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Journal articles on the topic 'Satirika'
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Yakubova, Munisa Shovkat qizi. "O'ZBEKISTON SATIRIK GRAFIKASI ASNOSIDAGI JURNALLARINING TARIX LAVHALARI VA HOZIRGI KUNDAGI KO'RINISHI." Innovative Development in Educational Activities 2, no. 7 (2023): 206–8. https://doi.org/10.5281/zenodo.7830933.
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<em>1941-yil iyun oyiga kelib urush boshlanishi munosabati bilan nashr to‘xtatilgan, 1948-yil oktyabr oyida uni qayta tiklashga harakat qilingan, ammo faqat 2 ta chopni chiqarishga muvaffaq bo‘lishgan. Jurnal 1951-yil sentyabrdan boshlab, birinchi navbatda oylik nashr sifatida, keyin 1958-yil iyuldan esa oyiga 2 son bilan qayta nashr etila boshlangan.</em>
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Levitt, Marcus C. "Take No Prisoners Caricature: Nikolai Remizov and the Revolution of 1905." Experiment 28, no. 1 (2022): 90–117. http://dx.doi.org/10.30965/2211730x-12340027.
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Abstract This article examines the brilliant caricatures by Nikolai Vladimirovich Remizov (Re-mi, born Vasil’ev, 1887–1975) for the Russian satirical journals of 1905–1907. This period marked the first stage of Remizov’s long career, when he emerged as one of the country’s most talented and well-known caricaturists. The article focuses on Remizov’s new, no-holds-barred satire depicting episodes of state-sponsored bloodletting. The satirical journals widely quoted the words of Dmitri Trepov to his troops during the October general strike “not to fire blanks and to spare no cartridges,” a phrase that became a tragi-comic mantra in the satirical journals. It also reflected the take-no-prisoners spirit of Remizov’s caricatures. Further, the article outlines Remizov’s subsequent participation in the few journals—in particular, Satirikon and Novyi Satirikon (New Satyricon)—that strove to keep the satirical tradition of 1905 alive. After the Bolshevik Revolution put a forcible end to these publications, Remizov emigrated, and later forged a long career in the United States as an art designer for stage, television and the big screen.
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Karimova, Munira, and Xosiyat Obilova. "GULLIVERNING SAYOHATLARI: SATIRA ORQALI IJTIMOIY TANQID." GOLDEN BRAIN 2, no. 21 (2024): 259–62. https://doi.org/10.5281/zenodo.14290595.
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<em>ushbu maqolada Jonathan Sviftning “Gulliverning sayohatlari” asaridagi ijtimoiy tanqid va satirik uslub tahlil qilinadi. Maqola asardagi satira orqali yozuvchining oʻsha davr siyosati va jamiyatga boʻlgan munosabatini ochib beradi hamda bu tanqidning hozirgi zamon uchun dolzarbligini koʻrsatadi. </em>
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Murodova, Muqadas. "XX ASR INGLIZ VA O‘ZBEK ADABIYOTIDA YARATILGAN SATIRIK ASARLAR TADQIQI." Ижтимоий-гуманитар фанларнинг долзарб муаммолари / Актуальные проблемы социально-гуманитарных наук / Actual Problems of Humanities and Social Sciences. 4, no. 12 (2024): 258–63. https://doi.org/10.47390/spr1342v4i12y2024n40.
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XX asr ingliz yozuvchilari satira janrini turlicha talqin qilishdi, baʼzi birlari unga nazmning maʼlum bir turi deb, boshqalar esa satirik qobiliyat bilan yozilgan sheʼr deb taʼrif berishdi. Baʼzi yozuvchilar esa satira adabiyotning rasmiy janri bo‘lib, u nasriy asarda ham, nazmda ham bir xil xususiyatni namoyon etishini taʼkidlashdi. Ingliz va o‘zbek satirachiligi o‘zining tadrijiy taraqqiyotida turli o‘zgarishlarga yuz tutdi. Adabiy tur va janrlar bag‘riga singib ketishi natijasida o‘zining maxsus janriy xususiyatini yo‘qotdi. Ingliz va o‘zbek satiralari soha olimlari tomonidan badiiyat qonuniyatlari asosida quyidagicha izohlangan: amerikalik tanqidchi Devid Vorkester o‘zining “Satira sanʼati” kitobida satiraning asosiy xususiyati sifatida hajviy tasvir va istehzoning birlamchiligini taʼkidlab o‘tdi.
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Bastida de la Calle, M. ª. Dolores. "Una visión satírica del ultramontanismo en la prensa gráfica europea y norteamericana." Boletín de Arte, no. 15 (June 15, 2022): 227–38. http://dx.doi.org/10.24310/bolarte.1994.vi15.14946.
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El impulso que llevó al dibujante moderno a satirizar los modos y manifestaciones sociales de la época es probablemente tan viejo como la sátira poética. El dibujo satirico, sin embargo, fue un grito en el desierto hasta la llegada de la prensa gráfica de gran difusión.
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Pulatova, Diyora F. "Genre peculiarties in Christopher Buckley’s novel “The White House Mess”." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2024): 125–31. http://dx.doi.org/10.20339/phs.1-24.125.
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This article considers the debut novel of the contemporary American satirist Christopher Buckley. In particular, author of this article states that this novel typologically belongs to “a political farce novel”. Thus, the analysis is done accordingly to the characteristics of the mentioned genre type. Consequently, in the article the main bias is made on the political component of the narrative, therefore satirical images are not fully presented in the article. The purpose of this article is to draw attention to the problem of genre originality of the modern American political satirical novel. The result of this article is the thesis that political satirical novel is the genre that allows writers to most fully reveal their visions of political mechanisms and identify patterns within the political system.
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Pasquini, Dario. "Tra il serio e il faceto. I giornali satirici italiani del dopoguerra 1944-1963." ITALIA CONTEMPORANEA, no. 262 (October 2011): 75–96. http://dx.doi.org/10.3280/ic2011-262005.
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Il saggio ricostruisce nei suoi caratteri essenziali il contesto della stampa satirica italiana dal secondo dopoguerra agli anni sessanta. L'autore sostiene che la notevole fioritura di giornali satirici nella seconda metŕ degli anni quaranta sia da ricondurre al perdurare di una tradizione satirica che anche durante il fascismo era rimasta forte. Proprio il peso di questa tradizione, secondo l'autore, contribuě al fatto che a poco a poco le riviste orientate a sinistra scomparvero e le uniche testate satiriche a restare in circolazione furono di orientamento conservatore o neofascista. Tali giornali tuttavia si rivelarono incapaci di rinnovarsi, tanto che verso la metŕ degli anni sessanta l'intera stampa satirica italiana sparě in pratica dalla circolazione. Fra i giornali oggetto del saggio, sui quali vengono forniti numerosi dati riguardanti la tiratura, le vicende editoriali e la composizione della redazione, spiccano i conservatori "Candido" di Giovanni Guareschi e "Il Travaso" di Guasta; l'antifascista "Cantachiaro"; l'anticlericale "Don Basilio"; i neofascisti "Il Merlo giallo" di Alberto Giannini e "Asso di bastoni". Ritenendo inadeguate alcune interpretazioni che emergono dalla recente letteratura su Guareschi, l'autore pone l'accento sul rapporto di tipo affettivo ed esistenziale che legň lo scrittore al fascismo.
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Romanowski, Max, and Zachary Sheldon. "‘Time to Ranch it Up!’: Ethics and satire in new media." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (2020): 239–54. http://dx.doi.org/10.1177/1749602020935746.
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YouTube and Internet culture have changed expressions of comedy, especially on television. Some forms of TV entertainment content emphasise shock value, resulting in a satirical strain of comedy that stresses absurdity. Such a trend may be observed in The Eric Andre Show (2012–) and Nathan for You (2013–2017), two US comedy TV series which satirise an Internet style of filmmaking while simultaneously critiquing the culture that created it. This article examines these shows for how extreme methods support or detract from their perceived effect, and whether or not such satirical tactics are valid as a way of bringing about change.
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Sukarto, Kasno Atmo, and Fachrizah Fauziah. "Satire and Sarcasm on the “YouTube Got Talent" Video: A Case Study on Skinnyindonesian24 Channel." ELS Journal on Interdisciplinary Studies in Humanities 5, no. 2 (2022): 374–86. http://dx.doi.org/10.34050/elsjish.v5i2.21725.
