Academic literature on the topic 'Propaganda - Humor, satira, etc'

The Chuvash literary-fiction illustrated satire and humour magazine “Kapkăn” (“Kapkan”) was chosen as the object of research. Chronological framework of the study covers 1956–1991: published intermittently since 1925in Cheboksary (originally – as a literary appendix to the newspaper “Kanash”), in 1940 the magazine ceased to be published, its issuing was resumed only in 16 years. The rich post-Soviet history of “Kapkan” (its issuing was suspended in 2017) with a changed plot and imagery of the visual series is the topic of a separate study. The broad narrative and figurative range of illustrations of “Kapkan”, their abundance and quality were determined by the fact that over decades of its fruitful work many masters of the genre who were famous outside the Republic and who were published in the central press, collaborated with the magazine, including publications in the “elder brother” of republican propaganda satirical publications – the subordinate edition of the newspaper “Pravda» – “Crocodile” magazine. The lack of studies on iconography of the Soviet period of the journal “Kapkan” determines the novelty of the research. The aim of the study is to determine the opportunities of using the visual imagery of the mentioned periodical as an ethnographic source and a source on the history of everyday life. The author considered the methods of content- and context-analysis as the most adequate ones in this case. Turning to such subjects as mismanagement, localism, nepotism, bribery, bureaucracy, artists give considerable food for thought to historians who study the problems of everyday life. The visual imagery of “Kapkan” of the postwar period makes it possible to study not only Soviet social problems through aspects of everyday life of an “ordinary Soviet man”, but classical anthropological subjects (kinship and connection by marriage, gift exchange, power, rites of transition, initiation, social experience passing, work ethic, etc.) as well. “Socialist in content”, the graphic art of the Chuvash caricaturists, was nevertheless sometimes “national in form”. At the same time, “Kapkan” did not too much work the pedals of purely national plots, did not strive for spectacular exoticism. The magazine which was published in the Chuvash language knew and understood its readers, their needs, their daily life. The emotional degree of illustrations to the “Kapkan” ranged from mild patronizing humor to hard-edged accusatory satire; it is important that the stated balance – humor and satire – in an uneasy and often ideologized environment was almost always maintained. A wide range of themes and subjects, the skill to combine graphic materials of different artists, professionals and amateur masters with their own creative manner deserve the closest attention of researchers.

ABSTRAK Tulisan ini bertujuan untuk menggambarkan dakwah Ramdan Juniarsyah dengan wayang mudah diterima, relevan dengan budaya yang ada, menggunakan bahasa lokal, dan dakwah melalui wayang golek dapat menghibur. Metode yang digunakan yaitu metode kualitatif dengan pendekatan deskriptif, yaitu dengan mengumpulkan data dan informasi melalui observasi,wawancara dan dokumentasi kemudian dianalisis dengan mendeskripsikan informasi tersebut sesuai data yang dibutuhkan. Hasil penelitian didapatkan bahwa dakwah melalui wayang golek mudah diterima masyarakat dalam beragam bentuk,seperti tanggapan positif dan antusias masyarakat yang datang. Kemudian, dakwah melalui wayang golek relevan dengan budaya yang ada yaitu dapat ditampilkan dalam acara-acara di masyarakat seperti PHBI, walimah, dll. Adapun bahasa lokal yang digunakan yaitu bahasa Sunda juga dengan bahasa Indonesia. Serta dakwah melalui wayang golek bukan hanya untuk berdakwah,tetapi dapat menghibur masyarakat dengan berbagai macam bentuk, seperti dari kelucuan tokoh Punakawan, meng-improve lagu-lagu dan dialog yang segar antara ustad dengan tokoh wayang. Kata Kunci :wayang golek;media dakwah;media tradisional. ABSTRACT This paper aims to describe the propaganda of Ramdan Juniarsyah with puppets easily accepted, relevant to the existing culture, using local languages, and preaching through puppet show can entertain. The method used is a qualitative method with a descriptive approach, namely by collecting data and information through observation, interviews and documentation then analyzed by describing the information according to the data needed. The results of the study found that preaching through puppet shows was easily accepted by the community in various forms, such as positive responses and enthusiastic people who came. Then, da'wah through wayang golek is relevant to the existing culture, which can be displayed in public events such as PHBI, walimah, etc. The local language used is Sundanese also in Indonesian. As well as preaching through puppet show not only to preach, but can entertain the community in various forms, such as the humor of Punakawan figures, improve songs and fresh dialogue between ustadz and puppet figures. Keywords: puppet show; da'wah media; traditional media.

