Orientador: Isabella Tardin Cardoso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-29T00:01:32Z (GMT). No. of bitstreams: 1 Rocha_CarolMartinsda_D.pdf: 1874552 bytes, checksum: 360bb454a762494c06207e13615d04ac (MD5) Previous issue date: 2015 / Resumo: O presente estudo tem como assunto o discurso das mulheres e sobre as mulheres nas comédias de Plauto. Na esteira de pesquisas mais recentes sobre a fabula palliata, não se busca aqui de modo muito imediato um retrato ipsis litteris da mulher na sociedade grega ou romana antiga. Estudos modernos sobre gênero ("gender") apontam para a importância de se considerar a representação do feminino enquanto algo não determinado biologicamente, mas sim construído em suas relações (com o outro gênero, com o contexto) e reversível. A apreciação desses aspectos em Plauto ressalta os efeitos poéticos e dramáticos da construção do feminino no contexto do drama desse comediógrafo. Mais especificamente, serão analisadas em nosso estudo passagens de peças selecionadas (Aululária, Báquides, Cásina, Menecmos, O mercador e O soldado fanfarrão) sob dois modos de representar a relação entre os gêneros em Plauto: de um lado, a caracterização da mulher no quadro do casamento representado na palliata, e, de outro, o uso de imagens de animais para caracterizar o feminino ou masculino. Sob a ótica do casamento, apreciamos o tipo da uxor dotata, observando quer sua representação caricata, quer sutilezas de sua composição a cada comédia plautina avaliada. Além disso, nas peças selecionadas, evidencia-se um bestiário feminino, que se mostra, embora variado, coerente com aspectos que delineiam as mulheres (tanto matronas quanto meretrizes) em Plauto / Abstract: The present study has as its main focus the discourse by and about women in Plautus' comedies. In agreement with recent studies about fabula palliata, the goal is not an immediate portrait of women in Ancient Greek or Roman societies. Contemporary gender studies point to the importance of considering representations of the feminine as something that is not biologically determined, but constructed in its relations (with the other gender, with the context) and reversible. The appreciation of such aspects in Plautus highlights the poetic and dramatic effects in the construction of the feminine in the context of the playwright's drama. More specifically, passages of selected plays (Aulularia, Bacchides, Casina, Menaechmi, Mercator and Miles Gloriosus) will be analyzed in this study under two modes of the representation of the relation between genders in Plautus: on one hand, the characterization of women within the frame of marriage represented in the palliata; on the other hand, the use of images related to animals to characterize feminine or masculine. Under the point of view of marriage, the uxor dotata stock character-type is evaluated, observing both its representation as a caricature and the subtleties of composition in each Plautine comedy under scrutiny. Furthermore, within the selected plays, a feminine bestiary is put in evidence, which seems, albeit varied, coherent in the aspects through which it pictures women (both matrons and prostitutes) in Plautus / Doutorado / Linguistica / Doutora em Linguística

The subject of this paper is the philosophy of comedy. It is an orientation through history of laughter and its connection to the essence of comedy. This investigation tries to pinpoint some characteristics of the comedian and the task of the comedian today, focusing primarily on comedy in the public sphere. This paper concludes that comedy could be something physical and biological, but also something political. Humor is general and something very common but also culturally unique. The purpose of this thesis is to investigate comedy as something highly spiritual, absolute human and animalistic. It also aims to connect comedy to the philosophical discipline and strengthen its bond to the academic field. This paper includes some theories of humor, from both an evolutionary, scientific perspective to a more philosophical and theological view. It also includes a political discussion of how one can joke about everything and why comedy is important today.

