Dissertations / Theses: 'Teraphy of the laugh'

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Vela, Perea Shirley Katherine. "Creación del primer centro especializado en hemodiálisis con terapia de la risa en la ciudad de Lima." Master's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/657381.

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El plan de negocio pertenece al sector salud y consiste en la creación del primer Centro especializado en Hemodiálisis con terapia de la risa en la ciudad de Lima. En la región de Lima existe una demanda insatisfecha de pacientes con Enfermedad Renal Crónica Terminal del Análisis de la situación renal en el Perú (2015) se puede concluir que existe un exceso de demanda de pacientes en EsSalud, con un sobredimensionamiento de un 33,9% y un déficit de cobertura en el Ministerio de Salud en un 79%. Es importante detallar que se han visto estudios sobre los beneficios de la terapia de la risa en pacientes con Enfermedades Crónicas Terminales y familiares respecto a su calidad de vida. Por ello, se propone la creación del primer Centro especializado en Hemodiálisis con terapia de la risa en la ciudad de Lima llamado “Centro de Hemodiálisis NefroClown S.A.”. Siendo el slogan de nuestro centro “…Donde la salud comienza con una sonrisa”. Y el logotipo está representado por la imagen de dos riñones con una nariz de clown, cuya finalidad será realizar tratamientos de Hemodiálisis con terapia de la risa a pacientes con Enfermedad Renal Crónica Terminal asegurados del Ministerio de Salud, EsSalud y privados, contribuyendo a atender la actual demanda. Los responsables del Centro están conformados por una junta general de accionistas, una gerencia y un directorio. La estrategia del negocio es de liderazgo en costos, centrándonos en el desarrollo de los procesos necesarios para brindar el servicio de hemodiálisis. La Viabilidad Financiera del Proyecto ha sido estructurada de 5 años (2021 – 2025). La inversión total proyectada para el desarrollo del proyecto es de S/.1 287,880.69. El Valor Actual Neto positivo nos indica que el proyecto nos genera beneficios. Por otro lado, nos ofrece una tasa interna de retorno de 176.62%, demostrando que la rentabilidad del proyecto es superior al mínimo aceptable. Por lo descrito el proyecto resulta financieramente viable y rentable. The business plan belongs to the health sector and consists of the creation of the first Center specialized in Hemodialysis with laughter therapy in the city of Lima. In the Lima region there is an unsatisfied demand for patients with Terminal Chronic Kidney Disease From the Analysis of the kidney situation in Peru (2015) it can be concluded that there is an excess demand for patients in EsSalud, with an oversizing of 33.9 % and a deficit of coverage in the Ministry of Health in 79%. It is important to detail that studies have been seen on the benefits of laughter therapy in patients with Terminal Chronic Diseases and their families regarding their quality of life. For this reason, the creation of the first Center specialized in Hemodialysis with laughter therapy is proposed in the city of Lima called "Center de Hemodialysis NefroClown S.A.". Being the slogan of our center “… Where health begins with a smile”. And the logo is represented by the image of two kidneys with a clown nose, the purpose of which will be to carry out Hemodialysis treatments with laughter therapy to patients with Terminal Chronic Kidney Disease insured by the Ministry of Health, EsSalud and private companies, helping to attend to the current demand. Those responsible for the Center are made up of a general meeting of shareholders, a management and a board of directors. The business strategy is one of cost leadership, focusing on the development of the processes necessary to provide the hemodialysis service. The Financial Viability of the Project has been structured for 5 years (2021 - 2025). The total investment projected for the development of the project is S / .1 287,880.69. The positive Net Present Value indicates that the project generates benefits for us. On the other hand, it offers us an internal rate of return of 176.62%, showing that the profitability of the project is higher than the acceptable minimum. As described, the project is financially viable and profitable. Trabajo de investigación

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Oden, Zachary K. "(Don't Anybody Laugh)." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1339176334.

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Höring, Lauro. "The stars always make me laugh!" Thesis, Konstfack, Ädellab, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7794.

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A liberation process. A process of unlearning. A process of finding back. Back to the playfulness, joy and unconcern of a kid. The imagination and curiosity. Boundlessness. Finding back to these places where imagination and reality interfuse. Past, present and future intertwine. Dreams and memories seamlessly merge into one. Time ticks in a different way. Even fades away. Becomes unimportant. Trying to understand a language with help of another one. To understand the structure. The pattern. Transmitting and translating. Synchronising. Getting lost in between melodies. Feeling foreign. But finding home. Finding a way. Creating it. Constructing it. Like characters create a Word. Words construct a sentence. Sentences a text. Stories. Worlds. Worlds where everything can be anything. Where everybody can be anything. Everything is possible. Nothing confined. Limited. Worlds full of adventures and experiences. Every detail important. Care. Worlds where all the stress, pressure and request for efficiency and productiveness vanish. Where all the norms, demands and expectations disperse and give room for Wunder to unfold.

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Hayakawa, Haruko. "The Meaningless Laugh: Laughter in Japanese Communication." University of Sydney. Japanese and Korean Studies School of Language and Cultures, 2003. http://hdl.handle.net/2123/656.

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This thesis explores the functions of laughter in Japanese communication. In orientation it contrasts markedly with previous studies and is the first study to have been based on such a large volume of data. In this paper I have focused on laughter as it serves to maintain a co-operative relationship between the participants in a conversation. I find that in the process of communication, people necessarily have to lay themselves open to others, and in doing so they become conscious of the barrier surrounding and protecting their field, i.e. their �inner world�. I hypothesise that in Japanese at least it is consciousness of this barrier that causes the occurrence of laughter in discourse. In other words, people laugh as part of the process of opening up to others, and also to show their intention to be co-operative. By laughing, people are either confirming that they belong to the same in-group, or they are pretending to belong to the same in-group in order to show co-operation. In my model, laughter is classified: A: Joyful laughter for identifying with the in-group B: Balancing laughter for easing tension C: Laughter as a cover-up. A is also divided into 3 subcategories, B into 3, and C into 2 according to the subject of the utterance and the direction of movement into the protective barrier. Two types of statistical analysis were applied to the data in order to the test the validity of the classification. Keywords: interpersonal communication; laughter; field; barrier; co-operation; joy; balancing; cover-up gender

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Hayakawa, Hiruko. "The meaningless laugh : laughter in Japanese communication /." Connect to full text, 2003. http://setis.library.usyd.edu.au/adt/public_html/adt-NU/public/adt-NU20050104.144246/index.html.

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Acosta, Andrew D. "Laff-O-Tron: Laugh Prediction in TED Talks." DigitalCommons@CalPoly, 2016. https://digitalcommons.calpoly.edu/theses/1667.

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Did you hear where the thesis found its ancestors? They were in the "parent-thesis"! This joke, whether you laughed at it or not, contains a fascinating and mysterious quality: humor. Humor is something so incredibly human that if you squint, the two words can even look the same. As such, humor is not often considered something that computers can understand. But, that doesn't mean we won't try to teach it to them. In this thesis, we propose the system Laff-O-Tron to attempt to predict when the audience of a public speech would laugh by looking only at the text of the speech. To do this, we create a corpus of over 1700 TED Talks retrieved from the TED website. We then adapted various techniques used by researchers to identify humor in text. We also investigated features that were specific to our public speaking environment. Using supervised learning, we try to classify if a chunk of text would cause the audience to laugh or not based on these features. We examine the effects of each feature, classifier, and size of the text chunk provided. On a balanced data set, we are able to accurately predict laughter with up to 75% accuracy in our best conditions. Medium level conditions prove to be around 70% accuracy; while our worst conditions result in 66% accuracy. Computers with humor recognition capabilities would be useful in the fields of human computer interaction and communications. Humor can make a computer easier to interact with and function as a tool to check if humor was properly used in an advertisement or speech.

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Sigurjonsdottir, Edda Kristin. "Sit, Eat, Drink, Talk, Laugh – Dining and Mixed Media." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23378.

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Sit, Eat, Drink, Talk, Laugh – Dining and Mixed Media, is an exploratory study of qualities in everyday life and challenges people to enjoy the qualities of mundanity. Seeking inspiration in ethnographic studies, field work was conducted in domestic settings, returning an extensive body of material to work from. The study challenges people to absorb the moment, reflect and enjoy, rather than pacing through a lifetime, with a constant focus on the future instead of the present. This work takes a starting point in food and dining as a social activity, where interactive sound and a reference to online social media is explored through two interventions. The results of these are discussed with central findings around food and dining in the area of sociology, the use of sound in ambient computing and on a higher level around the topic of temporality.

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Klink, Madeline LeNore. "Laugh out loud in real life : women's humor and fan identity." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59730.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2010. Cataloged from PDF version of thesis. Includes bibliographical references (p. 83-91). The emerging field of fan studies has, until recently, been defined only by the research that has taken place within it. Almost universally, this research focuses on self-identified fans. However, scholars are beginning to examine and debate what the limits of the field should be. This study argues that self-identified fans are not the only group that ought to be examined under the heading of fan studies. It also highlights the fact that humor is rarely discussed in fan studies, and argues that this is a major lacuna. In order to accomplish these goals, this study turns to three examples. The first example is an online discussion community for the Twilight novels, Twatlight, which does not define itself as a fan community but nevertheless exhibits all the characteristics of a fan community and is in conversation with self-identified fan communities. The second example is humorous images produced by the Twatlight community, which use jokes to make serious arguments about the Twilight books. The third example is humorous fan vids produced within the mainstream media fandom vidding community; fan vids have been traditionally treated by fan studies as purely melodramatic artworks. The study concludes that fan studies should define itself as the study of people who are affectively engaged with texts in the context of critical communities. by Madeline LeNore "Flourish" Klink. S.M.

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Larson, Alison. "The Last Laugh: Selected Edwardian Punch Cartoons of Edward Linley Sambourne." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2793/.

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The illustrative work of Edward Linley Sambourne for Punch magazine during the period 1901-1910 addresses a myriad of political topics prevalent during the Edwardian period in British history. This thesis examines two of those topics - Women's Suffrage and Socialism - through their artistic treatment by one of Britain's most influential periodicals. Through a study of the historical context and iconography of selected cartoons-of-the-week, one is better equipped to understand and appreciate the meaning, message, and humor in the cartoons. Chapter 1 introduces the Sambourne, Punch magazine, and the Edwardian period in general. Chapters 2 and 3 discuss four Women's Suffrage cartoons and four Socialism cartoons respectively. Chapter 4 draws conclusions regarding Sambourne's techniques as a cartoonist as well as the relationship between the text and image in his illustrations.

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Huber, Breanne Beth Ms. "Make Me Laugh: The Effects of Laughter and Power on Social Impressions." Marietta College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=marietta1223914529.

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Newman, Petra. "The laugh of Merlin in representations of the Holocaust : fiction, film and television." Thesis, University of Southampton, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393926.

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Pesante, Noemi. "“Does it make you laugh?” Il doppiaggio della comicità nella serie televisiva Modern Family." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15214/.

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The purpose of this work is to investigate the multimedia translation, also referred to as au-diovisual translation, which is a specialized branch of translation, with particular attention to the perception of humor in the Italian version of an audiovisual product. The American TV series “Modern Family” will be used as a concrete example to show how hard it is to render jokes and puns in a language different from the one they were conceived in. The analysis aims at studying the strategies employed by Italian translators in order to mimic the original effects the authors wanted to create while writing the script of the show. The present work is structured as follows: the first chapter provides an overview of the au-diovisual translation, starting with a general definition, going through the historical back-ground and the strategies deployed, and presenting the different forms of language transfer. The second chapter focuses on the process of dubbing, its history and how it influences dif-ferent countries, including Italy. The third and the fourth chapters are the corpus of this study. They offer an in-depth analy-sis of the phenomenon of humour and the cultural aspects both the translator and the viewer have to know in order to understand and grasp the comic nuances concealed in the show. Hence, this study tries to show the strategies a translator has to follow in order to keep the desired effects of an original audiovisual product.

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Urrejola, Dobiasch Anouschka. ""Jane only smiles, I laugh" zur Poetik des Lachens in den Romanen Jane Austens." Trier Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/ID602.html.

