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Bourgault, Mélissa. "Socrate : Autoportrait cubiste d'Erik Satie." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31108.
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Erik Satie fut toujours considéré comme un personnage énigmatique dans le monde musical français au tournant du siècle dernier. Sa personnalité marginale et ses œuvres dépouillées aux titres étranges ont maintes fois suscité questionnements et polémique. En 1917, Erik Satie écrivit une œuvre qui ne ressembla aucunement au répertoire antérieur du compositeur. Socrate, qui fut représenté publiquement pour la première fois en janvier 1920 à la Société Nationale de Paris, laissa le public et la critique perplexe et mitigé. Qu’avait donc de si particulier cette œuvre qui, d’un côté, passa pour une blague mais qui, pour certains dont le compositeur lui-même, fut considérée comme une manifestation pure de sagesse et de sincérité ?
Socrate fut conçu au même moment où Satie entretenait des liens étroits avec le monde cubiste. Pablo Picasso et Georges Braque furent désormais les maîtres d’un courant artistique qui allait révolutionner le monde artistique. De concert avec les valeurs avant-gardistes prônées par Erik Satie, les cubistes cherchèrent à bousculer les attentes du public en modifiant l’approche visuelle de manière à stimuler les différentes perceptions sensorielles. Avec le ballet Parade, représenté en mai 1917, le compositeur collabora avec Picasso et ceci eût grandement influencé son style musical puisqu’il employa des techniques se rapprochant grandement du cubisme. Comme le soutient Daniel Albright, Satie trouva dans le cubisme son analogue artistique. Selon moi, outre Parade, Erik Satie bénéficiera de l’esthétique cubiste pour développer son œuvre Socrate.
Cette thèse se concentre sur la signification de l’œuvre Socrate, plus particulièrement comment celle-ci pourrait représenter un autoportrait d’Erik Satie. De surcroît, elle examine comment cette représentation est camouflée derrière des méthodes cubistes traduites musicalement. La thèse s’appuie sur une littérature variée portant sur divers sujets relatant Socrate, dont la biographie du compositeur et sa relation avec des réseaux artistiques, intellectuels et sociaux. Cette thèse est la première étude d’envergure à suggérer une possibilité d’autoportrait cubiste musical puisque peu d’auteurs se sont attardés à résoudre cette problématique. Cette thèse décrit comment Socrate est une manifestation personnelle de sincérité et d’humilité d’un compositeur qui, persécuté tout au long de sa vie, se dévoila aux yeux de tous par le recours à cette figure emblématique de l’histoire : Socrate.
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Boero, Luca <1980>. "Umorismo e ironia in Erik Satie." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2785/1/Boero_Luca_Umorismo_e_ironia_in_Erik_Satie.pdf.
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Boero, Luca <1980>. "Umorismo e ironia in Erik Satie." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2785/.
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Dossena, Pietro. "Scrittura e riscrittura in Erik Satie." Doctoral thesis, Università degli studi di Padova, 2010. http://hdl.handle.net/11577/3426522.
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Writing and rewriting in Erik Satie
Erik Satie is an excellent object of study for anyone interested in genetic criticism: the examination of his numerous sketches and drafts allows not only to follow the modifications of his language en cours de route, but also to study the processes through which Satie reaches the final version of a piece. This research is structured as an alternation of two complementary attitudes: on one hand, a survey of writing and rewriting procedures in Satie’s manuscripts (in chronological order); on the other hand, a collection of dossiers, thoroughly analysing the genesis of a particular piece − or of a passage within it. Special emphasis is assigned to the inherent logic of compositional processes, in order to provide abstract representations of the various ‘genetic typologies’. The mechanics of the compositional process seems to have followed an arch shape throughout Satie’s career: both his early and his late pieces seem to comply with a linear-derivative model, while the compositions belonging to the central part of his production extensively explore the possibilities allowed by the multiplication of compositional trajectories − the acme of this tendency being the genetic logic of “key passages”. The most in-depth genetic analyses, included in the dossiers, are concrete applications of conceptual abstractions that could also be applied to other composers − if not to other forms of art. But the dossiers mainly aim at providing a contribution to the understanding of some Satie pieces (Le Fils des étoiles, Messe des pauvres, Poudre d’or, Sports & divertissements, Socrate, Le Médecin malgré lui), presented from the perspective of textual genesis.Scrittura e riscrittura in Erik Satie Erik Satie è un eccellente oggetto di studio per chiunque si occupi di critique génétique: l'esame dei suoi numerosi manoscritti avantestuali consente non solo di seguire le modificazioni del suo linguaggio nel momento in cui iniziano a manifestarsi, ma anche di osservare i processi mediante i quali viene raggiunta la versione definitiva di un brano. Questa ricerca è strutturata come un’alternanza di due momenti complementari: da un lato, una rassegna in ordine cronologico dei procedimenti di scrittura e riscrittura nei manoscritti di Satie; dall’altro, una collezione di dossier, in ognuno dei quali viene approfondita la genesi di un determinato pezzo − o di un passaggio al suo interno. Particolare attenzione è riservata alla logica intrinseca dei processi compositivi, nell’intento di fornire rappresentazioni astratte delle varie ‘tipologie genetiche’ possibili. La meccanica del processo compositivo sembra aver seguito in Satie una traiettoria ad arco: sia le composizioni giovanili che quelle più tarde sembrano conformarsi al modello lineare-derivativo, mentre le composizioni del periodo centrale della sua attività esplorano estensivamente le possibilità insite nella moltiplicazione delle traiettorie compositive; il culmine di quest’ultima tendenza è rappresentato dalla logica genetica dei “passaggi chiave”. Le analisi genetiche più approfondite, contenute nei dossier, sono l’applicazione concreta di formalizzazioni concettuali applicabili anche ad altri compositori, se non ad altre forme d’arte. Ma i dossier mirano soprattutto a fornire un contributo alla comprensione di alcuni pezzi (Le Fils des étoiles, Messe des pauvres, Poudre d’or, Sports & divertissements, Socrate, Le Médecin malgré lui), presentati dal punto di vista della genesi testuale.
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Delor, Gilbert. "Erik Satie : la Singularité construite d'un langage musical." Paris 4, 2001. http://www.theses.fr/2001PA040154.
