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1	Elementos de erotismo e sexualidade nas cantigas de escárnio e de maldizer galego-portuguesas / Elements of eroticism and sexuality in the galician-portuguese songs of mockery and cursing Silva, Wesley Francisco de Souza 28 September 2010 (has links) A sexualidade é uma atividade cultural que, desde antiguidade, provoca interesse ao homem, influenciando sua evolução no decorrer da História. Presente no Amor, no Desejo, no Erotismo, na Pornografia, além de em outras manifestações sociais, o sexo é registrado nas mais variadas formas de comunicação. Hoje, podemos notá-lo em textos escritos e falados em imagens comerciais e preventivas, nas falas, nas atitudes, muitas vezes de forma explícita e outras, de forma sugerida. Em diferentes culturas e momentos históricos a sexualidade é registrada tão logo haja possibilidade de fazê-lo. As cantigas medievais galego-portuguesas estão entre os primeiros registros literários e históricos que consideraram a sexualidade, em seus escritos, como comportamento da sociedade ibérica dos séculos XIII e XIV. Elas eram classificadas em três principais gêneros: cantigas de amor, cantigas de amigo e cantigas de escárnio e maldizer, sendo que este último apresentava um vinculo maior com a realidade, em detrimento dos primeiros, que se voltavam mais para o imaginário. Este trabalho estuda, portanto, os registros que as cantigas medievais de escárnio e maldizer dos cancioneiros galego-portugueses fizeram sobre os comportamentos sexuais da sociedade ibérica dos séculos XIII e XIV. Através de 21 cantigas selecionadas da edição critica feita por Manuel Rodrigues Lapa (1970), é possível conferir atitudes sexuais que estão pouco envolvidas com o sentimento amoroso, privilegiando o desejo físico. Diversos foram os recursos expressivos empregados pelos trovadores que vislumbraram a possibilidade de registrar os comportamentos libidinosos vinculados a diversos outros contextos. As palavras, é possível constatar, receberam diferentes conotações, através da malícia. Para melhor entender a sexualidade dos cantares, este trabalho apresenta uma paráfrase e comentários sobre o tema em cada motz, além de um pequeno glossário com o sentido sexual dos principais temas encontrados no material estudado, ressaltando a importância cultural das cantigas. / Sexuality is a cultural activity which, since antiquity, causes concern for man, influencing its development throughout history. Present in Love, and Desire in the Erotica, Pornography, and other social events, sex is recorded in various forms of communication. Today, we can notice it in written and spoken in commercial imaging and preventive, language, attitudes, often explicitly and others, so suggested. In different cultures and historical moments sexuality is registered as soon as its possible to do so. The songs of the medieval Galician-Portuguese are among the first literary and historical records that consider sexuality in his writings, such as a behavior of Iberian society of the thirteenth and fourteenth centuries. They were classified into three main genres: love songs, ballads and songs of a friend of mockery and cursing, but the latter had a greater bond with reality, in spite of the first, which turned more to the imagination. This work studies, therefore, the records that the medieval songs of mockery and cursing songbooks of Galician-Portuguese made about the sexual behavior of Iberian society of the thirteenth and fourteenth centuries. Through 21 songs selected from the critical edition made by Manuel Rodrigues Lapa (1970), it is possible to give sexual attitudes that are little concerned with the feeling of love, focusing on physical desire. Several significant resources were employed by the troubadours who saw the possibility of registering the libidinous behavior linked to several other contexts. The words, as it can be seen, were given different connotations by malice. To comprehend better the sexuality of the songs, this work presents a paraphrase and comments about the topic in each \"motz\" besides of a short glossary of the sexual sense of the major themes found in the studied material, emphasizing the cultural importance of the songs. Cantigas de escárnio e maldizer Erotica Erotismo Medieval songs of mockery and cursing Sexualidade Sexuality
