Satirical Texts Research Articles

A Socio-Pragmatic Study of Satire in English Political Speeches with Reference to Its Arabic Translations

Satire is a typical mode of expression that is humorously utilized with the intent of attacking or criticizing a certain person, behavior, state, or the whole community. Satire, in political genres, is informatively manifested for materializing negative ends on the part of the satire entity. Satirical expressions are oppositely devised, critically held, and morally targeted; whereof a problematic area would arouse towards the perception of their incongruous targets, the extent of their critical dimensions about their aim of moral reform. Besides, translators would face the dilemma of satirical incongruity and their moral statues would inevitably differ. Thence, five satirical texts with their translations randomly opted from the political site www. The week.com show debates political satire in English with its four renditions in Arabic. Socio- Pragmatic means for unraveling satirical mysteries are objectively culled. It is hypothesized that satire in political language comes with the intent of criticizing and ridiculing the political situation with the aim of getting reform. Bringing forth translational mechanisms for the renditions of covert intents based on cultural and communal grounds are attempted. In conclusion, most of the political satires are hostilely put forward against rather than reforming the political figures and the political situation. Most of the satirical expressions found no accurate renditions in the other language due to their discrepancy and the absence of contextual condition, paralinguistic cues and intonational patterns.

Perceptions of (in)sincerity in satirical discourse: A study of word reading times using minimally different texts.

The present study investigated the relationship between satirical discourse processing and a theoretical model of satire comprehension known as satirical uptake. Word reading times and participant perceptions of sincerity for a set of minimally different satirical and nonsatirical texts were modelled considering individual differences such as need for cognition (NFC) and genre familiarity. Across two experiments, participants read either a mixture of satirical and nonsatirical texts (Experiment 1) or only satirical/nonsatirical texts (Experiment 2), indicating the degree to which they felt the meaning of the text was sincere. Results from both experiments demonstrated satirical texts were read slower than nonsatirical texts. Moreover, longer word reading times were associated with lower sincerity ratings for satirical texts, but only after participants encountered one or more satirical texts. NFC interacted with reading times in Experiment 1 but not Experiment 2, and there were no strong effects for genre familiarity in either experiment. The main conclusion drawn from these results is that successful satirical uptake may require greater processing effort, a result which aligns with theoretical models of satirical discourse as well as the related construct of verbal irony. (PsycInfo Database Record (c) 2023 APA, all rights reserved).

Художественная словесность в русской провинциальной журналистике начала XX века

This article examines the range of real forms and genres of Russian journalism in the early 20th century, in one way or another related to literature, using newspapers from Nizhny Novgorod, Vladimir and Yaroslavl provinces as a case study; Nizhny Novgorod Leaf of 1912–1913 was chosen as the main study material. The study showed the importance of the literary component of the repertoire of a provincial newspaper, the variety of forms of presence of literature, both modern and classical, on the newspaper page. Literature itself is represented in the repertoire by poems, prose miniatures, and stories, often printed with a continuation. Humorous and satirical texts, literary parodies occupy an important place in the newspaper. The main object of critical reflection and parody in 1913 became I. Severyanin and other ego-futurists. Besides, the Leaflet regularly publishes critical and biographical articles, reviews, obituaries, retellings of book market novelties, publications of previously unknown works and memoirs, memoirs, reports on events of literary life. The main heroes of the newspaper of 1912–1913 are Turgenev, Nadson, L. Tolstoy, Gorky (as a famous countryman), Balmont. The main informational occasion for the appearance of literary materials in the newspaper are anniversaries or the publication of interesting books or publications. A significant part of literary publications are reprints from publications in the capital. The newspaper also pays a certain amount of attention to foreign literature, first of all, modern literature; O. Wilde, A. Strindberg, H. Hauptmann, and A. Frans. Particular attention is paid to the prose miniature (poem in prose), a specific newspaper genre characteristic of early twentieth-century periodicals. The large number of articles on literary themes testifies to the general literary centrism of early twentieth-century Russian culture.

