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Journal articles on the topic 'Political satire'
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Maulida, Lailatul. "Reformasi Gagal Total, Kawan!: A Stylistics Study of Political Satire in Eka Kurniawan’s Corat-coret di Toilet." Aphorisme: Journal of Arabic Language, Literature, and Education 1, no. 1 (April 4, 2020): 54–64. http://dx.doi.org/10.37680/aphorisme.v1i1.321.
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This paper aims to discuss and analyze political satire in Eka Kurniawan's short story titled Corat-coret di Toilet. By applying descriptive qualitative research as well as stylistics approach, researcher then reading the whole text of the short story, analyzing the political satire, and taking notes the sentence related to political satire inside. Found that there are nine sentences of satire in the short story that refer to political satire that was written by some students on the campus toilet's walls against the situation of the government in the year of 1990s where the freedom of conveying aspirations is tightly limited. The ubiquity of political satire in this short story builds critical thinking on the readers and also stimulates them intensely to be able to interpretatively understand what is meant by the political satire, the relation of those political satires with the political and social condition in Indonesia, specifically in the end of New Order and the beginning of reform era. Finally, the political satire in Corat-coret di Toilet reflects legal and social injustice in Indonesia. Nevertheless, Kurniawan's work able to persuade the readers with a sense of humor, sadness, anger and the truth of the Indonesian situation, to understand and care more about social and government phenomena in their own country.
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Bucknell, Clare. "The Roman Adversarial Dialogue in Eighteenth-Century Political Satire." Translation and Literature 24, no. 3 (November 2015): 291–318. http://dx.doi.org/10.3366/tal.2015.0219.
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This article examines the use of the Roman satiric dialogue in eighteenth-century political verse. It studies partisan satires that pit their speakers against a cautionary interlocutor (adversarius) in imitation of Horace's Satire 2.1 and Persius' Satire 1. It begins with an overview of Pope's use of the dialogue form in his Imitations of Horace, and his shift in the later 1730s to a model of antagonistic encounter between ideological opponents in the style of Persius. Its main body is an examination of later eighteenth-century satires that find alternative political uses for Persius' dialogue form to those of Pope and the Whig Patriot satirists who followed his lead. It studies Thomas Newcomb's inversion of Pope's Epilogue to the Satires for the purposes of ministerial propaganda; Charles Churchill's variations on the dialogue form under the banner of Wilkesite opposition; and Peter Pindar's comic burlesque of the traditional postures of dialogic satire in One Thousand Seven Hundred and Ninety-Six. The article reveals the Roman dialogue to have been a distinctively flexible framework for eighteenth-century satirists, capable of accommodating positions and arguments on both sides of the partisan divide.
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Mohammed, Wafaa Dahham. "A Socio-Pragmatic Study of Satire in English Political Speeches with Reference to Its Arabic Translations." JOURNAL OF LANGUAGE STUDIES 7, no. 4 (December 31, 2023): 236–55. http://dx.doi.org/10.25130/lang.7.4.12.
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Satire is a typical mode of expression that is humorously utilized with the intent of attacking or criticizing a certain person, behavior, state, or the whole community. Satire, in political genres, is informatively manifested for materializing negative ends on the part of the satire entity. Satirical expressions are oppositely devised, critically held, and morally targeted; whereof a problematic area would arouse towards the perception of their incongruous targets, the extent of their critical dimensions about their aim of moral reform. Besides, translators would face the dilemma of satirical incongruity and their moral statues would inevitably differ. Thence, five satirical texts with their translations randomly opted from the political site www. The week.com show debates political satire in English with its four renditions in Arabic. Socio- Pragmatic means for unraveling satirical mysteries are objectively culled. It is hypothesized that satire in political language comes with the intent of criticizing and ridiculing the political situation with the aim of getting reform. Bringing forth translational mechanisms for the renditions of covert intents based on cultural and communal grounds are attempted. In conclusion, most of the political satires are hostilely put forward against rather than reforming the political figures and the political situation. Most of the satirical expressions found no accurate renditions in the other language due to their discrepancy and the absence of contextual condition, paralinguistic cues and intonational patterns.
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A/P Mahinder Singh, Harveena Kaur, and Arnold Puyok. "Political Satire and Its Influence on the Youth Political Perception." Trends in Undergraduate Research 4, no. 2 (December 28, 2021): h18–28. http://dx.doi.org/10.33736/tur.4096.2021.
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This article is based on research that explored the different forms of political satire on social media and examined whether political satire has any impact on the political perception of the youths. Social media platforms such as Facebook, Twitter, Instagram and so on. A mixed methodology was adopted in this research involving content analysis and survey. This study was conducted in Kuala Lumpur involving 50 respondents from the age of 18 to 40 years old. Content analysis was used to explore the forms of political satire. There were seven different forms of political satire analysed in this research, namely, political graphics by Fahmi Reza, political cartoons by Zunar, political anime from a Facebook page entitled “Bro, don’t like that la, bro”, memes from “SarawakGags”, “HarakatDaily” satirical news site, Dr Jason Leong’s satirical tweets on Twitter and parody videos by Douglas Lim. These themes were derived from social media platforms like Facebook and Twitter. The study found that political satire has profound impacts on the political interests of the youths as it not only helps to increase their political understanding, it also presents political issues to the youths in creative and interesting ways. It is argued that political satire will grow faster and shape the political thinking of the youths especially. The direct effects of political satire, however, on voting inclination, are still inconclusive and need to be explored further.
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Glazier, Rebecca A. "Satire and Efficacy in the Political Science Classroom." PS: Political Science & Politics 47, no. 04 (October 2014): 867–72. http://dx.doi.org/10.1017/s104909651400119x.
