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Satire
Satire reconsiders the entertainment, political dissent and comic social commentary created by innovative writers and directors since this theatrical form took the stage in ancient Athens.From Aristophanes to the 18th-century plays of John Gay and Henry Fielding, to the creations of Joan Littlewood, Bertolt Brecht, Vsevolod Meyerhold, Erika Mann, Brendan Behan and Dario Fo, practitioners of theatrical satire have prompted audiences to laugh at corruption, greed, injustice and abusive authority. In the theatre these artists jested at prominent citizens, scandals and fashions.In retrospect it can be seen that their topical references, allegories and impersonations also promoted intervention in public discourse and events outside the theatre, as satire extended its reach beyond the stage into society. Satire focuses on three exemplary satiric plays: The Knights by Aristophanes, The Beggar’s Opera by John Gay and The Hostage by Brendan Behan under Joan Littlewood’s direction.Detailed discussion of these three innovative works reveals both changes and continuities in stage satire over the course of its long, hilarious history.The survey concludes with a discussion of stage satire as an endangered art in need of preservation by actors, directors and theatre historians.
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Juvenal: Satire 6
Juvenal's sixth Satire is a masterpiece of comic hyperbole, an outrageous rant against women and marriage which, in its breadth and density, represents the high point of the misogynistic literature of classical antiquity.The Introduction situates Juvenal within the wider tradition of Roman satire, interrogates afresh the poem's architecture and recurrent themes, shows how Juvenal systematically attributes to his monstrous women the inverse of the Roman wife's canonical virtues, traces the various literary currents which infuse the Satire, and lastly addresses the much-discussed issue of the poetic voice or persona from a sociohistorical as well as a theoretical perspective.Above all, the commentary strives to locate Juvenal in his historical, literary and cultural context, while simultaneously affording assistance with the nuts and bolts of the Latin, and always keeping in view two key questions: what was Juvenal's purpose in writing the Satire?How seriously was it meant to be taken?
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Going There : Black Visual Satire
A kaleidoscopic survey of black satire in 20th- and 21st-century American art In this groundbreaking study, Richard J.Powell investigates the visual forms of satire produced by black artists in 20th- and 21st-century America.Underscoring the historical use of visual satire as antiracist dissent and introspective critique, Powell argues that it has a distinctly African American lineage.Taking on some of the most controversial works of the past century—in all their complexity, humor, and provocation—Powell raises important questions about the social power of art. Expansive in both historical reach and breadth of media presented, Going There interweaves discussions of such works as the midcentury cartoons of Ollie Harrington, the installations of Kara Walker, the paintings of Robert Colescott, and the movies of Spike Lee.Other artists featured in the book include David Hammons, Arthur Jafa, Beverly McIver, Howardena Pindell, Betye Saar, and Carrie Mae Weems.Thoroughly researched and rich in context, Going There is essential reading in the history of satire, racial politics, and contemporary art. Published in association with the Hutchins Center for African & African American Research
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James Gillray : A Revolution in Satire
A lavishly illustrated biography of James Gillray, inventor of the art of political caricature James Gillray (1756–1815) was late Georgian Britain’s funniest, most inventive, and most celebrated graphic satirist and continues to influence cartoonists today.His exceptional drawing, matched by his flair for clever dialogue and amusing titles, won him unprecedented fame; his sophisticated designs often parodied artists such as William Hogarth, Joshua Reynolds, and Henry Fuseli, while he borrowed and wittily redeployed celebrated passages from William Shakespeare and John Milton to send up politicians in an age—as now—where society was fast changing, anxieties abounded, truth was sometimes scarce, and public opinion mattered. Tim Clayton’s definitive biography explores Gillray’s life and work through his friends, publishers—the most important being women—and collaborators, aiming to identify those involved in inventing satirical prints and the people who bought them.Clayton thoughtfully explores the tensions between artistic independence, financial necessity, and the conflicting demands of patrons and self-appointed censors in a time of political and social turmoil. Distributed for the Paul Mellon Centre for Studies in British Art
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Satire and Protest in Putin’s Russia
This book studies satirical protest in today’s Russia, addressing the complex questions of the limits of allowed humor, the oppressive mechanisms deployed by the State and pro-State agents as well as counterstrategies of cultural resistance.What forms of satirical protest are there? Is there State-sanctioned satire? Can satire be associated with propaganda? How is satire related to myth? Is satirical protest at all effective?—these are some of the questions the authors tackle in this book.The first part presents an overview of the evolution of satire on stage, on the Internet and on television on the background of the changing post-Soviet media landscape in the Putin era.Part Two consists of five studies of satirical protest in music, poetry and public protests.
