To see the other types of publications on this topic, follow the link: Satire.
Dissertations / Theses on the topic 'Satire'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Satire.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Hill, Oliver Edward. "Scriblerian satire." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548769.
Full text
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.
Full text
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.
Full textAbstract:
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.
4
BERGER, AZIDROU SYLVIANE. "La satire dans l'oeuvre poetique d'austin clarke." Caen, 1999. http://www.theses.fr/1999CAEN1269.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
Person, Alain. "Diderot et la satire." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29248.
Full textAbstract:
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.
7
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.
Full text
8
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.
Full textAbstract:
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.
9
Boulingui, Rodrigue. "La Satire chez Diderot." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL089.pdf.
Full textAbstract:
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 moderneThe 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
10
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.
Full text
11
Neal, Hackler. "Stuart Debauchery in Restoration Satire." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32444.
Full textAbstract:
The Restoration Era, 1660-1688, has long borne a reputation as an exceptionally debauched period of English history. That reputation is however a caricature, amplified from a handful of recognizable features. That rhetoric of debauchery originates in the Restoration’s own discourse, constructed as a language for opposing the rising French-style absolutism of the late Stuart kings, Charles II and James II. When Charles II was restored in 1660, enthusiastic panegyrists returned to the official aesthetics of his father Charles I, who had formulated power as abundance through pastoral, mythological, and utopian art. Oppositional satirists in the Restoration subverted that language of cornucopian abundance to represent Charles II and his court as instead excessive, diseased, and predatory. After the Glorious Revolution of 1688-9, Williamite satirists and secret historians continued to wield these themes against the exiled Jacobites. Gradually, the political facets of Stuart excess dulled, but the caricature of the debauched Restoration survived in eighteenth-century state poem collections and historiography. The authors most emphasized in this study are John Wilmot, Earl of Rochester, and Andrew Marvell. Works by John Milton, John Dryden, Edmund Waller, King Charles I, and Gilbert Burnet also receive sustained attention.
12
Siegel, Caroline [Verfasser]. "Arbeitsrecht. . und Satire / Caroline Siegel." Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2015. http://d-nb.info/108046008X/34.
Full text
13
Owens, Susan. "Aubrey Beardsley, Salome and satire." Thesis, University College London (University of London), 2003. http://discovery.ucl.ac.uk/1382927/.
Full textAbstract:
This thesis proposes that the illustrations produced by Aubrey Beardsley for the first English edition of Oscar Wilde's play Salome are primarily motivated by a strong satirical agenda. Whilst it has usually been acknowledged that this group of illustrations harbours some satirical elements, these have never before been regarded as anything other than isolated occurrences. The iconography of Beardsley's Salome illustrations has rarely been subjected to close visual analysis or lengthy explication. All early studies of Beardsley's work and the pioneering and monumental cataloguing work carried out in the 1960s inevitably contain a number of misconstructions and lacunae. Recent critical accounts of the Salomi illustrations, mostly theory-led and written from outside the discipline of art history, have on the one hand relied upon these interpretations, yet have on the other hand espoused various degrees of epistemological scepticism and historical relativism not calculated to provide new interpretations of these images in the light of their historical contexts. Countering this tendency, this thesis sets out to establish these contexts and to identify and explain the jokes which run throughout this sequence of illustrations. As a preliminary step to this analysis, my first chapter narrates a production history of the illustrations, and unravels the complex sequence of events relating to the commission. A second chapter surveys late nineteenth-century conventions of satire and literary and visual caricatures of Beardsley's principal target, Wilde. Following this, the body of the thesis is devoted to a detailed account of each image. These accounts explore the range of meanings at work within a broad context of contemporary visual culture, and offer a radical reinterpretation of the Salome illustrations.
14
Christian, Daniel Chung. "Satire in the Old Testament." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7fe401ba-0292-4382-a3c4-ae0e133a206f.
Full textAbstract:
In recent years, through the process of narrative and literary criticism, scholars have begun suggesting that satire is present in specific texts of the Old Testament. Thus the primary function of this thesis is to analyse the validity of these arguments alongside suggesting different places where satire may be found. To achieve this goal, the thesis begins by analysing and defining satire as a concept. A clear definition provides the thesis with the method needed to identify satire in texts which predate any defined understanding of the concept. The thesis also uses satirical works from throughout history as templates for understanding similar types of satire within the biblical works. Once this methodology has been established, different genres of the Old Testament form the different chapters of the thesis. It identifies four different places where satire is deployed. Thus it examines satire in narratives, the book of Jonah, prophetic texts and wisdom literature. Each chapter combines new ideas with the analysis of previous scholastic arguments concerning the presence of satire. Within each genre a different type of satire with a range of complexity is deployed. The idol critiques in prophetic texts show simplistic satire. Narrative satire shows both situational and character-based satire. The book of Jonah is an example of hypocritical satire. Finally, satire in the wisdom literature contains a range of different satirical styles. The thesis concludes that satire is present within the texts of the Old Testament. This has implication to the field of satire. It affirms the existence of pre-Hellenistic satire. Alongside this, it shows that satire is a subconscious human technique, deployable even when the proponent has no defined understanding of the concept. In the field of Old Testament studies it provides an alternative reading of many familiar texts. A satirical reading provides clear insight into authorial intent as well as offering different interpretations of the texts which are examined.