2	Elementos de erotismo e sexualidade nas cantigas de escárnio e de maldizer galego-portuguesas / Elements of eroticism and sexuality in the galician-portuguese songs of mockery and cursing Wesley Francisco de Souza Silva 28 September 2010 (has links) A sexualidade é uma atividade cultural que, desde antiguidade, provoca interesse ao homem, influenciando sua evolução no decorrer da História. Presente no Amor, no Desejo, no Erotismo, na Pornografia, além de em outras manifestações sociais, o sexo é registrado nas mais variadas formas de comunicação. Hoje, podemos notá-lo em textos escritos e falados em imagens comerciais e preventivas, nas falas, nas atitudes, muitas vezes de forma explícita e outras, de forma sugerida. Em diferentes culturas e momentos históricos a sexualidade é registrada tão logo haja possibilidade de fazê-lo. As cantigas medievais galego-portuguesas estão entre os primeiros registros literários e históricos que consideraram a sexualidade, em seus escritos, como comportamento da sociedade ibérica dos séculos XIII e XIV. Elas eram classificadas em três principais gêneros: cantigas de amor, cantigas de amigo e cantigas de escárnio e maldizer, sendo que este último apresentava um vinculo maior com a realidade, em detrimento dos primeiros, que se voltavam mais para o imaginário. Este trabalho estuda, portanto, os registros que as cantigas medievais de escárnio e maldizer dos cancioneiros galego-portugueses fizeram sobre os comportamentos sexuais da sociedade ibérica dos séculos XIII e XIV. Através de 21 cantigas selecionadas da edição critica feita por Manuel Rodrigues Lapa (1970), é possível conferir atitudes sexuais que estão pouco envolvidas com o sentimento amoroso, privilegiando o desejo físico. Diversos foram os recursos expressivos empregados pelos trovadores que vislumbraram a possibilidade de registrar os comportamentos libidinosos vinculados a diversos outros contextos. As palavras, é possível constatar, receberam diferentes conotações, através da malícia. Para melhor entender a sexualidade dos cantares, este trabalho apresenta uma paráfrase e comentários sobre o tema em cada motz, além de um pequeno glossário com o sentido sexual dos principais temas encontrados no material estudado, ressaltando a importância cultural das cantigas. / Sexuality is a cultural activity which, since antiquity, causes concern for man, influencing its development throughout history. Present in Love, and Desire in the Erotica, Pornography, and other social events, sex is recorded in various forms of communication. Today, we can notice it in written and spoken in commercial imaging and preventive, language, attitudes, often explicitly and others, so suggested. In different cultures and historical moments sexuality is registered as soon as its possible to do so. The songs of the medieval Galician-Portuguese are among the first literary and historical records that consider sexuality in his writings, such as a behavior of Iberian society of the thirteenth and fourteenth centuries. They were classified into three main genres: love songs, ballads and songs of a friend of mockery and cursing, but the latter had a greater bond with reality, in spite of the first, which turned more to the imagination. This work studies, therefore, the records that the medieval songs of mockery and cursing songbooks of Galician-Portuguese made about the sexual behavior of Iberian society of the thirteenth and fourteenth centuries. Through 21 songs selected from the critical edition made by Manuel Rodrigues Lapa (1970), it is possible to give sexual attitudes that are little concerned with the feeling of love, focusing on physical desire. Several significant resources were employed by the troubadours who saw the possibility of registering the libidinous behavior linked to several other contexts. The words, as it can be seen, were given different connotations by malice. To comprehend better the sexuality of the songs, this work presents a paraphrase and comments about the topic in each \"motz\" besides of a short glossary of the sexual sense of the major themes found in the studied material, emphasizing the cultural importance of the songs. Cantigas de escárnio e maldizer Erotismo Sexualidade Erotica Medieval songs of mockery and cursing Sexuality
