Satire Research Articles

Entre patriotas y polizones: polémicas letradas sobre los americanos en la prensa periódica (1810-1812)

<p>Las propuestas de la prensa hicieron uso en los años 1810-1812 del concepto de <em>americanidad </em>como una materia maleable desde la cual señalar injusticias y arbitrariedades. Para ello, los escritos públicos recurrieron a perspectivas en las que se construyeron aliados y enemigos y se utilizó el humor satírico como vía para suscitar la afinidad del lector. La flexibilidad del nombre <em>americanos</em> se utilizó como metáfora de la debilidad de autonomía política de las distintas provincias del continente americano. Nos interesa analizar al respecto algunas producciones de Juan López Cancelada que generaron respuestas vehementes del diputado de Tlaxcala en las Cortes de Cádiz, José María Guridi Alcocer, y de Servando Teresa de Mier. Estos tres pensadores hicieron uso de la prensa periódica para concretar o plantear soluciones políticas que los debates constitucionales erraban en contemplar o profundizar y lo hicieron recurriendo a los términos de patriotas y polizones.</p>

Rendering Satire in Dubbing vs. Subtitling: A Case Study of the Arabic Translation of the American Sitcom <em>The Simpsons</em>

This study investigates translation strategies used to render satire of the American animated sitcom The Simpsons from American English into Modern Standard Arabic (Subtitling) and Egyptian vernacular (Dubbing). Besides, it attempts to unveil the contribution of language variety and translation modality in rendering satire. The study draws on Simpson’s (2003) stylistic model of satirical humour for understanding and analyzing satire. Furthermore, it adopts Mateo’s (1995) taxonomy to highlight the strategies used in dubbing and subtitling satire. Applying these two models helps in examining the issues posed by the nature of satire and the shifts in the configuration of satire when rendered from English into Arabic and the effectiveness of these shifts. The findings of the study show that the socio-cultural nature of satire poses a serious challenge for translators. Furthermore, it has proved that subtitling tends to use the literal translation strategy to render satire in instances that share the same background of the source text and has failed in dealing with sociocultural based ones. Conversely, it was observed that dubbing tends to utilize the equivalent effect strategy, which proved to be sufficient when adapting sociocultural elements of satire. Finally, language variety and translation modality seemed to govern the efficiency of rendering satire in translation into Arabic.

Re-reading the Narratives about Breaking the Will of a Man : Misogyny, hidden by humor and satire

Re-reading the Narratives about Breaking the Will of a Man : Misogyny, hidden by humor and satire

Satirical Novels of the Late Enlightenment and the Practice of Fiction. A Methodological Proposal for Investigations Into the History of Fiction

AbstractThe paper examines German satirical novels of the late Enlightenment period, published roughly between 1760 and 1790, under the following question: Is there any evidence that the historical practice of fiction (concerning this time and these texts) deviates from the modern practice of fiction as described by institutional accounts of fictionality? First, it is explained what, in this essay, is meant by the ›modern practice of fiction‹. Four ›core rules‹ are identified that, according to institutional accounts of fictionality, characterize the practice of reading works of fiction. These core rules are: You should not conclude that what is expressed by fictional utterances is actually true! You should not conclude that the author believes that what is expressed by his fictional utterances is actually true! You should imagine what is expressed by fictional utterances (make-believe, pretence)! You should (or at least can) make your imaginations the object of higher-level attitudes (for example you can evaluate, emotionally respond to, interpret them etc.)! Then, using the example of German satirical novels of the late Enlightenment, seven features of fictional texts are discussed that may provide clues about the historical practice of fiction and that could give an indication of whether the core rules actually do apply. These features are: assurances of truthfulness by the author or fictional authors/editors; direct thematization of the fictional/factual-text-distinction; fictional reading scenarios; comments by fictional narrators and/or characters on the practice of reading; statements of the actual author in the fictional text; ›that cannot be true‹-passages (intentional mistakes, anachronisms, various ways of breaking the reader’s expectations, etc.); various kinds of reference to the actual world (for example satirical allusions to actual persons or states of affairs). It will be argued that, for the corpus of texts under consideration, there is no convincing evidence that the historical practices of reading works of fiction deviates in any significant way from the core rules of the modern practice of fiction. However, the main aim of this paper is not to provide an exhaustive historical case study. First, the investigation is limited to the exemplary discussion of some (although significant) texts and text passages, so the results can only be considered preliminary. Second, while the satirical novel of the late Enlightenment indeed is a particularly interesting and revealing genre for the study of the historical practice of fiction (arguments are given in section 3), the main purpose of this essay is to make amethodologicalproposal. Ageneral procedureis provided for finding out whether the historical practice of fiction differs from our modern practice – a procedure that can be applied to texts of other times and genres as well.

