To see the other types of publications on this topic, follow the link: Satire.
Journal articles on the topic 'Satire'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles 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 journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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«.
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.
Full textAbstract:
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«.
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.
Full textAbstract:
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.
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.
Full textAbstract:
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.
11
Gruner, Charles R., Marsha W. Gruner, and Lara J. Travillion. "Another Quasi-Experimental Study of Understanding/Appreciation of Editorial Satire." Psychological Reports 69, no. 3 (December 1991): 731–34. http://dx.doi.org/10.2466/pr0.1991.69.3.731.
Full textAbstract:
College students completed a 17-item scale measuring the “propensity to argue controversial topics” and 7 other nominal-scale independent variables. They then read three editorial satires and checked which of five statements was the intended thesis of each satire's author. They also rated each satire on interestingness and funniness. Analysis indicated dependence between understanding of satire and sex and regular readership of “The Far Side.”
12
Bucknell, Clare. "The Roman Adversarial Dialogue in Eighteenth-Century Political Satire." Translation and Literature 24, no. 3 (November 2015): 291–318. http://dx.doi.org/10.3366/tal.2015.0219.
Full textAbstract:
This article examines the use of the Roman satiric dialogue in eighteenth-century political verse. It studies partisan satires that pit their speakers against a cautionary interlocutor (adversarius) in imitation of Horace's Satire 2.1 and Persius' Satire 1. It begins with an overview of Pope's use of the dialogue form in his Imitations of Horace, and his shift in the later 1730s to a model of antagonistic encounter between ideological opponents in the style of Persius. Its main body is an examination of later eighteenth-century satires that find alternative political uses for Persius' dialogue form to those of Pope and the Whig Patriot satirists who followed his lead. It studies Thomas Newcomb's inversion of Pope's Epilogue to the Satires for the purposes of ministerial propaganda; Charles Churchill's variations on the dialogue form under the banner of Wilkesite opposition; and Peter Pindar's comic burlesque of the traditional postures of dialogic satire in One Thousand Seven Hundred and Ninety-Six. The article reveals the Roman dialogue to have been a distinctively flexible framework for eighteenth-century satirists, capable of accommodating positions and arguments on both sides of the partisan divide.
13
Schlegel, Catherine. "Horace Satires 1.7: Satire as Conflict Irresolution." Arethusa 32, no. 3 (1999): 337–52. http://dx.doi.org/10.1353/are.1999.0016.
Full text
14
Gruner, Charles R., and Virgie Nobles Harris. "Understanding/Appreciation of Editorial Satire: Partial Replication." Psychological Reports 70, no. 3 (June 1992): 850. http://dx.doi.org/10.2466/pr0.1992.70.3.850.
Full textAbstract:
Replication with 119 undergraduates (55 men, 64 women) of variable but positive correlations between ratings of funniness and interestingness of 3 written satires and none for satire-understanding with “humor style,” sex, or fanship of “The Far Side” is reported.
15
Basu, Laura. "News Satire: Giving the News a Memory." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 16, no. 1 (February 5, 2018): 241–55. http://dx.doi.org/10.31269/triplec.v16i1.647.
Full textAbstract:
It is claimed that journalism is facing a far-reaching crisis, with mainstream news becoming ever less independent and informative, and therefore less trusted by publics. In response to this journalistic crisis, what has been termed the “fifth estate” – news satire – has flourished globally in recent years. A fertile area of scholarship has sprung up around it, arguing that it plays an important role in contemporary democracy. This article aims to contribute to these debates around the social functions of both news and news satire by bringing questions of memory and forgetting to these discussions. Firstly, it argues that, linked to acceleration under capitalism, news is a key site of the production of amnesia, and that this media amnesia has ideological outcomes. Secondly, it shows how television news satires both critique and attempt to make sense of the news, and to some extent counter the amnesiac tendencies of news by giving it a memory. In doing this, to some extent news satires thus resist the ideolog-ical work performed by news-forgetting along multiple dimensions. The article explores five memory practices in two news satires: The Daily Show (US) and Newswipe (UK).
16
Basu, Laura. "News Satire: Giving the News a Memory." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 16, no. 1 (February 5, 2018): 241–55. http://dx.doi.org/10.31269/vol16iss1pp241-255.