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Tout au long de sa carrière, Satie élabore son langage musical dans le souci permanent de se démarquer des pratiques ambiantes. Sa singularité a quelque chose de délibéré qui se concrétise dans ses choix harmoniques et formels. Les références qu'il affiche sont situées dans un passé lointain (le Moyen Age), dans un ailleurs porteur d'harmonies nouvelles (l'Orient), ou au contraire dans la trivialité des musiques populaires à la mode. Ces apports lui permettent de contourner aussi bien l'académisme que la domination du modernisme wagnérien. Sur le plan de l'écriture, cet isolement stylistique conduit Satie à recourir aux contraintes, voire à forger de véritables systèmes d'écriture. Quant à la forme, privée des ressources du développement, elle tend à privilégier deux outils qui sont analysés ici de manière détaillée : la répétition et la segmentation. Par ces deux procédés, Satie affaiblit la relation naturelle entre forme et matériau, et confère à la musique une qualité d'objetThroughout his career, Satie elaborates his musical language with the constant aim of differenciating himself from contemporary practices. His singularity holds a firmness of intention which materializes itself in his harmonic and structural choices. .
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Storer, Stuart. "The piano music of Erik Satie and his influence on later composers /." Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mums884.pdf.
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Donnellon, Deirdre Caitriona. "Debussy, Satie and the Parisian critical press (1890-1925)." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367092.
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Hanlon, Ann-Marie. "Satie and the French musical canon : a reception study." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2124.
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Satie was the first French composer to completely reject the musical tradition of Romanticism in all its forms: technically, aesthetically and ideologically. The methods through which Satie attacked tradition were highly unorthodox and often presented in an aphoristic and humorous fashion, an approach that caused his pivotal role in the emergence of the early French avant-garde to be neglected. The primary research question that informs this thesis asks what were the mechanisms by which Satie was consistently excluded from the canon during his public career (1911-1925)? Within a primary framework of canon theory, this reception study challenges the dominance of the canon on discourses surrounding Satie during his lifetime and lays the foundations for a reassessment of his role as an avatar of French modernism. This study addresses the canon in explicit terms and challenges canonic influence over methodology, terminology and ideology in musical discourse. In doing so many traditional beliefs and images concerning Satie are re-examined, for example: that analyses of his music are a futile pursuit as the musical ideas were considered more important than the music itself. The historicity of various images of Satie that collectively formed his public identity in the press are examined and, where necessary, re-evaluated. Through an analysis of a wide range of primary sources, including concert programmes and critical reviews, this research addresses the themes that predominate in Satie’s reception and impacted significantly on his reputation: professionalism, humour, gender, nationalism, class politics and religion. Particular attention is given to the role of humour and various methods are suggested for directly dealing with the comic in Satie’s music. The canonic implications of programming practices and Satie’s involvement in inter-art events are also explored. Through a direct confrontation of the canon, an alternative historiographic model for this period of French musical history is proposed.
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Harbec, Jacinthe 1955. "Parade : les influences cubistes sur la composition musicale d'Erik Satie." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63792.
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Scott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
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Pena, Eder Wilker Borges [UNESP]. "Satierik Musique: da natureza da música humorística em Erik Satie." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151159.
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O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d’un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguida, através de artigos humorísticos publicados por Satie e de críticas publicadas acerca do compositor, foi realizada uma análise comparativa da função de contracrítica ao cânone e à tradição desempenhada pelo humor de Satie. Desta forma, pôde-se desmistificar o caráter superficial e inofensivo e a ideia de excentricidade, amadorismo e insensatez que trespassa sua prática humorística, tanto musical quanto textual. Por fim, através de todo o trabalho desenvolvido, averiguou-se a hipótese inicial, na qual a obra de Satie, em função do eleito aspecto do humor, entre outros, é, de fato, um experimentalismo avant la lettre em seu caráter estético.
The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the application and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, the musical and textual as well. Last, but not least, throughout all the work developed, we verified the initial hypothesis in which Satie‟s oeuvre, due to the elected aspect of humor, among others, is, indeed, an experimentalism avant la lettre in its aesthetical disposition.
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Christoffel, David. "Les mentions verbales sur les partitions pour piano d'Erik Satie." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0126.
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En partant des indications de jeu sur les premières partitions de Satie, nous pouvons relever en quoi elles répliquent à l'ambiance musicale de l'époque et à certains de ses héritages esthétiques. Pour mieux mesurer la charge de ces indications et à la suite du travail de Françoise Escal sur la notion de «paratexte » dans le champ éditorial de la musique, nous prenons en considération toutes les mentions verbales des partitions pour piano de Satie et relevons les aspects sous lesquels elles saturent l'héritage romantique d'une part, les pratiques éditoriales qui lui sont contemporaines d'autre part. En examinant comment la relation entre le compositeur et l'interprète est ainsi reconfigurée, nous envisageons la projection de la partition dans un espace éditorial élargi. Ainsi, nous cherchons à traiter des mentions verbales sur les partitions de Satie solidairement au positionnement social du compositeur et aux orientations esthétiques de sa musique. En cherchant des communautés de posture et de fond entre les lettres de Satie et les mentions verbales, nous montrons que le changement de morphologie de la partition permet d'ouvrir un éclairage sur ses modalités de sortie du romantisme et son articulation avec les innovations poétiques d'Apollinaire et Cendrars. C’est en scrutant les subtilités énonciatives qui s'y produisent spécifiquement que nous pouvons produire une image plus nuancée du compositeur dans ses textes et rafraîchir les tenants de sa réputation d'ironiste. Pour ce faire, nous mobilisons une bibliographie aussi bien philosophique (Platon, Canetti, Jankélévitch, Foucault), qu'artistique (Chopin, Schumann, Picasso), que sémiologique (Barthes, Genette)Based on the play instructions of the first scores by Satie, we can identify how they replicate the musical atmosphere of the period and some of his aesthetic heritage. To better quatify the content of following the work of Françoise Escal on the concept of "paratext" in the editorial field of music, we consider all verbal notes of piano scores by Satie and find aspects under which they saturate the romantic heritage' of one hand, the editorial practices that are contemporary to the other. By examining how the relationship between composer and player is so reconfigured, we consider the projection of the score in an editorial space expanded. Thus, we seek to be about verbal notes on scores by Satie jointly social positioning of the composer and aesthetic trends of his music. Seeking communities in posture and substance between the letters of Satie and verbal notes, we show that the change of morphology of the score broadens on its exit modalities of Romanticism and its articulation with the poetic innovations of Apollinaire and Cendrars. It is scrutinizing the enunciative subtleties which occur specifically that we can produce a more nuances picture of the composer in his lyrics and refresh the issues of his reputation as ironist. To do this, we draw a bibliography as well philosophical (Platon, Canetti, Jankélévitch, Foucault), as artistic (Chopin, Shumann, Picasso), as semiotic(Barthes, Genette)
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Pena, Eder Wilker Borges 1993. "Satierik Musique : da natureza da música humorística em Erik Satie /." São Paulo, 2017. http://hdl.handle.net/11449/151159.
