Le but de ce mémoire est la description et l'analyse de la langue d'"AT" (au niveau lexical principalement) en tentant d'y repérer des tendances ; parallèlement aux procédés ״normaux״ et prévisibles du français, nous y découvrons des faits insolites et irrésistiblement drôles. Greg, l'auteur d'“AT“, manipule le mot dans sa morphologie et sa graphie avec une intention d'expressivité pour nous amuser, nous faisant par la même occasion prendre conscience de la complexité de notre langue française. Nous sommes amenés à démonter quelques mécanismes d'humour d'origine linguistique et à faire une réflexion sur le langage en général. Pour ce faire, nous utilisons un corpus de plus de 400 mots, dont la majorité, que nous avons appelés talonnismes, sont des mots complètement nouveaux ; nous donnons ensuite un aperçu d'autres phénomènes. / Québec Université Laval, Bibliothèque 2017

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2023. / Au cours du dernier demi-siècle, nombre d'exégètes choisissent d'interpréter *Jonas* à la lumière de ses incongruités. À leurs yeux, le lecteur qui veut comprendre ne doit pas juste lire, mais aussi rire. Mais rire de qui, de quoi, comment et pourquoi ? Leurs perspectives herméneutiques sont loin d'être univoques. Ce mémoire vise à étudier comment ces lecteurs de *Jonas* réfèrent aux concepts d'ironie, de satire, de parodie ou d'humour, et en quoi ces grilles de lectures contribuent (ou non) à l'émergence d'une polysémie interprétative. Cet enjeu sera exploré au moyen d'une analyse qualitative de dix publications exégétiques situées à la fin du XXᵉ - début du XXIᵉ siècle. Le premier chapitre est dédié aux herméneutiques ironiques d'Edwin Good (1965), James S. Ackerman (1981) et Carolyn J. Sharp (2009). Le second examine les perspectives satiriques de Millar Burrows (1970), John C. Holbert (1981) et Stephen D. Cook (2019). Le troisième porte sur les lectures parodiques de John A. Miles (1975) et Will Kynes (2011). Le quatrième est dédié aux interprétations humoristiques de Willie van Heerden (1992) et L. Juliana M. Claassens (2015). Pour chaque proposition, l'analyse porte sur (i) le cadre conceptuel et terminologique utilisé pour décrire les incongruités du livre, (ii) la manière dont est interprété son but littéraire, et (iii) les enjeux déterminants de la démarche exégétique. Le cinquième chapitre explore les enjeux de polysémie interprétative de l'échantillon au moyen d'une mise en dialogue comparative. Cette recherche démontre que l'adoption d'un paradigme littéraire influence toujours la manière de lire *Jonas*, mais que cet élément ne permet pas de discriminer la pluralité des lectures, notamment parce que les concepts d'ironie, de satire, de parodie et d'humour sont non-consensuels. Par ailleurs, l'interprétation de *Jonas* dépend surtout des préoccupations exégétiques du moment, des stratégies de lecture, et des postures théologiques adoptées. / For half a century, many exegetes have chosen to interpret *Jonah* in the light of its incongruities. In their eyes, the reader who wants to understand must not only read, but also laugh. But laugh at whom, at what, how and why? Their hermeneutical perspectives are far from univocal. This thesis aims to study how these readers of *Jonah* refer to the literary concepts of irony, satire, parody or humor, and in what way these readings contribute (or not) to the emergence of an interpretative polysemy. This issue will be explored through a qualitative analysis of ten exegetical publications from the late 20ᵗʰ and early 21ˢᵗ centuries. The first chapter is devoted to the ironic hermeneutics of Edwin Good (1965), James S. Ackerman (1981) and Carolyn J. Sharp (2009). The second examines the satirical perspectives of Millar Burrows (1970), John C. Holbert (1981), and Stephen D. Cook (2019). The third focuses on parodic readings by John A. Miles (1975) and Will Kynes (2011). The fourth focuses on humorous interpretations by Willie van Heerden (1992) and L. Juliana M. Claassens (2015). For each proposal, the analyze focuses on (i) the conceptual and terminological framework used to describe the book's incongruities, (ii) how its literary purpose is interpreted, and (iii) the defining issues at stake in the exegetical approach. The fifth chapter explores issues of interpretative polysemy in my sample through a comparative dialogue. This research shows that the adoption of a literary paradigm still influences the way *Jonah* is read, but that this element does not allow for the discrimination of the plurality of readings, notably because the concepts of irony, satire, parody and humor are not consensual. Moreover, the interpretation of *Jonah* depends above all on the exegetical preoccupations of the moment, the reading strategies, and the theological postures adopted.

