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"Enjoy this hilarious collection of satires, reviews, news, poems, and short stories from The Satirist: America's Most Critical Journal."--P. [4] of cover.
Political satire has been a primary weapon of the press since the eighteenth century and is still intimately associated with one of the most important values of western democratic society: the right of individuals to free speech. This study documents one of the most important moments in the history of printed political imagery, when political print became what we would recognise as modern political satire. Contrary to conventional historical and art historical narratives, which place the emergence of political satire in the news-driven coffee-house culture of eighteenth-century London, Meredith M. Hale locates the birth of the genre in the late seventeenth-century Netherlands in the contentious political milieu surrounding William III's invasion of England known as the 'Glorious Revolution'. The satires produced between 1688 and 1690 by the Dutch printmaker Romeyn de Hooghe on the events surrounding William III's campaigns against James II and Louis XIV establish many of the qualities that define the genre to this day: the transgression of bodily boundaries; the interdependence of text and image; the centrality of dialogic text to the generation of meaning; serialized production; and the emergence of the satirist as a primary participant in political discourse. This study, the first in-depth analysis of De Hooghe's satires since the nineteenth century, considers these prints as sites of cultural influence and negotiation, works that both reflected and helped to construct a new relationship between the government and the governed.
Starting from the conviction that Latin literature gains from being viewed as performance, the author sees the creation of different characters or "masks" in Latin literature as a result of the Greco-Roman training in rhetoric. She treats the texts of Roman satire as drama and focuses on the characters whose voices are heared in these performances: the angry satirist, the mocking satirist and the smiling satirist. She goes on to explore the implications of the use of these "masks" for authors and audiences of satire.
A collection of writings by the 2nd century satirist who ridiculed tyrants, philosophers, and even the gods, in his mock dialogues and prose narratives.
Excerpt from English Satire and Satirists The word satire, then, has more than one meaning. As there is a Comic Spirit, so there is a Satiric Spirit; and as there is a form of the drama we call Comedy, so there is a form of verse we call Satire. But as the Comic Spirit may manifest itself in the novel or the poem no less than in the comedy, so the Satiric Spirit may appear in prose as well as in verse, and both in verse and in prose it assumes manifold shapes. There are satirical novels and tales, essays and allegories. There are satirical lyrics and even satirical odes; and Paradise Lost itself: contains fragments of satire. What may be called the classical satire of England is derived from the satire of the Latin poets; and as the Latin satirists adopted the hexameter, so their English imitators used the English equivalent, the heroic couplet. When Hall wrote the often-quoted lines, I first adventure: follow me who list, And be the second English satirist. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This book revises assumptions about satire as a public, masculine discourse derived from classical precedents, in order to develop theoretical and critical paradigms that accommodate women, popular culture, and postmodern theories of language as a potentially aggressive, injurious act. Although Habermas places satirists like Swift and Pope in the public sphere, this book investigates their participation in clandestine strategies of attack in a world understood to be harboring dangerous secrets. Authors of anonymous pamphlets as well as major figures including Behn, Dryden, Manley, Swift, and Pope, share at times what Swift called the writer's "life by stealth."
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. Focuses on the development and function of satire in literary and social contexts. Takes account of recent critical approaches. Keeps the uninitiated reader in mind, presuming no prior knowledge of the subject. Introduces each satirist in his own historical time and place – including the masters of Roman satire, Lucilius, Horace, Persius, and Juvenal. Facilitates comparative and intertextual discussion of different satirists.