Dissertations / Theses on the topic 'Types of satire and humour'

Cette étude s'attache à démontrer comment les écrits satiriques du poète élisabéthain John Donne (1572-1631) lui permettent de développer une esthétique propre, qui ne se cantonne pas qu'au corpus satirique strict mais trouve également une résonance dans le reste de son œuvre. Traditionnellement considérée comme une tendance marginale dans sa poésie, la satire chez Donne s'exprime à travers d'autres textes, laissant ainsi transparaître un « esprit satirique ». Le jeu et la prise de distance du poète vis-à-vis des conventions littéraires, sociales et religieuses de son époque nous permettent de mettre au jour une poétique dominée par le doute et la mélancolie. Cette humeur noire, selon la théorie médicale des humeurs, nous conduit vers l'humour et le comique : fort peu examinés chez Donne, ces concepts transparaissent pourtant à la lecture des textes les moins explorés par la critique, dévoilant ainsi une esthétique qui donne sa cohérence au corpus. John Donne n'est pas que le chef de file de la poésie métaphysique : son statut de satiriste lui confère également celui d'humoriste
This study aims to show how the satiric writings of Elizabethan poet John Donne (1572-1631) display a specific aesthetics, which is also to be found in all his work and not only in his satiric texts. Although it has traditionally been considered as a fringe element in Donne's poetry, satire appears in other writings, thus disclosing a ''satiric spirit''. By playing and distancing himself from the literay, social and religious standards of his time, the poet's work reveals an aesthetics ruled by doubt and melancholy. According to the system of medicine called ''humorism'', melancholy is a black fluid that brings us to humour and comedy : even though they have been rarely examined in Donne studies, these concepts do stand out after a close reading of the least sought-after poems. It thus unites and makes the whole of Donne's poetry coherent. Not only is he the best representative of the metaphysical poets, he is also a satirist as well as a humorist

Le seul consensus autour de la poésie féminine contemporaine est celui d’une grande diversité. Sur le plan thématique et formel, autant que du point de vue de l’origine des poètes, il semble difficile de réunir sous un paradigme unique les œuvres écrites par des femmes. C’est également l’un des aspects que soulignent l’ensemble des ouvrages consacrés à l’humour : le terme renvoie à des phénomènes si différents qu’il est presque impossible de le réduire à une définition qui recouvre l’ensemble de ses manifestations. C’est pourtant précisément en raison de cette difficulté définitionnelle que l’humour constitue un prisme de choix pour parcourir la poésie féminine contemporaine. Par nature protéiforme, l’humour est « transgenre » ; il subvertit l’ordre social et les instances de pouvoir réel ou symbolique, mais remet aussi en question les identités génériques et sexuelles. Rien d’étonnant à ce que les femmes poètes y voient une arme pour s’attaquer aux idées reçues, aux stéréotypes et aux métaphores figées, notamment celles qui prétendent définir l’identité féminine. Mettant en adéquation ce qui se passe sur le plan de l’énonciation, de la réception, de la rhétorique et de la prosodie, l’humour est donc envisagé comme une modalité d’écriture, c’est-à-dire un ensemble de formes traduisant un positionnement particulier. Cette posture, qu’elle prenne le nom d’irrévérence, d’incongruité ou de décalage, témoigne à la fois des liens complexes que les femmes entretiennent avec la tradition poétique et des stratégies qu’elles ont développées pour y parvenir, dans lesquelles se dessine une même volonté, en explorant les lieux communs et les espaces de consensus, de redessiner les contours de la poésie contemporaine
The only consensus around the question of contemporary women poetry is that of its diversity: the themes and forms of the poems written by women are almost as varied as the origins of the poets themselves. Diversity is also one of the aspects underlined by most of the publications on the subject of humour. The term applies to so many phenomena that it is virtually impossible to reduce it to a final definition. Yet it is precisely because humour is so difficult to define that it constitutes a particularly appropriate prism to approach contemporary women poetry. Humour is by essence “transgender”. It subverts social order as well as instances of real or symbolical power, and challenges sexual and generic identities. Unsurprisingly, women poets have seen it as a choice weapon to attack received opinions and stereotypes, especially when those aim at defining femininity. Humour should therefore be considered as a form of writing, or rather a set of forms, expressing a specific positioning and operating on the level of enunciation, reception, rhetoric and prosody. This posture, which can be interpreted as irreverence, incongruity or difference, testifies of the complex ties women have established with the poetic tradition. But to do so, women have also developed strategies which enable them to explore common knowledge and accepted truths, and thus redefine the contours of contemporary poetry

The thesis consists of a full-length novel and an exegesis that examines the ways in which humour can be used to restore the symbolic order and serve as a means of regaining control, thus allowing those involved in the most disturbing, painful and challenging situations to feel less powerless. The research component of the thesis involved critical reading, fieldwork, observations, and personal interviews. The texts examined include works by Michael Billig, Henri Bergson and Julia Kristeva, in particular her reference to the act of laughing at the abject as a kind of horrified 'apocalyptic laughter', a compulsion to confront that which repels (Kristeva 1982, pp. 204-206). As part of the fieldwork, I completed training to become a Laughter Club leader. Laughter Clubs are based on the notion that laughter, even fake laughter, is beneficial. This concept is explored in more detail in the exegesis. The fieldwork also included training in laughter-generating activities for students and staff at two local primary schools. The observational component, which involved the Australian War Memorial, the 'Reveries: Photography and Mortality' exhibition, Norwood Crematorium and the children's garden and babies' rose garden at the Gungahlin cemetery, enabled me to examine images and memories of death as well as the responses of other visitors. The final component of my research involved personal interviews. The participants in these interviews were drawn from a diverse range of fields including: volunteers at a local hospice, hospital clowns, general practitioners, cancer survivors and their carers, a psychiatrist, nurses, a paramedic, a police officer, a hospital teacher and bereaved parents. The findings from this research provided the framework for the creative piece, a novel set in present-day Canberra. The story begins one autumn evening when thirteen-year-old Sam is found unconscious and bleeding from a head wound. By the time Maggie, Sam's widowed mother, arrives at the hospital, Sam has regained consciousness. His x-rays show a large mass in his brain and he is kept in for further tests. The results confirm that Sam has an inoperable tumour. Maggie and Sam rely on humour in their interactions both with each other and with other people as a means of maintaining that 'baseline of social control' (Kristeva 1982, p. 99), staying on the edge of what Kristeva refers to as the place 'where meaning collapses' (p. 2). Humour is their anchor, enabling them to maintain a grip on their new normality. And, as if having a dying child isn't enough to cope with, Maggie is being pursued by a handsome and slightly younger man. Both the findings in my exegesis, and the creative work they led to, suggest that although there has been an enormous amount of research undertaken over the previous thirty or so years, there is no conclusive proof that humour can be closely correlated with health. At best, humour can provide a means of controlling that which would otherwise be outside our control.