Satire and Protest in Putin's Russia ed. by Aleksei Semenenko (review)

Reviewed by: Satire and Protest in Putin's Russia ed. by Aleksei Semenenko Seth Graham Semenenko, Aleksei (ed.). Satire and Protest in Putin's Russia. Palgrave Macmillan, Cham, 2021. xxxix + 197 pp. Illustrations. Notes. References. Index. £109.99; £87.50 (e-book). As its title indicates, this timely and original collection of essays by five authors examines satire as a form of cultural protest in twenty-first-century Russia. The contributions analyse a broad range of satirical texts across media, including stand-up comedy, Internet memes, TV sketch shows and journalistic 'agitainment', the competitive comedy genre known as KVN, rap music, poetry (the 'Citizen Poet' project), queer and camp aesthetics in Russian music and visual culture, street protests and humorous banners ('Monstrations'), and performance and visual art. As Semenenko (editor and author of five of the collection's ten chapters) writes in his Introduction, the book approaches its subject with critical awareness of the two broad, traditional, and purportedly contradictory explanations of political humour's main purpose: 'resistance' (i.e., to effect actual political change) and 'relief' (i.e., to provide a harmless 'safety valve' for otherwise dangerous political hostility). One of the book's strengths is its nuanced scepticism towards this supposed mutual exclusivity. The editor characterizes satirical expression in Russia as 'a process of […] reciprocal confrontation and, in some cases, assimilation and fusion of the mainstream with the opposing tendencies' (p. xix). This proves to be a productive approach, and one that allows the authors to transcend obsolete binaries ('official vs. [End Page 169] unofficial' or 'conformist vs. dissident') that have often characterized the study of cultural production in illiberal and authoritarian societies. Nevertheless, the structure of the book does reflect the dual concepts of 'relief' and 'resistance' acknowledged by Semenenko in the Introduction. Part One is titled 'Satire on a Leash' and Part Two, 'Satire as Protest'. The former includes four chapters — all written by Semenenko — on genres, media and venues that have proven susceptible to partial or complete co-optation and/or censorship by the (Soviet and post-Soviet Russian) state and those supporting the state: stand-up; memes; television satire; and KVN (televised sketch-comedy-team competitions). Semenenko's contextualization of the important recent genre of stand-up (stendap) in the long tradition of Soviet estrada — which also frequented the boundary between the permissible and its opposite — is particularly sharp and relevant. Part Two 'presents five studies of satirical protest that fully or partially managed to escape repression'. The five authors examine the use of satire in music, poetry, street protests, music, and visual and performance art. The chapter entitled 'Transgressing the Mainstream: Camp, Queer and Populism in Russian Visual Culture' by Maria Engström, particularly stands out for its original contribution to the literature not only on satire, but on the state and influence of queer culture in contemporary Russia. Daniil Leiderman's discussion of 'Monstration' — the use of absurd and humorous posters and banners in street protests — convincingly connects the practice to the tradition of Soviet conceptualism, which, he argues, was similarly provocative in its aims. In his Introduction, Semenenko usefully situates the topic of satire in the country's political history, not only pre- and post-Bolotnaia Putinist Russia, but also in the larger context of Soviet culture and its lasting influence. He also acknowledges the methodological difficulties in evaluating the effectiveness of satirical protest, admitting the near impossibility of measuring satire's 'impact on the public' and identifying 'evidence of its influence on public discourse'. In addition, the Introduction places satire alongside other 'modal' or behavioural forms of protest in late- and post-Soviet Russia such as stiob, tricksterism and cynicism, and describes how the state began to exploit these phenomena after the protests of 2011–13 to its own benefit. In addition to its considerable contribution to scholarship on contemporary Russian culture, Semenenko's comparative historical discussion makes it a valuable addition to studies of the place of humour and satire in Soviet culture by such authors as Annie Gerin, Evgeny Dobrenko and Natalia Jonsson-Skradol, and Jonathan Waterlow. This volume also fills a gap in the scholarship on Putin-era culture and cultural politics, which has tended to...