Full textAbstract:
It is claimed that journalism is facing a far-reaching crisis, with mainstream news becoming ever less independent and informative, and therefore less trusted by publics. In response to this journalistic crisis, what has been termed the “fifth estate” – news satire – has flourished globally in recent years. A fertile area of scholarship has sprung up around it, arguing that it plays an important role in contemporary democracy. This article aims to contribute to these debates around the social functions of both news and news satire by bringing questions of memory and forgetting to these discussions. Firstly, it argues that, linked to acceleration under capitalism, news is a key site of the production of amnesia, and that this media amnesia has ideological outcomes. Secondly, it shows how television news satires both critique and attempt to make sense of the news, and to some extent counter the amnesiac tendencies of news by giving it a memory. In doing this, to some extent news satires thus resist the ideolog-ical work performed by news-forgetting along multiple dimensions. The article explores five memory practices in two news satires: The Daily Show (US) and Newswipe (UK).
17
Juster, A. M. "Horace: Book I Satire X of Horace's Satires." Literary Imagination 9, no. 1 (January 1, 2007): 80–83. http://dx.doi.org/10.1093/litimag/imm019.
Full text
18
Mohammed, Wafaa Dahham. "A Socio-Pragmatic Study of Satire in English Political Speeches with Reference to Its Arabic Translations." JOURNAL OF LANGUAGE STUDIES 7, no. 4 (December 31, 2023): 236–55. http://dx.doi.org/10.25130/lang.7.4.12.
Full textAbstract:
Satire is a typical mode of expression that is humorously utilized with the intent of attacking or criticizing a certain person, behavior, state, or the whole community. Satire, in political genres, is informatively manifested for materializing negative ends on the part of the satire entity. Satirical expressions are oppositely devised, critically held, and morally targeted; whereof a problematic area would arouse towards the perception of their incongruous targets, the extent of their critical dimensions about their aim of moral reform. Besides, translators would face the dilemma of satirical incongruity and their moral statues would inevitably differ. Thence, five satirical texts with their translations randomly opted from the political site www. The week.com show debates political satire in English with its four renditions in Arabic. Socio- Pragmatic means for unraveling satirical mysteries are objectively culled. It is hypothesized that satire in political language comes with the intent of criticizing and ridiculing the political situation with the aim of getting reform. Bringing forth translational mechanisms for the renditions of covert intents based on cultural and communal grounds are attempted. In conclusion, most of the political satires are hostilely put forward against rather than reforming the political figures and the political situation. Most of the satirical expressions found no accurate renditions in the other language due to their discrepancy and the absence of contextual condition, paralinguistic cues and intonational patterns.
19
Adomėnas, Mantas. "What’s so Funny? Democritus ridens in Juvenal 10." Literatūra 64, no. 3 (December 30, 2022): 43–53. http://dx.doi.org/10.15388/litera.2022.64.3.4.
Full textAbstract:
The article analyzes Juvenal’s use of Democritean material in his tenth Satire. The famous juxtaposition of laughing Democritus and weeping Heraclitus (which popularized and perpetuated the image of contrasting philosophers) is habitually interpreted in terms of Juvenal’s poetic strategy, as indicating the shift in the tone of his satires and the change of Juvenal’s stance from the anger as the dominant emotion of his earlier satires to laughter and irony of the later ones. There is a tendency to assume that the totality of Democritean material in Juvenal 10 derives solely from Seneca. However, close reading of the concluding lines of the Satire suggests a different argumentative strategy and deeper engagement with Democritus’ thought by Juvenal. The comparison with Pseudo-Hippocratic ‘epistolary novel’ suggests Cynic diatribai as the source of the Democritean material in Juvenal 10.
20
Schwartz, Benjamin. "Speculative Satire and Postracial Capitalism in Nana Kwame Adjei-Brenyah’s Friday Black." Studies in American Humor 8, no. 2 (September 1, 2022): 297–316. http://dx.doi.org/10.5325/studamerhumor.8.2.0297.
Full textAbstract:
ABSTRACT This article explores the satire in Nana Kwame Adjei-Brenyah’s Friday Black (2018), specifically focusing on the use of speculative devices to question assumptions about racial progress in the twenty-first century United States. Adjei-Brenyah’s humor unsettles the logic of postracial time and demonstrates how contemporary African American satire disrupts race-neutral discourses that reproduce what Maria Bose calls “postracial capitalism.” Drawing on recent scholarship by Bose, Danielle Fuentes Morgan, Lisa Guerrero, and others, I read Adjei-Brenyah’s dark and hilarious short stories as satires that name and challenge the emerging technologies of racist domination that condemn Black bodies to premature death in contemporary America.
21
Gruner, Charles R. "A Quasiexperimental Study of the Effect of Humor Preference and other Variables on Understanding/Appreciation of Editorial Satire." Psychological Reports 65, no. 3 (December 1989): 967–70. http://dx.doi.org/10.2466/pr0.1989.65.3.967.
