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1
Garside, Damian John. "Satire and the satirist : a materialist reading of eighteenth-century satire." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18256.
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Bibliography: pages 480-513.This thesis presents an attempt to engage materialist literary analysis in a serious reconsideration of eighteenth-century satire as satire. In the process I see myself as challenging received notions of how the satire of the period is to be contextualized, as well as the way in which the category 'satire' has been constituted. I do not think it is possible to provide any reading of any satire today without initiating a reappraisal of the very form itself. Here I am attempting to integrate an ancient practice with new methodologies. This would seem to demand a perspective which is opposed to, and involves a critique of, not only the accepted institutional views of satire, but of aspects of the academic literary institution itself. Satire is, I believe, a term or category that should not be historicized and relativized out of existence. It has a significance and importance which is lost in attempts to make it a label of convenience: a convenient name that different literary cultures use to differentiate a particular form from the others available to them. In this thesis I will be focusing predominantly on Swift and Pope, who are not only the great satirists of this crucial period, but who are, arguably, the most subtle (Pope) and the most disturbing (Swift) of satirists who ever wrote.
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Forsberg, Niclas. "Laughing Knives : Satire in the English Classroom." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-51279.
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The aim of this study is to promote the use of satirical content in the English classroom.This study provides an analysis of three interviews with English teachers in the upper secondary school. The analysis compares earlier research with the findings from the interviews. Interview answers show through real experiences that satirical content may help students become more engaged, not only in learning English but in other social and cultural issues as well. Teachers will have to fight their insecurities about satire in order to use satirical content to its fullest potential. However, it is concluded that satire has a great potential in the English language classroom because of the number of advantages it can provide.
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Morton, Sheila A. "Satire's liminal space : the conservative function of eighteenth-century satiric drama /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd384.pdf.
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McDayter, Mark Alan. "This evasive way of abuse, satiric voices in English verse satire, 1640-1700." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ28292.pdf.
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Henderson, Felicity 1973. "Erudite satire in seventeenth-century England." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7999.
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Ashworth-King, Erin L. Barbour Reid. "The ethics of satire in early modern English literature." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2593.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Oct. 5, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English and Comparative Literature; Department/School: English and Comparative Literature.
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Thumm, Sarah Reynard. "Swift's Vexed Satire of Hobbes and Lucretius." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626122.
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Wells, andrew Philip. "The Measure of Satire in Pope and West." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625895.
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Parsons, Ben. "Wounds, words, worlds : injury in Middle English satire, c.1250-1534." Thesis, University of Sheffield, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487612.
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The thesis explores the role of violence and wounding in English satire before the Refonnation. From the analysis of medieval commentary on Juvenal and Horace, and depictions of wounding in medieval culture, a new understanding of satiric aggression is derived. It is suggested that satire and mutilation are connected by their common sense of ambivalence. During the Middle Ages both were invested with two distinct functions: each could enforce a given system of standards and definitions, or be used to dissolve such a system. While this dualism makes disfigurement a natural emblem for satire, it also means that wounding invariably brings to light discrepancies when it. is portrayed in satiric texts. Its flexibility serves to exacerbate the tensions present in the mode. The thesis thus treats injury not only as a central motif in satire, but as a point at which implicit conflicts emerge most clearly. Wounding is used as a means of distinguishing points of friction in the literature. These ideas are applied to the two main traditions of Middle English satire, anticlericalism and antifeminism. In both cases, the ruptures in texts are closely analysed. These in turn are used to identify inconsistencies in medieval culture more widely. The thesis seeks to redress two critical oversights. Firstly, the dual nature of medieval satire has never been explicitly theorised. While the genre's two facets have been examined individually, their coexistence has never been fully investigated. Secondly, vernacular satire is itself an tinder-explored field. Although several studies of Middle English satire exist, these often conflate the literature with unrelated types of text, or reduce English works to echoes of twelfth-century Latin satire. This study treats medieval vernacular satire as an art-form in its own right, with its own unique concerns and complexities.
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Pound, Richard John. "Serial journalism and the transformation of English graphic satire, 1830-36." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408528.
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Stewart, Eleanor McArthur. "Commerce and finance in English graphic satire, ca. 1720 - ca. 1783." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413121.
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Wheeler, Angela J. "English verse satire from Donne to Dryden : imitation of classical models /." Heidelberg : C. Winter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35716182c.
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Jameson, June. "Sarah Fielding : satire and subversion in the eighteenth-century novel." Thesis, University of Sunderland, 2008. http://sure.sunderland.ac.uk/3682/.
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This study of Sarah Fielding (1710―68) is an original contribution to Fielding scholarship that has a dual purpose: to support those who are striving to re-introduce her to the modern literary landscape in an effort to restore her eighteenth-century literary standing, and to firmly establish Fielding as an early feminist writer. It is argued here that throughout her oeuvre Fielding challenged prevailing traditions that denied women a choice, particularly in education, employment and marriage. These themes are also considered in the political treatises of Mary Astell (1666―1731) and Mary Wollstonecraft (1759―97), who are now widely recognised as feminist writers. It is further argued that Fielding’s subversion in fiction of the English patriarchal system is underscored by her unorthodox performance in the literary arena. This is fully explored alongside her use of sentimentalism as a literary tool with which she challenges her seemingly inhumane society. Fielding’s interest in ‘the Labyrinths of the Mind’ (in modern terms, human psychology) will also be addressed as will her placement in the history of feminism and her placement in the sentimental novel tradition. Fielding’s performance as a literary critic will be compared with the few female authors who, like her, dared to publish literary criticism during her writing career. Accordingly, extracts from Fielding’s novels and her two critical pamphlets will be thoroughly examined. An updated biography of Fielding that is also included here will provide evidence for a further claim, that her fiction is autobiographical in part. A comprehensive account of Fielding’s performance as a literary critic forms the final chapter of this work. It is the first full-length examination of her contribution to the genre and includes an appraisal of her recently unearthed critical pamphlet entitled A Comparison Between the Horace of Corneille and The Roman Father of Mr. Whitehead (1750) that is yet to be formerly attributed to her. Ultimately this study of Fielding will go far beyond what has previously been written about this remarkable eighteenth-century author, particularly regarding her feminist activity.
