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O artigo pretende analisar os procedimentos irônicos e descritivos do po­ema “Ideias íntimas” (Álvares de Azevedo), eleitos para forjar um conflito com o sistema poético tradicional e seu tempo artístico. O texto discute a construção do eu lírico como um poeta que se apresenta como um es­tudante do curso de direito que, interrompendo os estudos, contempla, expõe e interpreta algumas imagens de obras de arte de sua autoria e de outros.

Resumo Este artigo propõe uma leitura de Memórias póstumas de Brás Cubas, de Machado de Assis, a partir da perspectiva irônica do narrador, tema já amplamente estudado por críticos da obra machadiana. Apresenta-se uma revisão de literatura sobre a ironia nessa obra machadiana, por se tratar de um conceito basilar para interpretação da narrativa. As passagens irônicas tangenciam temas da sociedade brasileira do século XIX e se desdobram nos conceitos que nos fazem problematizar a modernidade, tempo em que se percebe a ditadura de padrões de ultranarcisismo. Os conceitos de "ironia", "riso", assim como os subsídios teóricos trazidos pela fortuna crítica do autor, foram fundamentais para o desenvolvimento das ideias propostas nesta análise, que sugerem a polifonia presente no texto e na própria voz narrativa.

This paper is a study about História do cerco de Lisboa (2011) by José Saramago. The aim is to stabelish relations between the literary work and the theory of irony and parody. We have sought, for, to spotlight aspects of these categories into the composition of the narrative considerating the critical hole of the narrator in the rebuilding of the historiographical happenings. From the consideration of this novel as a historiographical metafiction, we have noticed that, as through the irony mobilization as much as through the parody, it is has built into the narrative a critical saying created from the fiction in opposition to a crystallised historical speech considerated as the only one and absolute, the History of Tradition. We have supported on several studies which treat about the irony and the parody in the contemporary historical novel, developing our reading from the method of the textual criticism through a bibliographical research with an interpretative slant. As theoretical basis, we have relied on, among others, the ideas by Hutcheon (1989, 1991), Marinho (1999), Brandão (1945) and Calbucci (1999). Thereby, we have elucidated some aspects what show how the contemporary historical novel História do cerco de Lisboa (2011) does its rereading about the History. [ABSTRACT FROM AUTHOR]

In this article we perform a comparative reading of Responso (1964), the first novel of Juan José Saer, and Las patas en las fuentes (1965), one of the first poems published by Leónidas Lamborghini. Our intention is to analyze why these two works were described as "unreadable" in Argentina during the 60s. As a starting point, we will take into account a common trait: their protagonists, Alfredo Barrios and the Solicitante Descolocado, are subjects that were marginalized after the coup d'état and the Peronism's proscription in 1955. Methodologically, we use Paul de Man's category of "allegory of unreadability" to explore the way in which these works articulate the complex experience of lack of political and linguistic representation. [ABSTRACT FROM AUTHOR]

This paper analyzes the use of the hashtag #contémironia in Facebook posts, as well as it moves the concepts of word and counterword, reflecting on irony from Bakhtin's perpective ([1975] 2002; 2010; [1924] 2011). The posts are analyzed qualitatively, according to the Dialogical Discourse Analysis Theory. The text contributes with questions about how the responsiveness of the concrete utterance assumes, in the digital context, varied and productive dimensions to the language studies. It points out that the marking of irony in online text assumes different roles as it takes place, constituting ideological territoriality, counterword and the search for regulation of meanings. [ABSTRACT FROM AUTHOR]

This article aims to analyse the presence and role of humour in some feminist artistic proposals and to determine its points of tension and confrontation with dominant discourses. The argument will be based on some of the previous works related to humour (Bajtín, 1987; Eagleton, 2021) and studies that have analysed its potential within feminism (Merrill, 1988; C. Atance, 2018; Álvarez, 2018). On this basis, an attempt will be made to establish a connection with the defence of the communicative character of confession developed by the philosopher María Zambrano. The ultimate goal will be to show how humour comes to stage from a concrete, situated (Haraway, 1995), affected body (Garcés, 2013), so as to deconstruct hegemonic structures of thought and to find other visions and broader meanings. A creative and communicative process that emerges from the complexity of life to pose, in the artistic field, the question of what is possible through the radical imaginaries offered by humour. [ABSTRACT FROM AUTHOR]

