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Dissertations / Theses on the topic 'Satirical literature'
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Prescott, Gina Henderson. "Satirical Inquiry." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08072007-133241/.
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Thesis (M.A.)--Georgia State University, 2007.Title from file title page. Mary Hocks, committee chair; Lynée Lewis Gaillet, Elizabeth Sanders Lopez, committee members. Electronic text (68 p.) : digital, PDF file. Description based on contents viewed Nov. 7, 2007. Includes bibliographical references (p. 66-68).
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Milthorpe, Naomi Elizabeth, and naomi milthorpe@anu edu au. "Systems of order: The satirical novels of Evelyn Waugh." The Australian National University. School of Humanities, 2009. http://thesis.anu.edu.au./public/adt-ANU20090630.150502.
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Systems of Order: The satirical novels of Evelyn Waugh is a study of Evelyn Waughs satire. It offers a contextual reading of eleven works by Waugh, presenting revisionist readings of familiar novels and according attention to previously neglected works. It aims to sketch out the main features of Waughs satire, including Waughs lexis and the use of certain key images and motifs. Comparative analysis of Waughs satirical novels with works by contemporary writers such as Clough Williams-Ellis, Wyndham Lewis, Stella Gibbons and T.S. Eliot brings into sharp relief the techniques and targets of Waughs satire.
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This thesis argues that despite Waughs tongue-in-cheek denial of satires efficacy in a complacent modern world, he did indeed write satire of a peculiarly twentieth century kind. Waughs apparently anarchic novels reflect, behind the detached insouciance of their narrators, the moral standards which the novels ostensibly claim are absent in the modern world.
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In Waughs writing, satire is effected through the creation of systems of literary order. The structure and patterning of his novels, and his masterful use of the rhetorical techniques of satire, mete out punishment on a formal level. Waughs satirical novels dramatize the tension between truth, order and civilization, and their oppositions, disorder and barbarism. Systems of Order suggests that from the very first, Waughs satiric project aimed toward the repudiation of modern disorder.
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Baires-Varguez, Ricardo. "Another mask of Mexico and its people through Jorge Ibarguengoitia's Satirical prose /." Click for abstract, 1997. http://library.ctstateu.edu/ccsu%5Ftheses/1480.html.
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Thesis (M.A.)--Central Connecticut State University, 1997.Thesis advisor: Dr. Lilián Uribe. " ... in partial fulfillment of the requirements for the degree of Master of Arts in Modern Language (Spanish)." Includes bibliographical references (leaves 152-156).
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Hasler, Rebecca Louise. "Profitability and play in urban satirical pamphlets, 1575-1625." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12277.
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This thesis reconstructs the genre of urban satirical pamphleteering. It contends that the pamphlets of Robert Greene, Thomas Nashe, Thomas Dekker, Thomas Middleton, and Barnaby Rich are stylistically and generically akin. Writing in a relatively undefined form, these pamphleteers share an interest in describing contemporary London, and employ an experimental style characterised by its satirical energy. In addition, they negotiate a series of tensions between profitability and play. In the early modern period, ‘profit' was variously conceived as financial, moral, or rooted in public service. Pamphleteers attempted to reconcile these senses of profitability. At the same time, they produced playful works that are self-consciously mocking, that incorporate alternative perspectives, and that are generically hybrid. To varying degrees, urban satirical pamphlets can be defined in relation to the concepts of profitability and play. Chapter One introduces the concept of moral profitability through an examination of Elizabethan moralistic pamphlets. In particular, it analyses the anxious response to profitability contained in Philip Stubbes's Anatomie of Abuses (1583). Chapter Two argues that Greene disrupted appeals to totalising profitability, and instead demonstrated the alternative potential of play. Chapter Three examines Nashe's notoriously evasive pamphlets, contending that he embraced play in response to the potential profitlessness of pamphleteering. Chapter Four argues that although Dekker and Middleton rejected absolutist notions of profitability, their pamphlets redirect stylistic play towards compassionate social commentary. Finally, Chapter Five explores Rich's relocation of moralistic conventions in pamphlets that are presented as both honest and mocking. Taken as a whole, this thesis re-evaluates the style and genre of urban satirical pamphleteering. It reveals that this frequently overlooked literary form was deeply invested in defining and critiquing the purpose of literature.
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Costa, Marilene Meira da. "Algumas considerações sobre a poesia de BOCAGE." Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7322.
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Este trabalho visa à análise das poesias eróticas e satíricas de Manuel Maria Barbosa du Bocage e de sua repercussão na sociedade portuguesa do século XVIII. A ironia, por definição, propõe a inversão de enunciados, negando o contrário daquilo que se afirma ou vice-versa. Mas, tal recurso, largamente empregado pelo Poeta, extrapola a mera função de figura de pensamento, uma vez que, potencializando um poderoso arsenal crítico, propicia a construção de um discurso desestabilizador, cuja intenção é colocar em xeque a ideologia oficial. A lírica bocagiana, em sua vertente erótica e satírica, vale-se do deboche, do escracho ou da sátira desbocada para colocar às claras a distinção entre essência e aparência, em uma sociedade cuja moral se constrói a partir das crenças religiosas nem sempre professadas, quer pelo corpo social como um todo, quer pelo clero, guardião desta moral. Examinaremos, neste trabalho, os modos de representação discursiva inscritos nesta poesia. Bocage ultrapassou as fronteiras de seu tempo em poemas cuja licenciosidade, muitas vezes, não esconde uma ponta de amargura e sofrimento. Dividido entre dois mundos: o árcade, sob o signo da razão, constituído de regras rígidas; e o romântico, regido pela paixão, Elmano não esconde o desconcerto, que procura na clandestinidade a via possível para a expansão de um espírito revoltadoThis work aims at the analysis of the erotic and satirical poetry of Manuel Maria Barbosa du Bocage and its impact on portuguese society of the eighteenth century. The irony, by definition, suggests a reversal of statements denying the opposite of what is stated or vice versa. But such a feature, widely used by Poet, overcomes the mere function of figure of thought, since, leveraging a powerful critical arsenal, allows the construction of a destabilizing discourse, intended to checkmate the official ideology. The bocagiana lyrical, satirical and erotic in their shed, it is debauchery, the escrache or foul-mouthed satire to put the clear distinction between essence and appearance, in a society whose moral is built from the religious beliefs do not always professed, either by the social body as a whole, either by the clergy, this moral guardian. Examine in this work, inscribed discursive modes of representation in this poetry. Bocage beyond the borders of their time in poems whose licentiousness often does not hide a hint of bitterness and suffering. Divided between two worlds: the arcade, under the sign of reason, consists of rigid rules; and the romantic, governed by passion, Elmano does not hide the bewilderment, looking in hiding the possible route to the expansion of an angry spirit
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Rozier, Emily Jane. "The galaunt tradition in England, c.1380–c.1550 : the form and function of a satirical youth figure." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6656/.
