- About
-
The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
Search results
Showing 391 to 400 of 414 (0.033 seconds)| 391 |
Stop Me If You've Heard This One BeforeMoore, Hayley 26 March 2020 (has links)
Discourse pervades all areas of human activity. Beyond the use of verbal communication, discourse also extends to non-verbal elements such as body language, facial expressions, intonation and laughter. Despite the wide range of studies that examine the structures and nature of political discourse, very few have looked at the ways in
which politicians use non-verbal elements and, in particular, laughter as part of their discourse strategies. This study looks at the use of laughter in the German Bundestag by analysing 16,000 observations of laughter taken from the transcripts of 847 plenary sessions spanning four electoral terms. The study finds that laughter can be used by politicians as a non-verbal means of expressing opinion and making a statement without breaking the stringent rules of conduct. The use of laughter in parliament can provide information on party alliances, both current and traditional, as well as the general ‘mood’ of the electoral period. Due to the changing nature of political debates and the increasing rejection of ‘traditional’ means of doing politics, fascinating changes are taking place in the political landscape.:1 Introduction
2 Discourse analysis
2.1 Political discourse analysis
2.2 Parliamentary debates
2.2.1 According to Klein
2.2.2 Parliamentary discourse as monologue, dialogue or trialogue?
2.2.3 Interjections as parliamentary discourse
2.3 Non-verbal communication
3 Humour
3.1 Humour in politics
3.2 The study of humour in politics
4 Background
4.1 The German Bundestag
4.2 Stenographic reports
4.2.1 Written or spoken language?
4.2.2 The difference between Lachen and Heiterkeit
4.3 Electoral term specifics
5 Data
5.1 Hypotheses
5.2 Description of the analysis
6 Results
7 Discussion
7.1 Reflections
7.2 Outlook
8 Conclusion
References
|
| 392 |
Le théâtre et l'absurde au Québec dans les années 1950 et 1960Béland-Bonenfant, Julien 08 1900 (has links)
Ce projet de mémoire porte sur le mouvement de l’absurde qui s’établit au théâtre dans les années 1950 et 1960. Il a pour objectif de saisir comment la scène absurde, dans sa dimension du comique et de la dérision, se déploie au sein du champ théâtral québécois. Selon l’historiographie théâtrale, le théâtre québécois de la première moitié du XXe siècle correspond, souvent avec quelques années de retard, à la modernité européenne et française. Ce même modèle d’émulation devient cependant problématique après la Seconde Guerre mondiale et durant la deuxième moitié du siècle. Pour preuve : l’absurde éclot en France dans les années 1950 autour d’un corpus d’œuvres et d’auteurs assez bien défini et connu de tous, alors que le mouvement, au Québec, reste un continent enfoui qui passe difficilement le seuil de la perception courante. La crise du logocentrisme et de la conception humaniste traditionnelle qui marque la période d’après-guerre, ainsi que le désir croissant de fonder une dramaturgie nationale originale font en sorte que certains dramaturges québécois proposent une reconfiguration complète de l’art théâtral. Jacques Languirand, Robert Gurik et Yves Hébert Sauvageau en font partie, et c’est à travers trois de leurs créations théâtrales originales que nous souhaitons explorer cette problématique. Nous commencerons par inscrire le théâtre québécois d’après-guerre dans le large contexte de son époque. La deuxième partie de l’étude aborde les questions relatives au dépassement du cadre dramatique traditionnel qui fait en sorte que la langue, pour nos dramaturges, ne permet plus d’être un vecteur d’affirmation identitaire, et constitue désormais un objet dérisoire. Nous explorerons ensuite le principe de dérision après la Seconde Guerre mondiale au sein du théâtre de l’absurde français et comment il se manifeste dans l’élaboration du langage théâtral des trois pièces au corpus. Finalement, la dernière partie du mémoire propose de cerner le plaisir de la dérision propre au théâtre, en étudiant les pièces à l’aide des principales théories sur l’humour. Cette recherche s’opère par le biais d’une saisie théorique multiple, au croisement de l’approche intermédiale historique du théâtre québécois et des concepts et des procédés de la théorie du comique. / This master’s thesis focuses on the absurdist thespian movement that took hold in the 1950s and 1960s. Its objective aims to understand how the absurd scene, in its dimension of comedy and derision, unfolds within the Quebec theatrical field. According to theatrical historiography, the Quebec theater of the first half of the 20th century corresponds, often with a few years of delay, to European and French modernity. However, this exact model of emulation became problematic after the Second World War and during the second half of the century. For instance, the absurd flourished in France in the 1950s around a corpus of works and authors notably defined and known to all, whereas in Quebec the movement remained a buried continent that had difficulty crossing the threshold of common perception. The crisis of logocentrism and the traditional humanist conception that marked the post-war period, as well as the growing desire to found an original national dramaturgy, led certain Quebec playwrights to propose a complete reconfiguration of theatrical art. Jacques Languirand, Robert Gurik, and Yves Hébert Sauvageau are among them, and it is through three of their original theatrical creations that we wish to explore this issue. We will begin by placing post-war Quebec theater in the broad context of its time. The second part of the study addresses questions related to the overcoming of the traditional dramatic framework which, for our playwrights, means that language can no longer be a vehicle for affirming identity, and henceforth constitutes a derisory object. We will then explore the principle of derision after the Second World War within the French theater of the absurd and how it manifests itself in the elaboration of the theatrical language from three plays of the corpus. Conclusively, the last part of this thesis proposes to identify the pleasure of derision specific to the theater by studying the plays with the help of the main theories on humor. This research is carried out through a multiple theoretical approach, at the crossroads of the historical intermedial approach of Quebec theater and the concepts and procedures of comedy theory.
