A presente dissertação tem por objetivo compreender o sentido que Nietzsche confere ao riso no interior de seu pensamento. Para tanto, foi preciso considerar o riso à luz do conceito de vontade de potência, de modo a determinar o aspecto sob o qual Nietzsche o interpreta e o motivo pelo qual esse riso é digno de seus investimentos filosóficos. Deste modo, partimos com a noção de que o riso se exprime como um juízo avaliativo: atitude valorativa que, no caso da valoração nobre, manifesta (e quer) aumento de forças. A partir desse primeiro tópico, analisamos o conceito de gaia ciência [alegre saber], apresentado em livro homônimo, com o qual o riso se irradia pelo pensamento e se torna um fator imprescindível diante das questões e tarefas a que Nietzsche se coloca. Aqui, o riso atua como páthos afirmativo e efeito da elevação de potência; os pensamentos a ele correspondentes são igualmente afirmativos, o que, por sua vez, permite um vigor filosófico para a crítica radical dos valores. A idiossincrasia desse riso de Nietzsche, se vê, pois, realçada quando o cotejamos com temas tais como a linguagem, o estilo, a crítica e o conceito de tartufesco. Com efeito, a partir de tais considerações procuramos esboçar algumas linhas acerca da relação do riso com a ideia do além-do-homem, bem como compreender a inovação que Nietzsche promove na história do pensamento filosófico sobre o riso. / The present dissertation aims to comprehend the meaning that Nietzsche gives to laughter within his thought. Therefore, it was necessary to accept laughter under the concept of will to power in order to precise the aspect in witch Nietzsche interprets it and the motive that makes laughter worthy of his philosophical investments. Thus, we start with the notion of laughter as an evaluative judgment, an evaluative attitude, which in the case of noble valuation, manifests (and wants) increase of forces. From this topic, we analyzed the concept of a gay science(presented in the eponymous book); in witch, laughter became an important factor regarding the issues that Nietzsche arise. Here, laughter works as an affirmative páthos and effect of an elevation of power, the thoughts related to laughter are correspondingly affirmative, which in turns allows a philosophical strength towards the radical critics of values. The idiosyncrasy of Nietzsches laughter highlights when collated with themes as language, style, critics and the concept of tarffufe. Indeed, from these considerations we may be able to outline a conclusion on laughters relation with the idea of overman, and understand the innovation that Nietzsche promotes on the history of philosophical thought about laughter.

Scholarly research on comical popular theatre is rare in the Swedish context even though the genre has attracted large audiences throughout the 20th century. Nils Poppe is one of the greatest Swedish actors in the comical genre and he is famous for his playful acting style. With my Master’s dissertation I aim to shed some light on both the genre and this great actor. Another aim of this Master’s dissertation is to gain understanding of what causes the audience’s laughter experiencing Nils Poppe’s comical acting. To understand the audience response to the comical acting I need to study the communication between the actor and the beholders.   In doing this I use Bert O. States phenomenological approach, in which he divides the communication into three modes in which the beholder experiences the action. In each of these modes I then use complementary concepts and theories to analyze the audience’s laughter. My analysis starts with the Representational mode in which the focus is on the fiction of the play. Using semiotics, I discuss Poppe’s characters as a stock character related to the Commedia dell’arte character Harlequin and other clown characters, which are imbedded in the audience’s memory. With examples from a play I show why the audience laugh in different scenes.  In the next chapter, I analyze the Self-expressive mode in which the artist at stage is in focus. While experiencing the fiction of the play the audience simultaneously experiences the reality on stage. The actor is present and Poppe’s real face, body and voice is affecting the audience’s response. The final mode is the Collaborative mode in which the collaboration between the actor and beholder is analyzed. The direction of the play and how Poppe interacts with the audience is increasing the impression of presence among the audience. In his acting, Poppe breaks the theatrical conventions of the separation between fiction and reality, and in improvisations, he challenges both the audience and fellow actor’s notion of theatre. The result of the study implies that some laughter can’t be explained just by studying each of these modes separately. When the character leaves the fictional play and acts within the audience reality, or when the actor on stage is understood as part of the fiction an incongruity is created that tends to make the audience laugh.

