Zeitschriftenartikel: „New Zealand Political satire“

1

Pearson, Sarina. „Pacific camp: satire, silliness (and seriousness) on New Zealand television“. Media, Culture & Society 27, Nr. 4 (Juli 2005): 551–75. http://dx.doi.org/10.1177/0163443705053976.

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2

McRae, Andrew. „Political Satire in Early Stuart England: New Voices, New Narratives“. Literature Compass 1, Nr. 1 (Januar 2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00038.x.

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3

Emmerson, Rod. „The New Zealand mosque massacre: 1. The heartache, turmoil and absolute dread of Port Arthur“. Pacific Journalism Review : Te Koakoa 25, Nr. 1&2 (31.07.2019): 13–17. http://dx.doi.org/10.24135/pjr.v25i1and2.495.

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Commentary: The Port Arthur massacre of 28-29 April 1996 was a mass shooting in which 35 people were killed and 23 wounded in Port Arthur, Tasmania, Australia. The gunman pleaded guilty and was given 35 life sentences without possibility of parole. Fundamental gun control laws within Australia followed. The Christchurch mosque massacre of 15 March 2019 involved two inner city mosques in the South Island city when 50 people were killed (another victim died six weeks later taking the death toll to 51) were killed. The accused gunman, a white supremacist, has been charged with 51 murder and 40 attempted murder counts, and also with terrorism. The author, a leading cartoonist, reflects on the parallels and contrasts between Australia and New Zealand and writes of the vitriol directed at him because of his satire: ‘My effigy was hung in a tree in Ipswich, and we lived daily with the threat of a drive-by attack on the family home. This sort of stuff rattles you to the core, but it also fills you with the adrenaline and conviction to barge on regardless. Such is the power of the pen and satire.’

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4

Maulida, Lailatul. „Reformasi Gagal Total, Kawan!: A Stylistics Study of Political Satire in Eka Kurniawan’s Corat-coret di Toilet“. Aphorisme: Journal of Arabic Language, Literature, and Education 1, Nr. 1 (04.04.2020): 54–64. http://dx.doi.org/10.37680/aphorisme.v1i1.321.

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This paper aims to discuss and analyze political satire in Eka Kurniawan's short story titled Corat-coret di Toilet. By applying descriptive qualitative research as well as stylistics approach, researcher then reading the whole text of the short story, analyzing the political satire, and taking notes the sentence related to political satire inside. Found that there are nine sentences of satire in the short story that refer to political satire that was written by some students on the campus toilet's walls against the situation of the government in the year of 1990s where the freedom of conveying aspirations is tightly limited. The ubiquity of political satire in this short story builds critical thinking on the readers and also stimulates them intensely to be able to interpretatively understand what is meant by the political satire, the relation of those political satires with the political and social condition in Indonesia, specifically in the end of New Order and the beginning of reform era. Finally, the political satire in Corat-coret di Toilet reflects legal and social injustice in Indonesia. Nevertheless, Kurniawan's work able to persuade the readers with a sense of humor, sadness, anger and the truth of the Indonesian situation, to understand and care more about social and government phenomena in their own country.

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5

Abbas, Yasir, und Akhtar Aziz. „Satire as Counter-Narrative Criticism of USA in Twenty-first Century Pakistani Televisual Political Satire“. Academic Journal of Social Sciences (AJSS ) 4, Nr. 3 (16.11.2020): 540–50. http://dx.doi.org/10.54692/ajss.2020.04031085.

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The study observes that in the early twenty-first century different Pakistani comic televisual political satire shows started discussing current affairs and international relations. The United States of America remains one of the main targets of Pakistani televisual satire in the new century. The research finds that Pakistani televisual satire effectively exposes the flaws of the US foreign policy. Pakistani televisual satirists are very critical of America’s exploitative neocolonial enterprise. The satire among other things condemns America’s anti-Islam narrative and Islamophia; invasion of other nations and violation of their sovereignty; lust for oil and power; utilitarian foreign policy; and false pretexts for the war on terror. The research analyses the relevant satirical content of two of the representative shows. The study argues that the twenty-first century Pakistani televisual satire may be regarded as a counter-narrative. Additionally, the study uses Arthur Asa Berger’s classification of humour (1993) to explain the devices behind the satire making it effective. In this way, the study highlights the literary merit of Pakistani televisual satire. The research proposes that Pakistani televisual satire may be acknowledged as a subgenre of political satire.