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The specialty of the satire language style can be seen through the use of figurative words in it. The more a person is able to use words, it is able to create a special impression when telling someone who is the target of the satire. This study aims to describe the forms and functions of satire and sarcasm in the video content SkinnyIndonesian24 "YouTube's Got Talent". The method used is a qualitative descriptive research method. The data was obtained by using the free-of-conversation (SBLC) listening technique using Gorys Keraf's theory. The results obtained in this study are 29 satirical satire language styles that satirize YouTubers, Netizens, and the YouTube algorithm, and 7 sarcasm styles that satirize YouTubers, Netizens and the jury. The function of the satire language style is 9, and the sarcasm style is 4. Based on the data that the writer finds, the satirical style of satire seems to be more dominant than the sarcasm style. However, it has many of the same functions that are as opinion delivery.
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LUNN, Timothy, Olga VERHOVTSOVA, and Olga ISHCHENKO. "THE POWER OF SATIRE: HOW TO LAUGH ABOUT POLITICAL ISSUES." Lingua Montenegrina 32, no. 2 (2023): 97–111. https://doi.org/10.46584/lm.v32i2.1007.
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By studying satire in newspapers, this article’s aim is to apply a common analysis tool on a discursive type found in the daily press column. The idea is to point out humorous satirical components in the texts devoted to political events or political leaders. The satirical press has been an important part of the media landscape for centuries. Through humor, wit, and irony, satirical publications have been able to criticize and satirize politicians, public figures, and social issues in a way that traditional media cannot. This article examines the role and influence of the satirical press in society, explores its historical roots, contemporary forms, and potential future development. Drawing on case studies from different media, we analyze the ways in which the satirical press shaped public discourse, influenced policy decisions, and challenged power structures. We also discuss the challenges and opportunities facing the satirical press in the digital age, including the rise of social media and changing audience expectations. Ultimately, we argue that the satirical press plays a crucial role in promoting critical thinking, upholding democratic values and holding government accountable. This study lays the basis for analyzing a complex phenomenon of satire. It also reveals the various types of satire specific to cultural and linguistic contexts.
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LUNN, Timothy, Olga VERHOVTSOVA, and Olga ISHCHENKO. "THE POWER OF SATIRE: HOW TO LAUGH ABOUT POLITICAL ISSUES." Lingua Montenegrina 33, no. 1 (2024): 431–45. https://doi.org/10.46584/lm.v33i1.749.
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By studying satire in newspapers, this article’s aim is to apply a common analysis tool on a discursive type found in the daily press column. The idea is to point out humorous satirical components in the texts devoted to political events or political leaders. The satirical press has been an important part of the media landscape for centuries. Through humor, wit, and irony, satirical publications have been able to criticize and satirize politicians, public figures, and social issues in a way that traditional media cannot. This article examines the role and influence of the satirical press in society, explores its historical roots, contemporary forms, and potential future development. Drawing on case studies from different media, we analyze the ways in which the satirical press shaped public discourse, influenced policy decisions, and challenged power structures. We also discuss the challenges and opportunities facing the satirical press in the digital age, including the rise of social media and changing audience expectations. Ultimately, we argue that the satirical press plays a crucial role in promoting critical thinking, upholding democratic values and holding government accountable. This study lays the basis for analyzing a complex phenome-non of satire. It also reveals the various types of satire specific to cultural and linguistic contexts. Key words: humor, irony, satire, press, comic of fact, ridicu-le, documentary comic
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Nugraha, Danang Satria. "Examining Political Satire in Indonesian TikTok Videos: An Analysis of Humor and Commentary." Language Circle: Journal of Language and Literature 19, no. 2 (2025): 280–97. https://doi.org/10.15294/lc.v19i2.2742.
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This study delves into the use of satirical comments and political humor in TikTok videos in Indonesia, utilizing a critical discourse analysis (CDA) framework. The study aims to investigate how political issues and figures are depicted through satirical comments in society of the digital natives. The analysis focused on TikTok users’ linguistic and discursive strategies to criticize and satirize political events, figures, and policies. The study used a collection of TikTok videos. It employed a multi-modal approach, analyzing the textual content and visual and audio elements contributing to humor and satire. A qualitative methodology combining content analysis with discourse analysis techniques was used to identify recurring themes, rhetorical devices, and humor patterns in the satirical comments. Specifically, the application of CDA facilitated the deconstruction of power dynamics embedded within the satirical discourse, revealing how TikTok users leverage humor to challenge dominant political narratives. The findings revealed that TikTok users used linguistic devices such as irony, sarcasm, parody, and wordplay to convey their satirical messages. The satirical comments often targeted political figures, policies, and events, focusing on corruption, governance, and social inequality issues. Through humor, TikTok users expressed their dissent and critique of the political system while also participating in creating an alternative public sphere for political discourse. However, the study noted that these satirical comments could be controversial, as they may perpetuate stereotypes or reinforce existing political biases.
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Fletcher, Angus. "Jonson’s Satiric-Comedy and the Unsnarling of the Satyr from the Satirist." Ben Jonson Journal 7, no. 1 (2000): 247–69. http://dx.doi.org/10.3366/bjj.2000.7.1.13.
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Garachkovska, Oksana. ""Shershen" – the First Ukrainian Magazine of Political Satire in the Russian Empire." Ukrainian Information Space, no. 1 (August 22, 2018): 44–52. https://doi.org/10.31866/2616-7948.1.2018.141092.
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The article deals with the history of the activities of «Shershen», the first Ukrainian satirical periodical in the Russian Empire; with genre specificity of satirical poetry, published on «Shershen» pages (1906); with the analysis of genre modifications of poetic satirical works, published in this journal. The author of the article ascertains varieties of forms of political satire in its interconnections with social, political, cultural and literary life of the 20th century. Satiric verses, miniatures, epigrams, parodies, cutlines under caricatures, which were written by Lesia Ukrainka, O. Oles, O. Makovei, V. Samiilenko, M. Cherniavskyi and others have also been analyzed. As it is known, the illustrated journal «Shershen», published in Kyiv in January – July, 1906, played an outstanding role in the history of Ukrainian culture in general and in literature in particular. In this period only 26 issues came out. The only complete set of this journal is preserved in the section of rare publications in the V. I. Vernadskyi National Library of Ukraine. In results the accent is made on the fact that the revolutionary Ukrainian writers epoch demanded both exceptional efficiency, quick response to the needs of the day and remarkable artistic value of works of art. As a result, political satire came out in the foreground of literature struggle for rights and liberties of the Ukrainian people. This fact caused its genre specificity: first of all, the existence of mobile genres such as – satiric verse, miniature-dialogue, satiric rehash of a well-known work of art, epigram, parody, cutline under caricature. Carried-out analysis allows to state that weekly «Shershen» was the first Ukrainian journal of political satire in the Russian Empire. It is difficult to overestimate the importance of this really democratic and bellicose publication. The experience of its creation was of great help and service for Ukrainian writers, journalists, artists and polygraphic workers in the commencement of «The Red Pepper» (Chervonyi perets), then «The Pepper» (Perets) and other satiric journals of the 20s of the 20th century.
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Assiri, Fatmah, and Hanen Himdi. "Comprehensive Study of Arabic Satirical Article Classification." Applied Sciences 13, no. 19 (2023): 10616. http://dx.doi.org/10.3390/app131910616.
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A well-known issue for social media sites consists of the hazy boundaries between malicious false news and protected speech satire. In addition to the protective measures that lessen the exposure of false material on social media, providers of fake news have started to pose as satire sites in order to escape being delisted. Potentially, this may cause confusion to the readers as satire can sometimes be mistaken for real news, especially when their context or intent is not clearly understood and written in a journalistic format imitating real articles. In this research, we tackle the issue of classifying Arabic satiric articles written in a journalistic format to detect satirical cues that aid in satire classification. To accomplish this, we compiled the first Arabic satirical articles dataset extracted from real-world satirical news platforms. Then, a number of classification models that integrate a variety of feature extraction techniques with machine learning, deep learning, and transformers to detect the provenance of linguistic and semantic cues were investigated, including the first use of the ArabGPt model. Our results indicate that BERT is the best-performing model with F1-score reaching 95%. We also provide an in-depth lexical analysis of the formation of Arabic satirical articles. The lexical analysis provides insights into the satirical nature of the articles in terms of their linguistic word uses. Finally, we developed a free open-source platform that automatically organizes satirical and non-satirical articles in their correct classes from the best-performing model in our study, BERT. In summary, the obtained results found that pretrained models gave promising results in classifying Arabic satirical articles.
