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Journal articles on the topic 'Liberté de satire'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

Joubert, Lucie. "La gloire de Cassiodore : une affaire de genres*." Dossier 28, no. 2 (2003): 86–97. http://dx.doi.org/10.7202/006598ar.

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Résumé La gloire de Cassiodore se lit volontiers comme une satire du milieu collégial. Cependant, le roman invite à revoir les caractéristiques de la satire traditionnelle et à mesurer la liberté que LaRue a prise par rapport à ces mêmes caractéristiques. Une des rares oeuvres signées par une femme à s’inscrire résolument dans le courant satirique, le roman autorise donc à soulever la question de la responsabilité de la satiriste, à circonscrire le rôle du lecteur dans un tel contexte et à évoquer les enjeux du féminin que soulève inévitablement une écriture de femme devant une forme universel

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Giavarini, Laurence. "La « liberté satyrique » et la « liberté françoise ». Politiques de la satire dans le Satyricon de Jean Barclay (1603-1628)." Albineana, Cahiers d'Aubigné 29, no. 1 (2017): 109–30. http://dx.doi.org/10.3406/albin.2017.1583.

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Saulnier-Cassia, Emmanuelle. "La haine du théâtre par le droit versus la haine du droit par le théâtre." Les Cahiers de droit 58, no. 1-2 (2017): 241–78. http://dx.doi.org/10.7202/1039838ar.

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Les relations entre le droit et l’art théâtral sont complexes et chargées de défiance réciproques qui peuvent se changer en haine et produire un antithéâtre et un antidroit. La haine du théâtre par le droit se manifeste par une censure de la liberté d’expression du premier par le second, qui menace cet art quels que soient l’époque et le lieu considérés, contraignant les auteurs à justifier et parfois à expurger leurs textes, le plus souvent pour des raisons de moralité ou des provocations sur des questions religieuses. La haine du droit par le théâtre s’illustre par une satire féroce du monde

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Chateigner, Frédéric. "Passard (Cédric), Ramond (Denis), dir. – De quoi se moque-t-on ? Satire et liberté d’expression. – Paris, CNRS Éditions, 2021. 400 p." Revue française de science politique Vol. 72, no. 4 (2023): 663–64. http://dx.doi.org/10.3917/rfsp.724.0663.

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5

Pajares, Eterio. "Censura y traducción." Babel. Revue internationale de la traduction / International Journal of Translation 52, no. 1 (2006): 17–38. http://dx.doi.org/10.1075/babel.52.1.02paj.

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Abstract Britain’s involvement in the War of the Spanish Succession was such a heavy burden for this country that many essays were written against prolonging the struggle. To this, John Arbuthnot (this satire was wrongly attributed to Swift for many years) contributed with The History of John Bull, a collection of fine satirical pamphlets designed to put and end to the campaign, and advocating a return to peace and common sense. It was soon translated into French and, from this language, Juan Ignacio de Ayestaran tried to produce a Spanish version. However, this version was not authorised by t

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Winter, Aaron McLean. "The Laughing Doves of 1812 and the Satiric Endowment of Antiwar Rhetoric in the United States." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1562–81. http://dx.doi.org/10.1632/pmla.2009.124.5.1562.

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Antiwar activists in the United States have often made recourse to satire in order to rebut claims that their dissent is sententious and effeminate. Federalist opponents of the War of 1812 used the genre to posit, moreover, that they alone could manage the military and economic crisis that resulted from a disastrous second war against Great Britain. But satire, in an era of incipient nationalism, was problematically associated with British snobbery. I argue that wartime periodicals show Federalist satire pulling in diverging directions. Projects like Alexander Hanson's Federal Republican are r

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Piet, Remi. "Satire and Religious Tolerance: How Acceptance/Rejection of Satire is Determined by the Capacity of Religious and Political Forces to Agree on a Modern Civic Contract." International Journal of Public Theology 10, no. 3 (2016): 302–23. http://dx.doi.org/10.1163/15697320-12341453.