|
| 393 |
Vliv atraktivity kontextu slovní úlohy na úspěšnost a řešení žáků / The Influence of the Attractiveness of Context of a Mathematical Word Problem on Performance and Solving ProcessesHavlíčková, Radka January 2021 (has links)
This thesis focuses on to word problems and elementary school pupils. Research on mathematical word problems suggests that differences in success are not only due to different levels of pupils' cognitive abilities but that their motivation plays a role, too. Therefore, in this study, I focused on the context of word problem as a potential source of situational interest, which may affect the quality of pupils' cognitive function in the short term or permanently. I used my participation in a broader quantitatively oriented research on variables influencing the difficulty of word problems and using its methodology, I investigated the influence of different types of contexts on pupils' success in solving the problems. The examined aspect of context was attractiveness - the question was whether pupils would be more successful in solving word problems with elements of fairy tale, science fiction or humour than in similar problems with the same structure but with a neutral context. Pupils of the 3rd to 6th grades of primary school (n = 2 092) were divided into two groups of a comparable ability and each was presented with one of the variants - attractive or neutral. To evaluate the results quantitatively, the Item Response Theory was used allowed us to determine the difficulty of the problem depending on...
|
| 394 |
Le discours sur la sexualité dans la web-série pédagogique On parle de sexe : une démonstration des normes sociales dans l’éducation sexuelle au QuébecCôté, Fylicia 09 1900 (has links)
En 2017, l’éducation à la sexualité au Québec est redevenue obligatoire dans la foulée des dénonciations de violences sexuelles sur les réseaux sociaux avec les #metoo et #moiaussi. Conjointement, plusieurs discours autour de l’hypersexualisation des jeunes filles, de l’accessibilité à la pornographie et de la multiplication de contenus à caractère sexuel dans les médias numériques inquiètent de plus en plus les adultes québécois.e.s (Mercier, 2016). Des initiatives pour répondre à ce que nous considérons, dans ce mémoire, comme une panique morale ont donc vu le jour.
Ainsi, Télé-Québec a pour mandat de faire des capsules humoristiques et ludiques adressées aux jeunes de 12 à 15 ans pour faire leur éducation sexuelle avec On parle de sexe (2018-2019). Dans le cadre du mémoire, nous nous posons la question: est-ce que ces capsules reproduisent ou remettent en question des normes sociales véhiculées au Québec autour de la sexualité? Pour y répondre, nous mobilisons les théories critiques de la sexualité (Foucault, Rubin, Bozon) afin de développer l’analyse d’une capsule qui traite des pratiques sexuelles « moins conventionnelles ». À travers une analyse textuelle et visuelle, nous avons constaté une tension entre le désir de discuter de sexualité de manière décomplexée et de protéger la jeunesse contre les maux contemporains liées à la panique morale des adultes.