3	Performance e escárnio na festa do Lambe Sujo de Laranjeiras/SE Santos, Mesalas Ferreira 05 October 2009 (has links) Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In October, the city of Laranjeiras / SE, a municipality located 23 km from the capital Aracaju, occurs a festival called Lambe Sujo the center are brought together individuals who represent, on one side, the former slaves lambe sujos, and another, called caboclinhos, representing the indians, which stages a clash. Through the comparison between the groups involved, recall is a past in which blacks were captured fleeing the caboclos, domesticated by whites. In this clash, which blacks out defeated, the immersion of expectations is critical for the development of it. The conduct of this event, a series of expressions performance is evident, such as the mockery, the humor and the grotesque. Suggest update this debate in light of recent contributions about the performance and the concept of social drama in the analysis of the phenomenon. / No mês de outubro, na cidade de Laranjeiras/SE, município situado a 23 km da capital Aracaju, ocorre uma festa denominada Lambe Sujo cujo centro estão reunidos indivíduos que representam, de um lado, os antigos escravos lambe sujos e, de outro, os chamados caboclinhos, representantes dos índios, os quais encenam um embate. Através do confronto entre os grupos envolvidos, rememora-se um passado no qual os negros fugidos foram capturados pelos caboclos, domesticados pelos brancos. Neste embate, cujos negros saem derrotados, a imersão dos expectadores é de fundamental importância para o desenvolvimento da mesma. No desenrolar desse evento, uma série de expressões performáticas se evidencia, tais como o escárnio, a comicidade e o grotesco. Proponho atualizar esse debate à luz das contribuições mais recentes acerca da performance e da noção de drama social na análise do fenômeno. Festa Performance Comicidade Escárnio Festival Performance Comedy Mockery CNPQ::CIENCIAS SOCIAIS APLICADAS
4	Ironique… Vous avez dit ironique ? : analyse des énoncés catégorisés métadiscursivement comme ironiques dans un corpus théâtral et un corpus journalistique / Ironic... you have said ironic? : analysis of utterances metadiscursively categorized as ironic in a theatrical corpus and a journalistic corpus Baklouti, Elodie 02 December 2015 (has links) Cette thèse s’intéresse aux énoncés catégorisés métadiscursivement comme ironiques par le dramaturge dans les didascalies et par l’instance journalistique dans la presse écrite. Par la sélection du corpus sur la base des métadiscours, nous tentons de nous départir d’une démarche fondée sur des critères subjectifs et, partant, d’une définition pré-construite de l’ironie. Il s’agit de déterminer les sens que les locuteurs-scripteurs attachent à ces termes afin de dresser un portrait prototypique voire plusieurs portraits récurrents de l’ironie, et d’envisager, dans un second temps, une comparaison entre les deux genres étudiés. On analyse ainsi le processus de production de sens en recherchant les éléments qui ont conduit, dans tel ou tel contexte, le locuteur à caractériser l’énoncé comme ironique. Nous entendons démontrer que l’ironie est une, malgré sa complexité apparente : elle consiste en une forme de moquerie qui passe par une attaque indirecte. Nous analysons ainsi les différents éléments mis en avant par les diverses conceptions de l’ironie existantes (écho, feintise, antiphrase, implicite…) comme des procédés par lesquels s’exerce la moquerie, qui peuvent selon les cas se combiner ou se réaliser isolément. / This thesis is concerned with utterances metadiscursively categorized as ironic by playwright in the stage directions, and by the journalistic authority in the press, in order to be part of a approach untied to subjective criteria and, consequently, liberated from a predefined conception of irony. This is to determine meaning that speakers-writers attach to these terms in order to develop a prototypical portrait or several portraits recurring of irony by comparative study of two above textual genres. Thus, we study the process of meaning production by searching for information that led, in a particular context, speaker to characterize his statement as ironic. We intend to demonstrate that irony is one, despite its apparent complexity: it is a form of mockery that goes through an indirect attack. We analyze different elements, highlighted by various existing conceptions of irony (echo, pretense, antiphrasis, implicit …), as processes by which mockery is exerted, which can be combined with each other or achieve alone. Ironie Métadiscours Didascalies Presse Moquerie Irony Metadiscourse Stage directions Press Mockery