A presente dissertação tem por objetivo compreender o sentido que Nietzsche confere ao riso no interior de seu pensamento. Para tanto, foi preciso considerar o riso à luz do conceito de vontade de potência, de modo a determinar o aspecto sob o qual Nietzsche o interpreta e o motivo pelo qual esse riso é digno de seus investimentos filosóficos. Deste modo, partimos com a noção de que o riso se exprime como um juízo avaliativo: atitude valorativa que, no caso da valoração nobre, manifesta (e quer) aumento de forças. A partir desse primeiro tópico, analisamos o conceito de gaia ciência [alegre saber], apresentado em livro homônimo, com o qual o riso se irradia pelo pensamento e se torna um fator imprescindível diante das questões e tarefas a que Nietzsche se coloca. Aqui, o riso atua como páthos afirmativo e efeito da elevação de potência; os pensamentos a ele correspondentes são igualmente afirmativos, o que, por sua vez, permite um vigor filosófico para a crítica radical dos valores. A idiossincrasia desse riso de Nietzsche, se vê, pois, realçada quando o cotejamos com temas tais como a linguagem, o estilo, a crítica e o conceito de tartufesco. Com efeito, a partir de tais considerações procuramos esboçar algumas linhas acerca da relação do riso com a ideia do além-do-homem, bem como compreender a inovação que Nietzsche promove na história do pensamento filosófico sobre o riso. / The present dissertation aims to comprehend the meaning that Nietzsche gives to laughter within his thought. Therefore, it was necessary to accept laughter under the concept of will to power in order to precise the aspect in witch Nietzsche interprets it and the motive that makes laughter worthy of his philosophical investments. Thus, we start with the notion of laughter as an evaluative judgment, an evaluative attitude, which in the case of noble valuation, manifests (and wants) increase of forces. From this topic, we analyzed the concept of a gay science(presented in the eponymous book); in witch, laughter became an important factor regarding the issues that Nietzsche arise. Here, laughter works as an affirmative páthos and effect of an elevation of power, the thoughts related to laughter are correspondingly affirmative, which in turns allows a philosophical strength towards the radical critics of values. The idiosyncrasy of Nietzsches laughter highlights when collated with themes as language, style, critics and the concept of tarffufe. Indeed, from these considerations we may be able to outline a conclusion on laughters relation with the idea of overman, and understand the innovation that Nietzsche promotes on the history of philosophical thought about laughter.

The research includes critical analysis of scientific literature, discoursive analysis of stand-up comedy show scripts. The following methods used in the research to reveal the pragmatic effectiveness of the speech influence on public are: the statistic method and the method of translating. The linguistic material was collected with the use of the lingvocultural approach and based on the stand-up comedy show scripts and their translation into Russian language. The research reveals the peculiarities of creating comical effect in English-language stand-up comedy and the aspects of saving the comical effect during the translation of stand-up comedy shows into Russian language. The results of the research may be used as a guidance for translation of prose, interpreting humorous texts, revealing the role of cultural aspect in the process of creating and understanding comedy. It is also appropriate as a teaching material for students majoring in cognitive linguistics, psycholinguistics, the theory of translation and intercultural communication. / В исследовании используется критический анализ научной литературы, дискурсивный анализ скриптов «живых» выступлений в жанре стендап комедии. Также в ходе исследования используется статистический метод и метод перевода, позволяющие определить степень эффективности речевого воздействия выступающего на публику в рамках изучения прагматического потенциала речевых фрагментов, представленных в форме монолога. Выбор языковых явлений для анализа осуществляется с применением лингвокультурологического подхода, на основе скриптов выступлений в жанре стендап шоу на английском языке и текстов их перевода на русском языке. В ходе исследования выделяются особенности создания комического эффекта в стендап комедии в английском языке, а также приемы и способы сохранения комического эффекта при переводе на русский язык. Результаты исследования могут быть использованы при переводе художественных текстов, интерпретации юмористических текстов, раскрытии роли культурного аспекта в процессе создания и понимания комического, а также в преподавании таких лингвистических дисциплин в высших учебных заведениях, как когнитивная лингвистика, психолингвистика, теория перевода и межкультурная коммуникация.