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ABSTRACTPolitical satire has become increasingly prominent in recent years, leading some political science instructors to use satire in their courses. Yet, recent work suggests that political satire may encourage cynicism and decrease political efficacy. In this article, the author develops and tests an approach to teaching effectively with satire. Frequent use, source diversity, and critical evaluation engage students while allaying satire’s potential detrimental effects. The author evaluates this pedagogical approach through a classroom experiment using both in-person and online classes (student N = 163). Qualitative and quantitative data offer suggestive evidence that refutes the warning that satire fundamentally depresses political efficacy and indicates that students enjoy satire and endorse its use. By deliberately using diverse satirical sources, instructors can maximize the benefits of satire while minimizing potential drawbacks. For interested instructors, the author’s website contains a searchable catalog of satirical articles, video clips, and cartoons that can be used to teach specific political science concepts.
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Ali, Marwah Kareem, and Wafaa Dahham Mohammed. "The Reflection of Satire in Political Cartoons." JOURNAL OF LANGUAGE STUDIES 5, no. 2 (October 8, 2023): 431–40. http://dx.doi.org/10.25130/jls.5.2.26.
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Satire is a figurative device that is employed in different fields and different types of texts, especially politics. It is used for purposes of entertainment and hiding real meanings. However, most studies done on satire are related text analysis. Accordingly, this study aims at determining how satire is reflected in political cartoons. The data of this study is represented by American political cartoons on Donald Trump, to be analyzed critically in relation to reality. The study found that satire in cartoons on Trump reflect his egoism, ignorance and carelessness as clarified in the expressions used in American cartoons.
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Semotiuk, Orest. "Laughing at political opponents." European Journal of Humour Research 11, no. 2 (June 30, 2023): 37–48. http://dx.doi.org/10.7592/ejhr.2023.11.2.792.
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The paper is devoted to the analysis of the discursive dimension of the standoff between supporters of 6th Ukrainian President Volodymyr Zelensky and those of his predecessor Petro Poroshenko. This dimension is implemented in Internet memes as one of the forms of political satire. Memes can be defined by their goals, frame of reference and means. The discursive practices used in memes aiming at the symbolic defamation of a political opponent and his electoral base are considered, taking into account the target, the focus, and the presentation of political satire about the protagonists Zelensky and Poroshenko. The corresponding parameters (goal-target, frame of reference-focus, means-presentation) constitute the analytical framework for the examination of the interrelations between political participation, political humour, political satire, and political discourse in this paper.
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Shao, Li, and Dongshu Liu. "The Road to Cynicism: The Political Consequences of Online Satire Exposure in China." Political Studies 67, no. 2 (August 3, 2018): 517–36. http://dx.doi.org/10.1177/0032321718791373.
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This article examines two competing theories explaining the effects of political satire on citizens in an authoritarian context. The “activism” proposition argues that political satire works as a form of resistance to erode people’s support for the regime and encourages collective action. The “cynicism” proposition argues that while satire discourages regime support, it also discourages political participation. Our online survey experiment on young Chinese Internet users provides evidence supporting the cynicism proposition. Satire consumption reduces audiences’ political trust, deflates their political efficacy, and discourages them from participating in politics, as it reduces the perceived severity of political problems and implies that audience participation is useless. We conclude that the dissemination of political satire may stabilize the authoritarian regime temporarily but induces it to become erosive in the long run.
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Collovald, Annie, and Erik Neveu. "Political satire on French television." Modern & Contemporary France 7, no. 3 (August 1999): 339–49. http://dx.doi.org/10.1080/09639489908456501.
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Brettler, Marc Zvi, Zeʾev Weisman, and Ze'ev Weisman. "Political Satire in the Bible." Jewish Quarterly Review 89, no. 1/2 (July 1998): 180. http://dx.doi.org/10.2307/1455297.
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김옥수. "Political Satire: Pope's "To Augustus"." Journal of Medieval and Early Modern English Studies 17, no. 1 (May 2007): 167–82. http://dx.doi.org/10.17054/jmemes.2007.17.1.167.
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Bee, Jim. "British television satire." Recherches anglaises et nord-américaines 36, no. 3 (2003): 49–57. http://dx.doi.org/10.3406/ranam.2003.1703.
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Satire is a regular feature of British television, both in fiction and topical comedy. Its contribution to contemporary culture and politics deserves to be taken seriously but it has attracted little academic interest. An exception is Wagg’s analysis of post-war British satirical comedy (1992) where he argues that satire has had a negative effect on political life by encouraging a cynical view of politics. This research discusses satire on contemporary British television, specifically topical news satire in the news quiz. Drawing on literary theory it seeks to illuminate how such satire works as a communicational form and what we might expect of it politically. Extracts are analysed of the news quiz Have I Got News For You? It is argued that topical news satire offers some examples of the traditional version of satire as a moral and pedagogic form identifying vices and urging their correction but it is found to be more likely to involve less conclusive features such as (following Griffin 1994) inquiry, provocation, play and display and to be dedicated to pleasure as much as moral and political persuasion. Whilst contemporary tv satire provides plenty of evidence to support the claim that it abuses politics in general and encourages cynicism, it can equally be argued that it is part of an established tradition of public complaint and mockery which is useful to a healthy democracy.
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Ahmad, Afaq, and Sanuja Salim. "Audience Engagement with Malayalam Television Political Satire Shows: A Qualitative Study." Journal of Communication and Management 2, no. 01 (March 18, 2023): 57–66. http://dx.doi.org/10.58966/jcm20232110.
