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Dissertations / Theses on the topic 'Satirika'
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1
Sartori, Francesca. "Il volto umano della satira. Analisi linguistica e tematica della produzione satirica di Carpinteri e Faraguna nel dopoguerra triestino (1945-1954)." Bachelor's thesis, Università degli Studi di Trieste, 2015. http://hdl.handle.net/10077/21888.
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1999/2000<br>La tesi si propone di analizzare l'attività satirica portata avanti da Lino Carpinteri e Mariano Faraguna negli anni del dopoguerra triestino (1945-1954). Attraverso l'esemplificazione e il commento di articoli tratti dal quindicinale umoristico «Caleidoscopio» e il settimanale satirico «La Cittadella», il lavoro si è proposto di dimostrare due aspetti principali propri del genere satirico: sul piano tematico, la tendenza a riconsegnare personalità, più o meno rilevanti della schiera avversaria, alla sfera precaria della natura umana, offrendo di essi un'immagine lontana da quella ufficiale e solenne trasmessa dagli organi ufficiali di stampa; sul piano retorico-discorsivo, la satira della «Cittadella» dà vita ad un prodotto linguistico codificato con chiarezza e incentrato su alcune tecniche specifiche come l'ironia, il paradosso, la critica in versi (...).
Si è insistito molto anche sul carattere eterogeneo di questa produzione che passa, a seconda della personalità di chi scrive, dai toni dell'invettiva e della denuncia anche pesante, a quelli tipici della comicità e di una ironia bonaria e indulgente. Il primo capitolo, dopo aver brevemente esposto la vita, il pensiero e la produzione satirica dei due autori, si concentra a considerare alcuni poli fondamentali della comunicazione satirica: il rapporto con il pubblico, con la censura e infine con alcuni modelli classici della satira latina e volgare. I capitoli successivi sono invece dedicati alla rappresentazione dei maggiori avversari di questa produzione: gli alleati (cap.2), il popolo slavo (cap.3), il personaggio di Druse Mirko, stereotipo del carsolino sloveno (cap.4) e infine il comunista (cap.5).
2
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.<br>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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Pesce, Roberto <1978>. "L'Ystoria satirica di Paolino da Venezia." Doctoral thesis, Università Ca' Foscari Venezia, 2008. http://hdl.handle.net/10579/343.
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Baines, Victoria. "Bella Satirica : rhetorical engagement with epic in Juvenal's Satires." Thesis, University of Nottingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408049.
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Winter, David John. "The development of the satirical periphrasis." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624857.
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Weston, Arthur Harold. "Latin satirical writing subsequent to Juvenal /." Ann Arbor (Mich.) : Books on demand, 2003. http://catalogue.bnf.fr/ark:/12148/cb390456129.
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Woodhouse, David Robert Sterry. "Shades of Pope : Byron's development as a satirist." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242950.
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Deriu, Morena. "L'eroe satirico di Luciano tra Aristofane e Platone." Doctoral thesis, Università degli studi di Trento, 2013. https://hdl.handle.net/11572/368424.
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Tra le caratteristiche costitutive della produzione di Luciano di Samosata, la mixis è una dimensione fondamentale, attiva a vari livelli. Fra questi rientra anche la caratterizzazione dei protagonisti dei dialoghi e, in particolar modo, dei personaggi satirici, portavoce del messaggio autoriale e, per ciò stesso, in parte ma non totalmente identificabili con Luciano. L'analisi di queste figure mostra come gli archetipi comico, platonico e menippeo (identificati come tali dall'autore in Bis acc. 33) intervengano nella creazione del personaggio satirico, non senza una certa continuità . Allo stesso tempo, questa non si piega, però, a facili categorizzazioni, in linea con l'intera produzione lucianea.
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Deriu, Morena. "L'eroe satirico di Luciano tra Aristofane e Platone." Doctoral thesis, University of Trento, 2013. http://eprints-phd.biblio.unitn.it/1109/1/Deriu_L'eroe_satirico_in_Luciano_tra_Aristofane_e_Platone.pdf.
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Tra le caratteristiche costitutive della produzione di Luciano di Samosata, la mixis è una dimensione fondamentale, attiva a vari livelli. Fra questi rientra anche la caratterizzazione dei protagonisti dei dialoghi e, in particolar modo, dei personaggi satirici, portavoce del messaggio autoriale e, per ciò stesso, in parte ma non totalmente identificabili con Luciano. L'analisi di queste figure mostra come gli archetipi comico, platonico e menippeo (identificati come tali dall'autore in Bis acc. 33) intervengano nella creazione del personaggio satirico, non senza una certa continuità. Allo stesso tempo, questa non si piega, però, a facili categorizzazioni, in linea con l'intera produzione lucianea.
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Turker, Deniz. "The Turkish Satiric Comedies In The 1980s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607594/index.pdf.
