<p>"Scriblerian Ethics" proposes that the aesthetic and ethical standpoint of the writings of the Scriblerians (Pope, Swift, Gay, Arbuthnot, Oxford, Parnell) can be better understood through an attunement to their orientation towards the Longinian sublime and to the metamorphic poetics of Ovid. The project holds the negative and critical features of the group's writing in abeyance, as it attempts to account for the positive, phenomenological concepts and features of Scriblerian satiric and non-satiric writing. The intensities and affiliations of Scriblerian writing that emerge from this study gesture aesthetically and ethically beyond historical subjectivity to an opening to alterity and difference. This opening or hope for the achievement ethical dimension of writing is divulged as the intimate motivation of the literary or aesthetic components that accompany the negative, referential, and critical features of Scriblerian writing.</p><p>Examining closely the major writings of Pope and Swift in conjunction with the collaborative writings of the Scriblerus club, the project describes the concern with temporality that emerges from Longinian and Ovidan influence; the Scriblerian reflexivity that culminates in a highly virtual aesthetics; and the ethical elaboration of an orientation toward hospitality that emerges from this temporal and virtual aesthetic orientation. A "Scriblerian ethics" is an affinity for a hospitality not yet achieved in political, economic, and cultural life. Finally, the project analyzes throughout its readings of Scriblerian writing the violence that nevertheless accompanies Scriblerian aesthetics, examining the figures of modernity, criticism, and sexual violence (rape) that permeate Scriblerian texts as barriers or resistances to the achievement of an ethical orientation to alterity.</p> / Dissertation

Shows like The Daily Show with Jon Stewart, The Colbert Report, Politically Incorrect with Bill Maher, Saturday Night Live, and even South Park represent an underresearched subfield of discourse about political communication and persuasion. These shows manage to reach audiences not traditionally known for high levels of political engagement and draw them in with their comedic framework. This thesis investigates the impact of televised political satire on public perceptions of presidential candidates and campaign issues and the direct result these impacts may have on presidential elections. This thesis first gives some background in the types of communication and personalities of the front-men and women of these shows and then moves into a historical account of how the exigence for this recent explicit hybridization between comedy and news emerged. It then analyzes how these comedians view their own role within media and politics. It provides a thick account of the liberalizing force televised political satire has been for the American political climate so far, and where it will likely lead us in the near future with the growth of new communication technologies.

Texte remanié de: Thèse de doctorat--Histoire--Lyon, 2007. Titre de soutenance : L'hebdo "Hara Kiri / Charlie Hebdo",1969-1982 : un journal des années soixante-dix. / Bibliogr. p. 485-492. Index.

Thesis--Université de Bordeaux III, 1974. / On spine: Étude sur la langue de Varron. Includes indexes. Includes bibliographical references (v. 2, p. 651-657).

Inaug.-Diss.--Universität Bern. / Bibliographical references included in "Anmerkungen" (p. 78-89).

your words your words / The Classics

published_or_final_version / Language Studies / Master / Master of Arts

После рассмотрения пьес «Бег», «Багровый остров» и «Иван Васильевич» можно выделить общие закономерности в области приемов комического, характерные для всех трех произведений. Итак, наиболее частотными приемами комического, используемыми при создании сюжетных ситуаций и обрисовке характеров действующих лиц, являются: прием несоо��ветствия (между словом и делом, видимостью и явным положением вещей, внешностью героя и его поведением); смена «масок» и ролей; алогичность, абсурдность поведения действующих лиц. Общим для пьес является и обращение писателя к «говорящим» именам и фамилиям в качестве приема комического, что позволяет автору дать более точную характеристику героям. Несмотря на наличие общих приемов комического (как в изображении сценических ситуации, так и речи действующих лиц), пьесы «Бег», «Багровый остров» и «Иван Васильевич» обладают и принципиальным различием в области форм комического. Так, доминирующей формой комического в пьесе «Бег» является ирония, в «Багровом острове» - сатира, в комедии «Иван Васильевич» - переплетение сатиры и юмора. / Magistrinio darbo tikslas – komiškumo formų ir raiškos būdų nagrinėjimas M. Bulgakovo pjesėse „Bėgimas“, „Purpurinė sala“ ir „Ivanas Vasiljevičius“. Išnagrinėjus M. Bulgakovo kūrinius, galima išskirti bendrus dėsningumus komiškumo raiškos būdų srityje, kurie yra būdingi visoms trims pjesėms. Dažniausiai naudojami komiškumo raiškos būdai yra šie: nesuderinimas tarp veikėjo žodžių ir jo veiksmų, „kaukių“ keitimas, veikėju veiksmų absurdiškumas. Visoms trims pjesėms yra būdingi parodija ir groteskas kaip komiškumo raiškos būdai, „kalbantys“ veikėjų vardai ir pavardės. Trijų pjesių komiškumo formos yra skirtingos: pjesėje „Bėgimas“ dominuoja ironija, „Purpurinėje saloje“ – satyra, komedijoje „Ivanas Vasiljevičius“ – satyra ir humoras. / The purpose of work - consideration of comic forms and means in M. Bulgakov plays "Running", “The Crimson Island " and "Ivan Vasiljevich". After consideration of plays of М. Bulgakov, it is possible to note the general comic means which are typical to all plays. The most often comic means which are used at creation of subject situations and characters of heroes are the following: the means of discrepancy; change of "masks" of heroes; absurdity of behaviour of characters. Means of a parody and use of "speaking" names and surnames are often. Comic forms in each play are different: in "Running" - irony, in “The Crimson Island” - satire, in a comedy "Ivan Vasiljevich" - satire and humour.

This thesis analyzes Viktor Pelevin's Chapaev i Pustota (1996) from the perspective of its (extra-)literary context, and status as a threshold text on various levels. It argues that through the expression of satire, parody, and nostalgia, Pelevin's novel exemplifies and transcends the threshold between the Soviet and post-Soviet literary narrative. Against the background of various comparison texts, by such precursors and contemporaries as Kaledin, Makanin, Petrushevskaia, P'ietsukh, Sorokin and Tolstaia, Pelevin's novel is shown both to conform with and diverge from the (post-)glasnost' literary text. Common features on the levels of theme and motif are identified, in order to establish both the notion of literary threshold, and a link to its extra-literary counterpart, in keeping with the crises of national transition from late- to post-Soviet status. Using Bakhtinian theory as a point of departure, the notion of threshold is identified on various levels of Pelevin's text, including theme, motif, and bifurcated structure in the form of dual time frames and plotlines. Through satire, Pelevin is shown to reconcile the notion of threshold as change, with that of frozen transition. / Overtly parodic, Chapaev i Pustota manipulates three principal constructs of Socialist Realism: the positive hero, the mentor/disciple relationship, and the spontaneity/consciousness dialectic. The thesis traces the role and development of these constructs in the four (un-)official versions of the so-called 'Chapaev myth' before examining Pelevin's own manipulation of the constructs against three distinct models of parody by Gary Saul Morson, Linda Hutcheon, and the Russian Formalists. / As an aesthetic manifestation of the extra-literary threshold state, the expression of nostalgia is examined in various texts of the (post-)glasnost' period. Pelevin's parody and satire of nostalgic expression attests to the evolution in his novel from Socialist Realism to sots-art, and beyond.

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