Grotesque in Dickens

Dickens's use of the grotesque in his novels undergoes a variety of changes. For convenience sake, and to better illustrate the developments of the grotesque, I divide the novels into three separate groups. The first group, the period of experiment, included the novels from Pickwick Papers through Barnaby Rudge; the second group, the period of transition, includes the novels from Martin Chuzzlewit through David Copperfield; and the third, the period of a new vision. included the novels from Bleak House through Edwin Drood. Basically, I see the development of the grotesque involving a change in Dickens's conceptions of society, as well as responding to complex changes in society itself; Dickens's vision loses much of its humor in the end, yet it also reflects a definite maturity.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Humor gráfico: o sorriso pensante e a formação do leitor

This research investigates the graphic humor, in particular the political cartoon and the cartoon, texts characterized by mixing visual-oral language, and its contribution in the formation of the reader. Recovers the main theories about the comicality in general and verifies the presence of these concepts into the texts of graphic humor and how they articulate themselves within the process of seducing the reader. Grounded in the studies of Umberto Eco about the cultural industry products and its relations with the literary theories and the aesthetics reception. After analysing texts of graphic humor, the study concludes that the triad, image-word-humor reveal a sophisticated arrangement which allows the reader to practice effectively the political cartoons and cartoons of production, of sense, cooperating in such a singular manner to the formation of a reflexive reader

Legendagem e dublagem: diferenças na tradução do humor

This work aims on an approach concerning on Translation Theories, as well as the translational difficulties, the linguistic barriers with which the translator must know how to deal, the role of the translator as a conscious subject of his work while creating new texts and producing meanings. We will develop a discussion focused on the audiovisual translation practice which means the translation for subtitles and dubbings. It will be shown the translation process on both modalities and also the issue about the translation of humor in each of them, as the translator must use his translational skill, cultural and linguistic knowledge and creativity, not only to circumvent the rules imposed by the audiovisual translation market, but also to be able to create a new language for each character presented in the original material, so that the translation in Portuguese language may contain proper traces of humor from the Brazilian culture. Our main goal is an attempt to explain the reason for so many questions from the public who does not know the rules in the market for subtitling and dubbing translation and sometimes criticize the work of the translator if they realize any ‘loss of information’ or ‘a translation very poorly done’. Theories and arguments which prove that no translation is done badly, but it goes through recreations and modifications whenever it is necessary will be presented. By the explanation of this translation process, citation of translators who work in this area telling about their experiences and selected examples of translations from the ‘Everybody hates Chris’ sitcom, we hope to reflect and clarify such doubts.

A produção e a compreensão do humor por uma criança bilíngue: um estudo de caso

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

A arte nas ondas do rádio: ações e procedimentos para esta prática

This paper proposes an extension of the personal experience of the listener through radio. The radio, because it is a medium of reaching, disseminating and having considerable accessibilities towards the production of its contents, and if exploited, could very well combine functionality with aesthetics in the production and broadcasting of programs, something that makes the radio not only a means for transmission of information. In the production of dramatic art, for example, the use of other elements, such as sound effects, may suggest form and consistency to the object described during the practice of radio utterance. The proper combination of function and aesthetic in music, sound effects and voiceover radio can change the mood of the listener and even promote their creativity.

Elementos constitutivos do humor em sitcoms: uma análise à luz dos estudos da tradução baseados em corpus

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Estados emocionais e atividade física em idosos: contribuições da literatura brasileira

This study with qualitative nature aims to analyze the impact of external factors on mood states, considering physical activity as an important factor to improve not only the physical, but also psychological factors, especially when we think of the activities performed in-group. Thus, a literature review was conducted in order to investigate in books, journals, scientific papers published in magazines, newspapers and electronic platforms the influence of exercise on emotional states of elderly people. The terms used across the curriculum contributed to the conformity of ideas on the subject. By checking some researches, it can be seen that external factors such as music, local infrastructure, professional relationship with the elderly people and other factors have been suggested as possible influencers of humor in physical activity. Knowing the preferences beyond the close contact with the elderly student, is the best way to affect possible aspects of the activity beyond just preventing circumvention of activity, avoiding sedentary lifestyle that will bring risks to the health of the elderly people

An ERP study of major-minor classification in melodies

COMPOSERS COMMONLY USE MAJOR OR MINOR SCALES to create different moods in music.Nonmusicians show poor discrimination and classification of this musical dimension; however, they can perform these tasks if the decision is phrased as happy vs. sad.We created pairs of melodies identical except for mode; the first major or minor third or sixth was the critical note that distinguished major from minor mode. Musicians and nonmusicians judged each melody as major vs. minor or happy vs. sad.We collected ERP waveforms, triggered to the onset of the critical note. Musicians showed a late positive component (P3) to the critical note only for the minor melodies, and in both tasks.Nonmusicians could adequately classify the melodies as happy or sad but showed little evidence of processing the critical information. Major appears to be the default mode in music, and musicians and nonmusicians apparently process mode differently.

Perception of mode, rhythm, and contour in unfamiliar melodies: Effects of age and experience

We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is apparently a subtle dimension in music, despite its deliberate use in composition and despite people's ability to label minor as "sad" and major as "happy."

