Introducción: La comedia, uno de los géneros cinematográficos con mayor audiencia, sirve como medio para analizar las problemáticas sociales y reflejar la cultura e identidad de los diferentes ...territorios. Metodología: Esta investigación realiza once entrevistas en profundidad a los directores y productores de siete comedias financiadas con ayudas públicas de la Corporación Aragonesa de Radio y Televisión aragonesa, desde 2013 a 2022. Se aplica un cuestionario semiestructurado que aborda el proceso creativo, las claves narrativas y con la relación cultura e identidad y la financiación. Resultados: Los profesionales de la comedia aragonesa muestran una tendencia marcada por la diversidad creativa, aunque con raíces en la comedia clásica y en vivencias personales que, en un segundo plano, se entrelazan con una crítica social dirigida a atraer al público generalista. Discusión: Para ello, se abordan diversas temáticas con personajes estereotipados, pero novedosos, en los que prevalece la ironía, gracias a actores cómicos como muestra de un humor característico, aunque no prioritario. Además, destacan la preferencia por las localizaciones de Aragón para contribuir a una comedia identitaria que, junto con la promoción y financiación regional, promueve la difusión de la narrativa propia, fomenta el talento local y genera un impacto económico positivo. Conclusiones: Por último, los cineastas expresan la necesidad de desarrollar proyectos más ambiciosos, respaldados por ayudas financieras más cuantiosas e incentivos fiscales que conviertan a Aragón en un verdadero destino cinematográfico.
The ethics of the comic is a relatively new interdisciplinary field of knowledge that is gaining new relevance with the development of a variety of social media. The purpose of this article is to ...review the existing research and show by examples how ethics and values are closely related to the specific functions of social media, such as distributing parody content and commenting on it. The main focus of our study is a parody which can be defined as communicative behavior in the form of a text, movement, or even a song, imitating the characteristics or behavior of the object being ridiculed. Unlike a literal quotation, a parody reproduces the original in a distorted form for the purpose of mockery. Within this article modern ethical approaches to the evaluation of parody as well as the main functions of parody in the digital environment are considered. Based on the examples of parody videos on TikTok the particular ways of expressing social problems and cultural traumas by using the comic strategies are identified. Furthermore, the issues of algorithmic censorship concerning such videos as well as the problem of the moral autonomy of users are discussed.
The Batman villain Two-Face and Rabelais’ Bridlegoose in The Third Book of Pantagruel (15461894) are identified with the law – or at least, the law distorted, exaggerated, caricatured. Two-Face ...decides matters based on the tossing of a double-faced coin, one side of which is defaced; in some respects, he is the successor to Rabelais’ Judge Bridlegoose, who decides the judicial cases before him by a throw of the dice. They both surrender their decision-making to the aleatory, in a manner that prompts us to gaze upon (or askance at) the impossible moment of decision. This article takes a comparative approach to draw out how these two characters illuminate broader questions of law and justice, through considerations of parody, satire, deconstruction, and play, having significance for the philosophy of law.
News satire plays with the political in ways that transgress journalistic as well as social and moral boundaries. But the ways in which audiences in different contexts engage with news satire are ...under-researched, despite the implications of the genre’s role for contemporary citizenship. This article asks how Swedish young adult audiences construct and negotiate news satire’s inherent transgressions, spanning across the ‘serious’ and ‘silly’. Based on interview and focus group data, the analysis shows how sustained news satire engagement entails genre work that aids the development of ‘transgression skills’. This process is stimulating, constructed as part of a complex and emotionally authentic mode of political communication, within a context where journalistic certainty has dominated. By achieving transgression skills, audiences are symbolically put on the same level as political elites and develop abilities to shift perspectives; thereby experiencing a deeper engagement with, and understanding of, political issues and performance.
Known as a "manipulador del lenguaje" by his contemporaries, the Chilean poet Rodrigo Lira (1949-1981) has barely made it onto the international poetry stage for his biting and striking antipoetics. ...While his poetry has especially been recognized for his semantic wit in his almost sardonic parodies of his predecessors and contemporaries, Lira's antipoetic work, I propose, gathers force with his attention to the visual aspects of language on the page that both informs and is informed by language's materiality. I argue that it is through Lira's manipulation of language and poetry's visual qualities that his commitment to social critique comes to the fore. The reader can interact with Lira's poems as physical objects not only intellectually, but also by engaging multiple senses. Through close readings of exemplary poems, I consider how his manipulation of the letter, the word, the line, and the page itself contributes to his antipoetics.
