Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2018-08-28T18:43:15Z No. of bitstreams: 1 2017 - Rennan Furtado.pdf: 3276259 bytes, checksum: 8cafeadb184e367812582c17e230792f (MD5) / Made available in DSpace on 2018-08-28T18:43:15Z (GMT). No. of bitstreams: 1 2017 - Rennan Furtado.pdf: 3276259 bytes, checksum: 8cafeadb184e367812582c17e230792f (MD5) Previous issue date: 2017-03-29 / CAPES / This work aims to develop a didactic mediation, of collaborative basis, for anaphoric direct objetcs study and use, from stand up comedy discursive genre, in groups of youngsters and adults who did not continue their studies and those who have not joined primary and/or elementary school at appropriate age. This is youth and adults education (EJA). The aim is to encourage student's participation in Portuguese classes, in public schools of the State of Rio de Janeiro (NEJA) assuming that the use of stand up comedy discursive genre would stimulate them to develop reading activities, textual production and reflection on linguistic uses, focusing on the study and use of anaphoric direct object. For this purpose, this research was based on Collaborative Learning Theory (BEHRENS, 2013), which enabled the organicity of mediation in order to promote a participatory education in which the interaction between student and teacher is the basis of the work. In addition, in linguistic theories we searched assumptions to justify the proposal. Namely: Referencing Theory (KOCH and ELIAS, 2012; CHAN, 2004) and the continuous variation of Linguistics (BORTONI-RICARDO, 2004, 2005), with emphasis on continuous orality-literacy. The first one allowed the understanding of anaphoric relations, especially the Anaphoric Direct Objetc one, in a text; the second one enabled the recognition that linguistic accomplishments, variables, such as those in this category, are in a continuous line rather than on opposite sides. We also keep this continuous association with the discursive genres continuous proposed by Marcuschi (2001). This work also aimed to achieve specific objectives in Portuguese classes just as teaching referral strategies in acusativess forms, as well as other more general like promoting discussion, the collectivity, the sharing of ideas and mutual respect between teacher and students. / Este trabalho tem por objetivo desenvolver uma media??o did?tica, de base colaborativa, para estudo e uso do objeto direto anaf?rico (ODA), a partir do g?nero discursivo stand-up comedy, em turmas de educa??o para jovens e adultos que n?o deram continuidade aos estudos e para os que n?o ingressaram no Ensino Fundamental e/ou M?dio com a idade apropriada. Trata-se do segmento Educa??o de Jovens e Adultos (EJA). Busca-se incentivar a participa??o, nas aulas de L?ngua Portuguesa, dos alunos inseridos nos cursos da Educa??o de Jovens e Adultos da rede p?blica do estado do Rio de Janeiro (NEJA), partindo-se da hip?tese de que o uso do referido g?nero os estimularia a desenvolver atividades de leitura, produ??o textual e reflex?o sobre usos lingu?sticos, com foco no estudo e uso do ODA. Para tanto, esta pesquisa baseou-se na Teoria Colaborativa de Aprendizagem (BEHRENS, 2013), que possibilitou a organicidade da media??o para promovermos um ensino participativo em que a intera??o entre aluno e professor constitui a base do trabalho. Al?m disso, buscamos, em teorias lingu?sticas, pressupostos para fundamenta??o da proposta. A saber: a teoria da Referencia??o (KOCH E ELIAS, 2012; CAVALCANTE, 2004) e a dos Cont?nuos de varia??o lingu?stica (BORTONI-RICARDO, 2004, 2005), com ?nfase no cont?nuo oralidade-letramento. A primeira permitiu o entendimento das rela??es anaf?ricas, sobretudo a do ODA, em um texto; a segunda possibilitou o reconhecimento de que as realiza??es lingu?sticas, as vari?veis, como as dessa categoria, situam-se em uma linha cont?nua e n?o em lados opostos. Procedemos ainda ? associa??o desse cont?nuo com o cont?nuo dos g?neros discursivos proposto por Marcuschi (2001). Este trabalho buscou, ainda, atingir objetivos espec?ficos da disciplina de L?ngua Portuguesa, como ensinar estrat?gias de referencia??o em formas acusativas, al?m de outros mais gerais, como promover o debate, a coletividade, o compartilhamento de ideias e o respeito m?tuo entre professor e alunos.

