Orientador: Carlos Erivany Fantinati / Banca: João Luis Cardoso Tápias Ceccantini / Banca: Álvaro Santos Simões Junior / Banca: Alice Áurea Penteado Martha / Banca: Míriam Giberti Páttaro Pallotta / Resumo: Partindo da constatação de que a comicidade é um dos traços caracterizadores da produção literária de Monteiro Lobato, este trabalho objetiva estudar o processo de construção do humor nas narrativas infantis produzidas pelo autor. Visto que, ao incorporar esse elemento aos seus textos, Lobato propõe uma reinvenção da linguagem literária, este estudo prioriza também a análise da "solução lingüística adequada" encontrada pelo autor para, por meio do humor, projetar no texto literário as contradições da experiência humana. Para tanto, o texto se divide em três partes: A primeira destina-se à apresentação, em ordem cronológica, de estudos produzidos por autores significativos que reconheceram no humor um dos traços característicos da produção lobatiana. Priorizando a análise desse elemento nas obras infantis de Lobato, a segunda parte do trabalho estuda o humor a partir dos seguintes aspectos: narrador, linguagem, exploração dos recursos semânticos, nonsense, paródia, comparações inusitadas, ironia, cômico de situação, inversão/subversão, grotesco e personagens. Finalmente, na terceira parte, procede-se à síntese que se divide em dois momentos: primeiro, perscruta-se a gênese da verve humorística em Monteiro Lobato, enfocando-se questões como o momento histórico tensivo que serviu como cenário para o surgimento do autor; sua estréia literária na literatura adulta com produções de configuração satírica e caricaturesca; a importância do humor nos textos infantis lobatianos como elemento de renovação formal e temática da literatura infantil brasileira; e a maneira como o humor presente em seus textos estabelece o nexo e o equilíbrio entre a vida e a arte. Com base nessas considerações, o segundo momento destina-se à verificação da tensão entre continuidade e ruptura na utilização que Lobato faz dos recursos humorísticos. / Abstract: This thesis introduces a study about the process of construction of humour in the infantile narratives produced by Monteiro Lobato. It is based on the idea that humour is one of the distinguishing marks of the author. Incorporating this element, Lobato proposes a new literary language, so this study prioritizes the analysis of the author's linguistic choices and the way how this funny language shows the contradictions of the human experience. The text has three parts: The first one presents a list, in chronological order, of important critics whose works also recognized the humour as one of the distinguishing marks of Lobato's production. In the second part, the humour is studied in the following forms: narrator, language, semantic effects, nonsense, parody, unusual comparisons, irony, comical situations, inversion / subversion, grotesque and characters. Finally, the third part has two moments: First of all, in this last part, the study discuss the origins of humour of the author: the historical moment of him; his beginning as a writer of books for an adult public, with a critical production that brings satire and caricature of people; the importance of humour in Lobato's infantile books and the value of this element in formal and thematic innovation of Brazilian literature for children; the way how the humour in his books establishes the connection and the balance between life and art. The second moment of the third part is dedicated to examination of tension between continuity and rupture in humorous means used by Lobato. / Doutor

Com base no pressuposto de que o humor é um fenômeno regularmente presente em crônicas, esta tese pretende investigar as origens dessa relação. Por que motivo leitores diversos, estudiosos das Letras e do Jornalismo são categóricos nessa associação? Além disso, se o humor constitui traço marcante do gênero, como se caracterizam as estratégias que o possibilitam? Para que essas questões sejam respondidas, apresentamos a trajetória do fenômeno humorístico nas crônicas anteriores e posteriores à chegada da imprensa no Brasil. Ademais, com corpus oriundo do jornal O Globo, trabalhamos com a teoria semiolinguística do discurso, especificamente com o contrato de comunicação e com os modos de organização do texto. Nosso objetivo geral, em suma, é verificar até que ponto procedimentos discursivos vários podem explicar o funcionamento do humor em crônicas jornalísticas contemporâneas, contribuindo para que elas se tornem um ícone de sedução dos cadernos dos jornais, transmutando-se em colunas de entretenimento / Based on the presupposition that humor is a phenomenon that is usually present in chronicles, this thesis aims at investigating the origins of such relation. Why are diverse readers, language and journalism students categorical when it comes to this association? Moreover, if humor is a remarkable feature of the genre, how are the strategies that enable it characterized? In order to answer these inquiries, we present the trajectory of the humorous phenomena in chronicles prior and subsequent to the arrival of the Press in Brazil. Besides, we have worked with the semiolinguistic theory of the discourse with a corpus taken from O Globo a Brazilian newspaper. The corpus stems specifically from the communication contract and the modes of discursive-textual organization. Our main aim, in summary, is to investigate to what extent various discoursive procedures can explain the operation of humor in contemporary journalistic chronicles, contributing to their becoming of an icon of seduction in the different sections of newspapers, which eventually lead them to turn into entertainment columns

