Tradition Of Satire Research Articles

Traditions of Chinese classical literature and Western literature in Mo Yan’s novel “The Republic of Wine”

The article is devoted to the problem of interaction between the genres of Eastern and Western literature, which is an important part of modern literary criticism. In this paper, the interaction of genres is considered on the basis of Mo Yan’s novel “The Republic of Wine” (1992), translated into Russian in 2012 by I. Egorov. The work of the modern Chinese writer is studied in the aspect of “hallucinatory realism”, for its development the author was awarded the Nobel Prize (2012). The article studies the influence of classical Chinese literature genres and philosophy and Western literature on modern Chinese literature, based on the novel “The Republic of Wine” by Mo Yan. The novel of the Chinese writer is analyzed in the context of the world literary process. The article discusses the transformation of motifs and characters of Chinese classical literature in the novel by a modern Chinese author. The main characters of the novel are studied in relation to the plot-forming function they perform, the main of them is the detective one. The plot of the detective story is considered in relation to the satirical tradition. The article presents Mo Yan’s view of the traditions, mentality and lifestyle of the Chinese people. The purpose of the work is to determine the main aspects of the influence of Chinese and Western literature on the work of Mo Yan “The Republic of Wine”. As a result of the study, we describe the plot motifs and images of classical Chinese and Western novels, the ideological principles of Chinese philosophy, which are embodied in Mo Yan’s novel “The Republic of Wine”.

The influence of N. V. Gogol's satire on Sha Yesin's comedy "If I were Real"

The subject of the research in the article is the peculiarities of the influence of N. V. Gogol's satirical comedy "The Inspector" on the work of the Chinese playwright of the XX century Sha Yesin "If I were real". The methods of comparative and structural-semiotic analysis using elements of cultural analysis are used in the work, the method of interpretation of a separate text, the analysis of individual stylistic elements is also used. In this paper, we will be interested in productive reception, which, unlike reproductive reception, is associated with the entry of N. V. Gogol's satirical works as foreign texts into the work of Chinese writers. The novelty of the research lies in the fact that the name of the famous Chinese playwright and screenwriter Sha Yesin and his comedy "If I were Real" are introduced into scientific circulation for the first time in the aspect of the reception of N. V. Gogol's satirical traditions. The peculiarities of the influence of N. V. Gogol's satirical traditions on Sha Yesin's comedy "If I were Real" are due to the internal political situation in China in the 1970s of the XX century and the influence of national traditions of Chinese literature. In this regard, Sha Yesin followed the traditions of Gogol's satire to the extent that it was necessary to express the main idea of the comedy of the Chinese playwright, in connection with the trends of the time that coincided with the ideological content of the "Auditor" – exposing the vices of officials. To solve the set artistic task, Sha Yesin consciously followed the plot of Gogol's comedy, which explains the borrowing of plot techniques from the "Inspector" ("the deceiver involuntarily", "double exposure", "incriminating letter"). Comparison of N. V. Gogol's comedy "The Inspector" and Sha Yesin's play suggests that the reception of Gogol's satire allowed Sha Yesin to create an original comedy that enriched Chinese literature.

Research Review of Dr. Waheed-ur-Rahman Khan’s Humorous Writing in the Humorous Tradition of Urdu

Humor is the beauty of creative literature, which is based on this atmosphere and on the delicate symbols in which it is created. The writer uses Farce to give more meaning and importance to his ideas. If we speak of the origin of the farce in literature, we find its beginning from Ameer Khusro. His work of keh-mukerni, doskhney and Alnamal. Where the elements of humor were created with the use of broken sentences. Through this genre, Sajjad Husain, Ahmad Ali Shoq, etc. used humor as a socio-political critic and tried to develop harmony among civilizations. For Awadh Panch, the era that was of raptures, attacks, and accidents. At this time, we see the line of many poets and prose writers who oppose pessimism and escape and fight these circumstances with satire and humor. But when we see the tradition of satire and humor, we find many famous examples and names in the history of satire and humor. Now, Ali Raza Ahmad and Waheed Ur Rehman are serving in this field. In this article, the comical writings of Waheed Ur Rehman will be critically assessed as a new humorous author in the tradition of Urdu literature.

