Relevant bibliographies by topics / Satire

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Academic literature on the topic 'Satire'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Satire"

1

Marcaletti, Livio. "Der neumodische Liebhaber Damon (1724) Georga Philippa Telemanna: predelava dunajske pastoralne igre v moralno satiro." De musica disserenda 16, no. 1 (March 10, 2020): 37–55. http://dx.doi.org/10.3986/dmd16.1.02.

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oleg tragedij in komedij so po Johannu Matthesonu med operne zvrsti 18. stoletja v Hamburgu sodile tudi satire (»Strafspiel«). Članek prikazuje, kako je Georg Philipp Telemann italijansko pastoralno opero I satiri in Arcadia (Dunaj 1714) preoblikoval v »Strafspiel« Damon (Hamburg 1724), satiro nezvestega ljubimca.
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2

Vivier, Eric D. "What Satire Does: Lessons from the English Renaissance for the Great Age of American Satire." Genre 53, no. 3 (December 1, 2020): 199–227. http://dx.doi.org/10.1215/00166928-8847162.

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This essay argues that satire should be defined as a rhetorical genre rather than a literary genre or mode. It begins by analyzing a little-known meta satirical poem from the English Renaissance—John Weever's The Whipping of the Satyre (1601)—in order to highlight the range of potential rhetorical consequences of satire, which include not only blame for the target but also blame for the satirist, polarization of the audience, and more satire in the way of imitation and response. It then shows that these potential rhetorical consequences are consistent across time by analyzing The Onion's coverage of mass shootings in the twenty-first-century United States. This comparison between English Renaissance satire and modern American satire suggests that satire is consistent in rhetorical rather than formal terms, and therefore that satire is less a type of art than a type of social action. Satire is a way of using creative expression to make someone or something look bad.
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3

Vivier, Eric D. "Judging Jonson: Ben Jonson's Satirical Self-Defense in Poetaster." Ben Jonson Journal 24, no. 1 (May 2017): 1–21. http://dx.doi.org/10.3366/bjj.2017.0177.

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This essay argues that Ben Jonson's antagonism with his audience in the comical satires was at least in part related to his translation of the satirist to the theater. Whereas printed satires anticipated and even encouraged the displeasure of their readers, Jonson's comical satires attempt to forestall the potential displeasure of the audience by replacing their judgment of his plays with his own judgment of his plays. When he was accused of arrogance by his fellow playwright John Marston, Jonson put Marston's judgment of Jonson's judgment on trial. This is the central “arraignment” of Poetaster, a play that repudiates Marston's accusation and upholds Jonson's confident self-assessment by demonstrating Jonson's merit. Jonson's satirical self-defense, finally, has implications for our broader theoretical understanding of Early Modern satire. The self-defensiveness of Jonson's satire may be unusually explicit, but it may well be an intrinsic feature of Early Modern satire; so too is the personal nature of Jonson's attack upon Marston much more representative of Early Modern satire than most critics have realized.
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4

Rahma, Sitti, Syahron Lubis, and Alemina Perangin-angin. "The analysis of the use of satire in the daily show with Trevor Noah." Englisia: Journal of Language, Education, and Humanities 10, no. 2 (May 2, 2023): 231. http://dx.doi.org/10.22373/ej.v10i2.16611.

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Various TV channels established with various talk shows stand out among other shows for presenting bitter facts in a very light-hearted way by commenting, satirizing, analyzing and criticizing in a very funny style. "The Daily Show with Trevor Noah" is a very popular comedy talk show in the United States because of its high language, witty praise, and especially the characters of "The Daily Show with Trevor Noah" criticizing various aspects of society. The aims of this study are to categorize various types of satire and reveal Trevor Noah's technique in expressing satire. This study uses a qualitative descriptive design with a sample of six episodes of The Daily Show with Trevor Noah downloaded from the official comedy center website. The data concentrated on the Satire utterances of the host of The Daily Show with Trevor Noah were analyzed using interactive analysis. The results of the analysis showed that three types of satire appeared in the event: 21 Horatian satires, 13 juvenile satires, and 16 Menippean satires. The satire that is used in the daily show has conveyed a message of criticism of someone's ideas and behavior based on what they have said and done based on events that actually happened. Sacrificial conclusions have become the most powerful and effective way of getting a message across, even today, no matter what means a satirist chooses to create their work.
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5

Gellérfi, Gergő. "Pásztori múzsa a nagyvárosban." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 9–20. http://dx.doi.org/10.14232/antikren.2018.1.9-20.

