Bibliografías temáticas / Political satire, Zambian (English)

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Literatura académica sobre el tema "Political satire, Zambian (English)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Political satire, Zambian (English)"

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Kantini, Samson y Cheela Chilala. "A Critical Review of Ideological Trends in the Study of Zambian Literature in English". Journal of Law and Social Sciences 4, n.º 1 (18 de diciembre de 2020): 14–27. http://dx.doi.org/10.53974/unza.jlss.4.1.386.

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Two ideologically divergent schools of thought have emerged in the study of Zambian literature in English. The first one rooted in imperialist doctrines emerged in the early 1980s and continues to influence many studies on Zambian literature to this day. The second one with a clear object of the renaissance of world literatures like that of Zambia is recent. It begun towards the end of the second decade of the 2000s and challenges the first one. This paper gives a critical discussion of studies that constitute and mark these two trends. It is a desktop research that employs the documental analysis informed by the historical cultural materialism theory. It concludes that the imperialist school of thought overlook and impoverish our understanding of the wider ideological and political context in which Zambian literature in English has and is evolving and the world literary scene on which we encounter it. Then, the renaissance school of thought does not just remedy this ideological problem but creates an opportunity for us to study Zambian literature in English as a distinct local realist tradition that is organically developing and in transition.
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Van Ho, Tara. "Vedanta Resources Plc and Another v. Lungowe and Others". American Journal of International Law 114, n.º 1 (enero de 2020): 110–16. http://dx.doi.org/10.1017/ajil.2019.77.

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In Vedanta v. Lungowe, the United Kingdom Supreme Court determined that civil claims for negligence brought by Zambian claimants against an English parent company (Vedanta) and its Zambian subsidiary (Konkola Copper Mines plc (KCM)) for damages experienced in Zambia can proceed in English courts. While framed as a domestic tort law case, the decision is significant for international efforts aimed at holding businesses accountable for their “negative impacts” on human rights. Writing for a unanimous Court, Lord Briggs's judgment hinged narrowly on the right of victims to access substantial justice. More broadly, Lord Briggs suggested that parent companies that hold themselves out in public disclosures as overseeing the human rights, environmental, social, or labor standards employed by their subsidiaries assume a duty of care to those harmed by the subsidiary. This suggestion has the potential to transform current corporate approaches to human rights due diligence and accountability.
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Nicholson, Eirwen. "Soggy prose and verbiage: English graphic political satire as a visual/verbal construct". Word & Image 20, n.º 1 (enero de 2004): 28–40. http://dx.doi.org/10.1080/02666286.2004.10444003.

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Olushola, Ayodeji Akanmode. "Socio-political satire in Femi Osofisans Many Colours Make the Thunder-King". International Journal of English and Literature 7, n.º 9 (30 de septiembre de 2016): 152–58. http://dx.doi.org/10.5897/ijel2016.0906.

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Jayraj, S. Joseph Arul. "Paradise Lost and Paradise Regained as Epics of Political Satire under the Guise of Spiritual Epics: A Critical Inquiry". IRA International Journal of Education and Multidisciplinary Studies 10, n.º 1 (29 de enero de 2018): 1. http://dx.doi.org/10.21013/jems.v10.n1.p1.

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<p>The paper points out the intention of ‘Satire’ and inquires into the biographical, historical, sociological, religious, economic, political and literary contexts of John Milton’s Paradise Lost (1667)<strong> </strong>and Paradise Regained (1671). It underscores the poignant example of John Dryden’s verse satire, Absalom and Achitophel (1681), which is modelled on John Milton’s political epics. It also traces the biographical, historical, sociological, religious, economic, political and literary reasons for the outbreak of the English civil war.<strong> </strong>Thus, it points out the mutual bond that exists between society and literature, and renders a historical reading of the literary works taken for analysis by exploring the possible purposes with which these texts have been written and the ways in which the meanings of these texts have changed over time owing to multiple interpretations.</p>
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Skalicky, Stephen. "Lexical priming in humorous satirical newspaper headlines". HUMOR 31, n.º 4 (25 de septiembre de 2018): 583–602. http://dx.doi.org/10.1515/humor-2017-0061.