Satire and Criticism on Maoism ― A Note on Qian Zhongshu’s Guanzhui bian (管錐編)

Satire and Criticism on Maoism ― A Note on Qian Zhongshu’s Guanzhui bian (管錐編)

As múltiplas faces do diálogo em Um certo capitão Rodrigo, de Érico Veríssimo

RESUMO Este ensaio tem como escopo averiguar como o dialogismo se presentifica no texto literário, especificamente em excertos do capítulo Um certo capitão Rodrigo, da obra O tempo e o vento, de Érico Verissimo. Tenciona-se examinar, na materialidade do texto, que procedimentos enunciativo-discursivos foram mobilizados na encenação dialógica da verdade e do pensamento, configurados tal como uma sátira menipeia, e de que forma as categorias da percepção carnavalesca de mundo dessacralizam e submetem ao riso o discurso do poder.

Maugham and Woolf in Russia: Ashenden & Orlando

Mixed with a general British fascination with Russia was the actual presence of Somerset Maugham in Moscow in 1917 acting as a foreign agent, later fictionalized in his popular novel of 1928, Ashenden. Virginia Woolf never went to Russia but she studied Russian, co-translated several Russian volumes and wrote about its literature in various essays and Orlando, also appearing in 1928, a banner year for English fiction devoted to Russia. Parallel approaches by these two early twentieth century novelists to the country is the subject of this essay which highlights satire as their common aesthetic practice. Each began with distant admiration but also skepticism, overstating Russia’s characteristics and importance for comic purposes. Love, itself, became a satirical focus in both novels which also contain international intrigue if not danger. Biography is also a point of contact. Maugham was in Russia in 1917 and had to escape when his role as a British agent was discovered. He had also had an affair with a Russian princess before he arrived, so was familiar with the elements of Russian love. Woolf never went to Russia but had studied its history as a young woman and she admired its literature. She then learned the rudiments of its language, co-translated several Russian works and incorporated elements of Russian life in her writing, most dramatically in Orlando. The coincidental publication of both Ashenden and Orlando in 1928, and their co-reliance on satire as the means to address the internal repression and outward instability of Russia, marks a parallel and critical response to the Russian experiment.

A satire about an accountant

A satire about an accountant

George Eliot and Jonathan Swift

Étonnamment peu d’études critiques ont porté sur l’influence de Jonathan Swift sur la littérature victorienne. Cet article est fondé sur l’idée que Swift est l’un des intertextes importants, quoique sous-estimés, des œuvres de George Eliot, notamment dans son dernier ouvrage, Les Impressions de Théophraste Untel . Certaines références explicites ou allusions indirectes dans son œuvre de fiction, ainsi que certaines mentions dans ses notes de travail, ses journaux et sa correspondance, montrent qu’Eliot connaissait et appréciait l’œuvre de Swift, en particulier Le conte du tonneau et les Voyages de Gulliver . Se pencher sur Swift permet d’expliquer certains aspects originaux de son écriture, tels que son penchant anti-scientifique ou sa tendance à la satire. Des travaux récents ont étudié la présence des animaux chez Eliot à partir des notions darwiniennes ; cependant, une analyse de l’influence du quatrième livre des Voyages de Gulliver sur son écriture permet de mieux comprendre ses représentations des animaux, en général, mais aussi son utilisation de la satire et de la fable, en particulier dans Les Impressions de Théophraste Untel .

A Satire, not a Sermon: Four Stages of Cruelty and Murder

A Satire, not a Sermon: Four Stages of Cruelty and Murder

Journalism, Satire, and Censorship in Mexico

Journalism, Satire, and Censorship in Mexico

Roidis and the Borrowed Muse: British Historiography, Fiction and Satire in Pope Joan, Foteini Lika (2018)

Review of: Roidis and the Borrowed Muse: British Historiography, Fiction and Satire in Pope Joan, Foteini Lika (2018) Lady Stephenson Library, Newcastle upon Tyne: Cambridge Scholars Publishing, 295 pp., ISBN 978-1-44388-113-5, h/bk, £47.99