5	Navigating the Contradictions of Colonial Citizenship : A Study of Chinua Achebe’s No Longer at Ease Focused on Mr Green and Obi Okonkwo / Det koloniala tillståndets inkonsekvenser : En studie av Chinua Achebes No Longer at Ease med fokus på Mr Green och Obi Okonkowo Carlsson, Cecilia January 2019 (has links) This thesis studies Chinua Achebe’s novel No Longer at Ease from a postcolonial perspective, specifically concentrating on its protagonist, the colonized Obi Okonkwo, and his antagonist, the colonizer Mr Green, using the theories of the literary critic Homi Bhabha. It argues that these two characters are hybrids in their ambivalent contact zone by demonstrating firstly, the coinciding presence of reciprocal feelings of sympathy/admiration and contempt, and secondly, that they are culturally cross-bred individuals. Additionally, this thesis examines the mimicry of Obi and reveals that it can be either strategic or subconscious in nature. It concludes that both mimicry and mockery have the potential to destabilize the structural power-imbalance between colonizer and colonized, thereby challenging colonial authority. postcolonial Homi Bhaba ambivalence hybridity mimicry mockery contact zone power-imbalance ‘The White Man’s Burden’ internalised oppression General Literature Studies Litteraturvetenskap
6	A malha??o do Judas: rito e identidade Mendes, Andr?a Regina Moura 29 August 2007 (has links) Made available in DSpace on 2014-12-17T13:54:44Z (GMT). No. of bitstreams: 1 AndreiaRMM.pdf: 1264174 bytes, checksum: 36576f57be31a0ed884258a64c2742b6 (MD5) Previous issue date: 2007-08-29 / This work is about representations around the Mockery of Judas rite in the neighborhood of east zone at Natal city and the relationships between residents of neighborhood with the ritual object. The most important objective in the work is to present anthropological analysis about the mockery of Judas rite and the ritual process beyond local interpretations to rite. The concept presents in studies of Marcel Mauss, Henry Hubert and Ren? Girard about the sacrifice are very important to this paper. We work with this hypothesis that the Mockery of Judas is sacrifice done to residents of Rocas neighborhood to many purpose, since symbolic punishment to traitor apostle till the sacrifice of victm of conflicts and tensions inside the neighborhood / Esta disserta??o trata das representa??es elaboradas em torno do ritual da Malha??o do Judas num bairro da zona leste da cidade do Natal e das rela??es constru?das pelos moradores locais com o objeto ritual. O principal objetivo da disserta??o ? apresentar uma an?lise antropol?gica do rito da Malha??o do Judas e explicitar o processo ritual e as interpreta??es locais dadas ao rito. Para este trabalho s?o muito importantes os conceitos desenvolvidos pelos estudos de Marcel Mauss, Hebert Hubert e Ren? Girard sobre o sacrif?cio. Trabalhamos com a hip?tese que a Malha??o do Judas ? um rito sacrifical feito pela comunidade das Rocas com diversas finalidades, desde a puni??o simb?lica do ap?stolo traidor, at? a imola??o de v?timas focos das tens?es e conflitos estabelecidos dentro do bairro Judas Semana santa Malha??o do Judas Rocas Sacrif?cio Holy week Judas Mockery of Judas Rite Rocas Sacrifice CNPQ::CIENCIAS HUMANAS::ANTROPOLOGIA
7	O Dilema do porco-espinho: uma análise interacional do humor em relações próximas Stallone, Letícia Rezende 03 April 2017 (has links) Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-03T17:27:31Z No. of bitstreams: 1 TESE_com_ficha_catalografica (1).doc.pdf: 1147180 bytes, checksum: e666ba9c6f99df77bc47cae176d7d32a (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-03T17:35:17Z (GMT) No. of bitstreams: 1 TESE_com_ficha_catalografica (1).doc.pdf: 1147180 bytes, checksum: e666ba9c6f99df77bc47cae176d7d32a (MD5) / Made available in DSpace on 2017-04-03T17:35:17Z (GMT). No. of bitstreams: 1 TESE_com_ficha_catalografica (1).doc.pdf: 1147180 bytes, checksum: e666ba9c6f99df77bc47cae176d7d32a (MD5) / Esta pesquisa tem como foco a construção do humor na interação em encontros sociais de um grupo de amigos. O objetivo deste trabalho é o de explorar a complexidade e ambivalência do humor em relações marcadas pela proximidade e afeto. Partindo-se do pressuposto de que o humor conversacional é um fenômeno relacional e colaborativo que depende do conhecimento de normas do grupo e é gerado pela possível quebra de expectativa com relação a esquemas de conhecimento, buscou-se descrever como são organizadas as sequências humorísticas e identificar que tipos de humor emergem na conversa e que funções esse humor exerce no contexto em estudo. Através de uma abordagem interacional da comunicação humorística e das contribuições da Análise da Conversa, verificamos que as sequências humorísticas se