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Satire is a sword that keeps the audience alert and involved in recent political developments when other forms of traditional media have failed to communicate politics effectively. This qualitative study was done among the people who watch Malayalam political satire shows. This study attempts to throw light on the viewing habits of selected satirical programs in Malayalam news channels. The present study is intended to examine political satire shows’ credibility and trustworthiness. The samples are collected using the purposive sampling method; qualitative in-depth interviews were conducted to strengthen the research objective. Most respondents said that they chose satire to gain information through fun. They also admitted that satirical shows are sources of political information. This study employed uses gratification theory, third-person effect, and agenda-setting theory to explain the reason for choosing political satire.
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Abbas, Yasir, and Akhtar Aziz. "Satire as Counter-Narrative Criticism of USA in Twenty-first Century Pakistani Televisual Political Satire." Academic Journal of Social Sciences (AJSS ) 4, no. 3 (November 16, 2020): 540–50. http://dx.doi.org/10.54692/ajss.2020.04031085.
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The study observes that in the early twenty-first century different Pakistani comic televisual political satire shows started discussing current affairs and international relations. The United States of America remains one of the main targets of Pakistani televisual satire in the new century. The research finds that Pakistani televisual satire effectively exposes the flaws of the US foreign policy. Pakistani televisual satirists are very critical of America’s exploitative neocolonial enterprise. The satire among other things condemns America’s anti-Islam narrative and Islamophia; invasion of other nations and violation of their sovereignty; lust for oil and power; utilitarian foreign policy; and false pretexts for the war on terror. The research analyses the relevant satirical content of two of the representative shows. The study argues that the twenty-first century Pakistani televisual satire may be regarded as a counter-narrative. Additionally, the study uses Arthur Asa Berger’s classification of humour (1993) to explain the devices behind the satire making it effective. In this way, the study highlights the literary merit of Pakistani televisual satire. The research proposes that Pakistani televisual satire may be acknowledged as a subgenre of political satire.
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Maslo, Adi. "Using counterfactuals to display facts – the case of satirical humor." ExELL 4, no. 2 (December 1, 2016): 116–26. http://dx.doi.org/10.1515/exell-2017-0010.
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Abstract Satire has not been given the humorologists’ attention to an extent that would do justice to the amount of humor satire actually holds. Therefore, the intention of this paper is to shed light on satire as humorous discourse, with an emphasis on counterfactuals. Interestingly enough, counterfactuals oppose the actual state of affairs; rhetorically however, they show potential to reveal the truth. Political satire is an area of conflict between truth and falsehood which is exactly why this type of satire is discussed in this paper. Tools from Cognitive Linguistics – framing and blending – are utilized to show to what extent counterfactuals are actually false and how they essentially contribute to satire. Examples of political satire are selected from Comedy Central’s The Daily Show.
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Rolfe, Mark John. "The Danish Cartoons, Charlie Hebdo and the culture wars: satiric limits in comparative national and transnational perspectives." European Journal of Humour Research 9, no. 3 (November 1, 2021): 92–112. http://dx.doi.org/10.7592/ejhr2021.9.3.538.
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A considerable body of academic literature has lauded political satirists as rebellious defenders of democracy and free speech against an establishment. Although satire is not always rebellious, this reputation of satirists and of satire may itself be the object of partisan capture. In this article, it is the object of capture by right-wing populists. In that respect, satire and the meta-discourse about satire can be used like any political rhetoric in gathering like-minded allies, claiming standards, and fighting opponents. With the Danish cartoons crisis of 2005-2006 and the Charlie Hebdo massacre of 2015, proponents of culture wars rhetoric added satire to their list of Western cultural legacies that needed defence against Islamic terrorism as well as left authoritarian elites who suppressed free speech through political correctness. They constructed simplistic global political dichotomies about satire, free speech, and civilisation and lifted events out of local contexts in a process of global framing. The culture war rhetoric was absolutist in support of free speech and satire on the international level. But the national level reveals the hortatory and partisan side to this rhetoric and the complexities that belie the absolutist stand. Nations are the arenas where struggles over free speech and political humour are played out.
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McClennen, Sophia A. "Trump’s Ironic Effect on Political Satire." Film Quarterly 75, no. 2 (2021): 27–37. http://dx.doi.org/10.1525/fq.2021.75.2.27.
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This essay analyzes how the presidency of Donald Trump presented a challenge to satirists. It argues that the ironic complexities of the Trump figure itself created an unusual situation for satire, one which required it to adapt and change in novel ways. Because Trump was both absurd and terrifying, because he was both parody and credible threat, he created a unique situation for satirists, one where many of the common tools they carry in their comedic toolkit didn’t work. Satirical irony of Trump was not a matter of irony everywhere or ironic post-truthiness; when Trump satire was at its best, it worked in two competing, yet intertwined, representational directions because it was at once a return to sincerely using irony to reveal the truth while also using irony to reveal that reality had become grotesquely and ironically absurd. This essay explores two key examples of this new satirical aesthetic, Sarah Cooper’s interpretations of Trump and Jimmy Kimmel’s use of satire to defend democracy.
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Greaves, A. E. "Stendhal's Italy: instrument of political satire." Journal of European Studies 22, no. 1 (March 1992): 21–38. http://dx.doi.org/10.1177/004724419202200102.
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Kraidy, Marwan M. "Star Academy as Arab Political Satire." International Journal of Middle East Studies 40, no. 3 (August 2008): 369–71. http://dx.doi.org/10.1017/s0020743808080938.
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The previous excerpt is taken from a column by Syrian journalist Hakam al-Baba, published in the London-based Pan-Arab newspaper al-Quds al-ʿArabi. Al-Baba, a middle-aged Syrian journalist known for his biting sarcasm, has written some of the most perceptive critiques of Syrian and Arab media, including a famous 2005 article in the Syrian daily Tishreen, in which he relates his experience of harassment by the mukhābarāt. In the excerpted column, al-Baba uses the raging Pan-Arab controversies over reality TV for a critique of Arab political dependence on the United States.
