To see the other types of publications on this topic, follow the link: American Satire And Humor.
Dissertations / Theses on the topic 'American Satire And Humor'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'American Satire And Humor.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Boswell, Brian T. "From scat to satire toward a taxonomy of humor in twentieth century American media /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/637.
Full text
2
Prussing-Hollowell, Andrea Shannon. "Standup comedy as artistic expression Lenny Bruce, the 1950s, and American humor/." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04192007-125027/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Michelle Brattain, committee chair; Larry Youngs, committee member. Electronic text (111 p.) : digital, PDF file. Description based on contents viewed Nov. 7, 2007. Includes bibliographical references (p. 109-111).
3
Meier, Matthew R. "Laughing at American Democracy: Citizenship and the Rhetoric of Stand-Up Satire." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404219407.
Full text
4
Sobiech, Michael James. "A Mock Rhetoric: The Use of Satire in First-Year Composition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/45.
Full text
5
Knoepfelmacher, Juliana Rosenthal. "A questão da mulher e a ordem social: o humor em Dorothy Parker." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-16092009-170337/.
Full textAbstract:
Essa dissertação tem como objetivo analisar os contos da escritora Dorothy Parker em diálogo com seus poemas, tendo em vista a modernidade com a qual construiu suas histórias e o papel do humor em sua criação. Ao analisar as obras dessa autora de grande destaque nos Estados Unidos da América do Norte, nos anos 1930, veremos como o humor se transforma numa importante ferramenta que se relaciona com a construção do feminino e com a questão social da mulher, a fim de desestabilizar e transformar o status quo. O estudo, com o apoio teórico de Vladimir Propp e de Henri Bergson, intenciona demonstrar que, embora Dorothy Parker possa ser considerada uma escritora datada, seu senso satírico continua atual e reflete claramente o contexto no qual as mulheres estavam inseridas.The aim of this study is to analyse Dorothy Parker´s short stories in dialogue with her poems in order to show the modernity of her writings and the function played by humour. Analysing the works of the great american writer in the thirties, we see how humour is used as a tool in the construction of the feminine and the social role of women, with the purpose of destabilizing and making a change in the status quo. The theoretical framework based on Vladimir Propp and Henri Bergson helps to demonstrate that in spite of Dorothy Parker´s work being considered dated by some, the satiric sense that emerges from her writings is still present in our times and reveals the context in which those women were inserted.
6
Hodgkiss, Megan Turley. "Excellence in Incompetence: The Daily Show Creates a Moment of Zen." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12012006-125553/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2006.Michael Bruner, committee chair; Ted Friedman, Greg Smith, committee members. Electronic text (105 p.) : digital, PDF file. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 96-105).
7
Adascalita, Lucia, and Viorica Cazac. "Communication with typographic products through satire and humor." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/17897.
Full textAbstract:
Humor and satire are formidable tools in capturing interest in various printing products and promoting them: advertising products, book editions, leaflets, labels, packaging, etc. in correlation with their predestination. The humorous approach to the graphic solution of typographic products can be diversified using various style figures and techniques: allegory, metaphor, zoomorphy, exaggeration of human physical features, anachronism, etc. In order to identify their effectiveness, a case study was conducted.
8
Bond, Nathaniel Peter. "Lessons in Immorality: Mishima's Masterpiece of Humor and Social Satire." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/988.
Full textAbstract:
From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film.
Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just.
Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature.
In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.
9
Simon, Alaina R. "Satire and Sympathy in American Psycho." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355508133.
Full text
10
Crawford, Alison. "Postmodern satire in American prime-time animation." Thesis, Ulster University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516291.
Full text
11
Edwards, Gina Nicole. "Rooting for the Truth in Humor: The Onion’s Media and Cultural Satire." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340053865.
Full text
12
Vanderford, Audrey L. "Political pranks : the performance of radical humor." Thesis, University of Oregon, 2000. http://hdl.handle.net/1794/11764.
Full textAbstract:
xi, 112 p. : ill. A print copy of this title is available through the UO Libraries under the call number: KNIGHT PN6149.P64 V36 2000This thesis examines the performance of political pranks by contemporary radical activists and anarchists. Pranks, used symbolically to subvert authority and collapse hierarchy, have become important tools for grassroots political movements. Activists utilize pranks as a form of "culture jamming" to undermine, humiliate, and educate. This thesis documents political pranks pulled by Earth First!, the Yippies, the Biotic Baking Brigade, and the Eugene Anarchists for Torrey (EAT) Campaign to show how pranks are performed and narrated within anarchist subcultures. Drawing on cultural and performance studies, as well as on anarchist theories, this thesis demonstrates how pranks can become performances of resistance and criticism that disrupt the status quo.
Committee in charge: Dr. Daniel N. Wojcik, Chair; Dr. Suzanne Clark; Dr. Carol Silverman
13
Hill, Megan Rose. "Star Spangled Awesome? Exposing American Exceptionalism Through Political Satire." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371125781.
Full text
14
Seibel, George L. IV. "Being a Poet." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1346412172.
Full text
15
Pfoul, Ima. "Underwater basketweaving: A reimbursable vocational trade?" CSUSB ScholarWorks, 1988. https://scholarworks.lib.csusb.edu/etd-project/176.
Full textAbstract:
A note from Pfau Library: We stumbled across this long-buried piece of underwater basket-weaving research during our digitization project and are now proud to present it to the world and the audience it deserves. The Journal of Irreproducible Results is doubtless disappointed they didn't get hold of it first.
The origins of this monument of scholarship are unclear. It may been produced by an education professor as a model thesis structure for his grad students to follow, or it may be the work of a librarian with too much time on their hands one long hot summer in the late 1980's. So the identity of author Ima Pfoul must remain a mystery for now.
16
Howell, Mark Hunter. "A War of Words: Satire and Song in the Pre-Revolutionary Virginia Gazettes." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626155.
Full text
17
Kazerooni, Franccesca. "'Did You Get It?' - The Effects of Understanding (or Not Understanding) a Satirical Piece of Humor." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/329.
Full textAbstract:
The effects of knowing or not knowing the satirical nature of a piece of humor were examined and compared to the effects of disparaging humor. One hundred and twenty-six heterosexual undergraduate students (male: n = 43; female: n = 83) were randomly assigned a satirical or an offensive comic about gay men. Some of those who read the satirical piece were told of the satirical intentions of the author. Some of the predicted hypotheses were partially supported. Low SDO participants found the satirical comic, regardless of whether the author’s satirical intentions were explicitly told or not, less humorous and more offensive than high SDO participants. On the other hand, high SDO participants found the disparaging comic to be more humorous and less offensive than low SDO participants. The implications of these findings as well as the difficulties with measuring the effects of satire are addressed.
18
Phillips-Anderson, Michael Andrew. "A theory of rhetorical humor in American political discourse." College Park, Md.: University of Maryland, 2007. http://hdl.handle.net/1903/7739.
Full textAbstract:
Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Dept. of Communication. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
19
Ferrada, Castro Susana. "Federico García Lorca: una obra teatral satírica." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399720.
Full textAbstract:
Federico García Lorca: una obra teatral satírica es el resultado de una investigación sin precedentes, pues, a pesar de lo mucho que se ha escrito sobre Federico García Lorca y su obra, la hipótesis en la que se ha fundamentado esta investigación implica una interpretación inédita de la obra lorquiana y, al mismo tiempo, supone una nueva percepción del poeta, al ahondar en una faceta de su controvertida personalidad de la que ningún otro investigador ha partido para analizar su obra. El propósito primordial de esta tesis consiste en demostrar que Lorca fue un satírico y que, por tanto, la sátira es una constante en sus obras, aunque no fueran concebidas íntegramente como sátiras. Federico García Lorca: una obra teatral satírica evidencia que lo cómico y lo serio, así como el innegable aspecto crítico, son rasgos satíricos intrínsecos a la obra lorquiana. Así mismo, demuestra que, sin descartar otras modalidades de su praxis dramática, Lorca llevó a cabo su crítica sirviéndose del humor, que oscila entre lo puramente jocoso y el humor negro, y se manifiesta mediante el empleo de técnicas tradicionales de la sátira, con idéntico propósito al del satírico: degradar a su objeto de ataque suscitando sonrisa o repulsa.
Federico García Lorca: una obra teatral satírica analiza en clave de sátira las farsas para actores y las “comedias irrepresentables”, identificando el objeto de ataque de la sátira lorquiana en estas obras y las técnicas satíricas empleadas por su autor. Además, este estudio prueba la afinidad de Lorca con otros satíricos, clásicos de la literatura española, e incide en la coexistencia entre tradición y vanguardia que Lorca empleó como un instrumento para satirizar. En este sentido, esta tesis ahonda en el vínculo del teatro lorquiano con la farsa, el entremés, la Commedia dell´arte, el teatro de títeres, la aleluya, los misterios medievales, el auto sacramental, el surrealismo y el teatro del absurdo desde una óptica satírica. En definitiva, esta tesis reivindica el aspecto satírico, presente de manera transversal en la obra de Federico García Lorca, que resulta ser determinante, pues da unicidad al corpus lorquiano y contribuye en gran medida a la universalidad de este autor.Federico Garcia Lorca: a satirical theatrical work is the result of an unprecedented investigation because, despite how much has been written about Federico García Lorca and his work, the hypothesis which has based this research involves a new interpretation of Lorca's work and at the same time, represents a new perception of the poet, to delve into a facet of his controversial personality than any other researcher has started to analyze his work. The primary purpose of this thesis is to show that Lorca was a satirist and, therefore, satire is a constant in his plays, although they were not conceived entirely as satires. Federico Garcia Lorca: a satirical theatrical work evidences comic and serious, as well as the undeniable critical aspect, are satirical traits intrinsic to Lorca's work. It also shows that, without ruling out other forms of his dramatic praxis, Lorca held his criticism making use of humor, ranging from the purely jocular and black humor, and is manifested by employing traditional techniques of satire, with the same purpose as the satirist: to degrade the object of attack sparking repulse or smile. Federico Garcia Lorca: a satirical theatrical work analyzes the farces for actors and the "impossible plays" identifying the object of attack in these plays and the satirical techniques employed by its author. In addition, this study proves the affinity of Lorca with other satirists, classics of Spanish literature, and highlights the coexistence of tradition and modernity that Lorca used as an instrument to satirize. In this sense, this thesis explores the link between Lorca´s theatre and farce, entremés, the Commedia dell'arte, puppet theatre, aleluya, medieval mysteries, auto sacramental, surrealism and theatre of absurd from a satirical perspective. In short, this thesis claims the importance of the satirical aspect that gives uniqueness to the entire production of Lorca and contributes greatly to the universality of this author.
20
Thornton, Amber. "An Essay on the Art of Ingeniously Tormenting for the 21st Century." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/honors_theses/6.
Full textAbstract:
This satire offers an update of Jane Collier's "An Essay on the Art of Ingeniously Tormenting," an instruction manual for sadists. It includes directions for the beginning tormentor with specific instructions for tormenting strangers, acquaintances, friends, lovers and relatives.
21
Murtha, William Gearty. "The role of trickster humor in social evolution." Thesis, The University of North Dakota, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1552210.
Full textAbstract:
Trickster humor is ubiquitous. Every society has some version of trickster and each society tells the stories of trickster over and over again to both enlighten and entertain. This thesis argues that trickster humor plays a fundamental role in helping society adapt by challenging social norms. Because trickster stories are humorous they are entertaining, because they critique social behaviors they are instructive. Tricksters break social rules, leaving society to remake them. This thesis examines the works of American Humorists Tom Robbins and Edward Abbey, particularly Still Life with Woodpecker and The Monkey Wrench Gang, arguing that these authors are contemporary trickster figures whose work not only entertains their audience but through their rule breaking offers them new possibilities in dealing with the unresolved conflicts American society is wrestling with in the last quarter of the twentieth century and beyond.
22
Manning, Brandon James. "Laughing at My Manhood: Transgressive Black Masculinities in Contemporary African American Satire." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406073002.
Full text
23
Durfee, Alicia Irene. "A Colbert bump the effect of political satire on the American electorate /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457179830/viewonline.
Full text
24
Gillota, David. "Belly Laughs: Body Humor in Contemporary American Literature and Film." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/42.
Full textAbstract:
Belly Laughs: Body Humor in Contemporary American Literature and Film Scholars are more than happy to laugh at but seem somewhat reluctant to discuss body humor, which is perhaps the most neglected form of comedy in recent criticism. In this dissertation, I examine the ways in which contemporary American writers and filmmakers use body humor in their works, not only in moments of so-called "comic relief" but also as a valid way of exploring many of the same issues that postmodern artists typically interrogate in their more somber moments. The writers discussed in this project-Philip Roth, Thomas Pynchon, Charles Johnson, and Woody Allen-were chosen for the divergent ways in which they present the body's comic predicament in psychological, metaphysical, and historical situations. The introduction explains the diverse traditions that these artists draw upon and considers how various theoretical approaches can affect our understanding of body humor. The first chapter examines Jewish-American novelist Philip Roth's use of absurd and grotesque body imagery as manifestations of his characters' moral dilemmas. The second chapter looks at how slapstick comedy informs a worldview dominated by paranioa and chaos in Thomas Pynchon's novels. Chapter Three looks at Woody Allen's early films, in which he parodies and revises the slapstick cinematic tradition of artists like Charlie Chaplin and The Marx Brothers. Chapter Four considers African-American writer and cartoonist Charles Johnson's depiction of the ways in which the body's desires and pitfalls complicate the quest for spiritual enlightenment.
25
Couret, Nilo Fernando. "Peripheral Humor, Critical Realism: Latin American Film Comedy, 1930-1960." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4831.
Full textAbstract:
Latin American film comedies, from the early sound period until the beginnings of the aesthetic and political New Cinemas (1930-1960), mediated modernity in diverse national contexts through affective and aesthetic tactics that shifted the spectator position in the narrative. These film comedies functioned in a mode of "critical realism" that produced historical self-awareness and foregrounded the geopolitical extension and uneven development of modernity. The comedian comedies of Mario "Cantinflas" Moreno (Mexico), Niní Marshall and Luis Sandrini (Argentina), and Oscarito and Grande Otelo (Brazil) demonstrate not only what kind of "peripheral humor" operated within - and traveled beyond - the national context, but also what this kind of humorous social critique reveals about the capacity of film to move viewers, by means of affect, into positions of critical opposition in the public sphere.
By examining the linguistic play of these comedians, this study demonstrates four aspects of Latin American comedy that operate via embodiment and spatio-temporal location. First, Cantinflismo had as its basis not merely word play and non-sense, but misdirection, an evasive spatial practice which positioned the viewer to resist social hierarchies within and beyond the nation. Second, Marshall's multiple radio and film characters and her vocal stardom constituted an auditory map of Buenos Aires that created a different spatial intelligibility for her auditors. Third, Sandrini's stutter produced multiple temporalities that, in turn, positioned the audience itself to do a double take regarding its relation to the film text and its location within the standardized time of modernity. Fourth, the palimpsestic parody of the Brazilian chanchanda by Oscarito and Grande Otelo produced an awareness of historicity in a critically realist vein. Taken together, these four parallel examples of comedic practice demonstrate how Latin American film comedies produced a critically proximate spectator capable of perceiving and organizing space and time differently.
Affirming that the study of popular film genres should be seen neither as derivate of foreign models nor as defensive authentic cultural expression, the thesis argues that articulating Miriam Hansen's concept of vernacular modernism to Angel Rama's concept of transculturation yields an understanding of popular cinema as a cultural practice of embodiment that foregrounds the differentiated responses to modernization. Furthermore, by re-reading the theories of realism of Gyorgy Lukács and Siegfried Kracauer and the theories of mimesis and innervation of Walter Benjamin through the critical lenses of Henri Bergson and debates about realism in the Latin American literary boom, this study demonstrates how the humor is contingent on thinking within a particular historical context and becoming part of a located collective body. These film comedies produce a critically proximate humorous spectator moved in laughter to examine his/her relation to the film text and his/her historical and geopolitical location within a cultural landscape marked by economic dependency.
26
Zakos, Katharine P. "Racial satire and Chappelle's Show." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04212009-163930/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2009.Title from file title page. Mary Stuckey, committee chair; Kathryn Fuller-Seeley, Alisa Perren, Alessandra Raengo, committee members. Description based on contents viewed June 11, 2009. Includes bibliographical references (p. 86-89).
27
Nelson, Mark Jeffrey. "Dark Satire as Political Criticism in Dias' Gomes O Bem-Amado." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4362.
Full textAbstract:
This thesis examines the Dias Gomes' play turned telenovela, O Bem-Amado, to demonstrate the use of satire and dark humor to make political commentary during the tumultuous sociopolitical era in Brazil from the early 1960s through the late-1970s. This era in Brazil is characterized by the overthrow of the leftist democratically elected civilian government by a corporate-backed hardline military dictatorship in the early part of 1964, which lasts for approximately 20 years. The result of this authoritative military rule causes many artists and intellectuals that oppose the dictatorship's repression to flee into exile abroad or adapt to the changing sociopolitical environment. Those who are not forced into exile begin to procure and find new avenues to express their dissatisfaction with the lack of free political expression. Dias Gomes becomes an accomplished playwright during the late 1950s and 1960s and uses the stage to make sociopolitical commentary and criticism. However by the late 1960s his pieces are continually being censored by the regime. At this time the television soap opera has become immensely popular in the country and the writer receives an invitation by an old colleague to begin writing telenovelas. Through this invitation, the playwright continues to make political commentary through his ability to portray the authentic Brazilian social experience. O Bem- Amado stands out as one of these authentic Brazilian portrayals of a corrupt Northeast Brazilian mayor that does anything to protect his political image. Dias Gomes employs dark humor and satire to point out the follies of the old politician, while at the same time he critiques corrupt authoritarian governments in general. This satiric humor proves to be the right aesthetic to get by the censors of the then authoritarian military regime and make public his sociopolitical criticisms.
28
Galliera, Anca Izabel. "Negotiating artistic identity through satire subreal 1989-1999 /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001175.
Full text
29
Bartholomew, Sherlene Hall. "An Annotated Bibliography of Literary Mormon Humor." Diss., CLICK HERE for online access, 1998. http://contentdm.lib.byu.edu/u?/MTAF,40619.
Full text
30
Gordon, Michael E. "The Simpsons a case study in the limitations of television as a medium for presenting political and social satire /." Diss., Connect to the thesis, 2004. http://hdl.handle.net/10066/658.
Full text
31
Perego, Elizabeth Marie. "Laughing in the Face of Death: Humor during the Algerian Civil War, 1991-2002." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492608880090522.
Full text
32
Kaplan, Leah K. "A New Theory About the Brontosaurus: Humor as Absurdity and the Violation of Expectations in Monty Python's Flying Circus." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276977937.
Full text
33
Gerschlauer, Jörg. "Ausgelacht: Das Ende der Komödie im totalen Jargon Scherz, Satire und Ironie in den Volksstücken Ödön von Horváths." Marburg Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2969887&prov=M&dok_var=1&dok_ext=htm.
Full text
34
Bianchi, Alessandro. "Their swords were brushes : instances of political satire in eighteenth-century Japan." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709168.
Full text
35
Prussing-Hollowell, Andrea Shannon. "Standup comedy as artistic expression : Lenny Bruce, the 1950s, and American humor/." Saarbrücken, Germany : VDM Verlag Dr. Müller, 2008. http://etd.gsu.edu/theses/available/etd-04192007-125027/.
Full text
36
Rainey, Kenneth Richard III. "Cross-Cultural Humor Through Comedy Films?" The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525141452462223.
Full text
37
Kharpertian, Theodore D. ""A hand to turn the time"; : Menippean satire and the postmodernist American fiction of Thomas Pynchon." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72750.
