Cette thèse étudie comment la critique humoristique de l'actualité dans les médiasaudiovisuels de masse français est devenue un genre médiatique à part entière. Le travail« sérieux », « invisible », aux finalités « visibles », parfois surexposées, des « humoristesd'actualité », s'inspirant de la tradition des bouffons d'antan, revisite quotidiennement lesmises en récit journalistiques en les décalant, par « déboîtement ». Le croisement de troisspécialités sociologiques (des médias, du travail et de la critique), le recours à des entretienssemi-directifs (n=43) et à des corpus médiatiques conséquents (presse écrite et séquencesaudiovisuelles) permettent de décrire des trajectoires, des statuts, des savoirs-faire et des rôlesconstitutifs d'une expérience artistique et professionnelle. En interaction avec leurs deuxprincipales sources d'inspiration (professionnels de la politique et journalistes), les humoristesd'actualité produisent une critique réflexive, contestataire ou dénonciatrice. Cette critiquespécifique, méthode de dévoilement aux règles implicites et explicites, constitue une « carteblanche » pour aller le plus loin possible, malgré les risques (pressions, licenciements, procès,etc.), les polémiques régulières, les tentatives de construction de « lignes jaunes »(philosophique, politique, journalistique), et les controverses à la visibilité parfois maximale(affaire Strauss-Kahn), qui pèsent plus ou moins sur la définition des normes du travail(censure, autocensure, etc.). L'imagination créatrice des humoristes d'actualité participepleinement du processus de « publicisation critique » de la démocratie, et teste son idéal deliberté d'expression. / This thesis explores how the news humorous critic in the French audiovisual mass media hasbecome a media genre in its own right. The "serious", "invisible" work, made for "visible"ends, sometimes overexposed, of these "news humorists" who are inspired by the tradition ofjesters of old, regularly revisits journalistic narratives, and shifting them by "pulling-out"(déboîtement). The crossing of three sociological literatures (media, work and criticism),semi-structured interviews (n = 43) and a substantial media corpus (print media andaudiovisual sequences) allows us to describe the trajectories, statutes, know-how andconstituent roles of an artistic and professional experience. Interacting with their two mainsources of inspiration (elected officials and journalists), news humorists are producing a criticthat can be reflexive, protestive or reprobative. This specific critic, unveiling method, withimplicit and explicit rules, constitutes a "carte blanche" to go as far as possible, despite therisks (pressures, layoffs, lawsuits, etc.), regular polemics, attempts to set "yellow lines"(philosophical, political, journalistic), and controversies with high visibility (the Strauss-Kahncase), all of this weighing more or less on the definition of work standards (censorship, selfcensorship,etc.). The creative imagination of news humorists then fully participates in theprocess of "critical publicisation" of democracy, and tests its ideal of freedom of expression.

Si la parodie est loin d'être une pratique nouvelle, la première occurrence connue du terme remontant à l'Antiquité, elle a été jusqu'alors principalement envisagée comme un genre ou comme une figure littéraires. Et pourtant ses formes, ses connotations et ses procédés sont exploités par de nombreux artistes plasticiens. Dans les années 1960, l'avènement de la société de consommation et ses effets sur la reproductibilité de l'œuvre d'art donnent à la parodie un essor nouveau. Transformant l'histoire de l'art en un répertoire accessible dans lequel puiser à loisir pour créer à partir de, la reproductibilité offre des conditions idéales au jeu parodique. Comprendre comment et pourquoi des artistes d'horizons fort divers, des années 1960 à nos jours, se saisissent de la parodie, à des fins aussi bien personnelles que contextuelles, est l'objet de cette étude. État des lieux de la notion, la première partie s'attache à définir le terme et se penche sur les parodies réalisées depuis le milieu du XIXe siècle, des Salons caricaturaux au postmodernisme en passant par les avant-gardes historiques. La deuxième partie se construit autour du ludique, du comique et du satirique, compris comme autant de couleurs et de régimes. Enfin, la troisième partie est consacrée à la part réflexive de la parodie. Art sur l'art, cette dernière participe à une mise en cause institutionnelle et aspire à la dénudation du faire artistique lui-même. Tout au long de cette étude, la parodie apparaît comme une pratique essentiellement ambivalente, entre mauvais genre et pratique cultivée, gaminerie et jeu élitiste, dégénérescence de l'art et sursaut de créativité, destitution et aveu d'admiration, outrage et hommage. / The word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. The first part of this study is articulated around the precise definition of the term and a chronological view of the parodic art since the middle of the 19th century, from the Salons caricaturaux to postmodernism including historical avant- gardes. The notions of playfulness, comic and satiric will be discussed in the second part, in order to grasp the multiple shades of parody. The third and last part is devoted to the specular aspect of parody that leads to a questioning of the artistic institutions and aims to unveil the artistic practices themselves. Across these pages, parody appears as an ambivalent process, oscillating between mauvais genre and sophistication, childishness and elitism, barrenness and creative rebirth, destitution and admiration, outrage and tribute.

