In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis.  The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.

公司技術鑑價現今仍是有許多爭議，很多專家學者借用財務或者是會計的理論工具來作為技術鑑價的應用。但技術本是不是一個靜態的存在，持不同觀點的學者則認為技術是一個動態且不停的在變化的過程。技術本身所內涵的知識與智慧成分很高，這又更加強了它的易變性；在訪談的過程當中，國內鑑價的業界人士們普遍認為技術在不同的運用方式與經手的技術和經營團對手中，其產生的價值是有明顯的不同；此外一般人會認為評估技術大都用橫斷面的角度來看待技術的價值，不過現在有越來越多的學者會把市場面的管理因素置入技術價值的評估。也有專家或者是學者往上端去探究，認為技術預測以及整個綜觀面的技術生命週期都是技術價值產生中，不可或缺的影響因素。 本研究想著重的就是以智慧資本的概念來衡量技術真實的價值，承續著Skandia的五個焦點；Edvinsson與Malone有強調其中在『流程焦點』的精神就是「在處理技術工具在支援整體企業價值創造時，所扮演的角色」。由此一個更細部以及深入的探究，即本研究想要著眼的地方。 本研究結合技術鑑價以及智慧資本觀點來衡量技術的真正價值。回顧前人在技術鑑價以及價值評估的各種方法，再試著引入智慧資本的衡量模式，予以修正以及改良，發展出另外一種新的技術鑑價模式。這種模式並非偏離先前學者與研究的腳步，而是試著引入更新以及更有效的管理工具得以不斷的補足先人的模型，所以本研究並非標新立異而是採用既有鑑價模型基礎，輔以新近管理評估概念與理論，發展出一種更加完備的模式來進行技術價值的評量。總之本論文之重點在於以下幾點： 一、回顧既往技術鑑價或評價之理論 二、引入智慧資本之概念作為補述以及分析之架構 三、分析現今動畫產業現況以及其特殊性 四、由具代表性之個案驗證智慧資本在企業的評量之意義

This thesis provides an analysis of the cartoons produced by Victor Ekpuk for The Daily Times newspaper of Nigeria from 1989 through 1998 and the artist’s use of ancient nsibidi script to “hide in plain sight” his social commentaries on sociopolitical and economic issues in Nigeria. Victor Ekpuk’s original cartoons within the permanent collection of the Smithsonian Institution’s National Museum of African Art are examined in the context of indigenous masking practices and other indirect methods employed by indigenous comedians to protect themselves. Moreover, the cartoons’ use of caricature and their nsibidi scripts within are argued to provide a connotative and denotative dichotomy which allowed the artist to work more freely during a period of oppression.

- Thèse réalisée en cotutelle entre les Université de Montréal et Paris Ouest Nanterre la Défense. -Thèse construite à partir de logiciels libres et gratuits : Ubuntu, Lyx, LibreOffice, Zotero, The Gimp. / Notre enquête doctorale étudie l’illustration de la colonisation dans la presse satirique illustrée française entre 1829 et 1990. Cette thèse ambitionne d’éclairer un aspect méconnu de l’iconographie coloniale, à partir du dépouillement et de l’analyse de vingt-deux périodiques satiriques qui touchent diverses sensibilités éditoriales. Afin de confronter iconographie satirique et non satirique, deux journaux illustrés généralistes sérieux com- plètent le corpus. En suivant un parcours chronologique, il s’agira de présenter les axes caractéristiques de l’iconographie satirique coloniale. Pour comprendre la construction, le fonctionnement et le rôle des images expansionnistes issues des titres satiriques, cette recherche entend également définir le genre « presse satirique ». En analysant l’évolution historique, les caractéristiques populaires et les traits distinctifs de cette catégorie médiatique, nous mettrons en évidence les relations déterminantes qui existent entre le genre et les images coloniales. / This doctoral investigation studied satirical colonial iconography in the French satirical illustrated press between 1829 and 1990. From counting and analysis of twenty-two satirical periodicals, representing di erent editorial lines, this thesis aims to inform an unknown part of this colonial iconography. Two serious illustrated papers complement the general corpus to reintegrate results in the general fields of media images. For a diachronic, the aim should be to identify the major axes of the colonial satirical illustration. To understand the construction, operation and role of colonial imagery from satirical titles, this research also intends to define the genre "satirical press". By analyzing the historical evolution, popular features and the hallmark of this media class, we will highlight the crucial relationship between gender and colonial images.