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The January 2015 assassination at the Charlie Hebdo offices and the dozen ensuing terrorist attacks in France over the last eighteen months are the manifestation of a structural opposition between a civic identity whose most controversial manifestation is political satire and a religious identity hijacked by radicals. This paper explains how political satire is deeply entrenched in French culture and how it has been used as a democratization and liberating tool by a society eager to counterbalance the existing religious establishment. Similarly, it then addresses satire in the Muslim world and

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8

Thompson, E. "Revel with a Cause: Liberal Satire in Postwar America." Journal of American History 94, no. 1 (2007): 351. http://dx.doi.org/10.2307/25094934.

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9

McCosham, Anthony. "Revel with a Cause: Liberal Satire in Postwar America." Journal of Popular Culture 40, no. 3 (2007): 568–70. http://dx.doi.org/10.1111/j.1540-5931.2007.00416.x.

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10

Heneks, Grace. "“We cool?”: Satirizing Whiteness in Obama-Era Black Satire." Studies in American Humor 8, no. 2 (2022): 275–96. http://dx.doi.org/10.5325/studamerhumor.8.2.0275.

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ABSTRACT This article explores Obama-era whiteness by examining two television shows of the period: Comedy Central’s Key & Peele (2012–15) and ABC’s Black-ish (2014–22). Focusing my analysis on the sketch “Apologies” from Key & Peele and select scenes from two Black-ish episodes, I analyze the relationship between whiteness and postraciality as well as the consequences this relationship has on Black subjectivity today. I argue that in the postracial era, liberal white people have remained complicit in white supremacy through a fear of being labeled racist. Both shows suggest that overt

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11

Dammacco, Gaetano. "Riflessioni sul diritto di satira e i suoi limiti." Studia z Prawa Wyznaniowego 23 (December 30, 2020): 101–21. http://dx.doi.org/10.31743/spw.10355.

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La satira è un paradigma estremo della libertà di espressione, ma esistono incertezze sulla sua definizione concettuale e sulla relativa disciplina giuridica. Lo sviluppo della comunicazione ha prodotto numerose figure letterarie simili tra loro come la cronaca (una registrazione impersonale e non interpretativa di fatti accaduti), la critica (analisi soggettiva e giudizio relativi a fatti accaduti) e la satira (critica sarcastica di personaggi, comportamenti, modi di fare individuali con scopo di denuncia sociale). Gli elementi che caratterizzano la satira, sviluppatisi nel corso dei secoli,

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12

Sofiane, Maizi, and Bourkaib Saci Naoual. "ENGAGEMENT ET PRISE EN CHARGE ÉNONCIATIFS DANS LA SATIRE MÉDIATIQUE. ANALYSE D'UN CORPUS TIRÉ DU JOURNAL ÉLECTRONIQUE EL MANCHAR." Studii de gramatică contrastivă, no. 38 (December 24, 2022): 125–39. https://doi.org/10.5281/zenodo.7476263.

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<em>La satire médiatique demeure au centre d’un débat public sur les limites de la liberté d’expression. La présente contribution propose d’analyser des articles satiriques du journal El Manchar parues entre 2015 et 2020. Elle s’intéresse, dans une démarche d’analyse du discours, à l’humour politiquement engagé et à cette possibilité d’amalgame, dans la satire, entre le contrat humoristique (avec mise à distance) et le contrat politico-militant (sans mise à distance). C

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Young, Dannagal G., Benjamin E. Bagozzi, Abigail Goldring, Shannon Poulsen, and Erin Drouin. "Psychology, political ideology, and humor appreciation: Why is satire so liberal?" Psychology of Popular Media Culture 8, no. 2 (2019): 134–47. http://dx.doi.org/10.1037/ppm0000157.

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Koch, Jonathan. "‘No Empty Place for Complementing Doubt’: The Spaces of Religious Toleration in Andrew Marvell’s ‘Flecknoe’." Review of English Studies 71, no. 301 (2019): 687–708. http://dx.doi.org/10.1093/res/hgz132.

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Abstract Andrew Marvell’s ‘Flecknoe, an English Priest at Rome’ (1646) is a striking document in early modern debates over toleration and an exemplar of their rhetoric and design. Considering ‘Flecknoe’ together with Upon Appleton House (1651), I argue that Marvell uses spatial terms and satiric forms to present confessional rivalry and complementarity. Satire itself might be thought of as a practice of toleration in these poems, at once mocking the languages and gestures of opposing religious confessions and allowing the poet to draw close to—to contrive a surprising intimacy with—the convict

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15

Kayyal, Hadeel, and Nader Qassem. "The Impact of the Presence of Military Barriers Artistically on Palestinian Novels." International Journal for Scientific Research 3, no. 1 (2024): 32–50. http://dx.doi.org/10.59992/ijsr.2024.v3n1p2.

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The article discusses the impact of the presence of military barriers artistically on Palestinian novels and their transformation, and the diversity of the novels that reflect reality and suffering, in addition to the role of language in expressing social conflicts and the challenges of reality, and the importance of reality as a source of characters and events in novels; military barriers are mirrors of the Palestinian reality. The article also addresses the militarization of vocabulary in the novel and its connection to the language of occupation, and touches on the use of satire and comedy

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Maile, David Uahikeaikalei‘ohu. "Going Native." Cultural Studies ↔ Critical Methodologies 17, no. 1 (2016): 60–66. http://dx.doi.org/10.1177/1532708616640562.

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In South Park’s “Going Native,” the white character Butters becomes inexplicably angry only to uncover that his family contends the anger is “biologically” caused by their “ancestral” belonging to Hawai‘i. He then travels to Kaua‘i to resolve this anger by connecting with his “native” home. To parody the materiality of white settlers playing and going native, Butters is represented as “native Hawaiian.” This parody functions as a satire to ridicule and criticize settler colonialism in Hawai‘i. Yet, it does so by distorting, dismembering, and erasing Hawaiian Indigeneity. By deploying an Indige

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17

Agozino, Biko. "The Ire of Satire Meets the Error of Terror." Sociological Research Online 20, no. 4 (2015): 200–204. http://dx.doi.org/10.5153/sro.3791.

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The reign of terror named terrorism as a state ideology during the French revolution but the practice of terrorism as public policy predated cries of liberte, egalite et fraternite, given the unprecedented peculiar history of Maafa or the African holocaust that went on for centuries, first across the Sahara and then across the Atlantic, under the sponsorship of various states. The error in terrorism is that it presumes that human beings are such scary cats that fear would be an effective policy for domination or liberation. On the contrary, human beings are a strange piece of work capable of f

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Young, Alex Trimble. "“The Vigorous New Vernacular”: Settler Colonialism and the Politics of Irony in Roughing It." Mark Twain Annual 20 (November 1, 2022): 158–73. http://dx.doi.org/10.5325/marktwaij.20.1.0158.

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Abstract This article argues, contrary to the contemporary critical consensus, that Twain’s notorious representation of the Goshutes in Roughing It is a complex satire directed at both the Indigenous people he encounters and those among his white audience who attribute the Goshute’s abjection to essential racial traits. This satire does not rescue the passage from an irredeemable racial logic, but it does mark Twain’s thinking on race as substantially different from the forms of “Indian hating” common among his contemporaries. Exploring Twain’s sources and considering the function of irony in

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19

KENTLETON, JOHN. "Revel with a Cause: Liberal Satire in Postwar America - By Stephen E. Kercher." History 92, no. 308 (2007): 550. http://dx.doi.org/10.1111/j.1468-229x.2007.410_18.x.

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20

Jarvis, Eric. "The Comic Strip Pogo and Liberal Satire During the Vietnam Era." Popular Culture Review 16, no. 1 (2005): 117–24. http://dx.doi.org/10.1002/j.2831-865x.2005.tb00208.x.

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21

Andersson, Fred. "Iconography of the Labour Movement. Part 1: Republican Iconography, 1792–1848." ICO Iconographisk Post. Nordisk tidskrift för bildtolkning – Nordic Review of Iconography, no. 1-2 (November 3, 2020): 153–83. https://doi.org/10.69945/ico.vi1-2.25660.

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This is the first article in a two-part study of the background and development of the iconography of the international socialist labour movement. With the breakthrough of modern political ideologies after the American and French revolutions, the symbols of freemasonry long remained an important point of reference for new iconographic systems serving secular propagandistic needs. The virtues and vices of classical moral education were replaced or combined with new ones, and old symbols were invested with altered meanings in the context of political satire and allegory. The human and especially

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22

Best, Janice. "Le vaudeville sous la Deuxième République : une arène ouverte aux passions politiques ?" Voix Plurielles 14, no. 2 (2017): 35–49. http://dx.doi.org/10.26522/vp.v14i2.1639.

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Lorsqu’on supprima la censure en 1848, on assista à un foisonnement de pièces à sujet politique, notamment au théâtre du Vaudeville. Ces satires politiques connurent d’importants succès, soulignant le rôle du vaudeville comme miroir parodique de la société. Les commentaires politiques ne disparurent pas lorsque la censure fut restaurée en 1850, mais furent l’objet d’une attention accrue de la part des autorités. Dans cet article, je compare trois vaudevilles joués pendant la période de liberté d’expression avec trois autres pièces jouées après 1850 afin de souligner le rôle de contestation pol

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23

Muñoz Sempere, Daniel. "The Spanish Bastille? Mariano José de Larra and the Death of the Inquisition." Comparative Critical Studies 15, no. 2 (2018): 247–59. http://dx.doi.org/10.3366/ccs.2018.0291.

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This article explores the background to Mariano Jose de Larra's ‘Día de Difuntos de 1836’ (‘All Souls’ Day, 1836'). In particular, it considers Larra's mockery of the symbolic death of the Spanish Inquisition as a belated, timid gesture, a reminder of the troubled and meandering course of the Spanish Liberal Revolution. By examining the symbolic dimension of the Inquisition during the Spanish revolutionary cycle, but also post-revolutionary allusions to the Tribunal and its possible revival, we aim to enrich our understanding of Larra's satire and its engagement with historical change.

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Stenuit, Bernard. "Horace, son éducation et la politique (jusqu’en 30)." L'antiquité classique 88, no. 1 (2019): 103–20. http://dx.doi.org/10.3406/antiq.2019.3950.

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Horace : poète officiel, chantre de la Paix retrouvée, chargé par Auguste de composer l’hymne de la grande fête nationale de 17 ACN, le Chant séculaire. Quel contraste ce portrait offre-t-il avec l’ensemble des allusions à sa formation et à ses premières expériences, jusqu’en 30, où paraissent absents la vocation d’orateur et le sens politique ! Quel contraste aussi avec les années discrètes qui suivent la déroute de Philippes. À ce moment, républicain vaincu, mais sauf, il se met à écrire, pour un cercle d’amis seulement, loin de toute ambition politique. Telle est la persona qu’il construit,

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Baltodano Román, Gabriel. "Fisiognomía y fealdad cómica en la caricatura política de Enrique Hine (Physiognomy and Comic Ugliness in the Political Cartoons of Enrique Hine)." LETRAS 1, no. 59 (2017): 155. http://dx.doi.org/10.15359/rl.1-59.7.

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Este artículo trata la caricatura política; en particular, el significado ideológico construido mediante dos procedimientos empleados en la sátira política de combate contra el liberal Ricardo Jiménez Oreamuno, a saber: la comparación fisiognómica (con figuras míticas y animales) y la fealdad cómica (Bergson) como rigidez mental, moral e intelectual. Se centra en las caricaturas del artista gráfico Enrique Hine Saborío, editor del periódico humorístico El Cometa.This article addresses political cartoons, and focuses on the ideological meaning constructed using two procedures found in political

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Petrović, Tanja. "Serbia in the Mirror: Parodying Political and Media Discourses." Slavic Review 74, no. 2 (2015): 288–310. http://dx.doi.org/10.1017/s0037677900001431.

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This article analyzes the Serbian fake news site Njuz.net, exploring the dynamics of its production, consumption, and appropriation in Serbian postsocialist, pre-EU-accession society. The increasing presence and importance of parodic media genres and the embrace of satire as a viable way to interpret and deal with social and political reality are explained in terms of both Serbia's historical trajectory and its media landscape as well as the global neo-liberal condition. Njuz.net's parody sheds critical light on various political, public, and social subjects simultaneously. Its satire communic

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Scodel, Joshua. ""None's Slave": Some Versions of Liberty in Donne's Satires 1 and 4." ELH 72, no. 2 (2005): 363–85. http://dx.doi.org/10.1353/elh.2005.0021.

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Patterson, C. B. "The Filipino American in Spaces of Liberal Tolerance: Satire and Reciprocity in Peter Bacho's Cebu." MELUS: Multi-Ethnic Literature of the United States 39, no. 1 (2014): 149–72. http://dx.doi.org/10.1093/melus/mlt105.

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29

Garrard, John. "The Challenge of Glasnost: Ogonek's Handling of Russian Antisemitism." Nationalities Papers 19, no. 2 (1991): 228–50. http://dx.doi.org/10.1080/00905999108408200.

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When antisemites call me a Jew, I never deny it. My feeling is that if Jews are persecuted in my country, then I too am a Jew. In fact, I am not Jewish. But as long as Jews are persecuted, I will never refuse to be a Jew.Vitalii Korotich, chief editor of OgonekRevolutions devour their children; Nationalism eats its parents.Jack Gallagher, late Professor of Imperial History, Cambridge UniversityAmerican citizens have had over two hundred years to judge the differences between liberty and license, but for Russians freedom of expression is a new, heady, unsettling experience. Glasnost has not onl

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Weininger, Melissa. "The Limits of Drag: Women, Gender, and the Other in Hayehudim Baim." Studies in American Jewish Literature (1981-) 41, no. 2 (2022): 185–201. http://dx.doi.org/10.5325/studamerijewilite.41.2.0185.

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Abstract The Israeli sketch comedy show Hayehudim Baim skewers many elements of Jewish and Israeli history, and its satirical, secular, liberal readings of biblical figures and religious practices have created political controversy. Yet despite its apparently progressive take on Jewish history and Israeli culture, the show’s use of drag as a central feature of its satire reveals certain practical and ideological lapses in its treatment of gender norms. A series of sketches about the biblical matriarchs Rachel and Leah, both married to the patriarch Jacob, demonstrates the limits of the show’s

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Hilton, Marjorie. "Civilizing Russia's “Barbarous Kingdom”." Historical Reflections/Réflexions Historiques 50, no. 2 (2024): 30–45. http://dx.doi.org/10.3167/hrrh.2024.500203.

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Abstract The Hulu series The Great, an ahistorical satire of the eighteenth-century Russian Empire, set at the courts of Peter III and Catherine II, doubles as a critique of contemporary politics and culture. Created for Anglophone audiences with little knowledge of history, but aware of stereotypes of Russia as a despotic, dysfunctional backwater, the show's appeal rests on the love-hate relationship between Peter the bro-emperor and the “girlboss” empress Catherine, as well as the expectation that Catherine, ultimately, will “have-it-all.” This article examines the gender dynamics structurin

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Akhmadulin, Evgeny V. "POLITICAL SATIRE OF LIBERALS AGAINST ROYAL DIGNITANTS (ON THE EXAMPLE OF THE MAGAZINE "OSVOBOZHDENIE")." Proceedings of Southern Federal University. Philology 27, no. 3 (2023): 178–87. http://dx.doi.org/10.18522/1995-0640-2023-3-178-187.

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The purpose of the article is to show the irreconcilable position of liberal publicists in relation to the tsarist regime on the eve of the first Russian revolution of 1905-1907 and during the period of active association of liberals around the foreign opposition magazine Osvobozhdenie (1902-1905). Unlike the social-democratic newspaper Iskra and the Socialist-Revolutionary Russia, which developed their party programs for a certain class – workers and peasants, respectively – Osvobozhdenie set the task of a nationwide movement in the struggle for their rights. Therefore, in addition to leading

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Prokudin, Boris. "The Drama of Russian Westernism: the Social Ideal in the Novel by Ivan Turgenev “Smoke”." ISTORIYA 13, no. 5 (115) (2022): 0. http://dx.doi.org/10.18254/s207987840021611-1.

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Turgenev&apos;s novel “Smoke” is written in the genre of satire. It presents a caricature of russian revolutionaries and reactionaries of the 1860s. For a long time, literary critics have been arguing which of them Turgenev ridicules more. In this article we will change the angle of view. We will try to reconstruct the system of social views of 1865—1867 years in Russia, outlined in the novel. The main hypothesis of this article is that Turgenev during this period had seen the danger of merging slavophiles and socialists into a single coalition of «samobytniki». This coalition opposed the

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Fitzgerald, Andrew A. "Letting the Fascists Speak for Themselves: The Enabling of Authoritarians and the Need for a Partisan Press." Journal of Communication Inquiry 43, no. 1 (2018): 70–92. http://dx.doi.org/10.1177/0196859918786938.

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This article analyzes the historical media practices and conditions during the rise of the worst authoritarian movements—namely, fascist Italy and Nazi Germany. It then compares these to contemporary media practice during and since the 2016 U.S. presidential election, considering the impact of sociotechnical systems that increasingly penetrate and govern media discourse. It argues the press should not double down on journalistic objectivity but rather embrace a “little-p partisan” press—interested and invested in political outcomes. The press must engage in vociferous criticism and earnest arg

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Gough, Charlotte. "Feminism, boomers and Baphomet: Satanic satire and the Trump era culture wars in Satanic Panic (2019)." European Journal of American Culture 43, no. 1 (2024): 7–25. http://dx.doi.org/10.1386/ejac_00108_1.

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Focusing on the Gothic comedy Satanic Panic, this article examines how the film uses satire as a liberal reaction to the patriarchal, theocratic agenda of Trumpism, following a notable tradition of Satan adopted as a symbol of countercultural, individualist revolution. I argue that the text’s youth-focus, as well as its representation of gender, national identity and economic class, negotiates feminism and competing ideologies of satanism to suitably reflect the opposing strands of the contemporary culture wars. Indeed, the post-truth, paranoiac United States under Trump has seen apocalyptic r

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Finnan, Joseph P. "Punch’s portrayal of Redmond, Carson and the Irish question, 1910–18." Irish Historical Studies 33, no. 132 (2003): 424–51. http://dx.doi.org/10.1017/s0021121400015923.

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The Irish question in the form of home rule reasserted itself in British politics during the years 1910-18, first as the central issue in British political debate, then as a secondary, though still significant, concern for Britain during the First World War. One of Britain’s national institutions, Punch, a weekly magazine of political commentary and satire with a circulation of 100,000, reflected the significance of the Irish question by devoting a great deal of attention during these years to the leaders of the two opposing forces in Irish politics, the Irish nationalist leader John Redmond a

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BALLANTINE, CHRISTOPHER. "Re-thinking ‘whiteness’? Identity, change and ‘white’ popular music in post-apartheid South Africa." Popular Music 23, no. 2 (2004): 105–31. http://dx.doi.org/10.1017/s0261143004000157.

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In South Africa, the prospects for social integration were auspicious after the first democratic elections in 1994. As the popular music of the time shows, it was not only blacks who exulted in the new ‘rainbow’ euphoria: many whites did so too. But for millions of black and white citizens, this moment was short lived. The government's adoption of neo-liberal policies had severe social consequences – which it and the new elite sought to conceal behind populist calls to ‘race’ solidarity, a new racial typecasting and slurs aimed at whites in general. ‘White’ popular music has responded to these

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Tickell, Alex. "The Perils of Certain English Prisoners: Charles Dickens, Wilkie Collins, and the Limits of Colonial Government." Nineteenth-Century Literature 67, no. 4 (2013): 457–89. http://dx.doi.org/10.1525/ncl.2013.67.4.457.