Indiana University-Purdue University Indianapolis (IUPUI) / Before the “sick” comedians arrived onto the comedy landscape political and culturally based humor was considered taboo, but the 1950s witnessed a dramatic transformation to the art of stand-up comedy. The young comedians, including Lenny Bruce and Mort Sahl, became critical of American Cold War policies and the McCarthyistic culture that loomed over the nation’s society. The new stand-up comics tapped into a growing subculture of beatniks and the younger generation at large that rebelled against the conservative ideals that dominated the early post-war decade by performing politically and socially laced commentary on stage in venues that these groups frequented. The two comedians that best represent this comedic era are Jewish comics Mort Sahl and Lenny Bruce. Their comedy was more politically oriented than the other “sick” comics, and they started an entertainment revolution with their new style. They became legendary by challenging the status quo during a historically conservative time, and inspired numerous comics to take the stage and question basic Cold War assumptions about race, gender, and communism.

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on February 26, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Annie Gilbert Coleman, Monroe H. Little. Includes vitae. Includes bibliographical references (leaves 120-125).

Stand-up comedy has become increasingly popular in Sweden in the late 20th and early 21st centuries. The jokes of stand-up comedians are reflections of contemporary cultural notions and discourses. Stand-up comedy can also be seen as a form a cultural free zone where one is allowed to express oneself in ways that are not possible in other public contexts. In this study I am investigating how Swedish stand-up comedians relate to cultural notions about gender, sexuality, ethnicity/race, places, age, disabilities, social class and mental illness. By applying an intersectional perspective I am able to show how various power structures can interact and strengthen each other. The main empirical material consists of three observations at different stand-up comedy clubs and four interviews with stand-up comedians. By using cultural analysis as an analysis method I am showing how stand-up comedy both reflects and is affected by larger structural patterns and discourses in society. My analysis shows that stand-up comedians are both reproducing and challenging normative cultural notions. A variety of theoretical concepts are used to analyse how standup comedians are joking about prevailing cultural notions. For example am I using gender theories to analyse jokes about notions of gender and sexuality while postcolonial concepts as well as theories about racification are applied in the analysis of jokes connected to cultural notions about race and ethnicity. In some of the jokes different cultural notions are intertwined. Furthermore I am analysing how the stand-up comedians are reflecting over what they are allowed to joke about, depending on their own background and experiences as well as how they are relating to different discourses. Stand-up comedy is still dominated by a masculine discourse that has only recently been challenged by a feminist discourse, which stand-up comedians relate to in different ways. How stand-up comedians navigate between political correctness and the discourse that comedians should be able to joke about everything is also part of my investigation. Finally, I am analysing different comic strategies used by the stand-up comedians in their performances, which affect how they are joking about various cultural notions. Some comedians are joking about themselves in a self-deprecatory way while others invites the audience to join the perspective of an assumed normative community to make jokes about what makes other groups different.

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Humour has for a long time been regarded as something unproblematic that in general shouldn’t be taken seriously, and humour research has mainly focused its positive functions and effects. However, humour is indeed a social and discursive practise that, just like others, have social implications. The aim of this essay is, informed by an intersectional perspective, to problematize and critically examine stand-up comedy as discursive practise and to make visible how humour build upon dominating discourses in society. The aim is also to examine the self-contradictory dimension of the jokes. In a critical discourse analysis of Özz Nûjen’s show Dålig stämning (2013), using PC (political correctness) as an overall analytical framework, the analytical categories ‘women’ as well as ‘ethnicity and culture’ are focused. My conclusion is that in all cases of Nûjen’s prerogative of interpretation, ‘stupidity’, as the lowest common denominator, sticks to symbols, bodies and phenomenon that are associated with something deviant or negative. By what is not expressed, a white, normative Swedish PC-identity is constructed as the abstract, preferable subject. Nûjen’s stand-up comedy, i.a. in expressions of self-contradiction, proves to mainly reinforce social norms. Consequently, negative preconceptions and biased representations of reality are cemented. Though Nûjen does contribute to sociocultural change to some extent, the elaborations of the jokes in most cases prove to sustain the social order. A renegotiation of identities is therefore made strictly limited. However, in one case, Nûjen does challenge the notion of identities as fixed and essential, when renegotiating the master status and construction of “The ethnical Other woman”.

Cette thèse de doctorat porte sur les implications de l’humour dans l’établissement du vivre ensemble au Québec. Je me penche tout particulièrement sur la production, le contenu et les effets des discours humoristiques dans le développement de certaines attitudes politiques à l’égard des communautés issues de la diversité culturelle et religieuse québécoise. L’ensemble de la recherche a été réalisé à travers la rédaction des trois articles, lesquels visent à mieux saisir la trajectoire empruntée par les messages humoristiques traitant de ces enjeux. Le premier article s’attarde sur les motivations et les procédés à travers lesquels les humoristes et les artisans de l’humour construisent leurs numéros. Cette partie de l’étude a pour objectif de comprendre les facteurs d’influence de création humoristique traitant des enjeux du vivre ensemble tels que perçus par les membres de l’industrie de l’humour au Québec. Grâce à la réalisation d’une vingtaine d’entrevues semi-dirigées, on constate que le premier et principal vecteur de création de numéros d’humour reste l’individu, l’humoriste lui-même. C’est avant tout ses points de vues, sa façon de comprendre et d’interpréter le vivre ensemble qui est mis de l’avant. Le reflet de la société que renvoie l’humoriste est toutefois sous l’influence des pressions qu’il perçoit de la part de l’auditoire. Ainsi, les créateurs d’humour, comme tant d’autres personnalités ou groupes de l’espace public, sont soumis à un contrat de communication, lequel demeure à l’esprit de bon nombre d’humoristes. Le second article propose une analyse de contenu de 76 vidéos humoristiques répertoriées sur la plate-forme de visionnement YouTube et abordant les questions du pluralisme. On y découvre que même si plus de 25 communautés culturelles et religieuses font l’objet de caricatures et de railleries, c’est la communauté arabo-musulmane qui représente la principale cible des humoristes, que ces derniers proviennent du groupe majoritaire ou des minorités. Le stéréotype liant islam et terrorisme est alors évoqué de façon récurrente. Le troisième et dernier article se penche sur les effets de l’humour sur l’alimentation des préjugés auprès des individus. Il s’agit d’une étude expérimentale réalisée auprès de quelques 216 personnes séparées en deux groupes : un groupe a été exposé à des numéros véhiculant des stéréotypes culturels et religieux, à l’égard des arabo-musulmans en particulier, l’autre groupe a été confronté à des prestations ne comportant pas ce genre de stéréotypes. D’une part, on n’observe aucun effet direct significatif, sans variable amplificatrice, entre les deux groupes, suggérant qu’il faut peut-être prendre en compte d’autres facteurs pouvant jouer un rôle. D’autre part, des impacts significatifs sont en effet observables en fonction de la participation religieuse. Ainsi, les effets de l’humour sont à l’évidence complexes à mesurer et il importe de prendre en considération des variables modératrices (moderated effects) afin d’en apprécier empiriquement les répercussions. En regard des différentes conclusions tirées dans mes trois recherches, il subsiste un écart entre la responsabilité ou les impacts des créations humoristiques tels que perçus par les humoristiques et ce que leurs numéros contiennent et les effets que ces derniers engendrent sur le terrain. / This dissertation focuses on the implications of humour in the establishment of the Quebecois concept of "le vivre ensemble" (that we could translate into social cohesion). In particular, I am looking at the role and effects of comedic speech in the development of political attitudes towards communities stemming from Quebec's cultural and religious diversity. All of the research was carried out through the writing of three articles, which aim to better understand the trajectory taken by humorous messages dealing with these kinds of issues. The first article focuses on the motivations and processes through which humorists and members of Quebec’s comedy industry construct their acts. The objective of this part of the study is to understand the influencing factors of the creative process dealing with the issues of the "vivre ensemble" as perceived by members of this industry. Based on about twenty semi-directed interviews, we can see that the first and main vector of comedy creation remains the individual, the stand-up comic themself. It is above all their points of view, their way of understanding the "vivre ensemble" that is put forward. The comedian’s thoughts on society are, however, influenced by the pressures they perceive from the audience. Thus, creators of comic communications, like so many other public figures or groups, are subject to a communication contract, which remains in the minds of many stand-up comics. The second article proposes a content analysis of 76 humorous videos listed on the YouTube viewing platform and addressing issues of pluralism. It reveals that although more than 25 cultural and religious communities are the subject of caricatures and taunting, it is the Arab-Muslim community that represents the main target of humoristic videos whether they come from the majority or minority group. The stereotype linking Islam and terrorism is then evoked repeatedly. The third and final article looks at the effects of humour on the feeding of prejudices among individuals. It is an experimental study carried out with some 216 people separated into two groups: one group was exposed to acts that conveys cultural and religious stereotypes, particularly towards Arab-Muslims, while the other group was confronted with performances that did not contain such stereotypes. On one hand, there were no significant direct effects, without controlling for intervening factors, between the two groups, suggesting that conditional factors may need to be taken into account. On the other hand, however, significant impacts are indeed observable depending on the religious participation of the audience. Clearly, the effects of humour are complex to measure and it is important to take into account moderated effects in order to empirically assess the impact.