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This thesis is an attempt to analyse the narrative structure of the Turkish satiric comedies that were produced in the 1980s. It focuses on the relation between the narrative structure of the satiric comedies and the socio-political atmosphere of the period. It argues that the satiric comedies aimed to criticize the new right policies and the social transformation in the 1980s through the opposition between the &ldquo<br>honourable&rdquo<br>hero on the one hand, and the &ldquo<br>swindler&rdquo<br>figure(s) or the &ldquo<br>degenerated order&rdquo<br>on the other. The narrative tools and stereotypes were used to represent the decline of such social values as solidarity, collectivism and philanthropy and rise of new ones like individualism, competitiveness and self-reliance. The study also analyzes the transformation of satiric comedies themselves throughout the decade, focusing on the change in the construction of oppositions and conflicts, and the emergence of nostalgia and romanticism as part of their critical discourse.
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Fabbri, Eleonora. "Proposta di traduzione dell’albo satirico “Il Piccolo Führer” (estratti)." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16031/.
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L’oggetto del presente elaborato è una proposta di traduzione in inglese dell'albo satirico "Il piccolo Fuhrer" degli autori Antonucci, Fabbri e Perrotta, pubblicato da Shockdom nel 2017.
Il primo capitolo si concentra sulla presentazione generale dell’opera. A partire da una breve biografia degli autori per poi passare alla descrizione della trama, e infine alla definizione di genere e formato. Il secondo capitolo riguarda l’analisi del testo, partendo dalle caratteristiche linguistico-stilistiche del testo, per poi passare a una riflessione sul pubblico d’arrivo per il testo di partenza e per il testo d’arrivo. Il terzo capitolo verte invece sull’aspetto teorico e pratico della traduzione, seguito da un commento delle scelte traduttive.
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Geue, Tom Alexander. "Satirist without qualities : Juvenal and the poetics of anonymity." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/252292.
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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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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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Leglu, Catherine Elisabeth. "The voice of the satirist in medieval Occitan poetry." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336355.
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Alonzo, G. "LA SATIRA SECENTESCA: MODI, FORME, QUESTIONI." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/171676.
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The aim of the dissertation is to offer a modern monograph on the seventeenth-century satirical genre, starting from a theoretical perspective and enriching it through a specific examination of the historical developments and structural constants of the genre. The thesis is divided into three sections, the first (Introduction to the seventeenth-century satire) offers a historical overview of the developments of this kind of satire, and its delineation well in the determination of the corpus examined. The second (Metasatire) is strictly theoretical, and is intended to illustrate the statute of such seventeenth-century satire through the drawing up that is provided by the satirists themselves, whose metaliterary sections included in satires are examined, or side works aimed at a general speculation. The third section (Narration) is ultimately of a structural nature, since it aims, on several levels, to illustrate the narrative strategies that feed the seventeenth-century satirical genre, relying on the main narratological categories and moving from the distinction between the authorial personality of the writer and the literary figure of a moral satirist-narrator who says ‘I’.
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Evans, P. V. "West German satirical texts and the debate on national identity." Thesis, Swansea University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636944.
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Although the response of West German writers to the revival of interest in the national question since the late 1970s has attracted considerable academic comment, little critical attention has been paid to the fact that, in dealing with this theme, certain writers employed the unique literary mode of satire. It is the aim of this study to provide a corrective to the current critical neglect of satire by analysing the different ways it has been used as a means of participating in the national debate. The concern throughout is to consider satire's function as 'Erkenntnismittel', that is to say, to examine whether satire is a tool capable of extracting new insights from the debate. The study therefore seeks to ascertain the extent to which the devices specific to satire are capable of generating a valuable critical perspective on the German Question which is unavailable to other literary discourses. After a detailed account of the national debate and a general introduction to satire as a literary mode, the study takes as its starting-point three West German texts from the 1980s which explore various aspects of the German Question: Martin Walser's <I>Dorle und Wolf </I>(1987), Hermann Peter Piwitt's <I>Deutschland: Versuch einer Heimkehr</I> and Peter Schneider's <I>Der Mauerspringer</I>. These texts have been selected as comparative material against which to judge the more markedly satirical works examined in greater detail in the subsequent chapters, namely Günter Grass's <I>Kopfgeburten</I> (1980) and <I>Unkenrufe</I> (1992), Thorsten Becker's <I>Die Bürgschaft </I>(1985) and Wolfgang Pohrt's <I>Endstation</I> (1982). The final chapter employs the post-unification text of <I>Unkenrufe</I> as a yardstick against which to assess the insights generated by the earlier works from the 1980s and concludes by isolating the specific features of the satirical mode which make it an appropriate tool for grasping and opening up the national theme.
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Gradin, Klara, Christopher Kontio, and Melker Pripp. "An Exploration of Satirical Internet Memes Effect on Brand Image." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96100.