Le dispositif de la sexualité (Foucault) nous permet d’inscrire l’étude de cet échantillon dans un contexte sociopolitique et historique particulier au Québec, en nous permettant de tirer des conclusions autour de l’humour comme vecteur d’oppression ou de libération des normes sociales autour de la sexualité. / Since 2017, sexual education in Quebec has once again become mandatory in the context of widespread accusations of sexual violence on social media (#metoo, #moiaussi). Following this wave, several initiatives have emerged to respond to what we describe in this study as a « moral panic » around youth sexuality associated with widespread access to sexually explicit material on the Internet. Quebec adults are increasingly concerned about the hypersexualisation of young girls, the accessibility of pornography and the proliferation of sexual content.
In this context, the Québec public broadcasting company Télé-Québec produced a web series entitled “On parle de sexe” (2018-2019) that explores various questions around sexuality in humorous and playful episodes addressed to teenagers aged 12 to 15. This study explores the following question: does this web series reproduce or question the social norms used in Quebec around sexuality? In order to respond to this question, we draw on the field of critical sexuality studies (Foucault, Rubin, Bozon) to analyze one episode that deals with “less conventional” sexual practices. Through textual and visual analysis, we explore a tension between the desire to discuss sexuality in an uninhibited manner and to protect youth from the contemporary evils associated with moral panic.
The dispositif of sexuality (Foucault) allows us to situate the study of this sample in a particular socio-political and historical context in Quebec, while allowing us to draw conclusions around humour as a vector of oppression or liberation from social norms.
|
| 395 |
Les écritures de la faim : éléments pour une ontologie de la faim / The writings of hunger : elements for an ontology of hunger / As escrituras da fome : elementos para uma ontologia da fomeLucereau, Jérôme 13 December 2016 (has links)
Le thème de la faim est récurrent dans les littératures du monde entier. primordial, originel, ce thème, dont le champ lexical est souvent convoqué pour attester de l'importance des pulsions humaines, ne fait pourtant l'objet, jusqu'à présent, que de peu d'intérêts de la part des spécialistes de la littérature générale comparée tout comme, d'ailleurs, de la part des philosophes. il s'agit donc d'établir un corpus représentatif des typologies d'écriture de la faim, de proposer une ou plusieurs taxinomie(s) pour, ensuite, approfondir l'analyse critique des différents discours de la faim par plusieurs topiques portant sur l'identité des affamés, les mythes de la faim, la mystique,le jeûne, l'humour de la faim ou bien encore les conséquences particulières de la faim lorsqu'elle est instrumentalisée par un pouvoir politique. cette large analyse critique des différents discours de (et sur) la faim doit permettre d'envisager la crédibilité et les éléments structurants de ce qui pourrait être désigné comme une ‘ontologie de la faim' au sens d'une refondation des rapports de l'homme et de son environnement. le corpus d'œuvres n'est pas restreint à une époque ou à une zone géographique particulière. il s'agit de puiser tout autant dans les littératures anciennes, classiques, modernes, postmodernes que contemporaines dans la mesure où la faim n'est pas l'apanage d'un temps ou d'une civilisation particuliers mais une donnée brute, première et native de l'humain. / The theme of hunger is recurrent in the literatures of the entire world. Primordial, original, this theme, which the lexical field is often summoned to attest to the importance of human impulses, is not yet a subject of great interest on the part of literary scholars General and compared, as well as from the philosophers. The purpose of this work is therefore to establish a representative pattern of writings of the hunger, to define typologies of hunger, to provide one or more taxonomy (s) to then deepen the critical analysis of various speeches from hunger by several topics as the identity of the hungry man, hunger myths, mysticism and fasting, the humour of the hunger, the particular consequences of hunger when it is manipulated by a political power, the ethics of starvation, etc. This broad critical analysis of the different discourses of hunger should allow to consider the credibility and the structuring elements of what could be called an "ontology of hunger" in the sense of a radical reform and rebuilding of the reports of the man and his environment. The references used in this work are not restricted to a time or a particular geographical area. We’ll tap as much in ancient literatures, classical, modern, postmodern, contemporary as well as technical studies because hunger is not the prerogative of a time or a particular civilization but raw, first and original data of the human being. / O tema da fome é quase sistemático nas literaturas do mundo inteiro. Primordial, original, esse assunto (cuja léxico é bastante utilizado como campo metafórico para descrever as pulsões humanas, (amor, paixão, ódio, etc.)foi, portanto, pouco examinado e são poucas as estudas que se focalizam sobre este tema, seja literárias ou filosóficas.O alcance da tese é descrever essa "terra desconhecida" e propor uma taxinomia dos famintos assim que, depois de pesquisar a identidade dos famintos, os mitos da fome, a mística dela, o humor e as consequências sobre a política, o poder e os aspectos jurídicos, elaborar um ontologia da fome ou, pelo menos, os primeiros elementos desse ontologia que poderia liderar uma mudança importante sobre a origem do sentido ética da fome.
|
| 396 |
A comparative study of satire and humour as communicative strategies in the poems of four Tsonga poetsRisenga, David Jinja 11 1900 (has links)
This study involves an investigation into the use of satire and humour as strategies of
communication. The poetry of four Tsonga poets selected for study includes these
strategies which are investigated for the purpose of determining the extent to which
they function as strategies of communication.