La presente investigación analiza los diversos estereotipos de la mujer empleados en los personajes femeninos como medios de humor en el ámbito de la televisión peruana de los años dos mil. Así mismo, describe los principales estereotipos femeninos dentro del humor peruano y establece el papel que ocupa la figura femenina en la creación de comedia y contenido nacional. Además, hace énfasis en las consecuencias y efectos de violencia que esta clase de contenido, aún persistente en la parrilla de los principales canales de televisión nacional, genera en la sociedad peruana. La metodología de investigación que se usará es el enfoque cualitativo, de tipo etnográfica. Se pretende analizar los programas de televisión humorísticos, sketches cómicos, monólogos, donde se utilizará una guía de observación para analizar los documentos. Por otro lado, esta investigación busca contribuir con la constante lucha contra la violencia de género, exponiendo los estereotipos usados contra la imagen de la mujer con la finalidad de ejemplificar un recurso humorístico que no puede seguir presente en la televisión de un país que tiene un largo camino por regenerarse. / The actual research analyzes the several stereotypes from woman used as an instrument of humor in the construction of females characters in Peruvian television of years two thousand. Likewise, the research describes the main female stereotypes within Peruvian humor and set up the role of women within comedy and national content creation. Besides, do emphasize in the consequences and violence effects that this kind of content, persistent in the mains national television channels yet, generate in Peruvian society. The investigation methodology that will be used is the qualitative approach, ethnographic type. The research pretends to analyze the humor television programs, comic sketches, monologues, where it will be used an observation guide to analyze the documents. Otherwise, this investigation wants to promote the constant fight towards the gender violence, exposing the stereotypes used towards the woman figure with the purpose of illustrate a humoristic resource that can’t stay present in national television from a country that has a long way to regenerate. / Trabajo de investigación

This dissertation is an attempt and, if you will, a temptation to engage with the ‘disturbing’ prospect of the truth of skepticism. All of Stanley Cavell’s works refer to the truth of skepticism, and yet the discourse surrounding this concept is sparse and often engaged minimally. The truth of skepticism is that “the human creature’s basis in the world as a whole, its relation to the world as such, is not that of knowing, anyway not what we think of as knowing” (The Claim of Reason, p.241). In order to make sense of what he means by what “we think of as knowing” Cavell provides a philosophical framework in which to understand skepticism and what it threatens: through his notion of “criteria” taken from Ludwig Wittgenstein; the concept of the “ordinary” derived from the works of J.L. Austin; and the “search for community” as a problem of “acknowledgement” or “avoidance” as opposed to a problem of knowledge. I argue that the “standard” (Stephen Mulhall’s) reading of Cavell fails to fully account for the truth of skepticism and I propose reading Cavell as a Nietzschean Versucher – one who attempts and searches endlessly, never fully embracing any particular view. By reading Cavell in this way, I explore how to do genuine philosophy and consider how to address the role of traditional epistemological problems in the face of Cavell’s framework. Beyond the traditional philosophical questions of skepticism, I address how the theoretical musings of the first half of the dissertation can be used in practice – or one could say how they reflect on the ordinary. Following Cavell, I connect philosophy and art as sister disciplines concerned with similar problems such as epistemological skepticism itself. To show these connections I analyze two plays and three films: Shakespeare’s The Winter’s Tale and Othello, alongside The Philadelphia Story (1940), Eternal Sunshine of the Spotless Mind (2004), and Her (2013). By engaging these pieces with Cavell’s philosophical framework in mind, I show how sexual jealousy is a form of living one’s skepticism in a real context that cannot be so easily dismissed by philosophers who claim that skepticism is somehow empty, confused, or nonsense. By showing how the threat of skepticism is a part of our ordinary lives, I conclude by considering how we might recover from our skepticism. Skepticism is not the end, it is the beginning.

Este protocolo de investigación trata de analizar los roles de género evidenciados en personajes femeninos en 4 películas peruanas de género comedia: Como en el cine (2015), La peor de mis bodas (2016), Soltera codiciada (2018) y No me digas solterona (2018). El objeto de estudio es la construcción de los personajes femeninos a partir de sus tres dimensiones: física, social y psicológica, con un enfoque de género. El objetivo de la investigación es señalar las continuidades y los cambios que se dan en los roles de género de los personajes protagónicos o co-protagónicos de las películas anteriormente mencionadas y evidenciar la clase de representación que se hace de los personajes femeninos en un género cinematográfico en auge. Asimismo, la metodología empleada consta de un enfoque cualitativo con un paradigma de investigación interpretativo, ya que se analiza un contenido audiovisual. Por lo tanto, se hace un estudio de casos y se tiene una ficha de análisis de contenido como instrumento. / This research protocol tries to analyze the gender roles evidenced in female characters in 4 Peruvian films of the comedy genre: Como en el cine (2015), La peor de mis bodas (2016), Soltera codiciada (2018) and No me digas solterona (2018). The object of study is the construction of female characters from three dimensions: physical, social and psychological, with a gender perspective. The objective of the research is to point out the continuities and changes that occur in the gender roles of the leading or co-leading characters in the aforementioned films and to demonstrate the kind of representation made of female characters in a booming film genre. Likewise, the methodology used consists of a qualitative approach with an interpretative research paradigm, since audiovisual content is analyzed. Therefore, a case study is carried out and there is a content analysis file as an instrument. / Trabajo de investigación