The subject of the thesis is the problem of portrayal of the elderly in Vecernicek animated cartoons for children. Content analysis is conducted on twenty-two selected animated Vecernicek stories that portrayed older characters (371 cartoons for a total of 2974 minutes). The objective of this paper is to examine the depiction of the elderly in Vecernicek cartoons and to point out age stereotypes. The first part of the paper consists of a theoretical framework necessary for the subsequent analysis, particularly media depiction, media representation, construction of reality, the relationship between media depiction, reality and stereotyping, which are then accompanied by characterization of the stories, their meaning and also by definition of old age. Next, all twenty-two analyzed cartoons are briefly introduced. Quantitative content analysis is conducted to examine the frequency and context of depiction of male and female elderly characters, and the overall message. Using qualitative content analysis, six coherent groups of media depiction of the elderly are created, then using semiotic analysis, six specific examples of age portrayal in Vecernicek cartoons are introduced.

Made available in DSpace on 2016-04-28T19:34:03Z (GMT). No. of bitstreams: 1 Maria Francisca Morais de Lima.pdf: 3869227 bytes, checksum: 108564ea7f7635be117a95366c0943d8 (MD5) Previous issue date: 2016-02-25 / The Understanding of texts that represent someone's opinions, as cartoons, requires the reader to develop contextual skills capable of generate meaning. So, this thesis discusses the importance of inferential process as a strategy of understanding the humor in political cartoon, taking as a basis the principles of textuality of Beaugrande and Dresller (1981) and inferential categorization framework prepared by Marcuschi (2012). The research's problem was to analyze inferential processes and their importance for critical analysis of texts of humor. To this end, the following objectives are -: analyze inferential procedures that contribute to the understanding of the humor in the cartoon; perform a theoretical path, not only about the first studies on laughter, but also about the perception of humor and its use as a social criticism; identify how the inferential process may contribute to the perception of constituted political criticism in cartoon gender . The study of inferential process for understanding cartoons is justified, since the reader, while reading a cartoon uses the inference to fill the gaps left towards sometimes on purpose by the author in the text. Such gaps are evidenced by the incongruity intentionally assigned by cartoonist. This thesis is divided into four chapters: the first three, presented a theoretical framework that buoyed the analysis of the research corpus consists of cartoons published on Acrítica newspaper opinion notebook from February to November 2013. As an analytical tool, picked up ten (10) cartoons of Myrria organized into five groups, considering the similarity of the issues presented. In the methodological field, it was chosen a phenomenological research method, whose premises will enable an understanding from the man of visions and world and content analysis. As standard understanding of the presented charges were used skills to locate and to infer implicit and explicit information in text and establishing the relationship between the significant resources and order effects, thus enabling the player, not only out of the surface of the text frame, but also be able to understand the relationships built in interdiscourse and intertext of cartoon texts / A compreensão de textos opinativos como a charge exige do leitor o desenvolvimento de habilidades contextuais capaz de gerar sentido. Para tanto, esta tese discute a importância do processo inferencial como estratégia de compreensão do humor na charge política, tomando como base de análise os princípios de textualidade de Beaugrande e Dresller (1981) e o quadro de categorização inferencial elaborado por Marcuschi (2012). O problema da pesquisa consistiu em analisar os processos inferenciais e sua importância para a análise crítica de textos de humor. Para tanto, elencaram-se os seguintes objetivos: analisar os procedimentos inferenciais que contribuem para a compreensão do humor presente na charge; realizar um trajeto teórico, não só a respeito dos primeiros estudos sobre o riso, como também a respeito da percepção de humor e sua utilização como aporte de crítica social; identificar como o processo inferencial pode contribuir para a percepção da crítica política constituída no gênero charge. O estudo do processo inferencial para a compreensão de charges se justifica, uma vez que o leitor, ao ler um texto chárgico, utiliza a inferência para preencher as lacunas de sentido deixadas, às vezes de propósito, pelo autor no texto. Tais lacunas são evidenciadas pela incongruência intencionalmente atribuída pelo chargista. Esta tese está dividida em quatro capítulos: nos três primeiros, apresentou-se um aporte teórico que balizou a análise do Corpus da pesquisa constituído por charges publicadas no caderno de opinião do jornal Acrítica no período de fevereiro a novembro de 2013. Como instrumento de análise, escolheram-se dez (10) charges de Myrria, organizadas em cinco grupos, considerando a similaridade dos assuntos apresentados. No campo metodológico, optou-se como método de investigação a fenomenologia, cujos pressupostos permitem realizar uma compreensão a partir das visões de homem e de mundo e a análise de conteúdo. Como padrão de compreensão das charges apresentadas, foram utilizadas as habilidades de localizar e inferir informações explícitas e implícitas no texto e o estabelecimento de relação entre os recursos expressivos e efeitos de sentido, possibilitando assim ao leitor, não só sair da estrutura superficial do texto, como também ser capaz de perceber as relações construídas no interdiscurso e no intertexto dos textos chárgicos

