Submitted thesis follows up clowning as phenomenon that can be approached in different ways and understood from different points of view. The perspective depends on a theoretical base and methodological tools, including a conceptual apparatus. Because the viewpoint of the phenomenon is the core of submitted theses, I have decided to use as a methodological tool discoursive analysis, particularly bakhtinian analysis. Theoretical background is provided by Mikhail Bakhtin's theories and concepts (dialogism, heteroglossia, speech genres) and Julia Kristeva's theory of intertextuality (that was inspired by bakhtinian thinking). One of key terms of this theses is the concept of transgression which relates to supposition that transgression is one of principal features of clowning. The theses submits confrontation of two different approaches to the phenomenon of clowning. First one is provided by structuralist model by Paul Bouissac. Bouissac describes clowning as an abstract system, relatively static and closed code, which is builded of stabilized signs. His conception presents clowning as a phenomenon firmly tied up with the circus structure. Although Bouissac defines transgression as a characteristic feature of clowning, from his point of view is this transgression limited by borders of circus. Crossing...

Gaspar Noé, a French-Argentine director, is known for the controversial themes and scenes in his filmography, where violence is the first thing that stands out. However, other elements can be identified that have equal relevance in the structure of his films. The human body is one of them. Noé presents the pleasure and suffering of his characters closely so that the viewer perceives them first-hand. He seeks to shock the viewer with scenes that are difficult to see and hear. The director exhibits things in a transgressive way to show the malaise that exists within France. This thesis offers a study on the construction of reality in cinema, the representation of French society, the New French Extremism and the social, political and economic context of France, which will allow a better understanding of its environment, the audiovisual language that uses and the references that have influenced his style. Likewise, these points will serve as the basis for analyzing the director's filmography. The analysis carried out shows that Gaspar Noé, from the beginning, exhibits a pessimistic reality that is reinforcing it over the years by showing a society that is crumbling, unhappy people whose actions are irreversible and the inevitability of destiny. This study enriches realism in film, incorporating the unconventional reality of Gaspar Noé. / Gaspar Noé, director franco-argentino, es conocido por los temas y escenas controversiales de su filmografía, donde la violencia es lo primero que destaca. No obstante, se puede identificar otros elementos que tienen igual relevancia en la estructura de sus películas. El cuerpo humano es uno de ellos. Noé presenta de cerca el placer y el sufrimiento de sus personajes para que el espectador los perciba en carne propia. Busca conmocionar al espectador con escenas difíciles de ver y escuchar. El director exhibe las cosas de una manera transgresora para mostrar el malestar que existe dentro de Francia. La presente tesis ofrece un estudio sobre la construcción de la realidad en el cine, la representación de la sociedad francesa, el Nuevo Extremismo Francés y el contexto social, político y económico de Francia, los cuales permitirán conocer mejor su entorno, el lenguaje audiovisual que utiliza y los referentes que han influido en su estilo. Asimismo, estos puntos servirán de base para analizar la filmografía del director. El análisis realizado evidencia que Gaspar Noé, desde sus inicios, exhibe una realidad pesimista que va reforzándola con los años al mostrar una sociedad que se desmorona, personas infelices cuyas acciones son irreversibles y la inevitabilidad del destino. Este estudio enriquece el realismo en el cine, incorporando la realidad poco convencional de Gaspar Noé. / Tesis

In 1991, British novelist Patricia Barker published Regeneration, the first of three novels that portrayed the exploits of both factual and fictional characters during the darkest days of WWI. Barker's Eye in the Door (1993), followed by The Ghost Road (1995) for which she won the Booker Prize for Fiction, completed the series that explored the effects of combat on the human psyche. What emerges as a dominant feature of Barker's war novels is her depiction of the ocular sense. Reminiscent of Orwellianism, Barker's texts contain a seemingly ubiquitous ocular presence. For example, neurasthenic patients are scrutinized by army psychiatrists, objectors and subversives are spied upon or imprisoned so that their activities may be observed, and combatants are faced with the challenge of reconciling the horrifying events they have witnessed in combat. This study investigates the role and importance of Pat Barker's depiction of eyes and visuality in her war trilogy. The overreaching goal of the thesis to examine Barker's aestheticized notion of ocularity. It is my aim to come some conclusions about how vision / ocularity signal the emergence of a few central themes in the texts such as power relationships, objectification, exposure and the transgression of boundaries. The social and linguistic theories of Michael Foucault, Roland Barthes, Georges Bataille, Martin Jay and others who have addressed the themes of perception and ocular symbolism will be introduced into my discussion with the aim of providing a theoretic foundation to many of my assertions. Chapters will begin with an interpretation of a piece of theoretical writing by one of these authors followed by an analysis of Barker's texts that incorporates the major tenets of that theory. These tenets will serve as a basis to my discussion and it is my hope that, through the creative application of theoretical writing, I will address a number of aspects of Barker's work, especially in relation to her ocular imagery, that that have thus far gone unexplored.

