Genre Of Satire Research Articles

КОНЦЕПЦІЯ «ГОМО СОВЄТІКУС» О.О. ЗІНОВ'ЄВА ЯК СКЛАДОВА ЧАСТИНА Z-ІДЕОЛОГІЇ

The article reveals the peculiarities of the Russian Federation's use of the concept of "homo sovietikus" by the philosopher and sociologist O. O. Zinoviev (1926–2006) as a tool of information warfare in the world media space. The relevance of the problem is determined by the urgent need for the state and society of Ukraine to intensify the search for effective means of countering the influence of socially destructive technologies of the aggressor country. The authors consider the literary work of O. O. Zinoviev as one of the sources of the formation of so-called Z-ideology, that is, a complex of ideas and beliefs aimed at justifying the feasibility of Russia's implementation of the Eurasian geopolitical concept in international relations and the legitimization of its armed expansion in the East and West Europe. The article analyzes the content of O. O. Zinoviev's novels "Homo Sovieticus" (1982) and "Para Bellum" (1982). According to the authors of the study, it is necessary to move away from the satirical genre notion of these works established in literary criticism and, instead, to concentrate attention on the practical aspect of the author's recommendations, regarding methods of education, informational and psychological influence on the mass consciousness of a potential mobilization resource of the aggressor state. O. O. Zinoviev described quite clearly and consistently the process of formation of beliefs and moral priorities of the Soviet "superman", who is supposed to destroy Western European civilization. The main methods of raising "homo sovieticus" are the formation in his mind of an anomalous hierarchy of values, where the most important qualities of an individual are aggressiveness, cruelty, mistrust of others, indifference to the family, adaptability, recognition of the priority of the interests of the state. The obvious inferiority of such a person should be compensated by his ability to quickly adapt to the extreme conditions of the future great continental war, unpretentiousness in everyday life, the ability to build relations with representatives of other nations with maximum benefit for himself. The article states that already in the first half of the 1980s O. O. Zinoviev described certain elements of the "hybrid war", which were later used by the Russian Federation during 2014–2022 against Ukraine and the states of the European Union. The authors of the study hope that their conclusions could convince the scientific and general public of Ukraine in the need for an objective rethinking of the Russian literary heritage, including the works of representatives of the so-called "third wave" Russian emigration from the USSR (1960s and early 1990s) who, due to the mass inertia of the political worldview, often get the image of fighters against totalitarianism.

The UK as victim and hero in the Sun’s coverage of the Brexit ‘humiliation’

This paper discusses how emotions were mobilised by the British tabloid press as discursive strategies of persuasion during the public debate on the implementation of Brexit. Using the case study of the Suns coverage of the alleged UKs humiliation at the Salzburg meeting (2018) during the Brexit negotiations, the analysis addresses the questions of how and through which linguistic means actors and events were framed discursively in such an article. The findings suggest that The Sun elicited emotions of fear, frustration, pride, and freedom to frame Brexit along a long-established narrative of domination and national heroism. The discourse was also sustained by a discursive prosody in keeping with a satirical genre and a populist register that have often characterised the British tabloid press. In particular the linguistic analysis has shown how antagonistic representations of the UK and the EU were driven by an allegory of incompetent gangsterism and morally justified resistance. Emotionalisation in the article was thus aimed both at ridiculing the EU and at representing it as a criminal organisation. Such framing was instrumental in pushing the newspaper agenda as much as in legitimising and institutionalising harder forms of Brexit with the tabloids readership. Approaching journalist discourse at the intersection of affective, stylistic, and political dimensions of communication, this paper extends the body of literature on the instrumental use of emotive arguments and populist narratives and on the wider historical role of tabloid journalism in representing political relations. between the UK and the EU.

Uściński, Przemyslaw. Parody, Scriblerian Wit and the Rise of the Novel: Parodic Textuality from Pope to Sterne.

Uściński, Przemyslaw. <i>Parody, Scriblerian Wit and the Rise of the Novel: Parodic Textuality from Pope to Sterne</i>.