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The owner(s) of a brand decide the attributes of the brand, such as name, color, shape, logotype and values. They have the power and control on what they are communicating to the consumers. However, consumers can freely interpret any information that is being communicated towards them and shape their own perception of the brand. Internet memes can be categorised as a type of satirical communication method that can be used by consumers. The purpose is to explore how satire through the medium of internet memes affect brand image. This research used a qualitative research approach with a cross sectional research design, in the form of semi-structured interviews. The sample consisted of people from the age 20-30 that had knowledge about memes to some degree. A total of 15 interviews were implemented and took approximately 30 minutes each to execute. The conducted research gave insight to how satirical memes can potentially affect consumers perception of brand image. What was discovered was that satirical memes had the potential to possibly affect certain aspects of both the cognitive and emotional components of brand image. When the participants had a neutral or negative pre-determined brand image it was possible to see a negative shift in their perception of this brand image through negative reinforcement. While on the other side, when participants had a strong and positive pre-determined brand image, the satirical memes affected them differently, as they did not make them negative towards the brand but became critical instead. These alterations showed that there was the potential to affect the participants purchase & usage situations and through the satirical memes effect on the different cognitive and emotional components, could possibly change the perception of a brand image as a whole.
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Schönfuß, Klaus. "Johannes Conrad - Schriftsteller, Satiriker und Schauspieler: Quer durch die Menschenseele." Teamwork Schönfuß, 2021. https://slub.qucosa.de/id/qucosa%3A73764.
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Johannes Conrad (1929 Radeberg – 2005 Berlin). Der Radeberger Johannes Conrad war eine sehr vielschichtig tätige Persönlichkeit. Conrads Verdienste gehen in zwei Richtungen, zum einen hat er sich als Schriftsteller, Satiriker und Humorist einen großen Namen gemacht, zum anderen war er mehr als 40 Jahre, von 1956 bis 1996, Schauspieler an einem der berühmtesten deutschen Theater, dem legendären „Berliner Ensemble“. Seine literarische Heimstatt war das Satiremagazin „Eulenspiegel“, er war einer der Hauptautoren und wurde auch der „Woody Allen des DDR-Humors“ genannt. Conrads Stil prägte den Eulenspiegel über Jahrzehnte. Er hatte die „Funzel“ mitentwickelt, seine Kolumnen waren beim breiten Publikum beliebt und in Satiriker-Kreisen anerkannt.
„Quer durch die Menschenseele“ ist der Titel einer seiner Kolumnen, der sein gesamtes Schaffen charakterisiert. In seinen Arbeiten liest und spürt man die tiefe innere Achtung und den würdevollen Umgang mit dem Thema „Menschlichkeit“, den er in einen Schreib-Stil eingebettet hat, der unnachahmlichen Humor, Ironie, bittere Satire und mitunter Sarkasmus enthält, der direkt - aber niemals verletzend ist und der eine fast geniale Menschenbeobachtung und auch deutliche Stellungnahmen zu den Problemen der von ihm erlebten 3 Gesellschaftsordnungen widerspiegelt.
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Jonsson, Andrea, and Ögnelooh Emma Jakobsson. "Konsten att passa in i en modern värld : En kritisk diskursanalys av satiriska Black Mirror." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-38765.
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Denna studie har som mål att undersöka hur normer och konformitet skapas i ett modernt, teknologiskt samhälle genom att studera satirisk populärkultur. Det är den tredje säsongen av den satiriska, dystopiska tv-serien Black Mirror som studeras. Syftet är att hitta avsnittens gemensamma diskurser kring normer för att därefter göra en koppling till den teknologiska utvecklingen och dagens samhälle. Studiens grundläggande teori och metod är multimodal kritisk diskursanalys (MCDA) som analyserar både skrivna, verbala och visuella tecken. Det teoretiska ramverket består även av socialpsykologisk rollteori, ideologiteori och teknologisk determinism, som används för att hitta och analysera materialets diskursiva teman. Tre teman med fokus på normer upptäcks - rädslan för utanförskap och nonkonformism, politisk ideologi som normskapare samt teknologins påverkan på normer. Trots att seriens avsnitt huvudsakligen utspelar sig i en dystopisk och högteknologisk framtid, är det möjligt att genom tematiseringen observera flera intressanta kopplingar till dagens samhälle. I analysen hittas samband till bland annat förintelsen, Sverigedemokraterna, fenomenet #metoo och Kim Kardashians populära Instagram-konto.<br>The intention of this study is to explore how norms and conformity is created in a modern, technological society, through studying satirical popular culture. The third season of the satirical, dystopic tv-series Black Mirror, is the subject of analysis. The aim is to find the episodes shared discourses evolving norms, to then draw parallells to technological development and todays society. The underlying theory and method is the multimodal critical discourse anlaysis (MCDA), for an analyzis of written, verbal and visual elements. The teoretical framwork additionally consists of social psycology’s roletheory, ideology theory and techological determinism, which will be used to find and analyze the materials discoursive themes. Three themes with focus on norms are discovered - fear of exclusion and nonconformity, political ideology as a creator of norms and technology’s influence on norms. Although the episodes mainly take place in a dystopic, highly technological future, it is possible through thematisation to observe connections to todays society. Although the series mainly takes palce in a dystopic and highly technological future, it is possible through thematization to observe several interesting parallells to todays society. In the analysis connections are found including The Holocaust, Sverigedemokraterna, the #metoo-fenomenon and Kim Kardashians popular Instagram-account.