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Musgrave, David. "Figurations of the grotesque in Menippean satire." Thesis, University of Sydney, 1997. https://hdl.handle.net/2123/22725.
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Ignoring for the moment the fact that the very existence of the genre is a contentious issue, menippean satire is a form of writing with a history which extends back almost two and a half thousand years, at least to its legendary origin with Menippus of Gadara in the first half of the third century B.C. Menippus’ writings no longer survive, but some facts of his life are known, largely through the Lives of Eminent Philosophers of Diogenes Laertius. Menippus was a slave who became a pupil of the Cynic Metrocles, purchased his freedom and settled in Thebes where he satirized all formal schools of philosophy and all philosophical elites. Legend has it that he hanged himself, through disappointment at financial ruin. Not entirely inappropriately, then, ‘menippean satire’ has the attraction of having its ‘origin’ as mythic — Donald Dudley has noted that Menippus, “like the Cheshire cat, has faded away to a grin” — an apt condition for a form characterised by unparalleled freedom and invention. (This lack of a defining origin also has important epistemological implications, allowing Menippean satire to inhabit the undecidable boundary region of literature and philosophy on the one hand, and of literature and “writing” on the other.) From what is known through fragments of, and references to Menippus, his satire was a mélange of prose and poetry, presumably developed from verse satire with additional prose interludes.
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Bicak, Ivana. "Roman satiric modes in English verse satire, 1660-1740, with special reference to Swift's Horace and Pope's Juvenal." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/10736/.
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This thesis questions the traditional dichotomy between the satires of Horace and Juvenal, a binary satiric theory that has strongly influenced twentieth-century readings of Alexander Pope and Jonathan Swift. It is argued that the works of both Horace and Juvenal are too complex to be reduced to a single well-defined ‘type’ of satire. Hence, the popular labelling of Pope as a ‘Horatian’ satirist and Swift as a ‘Juvenalian’ satirist is shown to be as synthetic as the duality between Horace and Juvenal itself. Chapter 1 provides an overview of the Restoration theory of satire as a background for the study of Pope and Swift. Chapter 2 is a close reading of Juvenal, which questions the conventional portrayal of him as ‘the angry satirist’. Chapter 3 challenges the widespread characterisation of Pope as a Horatian satirist, and argues that even in his Horatian poems he has as much in common with Juvenal. Chapter 4 offers a close reading of Horace, which disputes the popular portrayal of him as ‘the smiling satirist’. Finally, Chapter 5 debunks the exclusive reading of Swift as a Juvenalian satirist, demonstrating his frequent use of Horace’s own satiric tactics. The aim throughout the thesis is to establish a less polarised and more nuanced understanding of the relationship between Juvenal and Horace, which can encourage a subtler appreciation of Pope and Swift as satirists.
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Benard, Clementine. "John Donne : de la satire à l'humour." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR076/document.
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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'humoristeThis 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
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Van, Vuuren Sonja. "South African satire : a study of Zakes Mda's The Madonna of Excelsior." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16455.
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Thesis (MA)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: This thesis analyses Zakes Mda’s The Madonna of Excelsior from three different points of view, namely post-colonial, feminist and satirical. The latter constitutes the main interpretation of the novel and serves as a link with the other two discourses – the key argument being that satire is not a solipsistic form of art, and thus a satirical text should not be considered on its own, but should rather be interpreted in conjunction with other cultural discourses. This thesis is of the opinion that one needs all three of the named viewpoints in order to fully comprehend and appreciate the depth of Mda’s satire and his comments on South African society. His novel contains several candid comments on the political situation of South Africa in both the apartheid and the democratic eras, and his tongue-in-cheek observations force the reader to consider his novel from a political and a satirical angle. As apartheid is a form of colonialism and South Africa carries several scars from colonial times (such as diasporic conditions and multi-cultural identity crises, to name a few of those discussed), this thesis analyses Mda’s political commentary in terms of post-colonial discourse. Due to Mda’s use of female protagonists, this thesis also considers a feminist interpretation as necessary for a better understanding of the novel: through the use of feminist discourse, the violence that is committed against some of the female characters in the novel is interpreted as a way of enforcing colonial power relations. Chapters two, three and four respectively each discuss one of these interpretations: post-colonial, feminist and satirical, whilst chapter one is devoted to defining the art of satire.