Investigative journalist Bill Moyers interviews Jon Stewart of The Daily Show: MOYERS: I do not know whether you are practicing an old form of parody and satire…or a new form of journalism. STEWART: Well then that either speaks to the sad state of comedy or the sad state of news. I can’t figure out which one. I think, honestly, we’re practicing a new form of desperation…. July 2003 (Bill Moyers Interview of Jon Stewart, on Public Broadcasting Service) Transmission, while always fraught and ever-changing, is particularly so at a moment when coincidentally the exponential increase in access to new media communication is paired with the propagandized and state-dominated moment of war, in this case the U.S. preemptive invasion of Iraq in 2003. U.S. fighter planes drop paper propaganda along with bombs. Leaked into mainstream media by virtue of new media technologies, the violations of Abu-Ghraib represent the challenge of conducting war in a digital era. Transmissions are highly controlled and yet the proliferation of access poses a new challenge – explicitly named by Rumsfeld in December 2005 on the Jim Lehrer news hour: DONALD RUMSFELD: No, I think what is happening – and this is the first war that has ever been conducted in the 21st century when you had talk radio, the Internet, e-mails, bloggers, 24-hour news, digital cameras, video cameras, instant access to everything, and we haven’t accommodated to that yet. … And what’s happening is the transmission belt that receives it spreads all these things. … Rumsfeld’s comments about the convergence of new media with a time of war highlights what those of us studying cultural communication see as a crucial site of study: the access and use of new media to transmit dissenting political commentary is arguably a sign of new counter-public spaces that coincide with increased mainstream media control and erosion of civil liberties surrounding free speech. In this particular instance, the strategic use of media by U.S. political administration to sell a morally questionable war to the public through deceptions and propaganda raises new questions about the transmission and phenomenon of truth claims in a digital age. In this essay I examine three sites through which satire is used to express political commentary in the convergent moment of repression combines with increased affordances. The examples I offer have been chosen because they illustrate what I recognize as a cultural shift, an emotional sea change even for staunch postmodernists: replacing Jameson’s characterization of the “waning of affect,” there has emerged renewed desire for truthfulness and accountability. What’s unique is that this insistence on the possibility of truthfulness is held in simultaneous contradiction with cynical distrust. The result is a paradoxical affective sentiment shared by many: the simultaneous belief that all truths are rhetorically constructed along with the shared certainty that we have been lied to, that this is wrong, and that there is a truthfulness that should be delivered. This demand is directed at the corrupted synergy created between media and politicians. The arguments used to counter the dominant content (and form) of transmission are made using new digital media. The sea-change in transmission is its multidirectionality, its frequency, and its own rapidly-changing modes of transmission. In short, communication and the political role of media has become exponentially complex in the simultaneous demand for truthfulness alongside the simultaneous awareness that all truth is constructed. Visual satire offers an ideal form to transmit the post-9/11 contradictions because irony turns on the unsaid; it uses the dominant forms of logic to express what is otherwise silenced as dissenting didacticism; it expresses horrors in forms that are palatable; it creates a sense of shared meaning and community by using the unsaid to create a recognition of the dominant culture as misrepresentation. While irony has been used for centuries as a political tool, what is unique about the digitally produced and disseminated cultures created through visual ironies after 9/11 is that these expressions explicitly reference again and again a desire for accountability. Much could be said about the history of political satire, and if space permitted I would develop here my discussion of affect and parody, best excavated beginning with a history of political satire moving up to current “fair use legislation” which legally protects those who perform parody, one subset of satire. A more general comment on the relation of humor to politics helps set a context for the relationship of satire to contemporary political transmissions I address. Humor … helps one only to bear somewhat better the unalterable; sometimes it reminds both the mighty and the weak that they are not to be taken seriously. …One’s understanding of political jokes obviously depends on one’s understanding of politics. At one level, politics is always a struggle for power. Along with persuasion and lies, advice and flattery, tokens of esteem and bribery, banishment and violence, obedience and treachery, the joke belongs to the rich treasury of the instruments of politics. We often hear that the political joke is an offensive weapon with which an aggressive, politically engaged person makes the arrangements or precautions of an opponent seem ridiculous. But even when political jokes serve defensive purposes, they are nonetheless weapons (Speier and Jackall 1998, 1352). The productions I am studying I define as digital dissent: the use of new media to engage in tactical media, culture jamming, or online civic participation that interrupts mainstream media narratives. The sites I am studying include multimedia memes, blogs, and mirrored streaming of cable-channel Comedy Central’s highly popular news satire. These three examples illustrate a key tension embedded in the activity of transmission: in their form (satirical) and content (U.S. mainstream media and U.S. politicians and mistakes) they critique prevailing (dominant) transmissions of mainstream media, and perform this transmission using mainstream media as the transmitter. The use of the existing forms to critique those same forms helpfully defines “tactical media,” so that, ironically, the transmission of