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Orientador: Lia Vera TomásBanca: Marcos José Cruz Mesquita
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Resumo: O seguinte trabalho tem por objetivo abordar a natureza da música humorística em Erik Satie, sua aplicação, função e caráter estético. Para isto, através de sua obra musical, seus escritos, estudos acadêmicos realizados sobre o compositor, relatos e críticas musicais da época, buscou-se, inicialmente, reconstruir a lógica pessoal e composicional do compositor, ambas inerentes. Em seguida, a fim de tornar possível uma análise adequada do humor em suas obras, procurou-se, através da reflexão existente sobre o tema no âmbito da filosofia, atribuir uma definição clara e prática da natureza do humor, do riso, assim como, determinar a gênese de sua má reputação. A partir disto, com base no conceito de humor e em textos musicológicos sobre a música humorística, desenvolvemos um aparato técnico de reconhecimento e aplicabilidade do humor no âmbito da música. Com este referencial teórico em mãos, fez-se possível a análise da aplicação e função do humor em quinze conjuntos de peças humorísticas do compositor: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d'un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; e Sonatine Bureaucratique. Em seguid... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The following work aims to approach the nature of Erik Satie‟s humorous music, its application, role played and aesthetical disposition. In order to do this, we sought, initially, through his musical works, writings, academical studies about the composer, reports and musical criticism at the time, to rebuild his personal and compositional logic, both inherent. Thereafter, for the purpose of making an appropriated analysis of humor in his works, we searched, through the existing reflection on the subject in the field of philosophy, to ascribe a clear and practical definition upon the nature of humor, laughter, as well as to determine the genesis of its bad reputation. Thus, based on the concept of humor and in musicological texts about humorous music, we developed a technical apparatus of recognition and application of humor in the musical‟s scope. With that theoretical referential in hands, it was made possible an analysis of the applicat ion and function of humor in fifteen groups of humorous pieces written by the composer: Gnossiennes; Pièces Froides; Troix Morceaux en forme de Poire; Préludes Flasques (Pour un Chien); Véritables Préludes Flasques (Pour un Chien); Descriptions Automatiques; Croquis et Agaceries d‟un Gros Bonhomme en Bois; Embryons Desséchés; Chapitres Tournés en Tous Sens; Vieux Sequins et Vieilles Curaisses; Choses Vues à droite et à gauche; Heures Séculaires et Instantanées; Trois Valses distinguées de précieux dégoûté; Avant-dernières Pensées; and Sonatine Bureaucratique. Subsequently, through humorous articles published by Satie and critics published on the composer, we made a comparative analysis of the countercriticism role played by Erik Satie‟s humor against the canon and tradition. Thus, we could demystify the superficial and innocuous character and the idea of eccentricity, amateurism and insanity which trespass his humorous practice, (Complete abstract eletronic acess below)
Mestre
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Crameri, Simon. ""Dansez intérieurement" zur Interaktion von Wort, Ton und Bild in Klavierkompositionen von Erik Satie /." [S.l.] : [s.n.], 2009. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Crameri, Simon. "Zur multimedialen Formkonzeption in den Sports et divertissements von Erik Satie und Charles Martin." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71984.
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Tzioumaki, Aikaterini. "Erik Satie : « sports et divertissements », une approche dramaturgique de l’imagination : interactions musicales et visuelles." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040095.
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La présente thèse est un travail herméneutique sur Sports et Divertissements, édition de luxe qui combine musique et textes par Erik Satie et illustrations en pochoir par Charles Martin. Étant donné son caractère fortement intertextuel, Sports et Divertissements est abordé sous la problématique de l’art total et de ses prolongements dans les livres de peintres et d’artistes, ainsi que dans le contexte artistique de sa création (notamment la mode et son illustration et les livres art déco) pendant et un peu après la Première Guerre Mondiale.Conçu initialement par son éditeur Lucien Vogel, et paru dans une première version en 1914, Sports et Divertissements n’a pris sa forme finale qu’en 1923, dans une révision totale effectuée par Charles Martin. La thèse souhaite démontrer l’efficacité narrative maximale de cette deuxième version, en termes de correspondance entre les éléments littéraires, musicaux et visuels dans la temporalité de l’œuvre ainsi que dans son aspect plastique global à travers un processus ludique et dramaturgique de l’imaginationThe present thesis is an interpretative study of Sports et Divertissements, edition de luxe which combines music and texts by Erik Satie and pochoir illustrations by Charles Martin. Given the highly intertextual character of the work, Sports et Divertissements is seen under the notion of total art, extended to livres de peintres and livres d’artistes as well as in the artistic context of its creation (notably fashion and its illustration and art deco books) that occurred during and after the 1st World War.Initially conceived by its editor Lucien Vogel, and appearing on a first version in 1914, Sports et Divertissements didn’t take its final form until 1923, in a total revision of the illustrations by Charles Martin. The thesis attempts to show the maximal narrative efficacity of this final version, in terms of correspondence among literary, musical and visual elements in the temporality of the work, as well as in its global visual aspect, through a creative and dramaturgical process of the imagination
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Gouspy, Carol. "Les divertissements parisiens et leur influence sur les compositeurs : Satie et le groupe des six." Lyon 2, 2002. http://theses.univ-lyon2.fr/documents/lyon2/2002/gouspy_c.