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Ferrari, Elisabetta. "Sincerely Fake: Exploring User-Generated Political Fakes and Networked Publics." Social Media + Society 6, no. 4 (October 2020): 205630512096382. http://dx.doi.org/10.1177/2056305120963824.
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This article investigates user-generated political satire, focusing in particular on one genre: fake political accounts. Such fakes, created as social media profiles, satirize politicians or political organizations by impersonating them. Through interviews with a sample of Italian fake accounts creators, I explore how the fakes navigate their fakeness vis-à-vis the affordances of social network sites and their publics. First, I map how the publics of the fake accounts react to the satire along two axes: one referring to the public’s understanding of the satire and the other to the uses that the public makes of the satire. Second, I show how fakeness is part of everyday interactions in networked publics. Third, I argue for fakeness as a playful, powerful, and sincere critique of the political and its pretense to authenticity. By focusing on fake political accounts, this article provides insights on the place of fakeness in online communication beyond the debate around “fake news.”
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Yufi Safwan Fajar. "FENOMENA BAHASA SATIRE DALAM MEME DI MEDIA SOSIAL." Sinar Dunia: Jurnal Riset Sosial Humaniora dan Ilmu Pendidikan 1, no. 4 (December 5, 2022): 52–61. http://dx.doi.org/10.58192/sidu.v1i4.223.
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The satire style was chosen to express satire and criticism explicitly. In communicating on social media, satire is also used in making memes. The problem with this research is how satire language is in meme culture on social media. This research aims to reveal how political satire is discussed in memes on social media. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts or purely texts in social media memes. This research is interesting because the satire humor style contained in memes becomes a practical, absurd political, economic, educational, cultural, and other responsibility that can shift, eliminate, then reverse and bring up new discourses. This study uses a critical discourse analysis by Norman Fairclough, which identifies that the discourse can be a series of verbal and written words or a series of speech acts. With this knife of analysis, it was found that satire in memes on social media is used in the form of satire and criticism of things that are being viral and how these issues affect social media in the real world. Memes are not seen as silent, passive, and finished texts as they are produced. On the other hand, Memes are dynamic and moving strategies through comedy Satire.
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Ferrari, Elisabetta. "Fake accounts, real activism: Political faking and user-generated satire as activist intervention." New Media & Society 20, no. 6 (September 21, 2017): 2208–23. http://dx.doi.org/10.1177/1461444817731918.
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In this article, I explore user-generated political satire in Italy by focusing on fake political accounts. By fake accounts, I refer to humorous social media accounts that satirize a politician or a political organization through impersonation. I investigate political faking and user-generated satire as an activist intervention. Through in-depth interviews, I explore the motivations and the relationship with Italian politics of a sample of fake account creators. The results show that most of the satirists interviewed here consider satire as a form of activism and even those who do not, still recognize the subversive nature of satire. Furthermore, a majority of the interviewees have complex biographies of activism that predate the creation of the fake accounts. For a smaller number of them, the fake accounts have also provided new possibilities to engage in activism away-from-keyboard (AFK).
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De Bruyn, Jacob. "Contemporary political satirists." European Journal of Humour Research 11, no. 2 (June 30, 2023): 1–19. http://dx.doi.org/10.7592/ejhr.2023.11.2.805.
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The conventional understanding of the church’s prophetic witness is that it is founded on the prophets portrayed in the Hebrew Bible/Old Testament. They communicated God’s message in relation to various issues such as religious practices and loyalty to God, but also, importantly, criticism and denunciation of political and social injustice. Satirical shows, in this study, refer to the satirical news components of TV late-night talk shows, as well as internet based satirical socio-political shows, where satirical commentary forms the common thread with prophetic witness, namely the indictment of political and social wrongdoing. Specific shows referred to in this study are The Daily Show with Trevor Noah, Jimmy Kimmel Live!, Last Week Tonight with John Oliver, Honest Government Ad, and Jonathan Pie. The angle of this paper differs from other studies in that it does not look at Christian/religious themes specifically, rather any issue warranting a prophetic voice, but which is often absent. The challenge addressed in this article is to see if a link between contemporary political satire and prophetic witness can be justified theologically. A cursory overview on satire in the book of Jonah as the most comprehensive representation of the genre within the prophets is done, as well as a discussion on possible prophetic themes and examples in a selection of political satire programmes. The study concludes that, while political satirists are not prophets, when interpreted in the context of God’s kingdom, they do at times speak prophetically.
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Bruni, Raul. "Tra ucronia e fantapolitica: Storia di domani di Curzio Malaparte." Załącznik Kulturoznawczy, no. 8 (2021): 505–20. http://dx.doi.org/10.21697/zk.2021.8.24.
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Storia di Domani (1949) is one of Curzio Malaparte’s most original and unclassifiable works. In some ways this novel can be considered an ‘uchronia’, given that it is based on an alternative historical hypothesis: the invasion of Europe by the Soviet Union in the aftermath of the Second World War. On the other hand, the novel is (Contro)storia e satira politica similar to the genre of political fiction, given that the characters are mostly real Italian politicians who were still alive at the time the work was published. The article will focus on the interweaving of historical memory, political satire and literary fiction, showing how Malaparte’s book had anticipated in many ways more recent and better-known counterfactual novels such as Morselli’s Contro-Passato Prossimo and Biancardi’s Aprire il Fuoco.
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Delignon, Bénedicte. "La représentation de Mécène dans les Satires d’Horace : enjeux politiques, philosophiques et poétiques." Vita Latina 185, no. 1 (2012): 74–97. http://dx.doi.org/10.3406/vita.2012.1733.