O presente trabalho tem como objetivo essencial identificar e caracterizar o fenômeno emergente da expressão cômica gráfica na conversação natural e cotidiana em redes sociais virtuais, especialmente através de mensagens em linguagem híbrida. Nelas, imagens fixas e texto se combinam criativamente por meio de habilidades comunicativas, antes pouco exploradas por parte do usuário comum, como as habilidades de design associadas à expressão do humor, para difundir \"piadas\" sobre assuntos da atualidade entre círculos de amigos e seguidores. As unidades comunicativas, corpus deste trabalho, assumem o comportamento de memes visuais e sua tipificação sob os pontos de vista da sintaxe, semântica e pragmática, conforme proposto por Morris (1985), colaboram no esclarecimento da relação entre seus elementos constitutivos. A popularização de mensagens com tais características indica seu potencial de influência significativa tanto na manutenção e amplificação do \"capital social\" do usuário criador quanto nos novos traços culturais de uma emergente cultura gráfica amadora / The present work has main goal to identify and characterize the emerging phenomenon of graphic comic expression in natural and everyday conversation in virtual social networks, especially through messages in a hybrid language. These still images and text combine creatively through communication skills, previously little explored by the average user, and skills associated with the expression of mood design, to spread \"jokes\" on current affairs among circles of friends and followers. Communicative units, corpus of this work, assume the behavior of visual memes and their classification under the points of view of syntax, semantics and pragmatics, as proposed by Morris (1985), assist in clarifying the relationship between its constituent elements. The popularization of messages with such features indicates its potential to significantly influence on both the maintenance and amplification of \"social capital\" user as creator in the new cultural traits of an emerging culture amateur graphic.

Submitted by Mariana Dornelles Vargas (marianadv) on 2015-03-16T18:50:37Z No. of bitstreams: 1 tradicoes_contemporaneidade.pdf: 2890087 bytes, checksum: b8541487cb4fd17d2be97415557ee46f (MD5) / Made available in DSpace on 2015-03-16T18:50:37Z (GMT). No. of bitstreams: 1 tradicoes_contemporaneidade.pdf: 2890087 bytes, checksum: b8541487cb4fd17d2be97415557ee46f (MD5) Previous issue date: 2011 / Nenhuma / Esta pesquisa faz um delineamento do tecido comunicacional que se institui entre as construções humorísticas de um programa radiofônico e o imaginário identitário de sua audiência. Analisam-se os diferentes tipos sociais e cenários, estratégias humorísticas e relações com os ouvintes construídos no humorístico Top Show, exibido pela Rádio Peperi Top 104 FM, de São Miguel do Oeste (SC), bem como as relações com o contexto mediado/midiatizado da recepção. O objetivo é investigar como o programa de humor articula em suas construções humorísticas elementos simbólicos presentes no cotidiano cultural dos seus ouvintes e entender como se constituem os sentidos, as apropriações, os pactos e as recusas dessas construções na recepção do programa. Procura-se, então, analisar a construção discursiva das identidades regionais, expressa nos elementos caricatos e paródias apresentados no programa e nas operações simbólicas realizadas pelos ouvintes. Para a análise dos âmbitos de produção/produto/recepção adotou-se uma perspectiva multimetodológica que atenda essas diferentes dimensões do processo comunicacional. Os resultados apontam para uma mescla de referenciais vinculados à experiência midiatizada e às matrizes da cultura regional, como é o caso do sotaque, da tradição, do espaço rural e das identidades étnicas, os quais permeiam os dispositivos comunicacionais que constituem o produto midiático investigado, além de constituir pactos de leitura com a recepção. / This dissertation discusses the communicational texture instituted between the comedic constructions of a radio program and the identitarian images of its audience. It analyzes the different social types and scenarios, humor strategies and relationships with listeners that are constructed in the radio comedy program called Top Show, broadcast by Rádio Peperi Top 104 FM, an FM radio station in São Miguel do Oeste, state of Santa Catarina, Brazil, as well as the programs relations with the media-related context of reception. The dissertations goal is to investigate how that radio program includes in its comedic constructions symbolic elements that are present in the daily culture of its listeners and to understand how the meanings, appropriations, alliances and refusals of those constructions are constituted in the program?s reception. It also analyzes the discoursive construction of regional identities as expressed in the caricatural and parodistic elements that are presented in the program and the audiences symbolic operations. For the analysis of the areas of production/product/reception the author adopts a multi-methodological approach that covers these various dimensions of the communication process. The results show a blending of referents connected to the media-related experience and to the matrices of regional culture, such as accent, tradition, rural space and ethnic identities, which permeate the communicational devices that make up the radio program and establish reading alliances with the reception.