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Günther, Ulrike. "What's in a laugh? humour, jokes and laughter in the conversational corpus of the BNC /." [S.l. : s.n.], 2003. http://www.freidok.uni-freiburg.de/volltexte/735.

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Sandberg, Truedson J. ""What do the divils find to laugh about" in Melville's The Confidence-Man." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6978.

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The failure of identity in The Confidence-Man has confounded readers since its publication. To some critics, Melville's titular character has seemed to leave his readers in a hopelessness without access to confidence, identity, trust, ethical relationality, and, finally, without anything to say. I argue, however, that Melville's text does not leave us without hope. My argument, consequently, is inextricably bound to a reading of Melville's text as deeply engaged with the concepts it inherits from Geoffrey Chaucer's The Canterbury Tales, an inheritance woefully under-examined by those critics who would leave Melville's text in the mire of hopelessness. In examining how these two texts bind themselves together while simultaneously cutting against each other, my reading finds in The Confidence-Man an alternative way of responsibly living, one that eschews the fatal task of shoring up either our confidence or our embarrassment in favor of an inauthentic redeployment of identity that laughs at both the embarrassment in our confidence and the confidence in our embarrassment.

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McAteer, Michael. "'Dead faces laugh' : imagination and history from Standish James O'Grady to George Russell and W.B. Yeats." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268148.

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Masoni, Licia. "Tanto per ridere, 'just for a laugh' : the functions of humorous narratives in a small Apennine community." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/24913.

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This thesis aims to explore the functions of a corpus of humorous narratives collected during fieldwork in Frassinoro, a small village in the Apennines, in Northern Italy. The focus is on their uses in daily interaction, at the time when the narratives were most popular – that is before the radical changes brought by the arrival of ready-made entertainments, such as radio and television. The increase in the creation and exchange of humorous narratives in those days is seen as the result of a change in needs and tastes, whereby the old folkloric narratives – which has built the informants’ worldview as children – were no longer functional. In their place, a more concrete kind of storytelling emerged, seemingly in response to new individual and group preoccupations. Following this assumption, the stories may be seen as a means of negotiating identity at a time of accelerated social change through increased contacts with the outside world. The general context of the stories is studied to show how the restricted code on which they relied allowed everyone in the community to enjoy narrative rights to the stories, and how performing them conferred inclusion. After context, the themes of the narratives are analysed with emphasis on the fact that the stories appear to trigger laughter about a few main sources of anxiety or threat to the community. The analysis aims to illustrate how the individual and the group provoke laughter through skilfully tailored narratives as an alternative to direct discussion of fraught issues, thus avoiding conflicts, maintaining cohesion within the community and preserving its form. Far from subversive in their intent, these narratives seem to be suggesting that in order to belong to a functioning community one must fully observe its structure and status roles, which proves to be an effective way of preserving the village’s sense of identity during periods of rapid evolution.

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Lindner, Jakob. "“When shall we laugh?”: Gratiano and the two faces of comedy in William Shakespeare’s The Merchant of Venice." Thesis, Stockholms universitet, Engelska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-170753.

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Comedy is an inherently pleasurable phenomenon with beneficial psychological functions, but its potential to bring on undesirable and socially destabilizing consequences is less intuitively obvious. In this essay, I argue that one of the hitherto under-recognized features of William Shakespeare’s The Merchant of Venice is its covert problematization of the phenomenon of comedy itself, and that the play invites its audience to become more aware of in what situations laughter is constructive and appropriate. I apply psychological and cultural-historical theories of humor— specifically, Freudian relief theory and Bakhtinian thought on laughter and festivity—as a framework for interpreting the play, with a particular emphasis on the secondary protagonist called Gratiano. I argue that Gratiano serves as a personification of comedy, whose function is to problematize it and demonstrate its positive as well as negative attributes in relation to seriousness and restraint. Gratiano’s laughter-inducing antics compel audience members to sympathize with him in the dialectic which Shakespeare sets up between him and other characters, but the play also portrays his jovial behavior as concomitant with less desirable traits which his comedy successfully obscures. While the character presents comedy as attractive and instinctively preferable to propriety and decorum, he also shows how the allure of laughter and comedy may be used by disingenuous actors to provide an attractive veneer for immoral or abhorrent behavior.

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Langusi, Daniela. "Making them laugh elements of the comic in the peasant revel scenes of Pieter Bruegel the Elder, 1550-1580 /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1212152287.

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Thesis (M.A.)--University of Cincinnati, 2008. Advisors: Diane Mankin PhD (Committee Chair), Kimberly Paice PhD (Committee Member), Teresa Pac PhD (Committee Member). Title from electronic thesis title page (viewed Sept. 6, 2008). Includes abstract. Keywords: Pieter Bruegel the Elder; peasant scenes; comic; laughter. Includes bibliographical references.

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LANGUSI, DANIELA. "Making Them Laugh: Elements of the Comic in the Peasant Revel Scenes of Pieter Bruegel the Elder, 1550-1580." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212152287.

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Hangvar, Kristoffer, and Christian Norgren. "Grab Them By The Laugh : An analysis of South Park’s satire on Donald J. Trump and his Presidential Campaign." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-64890.

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

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Stankevičius, Šarūnas. "Reklama ir jos parodijos: sąsajos su tautosaka." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120625_092032-10509.

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Darbo objektas - reklamos parodija ir jos kūrimo būdai. Tikslas: nustatyti reklamos daromą įtaką žmogaus psichologijai ir ištirti juoko kūrimo principus reklamų parodijose. Išsikelti uždaviniai: aprašyti reklamos kūrimo būdus bei atskleisti reklamos ir jos parodijos daromą įtaką individui; remiantis anketavimo būdu aprašyti visuomenės požiūrį į reklamą ir jos parodiją, atskleisti anekdotų ir reklamos parodijų žanrų panašumus bei išskirti personažus būdingus abiems žanrams; nustatyti bendrus literatūrai ir folkloristikai juoko kūrimo principus reklamų parodijose. Rašant darbą naudoti metodai: aprašomasis – analitinis, lyginamoji analizė. Darbą sudaro įvadas bei trys dėstymo dalys. Pirmoje dalyje aptariami reklamos kūrimo būdai bei jos įtaka žmogaus psichologijai, analizuojama, kuo svarbus yra juokas ir kaip per reklamos parodiją sukuriama atsvara profesionaliajai reklamai, taip pat pateikiama autoriaus atliktos apklausos analizė, kurioje atsiskleidžia visuomenės požiūris į reklamą ir jos parodijavimą. Antrojoje dalyje aptariami reklamų parodijų ir anekdotų žanrų panašumai, lyginami populiariausi personažai. Trečioji dalis skirta humoro kūrimo principams reklamų parodijose aptarti. Darbas baigiamas išvadomis, literatūros ir šaltinių sąrašu bei priedais. Anketų duomenys rodo, kad reklama ir jos parodijomis domisi didžioji dalis apklaustųjų. Tai lemia informacinė reklamos funkcija bei humoristiškai pateikiamos originalių reklamų parodijos. Reklama individui daro tiek teigiamą... [toliau žr. visą tekstą] The object of this work - a parody of advertisement and ways to create them. The aim: to determine the impact of advertisement for psychology of human and explore the ways to create laugh in advertising parodies. Tasks: describe the ways of creating advertisement and disclose advertisement and parodies of advertising impact on the individual; based on questionnaires, describe public attitudes towards advertisement and parody; display anecdotes and advertising parodies genres similarities and identify typical characters of both genres; determine typical principles of making laugh in advertising parodies of literature and folklore. In this work are used these methods: a descriptive - analytical, comparative analysis. The work consists of an introduction and three parts. The first part discusses ways to create advertisement and its influence on human psychology, also examines the importance of laugh and how a parody makes a balance in professionally created advertisement, as well layed the author's analysis of the survey, which reveals public attitudes towards advertisement and parody. The second part deals with advertising parodies and jokes genre similarities, comparing the most popular characters. The third part is devoted to discuss the principles of laugh in advertising parodies. The paper ends with conclusions, references and a list of accessories. Data of survey suggests, that the majority of the respondents are interested in advertising and parodies. This... [to full text]

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Widerberg, Ulf. "Den humoristiska livsvärlden. Humorn och skrattets mening i den psykoterapeutiska relationen." Thesis, Ersta Sköndal högskola, S:t Lukas utbildningsinstitut, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-4297.

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Inledning: Humor, glädje och skratt har varit lika framträdande i det mänskliga livet som i litteraturen, teatern och konsten sedan civilisationens begynnelse, precis som sorgen och det tragiska. Detsamma kan dock inte sägas om psykoterapin. Uppmärksamheten på humorns funktion i terapeutisk behandling har varit ytterst begränsad. Frågeställningar: Vilken betydelse har humor när den uttrycks i den psykoterapeutiska kontexten och processen? Metod: Studie är kvalitativ. Fem psykoterapeuter intervjuades med hjälp av semistrukturerade intervjuer som sedan analyserades och tolkats utifrån en fenomenologisk hermeneutisk ansats. Resultat: Humor i terapi kan öppna upp tillvaron, ge en känsla av gemenskap, erbjuda förhållningssätt till döden samt skänka insikt. Humorn kan i sig utgöra en prognostisk indikator. Men den kan också utgöra hindrande försvar. Att bjuda in patienten till det humoristiska ställer krav på försiktighet, kan röra en fråga om överlevnad, kan uttryckas som klarifiering och slutligen utgöra ett förhållningssätt som kan internaliseras. Diskussion: Humor kan utgöra en mycket verksam och utvecklande del i terapin där patienten genom humor kan utvecklas i riktning mot ökad öppenhet, frihet och rörlighet vilket möjliggör distans och ökad reflektionsförmåga och därmed handlingsutrymme och möjlighet till insikt och i slutändan förändring. Patienten ingår också härigenom i ett sammanhang med sin egen och andras död och livsvillkor. En terapeut med sinne för humor och med god självkännedom kan med hjälp av bl.a. klarifieringar och gemensamma ordlösa tolkningar skapa något som utgör i sanning ett lekområde värt namnet. Introduction: Humor, joy and laughter have been as prominent in human life as in literature, theater and the arts since the beginning of civilization, just as the sorrow and the tragic. The same can not be said for psychotherapy. Attention to the function of humor in the therapeutic treatment has been extremely limited. Research questions: What meaning has humor when expressed in the psychotherapeutic context and process? Method: The study is qualitative. Five psychotherapists were interviewed using semi-structured interviews which are then analyzed and interpreted on the basis of a phenomenological hermeneutic approach. Results: Humor in therapy can open up your world, giving a sense of community, provide approaches to death and give insight. The humor can itself be a prognostic indicator. But it can also be prohibitive defense. Inviting the patient to the humorous requires caution, can be a matter of survival, can be expressed as clarification, and finally provide an approach that can be internalized. Discussion: Humor can be a very active and challenging part of the therapy where the patient through humor can be developed in the direction of greater openness, freedom and mobility which allows for distance and increased reflectivity and thus room for maneuver and ability for insight and ultimately change. The patient is also included herein through in a context of their own and others dead and living conditions. A therapist with a sense of humor and with good self-knowledge can, with the help of clarification and joint nonverbal interpretations, create something that represents truly a play space worthy of the name.

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Moraes, Valeria da Silva. "O cômico e o riso no Quixote." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-20082012-111645/.

