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xi, 112 p. : ill. A print copy of this title is available through the UO Libraries under the call number: KNIGHT PN6149.P64 V36 2000 / This thesis examines the performance of political pranks by contemporary radical activists and anarchists. Pranks, used symbolically to subvert authority and collapse hierarchy, have become important tools for grassroots political movements. Activists utilize pranks as a form of "culture jamming" to undermine, humiliate, and educate. This thesis documents political pranks pulled by Earth First!, the Yippies, the Biotic Baking Brigade, and the Eugene Anarchists for Torrey (EAT) Campaign to show how pranks are performed and narrated within anarchist subcultures. Drawing on cultural and performance studies, as well as on anarchist theories, this thesis demonstrates how pranks can become performances of resistance and criticism that disrupt the status quo. / Committee in charge: Dr. Daniel N. Wojcik, Chair; Dr. Suzanne Clark; Dr. Carol Silverman

The thesis examines the novels of Anglo-American author Russell Hoban (1923-) and Japanese author Murakami Haruki [Chinese characters] (1949-) as Menippean satires. The Introduction defines the Menippean satire and considers possible sources for this genre as found in the works of Hoban and Murakami. Parts I and II examine several novels by Hoban and by Murakami respectively, demonstrating how their works conform to the conventions of the Menippean satire. In examining Murakami's fiction, Part II also considers possible antecedents in Japanese literature for tropes and topoi that appear Menippean in the light of Western genre theory; there is a special emphasis on Murakami's most recent work, [Chinese characters] Nejimakidori kuronikuru (1994-6, The Wind-up Bird Chronicles). The Conclusion examines why these two authors write Menippean satires. No claim is made that either author has chosen this genre in deliberate imitation of classical or Renaissance models. Rather, from the standpoint of cultural history, the thesis argues that the Menippean satire—or at least a form of postmodernist novel with notable affinities to the Menippean satire—has re-emerged as a genre for our times. Drawing on examples from the fiction of Murakami and Hoban, the conclusion demonstrates that central features of this genre—fantasy, crudity, philosophical dialogues, inserted genres, invented languages, and the descent into hell—are particularly appropriate for the fictional treatment of life in a postmodern world. Moreover, these features are serviceable not only in a Western context. Murakami Haruki, despite his Japanese cultural background and his avowed intention to write about Japan, relies on many of the same generic strategies as does Russell Hoban.

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The thesis examines the novels of Anglo-American author Russell Hoban (1923-) and Japanese author Murakami Haruki [Chinese characters] (1949-) as Menippean satires. The Introduction defines the Menippean satire and considers possible sources for this genre as found in the works of Hoban and Murakami. Parts I and II examine several novels by Hoban and by Murakami respectively, demonstrating how their works conform to the conventions of the Menippean satire. In examining Murakami's fiction, Part II also considers possible antecedents in Japanese literature for tropes and topoi that appear Menippean in the light of Western genre theory; there is a special emphasis on Murakami's most recent work, [Chinese characters] Nejimakidori kuronikuru (1994-6, The Wind-up Bird Chronicles). The Conclusion examines why these two authors write Menippean satires. No claim is made that either author has chosen this genre in deliberate imitation of classical or Renaissance models. Rather, from the standpoint of cultural history, the thesis argues that the Menippean satire—or at least a form of postmodernist novel with notable affinities to the Menippean satire—has re-emerged as a genre for our times. Drawing on examples from the fiction of Murakami and Hoban, the conclusion demonstrates that central features of this genre—fantasy, crudity, philosophical dialogues, inserted genres, invented languages, and the descent into hell—are particularly appropriate for the fictional treatment of life in a postmodern world. Moreover, these features are serviceable not only in a Western context. Murakami Haruki, despite his Japanese cultural background and his avowed intention to write about Japan, relies on many of the same generic strategies as does Russell Hoban. / Arts, Faculty of / English, Department of / Graduate