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The subject of this doctoral study is the satirical figure known as the ‘galaunt’, as depicted in English literature and visual art c.1380–c.1550. It combines close textual analysis with investigation of established youth tropes, contemporaneous material culture, and socio-political concerns. It begins by establishing the breadth of the galaunt corpus and the figure’s significance, before tracing the etymology of galaunt and the cultural antecedents of the late medieval tradition in order to establish its hitherto unidentified Classical origins. The study goes on to explore the fundamental aspects of the galaunt’s semiotic makeup: youth; licentiousness; sartorial extravagance; and problematic masculinity. Despite the cultural significance of the late medieval galaunt, it has received little scholarly attention and the true significance of the figure’s role as Wayward Youth is yet to be established. This doctoral thesis moves away from previous scholarship, which has interpreted the figure as an instance of social-mobility discourse, and instead unravels the tradition’s complex conflation of established youth stereotypes and socio-political concerns to reposition the galaunt as a Vice figure symbolising errant youth. The thesis argues for a reappraisal of the significance of youth to late medieval social discourses, particularly in regard to questions of masculinity and status.
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Resano, Dolores. "Of heroes and victims: Jess Walter’s The Zero and the satirical post-9/11 novel." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458996.
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This dissertation analyzes a typically overlooked novel within the corpus of post-9/11 fiction studies, Jess Walter’s The Zero (2006), and puts forward some hypotheses for this under-examination. It suggests that the debates that arose in the United States in the wake of 9/11—regarding the status of fiction in the face of tragedy, the theses about the demise of irony and satire, the high expectations put on canonical authors to give meaning to the event, and standardized interpretations of what a “good 9/11 novel” should be—all contributed to construct readings of The Zero that fell within the somewhat prescriptive approaches established by the first wave of post-9/11 fiction studies, and thus overlooked the subversive potential of Walter's novel. While recent academic output is starting to explore The Zero in innovative ways, early reception of the novel failed to examine it conceptually and formally, favoring as it did a trauma studies approach that resulted in a bland analysis of the discursive exploration that the novel carries out. On the other hand, the novel’s use of satirical humor has been mostly ignored, and this is partly explained by the currency of outdated theoretical conceptions of what constitutes a satirical novel. Therefore, this dissertation carries out a revision of the theoretical corpus on narrative satire and proposes its renewal through the theories of carnivalization of Mikhail Bakhtin. Approaching the novel through the notions of satirical carnival, dialogism, and intertextuality reveals how satire is a very effective way of exploring and questioning the discursive apparatus that mobilized in the United States after the attacks. Such is the object of the novel, the interaction with, the representation and the eventual subversion of a nationalist discourse that was underpinned by its appeal to foundational myths and cultural themes and that was highly accepted by the general population, which allowed the Bush administration to respond to the attacks in military terms and to suspend certain rights and freedoms on the domestic front, under the premise of promoting security. This dissertation seeks to demonstrate how satire understood this way is especially suited for constructing a dialogical, polyphonic and inquisitive narrative that not only questions but also dialogues with the American nation after 9/11.La presente tesis explora una novela poco estudiada del corpus de ficción post-11-S, The Zero (2006), de Jess Walter, y propone algunas hipótesis que puedan explicar esta falta de atención. Se sugiere que los debates que se originaron en los Estados Unidos tras el 11-S—respecto al estatus de la ficción frente a la tragedia, la supuesta falta de adecuación del humor satírico e irónico para explicarla, las grandes expectativas depositadas en los autores canónicos para que dieran sentido al hecho, y las interpretaciones un tanto prescriptivas y normativas por parte del campo de los “post- 9/11 fiction studies”—contribuyeron a determinar ciertas lecturas de The Zero dentro de los parámetros establecidos por la primera ola de ficción post-11-S, pasando por alto el potencial subversivo de la novela de Walter. La recepción temprana de la novela ha tendido a desatender el análisis formal y conceptual de The Zero al favorecer una aproximación desde los estudios del trauma que resulta en un análisis insustancial de la exploración discursiva que la novela lleva a cabo. Por otra parte, se ha ignorado casi por completo su uso del humor satírico, y ello en parte se explica por ciertas concepciones teóricas un tanto parciales y anticuadas sobre qué es una novela satírica. Por lo tanto, la tesis lleva a cabo una revisión del corpus teórico sobre la sátira narrativa y propone su renovación a través de las teorías de carnivalización de Mikhail Bakhtin. La aproximación a la novela desde las nociones de carnaval satírico, dialogismo, e intertextualidad revela como la sátira es un modo muy efectivo de explorar y cuestionar el aparato discursivo que se movilizó en Estados Unidos tras los atentados. Tal es el objeto de la novela, la interacción con, representación y eventual subversión de un discurso nacionalista que se sostuvo por la apelación a mitos fundacionales y temas culturales de alta aceptación entre la población, lo cual permitió una respuesta militar y el abandono de ciertas libertades en el frente doméstico con el fin de garantizar la seguridad. La tesis busca demostrar como la sátira entendida de este modo es especialmente idónea para construir un relato dialógico, polifónico e inquisidor que no solo cuestione sino que dialogue con la nación estadounidense tras el 11-S.
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Marcus, Reker Katherine B. ""Can We Do A Happy Musical Next Time?": Navigating Brechtian Tradition and Satirical Comedy Through Hope's Eyes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/876.
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This thesis proposes a critical study of the theoretical framework of Urinetown, asking the question of whether or not the show is truly a “Brechtian musical,” utilizing the tenets and beliefs of Bertolt Brecht. Set in a quirky, Gotham-like town where you have “to pay to pee” due to a severe drought, Urinetown follows a cast of absurdist characters as they navigate a society plagued by the perils of big business, ecological devastation, and the inequalities of capitalism. While the show appears to make a relevant social commentary, supporting a righteous rebellion to overthrow the evil Urine Good Company, in the end, by proving that revolution does not always succeed, writers, Kotis and Hollman invalidate these commentaries, proving that despite its Brechtian appearance, the show in its textual form is much more simply a comedic parody. However, Pomona College’s production, in which I played Hope Cladwell, takes on a much more severe tone, creating legitimate commentary by replacing many of the comedic, two-dimensional characters with living breathing, realities. In a text traditionally lacking authenticity, I approached Hope Cladwell with the intention of finding strength and satire in an otherwise vapid character.
