Texte remanié de: Th.--Strasbourg, 1989. / Bibliogr. p. 427-434. Index.

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)

L’objet de cette étude est d’offrir une vision à la fois d’ensemble et particulière sur les revues satiriques publiées durant les dernières années du franquisme et pendant Transition démocratique. En effet, de nombreux bouleversements politiques et sociaux s’opèrent entre 1970 et 1982, ce qui représente objectivement une période relativement courte mais très riche en événements dans l’histoire de l’Espagne et de la Catalogne. En ce qui concerne la presse, l’entrée en vigueur de la Ley de Prensa e Imprenta en mars 1966 marque un point d’inflexion car elle supprime la censure préalable et permet le développement de publications beaucoup plus critiques et irrévérencieuses au début des années 1970, tels que Mata Ratos, Barrabás ou Por Favor. Très imprégnées par la tradition satirique catalane (comme Xut!, El Be Negre ou ¡Cu-Cut!), les revues de cette époque sont aussi influencées par la presse française, américaine et anglaise (Hara Kiri, Charlie Hebdo, National Lampoon, Punch, etc.). Peu à peu, elles réussirent à fissurer le carcan de la censure au prix de nombreuses mises sous séquestre, jugements, suspensions et condamnations. Après deux années troublées entre 1976 et 1978 où les menaces d’attentats contre les rédactions sont de plus en plus oppressantes, l’avènement de la démocratie est le point de départ d’un nouveau type d’humour plus général et incarné par El Jueves, et basé sur des faits de société ou d’actualité. De par leur style particulier et les thèmes qu’elles abordent, ces revues satiriques marquent profondément la société et le moment politique dans lequel elles évoluent. Leur impact est toujours perceptible aujourd’hui puisqu’El Jueves continue d’être publiée en 2017. / The purpose of this thesis is to provide both an overview and an analysis of the satirical journals published during the last years of Francoism and the Democratic Transition. Indeed, the country underwent many dramatic political and social changes between 1970 and 1982, which objectively represents a relatively short, extremely eventful period in the history of Spain and Catalonia. As concerns the press, the coming into effect of the Ley de Prensa e Imprenta in March 1966 marked an inflection point by suppressing prior censorship and paving the way for much more critical and irreverent publications, such as Mata Ratos, Barrabás or Por Favor, at the beginning of the 1970’s. Very much in debt to Catalan satirical tradition (e.g. Xut!, El Be Negre or ¡Cu-Cut!), the publications of the time were also influenced by the French, American, and English press (Hara Kiri, Charlie Hebdo, National Lampoon, Punch, etc.). Gradually, they succeeded in breaking the straitjacket of censorship at the cost of numerous confiscations, trials, suspensions and condemnations. Following two troubled years between 1976 and 1978, when editorial offices were subject to increasingly oppressive threats of attack, the advent of democracy was the starting point of a new, more general type of humor embodied by El Jueves and based on societal and current events. Due to their specific style and to the themes they dealt with, these satirical journals made a deep mark on society and on the political period. Their impact has endured, since El Jueves is still published in 2017.

Submitted by WALKIRIA FRANÇA VIEIRA E TEIXEIRA null (walkiriateixeira@bol.com.br) on 2016-03-15T14:26:55Z No. of bitstreams: 1 Tese Doutorado-WalkiriaTeixeira.pdf: 7185012 bytes, checksum: cde9f5b330243bb444a632477fa3b7bf (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-03-15T14:58:07Z (GMT) No. of bitstreams: 1 teixeira_wfv_dr_sjrp.pdf: 7185012 bytes, checksum: cde9f5b330243bb444a632477fa3b7bf (MD5) / Made available in DSpace on 2016-03-15T14:58:07Z (GMT). No. of bitstreams: 1 teixeira_wfv_dr_sjrp.pdf: 7185012 bytes, checksum: cde9f5b330243bb444a632477fa3b7bf (MD5) Previous issue date: 2016-02-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo deste estudo foi analisar a manutenção do humor no texto midiático, a partir da compilação e análise de três corpora paralelos das legendas em inglês e de suas respectivas traduções para o português dos episódios de três temporadas de cada uma das sitcoms Seinfeld, Friends e The Simpsons. Buscamos analisar elementos que pudessem contribuir para desencadear o humor nas sitcoms, e levantar se