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Lopes, Maria Graça Videira. "A satira nos cancioneiros medievais galego-portuguesa /." Lisboa : Estampa, 1994. http://catalogue.bnf.fr/ark:/12148/cb37312581r.
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Bragato, Francesca <1991>. "Veri mostri lucianei. Strategie dell’ibrido nella satira." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12112.
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Nel mondo classico il mostruoso rappresenta la rottura di un paradigma noto e condiviso di normalità. Esso infrange le classificazioni tradizionalmente accettate, costituendo nel suo complesso l’alterità nei confronti del consueto funzionamento di un dato sistema culturale ed è, in quanto tale, come questo in continuo mutamento nella sua definizione. Al tempo di Luciano di Samosata e della Seconda sofistica si assiste ad una vera ‘invasione dei mostri’: gli ibridi mostruosi mutano il proprio statuto, e le loro apparizioni non sono più accompagnate da ansia e timore, ma da fascinazione e curiosità, trasformandoli in oggetti per fare spettacolo e attrarre la folla. Quando Luciano parla di ippocentauri, ircocervi e altri ibridi simili, non sta alludendo genericamente al mito, ma servendosi di quelle creature mostruose che abbondano nella letteratura del suo tempo. Muovendo da queste premesse, la mia indagine si propone di analizzare, con particolare interesse nei confronti della Storia Vera, le diverse manifestazioni del mostruoso nella parodia lucianea, e l’uso che Luciano fa dell’ibrido come strumento metapoetico per rappresentare la sua stessa opera e la sua mixis.
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PERILLI, Marta Maria. "Giovenale, Satira 15 : introduzione, traduzione e commento." Doctoral thesis, Scuola Normale Superiore, 2021. http://hdl.handle.net/11384/109493.
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McCreery, Cindy. "Satiric prints of women in late eighteenth-century England." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336246.
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Henry, Barbara J. "Theatrical parody at the Krivoe zerkalo : Russian #teatr miniatyur', 1908-1931." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361748.
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Pin, Giada <1987>. "UN CASO DI STAMPA SATIRICA A NAPOLI TRA OTTO E NOVECENTO:MATILDE SERAO E "IL MASTO RAFAELE"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5493.
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L’elaborato, suddiviso in tre capitoli principali, inizia con un’introduzione all’autrice Matilde Serao. Viene tracciato un profilo culturale generale della scrittrice meridionale: dalla nascita a Patrasso a i suoi esordi nella narrativa e il romanzo.
Si procede con un approfondimento sul percorso giornalistico di Serao partendo dalle prime collaborazioni e tracciandone noi i punti fondamentali: si parla quindi del "Corriere di Roma" e "Il Mattino", del "Giorno" (suo quotidiano per eccellenza) e del rapporto che questo giornale ha con il regime fascista, che prende piede in quel tempo.
Nell’ultimo capitolo si analizza la stampa satirica meridionale col caso del "Masto Rafaele": settimanale domenicale pubblicato dal 1899 al 1901 nel napoletano. "Il Masto" è un giornale umoristico-satirico pupazzettato e ha lo scopo di divertire il pubblico trattando di politica, mondanità e letteratura avvalendosi di eccellenti collaboratori che, come di consuetudine in quel tempo, si celavano dietro a vari pseudonimi.
Matilde Serao, (in arte Gibus o La Pirchipetola o Il Piccolo e vari altri sono gli pseudonimi che utilizza) è l’ideatrice e direttrice di questo foglio per il quale, come nel suo stile, lavorerà sempre con attenzione e puntualità.
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Farmer, Rachel S. "The life and works of Vladimir Voinovich : the satirist as exile." Thesis, University of Nottingham, 1997. http://eprints.nottingham.ac.uk/11582/.
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This study undertakes an examination of the life and works of the satirist Vladimir Voinovich, set in the context of satire in general, and in particular against the changing political, ideological and artistic background of the Soviet Union and the new Russia. It is demonstrated that in certain respects he is typical of his generation and in others an exception. The analysis shows how Voinovich's work gradually diverged from the accepted norms of Socialist Realism, leading him into conflict with the state and into increasingly satirical modes of expression. It is suggested that every satirist is to some extent an exile, since detachment is required from the society which is the object of the satirical impulse. The notion is studied that Voinovich became firstly an ideological exile, and compounded this with a form of chronological exile by expressing himself satirically at the `wrong' time, before consequently becoming also a geographical exile. Detailed attention is paid to his novel “Zhizn' i neobychainye prikliucheniia soldata Ivana Chonkina”, which proved to be a turning point in both his life and work. The hero of this novel has his pedigree in the Russian tradition of the plainspeaking fool Ivanushka-durachok who wins out in spite of circumstances, and it is suggested that he shares certain characteristics with his creator. The writing of Chonkin sealed Voinovich's fate as an emerging `dissident', and after its unauthorised publication abroad, he was persuaded to leave the Soviet Union. In emigration the question arose of how to engage relevantly with his readership in the rapidly changing Soviet Union. Despite the trauma of dislocation, Voinovich continued to write creatively in emigration and then in partial return to post-glasnost' Russia. The new Russia provides fertile ground for satire, but the returning satirist faces the question, now and in the future, of what type of expression is appropriate in a nascent democracy which he instinctively wishes to protect and support, rather than censure. Voinovich's solutions are diverse, and sometimes unexpected
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Giacomelli, Tanja. "Lady G : En satirisk fantastik om universums uppgång och (eventuella) fall." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95562.