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Teixeira, Almerinda Pinheiro Cardoso Marques. "Testamentos carnavalescos: tradição discursiva satírica." Doctoral thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/22487.
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Os Testamentos Carnavalescos recolhidos em aldeias das faldas oeste da Serra do Montemuro, situada no norte de Portugal, são textos produzidos por rapazes e raparigas em processo ritual de Carnaval. Nesta dissertação é analisada uma amostra desses textos.
Estes textos inserem-se numa longa tradição de discurso testamentário satírico cujas raízes se situam no século IV e na Idade Média. Esta dissertação mostra como essa tradição testamentária satírica vem até aos nossos dias, mantendo e exprimindo, de várias formas, o significado de inversão carnavalesca que põe o mundo às avessas e desrespeita jocosamente normas e hierarquias sociais.
As características jocosas concretizam-se nos textos analisados, especialmente nos testamentos carnavalescos de compadres e comadres, em que os rapazes (compadres) e as raparigas (comadres) criticam os comportamentos e características dos membros do grupo oposto. A ironia exprime-se na linguagem usada para dar forma testamentária às críticas e suscitar o riso comunitário; Abstract:
The Carnivalesque Testaments, which were collected in some villages of the westernsides of Montemuro Mountains, in the north of Portugal, are texts produced by boys and girls in a Carnival ritual process. In this dissertation a sample of these texts is analysed.
These texts belong to a long tradition of satyrical testamental speech the roots of which are placed in the 4th century and in the Medieval Age. As this dissertation shows, this satyrical testamental tradition have come until our days keeping and expressing, by several ways, the significance of a carnivalesque inversion that turns the world upside down and jestingly disrespects social norms and hierarchies.
The jocose characteristics become effective in the analysed texts, especially in the carnivalesque testaments of cronies (“compadres” and “comadres”), as the boys (“compadres”) and the girls (“comadres”) criticize the behaviours and characteristics of the members of the opposite group. The irony is expressed by the words that are used to give a testamental form to the censures and mockeries to make the community laugh ; Résumé:
Les Testaments Carnavalesques recueillis en quelques villages des versants d’ouest de la Chaîne de montagnes Montemuro, au nord du Portugal, sont des textes produits par des jeunes hommes et par des jeunes filles dans un processus rituel de Carnaval. Dans cette dissertation est analysé un échantillon de ces textes.
Ces textes s’insèrent dans une longue tradition de discours testamentaire satirique qui a ses racines au IVème siècle et au Moyen-Âge. Cette dissertation fait voir comment cette tradition testamentaire satirique arrive jusqu’à nos jours tout en conservant et en exprimant le sens d’inversion carnavalesque qui met le monde à l’envers et se moque des normes et des hiérarchies sociales.
Les caractéristiques plaisantes se manifestent dans les textes analysés, notamment dans les testaments carnavalesques de compères et de commères, où les jeunes hommes (les compères) et les jeunes filles (les commères) critiquent les conduites et les caractéristiques des membres de l’autre groupe. L’ironie est exprimée par le langage utilisé pour donner une forme testamentaire aux critiques et provoquer le rire de la communauté.
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Migliorini, Tommaso. "Gli scritti satirici in greco letterario di Teodoro Prodromo : introduzione, edizione, traduzione, commento." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86163.
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Hodson, Katrin C. "The Plight of the Englishman: The Hazards of Colonization Addressed in Jonathan Swift’s Gulliver’s Travels." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617896210333106.
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Montecillo, Victoria. "The Naïve Ingénue, The Plucky Everyman's Hero, and the Ingénue Gone Awry: The Satirical Deconstruction of Theatrical Character Tropes in Urinetown: The Musical." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/868.
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This thesis looks to explore Urinetown: The Musical through a critical and theoretical framework, analyzing the show's presentation and deconstruction of theatrical character tropes through musical satire. Using the theories of theatre theorists such as Bertolt Brecht, Peter Brook, and Augusto Boal, this thesis discusses the use of theatre as a device for political and social commentary. Additionally, this thesis focuses more specifically on the show's character of Penelope Pennywise as a new kind of character in the theatre: an "ingénue gone awry," within the context of approaching a performance of the character in a performance of the musical.
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Almanza, Carla. "Beltraneja y Francisco Pacheco: nuevo apógrafo de un cuestionado poema satírico." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/101266.
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El propósito de este artículo es dar noticia de una nueva copia o apógrafo del poema épico-satírico Beltraneja. La peculiaridad de esta copia radica en el hecho de que forma parte de un códice del siglo XVII hecho por el pintor sevillano Francisco Pacheco. Mediante el análisis de este documento, no solo intentamos construir un panorama crítico de los estudios sobre el poema desarrollados hasta el momento, sino que proponemos una serie de reflexiones en torno del anonimato y la datación del poema a partir del contexto cultural de Pacheco. Más allá de pretender precisar cuestiones paratextuales o de interpretación ideológica, este trabajo busca realzar la trascendencia histórica y literaria de un producto representativo de la sátira hispanoamericana colonial.The purpose of this article is to give notice of a new copy or apograph of the epic-satirical poem Beltraneja. The peculiarity of this copy lies in the fact that it is part of a seventeenth-century codex made by the Sevillian painter Francisco Pacheco. Through the analysis of this document, not only do we try to construct a critical view of the studies on the poem developed so far, but we also propose a series of reflections around the anonymity and the date of the poem starting from Pacheco’s cultural context. Beyond pretending to precise paratextual and ideological interpretation issues, this piece of work aims to enhance the historical and literary significance of a representative product of the colonial Spanish-American satire.
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Zavala, Virreira Rocio. "Hilda Mundy : guerre, après-guerre et modernité : écriture d’avant-garde dans la Bolivie des années 30." Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30054/document.