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By representing Maecenas in eleven of his eighteen satires, Horace introduces political realities. But the role of Maecenas is much more important. Horace makes of him an Epicurean persona, which embodies the main philosophical principles in the book. He leans on this persona to distance himself fromthe partisan satire of Lucilius and to resolve the contradictions of his own poetics, by mixing politics and ethics, public and private.
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Mifdal, Mohamed. "Digital politics on Facebook during the Arab Spring in Morocco: Adaptive strategies of satire relative to its political and cultural context." European Journal of Humour Research 4, no. 3 (October 15, 2016): 43. http://dx.doi.org/10.7592/ejhr2016.4.3.mifdal.
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When the Arab Spring began, a growing number of Moroccan Facebookers flaunted their dissent in the face of the regime and used subversive satire to question its legitimacy or push for more freedoms. However, this expression in the form of satire waned after the situation became settled and the satirists had to adjust their satire to the new political reality. This article explores the adaptive strategies of satire in a repressive context during settled and unsettled periods. By scrutinizing satiric posts on Facebook for over four years, I argue that satire, as critique and resistance, adjusts itself to the context, either by taking advantage of increased political space and freedoms or by resorting to indirection, self-censorship or tactical play with power. In both instances, the satiric performance is bound to stay within consensual cultural and political norms even when it is most subversive as these norms profoundly shape its creation and public reception.
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Buana, Cahya. "Budaya Satire pada Masa Dinasti Umayyah dalam Syair Hijā’ Al-Farazdaq." Buletin Al-Turas 25, no. 2 (November 29, 2019): 209–26. http://dx.doi.org/10.15408/bat.v25i2.11744.
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Hijā’ atau satire adalah salah satu genre syair yang mengandung konten sinisme atau ejekan. Jenis puisi ini berkembang pesat pada masa Dinasti Umayyah. Penyair yang sangat terkenal dengan genre ini di antaranya adalah al-Farazdaq. Kajian ini bermaksud untuk mengungkap jenis budaya satire yang berkembang pada masa Bani Umayyah melalui syair al-Farazdaq serta latar belakang munculnya budaya tersebut. Untuk mencapai tujuan tersebut, saya akan menggunakan metode penelitian qualitatif melalui pendekatan budaya dan sejarah pada teks-teks syair hija al-Farazdaq. Berdasarkan hasil analisis terungkap bahwa budaya satire yang berkembang pada masa Bani Umayah dalam puisi hija al-Farazdaq adalah jenis satire personal (al-hijā al-syakhsyi) yaitu satire yang menyerang pribadi seseorang dengan cara mengejeknya melalui hal-hal yang bersifat fisik, satire moral (al-hijā al-akhlāqi) yaitu sindiran-sindiran yang ditujukan kepada lawan karena dianggap memiliki moralitas yang rendah, satire politik (al-hijā al-siyāsi) yang digunakan untuk kepentingan politik, satire sosial (al-hijā al-ijtimāi) yaitu sindiran yang terkait perilaku sosial yang kurang lazim terjadi pada masyarakat pada umumnya dan satire agama (al-hijā al-dīnī) yaitu satire-satire yang digunakan untuk menyindir perilaku keagamaan seseorang. Adapun latar belakang munculnya budaya satire di antaranya disebabkan oleh motif politik, ekonomi dan fanatisme kesukuan. Hijā' or satire is a genre of poetry that contains cynicism or mockeries. This type of poetry developed rapidly during the Umayyad Dynasty. This study was intended to reveal the type of satirical culture in the era of Umayyads through al-Farazdaq’s poetry and the background of its emergence. To achieve this purpose, I used a qualitative research method implementing cultural and historical approaches to read critically hija al-Farazdaq's poetic texts. The result of analysis revealed there were five kinds of satirical culture developing during the Umayyads in the poetry hija al-Farazdaq. There were a personal satire (al-hijā al-syakhsyi) attacked someone by mocking him through things that were physical; a moral satire (al-hijā al-akhlāqi), namely allusions that addressed the opponents because they were considered to have low morality; a political satire (al-hijā al-siyāsi) which was used for political purposes; a social satire (al-hijā al-ijtimāi) which was an allusion related to social behavior that were less common in the society in general; and a religious satire (al-hijā al-dīnī) which was used to insinuate one's religious behavior. The background for the emergence of satire culture were due to political, economic and tribal fanaticism.
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Ayu Suciartini, Ni Nyoman. "Bahasa Satire dalam Meme Media Sosial." Pustaka : Jurnal Ilmu-Ilmu Budaya 20, no. 1 (February 29, 2020): 1. http://dx.doi.org/10.24843/pjiib.2020.v20.i01.p01.
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The satire style was chosen to express satire and criticism explicitly. In the style of communicating on social media, satire is also used in making memes. The problem with this research is how is satire language in meme culture on social media? The focus of this research is to reveal how political satire is discussed in memes on social media. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts or purely texts in social media memes. This research is interesting because the satire humor style contained in memes becomes an effective, absurd political, economic, educational, cultural, and other response that is able to shift, eliminate, then reverse and bring up new discourses. This study uses a critical discourse analysis by Norman Fairclough which has an identification that the discourse can be a series of verbal and written words or a series of speech acts. With this knife of analysis, it was found that satire in memes on social media is used in the form of satire and criticism of things that are being viral and how these issues affect social media to the real world. Memes are not seen as silent, passive, and finished texts as they are produced. Memes, on the other hand, are dynamic and moving strategies, through comedy-satire.
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Brassett, James, and Alex Sutton. "British satire, everyday politics: Chris Morris, Armando Iannucci and Charlie Brooker." British Journal of Politics and International Relations 19, no. 2 (March 17, 2017): 245–62. http://dx.doi.org/10.1177/1369148117700147.