The thesis deals with the comic aspect of the first decade of Jan Neruda's vast column work. The main goal of the thesis is to define and clearly arrange the vague terms in the comic area as well as delimit the column within the author's entire journalist work. The first part of the thesis summarizes the research efforts made so far into Neruda's column journalism focusing on its comic component. The main part of the thesis is dedicated to the two basic forms of literary comic in Neruda's columns, satire and humour, specifically their foundations, means, forms, goals and topics. The incidence, stability and/or variability of the given comic tools are also discussed. In addition, the thesis describes the interrelating factors that significantly affected the form of the author's column comic in the decade observed: the then social and political climate, Neruda's model reader and (self) censorship. KEY WORDS Neruda, column, comic, satire, humour

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A idÃia de um âCearà molequeâ desde os fins do sÃculo XIX vem sendo gestada simbolicamente em narrativas ficcionais relatos memorialÃsticos revistas e jornais fazendo parte assim de um imaginÃrio e memÃria coletivos Tal rÃtulo pressupÃe que o âpovo cearenseâ à irreverente e alegre por natureza Contudo o sentido de um âCearà molequeâ precisa ser relativizado sob que perspectiva à utilizado como à interpretado e incorporado à cultura A partir de meados dos anos 1980 um grupo de artistas comeÃou a fazer shows de humor em bares e pizzarias nas noites da cidade de Fortaleza Deste entÃo esses profissionais sÃo tomados principalmente pelos meios de comunicaÃÃo locais como mais uma forma de expressÃo de um âCearà molequeâ ou de uma âmolecagem cearenseâ Uma pergunta cabÃvel à que âmolecagemâ à essa que eles fazem? Para ajudar a responder tal questionamento escolhi como campo de investigaÃÃo o trabalho do humorista Eddi Lima o qual figura hoje como um desses profissionais do humor no Cearà cuja figura representada à Madame Mastrogilda Destarte procuro de modo especÃfico por meio da observaÃÃo do show humorÃstico de Madame Mastrogilda (Eddi Lima) e de entrevistas com o humorista que a interpreta descrever e explicar a maneira como este provoca o riso como faz humor / The idea of a âCearà molequeâ has been simbolized through the literature in brochures newspapers and magazines since the 19th century making its part in the collective imaginary and memory That label means that the people from Cearà are funny and humorous by nature However the meaning of a âCearà molequeâ is relative it is necessary to know which perspective it is utilized how it is interpreted and symbolically assimilated In the middle of the 1980âs a group of artists started to present humor shows at bars and pizzerias (pizza parlor) in the city of Fortaleza Since then these professionals are taken mainly by the local means of communication as another expression of a âCearà molequeâ or âmolecagem cearenseâ So a possible question is which is the âmolecagemâ of those artists To help answering that question I have studied the humorist Eddi Lima he is among of those artists that were mentioned Thus IÂve searched in a specific way through the Madame Mastrogilda (Eddi Lima) humor showÂs watching and through interviews with the humorist which interprets that character to describe and explain the way how that artist provokes some laughs how he deals with this ability to the humor

