Satirical Journals Research Articles

Analysis of How and Why Stylistic Language Impacts Advertising with a Journalistic Approach

Although the language of journalism is a plain language—with the exception of satirical journalism whose main language is literary—journalists familiar with literature use literary language in advertising; because this language has emotional appeal and also draws the audience's attention toward the "message." In fact, the effective transmission of a message from sender to receiver is a process that requires comprehensive attention to the influential elements involved. Our findings from analyzing journalistic texts show that the highest amount and variety of stylistic devices are employed in "satirical journalism" and after that in "reporting", while we find the least stylistic devices in "news" articles; and those are mostly of the metonymy type. This is because news is a simple, objective and pure recounting of an event, whereas a report is written based on literary arrangement and embellishment, involving depiction and illustration. Overall, metonymy, metaphor, simile, and allusion are the most widely used stylistic devices in journalism; although hyperbole, allegory, and personification also have some applications in journalism.

Mainstreaming and Weaponizing Satire in Nigerian Journalism Practice

Satire has gained increased scholarly traction across journalism and related fields. The genre increases the entertainment value of journalism and broadens its appeal. Satirical news also serves as a catalyst to pique the curiosity of ordinarily disinterested audiences in news, particularly political news. However, there are some concerns emerging from the weaponization of satire in this contemporary period, which is characterised by the proliferation of fake news and misinformation. From the Nigerian context, there have been minimal empirical spotlights placed on satirical journalism. We employed semi-structured interviews to explore the views of Nigerian print satirical journalists and cartoonists. Our finding broadens scholarship in the evolving area of satirical journalism. It demonstrates how the mainstreaming and the weaponization of satire have changed the texture of satire in Nigerian journalism. Although ethical concerns are admitted, we argue that cartoonists and satirical journalists have a responsibility to adjust to the dynamic media ecology, where satire continuously provides insightful critique and entertaining commentaries.

Caricatures, Canards, and Guignols: Satirical Journalism in France from the French Revolution to Fifth Republic

The special status of satire in France is examined historically from the French Revolution to the Fifth Republic. It is argued that satire in France functions with a normative reference to the secular, universalist Jacobin values (hostile to church, aristocracy, and monarchy) that underpinned the foundation of the French Republic. Since the French Revolution, French journalistic satire has, in different ways, perpetrated what can broadly be categorized as either lèse majesté or blasphemy. Given France’s turbulent history over the past two centuries, satire has frequently been used as an instrument to reaffirm the Republic’s values vis-à-vis authoritarian regimes with different characteristics. The symbolic connection between satire and the French Republic’s founding mythology has conferred upon the idiom a special status that endures today. The Fifth Republic, however, has presented a unique challenge to satire because of its authoritarian institutional character with personal power in the hands of the head-of-state. Three case studies are examined: the newspapers Le Canard Enchaîné and Charlie Hebdo and the satirical television program Les Guignols de l’Info. Today satire has found expression on online social networks in the form of memes, gifs, and videos. This marks a shift from satire produced by journalistic elites to more diffused and socially distributed satirical mockery.

Children’s drawings of 1917–1918 in Moscow: From iconography to sociology

The paper demonstrates the possibilities of sociological research on the basis of children’s drawings. The authors analyze drawings made by schoolboys in Moscow during the revolution and the beginning of the Civil War in 1917–1918 in Russia. Using iconography as a research method, the authors examines how political characters are depicted in children’s drawings. The objective is to explore the content of the drawings to establish whether the process of political socialization of younger schoolchildren has begun, and whether the sources of visual propaganda of the time influenced the formation of the political consciousness of children. The presence of the four iconographic attributes of the Bolsheviks in children’s drawings indicates that children distinguished them from other political characters. The authors find that some children formed their own attitude as early as 7 to 11 years of age. In a number of drawings children expressed their opinion to the Bolsheviks, equipping the characters with a complex of traits signifying low cultural level, negatively marked poverty, aggression and unhealthy habits. The study therefore concludes that political socialization in Russia in 1917–1918 began under the significant influence of visual propaganda. The analysis of the drawings by school children suggest that the caricatures published in satirical journals and postcards were capable of exerting a direct influence on the children’s political impressions.