mainstream news is satirized through content and form while in turn being transmitted via corporate-owned news show. The following illustrations of digital dissent employ irony and satire to transmit the contradictory emotional sensibilities: on the one hand, the awareness that all truth claims are constructed and on the other, a longing for truthful accountability from politicians and media. The Daily Show with Jon Stewart The Daily Show (TDS) with Jon Stewart is a highly-popular news satire. “The most trusted name in fake news” is transmitted four nights a week in the U.S. and Canada on cable television and often on another local network channel. TDS format uses “real” news clips from mainstream media – generally about Washington D.C. politics – and offers satirical and ironic commentary about the media representations as well as about the actions and speech of the politicians represented. Aired in Europe through CNN as well througha half-hour once weekly version, TDS is also streamed online both through Comedy Central’s official site as well as on mirrored independent streaming. The Daily Show has been airing for 6 years, has 1.7 million television viewers, a wide audience who view TDS online, and a larger segment of age 18-31 viewers than any other U.S. nightly news show (Friend 28). Jon Stewart has become an icon of a cross-partisan North American critique of George W. Bush in particular (though Stewart claims himself as non-partisan). Particularly since his appearance on CNN news debate show Crossfire and now poised to host the Academy Awards (two days until Oscar broadcast as I write), Jon Stewart emblematizes a faith in democracy, and demand for media accountability to standards of civic discourse seen as central to democracy. (In a March 2, 2006 blog-letter to Jon Stewart, Ariana Huffington warns him against losing his current political legitimacy by blowing it at the Oscars: “Interjecting too much political commentary – no matter how trenchant or hilarious – is like interrupting the eulogy at a funeral to make a political point … . At the same time, there is no denying the fact, Jon, that you are going to have the rapt attention of some 40 million Americans. Or that political satire – done right – can alter people’s perceptions (there’s a reason emperors have always banned court jesters in times of crisis). Or that a heaping dose of your perception-altering mockery would do the American body politic a load of good.”) “Stop hurting America” Stewart pleads with two mainstream news show hosts on the now-infamous Crossfire appearance, (an 11 minute clip easily found online or through ifilm.com). Stewart’s public shaming of mainstream media as partisan hackery theatre, “helping corporations and leaving all of us alone to mow our lawns,” became the top-cited media event in the blogosphere in 2004. The satirical form of The Daily Show illustrates how the unsaid functions as truth. Within the range of roles classically defined within the history of humor and satire, Jon Stewart represents the court jester (Jones). First, the unsaid often occurs literally through Stewart’s responses to material: the camera often shows simply his facial expression and speechlessness, which “says it all.” The unsaid also occurs visually through the ironic adoption of the familiar visuals of a news show: for example, situating the anchor person (Stewart) behind his obscenely large news desk. Part of this unsaid is an implicit questioning of the performed legitimacy of a news report. For viewers, The Daily Show displaces a dominant and enforced hegemonic cultural pastime: individuals in isolated living rooms tuned in to (and alienated by) the 11 o’clock dose of media spin about politicians’ and military versions of reality have been replaced by a new virtual solidarity of 1.2 million living rooms who share a recognition of deception. Ironically, as Bill Moyers expresses to Jon Stewart, “but when I report the news on this broadcast, people say I’m making it up. When you make it up, they say you’re telling the truth” (“Transcript”). The unsaid also functions by using actual existing logics, discourses, and even various familiar reiterated truth claims (the location of WMD; claims made by Hans Blix, etc.) and shifting the locutionary context of these slightly in order to create irony – putting “real” words into displaced contexts in a way that reveals the constructed-ness of the “real” and thereby creates an unsaid, shared commentary about the experience of feeling deceived by the media and by the Pentagon. Through its use of both “real” news footage combined with ironic “false” commentary, The Daily Show allows viewers to occupy the simultaneous space of cynicism and desire for truth: pleasure and satisfaction followed by a moment of panic or horror. Bush in 30 Seconds The Bushin30seconds campaign was begun by the organization MoveOn, who solicited entries from the public and received over 500 which were streamed as QuickTime videos on their Website. The guidelines were to use the form of a campaign ad, and the popularly-selected winner would be aired on major network television during the 2004 Superbowl. The majority of the Bushin30Seconds ads include content that directly addresses Bush’s deception and make pleas for truth, many explicitly addressing the demand for truth, the immorality of lies, and the problems that political deception pose for democracy (along with a research team, I am currently working on a three year project analyzing all of these in terms of their content, rhetorical form, and discursive strategies and will be surveying and interviewing the producers of the Bushin30Seconds. Our other two sites of study include political blogs about the U.S. invasion of Iraq, and online networks sparked by The Daily Show). The demand for truthfulness is well exemplified in the ad called “Polygraph” (see also #27 A Big Puzzle). This ad invokes a simulated polygraph – the polygraph being a classic instrument of rational positivism and surveillance – which measures for the viewer the “truth” quotient of Bush’s own “real” words. Of course, the polygraph is not actually connected to Bush’s body, and hence offers a visual symbolic “stand in” for the viewer’s own internal or collectively shared sensibility or truth meter. Illustrating my central