Relevant bibliographies by topics / German Political satire

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'German Political satire'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "German Political satire"

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Goldstein, Cora Sol. "The Ulenspiegel and anti-American Discourse in the American Sector of Berlin." German Politics and Society 23, no. 2 (June 1, 2005): 28–49. http://dx.doi.org/10.3167/104503005780880722.

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In December 1945, less than six months after the unconditional defeat of the Third Reich and the military occupation of Germany, two anti-Nazi German intellectuals, Herbert Sandberg and Günther Weisenborn, launched the bimonthly journal, Ulenspiegel: Literatur, Kunst, und Satire (Ulenspiegel: Literature, Art and Satire), in the American sector of Berlin. Sandberg, the art editor, was a graphic artist. He was also a Communist who had spent ten years in Nazi concentration camps—the last seven in Buchenwald. Weisenborn, a Social Democrat and the literary editor, was a playwright, novelist, and literary critic. He had been a member of the rote Kapelle resistance group, was captured and imprisoned by the Gestapo in 1942, and was liberated by the Red Army in 1945.
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Morger, Fabia Hultin. "”Satire Junge SATIREEEE”: Nachrichtenparodien in Memes und deren Aushandlung im Kontext des Web 2.0." Linguistik Online 103, no. 3 (October 15, 2020): 129–57. http://dx.doi.org/10.13092/lo.103.7182.

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Satire has been present in various different media throughout the centuries. With the rise of television, satire has made its way onto TV screens via various outlets including news parodies. As these TV shows began using social media, new forms of satire have appeared, among them satirical Internet Memes commenting on political events. The objects of interest in this study are Memes published by two German news parodies Heute Show and Extra 3 on the platform Facebook that thematise the G-20 summit, which took place in Hamburg in 2017. My data set consists of 27 Memes from the platforms Facebook, Instagram and Twitter, as well as the public Facebook comments published alongside these Memes. Using an empirical, data-driven approach to my investigation, I broach questions regarding the way Memes make use of satire and how they interact with the Internet as a medium, and in particular, their affordances on the platform Facebook.
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Nitsch, Cordula, and Dennis Lichtenstein. "Satirizing international crises. The depiction of the Ukraine, Greek debt, and migration crises in political satire." Studies in Communication Sciences 19, no. 1 (December 3, 2019): 85–103. http://dx.doi.org/10.24434/j.scoms.2019.01.007.

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In international crises, the media’s information and orientation function is particularly important in the public sphere. While the news media’s crisis coverage has been well researched and often criticized, very little is known about the depiction of crises in political satire. This study examines how German satirical shows (n = 154 episodes, 2014–2016) covered the Ukraine, Greek debt, and migration crises and whether or not these depictions corresponded to news media logic. In its attention to the crises, satire follows news media’s conflict orientation. Parallels with news media logic also relate to the information function because the predominant frame elements in satirical shows mirror governmental positions. This is different regarding the orientation function. In their evaluation of the frame elements, satirical shows’ criticism of governmental positions and their support for minority positions create a counter-narrative for the crises. Thus, satirical shows provide added value for public discourse.
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Carr, Gilbert J. "SATIRE FROM THE GERMAN NATURALISTS? KARL KRAUS'S PLANNED ANTHOLOGY." German Life and Letters 46, no. 2 (April 1993): 120–33. http://dx.doi.org/10.1111/j.1468-0483.1993.tb00979.x.

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Merziger, Patrick. "Humour in Nazi Germany: Resistance and Propaganda? The Popular Desire for an All-Embracing Laughter." International Review of Social History 52, S15 (November 21, 2007): 275–90. http://dx.doi.org/10.1017/s0020859007003240.