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The title of my paper refers to a remark of Charles Witke, who specifies Juvenal’s Satire 3 in his monograph of Latin Satire as the eclogue of the urban poor. The interlocutor (who is also the main speaker in this case) of the satire says farewell to a friend before leaving his home for good, just like Meliboeus in Vergil’s First Eclogue. Both dialogues take place in natural environment, so to say, in a locus amoenus, however the setting of the satire is somewhat different from the traditional bucolic scenes. In my paper, I present the aforementioned bucolic features of the beginning and closure of Satire 3, after a brief summary of the other Juvenalian Satires showing the influence of bucolic poetry.
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6

Glinatsis, Robin. "La Satire I, 7 d’Horace : « une créature étrange » ?" Vita Latina 187, no. 1 (2013): 128–45. http://dx.doi.org/10.3406/vita.2013.1758.

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In his 2007 published workRoman satire, Daniel Hooley underlines the marginality of satire I, 7 within the Horace’s first satirical book and reminds us that modern scholars have tended to consider it as «an odd creature » . Having a closer look, it becomes obvious, however, that the poem has quite strong links with the rest of the book. First, it can be read from an autobiographical point of view and thus be brought together with satires I, 5 and I, 6, for instance, where fragments of the author’s life are exposed. Then, it offers a parody of Homer and, by this way, claims the trivial dimension of satire, which is particularly glaring in satires I, 1 to I, 3. It finally weaves a network of lexical and thematic allusions to the satirical genre and to its conception conveyed by Horace in the whole collection ; by this respect, it seems to prepare the metageneric demonstrations of satires I, 4 and I, 10.
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7

Golob, Nataša. "Ars saturae: misli o satiri in njenih obrazih. Uvodnik v tematski sklop „o satiri“." Ars & Humanitas 5, no. 2 (December 21, 2011): 7–9. http://dx.doi.org/10.4312/ars.5.2.7-9.

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Ko je Lukijan (o. 120–192) napisal dialoško delo »Filozofi na dražbi«, je nedvomno vedel, kaj se bo dogajalo v zgodnjem 21. stoletju. Že takrat je predvidel kopico brezhibnih intelektualnih in političnih avtoritet, ki so se, vsaj nekateri, kar rodili s pravico, biti bog in se po božje obnašati, ker mi, pač statisti, ki spremljamo njihovo početje, tako ali tako lahko samo strmimo. Tako kot so v Lukijanovih dneh ocenjevali aplikativno vrednost filozofov in jih v skladu z njo plačali in nahranili, se dogaja novodobnim humanistom, da smo postavljeni na dražbe z razpisi, kjer smo glede na točke in impaktfaktorje ocenjeni in noben naš odgovor, da (o)cena ni pravična, ne velja, saj se lahko pritožimo samo na postopek (dražbe), kjer je odgovor vnaprej znan. Vsebina in pomen dela, v tem primeru intelektualnega dosežka, sta irelevantni kategoriji, to spoznanje je Lukijan grenko zabelil. Lukijan, naš brat. Satiri se leta ne poznajo in čeprav je njena bistvena lastnost refleks posameznika na doživeto dogajanje, s katerim se ne sprijazni in zato nastavi ukrivljeno zrcalo, se vedno znova zalotimo pri misli, da je vsebina pravkar prebrane-videneslišane satire zato tako dobro znana, ker se je pač nedavno zgodila in jo poznamo v novi različici: njeno bistvo je človekovo početje in na odru satire se zamenjajo le igralci. Satira je imanentna svobodnemu človeku, prisotna je v vseh časih in pri vseh kulturah, v pisni, glasbeni, likovni, politični, znanstveni obliki, je hotena in naključna, ustvarjena v retrospektivnem postopku, je zrcalo avtorja, časa, okoliščin. Naše branje starih satir je drugačno od branja oz. dojemanja v času njihovega nastanka. Zamenjale so se realne okoliščine, beremo jih s poznavanjem zgodovine, ki je sledila letom njihovega nastanka, s poznavanjem vpliva in percepcijskih dimenzij občinstev pred nami. Beremo jih z našimi nabranimi osebnimi in skupinskimi spomini, z izkušnjami in kritičnimi mislimi. Hkrati pa smo soočeni z nepopolnim poznavanjem pogojev življenja v času nastanka te satire in to je izgubljeni del sporočila. Radi pozabimo, da smo do starejše satire pogosto v položaju neveščega bralca, nepoučenega gledalca, zato se – kot se sicer pogosto dogaja – zatečemo k nad-interpretacijam. Značaj satire se plete s humorjem, grotesko, ironijo, sarkazmom, burlesko, parodijo v večplastno stvaritev, satira je kot satireskna začimba prisotna tam, kjer je ne bi pričakovali in se lahko izkaže kot subverziven privid, namig, kot stereotip, pri čemer si zna vsaka od teh form oblikovati svoje življenje. Več avtorjev je mnenja, da je največjo žetev imela politična satira, ki se pase po polju, na katerem je prišlo do zdrsa, padca ali butalskega slučaja, kjer so se »sveti družbeni zakoni« znašli na svojem koncu. A to je le en vidik med mnogimi. Kakršna koli, raskava ali zavita v svilen papir, satira si praviloma želi popravljati moralno zgrešenost, zato – kot pravi Žarko Petan – ne računa na tiste, ki jih biča, ampak na mlade, da jim pokaže, kakšni ne bi smeli biti čez deset let. Evropski in slovenski okvir – izkušnje niso tako vsaksebi, da ne bi prepoznali večnih in vesoljnih zakonov človekovega dejanja in nehanja. Vendar: ali se še kdaj spomnimo na Pudelbal Feliksa Antona Deva (1732–1786), kjer je prek pustnega, maškeradnega plesa na pahljačo vseh mogočih tipov prižebljal ljubljansko »purgarijo« v literarni ringaraja, tako da je začetno lahkotno šopirjenje izzvenelo v nelahkotni antitezi o sprenevedanju, večnem laganju in podobnih značajskih odličnostih. Obolos baročnemu času je jezikovno bogastvo, kopičenje satirično-parodičnih oznak, ki jih je Dev nalepil paradirajočim osebkom na odru, iz katerih dehti moralna sprijenost. To je satira o malih dušah. In še brezkončni izvir, namreč briljantno pletenje Ivana Cankarja in mnogoobraznih satiričnih motivov, v dobršni meri izvirajočih iz politične odvisnosti in narodno-zavedne neurejenosti, tako da je v resnici »kostanj posebne sorte«, ki so se mu v različnih tonalitetah pridružila najboljša peresa prve polovice 20. stoletja. Cankarjevo satiropisje je veljalo »zlasti farizeju, hlapcu, dogmatiku, renegatu,« pravi Franc Zadravec, »maske snema z vsakršnih duhovnih in moralnih spak nekdanjih in sedanjih časov.«7 Satirik je po definiciji svojega početja brezkompromisni opazovalec človekovih dejanj. Izhodišče za tematske prispevke v tej številki Ars et humanitas je dalo polju satire, satiričnega, satirikov itd. odprte poti. Kakršno koli je že naše vsakdanje delo, vsi smo se s temi temami srečavali v raznih konceptualnih in oblikovnih izrazih in pri razrešitvi vprašanja največkrat ni zadoščal pogled samo ene stroke. To povezovanje disciplin je temeljna lastnost te revije, ki goji načelo medkulturnih in interdisciplinarnih perspektiv, zato so bili prispevki dolžni spoštovati le nosilno besedo »satira«.
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8