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Este trabalho tem como objetivo analisar o cômico e o riso no Quixote. Para tanto, deter-nos-emos em preceptivas dos séculos XVI e XVII, que trazem à baila discussões sobre o cômico, realizadas por tratadistas cujos trabalhos partiram de uma perspectiva poético-retórica. Os prólogos do Quixote evidenciam a preocupação de Miguel de Cervantes com o riso de seus leitores e revelam que a obra, de acordo com estudiosos como Russell e Close, estava ligada ao entretenimento do público. Assim, o debate que o prólogo de 1615 estabelece com Avellaneda, o dito autor apócrifo, também se converte numa importante leitura para a compreensão do cômico na obra cervantina. Nesse sentido, episódios nos quais a comicidade está presente, tais como o enfrentamento de Dom Quixote com um leão (Cap. XVII, DQ II), evidenciam a preocupação do escritor em compor sua obra a partir de uma mistura estilística, em que a admiração e o riso do leitor são componentes essenciais. Abordamos, ainda, o elemento cômico em Cervantes e em Avellaneda, com o intuito de compreender como os Quixotes de 1605 e 1614, no que tange à comicidade, obedecem a princípios distintos. This paper aims at analyzing the comical and the laugh in Quixote. In doing so, we center ourselves on the 16th and 17th preceptives that bring up discussions around the comical, made by preceptists whose works were based on a poetic-rhetorical perspective. Quixotes prologues show how much Cervantes was worried about his readers laughing. It also reveals that his work, according to scholars such as Russell and Close, was related to the entertainment of his audience. Thus, the debate established by the prologue of the 1615 edition, by Avellaneda the so-called apocryphal author , also constitutes a relevant study for us to understand the comical in the work of Cervantes. In this sense, episodes such as the one in which Don Quixote defies a lion (Chapter XVII, DQ II) make evident that the writer is worried about composing his work based on a stylistic mixture, in which the readers admiration and laugh are its essential components. Finally, we approach the comic element in Cervantes and in Avellanedas works, as to understand how both Quixotes (the one published in 1605 and the one published in 1614) are bound to different principles of comicalness.

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Lee, Dirkson Christopher. "I don't know why it's funny, but I'll laugh anyway: Analysis of feigned laughter in the context of face-threatening-utterances." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1965.

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The purpose of this thesis is to reveal some of the behavioral characteristics of a specific type of laughter that I term "feigned laughter," and how it is used in the context of face-threatening-utterances (FTUs), or utterances that threaten the face needs of an individual.

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Angelo, Fábio Henrique Bartolomeu. "Corpo e subjetividade : um estudo sobre o processo de criação na Escola Nacional de Circo/FUNARTE /." Rio Claro : [s.n.], 2009. http://hdl.handle.net/11449/90076.

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Orientador: Romualdo Dias Banca: Maria Helena Falcão Vasconcellos Banca: Leila Maria Ferreira Salles Resumo: Estudo sobre o projeto pedagógico e sobre o processo educacional situado na experiência da Escola Nacional de Circo / FUNARTE, na cidade do Rio de Janeiro, e análise das relações entre os processos de criação e as políticas de subjetivação na experiência pedagógica da escola. Nesta análise delimitamos o foco de nossa atenção nos movimentos realizados pelos corpos em um território configurado pela tensão entre o risco e o riso. Ao transitarmos por este território nós nos orientamos por uma questão que nos inquieta, e ao mesmo tempo expressa o nosso eixo-temático: há implicações entre os processos de criação e as práticas educacionais na experiência selecionada? A primeira marca consiste nas passagens do "riso" ao "risco", observadas como experiências corporais situadas no âmbito da arte circense. O espaço demarcado entre o risco e o riso já é indicativo dos pressupostos teóricos sobre os quais formulamos nossas hipóteses de investigação. Aí elaboramos critérios de interlocução com diversos autores aos quais recorremos em nossos estudos. É na perspectiva da possibilidade de outros agenciamentos na escultura de si que o riso surge para nós como um elemento fundamental em nosso estudo. Abstract: Study about the pedagogic project and the educational process which was done from the experience of Escola Nacional de Circo/FUNARTE, in Rio de Janeiro city, and analysis regarding relations between the creation process and politics of subjectivity in the pedagogic experience of the school. In this analysis we delimitated the focus of our attention on the movements made with bodies in a territory set by the tension between risk and laugh. When we transit on this territory we guide ourselves by a question that disquiet us, and at the same time express our thematic axle: are there any implying between the creation process and educational practices in the selected experience? The first mark consists in the transitions from laugh to risk, observed as body experiences into the circus art scope. The space between risk and laugh is already an indicative of the theory presumptions about those that we formulated our investigations hypothesis. Then we elaborated interaction criterions with many authors whose we recur in our studies. It is on the perspective of the possibility of others representations in the self sculpture that the laugh appears to us as a fundamental element in our study. Mestre

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Ramos, João Eduardo Fernandes. "O cômico e a física: o riso, a quebra de expectativa e o absurdo no ensino e na divulgação da física." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/81/81131/tde-06102016-142302/.

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É possível rir da ciência? Qual seria a relação entre o cômico e a ciência? Onde está o humor na ciência? No âmbito do ensino, os alunos riem das piadas com física? É preciso entender ou saber conceitos de física para entender a piada? É pensando nestas questões que articulamos a presente pesquisa, que visa estudar a relação entre o humor e a ciência e suas implicações didáticas. Para tanto, iniciamos nossa pesquisa a partir de um estudo das teorias sobre o humor e sua evolução ao longo da história, seguida de um levantamento de obras, tais como: O Guia do Mochileiro das Galáxias de Douglas Adams, As cosmicômicas de Italo Calvino, tiras e charges, entre outras, nas quais enxergamos uma aproximação entre ciência e humor. Com a base teórica, investigamos os resultados de intervenções didáticas nas quais foram utilizados materiais midiáticos pesquisados. Para a elaboração e realização das atividades e da pesquisa, nós nos apoiamos em uma metodologia que engloba três etapas: análise, formulação e aplicação/intervenção. Em que na primeira, o material é estudado, em seguida é realizada a produção de uma proposta de atividades, que, por fim, é realizada em um espaço educacional, seja ele formal ou não. No presente trabalho, a investigação foi realizada em dois momentos distintos. O primeiro envolvendo estudantes do ensino superior, tanto da Escola de Artes Ciências e Humanidades da Universidade de São Paulo, quanto da Universidade Júlio de Mesquita Filho - UNESP, Campus Rio Claro, e no segundo com alunos do ensino fundamental II, no âmbito do projeto Banca da Ciência na Escola. Como resultado, concluímos que, no geral, a relação entre humor e ciência se encontra fora da ciência, e relacionada com outros conteúdos. Pudemos observar que, de fato, há uma estreita relação entre o riso e a compreensão de um conteúdo científico, e, que o humor, devido a sua aproximação com o lúdico, possibilita, e necessita, um espaço dinâmico para a sua utilização. Portanto, o humor apresenta um papel importante tanto no processo de ensino-aprendizagem quanto no engajamento à ciência. Is it possible to laugh from Science? What would it be the relationship between something funny and science? Where is the humor on science? On the scope of teaching, do the students laugh from physics puns? Is it necessary to understand or to know physics concepts to \"get\" the joke? It is thinking on these questions that we have articulated this current research, that aims to study the relationship between humor and science, and its didactical implications. To do so, we started this research studying the humors theories and its evolution trough history, followed by a study of media works, such as Douglas Adams\' Hitchhiker\'s Guide to the Galaxy, Italo Calvino\'s Cosmicomics, comic stripes, among others, on which we saw an approximation of science and humor. With this theoretical background, we have investigated the outcomes of didactical interventions on which the works researched were used. For the elaboration and realization of the activities and the research, we supported a methodology that can be divided in three steps, analysis, elaboration and intervention. On the first step, the work its studied, on the second step one intervention its elaborated, and, on the third step, the intervention takes place on an education environment, be it formal or nonformal. On the current work, the investigation was performed on two different moments. The first involving students from undergraduate courses, such as Escola de Artes, Ciências e Humanidades da Universidade de São Paulo, and, Universidade Júlio de Mesquita Filho - UNESP, Campus Rio Claro, and on the second moment, with students from secondary education on the project Science stand at school. As results, we have concluded that, in general, the relation between humor and science can be found outside the science, and related with others subjects. We could also observe that, indeed, there is a strait relationship among laugh and the comprehension of a scientific content, and, that the humor, due its proximity with ludic activities, allows, and requires, a dynamical space for its use. Therefore, the humor has an important role in teaching and learning process an in the engagement of science

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Almeida, Solange Maria Soares de. "Nuvens Carregadas de ideias: o EngraÃado e o SÃrio entre EstrepsÃades e SÃcrates na ComÃdia de AristÃfanes." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13798.

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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico Ã analisado, nesta dissertaÃÃo, atravÃs do estudo comparativo da peÃa As Nuvens e de alguns diÃlogos de PlatÃo, o que hÃ de engraÃado e de sÃrio entre EstrepsÃades e SÃcrates, ambos personagens da comÃdia de AristÃfanes. Partindo da pesquisa e do posterior estudo de fragmentos de textos dos fÃsicos ou filÃsofos da natureza, hoje chamados prÃ socrÃticos, Ã feita uma tentativa de esclarecer algumas teorias cientÃficas usadas na peÃa. Diversas situaÃÃes de confronto entre os dois personagens escolhidos para esse estudo sÃo discutidas com o apoio dos textos teÃricos. Outro ponto relevante nessa pesquisa Ã a busca de correlaÃÃes entre Poesia cÃmica e Filosofia, para isso sÃo usados como fonte alguns diÃlogos platÃnicos. Mesmo sabendo que esses textos sÃo posteriores Ã peÃa, eles ajudam a compor a imagem que o filÃsofo tinha de AristÃfanes, por exemplo, quando o elegeu como o Ãnico representante da ComÃdia nâO Banquete. Como o SÃcrates aristofÃnico Ã tambÃm objeto de estudo, Ã necessÃrio a comparaÃÃo dele com o SÃcrates platÃnico, nÃo com a intenÃÃo de apontar qual Ã o âverdadeiroâ, mas para ajudar a entender o primeiro It is analyzed at this dissertation, by comparative study of the play Clouds and of some Platoâs dialogues, what is funny and serious among Strepsiades and Socrates, both characters of the Aristophanesâ comedy. Based on the research and the subsequent study of the texts fragments from physicists or philosophers of nature, nowadays called the Presocratics, an attempt is done to explain some scientific theories used in the play. Different situations of confrontation among the two characters selected for this study are discussed with the support of theoretical texts. Another relevant aspect in this study is the search of correlations among comic Poetry and Philosophy, to do this some of the Platonic dialogues are used as source. Even though these texts occurred after the play, they help to compose the picture that the philosopher had of Aristophanes, for example, when he has chosen him as the only representative of Comedy in Symposium. As Socrates aristofÃnico is also an object of study, is necessary comparing him to the Platonic Socrates, not with the intent to point out who is the \\\\\\\"true\\\\\\\", but in helping to understand the first

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Rodrigues, Rauer Ribeiro [UNESP]. "Faces do conto de Luiz Vilela." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/102387.

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Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-04-10Bitstream added on 2014-06-13T20:03:04Z : No. of bitstreams: 1 rodrigues_rr_dr_arafcl.pdf: 9388200 bytes, checksum: cd4e4a54b3a15263c7c92c52a76e9f4f (MD5) Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) Este trabalho compara dois momentos da contística de Luiz Vilela. Para depreender um conceito de literariedade, expõe a fortuna crítica do ficcionista. De depoimentos e entrevistas do escritor, configura a sua ars poetica. Apresenta e desenvolve os conceitos de narrador-ausente e autor-explícito. Essas formulações decorrem da descoberta de que certa voz extradiegética se faz presente na trama ficcional dos contos. O trabalho mostra de que forma tal voz se entremeia ao discurso narrativo, e o significado dessa opção estética, em particular nos contos de enunciador não figurativizado, o narrador-ausente. Para mostrar a emersão do autor, o trabalho estuda o riso literário, estabelecendo uma semiose que deriva das gradações discursivas entre riso de acolhida e riso de exclusão, e, tendo por referencial a semiótica greimasiana, analisa procedimentos textuais e mecanismos enunciativos. O corpus é composto por doze contos. A hipótese que norteia a pesquisa é de que a fratura que presentifica o autor-explícito constrói a literariedade e o sentido ideológico da ficção de Luiz Vilela. This work compares two moments of the short stories written by Luiz Vilela. In order to understand a concept of literarity, it exposes the critique of this fiction writer. Based on the writer’s speech and interviews, it configures his ars poetica. It presents and develops the concepts of absent-narrator and explicit-author. These formulations come from the discovering that a certain extradiegetic voice is present in the fictional plot of the short stories. The work shows in what way this voice is inserted in the narrative discourse, and the meaning of this aesthetic option, particularly in the short stories of a non-figurative enunciator, the absent-narrator. With the purpose of showing the author’s emersion, the work studies the literary laugh, establishing a semiosis that is originated from the discoursive gradations between welcoming laugh and exclusion laugh, and, having as a reference the Greimasian Semiotics, it analyses the textual procedures and the enunciative mechanisms. The corpus is composed of twelve short stories. The hypothesis that guides the research is that the fracture which denotes the explicit-author constructs the literarity and the ideological meaning of the fiction by Luiz Vilela.

