In this thesis, video frames acquired by a camera in a moving car are processed for detection of candidates of triangular, rectangular and circular traffic/road signs based on mainly shape information by performing contour analysis. Color information is utilized as an auxiliary method to improve detection. Then recognition based on template matching is realized on detected traffic/road sign candidates. Detection and recognition results of traffic/road signs in video frames taken in different time intervals of day for these methods are compared. After implementation, results show that the video scene taken in a sunny day in the afternoon gives better results than others. Binary threshold plays a great role in detection with respect to Canny edge detector especially for triangular and rectangular traffic signs. Higher number of binary threshold levels improves detection in general. In addition, the recognition rate for triangular and rectangular traffic/road signs is higher than that of circular sings in general by the methods used in this study.

The CopyCat project is an interdisciplinary effort to create a set of computer-aided language learning tools for deaf children. The CopyCat games allow children to interact with characters using American Sign Language (ASL). Through Wizard of Oz pilot studies we have developed a set of games, shown their efficacy in improving young deaf children's language and memory skills, and collected a large corpus of signing examples. Our previous implementation of the automatic CopyCat games uses automatic sign language recognition and verification in the infrastructure of a memory repetition and phrase verification task. The goal of my research is to expand the automatic sign language system to transition the CopyCat games to include the flexibility of a dialogue system. I have created a labeling ontology from analysis of the CopyCat signing corpus, and I have used the ontology to describe the contents of the CopyCat data set. This ontology was used to change and improve the automatic sign language recognition system and to add flexibility to language use in the automatic game.

After the release of Act No 108 of 1996, the status of the nine African languages of South Africa was elevated to that of English and Afrikaans and as a result, for the first time in the history of languages, South Africa became the first country in Africa to have eleven official languages. However, Sign Language for the Deaf was left out even though Section 6(4) of the South African School's Act No 84 of 1996 puts it clearly that "A recognized sign Language has the status of an official language for purposes of learning at a public school". In terms of Section 6 (5) (a) of the Constitution of the Republic of South Africa, Pan South African Language Board was also given a task to promote, and create conditions for the development and use of the Sign Language. DEAFSA (1996), states that Sign Language is the first or natural language for the Deaf. In Act No. 108 of 1996: Section 29(2) stipulates that: "Everyone has the right to receive education in the official language or languages of their choice in public educational institution where that is reasonably practicable". The first objective of this study was to investigate if the South African Sign Language (SASL) was a fully-fledged language and to find out more about the present status of this language. The second objective was to examine if South African Sign Language was taught to Parents of Deaf children from the Zulu hearing community's point of view. Marcel Jousse; a French Jesuit Anthropologist and linguist, firmly believes in the anthropology of geste, which is synonymous with the anthropology of mimicry. This theory forms the basis of language acquisition of all peoples of the world. "The oral style with its mnemotechnic devices only comes into play once the individual has been informed by a reality which he receives and replays through his mimic being as a whole, (Fanning (1995:vii). This theory best describes the manner in which signers acquire their sign language, which solely depends on gestures made in the space by hands, body movements and facial expressions. In this theory, the anthropos plays out the receptions of the universe, replays them, stores them and revivifies them in expressions that are the mimisms of the whole human compound: corporeal, ocular and auricular manual. Unfortunately, the laryngo - buccal mimism is excluded in deaf people since they cannot speak. A multi-disciplinary approach from the educational, linguistic, historical, political and cultural perspectives was employed in collecting data for this study. The samples for the study comprised deaf learners, deaf educators, and hearing educators in schools for the deaf, interpreters of sign language, senior management from the schools of Deaf learners and parents of the deaf children. The researcher discovered that very little has been done by researchers and the government of the day to assist the deaf to gain recognition in his or her community. Parents of deaf children are unable to communicate fully with their children. The study also revealed that deaf children prefer to be taught by deaf teachers because they can identify much better with them. The researcher discovered that literature for the deaf is non-existent in all spheres of their lives. Sign language per se, is not taught as a subject. Deaf learners are not allowed to take their subjects at a Higher Grade; as a result, they feel extremely marginalized by the educators. Promoting this language would improve our trade and industry, travel & tourism etc. Student exchange programmes would also enhance the development of the sign language locally, nationally and internationally. The Deaf would become multilingual in the Sign Languages of the world when they come into contact with Deaf people from other parts of the world. This would involve sport, education, politics and other activities. The deaf would be equipped to meet various challenges in life. The Deaf people need to communicate freely amongst themselves and the hearing community of our country should make an effort to learn the Sign Language so that they are able to communicate with the deaf. This would improve the socio-economic status of our country. / Thesis (Ph.D)-University of Durban-Westville, 2004.