После рассмотрения пьес «Бег», «Багровый остров» и «Иван Васильевич» можно выделить общие закономерности в области приемов комического, характерные для всех трех произведений. Итак, наиболее частотными приемами комического, используемыми при создании сюжетных ситуаций и обрисовке характеров действующих лиц, являются: прием несоо��ветствия (между словом и делом, видимостью и явным положением вещей, внешностью героя и его поведением); смена «масок» и ролей; алогичность, абсурдность поведения действующих лиц. Общим для пьес является и обращение писателя к «говорящим» именам и фамилиям в качестве приема комического, что позволяет автору дать более точную характеристику героям. Несмотря на наличие общих приемов комического (как в изображении сценических ситуации, так и речи действующих лиц), пьесы «Бег», «Багровый остров» и «Иван Васильевич» обладают и принципиальным различием в области форм комического. Так, доминирующей формой комического в пьесе «Бег» является ирония, в «Багровом острове» - сатира, в комедии «Иван Васильевич» - переплетение сатиры и юмора.
Magistrinio darbo tikslas – komiškumo formų ir raiškos būdų nagrinėjimas M. Bulgakovo pjesėse „Bėgimas“, „Purpurinė sala“ ir „Ivanas Vasiljevičius“. Išnagrinėjus M. Bulgakovo kūrinius, galima išskirti bendrus dėsningumus komiškumo raiškos būdų srityje, kurie yra būdingi visoms trims pjesėms. Dažniausiai naudojami komiškumo raiškos būdai yra šie: nesuderinimas tarp veikėjo žodžių ir jo veiksmų, „kaukių“ keitimas, veikėju veiksmų absurdiškumas. Visoms trims pjesėms yra būdingi parodija ir groteskas kaip komiškumo raiškos būdai, „kalbantys“ veikėjų vardai ir pavardės. Trijų pjesių komiškumo formos yra skirtingos: pjesėje „Bėgimas“ dominuoja ironija, „Purpurinėje saloje“ – satyra, komedijoje „Ivanas Vasiljevičius“ – satyra ir humoras.
The purpose of work - consideration of comic forms and means in M. Bulgakov plays "Running", “The Crimson Island " and "Ivan Vasiljevich". After consideration of plays of М. Bulgakov, it is possible to note the general comic means which are typical to all plays. The most often comic means which are used at creation of subject situations and characters of heroes are the following: the means of discrepancy; change of "masks" of heroes; absurdity of behaviour of characters. Means of a parody and use of "speaking" names and surnames are often. Comic forms in each play are different: in "Running" - irony, in “The Crimson Island” - satire, in a comedy "Ivan Vasiljevich" - satire and humour.

Face aux incertitudes génériques liées à la perte des contours stricts entre les genres, qui se renforce dans les années 1950 avec les oeuvres du « Nouveau Théâtre », la théorisation de la comédie contemporaine et sa définition selon des critères génériques s'avèrent problématiques. Puisque les structures, les procédés d'écriture et les intentions des comédies divergent suivant les auteurs et leurs pratiques, dans une démarche descriptive et analytique, cette thèse propose un état des lieux de la situation de la comédie contemporaine française d'un point de vue générique. Trois manières d'écrire la comédie se dessinent. Les auteurs composent dans le genre, en pratiquant l'intertextualité, à partir des comédies classiques françaises, de la farce ou du vaudeville. Profitant d'un cadre structurel établi, ils s'approprient et radicalisent les procédés de ces genres issus de la tradition. Ils usent ensuite de techniques de composition coutumières du drame et de la tragédie pour créer des comédies catastrophiques qui superposent le comique et le tragique et jouent avec l'« horizon d'attente » de la comédie. Ils élaborent enfin des comédies scéniques à partir du plateau, en s'appuyant sur les formes comiques populaires. Malgré leur diversité, ces comédies présentent des éléments de poétique communs : elles maintiennent une ligne de fable, l'existence de personnages et la présence de dialogues, qui tendent à la conversation. Le comique reste l'élément essentiel du genre et se retrouve dans la vitalité des comédies burlesques, l'équivoque des comédies humoristiques et la critique des comédies satiriques. Forte de son hétérogénéité, puisant dans sa tradition qu'elle réinvente et osant l'inédit, la comédie contemporaine persiste en tant que genre
Theorizing about contemporary comedy and defining it according to generic criteria has been getting harder and harder ever since the frontiers between literary genres became blurry, especially since the 1950s with the influence of the "Nouveau Théâtre". Since the structures, literary devices, and intentions of comedies vary according to their authors and the latter's practices, we will adopt a descriptive and analytical approach in assessing the situation of French contemporary comedy from a generic point of view. Three ways of writing comedy will emerge from our study. Some authors compose their texts from within the generic frame of comedy by building intertextual bridges with French classic comedy, farce or vaudeville and by exaggerating the traditional devices of the genre. Some choose to use composition techniques usually found in drama or tragedy in order to create comedies that end in disaster thus juxtaposing comedy and tragedy in a playful attitude with comedy's usual "horizon of expectation". Finally, others write comedies from the stage onwards and draw on popular comic conventions. Despite their diversity, these comedies share common poetic traits: they are all built around a storyline, characters and dialogues that verge on idle talk. The comic remains the essential element of the genre, be it in the vitality of burlesque comedies, the ambiguity of humorous comedies, or the criticism of satirical comedies. Contemporary comedy, buoyed by its heterogeneity and its ability to reinvent its own traditions, remains a relevant genre in today's theatrical landscape

L’humour constitue l’objet d’étude de cette recherche qui a pour support Le Messager Popoli (LMP), presse satirique camerounaise. L’objectif principal est de démontrer qu’au-delà de ses fonctions ludique, marketing, critique et de démarcation médiatique, l’humour est révélateur de l’identité linguistique camerounaise. En postulant que le jeu dans LMP repose sur le code langagier, l’humour y est étudié sous l’angle de l’incongruité linguistique, autrement dit, sous le rapport de la rupture de la norme linguistique du fait de la distance interlinguistique entre le français standard et le français tel qu’il est employé dans ce journal. Ce travail met en exergue les mécanismes de l’humour et dégage leur fonctionnement. Il présente l’humour de LMP comme étant le produit d’une construction sémiologique qui puise ses arômes savoureux dans l’environnement linguistique de son contexte de gestation et dans la fertilité créatrice de ses rédacteurs. Il tente aussi, par le biais de l’humour, de saisir la dynamique du français camerounais et, à travers lui, la société camerounaise. La présente recherche ne néglige pas l’aspect du non verbal (iconique) qu’elle présente comme complémentaire du message verbal, mais surtout comme la photographie-identitaire de la société que l’iconique donne en représentation. Ce qui justifie de l’approche sémiolinguistique choisie
The humor is the object of study of this research was to stand Le Messager Popoli (LMP), Cameroonian satirical press. The main objective is to demonstrate that beyond its fun features, marketing, media criticism and demarcation of humor is indicative of the Cameroonian linguistic identity. Assuming that the game in LMP is based on language code, the humor is studied in terms of linguistic incongruity, that means in the report of the out of the language standard because of the distance between the French interlingual standard and French as used in this paper. This work highlights the mechanisms of humor and releases their operation. It has humor LMP as the product of a semiotic construction draws its tasty flavors in the local context of pregnancy and in the creative fertility of its editors. It also attempts, through humor, to grasp the dynamics of French Cameroon, and through him, the Cameroonian society. This research does not neglect the aspect of non-verbal (iconic) presents it as complementary to the verbal message, but especially as photography-identity of the company that gives the iconic representation. It is what justifies the semiolinguistic chosen approach

Si la parodie est loin d'être une pratique nouvelle, la première occurrence connue du terme remontant à l'Antiquité, elle a été jusqu'alors principalement envisagée comme un genre ou comme une figure littéraires. Et pourtant ses formes, ses connotations et ses procédés sont exploités par de nombreux artistes plasticiens. Dans les années 1960, l'avènement de la société de consommation et ses effets sur la reproductibilité de l'œuvre d'art donnent à la parodie un essor nouveau. Transformant l'histoire de l'art en un répertoire accessible dans lequel puiser à loisir pour créer à partir de, la reproductibilité offre des conditions idéales au jeu parodique. Comprendre comment et pourquoi des artistes d'horizons fort divers, des années 1960 à nos jours, se saisissent de la parodie, à des fins aussi bien personnelles que contextuelles, est l'objet de cette étude. État des lieux de la notion, la première partie s'attache à définir le terme et se penche sur les parodies réalisées depuis le milieu du XIXe siècle, des Salons caricaturaux au postmodernisme en passant par les avant-gardes historiques. La deuxième partie se construit autour du ludique, du comique et du satirique, compris comme autant de couleurs et de régimes. Enfin, la troisième partie est consacrée à la part réflexive de la parodie. Art sur l'art, cette dernière participe à une mise en cause institutionnelle et aspire à la dénudation du faire artistique lui-même. Tout au long de cette étude, la parodie apparaît comme une pratique essentiellement ambivalente, entre mauvais genre et pratique cultivée, gaminerie et jeu élitiste, dégénérescence de l'art et sursaut de créativité, destitution et aveu d'admiration, outrage et hommage
The word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. The first part of this study is articulated around the precise definition of the term and a chronological view of the parodic art since the middle of the 19th century, from the Salons caricaturaux to postmodernism including historical avant- gardes. The notions of playfulness, comic and satiric will be discussed in the second part, in order to grasp the multiple shades of parody. The third and last part is devoted to the specular aspect of parody that leads to a questioning of the artistic institutions and aims to unveil the artistic practices themselves. Across these pages, parody appears as an ambivalent process, oscillating between mauvais genre and sophistication, childishness and elitism, barrenness and creative rebirth, destitution and admiration, outrage and tribute