Dans le monde de la traduction littéraire, l'humour est réputé soulever des difficultés particulières et les travaux sur sa traduction portent le plus souvent sur des jeux de mots, des plaisanteries ou des textes courts. Rares sont ceux dont l'objet est la traduction de l'humour dans un texte long, comme un roman. L'objet de cette recherche est l'humour dans le roman de David Lodge intitulé Deaf Sentence et dans sa version française, La vie en sourdine, réalisée par Maurice et Yvonne Couturier. La thèse compte cinq chapitres. Le chapitre 1 est consacré à une revue de travaux sur l'humour raconté, puis lexicalisé et ensuite étudié. Dans le chapitre 2, j'expose les cadres conceptuel et opératoire qui balisent l'étude de cas et dans le chapitre 3 je présente David Lodge, le roman étudié et le couple Couturier qui a créé la version française. Le chapitre 4 est consacré aux passages du texte de départ auxquels j'ai attribué des effets humoristiques, ou qui contribuent à ces effets, et le chapitre 5 au texte d'arrivée, à ses similitudes et à ses différences avec le texte de départ ainsi qu'au sort que connaissent dans le texte d'arrivée les analogues des passages du texte de départ auxquels j'ai attribué des effets humoristiques, ou qui y contribuent. Suivent la médiagraphie et les annexes. / In literary translation, humour is known to raise numerous difficulties and the scholars interested in its translation most often study puns, jokes, and short texts, leaving aside the translation of humour in long texts, such as novels. The object of this study is humour in David Lodge's novel, Deaf Sentence, and in its French version, La vie en sourdine, translated by Maurice and Yvonne Couturier. The thesis has five chapters. Chapter 1 is devoted to humour narrated, lexicalised and studied. In chapter 2, I lay out the conceptual and operational frameworks of the case study and in chapter 3 I introduce David Lodge, the novel under study and the Couturier couple who created the French version. Chapter 4 focuses on the passages in the source text to which I attributed humorous effects, or which contribute to them, and Chapter 5 is dedicated to the target text, its similarities and differences with the source text and the fate of the passages to which I attributed humorous effects, or which contributed to it, in the source text. Mediagraphy and appendices follow.

Text in English / As some criticism and hesitations have been expressed with regard to the implementation of provocation in psychotherapy, this study aimed to explore the experiences of clients and a therapist who participated in provocative psychotherapy. In order to do this, a concise theoretical description of the nature of provocative psychotherapy was provided along the lines of the work of Frank Farrelly and Maurizio Andolfi. Participants' experiences of provocation in psychotherapy were consequently presented by means of three case studies. A description of the experience of provocation in psychotherapy was co-created through the identifying of certain themes underlying of the three client groups' and the therapist's descriptions of their experiences. This was done by employing a qualitative research methodology to describe the experiences of clients and a therapist who participated in provocative individual-, couple- and family psychotherapy. / Psychology / M.A. (Clinical Psychology)

In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis.  The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.

The purpose of this study is to explore how the relation between gender and humour is maintained and challenged in the Swedish TV show Parlamentet. Using an interactional approach based on Judith Baxter’s theoretical framework for feminist post-structuralist discourse analysis, the study focuses on how communicative strategies are used in negotiating for the ideal position of “the successful comedian”. This position is seen as an ideal position in Parlamentet, where comedians do political parody. In the conversation sequences examined in this study, both verbal and bodily semiotic modes have been analyzed using conversation analysis and multimodal analysis. The study focuses on how different communicative strategies encourage or reject the comedians and how this leads to different possibilities in negotiating for a powerful position, the position of the successful comedian. Humour is culturally seen as a male-coded discourse. The relations between humour and gender that are in focus are the hegemonic notions of women as lacking a sense of humour or being less humorous than men. The notions of gender are based on Judith Butler’s theories and hence seen as something performed through discourse and within a rigid regulatory frame where the subject’s possibilities are not infinite. The results of the study show that the female and male comedians do not have the same possibilities in the negotiation for the position of “the successful comedian”. The male comedians are strongly encouraged to a greater extent than the female comedians. The female comedians are also rejected to a larger extent than the male comedians. The male comedians are mostly rejected by the moderator whereas the female comedians are rejected by the moderator, male comedians and female comedians. The female comedians encourage other comedians to a larger degree than the male comedians. A significant finding of this study is that the relations between humour and gender, where women are seen as less humorous than men, are maintained when female comedians through discourse are made less humorous. However, there are strategies in the interaction that do encourage the female comedians or that lead to female comedian’s resist being rejected. These strategies indicate that the hegemonic cultural notions of women as less humorous than men are also challenged in this public discourse.