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Minin, Oleg. "Soviet Russia and Its Leaders in the Satirical Press of the Early Russian Emigration." Experiment 28, no. 1 (2022): 296–331. http://dx.doi.org/10.30965/2211730x-12340035.
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Abstract Surveying the satirical press in the time of the early Russian emigration ca. 1920–1931, this essay focuses on caricatures and satirical drawings published in the Paris-based weeklies Bitche (Whip, 1920) and Satirikon (1931). Arguably, exemplifying the émigré reception and portrayal of Soviet Russia, the graphic works prepared for these journals by artists such as Yurii Annenkov, Mikhail Drizo and Mikhail Linskii sought to lampoon and debunk the Soviet political and military establishment as a gesture of refusal to accept the Bolshevik Revolution and as a reflection of the ressentiment and trauma caused by the need to emigrate. In discussing themes and personalities satirized in these vivid and often poignant caricatures, the essay also attempts to delineate the context against which they were created in order to provide a more precise understanding of their commentaries.
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Golob, Nataša. "Ars saturae: misli o satiri in njenih obrazih. Uvodnik v tematski sklop „o satiri“." Ars & Humanitas 5, no. 2 (2011): 7–9. http://dx.doi.org/10.4312/ars.5.2.7-9.
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Ko je Lukijan (o. 120–192) napisal dialoško delo »Filozofi na dražbi«, je nedvomno vedel, kaj se bo dogajalo v zgodnjem 21. stoletju. Že takrat je predvidel kopico brezhibnih intelektualnih in političnih avtoritet, ki so se, vsaj nekateri, kar rodili s pravico, biti bog in se po božje obnašati, ker mi, pač statisti, ki spremljamo njihovo početje, tako ali tako lahko samo strmimo. Tako kot so v Lukijanovih dneh ocenjevali aplikativno vrednost filozofov in jih v skladu z njo plačali in nahranili, se dogaja novodobnim humanistom, da smo postavljeni na dražbe z razpisi, kjer smo glede na točke in impaktfaktorje ocenjeni in noben naš odgovor, da (o)cena ni pravična, ne velja, saj se lahko pritožimo samo na postopek (dražbe), kjer je odgovor vnaprej znan. Vsebina in pomen dela, v tem primeru intelektualnega dosežka, sta irelevantni kategoriji, to spoznanje je Lukijan grenko zabelil. Lukijan, naš brat. Satiri se leta ne poznajo in čeprav je njena bistvena lastnost refleks posameznika na doživeto dogajanje, s katerim se ne sprijazni in zato nastavi ukrivljeno zrcalo, se vedno znova zalotimo pri misli, da je vsebina pravkar prebrane-videneslišane satire zato tako dobro znana, ker se je pač nedavno zgodila in jo poznamo v novi različici: njeno bistvo je človekovo početje in na odru satire se zamenjajo le igralci. Satira je imanentna svobodnemu človeku, prisotna je v vseh časih in pri vseh kulturah, v pisni, glasbeni, likovni, politični, znanstveni obliki, je hotena in naključna, ustvarjena v retrospektivnem postopku, je zrcalo avtorja, časa, okoliščin. Naše branje starih satir je drugačno od branja oz. dojemanja v času njihovega nastanka. Zamenjale so se realne okoliščine, beremo jih s poznavanjem zgodovine, ki je sledila letom njihovega nastanka, s poznavanjem vpliva in percepcijskih dimenzij občinstev pred nami. Beremo jih z našimi nabranimi osebnimi in skupinskimi spomini, z izkušnjami in kritičnimi mislimi. Hkrati pa smo soočeni z nepopolnim poznavanjem pogojev življenja v času nastanka te satire in to je izgubljeni del sporočila. Radi pozabimo, da smo do starejše satire pogosto v položaju neveščega bralca, nepoučenega gledalca, zato se – kot se sicer pogosto dogaja – zatečemo k nad-interpretacijam. Značaj satire se plete s humorjem, grotesko, ironijo, sarkazmom, burlesko, parodijo v večplastno stvaritev, satira je kot satireskna začimba prisotna tam, kjer je ne bi pričakovali in se lahko izkaže kot subverziven privid, namig, kot stereotip, pri čemer si zna vsaka od teh form oblikovati svoje življenje. Več avtorjev je mnenja, da je največjo žetev imela politična satira, ki se pase po polju, na katerem je prišlo do zdrsa, padca ali butalskega slučaja, kjer so se »sveti družbeni zakoni« znašli na svojem koncu. A to je le en vidik med mnogimi. Kakršna koli, raskava ali zavita v svilen papir, satira si praviloma želi popravljati moralno zgrešenost, zato – kot pravi Žarko Petan – ne računa na tiste, ki jih biča, ampak na mlade, da jim pokaže, kakšni ne bi smeli biti čez deset let. Evropski in slovenski okvir – izkušnje niso tako vsaksebi, da ne bi prepoznali večnih in vesoljnih zakonov človekovega dejanja in nehanja. Vendar: ali se še kdaj spomnimo na Pudelbal Feliksa Antona Deva (1732–1786), kjer je prek pustnega, maškeradnega plesa na pahljačo vseh mogočih tipov prižebljal ljubljansko »purgarijo« v literarni ringaraja, tako da je začetno lahkotno šopirjenje izzvenelo v nelahkotni antitezi o sprenevedanju, večnem laganju in podobnih značajskih odličnostih. Obolos baročnemu času je jezikovno bogastvo, kopičenje satirično-parodičnih oznak, ki jih je Dev nalepil paradirajočim osebkom na odru, iz katerih dehti moralna sprijenost. To je satira o malih dušah. In še brezkončni izvir, namreč briljantno pletenje Ivana Cankarja in mnogoobraznih satiričnih motivov, v dobršni meri izvirajočih iz politične odvisnosti in narodno-zavedne neurejenosti, tako da je v resnici »kostanj posebne sorte«, ki so se mu v različnih tonalitetah pridružila najboljša peresa prve polovice 20. stoletja. Cankarjevo satiropisje je veljalo »zlasti farizeju, hlapcu, dogmatiku, renegatu,« pravi Franc Zadravec, »maske snema z vsakršnih duhovnih in moralnih spak nekdanjih in sedanjih časov.«7 Satirik je po definiciji svojega početja brezkompromisni opazovalec človekovih dejanj. Izhodišče za tematske prispevke v tej številki Ars et humanitas je dalo polju satire, satiričnega, satirikov itd. odprte poti. Kakršno koli je že naše vsakdanje delo, vsi smo se s temi temami srečavali v raznih konceptualnih in oblikovnih izrazih in pri razrešitvi vprašanja največkrat ni zadoščal pogled samo ene stroke. To povezovanje disciplin je temeljna lastnost te revije, ki goji načelo medkulturnih in interdisciplinarnih perspektiv, zato so bili prispevki dolžni spoštovati le nosilno besedo »satira«.
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Golob, Nataša. "Ars saturae: misli o satiri in njenih obrazih. Uvodnik v tematski sklop „o satiri“." Ars & Humanitas 5, no. 2 (2011): 7–9. http://dx.doi.org/10.4312/ah.5.2.7-9.