Made available in DSpace on 2016-03-22T17:26:50Z (GMT). No. of bitstreams: 1 andre.pdf: 2791010 bytes, checksum: ce3338d300f06cc0e98e90446eb8df0f (MD5) Previous issue date: 2012-06-26 / This research investigates how the children in the Eradication of Child Labour perceive the cartoon SpongeBob Square Pants within the extended working day. This analysis includes a comparison with the perception of a group socially adapted to a social condition "ideal", according to the values propounded by the system itself. As a theoretical reference in the field of cultural studies take based on the writings of authors such as DOUGLAS KELLNER, RAQUEL SOIFER and STUART HALL. Issues related to children were used texts of Aries, and BIASOLI, LUCIA CASTRO. The study was supported by the reception of texts and GUILLERMO OROZCO, MARTIN BARBERO. Whereas the display of cartoons is one of the activities within the PETI, this study relates the cartoon SpongeBob and behavior of children in the "Extended School Day," taking into account the profile, context, subjectivity and historicity / Este trabalho de pesquisa investiga a forma como as crianças atendidas pelo Programa de Erradicação do Trabalho Infantil percebem o desenho animado Bob Esponja Calça Quadrada dentro da jornada ampliada. Esta análise contempla um estudo comparativo das crianças do PETI com a percepção de um grupo socialmente adaptado a uma condição social ideal , segundo os valores propugnados pelo próprio sistema. Como referência teórica na área dos estudos culturais, tomamos por base os textos de autores como DOUGLAS KELLNER, RAQUEL SOIFER e STUART HALL. Às questões relacionadas à infância foram utilizados os textos de ARIÈS, BIASOLI e LÚCIA CASTRO. O estudo de recepção está embasado pelos textos de MARTIN BARBERO E GUILLERMO OROZCO. Considerando que a apreciação de desenhos animados é uma das atividades desenvolvidas dentro do PETI, esta pesquisa procura revelar a importância do desenho animado Bob Esponja Calça Quadrada na construção identidade infantil, levando em conta o perfil, o contexto, a subjetividade e a historicidade da criança alvo da política social em questão