constituem de outras sequências envolvendo quem caça ou deixa um gatilho para o humor e, em alguns casos, outros participantes que alimentam o que disparou o humor. Em termos de tipos de humor, foram identificados a ironia, o humor fantasioso (Hay, 2001), a zombaria jocosa (Haugh, 2010; Haugh e Bousfield, 2012) e o abuso jocoso (Hay, 1994; Haugh, 2010; Haugh e Bousfield, 2012). Com relação ao humor fantasioso, propusemos duas categorias: o humor fantasioso exagerado e o humor fantasioso absurdo. Ambos envolvem o estabelecimento conjunto de um mundo imaginário com sua própria lógica, com regras irracionais e absurdas que não se aplicam ao mundo real (Hay, 2001), mas o primeiro categoriza-se pela construção conjunta de um mundo conhecido pelos participantes, e o segundo de um mundo nonsense. Evidenciamos que as zombarias jocosas podem ser direcionadas ao self de um dos participantes do grupo ou podem ser híbridas, tendo como alvo o self, uma terceira pessoa, ou um objeto. Quanto às funções, destacamos o entretenimento como função principal do humor no grupo. Como funções secundárias, estão: i) a de guardião das relações interpessoais em momentos de potencial conflito, e ii) a função de ameaça às relações quando algum aspecto do self é considerado sagrado, isto é, inegociável como objeto de humor. Como conclusão, salientamos o papel do humor no reforço das relações pessoais, dos valores do grupo e na sacralização da amizade. / This research focuses on the construction of humor in interaction, in social meetings of a group of friends. The aim of this study is to explore the complexity and ambivalence of humor in relationships marked by proximity and affection. Assuming that conversational humor is a relational and collaborative phenomenon that depends on knowledge of group norms and is generated by a possible breach of expectation with respect to knowledge schemes, we sought to describe how humorous sequences are organized, identify what types of humor emerge in conversation and what functions humor plays in the context under study. Through an interactional approach to humorous communication and with contributions from Conversation Analysis, we find that humorous sequences are constituted by other sequences involving participants who ‘hunt’ or who leave triggers for humor and, in some cases, other participants who feed the one who started the humorous sequence. In terms of types of humor, we identified irony, fantasy humor (Hay, 2001), jocular mockery (Haugh, 2010; Haugh and Bousfield, 2012) and jocular abuse (Hay, 1994; Haugh, 2010; and Haugh Bousfield, 2012). Regarding fantasy humor, we proposed two categories: an exaggerated fantasy humor and an absurd fantasy humor. Both involve the joint construction of an imaginary world with its own logic, with irrational and absurd rules that do not apply to the real world (Hay, 2001), but the first one is categorized by the joint construction of a world known by the participants, and the second one, a nonsense world. We show that jocular mockery may be directed at the self of one of the group members or may be hybrid, targeting the self, a third person or an object. As for the functions of humor, we highlight entertainment as the main function of humor in the group. As secondary functions are: i) humor as the guardian of interpersonal relationships in moments of potential conflict, and ii) humor as threat to relations when some aspect of the self is considered sacred, that is, non-negotiable as an object of humor. In conclusion, we emphasize the role of humor in strengthening personal relationships, the values of the group and sanctity of friendship. Relações próximas Humor conversacional Humor fantasioso Zombaria jocosa Ironia Relações sociais Amizade Humorismo Análise do discurso Close relationships Conversational humor Fantasy humor Jocular mockery Irony
8	Entre désincarnation et réincarnation : la poétique du corps dans le récit d'un soi anorexique suivi de Carnet d'une désincarnée Demeule, Fanie 04 1900 (has links) Mémoire de recherche et création, incluant une partie essai et un texte de création. / Ma recherche questionne la relation entre anorexie et écriture, omniprésente en littérature, mais dont la problématique du récit de soi reste un objet assez obscur; le potentiel de réincarnation de l’être ascétique à travers le récit de soi a faiblement été soulevé. Amélie Nothomb (Biographie de la faim) et Geneviève Brisac (Petite) se sont remémorées, par le biais de romans autofictionnels, leur passé anorexique dans une poétique