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Ecrivaine bolivienne des années 30 - oubliée jusqu'aux années 90- Hilda Mundy s'est fait connaître notamment à la fin de la guerre du Chaco (1932-1935) et dans l'immédiat après-Guerre comme chroniqueuse humoristique à Oruro, sa ville natale. Ses chroniques sont autant d'exemples d'une écriture des moeurs, critique et satirique de la bonne société de son temps et notamment à l'égard d'une morale hypocrite et bigote. Satire des puissants, les écrits d'Hilda Mundy viseront également les travers et les scandales de la vie politique de l'époque ainsi que la montée du militarisme qui se profilait à la fin de la guerre ; ceci marquera le destin de l'écrivaine sous le signe de la censure. Son seul livre Pirotecnia, ensayo miedoso de literatura ultraista, publié à La Paz en 1936, est la suite de cette écriture des formes brèves, centrée sur la désacralisation des symboles du pouvoir. Les thèmes de la ville moderne, de la technique, du jeu et de l'attaque contre la tradition, présents aussi dans ses écrits parus dans la presse, constituent l'univers avant-Gardiste de Pirotecnia. Mouvement et méfiance sont au coeur de cette littérature moderne qui dit moi. Le moi de l'écriture mundyenne, riche de son hétéronymie, est porteur d'un projet poétique propre à une esthétique des arts scéniques où le masque dont on parle le plus est celui de la paroleA Bolivian writer in the thirty's - forgotten until the 90's - Hilda Mundy became known especially at the end of the Chaco War (1932-1935) and in the immediate post-War period as a humouristic columnist in Oruro, the town where she was born. All her columns are instances of a literature of manners, on which she turns a critical and satirical eye. Her remarks on hypocritical and sanctimonious moral standards of her time are particularly scathing. Hilda Mundy's texts satirize the powerful and target the faults and scandals of political life, and the rise of militarism which was looming at the end of the war. This marked the destiny of the writer under the sign of censure. Her only book, Pirotecnia, ensayo miedoso de literatura ultraista, published in La Paz in 1936 remains loyal to this type of writing, favouring short texts and focused on deconsecration of power symbols. The themes of the modern city, of technology, games and gambling and the attack on tradition, which are also present in her press articles, made up the avant-Garde universe of Pirotecnia. Movement and mistrust are at the heart of this modern literature, which is written in the first person. The self of Hilda Mundy's writing is enriched by its heteronymy and continues a poetic project related to an aesthetics of scenic arts, where the most important mask is that of language
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Kohrs, Johannes [Verfasser]. "Not Black, Not Black Enough and Both : Satirical Investigations of Race in Percival Everett's Novels / Johannes Kohrs." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1212854411/34.
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MAIA, José Alexandre Ferreira. "Satiricon : as origens do romance e do realismo satírico." Universidade Federal de Pernambuco, 2005. https://repositorio.ufpe.br/handle/123456789/7733.
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Previous issue date: 2005Obra provavelmente escrita no século I d.C., o Satiricon é abordado nestes estudos como resultante da ação das mesmas forças histórico-pragmáticas e estético-ideológicas que condicionaram o aparecimento e a evolução dos gêneros literários na Antiguidade. Através desta abordagem foi possível observar que a evolução dos gêneros seguiu dois rumos que coincidiram com a divisão aristotélica do drama helênico, em tragédia e comédia. A partir dos princípios adotados na criação do drama é possível compreender a existência de pelo menos duas espécies de realismo: 1- o realismo trágico de caráter idealista teve como sua principal fonte o mito; a Tragédia conheceu seu pleno desenvolvimento no século V a.C. em Atenas; 2- O realismo cômico que teve como fonte a própria realidade; a Comédia mimetizou o homem comum e se desenvolveu ao longo das transformações que as cidades gregas sofreram, e se desenvolveu entre os romanos no século II a.C. Além dos gêneros miméticos a evolução do realismo fez aparecer os gêneros teóricos escritos principalmente em prosa. O romance antigo é um gênero que apresenta uma estrutura híbrida e teria nascido da fusão desses gêneros em resposta às novas demandas estético-ideológicas que surgiram com a decadência da Hélade e com a ascensão das monarquias alexandrinas e de Roma. O Satiricon, classificado aqui como romance satírico, é uma importante obra mimética que exemplifica com clareza a evolução do realismo cômico em contraste com o realismo trágico
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Fowler, Bo. "'The astrological diary of God' and the SciFi-satiric-comic-philosophical novel." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302089.
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Ivana, Ikonić. "Српска хумористичко-сатиричка периодика друге половине XIX и почетка XX века." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=97367&source=NDLTD&language=en.
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У дисертацији су проучени српски хумористичко-сатирички листови с краја XIX и почетка XX века, тачније из периода 1881–1903. године. Трагано је за хумористичко-сатиричким прилозима како би се они укључили у корпус српске књижевности тог периода. Истраживање је спроведено применом критичко-методичког апарата за изучавање књижевно-уметничких дела. Основна идеја била је да се покаже да раније маргинализована грађа завређује пажњу историчара српске књижевности, јер прилози који су анализирани у раду показују да су у њима коришћене стилске фигуре и поступци као и у другим родовима и жанровима који су били третирани као норма српске књижевности. Прилози у српској хумористичко-сатиричкој периодици овог времена могу да буду одлична грађа не само за књижевну историју, већ и за историјску, социолошку, психолошку, културолошку или родну анализу. То је важно, јер се кроз хумористичке прилоге проговарало о темама које су биле табуиране и цензурисане у озбиљним политичким листовима. У шаљивој периодици готово увек је постојао и ликовни део у виду карикатура које су пратиле текст. У раду се наглашава повезаност ликовног и текстуалног слоја тих прилога, тако да се помињу и неки од најзначајнијих твораца карикатуре код Срба из тог периода (Драгутин Дамјановић, Јосип Даниловац, Јован Јовановић Змај и други). Стога ови прилози могу да се проучавају и са аспекта ликовне уметности. Текстуални елемент карикатура имао је увек подтекст који је могао бити историјски, књижевни, па чак и религиозни, али који је обавезно био кључ за разумевање карикатуре. Данашњем читаоцу тај подтекст је далек и циљ рада био је да се он појасни и да се карикатура на прави начин протумачи. Показало се да су се аутори хумористичко-сатиричких прилога бавили пре свега политиком на микро и макро нивоу, црквеним темама, родним темама, путописним темама и другим. Рад показује велику актуелност хумористичко-сатиричке периодике у оно време и да су српски листови пратили трендове који су постојали у истоврсној литератури у Европи и шире.U disertaciji su proučeni srpski humorističko-satirički listovi s kraja XIX i početka XX veka, tačnije iz perioda 1881–1903. godine. Tragano je za humorističko-satiričkim prilozima kako bi se oni uključili u korpus srpske književnosti tog perioda. Istraživanje je sprovedeno primenom kritičko-metodičkog aparata za izučavanje književno-umetničkih dela. Osnovna ideja bila je da se pokaže da ranije marginalizovana građa zavređuje pažnju istoričara srpske književnosti, jer prilozi koji su analizirani u radu pokazuju da su u njima korišćene stilske figure i postupci kao i u drugim rodovima i žanrovima koji su bili tretirani kao norma srpske književnosti. Prilozi u srpskoj humorističko-satiričkoj periodici ovog vremena mogu da budu odlična građa ne samo za književnu istoriju, već i za istorijsku, sociološku, psihološku, kulturološku ili rodnu analizu. To je važno, jer se kroz humorističke priloge progovaralo o temama koje su bile tabuirane i cenzurisane u ozbiljnim političkim listovima. U šaljivoj periodici gotovo uvek je postojao i likovni deo u vidu karikatura koje su pratile tekst. U radu se naglašava povezanost likovnog i tekstualnog sloja tih priloga, tako da se pominju i neki od najznačajnijih tvoraca karikature kod Srba iz tog perioda (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj i drugi). Stoga ovi prilozi mogu da se proučavaju i sa aspekta likovne umetnosti. Tekstualni element karikatura imao je uvek podtekst koji je mogao biti istorijski, književni, pa čak i religiozni, ali koji je obavezno bio ključ za razumevanje karikature. Današnjem čitaocu taj podtekst je dalek i cilj rada bio je da se on pojasni i da se karikatura na pravi način protumači. Pokazalo se da su se autori humorističko-satiričkih priloga bavili pre svega politikom na mikro i makro nivou, crkvenim temama, rodnim temama, putopisnim temama i drugim. Rad pokazuje veliku aktuelnost humorističko-satiričke periodike u ono vreme i da su srpski listovi pratili trendove koji su postojali u istovrsnoj literaturi u Evropi i šire.
