Syftet med denna analys är att undersöka de genretypiska dragen inom quest-fantasy genren och hur det framkommer som satir i The Dark Lord of Derkholm av Diana Wynne Jones. Hur används romanens handling och karaktärer för att kritisera och kommentera på klicher inom genren? Detta arbete är en genrestudie som görs genom en närläsning av verket och komparativ analys mellan The Dark Lord of Derkholm och Tough guide to fantasyland som också är skrivet av Diana Wynne Jones. Respektive verk delar samma berättelsevärld och ger olika perspektiv på hur en fantasyvärld och äventyr förväntas se ut. Resultatet visar att läsarens bekantskap med fantasygenren och läsarens genreförväntan påverkar hur väl de satiriska elementen känns igen i verket men att romanen skrivits för att kunna läsas även utanför ett satiriskt perspektiv. Författaren prioriterar att bygga upp en genuin berättelsevärld som kan stå på egna ben utöver att bara vara ämnat för att kritisera genren den var skriven för. De centrala teman som undersöks är: Genretypiska troper inom quest-fantasy genren, genreförväntan och satir.

Kent Wisti is a new phenomenon who is successful in social media with his satire drawings. With a softly approach Wisti is questioning the opinions and reactions to current events. The aim of the research is to examine ways and means Wisti uses to form opinions. Today it is difficult to debate about sensitive topics because of the fear of not being considered politically correct, a racist or tied to the opinions that we do not want to be associated with. By examining the topos used and how Wisti speaks about racism and immigration I can thereby discern how Wisti creates enthymem. Therefore I examine the question: How is enthymem created in Kent Wistis drawings? This, in turn, I examine by studying how different topos are used to create enthymem. The research is based on Maria Wolrath Söderbergs method for topos, where I stake on the concepts of points for discussion, bases for discussion and operations for discussion to thereby examine how enthymem are created. The results clearly show that Wisti leaves much implicitly requiring the reader to become a co-creator of enthymem and hence their own convictions. This demands that the readers are well informed of the topics and have similar thought patterns to Wisti in order to fully understand the message. Wisti argues against including prejudices and racism through flaws in various doxa. There are contradictions between what we say and what we do, or between which we want to be and who we are. Doxa is simply something that binds together our decisions and actions with our thinking and reasoning. If these elements do not match, a persons overall impression ruptures.

En metastudie som använder sig av en specifikt anpassad tolkning av grounded theory för att undersöka The Daily Shows satiriska kritik och funktion, samt hur detta relaterar till det sociologiska perspektivet. Fynden visar på en problematik som väl överrensstämmer med mer allmänna sociologiska teorier hos Foucault, Bourdieu och Habermas. Satiren visar sig utöva en serie meningsfulla funktioner som har potential att verka som en populistisk samhällskritik med stort inflytande. Satiren visar sig dock inte vara en problemfri diskurs och ett antal problem identifieras som behöver adresseras för att diskursen ska kunna åberopa någon form av legitimitet. / A meta-study which uses a specifically tailored interpretation of grounded theory to explore The Daily Shows satiric critique and function, as well as how it relates to the sociological perspective. The findings show a complex of problems that well corresponds to the more general sociological theories of Foucault, Bourdieu and Habermas. The satire is found to perform a series of meaningful functions with potential to act as a populist form of social criticism with a large influence. However, satire is also found to be a problematic discourse and a series of problems are identified that needs to be addressed for the discourse to invoke any form of legitimacy.

When is it acceptable to make fun of religion, and when does it become disrespectful? On January 7, 2015, the headquarters of the French satirical news paper Charlie Hebdo was subjected to a terrorist attack that claimed the lives of 12 staff members, due to the publishing of caricatures picturing the prophet Muhammed. The reactions that followed the attack circled around two perspectives; the importance of freedom of expression and the obligation to show respect for certain institutions and traditions in society. How come the caricatures can elicit such completely different reactions? This is the question that this thesis uses as a starting point for the examination of the subject caricatures and satire. The thesis examines caricatures and satire from a rhetorical perspective. It distinguishes four rhetorical aspects of caricature, and discusses if these rhetorical aspects can be what makes the difference regarding how provocative a drawing is considered. The thesis then uses the four rhetorical aspects found, to analyze two caricatures from the French satiric magazine Charlie Hebdo.