Research Review of Dr. Waheed-ur-Rahman Khan’s Humorous Writing in the Humorous Tradition of Urdu

Humor is the beauty of creative literature, which is based on this atmosphere and on the delicate symbols in which it is created. The writer uses Farce to give more meaning and importance to his ideas. If we speak of the origin of the farce in literature, we find its beginning from Ameer Khusro. His work of keh-mukerni, doskhney and Alnamal. Where the elements of humor were created with the use of broken sentences. Through this genre, Sajjad Husain, Ahmad Ali Shoq, etc. used humor as a socio-political critic and tried to develop harmony among civilizations. For Awadh Panch, the era that was of raptures, attacks, and accidents. At this time, we see the line of many poets and prose writers who oppose pessimism and escape and fight these circumstances with satire and humor. But when we see the tradition of satire and humor, we find many famous examples and names in the history of satire and humor. Now, Ali Raza Ahmad and Waheed Ur Rehman are serving in this field. In this article, the comical writings of Waheed Ur Rehman will be critically assessed as a new humorous author in the tradition of Urdu literature.

THE IMAGE OF “AN ORDINARY AMERICAN” IN J. UPDIKE’S SHORT STORIES

The article is devoted to the study of the short story genre in the context of the second half of the twentieth century American literature, an attempt is made to show the way of the genre from the form of standard story to so called “psychological sketch”. The short story manifested the national originality of American prose, the peculiarities of the national character and local color earlier and more fully than other forms. It developed the traditions of folk stories, folk humor, and satire. The object of analysis is J. Updike’s short story "Pigeon Feathers", that is concentrated on the middle class problems of American society and the “ordinary Americans”. Updike became an innovator in the short story genre, embodying the best ideas of his predecessors and developing his own ideas of genre diversity. According to both national and American critics, the main stylistic feature of Updike's short story collections is the close connection between them, most of them continuing each other, leaving behind a through plot and a single emotional experience.

Британская сатирическая традиция в романе П. Х. Джонсон «Невообразимый Скиптон»: преемственность и индивидуальность

This article is devoted to the question of the continuity of the satirical tradition of British prose writers of the 19th and 20th centuries. A comparative analysis of samples of satirical novels by individual classics of British literature (Samuel Butler, George Meredith, and Aldous Huxley) is given. A parallel is drawn between the works of Aldous Huxley and Pamela Hansford Johnson, similarities are noted in the formulation of the problem (the relationship between the artist and society), in the images of the main characters. The key point is the analysis of the features of satire by P.H. Johnson on the example of the novel "The Unspeakable Skipton". An assessment of the writer's contribution to English literature is given.

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.

Taking Chardin's Kitchen Maids Seriously

Historically, Jean-Siméon Chardin’s The Kitchen Maid and Return from the Market have been characterized as austere images of middle-class virtue. However, the engravings made after these paintings include verses that place the paintings within the satirical tradition. Thus, there is a misalignment between the canonical interpretation of Chardin’s kitchen maids as virtuous and the satirical understanding of these paintings. I reconcile these two contradictory interpretations by offering a feminist reinterpretation of Chardin’s The Kitchen Maid and Return from the Market, juxtaposing the prints and their satirical verses and considering the female viewer. In my analysis, I focus on small, disquieting details that seem to be out of place in Chardin’s œuvre, the effect of stopped time within these paintings, and the women’s expressions. From these details, I argue that Chardin’s women are neither the one-dimensional figures of domestic bliss nor the comedic stereotype, but rather women with agency, offering a feminist reinterpretation of these canonical works.

Greek Literature

Lucian figured twice in the previous set of reviews, for better (Peter Thonemann's scintillating Alexander, or the False Prophet) and for worse (a posthumous completion of Diskin Clay's True History marred by a slew of editorial errors). Now Joel Relihan has furnished us with a trilogy of Menippean fantasies: Menippus, or The Consultation of the Corpses; Icaromenippus, or A Man above the Clouds; and The Colloquies of the Corpses (Dialogues of the Dead). Relihan's brief reflective Foreword reminds us that his deep and long-cultivated knowledge of the tradition of Menippean satire extends well beyond the Lucian of the second century. A slightly longer General Introduction explains the specific goals and general principles of Relihan's translation. Then each of the three Lucianic texts is given its own (longer and illuminating) introduction, with footnotes providing a modest commentary. It soon becomes clear that Relihan's ideal interlocutor is not Lucian but Menippus the Cynic. Lucian's subordinate status becomes even clearer when Relihan makes reference to ‘Lucian's evolving (in fact, ever more constricted) understanding of the potential of the person, productions, and purposes of Menippus the Cynic’ (xiv, my emphasis). Relihan's seven-page Afterword is still more disparaging: ‘Lucian drained the blood out of Menippus’ (156). His conclusion is that ‘Menippus in Lucian is good for telling Menippus stories but, after a while, Menippus needs to be put in his place and left there’ (159). On the assumption that the Menippus in question is not the Cynic but Lucian's Menippean puppet, I concur. And as I worked my way through the thirty vignettes of The Colloquies of the Corpses I realized that I was confronted with an entirely unexpected phenomenon: Lucianic tedium.