Առած-ասացվածքների լեզվաոճական առանձնահատկությունները Նշան Պեշիկթաշլյանի երգիծավեպերում

Armenian satirical literature has rich traditions and deep roots. The genre of satire reached its apogee in the 19th – 20th centuries, particularly in the works of such Western Armenian writers as Hagob Paronian and Yervand Otian. Being one of the most brilliant satirists in the Diaspora literature, Nshan Peshiktashlian followed the legacy of the Western Armenian writers.

Humour in Film as a Method of Expression

Living in a social world, we experience feelings and react to others’ feelings as they appear to us. For instance, we have all smiled since we were babies. The first “genuine” social smile typically occurs sometime between weeks 6 and 8, as a response to recognizing someone very special: Mom or Dad (Kail, V., Robert &amp; Cavanaugh, John C., 2019). We see, we are happy, we smile. We are born with the desire to be happy.&#x0D; Humankind has searched for different revelations of happiness, and this is how humour was born. From ancient times to the present day, humour has been an instrument of communication, a social behaviour that is an integral part of mass media and social interaction. Humour provides a reciprocal influence. It is a way to interpret information as well as a specific media that can be used to convey this information. What happens to the media once it is "infected" by humour? Does humour necessarily satisfy the need for entertainment? Can humour have a "serious face"? Is it true that "Humour is always a monopoly of the semi-literate" (McLuhan, 2016)?&#x0D; This essay will explore the above-mentioned topics from the perspective of the humour applied in motion pictures, during the interwar era. It will specifically discuss the genre of satire using as a case study the humour found in Latin America during that time as evidenced in the movie Tararira, the film of Benjamin Fondane produced by Falma Film in Buenos Aires in 1936.

Matters of Empire in American Humor: An Introduction to the Special Issue

Matters of Empire in American Humor: An Introduction to the Special Issue

Matters of Empire in American Humor: An Introduction to the Special Issue

Matters of Empire in American Humor: An Introduction to the Special Issue

Comparing user-content interactivity and audience diversity across news and satire: differences in online engagement between satire, regular news and partisan news

ABSTRACT Normative theory on the functioning of the public sphere requires citizens to actively engage with the information that is provided to them. For a long time, however, the possibilities of user-content interactivity have been limited due to the one-directionality of the traditional mass media. Moreover, a re-occurring question is to what extent less-versus-more entertaining forms of news evoke audience engagement. This study analyzes the user-content engagement on online platforms in response to journalistic content and infotainment; more concretely, we compare whether the satire genre is more likely to evoke user-content interactivity than regular news and partisan news shows. To test our hypotheses, a large-scale data analysis of social media posts by a wide variety of American TV shows on Facebook, YouTube, and Twitter has been conducted. Results demonstrate satire’s potential to encourage user-content interactivity: Satire videos generated (a) more likes and (b) more comments than the clips of regular news. However, we also find that (c) satire videos are related to less controversy, which arguably indicates that satire hampers the exchange of diverse ideas. Compared to partisan news – which shares many features of satire, but often lacks the humor component – satire elicits more likes but less commentary and less controversy.

The democratic roles of satirists

ABSTRACT In the high-choice media landscape, satire has the potential to help news and politics break through information apathy barriers and reinvigorate democratic debate. While scholarly attention to the genre of satire has increased, interest in satirists themselves has been sparse. Using a theory of non-deliberative forms of public discourse and the idea of role conceptions, this study presents an analysis of interviews with Swedish satirists working in broadcasting media. Results showed that being Eye-openers and Questioners – meaning providing alternative perspectives and problematizing societal norms – were the primary contributions of satire, according to satirists. There were differing roles to take on when it came to social bonding and solidarity: Unifier, where the aim was to be bridge-building in a polarized debate, and Divider, where the main focus was to inspire critical thinking and foster independence from consensus. The role elements Reporter, Explainer and Solver were also introduced and discussed.

