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Palmer, Marcus S. "History, humor, and introspection experiencing "Argentinidad" /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442853.
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Vanderford, Audrey L. "Political pranks : the performance of radical humor." Thesis, University of Oregon, 2000. http://hdl.handle.net/1794/11764.
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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
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Bouteneff, Peter. "The history, hagiography and humor of the fools for Christ." Theological Research Exchange Network (TREN) Access this title online, 1990. http://www.tren.com/search.cfm?p015-0201.
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Chik, Pik Yuk. "Some correlates of children's humor." Monash University, Institute of Human Development and Counselling, 2001. http://arrow.monash.edu.au/hdl/1959.1/9144.
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Pavam, Rosane Barguil. "O cineasta historiador: o humor frio no filme Sábado, de Ugo Giorgetti." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-25052012-164144/.
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Herdeiro da comédia italiana de Dino Risi e Mario Monicelli, o diretor paulistano Ugo Giorgetti faz no longa-metragem Sábado um exercício de reflexão que o aproxima da tradição melancólica e autoderrisória dos escritores Laurence Sterne, Xavier de Maistre e Machado de Assis. O humor frio do diretor não nega a piada, embora prescinda dela seguidas vezes em busca da conscientização histórica de seu público para um estado de ruína social. É um filme em que os meios-tons, não a calidez cômica, evocam o abandono de comando do país, desprovido da mediação de instituições como o governo e a justiça.Heir to the Italian comedy of Dino Risi and Mario Monicelli, Ugo Giorgetti, movie director from São Paulo, reflects in his feature film Sábado the tradition of melancholy and self-derision represented by the writers Laurence Sterne, Xavier de Maistre and Machado de Assis. The cold mood director does not deny the joke, although he forgoes to it sometimes in search of an historic awareness of their audience to a state of social ruin. It is a movie in which the halftones, not the comic warmth, evoke the abandonment of running the country, devoid of the mediating institutions as government and justice.
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Argent, William T. "Humor Recognition: A Comparative Analysis." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/4955.
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There are various approaches to the explanation of humor in the field of humor research. Some of these theories, while providing interesting insight into the phenomenon known as humor, remain limited in their ability to account for how humor is recognized. Others do not even address the issue. This thesis compares five different theories in humor research by analyzing the humorous short story "My Watch" by Mark Twain. These theories are: 1. a typological approach to humor, 2. a social- functional model, 3. incongruity theory, 4. Grice's Cooperative Principle taken from linguistic pragmatics, and 5. the General Theory of Verbal Humor devised by V. Raskin and S. Attardo. The comparative analysis, following an extensive review of the literature, first interprets the humor in the short story in the light of each theoretical model. During the course of the analysis, the limitations inherent in each theories' treatment of humor are illustrated and these argue and provide evidence for the adoption of the General Theory of Verbal Humor because of its greater sophistication in building a model of humor recognition. Furthermore, in analyzing Twain's short story this thesis establishes the generalizability of this more sophisticated theory to at least some types of literary humor, specifically the tall tale. Finally, further research implications and general connections between the theoretical approaches discussed in this thesis and the teaching of the English language to non-native speakers highlight the practicality of applying insights from humor research to the field of teaching.
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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.
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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)
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Johnson, Courtney C. "Nobody Else Was Laughing: Dani Levy's Use of Film Humor to Approach German History." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193365.
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Swiss-German director Dani Levy uses humor to explore recent German history in his films "Alles auf Zucker" (2004) and "Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler" (2007). In a move unusual for German-speaking film directors, Levy pokes fun at Adolf Hitler and his regime in "Mein Führer." Levy also plays with the tension among formerly estranged members of a Jewish family in "Alles auf Zucker" to create a metaphor for the strained relations in reunified Germany.This project explores how Levy uses humor to break taboos in contemporary German society and prompt audiences through humor to critical debate about recent German history and its implications for contemporary and future society. This analysis is important to the German-speaking world and global audiences because Levy's work begs viewers to ponder what they can laugh at, who is allowed to make jokes, and how comedy can promote debate about societal norms and taboos.
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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.
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Heili, Benjamin J. "Humor and Cynicism in the German Democratic Republic." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383309234.
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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.
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Vosloo, Jan 1934. "Die manifestering van humor in geselekteerde Afrikaanse kortverhaaltekste." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53382.
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Thesis (PhD)--Stellenbosch University, 2003.ENGLISH ABSTRACT: At the start of the twentieth century Afrikaans humour was researched quite intensively. Since then, however, such research has been relatively sporadic and has concentrated on related sub-genres of humour, such as satire, irony and wit. This dissertation investigates anew the phenomenon of humour as manifested in Afrikaans short story texts, from the dual starting points of a current context and of the extensive theoretical studies done by other researchers worldwide. In the process, humour is viewed as a communicative strategy, a combination of codes which writers utilize within a specific socio-political context in order to create humorous effects and elicit resultant reactions from readers. One of the primary aims of this investigation into the codes and strategies employed by Afrikaans writers in the humorous short story genre, is to determine whether they coincide with universal tendencies or whether they have certain unique features. After a broad exposition of the historical background and of the evolution of the continually changing concept humour, attention is paid to theories regarding its nature and effect. The creative interaction between related modi, like comedy, satire, irony, wit, burlesque, travesty, parody, caricature, grotesque, absurd and black humour and their contribution to one's experience of humour are all researched. Initially, the Afrikaans humour-tradition is set against its historical background. Following this, a more detailed investigation considers strategies of humour selected from Afrikaans short story texts from 1884 to 2001. These are selected for their variety of types of humour and according to criteria relating to structure, style and convention. The major emphasis is placed on short stories of the past two decades, in an attempt to measure the era-relatedness of humour and the interaction with the prevailing socio-political context. These various stylistic strategies are contextualized in writers' deliberate attempts to create a humorous outcome. Along with generally universal characteristics - like the interaction of humorous and non-humorous texts, with time-bound trends (in common with other literatures) - it is concluded that the Afrikaans humorous short story is strongly ancho.ed both in relevance and contextuality. Humour remains a vibrant aspect of the Afrikaans short story and, by keeping this tradition alive, it also remains popular with the reading public.
AFRIKAANSE OPSOMMING: Nadat daar aan die begin van die twintigste eeu betreklik intensiewe navorsing oor humor in Afrikaans gepubliseer is, het sedertdien slegs sporadiese studies verskyn oor verwante humormodi soos satire, ironie en geestigheid. Hierdie proefskrif wil gevolglik vanuit 'n huidige konteks, en na aanleiding van die uitgebreide teoretisering en navorsing elders ter wêreld, die verskynsel humor opnuut ondersoek, soos gemanifesteer in Afrikaanse kortverhaaltekste. Humor word in die proses benader as 'n kommunikatiewe strategie, 'n versameling kodes wat skrywers binne 'n bepaalde sosio-politieke konteks aanwend, met die oogmerk om humoristiese effekte te bewerkstellig en bepaalde reaksies by lesers uit te lok. Dié studie wil veral vasstel watter kodes en strategieë Afrikaanse humoristiese kortverhaalskrywers hierby gebruik, of dit ooreenstem met breë tendense elders of eie is aan Afrikaans. Na 'n oorsigtelike uiteensetting van die historiese grondslae en die evolusie van die steeds veranderende begrip humor, word aandag bestee aan teorieë oor die aard en effek daarvan. Die vrugbare interaksie tussen verwante modi soos die komedie, satire, ironie, geestigheid, die burleske, travestie, parodie, karikatuur, die groteske, die absurde en swart humor, asook die bydrae daarvan tot die humorbelewing, word vervolgens ondersoek. Die Afrikaanse humortradisie word eers oorsigtelik histories nagespeur, waarna nadere ondersoek ingestel word na humorstrategieë aan die hand van Afrikaanse kortverhaaltekste wat dateer van 1884 tot 2001, geselekteer op grond van sowel verskeidenheid met betrekking tot die tipe humor as kriteria soos struktuur, styl en konvensie. Die klem val op kortverhale uit die afgelope twee dekades, ten einde aspekte soos die tydgebondenheid van humor en die interaksie met die heersende sosiopolitieke konteks te probeer bepaal. Die verskillende stylstrategieë wat geïdentifiseer is, word in verband gebring met die skrywers se berekende opset om 'n humoristiese uitkoms te bewerkstellig. Naas meer universele kenmerke, soos die wisselwerking tussen humor en erns in dié tipe tekste en tydspesifieke neigings (in ooreenstemming met ander letterkundes), soos die toename in groteske en absurde tipe verhale, word bevind dat die Afrikaanse humor- en humoristiese verhaal sterk kontekstueel veranker is. Humor in die Afrikaanse kortverhaal word steeds op 'n lewenskragtige wyse beoefen deur skrywers en bly gewild by lesers.