argument about the expressed desire for truthfulness, the ad concludes with the phrase “Americans are dying for the truth.” Having examined 150 ads, it is remarkable how many of these – albeit via different cultural forms ranging from hip hop to animation to drama to pseudo-advertisement for a toy action figure – make a plea for accountability, not only on behalf of one’s own desire but often out of altruistic concern for others. The Yes Men I offer one final example to illustrate transmissions that disrupt dominant discourses. The Yes Men began their work when they created a website which “mirrored” the World Trade Organization site. Assumed to represent the WTO, they were subsequently offered invitations to give keynotes at various international conferences and press meetings of CEOs and business people. (Their work is documented in an hour-long film titled The Yes Men available at many video outlets and through their web site.) The main yes man, Bichlbaum, arrives to these large international meetings with careful attire and speech, and offers a straight-faced keynote with subversive content. For example, at a textile conference he suggests that slavery had been a very profitable form of labor and might be reintroduced as alternative to unionized labor. At another conference, he announced that the WTO had decided to disband because it has realized it is only causing harm to international trade and economy. In December 2004, the Yes Men struck again when they were invited by the BBC as representatives of DOW chemical on the 20th anniversary of the Union Carbide Bhopal accident in India. Those who watched the BBC news and Channel 4 and the hundreds of thousands who viewed these clips afterwards are made aware of the anniversary of the worst chemical accident in history; are apprised of the ongoing effects on the people of Bhopal; and hear an unusual primetime soundbyte lambasting the utter absence of social responsibility of corporations such as Dow Chemical. The Yes Men illustrate what some might call tactical media, some might call media terrorism, and what some aspire to in their own activism. “They compare their work to that of a “funhouse mirror” – exaggerating hideous features. ‘We do that kind of exaggeration operation, but with ideas. We agree with people – turning up the volume on their ideas as we talk, until they can see their ideas distorted in our funhouse mirror. Or that’s what we try to do anyhow. As it turns out, the image always seems to look normal to them,’ Bichlbaum said” (Marchlewski). Another article describes their goal as follows: When newspapers and television stations out their acts, it’s not just the Yes Men who get attention, but also the issues they address … . The impersonations, which the two call identity corrections, are intended to show, in a colorful and humorous way, what they say are errors of corporate and government ways. (Marchlewski 2005) In conclusion, these three examples illustrate the new media terrain of access and distribution which enables transmissions that arguably construct significant new public spheres constructed around a desire for truthfulness and accountability. While some may prefer “civil society,” I find the concept of a public useful because its connotations imply less regimentation. If the public sphere is in part constructed through the reflexive circulation of discourse, the imaginary relation with strangers, and with affect as a social glue (my addition to Michael Warner’s six features of a public), we have described some of the ways in which counterpublics are produced (Warner 2002; Boler, forthcoming). If address (the circulation and reception of a cultural production under consideration) in part constructs a public, how does one imagine the interactivity between the listener/bystander/participant and the broadcast or image? To what extent do the kinds of transmission I have discussed here invite new kinds of multi-directional interactivity, and to what extent do they replicate problematic forms of broadcast? Which kind of subject is assumed or produced by different “mediated” publics? What is the relationship of discourse and propaganda to action and materiality? These are some of the eternally difficult questions raised when one analyzes ideology and culture in relation to social change. It is indeed very difficult to trace what action follows from any particular discursive construction of publics. One can think of the endings of the 150 Finalists in the Bush in30 Seconds campaign, each with an explicit or implicit imperative: “think!” or “act!” What subject is hailed and invoked, and what relationship might exist between the invocation or imagining of that listener and that listener’s actual reception and translation of any transmission? The construction of a public through address is a key feature of the politics of representation and visions of social change through cultural production. Each of the three sites of productions I have analyzed illustrate a renewed call for faith in media as an institution which owes a civic responsibility to democracy. The iterations of calls for truthful accounts from media and politicians stand in tension with the simultaneous recognition of the complex social construction of any and all truth claims. The uncertainty about whether such transmissions constitute “an old form of parody and satire…or a new form of journalism” reflects the ongoing paradox of what Jon Stewart describes as a “new form of desperation.” For those who live in Western democracies, I suggest that the study of political transmission is best understood within this moment of convergence and paradox when we are haunted by paradoxical desires for truths. References “American Daily.” 7 Nov. 2003 http://www.americandaily.com/article/5951>. Boler, Megan. “Mediated Publics and the Crises of Democracy.” Philosophical Studies in Education 37 (2006, forthcoming), eds. Justen Infinito and Cris Mayo. Colebrook, Claire. Irony. London: Routledge, 2004. Jameson, Frederic. “Postmodernism and Consumer Society.” The Anti-Aesthetic. Ed. H. Foster. Seattle: Bay Press, 1983. Jones, Jeffrey. Entertaining Politics: New Political Television and Civic Culture. New York: Rowman and Littlefield Publishers, 2004. Fletcher, M.D. Contemporary Political Satire. New York: University Press of America, 1987. Friend, Tad. “Is It Funny Yet? Jon Stewart and the Comedy of Crisis”. The New Yorker 77.47 (11 Feb. 2002): 28(7). Huffington, Ariana. “Memo to Jon Stewart: Tread Lightly and Carry a Big Schtick.” 