Full textAbstract:
Students indicated their humor preference (nonsense vs philosophical) and personal data on 7 other independent variables, then read three satirical editorials and, after each, checked which of five statements was the thesis intended by the author. They also rated each satire on interestingness and funniness. The number of satires' theses correctly identified was the dependent variable (understanding) and the interestingness and funniness scales were the measures of appreciation. The only significant value of chi-squared for understanding was by Greek/nonGreek status. A correlation matrix of the funniness and interestingness scores supported earlier evidence of a general “appreciation of satire” factor by college students.
22
Mahsusi, Juni. "VERBAL VIOLENCE IN NETIZEN COMMENTS ON SOCIAL MEDIA ACCOUNTS TIKTOK @LILU_MUKERJI (LINA MUKERJI)." ENGLISH JOURNAL OF INDRAGIRI 7, no. 2 (July 18, 2023): 494–505. http://dx.doi.org/10.61672/eji.v7i2.2582.
Full textAbstract:
This study aims to determine the forms and verbal violence used in comments on the @lilu_mukerji TikTok account. This study uses a qualitative descriptive research method. The data source in this study came from netizen comments on the social media TikTok. Data collection used the technique of simak bebas libat cakap (SBLC) with the recording method. The data were analyzed using the equivalent referential method with the comparative linking technique, namely connecting and comparing verbal violence based on the form of satire (cynicism, sarcasm, irony, satire, and innuendo). The analysis results show that verbal violence in netizen comments on the @lilu_mukerji TikTok account uses language styles in the form of words, phrases, and sentences. While the types of language styles netizens use are satire, sarcasm, cynicism, irony, and satire. Then from the 120 most dominant analysis data, namely sarcasm, as many as 53 in the form of words, phrases, and sentences. Cynicism, as many as 37 in the form of phrases and sentences. Irony as much as 17 in the form of phrases and sentences. There are 13 satires in the form of phrases and sentences, while the innuendo style is not found in this study.
Keyword: Verbal Violence, Social Media, Language Style
23
Menelaou, Iakovos. "Byzantine Satire: The Background in the Timarion." Hiperboreea 4, no. 2 (December 1, 2017): 53–66. http://dx.doi.org/10.5325/hiperboreea.4.2.0053.
Full textAbstract:
Abstract In this paper, I examine the twelfth century Byzantine satire Timarion. I seek to analyse the background of the work, through a focus on the plot and characters, the classical sources that influenced the Byzantine author and the issues of date and authorship which should be seen in relation to the targets of his attack. While there is no certainty about the identity of the author, the Timarion was written, probably, by a learned author who had knowledge of classical authors and medical theories of his era. This is obvious in the way he embodies these traditions in his satire. Similarly to satires of the classical period, the Timarion's attack is directed at several directions.
24
Nédélec, Claudine. "Les Avantures du Baron de Fæneste : satura/ satyre/satire." Albineana, Cahiers d'Aubigné 29, no. 1 (2017): 169–93. http://dx.doi.org/10.3406/albin.2017.1586.
Full text
25
Bond, R. P. "Dialectic, Eclectic and Myth (?) in Horace, Satires 2.6." Antichthon 19 (1985): 68–86. http://dx.doi.org/10.1017/s0066477400003245.
Full textAbstract:
Commentators have agreed that this poem is among the finest, if not the finest of Horace’s Satires. Naturally, therefore, it has been accorded much critical attention. One of the most penetrating analyses is that of Brink, who quite properly places considerable emphasis on the complex nature of the relationship between Horace and Maecenas. Rudd too adopts this line, relating Satires 2.6 to the sixth satire of Book 1, which describes the beginning of Horace’s association with Maecenas.
26
Moonsoon Kang. "Personal Satire and General Satire: A Study of Satire of Dryden and Addison." English21 26, no. 1 (March 2013): 5–29. http://dx.doi.org/10.35771/engdoi.2013.26.1.001.
Full text
27
Nidya, Aurora Putri, and Dianita Indrawati. "Satire dalam Video Konten TikTok Bintang Emon." Transformatika: Jurnal Bahasa, Sastra, dan Pengajarannya 7, no. 1 (August 4, 2023): 201. http://dx.doi.org/10.31002/transformatika.v7i1.7739.