The dissertation examines a set of Serbian humorous-satirical journals at the end of the 19th and the beginning of the 20th century, in the period between 1881 and 1903. It aimed at identifying the humorous-satirical articles in order to include them in the Serbian literature of that period. The research was carried out by using the critical and methodical apparatus for studying literary and artistic works. The main idea was to demonstrate that previously marginalized material deserved proper attention of literary historians, since the articles analyzed in the dissertation contained both the figures of speech and literary procedures seen in other works and genres treated as normative in the Serbian literature. Articles in the Serbian humorous-satirical periodicals of that time could be an excellent material not only for literary history, but also for historical, sociological, psychological, cultural and gender research. This is important, having in mind that the comical articles spoke about the topics that were forbidden or censored in serious political journals. In comic periodicals, there was almost always a segment of fine art, displayed through caricatures accompanying the text. The dissertation emphasises this connection between the caricatures and the text. Therefore, it references some of the most prominent Serbian caricature artists of that time (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj, etc.). Furthermore, these articles can be analysed from the point of view of fine arts. The textual element of caricatures always had the subtext which could be historical, literary, or even religious, and it was always the key to understaninding the caricature. To the contemporary reader, this subtext is out of reach. The dissertation aims at making it understandable so as to correctly interpret the caricature. It became obvious that the authors of humorous-satirical articles predominanty dealt with politics on the micro and macro levels, clerical topics, gender issues, travel literature, and so on. The dissertation shows that the humorous-satirical periodical was highly resonant of its time and that Serbian journals followed the trends of the same kind of literature in Europe and elsewhere.
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Silva, Rosane Cordeiro da. "A Poesia como arma politica: o satirico na Desterro do seculo XIX." reponame:Repositório Institucional da UFSC, 1995. http://repositorio.ufsc.br/xmlui/handle/123456789/76225.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2012-10-16T08:25:58Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T20:06:25Z : No. of bitstreams: 1 104248.pdf: 4034140 bytes, checksum: 3103bd4be920f8989a8783ae2a358707 (MD5)
Este estudo objetiva efetuar o resgate de três poemas satíricos do século passado na antiga Desterro: Assembléia das Aves, Pomada Taunay (Boletim-Retrato), Montenegreida. Anterior ao resgate, apresentam-se fatos relacionados à história, à imprensa e à literatura da época, bem como caricaturas, que ilustram o texto e situam o leitor nesse período, coletadas dos jornais Matraca e O Moleque. O resgate partiu da atualização do poema Assembléia das Aves, publicado em 1847 e reimpresso em edição fac similar em 1921. Pomada Taunay e Montenegreida foram transcritos e atualizados do jornal A Regeneração (1884-1885).
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Morton, Sheila Ann. "Satire's Liminal Space: The Conservative Function of Eighteenth-Century Satiric Drama." BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/122.
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The eighteenth century is famous for producing literary satire, primarily in verse (and later prose) form. However, during this period, a new dramatic form also arose of which satire was the controlling element. And like the writers of prose and verse satires, playwrights of dramatic satire claimed that their primary aim was the correction of moral faults and failings. Of course, they did not always succeed in this aim. History has shown a few, however, to have had a significant impact on the ideas and lives of their audiences. This thesis is an attempt to demonstrate how these satiric dramas achieved their reformative aims by tracing the theatrical experience of an eighteenth-century audience through Victor Turner's stages of liminality. Turner explains the different ways in which specific genres of theatre (1) create a performance space that is apart from, but still draws symbolically on, the outside world, (2) invite the participation of their audiences in that space, and (3) urge audiences to act in different ways as they leave the theatre space. By examining plays in these ways, we can see how the plays affected the ideas and outlooks of audience members. Because satiric drama invited a high level of participation from audience members, because it invited them into a very "liminal" space, it frequently served to sway audience members' tastes, and in some cases even helped to revolutionize social and literary institutions.
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Bosquesi, Gisele de Oliveira. "As referências mitológicas e a construção do humorismo em Racconti surrealisti e satirici, de Alberto Moravia /." São José do Rio Preto : [s.n.], 2011. http://hdl.handle.net/11449/99110.
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Orientador: Maria Celeste Tommasello RamosBanca: Márcio N. Thamos
Banca: Cláudia Maria Ceneviva Nigro
Resumo: O presente trabalho tem como objetivo, primeiramente, analisar o diálogo intertextual entre os contos de Racconti Surrealisti e Satirici, do escritor italiano Alberto Moravia, e a Mitologia greco-romana. Utilizando as concepções de Laurent Jenny e Julia Kristeva, estudaremos a relação entre os contos de Moravia e a Mitologia, buscando elucidar novas leituras resultantes de tal relação. Além disso, verificaremos a presença do humor pirandeliano nos contos e na retomada intertextual, partindo da hipótese de que Moravia, ao utilizar-se dos mitos e compor tais contos em chave metafórica, pôde veicular sua crítica à realidade existencial italiana, relacionada aos acontecimentos da primeira metade do século XX
Abstract: The aim of the present study is to analyze, firstly, the intertextual dialogue between the short stories of Racconti Surrealisti e Satirici, by the italian writer Alberto Moravia and Greek and Roman mythology. Based on the studies of Laurent Jenny and Julia Kristeva, we intend to observe new meanings brought to the narratives as a result of that dialogue. Furthermore, we aim at verifying the presence of humor, as defined by Luigi Pirandello, in those short stories and in the intertextual relation, based on the hypothesis that Moravia, by using myths and by composing his narratives as metaphors, could witness the italian existential reality related to the happenings in the first half of twentieth century
Mestre
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Robbeson, Angela. ""A sense of wider fields and chances": Towards a literary history of English-Canadian satiric fictions of the nineteenth century." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0023/NQ36792.pdf.