2 March 2006. 4 March 2006 http://www.huffingtonpost.com/arianna-huffington/memo-to-jon-stewart-trea_b_16642.html>. Latour, Bruno. “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern.” Critical Inquiry 30.2 (2004). http://www.uchicago.edu/research/jnl-crit-inq/issues/v30/30n2.Latour.html>. Marchlewski, Kathie. “Hoaxsters Target Dow, Midland Daily News.” 20 May 2005 http://www.theyesmen.org/articles/dowagmmidlanddailynews.html>. Speier, Hans, & Robert Jackall. “Wit and Politics: An Essay on Laughter and Power.” The American Journal of Sociology 103.5 (1998): 1352. “The News Hour with Jim Lehrer.” 8 Dec. 2005. http://www.pbs.org/newshour/bb/fedagencies/july-dec05/rumsfeld_12-08.html>. “Transcript – Bill Moyers Inverviews Jon Stewart.” 7 Nov. 2003 . Warner, Michael. “Publics and Counterpublics.” Public Culture 14.1 (2002): 49-90. Citation reference for this article MLA Style Boler, Megan. "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?." M/C Journal 9.1 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0603/11-boler.php>. APA Style Boler, M. (Mar. 2006) "The Transmission of Political Critique after 9/11: “A New Form of Desperation”?," M/C Journal, 9(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0603/11-boler.php>.

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This thesis aims to evaluate whether humorous television commercials (TVCs) work for non-prescription drugs, known as “over-the-counter” (OTC). The construct humor in advertising is controversial since it involves complex and broad typology, and depends on the audience characteristics. Several studies within different product categories indicated that some consumer goods are better suited for humorous TVCs, while others, such as OTC drugs, may not take advantage from it. Paradoxically, drug announcers spend billions of dollars worldwide in humorous OTC ads. An experiment with real consumers was designed as between-and-within-subjects, to test three hypotheses. Sixty women were exposed to pairs of humorous and non-humorous TVCs, for each of the three drug categories (analgesics, vitamins, and laxatives). We used fictional brand names and real ads, and measured four dependant variables: attitude toward the advertising (AAD), attitude toward the brand (ABR), purchase intention (PI), and brand choice (BC), after subjects being exposed to manipulations of two independent variables: humorous vs. non-humorous TV commercials, for the drug categories. Conditional logit model confirmed that humor does not help to persuade respondents, whose choices, attitudes, and purchase intention were less favorable with humorous TVCs, in comparison to non-humorous executions. Future research is presented regarding marketing for pharmaceutical products.

Orientador: Sirio Possenti
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho se inscreve no âmbito da Análise do Discurso e trata de textos longos de humor político, publicados em jornais e revistas na marcante época do mandato do presidente Fernando Collor de Mello. Como tais textos estão inseridos no amplo campo da enunciação, é inevitável que conceitos como o da subjetividade, da interdiscursividade e da polifonia, incluindo sobretudo a ironia, sejam retomados. Além disso, outras categorias, como as semântico-pragmáticas, ou seja, as de script, coerência e cumplicidade juntam-se à análise, haja vista a diversidade de montagem desse tipo de texto e sua conseqüente riqueza de efeitos de sentido, cuja descrição é almejada. Há várias teorias, lingüísticas ou não, interessadas na análise de textos de humor, sobretudo as piadas, mas ampliamos tal análise para o texto longo, buscando ver o que os diferencia. Por se tratar de texto de humor político de um governo tão insólito, o tema de crítica é constante, embora com características bastante particularizadas, como procuramos demonstrar. Sendo assim, este trabalho deseja ser uma contribuição, embora parcial, para a análise lingüística e discursiva
Abstract: This thesis includes itself within the realm of Discourse Analysis and works with long texts of polítical humor, publíshed in newspapers and magazines during the memorable epoch of Femando Collor de Mello's term in office. Being these texts part of the vast field of enunciation, it is inevitable that concepts such as subjectivity, interdiscoursivity, and polyphony, including especiallyirony, be treated once more. Besides this, other categories such as semantic-pragmatic, in other words, script, coherence, and complícity are part ofthe analysis, considering the wide range construction ofthis type of text and the consequential abundance ofeffects ofmeaning, the description ofwhich is our goal. There are various theories, linguistic and otherwise, that treat the analysis of polítical humor, with emphasis onjokes, but this study widens such analysis to include the long text, in an attempt to define the differences. Dealing with texts of polítical humor of such a unusual govemment, the theme of criticism is constant, although with its considerably particular characteristics, as here aimed to demonstrate. There being, this thesis is meant to be a contribution, even though partial, to línguistic and discoursive analysis
Doutorado
Doutor em Linguística

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Neste trabalho fazemos uma análise do humor politicamente incorreto e escrachado do desenho animado estadunidense South Park tendo como norte: (1) que embora a comicidade na contemporaneidade esteja neutralizada e abrandada pelo humorismo light e politicamente correto, o discurso humorístico propagado por nosso corpus de estudo pode estar em sintonia com as características mais essenciais e inerentes a este gênero da linguagem (crítica, acidez, sarcasmo, caricatural, escatológico, grotesco); (2) e que quando o texto Southparkiano (episódios compostos por narrativas, diálogos e imagens) inverte os discursos hegemônicos possibilitaria reflexões acerca destes, atentando para que tanto esses discursos contra-hegemônicos, quanto os discursos hegemônicos, são infalíveis, não sendo estritamente corretos e/ou verdadeiros.