A presente tese analisa o percurso cômico do cinema na Itália até sua transformação em commedia all\'italiana. Transcorrido entre 1958 e 1977, o movimento baseou-se na representação neorrealista, no cinema mudo e na commedia dell\'arte para retratar a Itália durante o boom econômico iniciado nos anos 1950. Antecipados pelas trajetórias do diretor Vittorio de Sica e do cômico Totò, os grandes criadores empenharam-se em praticar um humorismo ácido e crítico. Diretores como Mario Monicelli, Dino Risi e Pietro Germi, atores como Alberto Sordi, Vittorio Gassman, Ugo Tognazzi, Nino Manfredi, Stefania Sandrelli, Monica Vitti e Franca Valeri, roteiristas como Age Incrocci, Furio Scarpelli, Rodolfo Sonego, Suso Cecchi d\'Amico, Ruggero Maccari e Ettore Scola retrataram a distopia italiana encenada nas ruas, nas praias, dentro dos automóveis. A era do consumismo desenfreado consumiu o próprio homem, e seu épico de angústias foi descrito no cinema por meio de máscaras cômicas. / This thesis analyzes the comic route of cinema in Italy until its transformation into the commedia all\'italiana. Between 1958 and 1977, the movement was based on the neo-realist representation, the silent film and the commedia dell\'arte, to portray Italy during the economic boom begun in the 1950s. Anticipated by the trajectories of director Vittorio de Sica and the comic Totò, the great creators committed themselves to practicing an acid and critical humor. Directors like Mario Monicelli, Dino Risi and Pietro Germi, actors like Alberto Sordi, Vittorio Gassman, Ugo Tognazzi, Nino Manfredi, Stefania Sandrelli, Monica Vitti and Franca Valeri, writers like Age Incrocci, Furio Scarpelli, Rodolfo Sonego, Suso Cecchi d\'Amico, Ruggero Maccari and Ettore Scola portrayed the Italian dystopia staged in the streets, on the beaches, inside the cars. The era of unbridled consumerism consumed man himself, and his epic of anguish was described in the movies by comic masks.

Made available in DSpace on 2014-06-12T18:33:41Z (GMT). No. of bitstreams: 2 arquivo7564_1.pdf: 1571381 bytes, checksum: e9fd61d35391b6a7959a4399b9296d6a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2006 / Da década de 1970 até os dias de hoje, a crítica especializada tem mostrado que o discurso paródico e a aproximação carnavalesca do alto e do baixo, do sublime e do grotesco, do épico e do cômico, caracteriza a segunda fase romanesca da obra de Machado de Assis, ignorando-se que a poética híbrida desejada pelo autor não se limitou à seara da prosa. Neste trabalho, estudamos, à luz dos conceitos de paródia e carnavalização, os poemas Pálida Elvira (1870) e O Almada (187-), com vistas a mostrar que neles Machado de Assis põe em prática, antes das Memórias póstumas de Brás Cubas romance que, segundo Enylton de Sá Rego (1989: 165), não é outra coisa senão uma re-escritura cômica do épico , a sua teoria da epopéia moderna, na qual, enviesadamente, se arma com os conceitos de paródia e apropriação. O resultado da análise identifica mais um traço de filiação na obra machadiana, ainda não devidamente registrada pela fortuna crítica do autor