This paper focuses on the comic layers in Eddic mythological poetry, namely in Lokasenna, Hárbarðsljóð and Ϸrymskviða, and on their relation to the Old Norse religion. In the past, these comic and seemingly blasphemic poems used to be interpreted as a display of criticism of the religious system or, due to the impossibility to date their origin, as a product of late decadent paganism or even as a Christian satire of this religion. This paper shows that such interpretations are not necessary, and that the comic Eddic poems could have existed as a functional part of the Old Norse religion. It points out the affinity of the categories of religious humour and chaos. Subsequently, it presents various theories, mostly from the field of anthropology of religion, which show that a temporarily confrontation of order with chaos can be a desirable practise for a religion, and that humour can serve as a suitable means to achieve such a confrontation. The second part of the paper focuses on the particular Eddic poems. It analyses in detail their comic layers, and examines the possibilities of their function within the Old Norse religion on the background of the notion of piety and blasphemy in their time. It demonstrates their link to the tradition of ritualized verbal duels and other socio-cultural phenomena,...

The thesis "Role of the Men's Lifestyle Magazines in the Czech Media Market with Focus on the Maxim Magazine" deals with the analysis of five lifestyle magazines for men situated in the Czech Republic in 2011 - Playboy, Esquire, FHM, ForMen, and Maxim. The thesis begins with a brief introduction into the history of the studied magazines in the Czech Republic and further examines them from the content, language, and graphics perspective. Special attention is dedicated to Maxim as it is the most successful magazine in the segment. With the help of the discourse analysis in the interpretation of Teun A. van Dijk the work focuses on five categories that characterize the magazine discourse: the ambivalent approach to the traditional "heroic" masculinity, the way Maxim communicates with its readers, the role of humour (especially irony) and the magazine's view on homosexuals and women. The thesis demonstrates the ideological - sexist - base of the Maxim discourse with the support of demonstrative examples.

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Made available in DSpace on 2016-04-26T20:24:17Z (GMT). No. of bitstreams: 1 Gisela Barroso Istamati.pdf: 571052 bytes, checksum: c8761afbeb7d9fd7a9e54014c8dc2235 (MD5) Previous issue date: 2016-03-11 / The debate regarding the limits of expression have always been present in several scopes of discussion, whether political, social or academic. Notwithstanding, the analysis of the humoristic manifestation of this right is proposed when it concerns politicians, the people s legal representatives, thus questioned: does humor directed to politicians have constitutional limits? In this sense, the hypothesis of this work is that it shall have a greater tolerance in relation to the comunicative excesses of humor when concentrated to politicians and candidates. To verify if this work theory is subject to being concrete, the solid theoretical base exam was developed to comprehend the concept regarding the right to freedom of expression considering, essentially, of four focuses: a) negative and positive freedom; b) instrumental and constructive justification; c) prima facie preferential position; and d) internal and external theory to the limits of the fundamental rights. Furthermore, it is verified to which interpretation the Supreme Federal Court grants this right. Subsequently, these aspects examined were confronted with being applied to the analysis of the Direct Action of Inconstitutionality No. 4.451 ( jornalistic humor on candidature case ). With this, in conjunction with the theorical base developed, I seek to provide an adequate answer to the problem proposed in this work and, thus, verifying if the hypotheses becomes concrete in face of the Brazilian judicial order / O debate sobre os limites da liberdade de expressão sempre esteve presente em diversos âmbitos de discussão (políticos, sociais ou acadêmicos). Não obstante, o que se propõe é a análise da manifestação humorística deste direito quando se volta a políticos, representantes legais do povo, assim problematizado: o humor direcionado a políticos tem limites constitucionais? Neste sentido, a hipótese deste trabalho é que deve haver uma maior tolerância em relação aos excessos comunicativos do humor quando concentrado aos políticos e candidatos. Para verificar se esta hipótese de trabalho é passível de ser concretizada, desenvolveu-se o exame de sólida base teórica para compreender o conceito acerca do direito à liberdade de expressão a partir, essencialmente, de quatro enfoques: a) liberdade negativa e positiva; b) justificação instrumental e construtiva; c) posição preferencial prima facie; e d) teoria interna e externa aos limites dos direitos fundamentais. Ainda, verifica-se qual interpretação o Supremo Tribunal Federal confere a este direito. Em seguida, estes aspectos examinados foram aplicados à análise da Ação Direta de Inconstitucionalidade nº 4.451 ( caso humor jornalístico sobre candidaturas ). Com isso, em conjunto com a base teórica desenvolvida, busco fornecer uma resposta adequada ao problema proposto neste trabalho e verificar, assim, se a hipótese se concretiza frente ao ordenamento jurídico brasileiro