Relevant bibliographies by topics / Satire poems

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Academic literature on the topic 'Satire poems'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Satire poems"

Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (February 25, 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 (December 30, 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 (February 15, 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 (December 31, 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 (May 14, 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 (June 20, 2021): 1. http://dx.doi.org/10.20961/cmes.15.1.50171.

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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 tasybīh and isti'ārah, which are the likeness of a pig, dog and cobra. In addition, criticism is also carried out by directly pinning negative traits, such as qabīh "bad", al-mal'un "the cursed", jabbanun "coward" al-fāsiqu "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.Keywords: criticism, characterization, satire, zionist israel, palestine

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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 (July 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, no. 1 (June 15, 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).

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Dissertations / Theses on the topic "Satire poems"

Jones, Amanda Rogers. "Orderly Disorder: Rhetoric and Imitation in Spenser's Three Beast Poems from the Complaints Volume." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/31836.

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Spenserâ s Complaints volume is a Menippean satire, a form characterized by mixture. Within this mixture of forms and voices, the three beast poems, Virgils Gnat, Prosopopoia or Mother Hubberds Tale, and Muiopotmos are unified by shared traditions in Classical Aesopic beast fable and medieval beast poetry. Reading these three poems as a set reveals Spenserâ s interpretation of the literary history of beast poetry as one of several competing forms of order. The beast poems show ordering schemes of hierarchy, proportion, imitative practice, and dialectic, yet none of these is dominant. Thus, in the overall Menippean mixture that makes up the volume, the beast poems present an additional and less obvious mixture: the kinds of order available to a literary artist. Spenserâ s Complaints volume was the object of some censorship, and scholars still debate whether he or his printer, William Ponsonby, designed the book. The many kinds of organization demonstrated by the beast poems coalesce to form a theory of contestatory imitation in which the dominant order is disorder itself, represented by the ruin brought about by timeâ s passage. Spenser appropriates both satiric and serious voices in the beast poems. He reflects on his political ambition to achieve the status of poet laureate in a noble, courtly manner, but he snarls like a fox, too, when he considers the ruin of his ambition.
Master of Arts

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Fahey, Kathleen Agnes. "Some shorter satirical poems in English from the thirteenth to the early sixteenth centuries." Thesis, University of Oxford, 1993. http://ora.ox.ac.uk/objects/uuid:15454664-6d83-483e-93ac-025843416231.

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The aim of this thesis is to provide a thorough introduction to shorter satirical poetry in Middle English, and also to provide stimulus and material for further study in this somewhat neglected area of medieval English literature. The thesis presents 83 newly transcribed, edited and annotated shorter (approximately 200 ll. or less) poems, which have never before been collected. Strictly political poems, more properly the subject of a separate study, are not included, nor are the poems of Dunbar, Skelton, Henryson and Hoccleve, which are available in excellent editions. The poems are loosely grouped according to the subjects they satirize: clergy, women and marriage, money and venality, rogues and fools, specific people, and medical recipes. A lengthy introduction briefly discusses the problem of defining satire in the Middle English period before going on to discuss the background of medieval satire for each group. For each poem there are notes which clarify difficult points as well as give information on the manuscripts and editions in which the poem appears. Appendix A prints a not hitherto recognized parody of Lydgate's A Valentine to Our Lady with the text of Lydgate's poem facing, and discusses some of the difficulties of recognizing parody in Middle English in light of this particular example. Appendix B is an index which attempts to list all nonnarrative satirical verse in English which appeared between the thirteenth and early sixteenth centuries. A glossary of difficult words in the texts is included.

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Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.

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During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry. I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war. The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts. The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.

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Buckley, Joseph. "Got Your Tongue." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2305.

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Moore, Lindsay Emory. "The Laureates’ Lens: Exposing the Development of Literary History and Literary Criticism From Beneath the Dunce Cap." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822784/.