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6

Vowles, Jack. „New Zealand“. European Journal of Political Research 41, Nr. 7&8 (Dezember 2002): 1041–46. http://dx.doi.org/10.1111/j.0304-4130.2002.00061.x.

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7

Vowles, Jack. „New Zealand“. European Journal of Political Research 42, Nr. 7-8 (Dezember 2003): 1037–47. http://dx.doi.org/10.1111/j.0304-4130.2003.00132.x.

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8

Vowles, Jack. „New Zealand“. European Journal of Political Research 32, Nr. 3‐4 (Dezember 1997): 451–61. http://dx.doi.org/10.1111/1475-6765.00061.

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9

Vowles, Jack. „New Zealand“. European Journal of Political Research 40, Nr. 3-4 (02.05.2003): 370–74. http://dx.doi.org/10.1111/1475-6765.00061-i2.

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10

Vowles, Jack. „New Zealand“. European Journal of Political Research 34, Nr. 3-4 (02.05.2003): 475–83. http://dx.doi.org/10.1111/1475-6765.00061-i3.

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11

Vowles, Jack. „New Zealand“. European Journal of Political Research 41, Nr. 7-8 (Dezember 2002): 1041–46. http://dx.doi.org/10.1111/1475-6765.00363-i1.

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12

Vowles, Jack. „NEW ZEALAND“. European Journal of Political Research 22, Nr. 4 (Dezember 1992): 479–84. http://dx.doi.org/10.1111/j.1475-6765.1992.tb00337.x.

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13

Vowles, Jack. „NEW ZEALAND“. European Journal of Political Research 24, Nr. 4 (Dezember 1993): 505–13. http://dx.doi.org/10.1111/j.1475-6765.1993.tb00405.x.

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14

Vowles, Jack. „NEW ZEALAND“. European Journal of Political Research 26, Nr. 3-4 (Dezember 1994): 375–87. http://dx.doi.org/10.1111/j.1475-6765.1994.tb00461.x.

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15

Vowles, Jack. „NEW ZEALAND“. European Journal of Political Research 28, Nr. 3-4 (Dezember 1995): 437–42. http://dx.doi.org/10.1111/j.1475-6765.1995.tb00510.x.

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16

Vowles, Jack. „NEW ZEALAND“. European Journal of Political Research 30, Nr. 3-4 (Dezember 1996): 421–28. http://dx.doi.org/10.1111/j.1475-6765.1996.tb00697.x.

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17

VOWLES, JACK. „NEW ZEALAND“. European Journal of Political Research 36, Nr. 3-4 (Dezember 1999): 473–81. http://dx.doi.org/10.1111/j.1475-6765.1999.tb00727.x.

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18

Vowles, Jack. „New Zealand“. European Journal of Political Research 38, Nr. 3-4 (Dezember 2000): 470–80. http://dx.doi.org/10.1111/j.1475-6765.2000.tb01156.x.

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19

VOWLES, J. „New Zealand“. European Journal of Political Research 43, Nr. 7-8 (Dezember 2004): 1093–98. http://dx.doi.org/10.1111/j.1475-6765.2004.00205.x.

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20

VOWLES, J. „New Zealand“. European Journal of Political Research 44, Nr. 7-8 (Dezember 2005): 1134–39. http://dx.doi.org/10.1111/j.1475-6765.2005.00277.x.

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21

VOWLES, JACK. „New Zealand“. European Journal of Political Research 45, Nr. 7-8 (Dezember 2006): 1207–20. http://dx.doi.org/10.1111/j.1475-6765.2006.00677.x.

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22

VOWLES, JACK. „New Zealand“. European Journal of Political Research 46, Nr. 7-8 (Dezember 2007): 1049–54. http://dx.doi.org/10.1111/j.1475-6765.2007.00750.x.