Golob, Nataša. "Ars saturae: misli o satiri in njenih obrazih. Uvodnik v tematski sklop „o satiri“." Ars & Humanitas 5, no. 2 (December 21, 2011): 7–9. http://dx.doi.org/10.4312/ah.5.2.7-9.

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Abstract:
Ko je Lukijan (o. 120–192) napisal dialoško delo »Filozofi na dražbi«, je nedvomno vedel, kaj se bo dogajalo v zgodnjem 21. stoletju. Že takrat je predvidel kopico brezhibnih intelektualnih in političnih avtoritet, ki so se, vsaj nekateri, kar rodili s pravico, biti bog in se po božje obnašati, ker mi, pač statisti, ki spremljamo njihovo početje, tako ali tako lahko samo strmimo. Tako kot so v Lukijanovih dneh ocenjevali aplikativno vrednost filozofov in jih v skladu z njo plačali in nahranili, se dogaja novodobnim humanistom, da smo postavljeni na dražbe z razpisi, kjer smo glede na točke in impaktfaktorje ocenjeni in noben naš odgovor, da (o)cena ni pravična, ne velja, saj se lahko pritožimo samo na postopek (dražbe), kjer je odgovor vnaprej znan. Vsebina in pomen dela, v tem primeru intelektualnega dosežka, sta irelevantni kategoriji, to spoznanje je Lukijan grenko zabelil. Lukijan, naš brat. Satiri se leta ne poznajo in čeprav je njena bistvena lastnost refleks posameznika na doživeto dogajanje, s katerim se ne sprijazni in zato nastavi ukrivljeno zrcalo, se vedno znova zalotimo pri misli, da je vsebina pravkar prebrane-videneslišane satire zato tako dobro znana, ker se je pač nedavno zgodila in jo poznamo v novi različici: njeno bistvo je človekovo početje in na odru satire se zamenjajo le igralci. Satira je imanentna svobodnemu človeku, prisotna je v vseh časih in pri vseh kulturah, v pisni, glasbeni, likovni, politični, znanstveni obliki, je hotena in naključna, ustvarjena v retrospektivnem postopku, je zrcalo avtorja, časa, okoliščin. Naše branje starih satir je drugačno od branja oz. dojemanja v času njihovega nastanka. Zamenjale so se realne okoliščine, beremo jih s poznavanjem zgodovine, ki je sledila letom njihovega nastanka, s poznavanjem vpliva in percepcijskih dimenzij občinstev pred nami. Beremo jih z našimi nabranimi osebnimi in skupinskimi spomini, z izkušnjami in kritičnimi mislimi. Hkrati pa smo soočeni z nepopolnim poznavanjem pogojev življenja v času nastanka te satire in to je izgubljeni del sporočila. Radi pozabimo, da smo do starejše satire pogosto v položaju neveščega bralca, nepoučenega gledalca, zato se – kot se sicer pogosto dogaja – zatečemo k nad-interpretacijam. Značaj satire se plete s humorjem, grotesko, ironijo, sarkazmom, burlesko, parodijo v večplastno stvaritev, satira je kot satireskna začimba prisotna tam, kjer je ne bi pričakovali in se lahko izkaže kot subverziven privid, namig, kot stereotip, pri čemer si zna vsaka od teh form oblikovati svoje življenje. Več avtorjev je mnenja, da je največjo žetev imela politična satira, ki se pase po polju, na katerem je prišlo do zdrsa, padca ali butalskega slučaja, kjer so se »sveti družbeni zakoni« znašli na svojem koncu. A to je le en vidik med mnogimi. Kakršna koli, raskava ali zavita v svilen papir, satira si praviloma želi popravljati moralno zgrešenost, zato – kot pravi Žarko Petan – ne računa na tiste, ki jih biča, ampak na mlade, da jim pokaže, kakšni ne bi smeli biti čez deset let. Evropski in slovenski okvir – izkušnje niso tako vsaksebi, da ne bi prepoznali večnih in vesoljnih zakonov človekovega dejanja in nehanja. Vendar: ali se še kdaj spomnimo na Pudelbal Feliksa Antona Deva (1732–1786), kjer je prek pustnega, maškeradnega plesa na pahljačo vseh mogočih tipov prižebljal ljubljansko »purgarijo« v literarni ringaraja, tako da je začetno lahkotno šopirjenje izzvenelo v nelahkotni antitezi o sprenevedanju, večnem laganju in podobnih značajskih odličnostih. Obolos baročnemu času je jezikovno bogastvo, kopičenje satirično-parodičnih