This article is the result of ethnographic research exploring the relationships between social movements for the commons and local institutions in Naples. Proposed as an effective counter-narrative that opposes the clientelistic and corrupt management of public resources, the approach introduced by the Neapolitan commons network has become a model on a national scale and beyond. My aim is to describe the social and cultural factors underlying commoning practices and policies for the commons in a context that expresses specific conceptions of the political. I will dwell, in particular, on the experience of L'Asilo, the first community of commons activists who obtained recognition from the local administration for the 'civic use' of a public building that they had occupied in the historic centre of Naples. [ABSTRACT FROM AUTHOR]

Copyright of Araucaria is the property of Araucaria-Revista Iberoamericana de Filosofia, Politica y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Lingüística y Lenguas Aplicadas (RLLA) is the property of Universidat Politecnica de Valencia, Department of Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Indialogs, Spanish Journal of India Studies is the property of Universitat Autonoma de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia z Filologii Polskiej i Slowianskiej is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Chronica Mundi is the property of Chronica Mundi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The intention of this work is to analyze the photographic reportage “Mexican (B)order movies” by Fabio Cuttica as a product of the imaginary about violence in Mexico. By means of a theoretical approach focusing on the use of the device of irony, we aim to understand the various strategies with which a journalistic photo is able to build, deconstruct or criticize the imaginary about violence as well as the hegemonic discourses on narcoculture.

Las revistas Ombligo y Vital, dirigidas por Vicente Huidobro entre 1934 y 1935, presentan un repertorio de discursos en torno de la Revolución Rusa, el movimiento obrero en EE. UU. y las políticas conservadoras chilenas, gracias al cual es posible redefinir la figura del poeta, generalmente encasillada en la vertiente artística de las vanguardias latinoamericanas. El artículo analiza las polémicas entabladas entre Huidobro e intelectuales chilenos, para lo cual apelamos a nociones provenientes de la teoría de la argumentación propuesta por Perelman (1989). Observamos una ridiculización de la argumentación política mediante comentarios irónicos que refuerzan la denuncia a las doctrinas de derecha. Estos órganos de difusión, entonces construyen una escritura sostenida en la ironía a fin de disputar un lugar privilegiado en el campo literario local, lo que obliga al propio Huidobro a revisar su proyecto creador y, en consecuencia, a restablecer los préstamos entre vanguardia artística y vanguardia política.

Con el fin de explorar los aportes de Kierkegaard a la teoría literaria en conexión con la filosofía, este estudio aborda dos cuestiones: el modo específico como Goethe introduce en Los años de aprendizaje de Wilhelm Meister el drama shakesperiano Hamlet, como una forma paradigmática del Bildungsroman. Este antecedente permite valorar la propuesta de Kierkegaard sobre lo que denominó “ironía dominada”, en la cual Shakespeare tiene también un papel relevante. Mi objetivo es hacer una lectura de Hamlet, no exhaustiva pero sí detallada, desde los rasgos más específicos de la ironía kierkegaardiana. / In order to explore Kierkegaard’s contributions to literary theory in connection with philosophy, this study addresses two issues: how Goethe introduces Wilhelm Meister’s Apprenticeship into the Shakespearean drama Hamlet, as a paradigmatic form of the Bildungsroman. This background allows us to assess Kierkegaard’s proposal on what he called “Irony as a Controlled Element” in which Shakespeare also plays an important role. My objective is to present a reading of Hamlet, not exhaustive but detailed, from the most specific features of the Kierkegaardian irony.

En este artículo me propongo contrastar el comportamiento de dos tipos de elementos vinculados con la expresión de la evidencialidad en español, al parecer y por lo visto, y las locuciones consecutivas ilativas así que, conque, de manera/modo que. Mi objetivo es demostrar que la ironía, como interpretación que se documenta en los evidenciales morfológicos, también se puede atestiguar en español, si bien de manera distinta según el modo en que se expresa la fuente de la información: en el caso de al parecer y por lo visto como marcas de ironía, según ya apunta Santamaría (2009); en cuanto a las locuciones consecutivas ilativas, como indicadores. Demostraré que la manera de explicar la evidencialidad a partir de la relación entre situaciones discursivas, de acuerdo con el modelo formal que desarrolla Speas (2010), ayuda también a comprender el comportamiento como indicadores de ironía de las locuciones consecutivas ilativas en contextos concretos.