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This article develops a critical engagement with the politics of British satire. After first engaging the mainstream critique of satire—that it promotes cynicism and apathy by portraying politicians in stereotypically corrupt terms—we develop a performative approach to comedy as an everyday vernacular of political life. Beyond a focus on ‘impact’, we suggest that satire can be read as an everyday form of political reflection that performs within a social context. This argument yields an image of Morris, Iannucci and Brooker as important critics of contemporary British politics, a point which we explore through their interventions on media form, political tragedy and political agency.
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M. S, Jesintha Grace. "Political Satire in the Collection of Kaiyoppam." International Research Journal of Tamil 4, S-8 (July 20, 2022): 93–99. http://dx.doi.org/10.34256/irjt22s813.
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Poetry penetrates human minds and deepens the light of life. In poetry of this nature, poets use a variety of techniques to convey their thoughts to others. Since the satire in them first refers to a literary genre, then the strategy has become systematic. Poet Puviarasu often used this element in his poems and was one of the leading poets of the Vanambadi movement who inspired the development of modern poetry. Diverse, he expresses the misfortunes of today's society in a simple way through his poetry. In his poems, we can see his loud thinking, anger and determination to oppose the ruling class. One who embodies the political and social tragedies in his poems with an satire. Although the regime and power have threatened the people, Tamil poets and thinkers have never accepted the powers of the state as such. Tamil poets are those who think that governance is better only if there is a norm for politics. Political honesty and morality are like two sides of the same coin. But today he is not only pointing out the geopolitical politicians, who have witnessed aspiring leaders fighting for the chair in assembly and parliaments, but also pointing out their rhetoric, actions, powers, and political conduct in their poems and expressing the tone of satire. The purpose of this article is in his long poem, he satire all the possible actions that take place in political systems and powers.
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Boukes, Mark. "Agenda-Setting With Satire: How Political Satire Increased TTIP’s Saliency on the Public, Media, and Political Agenda." Political Communication 36, no. 3 (September 5, 2018): 426–51. http://dx.doi.org/10.1080/10584609.2018.1498816.
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Lee, Hoon, and S. Mo Jang. "Talking About What Provokes Us." American Politics Research 45, no. 1 (July 27, 2016): 128–54. http://dx.doi.org/10.1177/1532673x16657805.
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The current research assessed whether political satire viewing could indirectly promote interpersonal talk about politics by eliciting emotions. The theoretical model was tested utilizing both experimental and survey designs. The findings indicated good agreement, demonstrating that negative emotions significantly mediate and reinforce the effect of political satire viewing on interpersonal talk. Conversely, the process wherein traditional news sources motivate interpersonal talk is mostly direct, with little development of affective responses. The results suggest that political satire can help to paint a sanguine picture of a healthy deliberative democracy mainly through an affective rather than cognitive route.
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Schreiber, Rachel L. "The Graphic Satire of Robert Minor and Art Young: Text and Image in Political Cartoons." Journal of Modern Periodical Studies 13, no. 1 (June 1, 2022): 43–76. http://dx.doi.org/10.5325/jmodeperistud.13.1.0043.
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ABSTRACT Graphic satire is a key site for the study of text and image in modern periodicals. Political cartoons assemble text and image into one unified form that conveys a message to its audiences in an immediate and powerful way. Often humorous, political cartoons rely on some previous knowledge on the part of the reader-viewer and are highly specific to the moment in which they are published. The graphic satire of two important radical political cartoonists, Robert Minor (1884–1952) and Art Young (1866–1943), is studied in this article. These two artists innovated in the aesthetic and linguistic strategies used in political cartoons, and published dynamic, compelling graphic satire in a range of radical periodicals in the first decades of the twentieth century. Their work for the socialist periodical the Masses is the focus here. The Masses innovated and experimented with graphic form, page layout, and quality of reproduction that made it a singular site for the reproduction of highly inventive graphic satire.
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Opoku-Agyemang, Kwabena. "“Coat and Uncoat!”: Satire and socio-political commentary in My Book of #GHCoats." Legon Journal of the Humanities 34, no. 2 (December 11, 2023): 1–23. http://dx.doi.org/10.4314/ljh.v34i2.1.
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Research related to creative expression has examined the form and nature of satire in both oral and print poetry in West Africa but is yet to adequately consider digital poetry. This essay examines Nana Awere Damoah’s My Book of #GHCoats, arguably the first example of African conceptual poetry. A collation of humorous fictional quotes by Ghanaian Facebook users, #GHCoats allows for analysis the context of socio-political satire. In exploring the presence and utility of satire in #GHCoats, this essay analyzes the features of conceptual poetry as used via social media to present digital poetry as a developing force of creative expression.
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Rosdiana, Rosdiana, and Wahyunengsih Wahyunengsih. "Satire Journalism: Semiotic Analysis of Pilpres 2024 Articles on Mojok.co"." Jurnal Komunikasi 17, no. 2 (September 29, 2023): 138–49. http://dx.doi.org/10.21107/ilkom.v17i2.20818.
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This study aims to analyze the practice of satire journalism in Mojok.co through Charles S. Peirce's semiotic approach. The research method used is descriptive qualitative research. This research focuses on analyzing articles about the 2024 presidential election published in the essay section of Mojok.co. In this study, researchers explored how satire in this context uses signs and symbolic interpretations based on the semiotic theory applied. In addition, the researcher is also interested in knowing how the use of satire language style can affect readers' perceptions and understanding of the political issues presented. The results of this study conclude that Mojok.co sometimes violates the journalistic code of ethics in presenting satire content. This can reduce the integrity of journalism and lead to misunderstanding of the subject being criticized. However, this study also found that Mojok.co has the power to attract readers and raise political issues through its satire style. This research provides insight into how media can shape audience understanding and interpretation through the use of signs, objects and interpretants in the practice of satire journalism.