15
Christie, Sean. "Another man's dick : a satire." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/7465.
Full textAbstract:
The billboard that nearly caused John Woods to swerve off the coastal road stood much higher than existing legislation permitted. He knew this because he had recently taken a position as a community reporter on a local rag, and he was starting to get a hang of municipal legalese, whether he liked it or not. A hundred yards on he contemplated its mysterious message, identically phrased in the reverse view, and set against the same blue background that had Woods thinking, for a subliminal moment, that the Billboard was part of the ocean beyond, the white letters nothing more than gently ruffled caps of water. The Wait is Almost Over. He looked around at the green mountainside and the gently waving forest of kelp, which flanked the ocean road. Not an impatient scene, exactly. Not a single soul waiting for a god-damned thing. He read the slogan again, and as its meaning dawned (an understanding that it must mean some development was imminent: that almost over portended the very worst for a perfectly beautiful section of mountainside, untouched for all time) he became aware of an increasing tightness in his chest, as if he were taking on pressurised air. He felt the desire to shout something back at the slogan, something equally presumptuous, equally menacing. He picked up a rock, a nice blade of Cape sandstone, and hurled it. (The missile struck with a clang, and dropped to the ground.) Next he tried to pull the billboard over, but since it was not a supple birch, the thing would not begin to lean, no matter how high he climbed. When Inspector Claude Grey rounded the corner on a routine patrol he intercepted Woods at that point of his destructive endeavours where he had attached a tow-line to the structure's left leg, and was proceeding to push the engine of his car through higher and higher revolutions as white sand spurted out from beneath his balding tyres. On the charge sheet the following information was recorded: Name: Jonathan Woods Occupation: Community Reporter, Environmental Affairs. Offence: Destruction of property Mason Construction PTY (Ltd), to whom the billboard belonged, went ahead with the prosecution. It was not to be the last charge laid against the reporter (then a young man) by that company. The story that follows is, in a sense, an account of this long and bitter feud.
16
DeMattio, Ashley N. "Under the Influence of Satire." Ohio Dominican University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1368615061.
Full text
17
Vogel, Barbara. "Photography as satire and solace." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316621455.
Full text
18
Friedman, Alex Glenn. "Satire, the Most Earnest Mode." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1417528371.
Full text
19
Zakos, Katharine P. "Racial satire and Chappelle's Show." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04212009-163930/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2009.Title from file title page. Mary Stuckey, committee chair; Kathryn Fuller-Seeley, Alisa Perren, Alessandra Raengo, committee members. Description based on contents viewed June 11, 2009. Includes bibliographical references (p. 86-89).
20
McDayter, Mark Alan. "This evasive way of abuse, satiric voices in English verse satire, 1640-1700." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ28292.pdf.
Full text
21
Ramsey, Reed. "Affect and Political Satire: How Political TV Satire Implicates Internal Political Efficacy and Political Participation." Scholarly Commons, 2018. https://scholarlycommons.pacific.edu/uop_etds/3134.
Full textAbstract:
Research has shown that political satire programs offer both important information about contemporary politics and offer very humorous, entertaining content. This study seeks to understand how these satire programs bolster both internal political efficacy and political
participation. 400 college students at two Northern California universities participated in this research. The study found that affinity for political humor can predict levels of internal political efficacy. Exposure to liberal satire was negatively correlated with affinity for political humor and political participation, and exposure to conservative satire was significantly correlated with internal political efficacy. Internal political efficacy was also positively correlated with political participation. Lastly, there was significant difference between Democrats and Republicans in terms of their exposure to political TV satire.
22
Morton, Sheila A. "Satire's liminal space : the conservative function of eighteenth-century satiric drama /." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd384.pdf.
Full text
23
Henderson, Felicity 1973. "Erudite satire in seventeenth-century England." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7999.
Full text
24
Hughes, M. E. J. "Modes of satire in mediaeval literature." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383812.
Full text
25
Simon, Alaina R. "Satire and Sympathy in American Psycho." University of Toledo Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1355508133.
Full text
26
Yaqoob, Mahrukh. "Exploring Racial Interpellation Through Political Satire." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/41599.