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This thesis introduces two author's fairy tale musicals called Snow White and Cinderella. These musicals are intended for the early and late school-aged children. To understand the broader context and to provide for more information about this particular genre, the theoretical part discusses how musicals as a musical genre was created and then, it discusses its development, changes, forms and main features. It provides the information about the development of musicals in both the Czech Republic and abroad. Then, it elaborates on the professional musicals production for children (being the performers), again both abroad and in the Czech Republic. This is then followed by a practical part that introduces the two pieces mentioned above. It presents the information about their creation, realisation and motivation. In addition, it presents a critical analysis of their appropriateness for the child performers in light of their musical skills, abilities and the specifics of this age group while focusing on the music components of these pieces, such as melodic and harmonic aspects of the musicals, any key issues and issues of the transition from one key to another, rhythm, tempo changes and any challenges given by the dramatic expression and ability to speak other languages. The analysis was performed...

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Notre mémoire se veut une lecture de la version américaine de la série à succès The Office (NBC, 2005-2013) à travers la métaphore dramaturgique du sociologue Erving Goffman (1922-1982). Ce rapprochement permet une riche analyse, puisque la série comme le penseur placent le malaise au cœur de leurs projets respectifs. En ayant comme prémisse fictive d’être un documentaire, ainsi qu’en se faisant une satire de l’auto-spectacularisation des participants de télé-réalité, The Office explicite la métaphore dramaturgique goffmanienne. Les personnages de la série, et particulièrement le protagoniste Michael Scott, rendent constamment sensible le fait qu’ils sont en représentation. Le malaise étant une émotion fondamentalement désagréable, la série semble désigner les règles qu’elle considère comme essentielles à la cohésion du groupe en nous faisant subir leur transgression. Le malaise que nous éprouvons deviendrait l’occasion pour nous d’expérimenter les conséquences sociales de transgressions, nous apprenant du même coup l’importance de respecter les normes. D’abord, nous essayerons de déterminer si la série permet quelque chose comme un apprentissage par la négative des règles sociales. Dans un deuxième temps, nous tenterons de prouver que certains épisodes présentent un discours différent de celui de Goffman sur la transgression des normes sociales, présentant des moments où le malaise peut être vécu par les personnages comme des opportunités d’approfondir certaines relations interpersonnelles ou de faire des gains politiques. / Our study is intended as a reading of the American version of the successful series The Office (NBC, 2005-2013) through the dramaturgical metaphor of sociologist Erving Goffman (1922-1982). This rapprochement allows for a rich analysis as both the series and the sociologist place social embarrassment at the heart of their respective projects. With the fictional premise of being a documentary, as well as satirizing the self-spectacularization of reality TV participants, The Office makes Goffmanian dramaturgy explicit. The characters in the series, especially protagonist Michael Scott, constantly make us sensitive to the fact that they are in performance. Embarrassment being a fundamentally unpleasant emotion, the series seems to point to the rules it sees as essential to group cohesion by making us suffer their transgression. The discomfort we feel could become an opportunity for us to experience the social consequences of transgressions, teaching us the importance of upholding norms. First, we'll try to determine if the series allows for something like "negative learning" of social norms. Second, we will try to prove that some episodes convey a different narrative than Goffman's on the transgression of social norms, presenting moments when embarrassment can be experienced by the characters as opportunities to deepen some interpersonal relationships or to make political gains.

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