In this work we do an analysis of politically incorrect humor of the American South Park cartoon with a north: (1) although the comic discourse in contemporary is neutralized and softened by the light humor and the politically correct, the humorous discourse propagated by the corpus of our study can be in keeping with the essential features and inherent to this genre language (critic, acidity, sarcasm, caricature, scatological, grotesque); (2) and that when the South Park’s text (episodes composed narratives, dialogues and images) reverses the hegemonic discourses it could enable reflections about them, paying attention to these counter-hegemonic discourses and hegemonic discourses are both infallible, not strictly correct and/or true at all.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A pesquisa visa estudar a obra de Copi ( Raúl Damonte Botana 1939-1987), escritor argentino, num âmbito maior de questões, que servirão de apoio teórico- crítico possibilitando uma abordagem mais ampla. Da totalidade de sua obra (ele escreveu romances, peças teatrais e é autor também de desenhos e quadrinhos humorísticos), enfatizar-se-á o estudo da série teatral e dentro dela três peças: Cachafaz, A sombra de Wenceslao, e Eva Perón. Elas foram escolhidas por serem altamente representativas da estética controversa, humorística, paródica e irônica do autor. Primeiramente, tem-se como objetivo realizar uma investigação das formas do humor relacionando-as aos textos do autor argentino e procurando uma leitura crítica que permita repensar essas categorias à luz das particularidades da obra de Copi. Num segundo momento, situar-se-ão estas obras do autor em relação à tradição literária argentina. Elas devem ser lidas como um diálogo com a literatura e a história argentina, com os mitos e estigmas de sua cultura (tanto literários quanto históricos) que compõem ou têm composto os “grandes traços” daquilo que se supõe ser a “argentinidade”. Em relação com o primeiro objetivo, estudar-se-á teoricamente a gênesis, as especificidades e diferenças entre o humor, a comicidade, a paródia, a sátira e a ironia e formas afins, fazendo um percurso pelos principais filósofos e teóricos que abordaram estas questões. Estudar-se-á especialmente a parodia, por ser ela a forma constitutiva da escrita de Copi, mas também por ser uma das formas recorrentes da arte (tanto literária quanto pictórica) das ultimas décadas. Em relação ao segundo objetivo, ao vincular a obra de Copi a tradição literária argentina, realizar-se-á um estudo dos seguintes gêneros e movimentos da literatura rioplatense: gauchesca, sainete, grotesco, criollismo, tango. A intenção da pesquisa visa esclarecer e fornecer uma leitura...
This research aims to study the work of Copi (Raúl Damonte Botana 1939-1987), Argentinean writer, in a broader scenery of topics, that will be of theoretical and critical support, to permit a more general boarding. From the totality of his work (he wrote novels, theatrical plays, and is also the author of cartoons and humoristic comics), we will emphasize the study of his theater and within it three plays: Cachafaz, A sombra de Wenceslao, and Eva Perón. They were chosen because they are highly representative of the author’s controversial esthetics, humorous, parodic and ironic. Our first objective is to investigate about the forms of humor relating them to the texts of the Argentinean author and looking for a critical reading that allows us to represent those categories in the light of the particularities of Copi’s work. In a second time, we are going to situate the author’s texts in relation to the Argentinean literature. His work must to be read as a conversation with the Argentinean literature and history, with the myths and stigma of its culture (both literary and historical) that are part or have been part of the “great traits” of what is supposed to be the “argentinity”. In relation to our first objective, we will study the genesis, the specificity and the differences between the humor, the hilarious, the parody, the satire and the irony and related forms, beginning from the main philosophers and theoretic whom studied these themes. The parody is specially going to be analyzed, not only because it is the form that constitutes Copi’s work, but also because it is one of the recurrent forms of the art (both literary and pictorial) of the lasts decades. In relation to our second objective, when relating Copi’s work to the Argentinean literature, we are going to study the following genera and movements of Rioplatense literature: gauchesca, sainete, grotesco, criollismo, tango. The intention of this research aims to...