Full textAbstract:
In North America, race and racialization can be seen as products of domination that are (re)produced and perpetuated through the mechanisms of racial interpellation. This concept refers to the fact that identity and subjectivity are imposed on racialized subjects through institutions and practices such as racial profiling. In this sense, literature on race, racialization, and resistance in North America reveals that racial profiling is a key issue in the region even if a façade of post-racialism trumps the existence of ongoing injustices, inequalities, and limitations of freedom faced by racialized minorities. In this respect, this research emphasizes that language, representations and practices are at the core of this issue as components of dynamics of racial interpellation. This research also acknowledges the existence of endless struggles for respect among racialized minorities, specifically Arabs and Muslims in North America. These struggles seek to allow racialized subjects to be seen as members of a society in which race and differences are not the underlying concern. Since humour (satire) has historically been recognized as a tool of disruption of dominant discourses, in this research we ask: how do comedians issued from racialized minorities face these struggles? With ongoing atrocities faced by racialized minorities, in this paper, I seek to reflect on how the intersection of race and comedy can be used to negotiate (accept, tolerate, and resist) the reproduction of racialized subjects. I focus on the way political satire faces Althusserian ideological interpellation (later translated to racial interpellation by Frantz Fanon). Can the latter be resisted or challenged through humour? This thesis argues that when race and comedy intersect it allows comedians to voice challenges often faced by racialized communities in order to resist an existing reality and create new meanings. As Frantz Fanon once mentioned: “Each generation must, out of relative obscurity, discover its mission, fulfill it, or betray it”. Is the fight against racialization part of the mission that popular comedians of minority communities have given to themselves?
27
Sabbadin, Francesca <1990>. "L'exemplum storico nelle Satire di Giovenale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6760.
Full textAbstract:
Le Satire di Giovenale sono un concentrato di exempla storici: questa tesi intende dimostrare il perché di questo fenomeno, quale parte abbia nella costituzione della sua opera la satira precedente, quale parte giochi il gusto letterario contemporaneo e quale la sensibilità del solo autore. L’analisi degli exempla storici nell’opera del poeta è alla base del nostro lavoro, che considererà gli exempla sia in base alla tipologia sia nel contesto delle singole satire sia, infine, nel loro complesso per poter delineare un quadro d’insieme. L’analisi verrà corredata da informazioni circa la contestualizzazione dell’autore all’interno della sua epoca, un’età di transizione per l’istituzione del principato, da quello tirannico di Domiziano a quello meno oppressivo degli Antonini, ma pure per la letteratura latina; i condizionamenti subiti dall’ambiente e dalla pratica della retorica; la visione con cui Giovenale guardava alla storia e alla sua società, visione che traspare chiaramente dalle sue Satire e che non è priva d’interesse per un’analisi di eventi e personaggi storici.
28
Jobert, Véronique. "La satire sovietique contemporaine. Societe et ideologie." Paris 4, 1988. http://www.theses.fr/1988PA040114.
Full textAbstract:
La satire sovietique contemporaine, de par sa nature critique, assure une fonction informative qui n'est pas negligeable dans un pays ou tant de defauts etaient systematiquement occultes. Dans ses variantes journalistiques, en particulier, la satire s'attaque a des problemes tres concrets, en denoncant des abus notoires, en designant des responsables reels. Ainsi s'ebauche un tableau assez complet de la vie sovietique. La vie materielle d'abord, avec les difficultes de la vie quotidienne et les problemes economiques sous-jacents, est abondamment illustree. La description de la vie sociale revele les caracteristiques propres aux categories professionnelles et aux groupes sociaux specifiques de ce pays, sans oublier des problemes de societe tel que l'alcoolisme, et les rapports avec l'etranger. La vie culturelle enfin, represente un aspect important de la vie sovietique, en raison d'abord du role traditionnel de l'intelligentsia, ensuite de l'enjeu que represente l'education de la jeunesse pour l'avenir du pays, enfin de l'influence prise par la "langue de bois" utilisee par la propagande. Mais la satire sovietique laisse apparaitre de nombreuses contradictions. La critique ne doit pas depasser certaines limites, qui ont d'ailleurs varie dans le temps. Satire et humour ne semblent pas toujours compatibles en union sovietique, ou s'affirme une volonte marquee de privilegier le fond par rapport a la forme. La confusion des genres qui s'installe est encore due a l'importance prise historiquement par de pietres ecrivains, mais des inconditionnels du regime qui ont ete abusivement consideres comme satiristes. Malgre toutes les difficultes certains ecrivains ont su maintenir vivantes les traditions propres a leur art. Il ne saurait etre question de les confondre avec les pseudo-satiristes propagandistes du systeme. C'est ainsi que l'etude de la satire sovietique permet egalement de mettre en lumiere non seulement les reussites, mais aussi les echecs de l'ideologieContemporary soviet satire, because it is critical, gives rather important information on a country whose defects were systematically conceiled. Particularly in the press, satire confronts very concrete topics, revealing obvious abuses. In this way, an extensive picture of soviet life appears. In the first place the material way of living is pointed at, with the difficulties of day-to-day life and the underlying economic problems. The social life picture reveals the specifics of the professional and social groups of the country, without omitting society particularities, such as alcoholism and contacts with foreigners. The cultural life, too, is an important side of soviet life, because of the traditional role of the "intelligentsia", then the challenge of youth education for the future of the country, and also the importance taken by the stereotyped language used for propaganda. But soviet satire reveals many contradictions. It encountered many obstacles which changed in the course of years. Satire and humour are not always the same thing in the soviet union, where substance is given more importance then form. The confusion is also due to the historic pre-eminence given to bad, but regime-devoted writers, who were falsely claimed satirists. In spite of all difficulties, some writers have been able to maintain alive the traditions of their art. There should be no question of mistaking them for the false satirists devoted to the "system". Thus the study of soviet satire allows us also to bring to light not only the successes, but also the failures of the ideology
29
Crawford, Alison. "Postmodern satire in American prime-time animation." Thesis, Ulster University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516291.