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Mullen, Emily. "Fighting against Indigenous Stereotypes and Invisibility| Gregg Deal's Use of Humor and Irony." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10793926.
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Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal’s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly’s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon’s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar.
In a second line of argument, I foreground Deal’s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal’s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.
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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.
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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.
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Espilotro, Tiago P. Ferro. "A moral da história: a produção humorística de Millôr Fernandes na revista Veja (1968-1982)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-14122015-115746/.
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Este projeto pretende analisar a produção humorística de Millôr Fernandes na revista Veja entre os anos de 1968 e 1982. A partir da interpretação desse material, apontar novos subsídios para futuras pesquisas sobre humor e história cultural durante a última ditadura brasileira.This project aims to analyze the humorous production of Millôr Fernandes in Veja magazine between 1968 and 1982. The proposal is from the interpretation of this material to point new subsidies for future research on humor and cultural history during the last Brazilian dictatorship.
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Pellegrini, Leonidas. "Album da Rapaziada : o humor obsceno de Francisco Moniz Barreto." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270273.
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Orientadores: Luiz Carlos da Silva Dantas, Jefferson CanoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-10T21:55:44Z (GMT). No. of bitstreams: 1 Pellegrini_Leonidas_M.pdf: 8501416 bytes, checksum: 016cadb641c137f5f86833345b13d14f (MD5) Previous issue date: 2008
Resumo: O objetivo geral deste trabalho é a reabilitação do poeta baiano Francisco Moniz Barreto (1804 ¿ 1868), a partir de uma análise de seu livro de poemas fesceninos Álbum da Rapaziada (1864). Este texto divide-se em quatro capítulos principais: em ¿Questões Preliminares¿, há uma discussão prévia sobre as conotações dos termos erotismo, pornografia e obscenidade, e seus respectivos usos e adequações. Em ¿Poesia Romântica: Humor, Erotismo e Obscenidade¿, discute-se a questão dos autores e obras eleitos pelos árbitros literários na formação do cânone nacional. Verifica-se que, tanto a poesia humorística, quanto a erótica e a obscena, foram obscurecidas, e/ou desmerecidas, dada a preocupação que houve em se construir um cânone com base numa identidade nacional. Apresenta-se, em contrapartida ao que se verifica em inúmeros volumes tradicionais de história e crítica da literatura brasileira, uma significativa lista de autores românticos que produziram poesia satírica e fescenina de alta qualidade. O capítulo ¿De Herói da Independência a Repentista Anedotário: Um perfil da Vida e Obra de Francisco Moniz Barreto¿ destina-se a expor brevemente a vida, obra e fortuna crítica de Moniz Barreto, verificando-se sua posição no cânone, e as várias vertentes poéticas de sua produção, desde a poesia encomiástica à satírica. Enfim, o capítulo ¿Mercadejo Literário e Gargalhadas Obscenas: O Álbum da Rapaziada e o 'Lado B¿ de Francisco Moniz Barreto¿, destina-se a analisar a produção fescenina do poeta, toda ela concentrada no Álbum da Rapaziada. Em tal obra, avultam-se tanto características próprias à estética romântica quanto à tradição fescenina, e uma questão particular de Moniz Barreto, o claro declarado propósito em se ganhar dinheiro com sua literatura
Abstract: The whole purpose of this work is the rehabilitation of the baiense poet Francisco Moniz Barreto (1804 ¿ 1868), from an analysis of his fescennine poems book, Álbum da Rapaziada (1864). This text is split in four principal chapters: in ¿Questões Preliminares¿, there is a previous discussion about the connotations of the terms eroticism, pornography and obscenity, and their respective uses and adaptations. In ¿Poesia Romântica: Humor, Erotismo e Obscenidade¿, is discussed the question of authores and works elected by the literary arbiters in the rising of the national canon. It¿s verified that, as much as the humoristic, the erotic and obscene poetry became obscured, or faded, in view of the preoccupation in building a canon firm in the national identity. It¿s exposed, in opposition to it¿s verified, in many traditional history and criticism tomes of the brazilian literature, a significative list of romantic authores that have wrote a very high kind satiric and fescennine poetry. The chapter ¿De Herói da Independência a Repentista Anedotário: Um perfil da Vida e Obra de Francisco Moniz Barreto¿ is destinated to expose briefly the life, works and ciritique fortune of Moniz Barreto, verifiding his canon position, and the many poetic versants in his production, since the encomiastical to the satiric works. Finally, the chapter ¿Mercadejo Literário e Gargalhadas Obscenas: O Álbum da Rapaziada e o 'Lado B¿ de Francisco Moniz Barreto¿ is destinated to analising the poet fescennine production, all concentrated in Álbum da Rapaziada. In that work, it¿s considerable characteristics peculiar to the romantic esthetical as much as to the fescennine tradiction, and, in a particular Moniz Barreto¿s case, the his clear and manifested intention in making money whit his literature
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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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/.
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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).
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Barckett, Ashley. "Bumbling Biddies and Drunken Pats: Anti-Irish Humor in Antebellum New Orleans." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/865.
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The Irish in New Orleans have been a notoriously understudied group. With the third largest Irish population in the country by 1860, New Orleans is crucial when trying to understand the Irish immigrant experience. Viewing the Irish from the public perspective, this study explores the Daily Picayune, New Orleans' largest newspaper, from its inception in 1837 to 1857, to decipher the city's attitudes towards the Irish. Jokes in particular are explored, their function being multifaceted. First, jokes grouped Irish women into three types in an effort to maintain control of a large and unfamiliar group of white women who did not fit into the preexisting framework for southern ladies. Second, jokes emasculated Irish men by accusing them of having insufficient qualities to become gentlemen. By doing this, jokes were able to release social tensions, become non-physical confrontations, and create lasting stereotypes about Irish immigrants.
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Verster, F. P. (Francois Philippus). "'n Kultuurhistoriese ontleding van pikturale humor, met besondere verwysing na die werk van T.O. Honiball." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53521.
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Thesis (PhD)--Stellenbosch University, 2003.ENGLISH ABSTRACT: There are vanous definitions of the concept humour, each depending on the perception thereof. Such perceptions are influenced by shared experiences, culture, milieu and individual creativity. Pictorial humour is divided into various sub genres such as the caricature, cartoon and comic strip. Each one of these sub genres portrays an individual process of development, both locally and globally. The work of TO Honiball forms part of this tradition. His artistic personality and sense of humour is unmistakably portrayed in his creative work. Honiball became famous as a political cartoonist and played an important role in the rise of the National Party, seeing that his association with the Nasionale Pers provided him with a forum as opinion-former. It is said that his comic strips Oom Kaspaas, Jakkals en Wolf and Adoons-hulle influenced different age groups and even people who were not Afrikaners. It was however mainly Afrikaans-speaking people who strongly identified with these strips due to the strong Afrikaans character thereof. Various instances own Honniballiana, where it is being preserved and is available for research purposes. A number of marketing initiatives were launched to promote the work of Honiball, mainly by TO Honiball-Promosies. Despite the fact that much of his work is dated, new interest is generated by utilising his work in educational programmes. Honiball's body of work is a source for culture-historical research seeing that it offers references to the tangible and intangible culture of Afrikaans-speaking South Africans during his lifetime.