Direction finding in the presence of a more realistic environment model

Direction-of-arrival (DOA) estimation is susceptible to errors introduced by the presence of real-ground and resonant size scatterers in the vicinity of the antenna array. To compensate for these errors pre-calibration and auto-calibration techniques are presented. The effects of real-ground constituent parameters on the mutual coupling (MC) of wire type antenna arrays for DOA estimation are investigated. This is accomplished by pre-calibration of the antenna array over the real-ground using the finite element method (FEM). The mutual impedance matrix is pre-estimated and used to remove the perturbations in the received terminal voltage. The unperturbed terminal voltage is incorporated in MUSIC algorithm to estimate DOAs. First, MC of quarter wave monopole antenna arrays is investigated. This work augments an existing MC compensation technique for ground-based antennas and proposes reduction in MC for antennas over finite ground as compared to the perfect ground. A factor of 4 decrease in both the real and imaginary parts of the MC is observed when considering a poor ground versus a perfectly conducting one for quarter wave monopoles in the receiving mode. A simulated result to show the compensation of errors direction of arrival (DOA) estimation with actual realization of the environment is also presented. Secondly, investigations for the effects on received MC of λ/2 dipole arrays placed near real-earth are carried out. As a rule of thumb, estimation of mutual coupling can be divided in two regions of antenna height that is very near ground 0

"Contra toda forma de opresión" : Sexo, política y clases medias juveniles en las revistas de humor de los primeros '70

Este artículo explora cómo las revistas de humor político-cultural de los primeros '70 devinieron una fuente de autorreflexión para un público, o espacio social, que se constituyó en torno a ellas. A partir del análisis de la más importante de esas publicaciones, Satiricón, es posible aseverar que en términos socio-demográficos ese espacio social se componía de segmentos juveniles de los sectores medios intelectualizados que podían a la vez reírse y hacer reír, en especial cuando se remarcaban incongruencias en sus experiencias sexuales y políticas. Las revistas de humor elaboraron múltiples incongruencias: los llamados a una educación sexual imbricados con la persistencia de viejas creencias sexuales; el lenguaje "psi" domesticando, antes que ayudando a liberar, las represiones sexuales; los varones temiendo por el fin de privilegios ante la afirmación sexual de las mujeres; y, más en general, la militancia política como forma de opresión. Las incongruencias eran la base de lo risible, mientras que en su centro estaban los y las jóvenes de los sectores medios, a quienes se convocaba a un tipo de reflexión que, en ese contexto político, quizá era solo viable a partir de la exageración y del humor

"Contra toda forma de opresión" : Sexo, política y clases medias juveniles en las revistas de humor de los primeros '70

Este artículo explora cómo las revistas de humor político-cultural de los primeros '70 devinieron una fuente de autorreflexión para un público, o espacio social, que se constituyó en torno a ellas. A partir del análisis de la más importante de esas publicaciones, Satiricón, es posible aseverar que en términos socio-demográficos ese espacio social se componía de segmentos juveniles de los sectores medios intelectualizados que podían a la vez reírse y hacer reír, en especial cuando se remarcaban incongruencias en sus experiencias sexuales y políticas. Las revistas de humor elaboraron múltiples incongruencias: los llamados a una educación sexual imbricados con la persistencia de viejas creencias sexuales; el lenguaje "psi" domesticando, antes que ayudando a liberar, las represiones sexuales; los varones temiendo por el fin de privilegios ante la afirmación sexual de las mujeres; y, más en general, la militancia política como forma de opresión. Las incongruencias eran la base de lo risible, mientras que en su centro estaban los y las jóvenes de los sectores medios, a quienes se convocaba a un tipo de reflexión que, en ese contexto político, quizá era solo viable a partir de la exageración y del humor

"Contra toda forma de opresión" : Sexo, política y clases medias juveniles en las revistas de humor de los primeros '70

Este artículo explora cómo las revistas de humor político-cultural de los primeros '70 devinieron una fuente de autorreflexión para un público, o espacio social, que se constituyó en torno a ellas. A partir del análisis de la más importante de esas publicaciones, Satiricón, es posible aseverar que en términos socio-demográficos ese espacio social se componía de segmentos juveniles de los sectores medios intelectualizados que podían a la vez reírse y hacer reír, en especial cuando se remarcaban incongruencias en sus experiencias sexuales y políticas. Las revistas de humor elaboraron múltiples incongruencias: los llamados a una educación sexual imbricados con la persistencia de viejas creencias sexuales; el lenguaje "psi" domesticando, antes que ayudando a liberar, las represiones sexuales; los varones temiendo por el fin de privilegios ante la afirmación sexual de las mujeres; y, más en general, la militancia política como forma de opresión. Las incongruencias eran la base de lo risible, mientras que en su centro estaban los y las jóvenes de los sectores medios, a quienes se convocaba a un tipo de reflexión que, en ese contexto político, quizá era solo viable a partir de la exageración y del humor

Translating and Subtitling Humor Through Theory and Practice

This project assesses translating and subtitling humor in Italian and Spanish language films subtitled into English. Humor in film is problematic to translate when subtitling: visual humor may need no assistance to be delivered to a target audience, but verbal humor requires thorough analysis to be constructed effectively in the target language. To keep humor alive in target language translations, translators must understand the structure and function of humor. This project researches humor theory, translation and subtitling. It analyzes humor function through humor theory and applies this knowledge to translating audiovisual mediums. An understanding of joke structure and humor function can serve as a guide for translators to recognize, devise and evaluate equivalent translations of humor in film.