The present study focuses on turn-taking and questions in conversations between deaf-blind persons using tactile sign language, i.e. communicating by holding each others hands, and how sign language utterances change in the tactile mode when the nonmanual signals characteristic of turntaking and interrogative sentences in (visual) sign language are not used. The material consists of six video-recorded conversations (four with deaf-blind pairs and two where one person is deaf and one is deaf-blind). Parts of the material, viz. 168 sequences with questions and answers, has been transcribed and analyzed. The analysis shows that deaf-blind signers use their hands in two different conversation positions. In the monologue position both the signer's hands are held under the hands of the listener, whereas in the dialogue position both participants hold their hands in identical ways: the right hand under the other person's left hand and the left hand on top of the other person's right hand. It is described how the two positions affect the structure of one- and twohanded signs and how back channeling, linguistic as well as non-linguistic (with different kinds of tapping), is used in the two positions. The analysis shows that differences in the vertical and the horizontal planes are used in turn-taking regulation. Using four different conversational levels the signer can signal e.g. turn change by lowering his/her hands from the turn level to the turn change level at the end of his/her turn. The horizontal plane is devided into three different turn zones. The turn holder uses his/her own turn zone close to the body and finishes the turn by moving the hands to the joint zone midway between the interlocutors or into the listener's zone. The analyzed utterances function as questions, yes/no-questions (82) as well as wh-questions (55). It is hypothesized that yes/no-questions are marked with the manual signal extended duration of the last sign of the utterance, one of the interrogative signals of visual signing, but this was only true for 46 % of the yes/no-questions in the material. Since extended duration of the last sign also signals turn change in e.g. statements it is not regarded as an interrogative signal. Additional markers of yes/no-questions are among others the sign INDEX-adr ('you') with its variant INDEX-adr-long, used as a summons signal, and repetitions of signs or sentences. As for the wh-questions a majority are made with a manual wh-sign. Generally, if there are no interrogative signals the context and the content of the utterance will account for its interpretation as a question. To avoid misunderstandings, questions and non-linguistic signals are used in checking turns, where the signer requests back channeling or the listener requests repetition or clarification. / <p>För att köpa boken skicka en beställning till exp@ling.su.se/ To order the book send an e-mail to exp@ling.su.se</p>

Thesis (M.S.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 64).