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Rodrigues, Rauer Ribeiro 1958. "Faces do conto de Luiz Vilela /." Araraquara : [s.n.], 2006. http://hdl.handle.net/11449/102387.

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Orientador: Luiz Gonzaga Marchezan Banca: Arnaldo Cortina Banca: Silvia Helena Telarolli de Almeida Leite Banca: Joana Luiza Muylaert de Araújo Banca: Miguel Sanches Neto Resumo: Este trabalho compara dois momentos da contística de Luiz Vilela. Para depreender um conceito de literariedade, expõe a fortuna crítica do ficcionista. De depoimentos e entrevistas do escritor, configura a sua ars poetica. Apresenta e desenvolve os conceitos de narrador-ausente e autor-explícito. Essas formulações decorrem da descoberta de que certa voz extradiegética se faz presente na trama ficcional dos contos. O trabalho mostra de que forma tal voz se entremeia ao discurso narrativo, e o significado dessa opção estética, em particular nos contos de enunciador não figurativizado, o narrador-ausente. Para mostrar a emersão do autor, o trabalho estuda o riso literário, estabelecendo uma semiose que deriva das gradações discursivas entre riso de acolhida e riso de exclusão, e, tendo por referencial a semiótica greimasiana, analisa procedimentos textuais e mecanismos enunciativos. O corpus é composto por doze contos. A hipótese que norteia a pesquisa é de que a fratura que presentifica o autor-explícito constrói a literariedade e o sentido ideológico da ficção de Luiz Vilela. Abstract: This work compares two moments of the short stories written by Luiz Vilela. In order to understand a concept of literarity, it exposes the critique of this fiction writer. Based on the writer's speech and interviews, it configures his ars poetica. It presents and develops the concepts of absent-narrator and explicit-author. These formulations come from the discovering that a certain extradiegetic voice is present in the fictional plot of the short stories. The work shows in what way this voice is inserted in the narrative discourse, and the meaning of this aesthetic option, particularly in the short stories of a non-figurative enunciator, the absent-narrator. With the purpose of showing the author's emersion, the work studies the literary laugh, establishing a semiosis that is originated from the discoursive gradations between welcoming laugh and exclusion laugh, and, having as a reference the Greimasian Semiotics, it analyses the textual procedures and the enunciative mechanisms. The corpus is composed of twelve short stories. The hypothesis that guides the research is that the fracture which denotes the explicit-author constructs the literarity and the ideological meaning of the fiction by Luiz Vilela. Doutor

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CARDOSO, Ludimila Stival. "A saga do herói mendigo : o riso e a neopicaresca no progama chaves." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/1409.

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Made available in DSpace on 2014-07-29T15:22:33Z (GMT). No. of bitstreams: 1 dissertcao ludmila stival.pdf: 1243621 bytes, checksum: 9be43458353f6707218275de943ce363 (MD5) Previous issue date: 2009-02-26 The laugh is a human phenomenon, that has different faces depends on the historical period and how the intellectuals see it. It can be morality s instrument and deviation s punishment; element of be extinct; way of release, since it would produce a new world s vision, based in a nom-official popular true ; or a way to economize the psychic energy necessary to keep an inhibition; or still, it can be answer of the nothing the existence, what award it, in the contemporarily, moment of provisionals truths, a deep presence in the society, so to say that the laugh became present in all of the places, show that the reality is, at the same time, liquid and humoristic and confirming the importance of to study this human skill. So, it opted to work with the humor, specifically in the television, principal mass media in the Brazil and, particularly, the Chaves program, since it is considered a greater success Brazilian mass media, as proves the audience. However, this program presents a difference: it is being televised too much than 20 years, almost without stop, what make it a case to be studied, but in a different way: associated it with the picaresque literature, because believes that it main character is a nom-hero, as the picaresque hero (with home, work and swindler) and the program, itself, is a picaresque romance, because the others characters are ways to make a social criticism that is, specifically here, conservative, like the parody, since doesn t try to change the poverty s situation of the main character or of any others characters life, but only to let see these life s conditions. At the same time, Chaves presents a series of aspects that explain, in a certain way, it success, since the innocence; the type of humor, founded in everyday and simple plots; the textuality ; the theatrality ; a persuasition s grammar; the use of concrete and primary thought; and still, the proximity with the italian commedia dell art, elements confirmed from the analyses of ten histories on, when tables about many scenes and about the characteristics of the characters were built. But, it s still necessary to say that not even all these elements together are capable to justify the success of this humoristic. Due to see Chaves as a cultural product of Latin America, that goes besides of technical questions, and so it gets to keep itself for many years, wining, always, new publics, over O riso é um fenômeno humano, que assume diferentes faces dependendo do período histórico e de como a intelectualidade o vê, pode ser instrumento de moralização e de punição de desvio; elemento a ser extirpado; meio de libertação, já que produziria uma nova visão de mundo, baseada em uma verdade popular não-oficial ; forma de economia de energia psíquica necessária para manter uma inibição; ou ainda, resposta ao nada da existência, o que lhe confere, na contemporaneidade, momento de verdades provisórias, uma profunda inserção na sociedade, daí se dizer que o riso se tornou presente em todos os lugares, mostrando que a realidade é, ao mesmo tempo, líquida e humorística, e asseverando a importância de se estudar essa habilidade humana. Por isso, optou-se por trabalhar com o humor, especificamente, dentro da televisão, principal meio de comunicação no Brasil e, nesse tocante, o programa Chaves, já que este é considerado um dos grandes sucessos do meio televisivo, como provam os índices de audiência. Contudo, esse programa apresenta um diferencial: está sendo transmitido a mais de 20 anos, quase ininterruptos, tornando-se um caso a ser explorado, porém de forma diferente, nesse caso, associando-o à literatura picaresca, pois se acredita que seu personagem central seja um anti-herói, aos moldes picarescos: itinerante, trapaceiro e sem trabalho, por exemplo, e a atração, em si, seja uma novela picaresca, porque os outros personagens são maneiras de se fazer uma crítica social que é, especificamente aqui, conservadora, de tipo paródico, já que não procura mudar a situação de miséria do protagonista ou de qualquer outro, mas apenas deixar ver tais condições de vida. Ao mesmo tempo, Chaves apresenta uma série de aspectos que explicam, de certa forma, seu sucesso, desde a ingenuidade; o tipo de humor, fundamentado em tramas cotidianas e simples; a textualidade; a teatralidade; a gramática da persuasão; o uso do pensamento concreto e primário, e ainda, a proximidade com a commedia de ll arte italiana, elementos ratificados a partir da análise de 10 histórias, em que foram construídas tabelas referentes a diversas cenas e às características percebidas em cada personagem. Porém, cabe ainda ressaltar, que nem todos esses elementos somados são capazes justificar o sucesso, devendo-se ver esse humorístico como um produto cultural da América Latina, que vai além de questões técnicas, e por isso consegue se manter a tantos anos, conquistando sempre novos públicos

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Sousa, Waldênia Klésia Maciel Vargas. "A emergência do riso como enunciado." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7228.

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Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-27T11:53:37Z No. of bitstreams: 2 Tese - Waldênia Klésia Maciel Vargas Sousa - 2017.pdf: 1558217 bytes, checksum: 0f4edb731c444b3c9c8b9b7c5960c649 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-27T11:53:55Z (GMT) No. of bitstreams: 2 Tese - Waldênia Klésia Maciel Vargas Sousa - 2017.pdf: 1558217 bytes, checksum: 0f4edb731c444b3c9c8b9b7c5960c649 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2017-04-27T11:53:55Z (GMT). No. of bitstreams: 2 Tese - Waldênia Klésia Maciel Vargas Sousa - 2017.pdf: 1558217 bytes, checksum: 0f4edb731c444b3c9c8b9b7c5960c649 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-31 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES The thesis The emergence of laughter as an enunciated analyzes laughter as an enunciative materiality in the light of the studies concerning Discourse Analysis in the French dimension (PÊCHEUX, 1988; 1990a; 1990b), referring to Michel Foucault (2009a; 2009b; 2009c; 2010) and Mikhail Bakhtin (2003; 2006). In this research, we particularly mobilize the notion of enunciation as a not verbal materiality that can be interpreted by the subjects and produces meaningful effects in given socio-historical conditions. We also reflect on the notions of discourse, discursive formation, knowledge, power, subject, truth effect and how these notions relate to the analysis of the not verbal material that is laughter. We refer to the studies that deal with the historical course and delineate the discursive functions of laughter, with emphasis on the studies conducted by Minois (2003), Alberti (2002) and Bremmer and Roodenburg (2000). The corpus was collected on the Internet, from 2014 to 2017, and consists of laughter concerning religious discourse, politics and the judiciary. In these discourses, we observe forms of laughter that reverberate in the social body due to enunciative rarity, discursive order disobedience and the rules of formation of these fields of knowledge, as well as cheerful, cordial and ironic laughter, the latter three emerging frequently in the day-to-day life and constituting the discursive memory of the subjects. The analyses chapter attempts to verify how laughter relates to enunciations that constitute the associated field and permeate the exercise of the enunciative function. We find that the irruption of this not verbal statement can modify the sense effect of a verbal enunciation and can respond to both verbal texts and not verbal enunciations, constituting a responsive attitude to other enunciations, such as the node in the discursive network. Laughter also functions as an exercise power that emerges to ridicule the collocutor or the subject of the enunciation as a strategy of public persuasion. Thus, among the functions observed in the collected laughter, we emphasize the derisory function, the cordiality effect, the relationship between laughter and madness and resistance to the rules of discourse formation in which seriousness is understood as normality and laughter is disrespectful. Likewise, the laughter that emerges in enunciation builds the intericonic network of images that, in turn, constitute the discursive memory of the subjects, enabling the dialogue between laughter images that we can recognize and interpret in discursive processes, allowing for laughter to be analyzed as an enunciation A tese A emergência do riso como enunciado analisa o riso como materialidade enunciativa à luz dos estudos da Análise do Discurso de vertente francesa (PÊCHEUX, 1988; 1990a; 1990b), com recorrência a Michel Foucault (2009a; 2009b; 2009c; 2010) e a Mikhail Bakhtin (2003; 2006). Mobilizamos nesta pesquisa, em especial, a noção de enunciado como materialidade não verbal que pode ser interpretada pelos sujeitos e produz efeitos de sentido em dadas condições sóciohistóricas. Também refletimos sobre as noções de discurso, de formação discursiva, de saber, de poder, de sujeito, de efeito de verdade e como essas noções relacionam-se à análise do material não verbal que é o riso. Recorremos aos estudos que tratam do percurso histórico e delineiam as funções discursivas do riso, com destaque para a obra de Minois (2003), de Alberti (2002) e de Bremmer e Roodenburg (2000). O corpus foi coletado na internet, no período de 2014 a 2017, e é constituído por risos referentes ao discurso religioso, ao político e ao judiciário. Nesses discursos observamos formas de riso que repercutem no corpo social devido à raridade enunciativa, à desobediência à ordem discursiva e às regras de formação desses campos de saber e também risos que se mostram alegres, cordiais e irônicos, sendo esses últimos que emergem com frequência no cotidiano e constituem a memória discursiva dos sujeitos. O capítulo dedicado às análises procura verificar como o riso relaciona-se a enunciados que constituem o campo associado e que permeiam o exercício da função enunciativa. Averiguamos que a irrupção desse enunciado pode modificar o efeito de sentido de um enunciado verbal e pode responder tanto a textos verbais quanto a enunciados não verbais, constituindo-se como atitude responsiva a outros enunciados, como o nó na rede discursiva. O riso também funciona como exercício poder que emerge para ridicularizar o interlocutor, ou o tema da enunciação, como estratégia de convencimento do público. Assim, dentre as funções que verificamos nos risos coletados, destacamos a função derrisória, o efeito de cordialidade, a relação entre o riso e a loucura, a resistência às regras de formação de discursos em que o sério é entendido como a normalidade e o riso é desrespeitoso. Igualmente, os risos que emergem na enunciação constroem a rede intericônica de imagens que, por sua vez, constituem a memória discursiva dos sujeitos, possibilitando o diálogo entre imagens de risos que podemos reconhecer e interpretar nos processos discursivos, permitindo que o riso seja analisado como enunciado.