The study consists of four chapters which can be summarized as follows:
CHAPTER 1 contains the introduction, aim, scope and method of approach of the
entire study. Theories and definitions of satire and humour are also presented here.
In CHAPTER 2 the poems selected for study are analysed in terms of invective,
subtle and light-hearted satire.
CHAPTER 3 focuses attention on the style of presentation of comic and derisive
humour.
CHAPTER 4 highlights and elucidates the most significant findings of the study. The
most competent poet of the four at using satire and humour is identified and his
excellence declared and justified / African Languages / M.A. (African languages)
|
| 397 |
Ordningsmakter inom ordningsmakten : Diskurskamp, dilemman och motstånd i blivande polisers samtal om mångfald / Forces in the Police Force : Discursive Conflict, Dilemmas and Resistance in Police Trainee Discourse on DiversityWieslander, Malin January 2014 (has links)
This thesis identifies and describes the diversity aspects of police discourse based on the accounts of police trainees in their final year. Specifically, the focus is on culture, religion and ethnicity, and four main questions are addressed: What is said about diversity? How is it articulated? What subject positions are offered and assumed? In what ways are discourses of diversity sustained and challenged? The analysis of discourse in use is based on field studies conducted at the Swedish National Police Academy and focus group interviews with police trainees in the educational setting and during their trainee placement period. The analytical concepts of interpretative repertoire, ideological dilemmas, subject positions and discursive devices are employed to identify how different meanings are ascribed to diversity. Three central discourses of diversity are presented: diversity as inescapable difference (a hegemonic practice), diversity as political goal (recognition of diversity) and diversity as potential likeness (regulation of diversity). These are competing discourses on how police officers should be and how their role is understood in relation to a pluralistic society. The study shows that the contradictory diversity discourses reflect a struggle of different ‘us’, which regulates the conception of the ideal police officer, professional conduct and the performance of policing. In addition, five dilemmas originating in the tension between the discourses are outlined. Diversity is found to involve ideological dilemmas regarding how policing should be conducted in relation to profiling and social categories, how humour and jargon are viewed and handled, and how lack of knowledge may mean attributing subject positions to others with discriminatory implications. The thesis contributes to showing how diversity discourses reproduce the social order by affirming the social categories that the representatives of diversity are assumed to embody. It closes with a discussion of some practical and theoretical implications of its findings. / Ordningsmakter inom ordningsmakten visar hur mångfald, med fokus på kultur, religion och etnicitet, ges skilda betydelser i blivande polisers samtal och att det pågår en kamp om hur samhällets mångfald ska förstås i relation till polisens sammansättning och arbete. Kampen mellan diskurser är vare sig en ny kamp eller exklusiv för polisen. Däremot kan striden om hur mångfald ska förstås ses som en modern företeelse, som ställs på sin spets inom polisen vars uppdrag är att skydda demokratiska värden och lagar om människors rättigheter. I denna avhandling beskrivs hur kampen tar sig uttryck inom ordningsmakten. Hur kan vi förstå det paradoxala i att polisen har som uppgift att arbeta mot fördomar, samtidigt som vissa arbetsuppgifter motiveras av fördomar? Vad innebär ett behov av ökad kunskap om olika grupper, som samtidigt sätter dessa grupper i en diskriminerande utgångspunkt? Varför förekommer en diskriminerande humoristisk jargong i ett yrke som har i uppdrag att främja rättvisa och motverka diskriminering? Detta är några av de frågor och dilemman som mångfald aktualiserar i en polisiär kontext. Avhandlingen synliggör hur mångfaldsdiskurser återskapar social över- och underordning och att kampen mellan diskurser är en kamp om olika ’vi’.