A tese focaliza a temática do humor surdo, considerado como um componente da cultura surda. Busca seu aporte teórico nos Estudos Culturais e nos Estudos Surdos, além dos estudos sobre o humor. Sua questão central é: quais representações de surdos e características da cultura surda estão presentes em piadas que circulam nas comunidades surdas? Seus objetivos são analisar um conjunto de piadas consideradas clássicas pela comunidade surda, contrastando suas diferentes versões e identificando aspectos de humor preferentemente explorados. Principais critérios para escolha das piadas foram: ter personagens surdos e/ou temas da cultura surda; ter versão preferencialmente em Libras; apresentar mais de uma versão (de 4 a 6); ter tradição na comunidade surda. Foram analisadas 14 piadas, num total de 78 versões, com predominância de versões em vídeo, da internet ou de DVDs, mas também retiradas de material bibliográfico. A análise foi inspirada em pesquisadores da cultura surda (Strobel, 2009), do humor (Propp, 1992, Possenti, 1998; Bergson 1980), de representação (Hall, 1997), de identidade (Silva, 2000) e, especificamente, do humor surdo (Rutherford, 1983); Holcomb (1994); Renard & Lapalu (1997); Morgado (2011); Sutton-Spence & Napoli (2012). A análise qualitativa mostrou que a maioria das piadas apresenta temáticas relacionadas ao problema de comunicação, em situações em que o ouvinte não sabe Língua de Sinais. Neste caso, o humor atua no sentido de inverter os discursos correntes, em que os surdos são representados como tendo “dificuldade de comunicação”. Tais piadas integram a categoria “Rir dos outros”, em que a fonte do riso são as diferenças entre as experiências surdas e as experiências ouvintes. Nas primeiras, avulta o uso de línguas de sinais e a experiência visual, e o barulho não incomoda. Por outro lado, as piadas apresentam ouvintes atrapalhados com o uso da língua de sinais e/ou incomodados com o barulho. Rir dos ouvintes, dentro do chamado “riso de zombaria”, é frequente nas piadas. Elas manifestam também a importância da visibilidade, da experiência visual, com destaque para as vantagens de ser surdo, isto é, para o ganho surdo, que às vezes decorre de atitudes benevolentes de ouvintes, que são caridosos e não cobram dos surdos, ou do fato de que personagens surdos não são perturbados por barulhos e gritos. Outro grupo de piadas envolve o riso sobre coisas do próprio grupo, enquadradas na categoria “rir de nós mesmos”, abrangendo aquelas que apontam situações vantajosas ou situações que envolvem a urgência dos ouvintes em se livrarem da convivência com surdos. Também se enquadram nesta categoria piadas que exploram, de forma cômica, possíveis acidentes que uma comunicação com as mãos pode trazer, em função do espaço necessário para a realização dos sinais. As análises possibilitam concluir que as piadas surdas, algumas com décadas de tradição, além de provocarem riso, favorecem o sentimento de pertencimento a um grupo. Elas constituem parte da agenda de luta da comunidade surda, proporcionando alegria de viver e o fortalecimento do grupo e exercendo uma pedagogia cultural nesta comunidade, pedagogia relacionada à forma/necessidade/vontade de pertencimento ao grupo. / The thesis focuses on the theme of deaf humor, considered as a component of the deaf culture. It is theoretically supported by the Cultural Studies and Deaf Studies, in addition to studies on mood. Its central question is: which deaf representation and which characteristics of deaf culture are present on the jokes that go around on deaf communities? Its targets are to analyze a set of jokes considered classic by the deaf community, contrasting its different versions and identifying aspects of humor apparently explored. The main criteria to choose the jokes were: to have deaf characters and/or themes from deaf culture; to have preferably the version in LIBRAS; to present more than one version(from 4 to 6); to have tradition in the deaf community. There have been analyzed 14 jokes, in a total of 78 versions, predominantly video version, from the internet or from DVDs, but also some taken from bibliographical material. The analysis has been inspired in researches of deaf community (Strobel, 2009), from humor (Propp, 1992, Possenti, 1998; Bergson, 1980), from representation (Hall, 1997), from identity (Silva, 200) and, specifically, from deaf humor (Rutherford, 1983); Holcomb(1994); Renard & Lapalu (1997); Morgado (2011); Sutton-Spence & Napoli (2012).The qualitative analysis has brought up that the majority of the jokes present related themes to communication problems, in situations where the listener does not know Sign Language. In this case, humor acts in the sense of inverting the current speeches, where the deaf are represented as having "difficulties in communications". Such jokes are part of a category called " Laugh at other" where the source of laugh are the differences between deaf and listener experiences. In the first ones, it looms the use of sign language and visual experience, and the noise does not bother. In the other hand, the jokes present listeners disturbed by the use of sign language and/or bothered with noise. Laughing at the listeners, in the so called "mocking laughter" is frequent in the jokes. They also show the importance of visibility, from the visual experience, pointing the advantages of being deaf, or better, to the deaf gain, which sometimes comes from benevolent attitudes from listeners, who are charitable and do not charge from the deaf, or due to the fact that the deaf characters are not disturbed by noises and yells. Other set of jokes involves laughing at things common in the group, put on the category "laughing at ourselves", ranging those that pointed to advantageous situations or situations that involve listeners urgency in getting rid of living along with the deaf. Also, it falls into this category jokes that explore, in a comical way, possible accidents that a communication with hands can bring, depending on the space needed to carry out the signals. The analyzes enable us to conclude that deaf jokes, some with decades of tradition, besides provoking laughter, may favor the feeling of belonging to a group. They are part of the deaf community struggle agenda, providing joy of living and strengthening the group and exerting a cultural pedagogy in this community, pedagogy related to the way / need / desire of belonging to the group.