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Bruzadelli, Victor Creti. "Chega de saudosismo: a tradição musical brasileira, o riso e a paródia performatizados pela Tropicália (1967-1970)." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/7582.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2017-07-13T17:10:30Z No. of bitstreams: 2 Dissertação - Victor Creti Bruzadelli - 2016.pdf: 4602574 bytes, checksum: 7e0701484a6ead0a51a1f7fcf73e8673 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-07-14T10:53:32Z (GMT) No. of bitstreams: 2 Dissertação - Victor Creti Bruzadelli - 2016.pdf: 4602574 bytes, checksum: 7e0701484a6ead0a51a1f7fcf73e8673 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2017-07-14T10:53:33Z (GMT). No. of bitstreams: 2 Dissertação - Victor Creti Bruzadelli - 2016.pdf: 4602574 bytes, checksum: 7e0701484a6ead0a51a1f7fcf73e8673 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-02-25 The tropicalismo has been studied by a number of researchers from various fields - history, music, sociology, philosophy, linguistics, among others - who have studied their goals, their aesthetic conceptions, analysis of some songs, their ways of composing and performing songs and their political linkages, etc. Although this movement has been intensely debated and studied, a factor that has not had its due importance revealed by researchers is the tropicalista “laugh” - and this is precisely the focus of this work. This “laugh” is the result of many elements, from costumes, "happenings", dances, generation shock and reality, vocal performances and so on. For this work was chosen “laugh” coming from the “parody process” of musical tradition by tropicalistas musicians. This parody is marked by some unique features that are only possible to realize if we analyze the vocal performance of these musicians-performers, extracting the most information possible from the specificity of their chant. Thus, this work aims precisely include in the context of Tropicália, the Brazilian musical tradition, to parody, to “laugh” and vocal performance. Making possible therefore, another key analysis of this national aesthetic movement present at the end of the 1960s, which is key to the formation of the musical consciousness of Brazil. O tropicalismo já foi objeto de estudo de um sem número de pesquisadores, das mais diversas áreas – história, música, sociologia, filosofia, linguística, entre outras –, que se debruçaram sobre seus objetivos, suas concepções estéticas, a análise de algumas canções, seus modos de compor e executar canções, suas vinculações políticas, etc. Ainda que esse movimento tenha sido intensamente debatido e estudado, um fator que não teve sua devida importância revelada pelos pesquisadores da área é o riso tropicalista – e é justamente este o ponto central desta pesquisa. Este riso é fruto de diversos elementos, desde os figurinos, os happenings, as danças, os choques de geração e realidade, as performances vocais e assim por diante. Para este trabalho foi escolhido o riso oriundo do processo de parodização da tradição musical pelos músicos tropicalistas. Essa paródia é marcada por algumas características únicas que só são possíveis de se perceber se analisarmos a performance vocal destes cantores-intérpretes, extraindo o maior número de informações possíveis da especificidade de seu canto. Desse modo, esta dissertação busca justamente alinhavar, no contexto da tropicália, a tradição musical brasileira, à paródia, ao riso e à performance vocal. Possibilitando-se, assim, outra chave de análise desse movimento estético nacional presente no fim da década de 1960, que é fundamental para a formação da consciência musical do Brasil.

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Angelo, Fábio Henrique Bartolomeu [UNESP]. "Corpo e subjetividade: um estudo sobre o processo de criação na Escola Nacional de Circo/FUNARTE." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/90076.

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Made available in DSpace on 2014-06-11T19:24:18Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-09-04Bitstream added on 2014-06-13T20:12:25Z : No. of bitstreams: 1 angelo_fhb_me_rcla.pdf: 959036 bytes, checksum: 72e7b7c876bb755d7d2688cfb4102c21 (MD5) Estudo sobre o projeto pedagógico e sobre o processo educacional situado na experiência da Escola Nacional de Circo / FUNARTE, na cidade do Rio de Janeiro, e análise das relações entre os processos de criação e as políticas de subjetivação na experiência pedagógica da escola. Nesta análise delimitamos o foco de nossa atenção nos movimentos realizados pelos corpos em um território configurado pela tensão entre o risco e o riso. Ao transitarmos por este território nós nos orientamos por uma questão que nos inquieta, e ao mesmo tempo expressa o nosso eixo-temático: há implicações entre os processos de criação e as práticas educacionais na experiência selecionada? A primeira marca consiste nas passagens do “riso” ao “risco”, observadas como experiências corporais situadas no âmbito da arte circense. O espaço demarcado entre o risco e o riso já é indicativo dos pressupostos teóricos sobre os quais formulamos nossas hipóteses de investigação. Aí elaboramos critérios de interlocução com diversos autores aos quais recorremos em nossos estudos. É na perspectiva da possibilidade de outros agenciamentos na escultura de si que o riso surge para nós como um elemento fundamental em nosso estudo. Study about the pedagogic project and the educational process which was done from the experience of Escola Nacional de Circo/FUNARTE, in Rio de Janeiro city, and analysis regarding relations between the creation process and politics of subjectivity in the pedagogic experience of the school. In this analysis we delimitated the focus of our attention on the movements made with bodies in a territory set by the tension between risk and laugh. When we transit on this territory we guide ourselves by a question that disquiet us, and at the same time express our thematic axle: are there any implying between the creation process and educational practices in the selected experience? The first mark consists in the transitions from laugh to risk, observed as body experiences into the circus art scope. The space between risk and laugh is already an indicative of the theory presumptions about those that we formulated our investigations hypothesis. Then we elaborated interaction criterions with many authors whose we recur in our studies. It is on the perspective of the possibility of others representations in the self sculpture that the laugh appears to us as a fundamental element in our study.

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França, Maria Teresa Rego de. ""A construção lingüística do riso nas crônicas de José Simão"." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-12122006-094312/.

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Subjaz a este trabalho o objetivo de analisar como o riso e o risível são construídos lingüisticamente. A fundamentação teórica baseia-se em Bergson, Propp, Bahktin, Todorov, Raskin e Attardo. Inicialmente, procedemos a uma retomada histórica, buscando conhecer como o riso e o risível foram explicados por vários pensadores e teóricos de diferentes épocas. De Aristóteles a Freud, pudemos constatar o domínio de três grandes correntes teóricas: a psicológica, a sociológica e a psicanalítica. Somente quando a Lingüística se fixa como ciência, já no século XX, o fenômeno do riso passa a ser estudado sob a perspectiva estritamente lingüística. No segundo capítulo, procedemos à contextualização do corpus e buscamos verificar como a produtividade do humor ? o dizer muito com pouco ? se constrói em outra mídia. Se a comicização extratextual revelou-se típica nos textos analisados, também pudemos detectar que o humor de José Simão constantemente se realiza via paródia e apresenta características do cômico grotesco. Explicitar e exemplificar a Teoria Semântica do Humor, proposta por Raskin - para quem todo texto risível envolve a sobreposição de scripts e a presença de um gatilho que permite a passagem do modo sério (bona fide) para o modo joke telling (non-bona fide) ? foram as ações que nortearam a elaboração do nosso terceiro capítulo. Já o quarto capítulo foi dedicado exclusivamente ao humor das palavras, ou seja, ao humor verbal cuja motivação inicial decorre de se explorarem os aspectos sonoros, significantes. O último capítulo, dedicado à análise, permitiu-nos constatar como a clássica divisão de Cícero (humor da res e humor da verba) permanece atual: as piadas trocadilhescas e as situacionais bem o comprovam. The aim of this paper is to analyse as the humor and the laugh are linguistic made. The theory?s statement is based on Bergson, Propp, Bahktin, Todorov e Attardo. Firstly we made a historical retrospective, trying to know as the humor and the laugh were explained by several thinkers and theorists throughout the different ages. From Aristotle to Freud we could realize the domain of the three remarkable current theories: the psychological, the sociological, the psychoanalytic. Only when the Linguistic was considered as a science - which happened just on the XX century - the humor´s phenomenon started to be studied from a proper linguistic side of view. On the second chapter, we focused the corpus and we tried to verify how the humor?s productivity - as to say lots in few words - is made in another media. We noted that extratextual comic action was the typical one in the studied texts and we also realized that José Simão?s humor is often parodist and so it shows typical characteristics of the grotesque comic. To explain and to give some examples of the ?Semantic Theory of Humor? proposed by Raskin - to whom all the humor texts involves a overlap of scripts and the presence of a trigger which provides the passage from the bona fide to the joke telling mode ? were the actions that leaded the elaboration of the third chapter. The fourth chapter was dedicated specifically to the humor of the words, it is to say: the verbal humor which bases come from the sonorous aspects of the words. The last chapter, dedicated to the final analysis, let us realized as the classic division of Cicero (humor of res and humor of verba) remains between us: the jokes and the punners can prove it.

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Araujo, Edna Rodrigues. "A COMICIDADE MANEIRISTA EM O EXÉRCITO DE UM HOMEM SÓ, DE MOACYR SCLIAR." Pontifícia Universidade Católica de Goiás, 2015. http://localhost:8080/tede/handle/tede/3230.

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Made available in DSpace on 2016-08-10T11:07:09Z (GMT). No. of bitstreams: 1 EDNA RODRIGUES ARAUJO.pdf: 816252 bytes, checksum: 9f1c67137f3fab4e1dcfd1115e4639e3 (MD5) Previous issue date: 2015-03-18 This paper shows, through critical analysis, the comic Mannerist work in O exército de um homem só, by Moacyr Scliar. The hybrids character of the comic and its variations are significant elements for the laugher composition in this narrative. From this, it was asked if the work by Moacyr Scliar has Mannerist features. The methodological study and qualitative research studied the laughter with emphasis on concept of mannerism, emphasizing it not as a period style, but as aesthetic effect. The objective of this research is to analyze the method of production of the comic, exposing, from mannerism, the construction of laughter. The result confirms that, in fact, the work has Mannerist characteristics by innovating the way of presenting the narrative. This work is important because can support future researches, for literature teachers and others interested in dichotomous spheres dealing with the real and unreal, rational and irrational. Thus, it can be proved that the mannerism as aesthetic effect shows that there are not innocent words in the construction of the work in O exército de um homem só, and that the humor, of this novel, can bewitch, shock, incite or displease, presented it about different shades O presente trabalho visa mostrar, por meio da análise crítica, a comicidade maneirista na obra O exército de um homem só, de Moacyr Scliar. O caráter híbrido do cômico e suas variações são elementos significativos para a composição do riso nessa narrativa. A partir disto, questiona-se se a obra de Moacyr Scliar possui características maneiristas. A pesquisa de cunho metodológico com abordagem qualitativa estudou o riso com ênfase no conceito de Maneirismo, enfatizando-o não como estilo de época, mas como efeito estético. Assim, o objetivo desta pesquisa é analisar o modo de obtenção da comicidade, expondo, a partir do Maneirismo, a construção do riso. O resultado obtido confirma que, de fato, a obra possui características maneiristas por inovar a forma de apresentar a narrativa. Esta dissertação se justifica por ser uma obra importante para pesquisas futuras, para professores de literatura e demais interessados. Sendo assim, pode-se comprovar que o Maneirismo, como efeito estético, mostra que não há palavras inocentes na construção discursiva na obra O exército de um homem só, e que o humor, nessa novela, pode enfeitiçar, chocar, incitar ou desagradar, apresentando-se sob diferentes matizes.

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Vieira, Marc?lio de Souza. "Pastoril: uma educa??o celebrada no corpo e no riso." Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14304.