AFRIKAANSE OPSOMMING: Hierdie tesis analiseer Zakes Mda se The Madonna of Excelsior vanuit drie verskillende oogpunte, naamlik die postkoloniale, feministiese and satiriese. Laasgenoemde konstitueer die hoofinterpretasie van die teks, en vorm ook ‘n skakel met die ander twee diskoerse. Die hoofargument van die tesis is dat satire nie ‘n kunsvorm is wat alleen bestaan nie, en dus behoort ‘n mens nie ‘n satiriese teks in isolasie te oordink nie, maar so ‘n teks moet geïnterpreteer word in verbinding met ander diskoerse. Hierdie tesis glo dat al drie van die genoemde oogpunte noodsaaklik is om Mda se satiriese kommentaar en aanmerkings oor die Suid-Afrikaanse gemeenskap werklik te verstaan en waardeer. Daar is etlike openhartige aanmerkings in die teks wat die politiese situasie van Suid-Afrika in beide die apartheid en die demokratiese eras aanspreek, en Mda se skertsende kommentaar dwing die leser om die teks te oordink van ‘n politiese, asook ‘n satiriese, gesigspunt. Aangesien apartheid ‘n vorm van kolonialisme is, en Suid-Afrika verskeie littekens van koloniale tye dra (soos disporas en multi-kulturele krisisse, om maar ‘n paar te noem), analiseer hierdie tesis Mda se politiese aanmerkings in terme van ‘n postkoloniale interpretasie. Mda se gebruik van vroulike hoofkarakters veroorsaak dat hierdie tesis ook a feministiese interpretasie benuttig vir ‘n betere begrip van die teks: deur die gebruik van ‘n feministiese diskoers kan ‘n mens die geweld wat teen sommige van die vroulike karakters gepleeg word sien as ‘n manier om koloniale magsverhoudinge af te dwing. Hoofstukke twee, drie en vier bespreek elk een van hierdie oogpunte: postkoloniaal, feminisme en satiere, terwyl hoofstuk een die satiriese kuns probeer definieer.
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Robbeson, Angela. ""A sense of wider fields and chances": Towards a literary history of English-Canadian satiric fictions of the nineteenth century." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0023/NQ36792.pdf.
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Walden, Zachary R. "An Explication of Satire in Mark Twain’s Letters from the Earth." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/honors/146.
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This thesis discusses an explication of the key criticisms Mark Twain levies against modern day Christians, the Church, and God. While some scholarly sources are employed, the main comparison of Twain’s Letters from the Earth comes from the book he most often references in Letters: the Bible. This work also examines a few select points of his later life in the context of his writing.
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Kohlhepp, Adam John. ""Tis nature's law to change" : the Earl of Rochester in the hands of his readers /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Coe, Jonathan. "Satire and sympathy : some consequences of intrusive narration in Tom Jones and other comic novels." Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/55828/.
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This thesis aims to reinterpret Tom Jones by putting it into some previously untried comparative contexts. As well as using the traditional points of reference such as Lucian, Swift and Sterne, I compare Fielding's satire with Flaubert's; his narrative poetics with Dickens's and Beckett's; his strategy of intrusion with George Eliot's; and his literary politics with Brecht's. I start by assuming the ambivalence of Tom Jones, but rather than seeing this as a conscious ironic duality, I argue that it derives from literary, moral and political uncertainty. The intrusive narrator is seen as an index of vacillation between first- and third-person narration, while conservative satiric influences are shown to complicate rather than strengthen the book's moral decisiveness. Its form, moreover, is shown to be dialogic, and unable to keep at bay either the reader's subjectivity or the flux of historical reality. But Fielding's achievement, I finally suggest, is to have put these factors into the service of his awareness of the always judgmental nature of literature. The thesis therefore takes on several previously uncovered areas: it is very specific about the nature and extent of the narrator's presence in Tom Jones; it draws new analogies between social and literary forms (in the sections on conversation) and political and literary structures (in the section on Fielding's plays). It thereby reveals new areas of Fielding's writings which can be treated as literary theory; finds detailed affinities between Fielding and writers not normally associated with him; and eventually constitutes a reading of Tom Jones as an inconclusive and open-ended text which implies not a denial but a redefinition of its historical importance.
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Milthorpe, Naomi Elizabeth, and naomi milthorpe@anu edu au. "Systems of order: The satirical novels of Evelyn Waugh." The Australian National University. School of Humanities, 2009. http://thesis.anu.edu.au./public/adt-ANU20090630.150502.
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Systems of Order: The satirical novels of Evelyn Waugh is a study of Evelyn Waughs satire. It offers a contextual reading of eleven works by Waugh, presenting revisionist readings of familiar novels and according attention to previously neglected works. It aims to sketch out the main features of Waughs satire, including Waughs lexis and the use of certain key images and motifs. Comparative analysis of Waughs satirical novels with works by contemporary writers such as Clough Williams-Ellis, Wyndham Lewis, Stella Gibbons and T.S. Eliot brings into sharp relief the techniques and targets of Waughs satire.
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This thesis argues that despite Waughs tongue-in-cheek denial of satires efficacy in a complacent modern world, he did indeed write satire of a peculiarly twentieth century kind. Waughs apparently anarchic novels reflect, behind the detached insouciance of their narrators, the moral standards which the novels ostensibly claim are absent in the modern world.
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In Waughs writing, satire is effected through the creation of systems of literary order. The structure and patterning of his novels, and his masterful use of the rhetorical techniques of satire, mete out punishment on a formal level. Waughs satirical novels dramatize the tension between truth, order and civilization, and their oppositions, disorder and barbarism. Systems of Order suggests that from the very first, Waughs satiric project aimed toward the repudiation of modern disorder.