O presente trabalho tem como objetivo essencial identificar e caracterizar o fenômeno emergente da expressão cômica gráfica na conversação natural e cotidiana em redes sociais virtuais, especialmente através de mensagens em linguagem híbrida. Nelas, imagens fixas e texto se combinam criativamente por meio de habilidades comunicativas, antes pouco exploradas por parte do usuário comum, como as habilidades de design associadas à expressão do humor, para difundir \"piadas\" sobre assuntos da atualidade entre círculos de amigos e seguidores. As unidades comunicativas, corpus deste trabalho, assumem o comportamento de memes visuais e sua tipificação sob os pontos de vista da sintaxe, semântica e pragmática, conforme proposto por Morris (1985), colaboram no esclarecimento da relação entre seus elementos constitutivos. A popularização de mensagens com tais características indica seu potencial de influência significativa tanto na manutenção e amplificação do \"capital social\" do usuário criador quanto nos novos traços culturais de uma emergente cultura gráfica amadora / The present work has main goal to identify and characterize the emerging phenomenon of graphic comic expression in natural and everyday conversation in virtual social networks, especially through messages in a hybrid language. These still images and text combine creatively through communication skills, previously little explored by the average user, and skills associated with the expression of mood design, to spread \"jokes\" on current affairs among circles of friends and followers. Communicative units, corpus of this work, assume the behavior of visual memes and their classification under the points of view of syntax, semantics and pragmatics, as proposed by Morris (1985), assist in clarifying the relationship between its constituent elements. The popularization of messages with such features indicates its potential to significantly influence on both the maintenance and amplification of \"social capital\" user as creator in the new cultural traits of an emerging culture amateur graphic.

La postérité a considéré de manière privilégiée l’œuvre de Gérard de Nerval comme celle d’un poète sinon fou, du moins irrémédiablement mélancolique, en faisant peu de cas de son inspiration fantaisiste. Bien que parfois évoquée, cette facette de l’œuvre n’a à ce jour jamais fait l’objet d’une synthèse d’envergure. C’est à cette lacune quelque peu surprenante que notre étude ambitionne de répondre. Remettre à l’honneur la fantaisie de l’auteur des « Chimères » et d’Aurélia ne revient nullement à nier la folie nervalienne, mais plutôt à penser cette dernière en relation avec une fantaisie investie des aspirations romantiques les plus hautes, à remettre en question des traditions de lecture qui ont conclu à un isolement de l’œuvre au détriment d’une volonté de lucidité sans cesse réaffirmée par l’écrivain. Interroger la fantaisie nervalienne, c’est interroger les enjeux esthétiques, socio-politiques et éthiques d’une œuvre empreinte d’un enjouement fantasque qui s’est toujours voulue en prise directe sur l’actualité et soucieuse de refonder une communication littéraire alors en crise. / The works of Gérard de Nerval have mainly been regarded as the output of an irremediably melancholic, if not insane poet. However strongly established by his contemporaries, his fanciful inspiration, though occasionally mentioned, has never been subjected to thorough investigation. The ambition of this study is to rectify this rather intriguing omission. Delving into the fancy of the author of « Les Chimères » and of Aurélia, rather than denying Nerval’s madness, consists in assessing its connection with a fancy expressive of the highest romantic aspirations, as well as challenging customary interpretations that concluded in the isolation of an author’s writings, in spite of his own repeated assertions of lucidity. Probing Nerval’s fancy amounts to questioning the aesthetic, socio-political and ethical stakes of works imbued with whimsical cheerfulness, always bent on facing reality and eager to re-establish a literary communication that was then going through a critical period.

L’enjeu de cette thèse a pour objet deux corpus fondamentaux pour le Moyen Âge français, et plus généralement pour la littérature européenne, soit le Roman de Renart et les fabliaux. Néanmoins, la relation en tant que telle entre les deux reste peu analysée jusqu’à présent. Si les aspects thématiques communs de ces textes ont souvent été perçus par la critique, celle-ci n’a jamais véritablement posé les divergences qui s’opéraient dans ces thèmes, notamment dans la façon dont ils sont employés au sein de deux genres dont l’organisation est très différente. Si l’on peut envisager les deux genres comme relevant du récit comique bref, il faut alors interpréter les dynamiques à l’œuvre, si l’on définit la notion comme mouvements qui concourent à un processus, c'est-à-dire de questionner ce qui fait de ces deux corpus des récits comiques brefs, que ce soit de façon convergente ou divergente. / The purpose of this thesis is to compare the Roman de Renart with the fabliaux, which are often brought closer together by critics, particularly because of their comical nature. While the common themes of these texts have often been described, no study has ever really analyzed the divergences that occurred in these themes, especially in the way they are used in two genres whose organization is very different, since we have a serial narrative on one hand, and stories independent on the other hand. If we want to consider that both of them belong to the same type of story, then we must interpret their narrative dynamics. We can define the notion as movements that contribute to a process, that is to say, to examine their classification as comical short narratives, whether convergent or divergent. In fact, brevity turns out to be a problematic notion, the Roman de Renart and the fabliaux having a different relationship with the question. What unites them is more a narrative tension of the plot created by effects of surprise, reversals, deviations, but especially the dynamics of the intra- and extra-textual echoes

