Texte remanié de: Thèse de doctorat--Langues et littératures anglaises et anglo-saxonnes--Caen, 2005. Titre de soutenance : Les sitcoms ethniques à la télévision britannique, 1972-1998. / Bibliogr. p. 285-300.

Reproduction de : Thèse de doctorat : Droit privé : Lyon 3 : 2006. / Titre provenant de l'écran-titre. Bibliogr.

Attempts to define what comics are and explain how they work have not always been successful because they are premised upon the idea that comics are inherently and almost exclusively visual. Drawing on social definitions for its object, this study challenges that premise and asserts that comics is not just a visual medium. The study outlines the multisensory aspects of comics: the visual, audible, tactile, olfactory and gustatory elements of the medium. It rejects a synaesthetic approach (by which all the senses are engaged through visual stimuli) and instead argues for a truly multisensory model by which the direct stimulation of the reader's physical senses can be understood. A wide range of examples demonstrate how multisensory communication systems work in both commercial and more experimental contexts. The thesis concludes with a case study that looks at the works of Alan Moore and indicates areas of interest that multisensory analysis can draw out, but which are overlooked by ocularcentric approaches.

The problems of translating English humour into Lithuanian have not been thoroughly studied, therefore it has been chosen as a subject of this article. This research focuses on the analysis of examples of different sorts of humour in J. K. Jerome's novel "Three Men on a Bummel" and compares the source text with the target text. The present paper is assigned to provide a theoretical framework of humour phenomenon, its classification and translation peculiarities as well as to reveal the complexity of humour phenomenon which exists in every part of the world, nevertheless, travels badly from one language to another. The aim of the research is to identify and perceive the main challenges in translating humour that contains culture-specific items and instances of untranslatibility. / Angliško humoro vertimo į lietuvių kalbą problematika nėra pakankamai tyrinėta. Šis straipsnis skirtas įvairių humoro rūšių J. K. Jerome romane ”Trise dviračiais” vertimui. Straipsnyje pateikiamos teorinės įžvalgos, humoro, kaip fenomeno, klasifikacijos bei vertimo ypatumų klausimais. Humoras egzistuoja visame pasaulyje, bet jo perteikimas vertimo procese tampa tikru iššūkiu vertėjams. Tai atsitinka dėl keleto priežasčių: skirtingo mentaliteto, kultūrinių realijų gausumo, kurios, deja, dažniausiai yra neišverčiamos.

The main interest of this thesis lies in the analysis of the German Democratic Republic (GDR), as it is represented in movies. The times before and after the Cold War period in Germany have often been discussed in both literature as well as movies. However, most academic essays which focus on how this time is remembered by current societies are analyzing literature rather than movies. Most analyses of film neglect the exploration of cultural memory, even though there are a variety of different film genres that deal with this topic. This paper will fill this gap in film research by showing that movies set in the GDR can help to convey a cultural memory just as much as literature. The diversity of movies set in the GDR is great: many movies tell sad and serious stories about families under government surveillance, or of people who were killed by trying to escape to West-Germany. This thesis however, focuses on films with humorous aspects. Although most film reviewers criticise comedies about the GDR as being purely nostalgic, this thesis shows that the humour used in specific movies is able to collect a memory and therefore, can be seen as a vehicle of cultural memory. The movies Sonnenallee directed by Leander Haußmann and Good Bye Lenin! directed by Wolfgang Becker are analyzed in this paper because they are comparable insofar that they both show the GDR from a youthful point of view from different time periods. Sonnenallee takes place in the 70ies and therefore, 20 years before the fall of the Berlin Wall. Good Bye Lenin?, in contrast, covers both the time before and after the fall of the wall. Another reason for selecting these movies is the fact that they are criticized for only portraying the clichés and stereotypes of East-German-figures, which should be reproved. The first part of the thesis explains the theory and main arguments of Aleida and Jan Assmann’s concept of cultural memory. In order to reconstruct their train of thought, it is necessary to summarize the work of their predecessors Maurice Halbwachs, Aby Warburg, and Pierre Nora. The second part moves on to discuss the term ‘Erinnerungs-film’, coined by Astrid Erll, whose main research interest lies in understanding the dif-ferent kinds of memories occurring in movies. The following chapter focuses on the use of comedy in the selected films, as it is important to understand how humorous scenes are created in those movies. The main part of the thesis is the analysis of Sonnenallee and Good Bye Lenin! found in chapter five. Two different types of approaches are chosen: first, a comparison between Haußmann’s movie Sonnenallee and Thomas Brussig’s book Am kürzeren Ende der Sonnenallee, and then a picture-sound-analysis of selected scenes from Becker’s movie Good bye Lenin!. The comparison shows the advantages that the movie has over the book in terms of displaying humour as a means to convey cultural memory. The inter-pretation part of the thesis shows how funny scenes can be critically interpreted and found to be useful in creating cultural memory rather than putting them down as purely nostalgic.