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Two directions in the historiography of humour can be diagnosed: on the one hand humour is understood as a form of resistance, on the other hand it is taken as a means of political agitation. This dichotomy has been applied especially to describe humour in National Socialism and in other totalitarian regimes. This article argues that both forms were marginal in National Socialism. The prevalence of the “whispered jokes”, allegedly the form of resistance, has been exaggerated. The satire, allegedly the official and dominant form of humour, was not well-received by the National Socialistic public. This article will reconstruct the rise of a third form, the “German humour”, and discuss the reasons for its success by looking at why satire failed.
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Nubert, Roxana, and Ana-Maria Dascălu-Romiţan. "Zu den Anfängen der deutschsprachigen Literatur im Banat – Kulturvergleichende Überlegungen (1718 – 1850)." Germanistische Beiträge 49, no. 1 (December 1, 2023): 30–49. http://dx.doi.org/10.2478/gb-2023-0002.

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Abstract German-language literature of the Banat develops under specific historical circumstances amidst a multi-ethnic Region, in which the multiple social-political, religious and linguistic relations to Romanians, Hungarians, Serbs and Jews find their immediate expression. The beginning of the German-language writings of the Banat Swabians are under the aegis of the Austrian model, especially of the Viennese model. Here one mainly includes the extremely stimulating press and theater tradition of the Banat, which can still be remarked in the interwar period, and which created the conditions for the unfolding of a lively spiritual life. Johann Friedel born in Timișoara, an outstanding representative of Josephine epistolary satire, was considered on account of his novels and letters to be the founder of the local German-language writings by several scholars.
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Haryati, Isti. "Providing Space to the Marginalized: Bertolt Brecht’s Reception of John Gay’s The Beggar’s Opera." Poetika 10, no. 2 (October 31, 2022): 99. http://dx.doi.org/10.22146/poetika.v10i2.76100.

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The popularity of John Gay’s political satire play The Beggar’s Opera in the English literary world prompted a German writer, Bertolt Brecht, to respond to the work. The purpose of this study is to describe Bertolt Brecht's reception of Gay’s Play The Beggar’s Opera in Brecht’s Play Die Dreigroschenoper. The data sources in this study are the text of Brecht’s play entitled Die Drei Groschenoper and the text of Gay’s play The Beggar's Opera. This research is based on the theory of Reception Aesthetics by Hans Robert Jauss. The results show that Brecht’s reception was influenced by his horizon of expectations, which plays a central role in determining a writer’s reception of a work of literature. Brecht’s horizon of expectations, which is related to his Marxist view, distinguishes Brecht’s play from that by Gay. Brecht’s intention to make a play that enlightens his audience made him present a more explicit depiction of marginalized people in Die Dreigroschenoper, which was performed in the form of epic theater (episches Theater). By providing space to the marginalized, Brecht aimed to criticize capitalism which began to grow in Germany after the country’s loss in the First World War and divided the German society into two classes, resulting in various social issues. Brecht’s criticisms are different from Gay’s criticisms in shedding some light on the moral degradation in England at the time.
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Mironova, Galina S. "Evgeny Schwartz’s fairy tale play “The Emperor’s New Clothes”: a satirical comedy or an anti-fascist pamphlet?" Vestnik of Kostroma State University 28, no. 2 (May 12, 2022): 155–59. http://dx.doi.org/10.34216/1998-0817-2022-28-2-155-159.

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The play-tale “The Emperor’s New Clothes” by Evgeny Schwartz was created in 1934, when serious historical and political processes started in the world, associated with the establishment of a despotic, totalitarian regime in a number of countries, as well as with the spread of fascist ideology in Western Europe, which eventually would lead to World War II. In the article, the fairy tale play “The Emperor’s New Clothes” is considered from the point of view of its genre originality. On the one hand, in this work, reflecting the political processes that took place in the world, there are signs of the genre of an anti-fascist pamphlet (accusatory pathos, socio-political orientation, aphoristic style, irony bordering on sarcasm, etc.). Ideologically, Evgeny Schwartz’s fairy tale is directed against German fascism, as evidenced by the scattered replicas of characters in the play, in which a merciless satire on the reality of Nazi Germany is heard. On the other hand, the genre of the play “The Emperor's New Clothes” is much broader than the framework of an anti-fascist pamphlet, it is a satirical comedy aiming at exposure and debunk of social vices; in this it is close to farce, comedy of manners and character comedy. Thus, behind the external simplicity of the plot of the fairy tale “The Emperor’s New Clothes”, one can guess the diversity and hidden meaning inherent in the satirical work.
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera." Theatre Survey 36, no. 2 (November 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.