Full text
38
Coronado, Teresa Marie Freeman 1975. "Locating the butt of ridicule: Humor and social class in early American literature." Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/8309.
Full textAbstract:
x, 196 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This project critiques the performance of class identity through the works of eighteenth- and nineteenth-century colonial and early national period authors using the lens of humor, primarily as posed by Elliot Oring and Henri Bergson's theories of laughter and the ridiculous. My argument is that under the guise of laughter these works conceal the underpinnings of an American class system which can be revealed through close reading and historical research. In my dissertation, I examine the performance of each author in his or her own autobiography and the reflection of that performance within the larger frame of the development of American status structures. The characters in the texts of the authors I work with in this project demonstrate the use of the comic persona to, as scholar Robert Micklus states, "locate the butt of ridicule anywhere but in their own mirrors"; however, in my project I examine this within the context of class. Chapter I examines the work of Madame Sarah Knight, The Journal of Madame Knight, and William Byrd II's The Secret History of the Line --both of whom use humor to disguise their class insecurities. In Chapter II, I examine the performance of class hierarchy, as seen through Franklin's Autobiography and John Robert Shaw's John Robert Shaw: An Autobiography of Thirty Years, 1777-1807. In Chapter III, I examine the complications of race involved in class relations, using John Marrant's autobiography, A Narrative of the Life of John Marrant, a Free Black. Chapter IV examines David Crockett's humorous performance of the middle landscape frontiersman as part of a valorized national identity in The Narrative of David Crockett. The ideology that prompts the so-called invisibility of class in United States society today requires us to examine it under a critical lens; this project uses humor as that lens. In questioning the laughter of early American texts, we can see the class divides of early American society being created--an important step to realizing how these divides are maintained in our world today.
Adviser: Gordon Sayre
39
Duret, Marie. "Pour une poétique de la comédie dans le théâtre contemporain [de Beckett aux Deschamps]." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030140.
Full textAbstract:
Face aux incertitudes génériques liées à la perte des contours stricts entre les genres, qui se renforce dans les années 1950 avec les oeuvres du « Nouveau Théâtre », la théorisation de la comédie contemporaine et sa définition selon des critères génériques s'avèrent problématiques. Puisque les structures, les procédés d'écriture et les intentions des comédies divergent suivant les auteurs et leurs pratiques, dans une démarche descriptive et analytique, cette thèse propose un état des lieux de la situation de la comédie contemporaine française d'un point de vue générique. Trois manières d'écrire la comédie se dessinent. Les auteurs composent dans le genre, en pratiquant l'intertextualité, à partir des comédies classiques françaises, de la farce ou du vaudeville. Profitant d'un cadre structurel établi, ils s'approprient et radicalisent les procédés de ces genres issus de la tradition. Ils usent ensuite de techniques de composition coutumières du drame et de la tragédie pour créer des comédies catastrophiques qui superposent le comique et le tragique et jouent avec l'« horizon d'attente » de la comédie. Ils élaborent enfin des comédies scéniques à partir du plateau, en s'appuyant sur les formes comiques populaires. Malgré leur diversité, ces comédies présentent des éléments de poétique communs : elles maintiennent une ligne de fable, l'existence de personnages et la présence de dialogues, qui tendent à la conversation. Le comique reste l'élément essentiel du genre et se retrouve dans la vitalité des comédies burlesques, l'équivoque des comédies humoristiques et la critique des comédies satiriques. Forte de son hétérogénéité, puisant dans sa tradition qu'elle réinvente et osant l'inédit, la comédie contemporaine persiste en tant que genreTheorizing about contemporary comedy and defining it according to generic criteria has been getting harder and harder ever since the frontiers between literary genres became blurry, especially since the 1950s with the influence of the "Nouveau Théâtre". Since the structures, literary devices, and intentions of comedies vary according to their authors and the latter's practices, we will adopt a descriptive and analytical approach in assessing the situation of French contemporary comedy from a generic point of view. Three ways of writing comedy will emerge from our study. Some authors compose their texts from within the generic frame of comedy by building intertextual bridges with French classic comedy, farce or vaudeville and by exaggerating the traditional devices of the genre. Some choose to use composition techniques usually found in drama or tragedy in order to create comedies that end in disaster thus juxtaposing comedy and tragedy in a playful attitude with comedy's usual "horizon of expectation". Finally, others write comedies from the stage onwards and draw on popular comic conventions. Despite their diversity, these comedies share common poetic traits: they are all built around a storyline, characters and dialogues that verge on idle talk. The comic remains the essential element of the genre, be it in the vitality of burlesque comedies, the ambiguity of humorous comedies, or the criticism of satirical comedies. Contemporary comedy, buoyed by its heterogeneity and its ability to reinvent its own traditions, remains a relevant genre in today's theatrical landscape
40
Tuomivaara, R. (Riikka). "“There Is No Humor in Heaven”:satire in Mark Twain’s The Chronicle of Young Satan and Nr. 44, The Mysterious Stranger." Master's thesis, University of Oulu, 2014. http://urn.fi/URN:NBN:fi:oulu-201405291581.