Full text
30
Curtis, Catherine Mary. "Richard Pace on pedagogy, counsel and satire." Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/252302.
Full textAbstract:
My thesis considers the career and writings of Richard Pace. Employed by Cardinal Bainbridge in Rome, then by Thomas Wolsey and Henry VIII as secretary and diplomat, Pace was considered one of England's most illustrious ambassadors and learned men by contemporaries. Erasmus, however, attempted to censor Pace's De Jructu qui ex doctrina percipitur (c.1517) which was written and published in the same period as Utopia. Accepting Erasmus's hostility at face value, commentators have judged Pace's literary works harshly, and his contribution to English humanism and political thought has been underestimated as a consequence. This thesis reveals Pace to be an important pedagogue, conciliarist and satirist who actively sought to further reform in both secular and ecclesiastical realms. Chapter 1 traces Pace's education in the Veneto, Bologna and Ferrara. Taught by famous humanist scholars and translators in the fields of rhetoric, Greek, medicine, Platonic and Aristotelian philosophy and the natural sciences, Pace was part of the English circle in Italy of Latimer, Tunstall, Linacre, Clerk and (later) Pole and Lupset. In Chapter 2 it is seen that the De Jructu was commissioned for use in the study of Greek and Latin at St. Paul's School by Erasmus on behalf of John Colet. In Chapters 3 and 4, I argue that Erasmus' s hostility to the De Jructu stemmed not from any aesthetic reservations. Pace claimed authorship of one of the most notorious satires of the sixteenth century, the anonymously issued Julius exclusus, which at that time was being attributed to Erasmus despite his vehement denials. Chapter 3 focuses on Pace 's discussion of counsel and council in the De Jructu. Based in classical rhetorical theory, and fused with the Christian ideal of piety and virtue, Pace fashions the ideal orator and counsellor of early sixteenth-century Europe. Chapter 4 is concerned with Pace's experience of, and reactions to, Italian and English sacred oratory, and includes a study of his own oration delivered on the occasion of the signing of the Universal Peace Treaty in October 1518. Chapter 5 examines the Julius exclusus (c.1513), a key text for both continental reformers and propagandists for Henry VIII's Divorce. In order to resolve the centuriesold question of its authorship, I expose the major textual conventions on which the dialogue rests and the contexts in which it was composed., including the oratory of the Roman court, Renaissance drama, the satiric pasquinade, and the theological and juridical literature generated by the schismatic Pisan council. Chapter 6 considers further the dissemination of, and Erasmus's reaction to, the Julius exclusus and De jructu, Utopia, the Epistolae obscurum virorum and other satires emanating from Germany in the first decades of the sixteenth century.
31
Forsberg, Niclas. "Laughing Knives : Satire in the English Classroom." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-51279.
Full textAbstract:
The aim of this study is to promote the use of satirical content in the English classroom.This study provides an analysis of three interviews with English teachers in the upper secondary school. The analysis compares earlier research with the findings from the interviews. Interview answers show through real experiences that satirical content may help students become more engaged, not only in learning English but in other social and cultural issues as well. Teachers will have to fight their insecurities about satire in order to use satirical content to its fullest potential. However, it is concluded that satire has a great potential in the English language classroom because of the number of advantages it can provide.
32
Tsalicoglou, Elina I. "Satire in the Greek Enlightenment, 1750-1821 :." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403951.
Full text
33
Perry, Kathryn. "Political animals : Spenserian beast satire 1591-1628." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343218.
Full text
34
Declercq, Dieter. "A philosophy of satire : critique, entertainment, therapy." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/64125/.