|
| 398 |
Raconter le haschich dans l’époque mamelouke : étude et édition critique partielle de la Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ de Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489) / Stories of hashish eaters in the Mamlūk period : a study and a partial critical edition of the Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ of Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489)Marino, Danilo 29 May 2015 (has links)
Dans cette étude nous cherchons à explorer le lien entre haschich et humour par l'analyse du corpus des récits arabes contenus dans la Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ (“Le repos des âmes dans le haschich et le vin”) de Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489). L'originalité de cette anthologie qui existe en quatre manuscrits dont seulement deux étaient connus à la critique, découle du fait qu'elle est le plus ancien recueil en langue arabe de textes en prose et en vers inspirés du haschich. Dans la première partie, nous abordons le haschich d'un point de vue historique, médicale et juridico-religieux. Longtemps utilisé en médicine et pour la fabrication de cordes et tissus, on ignore quand le cannabis (qinnab) est passé de médicament à substance enivrante et récréative. Cependant l’utilisation de cette herbe était devenue un problème social, si entre le VIIe/XIIIe et le VIIIe/XIVe siècle plusieurs oulémas y consacrèrent des écrits, tant qu'ils l'incluront dans la liste des munkarāt, (les choses blâmables, défendues), à côté du vin (ḫamr), de la fornication (zinā) et de l’homosexualité (liwāṭ). Parallèlement, la littérature n’a pas manqué de représenter l’expérience de psychotropes. Et c'est autour des enjeux littéraires soulevés par cette substance que nous centrons la deuxième partie de notre travail. Par l'étude d'un certain nombre de motifs nous montrons que le personnage du ḥaššāš fonctionne comme un «catalyseur thématique» des motifs littéraires auparavant associés aux ivrognes, aux stupides ou aux fous. L’ordre que nous avons suivi est: la méprise, la stupidité et folie, le rapport au rêve et à l’imaginaire et l'avidité. Nous concluons sur le fait que le passage à la littérature du motif du mangeur de haschich représente le processus de cristallisation d’une figure narrative à potentiel fortement humoristique, née dans la première époque post-abbasside et dérivée d’une série de matériaux narratifs attribués auparavant à d’autres figures littéraires. / In this study we explore the link between hashish and humor through the analysis of Arabic stories contained in the Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ (“The delight of the souls on hashish and wine”), written by Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489), that exists in four manuscripts of which only two were known until now. This work, of which no complete edition has been established yet, seems to be the oldest and most comprehensive Arabic anthology containing poetry and anecdotes inspired by hashish. In the first part we discuss hashish from a historical, medical, legal and religious perspective. Early on, hashish was used in medical treatments and for the manufacture of ropes and fabrics but it is not clear when cannabis (qinnab) has changed from a remedy into an intoxicating and a recreational substance. However, the use of this herb had become a social problem, since between the VIIth/XIIIth and the VIIIth/XIVth centuries several ʿulamā’ wrote about it and the consumption of hashish was considered among the munkarāt (forbidden or reprehensible actions), as well as wine (ḫamr), fornication (zinā) and homosexuality (liwāṭ). Literature quickly represented the psychotropic experiences. Thus the aesthetics of hashish consumption is the main issue of the second part of our study. There, we focus on some comic motifs that appear in a number of anecdotes and we prove that the ḥaššāš character acts as a «thematic catalyst» of literary motifs which were associated in classical Arabic literature with drunkenness, insanity and foolishness. Thus, the order of our presentation is: the mistake; hashish, insanity and foolishness; dream and imagination and finally food and avidity. We infer from this, that the hashish eater as literary motif represents the process of crystallization of a humorous narrative character that took shape during the first part of the post-abbasid period and developed from a series of narrative materials earlier attributed to other literary figures.