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Lady G is a satirical novel involving celestial, earthly and unearthly love with a budding twisted creation story of the universe that provides an alternative explanation model for Mother Earth's depressive state. Lady G and the All-Knowing Being (DAV) – who is not quite as omniscient as would be expected – are involved in the creation and development of both the Earth and humans. DAV has difficulty keeping his fingers under control, generating chaos and devastation. Lady G, in her despair over Mother Earth's psychical collapse after the extinction of the dinosaurs, seeks help from a herd of pixilated fairies from a distant galaxy. DAV experiences a tragic earthly love affair and forges devilish plans to wipe out the universe and resume his dreamless state of non-existence. Although, humans Fatima and Hyuk are on to him. Together with their e-sports friends Ludwig, Mary, Jusuf, and with help from indigenous shamans, a rescue plan is taking shape. They will use the World Cup finals in e-sports and the UN Climate Conference to reveal who is behind the hatred and darkness that manipulates and stifle all hope. Time is very scarce. Secrets among the friends threatens to break them up and everything seems to go according to DAV's plans when Lady G finally realizes her mistake. But it's too late. Or is it? The novel has a total of twenty-five chapters and during this year I have written and submitted the last twenty-four. I have deliberately omitted the last ten pages to avoid spoilers and I have also added chapter one to create a better overall understanding of the project.<br>Lady G är en satirisk roman som involverar himmelsk, jordisk och ojordisk kärlek med en alternativ, och skruvad, skapelseberättelse som ger en alternativ förklaringsmodell för Moder Jords depressiva tillstånd. Lady G och Det Allvetande Varandet (DAV) - som inte visar sig vara så allvetande som man kunde förvänta sig - är involverade i skapandet och utvecklingen av både Moder Jord och människorna. DAV, som har svårt att hålla fingrarna i styr, skapar kaos och förödelse. Lady G söker i sin förtvivlan över Moder Jordas psykiska kollaps – efter dinosauriernas utrotning – hjälp av en flock vimsiga feer från en avlägsen galax. DAV upplever en tragisk jordisk kärleksaffär och smider djävulska planer för att utplåna universum och återuppta sitt drömlösa tillstånd av icke-existens. Men människor Fatima och Hyuk är honom på spåren. Tillsammans med sina e-sportvänner Ludwig, Mary, Jusuf och med hjälp av urfolkens shamaner tar en räddningsplan form. De ska utnyttja VM-finalen i e-sport och FN:s klimatkonferens för att avslöja vem som står bakom hatet och mörkret som breder ut sig och som kväver allt hopp. Tiden är knapp. Hemligheter bland vännerna hotar att splittra dem och allt verkar gå enligt DAV:s planer när Lady G äntligen inser sitt misstag. Men det är för sent. Eller är det? Romanen har sammanlagt tjugofem kapitel och under årets kurs har jag skrivit och lämnat in de sista tjugofyra. Jag har medvetet utelämnat de sista tio sidorna för att undvika spoilers och jag har även lagt till prologen och första kapitlet för att skapa en bättre övergripande förståelse av projektet.
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Garside, Damian John. "Satire and the satirist : a materialist reading of eighteenth-century satire." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18256.
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Bibliography: pages 480-513.<br>This thesis presents an attempt to engage materialist literary analysis in a serious reconsideration of eighteenth-century satire as satire. In the process I see myself as challenging received notions of how the satire of the period is to be contextualized, as well as the way in which the category 'satire' has been constituted. I do not think it is possible to provide any reading of any satire today without initiating a reappraisal of the very form itself. Here I am attempting to integrate an ancient practice with new methodologies. This would seem to demand a perspective which is opposed to, and involves a critique of, not only the accepted institutional views of satire, but of aspects of the academic literary institution itself. Satire is, I believe, a term or category that should not be historicized and relativized out of existence. It has a significance and importance which is lost in attempts to make it a label of convenience: a convenient name that different literary cultures use to differentiate a particular form from the others available to them. In this thesis I will be focusing predominantly on Swift and Pope, who are not only the great satirists of this crucial period, but who are, arguably, the most subtle (Pope) and the most disturbing (Swift) of satirists who ever wrote.
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McCreery, Cindy. "The satirical gaze : prints of women in late eighteenth-century England /." Oxford : Clarendon press, 2004. http://catalogue.bnf.fr/ark:/12148/cb40031786t.
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Grassi, Costanza. "Marameo! Giornale politico satirico pupazzettato Critica e scritti d'arte 1919 - 1942." Bachelor's thesis, Università degli Studi di Trieste, 2015. http://hdl.handle.net/10077/21670.
