Modern humour appears to initiate the deconstruction of modern correspondence thinking. A close examination shows the opposite, namely that modern humour forms part of correspondence thought in a complicated reciprocal relationship of disruption and support. Ironically, humour is particularly suited to explicating the deconstruction of correspondence thinking in poststructuralist language theories by being prone to refute cornerstone principles of modernism such as truth, rationality, reliability and permanence. This dissertation focuses on the exceptional suitability of humour to adapt to the loss of the centre and to demonstrate the shift from the modernist ontological approach to the postmodernist creative metaphorical approach to art. Humour, like metaphor, reinvents meaning rather than discovers it; it remains open-ended instead of offering closure. It becomes a valid creative option and enters a new dynamic into a postmodern culture of play where truth and meaning remain infinitely suspended in an ungrounded state of possibility. / Art History, Visual Arts and Music / M.A. (Visual Arts)

« Il faut prendre cela dans un sens ironique » affirmait Bernard-Marie Koltès face à l’incertitude de la réception exprimée dans Der Spiegel : « on ne sait pas vraiment jusqu’à quel point vos sentences philosophiques sont à prendre au sérieux ». Nous proposons d’explorer l’efficacité « séductrice » dont semble emprunte l'écriture koltésienne – notamment à partir de 1977 – si l'on en juge par l'intérêt qu'elle suscite très tôt et continue à susciter, par le fil tendu de l'ironie. Le concept ancien et moderne d’ironie offre à la lecture un outil opérant lorsqu’il s’agit de suivre les lignes de fuite de l’écriture koltésienne. Le concept d’ironie tel que Kierkegaard nous offre de le percevoir se fonde sur la tension insurmontable d’un « ou bien / ou bien » (aut-aut). Tensions entre les contraires, dissonances, sabotages, disparitions, masques, secret gardé par l’écriture, mentions des stratégies du mensonge et des apparences, paradoxes faits d’alliances inextricables entre comique et tragique, violence et sacré, sont autant de procédés d’écriture repérables qui semblent viser la possibilité d’une « vraie » rencontre, bien qu’intenable, entre le monde, l’auteur et son destinataire. Au carrefour de questionnements multiples, d'ordre pragmatique, esthétique, dramaturgique, philosophique, cette recherche littéraire interroge le « pacte » d’écriture d’un auteur avec l’autre, avec le monde, en quête d’un espace « vrai » à partager, dont la vérité tiendrait précisément de son impossible affirmation. Un théâtre qui dit une chose pour en faire entendre une autre. / "We must take this in an ironic sense," said Bernard-Marie Koltès faced to the uncertainty of the reception expressed in Der Spiegel : "one never knows how far your philosophical sentences must be taken seriously." We suggest to explore the "seductive" effectiveness which seems to belong to Koltesian writing - especially from 1977 - judging by the interest it arouses very early and continues to suggest, through the tight wire of irony. The ancient and modern concept of irony offers an operative tool to reading, when it comes to following the lines of escape of Koltesian writing. The concept of irony such as developped by Kierkegaard, is based on the insurmountable tension of a « something /or else" (aut-aut). Tensions between opposites, dissonances, sabotage, disappearance, masks, secret kept by writing, mentions of the strategies of lies and appearances, paradoxes made of inextricable alliances between comic and tragic, violence and sacred, are different ways of writing ; they seem to aim the possibility of a "real" meeting, although inalienable, between the world, the author and his recipient. At the crossroads of multiple pragmatic, aesthetic, dramaturgical, philosophical matters, this literary search questions the "pact" of writing from an author towards everyone, towards the world, looking for a "true" space to be shared and whose truth would precisely be the result of its impossible affirmation. A theater that says something to whisper something else.