Cette thèse apporte des éléments de description et d’analyse du registre littéraire que constitue l’humour noir. Elle s’appuie sur les réflexions développées par André Breton dans son Anthologie de l’humour noir (1966), tout en les resituant au sein des théories surréalistes et en démontrant que l’auteur construit un registre parfaitement adapté à la défense de ses opinions sur l’art et la modernité. La sélection effectuée par l’Anthologie peut alors être abordée sous un nouvel angle et étudiée d’un point de vue littéraire : l’humour noir peut ainsi être défini comme un registre bipolaire, reposant sur la confrontation entre deux tendances, l’une herméneutique et l’autre terroriste, mais qui interrogent toutes deux la valeur des discours tenus sur le monde. Les manifestations littéraires de l’humour noir peuvent ainsi être analysées, de même que les évolutions que connaît le registre à la suite de la Seconde Guerre mondiale. L’humour noir gagne en effet en popularité au sein des médias et les auteurs qui vont avoir recours à ce registre vont prendre en compte sa proximité avec des genres littéraires peu légitimes. Ces évolutions du registre sont étudiées à travers les œuvres de trois auteurs : Joyce Mansour, Roland Topor et Jean-Pierre Martinet. Leurs récits reposent sur des procédés similaires qui visent dans l’ensemble à déstabiliser les schémas narratifs traditionnels. Ainsi, l’humour noir interroge le lecteur sur ses habitudes de lecture et rompt le contrat passé avec l’auteur afin de remettre en cause l’idée d’une communauté possible à travers le partage – inégal – d’une culture et d’une langue communes. L’humour noir postule ainsi l’existence d’une communauté introuvable par la littérature, au sein de récits qui revendiquent leur illégitimité
This dissertation offers new elements for the description and the analysis of the literary register that is dark humour. It is based on the considerations that André Breton developed in his Anthologie de l’humour noir (1966), and at the same time, it replaces them within the surrealist theories, in order to demonstrate that the author creates a register perfectly suited to the defence of his opinions about art and Modernity. The selection that is made in the Anthologie can henceforth be approached with a fresh eye and analyzed from a literary point of view : dark humour would then be defined as a bipolar register, built on a confrontation between two tendencies, a hermeneutic one and a terrorist one, but which both question the value of the speeches that pretend to represent reality. The literary features of dark humour can thus be analyzed, as well as its evolutions after the Second World War. Indeed, at that time, dark humour becomes more popular in the media, and the authors who use it take into account its acquaintances with literary genres that lack legitimacy. The evolutions of the register are studied through the work of three writers : Joyce Mansour, Roland Topor and Jean-Pierre Martinet. Their narratives follow similar patterns which, on the whole, aim to dismantle the traditional narrative schemes. Thus, dark humour questions the reader about his reading habits and breaks the contract entered into with the author, in order to call into question the possibility of a community unified by the – unequal – share of a common culture and language. Dark humour thereby postulates the existence of a community that cannot be found by literature, within narratives that claim their illegitimacy

Plusieurs études de la « couverture » médiatique accordée à la vie personnelle, publique et privée, de Théodore Roosevelt montrent qu’il attira plus d’attention journalistique que nombre de ses successeurs. L’on ne saurait sous-estimer la contribution capitale des caricaturistes, même les plus sévères, à l’inaltérable popularité de Roosevelt pendant quelque trente ans. Il y a lieu de penser que nul autre président ne fut pour eux une source d’inspiration aussi constante et aussi réjouissante. Le but de la présente thèse est de replacer l’émergence de l’image caricaturée de Roosevelt dans le contexte d’une prise de conscience globale du pouvoir de la caricature sur l’opinion publique. L’humour devenant un formidable outil d’opposition ou de propagande lorsqu’il est associé à la politique, il convient d’explorer les caractéristiques de l’humour politique à l’époque de Roosevelt, et notamment en quoi il se distingue d’autres formes de critique du pouvoir en place. Est proposé dans un premier temps une rétrospective historique de la caricature politique en Europe et son émergence aux États-Unis, suivie de l’analyse en détail du « moment décisif », avec le très célèbre Thomas Nast, de l’histoire de la caricature américaine. Vient ensuite une évaluation de l’impact des caricatures sur la carrière politique de Théodore Roosevelt au moyen de plusieurs études de cas, identifiés comme les moments clés, dont la finalité est de vérifier s’il existait une véritable corrélation entre les actions du président et son image médiatique : cow-boy légendaire, homme politique au destin national, héros militaire, chef de l’exécutif controversé
Several studies of the media coverage of Theodore Roosevelt’s personal, public and private life reveal that he attracted more media attention than many of his successors. The importance of the contribution of even the most caustic cartoonists to his enduring popularity for thirty years should not be underestimated. There are reasons to believe that no other president offered a more constant and delightful source of inspiration. The objective of this dissertation is to contextualize several cartooned images of Roosevelt within the growing awareness of the power of cartoons on public opinion. When combined with politics, humor becomes a tremendous tool for the spreading of official propaganda or of the opposition’s creed. We will therefore assess the characteristics of political humor during Roosevelt’s age and how it is distinct from other types of criticism of the establishment. We will first present a brief history of political cartoons in Europe and their rise in the United States, followed by a detailed assessment of the legacy of the famous cartoonist Thomas Nast, which represents a « defining moment » in the history of American political cartoons. This will be followed by an evaluation of their impact on Theodore Roosevelt’s political career by means of several case studies of decisive moments. The objective will be to determine whether there is a correlation between Roosevelt’s actions and his media image: mythical cowboy, politician with a national destiny, war hero, controversial chief executive

The increasing and irregular flow of migrants in Europe had lead to an unprecedented crisis which European and International stakeholders have been struggling to manage in a challenging context of financial insecurity, political instability, fragile foreign relations and controversial steps and policies. This current context questions Europe’s image as a powerful global key-player and a civilized privileged space/entity and also shutters migrants’ dreams and illusions of a promise-land. Inevitably, the migrant crisis has emerged as top news in most old and new media around Europe and extensive coverage of the topic has been informing the audience almost on a daily basis. Of course, cartoonists have been affected and inspired by the situation, as well. In a time period of twelve months, from April 2015 to March 2016, in Greek new media alone, three hundred and seven cartoons were published on the topic. This project set out to examine the cartoons published in new media over the allocated time period in order to find out what were the main foci of the artists’ attention in relation to the migration crisis and how they related to domestic and international political affairs and further international interests by major stakeholders. It also explored the way immigrants have been depicted, the way Europe is depicted as a promise-land, how all involved stakeholders have handled the crisis and the artists’ degree of active judgment or influence. A mixed research method, combining content analysis, which falls into the realm of quantitative research methods, with elements of psychoanalysis and social semiotics, which observe matters, analyse the visual and critically interpret it was employed. Results showed that the migrant crisis was a favorable topic for Greek cartoonists publishing in Greek new media. They explored the topic from various aspects, including politics, values, everyday life, religion, war and art, shifting from mockery and heavy criticism to sympathy, guilt and a sense of worry about the fellow human depending on their personal political orientation and the aspect of the topic they were commenting on. Evidently, the migrant crisis is a strong humanitarian crisis placing a bomb to fundamental and consolidated values, policies and relations among all stakeholders.