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Perry, Amber R. "Critiquing Academic Culture with Satire through Lady Lazarus, A Fictional Biography." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1700.
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In the tradition of academic satire, Lady Lazarus is the fictional biography of the daughter of American rock musicians. In her late teens she rises to fame as confessional poet, who, despite only publishing one collection of poems during her brief life, becomes an overnight sensation. Author Andrew Altschul is satirizing academia’s need to be a part of popular culture and in doing so, privileges the ability to use controversy and conventional beauty to sell books as opposed to creating quality art. By focusing on how the author uses Hans Robert Jauss’ horizons of expectations, unreliable narrators, anecdotes in biography and the economics of fame as a deciding factor in academia, the author has created a dense and punitive opinion of academia’s inclusion of popular culture into its world.
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Prescott, Gina Henderson. "Satirical Inquiry." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08072007-133241/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Mary Hocks, committee chair; Lynée Lewis Gaillet, Elizabeth Sanders Lopez, committee members. Electronic text (68 p.) : digital, PDF file. Description based on contents viewed Nov. 7, 2007. Includes bibliographical references (p. 66-68).
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Fahey, Kathleen Agnes. "Some shorter satirical poems in English from the thirteenth to the early sixteenth centuries." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:15454664-6d83-483e-93ac-025843416231.
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The aim of this thesis is to provide a thorough introduction to shorter satirical poetry in Middle English, and also to provide stimulus and material for further study in this somewhat neglected area of medieval English literature. The thesis presents 83 newly transcribed, edited and annotated shorter (approximately 200 ll. or less) poems, which have never before been collected. Strictly political poems, more properly the subject of a separate study, are not included, nor are the poems of Dunbar, Skelton, Henryson and Hoccleve, which are available in excellent editions. The poems are loosely grouped according to the subjects they satirize: clergy, women and marriage, money and venality, rogues and fools, specific people, and medical recipes. A lengthy introduction briefly discusses the problem of defining satire in the Middle English period before going on to discuss the background of medieval satire for each group. For each poem there are notes which clarify difficult points as well as give information on the manuscripts and editions in which the poem appears. Appendix A prints a not hitherto recognized parody of Lydgate's A Valentine to Our Lady with the text of Lydgate's poem facing, and discusses some of the difficulties of recognizing parody in Middle English in light of this particular example. Appendix B is an index which attempts to list all nonnarrative satirical verse in English which appeared between the thirteenth and early sixteenth centuries. A glossary of difficult words in the texts is included.
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Suarez, Michael Felix. "The mock biblical : a study of English satire from the Popish Plot to the Pretender Crisis, 1648-1747." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309976.
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Bond, Nathaniel Peter. "Lessons in Immorality: Mishima's Masterpiece of Humor and Social Satire." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/988.
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From 1958 to 1959, Mishima Yukio published a series of satirical essays titled Lessons in Immorality, in the magazine Weekly Morningstar. Lessons in Immorality was made into a television series, a stage play, and a film.
Famous in the West for writing serious novels, Mishima's work as a humor writer is largely unknown. In these essays Mishima writes in a very comic style, making liberal use of hyperbole, burlesque, and travesty, in order to parody and satirize contemporary Japanese morality. Mishima uses humor to create a world in which Mishima Yukio, iconoclastic author and pop-culture figure, is an arbiter of his own honest and just morality that runs counter to the norms that Japanese at that time considered to be honest and just.
Additionally, Mishima used Lessons in Immorality as a forum to discuss some of the serious concerns that are central to his famous novels. Because Mishima was writing for young men and women, he wrote about his complex philosophical and aesthetic ideals in a very humorous and accessible style. Thus, in addition to displaying Mishima's talent as a humor writer, these essays also give the reader fresh perspectives on Mishima's serious literature.
In this paper, I will present the writing styles, rhetorical tools, and philosophical discussions from Lessons in Immorality that I believe make the series essential reading for anyone interested in Mishima or postwar Japanese literature.
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Goodman, Ralph. "The dialogics of satire : foci and faultlines in George Orwell's Animal Farm and Nineteen Eighty-Four." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51961.
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Dissertation (PhD)--Stellenbosch University, 2000.ENGLISH ABSTRACT: This thesis uses Mikhail Bakhtin's theory of dialogism, as well as postmodernism, to open up faultlines in satire, and to explore and challenge various perceptions and discourses surrounding and related to it. Both dialogism and postmodernism are used to suggest fresh approaches to satire, by repositioning it in relation to other discourses and reframing it as a complex dynamic, rather than a closed and inflexible system. Chapter 1 of the thesis opens with an historical survey of the beginnings and subsequent development of satire. It also contains a general discussion of the nature of satiric strategies and opens the door for the incorporation of postmodern perspectives into the argument. Chapter 2 contrasts the issues of morality and re-presentation in satire, arguing that satirists do not simply invite their audience to condemn, but offer them an opportunity to discover alternative worlds. The affinity between satire and postmodernism is emphasised by the postmodern predilection for modes highly favoured by satire: allegory, parody and fantasy. In Chapter 3 the issue of language and its referents is explored, starting with Saussure's theory of how the signifier and the signified function. It is argued that satire has never respected this fixed relationship, and that it is in this respect similar to deconstruction. The last part of the chapter is devoted to examining four key socio-political discourses - psychoanalysis, ideology, propaganda and political myth - in relation to satire. These four discourses are, like satire, intent on influencing the perceptions which people have of the world. The intention in juxtaposing these discourses is to create a dialogic process which will throw a fresh light on all of them, including satire itself. The four socio-political discourses named above play an important part in Animal Farm and Nineteen Eighty-Four, and are relevant to the subsequent discussion of these novels. Chapter 4 consists of a detailed discussion of Animal Farm, in which the various layers comprising the work are examined. The satirical aspects of the novel are closely related to the fabular and fairy tale elements which are an important part of its constitution. These elements or levels are juxtaposed with the historical details alluded to continuously in Animal Farm and indicate its close concern with the world outside the novel. Chapter 5 consists of a detailed exploration of Nineteen Eighty-Four, which is illuminated by a process of dialogism between the modernist ideology from which the novel springs and the postmodern perspective introduced into the thesis, as well as the four socio-political discourses mentioned earlier. The main postmodern theories used in this chapter are those of Foucault. The last section of the thesis demonstrates how Orwell's personal experience drives his satire, and relates this specifically to a discussion of utopia / dystopia in satire.
AFRIKAANSE OPSOMMING: Die Dialogiek van Satire: Fokuspunte en Breuke in Orwell se Animal Farm en Nineteen Eighty-Four: Hierdie proefskrif maak gebruik van Mikhail Bakhtin se teorie van dialogisme, sowel as die postmodernisme, om die breuke in satire bloot te le, en om die verskillende persepsies en diskoerse wat verband hou met die satire te ondersoek en te bevraagteken. Beide die dialogisme en die postmodernisme word gebruik om nuwe perspektiewe op satire te open, deur dit te herposisioneer in verhouding tot ander diskoerse en dit voor te stel in terme van 'n komplekse dinamika eerder as 'n geslote en onbuigsame sisteem. Die eerste hoofstuk van die proefskrif begin met 'n historiese oorsig van die oorspronge en daaropvolgende ontwikkeling van satire. Dit omvat ook 'n algemene bespreking van die aard van satiriese strateqiee en open die moontlikheid om postmodernistiese perspektiewe in die argument te integreer. Hoofstuk 2 kontrasteer die kwessies van moraliteit en representasie in satire met mekaar; daar word geargumenteer dat satirici nie net hulle gehore uitnooi om te veroordeel nie, maar hulle die geleentheid gee om alternatiewe werelde te ontdek. Die verwantskap tussen satire en postmodernisme word benadruk deur die postmodernisme se voorliefde vir die modi waaraan die satire so dikwels voorkeur gee: allegorie, parodie en fantasie. In hoofstuk 3 word die kwessie van taal en referensialiteit ondersoek, beginnende by Saussure se teorie oor die funksionering van die betekenaar en die betekende. Daar word geargumenteer dat satire nog nooit die vaste verhouding tussen betekenaar en betekende eerbiedig het nie, en dat dit in hierdie opsig verwant is aan die dekonstruksie. Die laaste gedeelte van die hoofstuk word gewy aan 'n ondersoek van vier sentrale sosio-politiese diskoerse - psigoanalise, ideologie, propaganda en politieke mitologie - in verhouding met satire. Hierdie vier diskoerse is, soos satire, daarop ingestel om mense se persepsies/opvattings van die. wereld te verander. Die doelstelling met die jukstaposisie van hierdie diskoerse is die skep van 'n dialogiese proses wat al vier hierdie diskoerse, insluitende satire, in 'n nuwe lig sal stel. Die genoemde sosio-politiese diskoerse speel 'n belangrike rol in Animal Farm en Nineteen Eighty-Four, en is relevant vir die daaropvolgende bespreking van die romans. Hoofstuk 4 bestaan uit 'n gedetailleerde bespreking van Animal Farm, waarin daar ondersoek ingestel word na die verskillende lae waaruit die roman bestaan. Die satiriese aspekte van die roman word in noue verband gebring met die fabulere en die feeverhaalelemente wat so 'n belangrike deel uitmaak van die roman se samestelling. Hierdie elemente of vlakke word gejukstaponeer met die historiese detail waarna daar deurlopend in Animal Farm verwys word en wat die noue bemoeienis met die wereld buite die roman aandui. Hoofstuk 5 bestaan uit 'n intensiewe ondersoek van Nineteen Eighty-Four, wat belig word deur 'n proses van dialogisme tussen die modernistiese ideologie waaruit die roman spruit en die postmodernistiese perspektiewe wat in die proefskrif ingevoer word. Die belangrikste postmodernistiese teoriee wat in hierdie hoofstuk gebruik word, is die van Foucault. Die laaste afdeling van die proefskrif demonstreer hoedat Orwell se persoonlike ervaring bepalend is vir sy satire en bring dit spesifiek in verband met 'n bespreking van utopie/distopie in satire.
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Thompson, Martha. "George Canning, Liberal Toryism, and Counterrevolutionary Satire in the Anti-Jacobin." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3714.
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One of the most defining moments in the histories of British satire and the public sphere took place in the late 1790s in an abandoned house in Piccadilly. Here George Canning and several fellow conservatives began writing and circulating their weekly newspaper the Anti-Jacobin. Although the periodical has been critically neglected, it is a valuable model for exploring how literary (partisan) politicians attempted to form a rational and critical public sphere through their satiric poetry. Founded by George Canning and edited by William Gifford, the Anti-Jacobin seems to reflect a reactionary conservative's ideology and has been summarily dismissed because of this one-sided nature. In this essay, I suggest a more nuanced reading of both Canning's biography and his Anti-Jacobin poetry that will give a fuller and more accurate version of Canning, one that illustrates a moderate reformer who is concerned with centralizing the extremism of the 1790s.