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Abstract Satire is a type of discourse commonly employed to mock or criticize a satirical target, typically resulting in humor. Current understandings of satire place strong emphasis on the role that background and pragmatic knowledge play during satire recognition. However, there may also be specific linguistic cues that signal a satirical intent. Researchers using corpus linguistic methods, specifically Lexical Priming, have demonstrated that other types of creative language use, such as irony, puns, and verbal jokes, purposefully deviate from expected language patterns (e.g. collocations). The purpose of this study is to investigate whether humorous satirical headlines also subvert typical linguistic patterns using the theory of Lexical Priming. In order to do so, a corpus of newspaper headlines taken from the satirical American newspaper The Onion are analyzed and compared to a generalized corpus of American English. Results of this analysis suggest satirical headlines exploit linguistic expectations through the use of low-frequency collocations and semantic preferences, but also contain higher discourse and genre level deviations that cannot be captured in the surface level linguistic features of the headlines.
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Nwachukwu–Agbada, J. O. J. "Ezenwa–Ohaeto: Poet of the Genre". Matatu 33, n.º 1 (1 de junio de 2006): 153–77. http://dx.doi.org/10.1163/18757421-033001027.

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Ezenwa–Ohaeto was a poet of immense artistic vision. He was a conscious member of the Nigerian and African polity and a perspicacious user of the African oral tradition, particularly the Igbo afflatus/affiliation of it. A poet of ideas and style, Ezenwa–Ohaeto was to adopt principally as his stylistic tool the Igbo traditional genre of satire called In this essay, effort has been made towards identifying his use of the mode in terms of what he took from it and what in turn he gave to African poetry. It is demonstrated that Ezenwa–Ohaeto utilized satire to draw attention to the ills in the land. While he did so, he used the humour in to smoothe his way through. Although he was regularly concerned with the fate of fellow nationals, he did so light-heartedly, combining the use of airy Igbo iconic figures with mediated English and pidgin variety. Ezenwa–Ohaeto thus left behind an original, captivating and enchanting poetic tradition
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Frolova, Natal'ya S. "Devices of comic in the work of the 20th century English-speaking Ugandan poets". Vestnik of Kostroma State University, n.º 4 (2019): 140–44. http://dx.doi.org/10.34216/1998-0817-2019-25-4-140-144.

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Poetry of the Ugandans are analysed in an article in the context of the use of devices of comic in the East African English-language poetry. The critical-realistic and enlightener tendencies that were eagerly apprehended by most East African authors in the 1960s have not allowed them going beyond the direct criticism of damning poetry to this day as well, although point-by-point attempts to use humour and satire when contemplating socio-political issues, do occur throughout the sixty-year existence of East Africa English-language poetry. The dilogy by Okot p’Bitek, Timothy Wangusa and Taban Lo Liyong are clear examples of such attempts made in Uganda literature. At the same time, the three authors use fundamentally different techniques of comic, when portraying modern reality, both purely African and universal human.
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Sewlall, H. "George Orwell's Animal Farm: A metonym for a dictatorship". Literator 23, n.º 3 (6 de agosto de 2002): 81–96. http://dx.doi.org/10.4102/lit.v23i3.344.

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George Orwell’s Animal Farm is traditionally read as a satire on dictatorships in general, and the Bolshevik Revolution in particular. This article postulates the notion that the schema of the book has attained the force of metonymy to such an extent that whenever one alludes to the title of the book or some lines from it, one conjures up images associated with a dictatorship. The title of the book has become a part of the conceptual political lexicon of the English language to refer to the corruption of a utopian ideology. As an ideological state, Animal Farm has its vision, which is embedded in its constitution; it has the vote, a national anthem and a flag. It even has its patriots, double-dealers, social engineers and lechers. In this way the title Animal Farm, like Joseph Heller’s Catch-22, or Thomas More’s Utopia, functions metonymically to map a conceptual framework which matches the coordinates of the book. The article concludes with a look at contemporary society to show how Orwell’s satire endorses the words of Lord Acton, namely, that power corrupts and absolute power corrupts absolutely.
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Gilman, Todd S. "Augustan Criticism and Changing Conceptions of English Opera". Theatre Survey 36, n.º 2 (noviembre de 1995): 1–35. http://dx.doi.org/10.1017/s0040557400001186.