Introduction: The New Campus Novel

IntroductionThe New Campus Novel Matthew Roberson (bio) On first glance, it seems easy enough to define the "campus novel" (which is as often called the academic novel). In many, maybe most cases, it's a comic, maybe satirical text that follows an alienated protagonist (who has, historically, been white and male) mired in and/or bounced around by any number of campus absurdities: department infighting, institutional rituals, budget agonies, bureaucratic nonsense, and so on. More often than not, this life at the college or university is complicated by petty antagonisms and/or romantic entanglements between colleagues, challenges offered by difficult campus characters (who are as likely to be students as professors), and, typically, confusingly shifting campus cultures and climates. Almost always, the conflicts emerging in this mix are vicious, as is often said, because the stakes are so small. Some campus novels have drawn a good bit of attention over the years. One of the first, Kingsley Amis's Lucky Jim (1954), set the stage for the campus novel by following the bumbles of a junior professor trying to make good in a hypocritical academic universe. Another early one, The Groves of Academe (1952), by Mary McCarthy, distinguished itself by offering a large range of campus characters, some of whom are genuinely—and not amusingly—unsavory. Years later, David Lodge's campus trilogy—Changing Places (1975), Small World (1984), and Nice Work (1988)—put the campus novel on an international stage. Don DeLillo's White Noise (1985) turned the campus novel toward capturing and considering a larger American culture and cultural moment. Jane Smiley's Moo (1995) offered a Dickensian sprawl of eccentric and impassioned academics alongside a hefty dose of midwestern American agricultural studies. [End Page 9] here is an incomplete list of notable twentieth-century campus novels not mentioned above: Possession, A. S. Byatt Wonder Boys, Michael Chabon The Rules of Attraction, Bret Easton Ellis Been Down So Long It Looks Like Up to Me, Richard Fariña Pictures from an Institution, Randall Jarrell The War between the Tates, Alison Lurie A New Life, Bernard Malamud Galatea 2.2, Richard Powers The Human Stain, Philip Roth Straight Man, Richard Russo The Secret History, Donna Tartt Stoner, John Williams In the twenty-first century, the campus novel continues to be written and read, and its tendencies have shifted enough that it deserves consideration as the new campus novel, as we're calling it. What distinguishes this new campus novel? For one thing, the new campus novel often centers on the experiences of graduate students, as is the case in several of the books reviewed in this issue: Brandon Taylor's Real Life (2020), Christine Smallwood's Life of the Mind (2021), and Tiphaine Rivière's Notes on a Thesis (2016). Why might this be the case? Is the graduate student experience now so often so extended that it merits treatment by a novel? Has it become more interestingly fraught than before? In the absence of (m)any new assistant professors across the United States, as tenure tracks dry up and up and up, has the graduate student become the more prominent downtrodden outsider trying to make it in academia? At the least, it seems likely that graduate students are prominent in the new campus novel because they more often represent new perspectives and identities in an institutional arrangement of tenure in which players, frankly, don't turn over with any great frequency. It's not in the bulge of established academics that we'll find many younger people, not to mention persons of [End Page 10] color, or find as many open differences in sexual and gender identities. It's in books like those by Taylor and Smallwood and Rivière that we see these points of view and their particular challenges represented—and not always with the traditional turn toward a comedic relief valve. Taylor's book, for example, is grimly serious, even stark sometimes (and, most atypically for this tradition, features a main character in the sciences, not the liberal arts). Even in those new campus novels where the central players are still professors (and administrators and campus staff), the hierarchies have changed; after all...

