The purpose of this thesis is to explore how the approaches identified for the translation of Taiwanese Mandarin dialogues into English subtitles is different from those described in research studies which examined the translation of English film dialogues into Mandarin subtitles using data gathered from a Taiwanese movie entitled Cape No. 7. Taiwanese Mandarin is significantly influenced by the Tai-yu dialect, and in order to carry out the translation of Taiwanese Mandarin, it is important to deal with the functions of the dialect and related culture-specific items (CSIs). Therefore, the researcher of this thesis has investigated whether the translator of Cape No. 7 successfully applied a variety of translation strategies and prioritized the translation criteria well, to enable the target audience to receive the same message of the film as the source audience, especially when subtitling is constrained by time and space. There are two research areas which have been examined: slang and humour. The data analysis of slang scenes included Tai-yu slang and swearing, while humorous scenes were divided into three areas: puns, irony and metaphor. The research data have been analysed by means of analysis diagrams, which were trialled in a pilot study, described in Chapter Three. The pilot study lead to a new categorization based on previous researchers’ taxonomies (Aixelá, 1996; Davies, 2003; Tveit and Fong 2005, as cited in Yang, 2006), and this was applied to the analysis diagrams. According to the findings from the analysis chapters (Chapter Four & Five), the translator of Cape No. 7 preferred to use mostly the paraphrasing strategy in translating Tai-yu slang and humour, and the synonymy strategy in conveying swearing. In addition, the translator often strengthened swear words rather than toning them down in the English subtitles. However, when subtitling humorous scenes, the translator preferred to incorporate two strategies to deal with the cultural barriers when conveying the humorous effect. The compensation strategy was not used often in slang translation. In regard to the translation criteria, pragmatics and accuracy appeared to have been deemed more important by the translator than other criteria. Surprisingly functional equivalence did not seem to have been the translator’s first priority, as suggested by earlier research. Overall, this research study appeared to show that the translator of Cape No. 7 considered the paraphrase strategy to be the most efficient strategy for maintaining CSIs, and that pragmatics and accuracy were the translator’s most important criteria, which differs from the findings of previous research studies.

The purpose of this thesis is to explore how the approaches identified for the translation of Taiwanese Mandarin dialogues into English subtitles is different from those described in research studies which examined the translation of English film dialogues into Mandarin subtitles using data gathered from a Taiwanese movie entitled Cape No. 7. Taiwanese Mandarin is significantly influenced by the Tai-yu dialect, and in order to carry out the translation of Taiwanese Mandarin, it is important to deal with the functions of the dialect and related culture-specific items (CSIs). Therefore, the researcher of this thesis has investigated whether the translator of Cape No. 7 successfully applied a variety of translation strategies and prioritized the translation criteria well, to enable the target audience to receive the same message of the film as the source audience, especially when subtitling is constrained by time and space. There are two research areas which have been examined: slang and humour. The data analysis of slang scenes included Tai-yu slang and swearing, while humorous scenes were divided into three areas: puns, irony and metaphor. The research data have been analysed by means of analysis diagrams, which were trialled in a pilot study, described in Chapter Three. The pilot study lead to a new categorization based on previous researchers’ taxonomies (Aixelá, 1996; Davies, 2003; Tveit and Fong 2005, as cited in Yang, 2006), and this was applied to the analysis diagrams. According to the findings from the analysis chapters (Chapter Four & Five), the translator of Cape No. 7 preferred to use mostly the paraphrasing strategy in translating Tai-yu slang and humour, and the synonymy strategy in conveying swearing. In addition, the translator often strengthened swear words rather than toning them down in the English subtitles. However, when subtitling humorous scenes, the translator preferred to incorporate two strategies to deal with the cultural barriers when conveying the humorous effect. The compensation strategy was not used often in slang translation. In regard to the translation criteria, pragmatics and accuracy appeared to have been deemed more important by the translator than other criteria. Surprisingly functional equivalence did not seem to have been the translator’s first priority, as suggested by earlier research. Overall, this research study appeared to show that the translator of Cape No. 7 considered the paraphrase strategy to be the most efficient strategy for maintaining CSIs, and that pragmatics and accuracy were the translator’s most important criteria, which differs from the findings of previous research studies.