Submitted by Priscilla Alyne Sumaio Soares (pri_sumaio@hotmail.com) on 2018-09-03T16:30:10Z No. of bitstreams: 1 Tese Soares-Final.pdf: 5320205 bytes, checksum: e0785b835ec9d20580464da44a8b29de (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-09-03T17:29:59Z (GMT) No. of bitstreams: 1 soares_pas_dr_arafcl.pdf: 5223064 bytes, checksum: a1f5b6388a227ee998fc8c41c7c05742 (MD5) / Made available in DSpace on 2018-09-03T17:29:59Z (GMT). No. of bitstreams: 1 soares_pas_dr_arafcl.pdf: 5223064 bytes, checksum: a1f5b6388a227ee998fc8c41c7c05742 (MD5) Previous issue date: 2018-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O povo terena habita os estados de Mato-Grosso do Sul e São Paulo. Essa etnia conta com 28.845 pessoas (dados do IBGE, 2010), que estão divididas em 17 terras. Constataram-se terena surdos na Terra Indígena Cachoeirinha, de 4.920 habitantes, em quatro aldeias, próximas ao município de Miranda-MS. A língua oral terena é amplamente falada no local, e também foi observado o uso de sinais pelos surdos terena. O trabalho envolveu o estudo da(s) língua(s) utilizadas por surdos terena de diferentes faixas etárias, tendo como objetivo descobrir se os sinais que os surdos terena e alguns ouvintes estavam utilizando eram sinais caseiros ou uma língua, e se essa língua seria autônoma ou uma variedade da LIBRAS . É notável que parte dessas pessoas não conheça a língua brasileira de sinais (LIBRAS). Alguns nunca frequentaram a escola ou tiveram contato com surdos usuários de LIBRAS. De maneira geral, os familiares dos surdos são ouvintes e falantes de português e terena, e os mais próximos conhecem o que chamo de língua terena de sinais. Alguns jovens estudam na cidade e estão avançando no uso e conhecimento da LIBRAS, porém estes mesmos jovens utilizam outra língua de sinais na aldeia, com seus familiares e amigos ouvintes, e outros surdos, que não sabem LIBRAS. Em viagens a campo, foram coletados sinais usados pelos terena por meio de fotografia e vídeo. Na pesquisa realizada durante o mestrado, muitos dados sobre os sinais usados pelos terena eram fornecidos por meio da língua portuguesa ou da LIBRAS, o que dificultou uma conclusão imediata (SUMAIO, 2014). No doutorado, entretanto, foram feitas mais coletas de dados com surdos, que permitiram chegar a conclusões definitivas. Avaliou-se então a fonologia, principalmente, e também o léxico, a morfologia, a sintaxe e a semântica desse sistema, chegando à conclusão de que não constitui variedade da LIBRAS e nem um sistema de sinais caseiros, mas uma língua autônoma. / The Terena people inhabits the states of Mato Grosso do Sul and São Paulo. This ethnic group has 28,845 people (IBGE data, 2010) which are divided into 17 indigenous communities. Deaf Terena were discovered first at the indigenous area of Cachoeirinha, of 4.920 inhabitants and, on second field trip, also in the neighboring villages, near the city of Miranda-MS. The Terena oral language is widely spoken on site, and the use of signs by deaf Terena was also observed, which gave rise to this research. The project involves the study of languages used by deaf Terena of different age groups, aiming to find out if the signs that the deaf Terena and some listeners were using were home signs or a language, and whether that language would be autonomous or a variety of LIBRAS. It is notable that some of these people do not know the Brazilian Sign Language (LIBRAS, from Língua Brasileira de Sinais). Some of them have never attended school or had contact with deaf users of LIBRAS. Generally, family members of the deaf are listeners and speakers of Portuguese and Terena, and the closest know what I named Terena Sign Language. Some young people are studying in the city and are progressing in the use and knowledge of LIBRAS, but these same young people use other signs in the village with their listeners relatives, friends and other deaf people, who do not know LIBRAS. In field trips, signs used by the Terena people were collected through photography and video. In the research carried out during the master's degree, many data on the signs used by Terena were supplied through the Portuguese language or LIBRAS, which made an immediate conclusion difficult (SUMAIO, 2014). In the PhD research, however, more data were collected with the deaf, which allowed definitive conclusions to be drawn. The Phonology, mainly, and also the Lexicon, Morphology, Syntax and Semantics of this system were evaluated, arriving at the conclusion that it is not a LIBRAS variety and neither a system of homemade signs, but an autonomous language. / 1411912