In DAYS ENDING IN WHY, interdisciplinary artist Julia Martin identifies the schism of her autobiographical practice: deep melancholia and absurd irony. The fragmentation of the works presented knowingly resist cohesion, instead, through their arrangements and the potentials of space between them, they carry on conversations with one another. Rooted in the personal narrative, the works span across multiple mediums; photography, film, installation/sculpture, and literature. Martin emphasizes both the tragic and the comedic, pacing the show as a play between the two. Also, there are cats. So many cats.

Cette thèse examine les différentes façons utilisées pour construire de l’humour en interaction dans deux séries américaines contemporaines—/Dr. House/ et /The Big Bang Theory/. A travers les différentes techniques d’écriture, nous observons les éléments utilisés pour construire des énoncés humoristiques. Le dialogue entre les personnages occupe une place fondamentale puisqu’il est centré sur les points de convergence et donc sur l’idée d’intersubjectivité entre les interlocuteurs.Cette étude est basée sur une expérience originale qui implique l’examen de la gestuelle utilisée par les personnages dans les deux séries pour créer des effets humoristiques. Les gestes et les différentes techniques humoristiques ont été annotés dans le logiciel vidéo ELAN qui permet une vision plus large sur les processus créant l’humour en interaction.Les résultats montrent une visible préférence pour le sarcasme en tant que catégorie de l’humour la plus utilisée dans le corpus. De plus, le corpus montre aussi une prédilection pour l’utilisation de certaines expressions du visage (haussement et froncement des sourcils) ainsi que certains mouvements de la tête (inclinaison et hochement). Ces éléments sont repris et expliqués en fonction de leur rôle dans le contexte et dans l’attitude des locuteurs pour une meilleure compréhension de l’humour en interaction. / This dissertation examines the different techniques used to achieve humor in interaction in two contemporary American television-series—/House M.D./ and /The Big Bang Theory./ Through different writing techniques, we observe the elements that are used in the process of humorous meaning construction. The dialogue between interlocutors plays a central role since it centers on intersubjectivity, and hence, the common ground between speakers.This original study also implies the investigation of the different gestures used by interlocutors in the two series to create humorous effects. These /gestural triggers/ as well as the different humor types have been annotated in ELAN, which allows a more holistic view of the processes involved in humor.The results show an evident preference for sarcasm as well as a preference for certain facial expressions (raising eyebrows and frowning) and head movements (head tilts and head nods). These elements are explained in accordance with a given context and with the speakers’ attitude for a better understanding of humor in interaction.

Series of the pictures on the material-direct principle. It means I paint by the material which I show.