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The love-hate nature of the relations between England and Italy in the seventeenth and eighteenth centuries is well known. Ever since Henry VIII broke with Rome after Pope Clement VII refused to allow his divorce, things Italian were a popular object of satire and general disdain. An ever-increasing British nationalism founded on political, religious, and aesthetic principles during the seventeenth century fanned the flames of anti-Italian sentiment. This nationalism, newly consolidated in the seventeenth century by the ambitions of the Stuart monarchs to destroy Parliament, was intimately connected with English Protestantism. As Samuel Kliger has argued, the triumph of the Goths—Protestant Englishmen's Germanic ancestors—over Roman tyranny in antiquity became for seventeenth-century England a symbol of democratic success. Moreover, observes Kliger, an influential theory rooted in the Reformation, the “translatio imperii ad Teutonicos,” emphasized traditional German racial qualities—youth, vigor, manliness, and moral purity—over those of Latin culture—torpor, decadence, effeminacy, and immorality—and contributed to the modern constitution of the supreme role of the Goths in history. The German translatio implied an analogy between the conquest of the Roman Empire by the Goths (under Charlemagne) and the rallying of the humanist-reformers of northern Europe (e.g., Luther) for religious freedom, understood as liberation from Roman priestcraft; that is, “the translatio crystallized the idea that humanity was twice ransomed from Roman tyranny and depravity—in antiquity by the Goths, in modern times by their descendants, the German reformers…the epithet ‘Gothic’ became not only a polar term in political discussion, a trope for the ‘free,’ but also in religious discussion a trope for all those spiritual, moral, and cultural values contained for the eighteenth century in the single word ‘enlightenment.’”
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Tesis sobre el tema "Political satire, Zambian (English)"

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Thompson, Martha. "George Canning, Liberal Toryism, and Counterrevolutionary Satire in the Anti-Jacobin". BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3714.

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One of the most defining moments in the histories of British satire and the public sphere took place in the late 1790s in an abandoned house in Piccadilly. Here George Canning and several fellow conservatives began writing and circulating their weekly newspaper the Anti-Jacobin. Although the periodical has been critically neglected, it is a valuable model for exploring how literary (partisan) politicians attempted to form a rational and critical public sphere through their satiric poetry. Founded by George Canning and edited by William Gifford, the Anti-Jacobin seems to reflect a reactionary conservative's ideology and has been summarily dismissed because of this one-sided nature. In this essay, I suggest a more nuanced reading of both Canning's biography and his Anti-Jacobin poetry that will give a fuller and more accurate version of Canning, one that illustrates a moderate reformer who is concerned with centralizing the extremism of the 1790s.
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2

Bucknell, Clare. "Poetic genre and economic thought in the long eighteenth century : three case studies". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:71e97b4d-c009-487c-8efb-fdb71eefa080.

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During the eighteenth century, the dominant rhetorical and explanatory power of civic humanism was gradually challenged by the rise of a new organising language in political economy. Political economic thought permitted radically different descriptions of what laudable private and public behaviour might be: it proposed that self-interest was often more beneficial to society at large than public-mindedness; that luxury had its uses and might not be a threat to liberty and political integrity; that landownership was no particular guarantee of virtue or disinterest; and that there was nothing inherently superior about frugality and self-sufficiency. These new ideas about civil society formed the intellectual basis of a large body of verse written during the long eighteenth century (at mid-century in particular), in which poets engaged enthusiastically with political economic arguments and defences of commercial activity, and celebrated the wealth and plenty of Britain as a modern trading nation. The work of my thesis is to examine a contradiction in the way in which these political economic ideas were handled. Forward-looking and confident poetry on public themes did not develop pioneering forms to suit the modernity of its outlook: instead, poets articulated such themes in verse by appropriating and reframing traditional genres, which in some cases involved engaging with inherited moral values and philosophical preferences entirely at odds with the intellectual material in hand. This inventive kind of generic revision is the central interest of the thesis. It aims to describe a number of problematic meeting points between new political economic thought and handed-down poetic formulae, and it will focus attention on some of the ways in which poets manipulated the forms and tropes they inherited in order to manage – and make the most of – the resulting contradictions.
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3