oznak, ki jih je Dev nalepil paradirajočim osebkom na odru, iz katerih dehti moralna sprijenost. To je satira o malih dušah. In še brezkončni izvir, namreč briljantno pletenje Ivana Cankarja in mnogoobraznih satiričnih motivov, v dobršni meri izvirajočih iz politične odvisnosti in narodno-zavedne neurejenosti, tako da je v resnici »kostanj posebne sorte«, ki so se mu v različnih tonalitetah pridružila najboljša peresa prve polovice 20. stoletja. Cankarjevo satiropisje je veljalo »zlasti farizeju, hlapcu, dogmatiku, renegatu,« pravi Franc Zadravec, »maske snema z vsakršnih duhovnih in moralnih spak nekdanjih in sedanjih časov.«7 Satirik je po definiciji svojega početja brezkompromisni opazovalec človekovih dejanj. Izhodišče za tematske prispevke v tej številki Ars et humanitas je dalo polju satire, satiričnega, satirikov itd. odprte poti. Kakršno koli je že naše vsakdanje delo, vsi smo se s temi temami srečavali v raznih konceptualnih in oblikovnih izrazih in pri razrešitvi vprašanja največkrat ni zadoščal pogled samo ene stroke. To povezovanje disciplin je temeljna lastnost te revije, ki goji načelo medkulturnih in interdisciplinarnih perspektiv, zato so bili prispevki dolžni spoštovati le nosilno besedo »satira«.
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9

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, no. 1 (April 4, 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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10

Jones, F. M. A. "The Persona and the Addressee in Juvenal Satire 11." Ramus 19, no. 2 (1990): 160–68. http://dx.doi.org/10.1017/s0048671x00002903.

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The approach to the Satires of Juvenal via the persona theory is well-known and has been productive. Somewhat less notice has been given to the fact that a considerable number of the satires have their persona moulded around another character, an addressee or an interlocutor, or sometimes an important narrative figure. Such characters ‘justify’ the persona, which can now be seen as a kind of ad hominem irony. This matter is intricately linked with the role of indignatio. Thus indignation, programmed in the first satire, becomes a little suspect in Laronia's mouth in the second. Laronia is a small scale character, but the techniques used in her regard appear again in the third satire, where the difference between Juvenal and Umbricius reveals the inadequacy of indignatio a little more clearly. The difference between the treatment of Crispinus and of Domitian in the fourth satire carries this process further. In the fifth, Juvenal tries to rouse the abject Trebius, but in his own apostrophe to Virro (Sat. 5.107f.) shows that indignatio is not, perhaps, appropriate at all. The role of indignatio diminishes further in the later satires, noticeably in the ninth, where Juvenal's tone is one of banter and Naevolus reveals his own unpleasantness. Much of this process has been charted by S. Braund in a book on the seventh, eighth, and ninth satires. The argument can be resumed with the eleventh satire where there is a further development. In the earlier satires which use address or dialogue there is an impressive realism in dramatic terms about the confrontation and psychology. In the eleventh (and even more, the twelfth) the development of the techniques of irony begins to intrude on the dramatic plausibility: the voice assumed in the poem becomes more aware of the audience as well as the addressee. As the beginning of a demonstration of this change I now provide an analysis of the use of Persicus in the eleventh satire.
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Dissertations / Theses on the topic "Satire"

1

Hill, Oliver Edward. "Scriblerian satire." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548769.