This thesis is comprised of a critical component and a creative component. The creative component consists of a portfolio of creative writing drawn from a fictionalized memoir, and the critical component consists of three interconnected chapters analyzing the creative component. The creative component, titled The Accidental Peacemaker, has been written alongside my recently published (and related) book, How to Make Peace in the Middle East in Six Months or Less Without Leaving Your Apartment. It is a satirical, first-person fictionalized memoir about how the Middle East conflict manifests in North America, told from the point of view of a North American Jewish narrator. The critical component contextualizes the creative component by situating it within the disparate genres of creative writing that inform it, and by exploring its descent from them. Together, the three critical chapters argue that the creative component stands at the intersection of life writing, North American Jewish Writing, and humourous political writing. The first critical chapter, on life writing, examines the overlaps between fiction and memoir, and argues, in part, that from a creative writer's point of view, a sharp distinction is challenging to pinpoint. The second critical chapter, on North American Jewish writing, explores some efforts that have been made to determine what characteristics identify “Jewish writing,” and which identifying marks are germane to this particular piece of creative work. The third critical chapter, on humourous political writing, argues that humour and politics are particularly intertwined in North American writing and media today, and that by using humour and first-person life writing, an author can probe into sensitive political terrain without as much risk of needlessly offending as they might have if they used other approaches.

No description available.

Diss.--Philosophisch-historische Fakultät--Universität Heidelberg, 1994. / Bibliogr. p. 385-414.

In the age of growing precarity and ongoing crises of longstanding political institutions, disaffection and disillusionment have become the norm in the millennial experience in Canada. What kind of humour arises in response to this condition? This project combines in-person and digital ethnography, with in-depth, semi-structured interviews to explore the connections between millennial humour and the making of generational political sensibilities. In response to the increasingly hollow political discourse, my millennial interlocutors—a self-selected group of young, Anglophone Canadians who come together in digital spaces dedicated to leftist politics— seek out internet humour that looks and feels authentic, and that resonates with their lived experience. However, as that humour often focuses on issues such as rising inequality, economic precarity, and environmental disaster, the content that resonates most, often feels “too real,” “gutting” and perhaps paradoxically—unfunny.

La vie politique française est dépeinte depuis longtemps dans les médias par des humoristes. Songeons à Coluche bien évidemment, mais n’oublions pas Pierre Dac, le premier humoriste candidat à l’élection présidentielle (1965) dans une grande démocratie occidentale après 1950. Aujourd’hui, Ils s’appellent Nicolas Canteloup, Alex Vizorek, Guillaume Meurice, Charline Vanhoenacker, Nicole Ferroni, Ils sont des hommes et des femmes présents à l’antenne d’une radio en matinale ou en soirée et ils racontent à leur manière la vie politique en France, en riant des mandataires politiques. Cette thèse propose de rendre compte de leur discours en identifiant une typologie à quatre volets: le discours militant, le discours de dédramatisation, le discours obscène et le discours injurieux. Ancrée dans les approches théoriques du rire de supériorité, cette thèse livre un regard critique sur l'humour politique, moins innocent qu'on pourrait le croire. Elle consiste en une exploration des cibles des humoristes par une analyse de contenu, avant de poursuivre par une analyse approfondie de 1312 sketchs via une analyse de discours critique. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished