La thèse analyse, dans les domaines de la nature, de la médecine et de la guerre, en quoi les métaphores et les comparaisons relèvent de la communication politique et participent d’une ambition littéraire. Démosthène emploie ses images de manière très cohérente. Au sein d’un même discours, il articule des images différentes autour d’un même noyau sémantique. Il répète aussi une même image au service d’une même idée d’un discours à l’autre. Démosthène élabore ainsi de véritables slogans métaphoriques destinés à promouvoir ses idées politiques. Certains sont repris par ses amis politiques et combattus par ses adversaires. L’étude des images permet ainsi d’aborder sous une perspective nouvelle les problèmes de la propagande et de la collaboration politique dans l’Athènes du IVème siècle. Au-delà de cette finalité pratique, métaphores et comparaisons demeurent un matériau littéraire qui permet à Démosthène d’enrichir le style de ses discours en multipliant les registres. Elles s’inscrivent dans la tradition homérique ou comique par la reprise de certains motifs, selon que l’orateur souhaite célébrer son action politique ou dénigrer ses adversaires. Ou bien elles les font rivaliser avec les développements les plus récents de la prose d’art, telle que la pratiquent Platon et Isocrate. De ce point de vue, le Sur la couronne tient une place à part : en raison du caractère rétrospectif du discours, qui se livre à un bilan politique, l’ambition littéraire est à son sommet. Mais, là encore, elle n’est pas séparable de la finalité rhétorique et pratique : les images servent à défendre une politique, dans un véritable panégyrique. / This work examines how the imagery which Demosthenes takes from nature, medicine and warfare, is a tool of political propaganda and gives a literary shape to his speeches as well. Demosthenes uses this imagery very coherently. In the same speech, he links different kinds of imagery around the same meaning-core. Furthermore, he repeats the same imagery to mean the same thing in different speeches. Demosthenes thus works out true metaphorical slogans so as to promote his main political ideas. Some are taken up by his political friends and fought off by his enemies. Therefore, by studying imagery we can cast a new light on these two fundamental issues in the Ancient Athens of 4th century B.C. : how did the orators use to organise their political propaganda and how might they have collaborated with each other ? But imagery goes beyond this practical aim. Metaphors and similes are literary material which enables Demosthenes to enrich his speeches’ style through different registers. They give them a Homeric or a comical tone and shape, when Demosthenes uses some patterns again to extol his policies or to disparage his adversaries. With metaphors and similes, Demosthenes is also rivaling with the recent trends of Kunstprosa, as it is practised by Plato and Isocrates. From this point of view, the speech On the crown has a special place : in this speech, because of its retrospective point of view, which asseses his overall policies, Demosthenes brings his literary claims to a climax. Nevertheless, such an ambition cannot be separated from his rhetorical and practical aims : imagery is being used to defend his policies, in a real panegyric.

This thesis examines the extent to which the BBC was able to shape the output of popular culture on radio in Britain, according to its own system of beliefs, between the years 1933 and 1967. This research will show that from the outset, the BBC was an institution with a mission to inform, educate and entertain the nation. While it was not opposed to entertainment, its focus was didactic and supported a mission to improve its audience both culturally and intellectually. This policy was not always welcomed by the audience but, with the exception of the war years, persisted into mid 1950s. The Variety Department was formed in 1933 to produce all forms of light entertainment and this research will examine how its policies shaped the production of popular culture over the period concerned. This study looks not only at the workings of the Variety Department but also the topics of Americanisation and vulgarity, the two areas in which the BBC had particular sensitivities. It analyses the BBC's strategies to counteract the American effect on popular music and spoken-word programmes and how it provided its own particularly British form of entertainment in order to produce programmes it considered suitable for British audiences. It also investigates programme censorship imposed by the BBC to mitigate vulgarity in programmes, so as to produce those it considered suitable for its audiences. This thesis will contend that for over 40 years the BBC Variety Department produced popular entertainment programmes on radio which became an integral part of people's daily lives until, within a few years radio was superseded by television as the nation's principal provider of domestic entertainment. There has been no discrete study of the BBC Variety Department and it is intended that this research will add to the existing scholarship in BBC history and contribute to the analysis of radio's place in domestic popular culture in the period examined.

This paper will cover the creation of my thesis film, “Down to the Last,” from concept to completion, with a special focus on writing a dark comedy with a strong female lead, and the desire to incorporate visual effects and stunts to enhance the overall story. Details of how my crew and I decided to approach the challenges of my script and vision will be fleshed out along with solutions to problems we faced during preproduction, principle photography, and postproduction. The outcome of the project is a combination of minute deviations from my initial vision and a minimization of visual effects in order to preserve the tone and humor of the story.