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本論文以Gulliver’s Travels晚清時期的中譯本《海外軒渠錄》（1906）為研究對象，探討譯者對原文諷刺手法的翻譯策略。Gulliver’s Travels 是西方諷刺（satire）文學經典之作，主要通過「敘事角色」（persona）以及「想像遊記」（imaginary voyage）的手法取得諷刺效果。晚清時期中西文學傳統殊異，想要在中文語境中再現原文的諷刺特點，並非易事。本論文通過具體的文本對比和分析發現，由於中國文學傳統以及晚清翻譯規範的影響，譯者在翻譯過程中改寫原文，因此《海外軒渠錄》未能體現Gulliver’s Travels的諷刺手法，而譯文也從一個側面展示出中西文學相互碰撞、對話的過程。本研究希望藉此個案，從文學表現以及文學交流的角度再論晚清小說翻譯。 / This thesis examines one late Qing Chinese translation of Gulliver’s Travels in 1906, namely Haiwai Xuanqulu 海外軒渠錄. The study focuses on how the literary devices of satire employed in the original text were rendered into Chinese by the late Qing translators. These devices include a narrative "persona" and the "imaginary voyage" structure. It is a challenging task for the translator to fully render these literary techniques into Chinese in late Qing period when the Western and Chinese literatures were remarkably different. Through detailed text comparison and analysis, we find that, influenced by Chinese literature tradition and late Qing translation practice, the translators made changes in translation in a way that the original satirical effect was not retained in the translated work. The translation also reflects in some degree the clash and dialogue between Western and Chinese literatures. This thesis aims to explore late Qing fiction translation from the perspective of literary transmission. / Detailed summary in vernacular field only. / 季凌婕. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 84-93). / Abstracts also in Chinese. / Ji Lingjie.