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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Gil-Torres, Alicia, and Cristina San José-de la Rosa. "La Unión Europea en la serie ‘Parlement’ (2020). Entre la ficción y el realismo." INDEX COMUNICACION 12, no. 01 (January 15, 2022): 151–74. http://dx.doi.org/10.33732/ixc/12/01launio.

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The interest of this research resides in the analysis of the only fiction series dealing with the functioning of the European Union: the French- Belgian-German production Parlement (Émilie Noblet and Jérémie Sein, 2020). Through a qualitative methodology, it seeks to answer a threefold re- search objective: (1) to analyze the main characters and their characteristic elements; (2) to identify the space-time relationship and the political actions addressed in fiction in order to provide realism to its development through the scenarios and arguments presented; and (3) to detect the existence of parallelisms between the European Union in the social imagery and the one presented in the series according to the theory of social representations, the reality effect and the Eurobarometer surveys. The results reveal that Parle- ment works with stereotypes and social perceptions about the European Union through satire but manages to offer pedagogical elements in all its epi- sodes. In this way, it accomplishes becoming a popular catalyst to bring Euro- pean politics closer to citizens, by projecting a more human and lighthearted image.
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Dissertations / Theses on the topic "German Political satire"

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Weise, Niels. "Der "lustige" Krieg Propaganda in deutschen Witzblättern 1914-1918 /." Rahden/Westf. : VML, Leidorf, 2004. http://catalog.hathitrust.org/api/volumes/oclc/226970616.html.

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Moyle, Lachlan R. "Drawing Conclusions: An imagological survey of Britain and the British and Germany and the Germans in German and British cartoons and caricatures, 1945-2000." Doctoral thesis, 2005. https://repositorium.ub.uni-osnabrueck.de/handle/urn:nbn:de:gbv:700-2005020415.

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Vicissitudes in the British-German relationship since the Second World War have been reflected in the social and political cartoons produced and published in Britain and Germany referring to the other and the European and international context of their relationship. This survey focuses primarily on press cartoons, analysing and interpreting their content along imagological lines. National stereotypes, symbols, and other imagery are identified and their origins, uses, and possible meanings investigated. The research shows that British cartoonists have often had easy recourse to imagery drawn from and connected with twentieth-century military conflicts and the experience of National Socialism, which they have been loathe to set aside even after fifty years of peace. Such imagery has come particularly to the fore during periods of tension between the two countries. On the other hand, German cartoonists have generally relied upon an older and less provocative palette of imagery. Towards the end of the twentieth century and after reunification, the German caricatural depiction of Britain and the British became less circumspect, with evidence of a sharper and more critical approach. Significant themes and topics in the depiction of the ´other´ are also identfied, such as each country´s position within the European Community, and their treatment is charted.
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Books on the topic "German Political satire"

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Beltz, Matthias. Eigenes Konto: Wenn alles sich rechnet [plus] niemand bezahlt. Berlin: Transit, 2000.

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Karl, Valentin. I sag gar nix--dös wird man doch noch sagen dürfen!: Politische Sketche. München: Piper, 1994.

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Orwell, George. Die 55 beliebtesten Krankheiten der Deutschen: Im Selbstversuch getestet. München, Germany: Heyne, 2012.

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Orwell, George. Die 55 beliebtesten Krankheiten der Deutschen: Im Selbstversuch getestet. Berlin, Germany: Edition Tiamat, 2008.

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Bittermann, Klaus, ed. Was macht dieser Zippert eigentlich den ganzen Tag?: Aus dem Leben eines bekennenden Kolumnisten. Berlin, Germany: Edition Tiamat, 2009.