Chaque année en France, les films adaptés des œuvres littéraires forment une partie importante des sorties cinématographiques, parmi lesquelles nous remarquons souvent les films adaptés des pièces de théâtre comiques. En effet, dès sa naissance, le cinéma est lié étroitement au théâtre, surtout aux pièces comiques. Les cinéastes ont puisé leurs inspirations aussi bien dans les pièces classiques (L’Avare, La Fausse Suivante, Cyrano de Bergerac, etc.) que les pièces modernes (La Cage aux folles, Le Dîner de cons, Le Prénom, etc.), en passant par les vaudevilles (Un Chapeau de paille d’Italie, Un Fil à la patte, etc.), les café-théâtre (les pièces du Splendid) et les pièces de Sacha Guitry et de Marcel Pagnol qui ont vécu la prospérité du théâtre filmé. Le théâtre et le cinéma, tous deux arts de spectacle, partagent énormément de points communs et gardent également de nombreuses différences. Ils se mélangent, s’influencent et se critiquent. Les spectateurs regardent la représentation théâtrale avec une vision « cinématisée » sans en avoir conscience. À l’inverse, nous déployons la théâtralité dans chaque séquence de film. Dans le cadre comique, quelle est donc la relation entre le cinéma et le théâtre ? Les ressorts du comique de théâtre sont-ils les mêmes au cinéma? Quels effets donnent-ils ? L’étude de l’adaptation des pièces comiques de théâtre au cinéma dans la période définie par notre corpus nous permet de voir les principes du travail de l’adaptation et de saisir le changement de la relation entre le théâtre et le cinéma au fil du temps. Ce changement nous laisse entrevoir la procédure de maturation d’un jeune art — le cinéma. Les valeurs esthétiques que nous avons dégagées dans ce travail nous aideront à comprendre d’une façon profonde les arts de spectacle, tandis que la valeur sociale du film adapté nous fera réaliser la nécessité de ce travail d’adaptation. / Every year in France, plenty of new movies are adapted from literary works, among them, we can often notice the films adapted from comic plays. Indeed, since its invention, the cinema is closely related to the theater, especially to the comic plays. The filmmakers try to find their inspiration in classic plays (The Miser, La Fausse suivante, Cyrano de Bergerac, etc.) as well as modern plays (La Cage aux Folles, Dinner of Fools, The First Name, etc.) but also in vaudeville (Un chapeau de paille d’Italie, Love on the Rack, etc.), in dinner theater (the plays of the Splendid) and in the plays of Sacha Guitry and Marcel Pagnol, who experienced the boom period of « théâtre filmé ». As two performing arts, theater and cinema share a lot of common points but have also many differences. They influence each other. The audience, unconsciously, watches the theatrical performance with a « cinématisée » vision. Conversely, we deploy theatricality in each sequence of the film. In the comic plays, what is the relationship between cinema and theater? Are the comic elements of theater the same as those in cinema? What effects do they give? The study of the adaptation of comic plays to the cinema in the period defined by our corpus lets us see the principles of adaptation and know the change in the relationship between theater and cinema. This change shows us the maturing process of a young art —the art of cinema. The aesthetic values that we have reveald in this work will help us understand the performing arts in a deep way, and the social value of an adapted film will let us realize the need of this adaptation.