ORIGIN OF THE TERM "SATIRE" IN FICTION

The article provides an in-depth analysis of the history of the origin of the term satire types of satire, definitions of the term satire in encyclopedias and scientific dictionaries. Representatives of satire in Russian, English and Uzbek literature are also mentioned. The article also includes opinions of famous scholars on satire, as well as their translation into Uzbek. The genre of satire has evolved since ancient times and covered almost all types of fiction. The satirist writers exposed the social events of the period in which they lived with humor and satire. They put the final conclusion on their works to readers themselves. Satirical works delight readers, they are immortal. In ancient Roman literature, Quintus Horace Flaccus, Detsim Junior Juvenile, Menippus Gadarsky elevated satire, while in English literature Daniel Defoe, Jonathan Swift, in American literature Mark Twain left a deep imprint in the hearts of readers with their works. In Russian literature, the works of Nikolai Gogol, Mikhail Saltikov-Shchedrin, Mikhail Zoshchenko further flourished the genre of satire. In Uzbek literature, the first examples of satire appeared in folklore, and later flourished in written literature. In the genre of satire, our ancestors Alisher Navoi, Turdi, Makhmur, Gulkhani, Haziq, Muqimi, Zavkiy created. Hamza Hakimzoda Niyazi, Abdulla Kodiri, Ghazi Yunus, Sofizoda, Gafrur Gulam, Abdulla Kahhor, Said Ahmad, Nemat Aminov, Sadulla Siyoev also contributed the further development of satire. The purpose of the article is to analyze the status of satire as a genre, the system of artistic interpretation of satirical works, the specific artistic expression of the moral and philosophical worldview and the stages of formation and development of this genre, its dynamics and its new forms, comparative-historical, comparative-typological analysis. Theoretical methods were used: comparative analysis, synthesis, comparative induction, deduction, and comparative-historical analysis. In results the genesis of the satire genre, the historical, theoretical and poetic foundations of the satire genre and the stages of its formation were established. The most common types of satire were analyzed. Conclusion 1. The folklore roots of satire and the peculiarities of satirical images in oral folklore have been identified. 2. The problem of the genesis of the genre of satire was considered on the basis of world artistic-philosophical, socio-cultural thinking. 3. The problem of the genre of satire is covered in the comparative literary aspect. 4. The peculiarities of the classification and types of the genre of satire were determined.

A. Averchenko’s works of the emigration period: development of the comic genre

The article examines the elements of the comic and their development in the writer’s works in accordance with changes of mood and life circumstances, clarifies the basic terms in this field of literature, means and methods of creating the comic, the relationship of dichotomous elements of the comic and tragic in his stories, analyses some of the author’s favourite literary images and features of his story. Based on a wide range of subjects of study of A. Averchenko’s works, covering the evolution of his views, mood swings, motives and themes of works – stories and feuilletons, as well as certain periods of creativity, including exile and emigration, the purpose of the article is analysis of scientific reception development of the comic genre in A. Averchenko’s works of the emigration period. It is determined that researchers divide the writer’s work into mainly humorous (pre-revolutionary period) and mainly satirical (postrevolutionary period), by genre varieties – everyday stories and humoresques devoted to the surrounding reality; stories, the plot of which is often created by the author’s imagination (with grotesque, hyperbole, caricature); to create a comic writer skilfully uses appropriate tools and techniques – irony, sarcasm, compositional, descriptive and narrative features; works of this period the context of tragedy is formed, in which the comic acquires other forms – black humour and tragicomic; the genre of satire is developing in his works, which characterizes the new literature. It is concluded that the peculiarities of the scientific reception of A. Averchenko’s works should reveal not only the significance of his works in the general development of literature, not only his place among famous satirists, but also their features within the general problem of small narrative genre, in particular comic poetics stories and feuilletons.