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Schramm, Georg. Lassen Sie es mich so sagen ...: Dombrowski deutet die Zeichen der Zeit. München: E-Books der Verlagsgruppe Random House GmbH, 2009.

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Herzog, Rudolph. Aus dem Leben eines plötzlichen Herztoten: Tagebuch eines Tagebuchschreibers. Berlin, Germany: Edition Tiamat, 2011.

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Brie, Michael. Die witzige Dienstklasse: Der politische Witz im späten Staatssozialismus. Berlin: K. Dietz, 2004.

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Heine, Heinrich. Deutschland, a winter's tale. London: Angel Books, 1997.

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Heine, Heinrich. Deutschland : ein Wintermärchen. Stuttgart: P. Reclam, 1989.

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Book chapters on the topic "German Political satire"

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Vinogradov, Igor A. "German Romantic W.G. Wakenroder and the 20th Century: Artistic Vision of N.V. Gogol." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 273–313. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-273-313.

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The article is devoted to the study of the religious and political aspects of the famous manifesto of European romanticism, i. e. the book of the German writer and musician V.G. Wackenroder “Fantasies Concerning the Art of an Art-Loving Monk” (1814). In 1826 this book was translated into Russian and influenced the development of Russian romanticism. The article examines in detail N.V. Gogol’s attitude to the works of German romantics and traces the evolution of the writer’s views on romantic literature, starting from the 1820s, when he created his first works, namely the prose satire “Something about Nizhyn, or the Law is not Written for Fools” (1826) and the poetic poem “Hanz Küchelgarten” (1827). The author of the article shows close connection of Gogol’s images of the German artisans Schiller and Hoffmann in the story “Nevsky Prospekt” (1835) with other satirical works of the writer and gives an analysis of the reformist ideas of Wakenroder’s book, which were developed in the writings of German romantics and the events of the subsequent 20th century. In addition, the research touches upon the history of the study and perception of “Nevsky Prospekt” and notes the unexpected discovery in Soviet Russia during the Great Patriotic War of the deep, “prophetic” meaning of Gogol’s work. The corresponding judgments about Gogol’s story are given by a number of critics, writers and scientists, such as F.M. Dostoevsky, D.I. Pisarev, V.V. Rozanov, Protopresbyter Vasily Zenkovsky, A.G. Dementiev, G.P. Makogonenko. The article emphasizes immutability of Gogol’s religious and patriotic views, which were formed thanks to family upbringing and school education; and made the conclusion about the fundamental polemic of the artist with the German romantics’ religious-renovationist ideas.
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Hewitson, Mark. "Wilhelmine Germany." In Imperial Germany 1871–1918, 40–60. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199204885.003.0003.

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Abstract Royal Highness, a 360-page novel by Thomas Mann about artistic detachment and princedom, also functioned as a gentle satire of life in Germany at the turn of the century. The work is set in an unnamed German state of 80,000 square kilometres and one million inhabitants, modelled on the Grand Duchy of Baden. The plot turns on the love affair between the younger prince, Klaus Heinrich, who is returning to his family birthplace, and Imma Spoelmann, the daughter of an American millionaire. Mann’s novel provides an intriguing portrait of a local, state- bound, inward-looking society, and of the archaic oddities of the etiquette-ridden, ineffective, parochial ‘high politics’ of the royal court and government. It stands in marked opposition to his brother Heinrich’s satire of Wilhelmine Germany in The Loyal Subject, published in 1918 as part of a trilogy on the German Empire. Heinrich portrays a world in which local politics has been undermined by nationalism and where the modern, powerful, industrial imperialism of the ‘Kaiser’ has replaced traditional liberalism. By contrast, Thomas depicts a quaint and apolitical setting — one he had already used in his first novel Buddenbrooks (1901) and which he explored further in Reflections of an Unpolitical Man (1918) and ‘Lübeck as a Spiritual Way of Life’ (1926).
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"Localizing in Germany." In News Parody and Political Satire Across the Globe, 77–90. Routledge, 2013. http://dx.doi.org/10.4324/9780203723067-12.

