Thesis (M.A.)--Georgia State University, 2006. / Michael Bruner, committee chair; Ted Friedman, Greg Smith, committee members. Electronic text (105 p.) : digital, PDF file. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 96-105).

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 deals with the comic aspect of the first decade of Jan Neruda's vast column work. The main goal of the thesis is to define and clearly arrange the vague terms in the comic area as well as delimit the column within the author's entire journalist work. The first part of the thesis summarizes the research efforts made so far into Neruda's column journalism focusing on its comic component. The main part of the thesis is dedicated to the two basic forms of literary comic in Neruda's columns, satire and humour, specifically their foundations, means, forms, goals and topics. The incidence, stability and/or variability of the given comic tools are also discussed. In addition, the thesis describes the interrelating factors that significantly affected the form of the author's column comic in the decade observed: the then social and political climate, Neruda's model reader and (self) censorship. KEY WORDS Neruda, column, comic, satire, humour

Orientador: Antonio Alcir Bernárdez Pécora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T22:43:30Z (GMT). No. of bitstreams: 1 Nascimento_AnaPaulaGomesdo_M.pdf: 2754234 bytes, checksum: 1c9defaf457c01056a6d8eb8de95bc5c (MD5) Previous issue date: 2012 / Resumo: O estudo das Cartas chilenas, obra atribuída a Tomas Antonio Gonzaga (1744- ca.1810), e proposto através da analise desta como obra inserida numa instituição retórica, reguladora das praticas de representação ate o século XVIII. Para isso, faz-se necessário uma investigação acerca do gênero da obra, que identificamos como uma epistola satírica. De fato, o próprio título dela revelaria o seu caráter de epistola, ao passo que o seu conteúdo demonstraria a sua natureza satírica. Porem, o levantamento da trajetória da recepção critica da obra - realizada por FURTADO em 1997 - evidencia que, de maneira geral, tendeu-se a classificá-la principalmente como documento historiográfico capaz de revelar os antecedentes da Inconfidência Mineira, do que como documento literário dotado de formas historicizadas. Desse modo, a tradição critica parece ter se concentrado em possíveis eventos históricos, sem, no entanto, levar em conta a historicidade do aspecto retórico-ético-poético da obra. O trabalho efetua, portanto, uma leitura retoricamente orientada das cartas e espera contribuir para uma nova abordagem da obra. São estudadas as técnicas da ecfrase e da etopeia, mostrando-se como são significativas as "caricaturas" presentes nas Cartas chilenas. Busca-se demonstrar que na obra coexistem as imitações icastica e fantástica, de modo que em algumas cartas a ênfase recai sobre os aspectos histórico-particulares e em outras sobre os poéticos/universais. Estuda-se, ainda, a presença da tópica do soldado fanfarrão, o miles gloriosus da comedia romana ou o alazon da comedia grega. Aproxima-se, por fim, as figuras de Fanfarrão Minesio e de Dom Quixote / Abstract: The present study proposes to analyze Chilean Letters, a work attributed to Tomas Antonio Gonzaga (1744-ca.1810), in terms of its place within a rhetorical institution, which regulated representation practices until the 18th century. Thus, an investigation regarding the genre of the work is necessary, which we identify as a satirical epistle. In fact, the title itself reveals its epistolary nature, while its content demonstrates its satirical nature. However, a survey of the trajectory of the critical reception of the work - carried out by Furtado in 1997 - evidences that, in general, it tended to be classified mainly as a historiographical document that could reveal the events leading up to the Minas Conspiracy, rather than as a literary document with historicized patterns. Therefore, the critical tradition seems to have concentrated on possible historical events, without, however, taking into account the historicity of the rhetorical-ethical-poetic aspect of the work. The present study thus carries out a rhetorically-guided reading of the letters and intends to contribute to a new approach to the work. The techniques of ekphrasis and ethopoeia are studied, revealing the significance of the "caricatures" present in Chilean Letters. We aim to demonstrate that icastic and phantastic imitations coexist in the work, such that in some letters the emphasis falls on historical/specific aspects and in others on poetic/universal aspects. The presence of the topic of the braggart soldier is also studied, miles gloriosus in Roman comedy or alazon in Greek comedy. Finally, the figures of Fanfarrao Minesio and Don Quixote will be approximated / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