Essa dissertação tem como objetivo analisar os contos da escritora Dorothy Parker em diálogo com seus poemas, tendo em vista a modernidade com a qual construiu suas histórias e o papel do humor em sua criação. Ao analisar as obras dessa autora de grande destaque nos Estados Unidos da América do Norte, nos anos 1930, veremos como o humor se transforma numa importante ferramenta que se relaciona com a construção do feminino e com a questão social da mulher, a fim de desestabilizar e transformar o status quo. O estudo, com o apoio teórico de Vladimir Propp e de Henri Bergson, intenciona demonstrar que, embora Dorothy Parker possa ser considerada uma escritora datada, seu senso satírico continua atual e reflete claramente o contexto no qual as mulheres estavam inseridas.
The aim of this study is to analyse Dorothy Parker´s short stories in dialogue with her poems in order to show the modernity of her writings and the function played by humour. Analysing the works of the great american writer in the thirties, we see how humour is used as a tool in the construction of the feminine and the social role of women, with the purpose of destabilizing and making a change in the status quo. The theoretical framework based on Vladimir Propp and Henri Bergson helps to demonstrate that in spite of Dorothy Parker´s work being considered dated by some, the satiric sense that emerges from her writings is still present in our times and reveals the context in which those women were inserted.

Le rire semble être la clé de voûte de l'oeuvre de Ionesco. Il trouve ses racines dans les oeuvres de Jarry, Kafka et les Surréalistes, mais il a ses propres caractéristiques. C'est un rire qui tente une révélation de la vérité sur notre condition humaine tout en faisant appel au travestissement burlesque, à la satire mais surtout à un humour moderne fondé sur le non-sens, d'où la création d'un nouveau langage caractérisé par un décalage sur le plan de la communication, par une rupture entre signifiants et signifiés. Le jeu de mots, la suppression des liaisons grammaticales créent un langage sans signification, ce qui fait jaillir le rire. Cet humour est aussi caractérisé par la mise en abîme des personnages. Fantoches sans caractères ni identité, marionnettes à ficelles, encombrées par la prolifération de la matière, les créatures de Ionesco portent en elles la tragédie de l'existence humaine. Le rire dans le théâtre de Ionesco a donc pour fonction d'exprimer l'angoisse et l'absurdité de l'existence humaine. Cette oeuvre permet ainsi au spectateur de prendre conscience du tragique de son existence et de s'en libérer par le rire
Laughter is cornerstone of Ionesco's theatre. Its roots can be traced back to the works of Jarry, Kafka and the Surrealists. However, Ionesco's laughter has its own characteristics. It is a laughter that attempts to denude truth through comic travesty, through satire, but above all through modern humour that verges on the absurd, using for medium a new language characterized by a separation from the normal way of communication, by rupture between the significant and the signified. The play on words and the suppression of grammatical links allow the appearance of a senseless language, which evokes laughter. This humour is characterized by exposing character vices. Ionesco's creation are without character or identity; puppets moved by strings, shackled by the proliferation of matter, carrying in them the tragedy of human existence. Doubtless, Ionesco's laughter shows the pain and absurdity of human existence and to be liberated from it by laughter

Cette recherche tente de montrer comment la lodyans (en créole) ou « l'audience » (en français) est un genre littéraire typiquement haïtien. La lodyans peut être décrite comme l'art de raconter des histoires. Elle commence avec cette définition donnée par Georges Anglade : « La lodyans est un genre littéraire spécifiquement haïtien dont les racines plongent au plus profond de la culture haïtienne, au même niveau que la langue créole d'Haïti et le vodou haïtien. La personne qui raconte la lodyans ou les histoires est appelée un lodyanseur ». De 1905 jusqu'à nos jours, de nombreux écrivains haïtiens se sont servis de la lodyans comme d'un arrière-plan pour leurs œuvres littéraires. Parmi eux, on peut citer Justin Lhérisson, Fernand Hibbert, Maurice Sixto, et Gary Victor. Ce groupe comprend aussi Georges Anglade, le premier à avoir écrit une théorie du genre ; René Depestre, Frank Etienne et Dany Laferrière, sans être des lodyanseurs, ont été très influencés par le style de ceux qui se sont reconnus comme tels. En nous appuyant sur l'œuvre de ces lodyanseurs, et sur la critique de Mikhaïl Bakhtine, nous souhaitons prouver que la lodyans est un genre classique, même lorsqu'il frôle le grotesque
This study will seek to explore lodyans (in Creole) or « l’audience » (in French) as a Haitian literary genre. Lodyans can be described as the art of telling stories. Hughes St. Fort in his review of Haitian Laughter written by Georges Anglade (2006), cites the writer who describes it as follows: ‘‘The lodyans is a uniquely Haitian literary genre whose roots are found in the deepest soil of Haitian culture, at the same level as Haitian Creole language and Haitian vodou. The person who tells the lodyans or stories is known as a lodyanseur’’. From the 1905 to present, many Haitian writers have been used loydyans as a background for their literary works. Among them we cite the following: Justin Lhérisson, Fernand Hibbert, Maurice Sixto, and Gary Victor. This group also includes Georges Anglade, the first to write a theory of the genre; René Depestre, Frankétienne and Dany Laferrière who are not lodyanseurs, but are very influenced by the writing style of those known as such. Based on the works of these lodyanseurs, and the critique of Mikhail Bakhtin, we wish to prove that lodyans is a classical genre even when it borders on the grotesque