Modeling Satirical Uptake Using Discourse Processing Methods

ABSTRACT Informed by a theoretical model of satirical uptake, this study investigated processing behavior and comprehension of satirical news articles. Reading times for segments of minimally different satirical and non-satirical texts were collected using within-subjects (Experiment 1) and between-subjects (Experiment 2) designs. Segment reading times and participant familiarity with news genres were used to predict ratings of sincerity, humor, and agreement, as well as manually coded comprehension scores for the satirical texts. In both experiments, text perceptions were significantly different for satirical (vs. non-satirical) texts, with some processing differences observed in Experiment 1. Further results from Experiment 1 included no effects for segment reading times on text perceptions or comprehension scores but did include effects for genre familiarity on text perceptions. Experiment 2 results indicated slower reading times were associated with higher perceptions of sincerity and lower chances of satire comprehension, suggesting effortful processing is a marker of failed satirical uptake.

“This does not interest the court!”: the 1966 Soviet Satire Trial and its persistent legacy

Abstract Soviet writers Yuli Daniel (aka Nikolay Arzhak) and Andrey Sinyavsky (aka Abram Tertz) published several satires anonymously in capitalist countries during the Cold War. In 1965 both writers were arrested in the Soviet Union and they were put on trial in February 1966. They were charged under Article 70 of the Penal Code that criminalized libel and defamation of the state and agitation with the aim of undermining or weakening the state. Sinyavsky was sentenced to seven years in a labor camp and Daniel was given five years. This trial’s controversial discussions about authorial opinions and intentions and the complex relationship between satire and social reality remain highly relevant today. This article presents seven contradictions and ambiguities inherent to satire in order to disentangle different arguments and viewpoints in their context. The reception of satirical texts is complicated by issues surrounding ethics and violence, seriousness and non-seriousness, truth and fiction, ambiguous or dubious empathy, morality, political content in non-political texts, and the use of a fictional persona. The vagueness and in-betweenness of satire can pose a challenge to environments averse to ambiguity, as was the case in this Soviet trial, but also in similar cases until today.

«ВОЗВРАЩАЕТСЯ МУЖ ИЗ КОМАНДИРОВКИ»: ДИСЦИПЛИНАРНЫЕ ВЗГЛЯДЫ НА СУПРУЖЕСКУЮ ИЗМЕНУ В АНЕКДОТЕ

This research proposes sociological, linguistic, folklore (psychoanalytic and structuralsemiotic) approaches to the analysis of the contemporary anecdote about adultery. Academic interpretations of satirical texts are quite different, but they allow us to explain the popularity and cultural reproduction of anecdotes about married life, gender stereotypes, the reasons for the women demonizing and men derision, as well as the modern specifics of a joke and recreation of its laughing effect. However, the viability of such stories about female infidelity is connected not only with the communicative situation. The article also analyzes the unified structure of the plot, developing around a trick, and the connection between medieval fabulous stories about “women’s tricks” and modern jokes with a typical beginning “the husband returns from a business trip”. Such anecdotes often use the same plots with a trick, motifs and formulaic beginning, as well as anecdotal stories about women’s cheating. In a contemporary joke, there is no explicitly pronounced didactics and morals, but it has some similarities with fabulous stories – exposure of its fictional status, formulaic beginning, plotting caused by tricks and savvy of characters, comic denouement and laughing effect.

De esthetica van het boertige en het kluchtige

This article argues for a new approach to early modern Dutch humour. Where existing research on this topic usually focuses on either the social practice of laughter or specific comical genres like farce, this new approach puts the aesthetics of humour upfront. Looking at humour aesthetically means that one departs from the formal existence of comical texts, and asks how aspects like rhetoric, structure and style make a text humorous within a given context. When applying this approach to the early modern Dutch situation, the first conclusion is that what we today call humour is best captured by the terms “boertig” and “kluchtig”, which back then had a much broader and more neutral meaning than in contemporary Dutch. The second conclusion is that this humorous form – “het boertige en het kluchtige” – in and of itself generates certain (ideological) meanings, which is demonstrated by an analysis of the satirical text De menuet en de dominees pruik (1772) by Elisabeth Wolff.