This thesis is a serious study of humor – a seemingly contradictory task to wich I was drawn becasue of the possibilty of understanding society and public opinion through satire. More precisely, it explores the use of political satire in the Swedish comic magazines Söndagsnisse–Strix, Lutfisken and Joker during the Second World War. The comic press was an influential public commentator in Sweden whose satirical remarks not only shaped, but also corresponded with, the general understanding of social, political and economic conditions. Since the genre reached its pinnacle at the turn of the 20th century, and later was challenged by the daily press during the 1920s, its activity from the 1930s and onwards tends to be neglected. This thesis argues, however, that even though the number of comic magazines was radically diminished during the 1920s, those that survived continued to be influential by offering a unique type of opinion-forming satire, not least during th second world war when the Swedish government tried to restrict the freedom of the press. By understanding the satire in the comic press, mainly in the form of witty drawings, as a laughing mirror that reflects essential features of the society it comments in the form of parody, it further argues that the comic press offers a valuable insight into how political decisions and developments was understood and presented at the time. The analysis is structured around two main themes. The first one explores how the Swedish coalition-government and its domestic policies during the war was presented in satirical depictions. The study shows that the Swedish prime minister Per Albin Hansson was recurrently criticized, not least for the government's tendency to accommodate German complaints and demands during the beginning of the war, and thus deviating from Sweden's   proclaimed policy of neutrality. Apart from Per Albin Hansson, two of his goverment colleagues, minister of finance Ernst Wigforss and minister of justice KG Westman, was repeatedly criticized and ridiculed for the policies they were in charge of respectively. The government also received criticism for not taking appropiate action against domestic communist and Nazi movements, which were depicted as a menace to the Swedish society. The second part of the thesis explores how the political situation in the Nordic neighboring countries, that unlike Sweden did not manage to avoid the war, was commented and portrayed in satire. The analysis shows that it was common to express sympathy and admiration for their attempts at resisting occupation while at the same time mocking the aggressors. The thesis ends with the note that satire in general, and cartoons in particular, should be considered more often in the study of history and the shaping of public opinion. Unlike an editiorial, that demands time and effort from the reader, a satirical drawing has the potential of shaping peoples understanding of events in the blink of and eye due to its condensed message in the form of a snapshot.

x A majority in the young generation use social media as their primary news source. Many Instagram accounts have started to publish political satire and Dyngbaggegalan is one of the largest in Sweden. Because of this the study aims to analyze how young media users, belonging to generation Z, discuss Dyngbaggegalans use of political satire. To examine this, two research question where formed: - What is discussed when young media users are exposed to Dyngbaggegalans political posts? - In what way do Dyngbaggegalan highlight political societal problems according to young media users?  The studied material was conducted through six focus group interviews which discussed four posts from Dyngbaggegalan. The transcribed material was used to create codes which later were thematized. Habermas' public sphere theory was used to understand social media as a digital public sphere. The PINE-model was used to comprehend Dyngbaggegalan as a space where incidental news exposure occurs. Lastly, Ödmark's and Harvard's theory about satirists' six democratic functions was applied.  The result of this study shows how young media users primarily discuss the use of satire in the posts but always end up discussing politics. The majority of the informants claim to be more politically affected than they thought. The satire, editing and the angle of the posts were considered to be the main approach to highlight societal problems. Young media users reflect upon political issues when exposed to these posts and this suggests that these types of accounts influence individuals ability to form a political opinion.