Genre-based tradition of happy ending in Ye. Zamyatin’s Tales

The article deals with Ye.I. Zamyatin tales from the perspective of their compliance with the genre canons of a fairytale. The authors explore the Tales of Fita cycle as well as the tales “The Devourer” and “The Church of God” included in the collection “Big Kids’ Fairytales”. Special attention is paid to the endings of tales; the authors analyze their correspondence to the canons of folklore and literary fairytales formulated by the researchers of this genre: V.Ya. Propp, V.P. Anikin, and I.P. Lupanova. There is a mixture of the fairytale genre with the genre of socio-political satire in Ye.I. Zamyatin’s analyzed works. The authors analyze the plot and stylistic means used by the writer, their compliance with the standard canon. Within the study, the authors rely on the results of existing research in this area and attempt to explore the writer’s work in a new context. Traditionally works in the field of literary research into Ye.I. Zamyatin’s work focus on the dystopian motives and the analysis of political overtones in the writer’s satirical works. At the same time, the genre-related features of Ye.I. Zamyatin’s early works remain poorly understood and require particular academic attention. The novelty of this study consists in the fact that the study is focused on the analysis of the genre structure of Zamyatin’s “tales”. The authors use the method of comparative analysis, problem-logical, functional and systemic methods. The study allows one to determine the degree to which Ye.I. Zamyatin’s tales correspond to traditional plot-related and “formulaic” devices used in the endings of folk and literary fairy tales as well as study the specific features of mixing the genres of fairytale and satire in the famous Russian writer’s works.

Peculiarities of Satirical Reproduction of Travel Adventures in Regional Periodics

The purpose of scientific research is to explore the leading genres of satire and humor, which reproduce travel adventures and which were distributed in the Rivne press in the 1950–80s of the twentieth century. It is determined that the satirical reproduction of travel adventures in the pages of regional periodicals took place. The diversity of topics of travel adventures was revealed on the example of the content of the Rivne region press, the dynamics of the appearance of these texts on the pages of the Rivne newspapers «Chervonyi prapor» and «Zmina» was traced. The most important components of travel in the regional information space, in particular, performed by the traveler-narrator are outlined. It was found that a significant influence on the content of the travel adventure is exerted by the researcher-promoter, clearly expressing his own position.

Sacred History in the Satirical Genre of Soviet Anti-religious Propaganda in 1920s

Sacred History in the Satirical Genre of Soviet Anti-religious Propaganda in 1920s

The origin of satire in Yakut literature

This article is dedicated to examination of the process of conception of satire in Yakut literature. The object of this research is the origin and evolution of satire in Yakut poetry. The subject is the satirical compositions of the founders of Yakut literature A. E. Kulakovsky and P. A. Oyunsky. The goal consists in determination of the role of the first writers in conception and development of satire. Yakut literary studies feature research dedicated to particular authors and works, rather than satire as a whole. Therefore, the relevance of this article lies in the holistic review of satire. The theoretical-methodological framework is comprised of the cultural-historical method, within the framework of which the conception of satire is considered a product of social life and cultural-historical conditions of Yakutia of the early XX century. The work also employs the specific-historical and comparative-typological methods of research. The scientific novelty is defined by the fact that the Yakut literary studies currently do not have a comprehensive and systemic research of satirical genre in national poetry. It is established that the pioneer satire in Yakut literature is the founder of Yakut literature A. E. Kulakovsky, who devoted his works to harsh criticism of the conservative traditions of patriarchal-feudal society, rapacity and inhumanity of the new capitalist relations. Kulakovsky was first to create gallery of the satirical portraits of social nature, such as socially classified images of stingy wealthy man, drunken bourgeois, etc. In the 1920s, the pioneer of Yakut Soviet literature P. A. Oyunsky composed works that of socially charged nature. The poet introduced the following new genres into Yakut literature: fable, pamphlet, and parody. Their works surged public thought and marked the birth of satirical genres in Yakut poetry.

КЫРГЫЗ АДАБИЯТЫНДА САТИРА ЖАНРЫНЫН ӨНҮГҮҮ ТАРЫХЫ

In this article, the author provides an overview of the origin of the genre of satire and humor in literature. Satire as a lyric-epic genre which was originated in the literature of Ancient Rome. In ancient Greek literature, the origin of satire dates back to the II- millennium BC. The development of satire in the Middle Ages continued in the literature of the countries of the East and Europe. In the literature of Western Europe during the Middle Ages, satirical elements can be found in the songs of the Vagant folk poets. 16-17th centuries satirical elements acquire a prosaic and open poetic journalistic nature and are widely disseminated in the writings of writers, working in the directions of romanticism, realism and modernism. In 17-18 centuries in England confrontation between two political parties - Tories and Whigs contributed to the development of the satire genre. 19th century magazine satire tends to feuilleton and contributes to the widespread use of satire in novels and dramas. XX century in the development of Russian satire, the release of magazines plays an important role "Satyricon" (1908-1914), "New Satyricon" (1913-1918).

