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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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Satire
What is satire? How can we define it? Is it a weapon for radical change or fundamentally conservative?Is satire funny or cruel? Does it always need a target or victim? Combining thematic, theoretical and historical approaches, John T.Gilmore introduces and investigates the tradition of satire from classical models through to the present day.In a lucid and engaging style, Gilmore explores:the moral politics of satirewhether satire is universal, historically or geographically limitedhow satire translates across genres and media the boundaries of free speech and legitimacy. Using examples from ancient Egypt to Charlie Hebdo, from European traditions of formal verse satire to imaginary voyages and alternative universes, newspaper cartoons and YouTube clips, from the Caribbean to China, this comprehensive volume should be of interest to students and scholars of literature, media and cultural studies as well as politics and philosophy.
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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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Satire as the Comic Public Sphere : Postmodern “Truthiness” and Civic Engagement
Stephen Colbert, Samantha Bee, John Oliver, and Jimmy Kimmel—these comedians are household names whose satirical takes on politics, the news, and current events receive some of the highest ratings on television.In this book, James E. Caron examines these and other satirists through the lenses of humor studies, cultural theory, and rhetorical and social philosophy, arriving at a new definition of the comic art form.Tracing the history of modern satire from its roots in the Enlightenment values of rational debate, evidence, facts, accountability, and transparency, Caron identifies a new genre: “truthiness satire.” He shows how satirists such as Colbert, Bee, Oliver, and Kimmel—along with writers like Charles Pierce and Jack Shafer—rely on shared values and on the postmodern aesthetics of irony and affect to foster engagement within the comic public sphere that satire creates.Using case studies of bits, parodies, and routines, Caron reveals a remarkable process: when evidence-based news reporting collides with a discursive space asserting alternative facts, the satiric laughter that erupts can move the audience toward reflection and possibly even action as the body politic in the public sphere. With rigor, humor, and insight, Caron shows that truthiness satire pushes back against fake news and biased reporting and that the satirist today is at heart a citizen, albeit a seemingly silly one. This book will appeal to anyone interested in and concerned about public discourse in the current era, especially researchers in media studies, communication studies, political science, and literary and cultural studies.
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What makes satire funny?
Satire is funny because it uses humor to criticize and mock societal issues, institutions, or individuals. By exaggerating or distorting reality, satire highlights the absurdity or hypocrisy of the subject being satirized. The element of surprise and wit in satire also adds to its humor, as it often catches the audience off guard with unexpected twists or clever wordplay. Ultimately, satire is funny because it allows people to laugh at the flaws and contradictions of the world around them in a way that is both entertaining and thought-provoking.
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Do you like satire?
As an AI, I do not have personal preferences or emotions, so I do not have the capacity to like or dislike satire. However, I understand that satire is a form of humor or social commentary that uses irony, sarcasm, and exaggeration to criticize or mock societal issues. It can be a powerful tool for highlighting absurdities and sparking critical thinking.
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What does satire mean?
Satire is a literary device or genre that uses humor, irony, exaggeration, or ridicule to criticize and mock individuals, institutions, or society as a whole. It is often used to highlight and bring attention to societal issues, hypocrisy, or absurdities in a way that is both entertaining and thought-provoking. Satire can be found in various forms of media, such as literature, film, television, and art.
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Is a caricature satire?
Yes, a caricature can be a form of satire. Caricatures often exaggerate the physical features or characteristics of a person in order to create a humorous or critical portrayal. This exaggeration is a common technique used in satire to highlight and critique the flaws or absurdities of the subject being depicted. Therefore, caricatures can be a powerful tool for satirizing individuals, groups, or societal issues.
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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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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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Evelyn Waugh’s Satire : Texts and Contexts
Evelyn Waugh (1903–1966) is one of the twentieth century’s great prose stylists and the author of a suite of devastating satires on modern English life, from his first unforgettably funny novel Decline and Fall, to his last work of fiction, “Basil Seal Rides Again.” Evelyn Waugh’s Satire: Texts and Contexts renews scholarly debates central to Waugh’s work: the forms of his satire, his attitudes towards modernity and modernism, his place in the literary culture of the interwar period, and his pugnacious (mis)reading of literary and other texts.This study offers new exegetical accounts of the forms and figures of Waugh’s satire, linking original readings of Waugh’s texts to the literary-historical contexts that informed them.Posing fresh readings of familiar works and affording attention to more neglected texts, Evelyn Waugh’s Satire: Texts and Contexts offers readers and scholars a timely opportunity to return to the rich, dark art of this master of prose satire.
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What is a satire party?
A satire party is a type of social gathering where attendees dress up and behave in a satirical or exaggerated manner, often parodying a specific theme, event, or group of people. These parties are meant to be humorous and entertaining, with guests using satire and irony to poke fun at societal norms or current events. Satire parties can be a fun way for people to engage in playful and creative expression while also providing a platform for social commentary and critique.
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What is a satire distortion?
A satire distortion is a deliberate exaggeration or misrepresentation of a person, event, or idea for the purpose of mocking or criticizing it. Satire often uses distortion to highlight the absurdity or flaws in a particular subject, and it can take many forms, such as exaggerating a person's traits or actions, distorting the truth, or creating a caricature of a real-life figure. By distorting reality in a humorous or exaggerated way, satire aims to provoke thought and commentary on the subject being distorted.
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How do you write satire?
To write satire, you need to first identify a societal issue or behavior that you want to critique or make fun of. Then, you should exaggerate or distort this issue in a humorous way to highlight its absurdity or flaws. It's important to use irony, sarcasm, and wit to convey your message effectively. Finally, make sure your satire is well-crafted and doesn't come across as mean-spirited or offensive.
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What is Arche Internetz Satire?
Arche Internetz Satire is a German satirical website that creates humorous and often absurd content to poke fun at various aspects of society, politics, and popular culture. The site uses a mix of satire, parody, and exaggeration to highlight and critique societal issues in a comedic way. Arche Internetz Satire often blurs the line between reality and fiction, making it a popular source of entertainment for those who enjoy dark humor and satire.
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