A tese investiga como se apresenta o humor político do Porta dos Fundos em esquetes audiovisuais veiculadas pelo Youtube. Parte-se de um panorama sobre as audiovisualidades para atentar sobre os processos produtivos em relação com o contexto político nacional. Os conceitos de comicidade e humor são acionados a partir de Henry Bergson (1983) e Elias Thomé Saliba (2002), sendo o primeiro tomado como sistema organizador da narrativa a partir da intencionalidade de fazer rir, enquanto o segundo é definido pelo contraste entre o que é e o que deveria ser, acionando uma reflexão crítica que complementa e dá a tonalidade do gesto social empregado pelos humoristas. Para tratar sobre o humorismo audiovisual percorremos a história do riso e do escárnio com Georges Minois (2003), Roberto Elísio dos Santos e Regina Rosseti (2012), entre outros, a fim de resgatar as raízes do riso midiatizado brasileiro. O problema de pesquisa é: Como se dá o humor sobre a política na comicidade audiovisual do Porta dos Fundos? Para responder essa pergunta elencamos como objetivo geral da pesquisa descrever e analisar como se apresenta o humor audiovisual sobre a política em um canal no Youtube - o do Porta dos Fundos, explorando o objeto na relação com o campo do audiovisual nacional, com o contexto político contemporâneo e com a teoria sobre o humor e a comédia. A partir deste, estabelece-se como objetivos específicos: a) descrever as possíveis relações entre a matriz da comédia audiovisual nacional e o humor político veiculado pelo Porta dos Fundos; b) descrever e analisar como os conteúdos audiovisuais apresentam o humor sobre a política do Porta dos Fundos; c) apontar pistas que indiquem elementos de distinção do conteúdo humorístico do Porta dos Fundos no campo do audiovisual contemporâneo Entendemos que para abordar o humor sobre a política do Porta dos Fundos no Youtube é preciso contextualizar a cultura midiática e digital contemporânea, relacionando-a com o contexto político vivido no Brasil durante o período de análise, em busca de um olhar relacional que aponte pistas sobre como os agentes e os campos sociais influenciam-se mutuamente e quais marcas deixam uns sobre os outros. A epistemologia adotada é da sociologia relacional de Pierre Bourdieu (1997, 2002, 2007a, 2007b), que auxilia no tratamento dispensado ao corpus empírico de seis esquetes audiovisuais de humor sobre política veiculados pelo Youtube, entre agosto de 2012 e abril de 2017, e analisados filmicamente a partir das proposições metodológicas de Penafria (2009), Julier e Marie (2009). Como resultado encontramos marcas distintivas do humor do Porta dos Fundos sobre a política a partir das suas estratégias narrativas que privilegiam o sentido de realidade junto ao espectador; um processo produtivo colaborativo que diversifica os conteúdos e fortalece a imagem a marca; uma identidade visual (estética e linguística) mantida mesmo com o rodízio de funções e colaboradores; tudo marcando um fenômeno que emerge em um tempo de lacuna no humor crítico sobre política na TV, políticas públicas que incentivam a produção audiovisual independente e converge com a ampliação da conectividade e cultura digital no país. / The thesis investigates how the political humor of “Porta dos Fundos” in audiovisual sketches transmitted by Youtube is presented. It started by a panorama on the audiovisuals to look at productive processes in relation to national socioeconomic and political contexts. Henry Bergson (1983) and Elias Thomé Saliba (2002) trigger ehe concepts of comics and humor. The first one being taken as the system organizer of the narrative from the intentionality of making laugh, while the second one is defined by the contrast between what is and what should be, triggering a critical reflection that complements and gives the tone of the social gesture employed by comedians. To deal with audiovisual humor, we go through the story of laughter and scorn with Georges Minois (2003), Roberto Elísio dos Santos and Regina Rosseti (2012), among others, in order to rescue the roots of Brazilian disseminated laught. The research problem is: How does the political humor in the audiovisual comedy of “Porta dos Fundos”work? In order to answer this question we have as a general objective of the research to describe and analyze how audiovisual political humor is presented in a channel on YouTube – called Porta dos Fundos, exploring the object in relation to the field of the national audiovisual, with the contemporary political context and with the theory about humor and comedy. From this, specific objectives are stablished: a) to describe the possible relations between the matrix of the national audiovisual comedy and the political humor conveyed by Porta dos Fundos; b) describe and analyze how the audiovisual contents present the political humor of Porta dos Fundos; c) to point out clues that indicate elements of distinction of the humoristic content of Porta dos Fundos in the field of contemporary audiovisual We understand that in order to approach the political humor of Porta dos Fundos on Youtube it is necessary to contextualize the contemporary digital and digital culture, relating it to the actual political and economic context in Brazil during the period of analysis, searching for relational look that points out clues about how agents and social fields influence each other and which brands leave in one another. The epistemology adopted is Pierre Bourdieu's (1997, 2002, 2007a, 2007b), relational sociology, which assists in the treatment given to the empirical corpus of six audiovisual humoristic sketches transmitted by Youtube, in between august of 2012 and april of 2017, and analyzed in the movie by the methodological propositions of Penafria (2009), Julier and Marie (2009). As a result we find distinctive marks of the political humor of Porta dos Fundos from their narrative strategies that privilege the sense of reality with the spectator; a collaborative production process that diversifies the content and strengthens the brand image; a visual identity (aesthetic and linguistic) maintained even with the rotation of functions and collaborators; all marking a phenomenon that emerges in a time that lacs critical political humor on TV, public policies that encourage independent audiovisual production and converge with the expansion of connectivity and digital culture in the country.

