Uppsatsen har som utgångspunkt att familjenormer har förändrats under 1900-talet och att detta borde visa sig i framställningen även av en familj som inte är tidstypisk: Familjen Addams. Genom att undersöka hur adaptioner av familjen påverkas genom förändringar i medier, tidsperiod, samtida kultur och normer vill jag besvara om samtida familjenormer har varit en stor faktor i hur framställningen förändrats. För att genomföra detta använder jag Linda Hutcheons perspektiv på mediespecificitet  och ”modes of engagement” för att studera hur medieskiften påverkar adaptionen. Representationsstudier används för att studera hur historisk kontext och samtida kultur påverkar framställningen av familjen. Materialet är Charles Addams skämtteckningar, ABCs tv-serie och Barry Sonnenfelds film. Resultatet verkar vara att samtida normer har haft en mycket större effekt på framställningen av den ursprungliga tv-serien än filmen, och att de båda har formats till en stor del av mediespecifika drag, men att vissa normer som har varit långlivade ändå haft en markant effekt även på filmen, främst det Sharon Hays kallar den permissiva eran.

Similes are present in all kinds of verbal communication as they can exemplify difficult concepts by comparing them to more familiar ones, create unique imagery by combining two unexpected topics or help a person express their thoughts more accurately. However, they can be problematic to translate, especially in subtitles, where both time and space are limited. This study reveals what kinds of strategies Swedish and Finnish translators use when they translate various types of similes in the subtitles of the American sitcom How I Met your Mother and compares the preferences between the two target languages. The results show the most frequent approach is to translate word-for-word, while a wide range of alternative translations also exists in spite of the differences between the two target texts. / <p>Författarens ORCiD: https://orcid.org/0000-0001-9999-9210</p>

A young man disappointed with the way his life has turned out is forced to live two other versions of himself from other universes that made different choices in life.

Made available in DSpace on 2015-03-05T17:53:49Z (GMT). No. of bitstreams: 0 Previous issue date: 29 / Nenhuma / O objeto de análise desta tese é o sitcom A grande família, da Rede Globo de Televisão (RGT), procurando descrever as estruturas que moldam o programa, identificar os temas tratados e os modelos de comportamento construídos, observando a construção do perfil dos personagens e as propostas de atitudes que são oferecidas aos telespectadores. O estudo de caso, para identificar as propostas de interação do programa e suas lógicas de funcionamento, foi organizado em duas etapas. Na primeira, realizou-se uma observação descritiva das regularidades do programa para captar sua estrutura geral, nos aspectos formais: vinhetas, títulos dos episódios, cenários, figurinos e as temáticas abordadas. Foram observados para isso um total de 106 episódios. Para a segunda fase foram selecionados dez episódios, a partir dos perfis dos personagens e das seqüências e temáticas abordadas. Essa segunda etapa possibilitou identificar um conjunto de estereótipos relacionados às diferentes interações sociais no âmbito familiar/privado / The object of the analysis of this paper is the sitcom A grande família, from Globo Network Television, RGT, seeking to describe the structures that cast the program, identifying the themes presented and the behaviour models built, observing the contruction of the character’s profile and the attitude proposals that are offered to the televiewers. The case study, to identify the proposal of the program interaction and it’s logics of working was organized in two parts. In the first, we made a descriptive observation of the regularity of the program to capture its general structure, in the formal aspects: vignettes, episodes’ tittles, sceneries, patterns and the thematics approached; to do so, it was observed 106 episodes. For the second part ten episodes were selected analyzing the profiles of the characters and the sequences and the thematic approached. This second part made it possible to identify a group of stereotypes related to the different social interactions from the family/private scope that, treated i