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In this project, I examine the impact of early literary criticism, early literary history, and the history of knowledge on the perception of the laureateship as it was formulated at specific moments in the eighteenth century. Instead of accepting the assessments of Pope and Johnson, I reconstruct the contemporary impact of laureate writings and the writing that fashioned the view of the laureates we have inherited. I use an array of primary documents (from letters and journal entries to poems and non-fiction prose) to analyze the way the laureateship as a literary identity was constructed in several key moments: the debate over hack literature in the pamphlet wars surrounding Elkanah Settle’s The Empress of Morocco (1673), the defense of Colley Cibber and his subsequent attempt to use his expertise of theater in An Apology for the Life of Colley Cibber (1740), the consolidation of hack literature and state-sponsored poetry with the crowning of Colley Cibber as the King of the Dunces in Pope’s The Dunciad in Four Books (1742), the fashioning of Thomas Gray and William Mason as laureate rejecters in Mason’s Memoirs of the Life and Writings of William Whitehead (1788), Southey’s progressive work to abolish laureate task writing in his laureate odes 1813-1821, and, finally, in Wordsworth’s refusal to produce any laureate task writing during his tenure, 1843-1850. In each case, I explain how the construction of this office was central to the consolidation of literary history and to forging authorial identity in the same period. This differs from the conventional treatment of the laureates because I expose the history of the versions of literary history that have to date structured how scholars understand the laureate, and by doing so, reveal how the laureateship was used to create, legitimate and disseminate the model of literary history we still use today.

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Risenga, David Jinja. "A comparative study of satire and humour as communicative strategies in the poems of four Tsonga poets." Diss., 1995. http://hdl.handle.net/10500/17619.

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This study involves an investigation into the use of satire and humour as strategies of communication. The poetry of four Tsonga poets selected for study includes these strategies which are investigated for the purpose of determining the extent to which they function as strategies of communication. The study consists of four chapters which can be summarized as follows: CHAPTER 1 contains the introduction, aim, scope and method of approach of the entire study. Theories and definitions of satire and humour are also presented here. In CHAPTER 2 the poems selected for study are analysed in terms of invective, subtle and light-hearted satire. CHAPTER 3 focuses attention on the style of presentation of comic and derisive humour. CHAPTER 4 highlights and elucidates the most significant findings of the study. The most competent poet of the four at using satire and humour is identified and his excellence declared and justified
African Languages
M.A. (African languages)

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CHANG, YI-TZ, and 張意孜. "The Psycholoical Study of Ruan Ji and he's Yonghuai Poem -- Based on Satir Theory." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6gwqhh.

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碩士
東海大學
中國文學系
106
This study used the Satir Theory developed by Ms. Virginia Satir (1916-1988) to analyze the personal iceberg of Wei-Jin literati RUAN, JI. The personal iceberg is an essential tool for exploration within Satir Theory and also a crucial tool for this study. This thesis intended to use the personal iceberg metaphor for six kinds of contextual experiences to explore how RUAN, JI solved problems when encountering people, events, things, and how his internal psychology works during his writing of 82 "Yong Huai Poems." This study firstly introduced the “personal iceberg metaphor” and “survival stance” within Satir Theory separately, and then discussed the two primary parts with an emphasis on RUAN-JI. The first primary part focused on the friends and family relations, attitude toward officialdom, and personal behaviors of RUAN, JI for the materials for exploring the personal iceberg; and the second part focused on the 82 "Yong Huai Poems” to present such work in the form of personal iceberg and do further compilation and analysis. The two primary parts mentioned are both shown in specific iceberg profile in this thesis to explore the differences between the personal iceberg conditions of RUAN, JI regarding different themes, hoping that this study may achieve new development direction and breakthrough on related research of RUAN, JI or the application of Stair Theory.

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Books on the topic "Satire poems"

Cook, R. Elton. Poems, verse: Mental excursions : satire. Santa Fe, N.M: Thistle Press, 1986.

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Maxton, Hugh. Gubu roi: Poems & satires, 1991-1999. Belfast: Lagan Press, 2000.