САТИРИЧНО-ГУМОРИСТИЧНІ ТЕКСТИ УКРАЇНСЬКОЇ БЛОГОСФЕРИ ЯК ІНСТРУМЕНТ ВІДТВОРЕННЯ ДІЙСНОСТІ

<p><strong><em>The purpose </em></strong><em>of the study</em><em> is to characterize satirical and humorous texts of the Ukrainian blogosphere as a tool for representation of reality and manifestation of citizen journalism.</em></p><p><strong><em>Research methodology</em></strong><em>. To study the blogosphere a set of methods was used: method of analysis and synthesis, systematization of data and data interpretation. A revision of the literature on the creation of satirical and humorous effect in the blogosphere was made, it was considered scientific publications about blogs, their place in the public information space and their usage as a tool for representation reality. Content on YouTube was used for the analysis, in particular, channels that present satirical and humorous texts of the national segment on the analyzed platform. An online poll was conducted in order to identify popular blogs. The interpretative method demonstrated the dependence of satirical and humorous texts about social issues on the current political situation in the country and the author’s subjective assessment of the occurring events.</em></p><p><strong><em>Results. </em></strong><em>Based on the analysis of the scientific literature, the characteristics of the blog as an image of reality and a means of reality representation are highlighted. Popular satirical and humorous blogs are outlined, their functions and ways of creating a comic effect are characterized and justificated. The blogosphere in the media system is a powerful element of communication and an instrument of conveying information. Through the wide involvement of recipients blogosphere creates stereotypes, instructions, prejudices in society, as well as reduces or increases social tension. Satirical and humorous texts are important channel for transferring information from the author to the audience and at the same time a means of communication between the recipients themselves. Bloggers are able to involve the audience in communication, as well as to make informational, emotional impact through their texts. Therefore, it is necessary to understand the crucial importance of the blogosphere for consumers of content, including satirical and humorous. The study identified the dominant functions of popular satirical and humorous blogs by Alexei Durnev, BAMPER TV, Michael Schur Toronto Television on YouTube video hosting and outlined the actual component of the analyzed texts.</em></p><p><strong><em>Practical significance. </em></strong><em>The results of the study can be used in the process of working on courses in «Journalism» in the study of applied social and communication technologies; formation of competencies related to the creation of effective texts in social media, as well as media practices for understanding the tools of reality representation in the modern information space.</em></p><p><strong><em>Key words: </em></strong><em>blog, blogosphere, satirical and humorous text, reality, citizen journalism.</em><em></em></p>

COMIC GENRES IN LEONID LISOVSKY’S CHAMBER AND VOCAL WORKS: STYLISTIC ASPECT

Statement of the problem. Leonid Lisovsky (1866–1934) is the Ukrainian and Russian composer, conductor, pianist, ensemble player, teacher, music critic, editor of musical works, translator, musicologist. He is the author of over 300 works in various genres, among which an important place belongs to compositions of comic genre. L. Lisovsky was very well known in his lifetime, but later he was completely forgotten. The relevance and scientific novelty of the research is determined by the necessity to study the person and creative heritage of the famous artist. The purpose of the offered research is to reveal the ways of creation of comic musical characters in L. Lisovsky’s chamber-vocal compositions and to identify stylistic peculiarities of this works. Cultural-historical, theoretical, musical-analytical, structural and systematic research methods were used when the history of Lisovsky’s chamber-vocal compositions were studying, the key principles of comic in music were identifying, the works of the composer were analyzing and their genre and style features were revealing. The results of the researches by O. Solomonova, B. Borodin, O. Freidenberg, I. Gendler on issues of the laugh culture and I. Gorbunova who viewed the comic genres in Ukrainian music were used as methodological basis for our study. Works by I. Trofimov and others are used for contextual analysis, as well as the studies of S. Koltysheva, M. Rzhevska and A. Litvinenko, where the person of L. Lisovsky presented in the biographical aspect. Results of the research. Based on abovementioned scientific sources, the principles of embodiment of the comic by the ways of musical art were highlighted. Some chamber and vocal works by L. Lisovsky were analyzed, such as the Suite for baritone and bass cantando “At the Bailif’s Gate” (words by O. Tolstoy), comic Romance for tenor and baritone “TheCuckoo and the Rooster” (words by I. Krylov), the fable “Woman” (words by K. Kropyva) and the vocal cycle “Four jokes by Alexander Pushkin”. The peculiarities of the composer’s reading the literary stories were disclosed. L. Lisovsky’s enthusiasm for satirical poetic texts in the works of the early period and especially in the 1920s were revealed. Conclusions. L. Lisovsky’s turn to the comic chamber vocal works becomes his response on the social and economic hardships and promotes to regeneration of his creative forces in the important periods of his life. For implementation of the comic poetic texts by musical resources L. Lisovsky uses the genre mixes. The comic imaginative and emotional spectrum in chamber and vocal music lengths from good humor to bitter satire. The composer uses romantic, late romantic and impressionistic stylistic peculiarities to create musical characteristics.