Made available in DSpace on 2016-04-26T18:15:33Z (GMT). No. of bitstreams: 1 Willy Nielsen Patane.pdf: 551179 bytes, checksum: a1d8c8f6d6f7b2084b16e701c31a1216 (MD5) Previous issue date: 2016-02-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research aims to explain, based on humor theories, the reasons why the embarrassing scenes on the British television sitcom The Office can be considered funny. The show, which did not have a big amount of jokes, became a hit around the world, showing extremely embarrassing situations occurred inside a (fictitious) paper company factory office. Describing the peculiarities of the show and the writer s creative choices has also been one of the research s purposes. Therefore, the study was based on themes such as: sitcoms, humor and embarrassment. The hypotheses were that portray the silence and explore the characters reactions would be one of the show s features. The relief felt by the viewers, once they're not on the characters shoes, and the shock they might feel watching the awkward scenes and actions captured by the camera were some of the reasons that might make the audience find funny the embarrassing situations. Methodologically, the research has been a qualitative, descriptive and documental study. Episodes and scripts of the series, as well as materials and testimonials about the show, have been analyzed. The methodological basis has been composed of works by: Mills (2008; 2011), Evans (2001), Fox (2014) and Helitzer and Shatz (2005) about sitcom and comedy writing; Berger (1993), Propp (1992), Fox (2014) and Mills (2011) about humor; Lewis (1995) and Miller (1987; 1995) about embarrassment. The conclusion is that creating a "painful" show and making it seems like a real documentary have been some of the choices made by the sitcom's writers. It has also been found that the conflicts portrayed on the scenes, the main character s flaws, the incongruity between what people expect from an office's boss and the misplaced attitudes of this character, added to the sense of superiority experienced by the viewer, were some of the details that might explain why the office can be considered a funny show / O presente estudo teve como objetivo explicar, com base em teorias sobre o humor, por que as cenas embaraçosas retratadas na sitcom televisiva inglesa The Office podem ser consideradas divertidas. O programa, que não continha muitas piadas, fez grande sucesso ao redor do mundo retratando situações extremamente constrangedoras ocorridas dentro do escritório de uma empresa (fictícia) fabricante de papel. Descrever particularidades e escolhas criativas feitas pelos roteiristas da série foi também uma finalidade da pesquisa. Para isso, o estudo se apoiou em temas como sitcoms, humor e constrangimento. As hipóteses levantadas foram de que retratar o silêncio e explorar a reação dos personagens seriam algumas das particularidades do programa. O alívio por não estar na pele dos personagens e a surpresa diante das falas e ações absurdas captadas pela câmera seriam alguns dos motivos que levariam o telespectador a achar graça nas situações embaraçosas. Em relação à metodologia, a pesquisa semiótica foi qualitativa, descritiva e documental. Foram analisados episódios e roteiros da série, além de matérias e depoimentos falando sobre o seriado. A base metodológica foi composta de obras de: Mills (2008; 2011), Evans (2001), Fox (2014) e Helitzer e Shatz (2005) sobre o gênero sitcom e escrita de comédia; Berger (1993), Propp (1992), Fox (2014) e Mills (2011) sobre humor; Lewis (1995) e Miller (1987; 1995) sobre constrangimento. Verificou-se com o estudo que fazer um seriado "doloroso" de ser visto e semelhante a um documentário real foram algumas dentre outras escolhas feitas pelos roteiristas da sitcom. Concluiu-se ainda que os conflitos retratados em cena, os defeitos do personagem principal e a incongruência entre o que se espera de um chefe de escritório e as atitudes descabidas do mesmo, somados ao sentimento de superioridade experimentado pelo telespectador, seriam aspectos capazes de explicar a graça do programa

<p>The aim of this study was to find out how features that have been found to be typical of women’s language, such as hedges, tag questions and a high level of talkativeness etc., are represented in a popular TV series. Five cross-sex conversations from one episode of the sitcom <em>The New Adventures of Old Christine </em>were analyzed, and the results show that many of the features of interest, as for instance tag questions, minimal responses and indirect style, are unexpectedly used more frequently by men in this small investigation. In fact, the only feature that was used more frequently by the female main character was hedges. Several factors affect the results of the study, as for instance the fact that the conversations are fictional. The special characteristics of the speakers also affect the results, as well as the tone and the topic of the chosen conversations. Many of the features of interest were used to a very small extent, which is probably a result of the fact that the language in a sitcom is to be entertaining and rather quick, which leaves little or no room for the features studied.</p>

The aim of this study was to find out how features that have been found to be typical of women’s language, such as hedges, tag questions and a high level of talkativeness etc., are represented in a popular TV series. Five cross-sex conversations from one episode of the sitcom The New Adventures of Old Christine were analyzed, and the results show that many of the features of interest, as for instance tag questions, minimal responses and indirect style, are unexpectedly used more frequently by men in this small investigation. In fact, the only feature that was used more frequently by the female main character was hedges. Several factors affect the results of the study, as for instance the fact that the conversations are fictional. The special characteristics of the speakers also affect the results, as well as the tone and the topic of the chosen conversations. Many of the features of interest were used to a very small extent, which is probably a result of the fact that the language in a sitcom is to be entertaining and rather quick, which leaves little or no room for the features studied.

