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Academic literature on the topic 'Satire poems'
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Journal articles on the topic "Satire poems"
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Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.
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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers. In this regard, the selected poems in this paper are crowded with anecdotes, the effusive use of humour, suspense and curiosity. The over-arching argument of the paper is that satire is grounded in the poetics of contemporary Nigerian poetry in order to criticize certain aspects of the social ills plaguing Nigerian society. The paper will further examine how satire articulates social issues in the works of contemporary Nigerian poets, including Niyi Osundare, Tanure Ojaide, Chinweizu, Femi Fatoba, Odia Ofeimun, Ezenwa Ohaeto, Obiora Udechukwu and Ogaga Ifowodo. Viewed in the light of artistic commitment, the paper will demonstrate how satire accentuates the role of these poets as the synthesizers/conduits of social and cultural concerns of Nigerian society for which they claim to speak. As representatively exemplified in the selected poems, the paper will essentially focus on the mediation of satire for the impassioned criticism of social and moral vices, militating against Nigeria’s socio-political development.
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Akpah, Bartholomew Chizoba. "Satire, humour and parody in 21st Century Nigerian women’s poetry." European Journal of Humour Research 6, no. 4 (2018): 133. http://dx.doi.org/10.7592/ejhr2018.6.4.akpah.
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21st century Nigerian women poets have continued to utilise the aesthetics of literary devices as linguistic and literary strategies to project feminist privations and values in their creative oeuvres. There has been marginal interest towards 21st century Nigerian women’s poetry and their deployment of artistic devices such as satire, humour and parody. Unequivocally, such linguistic and literary devices in imaginative works are deployed as centripetal force to criticise amidst laughter, the ills of female devaluation in the society. The major thrust of the study, therefore, is to examine how satire, humour and parody are deployed in selected Nigerian women’s poetry to reproach and etch the collective ethos of women’s experience in contemporary Nigerian society. The study utilises qualitative analytical approach in the close reading and textual analysis of the selected texts focusing mainly on the aesthetics of humour, satire and parody in challenging male chauvinism in contemporary Nigerian women’s poetry. Three long poems: “Nuptial Counsel”, “Sadiku’s Song” and “The Sweet, Sweet Mistress’ Tale” by Mabel Evweirhoma and Maria Ajima respectively were purposively selected. The choice of the selected poems hinges on the artistic vigour, especially the evoking of laughter, mockery and condemnation of hegemonic strictures through the use of satire, humour and parody. The paper employs Molara Ogundipe’s Stiwanism, an aspect of Feminist theory in the analysis of the selected poems. The poets have shown the interventions of humour, satire and parody as linguistic devices in condemning and highlighting peculiarities of women peonage in Nigeria.
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Wahyudi, Fitra, and Hasanuddin WS Hasanuddin WS. "UNSUR MAJAS LOKALITAS DALAM KUMPULAN PUISI LELAKI DAN TANGKAI SAPU KARYA IYUT FITRA." Jurnal Bahasa dan Sastra 6, no. 3 (2019): 286. http://dx.doi.org/10.24036/81037220.
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The research was conducted aimed at analyzing the utilization of the locality of figure of speeches in a collection of poems entitled Lelaki and Tangkai Sapu written by Iyut Fitra. In addition, with the existence of this research, it can be seen the purpose of the poet using the locality assembly in his collection of poems, namely as a form of satire and introducing locality in his culture. In this study, used a type of qualitative research with descriptive methods. The majors of locality used by the poet in this collection of poems are as many as ten majas, namely (1) the comparison of metaphors of locality, (2) comparison of simile locality, (3) comparison of personification of locality, (4) comparison of metonymy locality, (5 ) the comparison of the antonomasia of locality, (6) the insinuation of the irony of locality, (7) the insinuation of locality allegory, (8) the insinuation of locality parables, (9) the insinuation of locality cynicism, and (10) majas satire locality. The locality institution that is most used by poets is Majas satire of irony.Keywords: locality, Iyut Fitra, figure of speech, poems
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Rai, Man Kumar. "Satire in Shrestha’s Ghintang Ghishi Twank." JODEM: Journal of Language and Literature 11, no. 1 (2020): 73–81. http://dx.doi.org/10.3126/jodem.v11i1.34808.
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 The objective of this article is to analyze the use of satire in three poems, from Rupesh Shrestha’s volume of poems Ghintang Ghishi Twank in order to examine use of the suffering of voiceless people. The poems depict absurdities of the society and hypocrisy of the leaders which are the causes of poor people‟s pains. This poems exhibit how follies, vices and absurdities are hurdle in transforming society into prosperous one. The poet has berated them with the aim of bringing positive change in the society and in the lives of the common people. The poet mocks at the political changes which have brought change only in the lives of political leaders, not in the lives of the people who have been ignored by the state for long. Despite many anxieties, they enjoy dancing and playing sticks in their hands on the special occasion of Gaijatra. The poems are collection of sharp words which are used to butt the corrupt politicians. For this, the elements of Juvenalian satire have been used as tools for analysis of the selected poems. This study highlights upon the anxieties of marginalized people; demonstrates the shameful act of politicians; and exposes the absurdities prevailed in the society. It indicates that the political and social absurdities are subject to be poked in order to reform a society.
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Bakumenko, Vitalii M. "Successor of Glorious Traditions." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 27, 2012): 77–80. http://dx.doi.org/10.25281/0869-608x-2012-0-2-77-80.
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The article is devoted to the 65th birth anniversary of Moscow talented artist Nikolai Yegorov. The highest achievements of the artist were excellent illustrations to the poem of the 12th century “Tale of Igor's Campaign”, to the poetic collections of I. Goethe and to the poem of N. Gogol “Dead Souls”. The dream of every bibliophile collections are “Roman satire” and “Poems” by Michelangelo Buonarroti with original illustrations by N. Yegorov.