Don Quijote de la Mancha, la novela de Cervantes, ha sido fuente de inspiración para muchos autores posteriores. Los creadores de microrrelatos se inspiraron especialmente en sus aventuras; entre ellos, se encuentra el escritor argentino Marco Denevi. Las Falsificaciones de Denevi recrean frecuentemente diversos episodios quijotescos; y don Quijote, Sancho y Dulcinea son personajes centrales de las historias mínimas del autor. Según veremos, el humor y la ironía son rasgos dominantes de estas historias.

Bobók é um dos contos mais representativas de Dostoiévski. A obra critica as ideologias dominantes, baseando-se no humor para destronar as vozes de autoridade. Assim, o artigo visa discorrer acerca da importância da literatura de Dostoiévski para a formação crítica social por meio do riso, versando sobre a notabilidade do elemento risível para a atenuação das desigualdades e, assim, contribui para reafirmar a necessidade da literatura do riso para a reflexão social.

Este artículo analiza la relación entre la poética del discurso fantástico y la del humorístico que tiene lugar en Institutos, obra del colectivo de creadoras de cómic conocido como Caniculadas. Ambos discursos comparten una estructura formal basada en el relato breve que finaliza con un giro argumental en el que encontramos una mezcla de efectos: terror y risa. Estos dos efectos operan, sin embargo, en diferentes niveles discursivos. Por una parte, en la estructura profunda existe una historia terrorífica basada en leyendas urbanas que son decodificadas desde una perspectiva irónica. Por otro lado, en el nivel más superficial, el lector encuentra un cierto tipo de broma que atempera el miedo causado por un relato insólito. Estas dos tendencias narrativas se solapan una sobre la otra creando un texto polifónico. Lo fantástico pervive como la huella de un viejo discurso heredado que ha sido renovado por una perspectiva femenina moderna y subversiva.

Este artículo de reflexión procura un acercamiento a aquellos factores que pueden detonar el paso del humor/ironía a la ofensa en contextos educativos. Se basa en dos investigaciones de corte histórico-hermenéutico que indagan por el lugar de la ironía y el humor del docente, al igual que sus efectos perlocutivos en los estudiantes, a través de entrevistas semiestructuradas. En el marco de una perspectiva pragmalingüística que concibe a la ironía como dispositivo retórico, sociodiscursivo, carnavalizante y pedagógico-didáctico, y al humor como un tipo de comunicación non bona fide apoyada en la incongruencia, este texto explora seis escenarios de discusión que podrían explicar esa borrosa línea entre la risa y la ofensa, a saber: la construcción de una comunidad discursiva empática, la vigilancia de una informatividad desatada, la lectura de horizontes de expectativas, el respeto por una memoria sacralizada, la cautela por preservar lo privado y la intuición de una urgencia vital superada. Tales factores confluyen en la necesidad de una actitud de tacto y prudencia por parte del docente que cultive la conciencia del lenguaje y el principio del Kayrós ante la condición non bona fide de estos fenómenos sociodiscursivos. En suma, la reflexión apuesta por una diferencia entre el reír con (humor/ ironía que consigue efectos pedagógico-didácticos en el aula) y el reír de (fenómeno fallido proclive a la ofensa y el irrespeto).

Copyright of Domínios de Lingu@gem is the property of Dominios de Lingu@gem and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of Hungarian Studies / Hungarologiai Kozlemenyek is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Our article proposes a literary analysis of an important episode in the Gospel of John: that of the resurrection of Lazarus, narrated exclusively in the Gospel quoted in chapter 11, verses from 1-55. Our reading will try to stick to some elements: 1. standard scenes and parallelisms; 2. the construction of moments of narrative suspense and tension; 3. the characterization of the characters, with an emphasis on the construction of the figure of Jesus in the episode; 4. the handling of codes and procedures linked to the notions of "realism" and "irony". Our analysis will be based on the translation of the Gospel of John made by Frederico Lourenço (2017). As a theoretical basis, our research is based on A arte da narrativa bíblica (ALTER, 2007), New testament history and literature (MARTIN, 2012), Mimesis (AUERBACH, 2021), Abaixo as verdades sagradas (BLOOM, 2012), and Ironia e suas refrações (ALAVARCE, 2009). [ABSTRACT FROM AUTHOR]