The purpose of this bachelor’s thesis is to analyse how the American adult cartoon sitcom South Park (Parker &amp; Stone, 1997) is criticising Donald J. Trump and his presidential campaign through the use of satire and the relative tools of satire. The show prominently features arguably bizarre plotlines and themes, with usually unexpected outcomes. The subject South Park and satire, both together and separated, has a fair share of previous research in articles and literature. However, South Park’s well-known, sharp, ruthless and absurd satire, in this case, towards Donald J. Trump has shown to be rather under-researched, probably due to the topic being still relatively fresh. Therefore, looking at how South Park effectively uses one of their own original characters, Mr. Garrison, to represent and satirise Donald J. Trump and his presidential campaign is motivated. The thesis is limited to only analysing two episodes from South Park season 19 (S19E02 &amp; S19E08) and South Park season 20 including all ten episodes. South Park episodes does most of the times have two to three plot lines running simultaneously, thus this thesis also imitates itself to only analyse and focus on satire towards Donald J. Trump and his presidential campaign, and not analysing, for example the internet troll controversy based story, known as Skankhunt42. To be able to do a satirical analysis, this bachelor’s thesis has on forehand established a theory on what satire is, before analysing the satire. This is due to the term satire being a very loose and complex term, difficult to determine and encapsulate. This bachelor’s thesis is the result of a satirical analysis the satire of South Park towards Donald J. Trump and his presidential campaign, by uniquely using their original character Mr. Garrison to act as a satirical representation. It has through the analysis come to conclude that South Park as a show creates a solid satirisation throughout second, and eight episode of season 19, and every episode of season 20 until episode seven, Oh, Jeez!, where Donald J. Trump had only managed to become president-elect, but in the show, Mr. Garrison had actually become president. Making the satire redundant from that point.

Nonverbal communication such as body language is a vital component of our communication, and since scholars agree that there are some notable differences in the way men and women use body language, the study of gendered nonverbal communication as a social construction is vital to our understanding of how we create gendered identities. The aim of this paper is to investigate how social gender norms concerning body language appear in constructed communication. By studying the body language of the characters in the American sitcom Friends, and with focus on leg postures, I examine how the show Friends enacts and represents stereotyped sex differences in body language. The study encompasses both the distribution of leg positions between the genders, and what these postures seem to accomplish in interaction. As for the relationship between gender and leg postures, I observed the sitting positions of the characters Chandler, Ross, Joey, Monica and Rachel in six episodes from the 1999/2000 season of Friends for the first study. For the analysis of leg postures in relation to the communicative situation, the entire corpus of ten episode recordings was used. Based on repeated inspection of scenes where leg positions could be studied in relation to gender and communication, systematic patterns were identified. The results of the study are consistent with the findings of scholars like Vrugt and Luyerink (2000); women tend to sit in closed postures or with their legs crossed, which is regarded feminine, while men sit in wide positions with their legs spread, which is regarded masculine. Furthermore, the characters/actors in Friends seem to perform their gender roles partly by using different leg positions and wideness of postures. However, leg positions alone were not found to be decisive in the messages communicated, and emotions and stance were communicated using verbal and other non-verbal channels and cues. Instead, leg positions remained gender-stereotypical regardless of the message communicated, and men and women seem to communicate the same message using different leg positions. It is therefore concluded that leg positions are an inherent part of “doing gender”, but that leg positions as such are not necessarily related to the type of message or emotional stance that is communicated.

(in English): The thesis looks at the transfer of humour in audiovisual texts in sitcoms. The theoretical part introduces the topic, including types of jokes, strategies relating to the transfer of humour and the factors influencing the choice of a particular strategy. The empirical part is based on the analysis of professional and amateur subtitles of the British sitcom Miranda. This part analyses the humour of the series from the polysemiotic perspective. It focuses on the strategies of the transfer of language-dependent, cultural and complex jokes, the functionality of translation based on whether a humorous effect is produced or not, and the differences between the strategies of professional and amateur translators.