Take No Prisoners Caricature: Nikolai Remizov and the Revolution of 1905

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.

Review of Awake: A Moslem Woman’s Rare Memoir of her Life and Partnership with the Editor of Molla Nasreddin, the Most Influential Satirical Journal of the Caucasus and Iran, 1907-1931 by Hamideh Khānum Javānshir

Review of Awake: A Moslem Woman’s Rare Memoir of her Life and Partnership with the Editor of Molla Nasreddin, the Most Influential Satirical Journal of the Caucasus and Iran, 1907-1931 by Hamideh Khānum Javānshir

Baking from the stockroom and an artistic avocado substitute

Lab-made cookies Oh, crumbs! If someone were to make 25–30 chocolate chip cookies using ingredients sourced entirely from a lab ingredient supplier, it would cost $30,031.70. The discovery and the methodology used are presented in a study written by Cannot Goodenough of Ark Night University in Gaul, Terra, in a recent edition of the satirical Journal of Immaterial Science . In the paper, Goodenough names the lab supplier as Si/g//ma-*ldrich, a thinly veiled reference to Sigma-Aldrich, which goes by the name MilliporeSigma in Canada and the US. While the author’s name and credentials are fictional, the data in the report appear to be on point. Ingredient costs match the prices on MilliporeSigma’s website. For example, five portions of 10 g of whole egg powder required for the recipe would cost $3,920. The most expensive component—for those half baked enough to use Goodenough’s methodology—would be the 1,000 mg of coconut oil,

The socialisation of print culture. Frontier ways of reading that promoted «El Tío Clarín» (Seville, 1864-1867) and «La Campana» (Seville, 1867-1868)

This paper addresses circumstantially the different ways in which the Seville satirical weeklies El Tío Clarín (1864-1867) and La Campana (1867-1868) –the latter replacing the former after its suspension– might have been read. By studying their editorial strategies on the basis of the footprints left by their editors, it is possible to determine how satirical journalism participated in the socialisation of print culture, which developed into informational graphics, despite the paradoxical confluence of three factors: the political instability in the final years of the reign of Isabella II, the tight censorship to which the press was subjected in 1867 and the slow but continuous progress in modernising the publishing market. Based on the combination of satirical cartoons, humour and popular genres, both weeklies made current affairs more accessible through critical reasoning and by appealing to the senses, with revealing indications of the simultaneous ways of addressing such a subject. Textual reading gave way to the graphic kind, reading aloud to doing so in silence, while the spaces in which this occurred, between the public (the street) and the private sphere (the parlour at home), and the collectives involved, namely, women and children, were determined. It was these ways of relating to the two weeklies, established by their readerships, that were behind the popularity of the satirical press before the Glorious Revolution of 1868 and the transition to publication capitalism.

ПУБЛИЦИСТИКА ВИКТОРА СЕВСКОГО В САТИРИЧЕСКИХ ЖУРНАЛАХ «БИЧ», «БАРАБАН» И «НОВЫЙ САТИРИКОН»

The article examines the speeches of the outstanding Don publicist Viktor Sevsky in the satirical magazines “Beach”, “Drum”, “New Satyricon” in 1917. The study reveals the problem-thematic and genre characteristics of V. Sevsky’s journalism in the context of the development of Russian satirical journalism of the revolutionary period. The dynamics is analyzed how the nature of the journalist’s publications changed throughout 1917: from an ironic assessment of certain aspects of the work of the Provisional Government to sarcastic ridicule of the new government, bureaucracy and speculation. The author presents the main antiheroes of V. Sevsky’s satirical journalism, analyzes the techniques of creating satirical images.

The Soviet Image of the USA in Latvian Satirical Journalism of the 1960s: Textual and Visual Code

The Soviet Image of the USA in Latvian Satirical Journalism of the 1960s: Textual and Visual Code

Обличительное направление в русской сатирической журналистике первой половины 1860-х гг.: внешнеполитический аспект

The article is devoted to foreign policy topics in Russian satirical journals of the first half of the 1860s. The author analyzes the historical content of feuilletons and caricatures of the leading satirical magazines of the era “Iskra” and “Zanoza”. The article reveals the historical and cultural origins of the “accusatory trend” in public opinion and the press of Russia at the turn of the 1850s-1860s, the peculiarities of its implementation in relation to the foreign policy aspect. The article compares the radical and moderate trends in the satirical reflection of the phenomena and events of international life.