Made available in DSpace on 2016-04-29T13:31:06Z (GMT). No. of bitstreams: 1 Gabriel Pinelli Ferraz.pdf: 2875895 bytes, checksum: fdc0ef70c2b06193000e9d3082632279 (MD5) Previous issue date: 2013-10-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to analyze the construction of the social representation of Dilma Rousseff from the cartoons that depict her in the Folha de S. Paulo. The cartoon has an important history in dealing with political affairs. Through satire and humor, it promotes synthesis of the political themes of his time, while opines and makes critical. As a media vehicle built by via of the ridicule, the cartoon can take the reader to reflect on the problems of their society. Its raw material are the issues of everyday life, it reflects on them and opines. Thus, the cartoon is characterized as opinionated journalistic genre. This research analyzed the cartoons published between January 2010 and December 2012. This period included the election process and the first half of the Dilma government. Were collected for analysis 171 cartoons. The set of selected cartoons was analyzed using Content Analysis. The cartoons construct the social representation of Dilma by comparing her to political allies and her opponents, linking her to Lula and assigning meanings to her government. From this, Dilma was represented as product of Lula, as unable political negotiator, as a fighter of corruption and as a manager public incompetent / Essa dissertação tem o objetivo de analisar a construção da representação social de Dilma Rousseff a partir das charges que a retratam na Folha de S. Paulo. A charge possui uma importante trajetória no trato dos assuntos políticos. Por meio da sátira e do humor, ela promove síntese das temáticas políticas do seu tempo, enquanto opina e faz críticas. Como um gênero jornalístico construído via ridicularização, a charge é capaz de provocar o leitor a refletir sobre as problemáticas de sua sociedade. Sua matéria prima são os assuntos do cotidiano. Desse modo, a charge é caracterizada como gênero jornalístico opinativo. Essa pesquisa analisou as charges publicadas entre janeiro de 2010 e dezembro de 2012. Esse período contemplou o processo eleitoral e a primeira metade do governo Dilma. Foram coletadas 171 charges. Os dados foram analisados à luz da Análise de Conteúdo. As charges construíram a representação social de Dilma comparando-a aos políticos aliados e aos seus adversários de pleito, ligando-a a Lula e atribuindo sentidos ao seu governo. A partir disso, Dilma foi representada como produto de Lula, como negociadora política incapaz, como combatente da corrupção e como gestora pública incompetente

