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Author: Peter Petro
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110821826
Category : Literary Criticism
Languages : en
Pages : 176
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Book Description
Author: Peter Petro
Publisher: Walter de Gruyter GmbH & Co KG
ISBN: 3110821826
Category : Literary Criticism
Languages : en
Pages : 176
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Book Description
Author: Alvin B. Kernan
Publisher: Harcourt Brace College Publishers
ISBN:
Category : Humor
Languages : en
Pages : 250
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Book Description
Author: Evan R. Davis
Publisher: Modern Language Association
ISBN: 1603293817
Category : Language Arts & Disciplines
Languages : en
Pages : 413
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Book Description
This volume addresses the teaching of satire written in English over the past three hundred years. For instructors covering current satire, it suggests ways to enrich students' understanding of voice, irony, and rhetoric and to explore the questions of how to define satire and how to determine what its ultimate aims are. For instructors teaching older satire, it demonstrates ways to help students gain knowledge of historical context, medium, and audience, while addressing more specific literary questions of technique and form. Readers will discover ways to introduce students to authors such as Swift and Twain, to techniques such as parody and verbal irony, and to the difficult subject of satire's offensiveness and elitism. This volume also helps teachers of a wide variety of courses, from composition to gateway courses and surveys, think about how to use modern satire in conceiving and structuring them.
Author: Meredith McNeill Hale
Publisher: Oxford University Press
ISBN: 0192573314
Category : Political Science
Languages : en
Pages : 288
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Book Description
Political satire has been a primary weapon of the press since the eighteenth century and is still intimately associated with one of the most important values of western democratic society: the right of individuals to free speech. This study documents one of the most important moments in the history of printed political imagery, when political print became what we would recognise as modern political satire. Contrary to conventional historical and art historical narratives, which place the emergence of political satire in the news-driven coffee-house culture of eighteenth-century London, Meredith M. Hale locates the birth of the genre in the late seventeenth-century Netherlands in the contentious political milieu surrounding William III's invasion of England known as the 'Glorious Revolution'. The satires produced between 1688 and 1690 by the Dutch printmaker Romeyn de Hooghe on the events surrounding William III's campaigns against James II and Louis XIV establish many of the qualities that define the genre to this day: the transgression of bodily boundaries; the interdependence of text and image; the centrality of dialogic text to the generation of meaning; serialized production; and the emergence of the satirist as a primary participant in political discourse. This study, the first in-depth analysis of De Hooghe's satires since the nineteenth century, considers these prints as sites of cultural influence and negotiation, works that both reflected and helped to construct a new relationship between the government and the governed.
Author: Kirk Combe
Publisher: Routledge
ISBN: 1000289834
Category : Literary Criticism
Languages : en
Pages : 212
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Book Description
Since 1980, when neoliberal and neoconservative forces began their hostile takeover of western culture, a new type of political satire has emerged that works to unmask and deter those toxic doctrines. Literary and cultural critic Kirk Combe calls this new form of satire the Rant. The Rant is grim, highly imaginative, and complex in its blending of genres. It mixes facets of satire, science fiction, and monster tale to produce widely consumed spectacles—major studio movies, popular television/streaming series, bestselling novels—designed to disturb and to provoke. The Rant targets what Combe calls the Regime. Simply put, the Regime is the sum of the dangerous social, economic, and political orthodoxies spurred on by neoliberal and neoconservative polity. Such practices include free-market capitalism, corporatism, militarism, religiosity, imperialism, racism, patriarchy, and so on. In the Rant, then, we have a unique and wholly contemporary genre of political expression and protest: speculative satire.