Affiliated Identities in Jewish American Literature by David Hadar

Affiliated Identities in Jewish American Literature by David Hadar Roberta Klimt (bio) David Hadar. Affiliated Identities in Jewish American Literature. Bloomsbury, 2020. 216 pp. $103.50 hardback; $25.95 paperback; $28.76 ebook. "let us start reading novels as paratexts for the author's identity," David Hadar exhorts us in his Affiliated Identities in Jewish American Literature (4). Lest this sound riskily unliterary, or appear to be simply biography by another name, Hadar also clarifies that he intends "identity" in a particular sense: that is, as "public identity," "what people know and feel about [writers], whether it is true or not" (2). The idea of this book, as informed by the sociologist Erving Goffman's work on "social identity and personal identity," is to read literary texts and their paratexts as contributing to the construction of the author's public identity, which itself is a complex of networks that demands to be read as a text in its own right. And this is where Hadar's other key term comes in, since it is his contention that an author's affiliations—that is, their relationships of chosen association, as opposed to filiation, which is strictly familial—are crucial to determining their public identity. Philip Roth's The Ghost Writer (1979) opens Hadar's book and haunts its pages as a prime example of a story of affiliation written by an author who, in more and less subtle ways, sought (and sometimes sought to avoid) affiliation with other authors in shaping his public identity. In pursuit of an authorial identity, the young writer Nathan Zuckerman, The Ghost Writer's protagonist, quite openly, and as Hadar suggests, "rather frantic[ally]" (24), attempts to affiliate with the older writer he admires: E.I. Lonoff. Using Roth as his starting point and touchstone, Hadar explores the techniques of affiliation employed by several other Jewish American authors, including Nicole Krauss, whom he reads especially sensitively. His sociological approach presents a new view of inter-authorial relationships as they are constructed both within and around the literary works themselves and pays attention to the role of the emotions and imaginations of writers and readers in constructing and construing those relationships. [End Page 88] In a particularly persuasive section, "Jewish American Literary Networks beyond English," Hadar offers "a history of the changing ways of identifying as a Jew and the different ways to be a Jewish writer" (61) in America. For early twentieth-century Jewish American authors such as Abraham Cahan, who also edited the Yiddish magazine Forverts (The Forward), there was a more pressing need to affiliate with fellow American authors than to shore up what Hadar calls their already "quite secure Jewish credentials" (66). This would change for second- and third-generation Jewish Americans; Hadar makes a particular study of Irving Howe, who co-edited the first American anthology of Yiddish literature, A Treasury of Yiddish Stories, in 1954, and became somewhat of a gatekeeper to the kingdom of Jewish American literature. Having initially admired Roth and assumed he was "working in the tradition of Jewish self-criticism and satire," Howe famously recanted this in his essay "Philip Roth Reconsidered," where he accuses Roth of having "a thin personal culture." Hadar finds it revealing that, in his dismissal of Roth as insufficiently related to Yiddish and Jewish American forebears like Isaac Bashevis Singer or Bernard Malamud and Saul Bellow, Howe omits to mention Roth's undeniable affiliation with Franz Kafka—thereby denying Roth his strategy of "identification and connection with secular Jewish writers who write in non-Jewish European languages." (For this same reason, Hadar ventures, when Roth met I.B. Singer, he spent most of the time asking him about the Jews who wrote in Polish, not Yiddish.) That Roth nevertheless succeeds in achieving this more secular, vernacular form of affiliation is, Hadar says, "the victory of the writer over the critic" (75). In his third chapter, "The Jewish Writer as an Old Man," Hadar moves from Roth's Exit Ghost (2007), which he reads as paradigmatic of so-called "late style," to Nicole Krauss's The History of Love (2005), a novel that, though written by a thirtyone-year-old woman, nonetheless manages...