Submitted by MATEUS PRANZETTI PAUL GRUDA null (mateusbeatle@hotmail.com) on 2016-01-15T19:41:10Z No. of bitstreams: 1 Tese Mateus _exemplar final_ [jan.2016].pdf: 2782999 bytes, checksum: 597b4f0c18de10ac7445887529c27afb (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-01-18T12:12:48Z (GMT) No. of bitstreams: 1 gruda_mpp_dr_assis_par.pdf: 1686918 bytes, checksum: e3980756ce68b720ff6037c572481806 (MD5) / Made available in DSpace on 2016-01-18T12:12:48Z (GMT). No. of bitstreams: 1 gruda_mpp_dr_assis_par.pdf: 1686918 bytes, checksum: e3980756ce68b720ff6037c572481806 (MD5) Previous issue date: 2015-12-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O discurso humorístico e seus mecanismos de funcionamento têm tido presença constante nas mais distintas instâncias da vida cotidiana. Atualmente os métodos pedagógicos devem ser divertidos, a maioria das propagandas publicitárias investe em uma abordagem humorística e, dentre tantas outras modalidades, as manifestações políticas devem ser bem humoradas. Nas últimas décadas, o chamado “humor politicamente incorreto” ganhou destaque e tem gerado inúmeras discussões e conflitos acerca dos limites do humor, do que poderia ser considerado humorístico ou não e, evidentemente, os conflitos desse tipo de humor com um, por vezes suposto e por vezes factível, policiamento do politicamente correto – o qual pode ser compreendido como uma forma exagerada de regular a linguagem, pensamento e as condutas, ou como algo necessário para promover normatizações na esfera pública. Dado esse contexto, buscamos refletir sobre como o humorismo politicamente incorreto é constituído e suas dialéticas possibilidades de produzir sentidos, sobretudo pela sua capacidade de reforçar ou atacar a ordem estabelecida. Acompanhamos a ideia de Billig que o humor é paradoxal por ser: a) universal e particular; b) gregário e excludente e c) analisável e resistente a análises. Nessa perspectiva, apresentamos uma clivagem do humor politicamente incorreto em dois polos, crítico e acrítico, formalizando características e consequências comuns a ambos, bem como descrevendo e analisando exemplos a fim de dar materialidade a estes “tipos” de humor. Delineamos também os conflitos existentes entre o humor politicamente incorreto e o discurso do politicamente correto visando, principalmente, desconstruir a ideia de que vivenciaríamos uma pretensa “ditadura do politicamente correto” (capitaneada pelas chamadas minorias), vez que a efetiva ditadura é aquela “silenciosa”, porém hegemônica e dominante, fundada no regime do Capital. Destarte, enfatizamos o caráter político de tudo; o humor incluso. / Humour discourse and its mechanisms of working have been constantly presented within several instances of quotidian life nowadays. Currently the pedagogical methods should be fun; most of the advertising invests in a humorous approach; political manifestations should have good humour involved; amidst many others. In the last decades the so-called “politically incorrect humour” gained featured and has generated numerous discussions about limits of humour, what could be considered humorous or not and the conflicts between that type of humour and the political correctness, which can be comprehend as a extreme policy of language, thoughts and behaviours or as something necessary to proceed to standardisations on the public sphere. From those questions, we sought reflecting regarding how politically incorrect humour is constituted and its dialectical possibilities of producing meanings, mainly for both the abilities of reinforcing or attacking the current order. Following Billig’s idea that humour is paradoxical for being: 1) universal and particular; 2) gregarious and exclusionary; and 3) analysable and resist to analysis. We present the politically incorrect humour torn between two poles, critical and uncritical, formalising common characteristics and consequences of both, describing and analysing examples as well to give materiality of those “types” of humour. Unpacking the conflicts between the politically incorrect humour and the politically correct discourse mainly for deconstructing the idea that in the current times we are living under an alleged “dictatorship of political correctness” (commanded by the so-called minorities), since the effective dictatorship is the “silent” one, although hegemonic and dominant, founded on the regime of Capital. Hence, we stress the political character of everything; humour included. / FAPESP: 2011/14832-2 / CAPES: 99999.005605.2014-02

This thesis explores oral communication in St. Gallen through the lens of the linen merchant Johannes Rütiner (1501-1556/7). By reconstructing Rütiner's network of informants and probing four genres of communication within their respective social contexts - jokes, gossip, rumour, and memory narratives -, it explores early modern sociability, the circulation of information, and the relationship between oral testimony, manuscript, and print. Sixteenth-century St. Gallers relied heavily on informal, oral networks to provide them with news and information of all kinds. An individual's access to information was thus to a large degree determined by the social networks within which they spent their life. As St. Gallers sought to secure a place for themselves in such circles, they in turn used jokes, gossip, and information of all kinds as a form of "communicative social capital", allowing them to present themselves as witty, well-connected, and knowledgeable. Rather than treating the instability of oral narratives as evidence of the inherent unreliability of the spoken word, this study proposes to analyse their evolution as a key to early modern mentalities. It also calls into question some of the dominant narratives regarding the printing revolution. Not only did oral communication continue to play a central role in the dissemination of information in the first half of the sixteenth century, but existing systems of "source criticism", developed in the context of dominantly oral networks, moreover cast doubt on the reliability of anonymous prints: because they made their trust in a piece of news conditional on their trust in the messenger, Rütiner and his fellow citizens often preferred oral narratives provided by familiar, trustworthy informants.