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Morton, Sheila Ann. "Satire's Liminal Space: The Conservative Function of Eighteenth-Century Satiric Drama." BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/122.
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The eighteenth century is famous for producing literary satire, primarily in verse (and later prose) form. However, during this period, a new dramatic form also arose of which satire was the controlling element. And like the writers of prose and verse satires, playwrights of dramatic satire claimed that their primary aim was the correction of moral faults and failings. Of course, they did not always succeed in this aim. History has shown a few, however, to have had a significant impact on the ideas and lives of their audiences. This thesis is an attempt to demonstrate how these satiric dramas achieved their reformative aims by tracing the theatrical experience of an eighteenth-century audience through Victor Turner's stages of liminality. Turner explains the different ways in which specific genres of theatre (1) create a performance space that is apart from, but still draws symbolically on, the outside world, (2) invite the participation of their audiences in that space, and (3) urge audiences to act in different ways as they leave the theatre space. By examining plays in these ways, we can see how the plays affected the ideas and outlooks of audience members. Because satiric drama invited a high level of participation from audience members, because it invited them into a very "liminal" space, it frequently served to sway audience members' tastes, and in some cases even helped to revolutionize social and literary institutions.
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Sobiech, Michael James. "A Mock Rhetoric: The Use of Satire in First-Year Composition." TopSCHOLAR®, 2008. http://digitalcommons.wku.edu/theses/45.
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Whitely, Sullivan Jane. "Love Languages and Other Stories." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1304.
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Love Languages and Other Stories is a collection of three short stories all pertaining, in someway, to love (or lack thereof). "This is What a Feminist Look Like," "Sink," and "Love Languages" are the three stories that make up this Scripps senior thesis.
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Hamilton, William John. ""The irrevocable ties of love and law" : rhetorics of desire in Eliza Haywood's contributions to eighteenth-century satire /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3201680.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 173-182). Also available for download via the World Wide Web; free to University of Oregon users.
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Friedman, Amy Lynn. "Menippean satire or counter-realism? : questions of genre in contemporary Indian fiction in English by Menen, Desani, Rushdie, and Sealy." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504777.
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The focus of my argument is that much of the counter-realist elements in postcolonial writing can be better u'nderstood in the more traditional terms of Menippean satire. I explore this premise in works by a cohort of four South East Asian authors of satire who have never previously been examined in concert as such: Aubrey Menen, G.V. Desani, Salman Rushdie, and I. Allan Sealy. My investigations have uncovered connections of influence and resonance which make an assiduous case for considering their work as Menippean satire, running counter to extant critical discussions of experimentalism in postcolonial fiction which tend to describe counter-realism in terms of anti-realism, postrealism, and magic realism. In examining Menippean satire I will also be addressing the current wide use of the term, and suggesting that an over-emphasis on its counter-realist and hybrid elements has led to an unfortunate disregard of its roots in satire. Respective chapters on Menen and Desani look at their use of intertextual juxtapositions which begin to shape a postcolonial emphasis on revision and renewal of novelistic language and form. This emphasis is borne out in my examination of Rushdie's Menippean experiments with language and the rhetorical device of ekpllrasis to break down boundaries between cultures, histories, and even art forms to depict a hybrid model of global society. I interpret Sealy's·perpetual reformatting of the novel in each new work as a series of Menippean challenges to form which assert alternative narrative perspectives and relocate literal)' traditions. My conclusion looks at the implications of expanding the current limited critical links between satire and postcolonial literature in general, based on my examination of a body of work that connects to and updates the longstanding tradition of Menippean satire.
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Stephenson, Lois Bea. "Ethos in "Gulliver's Travels"." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/863.
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Pelling, Richard Alexander. "Identity in the early works of John Marston, 1575-1634." Thesis, University of Oxford, 1994. http://ora.ox.ac.uk/objects/uuid:d4e24f67-17e2-4da3-9969-9bc446ab93fe.
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Among Marston's earliest works are two books of verse satires (Certaine Satyres and The Scourge of Villanie, both 1598) and three plays (Antonio and Mellida, Antonio's Revenge and What You Will, all between 1600-1602) in which he explored the composition of human identity. From the initial premiss that the self is socially constructed and tends always to be dependent on the social and material contexts in which it exists, he developed a conception of existential struggle, in which the individual self either succumbs to the influence of its environment, or else achieves an authentic autonomy by imposing its own reality on the world around it. The thesis is in five main parts. Chapter I reviews theories of identity in the sixteenth century, analyses the Roman verse satires on which Elizabethan satires were modelled, and gives an account of the developments in English society at the end of the sixteenth century that helped to generate a satirical discourse in which anxiety as to the stability of the self was prominent. Chapter II examines these satires, focusing on Marston but paying close attention also to such other authors as Donne, Hall, Guilpin, Lodge and the anonymous author of Micro-Cynicon. Chapters III and IV are a close reading of the three plays named above; it is argued that in them Marston developed the ideas about identity which he had first conceived in the satires into a considered anatomy of the self. Chapter V looks briefly at Marston's later plays, especially Sophonisba (1606) with the same principles in mind. As will be apparent, the emphasis of the thesis is on Marston as a thinker, rather than as a poetic technician or man of the theatre, although these aspects of him are considered where they are relevant.