[ES] La presente tesis doctoral se desarrolla, de modo autoetnográfico, como aportación de resultados de una investigación artística propia pretendiendo generar conocimiento a través de una objetivación de lo subjetivo. En ella abordamos el tema de lo ridículo en la escultura, entendida en el sentido expandido del término. Partiendo de una contextualización conceptual e histórica previa, procederemos a deconstruir recursos y estrategias, siempre enfocadas en torno al concepto de lo ridículo, de nuestra propia trayectoria artística. Desarrollaremos de este modo, con especial atención, el concepto de hipertrofia como complejo recurso expresivo de exageración selectiva, tanto a nivel formal como conceptual y perceptivo. La hipertrofia como modo de expresar pero también de percibir y procesar la realidad, para una mayor intensidad comunicativa, tanto en la expresión de lo ridículo como en cualquier otro ámbito. La presente tesis doctoral recoge los resultados de veinticinco años de investigación artística propia en el campo de la escultura y la instalación. Aborda el tema de lo ridículo en la escultura, tema central en nuestra investigación, entendida en el sentido expandido del término y más concretamente la descripción de recursos, tanto formales como conceptuales, para su representación. Comenzamos el trabajo, dividido en dos partes, realizando una semblanza de lo ridículo como lenguaje. Relacionamos el término con otros que le son afines, como humor, desafío o absurdo e introducimos la hipertrofia, concepto que más tarde desarrollamos más extensamente, como medio para su consecución. Desarrollamos después lo ridículo desde la forma en su representación mediante la aplicación en parámetros formales tales como la escala, el material o la proporción, de la referida hipertrofia. Pasamos luego a realizar una breve panorámica histórica, focalizada en la representación de lo ridículo a lo largo de distintas épocas, aportando ejemplos a modo de contextualización temporal de nuestro trabajo, hasta llegar a la actualidad, de la cual realizamos una selección de obras y autores que, de un modo u otro, pueden ser entendidos como influencia o, al menos, como coincidencia en nuestros montajes. Una vez desarrollado el contexto pasamos, ya en la segunda parte, a referirnos ya directamente a nuestro trabajo y a su carácter como expresión de lo ridículo, mencionando las figuras retóricas y otros recursos comunicativos que usamos en la obra propia. Definimos, llegados a este punto, la hipertrofia como aportación central de nuestra investigación, del modo ya mencionado como recurso expresivo, pero también como modo de percepción selectiva para la creación, entre otros, en el ámbito de lo ridículo. Planteamos pues la hipertrofia como un recurso creativo extenso, más bien un modo de relacionarse con la realidad y proyectarse sobre ella en una fructífera interacción. Desarrollamos finalmente, a modo de ejemplo, la hipertrofia a través de sus múltiples aplicaciones como concepto fundamental que vertebra nuestra obra de búsqueda de lo ridículo desde enfoques diversos.
[CAT] La present tesi doctoral es desenvolupa, de manera autoetnográfica, com a aportació de resultats d'una investigació artística pròpia pretenent generar coneixement a través d'una objectivació del que és subjectiu. Hi abordem el tema del ridícul en l'escultura, entesa en el sentit expandit de el terme. Partint d'una contextualització conceptual i històrica prèvia, procedirem a deconstruir recursos i estratègies, sempre enfocades al voltant de el concepte del ridícul, de la nostra pròpia trajectòria artística. Desenvoluparem d'aquesta manera, amb especial atenció, el concepte d'hipertròfia com complex recurs expressiu d'exageració selectiva, tant a nivell formal com conceptual i perceptiu. La hipertròfia com a manera d'expressar però també de percebre i processar la realitat, per a una major intensitat comunicativa, tant en l'expressió del ridícul com en qualsevol altre àmbit. La present tesi doctoral recull els resultats de vint i cinc anys d'investigació artística pròpia en el camp de l'escultura i la instal·lació. Aborda el tema del ridícul en l'escultura, tema central en la nostra investigació, entesa en el sentit expandit del terme i més concretament la descripció de recursos, tant formals com conceptuals, per a la seva representació. Comencem el treball, dividit en dues parts, fent una semblança del ridícul com a llenguatge. Relacionem el terme amb altres que li són afins, com humor, desafiament o absurd i introduïm la hipertròfia, concepte que més tard desenvolupem més extensament, com a mitjà per a la seva consecució. Desenvolupem després el ridícul des de la forma en la seva representació mitjançant l'aplicació en paràmetres formals com ara l'escala, el material o la proporció, de la referida hipertròfia. Passem després a fer una breu panoràmica històrica, focalitzada en la representació del ridícul al llarg de diferents èpoques, aportant exemples a mode de contextualització temporal del nostre treball, fins arribar a l'actualitat, de la qual vam realitzar una selecció d'obres i autors que, d'una manera o altra, poden ser entesos com a influència o, al menys, com coincidència en els nostres muntatges. Un cop desenvolupat el context passaem, ja a la segona part, a referir-nos ja directament al nostre treball i al seu caràcter com a expressió del ridícul, esmentant les figures retòriques i altres recursos comunicatius que fem servir en l'obra pròpia. Definim, arribats a aquest punt, la hipertròfia com a aportació central de la nostra investigació, de la manera ja esmentat com a recurs expressiu, però també com a mode de percepció selectiva per a la creació, entre d'altres, en l'àmbit del ridícul. Plantegem doncs la hipertròfia com un recurs creatiu extens, més aviat una manera de relacionar-se amb la realitat i projectar-se sobre ella en una fructífera interacció. Desenvolupem finalment, a manera d'exemple, la hipertròfia a través dels seus múltiples aplicacions com a concepte fonamental que vertebra la nostra obra de cerca del ridícul des d'enfocaments diversos.
[EN] This doctoral thesis is developed, in an autoethnographic way, as a contribution of the results of our artistic research, trying to generate knowledge through an objectification of the subjective. In it we address the issue of the ridiculous in sculpture, understood in the expanded sense of the term. Starting from a previous conceptual and historical contextualization, we will proceed to deconstruct resources and strategies, always focused around the concept of the ridiculous, of our own artistic trajectory. In this way, we will develop, with special attention, the concept of hypertrophy as a complex expressive resource of selective exaggeration, both at a formal, conceptual and perceptual level. Hypertrophy as a way of expressing but also of perceiving and processing reality, for greater communicative intensity, both in the expression of the ridiculous and in any other field. This doctoral thesis collects the results of twenty-five years of own artistic research in the field of sculpture and installation. It addresses the issue of the ridiculous in sculpture, a central theme in our research, understood in the expanded sense of the term and more specifically the description of resources, both formal and conceptual, for its representation. We begin the work, divided into two parts, making a semblance of the ridiculous as a language. We relate the term to others that are related to it, such as humor, defiance or absurdity, and we introduce hypertrophy, a concept that we later develop more extensively, as a means of achieving it. Later we develop the ridiculous from the form in its representation through the application in formal parameters such as scale, material or proportion, of the referred hypertrophy. We then proceed to carry out a brief historical overview, focused on the representation of the ridiculous throughout different periods, providing examples as a temporary contextualization of our work, up to the present, from which we make a selection of works and authors that, in one way or another, can be understood as an influence or, at least, as a coincidence in our montages. Once the context has been developed, we proceed, in the second part, to refer directly to our work and its character as an expression of the ridiculous, mentioning the rhetorical figures and other communication resources that we use in our own work. We define, at this point, hypertrophy as the central contribution of our research, in the way already mentioned as an expressive resource, but also as a selective perception mode for creation, among others, in the field of the ridiculous. We therefore propose hypertrophy as an extensive creative resource, rather a way of relating to reality and projecting ourselves onto it in a fruitful interaction. Finally, we develop, as an example, hypertrophy through its multiple applications as a fundamental concept that backs up our work of searching for the ridiculous from different approaches.
Llorens García, A. (2020). La realidad hipertrofiada. Modos de representación de lo ridículo en la escultura y en la obra propia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/157636
TESIS

Denna kandidatuppsats består av en längre översättning i form av en undertextning från nederländska till svenska, samt en kommentar till översättningen. Källtexten utgörs av inslaget De online fabeltjesfuik (ordagrant ’fabelryssjan’) ur det nederländska satiriska nyhetsprogrammet Zondag met Lubach. I kommentarsdelen beskrivs den teoretiska bakgrunden bakom den översättningsprincip och rangordning av översättningsprioriteringar som styrt undertextningsarbetet. Därefter behandlas ett urval av översättningsproblem samt strategierna för att lösa dem, med ett särskilt fokus på kulturella referenser och humor. Det största problemet utgörs dock i slutändan av översättningsformens egna begränsningar när det kommer till tid och utrymme, vilka styr alla andra översättningsval.
This bachelor’s essay consists of a longer translation in the form of Dutch-to-Swedish subtitles, including a section commenting on the translation. The source text is made up of the segment De online fabeltjesfuik (literally ‘the fable fyke’) from the Dutch satirical news show Zondag met Lubach. The comment section describes the theoretical background behind the translation principle and the translation priorities which have guided the subtitling. Then a sample of translation problems along with the strategies used to solve them are presented, focusing on cultural references and humour. The largest issue remains the inherent limitations of subtitling as pertains to time and space, which influence all other translation choices made.

L’objet de cette étude est d’offrir une vision à la fois d’ensemble et particulière sur les revues satiriques publiées durant les dernières années du franquisme et pendant Transition démocratique. En effet, de nombreux bouleversements politiques et sociaux s’opèrent entre 1970 et 1982, ce qui représente objectivement une période relativement courte mais très riche en événements dans l’histoire de l’Espagne et de la Catalogne. En ce qui concerne la presse, l’entrée en vigueur de la Ley de Prensa e Imprenta en mars 1966 marque un point d’inflexion car elle supprime la censure préalable et permet le développement de publications beaucoup plus critiques et irrévérencieuses au début des années 1970, tels que Mata Ratos, Barrabás ou Por Favor. Très imprégnées par la tradition satirique catalane (comme Xut!, El Be Negre ou ¡Cu-Cut!), les revues de cette époque sont aussi influencées par la presse française, américaine et anglaise (Hara Kiri, Charlie Hebdo, National Lampoon, Punch, etc.). Peu à peu, elles réussirent à fissurer le carcan de la censure au prix de nombreuses mises sous séquestre, jugements, suspensions et condamnations. Après deux années troublées entre 1976 et 1978 où les menaces d’attentats contre les rédactions sont de plus en plus oppressantes, l’avènement de la démocratie est le point de départ d’un nouveau type d’humour plus général et incarné par El Jueves, et basé sur des faits de société ou d’actualité. De par leur style particulier et les thèmes qu’elles abordent, ces revues satiriques marquent profondément la société et le moment politique dans lequel elles évoluent. Leur impact est toujours perceptible aujourd’hui puisqu’El Jueves continue d’être publiée en 2017
The purpose of this thesis is to provide both an overview and an analysis of the satirical journals published during the last years of Francoism and the Democratic Transition. Indeed, the country underwent many dramatic political and social changes between 1970 and 1982, which objectively represents a relatively short, extremely eventful period in the history of Spain and Catalonia. As concerns the press, the coming into effect of the Ley de Prensa e Imprenta in March 1966 marked an inflection point by suppressing prior censorship and paving the way for much more critical and irreverent publications, such as Mata Ratos, Barrabás or Por Favor, at the beginning of the 1970’s. Very much in debt to Catalan satirical tradition (e.g. Xut!, El Be Negre or ¡Cu-Cut!), the publications of the time were also influenced by the French, American, and English press (Hara Kiri, Charlie Hebdo, National Lampoon, Punch, etc.). Gradually, they succeeded in breaking the straitjacket of censorship at the cost of numerous confiscations, trials, suspensions and condemnations. Following two troubled years between 1976 and 1978, when editorial offices were subject to increasingly oppressive threats of attack, the advent of democracy was the starting point of a new, more general type of humor embodied by El Jueves and based on societal and current events. Due to their specific style and to the themes they dealt with, these satirical journals made a deep mark on society and on the political period. Their impact has endured, since El Jueves is still published in 2017