SILVA NETO, Francisco Secundo da. O Ceará moleque dá um show: da história de uma interpretação sobre o que faz ser cearense ao espetáculo de humor de Madame Mastrogilda. 2009. 161f. Dissertação (Mestrado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2009. / Submitted by GLAUBENILSON CAVALCANTE (glaubenilson@yahoo.com.br) on 2011-11-23T13:57:46Z No. of bitstreams: 1 2009_DIS_FSSNETO.pdf: 1563685 bytes, checksum: 0d9c4d29c0ef00436777d30e398661d5 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-28T16:24:50Z (GMT) No. of bitstreams: 1 2009_DIS_FSSNETO.pdf: 1563685 bytes, checksum: 0d9c4d29c0ef00436777d30e398661d5 (MD5) / Made available in DSpace on 2011-11-28T16:24:50Z (GMT). No. of bitstreams: 1 2009_DIS_FSSNETO.pdf: 1563685 bytes, checksum: 0d9c4d29c0ef00436777d30e398661d5 (MD5) Previous issue date: 2009 / The idea of a “Ceará moleque” has been simbolized through the literature in brochures newspapers and magazines since the 19th century making its part in the collective imaginary and memory That label means that the people from Ceará are funny and humorous by nature However the meaning of a “Ceará moleque” is relative it is necessary to know which perspective it is utilized how it is interpreted and symbolically assimilated In the middle of the 1980’s a group of artists started to present humor shows at bars and pizzerias (pizza parlor) in the city of Fortaleza Since then these professionals are taken mainly by the local means of communication as another expression of a “Ceará moleque” or “molecagem cearense” So a possible question is which is the “molecagem” of those artists To help answering that question I have studied the humorist Eddi Lima he is among of those artists that were mentioned Thus I´ve searched in a specific way through the Madame Mastrogilda (Eddi Lima) humor show´s watching and through interviews with the humorist which interprets that character to describe and explain the way how that artist provokes some laughs how he deals with this ability to the humor / A idéia de um “Ceará moleque” desde os fins do século XIX vem sendo gestada simbolicamente em narrativas ficcionais relatos memorialísticos revistas e jornais fazendo parte assim de um imaginário e memória coletivos Tal rótulo pressupõe que o “povo cearense” é irreverente e alegre por natureza Contudo o sentido de um “Ceará moleque” precisa ser relativizado sob que perspectiva é utilizado como é interpretado e incorporado à cultura A partir de meados dos anos 1980 um grupo de artistas começou a fazer shows de humor em bares e pizzarias nas noites da cidade de Fortaleza Deste então esses profissionais são tomados principalmente pelos meios de comunicação locais como mais uma forma de expressão de um “Ceará moleque” ou de uma “molecagem cearense” Uma pergunta cabível é que “molecagem” é essa que eles fazem? Para ajudar a responder tal questionamento escolhi como campo de investigação o trabalho do humorista Eddi Lima o qual figura hoje como um desses profissionais do humor no Ceará cuja figura representada é Madame Mastrogilda Destarte procuro de modo específico por meio da observação do show humorístico de Madame Mastrogilda (Eddi Lima) e de entrevistas com o humorista que a interpreta descrever e explicar a maneira como este provoca o riso como faz humor

The first opera by Bohuslav Martinů (from the total of 16) named Voják a tanečnice (The Soldier and the Dancer), H. 162 was created in the initial years of Martinů's stay in Paris (1926-1927), when the effort to reflect different contemporary music trends and influences can be traced in his compositions. Voják a tanečnice is an original example of absorbing such influences on the background of the three-act comic opera. Together with the librettist, Jan Löwenbach, they tried to create a "new opera buffa", which was however not understood by the contemporary reviewers. The opera was first performed in Brno in 1928. The frequency of the first performances of Martinů's stage works in the National Theatre in Brno indicates that the first performance of his first opera was not a coincidence but a part of targeted dramaturgy at the Brno stage. The opera follows both the tradition of an opera and tendencies in art of the 1920's, e. g. playing with humour in music, the epic theatre inspirations or using ancient theme. Powered by TCPDF (www.tcpdf.org)