Магистерская диссертация посвящена исследованию поэтики трансгрессии в произведениях современной уральской литературы разных родо-жанровых форм. Материалом исследования стали произведения уральских авторов, являющихся знаковыми фигурами не только для региональной, но и общероссийской литературы: роман Алексея Сальникова «Отдел», пьесы Рината Ташимова и книги стихов Александра Вавилова. В работе исследуются способы репрезентации трансгрессивных феноменов в произведениях современной уральской литературы, выявляется роль и специфика форм трансгрессии в индивидуально-авторских концепциях миромоделирования, определяются сходства и различия приемов изображение трансгрессии в произведениях разных родо-жанровых форм. / The master's thesis is devoted to the study of the poetics of transgression in the works of modern Ural literature of various genre forms. The material of the study was the works of Ural authors who are iconic figures not only for regional, but also for all-Russian literature: Alexey Salnikov's novel «Department», Rinat Tashimov's plays and Alexander Vavilov's poetry books. The paper examines the ways of representing transgressive phenomena in the works of modern Ural literature, reveals the role and specificity of the forms of transgression in the individual author's concepts of world modeling, identifies similarities and differences in the methods of depicting transgression in the works of different genre forms.

The dissertation presents and explores a mode of literary studies, which bypasses the question of literary value, and instead aims to assess how and where creative writing challenges hegemonic norms (that is, its political value). In so doing, it reflects on the practice of literary studies per se, and the mechanism(s) by which discourse can impact on subjecthood. The exploration entails the application of certain theoretical tools (concepts) in a reading of a literary work. The primary concepts employed are: performativity, subjectivity and gender. The dissertation seeks to read Muriel at Metropolitan (Tlali 1994) as a performative act, that is, a discursive event which re-enacts the practice of fictional writing and thereby extends (and possibly changes} the convention of crealive writing. If it is true that creative writing is performative, that it partake in the making of the individual, then it is important to study such writing in order to discover the consequences for the subject / English Studies / M.A. (English)

Ce mémoire porte sur la culpabilité du joueur pour des actions qu’il pose dans les jeux vidéo. L’objectif est de cibler les situations de jeu et les conditions psychosociologiques à l’émergence de cette émotion. Le premier chapitre compare l’expérience émotionnelle du spectateur et du joueur principalement dans la relation que ces derniers entretiennent avec des personnages. Le deuxième chapitre offre une étude détaillée de la culpabilité telle que vécue ordinairement, particulièrement de son processus cognitif et de ses fonctions sociales. Le troisième chapitre propose un modèle du processus de la culpabilité du joueur qui inclut des variables relatives à l’expérience des jeux vidéo et au design de jeu. Le modèle est mis en application dans l’analyse d’un corpus de jeux vidéo solos et narratifs à différents degrés, qui visent à provoquer des fautes morales chez le joueur et à les lui faire prendre conscience. / This master’s thesis focuses on player’s guilt based on gameplay actions. The objective is to target video games situations and psychosociological conditions leading to this emotion. The first chapter compares the spectator’s emotional experience with that of the player mainly in their relations with characters. The second chapter offers a detailed study of guilt as ordinarily experienced, especially of its cognitive process and its social functions. The third chapter introduces a theoretical model of the player’s guilt process which includes variables related to the experience of video games and game design. The model is applied to the analysis of a corpus of single-player narrative games that intent to provoke the player to commit wrongdoings and to make him aware of them.