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Zhou, Muyun. "Satirizing News Media, Changing Taiwan’s Feelings: The Night Night Show with Brian Tseng’s Adaptation of the American Satire News Format." Journalism and Media 4, no. 4 (November 7, 2023): 1097–113. http://dx.doi.org/10.3390/journalmedia4040070.
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The US television program The Daily Show has inspired creative talents worldwide to adapt the American political satire news formats to their own political environments. One example is The Night Night Show, hosted by Brian Tseng between 2018 and 2020 and produced by the STR Network from Taiwan. Instead of approaching the show as the result of the diffusion of the US cultural and political model into the rest of the world, this article contextualizes The Night Night Show’s adaptation of an American satirical news format in the Sinophone political discourse of laughter and satire in the modern history of Taiwan. It argues that while the show’s adaptation of an American satirical news format demonstrates how satire can dismantle linguistic and national boundaries as a transnational bonding force, it also brings this American format to critical scrutiny. In particular, the principal cultural understanding of news media as sensationalistic and propagandist instead of truthful in the local context contests the notions of “truthiness” central to the American satire news formats.
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Toulabor, Comi M. "Political Satire Past and Present in Togo." Critique of Anthropology 14, no. 1 (March 1994): 59–75. http://dx.doi.org/10.1177/0308275x9401400104.
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Klingbeil, Gerald A. "Political Satire in the Bible. Zeʾev Weisman." Journal of Near Eastern Studies 60, no. 4 (October 2001): 295–96. http://dx.doi.org/10.1086/468960.
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Tang, Lijun, and Syamantak Bhattacharya. "Power and Resistance: A Case Study of Satire on the Internet." Sociological Research Online 16, no. 2 (June 2011): 10–18. http://dx.doi.org/10.5153/sro.2375.
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Past studies on print and TV satire have revealed that satire can be seen as a site of resistance to power. In light of this, interesting questions can be raised regarding Internet satire: what does the Internet contribute to the resistance and what kind of power relation is played out on this site? Using an example from China, this paper reveals that like its print and TV counterparts, Internet satire reflects a widespread feeling of powerlessness, rather than offering the general public any political power. However, the Internet helps to push the symbolic power of satire to a higher level. This is because it makes satire a tool for the grassroots which facilitates the creation and spread of satirical ideas, and also helps to release and stimulate the enormous reserve of public wit and wisdom. As a result, satire on the Internet has the potential to generate a chain of related satirical work, which can create a satire movement and subject power to sustained shame and ridicule.
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Usunáriz, Jesús M. "Sátiras contra el rey en la España del siglo XVII." Calíope 28, no. 2 (December 2023): 306–24. http://dx.doi.org/10.5325/caliope.28.2.0306.
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Abstract Satire in verse became a significant element of political culture in the factional struggles at the Spanish court. While the favorites and ministers have been studied in regards to the use of political satire, this work aims to examine the attacks against the king, how these evolved during the Habsburg reigns, and how they shaped a lasting image of the monarchs.
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Park-Ozee, Dakota. "Satire: An explication." HUMOR 32, no. 4 (October 25, 2019): 585–604. http://dx.doi.org/10.1515/humor-2018-0009.
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Abstract Over the past two millennia, satire has transformed from a uniquely Greco-Roman theatrical and poetic form into an ambiguous catch-all applied to political and sociocultural commentary, humor, parody, sarcasm and irony. Despite being a subject of study in any number of fields, explications of satire are limited. It is likely for this reason that there are inter- and intra- disciplinary disconnects in theoretical and methodological approach. Given the contemporary proliferation of satirical work, a proper explication of satire will improve text identification, empirical measures, and interdisciplinary collaboration in satirical research. To that end, this paper explicates satire, evaluates contemporary satirical research in the context of this explication, and recommends future research lines to expand the study of a pervasive construct.
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Little, Hannah. "The use of satire to communicate science in ‘Don't look up’." Journal of Science Communication 21, no. 05 (July 4, 2022): C06. http://dx.doi.org/10.22323/2.21050306.
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Satire has long been used as a tool in social commentary and political communication, and in some cases this has extended to commentary about science and its role in policy. This is certainly the case for the recent Adam McKay film, ‘Don't look up’, where an allegorical story about a comet heading for Earth is used to satirise the current political and media response to the climate catastrophe. While the film succeeds in making its point, how the humour interacts with objectives of science communication highlights some risks of using satire where there's overlap between the subject of the satire and a potential audience for communication.
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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 (September 21, 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 underlines that, instead of being considered a tool of the weak against the powerful, it is perceived as a neo-colonial manifestation of an exogenously imposed political order that ostracizes the citizen from his legitimate religious belief. Instead of a liberating instrument, it is perceived as attacking the foundation of a religion that many see as their refuge against authoritarian elites. This paper then analyses the historical evolution of Islamic political activism. After highlighting the existence of satire and religious representation in Islam in some of its earliest societal orders, this paper argues that the Muslim community under the leadership of its Ulema has been fractured into a range of different scholastic interpretations of Islam resulting into different acceptation of liberal civic orders. The reaction towards Charlie Hebdo and the strong/weak condemning or silent/vocal approbation are representative of their contamination by radicalism. This paper finally demonstrates that the rejection of satire is symptomatic of the incomplete evolution of the state and the weakness of national and transnational institutions. Addressing the reforming of Muslim institutions in France itself, this paper argues that there is no incompatibility between Islam and a liberal republican order guaranteeing freedom of expression and satire.