Full textAbstract:
<p>Penelitian ini dilatarbelakangi oleh fenomena sosial yaitu maraknya penggunaan aplikasi TikTok. Penggunaan aplikasi TikTok memunculkan berbagai konten menarik salah satunya konten satire. Salah satu konten kreator yang menggunakan satire dalam videonya adalah Bintang Emon. Penelitian ini bertujuan untuk mendeskripsikan bentuk satire dan fungsi satire dalam video konten TikTok Bintang Emon. Penelitian ini menggunakan metode penelitian kualitatif. Sumber data penelitian ini adalah video konten TikTok Bintang Emon. Data dalam penelitian ini berupa tuturan Bintang Emon dalam konten TikToknya yang mengandung satire. Hasil yang ditemukan dalam penelitian ini adalah bentuk satire terdiri dari 10 satire horatian, 3 satire juvenalian, 13 satire menippean lembut, dan 9 satire menippean kasar. Fungsi satire ditemukan fungsi personal 23 data, fungsi regulasi 1 data, fungsi representasional 12 data, fungsi interaksional 3 data, fungsi instrumental 7 data, fungsi heuristik 15 data, dan fungsi imajinatif 1 data.</p><p><strong>Kata Kunci</strong><strong>:</strong> Satire, TikTok, Bintang Emon</p>
28
Bunyani, Bunyani. "AN ANALYSIS OF THE SATIRES REFLECTED IN SALMAN RUSDHIE’S NOVEL “HAROUN AND THE SEA OF STORIES”." INTAJ : Jurnal Penelitian Ilmiah 2, no. 01 (April 4, 2018): 101–19. http://dx.doi.org/10.35897/intaj.v2i01.115.
Full textAbstract:
Sastra memiliki banyak fungsi, seperti untuk menunjukkan cinta, melambangkan, memprotes atau menyindir sesuatu. Novel adalah karya sastra yang memiliki banyak teori dan metode. Haroun and The Sea of Stories adalah sebuah novel yang kisahnya memiliki tujuan untuk menyindir Ayatullah Khomeini. Novel ini ditulis oleh Salman Ruhdie di pengasingan. Novel ini sangat menarik untuk dibaca oleh setiap generasi pada berbagai kondisi. Anak-anak akan melihat novel ini menarik karena membuat mereka bahagia, dan orang-orang yang memahami teori sastra atau mereka tidak pernah membaca teori satire secara langsung akan melihat apakah novel ini memiliki arti yang serius. Selain itu, novel ini juga menarik untuk dianalisis dari berbagai sisinya. Penelitian ini bertujuan menjawab tiga masalah penelitian berikut: siapa satire yang diwakili; apa isi dan siapa targetnya. Penulis menggunakan kritik sastra sebagai metode dan menggunakan pendekatan ekspresif untuk menganalisis novel ini. Hasil penelitian ini menunjukkan satire diwakili oleh tindakan Khattam-Shud dan peristiwa yang terjadi, seperti meracuni lautan, membuat hukum diam atau dia berada di bawah kekuasaan idola. Ada dua isi satir dan satu sasaran. Pertama adalah kritik dan yang kedua adalah ejekan. Ayatullah Khomeini sebagai target karena ia adalah faktor tokoh dengan fatwanya yang membuat kondisi menjadi buruk atau lebih buruk. Dia mendapat kritik karena dia, menurut novel tersebut, membuat penilaian buruk terhadap novel dan kebijakannya melarang masyarakat membaca dan menulis novel. Dia juga mendapat ejekan karena tindakannya tidak pantas dilakukan, sebagai pemimpin agama tidak menjaga perdamaian. Kata Kunci: Karya sastra, Satire dan Sasaran
29
Pedersen, Are Bøe. "Selvtilfreds satire." Samtiden 128, no. 04 (December 2, 2020): 14–25. http://dx.doi.org/10.18261/issn1890-0690-2020-04-03.
Full text
30
Deluna, D. N., and Guillermo E. Hernandez. "Chicano Satire." MLN 108, no. 2 (March 1993): 381. http://dx.doi.org/10.2307/2904648.
Full text
31
JUVENAL and Alistair Elliot. "Satire XI." Arion: A Journal of the Humanities and the Classics 18, no. 3 (2010): 107–15. http://dx.doi.org/10.1353/arn.2010.0000.
Full text
32
Hägele, Ulrich. "Fotografische Satire." Schwäbische Heimat 69, no. 1 (January 12, 2022): 70–76. http://dx.doi.org/10.53458/sh.v69i1.1434.
Full text
33
Voth, D. "The satire." Neurosurgical Review 19, no. 2 (1996): 139. http://dx.doi.org/10.1007/bf00418087.
Full text
34
D. V. "The satire." Neurosurgical Review 17, no. 3 (1994): 239–40. http://dx.doi.org/10.1007/bf00418444.
Full text
35
Ugolini, Paola. "Self-Portraits of a Truthful Liar: Satire, Truth-Telling, and Courtliness in Ludovico Ariosto’s Satire and Orlando Furioso." Renaissance and Reformation 40, no. 1 (July 21, 2017): 141–60. http://dx.doi.org/10.33137/rr.v40i1.28451.