I denna uppsats har jag undersökt vad ironi är och hur den uppstår i Hallonbåtsflyktingen, en roman utgiven på finska av Miika Nousiainen (2007) och översatt till svenska av Mårten Westö (2009). Jag har utgått från Linda Hutcheons och Katharina Barbes teorier om ironi i min analys. Jag har även undersökt varför mottagandet av boken varit skiftande mellan Finland och Sverige. Ironins primära syfte är att framföra kritik och dess sekundära syfte är att roa. Kritiken i Hallonbåtsflyktingen framförs genom smicker på ett passivt aggressivt sätt. Det finska jämförs med det svenska genom stereotypen som kanal. Ironi uppstår genom inkongruens, när något inte stämmer i sammanhanget. Dessutom använder författaren upprepningar, förstoringar och förminskningar som metoder för att skapa ironi. Författaren har en intention, eller ett syfte med att skriva boken, men tolkningen av ironi sker i det osagda hos läsaren. Faktorer som läsarens bakgrundserfarenhet, värderingar och normer påverkar tolkningen. Eftersom läsaren i Finland har en annan historisk och kulturell bakgrund jämfört med läsaren i Sverige har mottagandet av boken varierat. En del läsare, i båda länderna, finner humorn i den medan andra inte uppskattar den. Maktaspekten går som en röd tråd genom boken och ironi i sig är ett vapen i kampen mot obalanser i maktförhållanden. Den har förmågan att förändra. Hallonbåtsflyktingen belyser maktobalanser inom bland annat politik och religion, kolonialism och postkolonialism, ekonomi samt genusfrågan. / In my study I have examined what irony consists of and how it arises in Hallonbåtsflyktingen, a novel written in Finnish by Miika Nousiainen (2007) and translated into Swedish by Mårten Westö (2009). As a base for my analysis I have used Linda Hutcheon’s and Katharina Barbe’s theories on irony. In addition, I have examined why the reception of the book differed between Finland and Sweden. The prime purpose of irony is to deliver criticism and its secondary purpose is to entertain. Criticism in Hallonbåtsflyktingen is delivered by flattery in a passive aggressive way. The Swedish society is compared to the Finnish society through stereotypes. Irony happens when something does not fit in the context. It is considered incongruent. Methods like repetition, hyperboles and meiosis are used to create irony. The author does have an intention with the book, a reason to write. However, irony happens when the reader interprets text in the unsaid. The reader’s background and values influence the interpretation. Since the Finnish reader has a different history and background compared to the Swedish reader the book’s reception has varied, to a large extent, between the  countries. Some readers find it humorous whilst others do not appreciate the humour. Power issues are present throughout the book and irony in itself is a weapon in the fight against the issues. Irony has the ability to change power imbalances. In Hallonbåtsflyktingen power imbalances are implicitly criticised through irony in the areas of politics, religion, colonialism, postcolonialism, economics and gender imbalances.