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23

EDWARDS, BRYCE. „New Zealand“. European Journal of Political Research 47, Nr. 7-8 (Dezember 2008): 1079–88. http://dx.doi.org/10.1111/j.1475-6765.2008.00803.x.

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24

EDWARDS, BRYCE. „New Zealand“. European Journal of Political Research 48, Nr. 7-8 (Dezember 2009): 1052–66. http://dx.doi.org/10.1111/j.1475-6765.2009.01865.x.

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25

EDWARDS, BRYCE. „New Zealand“. European Journal of Political Research 49, Nr. 7-8 (17.11.2010): 1102–12. http://dx.doi.org/10.1111/j.1475-6765.2010.01966.x.

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26

McClennen, Sophia A. „Trump’s Ironic Effect on Political Satire“. Film Quarterly 75, Nr. 2 (2021): 27–37. http://dx.doi.org/10.1525/fq.2021.75.2.27.

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This essay analyzes how the presidency of Donald Trump presented a challenge to satirists. It argues that the ironic complexities of the Trump figure itself created an unusual situation for satire, one which required it to adapt and change in novel ways. Because Trump was both absurd and terrifying, because he was both parody and credible threat, he created a unique situation for satirists, one where many of the common tools they carry in their comedic toolkit didn’t work. Satirical irony of Trump was not a matter of irony everywhere or ironic post-truthiness; when Trump satire was at its best, it worked in two competing, yet intertwined, representational directions because it was at once a return to sincerely using irony to reveal the truth while also using irony to reveal that reality had become grotesquely and ironically absurd. This essay explores two key examples of this new satirical aesthetic, Sarah Cooper’s interpretations of Trump and Jimmy Kimmel’s use of satire to defend democracy.

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27

Lamare, James W., und Thomas W. Milburn. „Political Psychology in New Zealand“. Political Psychology 11, Nr. 3 (September 1990): 607. http://dx.doi.org/10.2307/3791667.

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28

Roberts, Nigel S., Pat Walsh und John Sullivan. „Political Tolerance in New Zealand“. Australian and New Zealand Journal of Sociology 21, Nr. 1 (März 1985): 82–99. http://dx.doi.org/10.1177/144078338502100105.

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29

Boston, Jonathon. „NEW ZEALAND“. Australian Journal of Public Administration 47, Nr. 2 (Juni 1988): 194–202. http://dx.doi.org/10.1111/j.1467-8500.1988.tb01059.x.

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30

Ferrari, Elisabetta. „Fake accounts, real activism: Political faking and user-generated satire as activist intervention“. New Media & Society 20, Nr. 6 (21.09.2017): 2208–23. http://dx.doi.org/10.1177/1461444817731918.

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In this article, I explore user-generated political satire in Italy by focusing on fake political accounts. By fake accounts, I refer to humorous social media accounts that satirize a politician or a political organization through impersonation. I investigate political faking and user-generated satire as an activist intervention. Through in-depth interviews, I explore the motivations and the relationship with Italian politics of a sample of fake account creators. The results show that most of the satirists interviewed here consider satire as a form of activism and even those who do not, still recognize the subversive nature of satire. Furthermore, a majority of the interviewees have complex biographies of activism that predate the creation of the fake accounts. For a smaller number of them, the fake accounts have also provided new possibilities to engage in activism away-from-keyboard (AFK).

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31

Yufi Safwan Fajar. „FENOMENA BAHASA SATIRE DALAM MEME DI MEDIA SOSIAL“. Sinar Dunia: Jurnal Riset Sosial Humaniora dan Ilmu Pendidikan 1, Nr. 4 (05.12.2022): 52–61. http://dx.doi.org/10.58192/sidu.v1i4.223.

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

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32

Keall, Robert D. „New Zealand“. American Journal of Economics and Sociology 59, Nr. 5 (November 2000): 417–38. http://dx.doi.org/10.1111/1536-7150.00108.

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33

Mifdal, Mohamed. „Digital politics on Facebook during the Arab Spring in Morocco: Adaptive strategies of satire relative to its political and cultural context“. European Journal of Humour Research 4, Nr. 3 (15.10.2016): 43. http://dx.doi.org/10.7592/ejhr2016.4.3.mifdal.