Full textAbstract:
Mark Twain (Samuel Clemens, 1835–1910) is the primary figure of American satire, and his works have influenced the humor of his country enormously. This thesis examines the satire in Twain’s two manuscripts, The Chronicle of Young Satan and Nr. 44, The Mysterious Stranger. These manuscripts represent Twain’s later, more serious works, in which the humor is clearly more challenging compared to his earlier stories. The goal of this thesis is to study the hidden humor in the texts by handling their narratives and characters through various sub-genres of satire. The most important theoretical constructs are satire on religion, moral satire and Menippean satire — the terms carnivalism and serious smiling being of particular importance to the latter. The Mysterious Stranger Manuscripts consist of three incomplete texts, from which I have omitted the middle one, Schoolhouse Hill. This approach makes it easier to perceive the continuum between the first and last manuscript: since Twain worked on these manuscripts for ten years, the starting and ending point of his thought processes when it comes to the story, characters and themes can be more easily understood. The changes in Twain’s satire throughout these two texts and his pursuit of a satisfying ending are an important part of the research. The main character of the Manuscripts is the Stranger, a classic figure in satire, whom Twain uses to place the reader outside where emotional affairs can be seen from a logical and neutral point of view. At the same time the Stranger can be seen as a jester whose mission is to mock everyone equally and thus bring about total humility. This humility invites reader to internalize even the darkest humor. Other terms relating to this research are romance and fantasy. Fantastical elements, which are mixed into a typical romance plot, make it possible for the author to create extraordinary circumstances to prove his own points. Harsh juxtaposition enables the usage of characters as "mouthpieces" of the ideas they represent — although eventually even the mocker himself is being mocked. This is the core feature of Menippean satire and carnivalistic laughter, and this new perspective found through these methods reveals many comical and even hopeful elements from Twain’s satire. It was concluded that instead of cynicism and determinism, the Manuscripts are full of discreet humor, which creates an inner logic for the story and prepares the reader for the final revelation. Thus, a new light is cast upon the ending of the third manuscript: the mixture of cold truth and satire takes the reader to a crossroads. One route is the familiar dream world whereas the other is a world where humor leads to total humility, forcing the dreamer to take responsibility for the nightmare that he himself has createdMark Twain (Samuel Clemens, 1835–1910) on amerikkalaisen satiirin keskushahmo, jonka teokset ovat merkittävästi muovanneet maan huumoria. Tässä tutkimuksessa tarkastellaan satiiria Twainin kahdessa käsikirjoituksessa The Chronicle of Young Satan ja Nr. 44, The Mysterious Stranger. Käsikirjoitukset edustavat Twainin myöhäistä, vakavampaa tuotantoa, jonka huumori on selkeästi kirjailijan aikaisempia teoksia haastavampaa. Tutkielman tavoitteena on tuoda esille käsikirjoituksien piilotettu huumori käsittelemällä sen kerrontaa ja henkilöhahmoja muutaman satiirin alalajin kautta. Keskeisimmän teoriapohjan muodostavat uskontokritiikki, moraalisatiiri ja Menippolainen satiiri, sekä viimeisimpään läheisesti liittyvät käsitteet karnevalismi ja vakavakoominen nauru. The Mysterious Stranger Manuscripts -kokonaisuuden alle kootusta kolmesta käsikirjoituksesta olen rajannut pois keskimmäisen Schoolhouse Hill -käsikirjoituksen. Rajaus helpottaa hahmottamaan ensimmäisen ja viimeisen käsikirjoituksen muodostaman jatkumon, jossa näkyy Twainin kymmenen vuotta kestäneen kirjoittamisprosessin alku ja päätepiste niin tarinan, hahmojen kuin teemojenkin kannalta. Tutkimuksessa on otettu huomioon myös se, miten Twainin satiiri muuttuu käsikirjoituksien välillä ja miten Twain etsii tarinalleen sopivaa lopetusta. Käsikirjoituksien päähahmona toimii muukalainen, klassinen satiirin hahmo, jonka kautta Twain asettaa lukijansa ulkopuolelle — paikkaan, jossa tunteita herättävät asiat on mahdollista nähdä loogisesta ja neutraalista näkökulmasta. Samalla muukalainen toimii eräänlaisena narrina, jonka tehtävänä on tehdä pilkkaa kaikista tasapuolisesti täydellisen nöyryyden luomiseksi. Tämä nöyryys kutsuu lukijan sisäistämään mustimmankin huumorin. Muita tutkimukseen liittyviä käsitteitä ovat romanssi ja fantasia. Romanssille tyypilliseen juoneen sekoittuneet fantasiaelementit tekevät kirjailijalle mahdolliseksi luoda epätavallisia tilanteita oman mielipiteensä esilletuomiseksi. Rankat vastakkainasettelut sen sijaan mahdollistavat hahmojen käyttämisen kirjailijan ”suukapulana”, vaikkakin lopulta myös itse pilkkaaja, kirjailijaa myöten, joutuu pilkan kohteeksi. Tässä piirteessä kiteytyy Menippolaisen satiirin ja karnevalistisen naurun syvin olemus, ja uuden näkökulman avulla Twainin synkältä vaikuttavasta tekstistä löytyi runsaasti humoristisia ja keveitä piirteitä. Tutkimuksen perusteella kyynisyyden ja determinismin sijaan käsikirjoituksista löytyy hienovaraista huumoria, joka luo tarinan sisäisen logiikan valmistellen lukijaa päähahmon loppupaljastusta varten. Näin ollen tutkimus toi uutta valoa myös kiistellylle kolmannen käsikirjoituksen lopulle: synkän totuuden ja satiirin sekoitus vie lukijan tienhaaraan. Toinen reitti on turvallinen unimaailma, kun taas toinen reitti johtaa huumorin avulla todelliseen nöyryyteen, joka pakottaa uneksijan ottamaan vastuun luomastaan painajaisesta
41
Martin, Ralph S. "Laughing Our Way To Revolution: A History and Analysis of African American Humor." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/599.