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Ko je Lukijan (o. 120–192) napisal dialoško delo »Filozofi na dražbi«, je nedvomno vedel, kaj se bo dogajalo v zgodnjem 21. stoletju. Že takrat je predvidel kopico brezhibnih intelektualnih in političnih avtoritet, ki so se, vsaj nekateri, kar rodili s pravico, biti bog in se po božje obnašati, ker mi, pač statisti, ki spremljamo njihovo početje, tako ali tako lahko samo strmimo. Tako kot so v Lukijanovih dneh ocenjevali aplikativno vrednost filozofov in jih v skladu z njo plačali in nahranili, se dogaja novodobnim humanistom, da smo postavljeni na dražbe z razpisi, kjer smo glede na točke in impaktfaktorje ocenjeni in noben naš odgovor, da (o)cena ni pravična, ne velja, saj se lahko pritožimo samo na postopek (dražbe), kjer je odgovor vnaprej znan. Vsebina in pomen dela, v tem primeru intelektualnega dosežka, sta irelevantni kategoriji, to spoznanje je Lukijan grenko zabelil. Lukijan, naš brat. Satiri se leta ne poznajo in čeprav je njena bistvena lastnost refleks posameznika na doživeto dogajanje, s katerim se ne sprijazni in zato nastavi ukrivljeno zrcalo, se vedno znova zalotimo pri misli, da je vsebina pravkar prebrane-videneslišane satire zato tako dobro znana, ker se je pač nedavno zgodila in jo poznamo v novi različici: njeno bistvo je človekovo početje in na odru satire se zamenjajo le igralci. Satira je imanentna svobodnemu človeku, prisotna je v vseh časih in pri vseh kulturah, v pisni, glasbeni, likovni, politični, znanstveni obliki, je hotena in naključna, ustvarjena v retrospektivnem postopku, je zrcalo avtorja, časa, okoliščin. Naše branje starih satir je drugačno od branja oz. dojemanja v času njihovega nastanka. Zamenjale so se realne okoliščine, beremo jih s poznavanjem zgodovine, ki je sledila letom njihovega nastanka, s poznavanjem vpliva in percepcijskih dimenzij občinstev pred nami. Beremo jih z našimi nabranimi osebnimi in skupinskimi spomini, z izkušnjami in kritičnimi mislimi. Hkrati pa smo soočeni z nepopolnim poznavanjem pogojev življenja v času nastanka te satire in to je izgubljeni del sporočila. Radi pozabimo, da smo do starejše satire pogosto v položaju neveščega bralca, nepoučenega gledalca, zato se – kot se sicer pogosto dogaja – zatečemo k nad-interpretacijam. Značaj satire se plete s humorjem, grotesko, ironijo, sarkazmom, burlesko, parodijo v večplastno stvaritev, satira je kot satireskna začimba prisotna tam, kjer je ne bi pričakovali in se lahko izkaže kot subverziven privid, namig, kot stereotip, pri čemer si zna vsaka od teh form oblikovati svoje življenje. Več avtorjev je mnenja, da je največjo žetev imela politična satira, ki se pase po polju, na katerem je prišlo do zdrsa, padca ali butalskega slučaja, kjer so se »sveti družbeni zakoni« znašli na svojem koncu. A to je le en vidik med mnogimi. Kakršna koli, raskava ali zavita v svilen papir, satira si praviloma želi popravljati moralno zgrešenost, zato – kot pravi Žarko Petan – ne računa na tiste, ki jih biča, ampak na mlade, da jim pokaže, kakšni ne bi smeli biti čez deset let. Evropski in slovenski okvir – izkušnje niso tako vsaksebi, da ne bi prepoznali večnih in vesoljnih zakonov človekovega dejanja in nehanja. Vendar: ali se še kdaj spomnimo na Pudelbal Feliksa Antona Deva (1732–1786), kjer je prek pustnega, maškeradnega plesa na pahljačo vseh mogočih tipov prižebljal ljubljansko »purgarijo« v literarni ringaraja, tako da je začetno lahkotno šopirjenje izzvenelo v nelahkotni antitezi o sprenevedanju, večnem laganju in podobnih značajskih odličnostih. Obolos baročnemu času je jezikovno bogastvo, kopičenje satirično-parodičnih oznak, ki jih je Dev nalepil paradirajočim osebkom na odru, iz katerih dehti moralna sprijenost. To je satira o malih dušah. In še brezkončni izvir, namreč briljantno pletenje Ivana Cankarja in mnogoobraznih satiričnih motivov, v dobršni meri izvirajočih iz politične odvisnosti in narodno-zavedne neurejenosti, tako da je v resnici »kostanj posebne sorte«, ki so se mu v različnih tonalitetah pridružila najboljša peresa prve polovice 20. stoletja. Cankarjevo satiropisje je veljalo »zlasti farizeju, hlapcu, dogmatiku, renegatu,« pravi Franc Zadravec, »maske snema z vsakršnih duhovnih in moralnih spak nekdanjih in sedanjih časov.«7 Satirik je po definiciji svojega početja brezkompromisni opazovalec človekovih dejanj. Izhodišče za tematske prispevke v tej številki Ars et humanitas je dalo polju satire, satiričnega, satirikov itd. odprte poti. Kakršno koli je že naše vsakdanje delo, vsi smo se s temi temami srečavali v raznih konceptualnih in oblikovnih izrazih in pri razrešitvi vprašanja največkrat ni zadoščal pogled samo ene stroke. To povezovanje disciplin je temeljna lastnost te revije, ki goji načelo medkulturnih in interdisciplinarnih perspektiv, zato so bili prispevki dolžni spoštovati le nosilno besedo »satira«.
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Mayer, David, and Michael Gamer. "(Un)making a Monster: Melodrama, The Satirist, and the Cartoons of Samuel De Wilde." Nineteenth Century Theatre and Film 48, no. 2 (2021): 122–42. http://dx.doi.org/10.1177/17483727211039815.
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Our essay takes up the well-known satirical print, ‘The Monster Melo-Drame’, and re-attaches it to several contexts to bring forward its richness and ambiguity as an image. We begin by considering its artist (Samuel De Wilde), printer (Samuel Tipper), and publisher ( The Satirist), interpreting the print in its original publication and in dialogue with the essay that accompanied it in the January 1808 issue of the Satirist. The image, we argue, should not be read on its own but rather as the first of a trio of prints De Wilde made for that magazine. Taken together, the images show the Satirist engaging in a sustained campaign against London’s Theatres Royal, one in which melodrama is a subject but not a primary target. Part of our essay’s work is necessarily that of description: identifying figures, references, and tableaux as these prints comment on a rapidly changing theatrical scene between 1807 and 1809. Considered as a set, De Wilde’s prints constituted a fundamental part of the Satirist’s attacks on the Drury Lane Theatre management, particularly Richard Brinsley Sheridan and his son Thomas Sheridan, whom they represent as corrupt caretakers of that institution and of the national drama.
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Carlson, Christina Marie. "The Rhetoric of Providence: Thomas Middleton’s A Game at Chess (1624) and Seventeenth-Century Political Engraving*." Renaissance Quarterly 67, no. 4 (2014): 1224–64. http://dx.doi.org/10.1086/679782.
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AbstractThis essay compares the rhetoric of providentialism in Samuel Ward’s 1621 engraving To God, In Memorye of his Double Deliveraunce from ye Invincible Navie and ye Unmatcheable Powder Treason with that in Thomas Middleton’s 1624 play A Game at Chess. Both satirize the negotiations over the Spanish Match by using providentialist discourse to modulate and veil their more satirical, and polemical, intentions. Ward and Middleton employ a technique of historical retrospection, referring to past events in order to present a simultaneously diachronic and synchronic world view.
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McFarlane, Duncan. "On the Doctor and the Clockmaker: The Satire of the Classical Epigraph through Samuel Johnson and T. C. Haliburton." Translation and Literature 21, no. 1 (2012): 1–20. http://dx.doi.org/10.3366/tal.2012.0044.
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The Clockmaker is the major opus of T. C. Haliburton's satirical career. An analysis of the classical epigraphs it contains reveals his satire to be directly influenced and framed by Samuel Johnson's, and hence indirectly by that of Juvenal and Horace. This is not a case of simple borrowing: Haliburton is advancing a critique of the conflict between the Horatian and Juvenalian species of satire in Johnson, and of the satiric use and abuse of the classical epigraph.
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Olu-Osayomi, Olusegun i. "Yoruba Festival and the Dramatist: Satire as Spine in Soyinka’s A Dance of the Forests." Yoruba Studies Review 7, no. 2 (2023): 1–16. http://dx.doi.org/10.32473/ysr.7.2.132802.