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Si la musique d'Erik Satie n'est plus inconnue du public aujourd'hui, nous constatons toutefois que les œuvres populaires de ce compositeur demeurent méconnues. Aussi nous est-il apparu nécessaire de combler cette lacune par une étude consacrée à l'influence des loisirs parisiens sur Satie. En fréquentant les lieux de spectacle de notre capitale, une musique populaire s'est imposée à lui, ce qui nous a conduit à exposer les particularités du café-concert, du music-hall et du cabaret. De même nous a-t-il semblé nécessaire de mesurer l'influence de ces divertissements sur la carrière artistique de Satie puisque maints endroits populaires l'attirent à Montmartre, notamment le cabaret artistique. Au contact de ses amis artistes, Satie rejette les règles établies par la tradition, ce qui l'incite à créer les fondements de son propre langage musical. Les résultats de sa théorie novatrice apparaissent dans des chansons qu'il compose pour ses interprètes favoris: le chansonnier Vincent Hyspa et la chanteuse Paulette Darty, spécialisée dans la valse lente. La contribution de Satie au divertissement populaire donne naissance à une nouvelle esthétique musicale qui se développe et s'impose en France avec le Groupe des Six. Prenant Erik Satie pour maître, Jean Cocteau et ses amis compositeurs ressentent, après la Première Guerre Mondiale, la nécessité de bouleverser les mentalités. L'étude de leurs sources d'inspiration nous permet de comprendre la manière dont ils adaptent aux années folles l'esthétique créée en 1900 par SatieThough Erik Satie's music is no more unknown to the public now, it may be noted that his popular works remain ill-known. It seemed that a study dealing with the influence of Parisian revelry on Satie would fill this gap. The Parisian shows he attended, instilled popular music into Satie. This led us to describe the specific aspects of cabaret, music-hall and night club. Similarly, we considered that it was necessary to assess the influence of these shows on the artistic career of Satie since many popular places attracted him to Montmartre, notably the artistic night club where he was second pianist, score arranger and conductor. In contact with fellow entertainers, Satie rejected the traditional rules in music, which led him to create the basis of his own language that consisted in simplifying music. The results of his innovative theory was translated into songs he wrote for his favorite performers such as Vincent Hyspa, "cabaret" singer and Paulette Darty "café-concert" singer specialized in slow waltz. The contribution of Satie to popular entertainment gave birth to a new musical esthetics that developed and spread over France with the "Les Six". Establishing Erik Satie as their mentor, Jean Cocteau and his fellow composers felt, after World War 1, the need to radically change mentalities, which led them to be inspired, in their turn, by the circus and the music-hall, to look for simplicity and to revert to melody and counterpoint. The way they adapted the esthetics created in 1900 by Satie to the "Années Folles" may be understood by the study of their various sources of inspiration
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CHEMIZARD, NATACHA. "Les creations des ballets de satie et du groupe des six en france (1917-1970)." Lyon 2, 1995. http://www.theses.fr/1995LYO20003.
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Soixante-cinq ballets ont ete ecrits par satie et le groupe des six ; sur ces soixante-cinq ballets, la moitie a vu le jour grace a des compagnies prestigieuses, telles celle de diaghilev, ou celle de rolf de mare (jusqu'en 1929). L'autre moitie de ces ballets (ecrits jusqu'en 1960) reste meconnue. . . . Peut-etre du fait d'etre concue en dehors des idees choregraphiques nouvelles ou peut-etre faute d'un impressario genial. Satie and the "groupe des six" wrote sixty-five balletsHalf of wich were brought to life thanks to prestigious
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Gouspy, Carol Penesco Anne. "Les divertissements parisiens et leur influence sur les compositeurs Satie et le groupe des six /." Lyon : Université Lumière Lyon 2, 2002. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2002/gouspy_c.
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Malhaire, Philippe. "Polytonalité. Exégèse d’une démarche compositionnelle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040226.
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La polytonalité relève d’une démarche compositionnelle dont la définition d’ensemble s’avère extrêmement simple : il y a polytonalité quand deux ou plusieurs tonalités sont entendues simultanément. Mais cette apparente simplicité soulève paradoxalement une masse considérable de problèmes théoriques et analytiques, car cette forme d’écriture musicale, l’une des plus fluctuantes de l’harmonie contemporaine, ne permet précisément pas « d’entendre » deux tonalités simultanément de manière systématique. Cette thèse tente de dissiper un certain nombre de brouillards qui flottent depuis toujours autour de la polytonalité, d’un point de vue théorique et analytique tout d’abord, en proposant de refonder la théorie polytonale et en mettant en place une méthode analytique spécifique à cette forme d’écriture. D’un point de vue historique, cette thèse tente de dresser la filiation authentique de la polytonalité et de comprendre quelles sont les facteurs ayant entraînés son expansion et son déclin. Le sujet étant très vaste, de nombreuses études existent, offrant des perspectives très diverses sur ce phénomène complexe, mais peut-être qu’aucune n’avait jamais réellement tenté d’embrasser le sujet dans son intégralitéPolytonality depends of a compositional approach which the definition of turns out extremely simple: there is polytonality when two or several keys are simultaneously heard. This visible simplicity creates paradoxically a considerable mass of theoretical and analytical problems, because this musical writing, one of the most fluctuating of the contemporary harmony, does not exactly allow "to hear" two keys simultaneously in a systematic way. This thesis tries to dissipate fogs which float for a long time around polytonality: from a theoretical and analytical point of view first of all, by suggesting re-establishing polytonal theory and by setting up a specific analytical method. From a historic point of view, this thesis tries to find the authentic origins of polytonality and to understand what are factors having pulled its expansion and its decline. Numerous studies about polytonality exist, offering very different perspectives on this complex phenomenon, but maybe no one had tried to embrace the subject in its entirety
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Brooks, Colleen. "Cabaret Songs by Classical Composers During the First Half of the 20th Century: Satie, Schoenberg, Weill, and Britten." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281990477.
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Dawson, Christopher Edward. "Erik Satie viewed as a writer : with special reference to his texts from 1900 to 1925." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357293.
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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.
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Florek, Paul J. "Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc799545/.
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The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. By applying modern compositional techniques to an older, abstract form, composers have maintained the original aesthetic while allowing for fanfares to be used as concert music. This document adds to the limited body of scholarly writing on modern fanfares.
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Arbey, Dominique. "Francis Poulenc et la musique populaire." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040066.
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Francis POULENC (1899-1963) a été particulièrement influencé par la musique populaire de son époque. Pour étudier cet aspect de son œuvre, notre recherche s’appuiera sur la production musicale du compositeur, sur ses nombreux témoignages (correspondances, émissions radiophoniques et divers écrits) et sur tous les documents liés à la création et à la réception de ses œuvres. Le compositeur du Bal masqué n’imitait pas la musique populaire mais en empruntait quelques éléments : tel un peintre, il réalisait des « portraits de music-hall ». Afin d’apprécier cette imprégnation, nos analyses portent sur différents paramètres musicaux : la mélodie, le rythme, l’harmonie, les structures, l’orchestration et la vocalité. La finalité de notre travail s’inscrivant dans des perspectives socioculturelles, l’analyse de ces aspects techniques ne se dissocie pas du contexte historique lié au compositeur et plus largement au Groupe des SixThe composer Francis Poulenc (1899-1963) was particularly influenced by the popular music of his time. In order to study this very specific aspect of his works, our research will take into account the musical production of the composer, his personal testimonies (such as correspondence, radio programs and various pieces of writing) and all documents related to the creation and reception of his works.When composing Bal Masqué (The Masked Ball) the composer’s aim was not to copy popular music but just to make use of some of its characteristics. Just like a painter he created what he would call ‘portraits de music-hall’ (‘Music-hall portraits’). For this impregnation to be fully appreciated, our analyses will tackle different musical parameters such as melody, rhythm, harmony, structures, orchestration and vocal effects. The purpose of our research involving socio-cultural perspectives, the analysis of those technical aspects cannot be dissociated from the historical context relative to the composer and, to a wider extent, to the ‘Groupe des Six’
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Celhay, de Larrard Hélène. "André Derain et la scène." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040157.