Full textAbstract:
What is satire, what can it do and what not, and why should we care about it? Since its introduction as a classification of artworks in Roman times, these fundamental questions about satire have been continually addressed by satirists themselves, their fans, their detractors, political and moral authorities, art-critics, and, not in the least, scholars. These longstanding debates about the fundamental issues of satire have often been fruitful and enlightening. Still, the fundamental questions about satire's nature, its function and its significance have remained unanswered. In this thesis, I aim to resolve these issues by engaging with satire throughout the ages in various media, with a specific focus on contemporary moving images. While satire was traditionally a literary phenomenon, it is nowadays most widespread on the screen, especially due to commercial success on American television (Gray, Jones and Thompson 2009, 19). For this reason, although I do not ignore debates in literary studies and other disciplines, I primarily engage with recent scholarship in film, television and media studies (e.g. Day 2012; McClennen 2011; Jones 2010; Baym 2010). Apart from moving images, I also discuss a variety of comics, because I argue that satire is characterised by similar storytelling techniques as cartoons and caricatures. My investigation aims to clarify fundamental, general and abstract questions about the nature, function and significance of satire. In order to realise these aims, I introduce and develop methodological frameworks from analytic aesthetics and philosophy. I draw mostly on methodologies in philosophy of art to address my research questions and clarify closely related concepts to satire, including irony (Wilson and Sperber 2012), humour (Carroll 2014), fiction (Friend 2012), genre (Abell 2014), aesthetic experiences (Stecker 2010), entertainment (Shusterman 2003) and narrative interpretation (Currie 2004). I also engage with scholarship which has sought to appraise the nature, function and significance of satire by comparing it to philosophy (Gray 2005; Higgie 2014). On the one hand, such comparisons are problematically vague and, under scrutiny, the differences between satire and philosophy quickly become apparent (see Diehl 2013). On the other hand, these comparisons are valuable because they rightfully highlight that satirists and philosophers share a moral concern for truth, which situates them in a similar existential framework. Still, concepts like 'truth' and 'ethics' have remained problematically vague in recent debates about satire, especially in the wake of postmodernism. In order to redress this situation and introduce greater clarity to the debates, I develop a meta-ethical investigation rooted in the quasi-realism of Simon Blackburn (1998). In the first chapter, I challenge the idea that satire is a spirit or mode which can only be characterised by a cluster account (Condren 2012). Instead, I define satire as a genre with the purpose to critique and entertain. This definition highlights a fundamental tension in satire between a broadly moral purpose to critique and a broadly aesthetic purpose to entertain, which explains the ambiguous reception of satire: hailed for its truthful moral interventions (Gray 2005), enjoyed for its aesthetic pleasures (Griffin 1994), but also dismissed as frivolous pastime that cultivates cynicism (Webber 2011). In the second chapter, I frame the significance of satire's definitive tension as corresponding to a fundamental conflict in ethical life between the demands of critique and its limits. Although I acknowledge that satire's purpose to entertain limits its political impact as critique (Holbert 2013), I revalue entertainment in satire as therapy to cope with the limits of critique. In the third chapter, I investigate the cognitive contributions of satire as critique, even if they are moderate. Acknowledging that fictions are epistemically risky (Currie and Levinson 2017), I acknowledge that satire can deceive, but I also defend that good satire can teach non-trivial truths, including moral truths. Nonetheless, I advocate a careful cognitivism which acknowledges that satire's cognitive contributions need to be complemented with further inquiry. In the fourth chapter, I explain that satirists often cultivate a humorous irony to cope with the limits of critique. In dialogue with psychological research on the therapeutic function of narratives (Roberts and Holmes 1999) and the correlation between humour and wellbeing (Martin 2007; Ruch and Heintz 2016), I conceptually clarify the therapeutic dimension of humorous irony in satire as a narrative strategy to cope with the absurd gap between the demands of critique and its limits. I conclude that further research about satire should focus less on proving that satire changes the world and more on how it copes with it.
35
Goh, Ian. "Lucilius and the archaeology of Roman satire." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283889.
Full text
36
Debailly, Pascal. "L'esthétique de la satire chez Mathurin Régnier." Paris 10, 1993. http://www.theses.fr/1993PA100019.