Full textAbstract:
Composed during the most difficult years of Ludovico Ariosto’s relationship with the Este court, the Satire are known for presenting a picture of their author as a simple, quiet-loving man, and also as a man who can speak only the truth. However, the self-portrait offered by the Satire of the author as a man incapable of lying stands in direct contrast to the depiction presented by St. John in canto 35 of the Orlando Furioso of all writers (and thus, implicitly, of Ariosto) as liars. This article investigates the relationship between such contrasting self-portraits of Ariosto, aiming to overcome the traditional opposition of satire as the mode for honest speech—and for a truthful portrayal of the author’s self—and epic as the mode for courtly flattering.
Composée pendant les années les plus difficiles de sa relation avec la cour d’Este, les Satires de l’Arioste sont connues pour la représentation qu’elles donnent de leur auteur comme un homme simple aimant la tranquillité et ne disant jamais rien que la vérité. Toutefois, cette représentation de l’auteur comme un homme incapable de mentir contredit directement la représentation des écrivains (incluant implicitement l’Arioste lui-même comme menteurs, avancée par saint Jean dans le chant 35 de son Orlando Furioso.) Cet article examine donc les relations qu’entretiennent les différents autoportraits qu’offre l’Arioste et cherche à dépasser l’opposition traditionnelle entre la satire comme forme du discours honnête — qui comprend l’autoportrait honnête de l’auteur —, et le discours épique comme mode de flatterie de cour.
36
Lossl, Josef. "Satire, Fiction and Reference To Reality in Jerome's Epistuia 117." Vigiliae Christianae 52, no. 2 (1998): 172–92. http://dx.doi.org/10.1163/157007298x00092.
Full textAbstract:
AbstractSatire is essentially a non-fictional literary form. Its point of departure is a real setting, which is directly referred to. But the way satirists magnify certain aspects of the reality they refer to distorts their picture.' Satires therefore are not realistic in the sense of providing reliable eye witness accounts of given situations. But they usually keep to rules, which provide hermeneutical keys for interpreting them with regard to the reality behind their distortions. How concrete that reality is, whether it just reflects a general or stereotype picture of a society or culture in a given age or whether the satire is directed against concrete historical figures, has to be established individually. The text discussed in the following has to be treated with such questions in mind. It is extant as a letter, but its addressees are not named and it is doubted whether they were historical figures. At a closer look it turns out to be a satire, but it seems at first sight to lack the concrete context that would give meaning and purpose to a satire. However, if it is a satire, and we may assume it is, it must have that context and we may try to reconstruct it using material provided by this text as well as others in its historical and literary vicinity; and although we may not succeed in finding definite answers to all the questions raised by this text, we hope nevertheless to shed some new light on this gripping little piece of ancient Christian literature.
37
Jae-Hun Choi. "Satire on English Society and the Court in Donne’s Satires." Journal of Medieval and Early Modern English Studies 19, no. 2 (November 2009): 269–96. http://dx.doi.org/10.17054/jmemes.2009.19.2.269.
Full text
38
Jones, Steven E. "Representing Rustics: Satire, Counter-Satire, and Emergent Romanticism." Wordsworth Circle 29, no. 1 (January 1998): 60–68. http://dx.doi.org/10.1086/twc24043900.
Full text
39
De Smet, Ingrid A. R. "How the Sauce Got to be Better than the Fish: Scholarship and Rivalry in Isaac Casaubon’s Studies of Ancient Satire." Erudition and the Republic of Letters 4, no. 3 (June 28, 2019): 275–315. http://dx.doi.org/10.1163/24055069-00403001.
Full textAbstract:
Isaac Casaubon’s 1605 Persius edition and its companion-piece, the De satyrica Graecorum poesi et Romanorum satira, likewise published in 1605, have long been considered milestones in the history of scholarship on Ancient satire. Marshalling evidence from humanist correspondences, annotated copies of early printed books, manuscripts and visual materials, this study offers a fresh and much fuller and more nuanced view of either book’s trajectory from concept to print and distribution, of the motivations and guiding principles behind Casaubon’s research, and, more generally, of scholarly endeavor around the turn of the seventeenth century. I demonstrate how Casaubon’s work on satire is linked to the humanist recovery of Ancient scholia, how its erudition integrates observations on the contemporary world and non-textual evidence, and how it is marked by fierce scholarly rivalry and – hitherto underestimated – confessional differences.
40
Sudjatmiko, Dimas Prasetyo, and Didik Hariyanto. "Satire dan Kritik Sosial dalam Stand-Up Roasting Mamat Alkatiri." Journal of Library and archival Science 1, no. 1 (June 15, 2024): 1–15. http://dx.doi.org/10.47134/jip.v1i1.2744.