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Esta dissertação procura analisar as formas de exercício do jornalismo econômico, com o objetivo de mostrar como este pode se tornar compreensível a qualquer público leitor. Ao longo dos capítulos, dentre teorias e análises, buscamos denotar como a imprensa alternativa pode contribuir para facilitar a compreensão da informação econômica e deixá-la ao entendimento não só de pessoas envolvidas no universo econômico, como também àqueles leitores que não estão familiarizados com os jargões do jornalismo econômico. Mediante ao exposto, vimos no semanário Bundas, periódico considerado alternativo e que circulou no final dos anos de 1990, um meio que facilitou a leitura dos textos sobre economia. Partindo de um estudo textual, inspirado na Análise de Conteúdo de Bardin, o intuito do trabalho é mostrar que é possível realizar a prática do jornalismo econômico sob o ponto de vista alternativo, evidenciando que esses podem levar informação ao público leitor de maneira muito mais atrativa e compreensível do que os grandes veículos impressos
This dissertation analyzes the ways of exercising economic journalism, aiming to show how this can become understandable to any readership. Throughout the chapters, among theories and analyzes, seek denote as the alternative media can help facilitate economic understanding information and leave it to the understanding not only of people involved in the economic universe, as well as those readers who are unfamiliar with the jargon economic journalism. By the above, we have seen in the weekly Bundas, considered alternate periodic and circulated in the late 1990s, a medium that facilitated the reading of the texts on economics. Starding from a textual study, inspired by the Content Analysis Bardin, the aim of the paper is to show that it is possible to perform the practice of economic journalism under the alternative point of view, showing that these can bring information to the public in a much more attractive way player and understandable than the big print media

Orientador: Maximiliano Martin Vicente
Banca: Rozinaldo Antonio Miani
Banca: Murilo Cesar Soares
Resumo: Esta dissertação procura analisar as formas de exercício do jornalismo econômico, com o objetivo de mostrar como este pode se tornar compreensível a qualquer público leitor. Ao longo dos capítulos, dentre teorias e análises, buscamos denotar como a imprensa alternativa pode contribuir para facilitar a compreensão da informação econômica e deixá-la ao entendimento não só de pessoas envolvidas no universo econômico, como também àqueles leitores que não estão familiarizados com os jargões do jornalismo econômico. Mediante ao exposto, vimos no semanário Bundas, periódico considerado alternativo e que circulou no final dos anos de 1990, um meio que facilitou a leitura dos textos sobre economia. Partindo de um estudo textual, inspirado na Análise de Conteúdo de Bardin, o intuito do trabalho é mostrar que é possível realizar a prática do jornalismo econômico sob o ponto de vista alternativo, evidenciando que esses podem levar informação ao público leitor de maneira muito mais atrativa e compreensível do que os grandes veículos impressos
Abstract: This dissertation analyzes the ways of exercising economic journalism, aiming to show how this can become understandable to any readership. Throughout the chapters, among theories and analyzes, seek denote as the alternative media can help facilitate economic understanding information and leave it to the understanding not only of people involved in the economic universe, as well as those readers who are unfamiliar with the jargon economic journalism. By the above, we have seen in the weekly Bundas, considered alternate periodic and circulated in the late 1990s, a medium that facilitated the reading of the texts on economics. Starding from a textual study, inspired by the Content Analysis Bardin, the aim of the paper is to show that it is possible to perform the practice of economic journalism under the alternative point of view, showing that these can bring information to the public in a much more attractive way player and understandable than the big print media
Mestre

Orientador: Sirio Possenti
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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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

Tese (doutorado) - Universidade Federal Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.