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Made available in DSpace on 2014-12-17T14:36:13Z (GMT). No. of bitstreams: 1 MarcilioSV_TESE.pdf: 3255728 bytes, checksum: ca1407566edb24c2564b409407d774af (MD5) Previous issue date: 2010-12-12 Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior By means of the Pastoral one an Education celebrated in the body and the laugh, visible is unmasked by means of can?onetas and of the licentious gesticulations of the jokers of this idleness. For such, we support ourselves in the phenomenological of Merleau-Ponty, the tradition and transmission of the verbal as it is conceived by Paul Zumthor, as well as in the phenomenology of the memory of the jokers and in the studies of cultural history and the philosophy of the body. The objective research to argue the body and the laugh as learning of the culture, as well as carrying through the production of a cartography of the potiguar pastoral ones, in the direction to argue the elements of the licentious gesticulations for the look and of can?onetas for hearing. The research is of phenomenological nature and when appealing the Phenomenology as an attitude, recognizes our look on the phenomenon, what if we show for while searching citizens and we assume the reduction and the lived world as methodological boarding to think the searched phenomenon. As he was evidenced in this study, one searched to dimensional the reach of a reflection centered in the body and the laugh through the listening of can?onetas of the Pastoral one and the vision through the licentious gestures; a reflection centered in the body of the joker of Pastoral Por meio do Pastoril desvenda-se uma Educa??o celebrada no corpo e no riso, vis?vel por meio das can?onetas e da gestualidade licenciosa dos brincantes desse folguedo. Para tal, apoiamonos na fenomenologia de Merleau-Ponty, na tradi??o e transmiss?o da oralidade como ? concebida por Paul Zumthor, bem como na fenomenologia da mem?ria dos brincantes e nos estudos da hist?ria cultural e da filosofia do corpo. A pesquisa objetiva discutir o corpo e o riso como aprendizagem da cultura, bem como realizar a produ??o de uma cartografia dos pastoris potiguar, no sentido de discutir os elementos da gestualidade licenciosa pelo olhar e das can?onetas pelo ouvir. A pesquisa ? de natureza fenomenol?gica e ao recorrermos a Fenomenologia como uma atitude, reconhecemos o nosso olhar sobre o fen?meno, ?quilo que se mostra para n?s enquanto sujeitos pesquisadores e assumimos a redu??o e o mundo vivido como abordagens metodol?gicas para se pensar o fen?meno pesquisado. Conforme ficou evidenciado nesse estudo, buscou-se dimensionar o alcance de uma reflex?o centrada no corpo e no riso atrav?s da escuta das can?onetas do Pastoril e da vis?o atrav?s dos gestos licenciosos; uma reflex?o centrada no corpo do brincante de Pastoril

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Barboza, Rita Pereira. "Intervenções riso-clínicas : entre palhaços e trabalhadores na educação permanente em saúde mental." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/157198.

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A presente dissertação tem como tema os encontros da pesquisadora, como palhaça e como psicóloga, com os trabalhadores nos espaços de práticas de educação permanente em saúde mental. Tais encontros acontecem a partir das intervenções da palhaça Dulcinóia, encarnada na pesquisadora através da máscara do nariz vermelho, tanto nas práticas de educação permanente em saúde mental como no exercício da pesquisa. As intervenções de palhaço na educação em saúde mental foram designadas como intervenções riso-clínicas. Assim, discutem-se as relações da palhaçaria com a saúde mental a partir das experiências vividas e as possíveis invenções sobre diferentes modos de trabalhar e de cuidar neste contexto. As experiências são narradas e desenvolvidas a partir da metodologia do ensaio sobre as cenas vividas. Buscou-se aproximar dois diferentes modos de estar no mundo, o do palhaço e o do trabalhador em saúde, apostando na potência do riso, da introdução de inusitados e do encontro com a diferença proporcionados pela palhaçaria. This dissertation has as its theme the researcher’s meetings as clown and as psychologist with the workers in the spaces of permanent education practices in mental health. Such meetings take place from the interventions of the clown Dulcinóia, embodied in the researcher through the mask of the red nose, both at the permanent education practices in mental health and in the exercise of the research. The clown interventions in mental health education were termed laugh-clinic interventions. Thus, the relationships of clown techniques with mental health from the lived experiences and possible inventions on different ways of working and caring in this context are discussed. The experiences are narrated and developed from the methodology of the essay on the lived scenes. The aim was to bring closer two different ways of being in the world, the clown’s and the health worker’s, betting on the power of the laughter, of the introduction of unusual and of the encounter with the difference provided by the clowning.

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Marchand, Céline. "L'esthétique du récit bref à la fin du moyen age : réécritures, marges et interférences." Thesis, Le Mans, 2014. http://www.theses.fr/2014LEMA3008/document.

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Les derniers siècles du moyen âge européen pourraient être surnommés ‘l'ère de la déconstruction.' aussi, les œuvres littéraires se caractérisent-elles par l'hybridation ou la contamination de traditions et de modèles différents. leur dissonance interpelle. l'impossibilité à les faire entrer dans un cadre de référence précis, la difficulté à les classer témoigne de cette particularité. nous aborderons la question du point de vue du récit bref, en explorant le champ diversifié, européen, de la nouvelle du xiiie au xvie siècle. les conditions culturelles et politiques (système de cours diffusant à partir d'un cadre géographique précis, déplacements des auteurs, échanges et créations entre lieux artistiques et culturels spécifiques, ritualisation des pratiques littéraires, radicalisation des formes poétiques fixes), tout conduit à adopter face à l' ‘objet' littéraire une approche à la fois rigoureuse et pragmatique. l'enjeu est de dépasser les habituels cadrages critiques. a cette fin nous programmons trois directions qui contribueront à mieux définir notre objet :1° normes littéraires et esthétiques : transformations et dépassements. les innovations, les interférences créent les conditions d'un changement d'approche de l'écriture du récit bref. héritières du fabliau et du lai, les nouvelles médiévales ne sont pas encore le produit fini d'une pratique littéraire. les expérimentations (boccace, chaucer, antoine de la sale, cent nouvelles nouvelles, evangile des quenouilles) sont des solutions de compromis entre des formulations encore hésitantes. la nouvelle ne se présente pas comme une réalisation uniforme : les textes circulent et sont modelés par des échanges entre des lieux de productions et de diffusions qui ont leur logique propre (bourgogne, anjou-provence, cités-états italiens…). c'est dans une perspective dynamique que nous nous attacherons à disséquer ces tâtonnements, à repérer des modèles unificateurs et des tensions avec des traditions locales ;2° inscription du sujet dans l'œuvre : qu'il s'agisse de productions savantes ou populaires, d'auteurs uniques ou de travaux collectifs, leur genèse est multiple et diversifiée et passe à chaque fois par une approche critique singulière. les différentes formes de récits brefs ne s'inscrivent pas dans les mêmes temporalités ni dans les mêmes espaces. dans cette exploration, se posera la question complexe de l'inscription du sujet dans la fiction. de boccace à antoine de la sale l'engagement est différent, les méthodes, les pratiques et les résultats diversifiés. d'autres paramètres peuvent rendre plus complexe l'approche critique. c'est le cas de l'evangile des quenouilles. ce recueil de nouvelles racontées oralement par des femmes subit l'empreinte cléricale au moment de la mise en forme, le récit est biaisé par une tradition écrite qui édulcore la parole originelle et la transforme. l'œuvre est ainsi le produit de plusieurs médiations qui renforcent la ‘problématicité' de la nouvelle en y ajoutant la question du ‘genre' (‘gender'). les relations de l'œuvre au réel en sont modifiées.3° la circulation des textes dans cette europe virtuelle soulève une question plus profondément philosophique relative à la crise des croyances à l'aube de la renaissance européenne : qu'il s'agisse des lieux communs, des poncifs de la théologie morale, de l'esprit d'ouverture de l'humanisme naissant ou de l'idée de réformation, les implications politiques et religieuses ne cessent de soulever un questionnement lancinant sur les enjeux des transformations des formes littéraires. la question est encore plus urgente pour la nouvelle At the end of the Middle Ages, literary works can be characterised by the hybridisation, or the contamination, of disparate traditions and models. Their dissonance is striking. The impossibility of shoehorning them into the same precise frame of reference and the difficulty in classifying them bears witness to this particularity.We will approach the question from the point of view of the short narrative, exploring the diversified, European domain of the novella from the 13th to the 16th century.The cultural and political conditions (system of knowledge diffusing from a precise geographical frame, authors’ movements, exchanges and collaborations between two specific artistic and cultural spaces, ritualisation of literary practices, radicalisation of fixed poetic form) all lead to applying both a rigorous and a pragmatic approach to the literary ‘object’. Our objective is to go beyond the habitual critical framework.Thus it is with this dynamic and pragmatic perspective that we will set about dissecting these experimentations, these still-hesitant formulae governed by the mutability of the medieval text, which drifts from one form to another. This is also the case for the short narrative that we see elsewhere in the ‘fabliau’, the ‘conte à rire’, the novel, and memoir. These transformations confront us with the choice of individualised approaches for each work, for the application of each short story will forever remain unique and unclassable. Is it not a reflection of a late-medieval society which is searching and has not yet found the definitive form for the expression of new aspirations? It is the only criterion which allows us to define the ‘style’ of the novella

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Pinto, Jorge Roberto. "Os Menecmos de Plauto e Os Estrangeiros de Sá de Miranda em uma abordagem comparativa." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7387.

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Este trabalho tem como objetivo criar um diálogo entre aspectos da cultura popular presentes no teatro de Plauto na peça Os Menecmos e no teatro de Sá de Miranda na peça Os Estrangeiros, estabelecendo uma abordagem comparativa entre as duas obras. Pensadores separados por séculos, mas ligados por característica do teatro de natureza popular da Antiguidade, recriada no teatro renascentista português do século XVI. Plauto será analisado em sua peça Os Menecmos através do texto e das representações no teatro romano, dos personagens tipo da sociedade e das situações de fundo cômico. Sá de Miranda, o verdadeiro mensageiro do renascimento em Portugal, um grande imitador do teatro romano, será estudado comparativamente através de sua peça "Os estrangeiros". O teatro romano renasceu na imitação promovida pelo teatro renascentista português do qual Sá de Miranda é o grande representante This work aims to create a dialogue between aspects of popular culture present in the theater of Plautus's play named "The Menecmos" and the Sá de Miranda's trama named "Os Estrangeiros" establishing a comparative approach between the two works. They are thinkers separated by centuries, but linked by the popular nature of the ancient theater. This feature was recreated by the Portuguese Renaissance, the theater of the sixteenth century. Plautus will be examined in his play "The Menecmos" through his text and the representations in the Roman theater, in situations of comic background. The use of characters of the plot called "type" is a feature of Plautuss the technique. Sá de Miranda was the true messenger of the Renaissance in Portugal, a great imitator of the Roman theater and this was revisited by the Portuguese Renaissance theatre which Sá de Miranda is the great representative

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Campos, Elisângela Zampiroli de. "Entre o riso e o abandono: o ethos feminino na música popular massiva." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14586.