Full textAbstract:
Penelitian ini mengeksplorasi elemen-elemen satir dalam materi stand-up comedy yang dibawakan oleh Mamat Alkatiri, dengan menggunakan analisis semiotik Charles Sanders Peirce untuk mendekode makna yang disampaikan. Menggunakan pendekatan kualitatif, riset ini mengidentifikasi komponen-komponen kunci dari teori segitiga makna Peirce—tanda, objek, dan interpretasi—untuk menganalisis teks dan imaji dalam komedi yang memiliki nuansa satir. Temuan menunjukkan bahwa materi Alkatiri, yang ditandai dengan teknik roasting yang menggabungkan retorika yang lugas, jujur, dan peningkatan analogi, berfungsi sebagai sarana kritik sosial. Studi ini menekankan efektivitas satire dalam stand-up comedy sebagai cermin reflektif terhadap isu-isu sosial, menyarankan potensinya sebagai alat yang kuat dalam diskursus dan kritik sosial.
41
Buana, Cahya. "Budaya Satire pada Masa Dinasti Umayyah dalam Syair Hijā’ Al-Farazdaq." Buletin Al-Turas 25, no. 2 (November 29, 2019): 209–26. http://dx.doi.org/10.15408/bat.v25i2.11744.
Full textAbstract:
Hijā’ atau satire adalah salah satu genre syair yang mengandung konten sinisme atau ejekan. Jenis puisi ini berkembang pesat pada masa Dinasti Umayyah. Penyair yang sangat terkenal dengan genre ini di antaranya adalah al-Farazdaq. Kajian ini bermaksud untuk mengungkap jenis budaya satire yang berkembang pada masa Bani Umayyah melalui syair al-Farazdaq serta latar belakang munculnya budaya tersebut. Untuk mencapai tujuan tersebut, saya akan menggunakan metode penelitian qualitatif melalui pendekatan budaya dan sejarah pada teks-teks syair hija al-Farazdaq. Berdasarkan hasil analisis terungkap bahwa budaya satire yang berkembang pada masa Bani Umayah dalam puisi hija al-Farazdaq adalah jenis satire personal (al-hijā al-syakhsyi) yaitu satire yang menyerang pribadi seseorang dengan cara mengejeknya melalui hal-hal yang bersifat fisik, satire moral (al-hijā al-akhlāqi) yaitu sindiran-sindiran yang ditujukan kepada lawan karena dianggap memiliki moralitas yang rendah, satire politik (al-hijā al-siyāsi) yang digunakan untuk kepentingan politik, satire sosial (al-hijā al-ijtimāi) yaitu sindiran yang terkait perilaku sosial yang kurang lazim terjadi pada masyarakat pada umumnya dan satire agama (al-hijā al-dīnī) yaitu satire-satire yang digunakan untuk menyindir perilaku keagamaan seseorang. Adapun latar belakang munculnya budaya satire di antaranya disebabkan oleh motif politik, ekonomi dan fanatisme kesukuan. Hijā' or satire is a genre of poetry that contains cynicism or mockeries. This type of poetry developed rapidly during the Umayyad Dynasty. This study was intended to reveal the type of satirical culture in the era of Umayyads through al-Farazdaq’s poetry and the background of its emergence. To achieve this purpose, I used a qualitative research method implementing cultural and historical approaches to read critically hija al-Farazdaq's poetic texts. The result of analysis revealed there were five kinds of satirical culture developing during the Umayyads in the poetry hija al-Farazdaq. There were a personal satire (al-hijā al-syakhsyi) attacked someone by mocking him through things that were physical; a moral satire (al-hijā al-akhlāqi), namely allusions that addressed the opponents because they were considered to have low morality; a political satire (al-hijā al-siyāsi) which was used for political purposes; a social satire (al-hijā al-ijtimāi) which was an allusion related to social behavior that were less common in the society in general; and a religious satire (al-hijā al-dīnī) which was used to insinuate one's religious behavior. The background for the emergence of satire culture were due to political, economic and tribal fanaticism.
42
Erlangga, Christopher Yudha, Mirza Ronda, and Hayu Lusianawati. "CITRA TUBUH PEREMPUAN DALAM FOTO PADA INTSAGRAM APELGEDE SEBAGAI SARANA SATIRE." J-IKA 9, no. 1 (April 21, 2022): 30–38. http://dx.doi.org/10.31294/kom.v9i1.12436.
