O riso irônico na obra poética de Cruz e Sousa

This work brings up a review on the poetic works of Cruz e Sousa, a nineteenth-century Brazilian poet. Laughter has been chosen as an analytical category, because it is a pertinent theme which makes possible a more accurate comprehension of the lyric content of Cruz e Sousa s poetic works. The laughter manifested in his verses is seen as a mechanism which compensates both normativeness and seriousness, as well as turns inside out whatever society establishes as being natural or an absolute truth. Amongst his poems, we will focus on the ones which express their lyric nature both through laughter and irony, since these elements serve as a means to criticize the Brazilian society in the late nineteenth-century and early twentieth-century. This study is guided by theories of laughter proposed by Minois (2003), Bakhtin (1993), Bergson (2007), as well as Adorno s (2003) and Antonio Candido s (2010) theoretical assumptions concerning lyric poetry and society

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

De repente do riso fez-se o pranto: representações e expressões do amor e do sofrimento amoroso

Romantic love constitutes a central value in the social imaginary of modern societies and with reflexes in today s society. This is because the romantic expectation of realization of love appears, in the majority of cases, as a guarantee of completeness and happiness of individuals. However, the ideal of romantic love imposes a series of demands and character roles that are not easy, in modern age, to be brought about into practice by the ones in love. And, it is in this sense that possible conflicts appear between the romantic proposition and the practical reality of contemporary love. Consequently, the possibility of suffering from love emerges because of these propositions. Initiating from these presumptions, this paper aims to study the contemporary forms of representation and expression of love and of the suffering because of love, through the course of love in the life of some men and women, residents of Natal/RN, that live and/or have lived emotional-sexual relationships, observing the relationship that can be established between suffering from love and the ideal romantic love

Pastoril: uma educação celebrada no corpo e no riso

By means of the Pastoral one an Education celebrated in the body and the laugh, visible is unmasked by means of cançonetas 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 cançonetas 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 cançonetas of the Pastoral one and the vision through the licentious gestures; a reflection centered in the body of the joker of Pastoral

À luz das inquietas sombras: a criatividade da melancolia na linguagem de Dom Casmurro

Qué se piensa aquí, esencialmente, está a mapear el itinerario de la melancolía creativa en el discurso de Dom Casmurro; es decir, aquél de el cual el valle narrativo de una sensación de la angustia a alçar él él las maneras de la representación en el discurso de Dom Casmurro. El árbol básico en el cual éste estimaba incurre en se basa en el acuerdo de eso que la actual melancolía en el texto del machadiano se puede analizar por las estratagemas de la lengua creativa en la intención de demostrar en él una especie del espacio virtual - el conducir de metáforas, de ironies y del exacerbamento de imágenes - por cuál se prepone el narrador construir su salvación . El propósito es analizar el uso de el proyecto del alegórico y el irónico previstos por el autor en la intención de descubrir pues tales procedimientos contribuyen para crear un texto ese desestabiliza el carácter malsano de la melancolía. Puede propagar lengua creativa de tal manera cuánto otras maneras de la representación de eso las marcas del arte utilizan. Más allá de este traz poético, la contribución de este trabajo también constituye: para componer una escena en la cual el teatralidade de la lengua de Dom Casmurro constituye drama y no tragedia. Después de la pista de los conceptos de los benjaminianas de la melancolía, alegoria, metalenguaje la ironía, vimos que éstos disalign de la voluntad que los estatutos se estabilizaron de las figuras del retórico para consistir mientras que las estrategias de los discursivas. Subyacente a este proceso es posible percibir el flash del rescate de la escritura melancholic, visto bajo luz del saturnine de una mirada que si desea alegórico, en la misma incandescencia de la risa del fáustico

Do picadeiro ao céu : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country

O chiste em Tutaméia: riso que (des)vela

The aim of this paper is to present the study of the laughter in Tutaméia, by João Guimarães Rosa, throughtout the four forewords and ten novels selected from the author s literary work. It is based on the psychoanalytical theory of Sigmund Freud and Jacques Lacan about the laughter (and delight in the humorous nuances) and the unconscious mind. By taking the laughter as the point of exploitation and understanding, the narration can be understood from an esthetical pattern established on the variety of orallity retained by the narrator and the cordel pamphlets (known as string literature ) and its bypassing on the classical literature and the popular literature revealing its own logical linguistic and conception apart from the official one. It is taken a comparative conception of life in the François Rabelais characters and some characters from Tutaméia having Melim-Meloso as a paradigm showing how one s life can be happy in spite of all adversities by using laughter as the antidote potion against human being s misery and pain to achieve sense of freedom and pleasure

Uma visão axiológica do riso na charge

O objetivo deste trabalho é investigar a construção axiológica do riso na charge. Nesse gênero discursivo abordaremos a construção do riso, partindo da hipótese de que o riso constitutivo das relações dialógicas na charge é construído axiologicamente, ou seja, é um riso que presentifica enunciativamente e é por meio dele que chegamos ao axiológico, aos posicionamentos, ao ideológico. Para tanto, nos deteremos na investigação dos elementos verbo-visuais presentes na forma composicional como também do projeto de dizer constituidor/constituinte da forma arquitetônica. Tomamos como fundamento teórico-metodológico as formulações sobre linguagem advindas do Círculo de Bakhtin (2010, 2011, 1998) e outros tais como Faraco (2009), Brait (2009, 2006), Ponzio (2009) que comungam dessa concepção de linguagem. Especificamente sobre o gênero discursivo charge, nos reportamos a Ramos (2009, 2010, 2011) e Vergueiro (2009, 2010). Quanto ao riso, apoiamo-nos em autores como Possenti (2010), Minois (2003), Propp (1992), Bergson (2001), Skinner (2002), no entanto, tendo por principal referência a obra de Bakhtin sobre cosmovisão carnavalesca e riso (1997, 2010). Este trabalho se insere na área da Linguística Aplicada de perspectiva sócio-histórica e tem como tema linguagem, axiologia e riso