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Van, der Colff Margaretha Aletta Adams Douglas. "Douglas Adams : analysing the absurd." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-08212008-183816.
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Madden, Mary C. "Virginia Woolf and the persistent question of class : the protean nature of class and self." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001571.
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Tripp, Clancy B. "Contemporary Bluestockings: Exploring the Critical and Creative Intersection of Feminism, Literature, and Media." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1078.
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This thesis uses literature, film, satire, poetry, and news rhetoric to explore the evolving face of gender in today’s society. It is framed by interviews with two women who are residents of the senior living community Pilgrim Place. Each interview brings up themes and feminist concerns that are explored in the essay that follows it.
In putting together this work I interviewed the two Pilgrim Place women, Teresa and Anne Marie, and discussed with them their concerns about contemporary feminism and feminist activism differences between our generations. These concerns are distilled into a series of essays that compare themes and concerns shared by the two women with a work of literature or media that compliments and complicates relevant issues. Half of the interviews included are verbatim transcripts of what was said, the other half are works of oral historical fiction based on interviews and subsequent research into the historical events in question. This thesis engages with the question of who owns a movement and whether the recognition of (or refusal to recognize) a history does damage to the movement. This thesis brings into conversation contemporary and modern media to illustrate the changing world of feminism in a way that celebrates the past and anticipates the future.
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Raby, Jon Nathan. "Swift and Stewart: The Societal Background and Influence of Satirists in Turbulent Times." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/444.
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In this paper, I consider the success of Jonathan Swift’s The Drapier’s Letters and Jon Stewart’s The Daily Show in changing the political climate of the world around them. By analyzing the political background of America in the 2000s and the Irish reaction to William Woods’ patent in the 1720s, I prove the influence of Stewart and Swift’s satire. I then analyze the specific tactics each employs in order to achieve an audience and influence change, concluding by comparing the similar tactics that each use, including persona, irony, and humor as a veil of serious intent.
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Spates, William H. "Imagining corrupt consumption : the genesis and evolution of the pox metaphor in sixteenth-century England (1494-1606)." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/14657.
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This thesis attempts to examine the birth and development of the pox metaphor in sixteenth-century English literature. In researching this literary history of a disease---of syphilis' life as an early modem metaphor---I have attempted to contextualize the pox metaphor's development within the social and economic constructs that led to the early modern conflation of excessive consumption with poxy corruption. This conflation freed the metaphor from the confines of discussion on disease and allowed early modern authors the freedom to apply pockifed tropes to describe various social ills and abuses. Initially these pox metaphors were restricted to sexualized subject matter such as inconstant women, but through the rise of satire, the metaphor became a means of describing London as rampant, diseased and corrupt. Finally, Shakespeare was able to take the pox and apply it to the economic sickness that was affecting England by inscribing appetites with consuming pox-inspired qualities that were, in effect, a commentary on the uncontrolled rise of the capitalist state and the dangers of desire.
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Maidment, Christopher. "Satura und Satyroi : die englische Renaissance-Satire im Widerstreit zweier Etymologien : Studien zur Aufdeckung einer Gattungskontamination am Beispiel der elisabethanisch-jakobäischen satirischen Literatur /." [S.l.] : [s.n.], 1993. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Balster, Lori Maria Tarkany. "Cassie Dates Melvin: Or, How Two People Struggle to Save Their Town Despite a Few Small Obstacles Such as Killer Philodendrons (an Excerpt from Book Two in a Series)." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1280259112.
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Bucknell, Clare. "Poetic genre and economic thought in the long eighteenth century : three case studies." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:71e97b4d-c009-487c-8efb-fdb71eefa080.
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During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.
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Hodson, Katrin C. "The Plight of the Englishman: The Hazards of Colonization Addressed in Jonathan Swift’s Gulliver’s Travels." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617896210333106.
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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.
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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.
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Allen, John David. "Restrained with the Civil Sword: Spenser's "Maye" Eclogue and Donne's "Third Satyre" in the Context of the English Reformation." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625741.
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Manco, Clara. "« In Earnest or Jest » : rire, pouvoir et politique dans les Comédies de la Restauration (1660-1688)." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL048.pdf.