Les revistes satíriques van contribuir de manera notable a la confrontació política durant la Segona República. L´estudi de la problemàtica militar, autonòmica i religiosa entre 1931 i 1936 a través dels setmanaris catalans DIC i El Be Negre i el madrileny Gracia y Justicia, ens permet apropar-nos a l´etapa republicana d´una manera diferent. El treball artístic dels ninotaires, la popularitat que van tenir aquestes publicacions i el contrast interpretatiu per part de cadascuna d´elles, incrementen la seva rellevància. Les revistes satíriques permeten dir coses serioses amb humor que, posteriorment, esdevenen arguments seriosos i irrefutables durant la Guerra Civil (1936-1939). Bona part del discurs ideològic de les esquerres i les dretes es troba codificat en aquestes publicacions.
The satirical magazines contributed significantly to the political confrontation in the Second Republic. The study of military problems, regional and religious between 1931 and 1936 through Catalan DIC and El Be Negre and from Madrid Gracia y Justicia, allows us to approach differently Republican stage. The artistic work of draftsmen, the popularity of these publications and the contrasting interpretation by each of them increase their relevance. The magazines may say something serious with satirical humor which later became serious and compelling arguments during the Civil War (1936-1939). Much of the ideological discourse of the left and right is encoded in these publications.

Cette thèse analyse la manière dont le discours satirico-humoristique se constitue lorsqu’il cible la figure présidentielle, en se focalisant sur des dimensions de contenu et de forme qui le structurent, et en faisant attention à leur articulation. A partir d’une étude biculturelle (France-Argentine), qui vise à la conceptualisation d’un humour transculturel, nous supposons qu’au-delà des spécificités locales, il est possible de parvenir à une grammaire, et donc à un système d’invariants, constituée des codes verbaux et visuels.Suivant une approche basée sur les sciences de l’information et de la communication, nous intégrons des perspectives théoriques et méthodologiques complémentaires pour analyser deux corpus de titres et d’images (caricatures politiques à une ou plusieurs vignettes) de l’hebdomadaire Le Canard enchaîné et du supplément Sátira/12 qui portent sur Jacques Chirac et Carlos Menem respectivement, à des moments de grande importance politique pendant leurs deux mandats
This thesis analyzes the satirical humour discourse that aims at the presidential institution, by focusing on how its content and form are constituted and interrelated. Based on a bicultural approach (France-Argentina) aiming to contribute to the conceptualization of transcultural humour, we put forward that beyond local specificities, it is possible to construct a grammar, or a system of invariants, constituted by verbal and visual codes.Following an approach based on information and communication sciences, we merge different theoretical and methodological perspectives to analyse two corpora of titles and images (political cartoons and strips), from the weekly Le Canard enchaîné and the weekly newspaper supplement Sátira/12, that deal with Jacques Chirac and Carlos Menem, respectively, at moments of great political importance of their two presidential terms
En este trabajo abordamos la construcción de la imagen mediática del ex presidente JacquesChirac en el semanario satírico francés Le Canard enchaîné, centrándonos en los rasgos depersonalidad que el periódico atribuye al personaje. Nuestro corpus está conformado por 234títulos que tratan sobre el mandatario en cuatro períodos de análisis seleccionados por suimportancia en el contexto político de Francia a lo largo de sus dos mandatos. Realizamosinicialmente un análisis de discurso y un análisis de contenido de los títulos con el fin deidentificar y clasificar los rasgos de personalidad y detectamos que la mayoría son negativos.Acto seguido, aplicamos un test χ² que nos permitió determinar la existencia de unadependencia entre los rasgos negativos y los períodos analizados. Un Análisis Factorial deCorrespondencias Simples posibilitó identificar tres grupos con algunas modalidadesasociadas. La decisión de conformar estos grupos fue luego confirmada por un Análisis deClasificación Jerárquica. Los rasgos agrupados según un ethos preponderante constituyenaspectos nucleares en la figura de un Presidente y su variación a lo largo de los cuatroperíodos analizados no responde a un criterio cronológico sino que parece guardar relacióncon las vicisitudes del escenario político

The present work analyses the fiction of the post-Soviet Russian writers, Vladimir Sorokin, Vladimir Tuchkov and Aleksandr Khurgin against the background of the notion of post-Soviet Russian postmodernism. In doing so, it investigates the usefulness and accuracy of this very notion, proposing that of ‘post-Soviet neo-modernism’ instead. Common critical approaches to post-Soviet Russian literature as being postmodern are questioned through an examination of the concept of postmodernism in its interrelated historical, social, and philosophical dimensions, and of its utility and adequacy in the Russian cultural context. In addition, it is proposed that the humorous and grotesque nature of certain post-Soviet works can be viewed as a creatively critical engagement with both the past, i.e. Soviet ideology, and the present, the socially tumultuous post-Soviet years. Russian modernism, while sharing typologically and literary-historically a number of key characteristics with Western modernism, was particularly motivated by a turning to the cultural repository of Russia’s past, and a metaphysical yearning for universal meaning transcending the perceived fragmentation of the tangible modern world. Continuing the older Russian tradition of resisting rationalism, and impressed by the sense of realist aesthetics failing the writer in the task of representing a world that eluded rational comprehension, modernists tended to subordinate artistic concerns to their esoteric convictions. Without appreciation of this spiritual dimension, semantic intention in Russian modernist fiction may escape a reader used to the conventions of realist fiction. It is suggested that contemporary Russian fiction as embodied in certain works by Sorokin, Tuchkov and Khurgin, while stylistically exhibiting a number of features commonly regarded as postmodern, such as parody, pastiche, playfulness, carnivalisation, the grotesque, intertextuality and self-consciousness, seems to resume modernism’s tendency to seek meaning and value for human existence in the transcendent realm, as well as in the cultural, in particular literary, treasures of the past. The closeness of such segments of post-Soviet fiction and modernism in this regard is, it is argued, ultimately contrary to the spirit of postmodernism and its relativistic and particularistic worldview. Hence the suggested conceptualisation of post-Soviet Russian fiction as ‘neo-modernist’.