AFRIKAANSE OPSOMMING: Etlike definisies bestaan van die begrip humor, afhangend van die persepsie daarvan. Sodanige persepsies word beïnvloed deur onder andere gedeelde ondervindings, kultuur, milieu en individuele kreatiwiteit. Pikturale humor word onderverdeel in verskillende sub-genres, soos die karikatuur, spotprent en strokie. Hierdie sub-genres toon elk 'n afsonderlike ontwikkelingsgang, plaaslik en globaal. Die werk van TO Honiball vorm deel van dié tradisie. Sy kunstenaarspersoonlikheid en humorsin word eweneens onmiskenbaar verbeeld in sy skeppings. Honiball het bekendheid verwerf as politieke spotprenttekenaar en het 'n belangrike rol gespeel in die opgang van die Nasionale Party, omdat sy verbintenis met die Nasionale Pers aan hom 'n forum gebied het om as meningsvormer op te tree. Daar word beweer dat sy strokiesreekse Oom Kaspaas, Jakkals en Wolf en Adoons-hulle verskillende ouderdomsgroepe en selfs mense van ander volksgroepe as die Afrikaner bereik het. As gevolg van die eg- Afrikaansheid daarvan het egter hoofsaaklik Afrikaanssprekendes sterk aanklank daarby gevind. Verskillende instansies is in besit van Honiballiana, waar dit bewaar word en beskikbaar is vir navorsingsdoeleindes. 'n Aantal bemarkingsinisiatiewe is geloods om Honiball se werk te promoveer, hoofsaaklik deur TO Honiball-Promosies. Ten spyte van die feit dat talle voorbeelde van sy werk gedateer is, word nuwe belangstelling gegenereer deur middel van die aanwending van sy werk in opvoedkundige programme. Honiball se oeuvre bied bronne vir kultuurhistoriese navorsing aangesien dit verwysings bied na die geestelike en stoflike kultuur van Afrikaanssprekendes gedurende sy leeftyd.
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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.
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André, José Carlos Mendes. "Quem não chora não mama! Panorama do design gráfico brasileiro através do humor 1837-1931." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-04102010-100708/.
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Esta tese é um panorama da história gráfica brasileira de 1837 até 1931, visto pela ótica da representação cômica, do design gráfico e da mentalidade. A idéia principal foi partir de um plano geral para encontrar na década de 1920 a obra conjunta do humorista Aparício Torelly, o Barão de Itararé, e do artista gráfico paraguaio Andrés Guevara. Passando pelos autores mais relevantes deste período, a inspiração rizomática é a própria cronologia, onde os assuntos relacionados a humor, design e mentalidade trepidam e se desdobram em conexões pertinentes e interessantes para o próprio tema. A tese foi concebida em três partes, a saber: A primeira versa sobre o objeto de conhecimento, objeto de estudo, metodologias e fontes; assim como fala brevemente sobre os autores principais Barão & Guevara , mote da estratégia de abordagem do assunto. A segunda parte destrincha os antecedentes históricos sob as óticas propostas através de uma amostragem de fontes primárias (imagens & autores) em contraponto com trechos de importantes fontes secundárias, costurado com comentários que vão propondo novas interpretações e olhares para os mesmos temas e objetos, sem aplicação de juízos de valor, mas apenas mostrando que foi assim que as coisas se passaram. A terceira parte está focada na década de 1920, e é onde encontro os autores alvo e aplico um detalhamento maior, evidenciando um momento de forte gênese e experimentação no design gráfico brasileiro frente à mudança completa de paradigmas com a introdução da estética modernista, e a assimilação e difusão acentuada dos valores burgueses no campo social.This thesis is an overview of the Brazilian graphic history from 1837 to 1931, seeing by comic graph representations, graphic design and historical mentalities. The main idea was start from a general plan to reach in the 1920s the four hands works of the humorist Aparício Torelly (Barão de Itararé) and the Paraguayan graphic artist Andrés Guevara. Passing by the more relevant artists of this period, the root inspiration is the chronology itself, were the subjects related to humor, design and mentality tremble and unfolding pertinent and interesting connections for the own theme. The work was conceived in three parts: The first one runs upon the knowledge subject, application subject, methodologies and the wellspring of informations; as well as talk briefly about the main authors Barão de Itararé & Guevara , reason of the strategy subject approach. The second part clear up the historical foregoings under the proposed look through an stamp of original wellsprings (images and authors) put against extracts of the more important Brazilian bibliography, sewed with comments that proposes new interpretations and new looks over the same themes and subjects, without judgements, but just showing that was the way the things took place. The third part is focused on 1920 decade, and is where I meet the target authors and apply for more details, making evident the moment of strong creation and experimentation in the Brazilian graphic design face to the complete change of paradigms in order of the introduction of modernist esthetics and the assimilation and great dissemination of burgess values in the social field.
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Mironenko, Dmitry. "A Jester with Chameleon Faces: Laughter and Comedy in North Korea, 1953-1969." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11604.
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This dissertation is a study of ordinary North Korean people who have persevered in the face of tremendous social, political, and economic trials throughout their country's modern history and a tribute to their unflagging ingenuity and good humor that allowed them to hold onto their humanity. Focusing on the question of agency within the realm of everyday living, my inquiry examines the emergence of a laughing subject during the post-Korean War period and the state's efforts to discipline him through cinema in the succeeding decade. A product of the new Soviet-sponsored cultural policy of the 1950s that promoted social and political satire across the socialist world, the jester became an identity tactically adopted by various individuals, which was responsible for the proliferation of nonconformist practices in North Korea. Using Michel de Certeau's concept of the everyday as a sphere of creative inventiveness, this work describes and analyzes the small acts of "comic disobedience" by means of which the ordinary person has been able to outmaneuver the existing order and create a thriving underground culture of antidiscipline. Spanning a variety of media from print cartoons to live-action cinema to animation, the official response to the jester's challenge, on one hand, sought to create identifiable comic characters and, on the other, effectively demarcate between humor and satire with a view of turning a jarring cacophony of laughing voices into a harmonious chorus of collective mirth serving the state's needs. Based on Bakhtin's notion of heteroglossia, my method of analysis suggests that, despite the government's attempts to eliminate any ambiguity from newly constructed ideological texts, the ordinary individual always finds myriad ways to exercise autonomy through his unending playful subversion of official discourse. By tracing the evolution of this dynamic in the North Korean streets, movie theaters, and film studios over the course of nearly two decades, I argue that the production of formal film comedy was inextricably bound up with the state's desire to interpellate a politically loyal and socially conformist subject and should be seen as part of the larger everyday aesthetic of living that took root within the socialist world.East Asian Languages and Civilizations
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Swanson, Michael David. ""The Vehicle of Delight and Morality": Humor and Sentiment in the Plays of John O'Keeffe as a Reflection of Late Eighteenth-Century English Theatrical Comedy." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382014382.
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Balisch, Loretta Faith. "Scrub growth, Canadian humour to 1912, an exploration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1994. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ36198.pdf.
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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/.
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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.
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Waters, Leah E. "The Persuasive Power of Ridicule: A Critical Rhetorical Analysis of Gender and Humor in U.S. Sitcoms." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984248/.
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The serious investigation of humor's function in society is an emerging area of research in critical humor studies, a "negative" subsect of the extensive and "positive" research that assumes humor's goodness. Using Michael Billig's theory of ridicule as a framework, this study explored how humor operated to discipline characters who broke social norms or allowed characters to rebel against those norms. Layering this with gender performative theory, the study also investigated how different male and female characters used ridicule and were subject to it themselves. After examining ridicule in The Big Bang Theory, 2 Broke Girls, and The Odd Couple using a critical rhetorical analysis, the findings revealed that disciplinary ridicule was used more overtly throughout all three programs, while potentially rebellious ridicule emerged in only a few scenes. In addition, men were overwhelmingly the subjects of disciplinary ridicule, although women found themselves as subjects throughout all three programs as well. The discursive ridiculing of non-normative bodies constructed and maintained social norms about gender and sexuality, thereby uninviting these bodies from participating in society.