Orientador: Silvana Vieira da Silva / Banca: Karen Volobuef / Banca: Norma Domingos / Resumo: Este estudo tem por objetivo analisar historicamente a evolução do conceito do cômico e de suas vertentes e o modo como a escritora belga Amélie Nothomb o utiliza, bem como emprega as suas formas. Para esta investigação, pretende-se considerá-la em um contexto "pós-moderno" paródico e irônico. A fim de alcançar o objetivo proposto, buscam-se, desde a Antiguidade, as fontes do cômico e a maneira como ele foi percebido através dos séculos: inicialmente, na oposição tragédia/comédia; depois, na diabolização do riso na Idade Média; em seguida, o surgimento do humor até a profusão de teorias da modernidade e da contemporaneidade. Partindo do princípio da existência de duas tendências do romance belga − uma de evocação paródica, humorística e irônica, que pretende criticar a realidade, e outra que busca a aproximação com o sonho, com o imaginário, com a análise da obra Hygiène de l'assassin (1992) −, procuramos analisar a primeira delas (paródica e crítica) na obra de Nothomb a qual, segundo a própria autora, é seu manifesto literário. Com o estudo de "Stupeur et tremblemenst (1999), romance vencedor de melhor prêmio da academia francesa, avaliamos de que forma esse romance, que contém traços autobiográficos, aproxima-se de características surrealistas sem deixar de aliar tais traços peculiares à crítica irônica e humorística da sociedade contemporânea / Résumé: Cette étude vise à analyser l'évolution historique du concept du comique et de ses composants et la façon dont l'écrivain belge Amélie Nothomb utilise et emploie ses formes. Pour cette enquête, nous avons l'intention de l'examiner dans un contexte «postmoderne», ironique et parodique. Pour atteindre l'objectif proposé, sont recherchés depuis l'antiquité, les sources du comique et la manière dont il a été perçu à travers les siècles, d'abord dans l'opposition tragédie/comédie, puis de la diabolisation du rire au Moyen Age, puis l'émergence de l'humour jusqu'à la profusion de théories de la modernité et la contemporanéité. En supposant l'existence de deux tendances du roman belge - une de évocation parodique, humoristique et ironique, qui veut critiquer la réalité, et une autre qui cherche à resserrer les liens avec le rêve, l'imaginaire, avec l'analyse L'hygiène de l'assassin (1992) -, nous analysons la première (la parodique et la critique) du travail de Nothomb qui, selon l'auteur, est son manifeste littéraire. Avec l'étude de "Stupeur et Tremblemenst (1999), lauréat du prix de méilleur roman de l'Académie française, nous évaluons la manière dont ce roman, qui contient traces autobiographiques, s'approche aux caractéristiques surréalistes tout en alliant les traits propres à la critique ironique et humotistique de la société contemporaine / Mestre

A tese aborda o humor e o riso na educação, sob duas perspectivas: a primeira, os compreende como objetos da história e da filosofia conforme a tradição ocidental; a outra, na qual o bufão, valendo-se dos dispositivos do riso e da máscara, é o arquétipo que vem dialogar com o professor e acompanhar o processo pedagógico. A tese advoga por um personagem conceitual, de caráter grotesco, para tensionar a lógica dos discursos. A metodologia, embalada pelos matizes de Nietzsche quando desenha um futuro para a Gaia Ciência, potencializada por Bakhtin e a condição coletiva dos enunciados, sustentada entre a tensão da razão estética, de Chantal Maillard, e o riso sagrado, de Georges Bataille, é a da dramatização no interior do pensamento. Esse exercício permite circular por dispositivos nos quais o diálogo do pedagogo com os seus parceiros se mobiliza e abre a guarda que impede a aproximação do contra-senso, no fronteira com a lógica previsível. Desde a tradição helênica até o mundo contemporâneo, o humor e o riso vão ganhando formas de controle e adequação, e aquilo que se presta ao ridículo/risível é cercado por seus limites éticos. A pesquisa permite uma aproximação com narrativas de professores e com registros detalhados de eventos escolares, dando atenção às diferentes definições da ironia, da paródia, da sátira e do grotesco. Os textos históricos e as narrativas contemporâneas formam um panorama que evidencia, para além da manifestação sensível de um estado de ânimo, a necessidade de conhecimento do riso e de suas estratégias de sobrevivência no intervalo dos discursos monológicos ou didáticos. O humor e o riso, nesse contexto, são vistos ora como potentes catalizadores da crítica, ora como artifícios convenientes, tratados como um bálsamo para os acordos e conflitos dentro de uma comunidade. O movimento fundamental, para a dinâmica do diálogo interno entre o professor e seus duplos, se encontra na espiral, que habita o ventre do poder e está no cerne do chapéu de guizos do bufão. / This dissertation discusses humour and laughter in education from two perspectives: the first one focusing them as objects of history and philosophy, in the Western tradition; the second one, where the buffoon, through the devices of laughter and mask, is the archetype that establishes a dialogue with the teacher and follows the pedagogical process. The thesis argues for a conceptual