Basing upon the four commandments of picarism identified in the 1980s by Maurice Molho (pseudo-autobiographism, low birth, anti-honour, social criticism), we analize the various forms such characters ...took in the works of various authors who, willingly or not, approached the picaresque genre. The four commandments before mentioned are fully accomplished in the classics of the genre (Lazarillo, Guzmán, Justina and Buscón), above all through satire. Salas Barbadillo betrays the first and fourth commandment in his Hija de Celestina. On the other hand, the supposedly picaresque short stories by Castillo Solórzano —La niña de los embustes, Teresa de Manzanares (1632), the Aventuras del bachiller Trapaza (1637) and La garduña de Sevilla y anzuelo de las bolsas (1642)— betray almost all of them, making of his characters only rogues strongly connected to the courtly world and full of anti-picaresque elements. Solorzano’s short stories can thus be considered the end of picarism.
This article explores the representations of plunder in Polish magazine cartoons between 1945 and 1946. More specifically, it discusses how instances of looting or szaber (as it was known in Polish), ...perpetrated in Poland's so-called Recovered Territories following the expulsions of ethnic Germans, were portrayed by two major magazines, Szpilki and Przekrój. I propose that the satirical cartoons in question were an important (even if rhetorical) form of social engagement and criticism. In this article, I show that not only did it enable magazine editors to comment on but also to critically intervene in widespread lawlessness that erupted in the former German territories. Explored as historical sources, magazine cartoons can not only enable us to describe how graphic representations of plunder entertained, they also demonstrate how satire functioned as a specific cultural practice with which to shape the new post-war order. In that sense, this article reflects implicitly on how cartoons can be productively used as a category of historical analysis. Constituting a passionate response to both social disorder and dispossession that emerged in the aftermath of World War II, satirical cartoons captured the temper of the times in ways that were not accessible to other historical sources.
Abstract
This article focuses on the relationship that the famous 20
th
century Viennese satirist Karl Kraus had with the major newspapers, particularly
Die Neue Freie Presse
. The aim is to argue ...that the language was the main means by which Karl Kraus unmasked the hypocrisy and ideology of Bourgeois Viennese society. In language he found both the problem and the solution to his social criticism, the central points of which represent the foreshadowing of his monumental World War I-drama,
The Last Days of Mankind
. The analysis of two characters in the play, Alice Schalek and Moritz Benedikt, shows us how Kraus used language to expose them as archetypes of their Zeitgeist.
Plagues, Plays, and Pictures Teague, Fran
Medieval & Renaissance drama in England,
01/2022, Letnik:
35
Journal Article
Trying to imagine what anyone in London faced with the plague- loss, grief, fear, a present filled with enforced isolation, but without hope of a cure or safer future-one can understand the writers ...who created serious works. ...the play also uses "the material threat of the plague" (14), as Christopher Foley has suggested.6 Traces of that anxiety also run throughout the play, mirroring the way that the poor (like servants and scoundrels) were trapped in London, while the well-to-do (like Lovewit) could afford to leave the city and the plague behind. Despite the play's talk about how alchemy can control threats to health and offer power and control, the sole result of all the venter tripartite's promises offer is trash since they, like Chaucer's canon's yeoman, are cheats. The mass of scholarship on Jonson's The Alchemist has invariably agreed upon two points: (1) that the author intended to satirize alchemy as a transparent, chemical con-game and (2) that the pseudo-scientific subject provided a rich source for the diction, puns, metaphors, similes, and topical references that Jonson delighted in using to dazzle his audience.
According to almost all editors and commentators, Hamlet was presented largely in its extant form in the months immediately following. (All discussed at more length below.) Sohmer (1996, supported by ...Roth 2002a) has suggested even more specific dating for the internal action in Hamlet (and perhaps even a date for its 1601 season opening), based on calendrical evidence: the ghost's four appearances on the ramparts are identified with the nights of Friday 30 October through Monday 2 November 1601-the Feast of Marcellus, All Hallows Eve, All Saints', and All Souls'. Viz: the ghost's "Remember me," thrice echoed by Hamlet.) That dating also sets up a telling conjunction between the King's murder and the death of Shakespeare's father John just under two months prior ("But two months dead, nay not so much, not two" 1.2.138). Multiple editors (most recently Thompson and Taylor 36) have found intuitive appeal in the coincidence of Shakespeare's father's death, the litany of half a dozen dead fathers in Hamlet, and Hamlet's final composition date.
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