A tese focaliza a temática do humor surdo, considerado como um componente da cultura surda. Busca seu aporte teórico nos Estudos Culturais e nos Estudos Surdos, além dos estudos sobre o humor. Sua questão central é: quais representações de surdos e características da cultura surda estão presentes em piadas que circulam nas comunidades surdas? Seus objetivos são analisar um conjunto de piadas consideradas clássicas pela comunidade surda, contrastando suas diferentes versões e identificando aspectos de humor preferentemente explorados. Principais critérios para escolha das piadas foram: ter personagens surdos e/ou temas da cultura surda; ter versão preferencialmente em Libras; apresentar mais de uma versão (de 4 a 6); ter tradição na comunidade surda. Foram analisadas 14 piadas, num total de 78 versões, com predominância de versões em vídeo, da internet ou de DVDs, mas também retiradas de material bibliográfico. A análise foi inspirada em pesquisadores da cultura surda (Strobel, 2009), do humor (Propp, 1992, Possenti, 1998; Bergson 1980), de representação (Hall, 1997), de identidade (Silva, 2000) e, especificamente, do humor surdo (Rutherford, 1983); Holcomb (1994); Renard & Lapalu (1997); Morgado (2011); Sutton-Spence & Napoli (2012). A análise qualitativa mostrou que a maioria das piadas apresenta temáticas relacionadas ao problema de comunicação, em situações em que o ouvinte não sabe Língua de Sinais. Neste caso, o humor atua no sentido de inverter os discursos correntes, em que os surdos são representados como tendo “dificuldade de comunicação”. Tais piadas integram a categoria “Rir dos outros”, em que a fonte do riso são as diferenças entre as experiências surdas e as experiências ouvintes. Nas primeiras, avulta o uso de línguas de sinais e a experiência visual, e o barulho não incomoda. Por outro lado, as piadas apresentam ouvintes atrapalhados com o uso da língua de sinais e/ou incomodados com o barulho. Rir dos ouvintes, dentro do chamado “riso de zombaria”, é frequente nas piadas. Elas manifestam também a importância da visibilidade, da experiência visual, com destaque para as vantagens de ser surdo, isto é, para o ganho surdo, que às vezes decorre de atitudes benevolentes de ouvintes, que são caridosos e não cobram dos surdos, ou do fato de que personagens surdos não são perturbados por barulhos e gritos. Outro grupo de piadas envolve o riso sobre coisas do próprio grupo, enquadradas na categoria “rir de nós mesmos”, abrangendo aquelas que apontam situações vantajosas ou situações que envolvem a urgência dos ouvintes em se livrarem da convivência com surdos. Também se enquadram nesta categoria piadas que exploram, de forma cômica, possíveis acidentes que uma comunicação com as mãos pode trazer, em função do espaço necessário para a realização dos sinais. As análises possibilitam concluir que as piadas surdas, algumas com décadas de tradição, além de provocarem riso, favorecem o sentimento de pertencimento a um grupo. Elas constituem parte da agenda de luta da comunidade surda, proporcionando alegria de viver e o fortalecimento do grupo e exercendo uma pedagogia cultural nesta comunidade, pedagogia relacionada à forma/necessidade/vontade de pertencimento ao grupo. / The thesis focuses on the theme of deaf humor, considered as a component of the deaf culture. It is theoretically supported by the Cultural Studies and Deaf Studies, in addition to studies on mood. Its central question is: which deaf representation and which characteristics of deaf culture are present on the jokes that go around on deaf communities? Its targets are to analyze a set of jokes considered classic by the deaf community, contrasting its different versions and identifying aspects of humor apparently explored. The main criteria to choose the jokes were: to have deaf characters and/or themes from deaf culture; to have preferably the