Full textAbstract:
Cette recherche sur les satyres de Mathurin Régnier a pour ambition de dégager leur originalité esthétique, de proposer, à partir d'une synthèse des travaux modernes sur le genre satirique en général, de nouveaux instruments d'analyse propres à en favoriser l'appréciation. Cette esthétique a été examinée sous trois aspects complémentaires: celui du genre utilisé par le poète, celui de l'objet du discours satirique et de son intention, celui enfin du sujet qui s'exprime et s'affirme à travers ce discours. La première partie de la thèse traite ainsi de la poétique de la satire lucilienne jusqu'à Mathurin Régnier, la seconde de la critique à laquelle le poète soumet le réel, la troisième de la liberté humoresque et de l'esthétique de la négligence induites par le Je satirique. La méthode d'analyse adoptée obéit à une double démarche: une démarche interne d'abord et inductive visant à dégager les éléments principaux de l'univers satirique de Régnier à partir d'une étude littéraire du texte, une démarche externe ensuite cherchant à confronter ce texte avec les différents concepts créés par les humanistes de la Renaissance et par les critiques modernes pour appréhender la satire lucilienne. Cette thèse se présente donc à la fois comme une monographie sur Mathurin Régnier et comme une réflexion, à partir d'un exemple précis sur l'esthétique spécifique de la satire formelle en vers telle qu'elle a été inventée par le poète latin Lucilius et redécouverte par les Humanistes de la Renaissance, avant de connaître un grand développement en France au début du XVIIe siècleThe ambition of this research on Mathurin Régnier's satyres is to bring out their aesthetical originality and, with the help of a synthesis of modern works on the satirical genre in general, to propose new instruments of analysis apt to improve their appraisal. This aesthetics has been examined from three complementary points of view: the genre the poet resorts to, the object of the satirical discourse and its intention, finally the subject who expresses and asserts himself through this discourse. So the first part of this thesis deals with the poetics of Lucilian satire until Mathurin Régnier's time, the second one with his criticism of reality, the third one with the humoresque liberty and the aesthetics of negligence stemming from the satirical I. The method of analysis follows a double process: firstly an internal and inductive process which aims at exposing the main components of the Régnier's satirical universe, on the basis of a literary study of the text, secondly an external process intending to confront this text with the different concepts created by the humanists of the Renaissance and by modern criticism in order to apprehend the Lucilian satire. Therefore, this thesis is both a monograph on Mathurin Régnier and a reflection, starting from a precise example, on the formal verse satire such as it was invented by the latin poet Lucilius and rediscovered by the Humanists of the Renaissance before thriving in France at the beginning of the 17th century
37
Mühlethaler, Jean-Claude. "Fauvel au pouvoir : lire la satire médiévale... /." Paris : H. Champion, 1994. http://catalogue.bnf.fr/ark:/12148/cb35681065k.
Full text
38
Musgrave, David. "Figurations of the grotesque in Menippean satire." Thesis, University of Sydney, 1997. https://hdl.handle.net/2123/22725.
Full textAbstract:
Ignoring for the moment the fact that the very existence of the genre is a contentious issue, menippean satire is a form of writing with a history which extends back almost two and a half thousand years, at least to its legendary origin with Menippus of Gadara in the first half of the third century B.C. Menippus’ writings no longer survive, but some facts of his life are known, largely through the Lives of Eminent Philosophers of Diogenes Laertius. Menippus was a slave who became a pupil of the Cynic Metrocles, purchased his freedom and settled in Thebes where he satirized all formal schools of philosophy and all philosophical elites. Legend has it that he hanged himself, through disappointment at financial ruin. Not entirely inappropriately, then, ‘menippean satire’ has the attraction of having its ‘origin’ as mythic — Donald Dudley has noted that Menippus, “like the Cheshire cat, has faded away to a grin” — an apt condition for a form characterised by unparalleled freedom and invention. (This lack of a defining origin also has important epistemological implications, allowing Menippean satire to inhabit the undecidable boundary region of literature and philosophy on the one hand, and of literature and “writing” on the other.) From what is known through fragments of, and references to Menippus, his satire was a mélange of prose and poetry, presumably developed from verse satire with additional prose interludes.
39
Thumm, Sarah Reynard. "Swift's Vexed Satire of Hobbes and Lucretius." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626122.
Full text
40
Benard, Clementine. "John Donne : de la satire à l'humour." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR076/document.
Full textAbstract:
Cette étude s'attache à démontrer comment les écrits satiriques du poète élisabéthain John Donne (1572-1631) lui permettent de développer une esthétique propre, qui ne se cantonne pas qu'au corpus satirique strict mais trouve également une résonance dans le reste de son œuvre. Traditionnellement considérée comme une tendance marginale dans sa poésie, la satire chez Donne s'exprime à travers d'autres textes, laissant ainsi transparaître un « esprit satirique ». Le jeu et la prise de distance du poète vis-à-vis des conventions littéraires, sociales et religieuses de son époque nous permettent de mettre au jour une poétique dominée par le doute et la mélancolie. Cette humeur noire, selon la théorie médicale des humeurs, nous conduit vers l'humour et le comique : fort peu examinés chez Donne, ces concepts transparaissent pourtant à la lecture des textes les moins explorés par la critique, dévoilant ainsi une esthétique qui donne sa cohérence au corpus. John Donne n'est pas que le chef de file de la poésie métaphysique : son statut de satiriste lui confère également celui d'humoristeThis study aims to show how the satiric writings of Elizabethan poet John Donne (1572-1631) display a specific aesthetics, which is also to be found in all his work and not only in his satiric texts. Although it has traditionally been considered as a fringe element in Donne's poetry, satire appears in other writings, thus disclosing a ''satiric spirit''. By playing and distancing himself from the literay, social and religious standards of his time, the poet's work reveals an aesthetics ruled by doubt and melancholy. According to the system of medicine called ''humorism'', melancholy is a black fluid that brings us to humour and comedy : even though they have been rarely examined in Donne studies, these concepts do stand out after a close reading of the least sought-after poems. It thus unites and makes the whole of Donne's poetry coherent. Not only is he the best representative of the metaphysical poets, he is also a satirist as well as a humorist
41
Baccouchi, Mohamed. "Lao She dramaturge : l'art de la satire." Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb375944693.