Full textAbstract:
The goal of this thesis is to explain the nature of ethnic humor in American society. This will be achieved through three different processes. First, this thesis will explain the history of African American humor and recount it’s development into it’s own brand of comedy. Second, it will explain the nature of African American humor and how it is a tool used to revolt against the oppressive and hegemonic nature of western society. Additionally, this paper aims to prove that African American humor is a coping mechanism for African Americans. This thesis will also discuss the duality of African American humor as both comedy and social critique. Another aspect this work will explore is how comedians deal with unintended stereotype perpetuation and also how different audiences respond to the racial jokes of the comedians. Finally, this thesis will outline how to better present jokes so that the perpetuation of racism and stereotypes does not happen.
As a coping mechanism, African American humor takes stereotypes about African Americans, both positive and negative, and converts them into humorous topics that can make the stereotypes positive (Daube, 2010). This play on stereotypes, although it can be incredibly funny and also makes for great social commentary, is also very dangerous (Apte, 1987). Without proper context and understanding of the joke, it is possible that the intended social critique is not conveyed to the audience and instead the humor unintentionally perpetuates negative stereotypes. The value of African American humor as both entertainment and a coping mechanism is immeasurable (Cater, May, & Bird, 2012)
42
Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.
Full textAbstract:
During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry.
I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war.
The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts.
The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.
43
Lewis, Melinda Maureen. ""That's What She Said": Politics, Transgression, and Women's Humor in Contemporary American Television"." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394394312.
Full text
44
Coronado, Teresa Marie Freeman. "Locating the butt of ridicule : humor and social class in early American literature /." Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8309.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. "The authors ... include Madame Sarah Kemble Knight, William Byrd II, John Marrant, John Robert Shaw, Benjamin Franklin and David Crockett, as well as comparator texts, such as the legends of Mike Fink and the memoir of Stephan Burroughs"--P. 1. Includes bibliographical references (leaves 187-196). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
45
Chastain, Stephanie G. "The gendering of humor : toward a feminist narrative /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/6673.
Full text
46
Thomerson, John P. "Parody as a Borrowing Practice in American Music, 1965–2015." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1510063658786716.
Full text
47
Bogansky, Amy Elizabeth. "The Devil's servants satire in colonial America and the visual language of conflict (Pennsylvania) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.51 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435863.
Full text
48
Cunha, Fabiana Lopes da. "Caricaturas carnavalescas: carnaval e humor no Rio de Janeiro através da ótica das revistas ilustradas Fon-Fon! e Careta (1908-1921)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08072008-145100/.
Full textAbstract:
Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história.This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.
49
Garrido, Rony Enrique. "El humor como principio organizador de las obras de Augusto Monterroso y la Huelga de Dolores." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/290690.
Full textAbstract:
This dissertation studies selected works of the Guatemalan writer Augusto Monterroso and documents related to a cultural event known as the Huelga de Dolores, which takes place annually in Guatemala City during the days preceding Holy Week. These texts are analyzed from the perspective of humor, understanding humor not simply as one element among others but--more fundamentally--as an oblique way to approach and apprehend reality. In this way, humor constitutes an organizing principle of the writings of Monterroso and the documents published by the huelgueros. Chapter one reviews several theoretical interpretations of humor. Here, special attention is given to the theory of incongruity. It is argued that most theories of humor are rooted in a Cartesian epistemology and that a different approach should be considered, one that is more in line with the modern episteme. Chapter two is a biographical profile of Augusto Monterroso, which offers insight into his artistic sensibility. This chapter also includes a discussion of the history and evolution of the Huelga. The event began as an informal and spontaneous student celebration, and it has evolved into a social institution whose agenda includes a carnivalesque attack on different aspects of Guatemala's contemporary economic, political and social situation. Chapter three begins with a characterization of the extant literary criticism of Monterroso's works, from the 60s to the present. This chapter also examines the author's distinctive trait of obliqueness, which is evident not only in his use of irony, satire, and parody, but also in his pessimism, skepticism, relativism, and displacement of literary genres. Chapter four compares the notions of obliqueness and dialogism, and it offers the conclusion that they refer to the same essential characteristic of humor. Additionally, this chapter addresses the dialogical nature of humor and how such nature is related to several characteristics of medieval carnivals. The fourth chapter also establishes connections between the carnival and the Huelga de Dolores and it analyzes the oblique modes of the huelgueros' discourse.