McMurtry, Mervyn Eric. "The playwright-performer as scourge and benefactor : an examination of political satire and lampoon in South African theatre, with particular reference to Pieter-Dirk Uys". Thesis, 1993. http://hdl.handle.net/10413/8666.

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During the 1970s the plays of Pieter-Dirk Uys became causes celebres. In the 1980s he was, commercially and artistically, arguably the most successful South African satirist. By 1990 he had gained recognition in the United Kingdom, the United States of America, Canada, Australia, the Netherlands and Germany. Yet relatively little research has been undertaken or published which evaluates his contribution to South African theatre as a playwright and performer of political satire. This dissertation aims to document and assess the satiric work of Uys and that of his precursors and contemporaries. The first chapter identifies certain characteristic features and purposes of satire as a creative method which cannot be defined in purely literary terms. The views of local practitioners and references to its manifestation in various non-literary and indigenous forms are included to support the descriptive approach to satire in performance adopted in later chapters. Of necessity to a study of Uys's lampoons, Chapter 2 discusses the origins of lampoon and the theatrical presentation of actual persons by Aristophanes (the first extant Western playwright to do so). Both the textual and visual ridicule of Socrates, Euripides, Cleon and Lamachus are considered, to argue that Aristophanes employed the nominal character as a factional type to exemplify a concept for humorous rather than meliorative purposes. Part One of Chapter 3 is a necessarily selective survey of the diversity, style and censorship of satire in South Africa in various theatrical, literary and journalistic forms. Part Two describes the use of satire by Adam Leslie, Jeremy Taylor, Robert Kirby and, more recently, Paul Slabolepszy, Mark Banks, Ian Fraser, Eric Miyeni and the 'alternative' Afrikaners in plays and in revue, cabaret and stand-up comedy. Chapter 4 examines the principal themes of Uys's plays to date, the 1981-1992 revues as entertainment and as a reflection of certain social and political issues, the similarities between his theatrical praxis and that of Aristophanes, and his satiric strategies in performance: his preparatory and visual signifiers, his concern with proxemics, and his mastery of kinesics, paralanguage and chronemics in depicting a spectrum of fictional and non-fictional personae, including Evita Bezuidenhout, P.W. Botha and the Uys-persona.
Thesis (Ph.D.)-University of Natal, Durban, 1993.
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Libros sobre el tema "Political satire, Zambian (English)"

1

Nightmare and other stories from 2011. Lusaka, Zambia: Bookworld Publishers, 2011.

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Rahman, Farhana Haque. Stalking serendipity and other pasquinades. Dhaka, Bangladesh: University Press, 1990.

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3

Maidment, Christopher. Satura und Satyroi: Der Streit um die Herkunft der Satire in der englischen Literatur der frühen Neuzeit. Aachen: Shaker Verlag, 1997.

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4

Stollenwerk, Frederik. Politische Satire bei Jonathan Swift. Uelvesbüll: Der Andere Verlag, 2012.

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5

Jonathan, Swift. A modest proposal and other satires. Amherst, N.Y: Prometheus Books, 1995.

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Swift, Jonathan. A modest proposal and other satires. Amherst, N.Y: Prometheus Books, 1995.

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Jonathan, Swift. A modest proposal and other satires. Amherst, N.Y: Prometheus Books, 1995.

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8

Héron, Jean-Olivier. Modeste proposition pour garantir la sécurité d'Israël et le bien-être des Palestiniens, en attendant la paix qui s'ensuivra peut-être. Paris: La Découverte, 2002.