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Le monde des arts est en pleine effervescence au début du XXe siècle, après le scandale déclenché par l’exposition des œuvres des Fauves au Salon d’Automne de 1905. Loin de cette agitation, les décors de scène sont réalisés par des décorateurs professionnels qui restent attachés aux procédés traditionnels. En 1909, l’arrivée des Ballets russes au Châtelet marque une rupture dans la conception du rôle du peintre dans le ballet. En 1919, alors que la compagnie jouit d’une grande renommée, Serge Diaghilev commande à André Derain les décors et les costumes de La Boutique Fantasque. Au sortir de la guerre où il a servi, Derain saisit cette fabuleuse occasion de remonter sur la scène artistique. Grâce au succès du ballet, c’est une longue série de collaborations fructueuses avec le monde du spectacle qui débute pour le peintre. Entre 1919 et 1953, Derain conçoit les décors et les costumes de deux pièces de théâtre, deux opéras, treize ballets et élabore de nombreux projets qui n’ont jamais été créés. Il rédige également plusieurs arguments, participe à la mise en musique de certaines de ces œuvres, réalisations auxquelles s’ajoutent les idées qu’il apporte à la mise en scène et à la chorégraphie. Cette étude met en lumière l’importance de l’œuvre scénique d’André Derain et ses particularités. Son travail révèle une richesse jusqu’alors méconnue et inexploitée. Notre étude permet ainsi de donner un nouvel éclairage sur le peintre et son œuvre. Artiste accompli et aux multiples facettes, Derain ne s’est pas contenté du rôle de décorateur, sa passion pour la musique et le théâtre l’ont, bien plus encore, amené à se poser en véritable créateur de balletsIn the early twentieth century the art world was bubbling with excitement following the scandal caused by the exhibition of work by members of the Fauves movement at the 1905 Salon d’Automne. Away from this fuss, stage sets were being created by set designers who remained attached to traditional methods. In 1909 the arrival of the Ballets Russes at Châtelet marked a breaking away from the understanding of the scenic artist’s role. In 1919, when the company was immensely famous, Serge Diaghilev commissioned Andre Derain to create sets and costumes for La Boutique Fantasque. Having served in the War, Derain grasped this fabulous opportunity to return to the world of art. The success of the ballet heralded a series of fruitful collaborations between him and the world of show business. Between 1919 and 1953, Derain created sets and costumes for two plays, two operas and thirteen ballets, as well as working on several uncompleted projects. He also wrote several librettos and was involved in the musical setting of some of these works, achievements that added to the ideas that he brought to the staging and choreography. This research highlights the importance of Derain’s stage work and its special features. This reveals the hitherto unrecognized and untapped wealth of his work. Our study thus sheds a new light on the painter and his creations. A skilled and multi-faceted artist and not content with his role as designer, Derain’s passion for music and theatre begs a true creator of ballets
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Rahm, Linda. ""Allkonstverket i Svenska Baletten - en analys av verket som inte är"." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28882.
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This essay is an attempt to analyze, understand and reconstruct the Swedish Ballet's last work Relâche (1924) based on Richard Wagner's term Gesamtkunstwerk. Gesamtkunstverk in this case above allmeans the cross-border collaboration of artists and art forms in between, which leads according to Wagnerto a whole which is presented here as The Gesamtkunstwerk. The purpose of this essay is to take part in a work that literally no longer exist, and to try to understand itscultural-historical value. All that remains from the Swedish Ballet, is everything but the dance itself. Still we can take part of the Ballet through the artistic synthesis through innumerable collaborations shown in the sets, costumes, posters and musical compositions. I will in the analysis based on four points, try to find the tones indicating that the work is, on the basis of Wagner's definition, a Gesamtkunstwerk. The essay is also an attempt to show the innovation of this Company and to provide redress to which, according to me, is too forgotten in Swedish historiography. The thesis shows both the Swedish Ballet's historical background which includes previous works built by the same principles of collaboration presented. In this section I will also address something, according to me, important; The Swedish homophobia, mainly in the tabloids during the period in which the essay deals with, and the consequences for the company in question. Then I will analyze Relâche on the basis of the four theses, which, according to my investigation shows that the work is a Gesamtkunstwerk.
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Hicks, Jonathan Edward. "Music, place, and mobility in Erik Satie's Paris." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5cca39d-7479-4a12-91de-e303a285c81c.
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Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.
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Hill, Oliver Edward. "Scriblerian satire." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548769.
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French, Esther. "Sadie Jane." TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3161.
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Sadie Jane is a novella set in the town of Gypsum, a fictional location in rural Kentucky. The introduction covers the inspiration for the novella, which is based on Southern storytelling traditions and features the adventures of Sadie Jane, an independent octogenarian who returns to her hometown after many years. Sadie experiences the internal challenges of regrets and grief as well as the external challenges of busybodies and car thieves before finding her place in the community.
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Lundborg, Niklas, and Carl-Filip Florberger. "Understanding Satire with The Simpsons : A qualitative study on providing information and knowledge through animated television." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33239.