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Hale, Meredith McNeill. "The Roots of Modern Political Satire." In The Birth of Modern Political Satire, 21–65. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836261.003.0002.

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This chapter considers the evolution of the political print from 1500 through the mid-seventeenth century. This discussion examines satirical strategies employed by printmakers working at four key historical moments—the Reformation in Germany, the Dutch revolt from Spain, the French wars of religion, and the Commonwealth in England—in order to provide a larger context for the assessment of Romeyn de Hooghe’s innovation of the genre. Two strategies dominate the political prints considered in this chapter: (i) those that employ animal imagery, such as the animal fable and the animal hybrid; and (ii) those that feature individual human protagonists. This chapter introduces three themes that feature prominently throughout the book: (i) the elision of boundaries between man and animal; (ii) the treatment of the satirized body; and (iii) the inter-relationship between text and image. It is shown that the finished, closed, and choreographed body of formal portraiture that dominates earlier political prints gives way in De Hooghe’s satires to the expansive, gaping, and uncontrollable body that has been associated with the genre ever since.
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Jelavich, Peter. "The Limits of Political Satire: Cabaret in the Weimar Republic and the Federal Republic." In Social and Political Structures in West Germany, 175–86. Routledge, 2019. http://dx.doi.org/10.4324/9780429306198-10.

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Gunnemann, Karin. "Writers and Politics in the Weimar Republic." In Weimar Thought. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691135106.003.0012.

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This chapter provides a literary and historical glimpse into the political fortunes of the great writers and novelists of the Weimar era, focusing on Kurt Tucholsky, Alfred Döblin, and the brothers Thomas and Heinrich Mann. Tucholsky (1890–1935) was foremost a polemical political journalist, a humorist, and a writer of satiric poetry for the cabarets of Berlin. No ills of the Republic escaped his witty scrutiny, but when the Republic failed he ended his life in despair. Heinrich Mann (1871–1950) was both a prolific writer of fiction and one of Germany's leading political essayists. In response to the cultural changes of the twenties, he developed a new aesthetic for fiction that helped him preserve his utopian ideal of a democratic Germany. Döblin (1878–1957) expressed his criticism of post-war German society with greatest success in Berlin Alexanderplatz. Thomas Mann (1875–1955) is a representative of those writers who had great difficulty in moving away from their aesthetic and autonomous view of literature to a more “democratic” way of writing.
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Merziger, Patrick. "5. Humour in the Volksgemeinschaft: The Disappearance of Destructive Satire in National Socialist Germany." In The Politics of Humour. Toronto: University of Toronto Press, 2011. http://dx.doi.org/10.3138/9781442695122-008.

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Garnett, George. "The Conquest in Later Medieval English Law II." In The Norman Conquest in English History, 247–85. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198726166.003.0008.

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Chapter 7 begins with the resurrection in Edward II’s reign of the London Collection of the Leges Anglorum, which had first been composed in John’s reign. They were commissioned by Andrew Horn, Chamberlain of the city. More recent works were appended to the Collection, including the Mirror of Justices. The role of this rejuvenated Collection in the politics of the reign is examined, with particular reference to the new clauses of the coronation oath devised in 1308. Items in the Collection are linked with the Modus tenendi parliamentum of 1320-1The chapter then pursues the Conquest as a point of reference through records of later medieval forensic practice, particularly as recorded in the Year Books, and the great works of later medieval jurisprudence. Those of Sir John Fortescue are shown to be exceptional, in that he continued to be explicit about viewing English law in a broad historical perspective, which he showed had traversed the Conquest. Thomas Littleton’s Tenures, Anthony Fitzherbert’s Abridgement, and Year Book cases are adduced as evidence of more conventional, less historically attuned attitudes. The chapter concludes with a consideration of two jurisprudential works of the 1530s—St German’s Dialogue between Doctor and Student and Starkey’s Dialogue between Pole and Lupset—and the sudden interest of government propagandists in the London Collection of the Leges Anglorum, as evidenced by compendium of historical precedent known as Collectanea satis copiosa.
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