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In most African societies, festivals play especially important roles linked to the survival of the society. This paper investigates the festival motif in Wole Soyinka’s A Dance of the Forests with the purpose of illuminating further his exploration of elements of indigenous African (Yoruba) lore. The paper contends that the satiric mode explored trenchantly in Soyinka's play's organizing and structuring principles. The paper posits that satiric mode is the fundamental backbone of his work, not just a decoration. The paper explains further that the festival's motif and cultural celebration built into the structure of the selected play and properly harnessed raw material for his poetry. The methodology is analytical and complemented by hermeneutics theory. By vigorously exploiting African (Yoruba) experience, festival motif, and satiric modes, in a manner relevant to the moral development of his world, it will be seen that Soyinka, succeeds in laying the foundation for a truly Nigerian national literature and it is, in fact, on this that his strengths as a satirist playwright lie
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Sick, David H. "Zacchaeus as the Rich Host of Classical Satire." Biblical Interpretation 24, no. 2 (2016): 229–44. http://dx.doi.org/10.1163/15685152-00242p05.
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This piece builds upon the work of Dennis Hamm and Mikeal Parsons to compare the character Zacchaeus of Luke 19:1–10 to the rich host of a banquet from classical satire and related genres. In this category the diminutive tax collector joins a rogues’ gallery, including Nasidienus from Horace’s Satire 2.8 and Trimalchio from Petronius’ Satyricon. Those who grumble (γογγύζειν) about Jesus’ table fellowship should be understood as his fellow dining companions. The moralizing voice of the satirist is represented by these grumbling guests, whose harping is similar to that of the Pharisees. According to recent literary theory, the voice of the satirist, in this case a Pharisaic one, is undermined by its own harshness. By weakening the criticism of the satiric voice, Luke encourages identification with the sinner Zacchaeus and thus fosters the Gospel’s general objective of salvation of the lost.
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Dohan, Abbas Murad. "The Rhetoric of Satire in Kingsley Amis’s Lucky Jim." International Journal of Arts and Humanities Studies 3, no. 4 (2023): 18–25. http://dx.doi.org/10.32996/ijahs.2023.3.4.3.
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The current research paper argues that Kingsley Amis’s Lucky Jim not only employs satire, irony, and paradox dexterously—an issue that has been approached by many—but also demonstrates a rhetorical variability of a Menippean kind of satire. The writer addresses the issues raised in the novel from new and different angles. He provides a rhetoric of satire that has enabled him to touch upon some uneasy and disturbing facts of his society, yet maintaining an uncensored and immune position to deplore. Therefore, the present study intends to investigate in depth the multilayered style and satirical wit in the novel based on Menippean satirical rhetoric of inquiry and provocation, play and display, employing Dustin Griffin’s interdisciplinary notion of satiric discourse. It will address the various elements incorporated and deployed by the writer in the course of satirizing the novel.
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Sidoruk, Elżbieta. "“Ten sam odwieczny wróg niebezpieczny.” The Universal Dimension of Tuwim’s Satire." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 309–22. http://dx.doi.org/10.18778/2299-7458.09.16.
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In the article, the author analyses the satirical works by Julian Tuwim published in his poetic collections. By indicating the strong bonds between poetry and satire in the poet’s works, the author explains the phenomenon of the unwavering topicality of Tuwim’s satire having generalising ambitions. She has considered the poet’s masterful combination of the poetic perspective with the attitude of a satirist as a factor which enables the generalisation of the critical diagnosis. However, she argues that the universal dimension of his wide-scope satirical works is mainly determined by the poet’s worldview-based horizons, which constituted the point of reference for his critical evaluation of the existing social reality, which exposed the destructive influence of a community on an individual. She also stated that he was able to peer deep into the mentality of the mindless members of the “tyrannous community” by virtue of his distance towards himself, in turn being the result of his sense of the absurdity of his own existence.
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Misler, Nicoletta. "Satire and Propaganda in the Graphic Art of Vladimir Lebedev." Experiment 28, no. 1 (2022): 212–44. http://dx.doi.org/10.30965/2211730x-12340029.
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Abstract The focus of this article is on the social caricatures which Vladimir Vasil’evich Lebedev (1891–1967) produced just before and after 1917, especially for the journals Satirikon and Novyi Satirikon (New Satyricon), tо which his immediate colleagues such as Boris Grigor’ev and Vladimir Kozlinsky also contributed. With copious references to Lebedev’s personal archive and to his domestic “laboratory” of cut-outs and preliminary drawings, the text and illustrations treat of Lebedev’s satirical attitudes towards both the bourgeoisie and the political élite and of his often ambivalent depiction of “friends” and “enemies,” a condition also evident in his ROSTA posters and in Nikolai Punin’s 1922 book of reproductions called Russkii plakat 1917–1922. A key argument is that during the 1910s–1930s, ideological pressures notwithstanding, Lebedev managed to retain an esthetic distance and that, rather than kowtow to a given regime, ultimately, found artistic refuge in illustrations for children’s books, often in collaboration with writers such as Samuil Marshak.
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Fonseca, Paula, Esther Pascual, and Todd Oakley. "“Hi, Mr. President!”." Review of Cognitive Linguistics 18, no. 1 (2020): 180–212. http://dx.doi.org/10.1075/rcl.00056.fon.
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Abstract What makes The Daily Show with Jon Stewart so successful as social and political satire? Rhetorical theorists and critics have identified several mechanisms for satisfying the show’s satiric and parodic aim, which include parodic polyglossia, contextual clash, and satirical specificity (Waisanen, 2009). We present a unified account of meaning construction that encompasses these three mechanisms within the framework of blended fictive interaction (Pascual, 2002, 2008a b). Satire results from emergent effects of different conceptual configurations that have to be in place to integrate a pastiche of speech whose provenance originates in different and diverse contexts and genres. The integration of contradictory, conceptually disjointed pieces of discourse under the governing structure of the conversation frame accounts for the show’s most conspicuous satirical moments. These imagined interactions highlight facets of the real world for critical commentary. The thick description of an influential Daily Show segment deepens our understanding of contemporary political satire.
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Dwi Alita Peby, Peby. "GAYA BAHASA SINDIRAN DALAM KANAL YOUTUBE ACARA “LAPOR PAK” TRANS 7." Vol. 13 No. 2 (2023): Literasi: Jurnal Ilmiah Pendidikan Bahasa, Sastra Indonesia dan Daerah 13, no. 2 (2023): 569–82. http://dx.doi.org/10.23969/literasi.v13i2.7846.
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The satirical language style is now often used in Indonesian comedy shows, especially television shows, comedians often use satirical language style to satirize politicians, fellow artists, or even the common people. It is intended that the social problems that occur can activate human consciousness itself. With this research, readers will not only get the humorous side, but also be able to find out the various types and meanings contained in satire throws. The method used in this research is content analysis method or content analysis. This research describes or describes what is the problem, then analyzes and interprets the existing data. The object to be explored is the five types of satire and criticism uttered by the cast of the Report Pak program using data from sentences containing satire and criticism. From the data obtained, there are 5 types of satirical language studied by the author. The language of satire is irony, cynicism, sarcasm, satire and innuendo. The data obtained by the author amounted to 24 data consisting of 2 styles of irony satire, 14 data of cynicism, 5 of sarcasm, 2 of satire and 1 of innuendo. So of the five types of satire language, the one most often used by Lapor Pak players is the satire language style of cynicism, while the least used is the satire innuendo language style, this is because with the satirical language of cynicism the expressions raised can become awareness for listeners in critical thing. Keywords: Language style, Insinuation, Event report sir.
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Ontiveros, José Leonardo. "El sainete en Venezuela. Dictadura y “apertura democrática” en Yo también soy candidato (1939) de Rafael Guinand." Talía. Revista de estudios teatrales 4 (July 6, 2022): 87–97. http://dx.doi.org/10.5209/tret.79306.