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Quel rôle joue le rire dans l'économie symbolique du pouvoir ? Comment reflète-t-il, et dans quelle mesure contribue-t-il en retour à structurer les imaginaires politiques contemporains ? Le moment historique situé entre la Restauration et le changement dynastique de la Glorieuse Révolution constitue un épisode privilégié de l'histoire du théâtre anglais pour aborder ces questions. Après les tourments de la guerre civile et le hiatus des années Cromwell, la scène entretient des liens institutionnels plus étroits que jamais avec le pouvoir de la Couronne. Parallèlement, une opposition émerge et se structure sous la forme du parti Whig. Celle-ci investit aussi très tôt l'institution théâtrale en tirant profit, entre autres, de la dépendance économique de nombreux dramaturges et du personnel théâtral. La comédie s'adapte ainsi à cette triple contrainte (économique, sociale, institutionnelle) en politisant pour l'occasion les stéréotypes qu'elle hérite de traditions antérieures, comme celui du cocu, du dévot ou du débauché. Ces types établis, qui sont le matériau propre de la comédie, deviennent à la fois des images des différents acteurs de l'échiquier politique et des armes au service de ces luttes d'influence. De ces exigences contradictoires émerge alors un mode de production et de réception comique unique, influencé par les pratiques satiriques, et fondé sur l'ambiguïté. Cette étude comparative s'appuie sur un corpus de quarante pièces de vingt et un auteurs différents, allant de figures canoniques comme Dryden, Shadwell et Behn à d'autres moins connues comme D'Urfey, Crowne et RavenscroftWhat is the role of laughter in the symbolic economy of power? How does it reflect and shape the minds and political imagination of contemporary society? The historical period between the Restoration and the dynastic shift of the Glorious Revolution constitutes a pivotal point in the history of English theatre in which to explore these questions. Following the violence of the Civil War and the hiatus of the Cromwellian years, the institutional links between the theatres and the Crown become tighter than ever. Meanwhile, the political opposition consolidates itself, becoming the Whig party, and invests in theatrical institutions by taking advantage inter alia of the financial dependence of playwrights and stage personnel. Comedy adapts to these economic, social and institutional constraints by politicising the stereotypes inherited from previous traditions, such as the « cuckold », the « zealot » or the « rake ». These comedic vehicles are used both as mirror images of the actors of political life and as tools serving specific agendas in contemporary power struggles. From these contradictory demands emerges a distinctive mode of comic production and reception, heavily influenced by satiric practices and structured with deliberate ambiguity. This comparative study is based on forty plays by twenty-one different authors, from canonical figures such as Dryden, Shadwell and Behn, to lesser-known authors like D'Urfey, Crowne and Ravenscroft
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Hans, Julia Boissoneau. "The transparent mask: American women's satire 1900-1933." 2011. https://scholarworks.umass.edu/dissertations/AAI3465006.
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An interdisciplinary study of women satirists of the Progressive and Jazz eras, the dissertation investigates the ways in which early modernist writers use the satiric mode either as an elitist mask or as a site of resistance, confronts the theoretical limitations that have marginalized women satirists in the academic arena, and points to the destabilizing, democratic potential inherent in satiric discourse. In the first chapter, I introduce the concept of signifying caricature, an exaggerated characterization that carries with it broad social, political, and cultural critique. Edith Wharton uses a signifying caricature in The Custom of the Country where the popular press, middlebrow literature, and the democratization of language is under attack. Several of Wharton's satiric stories also ridicule the New Woman, revealing Wharton's anxiety over women functioning in the public arena. The second chapter features recovery work of May Isabel Fisk, an internationally known comic monologist whose work has been lost to scholars. This chapter examines Fisk's monologues, paying particular attention to her use of the eiron and alazon comic figures. The dissertation then moves on to Dorothy Parker's biting satires of Jazz era decadence, the sexual double standard, and the oppressive norms of feminine beauty promoted in mass culture. The study concludes with an analysis of Jessie Fauset's Comedy: American Style, a novel using a signifying caricature to chastise America's failed racial policies and an essentialist theory of race. Comedy: American Style is an overlooked Depression era satire that challenges notions of a fixed American cultural nationalism even as it presages the idea of race as a floating signifier.
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Uściński, Przemysław. "The Creative Role of Parody in Eighteenth-Century English Literature (Alexander Pope, John Gay, Henry Fielding, Laurence Sterne)." Doctoral thesis, 2015. https://depotuw.ceon.pl/handle/item/1226.
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Moja praca doktorska pt. “The Creative Role of Parody in Eighteenth-Century English Literature (Alexander Pope, John Gay, Henry Fielding, Laurence Sterne)” skupia się na omówieniu doniosłej, twórczej roli parodii w literaturze angielskiej osiemnastego wieku i w tym celu poddaje analizie twórczość czterech autorów żyjących i tworzących w epoce Oświecenia: Alexandra Pope’a, Johna Gaya, Henry Fieldinga i Laurence’a Sterne’a. Praca porusza zagadnienia teoretyczne oraz historycznoliterackie związane z pojęciem parodii, starając się usystematyzować, ale też czasem sproblematyzować, szereg istotnych kwestii metodologicznych i teoretycznych. Poczynione ustalenia wykorzystuję z kolei do bardziej szczegółowych badań, analizując pod kątem kompozycji, retoryki, kontekstu historycznego i kulturowego szereg prześmiewczych, dobitnie parodystycznych tekstów literackich epoki, w tym m. in. Operę Żebraczą Johna Gaya, Duncjadę Alexandra Pope’a, oraz wybrane powieści Henry Fieldinga i Laurence’a Sterne’a.The thesis focuses on the role of parody in the literary works of four English writers of the eighteenth century: John Gay, Alexander Pope, Henry Fielding and Laurence Sterne. These authors were not selected randomly, but rather on the basis of a conviction that parody played a crucial role in their literary output. The major aim of the present dissertation is to analyze how the technique of parody allowed these authors to critically expose and creatively transgress the boundaries of genres and stylistic modes that they appropriated. Their experimental and innovative approach to literary traditions and conventions finds its expression in their playful literary texts. Instead of politely complying with established poetic formulas and protocols, these authors tended to expose the provisional nature of all ready-made genres and stylistic patterns, to mockingly reshape them and infuse their structures with their own peculiar sense of wit and satire. As a result, they produced a number of tricky, duplicitous, internally hybrid, ambiguous and self-reflexive texts that may today seem surprisingly "(post)modernist" given their extended intertextual and metafictional playfulness.