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2

Maidment, Christopher. "Satura und Satyroi : die englische Renaissance-Satire im Widerstreit zweier Etymologien : Studien zur Aufdeckung einer Gattungskontamination am Beispiel der elisabethanisch-jakobäischen satirischen Literatur /." [S.l.] : [s.n.], 1993. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.

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3

Garside, Damian John. "Satire and the satirist : a materialist reading of eighteenth-century satire." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/18256.

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Bibliography: pages 480-513.
This thesis presents an attempt to engage materialist literary analysis in a serious reconsideration of eighteenth-century satire as satire. In the process I see myself as challenging received notions of how the satire of the period is to be contextualized, as well as the way in which the category 'satire' has been constituted. I do not think it is possible to provide any reading of any satire today without initiating a reappraisal of the very form itself. Here I am attempting to integrate an ancient practice with new methodologies. This would seem to demand a perspective which is opposed to, and involves a critique of, not only the accepted institutional views of satire, but of aspects of the academic literary institution itself. Satire is, I believe, a term or category that should not be historicized and relativized out of existence. It has a significance and importance which is lost in attempts to make it a label of convenience: a convenient name that different literary cultures use to differentiate a particular form from the others available to them. In this thesis I will be focusing predominantly on Swift and Pope, who are not only the great satirists of this crucial period, but who are, arguably, the most subtle (Pope) and the most disturbing (Swift) of satirists who ever wrote.
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4

BERGER, AZIDROU SYLVIANE. "La satire dans l'oeuvre poetique d'austin clarke." Caen, 1999. http://www.theses.fr/1999CAEN1269.

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Desireux de rendre justice au talent d'austin clarke le satiriste, le present travail s'articule autour des poems and satires qui constituent indeniablement la clef de voute du corpus satirique. Explicitement revetus du sceau generique de la satire, ces trois recueils sont la quintessence, tant thematique que stylistique, de la satire darkienne. Le choix d'une perspective diachronique pour evoquer le parcours satirique de clarke entend rendre compte d'une part de la presence permanente de la satire au coeur de l'oeuvre, et d'autre part de la variation de ses formes et de ses enjeux au fil de l'evolution de la creation poetique. Aussi ce travail s'attache-t-il, en amont des poems and satires, a decrire l'emergence progressive de la satire, puis a en montrer, en aval, les developpements successifs. La premiere partie cerne les sources d'une satire qui nait de la revolte du poete contre les fourvoiements de la societe irlandaise, puis en examine les occurrences precoces dans sa poesie epique, medievale et confessionnelle. La seconde partie s'attache a l'etude specifique des poems and satires, repertoriant les cibles de la satire darkienne et analysant son expression originale faite d'emprunts a la tradition satirique et enrichie i d'apports personnels. La troisieme partie decrit l'evolution de la satire dont elle souligne les constantes et les mutations, et se propose, en dernier lieu, d'en apprehender la finalite. Tres ancree dans le contexte national et infeodee a sa tyrannie, la satire darkienne parvient neanmoins a puiser dans ce "provincialisme" les elements de sa propretranscendance, et a atteindre a l'universel.
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Murray, Brett. "A group of satirical sculptures examining social and political paradoxes in the South African context." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/15885.

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Bibliography: pages 99-101.
My proposal was to produce a group of satirical sculptures thematically embracing paradoxes within the broad South African context. My intention was to work within the tradition of social and political satire. Strict definitions of satire were to be expanded to include both comedy and tragedy. By satirising particular stupidities, abuses and "evils of all kind" within South African society, I hoped to address the same in a broader context by implication. By discussing some artists who have worked within this tradition my intention was to determine an art-historical context within which to place my work, to extract elements of a shared experience and to attempt to define the nature of satire.
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Person, Alain. "Diderot et la satire." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29248.