Mixing “Nonsense with Substance”: Negotiating Satirical and Investigative Journalism Hybrid Genre in Nigeria

ABSTRACT Journalism has witnessed steady transformations over the years. Peripheral actors’ intrusion into the mainstream journalism practice has added extra layers to our understanding of these changes. This study examines the interplay between satirical journalism and investigative journalism in Nigerian setting. The study employs a semistructured interview to evaluate how satirical and investigative journalism genres blend. Through this process, the study interrogates how the hybridity of this genre is negotiated in an African/Nigerian setting. Ten satirists (participants) provided a self-assessment of their production process. The study demonstrates that Nigerian satirical shows such as Pararan Mock News and Keepin it Real with Adeola fill a gap in Nigerian journalism where many news organisations are not critical of the government. This type of satire performs the watchdog role of journalism by calling the powerful to account through humour and jokes. As such, the line between satirical journalism and mainstream journalism keeps blurring. Although satirical journalism is evolving in Nigeria, scholarship in this area should consider it as a genuine source of (political) information and an important form of public sense-making and knowledge production. The taxonomy of satirical journalism emerging from this study includes critical, entertainment, advocacy and investigative satire. In all, this study has established that journalism and comedy practice could blend together in news satire to create a hybrid genre that combines “substance” and “nonsense” to interrogate societal anomalies.

Over Hill and Dale in Pursuit of the Russian Fox

Abstract Jeffrey Brooks’ book The Firebird and the Fox presents a synthetic account of Russian cultural history from the middle of the nineteenth century to the middle of the twentieth. Brooks describes culture as an “ecosystem,” persistent across seeming moments of historical rupture such as the revolutions of 1917, animated by certain overarching thematic concerns, and uniting readers and writers across a broad spectrum of levels of social life, from the newly literate popular masses to the educated elites, and forms of media, from prestigious belles lettres to popular illustrated weeklies, satirical journals and children’s literature. Drawing on the theoretical description of historiographical writing offered by Hayden White, this essay examines Brooks’ book in terms of its formal patterning as a comedic narrative and its poetic basis in the trope of synecdoche, which undergird its analytical efforts to integrate material across seeming historical and social divides.

Czy Alpy są dla turystyki? 150 lat krytyki ruchu turystycznego

The term “tourist” appeared in English in the late eighteenth century and spread to other European languages in the first half of the nineteenth century. The corresponding sector first appeared in German as Fremdenverkehr. Since the 1970s, the neutral, internationally used term “tourism” has become the standard for the mobility industry. The industry is unique and in some aspects unlike any other industry. Foreign buyers of tourist services are not only customers of specific tourism companies, but also guests of tourist regions. They move within an environment created by others and sometimes appropriate the public space of this area, especially by participating in the expansive mass tourism. This has recently led to the emergence of the term “overtourism”. It is associated with a need to reduce the burden of some fashionable tourist regions caused by an excessive influx of tourists. The Alps are one of those regions in which tourism developed as an industry already in the nineteenth century. The number of tourists in this European mountain range — initially especially in Switzerland — grew considerably particularly after 1850. The period was marked by a rapid development of infrastructure in the form of modern forms of transport, accommodation and other services. Tourism became an indicator and factor in civic “progress”. Yet at the same time there appeared voices questioning this development. The author of the present article discusses three examples from various spheres, periods and regions illustrating the history of the growth of tourism in the Alps. The first part is devoted to literature, specifically to a satirical journal of a journey to Switzerland, published for the first time in 1880. The second part deals with science, drawing mainly on the work of a French geographer and her writings from 1956–1971. The third part concerns tourism policy in recent years in a fashionable Austrian village in the Alps.