L’objectif de la thèse est de montrer en quoi le roman ou la littérature incarne une forme de connaissance qui lui est propre, que Pierre Klossowski appelle la « connaissance pathétique ». Celle-ci fait appel aux passions plutôt qu’à la seule raison et repose sur des percepts et des affects bien davantage que sur des idées et sur des concepts. L’œuvre romanesque de Georges Bataille et de Pierre Klossowski me servira d’exemple et d’objet d’analyse, dans la mesure où l’écriture fictionnelle y est toujours au service d’une ‘’passion’’ philosophique, dans laquelle l’auteur entraîne ses personnages en même temps que le lecteur. Cette « connaissance pathétique » que le sujet est amené à vivre passe notamment par les mécanismes d’une écriture qui tente d’énoncer l’innommable. Cette orientation esthétique suit la voie tracée par Nietzsche, et les grandes thématiques associées à ce dernier constituent à la fois, au niveau de l’énoncé, un contenu thématique et diégétique récurrent (par exemple : dans Le Baphomet, nous sommes en présence du personnage de Friedrich l’Antéchrist) et, au niveau de l’énonciation, une stratégie narrative qui consiste à piéger le lecteur dans un système d’interprétations ambiguës, contradictoires et provocatrices qui déclenchent chez lui une activité cognitive effrénée, de nature passionnelle ou pathétique (par exemple : Le récit Les lois de l’hospitalité commence par un avertissement au lecteur, où on le met en garde contre « l’attrape concertée » que représente le récit). J’étudierai en détail, sur le plan de l’expression et du contenu, ces stratégies cognitives de la transgression et du simulacre grâce auxquelles l’auteur amène ses personnages et son lecteur à éprouver des pensées comme une forme de passion. L’analyse de la poétique pathique comme forme privilégiée de l’écriture narrative chez Pierre Klossowski et chez Georges Bataille nécessitera le recours à une analyse de l’œuvre de Nietzsche et de Sade dans un premier temps pour retracer ce qui est l’enjeu de la réception de ces œuvres par les deux auteurs français. Dans un deuxième temps, l’analyse des œuvres de Georges Bataille et de Pierre Klossowski me permettra de comprendre comment elles déclenchent chez le lecteur une expérience pathétique où la difficulté d’atteindre à une connaissance rationnelle univoque déclenche chez le destinataire du texte une activité cognitive complexe de nature proprement littéraire ou romanesque. Enfin, le corpus qui me servira d’exemple dans la description de ces phénomènes sera constitué des principales œuvres discursives de Bataille et de Klossowski (L’expérience intérieure, Nietzsche et le cercle vicieux) ainsi que de leurs œuvres romanesques (L’histoire de l’œil, Divinus Deus, L’abbé C., La vocation suspendue, Les lois de l’hospitalité et Le Baphomet). / This thesis aims to show how the novel or literature in general embodies its own form of knowledge that Pierre Klossowski names “connaissance pathétique” (pathetic knowledge). This knowledge derives from emotivity rather than reason alone and relies on affects and percepts rather than on ideas and concepts. The works of Georges Bataille and Pierre Klossowski will serve both as the examples and the objects of this analysis. These two authors’ fictional writings inevitably appeal to a philosophical pathos that implicate the characters as well as the reader. This “pathetic knowledge” that the subject is called to experience comes to be through the literary process seeking to name the unnamable. This particular aesthetic draws upon Nietzsche’s work, the themes of which taken up in Bataille and Klossowski writings and appear on the levels of subject matter and narration. The resulting writing strategy leads the reader along, presenting a system of provocative, contradictory, and ambiguous interpretations that open up an affect-oriented knowing or thinking. In studying the expression and content of this literary knowing, we will examine how the authors rely on strategies of transgression and simulacra to enable the characters and readers to experience thinking as a form of pathos. In analyzing this “pathetic” poetics as the privileged form of narration in Bataille and Klossowski, this thesis first examines the works of Nietzsche (and, to a lesser extent, those of Sade) in order to understand their impact on the French authors’ works. The thesis’ second part, which focuses on Bataille’s and Klossowski’s writings, demonstrates how their works provoke in the reader a pathetic experience of knowing, particular to literature, that exceeds the knowing ascribed to rationalism. The corpus explored in this research includes Nietzsche’s Birth of Tragedy, The Genealogy of Moral and The Gaya Scienza; Bataille’s L’histoire de l’oeil, Divinus Deus and L’abbé C.; and Klossowski’s La vocation suspendue, Les lois de l’hospitalité and Le Baphomet.