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McAlpine, Alistair. The servant. London: Faber and Faber, 1992.

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Prasāī, Bhīshmarāja. Surrender: A political satire on Nepalese affairs, 1990-1998. Lalitpur: Nirane Publication, 2002.

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Capítulos de libros sobre el tema "Political satire, Zambian (English)"

1

Baldwin, Anna. "The Urban Middle Class: Satire, Debate and Political Advice". En An Introduction to Medieval English Literature, 61–99. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-59582-9_4.

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Galloway, Andrew. "The Borderlands of Satire: Linked, Opposed, and Exchanged Political Poetry During the Scottish and English Wars of the Early Fourteenth Century". En The Anglo-Scottish Border and the Shaping of Identity, 1300–1600, 15–31. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137108913_2.

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Hale, Meredith McNeill. "Conclusion". En The Birth of Modern Political Satire, 239–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836261.003.0007.

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This concluding chapter focuses on the question of circulation and impact: to what extent did De Hooghe’s satires travel beyond The Netherlands in the seventeenth century and what influence did they have on English political satire of the eighteenth century? The appearance of motifs from De Hooghe’s satires in mezzotints of c.1690 and prints on the subject of the South Sea Bubble of 1720 will be discussed as will instances in which De Hooghe’s satires were reissued in the eighteenth century. However, a comparison of this handful of examples with the liberal use of De Hooghe’s triumphal allegories and battle scenes in such distant locations as Latin America and Russia reveals one of the qualities that epitomizes political satire—its dramatic circumscription by temporal and geographical boundaries. Satire’s embeddedness in a specific political, historical, and cultural moment and its dependence upon text that often channels the idiosyncrasies of spoken language, render it difficult—often impossible without intensive investigation—to understand beyond its immediate context. This is as true for twenty-first-century satires as it was for those produced in the late seventeenth century.
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Hale, Meredith McNeill. "Satires on Foreign Subjects". En The Birth of Modern Political Satire, 66–120. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836261.003.0003.

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This chapter examines seven of De Hooghe’s eighteen satires on the events surrounding William III’s invasion of England and associated diplomatic and military campaigns. These satires, which were produced between the autumn of 1688 and summer of 1690, followed the events of the Glorious Revolution as they unfolded and represent not only key political-historical events but also the development of De Hooghe’s satirical strategies. William III is featured as the sober and valiant defender of Protestantism against the Catholic kings, James II and Louis XIV, who appear as a darkly comic duo, misguided adherents of a primitive religion committed only to their own aggrandizement. This discussion examines the iconography of the foreign satires, providing detailed interpretive analysis and translation of many of the texts into English for the first time. It will be demonstrated that De Hooghe responded almost immediately to the rapid unfolding of events that constituted the Glorious Revolution, highlighting the need to consider them in terms of the speed with which they were produced and their serial nature. It is often possible to determine the month in which a satire was made and, in certain cases, the timeframe can be narrowed to weeks. This dramatic imbrication in a particular historical moment is characteristic of political satire to this day.
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Eko, Lyombe S. "Couching Political Criticism in Humor". En Advances in Religious and Cultural Studies, 87–107. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7295-4.ch005.

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This chapter analyzes the music of two military bands: Zangalewa of Cameroon and Zao of Congo-Brazzaville. Zangalewa is the marching band of the presidential guard in Cameroon. Part of its “Suffering Soldier's Medley,” a self-deprecating military entertainment piece, was actually a subtle politico-cultural parody, couched in jester's garb, that lampoons the brutal and oppressive Cameroon army. For its part, Zao is a “pseudo military” band, a civilian band that adopted a military persona and uses subtle satire couched in humor to critique the military and militarism. The author analyzes the politico-cultural contexts and lyrics of both bands within the framework of metaphorical couching, the embedment of messages in humor. Both bands couched criticism of the authorities in humor and African metaphors, sayings, and proverbs expressed in a mixture of English, French, pidgin, and African dialects to bypass censorious gatekeepers.
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