Cette thèse porte sur le rôle politique de diverses formes d’humour graphique – la charge, la caricature, la bande dessinée, la gravure et le détournement d’image photographique – publiées dans la presse indépendante, sous le régime militaire brésilien instauré à la suite du coup d’État du 31 mars 1964. Il s’agit d’analyser les styles, les mécanismes et les pratiques contestataires spécifiques au dessin d’humour et à l’image satirique à partir de l’institutionnalisation du pouvoir autoritaire et jusqu’à la réinvention des moyens d’expression indépendants au début des années 1980. Dans un contexte de fermeture progressive du régime, de répression policière, de rétrécissement drastique du champ légal de l’action politique et de sévères limitations imposées à la liberté d’expression, l’humour graphique fut employé par les rédactions afin de contourner les diverses formes de censure et de lutter contre l’imaginaire autoritaire. La réinterprétation de certaines pratiques inscrites dans la tradition de l’humour visuel brésilien, construite à partir de l’essor de la presse imprimée au XIXe siècle, fut accompagnée d’innovations esthétiques, thématiques et militantes majeures dans un rapport mouvant à l’interdit, au toléré et à l’autorisé. Les périodiques, les dessinateurs et événements furent représentatifs d’importantes étapes dans l’élaboration des luttes symboliques et légales menées par les rédactions indépendantes. La diversité des sources iconographiques, manuscrites, imprimées et orales révèle l’important pouvoir de synthèse et le rôle fondamental de l’humour graphique dans la construction d’univers visuels thématiques caractéristiques des combats – et des divergences – des mouvements brésiliens de l’opposition démocratique
This thesis deals with the political role of various forms of graphic humor – charge, caricature, cartoon, engraving print and photomontage – published in the independent press under the military regime established as a result of the 31st march 1964’s coup. We analyse the styles, mechanisms and protester practices specific of humoristic drawings and satirical images from the authoritarian power’s institutionalization to the reinvention of the independent ways of expression in the early 80’s. Against a background of progressive regime’s closure, police repression, extreme reduction of the legal scope of political action and severe restrictions imposed on freedom of expression, the graphic humor was used by the editorial offices in order to circumvent the various forms of censorship and fight against the authoritarian imaginary. The reinterpretation of some practices that has been part of the Brazilian visual humor tradition built from the rise of the print press in the XIXth century, was accompanied by major aesthetic, thematic and militant evolutions in a moving connection with the forbidden, the tolerated and the allowed. The newspapers, the cartoonists and the events were representative of important steps in the development of symbolic and legal struggles led by the independent editorial teams. The diversity of iconographic, manuscript, printed and oral sources reveals the huge synthesis power and the crucial purpose of graphic humor within the building of thematic and visual universes characteristic of the fights – and the discrepancies – of the Brazilian democratic opposition’s movements
Esta tese se dedica ao estudo do papel político de várias formas de humor gráfico – tais como a charge, a caricatura, a história em quadrinhos, a gravura e o corte-colagem de fotografia – publicadas na imprensa independente durante o regime militar brasileiro, a partir do golpe do 31 de março de 1964. Se trata de analisar os estilos, os mecanismos e as práticas contestatórias específicos do desenho de humor e da imagem satírica a partir da institucionalização do poder autoritário e até a reinvenção dos meios de comunicação independentes no começo dos anos 1980. Num contexto de fechamento progressivo do regime, de repressão policial, de diminuição drástica do campo legal da ação política assim como de severas limitações impostas à liberdade de expressão, o humor gráfico foi empleado pelas redações para contornar as diversas formas de censura e lutar contra o imaginário autoritário. A reinterpretação de certas práticas inscritas na tradição do humor visual brasileiro, construida a partir do crescimento da imprensa no siglo XIX, foi acompanhada de importantes inovações estéticas, temáticas e militantes numa relação em movimento com o proibido, o tolerado e o autorizado. Os periódicos, os cartunistas e eventos foram representativos das maiores etapas de elaboração das lutas simbólicas e legais por parte das redações independentes. A diversidade das fontes iconográficas, manuscritas, impressas e orais revela o importante poder de síntese e o papel fundamental do humor gráfico na construção de universos visuais temáticos caraterísticos das lutas, e das divergências, dos movimentos brasileiros da oposição democrática

This study involves an investigation into the use of satire and humour as strategies of communication. The poetry of four Tsonga poets selected for study includes these strategies which are investigated for the purpose of determining the extent to which they function as strategies of communication. The study consists of four chapters which can be summarized as follows: CHAPTER 1 contains the introduction, aim, scope and method of approach of the entire study. Theories and definitions of satire and humour are also presented here. In CHAPTER 2 the poems selected for study are analysed in terms of invective, subtle and light-hearted satire. CHAPTER 3 focuses attention on the style of presentation of comic and derisive humour. CHAPTER 4 highlights and elucidates the most significant findings of the study. The most competent poet of the four at using satire and humour is identified and his excellence declared and justified
African Languages
M.A. (African languages)

Ce mémoire a pour but d'envisager les liens entre l'œuvre romanesque et le contexte dans lequel elle est apparaît en faisant l'analyse d'une œuvre produite dans le contexte très particulier de la Révolution tranquille, L'Hiver de force de Réjean Ducharme. Notre travail se propose de mettre en perspective la contradiction apparente qu'il y a dans cette œuvre entre l'omniprésence du social (événements ou faits culturels, politiques, sociaux, etc.) et le rejet sans cesse affirmé de la part des narrateurs de tout ce qui a trait au social. Ainsi, nous nous sommes demandé si le roman de Ducharme faisait la satire de ce que nous avons nommé, à la suite de Marc Angenot, le discours social. Dans un premier temps de notre travail, nous avons donc dressé un portrait des notions-clés qui guident nos analyses textuelles : dialogisme, intertextualité, mais aussi certaines notions empruntées à la sociocritique telles que les notions de discours social ou de discours culturel. Dans un deuxième temps, notre analyse nous aura permis de constater que la représentation de la culture québécoise dans l'œuvre contribue à mettre en évidence d'une part l'omniprésence de cette culture québécoise (notamment par le nouveau média qu'est la télévision) et d'autre part le rapport ambigu que les deux narrateurs entretiennent avec elle. En effet, même s'ils rejettent cette culture, ils en sont de grands consommateurs. Ainsi, leur attitude, par ailleurs souvent naïve, conduit à remettre en question la légitimité de leur point de vue et la valeur de ce qu'ils affirment. Or nos analyses nous auront permis de voir que la naïveté permet de mettre en valeur les différents discours dont les narrateurs se font les relais. Enfin, l'analyse, lors d'une troisième et dernière partie, des discours des élites artistiques et politiques, nous aura conduite à conclure que si la satire existe bel et bien dans l'œuvre, elle est faite essentiellement dans un but caricatural, pour mettre en évidence les défauts et les failles de ces discours. Nos analyses nous auront également permis de conclure que le rôle des narrateurs est surtout, par leur naïveté et leur attitude qui confine souvent au nihilisme, de mettre à distance de façon ludique les discours. Le rôle de l'auteur par contre, beaucoup plus problématique, semble être de récuser certaines idéologies tout en invitant le lecteur à trouver sa propre voix dans ce brouhaha de discours. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Ducharme, Bakhtine, L'Hiver de force, Dialogisme, Intertextualité, Satire, Social/Société, Culture, Politique.

The thesis deals with the comic aspect of the first decade of Jan Neruda's vast column work. The main goal of the thesis is to define and clearly arrange the vague terms in the comic area as well as delimit the column within the author's entire journalist work. The first part of the thesis summarizes the research efforts made so far into Neruda's column journalism focusing on its comic component. The main part of the thesis is dedicated to the two basic forms of literary comic in Neruda's columns, satire and humour, specifically their foundations, means, forms, goals and topics. The incidence, stability and/or variability of the given comic tools are also discussed. In addition, the thesis describes the interrelating factors that significantly affected the form of the author's column comic in the decade observed: the then social and political climate, Neruda's model reader and (self) censorship. KEY WORDS Neruda, column, comic, satire, humour

À la lecture du blogue intitulé Jon Swift, ainsi que des suites du visionnement de plusieurs émissions télévisées parodiant les méthodes d'autres émissions conventionnelles (The Daily Show with Jon Stewart, The Colbert Report, Saturday Night Live, etc.), force nous a été de constater que l'utilisation de la satire prenait un nouvel essor au sein des médias contemporains. Nous arrêtant plus précisément au blogue Jon Swift, agrégat en ligne de textes satirisant la politique américaine, nous nous sommes donné pour tâche d'évaluer l'espace qu'occupe l'énoncé satirique au sein du discours public contemporain. Pour ce faire, nous avons échafaudé un processus en trois étapes, s'appuyant sur l'hypothèse que la satire nous offre une tentative de lecture du monde et donc, ne peut se lire qu'en regard d'un contexte précis. La première étape consistait donc, selon cette hypothèse, à mettre en place le contexte d'émergence de la satire contemporaine : la dégradation des standards journalistiques, les dérives intellectuelles du discours politique, ainsi que la mise en place d'une infrastructure médiatique originale (internet) ouvrant de nouvelles portes à l'énonciation satirique à proprement parler. Nous avons ensuite analysé les mécanismes de fonctionnement de la satire classique, en utilisant quelques ouvrages choisis de Jonathan Swift, l'inspiration démontrable du blogue Jon Swift. Plusieurs des éléments constitutifs fondamentaux de la satire swiftienne - persona, attaques et distorsions rhétoriques - ont subséquemment été retrouvés dans le blogue Jon Swift. Combinant ces aspects classiques aux possibilités originales offertes par le web et la culture du web, nous avons, dans un troisième mouvement, exploré l'influence qu'exerce la satire sur le discours publique en général. Sans pouvoir arriver à une conclusion définitive quant à l'impact de l'énoncé satirique, il a été possible de démontrer comment celui-ci peut servir d'outil propre à déconstruire les fictions ayant cours au sein des sphères médiatique, politique et culturelle. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : satire, blogues, Jonathan Swift, médias, politique, journalisme.