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El sainete es una estrategia ficcional que tuvo un gran auge durante las primeras tres décadas del siglo XX en Venezuela. Se convirtió en el canon teatral hegemónico y gozó de muchos adeptos en una época particularmente azarosa como fue la dictadura de Juan Vicente Gómez. El sainete es por definición una obra costumbrista que no busca dialogar políticamente sino más bien satirizar vicios y corregir errores. Los dramaturgos se cuidaban de no cuestionar o satirizar aspectos que tuvieran que ver con el gobierno so pena de ir a parar con sus huesos a la cárcel. Sin embargo, luego que muere el dictador, en 1935, hay una recomposición y apertura política que traerá como principal cambio las elecciones al congreso. Guinand escribe la obra y en ella recoge el ambiente político de esa apertura. En este trabajo analizaremos dicho sainete con el propósito de establecer cómo y de qué forma Guinand transpone su visión del mundo de dicho proceso electoral y de qué forma parodia, cuestiona y satiriza tal acontecimiento. Para dilucidar estos aspectos analizaremos su obra a la luz de la teoría de los motivos y estrategias y, daremos cuenta, de las posibles agresiones sufridas por el autor. Se comentará también acerca de las posibles estrategias escénicas usadas para configurar su estructura dramática.
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Floridi, Lucia. "L’anti-simposio di Luciano: motivi parodici nel Simposio o i Lapiti." Elephant and castle, no. 34 (2024): 106–15. https://doi.org/10.62336/unibg.eac.34.526.
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Il Simposio o i Lapiti di Luciano di Samosata, lo si è notato più volte, ha tra i suoi principali modelli il Simposio di Platone, di cui rappresenta un comico rovesciamento. L’illustre modello è rivisitato attraverso il massiccio innesto, nella cornice strutturale del banchetto dei filosofi, di temi e motivi della tradizione comica e satirica. L’ibridazione che ne consegue è perfettamente in linea con il programma di Luciano, che in più luoghi si vanta di aver fuso due generi in origine reciprocamente estranei: il dialogo, serio e austero, e la commedia, libera e ridanciana, che aveva spesso tra i suoi bersagli polemici proprio i protagonisti del dialogo filosofico (Prom. es 6). In questo lavoro passerò in rassegna alcuni dei temi comico-satirici di cui si nutre il testo lucianeo. Mi concentrerò, in particolare, su tre nuclei tematici: l’infrazione del galateo simposiale in relazione alla giusta misura nel mangiare e nel bere; gli eccessi erotici; le forme dell’intrattenimento simpotico. L’obiettivo è quello di suggerire che, accanto a personaggi e topoi tratti direttamente dalla commedia, nel Simposio agisca anche la memoria di una tradizione parodico-satirica più ampia, che arriva forse a inglobare le suggestioni di un genere popolare sfuggente come quello che ha per protagonista la figura del gryllos, rifunzionalizzato in vista del gioco di rovesciamento parodico intorno a cui è costruito l’intero testo.
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Smoleń-Wawrzusiszyn, Magdalena. "Jędrzej Śniadecki jako publicysta. Uwagi językoznawcy." Białostockie Archiwum Językowe, no. 9 (2009): 303–22. http://dx.doi.org/10.15290/baj.2009.09.21.
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The aim of this article is to present Jędrzej Śniadecki`s journalistic writings as texts representative of the satirical undercurrent of Lithuanian literary works at the turn of XVIIIth and XIXth centuries. The writing activity of Śniadecki was closely connected with the functioning of Towarzystwo Szubrawców – the group of intelligentsia and landlords representatives. These intellectuals from 1816 to 1822 published sociocultural articles in their press organ “Wiadomosci Brukowe”. The didactic strategy of the publicist under discussion manifests itself in various realizations. Its holistic dimension is shaped by three grounds in which Śniadecki reveals himself as a publicist – satirist, publicist – rebuker and publicist – moralist. Śniadecki ridicules, sometimes he is emotional, but also doesn`t restrain himself from indirect didactism indicating appropriate demeanors and proposing concrete solutions to social, economical and conventional problems. In the aim of criticizing and remedying surrounding reality Śniadecki employs various stylistic variants of the Polish language – from colloquial dialogues to sophisticated rhetorical constructions. From a linguistic perspective, his satirical craftsmanship is exactly a skillful combination of the two styles.
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BARR, REBECCA ANNE. "Gin Lane in Lockdown: Cold War Steve’s Hogarth." Shandean 34 (November 2024): 32–62. https://doi.org/10.3828/shandean.2024.4.
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British satirist Christopher Spencer, aka Cold War Steve, is renowned for his surreal satirical photomontages in which historical artworks form the backdrops for contemporary British notables in grotesque situations. Contemporary critics have frequently compared Cold War Steve to the eighteenth-century British satirist and engraver, William Hogarth. This article probes the visual and moral parallels between the two artists, showing that, despite repeated invocations, Hogarth only becomes a salient intermedial presence at the beginning of the Covid pandemic. Focusing on images from 2020 to 2021 that explicitly use Hogarth as source media, this article argues that Spencer’s remediations appropriate and overwrite eighteenth-century didacticism, drawing attention to the mediatedness of history and culture. Reading Hogarth as a source enhances interpretive readings of Cold War Steve, reflecting the increased cultural importance of the Enlightenment in understanding the present. The article shows how Hogarth continues to provide an influential visual grammar and moral register for visual satire in the post-pandemic age, even as contemporary artists challenge and contest his work.
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Scullion, Val, and Marion Treby. "Feline Affinities Between E.T.A. Hoffmann’s The Life and Opinions of the Tomcat Murr and Natsume Sōseki’s I Am a Cat." English Language and Literature Studies 11, no. 2 (2021): 1. http://dx.doi.org/10.5539/ells.v11n2p1.
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Natsume Sōseki (1867-1916) was an eclectic writer and voracious reader during a historical period when western literary influence flourished in Japan. This article hypothesizes that the German novel, The Life and Opinions of Tomcat Murr (1819-1821), by E.T.A. Hoffmann (1776-1822), is as strong a formative influence in terms of structure and satirical perspective on Sōseki&rsquo;s novel, I Am a Cat (1905-1907), as other satiric contenders. It pursues this argument by examining correlations between these two polyphonic novels which mix many registers and discourses in a similar way. Biographical, historical and literary analysis underpins this comparison.
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KAUFMAN, WILL. "What's so Funny about Richard Nixon? Vonnegut's Jailbird and the Limits of Comedy." Journal of American Studies 41, no. 3 (2007): 623–39. http://dx.doi.org/10.1017/s0021875807004021.
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This essay explores the questionable potency of satire in the light of Richard Nixon's political rehabilitation. Following a discussion of satirical treatments from the 1940s to the 1980s by, among others, the cartoonists Herbert Block (‘Herblock’) and Garry Trudeau, the comedians Mort Sahl and Lenny Bruce, and writers including Philip Roth and Robert Coover, I examine one work extensively – Kurt Vonnegut's Jailbird (1979) – as a disquisition on satiric impotence, setting that novel in the context of the comedic firepower that had been directed at Nixon since the dawn of his political career and which, in the end, could not prevent his rehabilitation.
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Ritter, Michael. "Historicizing Satire in Juvenal." Classical Antiquity 38, no. 2 (2019): 250–74. http://dx.doi.org/10.1525/ca.2019.38.2.250.
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The implications of the persona theory pose a problem for the interpretation of Juvenal's early satires, because it presents the satirist as intent on nullifying his didactic stances. This leaves us with an unsatisfactory conclusion that excises Juvenal's persistent treatment of themes consistent with contemporaneous authors who were similarly engaged in blackening the reputations of the famous dead. This article argues that a strict application of persona theory isolates Juvenal's satirist from his volatile contemporary climate by excluding him from the reality that these authors—similarly directing their works to the past—were unabashedly writing only after the tyrant was safely dead. Tacitus and Pliny had lamented the servility and silence that predominated during Domitian's reign, in which the Roman world endured fifteen years of terror without uttering a word. Into this literary milieu Juvenal announces his satirist, who begins with an echo of that silence: semper ego auditor tantum? With the death of Domitian and a new atmosphere that permitted the defamation of the deceased, Juvenal injects his venomous voice into the mix, taking advantage of contemporary literary appetites that allowed for the punishment, no matter how belated, if not of the person then of the guilty one's memory. Any evaluation of Juvenal's satiric project must be firmly rooted in this, his most immediate, context.
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Malavasi, Massimiliano. "Un salutare "Risaotto al pomidauro" per l'avvelenata Italietta dannunziana." AOQU (Achilles Orlando Quixote Ulysses). Rivista di epica 3, no. 2 (2022): 265–307. http://dx.doi.org/10.54103/2724-3346/19522.