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Bosquesi, Gisele de Oliveira [UNESP]. "As referências mitológicas e a construção do humorismo em Racconti surrealisti e satirici, de Alberto Moravia." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/99110.
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bosquesi_go_me_sjrp.pdf: 601704 bytes, checksum: a6ee950ac289f49de2bce750fbb64659 (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
O presente trabalho tem como objetivo, primeiramente, analisar o diálogo intertextual entre os contos de Racconti Surrealisti e Satirici, do escritor italiano Alberto Moravia, e a Mitologia greco-romana. Utilizando as concepções de Laurent Jenny e Julia Kristeva, estudaremos a relação entre os contos de Moravia e a Mitologia, buscando elucidar novas leituras resultantes de tal relação. Além disso, verificaremos a presença do humor pirandeliano nos contos e na retomada intertextual, partindo da hipótese de que Moravia, ao utilizar-se dos mitos e compor tais contos em chave metafórica, pôde veicular sua crítica à realidade existencial italiana, relacionada aos acontecimentos da primeira metade do século XX
The aim of the present study is to analyze, firstly, the intertextual dialogue between the short stories of Racconti Surrealisti e Satirici, by the italian writer Alberto Moravia and Greek and Roman mythology. Based on the studies of Laurent Jenny and Julia Kristeva, we intend to observe new meanings brought to the narratives as a result of that dialogue. Furthermore, we aim at verifying the presence of humor, as defined by Luigi Pirandello, in those short stories and in the intertextual relation, based on the hypothesis that Moravia, by using myths and by composing his narratives as metaphors, could witness the italian existential reality related to the happenings in the first half of twentieth century
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Almeida, Rogerio Caetano de. "Recortes do grotesco na história da literatura portuguesa cantigas de maldizeres; satíricos barrocos; Bocage; Camilo Pessanha; Mário de Sá-Carneiro e Alberto." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-27062013-120335/.
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O trabalho objetiva uma análise da presença do grotesco na história da literatura portuguesa. A abordagem é feita a partir das teorias de W. Kayser, sobre o grotesco romântico e Mikhail Bakhtin sobre o realismo grotesco, ou a carnavalização. Três aspectos centrais do grotesco na literatura foram analisados: a linguagem grotesca, que se apodera do discurso canônico e o desconstrói das maneiras mais diversas possíveis; o corpo grotesco, que desconstrói, reconstrói e até pulveriza o corpo, seja através da paródia ou do sinistro; e o grotesco ligado ao estranho, que corrobora uma tendência moderna e contemporânea de trabalhar o abismal, sem deixar de se manifestar nos períodos anteriores. Dada a impossibilidade de analisar um espectro maior de escritores, os escolhidos formam uma parte relevante do cânone poético: as cantigas de maldizer, os satíricos barrocos, Bocage, Camilo Pessanha, Mário de Sá-Carneiro e Al Berto representam as produções grotescas de suas épocas e participam, em quase todos os casos, do cânone literário português. Por fim, após as análises dos três aspectos do grotesco em cada autor, estabeleceram-se a relação desses autores com o cânone da poesia portuguesa e a relação do grotesco com a tradição.This work aims at analyzing the presence of the grotesque in the history of Portuguese literature. In the light of W. Kaysers theories on the romantic grotesque and Mikhail Bakhtin\'s concept of grotesque realism or carnivalization, our analysis focuses on three central aspects: the grotesque language, which takes hold of the canonical discourse in order to deconstruct it in a variety of different ways; the representation of the grotesque body, which deconstructs, reconstructs and even pulverizes the body, either through parody or the sinister; and, finally, the grotesque connected to the oddness, attesting a more modern and contemporary trend of exploring the abyss, despite the fact of its manifest also in earlier periods. Given the impossibility of examining a wider range of writers, the selection included constitutes a relevant piece of the poetic canon: the cantigas de maldizer, the satirical baroque, Bocage, Camilo Pessanha, Mário de Sá-Carneiro and Al Berto represent the grotesque productions of their time and participate, in almost all cases, of the Portuguese literary canon. Finally, after the consideration of the three aspects in each author in isolation, we examine the relationship of these authors to the canon of Portuguese poetry, and also the relationship between the grotesque and tradition.
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Gehle, Hermione. "The absurd reality of satire in Neil LaBute's 'Fat Pig'." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1661.
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This research project examines the misreading of satire in some productions of Neil LaBute’s play, Fat Pig. This practice led project aims to investigate why such misinterpretations occur and explore the theatrical styles that emphasise the satire in the text via rehearsal processes and production.
There will be three preliminary paths undertaken in this research heading toward a new production of Fat Pig; an exploration of the responses of audiences and critics to past productions; an analysis of the background to Neil LeBute and his work; and an examination of theatrical expressions of satire, experimental theatre, contemporary theatre, and their practitioners. The overall aim of this research project is to find ways, as a director, to experiment with theatrical styles as a means to expand the play’s complex issues and ironic take on society’s narrow view of female beauty. This study will explore the following questions: what is the correlation between staging and design (the director’s influence and how an audience interprets meaning; and what forms of theatrical expression will highlight and emphasise the satire and irony present in the text? In what ways can critical reviews and feedback from previous productions indicate the understanding (or lack of understanding) of the ironic content in the script? Can situating LaBute in the context of his satiric writing style that straddles literary elements from opposing absurd and realism genres shed light on how irony can be exposed in Fat Pig?
The project’s new production aims to underscore the play’s social commentaries by combining various forms of theatrical styles, philosophies, and methodologies. I wish to extend my directorial practice by investigating strategies to emphasis and highlight what I see as the underlying focus of Fat Pig; society’s discriminating behaviour to those who sit outside mainstream ideas of physical beauty
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Augier-Grimaud, Johana. "Théâtre et théâtralité dans le Satyricon : la quête d'un nouveau genre." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040132.