The subject of this work is analyses and interpretation of David Lodge´s campus novels. In the concrete, the diploma paper is focused on sources and elements of comicality, especially humour, satire and parody, in Lodge´s free trilogy Changing Places, Small World and Nice Work. The starting point of this diploma paper is characterisation of the genre of the campus novel, with the inclusion of the social situation in the period of the genesis of this genre, and the short outline of its representatives, with emphasis on the novel of Kingsley Amis Lucky Jim. In the following the work considers the ways of the realisation of comicality in the text and from this basis the practical part derives. The main aim is to point out the ways of usage of comic in Lodge´s campus novels and this purpose is achieved in the analysis of the particular texts.

Although the combination of humour and holocaust may seem rather startling, further analysis of humour characteristics brings to light its significant functions, which, according to the survivors, humour in the holocaust truly fulfilled. Whether it is a matter of being able to see the object of one's attention from several perspectives, from an emotional distance or being able to release accumulated frustrations, there is clear evidence of humour's appreciable role during the holocaust and in the aftermath. Within the framework of coping with the trauma caused by the holocaust experience also emerged holocaust literature dealing with the subject from a humorous perspective, which motivated a lot of debates developed about appropriateness of humour in the holocaust representation. To other controversial works from this area also belong the short stories by Tadeusz Borowski and the novel The Nazi & the Barber by Edgar Hilsenrath. This master thesis follows humour, satire and cynicism as means of coping with traumatic holocaust experience based on the example of the above mentioned works of Tadeusz Borowski and Edgar Hilsenrath, which, according to many critics, tested the limits of holocaust representation thanks to their unusual humorous approach. Thus, the aim of the thesis is to analyze these...

The diploma thesis deals with speech characteristics of Hašek Švejk and translations of the novel into Russian, focusing on humor and satire. The aim of the thesis is to analyze, compare and critically evaluate Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov with a Czech original novel focusing on humor and satire. In addition to the translation of Bogatyryov, the thesis will also focus on the translations of Mikhail Skachkov and the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of translators, Hašek's author style and speech characteristics of the main character of the novel. In the practical part, the thesis focuses on the analysis of translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humor, satire, Pyotr Bogatyryov, Mikhail Skachkov, translatological analysis, V. Lavrova, A. Fyodorov

Nas últimas décadas, o jornalismo tem alterado o modo como representa a política. A pressão económica, a crescente comercialização da linha editorial, o desinteresse da população por aquele tema e a alteração dos gostos das audiências explicam as mudanças na cobertura noticiosa, cada vez mais voltada para uma abordagem de soft news, com conteúdos mais apelativos e portanto mais comerciais. Assim, a cobertura jornalística da política passa a integrar estratégias de modo a atrair e a fidelizar os eleitores, nomeadamente em períodos eleitorais. O uso do humor e da sátira foram fundamentais na aproximação entre os políticos e os eleitores nos programas de infotainment, fornecendo contextos e temas para a discussão no espaço público. Em Portugal, estes programas têm sido levados a cabo principalmente pelo grupo humorista, Gato Fedorento. Neste contexto, a presente investigação tem como objetivo identificar as estratégias de representação da política no discurso humorístico, através da análise do formato, do enquadramento e do tom da rubrica e identificar a sua relação com a narrativa jornalística, através da análise dos temas dominantes e da cobertura dos partidos e protagonistas políticos. Para tal, foi analisada a rubrica da TVI (Televisão Independente) “Isso é tudo muito bonito, mas” e utilizado o método de análise de conteúdo. A investigação utilizou o método complementar da entrevista, realizando-a aos protagonistas da rubrica e a jornalistas políticos para melhor compreender as estratégias e objetivos da rubrica. Esta investigação permitiu concluir que a rubrica propôs uma visão distinta da campanha num formato de jornal televisivo que fazia o acompanhamento diário das atividades de campanha num registo convencional, mas seguindo de perto a agenda jornalística bem como os critérios de noticiabilidade tradicionais. Concluímos também que o próprio formato da rubrica constituiu uma crítica ao jornalismo através de uma “cobertura de segundo grau”.
In the last decades, journalism has changed the way it represents politics. The economic pressure, the increasing commercialization of the editorial line, the population’s disinterest in the theme and the modification of the audiences’ tastes, explain the changes in the news coverage, each time more focused towards a soft news approach with appealing contents and therefore more commercial. Thereby, the journalistic coverage of politics starts to integrate strategies to entice and retain the voters, particularly during election periods. The use of humor and satire were fundamental on the approach between politicians and voters in infotainment programs, providing context and topics to discuss in the public sphere. In Portugal, these programs have been carried out by a group of humorists called Gato Fedorento. In this context, the investigation here presented aims to identify the strategies of representing politics in the humoristic speech, through the analysis of its format, framework, the sketch’s tone and identify its connection with the journalistic narrative by the analysis of dominant themes and the coverage of parties and political actors. For such, it was analyzed the TVI’s (Independent Television) sketch “Isso ́ tudo muito bonito, mas” and it was used the method of content analysis. It was also used in this investigation the complementary method of the interview performing it with the protagonists of the sketches and with politic journalists for a better understanding of the sketch’s strategies and goals. This investigation allowed to conclude that the sketch proposed a distinct vision of the campaign in a television broadcast format that made the daily coverage of the campaign activities in a conventional registry, but following closely the journalistic agenda, as well as the traditional noticeability criteria. We conclude as well that the sketch’s format itself constitutes a critic to journalism through a “coverage of seconddegree”.

O infotainment mudou por completo a maneira como os media são vistos atualmente. Algumas das personalidades mais influentes do Mundo, são nos dias de hoje apresentadores destes programas que conseguem mudar a perspetiva que temos de um tema só com uma piada. Os programas de infotainment são utilizados pelos jovens como forma de obterem informação política? Que tipo de efeitos políticos podem os programas de infotaiment causar nos espectadores jovens? Com a utilização de uma meta-análise e de um conjunto de entrevistas, pretende-se responder a estas perguntas e obter outros resultados relevantes para o estudo.
Infotainment has changed completely the way the media are seen today. Some of the World’s most influential personalities are nowadays the hosts of these programs. They can change the perspective we have of a subject with a simple joke. Are infotainment programs used to get political information? Which political effects infotainment programs cause on young viewers? The current dissertation adopts a meta-analysis and a group of interviews to obtain answers to these questions and other relevant results to this study.

OF THE THESIS: The novel Captain Pantoja and the Special Service introduces the second period of Mario Vargas Llosa's literary production, which is caracterized by the simplification of the narration and the discovery of humour. The thesis focuses on the formal and thematic analysis of the novel with the objective to prove that despite the novel is in general humorous and parodic, there could be found some constant topics, known to the readers from Llosa's previous novels, which he had always treated very critically, and he also did so in this erotic and humorous work. Therefore, apart from the analysis of humour the thesis also examines the critical approach to the social problems present in the novel. The analysis also shows that the narration is slightly simplified in comparison to the author's formers works, but it still perfectly demonstrates the unconventional narrative techniques, which Vargas Llosa has used since the 1960's, since the period of the new hispano-american novel. KEY WORDS: Mario Vargas Llosa, Captain Pantoja and the Special Service, The Time of the Hero, The Green House, Latin American boom, Hispano-American new novel, total novel, experimental narrative techniques, types of humour and irony, humorous prose, parody, erotic novel, libertine prose, rainforest, criticism of the...