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Nous connaissons l'écrivain Diderot, le philosophe, le directeur de l'Encyclopédie, l'esthéticien, voire le scientifique; sur un autre plan, Diderot auteur satirique demeurait, en grande partie, à découvrir. Nous nous proposons de montrer l'ampleur et la diversité des liens qui unissent Diderot à la satire en expliquant ce que représente la satire pour Diderot, en montrant dans quelle mesure et à quelles conditions Diderot est un auteur satirique, et de quelle manière il satirise. Après avoir défini la satire et après avoir rappelé ce que la notion recouvre historiquement comme genres et comme formes, nous étudions les sens que prend le terme chez Diderot et les rapports de celui-ci avec les auteurs satiriques canoniques. Nous abordons ensuite l'oeuvre satirique de Diderot selon trois axes. Entre l'abstraction et le réalisme le plus cru, l'auteur satirique possède une manière qui lui est propre de représenter son milieu. Dans cette perspective, nous analysons les représentations satiriques chez Diderot d'après les notions d'abstraction (allégories, rêves, animalisation), de monde inverse (l'utopie) et de théâtralisation du monde. Le deuxième axe de notre étude s'attache aux textes de fiction. Outre les poésies satiriques, nous examinons les oeuvres les plus connues de Diderot sous l'angle de l'esthétique comico-sérieuse (les Satires première et seconde), de la ménippée (Les Bijoux indiscrets, Jacques le Fataliste) et sous l'angle de la satire romanesque (La Religieuse). Le troisième et dernier volet de la thèse porte sur les pratiques polémiques (lettres ouvertes, apologies) et pamphlétaires de Diderot, ainsi que sur l'usage satirique qu'il fait du paradoxe.
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Buchanan, David. "Augustan women's verse satire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0012/NQ34742.pdf.

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Sumner, James D. "Travel writing and satire." Thesis, Royal Holloway, University of London, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590815.

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The purpose of my thesis is to explore the hlstory of British travel writing and to consider how the literature of exploration, which initially presented itself as factual, evolved into the fictional use of travel writing. In order to provide a context for travel writing, I will be looking at the work of Porter, Mills, Pratt, Chard, Hulme and Youngs before discussing the Grand Tourist ( 1660-1 837) and the growth of mass touri sm under Thomas Cook. In order to consider early-twentieth-century travel writing in this context of mass touri sm, I propose to engage specifically with Peter Fleming's Brazilian Adventure (1933) and Robert Byron's The Road to Oxiana (1937). Evelyn Waugh, at various times, acted both as a friend and a reviewer to both Byron and Fleming. The thesis will then focus upon Evelyn Waugh's work and look at the differences between his travel writing and the fictional use of travel in his fiction. Waugh's writing style has been important to me in the development of my own.
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Boulingui, Rodrigue. "La Satire chez Diderot." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL089.pdf.

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Le travail voudrait établir le rapport entre Diderot et la satire. En s’appuyant sur le dernier Diderot, cette étude entend mettre en lumière l’un des paradoxes qui caractérise le siècle des Lumières. En établissant des parallèles, des liens entre les satiriques latins (Horace, Pétrone, Juvénal, Perse) et Diderot, il est démontré que la satire diderotienne, à l’image du phénix, se renouvelle à l’intérieur du genre. Sous l’égide de ces moralistes, en l’occurrence Horace et Pétrone, Diderot tente de sauver un genre qui cristallise les énergies au temps des Lumières malgré la place mineure qui lui est accordée dans l’échelle des genres. En imitant ses pères spirituels, Diderot bouleverse la satire régulière sur les plans énonciatif, moral, rhétorique. Ce travail fait au sein du genre permet à celui-ci de se moderniser, de s’adapter à son temps et de résister à tous ses détracteurs qui avaient programmé sa fin. En somme, à travers la satire, on découvre cette fois-ci une autre facette de Diderot qui ne théorise plus sur le drame bourgeois mais sur la satire en tant que genre moderne
The work would aim at establishing a relationship between Diderot and Satire. Based on the last Diderot, this study intends to shed light on one of the paradoxes which characterizes the Age of Enlightenment. By drawing parallels, links between the Latin satirics (Horace, Petronius, Juvenal, Persia) and Diderot, it is demonstrated that the Diderotian Satire, like the Phoenix, is renewed within the genre. Under the aegis of the moralists, in this case Horace and Petrone, Diderot tries to save a genre that crystallizes energies in the times of Enlightenment and this, despite of the insignificant position granted to it in the genre scale. By imitating his spiritual fathers, Diderot upsets regular satire on enunciative, moral and rhetorical levels. This work done within the genre allows it to modernize, to adapt to its time and resist all its critics who had planned its end. In short, through satire, we discover this time a new facet of Diderot, which does not speculate on bourgeois drama but on satire as a modern genre
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Jobert, Véronique. "La Satire soviétique contemporaine société et idéologie : l'objet de la satire, l'état de l'Union /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376145467.

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Books on the topic "Satire"

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Bentivoglio, Ercole. Satire. Ferrara: Deputazione Provinciale Ferrarese di Storia Patria, 1987.

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Perri, Rossana, writer of added commentary, ed. Satire. Firenze: Franco Cesati editore, 2013.