La recherche sur l’humour au travail fait l’objet d’un intérêt limité depuis de nombreuses années. Pourtant, ce sujet est étudié dans plusieurs autres domaines, notamment en médecine, où ses bienfaits sont documentés. Plusieurs gestionnaires croient que l’humour est un aspect essentiel du monde organisationnel et qu’il devrait être davantage présent. Un des bienfaits attribués à l’humour est son impact sur le fonctionnement des équipes de travail. Suivant cette logique, la cohésion d’équipe, un concept y étant directement lié, devrait être favorablement influencée par la présence d’humour. De plus, l’humour semble corrélé à plusieurs variables positives au travail, notamment la rétention du personnel, la créativité, la satisfaction au travail et l’engagement. Cependant, le peu d’études ayant mis en relation l’humour et les fonctionnements d’équipes obtiennent des résultats mitigés et plus nuancés qu’initialement anticipé. Une seule des études recensées se penche directement sur le lien entre humour et cohésion d’équipe à l’aide d’un devis quantitatif. Afin de remédier à cette lacune de la documentation, un devis de recherche quantitatif est proposé, visant à déterminer la nature du lien existant entre l’humour (en fonction de l’humour positif, de l’humour négatif, de l’humour envers l’exogroupe et du soutien du gestionnaire envers l’humour) et la cohésion d’équipe (en fonction de la cohésion de tâche, de la cohésion sociale et de l’attraction envers le groupe). Pour ce faire, un échantillon de 281 travailleurs issus de trois établissements faisant partie d’un même centre hospitalier universitaire ont rempli des questionnaires auto-complétés mesurant la cohésion d’équipe, les climats d’humour et le soutien du gestionnaire envers l’humour. Les données ont notamment été analysées par l’intermédiaire d’analyses de régression linéaire multiples et hiérarchiques. Parmi les résultats les plus pertinents, on dénote le fait que l’humour de type positif est associé positivement à toutes les composantes de la cohésion d’équipe, tandis que l’humour de type négatif et l’humour envers l’exogroupe (exercé au détriment de la haute-direction et des politiques organisationnelles) sont négativement liés à la cohésion de tâche. Ces résultats indiquent que le fait de mesurer l’humour est approprié pour appréhender la cohésion d’équipe et alimentent un courant de recherche qui demeure peu exploré à ce jour. Ils permettent également d’affirmer que l’humour n’est pas en contradiction avec les objectifs et les tâches à accomplir et, en ce sens, pistent les gestionnaires et psychologues organisationnels sur les comportements à adopter face au phénomène. Finalement, l’inclusion de types d’humour non positifs dans la présente recherche vient nuancer les propos des défenseurs de l’humour au travail, en jetant de la lumière sur les liens nuisibles que l’humour négatif ou l’humour envers l’exogroupe entretiennent avec la cohésion d’équipe.

Sherman Alexie's work revolves around Native Americans—Native Americans who deal with problems such as poverty, alcoholism, transgenerational trauma, modern life, ethnic stereotyping, and institutionalized racism. His voice is thought-provoking, poignant, destabilizing, and also, absolutely funny. His unique approach to heavy political matters offers us a different way of resistance in which people laugh through their tears and maybe change how they react to the issues surrounding themselves. In this thesis, I offer an analysis of who Sherman Alexie is as an author in the United States. I also look into his importance for Turkey in terms of our issues of racism and our understanding of political humour, in hopes of influencing other destabilizing works through his translations. Later, I discuss how he is portrayed in the Turkish literary system by examining two of his translated books, The Lone Ranger and Tonto Fistfight in Heaven (Çılgın Atı Düşlemek) and Reservation Blues (Kızılderiliye Yer Yok), through Lawrence Venuti's views on the foreignization and domestication methods in The Translator’s Invisibility: A History of Translation. Subsequently, I present my translation of "Lawyer's League", "Can I Get a Witness?", "Do Not Go Gentle" and "Flight Patterns" from Ten Little Indians as an alternative translation method. Finally, I analyse the foreignization method in relation to translating Sherman Alexie, before explaining my translation choices.

I love you and I will always try my best.

Development issues are often described as important but dull, and ongoing stereotypical representations of a ‘distant other’ perpetuated by NGO’s and mainstream media create an increasingly disengaged public. In response to this, more creative means of communication are needed to increase engagement and counter dominant stereotypical narratives within the development sector. Humour is rarely considered as a communication strategy for development, but it has the potential to be an influential tool to lower societal barriers and challenge existing power relations. This explorative research aims to examine how humour could be potentially used to disrupt stereotypical narratives and form a site of resistance against concepts such as the White Saviour Complex. It aims to explore the ways humour can engage a broader audience and challenge stereotypical representations of aid, especially within the western media. Considering two primary case studies; online campaign RadiAid and tv mockumentary series the Samaritans, it will explore the ways humour can be used to persuade, raise awareness and increase likability, while also being used as a form of critique. Through the lens of social semiotics, it considers commonalities in how humour can be utilised and how audiences react to it. This research also aims to find the advantages and limitations of using humorous techniques in such contexts.