САТИРА – ЗЕРКАЛО ЖИЗНИ (SATIRE IS THE MIRROR OF LIFE)

The article presents an analysis of various features of satire. Basically, satire reveals the truth that happens in its time around. Culture, painting of different countries are shown not only in his works of art, traditions and customs, but also in humor-satires. Here is the same satire and humor show their mood, aspirations, collapsed, subsiding at different stages of history. The people who joined forces against the unfairness and inequality that arose, hoping for a bright future, managed to provoke their anger and opposition. In the fight against popular mosques against satire. But, not to mention the fact that in Kazakhstan, as in other countries, there was not a single fact, nor that in Kazakhstan, there was not a single fact, nor that in Kazakhstan, there was not a single fact. Satire in the Kazakh steppes began with oral literature. The article clearly fixes the preservation of a certain sequence and formulates the main sub-titles, content, and analyses, taking into account the requirements of today's media. The period of formation of the satire genre is about a century from the magazine " Luk " to the magazine "Ara". In a period of change in a certain social period, in different periods, satire occupies a special place. Including prose, poetic, comedic features of Kazakh satire - in the speech image, word formation of negative moments in the life of a person and society, the ideological elevation of the well-known position of the author. He Satirani arsusda stipulated in the technical school, it's been good to get occurring kapatagan encapsulate contains other clearly. Satire was not built on kelek, but on getting rid of shortcomings.

Considering Ethnic Group Tensions: The Symptomatic Case of French Comedian Dieudonné

This article examines the 2014 case of French comedian Dieudonne and his purported incitement to hatred through his comedy act at the time, which hit national headlines and danced along the line of acceptable speech and making fun of the Holocaust. At the same time, Dieudonne’s comedy appealed to a faction of French society that felt relegated and ignored by the French elite, a sentiment that was furthered by a clash between one religious group that has legal protections in place to protect it from Holocaust denial, versus another group that does not have similar protections in place for Islamophobic acts. This case study demonstrates how Dieudonne tapped into these sensitive areas of cultural life by engaging the communicative genres of humour and satire to draw attention to and toy with making fun of the Holocaust, though his comedy act, Le Mur (The Wall), a silly song about the Holocaust, and an arm gesture called the ‘quenelle’. Using a textual thematic analysis of online newspaper articles collected at the time from Le Figaro and Le Monde, as well as transcripts from ten in-person, semi-structured interviews conducted in Paris with activists, journalists, politicians, a lawyer, and a comedian, what the findings point to is that while Dieudonne appealed to a disenfranchised audience as a ‘provocateur’, he also highlighted how key factions of French society are struggling with inclusivity and a lack of social cohesion in a political context where laicite, the separation of religious life and political life, is sacrosanct.

The Last Serb on a Parade: co-producing the political satire in post-Yugoslav sphere

The 66th Pula Film Festival in Croatia opened with the war-time biopic The General (General, 2019), which chronicles the life of Croatian general Ante Gotovina and his involvement in the Yugoslav Wars during the 1990s. In the following days of the festivals, the audience saw two films that countered the narratives of self-adulation; co-produced with Serbia, both What a Country! (Koja je ovo Država, 2018) and The Last Serb in Croatia (Posljednji Srbin u Hrvatskoj, 2019) utilised the modes of irony and absurd to expose ideological discourses of nationalism and intolerance. Framing the most recent results of transnational co-productions within the Main national programme of the Pula Film Festival, this paper will further examine the interrelation between the co-productions and the genre of political satire in post-Yugoslav cinema, with a focus on the most recent films: Parade (Parada, 2009), and National Hero Lily Vidic (Narodni heroj Ljiljan Vidić, 2015). The intersection of film genres, nation states/cultures and transnational modes of production in the post-Yugoslav sphere will enable us to understand the shaping of the critical constituent of the film process, the post-Yugoslav spectator.

ҚАЗАҚ САТИРАСЫНЫҢ ЗЕРТТЕЛУІ МЕН ЖАНРЛЫҚ ЕРЕКШЕЛІГІ

Key words: genre issues, genre and type, genres of satire, feuilleton, fable