Before the political cartoonist, there was the Vidusaka

Political cartooning was one among the many cultural products that colonial rule introduced in India. This British legacy has been used to produce narratives about the nature and history of Indian cartooning. However, these narratives have, invariably, overlooked the distinctly Indian cultural ethos as well as the Indian satirical tradition. The paper proposes an alternative model by positing that in the Indian satirical tradition, the Vidusaka – the comic figure in Sanskrit drama - has been an antecedent to the political cartoonist in terms of the social and political role as well as the nature and purpose of the humour. The paper also locates the principles of caricaturing in precolonial Indian visual arts, and presents the early vernacular cartoons as the point of convergence between the local satirical tradition and the western format of the political cartoon which laid the foundation for a modern yet specifically Indian sensibility

Überlegungen zu Form und Gattung in Hieronymus’ Briefen

Abstract I propose to approach a selection of Jerome’s Letters with the theory of generic modes as established by Alastair Fowler and Klaus W. Hempfer, and with the concept of generic enrichment developed by Stephen J. Harrison. Using these concepts the epistolary genre, which is known for its open nature and diverse forms, can be approached from a shifted aesthetical perspective. My analysis focuses on two exemplary letters. In the first of these two letters, Jerome asks a friend to join him in his ascetic lifestyle in the desert (Hieronymus, Epistula 14). To illustrate the progress of his arguments Jerome employs traditional nautical metaphors and develops a literary celeuma. He does this by turning it into a model for the letter’s form and by extending the epistolary genre through a hymn-like mode. Thus, the author christianises the celeuma and turns it into a hymn. In the second letter, Jerome asks a Christian widow to leave Rome and to join him in Bethlehem (Hieronymus, Epistula 46). The author integrates a satirical mode in some passages that allude to the pagan and biblical traditions of satire. He therefore turns his satirical description into an argument supporting his purpose. Both the hymn-like elements and the satirical passages do not have the complete outer form of the according genres but do rather correspond to the concept of modes. The epistolary genre is therefore extended but not replaced by these modes and gains additional meaning through their integration.

Crazy Funny: Popular Black Satire and The Methods of MadnessLaughing to Keep from Dying: African American Satire in the Twenty-First Century

Crazy Funny: Popular Black Satire and The Methods of MadnessLaughing to Keep from Dying: African American Satire in the Twenty-First Century

Crazy Funny: Popular Black Satire and The Methods of MadnessLaughing to Keep from Dying: African American Satire in the Twenty-First Century

Crazy Funny: Popular Black Satire and The Methods of MadnessLaughing to Keep from Dying: African American Satire in the Twenty-First Century

헛소리의 전염과 치유로서의 풍자: 마리아 에지워스가 본 아일랜드 합병 시기의 영국 제국

Maria Edgeworth’s satire An Essay on Irish Bulls (1802) examines the socially constructed, discriminatory idea of “Irish Bull” to disseminate a fairer understanding of the Irish and thus to seek a true conciliation between England and Ireland after the 1800 Union. This article claims that Edgeworth, who considers prejudice against the Irish a major social ill at the time of the Union, presents her political satire as a means to correct this vice, whereby the imperial defense mechanism against the imagined Irish “contagion” is turned on its head. That is, Edgeworth’s political satire—which on the surface makes fun of the Irish linguistic idiosyncrasy manifest in so-called Irish Bull—makes clear that it is the contagious spread of the prejudice against the Irish, not the increased Irish presence within England, that harms the united English nation. Her satirical portrayal of the English keen to detect, isolate, and expel the Irish “intruders”—unless they prove to be productive members of the English empire—suggests that the prejudiced English are the ones who need to be corrected of their “bull,” and also conjures a link between such discriminatory treatment of the Irish and the antagonizing mechanism that characterizes Victorian narratives of contagion. Edgeworth emphasizes that the English anxiety against the Union and the consequent Irish influx has economic foundations. Accordingly, this article elucidates the essentially economic nature of the imperialist and racist defense mechanism, one that develops into systemic national control over troubles such as contagious diseases and poverty, increasingly associated with the Irish later in the mid-nineteenth century. As this article demonstrates, Edgeworth creatively adopts the 18th-century tradition of satire as medicine to anticipate and criticize the emerging imperial culture of defense, establishing herself as an author who connects the past and the future of the English imagination regarding contagion and Empire in the context of the Irish Union.