By examining the British satirical magazine Punch's presentation of the Irish during the Repeal-movement, this study explores how satire can be used as a tool for colonial powers to establish dominance over differing nationalities through print media. This has been examined by extracting traits attributed to the Irish in Punch's illustrations and articles from 1842 - 1848, the Repeal independence movements most active years. The study is split into three seperate categories: "The Irish in relation to the Repeal politician Daniel O'Connell"; "The political Irish"; and "Paddy" (the Irish outside of politics). Within these categories the study also found a chronological pattern of Young Ireland gaining increasingly negative attention in Punch as a result of Daniel O'Connell, one of Repeals leaders, leaving the political scene during the last years of his life 1846/1847. The increased attention for Young Ireland is attributed to Punch's rivalry with the Irish nationalist magazine The Nation; Young Irelands mouthpiece.      The study found that Punch's disdain towards Repeal supporters such as The Nation, Young Ireland, and Daniel O'Connell extended to their view of the Irish as a people. Although Punch's Irishman is almost exclusivly portrayed as violent and stubborn, these are seen as virtues rather than flaws when used to resist Repeal advocates and Irish politicians. Further, Punch's rivalry with The Nation creates a polemic relationship of British upper-class versus Irish nationalist commoner which can be used as a press historian scale model of the Anglo-Irish conflicts of the 19th century.

Hans Holbein's Dance of Death has fascinated researchers for centuries, and in the shape of the book Les Simulachres et historiées de la mort, published in 1538, it was going to change the perception of the dance of death theme for a long time ahead. What most researchers point out about Holbein's pictures is its underlying sense of satire or irony – but is typically glossed over as a matter of fact. The aim of this study is to explore what makes satire and humor apparent in Holbein's dance of death. The study mainly focuses on four separate images from Holbein's series, that represent different social standings and professions to compare and study the difference in satire depending on this factor. By using Panofsky's iconographic method, Kemp's reception theory and Bachtin's theory about the carnivalesque and the grotesque, the study shows that Holbein was inspired by the earlier traditions of the Dance of Death theme but made certain new changes that were related to renaissance culture and ideas. These factors in combination with the ideas of the grotesque turned the frightful Death into something more than just a sudden harbinger of death – it was also part of carnival culture and laughter.

Denna kandidatuppsats består av en längre översättning i form av en undertextning från nederländska till svenska, samt en kommentar till översättningen. Källtexten utgörs av inslaget De online fabeltjesfuik (ordagrant ’fabelryssjan’) ur det nederländska satiriska nyhetsprogrammet Zondag met Lubach. I kommentarsdelen beskrivs den teoretiska bakgrunden bakom den översättningsprincip och rangordning av översättningsprioriteringar som styrt undertextningsarbetet. Därefter behandlas ett urval av översättningsproblem samt strategierna för att lösa dem, med ett särskilt fokus på kulturella referenser och humor. Det största problemet utgörs dock i slutändan av översättningsformens egna begränsningar när det kommer till tid och utrymme, vilka styr alla andra översättningsval. / This bachelor’s essay consists of a longer translation in the form of Dutch-to-Swedish subtitles, including a section commenting on the translation. The source text is made up of the segment De online fabeltjesfuik (literally ‘the fable fyke’) from the Dutch satirical news show Zondag met Lubach. The comment section describes the theoretical background behind the translation principle and the translation priorities which have guided the subtitling. Then a sample of translation problems along with the strategies used to solve them are presented, focusing on cultural references and humour. The largest issue remains the inherent limitations of subtitling as pertains to time and space, which influence all other translation choices made.

<p dir="ltr">The need for affirming relational therapy is important for clients who identify as transgender and gender nonconforming - particularly during the process of their transition. Because of the conceptual overlap between the two approaches, the Satir Model of experiential therapy can be effectively applied to existing frameworks for affirming couple therapy. The study reflects the efficacy of this proposed model of therapy through a phenomenological case study. The results, their implications, and the application of the model are discussed.</p>