elle-même ascétique. À travers l’analyse de cette performativité textuelle, ainsi que des procédés d’écritures d’autodérision et de distanciation narrative sollicités par ces auteures, mon essai propose que ces manifestations poétiques contribuent à une réincarnation indépendante du corps anorexique en œuvre littéraire, et de ce fait, poser un regard nouveau sur les souffrances antérieures. Prenant la forme d’un recueil de fragments scellé d’un pacte autofictionnel, Carnet d’une désincarnée expérimente l’écriture mémorielle de mon adolescence marquée par l’anorexie mentale. Ainsi, chacun des fragments relate, dans un « je » autodiégétique, une situation isolée d’un quotidien en lutte perpétuelle contre soi, lutte dont l’ultime et unique but est la désincarnation. Or, suite à cette désincarnation, l’objectif de mon projet était de me réincarner à travers les mots dans un carnet de chair et d’os. À cheval entre réalité et fiction, Carnet d’une désincarnée explore la possibilité de créer un texte performatif afin de projeter l’émaciation physique de l’anorexie sur l’échafaudage même du texte, qui deviendrait à part entière un corps amaigri, mais bien vivant. / My research questions the relation between anorexia and writing, omnipotent in literature, but which the question of self-writing is still really obscure; the potential of reincarnation of the ascetic individual through writing being barely tackled. Amélie Nothomb (Biographie de la faim) and Geneviève Brisac (Petite) have been both remembering themselves, through autobiographical novels, their anorexic past through an ascetic poetic in itself. Analysing this textual performativity, as well as writing process such as self-mockery and narrative detachment solicited by these authors, my essay observes that these poetical features lead altogether to an independent corporeal reincarnation of the anorexic body into literary work, and therefore, draw a new vision on the past sufferings. Taking the form of a fragmented text sealed by an autofictionnal pact, Carnet d’une désincarnée (Disembodied’s Diary) experiment the reminiscence of my adolescence marked by anorexia. In this way, each fragment recall, using the pronoun « I » as talking to myself, an isolated situation of a routine in a perpetual battle with the self, battle which the unique goal is disembodiment. Further to this disembodiment, the objective of my project was to reincarnate myself with words through the production of a diary made out of flesh and bones. In between fiction and reality, Carnet d’une désincarnée is exploring the possibility of creating a performative text that projected the emaciation of anorexia, becoming a barebonned but alive body in itself. anorexie ascétisme autofiction roman autobiographique Amélie Nothomb Geneviève Brisac écriture taille zéro performativité autodérision distanciation narrative anorexia asceticism autobiographical novel writing size zero performativity self-mockery narrative detachment
9	Fauxtopia Kampf, Raymond William 01 January 2004 (has links) To all who come to this fictitious place:Welcome.Fauxtopia is your land. Here, age relives distorted memories of the past, and here, youth may savor the challenge of trying to understand the present. Fauxtopia is made up of the ideals, the dreams and the fuzzy facts which have re-created reality... with the hope that it will be a source of edutainment for all the world.Ray KampfFauxtopia DedicationApril 1st, 2004 swindle subterfuge story stooge stereotype stratagem spurious spiel soft-soap snow job simulated aspersion adventure artificial anecdote allegory advertising assumptions belie bluff bogus brainwash calumniation canard cheat chronicle cliche cliffhanger con man conceal counterfeit crooked deal deceit deception disguise dishonest distort double cross ersatz evangelism exaggerate fabrication facade fake falsehood fantasy fib fiction flim flam fool folktale forgery frame up fraudulence fudge gag grifter guile guise history hoax hokey hype hyperbole knavery legend likeness make believe malign mask memoir misrepresentation mockery myth parable parody performance perjury phony placebo player ploy potboiler prevarication propaganda publicity puppet put-on quasi record reproduction romance routine ruse saga scam shtick semblance sequel show serial synthetic tall story trick unnatural untruth veneer verisimilitude white lie whopper Disney politics hyper reality theme park entertainment Art and Design Arts and Humanities

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