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Cantos, Jorge. "Erasmo de Roterdã e a pedagogia da satira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280081.
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Orientador : João Carlos Kfouri Quartim de Moraes<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-06T14:12:42Z (GMT). No. of bitstreams: 1
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Previous issue date: 2006<br>Resumo: O objeto desta tese de doutorado sobre Erasmo de Roterdã e a Pedagogia da Sátira é analisado como uma problemática da teoria pedagógica e da história da filosofia. O período abrange o final do século XV e os primeiros decênios do século XVI, os quais correspondem à época do humanismo renascentista que cria as bases do pensamento moderno. A investigação consiste, a partir das intenções e justificativas que Erasmo apresenta em seu Epistolário, no tratamento analítico de sua sátira, a qual se insere no discurso metafórico, com o intuito de evidenciar seu alcance pedagógico. Ou seja, a sátira é como um jogo, como um faz-de-conta, capaz de, mostrando jocosa e construtivamente as verdades, cumprir papel pedagógico transformador. Delimitada ao primeiro tomo do Epistolário de Erasmo, que abrange os anos de 1484 a 1514 e 1523, lido e traduzido diretamente do latim, esta pesquisa tem por objetivo comprovar que, para ele, a sátira, necessariamente vinculada à sua proposta educacional, consiste em um método tão privilegiado de educação a ponto de se poder pensá-Ia como pedagogia. Para isso, indo às fontes e adotando o método demonstrativo, nesta pesquisa exploratória são utilizadas determinadas categorias de análise: paradigmáticas (correção, natureza, desapego, humildade, verdade, sinceridade, adaptação, letras humanas, letras divinas, virtude, piedade, proposta educacional, método, amizade, sodalício, utilidade e moral), lingüísticas (provérbios, diálogo, ironia, elogio, comédia, apologia, diatribe e libelo) e pedagógicas (paciência, moderação, liberdade, mordacidade, riso, construção e pedagogia). O resultado é a constatação de que no primeiro tomo de seu Epistolário ele reafirma, sistematicamente, intenções, argumentações, definições, idéias e expressões de absoluta valorização da linguagem figurada, particularmente da sátira. Isso autoriza o pesquisador a pensar a sátira de Erasmo, e por extensão a do Renascimento, como a proposta de uma nova e necessária pedagogia, a pedagogia da sátira, que supera a antiga pedagogia do castigo e do medo pela pedagogia do incentivo e da liberdade<br>Abstract: Current doctoral thesis on Erasmus of Rotterdam and the Pedagogy of Satire involves the problematization of the pedagogical theory and the history of Philosophy. The period comprises the final decades of the 15th and the first decades of the 16th century, or rather, the Humanist Period that establishes the bases ofmodem thought. Dealing with Erasmus's intentions and justifications in his Epistolary, current research is an analytic investigation on the satire, studied within the metaphoric discourse, so that its pedagogical implication may be revealed. Satire is rather a type of game and a make-belief which fulfills transformational pedagogical roles through the playful constructiveness of the truth. Research, restricted to the first volume of Erasmus's Epistolary, from 1484 to 1514 and 1523, read and translated from the original Latin version, aims at establishing that, for Erasmus, satire is wholly linked to the educational scheme and is such a highly privileged educational method that it may be rightly defined as a sort of pedagogy. Paradigmatic (correction, nature, disinterestedness, humility, truth, sincerity, adaptation, human writing, divine writing, virtue, piety, educational proposals, method, friendship, solidarity, utility and morality), linguistic (proverbs, dialogue, irony, praise, comedy, apology, preaching and libels) and pedagogical (patience, moderation, freedom, mordacity; laughter, construction and pedagogy) categories of analysis are used in current research by going to the original sources and by employing the demonstrative method. Results show that in his first volume of the Epistolary Erasmus systematically states the intentions, arguments, definitions, ideas and expressions for the absolute valorization of figurative language, especially for satire. Erasmus's satire, and consequently satire in the Renaissance, is the basis for a new and much needed pedagogy. The pedagogy of the satire goes beyond the old pedagogy of punishment and fear which will be thus replaced by the pedagogy of freedom and encouragement<br>Doutorado<br>Filosofia<br>Doutor em Filosofia
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Hundley, Jennifer Jones. "The Process of Creating a Satirical Story of Richmond, Race and Resistance." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/126.
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My thesis covers the details of the development of play Carry Me! and the opportunity I had to explore Anne Bogart's Viewpoints as an approach to devising theatre. I express the challenges, the choices, the process and the presentation of my experience in the project. The subject matter of the script is based on a professional production that failed on Broadway in February of 1968. Carry Me Back to Morningside Heights by Robert Alan Aurthur was Sidney Poitier's directorial debut and starred Louis Gossett, Jr. and Cicely Tyson. The basic plot is a satire about race and role reversal but the overall message to the audience is to promote a better societal understanding of civil rights and cultural differences. My thesis script began with borrowing the premise of the original script but my desire was to make my own artistic choices in developing a new script about race and culture. Through Anne Bogart's Viewpoints process, thirty-seven years of historical distance from the Civil Rights Movement, a clearer understanding of American race relationships and my interest in the style of satire, I wrote and directed Carry Me! as my thesis project.