Os antidepressivos pertencem a uma importante classe de medicamentos investigados na toxicologia forense. Em casos de amostras provenientes de cadáveres, o intervalo entre o óbito e a obtenção da espécie biológica pode proporcionar a redistribuição postmortem destes fármacos. Com o objetivo de elucidar esse fenômeno, métodos analíticos foram desenvolvidos e aplicados utilizando sangue total (ST), humor vítreo (HV) e fígado. Para as amostras de ST e HV, o método de extração escolhido e validado foi a microextração em fase líquida (LPME) trifásica. Fibras ocas constituídas de polipropileno, com a extensão de 8 cm cada, foram tratadas com o solvente orgânico dodecano (fase orgânica), resultando em um membrana com permeabilidade seletiva. No lúmen destas fibras, adicionou-se ácido fórmico 0,1 mol/L (fase aceptora). Em frasco de fundo chato com 5 mL de capacidade, pipetou-se 3,5 mL de NaOH 0,1 mol/L (fase doadora) e 0,5 mL de ST ou HV. Ao término da extração, as amostras foram introduzidas no GC-MS, sem a necessidade de reações de derivatização. O estudo com ST contemplou os antidepressivos amitriptilina (AMI), nortriptilina (NTR), imipramina (IMI), desipramine (DES), clomipramina (CLO), desmetilclomipramina (DMC), fluoxetina (FLU) e norfluoxetina (NFL). Os limites de quantificação para estas substâncias ficaram inferiores aos níveis terapêuticos (20 ng/mL). As médias dos coeficientes de variação intradia e interdia foram, respectivamente, de 9,7 e 9,8%. As curvas de calibração apresentaram linearidade entre as concentrações de 20 até 1200 ng/mL. A validação do parâmetro integridade da diluição assegurou a mensuração de quantidades superiores ao limite apresentado na curva de calibração. O método foi aplicado em sete amostras reais postmortem e em apenas um caso foi observada uma diferença significativa (300%) entre os valores quantificados no ST periférico e central. Os antidepressivos tricíclicos AMI, NTR, IMI e DES foram avaliados no HV e o efeito matriz foi detectado para os dois últimos analitos. O método foi otimizado e validado utilizando solução salina adicionada de AMI e NTR. O limite de detecção igual a 5 ng/mL, foi obtido com a redução da voltagem da fonte de íons do espectrômetro de massa para 50 eV. Coeficientes de variação foram inferiores a 15%. Os procedimentos validados foram aplicados em seis amostras reais de HV. A relação encontrada entre os valores obtidos no ST periférico e HV foi de aproximadamente 0,1. A extração acelerada por solvente (ASE) e, posteriormente, a extração em fase sólida (SPE) foram as técnicas de separação dos analitos da matriz fígado. Ao término das citadas extrações, os antidepressivos foram analisados no GC-MS. Para esta matriz sólida, são necessários mais estudos, pois os valores encontrados nos ensaios analíticos estão em desacordo com as diretrizes utilizadas na validação dos métodos. / Antidepressants belong to an important class of drugs investigated in forensic toxicology. In cases of samples from corpses, the interval between death and obtaining the biological specimens can provide the postmortem redistribution of these drugs. Aiming to elucidate this phenomenon, analytical methods were developed and applied using whole blood (WB), vitreous humor (VH) and liver. For samples of WB and HV, the extraction method chosen and validated was the three-phase liquid phase microextraction (LPME). Hollow fibers consist of polypropylene, with a length of 8 cm each were treated with dodecane organic solvent (organic phase) resulting in a membrane with selective permeability. Into the lumen of these fibers was added formic acid 0.1 mol/ L (acceptor phase). In the vial containing 3.5 mL of NaOH 0.1 mol / L (donor phase) was spiked 0.5 ml of biological fluids (WB or VH). Subsequently, the samples were injected in GC-MS without derivatization reactions. The study of the ST included antidepressants amitriptyline (AMI), nortriptyline (NTR), imipramine (IMI), desipramine (DES), clomipramine (CLO), desmethylclomipramine (DMC), fluoxetine (FLU) and norfluoxetine (NFL). The quantification limits for these substances were below the therapeutic levels (20 ng / ml). The mean coefficients of variation and separate intradays were respectively 9.7 and 9.8%. The calibration curves showed linearity between concentrations of 20 to 1200 ng / mL. The validation of the integrity of the dilution parameter assured measurement higher than the limit shown in the calibration curve quantities. The method was applied to seven real postmortem samples and in one case a significant difference (300%) between the measured values in the peripheral and central ST was observed. The tricyclic antidepressants AMI, NTR, IMI and DES were evaluated in VH and the matrix effect was detected in the last two analytes. The method was optimized and validated using saline spiked AMI and NTR. The limit of detection (5 ng/ml) was obtained by reducing the voltage of the ion source of the mass spectrometer 50 eV. Coefficients of variation were below 15%. The procedures were validated in six real samples of HV. The relationship found between the values obtained in the peripheral ST and HV was approximately 0.1. Accelerated solvent extraction (ASE) and subsequently the solid phase extraction (SPE) were the techniques of separation of analytes liver matrix. At the end of the cited extractions, antidepressants were analyzed in GC-MS. To this solid tissue, further studies are needed, because the values found in the analytical tests were not in accordance with the guidelines used in the validation of the methods.