〈고양이 프리츠〉의 풍자 알레고리 연구

이번 연구에서는 애니메이션에 나타난 작가의 사회에 대한 비판언어 연구를 통해 애니메이션의 공공적 역할을 조명하고자한다. 분석 작품으로 랄프 박시(R. Bakshi)의 〈고양이 프리츠, Fritz the Cat, 1972〉를 연구하였다. 이 작품은 사회성 짙은 민감한 주제를 과감한 풍자 어법으로 풀어낸 성인애니메이션의 이정표가 된 작품이다.BR 작품에서 활용된 풍자 어법과 요소 그리고 풍자에 내재한 작가의 메시지를 연구한 결과 다음과 같은 특징을 알 수 있었다. 풍자의 소재는 자유와 일탈, 주류와 비주류, 인종, 종교와 이념, 민중과 공권력 등 사회전반의 문제들을 갈등의 관점에서 파격적이고 공격적 언어로 풀어내고 있다. 한편 풍자 어법으로는 거리두기 효과를 이용한 다양한 등장인물의 희화화, 등장인물들의 도덕성이 관객의 인식과 차이를 나타내는 아이러니 표현, 페르소나를 통해 작가의 현실 인식에 대한 비판 등 서사에 의한 풍자 표현 방식을 볼 수 있다.BR 즉, 고양이 프리츠에서는 내러티브의 풍자 방식을 활용하여 1960년대 말 미국사회에 만연한 부조리한 현실세계를 사이키델릭하고 파격적인 연출로 올바른 도덕적 사회로의 전향적 인식과 통렬한 각성의 알레고리를 제시하고 있다.

Satire, Celebrity, and Politics in Jane Austen. Jocelyn Harris.

<i>Satire, Celebrity, and Politics in Jane Austen</i>. Jocelyn Harris.

Bahasa Satire dalam Meme Media Sosial

The satire style was chosen to express satire and criticism explicitly. In the style of communicating on social media, satire is also used in making memes. The problem with this research is how is satire language in meme culture on social media? The focus of this research is to reveal how political satire is discussed in memes on social media. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts or purely texts in social media memes. This research is interesting because the satire humor style contained in memes becomes an effective, absurd political, economic, educational, cultural, and other response that is able to shift, eliminate, then reverse and bring up new discourses. This study uses a critical discourse analysis by Norman Fairclough which has an identification that the discourse can be a series of verbal and written words or a series of speech acts. With this knife of analysis, it was found that satire in memes on social media is used in the form of satire and criticism of things that are being viral and how these issues affect social media to the real world. Memes are not seen as silent, passive, and finished texts as they are produced. Memes, on the other hand, are dynamic and moving strategies, through comedy-satire.&#x0D;

Contest of Poetry in Alexandria: Call.Ia. 1, 13, Herod.Mim.8,al.

AbstractA combined investigation of Herod.Mim. 8 (Ἐνύπνιον) with Callim.Ia. 1, 13, andEp. 8, reveals that they all relate to a certain poetic contest that took place in Alexandria under the auspices of Ptolemy I, in one of the last years of his reign. The contest, must have been co-ordinated by the Mouseion and its director at the time, Zenodotus. The two poets took part in the contest, together with a host of other poets. Callim.Ia. 1 gives a figurative account of the contest’s course of action. Herodas, awaiting the results, writesMim. 8, where he expresses his hopes for a prize, though he suspects foul play on behalf of the poets employed at the Mouseion by the king who was supposed to decide the prize. Callim.Ep. 8 is a sarcastic reply to Herodas’ fears, whileIa. 13 narrates the harsh criticism Callimachus received from Zenodotus and his proud reaction in response, obviously after his contribution was rejected.

Sobre la reseña de los Caprichos de Goya en el Semanario Patriótico de 1811 y el Diccionario de Gallardo. Una nota

espanolEn 1811 se publica en el Semanario Patriotico del Cadiz sitiado por las tropas napoleonicas una resena sobre los Caprichos de Goya. Su autor, del circulo de Bartolome Jose Gallardo, los interpreta como una dura satira moral. Ese mismo ano se publica el Diccionario critico-burlesco. En ambas obras se observan numerosas coincidencias, como son el uso de la satira, el fuerte anticlericalismo o sus ataques a la Inquisicion. ?Es solo una coincidencia? EnglishA review of Goya’s Caprichos appeared in the SemanarioPatriotico (newspaper published in 1811 in Cadiz). Its author, from Bartolome Jose Gallardo’s circle, interprets them as a hard moral satire. That same year the Diccionariocritico-burlesco was published. In both works there are numerous coincidences, such as the use of satire, the strong anticlericalism or their criticism against the Inquisition. Is that just a coincidence?

Poetry in Response to Sentiment and Living Environment Bashar ibn Burd Persian Praise and Arab Satire “B” Poet as a Model

Poetry in Response to Sentiment and Living Environment Bashar ibn Burd Persian Praise and Arab Satire “B” Poet as a Model

The hidden languages of russian satire and humour

The hidden languages of russian satire and humour

Caustic Burns and Moving Hearts: Satire and Affect in Eliza Haywood's The Masqueraders

Caustic Burns and Moving Hearts: Satire and Affect in Eliza Haywood's The Masqueraders