Gehören die Alpen dem Fremdenverkehr? 150 Jahre Tourismuskritik

The term “tourist” appeared in English in the late eighteenth century and spread to other European languages in the first half of the nineteenth century. The corresponding sector first appeared in German as Fremdenverkehr. Since the 1970s, the neutral, internationally used term “tourism” has become the standard for the mobility industry. The industry is unique and in some aspects unlike any other industry. Foreign buyers of tourist services are not only customers of specific tourism companies, but also guests of tourist regions. They move within an environment created by others and sometimes appropriate the public space of this area, especially by participating in the expansive mass tourism. This has recently led to the emergence of the term “overtourism”. It is associated with a need to reduce the burden of some fashionable tourist regions caused by an excessive influx of tourists. The Alps are one of those regions in which tourism developed as an industry already in the nineteenth century. The number of tourists in this European mountain range — initially especially in Switzerland — grew considerably particularly after 1850. The period was marked by a rapid development of infrastructure in the form of modern forms of transport, accommodation and other services. Tourism became an indicator and factor in civic “progress”. Yet at the same time there appeared voices questioning this development. The author of the present article discusses three examples from various spheres, periods and regions illustrating the history of the growth of tourism in the Alps. The first part is devoted to literature, specifically to a satirical journal of a journey to Switzerland, published for the first time in 1880. The second part deals with science, drawing mainly on the work of a French geographer and her writings from 1956–1971. The third part concerns tourism policy in recent years in a fashionable Austrian village in the Alps.

Triviality, Materiality and Synchronicity in the Lessing Archive

Triviality, Materiality and Synchronicity in the Lessing Archive

Karikatur als Kriegsdienst: Aby Warburgs »neuer Stil zwischen Wort und Bild«, 1914–1918

Abstract This article attempts to throw a light on Warburg’s little-known engagement in political caricature during World War I. Though deemed unfit for military service, Warburg was eager to contribute to the German war effort. Perceiving Allied war propaganda as anti-German lies, he recorded what he considered its half-truths and falsehoods in his Kriegskartothek, or war archive. But Warburg, as indicated by his involvement with the short-lived La Guerra del 1914: Rivista illustrata in the early stages of the war, kept looking for a more active role in influencing public opinion: From privately commenting on the output of the Allied press, he went on to offering his own ideas for political caricatures to leading artists like Olaf Gulbransson and Max Slevogt, and to well-established satirical journals such as Simplicissimus and Kladderadatsch.

Литературные приоритеты Н. И. Новикова

The article examines N. I. Novikov’s testimonials regarding the most prominent Russian writers of his time. In his satirical journals of 1769–1773, he spoke with particular praise about the works of A. P. Sumarokov, giving him obvious preference over M. V. Lomonosov. V. P. Petrov, proclaimed «the second Lomonosov», would often become the subject of his satirical attacks. Later, the critic condemned certain «depraved opinions» by Sumarokov, yet continued to hold in high esteem his literary talent. At the same time, Novikov conducted a continuous polemics with Catherine II’s magazine Vsiakaia Vsiachina, where V. K. Trediakovsky, whose merits Novikov greatly appreciated, was often ridiculed. His historical studies helped him to grasp the general course of development of Russian culture, and in the journal St. Petersburg Scientifi c Gazette for 1777, he paid tribute to each of the writers.

The Birth of the Russian Bear? The Bear Symbol in the Satirical Journals of the Russian Revolution of 1905

The Birth of the Russian Bear? The Bear Symbol in the Satirical Journals of the Russian Revolution of 1905

The Gothic Tradition in Russian and Early Soviet Culture

The Gothic aesthetic first appeared in Russian public discourse and literature in the immediate pre-revolutionary decades. It was deployed in satirical journals of the 1905 Revolutionary period to portray the tsarist regime as an inhuman and demonic force. The prerevolutionary tropes subsequently carried over into posters, satirical magazines, painting, music, and children’s literature in the early Soviet era. Satirical “Gothic laughter” figured in official Soviet propaganda and public discourse. Moreover, critics of the Soviet regime began to apply the Gothic as a tool to critique the despotic excesses of the new era. As Stalinism rose the Gothic, which had become perhaps too suggestive of political opposition, retreated from the mainstream of Soviet cultural life, with the exception of several works of children’s literature. Here it continued to exert influence and expressed the violence and terror of life under Stalin.