Full textAbstract:
Bagaimana Citra tubuh perempuan dalam foto pada Instagram Apelgede sebagai sarana satire. Peneliti tertarik untuk mengetahui lebih lanjut lagi makna satire yang tersirat didalamnya karya fotografi. Satire yang sudah sering dijumpai pada kalimat verbal dan non verbal. Hal ini temukan dalam sebuah karya fotografi yang mengandung makna satire. Sebelum mengetahui makna satire penulis menggunakan semiotik Roland Barthes sebagai metode dan teori Representasi yang telah di kontruksi menjadi Citra dalam penelitian ini. Penulis tertarik meneliti karya fotografi milik Yudha Gunawan pemilik akun Social Media Instagram dikarenakan adanya indikasi makna satire yang terkandung dalam karya fotografi tersebut. Peneliti mengumpulkan informasi-informasi yang penting yang terkait dengan masalah penelitian, dan selanjutnya mengelompokkan data tersebut sesuai dengan topik masalahnya. Peneliti memilih Foto yang mengandung makna satire lalu diteliti bagaimana makna satire terkandung dari citra tubuh perempuan pada karya fotografi. Berdasarkan uraian dan hasil penelitian Dapat diambil kesimpulan bahwa Karya seni fotografi mampu menampilkan citra tubuh perempuan dalam bentuk satire dengan menggunakan teknik digital image processing, unsur pose talent dan komposisi fotografi yang bisa di teliti menggunakan Semiotika Roland Barthes.
43
Maslo, Adi. "Using counterfactuals to display facts – the case of satirical humor." ExELL 4, no. 2 (December 1, 2016): 116–26. http://dx.doi.org/10.1515/exell-2017-0010.
Full textAbstract:
Abstract Satire has not been given the humorologists’ attention to an extent that would do justice to the amount of humor satire actually holds. Therefore, the intention of this paper is to shed light on satire as humorous discourse, with an emphasis on counterfactuals. Interestingly enough, counterfactuals oppose the actual state of affairs; rhetorically however, they show potential to reveal the truth. Political satire is an area of conflict between truth and falsehood which is exactly why this type of satire is discussed in this paper. Tools from Cognitive Linguistics – framing and blending – are utilized to show to what extent counterfactuals are actually false and how they essentially contribute to satire. Examples of political satire are selected from Comedy Central’s The Daily Show.
44
Yufi Safwan Fajar. "FENOMENA BAHASA SATIRE DALAM MEME DI MEDIA SOSIAL." Sinar Dunia: Jurnal Riset Sosial Humaniora dan Ilmu Pendidikan 1, no. 4 (December 5, 2022): 52–61. http://dx.doi.org/10.58192/sidu.v1i4.223.
Full textAbstract:
The satire style was chosen to express satire and criticism explicitly. In communicating on social media, satire is also used in making memes. The problem with this research is how satire language is in meme culture on social media. This research aims to reveal how political satire is discussed in memes on social media. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts or purely texts in social media memes. This research is interesting because the satire humor style contained in memes becomes a practical, absurd political, economic, educational, cultural, and other responsibility that can shift, eliminate, then reverse and bring up new discourses. This study uses a critical discourse analysis by Norman Fairclough, which identifies that the discourse can be a series of verbal and written words or a series of speech acts. With this knife of analysis, it was found that satire in memes on social media is used in the form of satire and criticism of things that are being viral and how these issues affect social media in the real world. Memes are not seen as silent, passive, and finished texts as they are produced. On the other hand, Memes are dynamic and moving strategies through comedy Satire.
45
Tang, Lijun, and Syamantak Bhattacharya. "Power and Resistance: A Case Study of Satire on the Internet." Sociological Research Online 16, no. 2 (June 2011): 10–18. http://dx.doi.org/10.5153/sro.2375.
Full textAbstract:
Past studies on print and TV satire have revealed that satire can be seen as a site of resistance to power. In light of this, interesting questions can be raised regarding Internet satire: what does the Internet contribute to the resistance and what kind of power relation is played out on this site? Using an example from China, this paper reveals that like its print and TV counterparts, Internet satire reflects a widespread feeling of powerlessness, rather than offering the general public any political power. However, the Internet helps to push the symbolic power of satire to a higher level. This is because it makes satire a tool for the grassroots which facilitates the creation and spread of satirical ideas, and also helps to release and stimulate the enormous reserve of public wit and wisdom. As a result, satire on the Internet has the potential to generate a chain of related satirical work, which can create a satire movement and subject power to sustained shame and ridicule.
46
Abbas, Yasir, and Akhtar Aziz. "Satire as Counter-Narrative Criticism of USA in Twenty-first Century Pakistani Televisual Political Satire." Academic Journal of Social Sciences (AJSS ) 4, no. 3 (November 16, 2020): 540–50. http://dx.doi.org/10.54692/ajss.2020.04031085.
