In his sixteen Satires, the Roman poet Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery, drawing on a diverse array of Greco-Roman treatments of ...the emotions. Juvenal defines the satirist figure as an emotional agent who dramatizes his own response to human vices and faults and aims to engage other people’s feelings in turn. He adopts a series of rhetorical personae that represent a spectrum of satiric emotions, encouraging his audience to ponder satire’s proper emotional mode and function. After first offering his signature “indignation” with its associated pleasures and discomforts, Juvenal then tries on subtler personae that suggest dry detachment, callous amusement, anxiety, and other affective states. But as this book shows, the satiric emotions are not found only in the author’s rhetorical performances; they are also at the center of the human farrago that the Satires purport to treat. As he paints human experience and conflict from many angles, Juvenal explores the dynamic operation of emotions in society. Each poem engages in unique ways with different model texts, ideas, stories, and settings to reveal the unsettling powers of its emotional mode. The book analyzes the structural logic and “emotional plots” of the entire series and its five discrete books.
L’œuvre poétique de Dôvy est créée à partir de la poésie orale tsimihety. Elle quête de surprise en exploitant le flot d’image et de symboles tirés de la nature et de la société malgache pour ...transmettre un message sur d’un fait social. Sa poésie n’est plus donc déclamée comme dans son stade oral. L’objectif de cet article est de démonter la beauté de mode d’expression poétique de ce poète à partir de l'intertextualité de son œuvre avec le proverbe. Comment peut-on dégager la beauté de l’intertextualité de ces deux genres poétiques ? La beauté de son œuvre se trouve au niveau satirique par son usage de la métaphore et de l’image ironique qui amène son public dans une harmonie créée par le rire, car la poésie se mêle entre le vrai et la vraie semblance. Alors que dans l’aspect poétique de son œuvre, le poète essaie à impliquer son public passif contre la malhonnêteté et l’injustice sociale dans son pays.
InGod Mocks, Terry Lindvall ventures into the muddy and dangerous realm of religious satire, chronicling its evolution from the biblical wit and humor of the Hebrew prophets through the Roman Era and ...the Middle Ages all the way up to the present. He takes the reader on a journey through the work of Chaucer and his Canterbury Tales, Cervantes, Jonathan Swift, and Mark Twain, and ending with the mediated entertainment of modern wags like Stephen Colbert.
Lindvall finds that there is a method to the madness of these mockers: true satire, he argues, is at its heart moral outrage expressed in laughter. But there are remarkable differences in how these religious satirists express their outrage.The changing costumes of religious satirists fit their times. The earthy coarse language of Martin Luther and Sir Thomas More during the carnival spirit of the late medieval period was refined with the enlightened wit of Alexander Pope. The sacrilege of Monty Python does not translate well to the ironic voices of Soren Kierkegaard. The religious satirist does not even need to be part of the community of faith. All he needs is an eye and ear for the folly and chicanery of religious poseurs.
To follow the paths of the satirist, writes Lindvall, is to encounter the odd and peculiar treasures who are God's mouthpieces. InGod Mocks, he offers an engaging look at their religious use of humor toward moral ends.
Describing the historical development of the mask ( Laarve)
2
within the carnival tradition of the Basel Fasnacht ( Faasnacht, Switzerland) during the twentieth and twenty-first centuries, this ...article offers a case study of the so-called reflexive turn in late modern (‘post-traditional’) societies. Drawing on the concept of ritual reflexivity, we argue that the gradual development of the Fasnacht masks into oversized constructions covering the ritualist's whole head ( Laarve) went hand in hand with the development of various other ritual mechanisms aimed at facilitating within the ritual framework a meditative, inward-oriented stance ( enstasis).