Au Québec, le genre cinématographique le plus populaire est sans contredit la comédie. Ces films sont ceux qui remportent le plus de succès au Box-Office national et sont souvent appréciés autant par la critique que par le public. D’une posture « proféministe », ce mémoire vise à démontrer comment les représentations de la masculinité, ou plutôt des masculinités, représentent l’objet du rire dans six comédies québécoises : Les Boys (Saia 1997), Québec-Montréal (Trogi 2002), Horloge biologique (Trogi 2005), Les 3 p’tits cochons (Huard 2007), De père en flic (Gaudreault 2009) et De père en flic 2 (Gaudreault 2017). Dans ces films, les homme sont souvent représentés comme étant centrés sur eux-mêmes, libidineux, compétitifs, immatures, stupides ou encore « féminisés ». Ces « failles » masculines permettent aux personnages masculins d’être comiques malgré des comportements parfois problématiques. Dans ces comédies, on tend à catégoriser les individus selon leur sexe, ce qui semble affecter le potentiel comique des personnages. D’une part les hommes sont faillibles mais tout de même amusants et donc divertissants. D’autre part, les femmes sont quant à elles stables et sont les représentantes de normes sociales plus acceptées, ce qui les rend ennuyantes et non-comiques en comparaison. Le comique semble être principalement l’affaire des hommes dans ces films, ce qui fait en sorte qu’hommes et femmes n’ont pas le même temps d’écran, faisant de celles-ci l’Autre aux yeux des protagonistes masculins. Cette attention plus importante accordée aux hommes leur permet d’être ciblés par le ridicule, un phénomène de nature disciplinaire. Les hommes sont comiques grâce à ce ridicule qui les cible en particulier. Ce ridicule témoigne aussi d’une « gender police », suggérant une surveillance entre les personnages masculins qui veulent s’assurer que les autres hommes agissent dans le cadre de normes masculines traditionnelles. Ceux qui peinent à se comporter adéquatement, comme de « vrais hommes », sont ciblés par le ridicule qui les incite à performer afin de pouvoir s’identifier à des configurations normatives de la masculinité. C’est pourquoi, bien souvent, les personnages parviennent à atteindre une masculinité « non-ridicule ». Nous estimons qu’il s’agit là d’un « décentrement » suivi d’un « recentrement » de leur masculinité. Leur comportement problématique s’en voit banalisé et vient servir le comique. De la sorte, ces comédies québécoises réitèrent des représentations traditionnelles des genres sans pour autant les contester, ce qui est ultimement à l’avantage des hommes. / In Quebec, the most popular and successful film genre is without a doubt comedy. These movies are the most successful at the national Box Office and are usually appreciated by both critics and audiences alike. From a “profeminist” perspective, this thesis aims to demonstrate how representations of masculinity, or masculinities, become a means to provoke laughter in six Quebec comedies: Les Boys (Saia 1997), Québec-Montréal (Trogi 2002), Horloge biologique (Trogi 2005), Les 3’ptits cochons (Huard 2007), De père en flic (Gaudreault 2009) and De père en flic 2 (Gaudreault 2017). In these movies, men are portrayed as being self-centered, horny, competitive, immature, dumb or even “unmanly”. These masculine “flaws” are precisely what make these male characters funny, despite how problematic their behavior can become. These comedies also tend to categorize individuals based on their biological sex, which seems to be linked to their capacity to provoke laughter. On the one hand, men are flawed but still funny and thus entertaining, while women, on the other hand, represent stability and more accepted social norms, which makes them boring and less funny in comparison. The “comical” appears to be exclusive to men in these comedies. In that regard, genders get an uneven time of screen, often making women the “Others” to the male protagonists. This greater attention on men allows them to be targeted by ridicule, an inherently disciplinary state of being. Despite being constantly ridiculed for their actions, male characters are still funny, thanks to a ridicule that affects them more than it does for women. This ridicule also seems to act as a “gender police”, suggesting a male-male gaze. Men gaze upon one another to make sure male characters act in accordance with traditional masculine norms. Therefore, they try to avoid being ridiculed under the gaze of other men. The ones who can’t act accordingly see themselves becoming the target of ridicule, which becomes a means for men to reach normative configurations of masculinity. What seems paradoxical is how men are usually able to reach a “non-ridicule” masculinity. We consider this to be part of a “decentralization” followed by “recentralization” of their masculinity. Their questionable behavior, typical of traditional and normative masculinities, is thus trivialized and serves comical purposes. By doing so, these six Quebec comedies reassert traditional representations of genders without questioning them, which mostly benefits men.