50
Gatti, Márcio Antônio 1980. "A representação da criança no humor : um estudo sobre tiras cômicas e estereótipos." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268872.
Full textAbstract:
Orientador: Sirio PossentiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-23T22:04:47Z (GMT). No. of bitstreams: 1 Gatti_MarcioAntonio_D.pdf: 3111786 bytes, checksum: 303d810bb83ff1f2a9d9bf5a7fc3d5e9 (MD5) Previous issue date: 2013
Resumo: Esta tese consiste num trabalho sobre o funcionamento dos estereótipos de criança no discurso humorístico. Para isso, partimos de pressupostos teóricos da Análise do Discurso de linha francesa (AD), especialmente de conceitos como campo discursivo (Maingueneau, 1984) e cena de enunciação (Maingueneau, 2006). Sabendo que o objeto de estudo dessa tese (os estereótipos de criança nas tiras cômicas) congrega uma multiplicidade de temas, exploramos, no primeiro capítulo, a infância na história da cultura ocidental. Concebendo-a como uma categoria construída sócio historicamente, constatamos que boa parte das imagens pré-concebidas de criança derivam dessa construção. Seguindo a complexidade do objeto de estudo, passamos, no segundo capítulo, a explorar e aprofundar o conceito de estereótipo na AD, constatando que o conceito tem sido pouco explorado nessa disciplina. Avaliamos, portanto, nesse capítulo, a aproximação com outros conceitos da AD e estabelecemos os critérios teóricos e analíticos que envolvem o estereótipo nesta tese. No terceiro capítulo, passamos a analisar os estereótipos de criança nas tiras cômicas, mostrando que uma imagem de criança perpassa boa parte dos textos em que ela é representada: a imagem da "incompletude". Avaliando, porém, que a estereotipia da criança no humor é complexa, isto é, não há uma imagem estereotipada única de criança nos textos humorísticos, analisamos outros estereótipos - como o da criança ingênua - e sua exploração no humor. Compreendendo que a imagem da criança pode ter uma série de funções no discurso humorístico, no quarto capítulo, avaliamos a hipótese de como a criança pode ser um objeto de ridicularização do adulto. Seguindo a complexidade da estereotipia da criança, no quinto capítulo avaliamos como os estereótipos e alguns aspectos da circulação das tiras cômicas são preponderantes para o ethos dos personagens, bem como para os efeitos de sentido dos textos. Por fim, no sexto capítulo, mostramos como várias imagens de criança são fruto de nossa própria "evolução" civilizatória. Assim, tanto no caso da diferenciação da representação de meninos e meninas, como também traços como a falta de higiene são tipicamente oriundos do processo civilizador. Analisamos, assim, a complexidade da imagem das crianças em tiras cômicas. Estabelecemos, porém, que mesmo nessa complexidade, há um diálogo entre as imagens e os estereótipos da criança
Abstract: This thesis consists of a work about the functioning of children's stereotypes in humoristic discourse. In order to achieve this aim, it is based on the theoretical suppositions of the French Discourse Analysis (AD), especially concepts such discursive field (Maingueneau, 1984) and enunciation scene (Maingueneau , 2006). Knowing that the object of study of this thesis (the stereotypes of children in comic strips) gathers multiple themes, we explore in the first chapter, the history of childhood in occidental culture. We conceived it, as a social category historically built: we verified that a good number of these pre-conceived images of children come from this construction. Following the complexity of the aim of this study, we proceeded to the second chapter. Here, we explored and deepened the concept of this stereotype in the AD, verifying that this concept has been explored very little in this discipline. Therefore, in this chapter, we evaluated its approximation to other concepts of AD, and determined the theoretical and analytic criteria that involved this stereotype. In the third chapter, we analyzed the stereotypes of children in the comic strips showing that the image of children surpasses a good part of the texts in which they are represented: an image of "incompleteness". However, we evaluated that the stereotypes of children in humor are complex, that is, there is no unique stereotype of children in humorous texts. then we analyzed other stereotypes - like the naive child - and their exploitation in the humor.Understanding that the image of a child could have a series of functions in humorous speech, in the fourth chapter, we evaluated a hypothesis that how a child could be ridiculed by adults. Following the complexity of the stereotype of a child, in the fifth chapter, we evaluated how stereotypes and some aspects of the circulation of the comics are preponderant for the ethos of the characters, as well as for the effects of the sense of the texts. Finally, in the sixth chapter, we demonstrated how several images of children are the result of our own "evolution in the process of civilization". Therefore, in the case of differentiation of boys and girls, as well as traces such as lack of hygiene, these facts are typically originated in the process of civilization. We have analyzed the complexity of the image of children in comic strips. Therefore, we concluded, that in this complexity, there is a dialogue between the images and the stereotypes of children
Doutorado
Linguistica
Doutor em Linguística