[pt] O presente estudo baseia-se numa abordagem intercultural para identificar a presença de reações de indulgência e restrição a transgressões na sociedade brasileira, de modo a confirmar ou refutar os índices encontrados na pesquisa intercultural de Geert Hofstede (2010 (1991)) de que a sociedade brasileira tende à indulgência. O ensino de língua estrangeira não deve estar dissociado do ensino de aspectos culturais, visto que a língua está associada à maneira de interpretar o mundo do povo que se comunica através dela. O ensino de aspectos culturais e interculturais faz-se ainda mais necessário no ensino de segunda língua que ocorre em contexto de imersão, visto que o aprendiz se insere na cultura da língua alvo e está sujeito a choques culturais. O Brasil é visto por vezes como um lugar onde as leis podem ser desrespeitadas e onde sempre se pode dar um jeitinho, logo, o comportamento da sociedade brasileira com relação às transgressões se faz importante para que o aluno estrangeiro desenvolva melhor convivência e interação com membros dessa sociedade, evitando visões estereotípicas. Para tal objetivo, foram analisados episódios da série televisiva A Grande Família, que busca representar a classe média brasileira. Dentre os casos de transgressão moral e legal encontrados, 54 porcento provocaram reação de indulgência, o que confirma os dados encontrados por Hofstede. Diferentemente do previsto pelas hipóteses, verifica-se que as reações indulgentes são motivadas, principalmente, por interesse próprio daquele que reage de forma indulgente e, em certa medida, pela proximidade com o indivíduo transgressor. / [en] The present study is based on an intercultural approach to identify the presence of reactions of indulgence and restraint to transgressions in Brazilian society, in order to confirm or refute the index found in the cross-cultural research by Geert Hofstede (2010 (1991)) that indicates that Brazilian society tends to indulgence. Foreign language teaching should not be dissociated from the teaching of cultural aspects, since the languages are associated to ways of interpreting the world of people who communicates through them. The teaching of cultural and intercultural aspects is even more necessary in second language teaching when it occurs in context of immersion, since the learner becomes part of the culture of target language and may be subject to culture shock. Brazil is sometimes seen as a place where the laws may be disregarded and where one can always use the jeitinho. Thus, the knowledge about the behavior of Brazilian society with respect to transgression becomes important for the foreign student to develop better coexistence and interaction with members of this society, avoiding stereotypical views. For such purpose, we analyzed episodes of the television series A Grande Familia, which seeks to represent the Brazilian middle class. Among the legal and moral transgression cases found, 54 percent provoked reaction of indulgence, which confirms the data found by Hofstede. Differently than predicted by chance, it turns out that the indulgent reactions are mainly motivated by self-interest and, to some extent, by the proximity to the individual who commits the transgression.