Copyright of Cincinnati Romance Review is the property of University of Cincinnati, Department of Romance Languages & Literatures and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Em sua gênese, a Retórica era utilizada como ferramenta analítica para o estudo das especificidades persuasivo-argumentativas dos discursos públicos (especialmente no âmbito político e judicial). Com a evolução dos meios comunicacionais, esse campo do conhecimento expandiu seus limites de análise para discursos que extrapolam a expressão verbal. Neste artigo, buscamos demonstrar como a Retórica pode ser utilizada para investigar um discurso proveniente de uma prática comum de nossos dias: a postagem e o consumo de vídeos em sites de compartilhamento. Assim, com base em um vídeo extraído do YouTube, analisamos como um orador pode persuadir seu auditório por meio do humor. Quanto à metodologia, uma análise qualitativa, que se fundamenta em pressupostos retóricos, paremiológicos e linguístico-discursivos, será empregada. Perscrutaremos, com mais ênfase, as estratégias retórico-discursivas utilizadas pelo orador, notadamente a figura da ironia e o deslindamento de enunciados proverbiais, e ponderaremos acerca do alcance retórico-argumentativo de tais estratégias.

El artículo se centra en el análisis de críticas ordinarias formuladas por inmigrantes latinoamericanos con respecto a situaciones experimentadas en el marco de las relaciones laborales o ante la administración pública. Tras la exposición de las denuncias de acciones consideradas injustas y de las formas discursivas empleadas al hacerlo, se pone en evidencia las condiciones de posibilidad del diálogo y de la escucha, así como las diferentes lógicas y economías morales presentes según los contextos. Se destaca el contraste entre el discurso público y el privado, el juicio inmediato y el retrospectivo, y cómo la reapropiación reflexiva de los hechos mediante el relato contribuye a restablecer temporal y localmente la integridad moral de los agentes sociales.

L’ironia e il soprannaturale, due aspetti del Furioso collegati l’uno all’altro, sono state tra le questioni più studiate dalla critica ariostesca degli ultimi anni. Una delle tesi che è stata proposta riguarda l’«insegretimento» dell’ironia nel Cinquecento. Più o meno consapevolmente rimossa dai primi lettori del Furioso, l’ironia sarebbe stata riscoperta e valorizzata solo diversi secoli dopo, mettendo noi lettori di oggi in una posizione migliore per apprezzare i procedimenti attraverso cui il Furioso raggiunge i suoi effetti ironici e il particolare statuto del soprannaturale che caratterizza il poema, per capire quindi ciò che c’è di “ariostesco” in Ariosto. Il presente contributo riesamina il problema della specificità dell’Orlando furioso sia dal punto di vista delle caratteristiche testuali sia da quello del modo in cui sono state notate nel tempo e si propone di dimostrare che la comprensione di un determinato aspetto del testo non coincide necessariamente con l’adeguatezza degli strumenti teorici utilizzati per descriverlo.

O artigo tem como objetivo explorar o que chamamos de “feminismo irônico” da série televisiva Crazy Ex-Girlfriend (The CW, 2015-2019), a partir da percepção de que a obra aciona a ironia como artifício para apresentar contrapontos críticos à própria narrativa. Nossa análise concentra-se nos números musicais, que, como argumentam Ford & Macrossan (2019), é onde se materializa essa estratégia. Nosso argumento parte da hipótese de que a ironia é um recurso narrativo complexo, utilizado a fim de incorporar a discussão sobre gênero de forma bem-humorada e amparada em um léxico de jargões candentes nos debates contemporâneos.

El texto colonial El Güegüense se considera un testimonio de la cultura indígena centroamericana, ya que muestra la realidad colonial y la vivencia de grupos marginados que no tenían voz, pero que se valieron de este tipo de manifestaciones para denunciar todos aquellos aspectos de la vida social impregnados de injusticias, corrupción, abusos de poder. No es de extrañar, entonces, que un texto así haya sido motivo de múltiples estudios: desde históricos, hasta sociales, literarios y lingüísticos. El acercamiento que aquí se presenta es más de tipo lingüístico porque se concentró en el análisis de la referencia que permite dar seguimiento a los participantes del discurso por medio de diferentes recursos gramaticales observables a lo largo de la obra. Este conteo mostró la presencia mayoritaria del vocativo con una clara intención irónica de denuncia social.