“You make everything into a joke”: the forward-looking feminism of Elaine Dundy and Barbara Pym

ABSTRACT This article considers two popular novels of the 1950s, Barbara Pym's Excellent Women (1952) and Elaine Dundy's The Dud Avocado (1958), whose sophisticated comic and satiric techniques exemplify overlooked forms of feminist creative and intellectual labor within the post-war years, while also anticipating contemporary modes of feminist comedy. Though the novels seem at first to reflect common stereotypes around single women, their narrators’ strategic use of self-deprecation and satire undercuts those initial impressions and challenges assumptions regarding not only single women but romance and sexuality more broadly. In addition, Pym and Dundy counter a typical understanding of self-deprecation as uniformly reinforcing a patriarchal view of women, instead offering a new conception of the mode's feminist potential. Finally, by situating these texts within a satiric tradition, my reading expands an understanding of satire to one that better incorporates the historically more subtle and sympathy-driven work of female novelists.

Гумор та сатира у відносинах українського народу і духовенства (історико-джерелознавчий аналіз)

Fundamental differences in the value categories of the Ukrainian people and the clergy have a long history. The specific attitude of the people to the representatives of the elite clerical caste of society in different historical periods had many contradictions. Ukrainians have deep respect for traditional religious cults for a long time, but openly mocked and distrusted church and clergy. At a time of growing anti-feudal popular sentiments, the clergy became an unconditional example of negative social behavior and the embodiment of a rigid state exploitative policy in the people's consciousness. Popular protest manifested itself in satirical and humorous folklore – fairy tales, fables, stories, parodies, jokes. Representatives of the clergy appeared in folklore in the form of greedy priests, prone to drunkenness and brawls, deacons who spent working and free time in the inn and at the gaming table. Folk artists sharply ridiculed the ignorance of priests and their unwillingness to perform their direct duties. The problems of the relationship between the clergy and the peasantry and its coverage in folklore were covered in ancient chronicles, stories, scientific and ethnographic publications of prominent researchers and representatives of the literary elite. In the XIX – early XX century most periodicals paid much attention to the publication of folk tales, jokes, poetic stories. For example, outstanding masterpieces of folk humor were „The Lamentation of the Kiev Monks”, which was first published in 1881 in the magazine „Russian Antiquity” and „Poem about Father Negrebetsky”, which was published in the „Notes of the NTSh” in 1905. humorous works are published in multi-volume books by P. Chubynsky, ethnographic collections by M. Dikaryov, collections by the outstanding philologist B. Hrynchenko, „Notes of NTSh” edited by I. Franko, etc. A large layer of folk anti-clerical humor was preserved in the form of folk jokes, the heroes of which were clumsy priests and uneducated flocks. Folk playgrounds and performances of „merrymakers” and buffoons were perceived by the priesthood as manifestations of demons. They violated the sacred dogmas of the church, and therefore were subject to destruction. But attempts to destroy the satirical and humorous folk tradition led to completely opposite results – laughter became a sharp weapon for the people, able to resist oppression and violence.

О сказке М.Е. Салтыкова-Щедрина «Дикий помещик»

M. E. Saltykov-Shchedrin’s classic fairy tale “Wild Landowner” is considered in two aspects. First, it is viewed from the point of view of satirical tradition in the depiction of the “silly” landowner, which is found in the magazines of N. I. Novikov “Truten” and “Children’s reading for heart and mind.” The article also shows that in his subsequent work, Saltykov repeatedly returns to the intended imagery, which is used not only to denounce noble conservatism, but also in a wider sense.

A Second Way to Read McLuhan’s Footnotes to Innis

Background Marshall McLuhan claimed his work was a footnote to Harold A. Innis. His claims have been used to argue that McLuhan and Innis offer a coherent system of thought, with a systematic methodology and common set of basic assumptions and presuppositions. This article questions that species of argument and looks to deepen our understanding of the McLuhan-Innis relationship. Analysis McLuhan is read as an analogist, and his footnotes (plural) are interpreted as deliberate violations of normative patterns of academic use in the satiric tradition of Thomas Nashe and the Scriblerus Club. Conclusion and implications McLuhan is repositioned apropos of Innis, figures conventionally associated with the Toronto School of Communication Theory and historians who address themselves to the theme of orality and literacy. This article also invites a reconsideration of McLuhan in relation to the digital era, his contributions to epistemology and understanding media.

Satire and The Cambridge Introduction to Satire

Satire and The Cambridge Introduction to Satire