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When the Arab Spring began, a growing number of Moroccan Facebookers flaunted their dissent in the face of the regime and used subversive satire to question its legitimacy or push for more freedoms. However, this expression in the form of satire waned after the situation became settled and the satirists had to adjust their satire to the new political reality. This article explores the adaptive strategies of satire in a repressive context during settled and unsettled periods. By scrutinizing satiric posts on Facebook for over four years, I argue that satire, as critique and resistance, adjusts itself to the context, either by taking advantage of increased political space and freedoms or by resorting to indirection, self-censorship or tactical play with power. In both instances, the satiric performance is bound to stay within consensual cultural and political norms even when it is most subversive as these norms profoundly shape its creation and public reception.

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Ayu Suciartini, Ni Nyoman. „Bahasa Satire dalam Meme Media Sosial“. Pustaka : Jurnal Ilmu-Ilmu Budaya 20, Nr. 1 (29.02.2020): 1. http://dx.doi.org/10.24843/pjiib.2020.v20.i01.p01.

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

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35

Strong, Catherine, und Fran Tyler. „New Zealand media camouflage political lobbying“. Pacific Journalism Review : Te Koakoa 23, Nr. 2 (30.11.2017): 144–58. http://dx.doi.org/10.24135/pjr.v23i2.96.

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Political lobbyists are a part of government decision-making processes, and many countries have stringent regulations to ensure their activities are somewhat transparent, especially as some use ethically questionable tactics. In New Zealand, however, there are no similar legislative regulations and lobbyists can stay undetected while trying to influence policymaking. More concerning, however, is that the results of this study indicates that lobbyists are also able to skirt around scrutiny in New Zealand media because of current journalism practices. This research’s content analysis indicates the media neglects to identify lobby organisations, thereby allowing them to operate without detection of their agenda, leaving the public unaware of who is influencing decision makers.

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36

STADLER, STEFANIE. „Televised political discourse in New Zealand“. World Englishes 32, Nr. 2 (22.05.2013): 243–60. http://dx.doi.org/10.1111/weng.12022.

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37

Boston, Jonathan, Stephen Church, Stephen Levine, Elizabeth McLeay und Nigel S. Roberts. „The New Zealand Political Change Project“. Political Science 52, Nr. 2 (Dezember 2000): 142–49. http://dx.doi.org/10.1177/003231870005200204.

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38

Ormonova, Sabira. „FORMATION OF THE SATIRE GENRE IN THE WORLD LITERATURE“. Alatoo Academic Studies 2020, Nr. 3 (30.09.2020): 262–68. http://dx.doi.org/10.17015/aas.2020.203.31.

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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).

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39

Crothers, Charles. „New Zealand Sociology Textbooks“. Current Sociology 56, Nr. 2 (März 2008): 221–34. http://dx.doi.org/10.1177/0011392107085032.

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40

Alves, Dora. „U.S.-New Zealand Relations: The National Government of New Zealand“. Asian Survey 31, Nr. 11 (01.11.1991): 1061–78. http://dx.doi.org/10.2307/2645307.

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41

Alves, Dora. „U.S.-New Zealand Relations: The National Government of New Zealand“. Asian Survey 31, Nr. 11 (November 1991): 1061–78. http://dx.doi.org/10.1525/as.1991.31.11.00p0108b.

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42

Jones, Marc Owen. „Satire, social media and revolutionary cultural production in the Bahrain uprising: From utopian fiction to political satire“. Communication and the Public 2, Nr. 2 (24.05.2017): 136–53. http://dx.doi.org/10.1177/2057047317706372.

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Social media has permitted activists to subvert censorship and state-controlled media. As a result, it has become a key medium for experimenting with and/or creating genres previously marginalised or discouraged by the Bahraini government. This article explores aspects of revolutionary cultural production and creative resistance in Bahrain since the uprisings in 2011 and examines the role social media has played in shaping and defining it. Focusing on memes, parody accounts and the YouTube serial Baharna Drama, this article looks at the rise of political satire online and the evolution of satirical forms over the progression of the uprising as a dialectic with government policy and propaganda. This article argues that social media has facilitated the emergence of new forms of satire in Bahrain and has allowed activists to assert, to both local and global audiences and in different registers, the integrity of a desired revolutionary aesthetic by confronting state attempts to paint the revolution as schismatic and divisive. As such, 2011 marked a new turn in Bahrain’s satirical heritage. It also argues that the subversive nature of satire makes it a favourable genre with regard to revolutionary cultural production and the public sphere, yet acknowledges that satirical forms, as a response to authoritarian policies, are rarely devoid of the tutelage necessary to make them a truly revolutionary form of counter-narrative.