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Fenella, Copplestone, ed. Laughing at the king: Selected poems. Manchester [England]: Fyfield Books/Carcanet, 2009.

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Fletcher, Brooks Harold, and Selden Raman, eds. The poems of John Oldham. Oxford: Clarendon Press, 1987.

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The poems of John Oldham. London: Centaur Press, 2008.

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Mayne, Seymour. Light industry: Humourous and satirical poems. Oakville, ON: Mosaic Press, 2000.

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Perfidious proverbs and other poems: A satirical look at the Bible. Amherst, NY: Humanity Books, 2011.

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Quests of difference: Reading Pope's poems. Lexington, KY: University Press of Kentucky, 1986.

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Swift's later poems: Studies in circumstances and texts. New York: Garland, 1988.

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Bill, Knott. Laugh at the end of the world: Collected comic poems, 1969-1999. Rochester, NY: BOA Editions, 2000.

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Book chapters on the topic "Satire poems"

Nutt, Joe. "Satire." In John Donne: The Poems, 28–45. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27722-3_3.

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Baird, Ileana. "Outliers, Connectors, and Textual Periphery: John Dennis’s Social Network in The Dunciad in Four Books." In Data Visualization in Enlightenment Literature and Culture, 265–308. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-54913-8_8.

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AbstractThis chapter uses social network analysis to visualize the fields of relations involving John Dennis, the most important critic of the first half of the eighteenth century, with the other protagonists in Alexander Pope’s satire, The Dunciad in Four Books (1743). By using visualizations generated by GraphViz, a program that creates topological graphs from sets of dyadic relations, and ShivaGraph, a tool that helps visualize large networks and navigate through them as through a map, this chapter brings to light data that is structurally embedded in the poem but not immediately legible given the large amount and complexity of information. In Dennis’s case, they reveal the competing stories told by the poem and the apparatus and the critic’s main role as the uncrowned king of The Dunciad’s textual periphery. These visualizations also highlight Dennis’s essential position as a network connector, his camp affiliations, the role played by peripheral characters in the plot network of the poem, and the main dunces targeted by Pope, or the poem’s “hall of infamy.”

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McDonough, Christopher J. "Classical Latin Satire and the Poets of Northern France: Baudri of Bourgueil, Serlo of Bayeux, and Warner of Rouen." In Publications of the Journal of Medieval Latin, II:102–115. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.pjml-eb.3.2845.

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"SATIRE." In The Complete Poems of John Donne, 397–494. Routledge, 2014. http://dx.doi.org/10.4324/9781315833491-12.

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"Index of Poems, Editions, and Manuscripts Used for this Edition." In Arabian Satire, 171–79. NYU Press, 2017. http://dx.doi.org/10.2307/j.ctt1pwt9m1.47.

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Bierce, Ambrose. "The Passing of Satire." In Poems of Ambrose Bierce, edited by M. E. Grenander. Oxford University Press, 1995. http://dx.doi.org/10.1093/oseo/instance.00244845.

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Hammond, Paul, and David Hopkins. "The Tenth Satire of Juvenal." In Dryden Selected Poems, 534–70. Routledge, 2020. http://dx.doi.org/10.1201/9781003070771-19.

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Hammond, Paul, and David Hopkins. "The Tenth Satire of Juvenal." In Dryden Selected Poems, 534–70. Routledge, 2020. http://dx.doi.org/10.4324/9781003070771-19.

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"4. Swift's Poems: Satire, Contamination, Authority." In The Difference Satire Makes, 106–31. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501722257-005.

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Smollett, Tobias. "Advice: a Satire." In The Works of Tobias Smollett: Poems, Plays, and The Briton, edited by Byron Gassman and O. M. Brack, Jr., 27–444. University of Georgia Press, 1993. http://dx.doi.org/10.1093/oseo/instance.00216946.

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Academic literature on the topic 'Satire poems'

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Journal articles on the topic "Satire poems"

Dissertations / Theses on the topic "Satire poems"

Books on the topic "Satire poems"

Book chapters on the topic "Satire poems"