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Satire is a form of humor used to criticize society and ridicule those who govern through irony, exaggeration and humor. What separates satire from other forms of social and political protest is that it uses humor to change human behavior. With our study, we ask ourselves if satire can be used to spread information and knowledge via animated entertainment shows such as The Simpsons. Our main research question is: Can the audiences of The Simpsons understand messages within the show’s entertainment context through its use of satire? To help us answer this we also have secondary inquiries such as: Is the satire within The Simpsons comprehended by its audiences? And, Is animation an appropriate method to engage information at hand? The main purpose of this study is that we are curious if you can more easily become aware of new information and serious matters through the combined use of humor and entertainment. We have chosen The Simpsons to focus on because they were the show that started a new genre of animated satirical comedy on TV. This genre is in today's television society very popular and as a result has created new satirical hit shows as Family Guy and South Park. Moreover we also reasoned that it is possible to make use of an American TV series in a Swedish study, since the world is now very connected, so influences and products move between land borders with relative ease, such as between the U.S.A and Sweden. We have based our theoretical framework around different types of genres that together with satire can help form an idea regarding if The Simpsons uses its perceived satire to possibly spread information and knowledge. As a use of method we have in this study chosen focus group interviews. The groups are to view a selected episode of The Simpsons, and then discuss aspects of the program. Using these focus groups, we want to distinguish The Simpsons use of satire and if it is effective in spreading information and knowledge. With our research, we concluded that there are different views on the use of animation to spread knowledge and information. One side argues the fact that the animated form is effective since restrictions are few. There are some who claim that animation can result in diluting the impact of satire. Participants in the focus groups clearly saw the episode 's message and theme and many of the satirical references. Ultimately the use of satirical humor to spread knowledge and information can to some degree be claimed to be an effective way to reach out to the audience with messages and opinions.Satir är en form av humor som används för att kritisera samhället och förlöjliga de som styr genom ironi, överdrifter och humor. Det som skiljer satir från andra former av social och politisk protest är att den använder sig av just humor för att ändra mänskligt beteende. Med vår studie frågar vi oss om man kan använda satir för att sprida information och kunskap via ett animerat underhållningsprogram som The Simpsons. Vår huvudfrågeställning är: Kan publiken av The Simpsons ta åt sig information och kunskap inom programmets underhållningskontext samt via dess användning av satir? För att få svar på detta har vi också använt oss av sekundära frågor såsom: uppfattar och/eller uppskattar personer som tittar på The Simpsons satir? Är animation en lämplig eller olämplig metod för att ta åt sig information? Huvudsyftet med denna studie är att vi är nyfikna på om man enklare kan ta åt sig information och allvarliga ämnen i kombination med humor och underhållning. Vi har valt The Simpsons som undersökningsobjekt eftersom de var dem som startade en ny genre av animerad satirisk komedi på TV. Denna genre är i dagens TV-samhälle väldigt populär och det har skapats nya satiriska succéprogram som Family Guy och South Park som följd av detta. Vi har också motiverat att det går att använda oss av en Amerikansk Tv-serie i en svensk studie eftersom världen är nu väldigt sammankopplad och influenser och produkter flyttas mellan landsgränser relativt enkelt, såsom mellan USA och Sverige. Vi har baserat vårt teoretiska ramverk kring olika typer av genrer, som tillsammans med satir kan hjälpa bilda en uppfattning om The Simpsons använder sig av sin föreställda satir för att eventuellt sprida information och kunskap. Som metod har vi till denna studie valt att använda oss av fokusgruppsintervjuer där grupperna får se ett utvalt avsnitt av The Simpsons och sedan diskutera aspekter av programmet. Med hjälp av dessa fokusgrupper vill vi urskilja The Simpsons användande av satir och om den är effektiv för att sprida information och kunskap. Med vår undersökning kom vi fram till att det förekommer delade uppfattningar om att använda animation för att sprida kunskap och information. Ena sidan tar upp det faktum att den animerade formen är effektiv då begränsningarna är få, den andra sidan påstår att animation kan leda till att budskap kan vara svåra att ta på allvar på grund av satirens överdrivande och fartfyllda egenskaper. Deltagarna i fokusgrupperna såg tydligt avsnittets budskap och tema samt många av de satiriska referenserna. Att använda satirisk humor för att sprida kunskap och information kan till viss grad påstås vara ett effektivt sätt att nå ut till publiken med budskap och åsikter.
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Garside, Damian John. "Satire and the satirist : a materialist reading of eighteenth-century satire." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18256.
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Bibliography: pages 480-513.This thesis presents an attempt to engage materialist literary analysis in a serious reconsideration of eighteenth-century satire as satire. In the process I see myself as challenging received notions of how the satire of the period is to be contextualized, as well as the way in which the category 'satire' has been constituted. I do not think it is possible to provide any reading of any satire today without initiating a reappraisal of the very form itself. Here I am attempting to integrate an ancient practice with new methodologies. This would seem to demand a perspective which is opposed to, and involves a critique of, not only the accepted institutional views of satire, but of aspects of the academic literary institution itself. Satire is, I believe, a term or category that should not be historicized and relativized out of existence. It has a significance and importance which is lost in attempts to make it a label of convenience: a convenient name that different literary cultures use to differentiate a particular form from the others available to them. In this thesis I will be focusing predominantly on Swift and Pope, who are not only the great satirists of this crucial period, but who are, arguably, the most subtle (Pope) and the most disturbing (Swift) of satirists who ever wrote.
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Hedgren, Daniel. "Din stund av Zen : Den sociologiska vikten av ett ironiskt engagemang." Thesis, Uppsala universitet, Sociologiska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-247202.
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En metastudie som använder sig av en specifikt anpassad tolkning av grounded theory för att undersöka The Daily Shows satiriska kritik och funktion, samt hur detta relaterar till det sociologiska perspektivet. Fynden visar på en problematik som väl överrensstämmer med mer allmänna sociologiska teorier hos Foucault, Bourdieu och Habermas. Satiren visar sig utöva en serie meningsfulla funktioner som har potential att verka som en populistisk samhällskritik med stort inflytande. Satiren visar sig dock inte vara en problemfri diskurs och ett antal problem identifieras som behöver adresseras för att diskursen ska kunna åberopa någon form av legitimitet.A meta-study which uses a specifically tailored interpretation of grounded theory to explore The Daily Shows satiric critique and function, as well as how it relates to the sociological perspective. The findings show a complex of problems that well corresponds to the more general sociological theories of Foucault, Bourdieu and Habermas. The satire is found to perform a series of meaningful functions with potential to act as a populist form of social criticism with a large influence. However, satire is also found to be a problematic discourse and a series of problems are identified that needs to be addressed for the discourse to invoke any form of legitimacy.
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Tellebo, Paulina. "En retorisk provokation : Om förolämpningar, satir och karikatyrer." Thesis, Uppsala universitet, Avdelningen för retorik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254346.