Made available in DSpace on 2016-04-26T18:13:16Z (GMT). No. of bitstreams: 1 Edilaine Correa Goncalves.pdf: 7790458 bytes, checksum: f50bd147d1fca82eca14168e482c4c3c (MD5) Previous issue date: 2013-08-27 / This research aims to analyze how in cartoons designed by Aluísio Azevedo are presented caricatural techniques of scenic arts and elements from Carnival. As the corpus were chosen among several themes that the literary and cartoonist author approaches, four anticlerical images published in the anticlerical and satiric newspaper O Mequetrefe in the year 1877. These images were analysed according to their historical and social contexts as tools to and for contestation. A contestation that at the same time is as much serious as laughable, religious and satirical, aspects which have already allowed in that age the participation of the society to bring some traits that let assume the presence of comicality through the usage of theatrical resources such farce and burlesque, immediately understandable with the purpose to inform and contribute with reflections and changes seen in the posture of the reader audience of the newspaper. This form of analysis, among others, is just one of the study possibilities of this critical object active as entertainment and information. As theoretical background for the review and interpretation, we consulted some authors such as FLUSSER (2008) and his reflections about technical images; MUNIZ SODRÉ (2006) and the sensitive strategies present in the media; the communicative action theory by HABERMAS (1987); the construction of cultural images by MORIN (1984); MARTIN- BARBERO (2002) and the processes of cultural formation through the newspaper and BAKHTIN (2005, 2010), about the carnivalesque elements. In addiction to this we consulted researchers from theatre field, such as PRADO (1999), MEYER (2001), SOUZA (2002), RABETTI (2007) and GUINSBURG (2009). Therefore we summarized to demonstrate how this image assisted in the propagation of an event, according as we realize the idea in relation to the presence of comic is a facilitator quality to the reception of the cartoon. It also acts as an invitation previously accepted and effectively translatable by the reader, educating, informing and serving as a political critic object and still operating as a reflection to possible social changes / A pesquisa procura analisar como em charges de Aluísio Azevedo apresentam-se técnicas caricaturais, das artes cênicas e, ainda, elementos provenientes do carnaval. Como corpus, foram escolhidos, dentre os vários temas que o autor literário e caricaturista ilustrou, quatro imagens anticlericais publicadas no jornal anticlerical e satírico O Mequetrefe no ano de 1877 em seus contextos histórico e social como instrumentos de e para contestação, ao mesmo tempo, séria e risível, religiosa e satírica que já permitia, na época, a participação da sociedade ao trazer em forma de traços que permitem pressupor a presença da comicidade, recursos teatrais da farsa e do burlesco, imediatamente compreensível com o objetivo de informar e contribuir com reflexões e mudanças de postura do público leitor do jornal. Essa forma de análise seria apenas uma das possibilidades de investigação desse objeto crítico de entretenimento e informação, dentre outras. Como base teórica para análise e interpretação, consultamos autores como FLUSSER (2008) e suas reflexões sobre as imagens técnicas; MUNIZ SODRÉ (2006) e as estratégias sensíveis presentes nos meios de comunicação; a teoria da ação comunicativa em HABERMAS (1987); a construção de imagens culturais em MORIN (1984); MARTIN-BARBERO (2002) e os processos de formação da cultura através do jornal e BAKHTIN (2005, 2010), sobre os elementos carnavalizados, além de pesquisadores da área do teatro, tais como PRADO (1999), MEYER (2001), SOUZA (2002), RABETTI (2007) e GUINSBURG (2009). Objetivamos, assim, demonstrar como essa imagem auxiliava na divulgação de um fato, na medida em que entendemos que a ideia em relação à presença do cômico é qualidade facilitadora para a recepção da charge, como um convite previamente aceito e efetivamente traduzível pelo leitor, educando, informando e servindo como objeto crítico político e de reflexão para possíveis mudanças sociais

Made available in DSpace on 2016-03-15T19:42:24Z (GMT). No. of bitstreams: 1 Etson Delega.pdf: 10544660 bytes, checksum: c0bb8e101a4e2c91808a5aca5fb30c74 (MD5) Previous issue date: 2012-12-10 / This paper deals with the analysis of the satirical weekly O Polichinelo, published in the city of São Paulo, in 1876. From the study of the publication itself, its editorial staff, the style and the theme of its cartoons, as well as the context of the historical moment, this text seeks the relations between the weekly and that time of great political turmoil in Brazil, and, in particular, the province of São Paulo. In those days in the Second Empire, Abolition and Republican causes gained strength and became manifest through the press. The cartoon illustrated periodicals used the critical mood to spread opinions about these topics. O Polichinello, as an exponent from this press, would not be different. But what was the stance of the journal? What causes it defended? The articles and, in particular, the cartoons contained in its pages, give clues for understanding the intentions and influences behind the weekly and how it manifested in its language. / Esta dissertação trata da análise do semanário satírico ilustrado O Polichinelo, publicado na cidade de São Paulo, em 1876. A partir do estudo da publicação em si, de seu corpo editorial, do traço e da temática de suas charges, bem como a contextualização do momento histórico retratado nelas, este texto busca situar as relações do periódico com o momento de grande agitação política em que vivia o Brasil, e em especial a então província de São Paulo. Naqueles dias do Segundo Reinado, a Abolição e a causa republicana eram movimentos que ganhavam força e se manifestavam através da imprensa. A caricatura e a charge nos periódicos ilustrados utilizavam o humor crítico para destilar suas opiniões a respeito desses temas; com O Polichinello, não seria diferente. Qual seria então o posicionamento do periódico? Que causas ele defendia? Os textos e, em especial, as charges contidas em suas páginas, dão as pistas para a compreensão das intenções e influências por trás do semanário e de como isso se manifestava em sua linguagem.