|
| 399 |
Translating humour in children's literature: Dahl as a case studyVerster, Helene 03 1900 (has links)
Text in English / This study focuses on the strategies and devices used to create humour in children’s literature. No language is a replica of another language and it is generally accepted that a translator has to be creative in order to make the Source Text (ST) meaning available to the Target Text (TT) reader. The research conducted in this study aims to fill a gap regarding the application of humour in the rather under-researched field of children’s literature. A descriptive framework was used to conduct this qualitative study in order to be able to describe the linguistic strategies and devices used to translate the English source text by Roald Dahl, Charlie and the Great Glass Elevator into the Afrikaans Target Text, Charlie en die Groot Glashyser by Kobus Geldenhuys. Literary devices to create humour, employed by both the writer and the translator, were identified and analysed. Interviews and reading sessions with ST learners (English) as well as TT learners (Afrikaans) were conducted in order to observe their non-verbal reactions as well as document their verbal comments to complement the data obtained from the textual analysis. The textual analysis showed that the literary device most frequently applied in the ST was the simile and the main trend regarding the transference of humorous devices to the TT was to retain the device with formal equivalence. The most popular translation strategy was direct translation with the most important shifts identified on morphological and lexical level and shifts in expressive and evoked meaning were relatively low. With regard to the reading sessions, the most positive results from both groups of learners regarding humorous devices in the ST and TT were obtained for the device of inappropriate behaviour. / Linguistics and Modern Languages / M.A. (Linguistics)
|
| 400 |
Raconter le haschich dans l’époque mamelouke : étude et édition critique partielle de la Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ de Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489) / Stories of hashish eaters in the Mamlūk period : a study and a partial critical edition of the Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ of Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489)Marino, Danilo 29 May 2015 (has links)
Dans cette étude nous cherchons à explorer le lien entre haschich et humour par l'analyse du corpus des récits arabes contenus dans la Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ (“Le repos des âmes dans le haschich et le vin”) de Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489). L'originalité de cette anthologie qui existe en quatre manuscrits dont seulement deux étaient connus à la critique, découle du fait qu'elle est le plus ancien recueil en langue arabe de textes en prose et en vers inspirés du haschich. Dans la première partie, nous abordons le haschich d'un point de vue historique, médicale et juridico-religieux. Longtemps utilisé en médicine et pour la fabrication de cordes et tissus, on ignore quand le cannabis (qinnab) est passé de médicament à substance enivrante et récréative. Cependant l’utilisation de cette herbe était devenue un problème social, si entre le VIIe/XIIIe et le VIIIe/XIVe siècle plusieurs oulémas y consacrèrent des écrits, tant qu'ils l'incluront dans la liste des munkarāt, (les choses blâmables, défendues), à côté du vin (ḫamr), de la fornication (zinā) et de l’homosexualité (liwāṭ). Parallèlement, la littérature n’a pas manqué de représenter l’expérience de psychotropes. Et c'est autour des enjeux littéraires soulevés par cette substance que nous centrons la deuxième partie de notre travail. Par l'étude d'un certain nombre de motifs nous montrons que le personnage du ḥaššāš fonctionne comme un «catalyseur thématique» des motifs littéraires auparavant associés aux ivrognes, aux stupides ou aux fous. L’ordre que nous avons suivi est: la méprise, la stupidité et folie, le rapport au rêve et à l’imaginaire et l'avidité. Nous concluons sur le fait que le passage à la littérature du motif du mangeur de haschich représente le processus de cristallisation d’une figure narrative à potentiel fortement humoristique, née dans la première époque post-abbasside et dérivée d’une série de matériaux narratifs attribués auparavant à d’autres figures littéraires. / In this study we explore the link between hashish and humor through the analysis of Arabic stories contained in the Rāḥat al-arwāḥ fī l-ḥašīš wa-l-rāḥ (“The delight of the souls on hashish and wine”), written by Badr al-Dīn Abū l-Tuqā al-Badrī (847-894/1443-1489), that exists in four manuscripts of which only two were known until now. This work, of which no complete edition has been established yet, seems to be the oldest and most comprehensive Arabic anthology containing poetry and anecdotes inspired by hashish. In the first part we discuss hashish from a historical, medical, legal and religious perspective. Early on, hashish was used in medical treatments and for the manufacture of ropes and fabrics but it is not clear when cannabis (qinnab) has changed from a remedy into an intoxicating and a recreational substance. However, the use of this herb had become a social problem, since between the VIIth/XIIIth and the VIIIth/XIVth centuries several ʿulamā’ wrote about it and the consumption of hashish was considered among the munkarāt (forbidden or reprehensible actions), as well as wine (ḫamr), fornication (zinā) and homosexuality (liwāṭ). Literature quickly represented the psychotropic experiences. Thus the aesthetics of hashish consumption is the main issue of the second part of our study. There, we focus on some comic motifs that appear in a number of anecdotes and we prove that the ḥaššāš character acts as a «thematic catalyst» of literary motifs which were associated in classical Arabic literature with drunkenness, insanity and foolishness. Thus, the order of our presentation is: the mistake; hashish, insanity and foolishness; dream and imagination and finally food and avidity. We infer from this, that the hashish eater as literary motif represents the process of crystallization of a humorous narrative character that took shape during the first part of the post-abbasid period and developed from a series of narrative materials earlier attributed to other literary figures.
|
Page generated in 0.0463 seconds