as ocorrências de humor seriam recorrentes aos diferentes tipos de sitcoms. Abordamos os estudos sobre humor desenvolvidos por Raskin (1979, 1985), Attardo e Raskin (1991), Attardo (1994, 2002, 2008) e Vandaele (1999b, 2010); os estudos sobre a Tradução do Humor Audiovisual feitos por Gottlieb (1992, 1998, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas e Sánchez (2006), Díaz-Cintas e Remael (2007) e Veiga (2006, 2009). Apoiamo-nos na abordagem interdisciplinar adotada por Camargo (2007, 2008), a qual se fundamenta no arcabouço teórico-metodológico dos Estudos da Tradução Baseados em Corpus lançados por Baker (1993, 1995, 1996, 2000, 2004), para a investigação de ocorrências dos vocábulos, além da metodologia da Linguística de Corpus adotada por Berber-Sardinha (2004). Contamos com o auxílio dos programas computacionais WordSmith Tools e Align Assist para auxiliar no levantamento dos dados. Os resultados apontaram que a frequência de Advérvios de Negação, Intensificadores e Interjeições presentes nas legendas das sitcoms podem se caracterizar como elementos constitutivos do humor. / The objective of this study was to analyze the maintenance of humor in the media text, starting from the compilation and analysis of a parallel corpus of English subtitles and their translations into Portuguese, from the episodes of three seasons of each sitcoms: Seinfeld, Friends and The Simpsons. We analyze the elements that could contribute to trigger the humor in the sitcoms, searching if the occurrences of humor would be recurring to the different types of sitcoms. We based our research in the studies of humor developed by Raskin (1979, 1985), Attardo and Raskin (1991), Attardo (1994, 2002, 2008) and Vandaele (1999b, 2010); the studies of Audiovisual Humour Translation made by Gottlieb (1992, 2001, 2005), Martinez-Sierra (2003, 2004), Carvalho (2005), Díaz-Cintas and Sánchez (2006), Díaz-Cintas and Remael (2007) and Veiga (2006, 2009). We rely on the interdisciplinary approach adopted by Camargo (2007, 2008), which is based on the theoretical and methodological framework of Corpus-Based Translation Studies proposed by Baker (1993, 1995, 1996, 2000, 2004), as well as the Corpus Linguistics methodology adopted by Berber-Sardinha (2004), in order to investigate vocabulary occurrences. We rely on the assistance of computer softwares WordSmith Tools and Align Assist to help with data collection. The results pointed that the frequency of Denial Adverbs, Intensifiers and Interjections present in the sitcoms subtitles’ can be characterized as humor elements’ constituents.

Made available in DSpace on 2016-06-02T20:13:10Z (GMT). No. of bitstreams: 1 2606.pdf: 930592 bytes, checksum: f4756c2d671b859733477486438959b2 (MD5) Previous issue date: 2009-03-06 / The research is an investigation about the phenomenon of the Laugh, from the studies of Henri Bergson and Sigmund Freud up to today's research on neuroscience, gelotology and several other studies on human behaviour. In order to better understand the Laugh, an accurate evaluation of the book " Laughter: An Essay on the Meaning of the Comic", by Henri Bergson is made as an attempt to better understand the main considerations set by the author, in his interpretation of this phenomenon as a Social Gesture and all the implications originated by such fact. In the second chapter of this study, Jokes and their Relation to the Unconscious , by Sigmund Freud, are closely analyzed in details, comparing Freud s and Bergson s approaches and analyzing the mechanisms proposed by Freud concerning the way the Joke works, pointing out the reasons why they would be told to others. The reading and analysis of this book are directed specifically to the study of the Laugh, not approaching any other aspect, relevant to the reading of Freud s work as a whole, which however, would deviate the focus of this work. All the efforts were dedicated to the comprehension of the jokes mechanisms studied by Freud as well as ways to obtain pleasure through them. At the end updated research is verified, such as the one from Richard Wiseman s Laugh Laboratory, that accomplished a worldwide research selecting which would be considered the funniest jokes by people. Also as an object of study there is the role of the mirror-neurones, an important finding that allows a clearer vision about primates and human s social behaviors. The possibility of the laughter to be a behaviour similar to the