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research presents an analysis of the dialog between parody and irony, as a gender and a literary modality respectively, through its subversion function in the "Seventh book (Journey the dark city of Cacodelphia)" of the novel Adán Buenosayres by the argentinean writer Leopoldo Marechal. This study starts with an introductory approach to the general context of the novel, where narrative structure, the positioning of the modern man as the hero of the 20th century are discussed, along with the implicit parody in the "Journey to the dark city of Cacodelphia" and its predominant irony, both as subversive elements of transgression of the represented literary canon, in this case by the "Hell" of the Divine comedy by Dante Alighieri. [ABSTRACT FROM AUTHOR]

The paper, by means of a hermeneutic method supported by documentary review, states that, takin intent into consideration, it is no possible a discourse simultaneously political and ironic. It has five sections: first, an analysis of the posture assuming the use of irony in political discourse. Second, a profile of the ironist and his presence in politics as troublesome. Third, the negative and private function or use of irony stressing its political impropriety. Fourth, three types proper of political discourse, which exclude and replace irony: parrhesía, cynicism and post-truth. Finally, the paper closes explaining the political inadequateness of irony. [ABSTRACT FROM AUTHOR]

In this paper, I analyze the construction of the trope of irony in a political interview, more specifically the interview with a Spanish politician on television in 2013. Its context is the emergence of the 15M, a citizen's protest movement against the cuts imposed by the European Union and the Spanish Government. From a theoretical-methodological point of view, I adopt a holistic perspective, inspired by Halliday's approach of jointly analysing the form-function relationship and White's constructivism. I also review the different definitions and explanations of irony. After analysing the formal resources that construct irony, I give an account of the cognitive frameworks that are opposed in this discourse, and finally describe their narrative disposition and the communicative functions that those resources fulfill. [ABSTRACT FROM AUTHOR]

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Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Romanistica is the property of University of Ostrava, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Media Research / Zeszyty Prasoznawcze is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Porównania / Comparisons. A Journal on Comparative Literature & Interdisciplinary Studies is the property of Adam Mickiewicz University Poznao, Press of "Poznanskie Studia Polonistyczne" and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay explores the works and thought of Emilia Prieto Tugores (1902-1986) as recorded in selected xylographs and essays published in Joaquín García Monge's Repertorio Americano. Our analysis identifies irony and poetics as key elements in aesthetic and political terms of the creative discourse in her work, and they are linked to her political activism and ideas, as well as a feminist critique of clerical, military, colonialist, and imperialist structures in Costa Rica beginning in the 1930s. [ABSTRACT FROM AUTHOR]

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O artigo pretende mostrar como a chamada “ironia socrática” desempenha papel central nas obras literárias e filosóficas de Schlegel, Tieck e Novalis.

The article suggests a closeness to Lope de Vega´s book of poems through the analysis of five sonnets which propose the dilemma related to the figure of the author. We are interested on the observation of the particular characteristics of this Play: the develop of the heteronym, the links with the tradition, and the paradox of the writing. The ironic sight of an old Lope is the perspective that creates the universe of this Rimas and establish the extratextual world. The disappointment in front of his need of recognition, his efforts to build a successful image that confronts with the hostile environment of the Court, his finantials difficulties, and his controversies with the literates of that time, weaves a complex net that makes eclosion in the mocking tone of this Rimas. The creation of a subject who is also the fictional author of the Play introduces into the poetical scene the first heteronym in the history of Spanish Literature. The author Lope changes his role to editor of his own Play, and so begins a series of games that duplicate masks and blur identities to cahnnel to the Barroque paradoxes materialized in the conflicts of the written word.

A dolgozatban azt vizsgálom, hogy a relevanciaelmélet milyen értelmezését tudja adni a tisztán nyelvi és a nyelvi összetevőt is tartalmazó multimodális humorjelenségeknek. Mivel kognitív pragmatikai elmélet, amelyet nem a humor magyarázatára dolgoztak ki, hanem a kommunikációnak mint a valóság megismerésére irányuló információfeldolgozásnak az általános modelljeként, tisztázásra szorul, hogy fogalmi apparátusa és alaptézisei mennyiben alkalmasak a humor természetének megragadására. Dinamikus kontextusfelfogása és a következtetési műveletek középpontba állítása kifejezetten előnyös a humoros diskurzusok mélyreható magyarázatában. Kérdéses viszont, hogy mindent átfogó kommunikációs alapelve hogyan vonatkoztatható a humoros szándékú megnyilatkozásokra, amelyek jellemzően kijátsszák a relevanciakeresés heurisztikáját, miközben a humoros hatás szempontjából mégiscsak relevánsak. Ha a humorral nem is, a vele sűrűn összefonódó iróniával a relevanciaelmélet a kezdetektől foglalkozik, ezért ezt a fejezetét kritikus elemzésnek vetem alá. A nyelvi példákat többféle műfajból, illetőleg szövegtípusból merítem.