character, with grotesque characteristics, to strain the logic of discourse. The methodology used is dramatization within thought, inspired by Nietzsche’s hues when he designs a future for Gaya Science, potentialized by Bakhtin and the collective condition of enunciations, and balancing upon Chantal Maillard’s tension of the aesthetic reason and the sacred laughter of Georges Bataille. This exercise allows the reinvention of devices where the teacher’s dialogue with his/her humorous partners is mobilized and thus lowers the guard that prevents an approximation with nonsense, on the borders of predictable logic. From the Hellenic traditions to the contemporary world, humour and laughter are given control and adjustment, and the theme or object of ridicule is surrounded by ethical restrictions. The research allows an approximation with teachers’ narratives and detailed records of classroom events focusing on different definitions of irony, parody, satire and the grotesque. Historic texts and contemporary narratives form a panorama that make evident, beyond the sensible manifestation of a state of mind, a need for knowledge about laughter and its survival strategies in the interval of monological or didactic discourses. Humour and laughter, in this context, are seen sometimes as powerful catalysts of criticism, and other times as convenient artifices, used as a balsam for the agreements and conflicts within a community. The fundamental movement for the dynamics of the internal dialogue between the teacher and his/her doubles lies in the spiral that resides in the belly of power and is the core of the buffoon’s cap’n bells.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T11:06:11Z No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-16T18:03:03Z (GMT) No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) / Made available in DSpace on 2013-05-16T18:03:04Z (GMT). No. of bitstreams: 2 Paula Queiroz Dutra P2.pdf: 2766888 bytes, checksum: e5a03cba7c22ad75ea704611c4613418 (MD5) Paula Queiroz Dutra P1.pdf: 4701850 bytes, checksum: 65dec920916566cce3c8ce3511209712 (MD5) Previous issue date: 2008 / Este estudo examina a tradução de humor nas legendas sob uma perspectiva descritiva. Através da análise das duas traduções brasileiras de 15 episódios do seriado norte americano Sex and the City, a do canal Multishow da TV por assinatura, realizada por Daniela P.B. Dias, e a dos DVDs da série vendidos no Brasil, cujo tradutor permanece desconhecido, procurou-se descrever e comparar as estratégias tradutórias utilizadas para a reconstrução do humor verbal e visual dos episódios em português. No seriado, observamos dois tipos principais de humor: o humor universal, pela temática de relacionamentos, e o humor local, baseado em referências à cultura americana. Os gatilhos de humor mais comumente encontrados nos exemplos selecionados foram jogos de palavras e comentários espirituosos e irônicos, com muitas ocorrências desses referentes culturais como elemento principal para acionar o humor. Considerando as especificidades desse tipo peculiar de tradução audiovisual que é a legendagem e o desafio que a tradução de humor sempre representou, este estudo apresenta reflexões sobre a prática de legendagem associada à tradução de humor na TV e no DVD, uma lacuna nos estudos realizados até o momento no Brasil. A pesquisa demonstrou que há uma maior formalização do estilo nas legendas do DVD, por meio de omissões e minimizações de palavrões e referências sexuais, do uso de pronomes oblíquos e de estruturas sintáticas mais formais, o que até certo ponto compromete a recriação do humor e a representação do coloquialismo dos diálogos de partida. Na TV também há minimizações, mas em menor grau do que no DVD, enquanto que os empréstimos ocorrem em um maior grau. Observamos também a tendência das legendas do DVD serem mais longas do que as da TV, o que deve ser levado em conta na análise comparativa entre as duas versões, já que o número de caracteres pode limitar a possibilidade de recriação do tradutor. De um modo geral, a versão televisiva revela uma maior liberdade do tradutor, com um maior número de adaptações e, por isso, legendas mais criativas em termos de humor. / Salvador

Med en allt äldre befolkning ökar insjuknandet i demenssjukdomar och allt tyder på en fortsatt kraftig ökning. Symtom som uppstår vid demens påverkar individen fysiskt, psykiskt och socialt. Det finns inget botemedel mot demenssjukdom men det finns läkemedel som lindrar symtom. Humor har visat sig vara användbart inom omvårdnaden för sjuksköterskor och patienter. Studiens syfte var att belysa humorns betydelse vid demenssjukdom, ur de demenssjukas, informella och formella vårdgivares perspektiv. Metoden som användes var en litteraturstudie där resultatet grundades på tolv resultatartiklar varav nio var kvalitativa och tre var kvantitativa. Resultatet visade på att humor i omvårdnad vid demens kan bevara vårdtagarens unika människovärde. Genom att stärka kommunikationen och relationen mellan demenssjuk och vårdare, främjas positiva känslor för både de med demens och deras vårdare, underlättar anpassningen till den nya situationen som demens innebär för de med demens och deras vårdare och lyfter fram det personliga