version in LIBRAS; to present more than one version(from 4 to 6); to have tradition in the deaf community. There have been analyzed 14 jokes, in a total of 78 versions, predominantly video version, from the internet or from DVDs, but also some taken from bibliographical material. The analysis has been inspired in researches of deaf community (Strobel, 2009), from humor (Propp, 1992, Possenti, 1998; Bergson, 1980), from representation (Hall, 1997), from identity (Silva, 200) and, specifically, from deaf humor (Rutherford, 1983); Holcomb(1994); Renard & Lapalu (1997); Morgado (2011); Sutton-Spence & Napoli (2012).The qualitative analysis has brought up that the majority of the jokes present related themes to communication problems, in situations where the listener does not know Sign Language. In this case, humor acts in the sense of inverting the current speeches, where the deaf are represented as having "difficulties in communications". Such jokes are part of a category called " Laugh at other" where the source of laugh are the differences between deaf and listener experiences. In the first ones, it looms the use of sign language and visual experience, and the noise does not bother. In the other hand, the jokes present listeners disturbed by the use of sign language and/or bothered with noise. Laughing at the listeners, in the so called "mocking laughter" is frequent in the jokes. They also show the importance of visibility, from the visual experience, pointing the advantages of being deaf, or better, to the deaf gain, which sometimes comes from benevolent attitudes from listeners, who are charitable and do not charge from the deaf, or due to the fact that the deaf characters are not disturbed by noises and yells. Other set of jokes involves laughing at things common in the group, put on the category "laughing at ourselves", ranging those that pointed to advantageous situations or situations that involve listeners urgency in getting rid of living along with the deaf. Also, it falls into this category jokes that explore, in a comical way, possible accidents that a communication with hands can bring, depending on the space needed to carry out the signals. The analyzes enable us to conclude that deaf jokes, some with decades of tradition, besides provoking laughter, may favor the feeling of belonging to a group. They are part of the deaf community struggle agenda, providing joy of living and strengthening the group and exerting a cultural pedagogy in this community, pedagogy related to the way / need / desire of belonging to the group.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-22T15:18:15Z No. of bitstreams: 2 Belém Apaixonada Um - Elementos pré-textuais.doc: 81920 bytes, checksum: 27cf44c99c0ed9e97c054f4221615d90 (MD5) Belém Apaixonada Dois - Elementos textuais.doc: 3761664 bytes, checksum: c85741fad047cd0e8fe3e50f14d06538 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-23T12:00:38Z (GMT) No. of bitstreams: 2 Belém Apaixonada Um - Elementos pré-textuais.doc: 81920 bytes, checksum: 27cf44c99c0ed9e97c054f4221615d90 (MD5) Belém Apaixonada Dois - Elementos textuais.doc: 3761664 bytes, checksum: c85741fad047cd0e8fe3e50f14d06538 (MD5) / Made available in DSpace on 2018-08-23T12:00:39Z (GMT). No. of bitstreams: 2 Belém Apaixonada Um - Elementos pré-textuais.doc: 81920 bytes, checksum: 27cf44c99c0ed9e97c054f4221615d90 (MD5) Belém Apaixonada Dois - Elementos textuais.doc: 3761664 bytes, checksum: c85741fad047cd0e8fe3e50f14d06538 (MD5) / RESUMO Esta dissertação trata de um estudo sobre a paixão de Cristo na cidade de Belém, através de um estudo comparativo entre dois espetáculos: Paixão de Cristo, do grupo Aldeart e Paixão Barata e Madalenas, montagem da Escola de Teatro e Dança da UFPA. Esta pesquisa investiga os processos performáticos de seus criadores, os atores/performers, na criação do signo corporal e estético, aqui nomeado corpo devoto. Os objetivos do trabalho foram: Identificar através de estudo comparativo os diversos formatos, organizações, características e princípios da paixão de Cristo contemporânea; Cartografar as diversas figurações estéticas que compõem o imaginário mitológico e/ou urbano em que se insere e se articula a paixão de Cristo e seus