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No / Maurizio Nichetti¿s comedy, Ladri di saponette/The Icicle Thief (1989) has been read as a mordant satire on commercial television and the world of consumerism it represents in late-1980s Italy. The context in which Nichetti¿s cinema was originally created and consumed is examined here in some detail. This is followed by an analysis of how a new frame of reference (the television screening of the film on commercial UK television in the 1990s) impacted on this work and what this can tell us about spectatorship and the problematic intermedial relationship between film, television and advertising.

In the eighteenth and early nineteenth centuries, the duel of honor functioned as a formal recourse to attacks on a gentleman's reputation. Concurrently, many notable literary figures such as Samuel Johnson, William Gifford, Thomas Moore, and Lord Byron were involved in literary disputes featuring duels or the threat of physical violence, a pattern indicating a connection between authorship and dueling. This study explicitly examines this connection, particularly as it relates to social acceptance, the gentrification of authorship, and the business of publishing. The act of publishing, putting one's work into the public sphere for consumption as well as critique, created an acute sensitivity to issues of honor because publishing automatically broadcast insults or accusations of dishonorable conduct to the reading public. This study requires a grounded discussion of complex, interconnected concepts, specifically: masculine identity, social hierarchy, and violence; satire; dueling; and authorship. Discussion moves from a foundational concern with violence and the assertion of social status, to the relationship between status and honor, to specific modes of defending honor, and finally to the attempt to establish authorship as an honorable profession. Although each of these quarrels exhibits physical violence or the threat of physical violence, these examples also exhibit verbal violence through satiric assaults or an exchange of verbal attacks and parries. As professional writers struggled to overcome the stereotype of the literary hack and gain social respectability, dueling, with either lead or paper bullets, became a way for authors to defend and maintain the fragile social status they had gained. / Master of Arts

This thesis is an exploration of affect theory and emotional rhetoric in the 2016 Presidential Election, and specifically in Donald Trump’s candidacy, first through a series of rhetorical readings of Trump’s rhetoric on the campaign trail and after his election. The first section of this thesis focuses on Donald Trump and the various rhetorical spaces he uses to reach his supporters through affectual means. Next, I will apply affect theory to Trump’s political rhetoric in order to illustrate how affect is intrinsic to his rhetoric and how he communicates to his audience. I find that utilizing texts by cultural rhetoric critics, namely those which discuss affect theory and the culture of emotion such as Sara Ahmed’s The Cultural Politics of Emotion, and culture and rhetorical spaces in Julie Lindquist’s A Place to Stand: Politics and Persuasion in a Working Class Bar, allows us to better understand the underlying cultural impetuses which created the conditions for Donald Trump’s presidency. In the third section, I examine how these theoretical frameworks provide an understanding of how fake news contributed to the current American climate of a post-truth media culture. And in the final section, I explore how satirical rhetoric is employed both as a defense against and as a rhetorical utility for Donald Trump, namely in his use of carnivalesque techniques and rhetoric to appeal to his voter’s sense of rebellion against and cynicism toward the political establishment. In doing so, I argue that Trump’s use of affect, particularly in his targeted approach to appeal to his base’s existential, socio-economic, and racial fears, was essential to his success in the 2016 Presidential election. / Master of Arts / Watching the coverage of Donald Trump’s Presidential campaign and eventual election, one of the most critical aspects not explored in depth by scholarship and academia was his campaign’s use of affect and emotional rhetoric. By appealing to his base’s passions, fueling dissention and anger against the opposition, Trump was able to incite a populist movement that lead him all the way to the White House. This thesis examines Trump’s use of rhetorical spaces such as political rallies and debate stages as avenues to stir up the emotions of his base, as well as becoming a mouthpiece for many on the far right to spread their agenda of isolationism and white nationalism. The use of fake news is also explored, particularly in how it was used to spread a far-right partisan agenda to misinform or mislead Trump supporters to vote against their own interests, and in some cases, even incite violence. Finally, through a brief history of the effects of satire on public opinion post-9/11, I argue that Trump uses carnivalesque techniques to appeal to voters’ sensibilities, particularly their fatigue regarding political correctness and their ire at their perception of being left behind by government insiders. By viewing Trump’s use of affect, I argue that scholars, and the general public, can gain insight as to how not to fall for such emotional rhetorical strategies so that they do not find themselves voting against their own socio-economic and representative interests.

I began with a place, the Roman ruin of San Lorenzo in Milan. This place has been a "provocateur," not an object or a set of parameters from which I responded. Architectural readings of the city are contaminated with foreshadowings or hints of what is yet to appear. One may read the city as "Janus" who pulsates back and forth leaving traces of past cosmogonies which look forward to being remembered. As the "haruspex" regards the liver in order to auspiciously found a city, distinct bodies of the city are "mirrors of the world at the moment of sacrifice." Reading the city as a Janus-faced entity suggests a slippery liminal zone between what is often clearly separated as existing and intervening. The act of drawing the site is also an act of remaking the site. The section of the city is a hieroglyph to be deciphered and "completed." This "completion" is necessary but not absolute. / Master of Architecture

The aim of the Master thesis "The Transformation of Czech political satire in TV broadcasting after year 1989" is to capture and describe changes of political satire in television shows over last 25 years on sample of six selected shows: Česká soda, Gumáci, S politiky netančím, Politické harašení, Stalo se and 168 hodin. Theoretical part of this work is trying to explain idea of satire itself and to introduce of the topic into more general historical context. Practical part is then, using semiotic analysis, aiming at what expression/aesthetic and thematically variables create satiric constructions in the level of visual picture, press and graphics, language level and music component. Last chapter is dedicated to offer political satire in TV broadcasting after 2010. This work is then connecting results of the analysis and findings from the theoretical part in the conclusion.