Full textAbstract:
The study observes that in the early twenty-first century different Pakistani comic televisual political satire shows started discussing current affairs and international relations. The United States of America remains one of the main targets of Pakistani televisual satire in the new century. The research finds that Pakistani televisual satire effectively exposes the flaws of the US foreign policy. Pakistani televisual satirists are very critical of America’s exploitative neocolonial enterprise. The satire among other things condemns America’s anti-Islam narrative and Islamophia; invasion of other nations and violation of their sovereignty; lust for oil and power; utilitarian foreign policy; and false pretexts for the war on terror. The research analyses the relevant satirical content of two of the representative shows. The study argues that the twenty-first century Pakistani televisual satire may be regarded as a counter-narrative. Additionally, the study uses Arthur Asa Berger’s classification of humour (1993) to explain the devices behind the satire making it effective. In this way, the study highlights the literary merit of Pakistani televisual satire. The research proposes that Pakistani televisual satire may be acknowledged as a subgenre of political satire.
47
Hatibi, Nur Aisa, Sayama Malabar, and Salam Salam. "Majas Sindiran dalam Bahasa Saluan di Desa Longkoga Barat Kecamatan Bualemo Kabupaten Banggai." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 9, no. 3 (August 31, 2023): 957. http://dx.doi.org/10.32884/ideas.v9i3.1384.
Full textAbstract:
Emotional is characterized by words of satire. This study aims to describe the types and functions of satire majas in Saluan language. The method used is the descriptive method. The results showed (1) types of satire majas in Saluan language, namely: (a) irony Belesi hondo, (b) cynicism Bolimo mongunjang, (c) sarcasm Pateakon na komiu, (d) satire Butong um atina nodiyeqmo, and (e) innuendo sangalu sanggaat anu manohong; (2) The function of satire majas in Saluan language, which is to congregate, affirm, poetize, remind, and express certain emotional states of the heart. The Saluan language in West Longkoga Village makes satire function to express feelings to others.
48
Ayu Suciartini, Ni Nyoman. "Bahasa Satire dalam Meme Media Sosial." Pustaka : Jurnal Ilmu-Ilmu Budaya 20, no. 1 (February 29, 2020): 1. http://dx.doi.org/10.24843/pjiib.2020.v20.i01.p01.
Full textAbstract:
The satire style was chosen to express satire and criticism explicitly. In the style of communicating on social media, satire is also used in making memes. The problem with this research is how is satire language in meme culture on social media? The focus of this research is to reveal how political satire is discussed in memes on social media. The purpose of this study is to examine more deeply how the satire discourse is contained in pictorial texts or purely texts in social media memes. This research is interesting because the satire humor style contained in memes becomes an effective, absurd political, economic, educational, cultural, and other response that is able to shift, eliminate, then reverse and bring up new discourses. This study uses a critical discourse analysis by Norman Fairclough which has an identification that the discourse can be a series of verbal and written words or a series of speech acts. With this knife of analysis, it was found that satire in memes on social media is used in the form of satire and criticism of things that are being viral and how these issues affect social media to the real world. Memes are not seen as silent, passive, and finished texts as they are produced. Memes, on the other hand, are dynamic and moving strategies, through comedy-satire.
49
Mulloh, Tamim, Ade Destri Deviana, and Muhammad Ridho Naufal. "Satire: Sindiran Humor dalam Naskah Drama Arab." Mantiqu Tayr: Journal of Arabic Language 4, no. 1 (December 6, 2023): 21–36. http://dx.doi.org/10.25217/mantiqutayr.v4i1.4000.
Full textAbstract:
The Arabic drama "Mismaru Juha" by Ali Ahmad Bakatsir has the character Sheikh Juha that has a role by the humorous and wise. The Arabic drama used script with Arabic language for Sheikh Juha is full of critical of elites allied with other nations. It is according the writer has nationalism. Critical of drama script expressed in stylistic satire, namely an expression of humorous allusion. The aim of this research is to determine the type of satire of drama script Mismaru Juha and its percentage. The method uses a descriptive-qualitative type of library research, with the focus of the study being the overall style of satirical language in drama texts Arabic of drama script Mismaru Juha. There are four stages of data analysis are organizing data, reducing data, presenting data, and drawing conclusions. The result is the Arabic drama used satire style in the form of humor to give criticm based on norms society. The satire is three types are: (1) horatian satire (soft allusion and empathy) with 45%; (2) Juvenalian satire (allusion harsher than horizontal satire, direct criticism) with 25%; and (3) Manippean satire (allusion of narrative with stories or experiences that have occurred) with 30%. The type of satire that is more often used is horation satire that has humor, polite speech andnot rude words.
50
James, Edward. "Verse Satire Versus Satire, or the Vanity of Definition." Seventeenth-Century French Studies 22, no. 1 (June 2000): 205–12. http://dx.doi.org/10.1179/c17.2000.22.1.205.
Full text