Full text
42
Baccouchi, Mohamed. "Lao She dramaturge : l'art de la satire." Paris 7, 1985. http://www.theses.fr/1985PA070009.
Full text
43
Gärtner, Sebastian. "Was die Satire darf : eine Gesamtbetrachtung zu den rechtlichen Grenzen einer Kunstform /." Berlin : Duncker & Humblot, 2009. http://aleph.unisg.ch/hsgscan/hm00246035.pdf.
Full text
44
Lopes, Maria Graça Videira. "A satira nos cancioneiros medievais galego-portuguesa /." Lisboa : Estampa, 1994. http://catalogue.bnf.fr/ark:/12148/cb37312581r.
Full text
45
Weston, Arthur Harold. "Latin satirical writing subsequent to Juvenal /." Ann Arbor (Mich.) : Books on demand, 2003. http://catalogue.bnf.fr/ark:/12148/cb390456129.
Full text
46
Lundborg, Niklas, and Carl-Filip Florberger. "Understanding Satire with The Simpsons : A qualitative study on providing information and knowledge through animated television." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33239.
Full textAbstract:
Satire is a form of humor used to criticize society and ridicule those who govern through irony, exaggeration and humor. What separates satire from other forms of social and political protest is that it uses humor to change human behavior. With our study, we ask ourselves if satire can be used to spread information and knowledge via animated entertainment shows such as The Simpsons. Our main research question is: Can the audiences of The Simpsons understand messages within the show’s entertainment context through its use of satire? To help us answer this we also have secondary inquiries such as: Is the satire within The Simpsons comprehended by its audiences? And, Is animation an appropriate method to engage information at hand? The main purpose of this study is that we are curious if you can more easily become aware of new information and serious matters through the combined use of humor and entertainment. We have chosen The Simpsons to focus on because they were the show that started a new genre of animated satirical comedy on TV. This genre is in today's television society very popular and as a result has created new satirical hit shows as Family Guy and South Park. Moreover we also reasoned that it is possible to make use of an American TV series in a Swedish study, since the world is now very connected, so influences and products move between land borders with relative ease, such as between the U.S.A and Sweden. We have based our theoretical framework around different types of genres that together with satire can help form an idea regarding if The Simpsons uses its perceived satire to possibly spread information and knowledge. As a use of method we have in this study chosen focus group interviews. The groups are to view a selected episode of The Simpsons, and then discuss aspects of the program. Using these focus groups, we want to distinguish The Simpsons use of satire and if it is effective in spreading information and knowledge. With our research, we concluded that there are different views on the use of animation to spread knowledge and information. One side argues the fact that the animated form is effective since restrictions are few. There are some who claim that animation can result in diluting the impact of satire. Participants in the focus groups clearly saw the episode 's message and theme and many of the satirical references. Ultimately the use of satirical humor to spread knowledge and information can to some degree be claimed to be an effective way to reach out to the audience with messages and opinions.Satir är en form av humor som används för att kritisera samhället och förlöjliga de som styr genom ironi, överdrifter och humor. Det som skiljer satir från andra former av social och politisk protest är att den använder sig av just humor för att ändra mänskligt beteende. Med vår studie frågar vi oss om man kan använda satir för att sprida information och kunskap via ett animerat underhållningsprogram som The Simpsons. Vår huvudfrågeställning är: Kan publiken av The Simpsons ta åt sig information och kunskap inom programmets underhållningskontext samt via dess användning av satir? För att få svar på detta har vi också använt oss av sekundära frågor såsom: uppfattar och/eller uppskattar personer som tittar på The Simpsons satir? Är animation en lämplig eller olämplig metod för att ta åt sig information? Huvudsyftet med denna studie är att vi är nyfikna på om man enklare kan ta åt sig information och allvarliga ämnen i kombination med humor och underhållning. Vi har valt The Simpsons som undersökningsobjekt eftersom de var dem som startade en ny genre av animerad satirisk komedi på TV. Denna genre är i dagens TV-samhälle väldigt populär och det har skapats nya satiriska succéprogram som Family Guy och South Park som följd av detta. Vi har också motiverat att det går att använda oss av en Amerikansk Tv-serie i en svensk studie eftersom världen är nu väldigt sammankopplad och influenser och produkter flyttas mellan landsgränser