Il saggio propone un percorso iconografico attraverso alcune caricature pubblicate sulle principali riviste satiriche italiane del 1848-1849 nelle quali il muro riveste di volta in volta un diverso ...ruolo simbolico.
In the present essay the author examines the american Stand up comedy as a form of art and entertainement which involves many different aspects (for instance One man show and Preaching). The intent ...of this essay is to look into the correlation that the comedian creates between laughter and the search for truth (both personal and universal). By comparing different bits and excerpts taken from the comedy acts of american authors such as Lenn Bruce, George Carlin and Bill Hicks, the author finds a relation between the elements of satire in the Stand up comedy genre and the concept of ‘parrhesia’ and parrhesiast. The purpose of the essay is to demonstrate how the peculiar figure of the stand up comedian can assume a precise philosophical and ethical role. The act of showing the people their own hypocrisies and self deceptions by using the laughter is a way to stimulate a reflection and, potentially, determine a growth of self awareness in the mind of the people of the audience. Stand up comedy should be seen not only as a form of entertainment, but also as a way for developing a critical thinking and can be considered, in some cases, a tool for achieving some kind of revelation and change.
Commonplaces on the samurai circulating in the Edo period show some discrepancy from the image of the hero represented by the contemporary rhetoric of bushidō. This paper seeks to analyse these ...commonplaces by investigating a set of witty stories set in Edo brothels, written mainly in dialogic form and published in the kohon ‘little book’ format between the 1750s and the end of the Eighteenth Century. These short stories, known as (kaiwatai-)sharebon, had cliché plots that usually included a contraposition between different stereotyped visitors of the pleasure quarters. A part of these customers were samurai. They were virtually subdivided into two categories, giving shape to two different stereotyped depictions of the warriors. One mocked the country samurai and those coming from the lowest echelons of the warrior class, one fiercely caricaturised those from Edo. During the ’80s, another tendency emerged within the poetics of kaiwatai sharebon, particularly in the works of Santō Kyōden (1761-1816): satire against the new ideal, endorsed by Matsudaira Sadanobu (1758-1829), of the moderate warrior, devoting himself to the weapons and the arts.
Luca Ferraro L’articolo è incentrato sul rapporto tra eroicomico e satira. Gli autori passati in rassegna sono i principali del canone europeo: Tassoni, Boileau, Pope e Parini. L’obiettivo è stato ...quello di verificare quanto l’elemento satirico sia parte integrante del genere inventato da Tassoni. Nella seconda parte del testo si è cercato di dimostrare che la satira diventa la forma del comico predominante nei poemi eroicomici successivi alla Secchia rapita. Analizzandone in ordine cronologico le opere più rappresentative, si è voluto fare una riflessione sul genere e su come mutano gli elementi che lo caratterizzano nel corso dei suoi quasi due secoli di vita. The focus of this paper is the relationship between mock-heroic and satire. The analysis will deal with the most important satirical and mock-heroic authors in Europe : Tassoni, Boileau, Pope and Parini. The purpose is to prove how the satirical element is an essential part of the genre invented by Tassoni. In the second part of the paper we will try to demonstrate that the satire becomes the main mode of the comic in mock-heroic poems after the Secchia rapita. By analyzing chronologically the most representative works, our article proposes a reflection about the genre and the evolution of its characteristics during almost two centuries.
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