument for Bodmer's pedagogic and political programme. My choice of texts and works took a whole series of genres into consideration all of which make use of the different styles and variations of parody and satire. Based on an exemplary analysis of the adversaries’ dismantlement, the critical interactions, meaning the movements of poetry are becoming visible. In order to be able to analyse the poetic palimpsests of Bodmer, a comparing method has been instrumentalized. This method is based on intertextual and dialogue approaches with reference to the dialectical notion of Jean Starobinski (*1920) as well as the theories of the reader-response criticism of the School of Constance.

This diploma thesis entitled The caricature in the Dikobraz Magazine 1945 - 1968 deals with the artistic creation of the only satirical magazine in Czechoslovakia since its founding until the crucial year 1968. The thesis explores how caricatures deal with domestic and foreign events. It covers the work of selected cartoonists for the journal, as well as their free production. The thesis also focuses on the editors of the magazine due to their importance for its artistic production. Nevertheless, this part of the thesis is limited due to the limited amount of trustworthy sources.

No description available.