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Moore, Emily R. "Shocco Jones, "A North Carolinian of the Olden Times," "Distinguished... Son of Rip Van Winkle," and "Veritable Hoarder of Fun": A Nineteenth-Century Southern Gentleman's Sense of Identity, History, Honor, and Humor." W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539720305.
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This study explores the historical significance of the literary activity, hoaxes, and humor of Joseph Seawell, or "Shocco," Jones. Born in the Shocco Springs region of Warren County during the first decade of the nineteenth century, Jones was a wealthy, privileged third generation North Carolinian. Although dismissed from the University of North Carolina in 1826, in 1833, Jones received a degree from Harvard's law school, where he was exposed to a world vastly different from his native Warren County. as the son of a planter of means and the relative and friend of state and national politicians, Jones was primed to take his place among North Carolina's leaders. But instead of becoming a southern planter and politician, Jones became a historian, a media hoaxer, a humorist, and a literary character featured in Old Southwestern humorists' texts. His identification as a North Carolina gentleman intellectual, his experiences as a southern transplant in New England, his exposure to and participation in American print culture, and his 1839 move to Mississippi influenced his unconventional evolution from serious southern gentleman historian to playful media hoaxer. In 1834, Jones published A Defence of the Revolutionary History of the State of North Carolina from the Aspersions of Mr. Jefferson. Motivated by the desire to prove his state's primacy in the narrative of American's Revolutionary history, this text was intended to restore the historical reputation of a state with a past and contemporaneous reputation for socio-economic and cultural stagnation. Although the text was not a resounding success and had its fair share of flaws, his peers recognized him as a legitimate historian, even if his work was divisive and problematic. The text was also the first of his several attempts between 1834 and 1838 to make a name for himself as a significant American intellectual and literary figure. Jones attained national attention and recognition of his intellect not with his historical pursuits but with his orchestration of a major media hoax. Jones's 1839 duel hoax was more than a prank in which he convinced some newspaper readers that he had killed a man in a duel. Reflecting his adherence to the values of southern honor culture and his understanding of the changing literary marketplace and environment, the hoax was a skillful manipulation of the press and a commentary on the cultural values and personal experiences that failed to make Shocco Jones either a typical southern gentleman or intellectual. The duel hoax was the first of two major hoaxes in 1839 that made Jones a nationally recognized media celebrity. Jones was popular because he was an odd figure whose behavior defied categorization, but his fame was also a consequence of his representation of himself as an amalgamation of various national character types that both challenged and confirmed perceptions of regional stereotypes. Jones's identity as a southern gentleman trickster transcended regional and class cultural confines, making him an even more suitable candidate than his contemporary P.T. Barnum for the role of a representative nineteenth-century American.
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Silva, Rogério Souza. "Modernidade em desalinho: costumes, cotidiano e linguagens na obra humorística de Raul Pederneiras (1898-1936)." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12840.
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This thesis performs a discussion of the humorous production of Raul Pederneiras. The starting point of the research is the year 1898, when the artist published his first caricature, in O Mercurio. Aspects of modern urban area of Rio de Janeiro were among his favorite subjects. He noted the wide gap between a modernity seen as ideal, which was modeled on the North Atlantic world, and its application to the Brazilian reality. But his vision was global and international issues were among their concerns. Besides caricaturist, Raul Pederneiras wrote texts of humor with high quality, getting to play with words and making numerous puns. He was a multifaceted character, which made it more interesting. Among its activities, may be included journalist, playwright, poet, painter, composer, propagandist, police officer and professor of international law, having written several books in his career. The final milestone of the research is the year 1936, when Raul published his latest book, titled Musa travessa: ruma de rimas sem rumo, having already clear signs of decline in his artistic and intellectual production. In this historical moment, there is a look of the comedian to the change process by which the country was in that context
A presente tese realiza uma discussão da produção humorística de Raul Pederneiras. O marco inicial da pesquisa é o ano de 1898, quando o artista publicou a sua primeira caricatura, em O Mercurio. Os aspectos de modernidade do espaço urbano carioca estavam entre os seus temas prediletos. Ele notava o grande abismo existente entre uma modernidade vista como ideal, que tinha como modelo o mundo do Atlântico Norte, e a sua aplicação à realidade brasileira. Porém, sua visão era global e as questões internacionais estavam entre as suas preocupações. Além de caricaturista, Raul Pederneiras foi autor de textos de humor de grande qualidade, conseguindo brincar com as palavras e fazer inúmeros trocadilhos. Ele era um personagem multifacetado, o que o tornava mais interessante. Entre as suas atividades, podem ser incluídas as de jornalista, teatrólogo, poeta, pintor de quadros, compositor, reclamista, delegado de polícia e professor de direito internacional, tendo escrito vários livros na sua carreira. O marco final da pesquisa é o ano de 1936, quando Raul publicou o seu último livro, intitulado Musa travessa: ruma de rimas sem rumo, já havendo claros sinais de queda em sua produção artística e intelectual. Nesse momento histórico, nota-se um olhar do humorista para os processos de mudanças pelos quais o país passava naquele contexto
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Lucas, Anne M. "Strategic Nonviolence and Humor: Their Synergy and Its Limitations: A Case Study of Nonviolent Struggle led by Serbia’s Otpor." Kent State University Honors College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1292889981.
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André, José Carlos Mendes. "Elementos para uma leitura da obra de Aparício Torelly, o Barão de Itararé: humor, projeto & design gráfico." Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/16/16131/tde-06052010-113840/.
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Esta dissertação é uma monografia sobre a obra do humorista Aparício Torelly, o Barão de Itararé. A idéia principal foi levantar um escopo de elementos analíticos: históricos, documentais, metodológicos e teóricos, necessários à formulação de hipóteses futuras. A dissertação foi concebida em três partes distintas. A primeira é dedicada aos antecedentes: aspectos da História do Brasil relevantes para o tema; sumário biográfico de autor e obra; levantamentos, inventário e comentário das fontes de pesquisa, e futuros desdobramentos. A segunda parte é dedicada às questões metodológicas e aponta para discussões: da Filosofia da Ciência e da Epistemologia; sobre as contribuições da nova historiografia relacionadas aos aspectos formais do discurso das artes visuais e, por último, sobre o debate a respeito do Humor . A terceira parte é dedicada à questão do processo criativo e produtivo nas Artes Gráficas vis-a-vis o resumo da história destas artes; apresentação de novos dados inéditos coletados a partir da pesquisa de campo; e descrição e comentário analítico sobre os elementos formais do discurso da obra estudada.This essay is a monograph about the work of the humorist Aparício Torelly, nicknamed Barão de Itararé. The main idea was to report a set of analytical elements: historical, documental, methodological and theoretical, essentials to formulate future hypothesis. The essay was conceived in three different parts. The first one is dedicated to the antecedents: aspects of Brazilian History important to the theme; biographic and work briefing; searches, inventory and comments on the research sources and future unfolding. The second part is dedicated to the methodological questions and point to discussions about: Philosophy of Science and Epistemology; the contribution of the new history related to the structural aspects of the visual arts speech and, at last, the discussion on humour. The third part is dedicated to the question of creative and productive process in Graphic Arts, presentation of unpublished new data collected from the field research; and description and analytical comments about the structural speech elements of the studied work.
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Karlén, Jessica. "Skrattets makt : En filosofisk undersökning av komiken som meningsskapande existentiell nödvändighet." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-40027.
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The subject of this paper is the philosophy of comedy. It is an orientation through history of laughter and its connection to the essence of comedy. This investigation tries to pinpoint some characteristics of the comedian and the task of the comedian today, focusing primarily on comedy in the public sphere. This paper concludes that comedy could be something physical and biological, but also something political. Humor is general and something very common but also culturally unique. The purpose of this thesis is to investigate comedy as something highly spiritual, absolute human and animalistic. It also aims to connect comedy to the philosophical discipline and strengthen its bond to the academic field. This paper includes some theories of humor, from both an evolutionary, scientific perspective to a more philosophical and theological view. It also includes a political discussion of how one can joke about everything and why comedy is important today.