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Kirkwood, Gavin Lawrence. "We Don't Hope that Helps: Satirical Facebook Pages as Counter-Institutional Resistance." TopSCHOLAR®, 2017. http://digitalcommons.wku.edu/theses/1975.
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Through the examination of a satirical Facebook page called Hope that Helps (HTH) this study filled a gap in communication research on humor and resistance within online communities. The qualitative content analysis of the HTH page showcased satire’s role in acts of resistance. Using jokes, impersonation, and ridicule HTH resisted large corporations, government institutions, messages from public figures, and entitled American consumers. HTH also used humor to resist social constructs including Whiteness, transphobia, and American nationalism. Along with page creators, HTH followers were active participants in the humor and resistance acts on the page. HTH served as a space for page followers to express support, give suggestions, and vent about their own difficulties in customer service roles. Prescriptions for communication researchers interested in the intersection between humor and resistance in online environments are discussed.
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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.<br>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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Bounds, Chyna. "Critiquing the French: The Satirical Monuments of James Gillray and George Cruikshank." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20670.
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In eighteenth-century England, general anxieties towards the unchecked and excessive British power and authority were caricaturized in images depicting France and its people. Extensive literature has been published on the representations of French individuals and symbols in satirical prints, yet scholars have neglected the role of monuments in satirical imagery. This thesis looks at James Gillray’s Siege de la Colonne de Pompée—Science in the Pillory (1799) and Design for Naval Pillar (1800) and George Cruikshank’s A view of the grand triumphal pillar (1801) to unveil how British printmakers utilized satirical monuments to warn viewers of both Napoléon Bonaparte’s threat to the European continent and the harmful actions of their own British governmental figures. The role of monument culture, victory culture, nationalism and print distribution is also analyzed to highlight the affect of these prints on the British, and larger European, publics.
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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 Expressão<br>Made 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)<br>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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Carpenter, Felicity. "Satire and self-help : the satirical potential of the self-help industry." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16159/1/Felicity_Carpenter_Thesis.pdf.
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This thesis combines a play, Getting Betterer all the Time, a satire about self-help, and an exegesis examining the possibilities that self-help offers for satire and why. The self-help industry has evolved into a massive social and economical phenomenon. The scope of self-help is constantly expanding, indicating a society of individuals desperate for help in all facets of life. As this movement has become more prevalent, self-help has attracted criticism for the way it thrives on the exploitation of people's insecurities. By playing to people's aspirations, many self-help practitioners have become wealthy, but there is a danger that some self-help products can have a harmful effect on people, and at best give rise to an insufferable hubris. Consequently, we have witnessed a rise in popular texts that spoof the self-help industry. The excesses of the self-help industry make it an easy target for satire. Self-help is well matched to satire's function to provide social commentary by ridicule of targets causing harm to the well-being of society. Self-help is an appropriate subject for satire because of its focus on social behavior such as modern parenting, consumerism and status anxiety. Self-help, in addition to providing these opportunities for social commentary, also offers much comedic potential.
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Carpenter, Felicity. "Satire and Self-help: The Satirical Potential of the Self-help Industry." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16159/.
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This thesis combines a play, Getting Betterer all the Time, a satire about self-help, and an exegesis examining the possibilities that self-help offers for satire and why. The self-help industry has evolved into a massive social and economical phenomenon. The scope of self-help is constantly expanding, indicating a society of individuals desperate for help in all facets of life. As this movement has become more prevalent, self-help has attracted criticism for the way it thrives on the exploitation of people's insecurities. By playing to people's aspirations, many self-help practitioners have become wealthy, but there is a danger that some self-help products can have a harmful effect on people, and at best give rise to an insufferable hubris. Consequently, we have witnessed a rise in popular texts that spoof the self-help industry. The excesses of the self-help industry make it an easy target for satire. Self-help is well matched to satire's function to provide social commentary by ridicule of targets causing harm to the well-being of society. Self-help is an appropriate subject for satire because of its focus on social behavior such as modern parenting, consumerism and status anxiety. Self-help, in addition to providing these opportunities for social commentary, also offers much comedic potential.
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Morton, Sheila A. "Satire's liminal space : the conservative function of eighteenth-century satiric drama /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd384.pdf.
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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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Santorelli, Biagio. "D. Giunio Giovenale Satira V : introduzione, traduzione e commento." Doctoral thesis, Scuola Normale Superiore, 2012. http://hdl.handle.net/11384/86178.
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Thom, D. J. E. "Visualising politeness and patriotism : the public sphere in English satirical prints, 1745-84." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1401155/.