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Made available in DSpace on 2016-04-28T19:34:39Z (GMT). No. of bitstreams: 1 Elisangela Zampiroli de Campos.pdf: 409898 bytes, checksum: 55728318a3421b916c797ef3e21a9f78 (MD5) Previous issue date: 2009-06-03 Secretaria da Educação do Estado de São Paulo In this work, we proposed to analize the abandonment promoted by women, a common topic addressed in popular and mass music and through the speech, the constitution of the female ethos is performed on the idealization of women in the analyzed letters. The theme of the abandonment created what we know as " cuckold music " according with the popular sayings. Throughout history, the dominant speech claimed that the man was the master of any situation and being abandoned or betrayed by a woman, thus put him in a lower position. This is the way that motivated this research: what is the theme of "cuckold music ? What happened in society so that this subject came to the surface so strongly and frequently? In a second time, we studied the laugh and its contribution for the theme about the abandonment and we found in Bergson (2007) studies in which the ridiculous is used as a mean of correction. To answer our purposes, we use as corpus country music lyrics that deal with the abandonment in which we analyze the recurrences rhetoric, the pictures , places, speech and mechanisms. At the end we used the studies of Perelman & Olbrechts-Tyteca to support ouselves and to locate the corpus and gender, we seek the studies of Miller, Bazerman and Carvalho No presente trabalho, nos propusemos a analisar o abandono promovido pela mulher, tema comumente abordado na música popular massiva e como, por meio do discurso, a constituição do ethos feminino é realizada em relação à idealização da mulher nas letras analisadas. A temática do abandono gerou o que conhecemos por música de corno de acordo com os dizeres populares. Ao longo da história, o discurso dominante apregoou que o homem era o senhor de qualquer situação e ser abandonado, ou traído por uma mulher, o colocava numa posição degradante. Eis o que motivou a presente pesquisa: qual a temática da música de corno ? O que ocorreu na sociedade para que esse tema viesse à tona com tanta força e recorrência? Em um segundo momento, estudamos o riso e qual sua contribuição para a temática do abandono e encontramos em Bergson (2007) estudos no qual o risível é utilizado como meio de correção. Para atender nossos propósitos, utilizamos como corpus letras de músicas sertanejas que tratam do abandono nas quais analisamos as recorrências retóricas , as figuras, lugares, discurso e mecanismos. Neste intuito, nos apoiamos nos estudos de Perelman & Olbrechts-Tyteca e para situar o corpus como gênero, buscamos os estudos de Miller, Bazerman e Carvalho

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Viain, Elisabeth. "Pourquoi le théâtre contemporain ne ferait-il pas rire ? : humour, subversion et crise de la réception dans la création théâtrale contemporaine française, anglaise et allemande." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL067.

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Notre travail trouve son origine : d’une part dans la mauvaise réputation du théâtre contemporain auprès du public qui ne le fréquente pas ou plus et qui le juge violent, ennuyeux ou incompréhensible ; d’autre part dans le caractère très circonscrit, sur le plan socio-culturel, du public de ce théâtre. Nous tâchons de faire le lien entre ces deux constats, en utilisant la question du rire comme un révélateur. Notre hypothèse est que la dilution de la perception du rire dans le théâtre contemporain et les efforts ponctuels des spectateurs pour réinjecter du rire dans leur expérience spectatorielle constituent un symptôme de blocage du potentiel subversif de la création théâtrale. Mais, plus profondément encore, il nous semble que cette espèce de dysfonctionnement du rire s’inscrit au cœur d’un problème plus vaste de renouvellement, qui se pose aussi bien pour les formes du spectacle que pour la composition socio-culturelle du public. En effet, le rapport du public et de la scène au rire/à l’humour apparaît lié à certains aspects essentiels du fonctionnement théâtral actuel, notamment : à un refus implicite ou explicite du divertissement, à la systématisation de l’esthétique du choc, à la mise à l’épreuve du spectateur et au traitement des tabous. Il s’agira donc, en interrogeant le déploiement du rire (notamment dysfonctionnel), côté salle et côté scène, d’identifier et d’analyser ce qui relie, en filigrane, les différents obstacles au renouvellement rencontrés par la création théâtrale contemporaine et ce qui contribue réellement à la désaffection du grand public pour un art devenu, au cours du XXème siècle, extrêmement marginal dans la vie quotidienne des individus My research was motivated on the one hand by the bad reputation of contemporary theatre among the people who do not or no longer attend it and who think it is violent, boring or hard to understand; on the other hand by the fact that its audience is socio-culturally extremely circumscribed. I try to make a link between those two observations by using the laugh as a revelatory tool. My hypothesis is that the increasing difficulties to perceive laugh in contemporary theatre and the audience’s punctual efforts to reinsert laugh in their theatrical experience are symptoms of a general limitation of the subversive potential in contemporary creation. Most of all, I think that this kind of laugh’s malfunction is a part of a bigger problem affecting the renewal capacity of theatre, in the aesthetic aspects as well as in the socio-cultural audience’s composition. In fact, the relation between the audience or the scene and laugh/or humour seems linked to some essential aspects of the actual theatrical working: the explicit or implicit refusal of entertainment; the systematization of the “shocking effects’ aesthetic”; the audience’s physical or psychological trial; the way taboos are managed. By exploring the way laugh/humour works or malfunctions, from the scene’s and the audience’s perspectives, I want to identify how the different obstacles to theatrical renewal are related and what really contributes to the audience’s disaffection for an art which, along the 20ieth century, has become more and more marginal in people’s day-to-day life

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Fradet, Anne-Isabelle. "« Atterrer les rieurs » : Jean-Jacques Rousseau entre la gaieté et la risée (1712-1778)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040072.

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Contrairement aux idées reçues, Jean-Jacques Rousseau a aimé le rire et la gaieté : différents écrits, souvent allègres, depuis les œuvres autobiographiques jusqu’à ses comédies, nous le prouvent. La Correspondance Complète le confirme : goût du comique, badinage, rire sentimental, bonhomie et même humour caractérisent le Citoyen de Genève que l’on oppose traditionnellement à Voltaire pour son manque de légèreté. Bien plus, les notions de gaieté et le rire s’intègrent à son système philosophique, et contribuent à enrichir sa conception de la société, de l’éducation, de l’enfance et même des femmes – bien au-delà de la seule Lettre à d’Alembert. Inversement, l’écrivain s’est méfié de manière innée du rire de dérision, et surtout du persiflage, dont il s’est vu la victime dans les salons de Paris. De plus, à partir de 1750 et surtout de la réforme de 1756, le Citoyen, devenu le ‘’pourfendeur des rires’’ sur le plan intellectuel et moral, devient lui-même, progressivement, la risée de Paris, de Genève et de Londres (de la part de personnalités aussi différentes que Palissot, Voltaire, Walpole, Grimm ou Diderot) – au point d’imaginer l’existence du « complot » en 1766 à Wootton, et d’y perdre un peu de sa « raison » - mais jamais vraiment de sa gaieté originelle Contrary to generally accepted ideas, Jean-Jacques Rousseau liked the laughter and the cheerfulness: various writings (his novel Julie ou La Nouvelle Héloïse, his four comedies, his autobiographical works, and even pamphlets), often joyful, prove it. The Complete Correspondence confirms this idea: taste of comic, pleasantry, sentimental laughter, and even humor characterize the Citizen of Geneva who is traditionally opposed to Voltaire for his lack of lightness or wit. Moreover, the notions of cheerfulness and laughter fit his philosophical system, and enrich his conception of society, education, childhood and even women – well beyond the Lettre à d’Alembert sur les spectacles published in 1758. Conversely, and in a more conventional way, the writer used to distrust in an innate way, derision, and the ‘’persiflage’’ he was the victim in the salons of Paris. Especially from 1750 and more specifically after the personal reformation in 1756, Rousseau was the slayer of laughter at an intellectual and moral level, and he became gradually the victim of the laughing stock of Paris, Geneva and London (from personalities as diverse as Palissot, Voltaire, Walpole, Diderot and Grimm) –so much as to imagine the existence of the “complot” at Wootton in 1766

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Santos, Getulio de Moura. "Estudo das vari?veis de processamento das mat?rias-primas da regi?o do crato - ce na fabrica??o de produtos cer?micos por extrus?o e por prensagem." Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/15595.

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Made available in DSpace on 2014-12-17T14:57:55Z (GMT). No. of bitstreams: 1 GetulioMS.pdf: 1235965 bytes, checksum: 2c47ca0471a5470d046cd558e9c9cca4 (MD5) Previous issue date: 2010-07-10 The limits to inform is about the character stico of basic, quimica, mineralogical and mechaniques of matlaughed material used in the manufacturing process the product certified in economic region the Cariri, specifically in the city of Crato, Cear? state, motivated the development of this work, since in this region the exist ing economic context that a general appear as important in the production chains. Were made twentyfive soils-test specimen collection and the study was performed to differentiate the mat laugh materials of variaveis processing of mathing raw materials in the factory The product mica monkeys by extrusion and pressing. The results were obtained ap s as analyzes: grain size, index of plasticity, fluoresce incidence X-ray difration the X-ray, and analyzes thermicals and properties technological. through s of curves gresifica returned to was a comparison between the retro the linear, absorb to water, porosity and bulk density. the results show that the excellent distribution and character acceptable available for the processing of the structure color dark red. needing, therefore, of the mixture of a less plastic clay with thick granulation, that works as plasticity reducer. In spite of the different resignation forms for prensagem and extrusion, the characteristics of absorption of water and rupture tension the flexing was shown inside of the patterns of ABNT A limita??o de informa??es sobre as caracter?sticas f?sicas, qu?micas, mineral?gicas e mec?nicas da mat?ria-prima usada no processo de fabrica??o dos produtos cer?micos na regi?o do Cariri, mais precisamente na cidade do Crato, estado do Cear?, motivou o desenvolvimento deste trabalho, visto que nesta regi?o existem cer?micas que num contexto geral figuram como cadeias produtivas importantes no estado. Foram confeccionados vinte e cinco corpos-de-prova da amostra coletada para cada m?todo de conforma??o e foi realizado o estudo das vari?veis de processamento das mat?riasprimas na fabrica??o de produtos cer?micos por extrus?o e prensagem. Os resultados foram obtidos ap?s as an?lises de: granulometria, ?ndice de plasticidade, fluoresc?ncia de raios X, difra??o de raios X, an?lises t?rmicas e propriedades tecnol?gicas. Atrav?s das curvas de gresifica??o obteve-se um comparativo entre a retra??o linear de queima, absor??o de ?gua, porosidade e massa espec?fica aparente. Os resultados mostram que a mat?ria-prima tem excelente distribui??o e caracter?sticas aceit?veis para o processamento de pe?as estruturais de cor escura a vermelha, necessitando, pois, da mistura de uma argila menos pl?stica com granula??o grossa, que funciona como redutor de plasticidade. Apesar das diferentes formas de conforma??o por prensagem e extrus?o, as caracter?sticas de absor??o de ?gua e tens?o de ruptura a flex?o mostrou-se dentro dos padr?es da ABNT

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Michaud, Jocelyne. "Récurrences et ambivalences de la vanité dans l'art contemporain. : Le crâne comme prétexte." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSES030.

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L'art de 1990 à aujourd'hui témoigne d'une vitalité de la« vanité». La connaissance de sa condition de mortel et sa faculté de rire distingue l'humain ; le lien indissociable entre ces deux capacités génère la question de l'ambivalence. Le rire et le sacré forment les deux pôles d'expression d'une même perception initiale. Le concept d'ambivalence permet d'analyser les représentations de la mort dans lesquelles le crâne opère comme prétexte. Du XIV' au XVII' siècle, l'humour constituerait la face cachée de la gravité, inversement, à l'époque contemporaine la gravité constituerait la face cachée de l'humour. Les vanités actuelles peuvent-elles être considérées comme des vanités au sens strict ou comme des parodies? Sont-elles toutes empreintes d'une tonalité nihiliste ? Le genre pictural appelé historiquement « vanité », dépend d'un contexte socio-religieux qui impose la méditation sur la richesse, le dénuement et la rédemption. La surconsommation génèrerait une inquiétude propice à la manifestation de la vanité. L'objet, futile et indispensable, est indubitablement lié à la vanité par le fait qu'il entraîne une réflexion sur son utilisation, sa consommation ou sa place dans l'art. Par le biais du ready-made, la vanité contemporaine naît concomitamment de la manipulation du dérisoire et de l'expression d'un cynisme. Pour explorer le fonctionnement de ce double travail sur la dérision, les œuvres de P. Ramette, A. Dettloff, S. Gupta et R. Hazoumé où opèrent détournements et jeux d'isomorphismes sont plus spécifiquement étudiées. L'hétérogénéité géographique de ces plasticiens, à l'heure de la mondialisation, ouvre sur l'universalité de la question Art from 1990s to this day has put forward the vitality of "vanitas". What distinguishes man from other living species is his ability to know about his mortal condition and his ability to laugh. The clear link that exists between those abilities raises the question of their ambivalence. A sense of laughter and of the sacred seem to be the two poles of expression of the same initial perception. The concept of ambivalence is the means to analyse the representations of death in which the skull operates as a pretext. From the 14th until the 17th century, humour would comprise severity's hidden side, conversely in contemporary times, severity would comprise humour's hidden side. Can current vanities be viewed as vanities in a strict meaning or as a travesty of vanitas ? Are they ail marked by a shade of nihilism ? The pictorial style historically called "vanitas", depends upon the socio-religious background which imposes meditation on wealth, deprivation and redemption. Over-consumption would generate a concem conducive to the expression of vanitas. The object, both futile and indispensable, is undoubtedly linked to vanity, by causing a reflection on its use, its consomption or its place in art. Through ready-made, contemporary vanitas is born together with manipulating triviality and expressing cynism. To explore the functioning of this double work on mockery, works from P. Ramette, A. Dettloff, S. Gupta and R. Hazoumé are more specifically examined, as they entai! misappropriations, isomorphism games. The geographical heterogeneity of those artists, in the era of globalisation, opens the door to the universality of the question

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Demanche, Diane. "Provocation et vérité. Forme et sens des paradoxes stoïciens dans la poésie latine, chez Lucilius, Horace, Lucain et Perse." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040079.