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Family Dinner examines the social construction of the Asian American family in the most hyper dysfunctional way. The characters in the play do not necessarily have to be played by an Asian American but the family holds Asian American values and ideals. Therefore, through a different cultural lens, the hope is to effectively blend the cultural values that are physically and culturally familiar no matter what the race of a family it may be. This creates a point of entry for audience members of difference cultural and social background to simultaneously view the play with a familiar point of view. The objective is then to critique the absurdity in the social cultural values and to redefine the meaning of the All-American family. Lastly, what needs to be acknowledged is that the play, in its current draft and form, is a play that is still in process. The process of rewriting is significant to the writer because it is in this act of rewriting where the writer learns to hone his or her own technique in the art of playwriting.

Da die historische Sprachwissenschaft ausschließlich über geschriebene Texte als Datenbasis verfügt, wurden insbesondere im Forschungsgebiet der historischen Pragmatik bestimmte Genres identifiziert, die Aufschluss über die Sprechsprachlichkeit vergangener Sprachstufen bieten können. Dem dramatischen Genre der Komödie wird in der sprachhistorischen Forschung eine besondere Nähe zur gesprochenen Sprache zugesprochen. Das Korpus dieser Dissertation umfasst insgesamt 46 Stücke der spätmittelenglischen Mystery Plays, die biblische Episoden von der Erschaffung der Welt bis zum Jüngsten Gericht (komisch) in Szene setzen. Neben der quantitativen und qualitativen Analyse von acht nähesprachlichen Merkmalen (u. a. Anredepronomina, Fragen, Diskursmarker) beinhaltet die Arbeit eine Klassifizierung der komischen Szenen in den Mystery Plays sowie eine Untersuchung der literatur- und kulturhistorischen Kontextfaktoren, die eine Annäherung an Sprechsprachlichkeit in den Texten bedingt haben könnten.:1 Introduction 1.1 Premises and aims 1.2 Outline of the study 2 Comedy play texts as a speech-related genre 2.1 Speech-like genres and 'communicative immediacy' 2.2 Play texts vs. 'real' spoken discourse 2.3 Conclusions 3 'Comedy' in the mystery cycles 3.1 The medieval sense of 'comedy' 3.2 Medieval attitudes to laughter 3.3 Laughter and the comic in the mystery cycles 3.3.1 Humiles personae – sympathetic laughter 3.3.2 Divine triumph over evil – Schadenfreude 3.3.3 Funny games of violence – grim irony 3.4 The potential for 'communicative immediacy' in the mystery 'comedies' 3.4.1 Context and sources 3.4.2 Stylistic guidelines 3.5 Conclusions 4 Speech-like features in the mystery 'comedies' 4.1 Methodological premises 4.1.1 The data 4.1.2 Speech-like characteristics and linguistic features 4.1.3 Challenges and obstacles 4.2 Interactivity in pronominal address – (im)politeness, power and dominance 4.2.1 Second-person pronouns 4.2.1.1 Overall distribution 4.2.1.2 Family relationships 4.2.1.3 'Official' relationships 4.2.1.4 A special case: address in funny games of violence 4.2.2 Summary 4.3 Interactivity in pair structures – cooperation and conflict 4.3.1 Questions 4.3.1.1 Overall distribution 4.3.1.2 Functional analysis 4.3.1.3 Discussion of results 4.3.2 Imperatives 4.3.2.1 Overall distribution 4.3.2.2 Functional analysis 4.3.2.3 Discussion of results 4.3.3 Lexical repetition 4.3.3.1 Overall distribution 4.3.3.2 Functional Analysis 4.3.3.3 Discussion of results 4.3.4 Turn-initial discourse markers 4.3.4.1 Overall distribution 4.3.4.2 Interactional uses 4.3.4.3 Discussion of results 4.3.5 Summary 4.4 Features of sharedness and function – emotion and emphasis 4.4.1 Interjections 4.4.1.1 Overall distribution 4.4.1.2 Emotive-expressive uses 4.4.1.3 A special case: swearing 4.4.2 Vocatives: Terms of endearment and abuse 4.4.2.1 Overall distribution 4.4.2.2 Analysis 4.4.3 Demonstrative pronouns and deictic reference 4.4.3.1 Overall distribution 4.4.3.2 Analysis 4.4.4 Summary 4.5. Discussion: Speech-like features in the Middle English mystery plays 5 Final remarks 6 Bibliography 7 List of abbreviations 8 List of tables 9 List of figures

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The Plug project is a pilot presentation for a series that explores the life of a local drug dealer as she ventures into the world of designer drugs. Poppy is the local “Plug" on campus, meaning that is a procurer of things that are impossible to get without the right connections. Sold out tickets to the lakers game? Adderall for those long nights? You name it she can get it. However, when her father gets into some serious trouble due to gambling debts, she goes from selling rare goods to selling rare drugs. She soon realizes that the riches of her new career comes with unforeseen consequences.