Author: Darryl Dickson-Carr
Publisher: Univ of South Carolina Press
ISBN: 1611174937
Category : Literary Criticism
Languages : en
Pages : 172
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Book Description
Spoofing the Modern is the first book devoted solely to studying the role satire played in the movement known as the “New Negro,” or Harlem, Renaissance from 1919 to 1940. As the first era in which African American writers and artists enjoyed frequent access to and publicity from major New York–based presses, the Harlem Renaissance helped the talents, concerns, and criticisms of African Americans to reach a wider audience in the 1920s and 1930s. These writers and artists joined a growing chorus of modernity that frequently resonated in the caustic timbre of biting satire and parody. The Harlem Renaissance was simultaneously the first major African American literary movement of the twentieth century and the first major blooming of satire by African Americans. Such authors as folklorist and anthropologist Zora Neale Hurston, poet Langston Hughes, journalist George S. Schuyler, writer-editor-poet Wallace Thurman, physician Rudolph Fisher, and artist Richard Bruce Nugent found satire an attractive means to criticize not only American racism, but also the trials of American culture careening toward modernity. Frequently, they directed their satiric barbs toward each other, lampooning the painful processes through which African American artists struggled with modernity, often defined by fads and superficial understandings of culture. Dickson-Carr argues that these satirists provided the Harlem Renaissance with much of its most incisive cultural criticism. The book opens by analyzing the historical, political, and cultural circumstances that allowed for the “New Negro” in general and African American satire in particular to flourish in the 1920s. Each subsequent chapter then introduces the major satirists within the larger movement by placing each author’s career in a broader cultural context, including those authors who shared similar views. Spoofing the Modern concludes with an overview that demonstrates how Harlem Renaissance authors influenced later cultural and literary movements.
Author: Ruben Quintero
Publisher: John Wiley & Sons
ISBN: 1405171995
Category : Literary Criticism
Languages : en
Pages : 624
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Book Description
This collection of twenty-nine original essays, surveys satire fromits emergence in Western literature to the present. Tracks satire from its first appearances in the prophetic booksof the Old Testament through the Renaissance and the Englishtradition in satire to Michael Moore’s satirical movieFahrenheit 9/11. Highlights the important influence of the Bible in the literaryand cultural development of Western satire. Focused mainly on major classical and European influences onand works of English satire, but also explores the complex andfertile cultural cross-semination within the tradition of literarysatire.
Author: David Joseph Dooley
Publisher: Holt, Rinehart and Winston
ISBN:
Category : Literary Criticism
Languages : en
Pages : 104
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Author: Olena Boylu
Publisher: Logos Verlag Berlin GmbH
ISBN: 3832555560
Category : Language Arts & Disciplines
Languages : en
Pages : 136
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Book Description
What is the role of the historical and political novel in our lives? Is it just a story from the past, or does it shape our historical consciousness? Can we rely on the information within this type of fiction? According to many historicists, we cannot. However, we can also question numerous ideologically shaped history books that look more like fiction than scientific sources. Hence, historically and politically loaded fiction has an equal chance in the formational process of our historical consciousness. Besides, through satire and humor, which a scientist omits in a history book, a novelist manages to affect its reader on a different scale and leave a deeper trace. As E.,L. Doctorow once stated, ``The historian tells you what happened. The novelist will tell you what it felt like.'' Hence, this study analyzes several significant concepts such as historiography, historical consciousness, power, its elements, and the way it operates; traces major characteristics of historical and political fiction, and determines the role of satire within them. Eventually, through the analysis of several prominent contemporary novels, it provides vivid examples of all the concepts that have been discussed.
Author: John R. Clark
Publisher: University Press of Kentucky
ISBN: 0813183316
Category : Literary Criticism
Languages : en
Pages : 304
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Book Description
Thomas Mann predicted that no manner or mode in literature would be so typical or so pervasive in the twentieth century as the grotesque. Assuredly he was correct. The subjects and methods of our comic literature (and much of our other literature) are regularly disturbing and often repulsive—no laughing matter. In this ambitious study, John R. Clark seeks to elucidate the major tactics and topics deployed in modern literary dark humor. In Part I he explores the satiric strategies of authors of the grotesque, strategies that undercut conventional usage and form: the de-basement of heroes, the denigration of language and style, the disruption of normative narrative technique, and even the debunking of authors themselves. Part II surveys major recurrent themes of grotesquerie: tedium, scatology, cannibalism, dystopia, and Armageddon or the end of the world. Clearly the literature of the grotesque is obtrusive and ugly, its effect morbid and disquieting—and deliberately meant to be so. Grotesque literature may be unpleasant, but it is patently insightful. Indeed, as Clark shows, all of the strategies and topics employed by this literature stem from age-old and spirited traditions. Critics have complained about this grim satiric literature, asserting that it is dank, cheerless, unsavory, and negative. But such an interpretation is far too simplistic. On the contrary, as Clark demonstrates, such grotesque writing, in its power and its prevalence in the past and present, is in fact conventional, controlled, imaginative, and vigorous—no mean achievements for any body of art.