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When is it acceptable to make fun of religion, and when does it become disrespectful? On January 7, 2015, the headquarters of the French satirical news paper Charlie Hebdo was subjected to a terrorist attack that claimed the lives of 12 staff members, due to the publishing of caricatures picturing the prophet Muhammed. The reactions that followed the attack circled around two perspectives; the importance of freedom of expression and the obligation to show respect for certain institutions and traditions in society. How come the caricatures can elicit such completely different reactions? This is the question that this thesis uses as a starting point for the examination of the subject caricatures and satire. The thesis examines caricatures and satire from a rhetorical perspective. It distinguishes four rhetorical aspects of caricature, and discusses if these rhetorical aspects can be what makes the difference regarding how provocative a drawing is considered. The thesis then uses the four rhetorical aspects found, to analyze two caricatures from the French satiric magazine Charlie Hebdo.
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Person, Alain. "Diderot et la satire." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29248.
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Nous connaissons l'écrivain Diderot, le philosophe, le directeur de l'Encyclopédie, l'esthéticien, voire le scientifique; sur un autre plan, Diderot auteur satirique demeurait, en grande partie, à découvrir. Nous nous proposons de montrer l'ampleur et la diversité des liens qui unissent Diderot à la satire en expliquant ce que représente la satire pour Diderot, en montrant dans quelle mesure et à quelles conditions Diderot est un auteur satirique, et de quelle manière il satirise. Après avoir défini la satire et après avoir rappelé ce que la notion recouvre historiquement comme genres et comme formes, nous étudions les sens que prend le terme chez Diderot et les rapports de celui-ci avec les auteurs satiriques canoniques. Nous abordons ensuite l'oeuvre satirique de Diderot selon trois axes. Entre l'abstraction et le réalisme le plus cru, l'auteur satirique possède une manière qui lui est propre de représenter son milieu. Dans cette perspective, nous analysons les représentations satiriques chez Diderot d'après les notions d'abstraction (allégories, rêves, animalisation), de monde inverse (l'utopie) et de théâtralisation du monde. Le deuxième axe de notre étude s'attache aux textes de fiction. Outre les poésies satiriques, nous examinons les oeuvres les plus connues de Diderot sous l'angle de l'esthétique comico-sérieuse (les Satires première et seconde), de la ménippée (Les Bijoux indiscrets, Jacques le Fataliste) et sous l'angle de la satire romanesque (La Religieuse). Le troisième et dernier volet de la thèse porte sur les pratiques polémiques (lettres ouvertes, apologies) et pamphlétaires de Diderot, ainsi que sur l'usage satirique qu'il fait du paradoxe.
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Buchanan, David. "Augustan women's verse satire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/NQ34742.pdf.
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Sumner, James D. "Travel writing and satire." Thesis, Royal Holloway, University of London, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590815.
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The purpose of my thesis is to explore the hlstory of British travel writing and to consider how the literature of exploration, which initially presented itself as factual, evolved into the fictional use of travel writing. In order to provide a context for travel writing, I will be looking at the work of Porter, Mills, Pratt, Chard, Hulme and Youngs before discussing the Grand Tourist ( 1660-1 837) and the growth of mass touri sm under Thomas Cook. In order to consider early-twentieth-century travel writing in this context of mass touri sm, I propose to engage specifically with Peter Fleming's Brazilian Adventure (1933) and Robert Byron's The Road to Oxiana (1937). Evelyn Waugh, at various times, acted both as a friend and a reviewer to both Byron and Fleming. The thesis will then focus upon Evelyn Waugh's work and look at the differences between his travel writing and the fictional use of travel in his fiction. Waugh's writing style has been important to me in the development of my own.
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Bitter, James, Margarita Suarez, and Judith Wagner. "Satir And Relational Therapy." Digital Commons @ East Tennessee State University, 1997. https://dc.etsu.edu/etsu-works/6120.
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Boulingui, Rodrigue. "La Satire chez Diderot." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL089.pdf.
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Le travail voudrait établir le rapport entre Diderot et la satire. En s’appuyant sur le dernier Diderot, cette étude entend mettre en lumière l’un des paradoxes qui caractérise le siècle des Lumières. En établissant des parallèles, des liens entre les satiriques latins (Horace, Pétrone, Juvénal, Perse) et Diderot, il est démontré que la satire diderotienne, à l’image du phénix, se renouvelle à l’intérieur du genre. Sous l’égide de ces moralistes, en l’occurrence Horace et Pétrone, Diderot tente de sauver un genre qui cristallise les énergies au temps des Lumières malgré la place mineure qui lui est accordée dans l’échelle des genres. En imitant ses pères spirituels, Diderot bouleverse la satire régulière sur les plans énonciatif, moral, rhétorique. Ce travail fait au sein du genre permet à celui-ci de se moderniser, de s’adapter à son temps et de résister à tous ses détracteurs qui avaient programmé sa fin. En somme, à travers la satire, on découvre cette fois-ci une autre facette de Diderot qui ne théorise plus sur le drame bourgeois mais sur la satire en tant que genre moderneThe work would aim at establishing a relationship between Diderot and Satire. Based on the last Diderot, this study intends to shed light on one of the paradoxes which characterizes the Age of Enlightenment. By drawing parallels, links between the Latin satirics (Horace, Petronius, Juvenal, Persia) and Diderot, it is demonstrated that the Diderotian Satire, like the Phoenix, is renewed within the genre. Under the aegis of the moralists, in this case Horace and Petrone, Diderot tries to save a genre that crystallizes energies in the times of Enlightenment and this, despite of the insignificant position granted to it in the genre scale. By imitating his spiritual fathers, Diderot upsets regular satire on enunciative, moral and rhetorical levels. This work done within the genre allows it to modernize, to adapt to its time and resist all its critics who had planned its end. In short, through satire, we discover this time a new facet of Diderot, which does not speculate on bourgeois drama but on satire as a modern genre
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Maidment, Christopher. "Satura und Satyroi : die englische Renaissance-Satire im Widerstreit zweier Etymologien : Studien zur Aufdeckung einer Gattungskontamination am Beispiel der elisabethanisch-jakobäischen satirischen Literatur /." [S.l.] : [s.n.], 1993. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Jobert, Véronique. "La Satire soviétique contemporaine société et idéologie : l'objet de la satire, l'état de l'Union /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376145467.
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Neal, Hackler. "Stuart Debauchery in Restoration Satire." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32444.