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This is especially interesting as carnivals tend to be associated with precisely the opposite dynamics: transcending social norms through the celebration of excess and inebriation which, in its extreme forms, may lead to ekstasis (or at least a headache). The described ritual elements are interpreted as a series of mirroring mechanisms nested within one another. The ritual handling of the Laarve by the ritualists (its donning and taking off at regular intervals) is then understood simultaneously as a facilitator and a marker fuelling and isolating individual phases of an otherwise non-discrete reflexive process. Based on first-hand accounts of ritualists’ experiences of mask-wearing, we will show how Basel Fasnacht walks a tightrope between ‘modelling’ and ‘mirroring’ societal, communal and idiosyncratic levels of meaning-making.
Social media can be a double-edged sword for political misinformation, either a conduit propagating false rumors through a large population or an effective tool to challenge misinformation. To ...understand this phenomenon, we tracked a comprehensive collection of political rumors on Twitter during the 2012 US presidential election campaign, analyzing a large set of rumor tweets (n = 330,538). We found that Twitter helped rumor spreaders circulate false information within homophilous follower networks, but seldom functioned as a self-correcting marketplace of ideas. Rumor spreaders formed strong partisan structures in which core groups of users selectively transmitted negative rumors about opposing candidates. Yet, rumor rejecters neither formed a sizable community nor exhibited a partisan structure. While in general rumors resisted debunking by professional fact-checking sites (e.g. Snopes), this was less true of rumors originating with satirical sources.
Le livre d’Éric Macé est sans doute une de tentatives contemporaines de repenser la sociologie les plus abouties. Il permet, notamment, d’intégrer l’apport des Studies. Mais il se trompe en croyant ...devoir éliminer les concepts de société te de domination. Et il est trop timide sur les enjeux normatifs.
The satirist Juvenal remains one of antiquity's greatest question marks. His Satires entered the mainstream of the classical tradition with nothing more than an uncertain name and a dubious biography ...to recommend them. Tom Geue argues that the missing author figure is no mere casualty of time's passage, but a startling, concerted effect of the Satires themselves. Scribbling dangerous social critique under a historical maximum of paranoia, Juvenal harnessed this dark energy by wiping all traces of himself - signature, body, biographical snippets, social connections - from his reticent texts. This last major ambassador of a once self-betraying genre took a radical leap into the anonymous. Juvenal and the Poetics of Anonymity tracks this mystifying self-concealment over the whole Juvenalian corpus. Through probing close readings, it shows how important the missing author was to this satire, and how that absence echoes and amplifies the neurotic politics of writing under surveillance.
Roman satire Hooley, Daniel M
2008., 2007, 2008-04-15, 20070109
eBook
This compact and critically up-to-date introduction to Roman satire examines the development of the genre, focusing particularly on the literary and social functionality of satire. It considers why ...it was important to the Romans and why it still matters. Provides a compact and critically up-to-date introduction to Roman satire
Prosodic markers of satirical imitation Leymann, Saskia; Lentz, Tomas O.; Burgers, Christian
Humor (Berlin, Germany),
10/2022, Letnik:
35, Številka:
4
Journal Article
Recenzirano
Odprti dostop
Satirical imitation is a popular format of late-night comedy shows and can provide political entertainment and education. However, little research has been conducted on how satirists mark their ...satirical intent to clue audiences in on their intended messaging. This study investigates the prosodic marking of satirical imitation and contrasts it with prosodic marking of irony. We conducted a detailed case study of the prosodic marking in Alec Baldwin’s satirical imitation of Donald Trump in his audiobook You Can’t Spell America Without Me contrasted with both Baldwin’s and Trump’s regular voices. The analyzed corpus contained six hours of audio material across the three sources. Through a combination of automatic and manual coding, we measured average pitch, pitch variation, and speech rate. Our analysis did not reveal marking of satirical imitation by pitch or pitch variation. The satirical imitation was only marked by a faster speech rate than both baseline voices. These findings contrast with previous studies that identified a lower pitch, less pitch variation, and a slower speech rate as markers of verbal irony. Our study provides first evidence that satirical imitation is prosodically marked differently from verbal irony, with a faster speech rate as one potential marker.