Cette recherche tente de montrer comment la lodyans (en créole) ou « l'audience » (en français) est un genre littéraire typiquement haïtien. La lodyans peut être décrite comme l'art de raconter des histoires. Elle commence avec cette définition donnée par Georges Anglade : « La lodyans est un genre littéraire spécifiquement haïtien dont les racines plongent au plus profond de la culture haïtienne, au même niveau que la langue créole d'Haïti et le vodou haïtien. La personne qui raconte la lodyans ou les histoires est appelée un lodyanseur ». De 1905 jusqu'à nos jours, de nombreux écrivains haïtiens se sont servis de la lodyans comme d'un arrière-plan pour leurs œuvres littéraires. Parmi eux, on peut citer Justin Lhérisson, Fernand Hibbert, Maurice Sixto, et Gary Victor. Ce groupe comprend aussi Georges Anglade, le premier à avoir écrit une théorie du genre ; René Depestre, Frank Etienne et Dany Laferrière, sans être des lodyanseurs, ont été très influencés par le style de ceux qui se sont reconnus comme tels. En nous appuyant sur l'œuvre de ces lodyanseurs, et sur la critique de Mikhaïl Bakhtine, nous souhaitons prouver que la lodyans est un genre classique, même lorsqu'il frôle le grotesque. / This study will seek to explore lodyans (in Creole) or « l’audience » (in French) as a Haitian literary genre. Lodyans can be described as the art of telling stories. Hughes St. Fort in his review of Haitian Laughter written by Georges Anglade (2006), cites the writer who describes it as follows: ‘‘The lodyans is a uniquely Haitian literary genre whose roots are found in the deepest soil of Haitian culture, at the same level as Haitian Creole language and Haitian vodou. The person who tells the lodyans or stories is known as a lodyanseur’’. From the 1905 to present, many Haitian writers have been used loydyans as a background for their literary works. Among them we cite the following: Justin Lhérisson, Fernand Hibbert, Maurice Sixto, and Gary Victor. This group also includes Georges Anglade, the first to write a theory of the genre; René Depestre, Frankétienne and Dany Laferrière who are not lodyanseurs, but are very influenced by the writing style of those known as such. Based on the works of these lodyanseurs, and the critique of Mikhail Bakhtin, we wish to prove that lodyans is a classical genre even when it borders on the grotesque.

Le seul consensus autour de la poésie féminine contemporaine est celui d’une grande diversité. Sur le plan thématique et formel, autant que du point de vue de l’origine des poètes, il semble difficile de réunir sous un paradigme unique les œuvres écrites par des femmes. C’est également l’un des aspects que soulignent l’ensemble des ouvrages consacrés à l’humour : le terme renvoie à des phénomènes si différents qu’il est presque impossible de le réduire à une définition qui recouvre l’ensemble de ses manifestations. C’est pourtant précisément en raison de cette difficulté définitionnelle que l’humour constitue un prisme de choix pour parcourir la poésie féminine contemporaine. Par nature protéiforme, l’humour est « transgenre » ; il subvertit l’ordre social et les instances de pouvoir réel ou symbolique, mais remet aussi en question les identités génériques et sexuelles. Rien d’étonnant à ce que les femmes poètes y voient une arme pour s’attaquer aux idées reçues, aux stéréotypes et aux métaphores figées, notamment celles qui prétendent définir l’identité féminine. Mettant en adéquation ce qui se passe sur le plan de l’énonciation, de la réception, de la rhétorique et de la prosodie, l’humour est donc envisagé comme une modalité d’écriture, c’est-à-dire un ensemble de formes traduisant un positionnement particulier. Cette posture, qu’elle prenne le nom d’irrévérence, d’incongruité ou de décalage, témoigne à la fois des liens complexes que les femmes entretiennent avec la tradition poétique et des stratégies qu’elles ont développées pour y parvenir, dans lesquelles se dessine une même volonté, en explorant les lieux communs et les espaces de consensus, de redessiner les contours de la poésie contemporaine. / The only consensus around the question of contemporary women poetry is that of its diversity: the themes and forms of the poems written by women are almost as varied as the origins of the poets themselves. Diversity is also one of the aspects underlined by most of the publications on the subject of humour. The term applies to so many phenomena that it is virtually impossible to reduce it to a final definition. Yet it is precisely because humour is so difficult to define that it constitutes a particularly appropriate prism to approach contemporary women poetry. Humour is by essence “transgender”. It subverts social order as well as instances of real or symbolical power, and challenges sexual and generic identities. Unsurprisingly, women poets have seen it as a choice weapon to attack received opinions and stereotypes, especially when those aim at defining femininity. Humour should therefore be considered as a form of writing, or rather a set of forms, expressing a specific positioning and operating on the level of enunciation, reception, rhetoric and prosody. This posture, which can be interpreted as irreverence, incongruity or difference, testifies of the complex ties women have established with the poetic tradition. But to do so, women have also developed strategies which enable them to explore common knowledge and accepted truths, and thus redefine the contours of contemporary poetry.