Satire from a far-away land: psychological distance and satirical news

ABSTRACT Satirical news and its effects on outcomes such as appreciation and persuasion have gained considerable currency as a topic of research in mass communication studies. Through the framework of construal level theory, we investigated whether different levels of spatial distance influence these effects. In a between-subjects experiment, participants in the United Kingdom (UK; n = 282) and New Zealand (NZ; n = 370) read a satirical or non-satirical news text summarizing a study reporting on the negative impact of increased digital device screen time on young children. Depending on condition, the texts referred to entities and locations in either the participant’s own country (spatially close) or a foreign country (spatially distant). Results showed significant main effects of satirical news on audience perceptions, emotions, and attitudes. While there were no significant interactions between article type (satirical vs. regular news) and spatial distance (close vs. distant), our results indicated that satirical news was associated with higher perceptions of spatial distance for both the UK and NZ participants as well as higher perceptions of social distance for the NZ participants. Exploratory indirect-effects analyses found several indirect effects of satirical news through increased perceptions of spatial and social psychological distance on audience emotions, text perceptions, and attitudes. We take these results as initial evidence suggesting spatial and social distance are potential variables to consider in future investigations of satirical news.

Satire or Fake News – A Hard-to-Spot Difference

The article presents the results of an empirical study based on data from a written exam among 85 second-year students of Journalism at the Faculty of Journalism and Mass Communication of the St. Kliment Ohridski University of Sofia. The study aims to illustrate the approaches and strategies used by students in dealing with a specific media message and, particularly, the possibility of satirical news-like texts to be perceived as fake news. Nearly 70% of the students defined a publication on a website called “No! News” as fake news, even though it is a well-known satirical website. The article discusses the students’ views on the concept of fake news, as well as differences between satire and fake news by making comparisons with existing research on the subject.

Politics and government in the “Hindi heartland” India: reading Raag Darbari

ABSTRACT The paper reflects on how feudal, caste-ridden and corruption-infested rural India had its first brush with the newly introduced democratic and governmental administrative institutions, culture and practices, much of the latter inherited from the late colonial times. It does it by visiting Shivpalganj, a fictious village in the “Hindi heartland” region, as depicted in the celebrated novel Raag Darbari, published more than five decades ago. Reading the satirical text shows vividly how the institutions were subverted by the local politics that was infested by factionalism, corruption and patronage. It also exposes the misconception that the bureaucratic “system” inherited from the British raj could be “adapted” for very different purpose of facilitating development and welfare than for what it was set up originally. The essay argues that despite significant social, political and economic transitions that have taken place over the last five decades, one finds a great degree of similarity in the way the “system” continues to work in the region which still in many ways represents “most of India.” It looks into the possible explanations for the continuity and change, if any.