grooming of the primates is also raised, since both would be related to the exchange of pleasure among individuals viewing the benefit of the group. Following this line, a study is presented defining the laughter as a specific characteristic of the male gender, who would use this feature as an approach aiming at attracting a mate. There isn't a conclusive result, there is not a final word about the laughter because it is clear that in many circumstances the term ranges similar phenomena, which are not exactly the same. In the same way that there is multiple laughter, there are multiple areas that study the distinct variations of the Laugh. / A pesquisa é uma investigação sobre o fenômeno do Riso, partindo dos estudos de Henri Bergson e Sigmund Freud até as pesquisas atuais da neurociência, da gelotologia e dos variados estudos sobre o comportamento humano. Para compreender melhor o Riso, é feita uma avaliação detalhada do livro O Riso , de Henri Bergson, buscando compreender as considerações fundamentais estabelecidas pelo autor, na sua interpretação deste fenômeno como um Gesto Social e todas as implicações que derivam deste fato. No segundo capítulo deste estudo é analisado com detalhes O Chiste e sua relação com o Inconsciente , de Sigmund Freud, comparando as abordagens de Freud e Bergson e analisando os mecanismos propostos por Freud para o funcionamento do chiste e quais as razões pelas quais eles seriam contados. A leitura e análise deste livro são dirigidas especificamente ao estudo do Riso, deixando de abordar outros aspectos, importantes para a leitura da obra de Freud como um todo, mas que desviariam o foco deste trabalho. Todo o esforço foi dedicado à compreensão dos mecanismos do chiste estudados por Freud e das formas de obtenção de prazer através deles. Ao final, pesquisas atuais são estudadas, como as do Laboratório do Riso de Richard Wiseman, que realizou uma pesquisa mundial sobre quais seriam as piadas consideradas mais engraçadas pelas pessoas. Investiga-se também o papel dos neurônios-espelho, importante descoberta que permite uma visão mais clara sobre comportamentos sociais de humanos e primatas. A possibilidade de o riso ser um comportamento semelhante ao grooming dos primatas também é levantada, já que ambas seriam trocas de prazer entre indivíduos visando um benefício dentro do grupo. Nesta linha, é apresentado um estudo que define o riso como uma característica específica do gênero masculino, que usaria o recurso para aproximação da fêmea visando acasalamento. Não há um resultado conclusivo, não há uma palavra final sobre o Riso, pois se torna claro que em muitas circunstâncias o termo abarca fenômenos semelhantes, mas não exatamente iguais. Da mesma maneira que existem múltiplos risos, também existem múltiplas áreas que estudam as distintas variações do Riso.

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Eugène Ionesco est un «nouveau classique» dont la dramaturgie est à la fois en rupture avec la dramaturgie traditionnelle et en progrès sur elle, la dramaturgie ionescienne est alors labyrinthique. Les composants de cette dramaturgie sont également labyrinthiques : la construction dramatique, les personnages, le langage, le temps et l'espace. Ce labyrinthe total mène à une absurdité totale celle de l'indécision et de déséquilibre. Pour envisager cette absurdité, l'homme ionescien a recours à la révolte, à l'indifférence et au rêve, mais il se heurte toujours à sa condition tragique d'un errant sans racines ni buts. Il ne lui reste alors que le rire, d'où la naissance d'un comique à la recherche de son identité. C'est le comique problématique d'Eugène Ionesco. L'aspect problématique de ce comique est dû aux points suivants : premièrement, sa naissance dans une ambiance labyrinthique crée l'absurde qui rend incertaine même l'humanité de l'homme. Deuxièmement, ce nouveau comique s'inspire du comique classique de Molière, mais son essence n'est plus d'instruire, de corriger ou de plaire mais de réfléchir. Troisièmement, ce comique révèle la condition tragique de l'homme par des scènes qui augmentent l'angoisse au lieu de la dissiper. Par conséquent, c'est un comique problématique soit par rapport au tragique, soit par rapport au rire qui devient, à son tour, un effet du tragique. C'est pour cette raison que ce comique reste ouvert à de multiples hypothèses même celle de son inexistence. / Eugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence.