och individuella. Sjuksköterskor och övrig vårdpersonal kan använda humor i omvårdnaden av patienter med demens. Det behövs dock ytterligare forskning inom området som kan ligga till grund för utbildning och användning av humor i vårdandet av personer med demenssjukdom. / With an aging population, the onset of dementia is increasing and all indicates a continued significant increase. Symptoms that occur in dementia affect the individual physically, psychologically and socially. There is no cure for dementia but there are medicines that relieve symptoms. Humor has proved useful in nursing care for nurses and patients. The purpose of the study was to highlight the importance of humor in dementia, from the perspective of individuals living with dementia, informal caregivers and formal caregivers. The method was a literature study where the result was based on twelve articles, of which nine qualitative and three quantitative. The result showed that humor in nursing in dementia can preserve the healthcare provider's unique human dignity. By strengthening communication and the relationship between dementia and caregivers, promoting positive feelings for both those with dementia and their caregivers, facilitates the adaptation to the new situation that dementia imply for those with dementia and their caregivers and highlighting the personal and individual. Nurses and other healthcare professionals can use humor in nursing patients with dementia. However, further research is needed in the area that can be used as a basis for education and use of humor in the care of people with dementia.

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-19Bitstream added on 2014-06-13T19:46:34Z : No. of bitstreams: 1 duarte_lc_dr_assis.pdf: 1004638 bytes, checksum: bcb3d50678ddd98271a88623ab584577 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Partindo da constatação de que a comicidade é um dos traços caracterizadores da produção literária de Monteiro Lobato, este trabalho objetiva estudar o processo de construção do humor nas narrativas infantis produzidas pelo autor. Visto que, ao incorporar esse elemento aos seus textos, Lobato propõe uma reinvenção da linguagem literária, este estudo prioriza também a análise da solução lingüística adequada encontrada pelo autor para, por meio do humor, projetar no texto literário as contradições da experiência humana. Para tanto, o texto se divide em três partes: A primeira destina-se à apresentação, em ordem cronológica, de estudos produzidos por autores significativos que reconheceram no humor um dos traços característicos da produção lobatiana. Priorizando a análise desse elemento nas obras infantis de Lobato, a segunda parte do trabalho estuda o humor a partir dos seguintes aspectos: narrador, linguagem, exploração dos recursos semânticos, nonsense, paródia, comparações inusitadas, ironia, cômico de situação, inversão/subversão, grotesco e personagens. Finalmente, na terceira parte, procede-se à síntese que se divide em dois momentos: primeiro, perscruta-se a gênese da verve humorística em Monteiro Lobato, enfocando-se questões como o momento histórico tensivo que serviu como cenário para o surgimento do autor; sua estréia literária na literatura adulta com produções de configuração satírica e caricaturesca; a importância do humor nos textos infantis lobatianos como elemento de renovação formal e temática da literatura infantil brasileira; e a maneira como o humor presente em seus textos estabelece o nexo e o equilíbrio entre a vida e a arte. Com base nessas considerações, o segundo momento destina-se à verificação da tensão entre continuidade e ruptura na utilização que Lobato faz dos recursos humorísticos. / This thesis introduces a study about the process of construction of humour in the infantile narratives produced by Monteiro Lobato. It is based on the idea that humour is one of the distinguishing marks of the author. Incorporating this element, Lobato proposes a new literary language, so this study prioritizes the analysis of the author's linguistic choices and the way how this funny language shows the contradictions of the human experience. The text has three parts: The first one presents a list, in chronological order, of important critics whose works also recognized the humour as one of the distinguishing marks of Lobato's production. In the second part, the humour is studied in the following forms: narrator, language, semantic effects, nonsense, parody, unusual comparisons, irony, comical situations, inversion / subversion, grotesque and characters. Finally, the third part has two moments: First of all, in this last part, the study discuss the origins of humour of the author: the historical moment of him; his beginning as a writer of books for an adult public, with a critical production that brings satire and caricature of people; the importance of humour in Lobato's infantile books and the value of this element in formal and thematic innovation of Brazilian literature for children; the way how the humour in his books establishes the connection and the balance between life and art. The second moment of the third part is dedicated to examination of tension between continuity and rupture in humorous means used by Lobato.