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Spenserian Satire : A Tradition of Indirection
Scholars of Edmund Spenser have focused much more on his accomplishments in epic and pastoral than his work in satire.Scholars of early modern English satire almost never discuss Spenser.However, these critical gaps stem from later developments in the canon rather than any insignificance in Spenser's accomplishments and influence on satiric poetry.This book argues that the indirect form of satire developed by Spenser served during and after Spenser's lifetime as an important model for other poets who wished to convey satirical messages with some degree of safety.The book connects key Spenserian texts in The Shepheardes Calender and the Complaints volume with poems by a range of authors in the late sixteenth and early seventeenth centuries, including Joseph Hall, Thomas Nashe, Tailboys Dymoke, Thomas Middleton and George Wither, to advance the thesis that Spenser was seen by his contemporaries as highly relevant to satire in Elizabethan England. An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence. -- .
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Greater Atlanta : Black Satire after Obama
Contributions by GerShun Avilez, Lola Boorman, Thomas Britt, John Brooks, Phillip James Martinez Cortes, Derek DiMatteo, Tikenya Foster-Singletary, Alexandra Glavanakova, Erica-Brittany Horhn, Matthias Klestil, Abigail Jinju Lee, Derek C.Maus, Danielle Fuentes Morgan, Derek Conrad Murray, Kinohi Nishikawa, Sarah O'Brien, Keyana Parks, and Emily Ruth RutterThe seventeen essays in Greater Atlanta: Black Satire after Obama collectively argue that in the years after the widespread hopefulness surrounding Barack Obama’s election as president waned, Black satire began to reveal a profound shift in US culture.Using the four seasons of the FX television show Atlanta (2016–22) as a springboard, the collection examines more than a dozen novels, films, and television shows that together reveal the ways in which Black satire has developed in response to contemporary cultural dynamics.Contributors reveal increased scorn toward self-proclaimed allies in the existential struggle still facing African Americans today. Having started its production within a few weeks of Donald Trump’s (in)famous escalator ride in 2015, Atlanta in many ways is the perfect commentary on the absurdities of the contemporary cultural moment.The series exemplifies a significant development in contemporary Black satire, which largely eschews expectations of reform and instead offers an exasperated self-affirmation that echoes the declaration that Black Lives Matter. Given anti-Black racism’s lengthy history, overt stimuli for outrage have predictably commanded African American satirists’ attention through the years.However, more recent works emphasize the willful ignorance underlying that history.As the volume shows, this has led to the exposure of performative allyship, virtue signaling, slacktivism, and other duplicitous forms of purported support as empty, oblivious gestures that ultimately harm African Americans as grievously as unconcealed bigotry.
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Journalism, Satire, and Censorship in Mexico
Since the 2000 elections toppled the PRI, over 150 Mexican journalists have been murdered.Failed assassinations and threats have silenced thousands more.Such high levels of violence and corruption question one of the fundamental assumptions of modern societies, that democracy and press freedom are inextricably intertwined.In this collection historians, media experts, political scientists, cartoonists, and journalists reconsider censorship, state-press relations, news coverage, and readership to retell the history of Mexico's press.
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