A presente tese discute a comunicação como fator dependente da interação e da cortesia linguísticas inseridas nos manuais de etiqueta, visando a identificar explícita e implicitamente as estratégias interacionais apresentadas por três autores, escolhi-dos como corpus, os quais compõem três guias de comportamento: 1)Marcelino por Claudia: o guia de boas maneiras de Marcelino de Carvalho interpretado por Claudia, de Claudia Matarazzo; 2)Etiqueta Século XXI: um guia prático de boas ma-neiras para os novos tempos, de Celia Ribeiro; 3)Sempre, às vezes, nunca: etiqueta e comportamento, de Fabio Arruda. Destes três manuais, foram escolhidas algu-mas partes que cabiam à análise proposta. A pesquisa busca embasamento nas perspectivas da Análise da Conversação (AC) e na Sociolinguística Interacional (SI). Essas bases possuem duas linhas dorsais, com estudos sobre interações e cor-tesia linguística. Dá-se ainda uma visão panorâmica dos três livros pertencentes ao corpus, com uma breve análise da variação linguística. Investiga-se também a utili-dade desses manuais na melhoria dos níveis de interação social. A análise dos mar-cadores de cortesia percorre os critérios de correção, atenuadores, modalizadores, formas de tratamento e situações de ameaça às faces, visando a encontrar respos-tas para os questionamentos da pesquisa. Quanto aos aspectos comportamentais da cortesia são pouco mencionados, exceto os que estão inseridos no contexto fala ou na intenção de fala. O estudo parte de um ponto de vista sobre a cortesia linguís-tica; teoria de ameaça às faces positiva e negativa, concentrando-se na linguagem de interesse social e na interação entre indivíduos ou grupos. / This thesis discusses communication as an interaction-dependent factor and linguis-tic politeness inserted in etiquette manuals, in order to explicit and implicitly identify the interactional strategies presented by three authors chosen as corpus, which is comprised of some parts chosen from three manuals of behavior: 1) Marcelino by Claudia: the guide to good manners by Marcelino de Carvalho interpreted by Clau-dia, by Claudia Matarazzo; 2) 21st Century Etiquette: a practical guide to good manners for modern times, by Celia Ribeiro; 3) Always, sometimes, never: etiquette and behavior, by Fabio Arruda. This research seeks to establish the bases for per-spectives in Conversation Analysis (CA) and in Interactional Sociolinguistics (IS). These theorical bases have two dorsal structures or chief ideas, with studies on lin-guistic interactions and politeness. It gives still a birds-eye view of the three books belonging to the corpus, with a brief analysis of linguistic variation. It also investigates the usefulness of these manuals in the improvement of social interaction levels. The analysis of politeness markers traverses the criteria for correction, attenuators, modalizations (a speakers attitude towards their own utterance), forms of treatment, and faces threatening acts (FTA), in order to find answers to the researchs posing questions. Behavioral aspects of courtesy are mentioned only when inserted into speech context or its intention. The study originates from a point of view about lin-guistic politeness; threatening theory on positive and negative faces, focusing on the language of social interest, with the purpose of continuity of interaction between indi-viduals or groups.

Made available in DSpace on 2016-08-10T11:07:14Z (GMT). No. of bitstreams: 1 GABRIELA BENTO COELHO.pdf: 3121484 bytes, checksum: 240304715fa87b6f2886ad0e764b1329 (MD5) Previous issue date: 2015-12-15 / The main objectives of this work are the theoretical construction of the demonic esthetic and the identification of this proposal in modern and contemporary art. The research was based mainly on contemporary approaches of Jean Baudrillard (1991), Zygmunt Bauman (2001) and Goerges Bataille (1987). From the phenomenological perspective of Mikel Dufrenne (2008), the demonic esthetic is the aesthetic experience awakened by the horror and the grotesque. The demonic is historically, the rupture with the traditional sense of beauty and the moral. The demoniac would be a transgression of the dominant social order and the esthetic expression that reveals the transgressive and heretical of human nature. The Apollonian and rational reality is unmasked by the revelation of the Dionysian impulse that results in the return of man to himself, to obscurity, to unknown, to infernal and nefarious. In the contact with hell, the man overcomes himself and becomes what it is. The state of for coming and the between place are part of demonic expression as new spaces of contestation and transformation. The demonic esthetics is present in modern and contemporary art. For this are analyzed: the art works of Farnese de Andrade and the artistic discourse in the romance, The Tense Passage of the Bodies, written by Carlos de Brito Mello. / Os objetivos principais desta pesquisa são: a construção teórica da concepção da estética demoníaca e a identificação desta proposta na arte moderna e contemporânea. A pesquisa é fundamentada principalmente, nas abordagens contemporâneas de Jean Baudrillard (1991), Zygmunt Bauman (2001) e Goerges Bataille (1987). Com base na fenomenologia, a estética demoníaca consiste na experiência estética despertada em contato com o horror e o grotesco. O demoníaco se identifica historicamente como a ação de ruptura com o belo e com a moral. O demoníaco consiste em transgredir a ordem social dominante. É a expressão estética que revela a porção maléfica e herética da natureza humana. A realidade apolínea e racional é desmascarada para revelar a pulsão dionisíaca que resulta no retorno do homem a si mesmo, a obscuridade, ao desconhecido, ao infernal e ao nefasto. O estado de devir e o entrelugar são espaços não perspectivos de contestação e transformação, que compõem a expressão demoníaca. A estética demoníaca está presente na arte moderna e contemporânea. Nesta pesquisa, são analisadas: as obras do artista plástico Farnese de Andrade e o discurso artístico no romance A Passagem Tensa dos Corpos, escrito por Carlos de Brito e Mello.