relativt enkelt, såsom mellan USA och Sverige. Vi har baserat vårt teoretiska ramverk kring olika typer av genrer, som tillsammans med satir kan hjälpa bilda en uppfattning om The Simpsons använder sig av sin föreställda satir för att eventuellt sprida information och kunskap. Som metod har vi till denna studie valt att använda oss av fokusgruppsintervjuer där grupperna får se ett utvalt avsnitt av The Simpsons och sedan diskutera aspekter av programmet. Med hjälp av dessa fokusgrupper vill vi urskilja The Simpsons användande av satir och om den är effektiv för att sprida information och kunskap. Med vår undersökning kom vi fram till att det förekommer delade uppfattningar om att använda animation för att sprida kunskap och information. Ena sidan tar upp det faktum att den animerade formen är effektiv då begränsningarna är få, den andra sidan påstår att animation kan leda till att budskap kan vara svåra att ta på allvar på grund av satirens överdrivande och fartfyllda egenskaper. Deltagarna i fokusgrupperna såg tydligt avsnittets budskap och tema samt många av de satiriska referenserna. Att använda satirisk humor för att sprida kunskap och information kan till viss grad påstås vara ett effektivt sätt att nå ut till publiken med budskap och åsikter.
47
Ebewo, PJ. "Satire: A Shifting Paradigm in Zakes Mda's Dramaturgy." Routledge Taylor & Francis Group, 2009. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001796.
Full textAbstract:
Summary
Zakes Mda’s dramatic productions extend many frontiers, including polemics. Like some of
his Southern African fellow-dramatists, the apartheid plays of Mda lent to the deprivation
of the marginalised group a sardonic voice of condemnation that characterised the era.
Most of his theatrical events were remarkable as they scanned the sordid worlds of
hopelessness, disillusionment, betrayal and degradation. His dramaturgy was mostly wry,
coarse and ‘dark’. In his post-apartheid plays, there seems to be a change of gear as the
playwright gravitates towards satire – a blend of amusement and contempt. This study
attempts to deny Mda his traditional role as a tragic and comic dramatist and situate
him as a writer of satire. The aim is to demonstrate, by means of a scholarly critique of
two plays – The Mother of All Eating (2002. Johannesburg: Wits University Press) and You
Fool, How Can the Sky Fall (2002. Johannesburg: Wits University Press), how Mda acted as
the consciousness and the conscience of his society by using satire as an instrument of
censure to castigate the politically dominant groups betraying the masses in both Lesotho
and South Africa.
48
Galliera, Anca Izabel. "Negotiating artistic identity through satire subreal 1989-1999 /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001175.
Full text
49
Volk, Richard. "Menippean satire in Geoffrey Chaucer's Troilus and Criseyde." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58268.
Full textAbstract:
There is little consensus as how to read Geoffrey Chaucer’s Troilus and Criseyde. Critics such as C.S. Lewis, D.W. Robertson, and Elizabeth Salter, for example, have come to very different conclusions regarding the Troilus’s emphasis on love. Such irreconcilable views open the text to a reconsideration. I reexamine love and its binary, war, in the Troilus through the lens of Menippean satire to offer a more inclusive reading of the text while admitting its exclusive tendencies. Here menippea attempts to ameliorate previous readings and to shed light on the degree of play that Chaucer employs in interpreting earlier narratives of Troilus and Criseyde through innovation and contemporizing the text. The paper begins with a conspectus on Menippean satire and the Troilus. I draw from critics of menippea such as Bakhtin, Northrop Frye, Erik and Marshall McLuhan, and Anne Payne to lay the groundwork of menippea as applied to the Troilus. I invoke the McLuhans’ work on the tetrad to understand better how Menippean satire is a literary tool to provoke the role and limits of the reader. Concerning war, this essay explores how the matter of Troy was employed in the 14th century to show how the text speaks to events of the day, and how the character Troilus represents not only a knight of courtly love, but a mercenary initially bereft of gentilesse. Concerning love, this thesis explores the limits of love in the text by juxtaposing Andreas Capellanus’s Rules of Courtly Love to illustrate how Troilus and Criseyde’s love transgresses the literary conceit of courtly love to point to the greater phenomenon of fin’ amors. This paper contends that of all the ways to consider Chaucer’s Troilus, the most apt and productive is a Menippean satirical reading.Creative and Critical Studies, Faculty of (Okanagan)
Graduate
50
Matthews, Graham J. "Contemporary Satire : Writing in the wake of postmodernism." Thesis, University of Exeter, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529297.
Full text