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Aston, Richard Michael. "The role of the fool and the carnivalesque in post-1945 German prose fiction on the Third Reich." Thesis, University of Oxford, 2005. http://ora.ox.ac.uk/objects/uuid:10b3780b-66bd-4467-849f-8648ec969c55.
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This thesis examines post-1945 German prose fiction dealing with the Third Reich in the light of Mikhail Bakhtin's Rabelais and his World. My review of the secondary literature in Chapter 1 shows how few Germanists have examined the role of the carnivalesque in such fiction or used Bakhtin's work systematically. Having set out the shortcomings of Bakhtin's theory and shown Carnival's ambivalent position in the Third Reich, Chapter 2 builds on this theoretical and historical foundation by giving an overview of the different ways in which authors deploy the Fool and the carnivalesque in post-1945 prose fiction. This overview provides a context for the rest of the thesis, in which I discuss in detail how four authors use the topoi of the Fool and the carnivalesque in different ways to confront the past and encourage social change. Thus, Chapter 3 analyses Hans Hellmut Kirst's 08/15 trilogy (1954-55) which describes Asch's carnivalesque subversion of the NCOs who abuse power within the Army, and his subsequent development into a positive figure of authority. Chapter 4 argues that, beneath its bleak surface, Günter Grass's Hundejahre (1963) deploys the carnivalesque to transmit a sense of mourning and rebirth after the Holocaust. Chapter 5 deals with Edgar Hilsenrath's Der Nazi and der Friseur (1977), whose Fool-protagonist provokes the reader to laugh at earlier attempts to make sense of the Holocaust in order to prioritize the act of anamnesis as an end in itself. Chapter 6 examines Gert Hermann's Veilchenfeld (1987) and Der Kinoerzähler (1990). Veilchenfeld is a carnivalesque signifier of Nature whose persecution at the hands of the people of Limbach parallels the town's ecological destruction, so that the novel can be read as a critique of the exploitation of Nature. In Der Kinoerzähler Hofmann uses Karl, a Fool-figure who narrates silent films, to encourage the development of critical faculties which combat the fatalism and authoritarianism that hamper social change. It becomes clear that the authors of the above works have anticipated the shortcomings of Carnival as a model of resistance and have thus redefined the Fool and the carnivalesque. So in my view, although the way the authors deploy these topoi maps only partially with Bakhtin's ideas about Carnival, these authors have understood the central concepts of the carnivalesque's ambivalence and its powers to subvert authority and use them productively to deal with the issues raised by the Third Reich.
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Moreira, Cíntia Brunetta. "A geração do humor no conto "No Kaddish for Weinstein" de Woody Allen : scripts semânticos e construção identitária." reponame:Repositório Institucional da UCS, 2014. https://repositorio.ucs.br/handle/11338/919.
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Esta dissertação trata dos mecanismos de geração do humor no conto “No Kaddish for Weinstein” (ALLEN, 1975). É possível identificar nessa narrativa a forte e frequente presença do humor étnico, mais especificamente do humor judaico-americano. Porém acredita-se que este não seja o único tipo de humor de que o autor faz uso, considerando-se também que o humor possui diversos mecanismos e pode emergir de diversas situações. Por essa razão, há a necessidade de não só identificar o humor característico de Woody Allen, mas também analisar o tipo de narrativa que esse escritor constrói em seus contos. Além disso, é necessário verificar a relevância do conhecimento cultural na construção do humor e nas relações identitárias que constituem as personagens e narradores. Partindo do pressuposto de que o humor de WA é singular, surgem as questões desta pesquisa: (a) Quais são os domínios, estratos e parâmetros que tipificam a narrativa de Allen?, (b) Quais os mecanismos de humor que o autor usa em seus contos?, (c) Que elementos linguísticos, culturais, identitários e cognitivos são peças-chave na construção do humor alleniano? A partir dessas questões, surgem questionamentos derivados: por que o humor e o judaísmo estão conectados? Qual a relação entre eles? O objetivo geral da pesquisa é examinar o humor nos contos de Woody Allen e sua relação com elementos sociocognitivos e identitários da cultura judaica e judaico-americana. Os objetivos específicos são (a) analisar a estrutura narrativa dos contos de WA, (b) identificar as características dos tipos de humor no conto alleniano “No Kaddish for Weinstein”, (c) analisar os elementos linguísticos que fazem emergir o humor no conto em questão, (d) relacionar elementos linguísticos e fatores socioculturais no conto do escritor e (e) relacionar os elementos que constituem o humor alleniano. Entre os vários contos pré-analisados de diferentes coletâneas da produção de Allen, escolheu-se o conto “No Kaddish for Weinstein", por ser uma narrativa que reúne características que estão presentes, em maior ou menor grau, em seus contos como um todo. Embora variem as temáticas narrativas, o conto “No Kaddish for Weinstein" pode ser considerado prototípico. Por prototípico, entende-se a propriedade de reunir, de forma bastante condensada, atributos gerais do estilo narrativo do autor. Os resultados demonstram que o autor utiliza uma ampla variedade de mecanismos geradores de humor, tais como: quebra de expectativa do leitor, punch lines e scripts opostos. Quanto as questões identitárias da cultura judaico-americana, são mais salientes as referências à autodepreciação e a costumes próprios desta cultura. Fica evidente a construção de uma narrativa que demanda a evocação de conhecimentos enciclopédicos (frames) por parte do leitor, sem os quais não é possível reconhecer o humor potencial do conto. Todos esses resultados se encontram relacionados com o tipo de estrutura narratológica do conto, segundo o framework do Sistema Cognitivo da Narrativa de Talmy (2000), principalmente em relação ao perfilamento de um leitor que compartilhe de conhecimentos da cultura judaico-americanca e de referências as mais diversas à história e cultura nova-iorquina.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-03-30T16:36:07Z No. of bitstreams: 1 Dissertacao Cíntia Brunetta Moreira.pdf: 1436905 bytes, checksum: 5f270e4ff2f3d61937e25705566549f3 (MD5)
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This dissertation is about humor mechanisms generation present in the short story “No Kaddish for Weinstein” (ALLEN, 1975). It is possible to identify in the narrative the frequent presence of ethnic humor, more specifically the Jewish-American humor. However, it is believed that this is not the only type of humor the author uses, considering also that humor can emerge from many different mechanisms and situations. For this reason, there is the necessity of not only identifying the characteristic humor of Woody Allen, but also the necessity of analyzing the narrative type built by the author in his short stories. Besides all that, it is necessary to verify the relevance of cultural background in humor generation, as well as in identity relations within characters and narrators. The research questions derive from the presupposition that the humor created by Allen is singular, they are: (a) what are the domains, strata and parameters that typify Allen’s narrative?, (b) what are the humor mechanisms that the author uses in his short stories?, (c) what linguistic, cultural, identity and cognitive elements are essential in the Allenian humor? Other questions rise from these interrogations: why humor and Judaism are connected? What is the relation between them? The general objective of this research is to examine the humor present in Allen’s short stories and its relation with sociocognitive and identity elements of Jewish culture. The specific objectives are (a) to analyze the narrative structure in Allen’s short stories, (b) to identify the characteristics of the type of humor in Allen’s “No Kaddish for Weinstein”, (c) analyze what linguistic elements make humor rise in Allen’s referred short story, (d) make relations between linguistic and sociocultural elements in Allen’s short story and (e) make relations between the elements that constitute allenian humor. Among the many short stories pre-analyzed from different collection books produced by Woody Allen, “No Kaddish for Weinstein” was chosen for being a narrative that encompasses the characteristics that are present, in higher or lower degree, in all his short stories as a whole. Although the narrative themes vary, the short story “No Kaddish for Weinstein" can be considered prototypical. By prototypical it is understood the property of encompassing, in a condensed manner, the general requisites of the narrative style of the author. The results demonstrate that the author makes use of a great variety of humor mechanisms, among them: rupture of the reader’s expectation, punch lines e opposite scripts. In relation to the identity issues of Jewish-American culture, the references to selfhatred and habits are more relevant. It is evident, the construction of a narrative that demands from the reader the evocation of encyclopedic knowledge (frames). Without the recognition of these frames it is not possible to recognize the potential humor of the short story. All the results are related with the narratologic structure type of the short story, according to the framework of the Cognitive Approach to the Analysis of Narrative by Talmy (2000). This is mainly because it permits designing a reader’s profile that shares the knowledges concerning the Jewish-american and New Yorker culture, moreover references about history.