An analysis was made of the personal and non-personal post-Soviet political anecdotes. It is argued that post-Soviet political anecdotes have been created during 2000–2019. The starting point is that the Russian word анекдот carries particular, cultural information and does not have a systematic equivalent in Swedish ot English, i.e. it can not be directly translated to English as anecdote or joke or to Swedish as anekdot, skämt, or vits. This was demonstrated in a brief comparison with Swedish jokes and anecdotes.  Using three text corpora with a total of 3,170 political anecdotes, I examined: (a) how events and politicians are described and how this can be decoded (corpus 1 and 3); (b) what topics are most common (corpus 2 and 3).  A more in-depth analysis of cultural references, pragmatics, semantics and deixis was made of 33 selected anecdotes, which were considered to be representative for the genre. The analysis showed that the thematics tend to be recurring, that few new anecdotes are added, old anecdotes are repeated and that the genre has undergone considerable changes during the past two decades. Such a change is the abscense of post-Soviet anecdotes with significant critique against politicians or sensitive political topics, as compared to earlier anecdotes, and a simplification of the genre. This development is a possible result of that anecdotes are no longer told as often as during previous decades, as well as the new Russian law § 282 implemented as of spring 2019, which affects the creation and distribution of anecdotes. By extrapolation, the observed changes could lead to parts of the most common anecdotes becoming tematic jokes in the future.

The purpose of this MA thesis is to analyse the function of the comic elements in several post-conflict Northern Irish plays that deal with the legacy of the Troubles. This thesis stems from the hypothesis that the approach towards the armed conflict has changed during the 20 years of peace and has allowed playwrights to offer comical perspectives that not only critically engage with the issue, but at the same time help both sides of the conflict deal with the remaining trauma caused by it. The thesis provides a close reading of four Northern Irish plays which have achieved a considerable critical acclaim. The four plays chosen for the purpose of this MA thesis are: Tim Loane's comedies Caught Red Handed (2002), produced by the Tinderbox Theatre Company, and first performed in 2002 as a site-specific piece at the Northern Bank Building in Belfast; To Be Sure (2007), also written by Tim Loane, which premiered at the Lyric Theatre in Belfast five years later;1 The History of the Troubles (accordin' to my Da) (2002), a collaboration between the playwright Martin Lynch and the comedians Connor Grimes and Alan McKee, first performed at the Northern Bank as a commission by the Cathedral Quarter Arts Festival; and David Ireland's Cyprus Avenue (2016), which premiered the Abbey Theatre in 2016. The choice...

Denna kandidatuppsats består av en längre översättning i form av en undertextning från nederländska till svenska, samt en kommentar till översättningen. Källtexten utgörs av inslaget De online fabeltjesfuik (ordagrant ’fabelryssjan’) ur det nederländska satiriska nyhetsprogrammet Zondag met Lubach. I kommentarsdelen beskrivs den teoretiska bakgrunden bakom den översättningsprincip och rangordning av översättningsprioriteringar som styrt undertextningsarbetet. Därefter behandlas ett urval av översättningsproblem samt strategierna för att lösa dem, med ett särskilt fokus på kulturella referenser och humor. Det största problemet utgörs dock i slutändan av översättningsformens egna begränsningar när det kommer till tid och utrymme, vilka styr alla andra översättningsval. / This bachelor’s essay consists of a longer translation in the form of Dutch-to-Swedish subtitles, including a section commenting on the translation. The source text is made up of the segment De online fabeltjesfuik (literally ‘the fable fyke’) from the Dutch satirical news show Zondag met Lubach. The comment section describes the theoretical background behind the translation principle and the translation priorities which have guided the subtitling. Then a sample of translation problems along with the strategies used to solve them are presented, focusing on cultural references and humour. The largest issue remains the inherent limitations of subtitling as pertains to time and space, which influence all other translation choices made.