atores/performers; Identificar os princípios e as leis que regem a elaboração dos signos corporais e estéticos (corpo devoto) em cada universo artístico. Para tanto, traçamos como lente teórica fundantes da análise a semiótica peirceana, os estudos da performance de Richard Schechner e a teoria da complexidade com seu conceito de noosfera. Os estudos elaborados por esta pesquisa permitiram mapear os diversos formatos das paixões que se apresentam na cidade de Belém, bem como as diferentes formas que o sacrifício se traduz na região, e analisa os princípios em que se fundamentam os corpos devotos nos dois espetáculos. / SUMMARY This dissertation treats of a study on Christ's passion in Belém city, through a comparative study among two shows: Paixão de Cristo, of the group Aldeart and Paixão Barata e Madalenas, assembly of the Escola de Teatro e Dança da UFPA. This research investigates their creators' processes performáticos, the actores/performers, here in the creation of the corporal and aesthetic sign nominated devoted body. The objectives of the work were: To identify through comparative study the several formats, organizations, characteristics and beginnings of the passion of contemporary Cristo. Map the several aesthetic figurations that it composes the imaginary mythological and/or urban in that he/she interferes and he/she pronounces the Cristo passion and their atores/performers. to Identify the beginnings and the laws that govern the elaboration of the corporal and aesthetic signs (devoted body) in each artistic universe. For so much, we drew as lens theoretical fundantes of the analysis the semiotics peirceana, to the studies of Richard Schechner's performance and the theory of the complexity with noosfera concept. The studies elaborated by this research allowed to map the several formats of the passions that come in the city of Belém, as well as the different forms that the sacrifice translates himself in the area and it analyzes the beginnings in that the devoted bodies are based in the two shows.

A tese focaliza a temática do humor surdo, considerado como um componente da cultura surda. Busca seu aporte teórico nos Estudos Culturais e nos Estudos Surdos, além dos estudos sobre o humor. Sua questão central é: quais representações de surdos e características da cultura surda estão presentes em piadas que circulam nas comunidades surdas? Seus objetivos são analisar um conjunto de piadas consideradas clássicas pela comunidade surda, contrastando suas diferentes versões e identificando aspectos de humor preferentemente explorados. Principais critérios para escolha das piadas foram: ter personagens surdos e/ou temas da cultura surda; ter versão preferencialmente em Libras; apresentar mais de uma versão (de 4 a 6); ter tradição na comunidade surda. Foram analisadas 14 piadas, num total de 78 versões, com predominância de versões em vídeo, da internet ou de DVDs, mas também retiradas de material bibliográfico. A análise foi inspirada em pesquisadores da cultura surda (Strobel, 2009), do humor (Propp, 1992, Possenti, 1998; Bergson 1980), de representação (Hall, 1997), de identidade (Silva, 2000) e, especificamente, do humor surdo (Rutherford, 1983); Holcomb (1994); Renard & Lapalu (1997); Morgado (2011); Sutton-Spence & Napoli (2012). A análise qualitativa mostrou que a maioria das piadas apresenta temáticas relacionadas ao problema de comunicação, em situações em que o ouvinte não sabe Língua de Sinais. Neste caso, o humor atua no sentido de inverter os discursos correntes, em que os surdos são representados como tendo “dificuldade de comunicação”. Tais piadas integram a categoria “Rir dos outros”, em que a fonte do riso são as diferenças entre as experiências surdas e as experiências ouvintes. Nas primeiras, avulta o uso de línguas de sinais e a experiência visual, e o barulho não incomoda. Por outro lado, as piadas apresentam ouvintes atrapalhados com o uso da língua de sinais e/ou incomodados com o barulho. Rir dos ouvintes, dentro do chamado “riso de zombaria”, é frequente nas piadas. Elas manifestam também a importância da visibilidade, da experiência visual, com destaque para as vantagens de ser surdo, isto é, para o ganho surdo, que às vezes decorre de atitudes