Em 1931, Oswald de Andrade cria e publica O Homem do Povo, jornal em que manifesta seu ativismo comunista, e no qual satiriza a sociedade capitalista e burguesa no Brasil de seu tempo. Suas edições, no total de oito, foram publicadas em março e abril de 1931, contando com a participação de Patrícia Galvão (Pagu) e Queiroz Lima e com a parceria de importantes intelectuais como o crítico Astrojildo Pereira. O trabalho tem por objetivo analisar propriedades expressivas e críticas das construções do jornal, sobretudo nas formulações do ativista Oswald de Andrade. Para isso foram selecionados do jornal principalmente os editoriais escritos por Oswald de Andrade, vários artigos que levam a sua assinatura, e outros assinados por pseudônimos ou anônimos, evidenciados os traços peculiares de sua escrita e ideias. Por meio da pesquisa investigativa, leitura e análise do corpus, destacam-se três elementos substanciais presentes na sua escrita: o humor do jogo de espírito irreverente, a reflexão vinculada aos propósitos de sua própria formulação crítica a respeito da antropofagia, e a subversão, em que resume elementos de estética e política, cuja configuração se manifesta na própria organicidade do jornal. Tais ingredientes, em analogia com outros articulistas, dão sustentação à substância satírica que permeia o jornal O Homem do Povo. Assim, observa-se nas diferentes estratégias de sua linguagem, metafórica ou não, que Oswald de Andrade continuamente alia-se aos colaboradores para representar um mundo às avessas, alvejando a sociedade capitalista e suas elites. Neste sentido, interessa exibir que, por suas elaborações hiperbólicas, o jornal, provocativamente, serve de instrumento na procura de evidenciar, por diversos meios e modos, o destronamento do burguês e a entronização do povo. Nessa tarefa, Oswald de Andrade busca se reinventar criticamente, ao transpor pela atividade jornalística seu espaço legitimado na burguesia e balizar-se por projetos voltados para o povo. Nesse exercício desdobra-se em seus pseudônimos e se posiciona como líder de um grupo, fazendo da palavra e do humor escudo e arma, construindo paradoxos, trocadilhos, ironias e hipérboles. Com isso Oswald de Andrade aciona o potencial crítico dos recursos da linguagem expressiva e comunicativa que, no jornal O Homem do Povo, serve para denunciar, provocar e ridicularizar valores consagrados pela burguesia e pelo sistema capitalista que a sustenta, fundindo o embate político do articulista e o embate estético do escritor modernista. / In 1931, Oswald de Andrade creates O Homem do Povo, a newspaper in which he publicly declares his communist activism, and in which he satirizes both, capitalism and the bourgeois society at the time. Its eight editions, were published in March and April of 1931 together with the participation of both Patricia Galvão (Pagu) and Queiroz Lima. Such a work intended to analyze both expressive and critical properties of Oswald de Andrades constructions at the journal and to put in evidence points of contact between the aesthetic and political aspects of the activists formulations. For doing it so, Oswald de Andrades editorials were selected such as articles signed by him and others which clearly evidence his writings and ideas. Through reading and corpus analyses it is detected three substantial elements such as: the irreverent spirit game, the reflection tied to purposes of his own critical formulation as far as anthropophagy is concerned and the subversion where he summarizes aesthetics and political elements; the configuration of which shows itself in the setting of the journal. Such ingredients, allied to comicality back up the satirical element that permeates O Homem do Povo. So, it can be observed in any of the different strategies of his vocabulary, either metaphoric or not, that Oswald de Andrade continually tries to represent an upside down world having the capitalist society and its elites as targets. In that way, it is interesting to show that, due to his hyperbolic elaborations, the writer-journalist in a teasing way tries to put in evidence the bourgeois decline and the ascension of the people through many different ways and methods. In such a work, Oswald de Andrade looks forward to reinvent himself critically, by transposing his legitimate space in bourgeoisie through journalist activity and determining projects which concerns the proletariat, that is to say, the lower social class. While doing so he creates many different pseudonyms and situate himself as a leader of the referred class, using words and humor as both shield and weapon, building paradoxes, puns, irony and hyperboles. By doing so, Oswald de Andrade turns on the critical power of his communicative and expressive language that at O Homem do Povo is used for denouncing, teasing and making ridicule consecrated values of the bourgeoisie and of the capitalist system that supports it linking both the political resistance of the journal´s editor and the aesthetic resistance of the modernist writer.