Dissertation (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis uses Mikhail Bakhtin's theory of dialogism, as well as postmodernism, to open up faultlines in satire, and to explore and challenge various perceptions and discourses surrounding and related to it. Both dialogism and postmodernism are used to suggest fresh approaches to satire, by repositioning it in relation to other discourses and reframing it as a complex dynamic, rather than a closed and inflexible system. Chapter 1 of the thesis opens with an historical survey of the beginnings and subsequent development of satire. It also contains a general discussion of the nature of satiric strategies and opens the door for the incorporation of postmodern perspectives into the argument. Chapter 2 contrasts the issues of morality and re-presentation in satire, arguing that satirists do not simply invite their audience to condemn, but offer them an opportunity to discover alternative worlds. The affinity between satire and postmodernism is emphasised by the postmodern predilection for modes highly favoured by satire: allegory, parody and fantasy. In Chapter 3 the issue of language and its referents is explored, starting with Saussure's theory of how the signifier and the signified function. It is argued that satire has never respected this fixed relationship, and that it is in this respect similar to deconstruction. The last part of the chapter is devoted to examining four key socio-political discourses - psychoanalysis, ideology, propaganda and political myth - in relation to satire. These four discourses are, like satire, intent on influencing the perceptions which people have of the world. The intention in juxtaposing these discourses is to create a dialogic process which will throw a fresh light on all of them, including satire itself. The four socio-political discourses named above play an important part in Animal Farm and Nineteen Eighty-Four, and are relevant to the subsequent discussion of these novels. Chapter 4 consists of a detailed discussion of Animal Farm, in which the various layers comprising the work are examined. The satirical aspects of the novel are closely related to the fabular and fairy tale elements which are an important part of its constitution. These elements or levels are juxtaposed with the historical details alluded to continuously in Animal Farm and indicate its close concern with the world outside the novel. Chapter 5 consists of a detailed exploration of Nineteen Eighty-Four, which is illuminated by a process of dialogism between the modernist ideology from which the novel springs and the postmodern perspective introduced into the thesis, as well as the four socio-political discourses mentioned earlier. The main postmodern theories used in this chapter are those of Foucault. The last section of the thesis demonstrates how Orwell's personal experience drives his satire, and relates this specifically to a discussion of utopia / dystopia in satire. / AFRIKAANSE OPSOMMING: Die Dialogiek van Satire: Fokuspunte en Breuke in Orwell se Animal Farm en Nineteen Eighty-Four: Hierdie proefskrif maak gebruik van Mikhail Bakhtin se teorie van dialogisme, sowel as die postmodernisme, om die breuke in satire bloot te le, en om die verskillende persepsies en diskoerse wat verband hou met die satire te ondersoek en te bevraagteken. Beide die dialogisme en die postmodernisme word gebruik om nuwe perspektiewe op satire te open, deur dit te herposisioneer in verhouding tot ander diskoerse en dit voor te stel in terme van 'n komplekse dinamika eerder as 'n geslote en onbuigsame sisteem. Die eerste hoofstuk van die proefskrif begin met 'n historiese oorsig van die oorspronge en daaropvolgende ontwikkeling van satire. Dit omvat ook 'n algemene bespreking van die aard van satiriese strateqiee en open die moontlikheid om postmodernistiese perspektiewe in die argument te integreer. Hoofstuk 2 kontrasteer die kwessies van moraliteit en representasie in satire met mekaar; daar word geargumenteer dat satirici nie net hulle gehore uitnooi om te veroordeel nie, maar hulle die geleentheid gee om alternatiewe werelde te ontdek. Die verwantskap tussen satire en postmodernisme word benadruk deur die postmodernisme se voorliefde vir die modi waaraan die satire so dikwels voorkeur gee: allegorie, parodie en fantasie. In hoofstuk 3 word die kwessie van taal en referensialiteit ondersoek, beginnende by Saussure se teorie oor die funksionering van die betekenaar en die betekende. Daar word geargumenteer dat satire nog nooit die vaste verhouding tussen betekenaar en betekende eerbiedig het nie, en dat dit in hierdie opsig verwant is aan die dekonstruksie. Die laaste gedeelte van die hoofstuk word gewy aan 'n ondersoek van vier sentrale sosio-politiese diskoerse - psigoanalise, ideologie, propaganda en politieke mitologie - in verhouding met satire. Hierdie vier diskoerse is, soos satire, daarop ingestel om mense se persepsies/opvattings van die. wereld te verander. Die doelstelling met die jukstaposisie van hierdie diskoerse is die skep van 'n dialogiese proses wat al vier hierdie diskoerse, insluitende satire, in 'n nuwe lig sal stel. Die genoemde sosio-politiese diskoerse speel 'n belangrike rol in Animal Farm en Nineteen Eighty-Four, en is relevant vir die daaropvolgende bespreking van die romans. Hoofstuk 4 bestaan uit 'n gedetailleerde bespreking van Animal Farm, waarin daar ondersoek ingestel word na die verskillende lae waaruit die roman bestaan. Die satiriese aspekte van die roman word in noue verband gebring met die fabulere en die feeverhaalelemente wat so 'n belangrike deel uitmaak van die roman se samestelling. Hierdie elemente of vlakke word gejukstaponeer met die historiese detail waarna daar deurlopend in Animal Farm verwys word en wat die noue bemoeienis met die wereld buite die roman aandui. Hoofstuk 5 bestaan uit 'n intensiewe ondersoek van Nineteen Eighty-Four, wat belig word deur 'n proses van dialogisme tussen die modernistiese ideologie waaruit die roman spruit en die postmodernistiese perspektiewe wat in die proefskrif ingevoer word. Die belangrikste postmodernistiese teoriee wat in hierdie hoofstuk gebruik word, is die van Foucault. Die laaste afdeling van die proefskrif demonstreer hoedat Orwell se persoonlike ervaring bepalend is vir sy satire en bring dit spesifiek in verband met 'n bespreking van utopie/distopie in satire.

Seneca's Apocolocyntosis is a sat.ire on the deceased emperor Claudius. probably written in the early months after his death in AD54. Although the authorship and title of the work have been called into question. scholars have now reached a consensus that the sat.ire was written by Seneca and is titled "Apocolocyntosis." Its purpose, characteristic of the Menippean genre, was didactic.