benevolentes de ouvintes, que são caridosos e não cobram dos surdos, ou do fato de que personagens surdos não são perturbados por barulhos e gritos. Outro grupo de piadas envolve o riso sobre coisas do próprio grupo, enquadradas na categoria “rir de nós mesmos”, abrangendo aquelas que apontam situações vantajosas ou situações que envolvem a urgência dos ouvintes em se livrarem da convivência com surdos. Também se enquadram nesta categoria piadas que exploram, de forma cômica, possíveis acidentes que uma comunicação com as mãos pode trazer, em função do espaço necessário para a realização dos sinais. As análises possibilitam concluir que as piadas surdas, algumas com décadas de tradição, além de provocarem riso, favorecem o sentimento de pertencimento a um grupo. Elas constituem parte da agenda de luta da comunidade surda, proporcionando alegria de viver e o fortalecimento do grupo e exercendo uma pedagogia cultural nesta comunidade, pedagogia relacionada à forma/necessidade/vontade de pertencimento ao grupo. / The thesis focuses on the theme of deaf humor, considered as a component of the deaf culture. It is theoretically supported by the Cultural Studies and Deaf Studies, in addition to studies on mood. Its central question is: which deaf representation and which characteristics of deaf culture are present on the jokes that go around on deaf communities? Its targets are to analyze a set of jokes considered classic by the deaf community, contrasting its different versions and identifying aspects of humor apparently explored. The main criteria to choose the jokes were: to have deaf characters and/or themes from deaf culture; to have preferably the version in LIBRAS; to present more than one version(from 4 to 6); to have tradition in the deaf community. There have been analyzed 14 jokes, in a total of 78 versions, predominantly video version, from the internet or from DVDs, but also some taken from bibliographical material. The analysis has been inspired in researches of deaf community (Strobel, 2009), from humor (Propp, 1992, Possenti, 1998; Bergson, 1980), from representation (Hall, 1997), from identity (Silva, 200) and, specifically, from deaf humor (Rutherford, 1983); Holcomb(1994); Renard & Lapalu (1997); Morgado (2011); Sutton-Spence & Napoli (2012).The qualitative analysis has brought up that the majority of the jokes present related themes to communication problems, in situations where the listener does not know Sign Language. In this case, humor acts in the sense of inverting the current speeches, where the deaf are represented as having "difficulties in communications". Such jokes are part of a category called " Laugh at other" where the source of laugh are the differences between deaf and listener experiences. In the first ones, it looms the use of sign language and visual experience, and the noise does not bother. In the other hand, the jokes present listeners disturbed by the use of sign language and/or bothered with noise. Laughing at the listeners, in the so called "mocking laughter" is frequent in the jokes. They also show the importance of visibility, from the visual experience, pointing the advantages of being deaf, or better, to the deaf gain, which sometimes comes from benevolent attitudes from listeners, who are charitable and do not charge from the deaf, or due to the fact that the deaf characters are not disturbed by noises and yells. Other set of jokes involves laughing at things common in the group, put on the category "laughing at ourselves", ranging those that pointed to advantageous situations or situations that involve listeners urgency in getting rid of living along with the deaf. Also, it falls into this category jokes that explore, in a comical way, possible accidents that a communication with hands can bring, depending on the space needed to carry out the signals. The analyzes enable us to conclude that deaf jokes, some with decades of tradition, besides provoking laughter, may favor the feeling of belonging to a group. They are part of the deaf community struggle agenda, providing joy of living and strengthening the group and exerting a cultural pedagogy in this community, pedagogy related to the way / need / desire of belonging to the group.