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Bush, Lawrence Ray. "More than Words: Rhetorical Devices in American Political Cartoons." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/3924.
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This thesis argues that literary theory applied to political cartoons shows that cartoons are reasoned arguments. The rhetorical devices used in the cartoons mimic verbal devices used by essayists. These devices, in turn, make cartoons influential in that they have the power to persuade readers while making them laugh or smile. It also gives examples of literary theorists whose works can be applied to political cartooning, including Frederick Saussure, Mikhail Bakhtin, and Wolfgang Iser. Not only do those theorists' arguments apply to text, they also apply to pictorial representations.
This thesis also discusses changes in the cartoon art form over the 250 years that American political cartoons have existed. Changes have occurred in both the way text and pictorial depictions have been presented by artists. This thesis makes some attempt to explain why the changes occurred and whether they have been for the better.
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Webb, Joel C. "Drawing Defeat: Caricaturing War, Race, and Gender in Fin de Siglo Spain." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/283/.
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Augusto, José Carlos. "Um provinciano na corte: as aventuras de \'Nhô-Quim\' e a sociedade do Rio de Janeiro nos anos 1860-1870." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-30032009-144332/.
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Esta dissertação de mestrado procura reconstruir e interpretar uma fase da carreira do artista italiano Angelo Agostini (1843-1910) na revista ilustrada A Vida Fluminense (1868-1875), focalizando sobretudo As aventuras de Nhô-Quim. Reconhecido com um dos mais importantes artistas gráficos do século XIX, Agostini teve uma longa carreira que se inicia em São Paulo em 1864 e continua no Rio de Janeiro onde, a partir de 1867, participa também de veículos como O Arlequim, O Mosquito, e lança títulos como Don Quixote e a Revista Illustrada, o mais importante periódico da imprensa humorística da época. A Vida Fluminense é a primeira revista em que Agostini aparece como sócioproprietário e marca uma fase de transição em sua carreira, onde demonstra maturidade artística e esboça preocupações políticas que se concretizariam em sua produção futura. Também é nessa folha ilustrada que Angelo Agostini dá início à narrativa visual seqüencial As aventuras de Nhô-Quim, série em 14 episódios, publicada a partir de janeiro de 1869 e continuada por Candido Aragonez de Faria em 1872, quando então é interrompida, sem uma conclusão. O propósito desse trabalho é evidenciar como a efêmera série criada por Agostini apresenta pitorescos flagrantes de relações sociais entre os habitantes da corte e as oligarquias rurais na segunda metade do século XIX.The present work intends to reconstruct and interpret part of the career of the Italian artist Angelo Agostini and his work for the magazine A Vida Fluminense (1868-1875). Recognized as one of the greatest illustrators of the nineteen century, Agostini had a long career that started in 1864 in Sao Paulo and continues in Rio de Janeiro where after 1867, he participated also in O Arlequim, O Mosquito and after that launched magazines like Don Quixote and Revista Illustrada, the most important title of humor magazines than. A Vida Fluminense was the first magazine issued by Agostini and was a sign of the transition in his artistic career, when he reveals the maturity of his work and produces some of political charges that will be his trade mark in the future. Also in A Vida Fluminense Agostini issued As Aventuras de Nhô-Quim, a sequential art series started in January 1869 and that was continued by Candido Aragonez de Faria in 1872, when it was interrupted. The purpose of this work is to evidence how the series created by Agostini show us picturesque instants of sociability between urban citizens of Rio de Janeiro and the so called aristocratic farmers in the mid nineteen century.
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Schein, Marie-Madeleine. "The Evolution of Survival as Theme in Contemporary Native American Literature: from Alienation to Laughter." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278840/.
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With the publication of his Pulitzer Prize winning novel, House Made of Dawn. N. Scott Momaday ended a three-decade hiatus in the production of works written by Native American writers, and contributed to the renaissance of a rich literature. The critical acclaim that the novel received helped to establish Native American literature as a legitimate addition to American literature at large and inspired other Native Americans to write. Contemporary Native American literature from 1969 to 1974 focuses on the themes of the alienated mixed-blood protagonist and his struggle to survive, and the progressive return to a forgotten or rejected Indian identity. For example, works such as Leslie Silko's Ceremony and James Welch's Winter in the Blood illustrate this dual focal point. As a result, scholarly attention on these works has focused on the theme of struggle to the extent that Native American literature can be perceived as necessarily presenting victimized characters. Yet, Native American literature is essentially a literature of survival and continuance, and not a literature of defeat. New writers such as Louise Erdrich, Hanay Geiogamah, and Simon Ortiz write to celebrate their Indian heritage and the survival of their people, even though they still use the themes of alienation and struggle. The difference lies in what they consider to be the key to survival: humor. These writers posit that in order to survive, Native Americans must learn to laugh at themselves and at their fate, as well as at those who have victimized them through centuries of oppression. Thus, humor becomes a coping mechanism that empowers Native Americans and brings them from survival to continuance.
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Magnani, Elena. "It Happened One Decade: An Analysis of Screwball Comedy's Humour through its History, Characteristics and Masterpieces: It Happened One Night, The Philadelphia Story and Bringing Up Baby." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.
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Few genres have proven to be as versatile and as expressive of social and political change as comedy, and within this privileged category, the screwball undoubtedly occupies a prominent place. Conventionally limited in the decade between the '30s and the 40's but resulting incredibly influential; dwelling with the prohibition of mentioning sex when discussing romance; swinging between the crisis of the Great Depression and the optimism of the New Deal era; this sub-genre – just like the name suggests, referring to one of baseball's most difficult and spectacular pitches – is unpredictable, creative and incredibly fun. But most of all, with its authors and interprets, it has satirized, challenged and provoked our idea of love, using fast-paced humorous dialogues which above all reach the highest level of the art of allusion: as efficiently summarized in Andrew Sarris's definition, “sex comedies without the sex”.
This paper will examine the social, cultural and historical background of the Screwball comedy genre through three examples of its most critically successful films -It Happened One Night (1934), The Philadelphia Story (1940) and Bringing Up Baby (1938). Moreover, this study will also analyze screwball comedy's humor and defining aesthetic features: social satire; battle of the sexes; expression of sexual tension through verbal fight; frenetic pace; coexistence of elements of sophisticated comedy, slapstick and farce; encounter and clash between social classes; initially antagonistic protagonists who fall in love; bizarre and paradoxical events; unpredictability; presence of disguise and masquerade. Furthermore, it will also critique the concept of the male gaze in Capra, Hawks and Cukor’s female characters while discussing the ending of classic screwball comedy and its legacy in modern cinema.
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Borges, Augusto Cesar Mauricio. "A sátira política em O Pirralho: Juó Bananére e o Hermismo - 1911 a 1915." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13160.