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Ormonova, Sabira. "FORMATION OF THE SATIRE GENRE IN THE WORLD LITERATURE." Alatoo Academic Studies 2020, no. 3 (September 30, 2020): 262–68. http://dx.doi.org/10.17015/aas.2020.203.31.
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In this article, the author provides an overview of the origin of the genre of satire and humor in literature. Satire as a lyric-epic genre which was originated in the literature of Ancient Rome. In ancient Greek literature, the origin of satire dates back to the II- millennium BC. The development of satire in the Middle Ages continued in the literature of the countries of the East and Europe. In the literature of Western Europe during the Middle Ages, satirical elements can be found in the songs of the Vagant folk poets. 16-17th centuries satirical elements acquire a prosaic and open poetic journalistic nature and are widely disseminated in the writings of writers, working in the directions of romanticism, realism and modernism. In 17-18 centuries in England confrontation between two political parties - Tories and Whigs contributed to the development of the satire genre. 19th century magazine satire tends to feuilleton and contributes to the widespread use of satire in novels and dramas. XX century in the development of Russian satire, the release of magazines plays an important role "Satyricon" (1908-1914), "New Satyricon" (1913-1918).
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Mbewe, Ian. "Application of Political Satire in Mission to Kala and Devil on The Cross." Journal of Law and Social Sciences 5, no. 1 (August 15, 2022): 69–83. http://dx.doi.org/10.53974/unza.jlss.5.1.793.
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The study attempted to demonstrate how political satire is applied in a pre-independence African fiction Mission to Kala and a post- independence African fiction Devil on the Cross. Satire, mild or bitter, has a history of being used to expose the negative socio-economic and political realities perpetrated by both the sympathisers of colonialism and later the agents of neo-colonialism in the post-independence phase. The study employed the Marxist literary theory and Literary Onomastics through stylistic analysis and demonstrated how satire exposed the evils and how a ‘training camp’ in the colonial era was transformed into a ‘jungle’ in post-independent Africa. Character types in both periods exhibited parasitic traits such as greed, selfishness, narrow appetites and sadistic violence leading to exploitation and oppression. This historical transition was delineated on the basis of the colonised African elite and subordinates as the direct off-shoot of the African bourgeoisie groups, which created a symbolic connection between the two periods of time in the African context. The findings indicated that both texts maintained the Marxist outlook, employed ironic juxtaposition to satirise capitalism, each satirist employed a different style and Beti had the colonised African elite and subordinates as his targets of satire as opposed to Ngugi’s comprador politicians, comprador and national bourgeoisie. The masses were not spared of criticism.
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Usunáriz-Iribertegui, Miren. "Ícaros y Luciferes: referencias mitológicas y bíblicas en la sátira política del siglo XVII." Calíope 28, no. 2 (December 2023): 325–50. http://dx.doi.org/10.5325/caliope.28.2.0325.
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Abstract This article aims to analyze the allusive nature of the references in the political satire of the Spanish Golden Age. The identification of some historical figures with episodes from classical mythology or from the Bible is a usual device in the satire about historic characters.
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Marcella, Valentina. "A Satirical Magazine in Its Own Way”: Politicisation and Dissent in Gırgır (1972-1983)." DIYÂR 2, no. 2 (2021): 329–48. http://dx.doi.org/10.5771/2625-9842-2021-2-329.
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The satirical weekly Gırgır, founded by Oğuz Aral in 1972, has been Turkey’s best-selling satirical magazine of all times. Characterized by a multitude of genres and styles, its contents ranged from written jokes to comics and political cartoons. Such diversity has prompted scholars to present this magazine in different, often contrasting ways, especially with reference to the nature and strength of its satire. This study intends to contribute to solving the ambiguity concerning whether Gırgır’s caricatures and cartoons may be deemed political or not. For this purpose, it focuses on its satirical repertoire from its early days up to the end of the military regime of 1980 to 1983, the most challenging time in terms of freedom of expression and dissent. This article argues that satire in Gırgır became increasingly political parallel to the growing politicisation of society in the 1970s and that the magazine did not bow to political pressure under the military rule. Especially its reactions to the repressive climate of the regime allow us to define its satire as political.
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ASRAF, YOGI, and SRI MINDA MURNI. "SATIRE IN THE DAILY SHOW TWITTER ACCOUNT." LINGUISTICA 11, no. 3 (November 1, 2022): 733. http://dx.doi.org/10.24114/jalu.v11i3.39598.
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This study was conducted to uncover the aspects related to satire in The Daily Show Twitter account. The data of this research included 40 tweets selected during the 2020 US presidential election. The researcher used descriptive qualitative in analyzing the data. The data in this research were collected by using recorder technique and documentary sheet as the instrument to collect the data. The purpose of this study were (1) to find out the types of satire (2) to describe the realization of satire, and (3) to explain the reason for the use of satire. Based on the result of this study, there were three types of satire with the total of horatian 52,5%, juvenalian 17,5%, and manippean 30%. Besides, there were seven satirical techniques found in the tweets namely irony, paradox, antithesis, enlargement, anticlimax, exaggeration, and parody. Furthermore, satire in the tweets were used to be humorous, criticize politicians, and inform the audience about political topics.
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Abdelkader, Enas Abdallah Abdelwahab. "Post-colonialism and Political Satire in South Africa." مجلة کلیة الآداب .جامعة بورسعید 15, no. 15 (January 1, 2020): 1–31. http://dx.doi.org/10.21608/jfpsu.2020.87354.
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Njogu, Kimani. "Kimondo, Satire, and Political Dialogue: Electioneering through Versification." Research in African Literatures 32, no. 1 (March 2001): 1–13. http://dx.doi.org/10.2979/ral.2001.32.1.1.
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