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La présence des paradoxes stoïciens dans l’œuvre de poètes dont les liens avec le Portique sont divers révèle le statut particulier occupé par ces formules déconcertantes dans la pensée romaine. Après l’étude des origines du paradoxe et de ses transformations au cours du développement des écoles philosophiques grecques, la thèse examine la spécificité du paradoxe stoïcien et son adaptation au monde romain. Contre toute attente, les Stoïciens ne renoncent pas à ces affirmations déconcertantes. Grâce à leur efficacité rhétorique, et malgré l’hostilité qu’ils suscitent par ailleurs, les paradoxes sont repris dans des textes étrangers au Portique. Leur adaptation dans des œuvres poétiques - satires de Lucilius, Horace et Perse, épodes, odes et épîtres d’Horace et épopée lucanienne - pourrait nous faire considérer qu’ils sont pervertis et détournés de leur fin première. En effet, le but de ces poètes n’est nullement de faire adhérer le lecteur à l’intransigeante perfection dessinée par les paradoxes stoïciens. Mais le lien entre les paradoxes que l’on trouve dans ce corpus poétique et leur origine stoïcienne est en réalité bien plus intime. Selon des modalités différentes, chaque poète reprend l’essentiel de la démarche paradoxale du Portique : il s’agit bien de réveiller les consciences, et de souligner la radicale nouveauté de la vérité que l’on veut faire entendre, tout en s’assurant que le lecteur peut s’y rallier. La virulence de Lucilius, le ton de confidence horatien, la stupeur lucanienne et l’obscurité de Perse constituent les voies distinctes mais convergentes par lesquelles est menée l’entreprise subtile consistant à choquer pour mieux convertir The presence of Stoic paradoxes in the works of poets whose links with the Stoa are complex reveals the particular status of these incongruous formulas in Roman thought. After studying the origins of paradox and its transformations during the development of the Greek philosophical schools, the thesis considers the particularity of Stoic paradox and its adaptation to the Roman world. Unexpectedly, the Stoics do not sign away these disconcerting assertions. By their rhetorical effectiveness, and despite the hostility they also arouse, paradoxes appear in texts which do not belong to the Stoa. Their adaptation in poetic works – satires of Lucilius, Horace and Persius, epodes, odes and epistles of Horace, and Lucanian epic - could make us consider that they are perverted and diverted from their first aim. Indeed, the purpose of these poets is not at all to have the reader adhere to the uncompromising perfection outlined by the Stoic paradoxes. But the link between the paradoxes we find in this poetic corpus and their Stoic origin is actually much more intimate. By different ways, each poet takes up the main of the Stoic paradoxical approach : it consists in waking up the minds, and showing the radical novelty of the truth which one wants to reveal, making sure, at the same time, that the reader can join it. Lucilius’ virulence, Horace’s intimacy, Lucan’s daze and Persius’ abstruse language constitute the different but converging ways by which one subtly undertakes to shock in order to convert

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Al, Iftaihat Mareim. "Le comique problématique dans l'œuvre d'Eugène Ionesco." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20058.

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Eugène Ionesco est un «nouveau classique» dont la dramaturgie est à la fois en rupture avec la dramaturgie traditionnelle et en progrès sur elle, la dramaturgie ionescienne est alors labyrinthique. Les composants de cette dramaturgie sont également labyrinthiques : la construction dramatique, les personnages, le langage, le temps et l'espace. Ce labyrinthe total mène à une absurdité totale celle de l'indécision et de déséquilibre. Pour envisager cette absurdité, l'homme ionescien a recours à la révolte, à l'indifférence et au rêve, mais il se heurte toujours à sa condition tragique d'un errant sans racines ni buts. Il ne lui reste alors que le rire, d'où la naissance d'un comique à la recherche de son identité. C'est le comique problématique d'Eugène Ionesco. L'aspect problématique de ce comique est dû aux points suivants : premièrement, sa naissance dans une ambiance labyrinthique crée l'absurde qui rend incertaine même l'humanité de l'homme. Deuxièmement, ce nouveau comique s'inspire du comique classique de Molière, mais son essence n'est plus d'instruire, de corriger ou de plaire mais de réfléchir. Troisièmement, ce comique révèle la condition tragique de l'homme par des scènes qui augmentent l'angoisse au lieu de la dissiper. Par conséquent, c'est un comique problématique soit par rapport au tragique, soit par rapport au rire qui devient, à son tour, un effet du tragique. C'est pour cette raison que ce comique reste ouvert à de multiples hypothèses même celle de son inexistence Eugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence

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Deloche, Pascale. "Le temps des figurants : La réserve eschatologique dans La ricotta, de Pasolini." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2065/document.

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« Entre mon marxisme et mon décadentisme, il manquait la médiation d’un troisième terme qui est justement le christianisme ». Ainsi s’exprime Pasolini en 1964. Cette thèse propose de réexaminer La ricotta à partir d’une notion théologique : la réserve eschatologique élaborée par Jean-Baptiste Metz en dialogue avec les théologiens de la libération. A cette lumière, l’examen du procès de La ricotta et de son conflit central autour du rire, du sacré et du blasphème, offre la possibilité d’appréhender à nouveaux frais la portée politique des choix esthétiques de Pasolini puis de restaurer la trame historique sur laquelle se détache son œuvre. La ricotta répondait à une commande de film sur la fin du monde. L’approche par l’eschatologie éclaire la réponse pasolinienne : son récit de Passion lui permet de se positionner comme marxiste athée, à l’intérieur d’une culture chrétienne assumée et revivifiée. Enfin, la réserve eschatologique qui travaille l’esthétique du peuple dans La ricotta, notamment dans letraitement des voix, ouvre le pastiche pasolinien au temps des figurants “Somewhere between my Marxism and my Decadentism, a third term was missing which is, in fact, Christianity”, dixit Pasolini in 1964. This thesis will re-examine La ricotta, through a theological prism : using the Eschatological Reservations developed by Johann Baptist Metz in tandem with the Liberation Theologists. In the light of this concept, the study of the trial of La ricotta and its central tension built around the comic, the sacred and the blasphemous, will allow us to consider the political weight of Pasolini’s aesthetic choices and to reconstruct the historic background of his work. La ricotta was commissioned as a film about the end of the world. One may shed new light on Pasolini’s creation by using eschatological theory. Through his interpretation of the Passion of Christ, he appears as a Marxist atheist within his asserted and revitalized Christian culture. To conclude, the Eschatological Reservations influence Pasolini’s aesthetic interpretation of the poor and their voices in Laricotta, and herald a new era, the Age of the Extras

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Crepiat, Caroline. "Le sujet lyrique dans la poésie du Chat Noir (1882-1897)." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20008.

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La fin du XIXe siècle voit éclore un grand nombre de « petites » revues littéraires et artistiques, liées aux avant-gardes et à la bohème. Parmi elles, Le Chat Noir (1882-1897), créée par Rodolphe Salis et Émile Goudeau pour assurer la promotion du désormais célèbre cabaret éponyme. On y publie des contes, des histoires drôles et sans paroles, mais aussi de la poésie. Le présent travail entend étudier de plus près ces poèmes, à la lumière de la crise qui agite alors la production littéraire. Il s’agit plus précisément d’analyser le traitement qui est fait de la notion de sujet lyrique, « principe structurel » (Käte Hamburger) du lyrisme. Dire " je" semble en effet perdre tout sens aux yeux de ces poètes, non seulement du fait du poids de la tradition qu’il est de bon ton de subvertir au nom de l’esprit fumiste dont ils se réclament, mais encore du régime collectif au sein duquel ils s’expriment. Toutefois, les multiples provocations à son encontre permettent aussi à ces artistes de disséquer et de questionner cette notion, et même de se la réapproprier, tant collectivement qu’individuellement. Une réflexion croisée, à la fois poétique, esthétique et sociopoétique, nous amènera à définir les logiques, enjeux et stratégies d’un tel positionnement The end of the 19th Century is a key period for the « little » literary and artistic journals, produced by avant-garde and bohemian groups. One of them, Le Chat Noir (1882-1897), created by Rodolphe Salis and Émile Goudeau to promote the famous and eponymous cabaret. Tales, humoristic texts, illustrations or poetry appear in its columns. The present thesis aims for a closer study of these poems, in the light of the crisis which troubles the literary production. It is more precisely to analyse how the notion of the lyric subject, which is considered as the « structural principle » (Käte Hamburger) of lyricism, is treated. Indeed, saying « I » seems to lose sense for these poets, not only because of a tradition that is to subvert for the « fumiste » spirit’s sake which they claim, but also because of the collective context in which they find a space of expression. However, those provocations against the lyrical « I » is also for these artists a way to question and dissect it, and even to reappropriate it, for the collective as much as the individual distinction. A mixed reflexion, based on poetic, esthetic and « sociopoétique » analysis, will lead us to define the logics, stakes and strategies of such a position

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Oliveira, Lívia Sudare de. "Nos tempos do gegê : a modernidade e as ambiguidades." Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1266.

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Made available in DSpace on 2016-12-08T16:51:58Z (GMT). No. of bitstreams: 1 livia.pdf: 1739171 bytes, checksum: 79f0c24eccf17279fa13548a4539f2e6 (MD5) Previous issue date: 2013-03-01 Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Knowing that the Teatro de Revista (Revue) is a genre that deals with current events, this study aims to analyze seven revue texts written between 1929 and 1945 to see if there was still political debate on the Revue of that period. The period Getulio Vargas was president was chosen as a temporal cut since its censorship is claimed responsible for the down fall of political contents on the Revue. Therefore, this project seeks to understand the laugh mechanisms used by the Revue authors in attempt to hoax the censorship. It intent also to point out the political themes discussed on the Revue texts to comprehend how the Teatro de Revista dealt with the political and social events it faced, such as the 1930 revolution, the Estado Novo coup and the World War II. The aesthetical changes the genre went through and the way it relates with the political changes the country experienced are also being studied here. The cultural policy created during the Estado Novo is being revisited to enable the uptake about its relation with the Teatro de Revista and it is asked if this genre was a part of the motion for the building of a so called Brazilian theatre Sabendo que o Teatro de Revista é gênero que trabalha com a atualidade, o objetivo deste estudo é analisar sete textos revisteiros produzidos entre 1929 e 1945, de forma a perceber se ainda havia discussões políticas na Revista desse período. O governo de Getúlio Vargas foi escolhido como recorte temporal, pois a censura é responsabilizada pela derrocada do teor político no Teatro de Revista. Assim, busca-se entender que mecanismos do riso foram utilizados pelos autores revisteiros para burlar a censura. Intenta-se elencar a temática política discutida nos textos revisteiros para compreender como o Teatro de Revista lidava com os acontecimentos políticos e sociais que presenciava. Estão sob foco também as mudanças estéticas pelas quais o gênero passou e a forma como isso está relacionado com as mudanças políticas ocorridas simultaneamente no país, como a Revolução de 1930, o golpe do Estado Novo e a Segunda Guerra Mundial. A política cultural do Estado Novo é revisitada para possibilitar entendimento sobre sua relação com o Teatro de Revista e se esse gênero esteve inserido na proposta de construção de um teatro dito brasileiro

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Dissertations / Theses on the topic 'Teraphy of the laugh'

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