The video-sharing platform TikTok has gained popularity over the last few years. During the recent Covid-19 pandemic, TikTok was implemented in health communication strategies to target a younger audience. The platform's humorous and entertaining jargon is somewhat contradictory to the intentions of health communication. The purpose of this study was to provide insights into how TikTok has functioned as a forum for health communication during the Covid-19 pandemic, and whether the humorous jargon has affected users’ trust. The intention is that the results will be useful guidance for health communicators if similar occurrences are to happen in the future. To fulfil the purpose, the main question “How is the perceived credibility of health communication affected by the humorous jargon on TikTok?” was formulated. Two sub-questions were added to provide a further understanding of how the platform has functioned as a forum for health communication, and how it can be refined; “What do users think of the platform as a forum for health communication?” and “How can health communication on TikTok be improved?”. The theoretical framework consisted of two related theories which are vital in the evaluation of reliability in communication. Firstly, the theory of source credibility concerns the audience’s trust in a communicator. Secondly, message credibility refers to the audience’s trust in a message. Qualitative interviews were considered a suitable method to apply to arrive at answers to the research questions. The method allowed to gather material on TikTok users’ experiences and motives concerning the subject of study. The results from eight interviews with Swedish users aged between 19-25 revealed that the humorous jargon on TikTok lessens the perceived credibility in health communication which is presented in a serious way. However, credibility is heightened when humour is used in health communication on the platform. Moreover, the study showed that TikTok is a valuable platform to implement in health communication strategies, especially to target younger people. Additionally, the potential for improvement concerning TikTok as a forum for health communication involves a greater presence of expert sources, further implementation of humour, and platform-tailored presentation of information. / Den videobaserade sociala medieplattformen TikTok har ökat i popularitet under de senaste åren. Under coronapandemin användes TikTok i hälsokommunikationsstrategier för att nå ut till en yngre publik. Den humoristiska och underhållande jargongen på plattformen kan ses som något motsägande i relation till syftet med hälsokommunikation. Denna studie syftade till att bidra med insikter till hur TikTok har fungerat som en plattform för hälsokommunikation under coronapandemin, samt hur den humoristiska jargongen har påverkat användares tillit till informationen. Förhoppningen är att hälsokommunikatörer kommer kunna använda resultaten som guidning om liknande händelser skulle inträffa i framtiden. Till hjälp för att uppfylla studiens syfte användes forskningsfrågan ”Hur påverkas den upplevda trovärdigheten i hälsokommunikation av den humoristiska jargongen på TikTok?”. För att bidra till ökad förståelse för hur TikTok fungerat som ett forum för hälsokommunikation, och för att ta reda på vad som kan förbättras, formulerades ytterligare två forskningsfrågor; ”Vad tycker användare om plattformen som ett forum för hälsokommunikation?” och ”Hur kan hälsokommunikation på TikTok förbättras?”. Det teoretiska ramverket bestod av två relaterade teorier som anses vara viktiga i bedömningen av trovärdighet i kommunikation. Den första teorin innefattar källtrovärdighet, och handlar om publikens förtroende till källor så som kommunikatörer eller avsändare. Den andra teorin innefattar även den trovärdighet, men handlar i stället om publikens förtroende till meddelanden eller information. Den metod som ansågs mest lämplig för att kunna besvara forskningsfrågorna var kvalitativa intervjuer. Metoden tillät att samla in TikTok-användares uppfattningar och motiv gällande det studerade ämnet. Resultaten från åtta intervjuer med svenska användare mellan 19–25 år visade att den humoristiska jargongen på TikTok minskar den uppfattade trovärdigheten gällande hälsokommunikation som är presenterad på ett seriöst sätt. Vidare visade det sig dock att trovärdigheten ökar när humor är involverat i själva hälsokommunikationen. Utifrån studiens resultat kan slutsatsen dras att TikTok är en värdefull plattform att dela hälsokommunikation på, i synnerhet när det gäller att nå en ung publik. Slutligen finns en del förbättringspotential gällande TikTok som forum för hälsokommunikation. Detta innefattar större närvaro av källor som besitter expertis, mer användning av humor, samt plattformsanpassad framställning av information.

It is important for passagers in public transport vehicles to understand the language used in those vehicles. It is possible for some, especially those conversant with Kiswahili, to understand the language used with some ease. To understand the features of language used in public transport, this paper examines stickers found in those vehicles as one mode of such communication. The paper establishes the language used as well as the humour evident in those stickers. The paper also shows both the positive and negative impact the stickers have on the passagers. Data used in this research has been collected through participant observation. The data has been presented using the explanatory method. Analysis of the data that was collected from the stickers was guided by the Impoliteness Theory. The results are important in filling the gap apparent in identifying the specific features that define the language used in public transport vehicles. The results will be useful to operators of public vehicles as they will guide them in improving their services through communication found on their stickers. They will avoid messages that can have a negative impact on their passagers.