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Il saggio fornisce l’edizione del Risaotto al pomidauro, un’anonima raccolta di testi lirici pubblicati sul «Giornale di Roma illustrato» nell’ottobre del 1886. La breve introduzione ricorda ai lettori il contesto di questa pubblicazione satirica che si rivela come una parodia dell’Isaotta Guttadauro, il poema preraffaellita di Gabriele D’Annunzio di imminente pubblicazione e del quale l’autore aveva anticipato alcune parti sui giornali. Scrittori coevi testimoniano che gli autori del Risaotto furono due giornalisti e critici letterari, Edoardo Scarfoglio e Giovanni Alfredo Cesareo: il breve commento che segue il testo del Risaotto, oltre a suggerire la probabile collaborazione di Matilde Serao all’opera, illustra i nessi che legano i contenuti della satira alle opinioni critiche espresse da Scarfoglio e da Cesareo sulla personalità e sui risultati letterari di D’Annunzio.
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Murodova, Mukadas Ikromovna. "ARTISTIC FEATURES OF EVELYN WAUGH." RESEARCH AND EDUCATION 2, no. 4 (2023): 366–70. https://doi.org/10.5281/zenodo.7882724.
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<em>Over the thousands of years during which satire has been derived from comedy, many different styles and tools have been used. Humor is one of the most effective, and therefore one of the most popular; some element of it is found in ancient Satire and nearly everywhere in modern Satire. This is perhaps most obvious in Evelyn Waugh’s “A Handful of Dust”, which never gives any overt indication of irony, but nevertheless the entire work is ironic. This style can also be seen in Evelyn Waugh’s works. In “Decline and Fall” and “A Handful of Dust”, the main characters always feel as though they are doing something wrong by violating the rules and values imposed on them y society, when in fact they are doing morally; a fact that is obvious to the audience but not to them.</em>
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Sultanova, Kh R. "Role and Functions of Folklore and Mythological Elements in the Work of M. A. Sabir." Nauchnyi dialog 1, no. 10 (2020): 297–308. http://dx.doi.org/10.24224/2227-1295-2020-10-297-308.
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The folklore and mythological traditions in the works of the outstanding poet-satirist of the late XIX — early XX centuries M. A. Sabir are considered in the article. It is noted that modern Sabirovology unites scientists from Azerbaijan, Russia and other countries who turn to the study of the poet’s works. The results of the analysis of a number of poetic works of Sabir, in which the author uses folklore and mythological elements as a technique that enhances the satirical sound of his texts are presented in the article. The author believes that Sabir, thanks to the inclusion of representatives of the demonic world (hortdan, damdabadzha, djinn, djann, Baba Yaga) among the characters, emphasizes the power of influence on people of belief in otherworldly forces, thus ridiculing inertness of thinking, unwillingness to develop, to keep up with progress. It is shown that Sabir creates realistic negative social types: money-grubbing, ignorant, etc. Special attention is paid to small folklore and mythological genres (curse, blessing, omen), which emphasize a person’s faith in the magical power of the word. It is noted that the study of folklore and mythological elements in the satirical works of Sabir has a perspective.
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Fitriyatullaili, Fitriyatullaili, Agus Purnomo Ahmad Putikadyanto, Agik Nur Efendi, and Moh Hafid Effendy. "Analisis Satire dalam Program "In My Sotoy Opinion" di Narasi TV pada Bulan Februari Tahun 2022." Kibas Cenderawasih 20, no. 1 (2023): 98–109. http://dx.doi.org/10.26499/kc.v20i1.346.
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Satire is a style of language that is used to satirize someone about something or the form of argument given by someone which often invites laughter. This article aims to find out the form of satire In My Sotoy Opinion program on Narasi TV in Februari 2022. This research uses a descriptive qualitative approach. The data from this study are transcripts of satirical utterances from YouTube in My Sotoy Opinion program on Narasi TV in Februari 2022. Data collection techniques used download, listening, and note-taking techniques, while data analysis in this study was carried out by identifying data, data classification, and data description. The results of the study show that the satirical sentences uttered by Devan Yulio Setiawan as the host of this program generally discuss social phenomena that are being discussed virally on social media. It can be concluded that the majority is dominated by satire in the form of irony. The findings of satire in the In My Sotoy Opinion Program form an attraction to the audience because it is motivational content that has a different concept from motivational content in general.
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Lindberg, Ylva. "Satiriska feministiska serier." Tidskrift för litteraturvetenskap 44, no. 2 (2014): 83–99. http://dx.doi.org/10.54797/tfl.v44i2.10507.
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Satiric Feminist Comic Art. Nina Hemmingsson and Liv Strömquist
 This article focuses on the satiric works of the contemporary Swedish female cartoonists Nina Hemmingsson and Liv Strömquist, particularly on their potential to be read and interpreted on a literary level. The development of comic arts in Sweden during the last decade indicates in fact that comics are not only a product of ephemeral entertainment or a subculture for some happy few. Literary analysis presuppose a complex piece of work, which invites the reader to different interpretations. Some of these levels of sense making are revealed in this study on how Hemmingsson and Strömquist transmit feminist messages through text and image. In the first case, the theoretical frame used in the analysis is based on Bakhtin’s aesthetics of the grotesque. In the second case, post-colonial theories represented by Fanon, reveal how Strömquist criticize heteronormativity and power positions in society.
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Khvalin, T. A. "ALEXANDER GUCHKOV’S RESIGNATION IN SATIRE AND CARTOONS IN MAY 1917." Вестник Пермского университета. История, no. 4(55) (2021): 153–63. http://dx.doi.org/10.17072/2219-3111-2021-4-153-163.
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The article analyzes the cartoons and satirical works published in May 1917 that mentioned Alexander Guchkov and his resignation from the post of war minister. The scrutiny of materials from specialized satirical publications has enabled the author to conclude that the highly popular satire magazines Pugach, Novy Satirikon, Trepach, Baraban, and Strekoza refrained from mocking Guchkov, his resignation and his political position, although many newspapers – and particularly the pro-Socialist ones – passed highly acerbic comments on the former war minister. Even if they mentioned him, they viewed him a neutral emblem of the epoch, a definite stage of revolutionary development rather than an object of satirizing. Only the magazines Bich and Budilnik offered an excited reaction to the resignation of the Provisional Government’s first defense minister. Their authors compared Guchkov with Napoleon and with more notorious personalities associated then with ‘dark forces’ and the ‘old regime’. In May 1917, Guchkov was also mentioned in the satirical works published by the Bolshevist press where he was portrayed as a personage, cooperation with which would defame the Socialists, who were more moderate than the Bolsheviks and their allies. Thus, the leftist newspapers, opposing the coalition cabinet and the Socialists’ participation in the Provisional Government, drew a parallel between the actual political situation of May 1917 and the engagement of some Mensheviks in the activity of war industry committees. By that time, Guchkov, the leader of those committees, was viewed as a potential helmsman of a counterrevolutionary revolt of the bourgeoisie not only by the Bolsheviks, but also by many of their opponents among the Socialists.
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White, Laura. "Evolutionary Science, Empire, and Disenchantment in May Kendall’s That Very Mab." Nineteenth Century Studies 35 (November 2023): 75–92. http://dx.doi.org/10.5325/ninecentstud.35.0075.
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Abstract One of the more remarkable satires of English society and thought of the 1880s came in the guise of a fairy story, That Very Mab (1885), in which the eponymous fairy queen is driven out of Samoa by imperialists and on her return to England finds it overrun by evolutionists and the proponents of modern material progress. Written by the satirist and popular Punch contributor May Kendall, That Very Mab excoriates Victorian England by satirizing its passion for explanatory frameworks, including scientific materialism, philistinism, nihilism, novel metaphysics, evolutionary progress, and imperialism, all subjects that Kendall also attacked in her comic verse (published between 1885 and 1894). Kendall has recently received critical attention for her satiric poems about evolutionary science, materialism, and modern disenchantment. While That Very Mab’s satiric concerns in many ways dovetail with those of these poems, the wider scope of its fantastic narrative allows Kendall to enact a more sustained assault on the concept of empire and its justifications from evolutionary anthropology. Highly skeptical of teleologies that promote a belief in the evolutionary progress of humankind, her fairy fantasy links evolutionary anthropology to the dishonest blandishments, corruption, and violence of imperial adventures.