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La présente étude revient sur le concept de théâtralité souvent employé à propos du Satyricon pour tenter d’enpréciser les manifestations et les modalités. Car derrière l’apparente simplicité du terme et la banalisation de sonemploi à propos de cette oeuvre, se cache une pluralité de procédés. La théâtralité du Satyricon revêt trois formes.Elle se définit spontanément comme la réutilisation de codes propres aux genres dramatiques comiques auxquelsPétrone emprunte situations, thématiques et procédés linguistiques. Cette théâtralité première est complexifiéepar son ancrage dans un univers narratif orienté, dont les préoccupations recoupent celles du genre satirique. Lerecours à des éléments théâtraux dessine les contours d’une société excessive et inauthentique, et se voit doncfiltrée par le topos du monde décadent : cette théâtralité seconde devient le moyen d’exprimer l’outrance desindividus et de leurs comportements. Et c’est précisément parce que dans le monde du Satyricon les valeurstraditionnelles sont caduques que la littérature classique est obsolète. S’ouvre alors la voie à une théâtralitétroisième, intrinsèquement liée à la parodie. Elle est principalement portée par la voix du narrateur, chez qui lapratique excessive de la déclamation a entraîné une projection systématique dans un au-Delà fictionnel. Lafracture existant désormais entre la réalité et sa perception a une double conséquence : d’une part toutes lessituations du quotidien s’assimilent à des représentations de scènes littéraires de référence ; d’autre part elledéconstruit la littérature traditionnelle en en exhibant les clichés. Cette théâtralité permet à Pétrone de renouvelerla littérature et de jeter les bases du genre romanesqueThe present study reexamines on the concept of theatricality often used about the Satyrica to try to specifyappearances and methods. For behind the visible simplicity of the term and the everyday acceptance of its use inrelation to this work, there hides a plurality of processes. The theatricality of the Satyrica takes on three forms. Itdefines itself spontaneously as the re-Use of codes particular to the funny dramatic genres from which Petroniusborrows situations, themes and linguistic processes. This first theatricality is complicated by its anchoring in adirected narrative universe, whose concerns it shares with those of the satiric genre. The falling back on theatricalelements outlines an excessive and inauthentic society, and thus sees itself filtered by the decadent world topos.And it is exactly because in the world of the Satyrica the traditional values are null and void that classicalliterature is obsolete. The way is then opens to the third theatricality, intrinsically connected to parody. It ismainly carried by the voice of the narrator, to whom the excessive practice of declamation entailed a systematicprojection to a fictional otherworld. The fracture existing from now on between reality and its perception has adouble consequence: on the one hand all the situations of everyday life can be reduced to representations ofliterary reference scenes ; on the other hand it deconstructs the traditional literature through clichés. Thistheatricality allows Petronius to renew literature and to lay the foundations for the novelistic genre
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Milthorpe, Naomi Elizabeth. "Systems of order: The satirical novels of Evelyn Waugh." Phd thesis, 2009. http://hdl.handle.net/1885/49312.
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'Systems of Order: The satirical novels of Evelyn Waugh' is a study of Evelyn Waugh’s satire. It offers a contextual reading of eleven works by Waugh, presenting revisionist readings of familiar novels and according attention to previously neglected works. It aims to sketch out the main features of Waugh’s satire, including Waugh’s lexis and the use of certain key images and motifs. Comparative analysis of Waugh’s satirical novels with works by contemporary writers such as Clough Williams-Ellis, Wyndham Lewis, Stella Gibbons and T.S. Eliot brings into sharp relief the techniques and targets of Waugh’s satire. ¶ This thesis argues that despite Waugh’s tongue-in-cheek denial of satire’s efficacy in a complacent modern world, he did indeed write satire of a peculiarly twentieth century kind. Waugh’s apparently anarchic novels reflect, behind the detached insouciance of their narrators, the moral standards which the novels ostensibly claim are absent in the modern world. ¶ In Waugh’s writing, satire is effected through the creation of systems of literary order. The structure and patterning of his novels, and his masterful use of the rhetorical techniques of satire, mete out punishment on a formal level. Waugh’s satirical novels dramatize the tension between truth, order and civilization, and their oppositions, disorder and barbarism. 'Systems of Order' suggests that from the very first, Waugh’s satiric project aimed toward the repudiation of modern disorder.
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An, Tsun-Wei, and 安純葦. "The Satirical Literature and the Cultural Interpretation: Toward a rhetorics in Mariano Jose de Larra’s Articles and Qian Zhongshu’s Fortress Besieged." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/45061887481362493880.
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碩士淡江大學
西班牙語文學系碩士班
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Mariano Jose de Larra is a Spanish romantic writer and best known for his satirical and critical essays. In his work “Articles”, which is composed with many short articles, Larra narrated what happened to him in daily life in a humorous way. Through these articles, he criticized the Spainish society and national characters, such as laziness, ignorance, bad manners, etc. Qian Zhongshu is a Chinese writer in the twentieth century. His famous satirical novel Fortress Besieged was said to be the most interesting one in Chinese contemporary literature. In this novel, Qian vividly described the reactions of chinese intellectuals when facing their problems in life, works and love. The story begins with Fang Hongjian’s coming back to China after he finished his “Ph.D” in philosophy. As the story went on, Qian used the humorous but sharp way to unmask these intellectuals’ true colors through their unwilling experience of leaving ShangHai to University of Sanlu. Although both Articles and Fortress Besieged are works of satirical literature, they are of totally different types. The former presents with a strong comedical feeling; the latter shows the sarcasm in an acrid and sharp way. This thesis are going to investigate what reasons cause the differences by analyzing forms of satirical expression used by Larra and Qian, and discussing what kind of roles their different cultures play in their writing. The thesis expounds the satirical rhetoric and the cultural interpretation of Articles and Fortress Besieged in three chapters. In Chapter 1, the researcher analyzes and compares the characters of western and eastern cultures in the spiritual life, social life and material life; in Chapter 2, the researcher introduces contents and structures of Articles and Fortress Besieged, and analyzes the satirical rhetoric that Qian and Larra used in their works through the theory of Melvilla Clark and Chang Hungyung’s reaserch; in chapter 3, the researcher organizes and analyzes all themes, and investigates what roles western and eastern cultures play in Larra and Qian’s works.
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Knight, William. "Scriblerian Ethics: Encounters in Satiric Metamorphosis." Diss., 2009. http://hdl.handle.net/10161/1612.