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Shumate, Nancy. "Full Circle: Juvenal’s Egyptians and the Return of the “Angry White Man” in Satire 15." New England Classical Journal 48, no. 1 (2021): 81–96. http://dx.doi.org/10.52284/necj/48.1/article/shumate.
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Some critics have seen a softening of Juvenal’s signature anger in the later satires, while others argue, on the contrary, that the indignatio animating the earlier poems resurfaces toward the end of the corpus. This paper supports the second position by comparing the characterization of speakers in the first six satires and in the fifteenth. In spite of its different setting and quasi-philosophical trappings, the (virtually) last poem’s speaker emerges as a variation of the same reactionary character type so fully drawn in the first two books. The Satires are thus framed by prototypes of the grievance-driven “angry white man” of later eras.
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Turpin, William. "The Epicurean Parasite: Horace, Satires 1.1-3." Ramus 27, no. 2 (1998): 127–40. http://dx.doi.org/10.1017/s0048671x00001867.
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We have learned a great deal in recent years about reading Horace's satires; there is now widespread agreement that the speaker of the satires is himself a character within them, a persona. Such a persona may be most effective when it has obvious connections with its creator, but that fact does not preclude the exaggeration of reality, or even its complete inversion. For Horace the implications of this approach are exciting: instead of a poet discoursing with cheerful earnestness on morality, on poetry and on his daily life, we have a fictional character, whom we do not have to take seriously at all.The three diatribe satires present us with a character so absurd that they have been taken, I think rightly, as parodies. Although the poems were once appreciated as effective moralising sermons, even their admirers found it hard to justify the lack of intellectual coherence, to say nothing of the astonishing vulgarity of the second satire. As parodies, however, the poems are wonderfully successful. The speaker trots out a series of banalities: ‘people should be content with who they are’; ‘people should not go to extremes’; ‘people should be consistent’. But he invariably gets distracted, goes off on tangential rants, and makes a fool of himself. The moralist of the first three satires is, to put it bluntly, a jerk.
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Purnamawati, Zulfa. "Criticism As A Resistance Strategy in Fārūq Juwaidah’s Poems." Jurnal CMES 14, no. 1 (2021): 1. http://dx.doi.org/10.20961/cmes.15.1.50171.
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<p>This study aims to reveal the resistance strategy used by Faruq Juwaidah, an Egyptian poet who has high concern for the fate of the Palestinians who are under Israeli Zionist rule. The object of this research material is Risalatun Ila Sarun I and II in which there are resistance values. The method used is a semiotic reading which consists of heuristic and hermeneutic reading. The results of this study indicate that the resistance strategy in Faruq Juwaidah's poetry is criticism. This form of criticism is expressed in characterization which in psychological terms is called labeling. In this term used <em>tasybīh</em> and <em>isti'ārah</em>, which are the likeness of a pig, dog and cobra. In addition, criticism is also carried out by directly pinning negative traits, such as <em>qabī</em><em>h</em> "bad", <em>al-ma</em><em>l</em><em>'un</em> "the cursed", j<em>abbanun</em> "coward" <em>al-</em><em>f</em><em>āsiqu</em> "people who do bad things", and al- ' irbidu "a bad person in character". In addition, criticism is also expressed by the satire. The use of satire is a considered effective way to make political and social criticism, especially at the actions taken by Israeli Zionists who have tormented the Palestinian people.</p><strong>Keywords: criticism, </strong><strong>characterization</strong><strong>, </strong><strong>satire</strong><strong>, zionist israel, palestine</strong>
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Gillespie, Stuart. "Imitating the Obscene: Henry Higden's Versions of Horace's Satire 1.2 and Juvenal's Satire 6." Translation and Literature 29, no. 2 (2020): 199–219. http://dx.doi.org/10.3366/tal.2020.0418.
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Henry Higden has hitherto been known, if at all, for two works of English classical imitation: of Juvenal's Satire 13 (printed 1686) and Satire 10 (printed 1687), the second an influence on Dryden. Other than a failed stage play, these are Higden's sole recorded works. This article argues that he was also the author of two closely related imitations, probably also composed in the late 1680s but circulated anonymously, and both extant in manuscript copies. Higden's versions tend to make more rather than less emphatic the sexual content of these Latin poems, providing a reason why one who was called to the bar in 1686 and well known in polite circles would not have wished to claim them publicly as his work. A text of the 313-line Horatian imitation is printed for the first time within this contribution.
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Alqarni, Hussain Mohammed. "Naqāʾiḍ Poetry in the Post-Umayyad Era". Journal of Abbasid Studies 4, № 1 (2017): 97–121. http://dx.doi.org/10.1163/22142371-12340028.
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Naqāʾiḍ(biting refutations) are a type of lampoon in which two poets exchange satirical poems that make use of the same prosodic meter and rhyme. Although satire had already been a staple of Arabic poetry in the pre-Islamic era,naqāʾiḍwere further developed and enhanced as an art form in the Umayyad period thanks to three poets: Jarīr, al-Farazdaq and al-Akhṭal.A distinctive feature of earlynaqāʾiḍwas the centrality of tribalism as a key motivator of composition. This paper seeks to show thatnaqāʾiḍpoetry did not disappear, as some have suggested, nor did it become limited to the personal or sectarian; rather, it continued to flourish throughout the Abbasid period as an expression of tribal pride. Two cases ofnaqāʾiḍfrom the Abbasid period are investigated; the poets in question were regarded as belonging to the group ofsāqat al-shuʿarāʾ(rearguard poets).