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This research studies the phenomenon of political satire in the city of São Paulo's Belle Époque, specifically the chronic character of the irreverent comedy Juó Bananére, pseudonym of Alexander R. M. Machado, on the then President of the Republic Marshal Hermes da Fonseca and bureaucracy that tied the body of political support. Our study indicated that part of the so-called small press played a significant role in the development and dissemination of the contents of humorous political critique in the First Republic. As part of this process, the political satire of Juó Bananére not only fulfilled its role of social entertainment, but also has a critical function of load positioning and policy intervention. Due the particular historical juncture, the main issue of our work talkect to materials published by the periodic watching the harmony of all these satires with the political-matters agenda of the seminary O Pirralho and the oligarchies of São Paulo in the São Paulo defeat in the elections of 1910. Looking at the political satire from the years 1911 to 1915, under the administration of Hermes da Fonseca, this work drag the relevant debating about history, city, politics and humor discussing the work of Alexander R. M. Machado at the seminary O Pirralho
Esta pesquisa estuda o fenômeno da sátira política na cidade de São Paulo da Belle Epoque, mais especificamente a crônica irreverente do personagem cômico Juó Bananére, pseudônimo de Alexandre R. M. Machado, sobre o então Presidente da República Marechal Hermes da Fonseca e a burocracia que compunha seu corpo político de sustentação. Nosso estudo indicou que parte da chamada pequena imprensa desempenhou um papel significativo no desenvolvimento e na divulgação do conteúdo humorístico da crítica política na Primeira República. Como parte integrante desse processo, a sátira política de Juó Bananére cumpriu não só seu papel de entretenimento social como também adquiriu uma função crítica carregada de posicionamento e intervenção política. Em virtude da conjuntura histórica específica, a problemática central de nosso trabalho dialogou com materiais publicados no periódico observando a consonância dessas sátiras com a agenda político-programática do semanário O Pirralho e das oligarquias de São Paulo no contexto da derrota paulista nas eleições de 1910. Analisando a sátira política entre os anos de 1911 a 1915, período em que vige a administração de Hermes da Fonseca, este trabalho levantou as discussões pertinentes sobre a relação História, Cidade, Política e Humor discutindo a obra de Alexandre R. M. Machado no semanário O Pirralho
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Andrade, Arlete Fonseca de. "As estrambóticas aventuras de Cornélio Pires e a cultura caipira no cenário hegemônico da cultura brasileira." Pontifícia Universidade Católica de São Paulo, 2012. http://tede2.pucsp.br/handle/handle/2343.
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Previous issue date: 2012-08-17Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research refers to the artistic and cultural production of Cornelius Pires (1884-1958) and the historical context of the country from the effects of colonization in the socio-economic and cultural, the presence of different ethnic groups and their inter-relations that have contributed to the formation of the regional culture paulista, the rustic. This background is relevant in the light of the stigmas attached to the rustics in view of "poverty" of São Paulo and its inhabitants by the end of the nineteenth century compared to other national locations and the downside of these distorted views with the resumption of popular culture on the part of intellectuals and artists by means of movements such as regionalism and the Modernism in search of a possible national identity. The justifications of these questions relate to historical tension that exists between popular culture and erudite culture and in the mediation of these two notions the contribution of laughter, humor as a way to smoothen the communication and insertion of the popular space in hegemonic society. Thus did Cornelius Pires, with his style facing the rural theme plus the humor in its production and penetrated hegemonic spaces allowing communication between the antagonisms present in our society such as: rural and urban, tradition and modernity, popular and erudite
A presente pesquisa refere-se à produção artística e cultural de Cornélio Pires (1884-1958) e ao contexto histórico do país a partir dos efeitos da colonização no campo socioeconômico e cultural, da presença de diferentes etnias e suas inter-relações que contribuíram para a formação da cultura regional paulista, a caipira. Essa contextualização é relevante em função dos estigmas atribuídos ao caipira em vista da pobreza de São Paulo e seus habitantes até fins do século XIX, comparado a outras localidades nacionais e o reverso dessas concepções distorcidas com a retomada da cultura popular por parte de intelectuais e artistas por meio de movimentos como o Regionalismo e o Modernismo, na busca de uma possível identidade nacional. As justificativas dessas questões referem-se à tensão histórica que existe entre cultura popular e cultura erudita e na mediação dessas duas concepções, a contribuição do riso, do humor como forma de suavizar a comunicação e inserção do popular no espaço hegemônico da sociedade. Assim fez Cornélio Pires, com seu estilo voltado para a temática rural acrescido do humor em sua produção, adentrando espaços hegemônicos e possibilitando a comunicação entre os antagonismos presentes em nossa sociedade como: rural e urbano, tradição e modernidade, popular e erudito
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Sands, Zachary Adam. "Film Comedy and the American Dream." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1483612711940071.
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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.
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Ohali, Avigail. "Le rire des sages : l'humour dans la Mishna et la Tosefta." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA082.
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Grâce à sa vaste production littéraire, le judaïsme rabbinique, d’abord minoritaire, est devenu l’orthodoxie juive à la fin de l’antiquité. Les écrits rabbiniques ne cherchent pas à faire rire, mais nous avons constaté que les études académiques sur l’humour des rabbins de l’antiquité contribuent de manière significative à la compréhension des textes rabbiniques. Ces études ainsi que les théories modernes sur l’humour, les outils d’analyse littéraire et notre propre développement méthodologique, nous ont permis d’analyser les récits humoristiques dans les écrits tannaïtiques. Les résultats des travaux sur l’humour dans le Talmud Yerushalmi, le Talmud Babli et le midrash aggada, trouvent un écho dans les résultats de notre étude. Nous avons découvert dans la Mishna et la Tosefta une très grande variété de formes et de fonctions de l’humour. L’étude exhaustive des récits humoristiques dans ces deux corpus nous a permis de développer des nouvelles perspectives sur ces textes et leurs protagonistes, notamment concernant les polémiques internes et externes au mouvement rabbinique, les traits de caractère de certains sages et leur manière d’étudier, l’évolution de l’humour entre la Mishna, la Tosefta et les Talmudim. La grande majorité des récits que l’on trouve dans la Mishna et la Tosefta n’est pas humoristique, mais cette proportion est inversée dans certaines thématiques : dans les polémiques internes au mouvement tannaïtique nous avons noté un équilibre entre les textes humoristiques et sérieux, et de surcroît, dans les polémiques avec des groupes extérieurs au mouvement tannaïtique, les textes humoristiques sont majoritaires. L’humour des tanna’im s’avère être complexe et varié, il permet de faire remonter les origines de l’humour juif à l’époque tannaïtique, d’expliquer certains textes énigmatiques, et de mieux connaître la pensée des tanna’imThanks to their extensive literature, the rabbinic movement which was a marginal minority during the early centuries CE became, by late antiquity, the Jewish mainstream, and the rabbinic practice of Judaism became Jewish orthodoxy. Rabbinic writings do not aim to make one laugh, but we have noticed that academic research into the ancient rabbis’ humor contribute significantly to the understanding of rabbinic writings.Our tools for analyzing the humor in tannitic texts are based on previous studies, modern theories about humor, literary analysis techniques and our own personally developed methodology. The research results about humor in the Talmud Yerushalmi, the Talmud Babli and in Midrash Aggada are echoed in the results of our work.We have found in the Mishna and the Tosefta humor in various forms and functions. A comprehensive study of humorous anecdotes in these two textual corpora lends a new perspective about the rabbis and their writings: it also sheds light on the rabbis’ personalities and the house of study atmosphere, struggles within the rabbinic movement as well as with outside opponents, and the evolution of humor between the Mishna, the Tosefta and the Talmudim. The large majority of the stories found in the Mishna and the Tosefta are not humorous, but this proportion is reversed in certain themes: in polemics within the tannaitic movement we find an equal number of humorous and serious texts, and in polemics with opponents to the tannaitic movement, humorous texts are predominant. The tannaitic humor is complex and diversified, it traces the origins of modern Jewish humor not only to the Talmud but back to the tannaitic period, it helps explain some enigmatic texts, and to better know the tannaitic ideology
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Jakobsson, Gunilla. "Skratt till förändring : gyckel och dårskap i kristendomens historia: uppsats med exempel ur medeltida gycklartradition." Thesis, University of Gävle, Ämnesavdelningen för religionsvetenskap, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-3600.
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Syftet med denna uppsats är att beskriva skrattets, humorns och komikens roll inom religionen i allmänhet och kristendomen i synnerhet.
Min frågeställning är: Har skratt, humor och komik påverkat och förändrat förhållanden inom religionen, tron, kyrkan? Har skrattet påverkat det bestående, den regerande uppfattningen som förfäktades av dem som innehade makten inom samhälle och kyrka?
Min tes är att skratt och humor tillsammans med många andra fysiska och kroppsliga uttryck har en viktig roll i att budskapet tolkas rätt och rättvist.