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"Scriblerian Ethics" proposes that the aesthetic and ethical standpoint of the writings of the Scriblerians (Pope, Swift, Gay, Arbuthnot, Oxford, Parnell) can be better understood through an attunement to their orientation towards the Longinian sublime and to the metamorphic poetics of Ovid. The project holds the negative and critical features of the group's writing in abeyance, as it attempts to account for the positive, phenomenological concepts and features of Scriblerian satiric and non-satiric writing. The intensities and affiliations of Scriblerian writing that emerge from this study gesture aesthetically and ethically beyond historical subjectivity to an opening to alterity and difference. This opening or hope for the achievement ethical dimension of writing is divulged as the intimate motivation of the literary or aesthetic components that accompany the negative, referential, and critical features of Scriblerian writing.
Examining closely the major writings of Pope and Swift in conjunction with the collaborative writings of the Scriblerus club, the project describes the concern with temporality that emerges from Longinian and Ovidan influence; the Scriblerian reflexivity that culminates in a highly virtual aesthetics; and the ethical elaboration of an orientation toward hospitality that emerges from this temporal and virtual aesthetic orientation. A "Scriblerian ethics" is an affinity for a hospitality not yet achieved in political, economic, and cultural life. Finally, the project analyzes throughout its readings of Scriblerian writing the violence that nevertheless accompanies Scriblerian aesthetics, examining the figures of modernity, criticism, and sexual violence (rape) that permeate Scriblerian texts as barriers or resistances to the achievement of an ethical orientation to alterity.
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Pass, Angelica. "Juvenal, Martial and the Augustans: an analysis of the production and reception of satiric poetry in Flavian Rome." Thesis, 2012. http://hdl.handle.net/1828/4217.
Full textAbstract:
This thesis is about the creation, reception and dissemination of poetry in Flavian Rome as depicted in the satires of Juvenal and the epigrams of Martial. It deals with their relationship with their Augustan predecessors, especially Horace. It discusses the rhetoric of decline that pervades early Juvenalian satire, and to some degree, Martial’s epigrams, especially in relation to an idealized and self-proclaimed Golden Age several generations before. It argues that this decline is representative of a political decline since the Age of Augustus and feelings of disenfranchisement of upper-class men under autocratic rule. It also examines the embeddedness of Flavian literature within its urban social context and the ways in which Martial and Juvenal handle the increasing interconnectedness of life and art in relation to their Augustan predecessors. There are three chapters, entitled Amicitia and Patronage, the Recusatio, and Locating the Poetic Feast.Graduate
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Caravecchia, Emilie Sarah. "Le conte de fées parodique français du XVIIIe siècle : un discours antimerveilleux." Thèse, 2009. http://hdl.handle.net/1866/3278.
Full textAbstract:
À première vue inoffensif, le conte de fées parodique français du XVIIIe siècle
dissimule, sous le couvert de la féérie, un discours anticontesque et
antiromanesque. Qu'ils soient explicites ou non, ces propos prennent
généralement forme dans les métalepses émises tant par les narrateurs que par les
narrataires dans le texte lui-même ou dans le péritexte auctorial. L'élaboration
d'une typologie, à partir de dix contes publiés entre 1730 et 1754, offre une vue
d'ensemble de ce phénomène narratif épars et ouvre la voie à une analyse
transversale des discours tenus dans ce trope. Loin d'être innocent, le contenu des
métalepses contesques laisse poindre une nouvelle poétique du conte et du roman
qui s'éloigne progressivement de l'idéal classique régissant toujours ces deux
genres au XVIIIe siècle.Seemingly harmless, the satirical French fairy tales of the 18th century contain a hidden discourse against the novel, which does not abide by the rules of traditional fairy tales. Explicitly stated or not, these utterances are generally voiced as metalepsis by the narrators, the witnesses within the story, or an authority outside the main text. The development of a specific typology based on ten fairy tales published between 1730 and 1754, helps to present an overview of this uncommon narrative phenomenon, and allows for a more transversal analysis of these figures of speech. The contents of these fairy tale metalepsis give rise to a new poetics concerning novels and short stories. In turn, these tales gradually distances themselves from the established norms governing these two 18th century literary genres.
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Newman, Jonathan M. "Satire of Counsel, Counsel of Satire: Representing Advisory Relations in Later Medieval Literature." Thesis, 2008. http://hdl.handle.net/1807/16806.
Full textAbstract:
Satire and counsel recur together in the secular literature of the High and Late
Middle Ages. I analyze their collocation in Latin, Old Occitan, and Middle English texts
from the twelfth to the fifteenth century in works by Walter Map, Alan of Lille, John of
Salisbury, Daniel of Beccles, John Gower, William of Poitiers, Thomas Hoccleve, and
John Skelton. As types of discourse, satire and counsel resemble each other in the way
they reproduce scenarios of social interaction. Authors combine satire and counsel to
reproduce these scenarios according to the protocols of real-life social interaction.
Informed by linguistic pragmatics, discourse analysis, sociolinguistics and cultural
anthropology, I examine the relational rhetoric of these texts to uncover a sometimes
complex and reflective ethical discourse on power which sometimes implicates itself in
the practices it condemns. The dissertation draws throughout on sociolinguistic methods
for examining verbal interaction between unequals, and assesses what this focus can
contribute to recent scholarly debates on the interrelation of social and literary practices
in the later Middle Ages.
In the first chapter I introduce the concepts and methodologies that inform this
dissertation through a detailed consideration of Distinction One of Walter Map’s De
nugis curialium . While looking at how Walter Map combines discourses of satire and
counsel to negotiate a new social role for the learned cleric at court, I advocate treating
satire as a mode of expression more general than ‘literary’ genre and introduce the
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theories and methods that inform my treatment of literary texts as social interaction,
considering also how these approaches can complement new historicist interpretation.
Chapter two looks at how twelfth-century authors of didactic poetry appropriate
relational discourses from school and household to claim the authoritative roles of teacher
and father. In the third chapter, I focus on texts that depict relations between princes and
courtiers, especially the Prologue of the Confessio Amantis which idealizes its author
John Gower as an honest counselor and depicts King Richard II (in its first recension) as
receptive to honest counsel. The fourth chapter turns to poets with the uncertain social
identities of literate functionaries at court. Articulating their alienation and satirizing the
ploys of courtiers—including even satire itself—Thomas Hoccleve in the Regement of
Princes and John Skelton in The Bowge of Court undermine the satirist-counselor’s claim
to authenticity. In concluding, I consider how this study revises understanding of the
genre of satire in the Middle Ages and what such an approach might contribute to the
study of Jean de Meun and Geoffrey Chaucer.
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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.
Full textAbstract:
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 justifiedAfrican Languages
M.A. (African languages)