Les Harry Potter, depuis le début de leur publication en 1997, n’ont cessé de susciter un engouement international avec leur version originale anglaise tout comme avec leurs traductions. Leur auteur, l’écrivain britannique, J.K.Rowling, se voit depuis lors félicitée pour sa créativité et notamment pour son inventivité langagière. Celle-ci (dans les six premiers volumes) est le sujet de la présente recherche ainsi que sa trad-aptation en langues étrangères et tout particulièrement en français ainsi qu’en néerlandais. Œuvre littéraire pour la jeunesse à l’origine, ces livres ont néanmoins conquis un lectorat plus large pour devenir des cross-over books. Ce développement trouve une justification dans l’expression du récit et non seulement dans la diégèse. Cette recherche tente d’analyser les multiples facettes des langages utilisés et/ ou inventés, d’une part, et démontre qu’il est possible de parler de l’élaboration d’un idiolecte spécifique littéraire - le rowlinguisme - en étudiant les références culturelles intrinsèques au langage dans une première partie, puis la texture sonore et les traits humoristiques dans une deuxième partie (jeux sur les sons et sur les mots, descriptions visuelles et auditives, idiolectes) avant d’aborder l’étude des passages de styles, et donc de formes, différentes. Ces trois axes sont envisagés aussi bien pour le texte d’origine que pour les versions étrangères mentionnées ci-dessus. Or, la traduction est le sujet de la dernière partie plus spécifiquement aussi bien en partant des observations lexicales portant sur le texte de J.K. Rowling que sur les pratiques économiques et professionnelles (traductologie, édition, lectorat, ré-écriture) des traducteurs. D’autre part, il s’agit aussi de tirer une conclusion quant au résultat, à savoir qu’il fut plus aisé pour le traducteur néerlandais (avec une langue germanique) que pour celui français d’œuvrer du fait des ressources linguistiques disponibles. / Ever since the Harry Potter books started being published, they have triggered much enthusiasm around the world be it in their original English version or in translation. Their British author, J.K. Rowling has been praised for her creativity, and especially for her linguistic inventiveness. The latter – in the first six volumes – is the subject of the present dissertation and so is its trad-aptation into foreign languages – more precisely into French and Dutch. Originally literary works for young people, these books, however, have reached a wider readership, thus becoming cross-over books. This development can be justified by the way the story is expressed – and not only on account of the diegesis itself. This research tries to analyse the various features of the languages which are used and/or invented, on the one hand, and demonstrates that one can refer to the conception of a specific literary idiolect – rowlinguism – studying the cultural references within the language itself in a first part, then the phonological quality and the humour of the text in a second part (plays on sounds and words, visual and oral descriptions, idiolects) before tackling the analysis of passages with different styles and forms. These three aspects are considered both as far as the original text is concerned as well as the foreign versions mentioned above. Indeed, translation is the very subject of the last part, based on both lexical observations on J.K. Rowling’s text and on economical and professional practices (translating, publishing, reading, re-writing). On the other hand, therefore, a conclusion had to be drawn concerning the result, namely it has been easier to translate into Dutch – a Germanic language - than into French – a Latin language – due to available linguistic resources

This thesis directly continues my bachelor thesis titled "What and Why do we laugh with Jára Cimrman at". The first, theoretical part, sums up the observation of the poetics of the plays of Jára Cimrman Theatre and subsequently proves them through interpretation of the last play of Smoljak & Svěrák called "České nebe". The first two chapters provide the theoretical base of knowledge for the four-hour-long lesson based on "České nebe" itself. Both these chapters mainly focus on the used humour and the character of Jára Cimrman, the Czech national genius, but also on related topics such as mystification, space-time, Czechness and composition. The second part of the thesis is then the main one which brings the theory into practice. "České nebe" as a play offers an enormous didactic potential which can be used to verify and deepen one's literacy. The didactic part includes a complex preparation for four lessons, for which it provides a basic introduction of Jára Cimrman Theatre and a summary of comedy techniques used by this theatre, which have a strong emphasis on parody. Mainly, though, it provides a brief insight into the opinions, values and the culturally-historical knowledge of a today's adolescent. The students had a chance to elect their own Czech heaven committee in their class and, by doing...

Master's thesis is devoted to the topic of humor in art education. The aim of the thesis is to define the basic theoretical humor in the theoretical part of the work, plus accompany the humor theme with fine arts to highlight the place of humor in education. The aim of the empirical part is to characterize own artwork using humor, describe the series of realized artworks with humorous themes, especially mapping humor in art education. In master's thesis the theoretical basis of humor is outlined at a general level, in conjunction with visual arts and pedagogy. Own work with humorous elements constitutes an author's book. It contains thematic series of art tasks with humorous themes and their reflection. The main focus of the thesis lies in a qualitative research study of manifestations of humor in art education based on direct observation of lessons in art education. To analyze data, the Mayring's Qualitative Content Analysis is used. As the main aim of the research was determined to map the utilization and character of humor in teaching with three art teachers. Within the interpretation of research findings on the sample, the concept of humor in lessons with various art teachers was differentiated. There were also several areas defined, in which the humorous expressions for teaching are linked....

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

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.