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The Restoration Era, 1660-1688, has long borne a reputation as an exceptionally debauched period of English history. That reputation is however a caricature, amplified from a handful of recognizable features. That rhetoric of debauchery originates in the Restoration’s own discourse, constructed as a language for opposing the rising French-style absolutism of the late Stuart kings, Charles II and James II. When Charles II was restored in 1660, enthusiastic panegyrists returned to the official aesthetics of his father Charles I, who had formulated power as abundance through pastoral, mythological, and utopian art. Oppositional satirists in the Restoration subverted that language of cornucopian abundance to represent Charles II and his court as instead excessive, diseased, and predatory. After the Glorious Revolution of 1688-9, Williamite satirists and secret historians continued to wield these themes against the exiled Jacobites. Gradually, the political facets of Stuart excess dulled, but the caricature of the debauched Restoration survived in eighteenth-century state poem collections and historiography. The authors most emphasized in this study are John Wilmot, Earl of Rochester, and Andrew Marvell. Works by John Milton, John Dryden, Edmund Waller, King Charles I, and Gilbert Burnet also receive sustained attention.
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Siegel, Caroline [Verfasser]. "Arbeitsrecht. . und Satire / Caroline Siegel." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/108046008X/34.
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Owens, Susan. "Aubrey Beardsley, Salome and satire." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/1382927/.
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This thesis proposes that the illustrations produced by Aubrey Beardsley for the first English edition of Oscar Wilde's play Salome are primarily motivated by a strong satirical agenda. Whilst it has usually been acknowledged that this group of illustrations harbours some satirical elements, these have never before been regarded as anything other than isolated occurrences. The iconography of Beardsley's Salome illustrations has rarely been subjected to close visual analysis or lengthy explication. All early studies of Beardsley's work and the pioneering and monumental cataloguing work carried out in the 1960s inevitably contain a number of misconstructions and lacunae. Recent critical accounts of the Salomi illustrations, mostly theory-led and written from outside the discipline of art history, have on the one hand relied upon these interpretations, yet have on the other hand espoused various degrees of epistemological scepticism and historical relativism not calculated to provide new interpretations of these images in the light of their historical contexts. Countering this tendency, this thesis sets out to establish these contexts and to identify and explain the jokes which run throughout this sequence of illustrations. As a preliminary step to this analysis, my first chapter narrates a production history of the illustrations, and unravels the complex sequence of events relating to the commission. A second chapter surveys late nineteenth-century conventions of satire and literary and visual caricatures of Beardsley's principal target, Wilde. Following this, the body of the thesis is devoted to a detailed account of each image. These accounts explore the range of meanings at work within a broad context of contemporary visual culture, and offer a radical reinterpretation of the Salome illustrations.
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Christian, Daniel Chung. "Satire in the Old Testament." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7fe401ba-0292-4382-a3c4-ae0e133a206f.
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In recent years, through the process of narrative and literary criticism, scholars have begun suggesting that satire is present in specific texts of the Old Testament. Thus the primary function of this thesis is to analyse the validity of these arguments alongside suggesting different places where satire may be found. To achieve this goal, the thesis begins by analysing and defining satire as a concept. A clear definition provides the thesis with the method needed to identify satire in texts which predate any defined understanding of the concept. The thesis also uses satirical works from throughout history as templates for understanding similar types of satire within the biblical works. Once this methodology has been established, different genres of the Old Testament form the different chapters of the thesis. It identifies four different places where satire is deployed. Thus it examines satire in narratives, the book of Jonah, prophetic texts and wisdom literature. Each chapter combines new ideas with the analysis of previous scholastic arguments concerning the presence of satire. Within each genre a different type of satire with a range of complexity is deployed. The idol critiques in prophetic texts show simplistic satire. Narrative satire shows both situational and character-based satire. The book of Jonah is an example of hypocritical satire. Finally, satire in the wisdom literature contains a range of different satirical styles. The thesis concludes that satire is present within the texts of the Old Testament. This has implication to the field of satire. It affirms the existence of pre-Hellenistic satire. Alongside this, it shows that satire is a subconscious human technique, deployable even when the proponent has no defined understanding of the concept. In the field of Old Testament studies it provides an alternative reading of many familiar texts. A satirical reading provides clear insight into authorial intent as well as offering different interpretations of the texts which are examined.
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Christie, Sean. "Another man's dick : a satire." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/7465.
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The billboard that nearly caused John Woods to swerve off the coastal road stood much higher than existing legislation permitted. He knew this because he had recently taken a position as a community reporter on a local rag, and he was starting to get a hang of municipal legalese, whether he liked it or not. A hundred yards on he contemplated its mysterious message, identically phrased in the reverse view, and set against the same blue background that had Woods thinking, for a subliminal moment, that the Billboard was part of the ocean beyond, the white letters nothing more than gently ruffled caps of water. The Wait is Almost Over. He looked around at the green mountainside and the gently waving forest of kelp, which flanked the ocean road. Not an impatient scene, exactly. Not a single soul waiting for a god-damned thing. He read the slogan again, and as its meaning dawned (an understanding that it must mean some development was imminent: that almost over portended the very worst for a perfectly beautiful section of mountainside, untouched for all time) he became aware of an increasing tightness in his chest, as if he were taking on pressurised air. He felt the desire to shout something back at the slogan, something equally presumptuous, equally menacing. He picked up a rock, a nice blade of Cape sandstone, and hurled it. (The missile struck with a clang, and dropped to the ground.) Next he tried to pull the billboard over, but since it was not a supple birch, the thing would not begin to lean, no matter how high he climbed. When Inspector Claude Grey rounded the corner on a routine patrol he intercepted Woods at that point of his destructive endeavours where he had attached a tow-line to the structure's left leg, and was proceeding to push the engine of his car through higher and higher revolutions as white sand spurted out from beneath his balding tyres. On the charge sheet the following information was recorded: Name: Jonathan Woods Occupation: Community Reporter, Environmental Affairs. Offence: Destruction of property Mason Construction PTY (Ltd), to whom the billboard belonged, went ahead with the prosecution. It was not to be the last charge laid against the reporter (then a young man) by that company. The story that follows is, in a sense, an account of this long and bitter feud.
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DeMattio, Ashley N. "Under the Influence of Satire." Ohio Dominican University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1368615061.
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Vogel, Barbara. "Photography as satire and solace." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316621455.
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Friedman, Alex Glenn. "Satire, the Most Earnest Mode." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1417528371.
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Zakos, Katharine P. "Racial satire and Chappelle's Show." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04212009-163930/.
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Thesis (M.A.)--Georgia State University, 2009.Title from file title page. Mary Stuckey, committee chair; Kathryn Fuller-Seeley, Alisa Perren, Alessandra Raengo, committee members. Description based on contents viewed June 11, 2009. Includes bibliographical references (p. 86-89).