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This essay considers the theme of the contract as a metonym for failed government in Charles Dickens’s and Wilkie Collins’s collaborative Christmas story The Perils of Certain English Prisoners (1857), written to commemorate the Indian “Mutiny.” Building on critical studies by Myron Magnet, Grace Moore, and Lillian Nayder, and reviewing relevant contract theories of government in political philosophy, my analysis traces the proliferating tropes of the contract in this unusual narrative and suggests that as well as presenting a topical satire on circumlocutory colonial bureaucracy, these figure

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Haris Hakam, Muhammad. "Ungkapan Satire Al-Qur’an Dalam Mujadalah (Seni Kesantunan Komunikasi, Artikulasi, dan Agregasi Politik Menghadapi Penguasa)." MISYKAT Jurnal Ilmu-ilmu Al-Quran Hadist Syari ah dan Tarbiyah 7, no. 1 (2022): 121. http://dx.doi.org/10.33511/misykat.v7n1.121-136.

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The world of da'wah is very close to delivering messages in the form of narratives. Da'wah does not always run smoothly, even during the times of the Prophets and Apostles, da'wah is a difficult and full of suffering. When da'wah collided with power, the apostles were even ordered to continue to convey their message of da'wah to the rulers. The story is a miracle of the Koran. One of the stories in the Koran that describes the human process in achieving the truth can be seen in the story of Abraham in seeking God. The procession of seeking God was carried out by Ibrahim by observing material o

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Addei, Cecilia. "“Walahé!”; “You should have seen it”: Validating the Truth of Wartime Absurdities in Ahmadou Kourouma’s Allah is Not Obliged." Gragoatá 23, no. 45 (2018): 24–44. http://dx.doi.org/10.22409/gragoata.v23i45.33563.

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Ahmadou Kourouma’s Allah is Not Obliged is a fiction based on the civil wars in the West African countries of Liberia and Sierra Leone as a result of the breakdown of democracy. It employs the point of view of a child narrator, Birahima, a literalist picaro, to narrate wartime atrocities. The novel, mainly a satire, employs the devices of irony and humour that allow Birahima to present his world, which is turned upside down, and morality, reversed, in a way that makes the reader laugh in spite of the horror. The reality of Birahima’s wartime experience, which has left him in a kind of developm

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Dr. Safia Niazi, Shazia Naz, and Dr. Naeem Akhtar. "<b>Analysis of Pedagogical Approaches to Pakistani Women Writers and Feminist Themes in English Literature: An Educational Exploration</b>." Journal of Management & Social Science 2, no. 2 (2025): 627–43. https://doi.org/10.63075/bzc85t49.

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This research investigates feminist themes in English-language literature created by Pakistani women authors, analyzing their roles in South Asian feminist discussions within postcolonial and socio-cultural frameworks. Using a secondary qualitative analysis, it explores common themes including female identity, resistance against patriarchy, intersectionality, and diasporic experiences in the writings of authors such as Bapsi Sidhwa, Kamila Shamsie, Qaisra Shahraz, Uzma Aslam Khan, and Moni Mohsin. Employing Elaine Showalter’s three-phase model (feminine, feminist, female) along with feminist t

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Deffebach, Nancy. "Artist as Witness." Latin American and Latinx Visual Culture 3, no. 1 (2021): 30–59. http://dx.doi.org/10.1525/lavc.2021.3.1.30.

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After creating a substantial corpus of art that was political in the sense that the female body and social justice are political, but which had not dealt with national politics, the Colombian painter Débora Arango (1907–2005) embarked on an extended series of works that chronicled and critiqued politics and politicians during the undeclared civil war known as la Violencia (c. 1946 to 1965). This essay examines Arango’s first five paintings about the national politics of Colombia and, by extension, the role of the artist as witness. Arango’s earliest political paintings represent the Liberal po

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Eliassen, Knut Ove, and Anne Fastrup. "Det orientalske despotis afvikling i Montesquieus Lettres persanes." 1700-tal: Nordic Journal for Eighteenth-Century Studies 9 (December 9, 2014): 12–38. http://dx.doi.org/10.7557/4.3234.