För att uppnå detta syfte vill jag
- ge en bakgrund där jag beskriver några teorier om skrattets och humorns väsen och funktion med särskild fokus på förändring och påverkan.
- beskriva ett antal exempel ur kyrkohistorien som beskriver hur humor, ironi och gyckel använts dels för att tydligare förmedla budskapet och dels för att visa på hur makt och överhet förvanskat detta budskap. Exemplen är valda utifrån att det kan tas för troligt att de har påverkat sin samtids utveckling.
Utifrån frågeställningen om förändring av rådande förhållanden i sin tid har jag valt
- att återge i referatform samt analysera fyra gycklarspel från medeltiden, sammanställda av Dario Fo, där gycklet i komik och allvar verkade förändrande i sin ursprungsmiljö men också skulle kunna påverka och förändra i vår tid.
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Ferguson, Kelly K. "What Are You Going to Do with the Rest of Your Life?" Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1396604400.
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Ghazvinian, John H. "'A certain tickling humour' : English travellers, 1560-1660." Thesis, University of Oxford, 2003. https://ora.ox.ac.uk/objects/uuid:92106603-8325-4eab-a2bb-a1f1808c0437.
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The story of early modern English travellers has generally been treated by scholars as a subplot to larger narratives - whether political history, art history, or, more recently, textual criticism and constructions of the 'other'. It has never been discussed as a distinct development within the cultural history of England, with a narrative of its own. Furthermore, historians have traditionally explained away, dismissed as irrelevant, or simply ignored the fact that a growing number of travellers claimed to be motivated by their 'mere curiosity to see', rather than recognising it as a critical aspect of the new phenomenon. This thesis attempts to be a corrective to both these tendencies. It begins with the relationship between the traveller and the State, answering questions about the government's attitude to travel, the process of getting a licence to go abroad, fears about Catholic conversion, and how these things changed over time. It goes on to answer basic questions about who was travelling and what the tour abroad was actually like. The results of an exhaustive study of nearly 2,000 passport records are presented, in an effort to demonstrate the growing popularity of foreign travel in these years. Part Two focuses on the vigorous debate over the value of travel for the young, and the genre of travel advice literature that arose over time. The hostility evoked by the idea of 'curiosity', as well as concerns over travellers being too young, are discussed. The final part of the thesis challenges the assumption that this period merely witnessed the 'rise of the Grand Tour'. Travel to Spa for the recovery of health and the growth of domestic resorts such as Bath and Buxton are looked at, while a final chapter examines those travellers who extended their tours beyond Europe, and ventured into the Levant and beyond.
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Koehle, Natalie. "Phlegm (Tan 痰): Toward a History of Humors in Early Chinese Medicine." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718766.
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This dissertation examines the Chinese conception of phlegm and related body fluids phlegm from the first occurrence of phlegm in Zhang Zhongjing’s 張仲景 (fl. 150-219) Jingui yaolue金匱要略 through the first extended discussion Wang Gui’s 王桂 (1264-1354) Taiding yangsheng zhulun 泰定養生主論 (1338). Following the conceptual development of phlegm and fluids, the study illustrates one of the most important shifts in postclassical Chinese medicine. That is the transformation of the experience of phlegm from an insignificant water pathology that causes indigestion, to a major pathogen in Chinese medicine that is associated with an astonishing range of symptoms, and external and internal etiologies. The history of phlegm also intersects with another major shift in the history of Chinese medicine that is rise of fire, and the link of fire and emotions that was forged during the early Song dynasty.
In contrast to the current over-emphasis on pneumatic or energetic aspects of the Chinese imagination of the body, this dissertation focuses on the humoral aspects of Chinese medicine. This focus brings into view distinct parallels in the conception, experience, and treatment of fluids in the Chinese, Greek and Indian medical traditions, such as the concern with maintaining flow, and the fear of blockage, stagnation, and misguided flows. For instance, all of these traditions view phlegm as the result of a disturbance in the flow. These parallels in the Chinese, Greek, and Indian conception of humors, therefore, help us to better understand the history of phlegm not only in the history of Chinese medicine, but also in the Indo-European traditions.
The dissertation further sheds light on the history of Sino-Indian and Sino-Persian knowledge transfer, and the influence of Indic and Greek conceptions into Chinese medicine, as it puts forward evidence, which suggests that the similarities between Chinese and Indo-European conceptions of phlegm were due, in part, to historical influences from the Indic and Islamic medical traditions. Āyurvedic conceptions of phlegm reached China through the intermediary of Buddhist translations, where phlegm played an important role in physiology. Islamic medicine was present in the Yuan dynasty, and its concepts show clearly in Wang Gui’s Yuan period treatise.
The dissertation’s focus on fluids also brings into view differences in the conception of matter and the experience of fluid in the Chinese and the Greco-Roman medical traditions. In early Chinese medicine, phlegm and stagnant fluids were associated with lumps and tumorous growth, but not with decay. In the Greco-Roman tradition phlegm and stagnations were feared because of their immediate connection with putrefaction and decay. In early Chinese medicine, phlegm and fluids were diagnosed by signs from within the body, such as the sounds of water, but also the subjective feeling of fullness reported by the patients. In the Greco-Roman tradition, as in Wang Gui’s Yuan period treatise, phlegm was diagnosed through the examination of the patients’ outflows.East Asian Languages and Civilizations
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Davison, Kate. "Ned Ward and a social history of humour in early eighteenth-century England." Thesis, University of Sheffield, 2016. http://etheses.whiterose.ac.uk/13457/.
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Alvsten, Per, and Lucas Lindahl. "Didaktik och humor i ett epistemologiskt perspektiv (En epistemologisk undersökning kring möjligheten av ett teoretiskt utrymme för humor visavi didaktik)." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-31489.
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Syftet med detta examensarbete är att utreda följande frågeställningar: Går det att teoretiskringa in humor och synliggöra den som en del av didaktisk verksamhet? Kan humor teoretisktsett spela en roll i undervisning? Vår hypotes är således att humor kan spela en meningsfull,kanske rent av betydande didaktisk pedagogisk roll i undervisning i allmänhet, och densvenska gymnasieskolan som vi arbetar inom i synnerhet. Metoden vi valt är att utföra enteoretisk undersökning, genom ett litteraturstudium, för att utröna om det finns utrymme förhumor inom didaktik och pedagogik på en teoretisk nivå. Det har mynnat ut i enkunskapsteoretisk genomgång med avseende på humor; vi har även satt in det i ett mycketkort historiskt pedagogiskt sammanhang, gällande Sverige och svensk utbildning.Resultatet vi kommer fram till är att det finns ett teoretiskt utrymme att införliva humorsom en del i både teorier och pedagogiska aktiviteter och deras praxis. I den rådandeforsknings- och kunskapssituationen kommer det behöva utföras sen stor dos med forskningoch skilda undersökningar, både teoretiskt och empiriskt för att skapa en gedigen kunskapsbasgällande humors möjligheter och begränsningar med avseende på didaktiskt och pedagogisktarbete.
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Petry, Michele Bete. "Entre desenhos, aquarelas e expressões gráficas de humor." Florianópolis, SC, 2011. http://repositorio.ufsc.br/xmlui/handle/123456789/94832.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2011Made available in DSpace on 2012-10-25T16:47:25Z (GMT). No. of bitstreams: 1 291601.pdf: 7509898 bytes, checksum: 30d52c8b7ab20dd2c16735322cbdbbfc (MD5)
Este trabalho tem como objetivo elaborar uma narrativa sobre a cidade e o cotidiano de Florianópolis (SC) por meio da obra do artista catarinense Sérgio Bonson. Para tanto, foram tomadas como fontes principais os desenhos, aquarelas, expressões gráficas de humor produzidas por Bonson entre os anos de 1987 e 2003, além de fotografias, convites e cartazes de exposições, notícias veiculadas na internet e entrevistas realizadas com a professora, amiga e depois companheira de Bonson, Zenir Maria Koch. A partir disso, este trabalho apresenta discussões sobre as relações entre história e arte, vida e obra, e cidade e cotidiano.