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This thesis analyses the relationship between polite and patriotic discourses, their critical development in satirical imagery, and the place of these concepts within the Habermasian public sphere 1745-84. In exploring the polyvalent nature of ‘politeness’ and ‘patriotism’ in this period, I undermine the implicitly simple dichotomy between these strands of social discourse, by considering their function as essential components of the public sphere and public identity. Satirical prints, being simultaneously a cultural product of the public sphere and a means of critiquing the culture of that sphere, are an important source for understanding the relationship between the social public sphere and public discourse, not only in a heuristic sense, but as a result of an entrenched system of shared codes and signs, which allowed the exchange of didactic, polemical and/or humorous messages between different public media. The ability of an image to convey the subtleties and ambiguities of an idea, in a way that written text cannot, makes satirical prints in particular a useful tool for understanding the complexities of politeness and of patriotism. By approaching public discourse through the medium of satirical prints, I explore the contradiction inherent in the production of images that critique and comment upon the commercial public sphere, while acknowledged as commodities in themselves.
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Garud, Nisha Vilas. "Effects of Content and Source Cues of Online Satirical News on Perceived Believability." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1431013717.
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Moores, John Richard. "Representations of France and the French in English satirical prints, c. 1740-1832." Thesis, University of York, 2011. http://etheses.whiterose.ac.uk/2347/.
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This thesis explores representations of France and the French in English satirical prints in the period c. 1740-1832. This was an era of rivalry and conflict between the two nations. It has been suggested that hostility towards France at this time contributed to the formation of English, or British, national identity. This coincided with England’s ‘golden age of caricature’. While much of the satirical art produced focussed on France, most studies of this material have dealt with how the English portrayed themselves and each other. Those which have discussed representations of the French have promoted the view that English perceptions of the French were principally hostile. While there is a temptation to employ such prints as evidence of English Francophobia, a closer investigation reveals greater satirical complexities at work which do not simply conceptualise and employ the French ‘Other’ as target of hatred. Informed by war and rivalry, as well as by trade, travel, and cultural exchange, the prints projected some positive characteristics onto the French ‘Other’, they contain varying degrees of sympathy and affinity with the French, and are demonstrative of a relationship more distinct and intimate than that shared with any other nation. At the same time, the prints expose many of the tensions and divisions that existed within Britain itself. French characters were employed to directly attack British political figures, while in other instances domestic anxieties were projected onto images of the French.
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Knowles, Bryan. "Diversity, Identification, and Rhetoric in Tech: On the Analysis of Satirical Conference Talks." TopSCHOLAR®, 2018. https://digitalcommons.wku.edu/theses/2330.
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In this thesis, I examine the rhetorical strategies in Jenn Schiffer’s satirical conference talks in which she comments upon her own tech community. In part, I consider her arguments under the theoretical lenses of Burke, Epicurus, and Camus, theories placed alongside the reflective writing of Ullman as a queer woman in that selfsame community. I also discuss the pedagogical opportunities of such an analysis–of tech conference talks in general–to the modern student in our technologically-connected age. Finally, in the long term, I plan to connect the outcomes of this project to a larger project in partial fulfillment of a doctorate degree in Information Science, a project which will investigate the feedback loops between policy, software development, users of information and communications technology (ICT), and humanistic self-expression.
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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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Pasqual, Camila Marcelina. "O Chalaça, de José Roberto Torero." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/88548.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura<br>Made available in DSpace on 2012-10-22T10:25:37Z (GMT). No. of bitstreams: 1
229184.pdf: 649506 bytes, checksum: bf5ad2385a193369d3f27d2d5891f672 (MD5)<br>A dissertação analisa o romance O Chalaça, de José Roberto Torero, na tentativa de inseri-lo em uma determinada tradição literária e crítica, denominada, genericamente, de tradição da sátira menipéia. Em um primeiro momento, apresenta-se um resumo da história política brasileira, a abranger o Primeiro Império, período histórico com que o romance vem a dialogar. Em seguida, apresenta-se um breve esboço de O Chalaça, com o intuito de, na seqüência, cotejar a historiografia e o romance. No capítulo subseqüente, a obra de Torero é examinada sob a perspectiva dos principais elementos da tradição da sátira menipéia: a digressão, a interação com o leitor, o humor, o grotesco e o pessimismo, elementos presentes nas obras de Laurence Sterne e Machado de Assis, também tributários dessa tradição, e de quem Torero seria um possível seguidor. No quarto capítulo, a relação entre o romance O Chalaça e a tradição literária é retomada à luz da contribuição teórica de Mikhail Bakhtin, José Guilherme Merquior e Enylton de Sá Rego. Uma vez constatada a pertinência da hipótese inicial, que situa o romance de Torero dentro da tradição da sátira menipéia, lançam-se, nas Considerações Finais, alguns indicativos que possam eventualmente levar a uma ainda outra leitura do romance, agora sob a perspectiva da crítica literária pós-moderna. Indaga-se, aí, até que ponto o romance de Torero, enquanto tributário de uma tradição, dela não se alimenta para inclusive apagá-la, em termos de sua relevância crítica.
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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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Tomé, Cristina Maria de Sousa 1963. "Entre o burlesco e o sublime-a sátira gráfica de William Hogarth e James Gillray." Master's thesis, Instituições portuguesas -- -Universidade do Minho -- -Instituto Letras e Ciências Humanas, 2000. http://dited.bn.pt:80/29407.
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