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Montesquieu’s Dismantlement of Oriental Despotism in Persian Letters.Montesquieu’s epistolary novel, Persian Letters, is often presented as a satire of the mores of the French under the reign of Louis XIV, and an early example of what became a well-established literary trope: the de-familiarizing perspective of the foreign visitor. Others have emphasized that the novel’s political horizon is best understood by taking into account Montesquieu’s later work, the Spirit of the Laws, and that the Persian letters anticipates insights that were to be more broadly developed in the author’s chef-d’oeuv

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Wang, Shiyi. "A Study on the Cultural Differences Between Chinese and American Realistic Films: A Case Study of Dying to Survive and Dallas Buyers Club." Communications in Humanities Research 11, no. 1 (2023): 173–78. http://dx.doi.org/10.54254/2753-7064/11/20231412.

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Dying to Survive and Dallas Buyers Club are two films centered around realistic themes, exploring the challenges faced by patients. Despite their shared focus on healthcare conditions, the films differ in their portrayal, thematic perspectives, and cultural implications due to varying production origins and cultural contexts. In terms of presentation, Dying to Survive employs humor and exaggeration against the backdrop of the drug trade, using satire and comedy to highlight Chinas healthcare system flaws and societal issues. Conversely, Dallas Buyers Club prioritizes realism, grounded in actua

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Temin, David Myer, and Adam Dahl. "Narrating Historical Injustice: Political Responsibility and the Politics of Memory." Political Research Quarterly 70, no. 4 (2017): 905–17. http://dx.doi.org/10.1177/1065912917718636.

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Memory and justice are intricately linked. To adequately address historical wrongs, liberal democracies must engage the past. Historical memory provides a connective tissue between past wrongs and present injustices. Yet the question that arises with the politics of memory and its usefulness for addressing historical injustice resides precisely in the process by which we create historical memory. More than just an acknowledgment of past events, collective memory is constructed through narrative and memorial practices that impart meaning to past events. This paper amends the politics of memory

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Brick, H. "STEPHEN E. KERCHER. Revel with a Cause: Liberal Satire in Postwar America. Chicago: University of Chicago Press. 2006. Pp. xi, 575. $35.00." American Historical Review 112, no. 4 (2007): 1207–8. http://dx.doi.org/10.1086/ahr.112.4.1207.

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Salve, Sonba. "Critical Discourse Analysis of Aravind Adiga’s The White Tiger." International Journal of Linguistics 5, no. 3 (2024): 74–83. http://dx.doi.org/10.47604/ijl.2993.

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Critical Discourse Analysis (CDA) is part of Discourse Analysis which deals with the way meaning is further explored beyond the realm of sentences. Its use in literature takes the exploration further by making critical inquiry in to the source of the problem or the conflict. By critically looking at conversations and writings that are being used in the society, Critical Discourse Analysis aims to attach the source of all problems in a story to a systemic failure of socio-political powers. In so doing, it tries to take an active role to correct the wrongs in the society by highlighting the conv

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Goncharova, E. I. "P.P. Pertsov and gazeta «Novoye vremya» (1898–1901) (New aspect of creative biography)." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 157–68. http://dx.doi.org/10.17588/2076-9210.2020.3.157-168.

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The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substanti

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Yadav, Prabhu Ray. "Crisis of Personal Identity in Auden’s “The Unknown Citizen”." Pursuits: A Journal of English Studies 9, no. 1 (2025): 93–100. https://doi.org/10.3126/pursuits.v9i1.79374.

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This study reflects the value that citizens place on their own nation. It depicts the way citizens live, where government bureaucrats and industrial employers enforce their authority. Their actions often place them in opposition to a citizen. W. H. Auden, in his poem “The Unknown Citizen,” critiques the degrading effects of bureaucratic domination and misunderstanding. The individual’s rights as a citizen is reduced to an anonymous figure defined more by the Bureau of Statistics than by personal identity. Through subtle satire and irony, Auden exposes how societal norms prioritize efficiency a

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Ashby, LeRoy. "Revel with a Cause: Liberal Satire in Postwar America. By Stephen E. Kercher. (Chicago, Ill.: University of Chicago Press, 2006. Pp. xi, 553. $35.00.)." Historian 70, no. 2 (2008): 331–32. http://dx.doi.org/10.1111/j.1540-6563.2008.00213_18.x.

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