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editor, Fenocchio Gabriella, ed. Satire. Milano: Mimesis, 2017.

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Ariosto, Lodovico. Satire. Roma: Edizioni di storia e letteratura, 2019.

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De Vecchi, Lorenzo, editor, translator, Horace, and Horace, eds. Satire. Roma: Carocci editore, 2013.

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Persius, Persius, Vaucher-de-la-Croix, Joël F., 1984- writer of added commentary, and Monti Vincenzo 1754-1828 translator, eds. Satire. Firenze: Società editrice fiorentina, 2015.

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Ariosto, Lodovico. Satire. Milano: Biblioteca universale Rizzoli, 1990.

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Ariosto, Lodovico. Satire. Milano: Fondazione Pietro Bembo, 2002.

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Rosa, Salvatore. Satire. Milano: Mursia, 1995.

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Peter, Buckroyd, ed. Satire. Cambridge: Cambridge University Press, 2001.

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Book chapters on the topic "Satire"

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Zymner, Rüdiger. "Satire." In Komik, 21–25. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-05391-6_5.

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Ugolini, Paola. "Satire." In Encyclopedia of Renaissance Philosophy, 1–10. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-02848-4_878-1.

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Arntzen, Helmut. "Satire." In Ästhetische Grundbegriffe, 345–64. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-98611-5_11.

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Gill, Richard. "Satire." In Mastering, 262–66. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20852-0_24.

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Nutt, Joe. "Satire." In John Donne: The Poems, 28–45. London: Macmillan Education UK, 1999. http://dx.doi.org/10.1007/978-1-349-27722-3_3.

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Condren, Conal. "Satire." In Satire, Lies and Politics, 27–55. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230377844_3.

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Jones, Steven E. "Satire." In A Handbook of Romanticism Studies, 213–24. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781444356038.ch12.

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Arntzen, Helmut. "Satire." In Ästhetische Grundbegriffe, 345–64. Stuttgart: J.B. Metzler, 2010. http://dx.doi.org/10.1007/978-3-476-00547-2_11.

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Harris, Jocelyn. "Satire." In The Palgrave Encyclopedia of Romantic-Era Women's Writing, 1–5. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-11945-4_33-1.

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Beils, Martin. "Satire." In Sportjournalismus, 133–38. Wiesbaden: Springer Fachmedien Wiesbaden, 2023. http://dx.doi.org/10.1007/978-3-658-40904-3_19.

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Conference papers on the topic "Satire"

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Ganti, Raghu K., Praveen Jayachandran, Tarek F. Abdelzaher, and John A. Stankovic. "SATIRE." In the 4th international conference. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1134680.1134693.

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Whittemore, Jesse, Joonyoung Kim, and Karem Sakallah. "SATIRE." In the 38th conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/378239.379019.

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Caselli, Stefano, Krista Bonello Rutter Giappone, Jasper Schellekens, and Stefano Gualeni. "Satire at Play." In FDG '20: International Conference on the Foundations of Digital Games. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3402942.3403007.

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Burfoot, Clint, and Timothy Baldwin. "Automatic satire detection." In the ACL-IJCNLP 2009 Conference Short Papers. Morristown, NJ, USA: Association for Computational Linguistics, 2009. http://dx.doi.org/10.3115/1667583.1667633.

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Ionescu, Radu Tudor, and Adrian Gabriel Chifu. "FreSaDa: A French Satire Data Set for Cross-Domain Satire Detection." In 2021 International Joint Conference on Neural Networks (IJCNN). IEEE, 2021. http://dx.doi.org/10.1109/ijcnn52387.2021.9533661.

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Bedard, Michele, and Chianna Schoenthaler. "Satire or Fake News." In Companion of the The Web Conference 2018. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3184558.3188732.

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Golbeck, Jennifer, Matthew Mauriello, Brooke Auxier, Keval H. Bhanushali, Christopher Bonk, Mohamed Amine Bouzaghrane, Cody Buntain, et al. "Fake News vs Satire." In WebSci '18: 10th ACM Conference on Web Science. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3201064.3201100.

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Thu, Pyae Phyo, and Nwe New. "Implementation of emotional features on satire detection." In 2017 18th IEEE/ACIS International Conference on Software Engineering, Artificial Intelligence, Networking and Parallel/Distributed Computing (SNPD). IEEE, 2017. http://dx.doi.org/10.1109/snpd.2017.8022715.

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Samirkhanova, G. Kh. "HUMOR AND SATIRE IN BASHKIR WEDDING DITTIES." In УСТОЙЧИВОЕ РАЗВИТИЕ ТЕРРИТОРИЙ: ТЕОРИЯ И ПРАКТИКА. г. Сибай: Сибайский институт (филиал) федерального государственного бюджетного образовательного учреждения высшего профессионального образования "Башкирский государственный университет", 2022. http://dx.doi.org/10.56363/9785604860908_68.