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43

Levine, Stephen. „Comments on "Political Psychology in New Zealand"“. Political Psychology 13, Nr. 4 (Dezember 1992): 779. http://dx.doi.org/10.2307/3791502.

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44

Curtin, Jennifer. „Women and Political Science in New Zealand“. Political Science 65, Nr. 1 (Juni 2013): 63–83. http://dx.doi.org/10.1177/0032318713484922.

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45

Cleveland, Les. „New Zealand Political Culture: A Historical Note“. Political Science 38, Nr. 1 (Juli 1986): 61–69. http://dx.doi.org/10.1177/003231878603800104.

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46

Shepard, William. „Muslims in New Zealand“. Journal of Muslim Minority Affairs 16, Nr. 2 (Juli 1996): 211–32. http://dx.doi.org/10.1080/13602009608716339.

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47

Purnaningsih, Siti, und Ari Kusmiatun. „Satire of Prestige Materialism in Andrea Hirata's Tree Circus Novel“. International Journal of Linguistics, Literature and Translation 5, Nr. 10 (20.10.2022): 108–19. http://dx.doi.org/10.32996/ijllt.2022.5.10.13.

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The world of post-reality offers a variety of experiences, colonizations, and fascinating new panoramas. However, the created world makes humans trapped in an artificial world that is all superficial, immanent, and shallow so that they are no longer able to find natural reality, cultural richness, and the depth of transcendental experience. This study aims to describe the satire of prestige materialism in the novel Circus Tree by Andrea Hirata. The satire of prestige materialism is a symbol of Andrea Hirata's resistance to today's post-reality people who live in a false image. This study uses a qualitative descriptive method with content analysis to describe the satirical representation in the novel. This research approach focuses on the study of post-reality and Humanistic Psychology. The results of the study: 1. The satirical representation of prestige materialism in the novel, namely a) satire on the reality of prestige professions/works; b) satire of educational reality; c) Satire of democratic reality; d) satire of social reality. 2. The targets or targets of satire are people who live in false consciousness and are materialistically oriented to prestige: a) prestige professions/jobs; b) the vulnerability of society; c) political elites; d) arrogance of power; e) hypocrisy. 3. The satire message of prestige materialism is to restore being values to humans, which are represented through simple/innocent figures who are marginalized in society.

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48

Etty, John. „The Legacy of 1917 in Graphic Satire“. Slavic Review 76, Nr. 3 (2017): 664–74. http://dx.doi.org/10.1017/slr.2017.174.

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This essay explores political cartoons published in various journals in 1917, and investigates the legacy of that year's graphic satire. As many previous works have noted, the revolutions of 1917 brought struggles for the meaning of signs, and in political cartoons there were marked changes in subject matter and visual vocabulary. While previous studies have interpreted these developments as illustrations of political revolution, this essay, which is based on original research, will argue that the fundamental shift that began in 1917 was towards a kind of visual satirical discourse that possessed performative power. Proposing a new conceptual framework for analysis based on theories of performativity, the theoretical contribution of this essay will be to show how graphic satire reveals the performative force of cartoons, by arguing that Soviet graphic satire's aesthetic invites readers’ critical engagement with contemporary discourses, a vision that derives from the political cartoons of 1917.

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49

Lyon, Peter. „New Zealand and the Pacific“. International Affairs 61, Nr. 3 (1985): 553. http://dx.doi.org/10.2307/2618757.

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50

McCraw, David. „New Zealand, Fiji and Democracy“. Commonwealth & Comparative Politics 47, Nr. 3 (Juli 2009): 267–86. http://dx.doi.org/10.1080/14662040903073746.

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Zeitschriftenartikel zum Thema „New Zealand Political satire“

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