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Este trabalho parte da tradução de A Sentimental Journey, de Laurence Sterne, para fazer um exame de questões ligadas à narrativa quando confrontadas com a necessidade da tradução. Para tal, serão consideradas a oscilação entre o sentimental e o humor e a fronteira sutil que os separa ao longo do romance, a ironia, a paródia, bem como as estratégias adotadas na tradução proposta e em outras já publicadas no Brasil This study will look at the translation of Laurence Sterne's A Sentimental Journey and examine certain translational issues arising from the narrative. These include the oscillation between sentimental and humorous elements and the fine line that separates them throughout the novel, use of irony, parody, and also translational strategies adopted by the author, and by others in previous translations of the work in Brazil.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho tem como objetivo principal a reflexão sobre minha produção plástica e poética, buscando uma integração da prática com a teoria. Para o desenvolvimento dessa pesquisa selecionei sete objetos artísticos, produzidos nos últimos três anos, que trazem como principais características o gênero fantástico, o humor e o cinetismo. São caixas de madeira pintadas que possibilitam ao público interagir com os cenários de seus personagens
The main goal of this paper is to reflect on my artistic and poetic production, seeking to integrate practical and theory. For the development of this research, I have selected seven artistic objects, produced in the last three years, which bring as main characteristics the fantastic genre, the humor and the kinetcs. |These are painted wood boxes, which allow the viewer to interact with the setting and its characters

Orientador: Profª. Drª. Regiane Regina Ribeiro
Dissertação (mestrado) - Universidade Federal do Parana, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Comunicação. Defesa: Curitiba, 13/04/2016
Inclui referências : f. 89-95
Área de concentração: Comunicação e sociedade
Resumo: Dilbert é uma tira em quadrinhos do cartunista norte-americano Scott Adams, publicada desde 1989. Sua obra critica e ironiza o racionalismo e burocracia das corporações, retratando as relações de poder e resistência, entremeadas em suas culturas. A formação cultural de cada organização lhe confere uma identidade própria, e cria referências a seus integrantes para suas ações e comportamentos. A comunicação social é responsável pela formação e atualização das culturas, por meio de seu reforço e reprodução, sendo que novas experiências e conhecimentos as transformam, criando novos sentidos. Nesta pesquisa, a comunicação é compreendida como um processo de construção e disputa de sentidos (BALDISSERA, 2000), onde cada sujeito ou grupo busca tornar suas percepções e experiências individuais em referências para os outros. Assim, a questão que direcionou o estudo foi a seguinte: de que forma as tiras de Dilbert representam as disputas de sentidos nas organizações? Os quadrinhos do personagem, assim, são usados como matéria de reflexão, por trazerem diferentes percepções e sentidos, o que permite expandir a compreensão sobre os processos comunicativos organizacionais. O objetivo geral foi descrever e explicar como discursos aparentes e latentes em Dilbert são expressões das disputas de sentidos, sob a ótica de conceitos como racionalismo e trabalho, subjetividade e fala, relações de poder, e humor de resistência no ambiente organizacional. A pesquisa teve natureza qualitativa e exploratória; seu corpus, representado por 12 tiras, foi retirado de coletâneas publicadas no Brasil. Investigamos os dados por meio de um protocolo metodológico desenvolvido especificamente para a análise de discursos verbais e visuais. Como principal conclusão, verificamos que Adams coloca sua perspectiva pessoal, conhecimento dos contextos corporativos, e o modo que enxerga seu público, na subversão dos sentidos de discursos e modelos oficiais, feitas por seus personagens por meio de estratégias simbólicas, especialmente o humor. As tiras representam visões parciais e variadas da realidade organizacional, na medida em que são produzidas e ganham sentido com a participação dos leitores, exigindo que busquem suas próprias experiências, saberes e compreensão do mundo do trabalho, na interpretação da obra. Palavras-chave: Dilbert. Quadrinhos. Organização. Disputa de sentidos. Racionalismo. Hierarquia. Humor.
Abstract: Dilbert is a comic strip of the north-american cartoonist Scott Adams, which has been published since 1989. His work criticizes and satirizes rationalism and bureaucracy of corporations, representing power relations and resistance intermingled in their cultures. The cultural background of each organization gives it an own identity, and creates references to its members for their actions and behaviors. The Social Communication is responsible for the forming and updating of cultures, through its strengthening and reproduction, seeing that new experiences and knowledge transform it, creating new meanings. In this research, communication is understood as a process of construction and dispute of senses (BALDISSERA, 2000), where each individual or group wishes to turn their individual perceptions and experiences in reference to others. So, the question that directed the study was the following: how the Dilbert strips represent the dispute of senses in organizations? The comics of the author, so are used as a source to reflexion, for bringing different perceptions and senses, what allows to expand the understanding of organizational communication processes. The overall objective was to describe and explain how apparent and latent discourses in Dilbert are expressions of dispute of senses, from the perspective of concepts such as rationalism and work, subjectivity and speech, power relations, and resistance of humor in the organizational environment. The research had a qualitative and exploratory nature; its corpus, represented by 12 strips, was taken from collections published in Brazil. We investigate data through a methodological protocol created to analysis verbal and visual elements. As a main conclusion, we found that Adams puts his personal perspective, knowledge of corporate contexts, and the way he sees his audience, in the subversion of the senses of official speeches and models made by their characters through symbolic strategies, especially the humor. The strips represent partial and varying views of the organizational reality, as they are produced and gain meaning with the participation of readers, requiring them to seek their own experiences, knowledge and understanding of the work world, in the interpretation of the comic strip. Key-words: Dilbert. Comics. Organization. Dispute of senses. Rationalism. Hierarchy. Humor.