Le travail de recherche a été articulé autour de trois axes principaux : la lecture philologique et sémantique de l’œuvre de Ippolito Nievo étroitement associée à l’étude de la bibliographie critique ; lʼhypothèse raisonnée de l’existence fondamentale, dans la structure même de lʼœuvre, du principe humoristique et lʼétude systématique de sa problématisation théorique ; le repérage et lʼutilisation méthodique des instruments d’analyse les plus appropriés à une analyse de lʼœuvre articulée sur ces choix. Sʼagissant de la réflexion théorique sur la notion même dʼhumour, elle a démarré sur la base des trente premières années du XXe siècle avec les fameux travaux de Freud, de Bergson et de Pirandello. Par ailleurs, à travers les considérations de Francesco Orlando et de Tzvetan Todorov, l’approche freudienne a été reliée à la linguistique structurale et à la néo-rhétorique de Chaïm Perelman et de Lucie Olbrechts-Tyteca. Ainsi, l’analyse du premier chapitre des Confessioni a permis dʼétablir une fonction argumentative des phénomènes formels et fondamentaux reconductibles à la notion d’humour et de dégager avec netteté l’importance stratégique de cette partie fondamentale du roman à cause de la présence d’une sorte de koinè qui se manifeste ici presque sans solution de continuité, mais se retrouve cependant dans l’œuvre entière. / This research articulates three main axes: a philological and semantic reading of Ippolito Nievo’s work, which is strictly associated with the study of the critical bibliography; the reasoned hypothesis of the fundamental existence of the humourous principle in the novel’s own structure and the systematic study of its theoretical problematisation; and, the location and methodical use of the most appropriate analytical instruments for an analysis of the novel based on these choices. Theoretical thought about the very notion of humor began during the first thirty years of the 20th century with Freud, Bergson and Pirandello’s renowned studies. What’s more, Francesco Orlando and Tzvetan Todorov’s arguments linked the Freudian perspective to structural linguistics as well as to Chaïm Perelman and Lucie Olbrechts-Tyteca’s neo-rhetorics. Thus, the analysis of the first chapter of Confessioni establishes an argumentative function of the notion of humor’s formal and fundamental phenomena. It also clearly reveals the strategic relevance of this fundamental section of the novel through the presence of a sort of koinè that becomes evidently manifest during the first chapter, but it also appears throughout the entire work.

Bakgrund: Humor som inslag i mänsklig kultur går att identifiera så långt tillbaka som det finns skriftliga källor. Humor påverkar social interaktion, används för att känna social samhörighet, skapa band människor emellan och stärka relationer. Traditionellt har sjuksköterskans roll haft begränsat medicinskt fokus. Rollen har breddats och innebär nu personligt relationsskapande präglat av engagemang och att se hela människan – en personcentrerad vård.   Syfte: Att beskriva hur humor används i vården och hur detta upplevs ur ett patient- och sjuksköterskeperspektiv. Metod: En litteraturöversikt med datainsamling från databaserna CINAHL Complete, PubMed och Ageline. Resultat: Sjuksköterskeperspektivet beskriver hur sjuksköterskor använder humor i vården för att främja en terapeutisk relation till patienten, bevara patientens identitet samt skapa trygghet och tillit och även som strategi för att klara av sjuksköterskearbetet och för att stärka teamarbetet. Patientperspektivet beskriver hur patienter avsiktligt använder humor för att få bättre vård och underlätta för sjuksköterskan. I vården är humorn oftast patientinitierad och används av patienten som skydd och för att lätta upp i svåra situationer. Både patienter och sjuksköterskor ansåg att det finns situationer då humor är opassande. Diskussion: Resultatet diskuteras utifrån Katie Erikssons omvårdnadsteori och relateras till konsensusbegreppet hälsa. Humor spelar en central roll i vårdandet och tycks ha effekter på psykiskt välmående. Humorn är dock oftast patientinitierad och för att ge personcentrerad vård borde sjuksköterskor i högre grad använda humor som ett verktyg i den dagliga professionen. / Background: As far back as there are written sources there is possible to identify humour elements in human culture. Humour affects social interactions, is used to show appreciation, create feelings of social connectedness, form bonds between people and maintain and strengthen relationships. Traditionally the nurse’s role has been relatively limited and the focus has been strictly medical. The nurse’s role has expanded and involves personal relationship building characterized by commitment and to see the whole person – a person-centered care. Aim: To describe how humour is used in health care and how it is perceived, from a patient and nurse perspective. Method: A literature review of data collection from databases CINAHL Complete, PubMed and Ageline. Results: The Nurse Perspective describes how nurses use humour in healthcare to promote a therapeutic relationship with the patient and preserve the patients' identity and create a sense of security and trust. Further, humour was used as a strategy to cope with the heavy work the nurse carries out and to improve teamwork. The Patient Perspective describes how patients deliberately use humour to receive better care and to aid the nurse. Mostly, humour in health care was patient initiated and is also used by patients as protection and to lighten up difficult situations. Both patients and nurses believed that humour is inappropriate in some situations. Discussion: The results are discussed on the basis of Katie Eriksson nursing theory and was related to the consensus concept health. Humour plays a central role in nursing and to deepen the nurse-patient relationship. It seems to have effects on psychological well-being. Despite this, humour is usually patient initiated and in order to provide person-centered care nurses should make greater use of humour as a tool used in their profession.