La mode féminine de la seconde moitié du XIXe siècle dans la caricature iconographique et littéraire

L’article analyse la relation entre la caricature et la mode à partir de quelques exemples de la satire visuelle et textuelle de la seconde moitié du XIXe siècle. La période est propice à la caricature de mode car, tout en reflétant les transformations politiques, économiques et sociales du temps, les tendances vestimentaires prônées à l'époque par les périodiques de mode reposent sur l'exagération et la déformation, qualités qui sont aussi les armes des humoristes. La première partie examine la représentation graphique du costume féminin, avant tout celle de la crinoline-cage, et les significations véhiculées par ces images railleuses. La seconde se concentre sur les fragments de La Comédie de notre temps (1874-1876) de Bertall, consacrés à la mode et au vêtement, et cherche à définir l'image de la femme et sa place dans la société bourgeoise en pleine mutation.

The President and the viper

Applying conceptual blending theory, the paper analyses the construction of the meaning of a satirical text ridiculing the language employed by politicians to frame the debate on current political and social issues. In particular, it focuses on the language used by Donald Trump in explaining his anti-immigration stances through a poem based on the fable about the farmer and the viper, and a satirical text providing a new version of the poem, which criticizes Trump’s immigration policy. The paper examines the creation of the humorous meaning of the text in conceptual blending. The humorous meaning is created in the blended space due to the unusual combination of related structures, which results in incongruity (Coulson 2002; Marín-Arrese 2003). Furthermore, as blending can be used as a rhetorical tool influencing the audience to change the reality and even act upon it (Coulson 2006; Coulson & Oakley 2006; Coulson & Pascual 2006; Oakley & Coulson 2008), the analysis of the construction of the meaning of the satirical text as a product of conceptual blending can reveal rhetorical and argumentative goals in political discourse.

Escritoras monjas. Autoridad y autoría en la escritura conventual femenina de los Siglos de Oro

Escritoras monjas. Autoridad y autoría en la escritura conventual femenina de los Siglos de Oro

Satire identification in Turkish news articles based on ensemble of classifiers

Social media and microblogging platforms generally contain elements of figurative and nonliteral language, including satire. The identification of figurative language is a fundamental task for sentiment analysis. It will not be possible to obtain sentiment analysis methods with high classification accuracy if elements of figurative language have not been properly identified. Satirical text is a kind of figurative language, in which irony and humor have been utilized to ridicule or criticize an event or entity. Satirical news is a pervasive issue on social media platforms, which can be deceptive and harmful. This paper presents an ensemble scheme for satirical news identification in Turkish news articles. In the presented scheme, linguistic and psychological feature sets have been utilized to extract the feature sets i.e. linguistic, psychological, personal, spoken categories, and punctuation . In the classification phase, accuracy rates of five supervised learning algorithms i.e. naive Bayes algorithm, logistic regression, support vector machines, random forest, and k-nearest neighbor algorithm with three widely utilized ensemble methods i.e. AdaBoost, bagging, and random subspace have been considered. Based on the results, we concluded that the random forest algorithm yielded the highest performance, with a classification accuracy of 96.92% for satire detection in Turkish. For deep learning-based architectures, we have achieved classification accuracy of 97.72% with the recurrent neural network architecture with attention mechanism.

Włochy w polskiej satyrze politycznej w latach 1945–1955

The aim of the paper is to analyze the presence of Italian issues in Polish leftist satirical discourse during the first ten years after World War II. The study is based on two satirical magazines published in Poland in this period, “Szpilki” and “Mucha”, and includes satirical texts and drawings.

From classic political cartoons to memes in Romanian satirical news

This paper aims at showing how both classic political cartoons and memes are used by Romanian satirists to point out the social and political shortcomings within the Romanian society. This type of humour is equally used by satirists, along with satirical texts, to criticize politicians’ lack of responsibility, but also the lack of activism of their readers. This analysis of both classic cartoons and memes in three Romanian satirical news websites (timesnewroman.ro, academiacatavencu.ro and catavencii.ro) will be made following the six humour knowledge resources (Attardo 2001). This way, I will be able to show how humour gets created differently in political cartoons and memes, even though their final purpose is the same: criticize and make people laugh. I will be discussing about their differences in terms of their construction, the decontextualization and recontextualization process, the incongruity-resolution and nonsense humour and the use of texts, to maximize images’ message, in balloons, captions or titles.