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Miola, Robert S. "Ben Jonson's Reception of Lucian." Ben Jonson Journal 26, no. 2 (2019): 159–79. http://dx.doi.org/10.3366/bjj.2019.0253.
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Throughout his career Ben Jonson drew variously upon Lucian, whom he encountered in the mythographies as well as in several Greek and Latin editions he owned. Jonson's receptions take the form of glancing reminiscence in the masques, as Lucian supplies mythological decoration and literary conceit. They appear as transformative allusion in Cynthia's Revels, which draws upon several satirical Dialogues of the Gods, and in The Staple of News, which re-appropriates a favorite satirical dialogue, Timon, the Misanthrope, to satirize the greed of the news industry. Jonson practices an extended and creative imitatio of Lucian's fantastic moon voyages (A True Story and Icaromenippus) in his much neglected News from the New World Discovered in the Moon. And, likewise, Jonson reworks Lucian extensively for the action of Poetaster: The Carousal supplies the lascivious banquet of 4.5, and Lexiphanes, the humiliating purge of Crispinus. Jonson's rich engagement with Lucian comes to a climax in Volpone, which borrows directly from The Dream, and several Dialogues of the Dead. Here whimsical ancient satire enables stern moral allegory. Responding to Poetaster in Satiro-mastix, Thomas Dekker has Captain Tucca rebuke Horace (i.e. Ben Jonson) by sarcastically calling him “Lucian.” Jonson, no doubt, took the proffered insult as the highest compliment.
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Simamora, Era Mita Theresia, Arsen Nahum Pasaribu, and Jubil Ezer Sihite. "Investigating Satirical Interpretation of Netizen Comments on Tiktok Toward Megawati." Journal of Language Education (JoLE) 3, no. 1 (2025): 49–55. https://doi.org/10.69820/jole.v3i1.278.
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Freely to express opinions is one of the reasons netizens use social media as a forum for expressing themselves. Through the comments column, netizens on TikTok use elements of satirical language to criticize, satirize Megawati with a sense of humor using polite and even vulgar language. The aim of this research is to discuss the satirical interpretation of people's comments on TikTok towards Megawati. The data was taken from 50 netizen comments on the official TikTok account Inilah.com. The results of this study show that there are three types of satire used by netizens to criticize Megawati, namely Horatian Satire, Juvenalian Satire and Manippean Satire, and netizens use Horatian satire as the dominant type with a percentage of 58% of all data analysis. In clarifying the data, the writer use descriptive qualitative research with analytical description method. The data were analyzed using Harmon and Holman's theory. For practical purposes, it is hoped that the results of this research can become a new model for the study of satire. Theoretically, satire is not only used on social media but also elsewhere as a way for people to express their opinion about a subject and show that people are wiser in using their language for a particular purpose.
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Mahler, Andreas. "Der satirische Kontrakt." Zeitschrift für französische Sprache und Literatur 127, no. 3 (2017): 253–77. http://dx.doi.org/10.25162/zfsl-2017-0007.
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Syaifuddin S., M. "SATIRICAL POLITENESS CONSTRUCTION IN “WAR MACHINE” MOVIE." JEELL (Journal of English Education, Linguistics and Literature) English Department of STKIP PGRI Jombang 9, no. 1 (2022): 1. http://dx.doi.org/10.32682/jeell.v8i2.2584.
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Not many studies considered politeness in movie as politeness that was deliberately constructed by the director for a specific purpose. This research views that in part of War Machine movie scenes contained some constructions of politeness, politeness involving satire as a means of criticism, which we called Satirical Politeness. Scenes containing actions or satiric utterances, whether delivered by speakers (S) or hearer (H) in managing their faces, were the focus of this study. Qualitative analysis of movies produced as a reaction after the attacks of 19/11/01 was called 'qualitative under fire' (Denzin, 2009a). Data were analyzed using Brown & Levinson's (1987) perspectives. They were measured by looking for Weightiness. The Weightiness was determined by how strong the ranking of imposition was. The rank of imposition (Rx) was determined by the high and low of P (position) between the speech participants, and it was determined by the far and near distance (D) of the speech participants. There were many meanings behind the facework that each actor played concerning satire. The satirical politeness in the War Machine movie applied in several ways, namely; 1) satirical attitude to show disagreement, 2) jumping politeness strategy to save the face of the interlocutor, but still attacking his face in a more relaxed way, 3) anecdotal bald on record attitude used to reduce the credibility of real characters outside the movie, 4) Creating negative stigma of a real character by attaching hedge and exaggerate acts, 5) praising with insulting meanings through Bald on record and exaggerate.
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BILOHRYVA, Daniella. "SATIRE AND ITS METAMORPHOSIS IN THE PERIOD OF ANTIQUITY." Filosofska dumka (Philosophical Thought) -, no. - (2023): 159–72. http://dx.doi.org/10.15407/fd2023.03.159.
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The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation.
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Klitgård, Ida. "”Critical Parents Against Plaster”." MedieKultur: Journal of media and communication research 36, no. 68 (2020): 004–24. http://dx.doi.org/10.7146/mediekultur.v36i68.118571.
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In this study, I propose to regard written news satire as a vital vehicle in combatting scientific disinformation. But in order to do so, we must examine the construction of spoof news. How does written news satire convey its social criticism by way of language, discourse and style? And what happens to the content? My case is a spoof article of the 1998 MMR vaccination scandal as rendered in the Danish news satirical website Rokokoposten (2015). The analysis is based on Jakobson’s communication model (1960), Raskin’s semantic model of humour (1985) together with Ermida’s (2012) and Simpson’s (2003) analyses of the discourse of satire. To this will be included a novel approach which regards satire as a kind of intralingual translation. Thus, this paper sheds light on the issue of the news satirist as a knowledge broker.
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Stanley, Rachael. "Kissing Statues: Eroticism and Satire in the Short Stories of Jean Rhys." Modernism/modernity 31, no. 2 (2024): 337–56. https://doi.org/10.1353/mod.2024.a947735.
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abstract: Within the short stories of Jean Rhys we can observe her attempting to find a means to write the erotic by using descriptions of the visual arts as a way to explore female desire and sexuality. In these moments of engagement with the visual arts, Rhys finds a way to subvert the supposed "neutrality" of ekphrasis and satirize male depictions of the female body and female desire. Working alongside this satirical intent to critique male artistic practice, we witness Rhys adopting prototypical modernist techniques but using them to describe moments of eroticism. Fragmentation, ellipsis, intense subjectivity, a sense of timelessness—all are revealed by Rhys to have a much wider application beyond depicting the trauma and confusion of early twentieth-century European culture. Instead, Rhys shows how these techniques might be ideally suited to describe female desire.
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Welch, Tara S. "Est locus uni cuique suus: City and Status in Horace's Satires 1.8 and 1.9." Classical Antiquity 20, no. 1 (2001): 165–92. http://dx.doi.org/10.1525/ca.2001.20.1.165.
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Horace's Satires 1.8 and 1.9 have long interested commentators for the enticing glimpse they provide of the changing Roman cityscape in the 30s BCE In light of the recent problematization of the strict correspondence between the poet Horace and his elaborately constructed satiric persona, locations in the Satires should be read not so much as autobiographical accounts of the poet's movement through the city but rather as functions of other themes and motifs in the Satires. This paper examines the moral and aesthetic encoding of the urban landscape in Horace's Satires Book I.Satires 1.9 and 1.8 reveal that Rome's city center and the gardens of Maecenas constitute an arena for the satirist's indirect meditation about the complex relationship between his poetry and his patron Maecenas. By mapping moral and aesthetic behavior onto these urban areas, Horace comments on the viability of satiric poetry in various social situations and settings. The emerging picture presents the city center —— filled as it is with human vice and folly —— as a place appropriate for satiric poetry, and Maecenas' gardens —— free from competition and ambition —— as a place inimical to it. Thus the gardens of Maecenas present for the satirist a moral and aesthetic problem, and their specter haunts his downtown stroll in Satires 1.9 as much as does the aspirant who dogs his steps. The decorum of patronage requires that Horace show proper subordination to his benefactors. Yet the decorum of satire requires that the poet undermine status, stability, and authority. While professing that status is not an issue in Maecenas' circle, the poems reveal instead that status is always an issue, aected no less by one's physical than one's social position.