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Reganti, Aishwarya N., Tushar Maheshwari, Upendra Kumar, Amitava Das, and Rajiv Bajpai. "Modeling Satire in English Text for Automatic Detection." In 2016 IEEE 16th International Conference on Data Mining Workshops (ICDMW). IEEE, 2016. http://dx.doi.org/10.1109/icdmw.2016.0141.

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Reports on the topic "Satire"

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Bond, Nathaniel. Lessons in Immorality: Mishima's Masterpiece of Humor and Social Satire. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.988.

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Valhondo Crego, José Luis. Monarchy, jesters, politicians and audiences Comparison of TV satire in UK and Spain. Revista Latina de Comunicación Social (RLCS), March 2011. http://dx.doi.org/10.4185/rlcs-66-2011-932-252-273-en.

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Loisel, Guillaume Pascal. z3308 z3309 photoionized Fe spectra and z3147 satire SS spectrum for Ryan Childers (UNR). Office of Scientific and Technical Information (OSTI), March 2020. http://dx.doi.org/10.2172/1604874.

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Chandler, Gordon A. Sandia Collaboration notes with Vladimir Glebov from LLE Data from Satire Shots 2751 and 2752. Office of Scientific and Technical Information (OSTI), January 2015. http://dx.doi.org/10.2172/1177385.

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Ločmele, Klinta, and Laura Uzule. Diasporas mediju pētījums. LU Akadēmiskais apgāds, December 2023. http://dx.doi.org/10.22364/dmp.23.

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Šis ir pirmais apjomīgais pētījums pēdējo gadu laikā, kurā analizēts diasporas mediju saturs un pašu mediju redzējums par medija lomu, darbību un nākotnes prognozēm. Pētījuma mērķis: noskaidrot Latvijas diasporas mediju veidus un piedāvāt Latvijas situācijai atbilstošu definīciju un diasporas medija statusa kritērijus, izpētīt valsts iestāžu gaidas no tiem un pašu mediju redzējumu par savu darbību, finansējumu, žurnālistikas ētiku, auditoriju un to pastāvēšanas riskiem, diasporas mediju darbības izbeigšanas iemeslus, analizēt diasporas mediju saturu tematiskajā un žurnālistikas kvalitātes ziņā, pievēršot šiem jautājumiem uzmanību arī no Mediju atbalsta fonda saņemtā finansējuma kontekstā. Pētījuma jautājumi: Kāda ir Latvijas gadījumam piemērojama diasporas medija definīcija, un kādi Latvijas diasporas mediji pastāv? Kāds bija oriģinālsatura īpatsvars, un kādā kvalitātē tas tika veidots diasporas medijos 2022. gadā? Vai un kādas ir atšķirības satura kvalitātē, kas radīts ar un bez Mediju atbalsta fonda finansējuma? Kādi šobrīd ir Latvijas īstenotie diasporas mediju atbalsta mehānismi, un kas no diasporas medijiem tiek sagaidīts? Kādu iemeslu dēļ pēdējos astoņos gados (kopš 2014. gada pētījuma) ir beiguši pastāvēt daļa diasporas mediju un interneta vietņu? Kā tiek nodrošināta diasporas mediju ikdienas darbība, tostarp žurnālistu ētikas ievērošana un finansējuma piesaiste, un kā diasporas mediju pārstāvji redz lielākos pastāvēšanas riskus? Kā diasporas mediju pārstāvji redz savu auditoriju, misiju un kādu atbalstu sagaida no Latvijas valsts?
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Reiss, Breanne, and Barbra Trout. Path to Satori. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-994.

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Holman, Edward. Saturn Voltage Monitor. Office of Scientific and Technical Information (OSTI), December 2018. http://dx.doi.org/10.2172/1528982.

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Ulmen, Benjamin, Kendall Depriest, Aaron Olson, Timothy Webb, and Jarrod Edwards. Saturn Radiation Dose Environment Characterization. Office of Scientific and Technical Information (OSTI), October 2021. http://dx.doi.org/10.2172/1825359.

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Joseph, Nathan R., Rayburn Dean Thomas, Barbara Ann Lewis, and Hector M. Malagon. Saturn facility oil transfer automation system. Office of Scientific and Technical Information (OSTI), February 2014. http://dx.doi.org/10.2172/1200668.

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Castillo Galindo, Nicolle Tatiana. Contexto de cadena arroz (Oryza sativa). Corporación colombiana de investigación agropecuaria - AGROSAVIA, 2020. http://dx.doi.org/10.21930/agrosavia.fichascontexto.2020.6.

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En esta ficha de contexto se mencionan los aspectos importantes de la cadena de arroz enfocados a su marco productivo, regional, económico, comercio internacional, así como sus perspectivas y tendencias frente al mercado, dando a conocer su entorno de Ciencia y Tecnología e Innovación.
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