This thesis is about the creation, reception and dissemination of poetry in Flavian Rome as depicted in the satires of Juvenal and the epigrams of Martial. It deals with their relationship with their Augustan predecessors, especially Horace. It discusses the rhetoric of decline that pervades early Juvenalian satire, and to some degree, Martial’s epigrams, especially in relation to an idealized and self-proclaimed Golden Age several generations before. It argues that this decline is representative of a political decline since the Age of Augustus and feelings of disenfranchisement of upper-class men under autocratic rule. It also examines the embeddedness of Flavian literature within its urban social context and the ways in which Martial and Juvenal handle the increasing interconnectedness of life and art in relation to their Augustan predecessors. There are three chapters, entitled Amicitia and Patronage, the Recusatio, and Locating the Poetic Feast. / Graduate

This Practice-Based Ph.D. thesis is in two sections, the written element presented as a sequence of eight Fascicles, and the practical element presented as an inter-related set of nine Artist’s Books and Multiples. This thesis presents a series of Artist’s Books and Multiples of graphic expressions of anxiety, each informed by a comparative study presented as a sequence of Fascicles of the visual strategies used to advertise cigarettes in America in mass-circulation magazines between 1945 and 1964. The thesis is presented as a boxed object containing the eight Fascicles (each containing a Gatefold Image) and the nine Artist’s Books and Multiples. The thesis identifies specific design and illustration solutions in cigarette advertising such as considerations of artwork, photography, layout, typography, characterisation, and diagrammatic representation of process. The conclusions are then used as the basis for 9 books and multiples in which I explore, within my own artwork, the dynamics of visual instruction, and the devices for reassuring the anxious consumer using irony and humour throughout. Each Fascicle has a Gatefold visual montage with juxtaposed imagery central to the theme. The thesis combines visual analysis and the making of imagery in equal measure. The vast proportion of original visual examples used in the Fascicles are reproduced for the first time in colour from a wide range of contemporary magazines. Particular emphasis is placed on the professional manuals generated by the advertising profession itself. A brief study of the cigarette market in the pre-1945 period identifies early anxieties about the product and how the tobacco industry and the advertising industry sought to address them. The thesis identifies the industries’ invention of the 'Safe Cigarette' and then explores the anxieties implicit in that concept, presenting visual means by which anxiety is depicted. Visual strategies of reassurance in the form of personifiers are compared - ranging from people in socially esteemed professions through to the use of animals (dogs) and visual fictions (Santa Claus). Two factors in particular have been identified to distract consumers from the gathering sense of unease in the safety of the product that culminated in the report of the American Surgeon General in 1964 - the appeal to the consumption of the cigarette in the outdoors and the corresponding success of menthol cigarettes, and the appeal to the reassurance that technology can impart - in the success of the Filter-Tip market. The twin polarities are reflected in the Artist’s books, 'Which Filter Works?' and 'Menthol Daze'. In the last Fascicle the techniques of persuasion after 1945 are compared with those used by the American Huckster of the early twentieth century and the thesis concludes with an assertion of the role that visual humour can play in exposing fallacious marketing.

La richesse de l’anthologie Sette libri di Satire (1560) tient au défi que l’éditeur vénitien Francesco Sansovino relève avec succès à un moment où la Contre-Réforme bat son plein : élaborer une codification en langue vulgaire du genre satirique en rupture avec le genre tel que les auteurs sélectionnés - ou exclus - l’ont pratiqué ou sont censés l’illustrer. L’éditeur oppose le pouvoir de la règle au pouvoir de l’écriture au point de laisser apparaître une triple phase de l’évolution du genre : l’inventio reviendrait à Horace, l’écriture à l’Arioste et la réécriture à Sansovino. L’ensemble de la recherche partagée entre théorie et pratique, vise à interroger cette bipolarité comme une forme de coincidentia oppositorum dans la dialectique que la règle et l’écriture mettent en jeu, autrement dit dans la capacité qu’elles manifestent à « se récuser » et « se fondre l’une l’autre », sur le versant latin et vulgaire. Dans cette optique, loin d’être un exemple de « muséification » des auteurs et des textes, l’anthologie se présente comme la création d’un ‘Hermès bifront’ qui met à son tour le lecteur au défi d’en appréhender les subtilités. / The anthology Sette libri di Satire (1560) is so rich due to the challenge that the Venetian publisher Francesco Sansovino successfully took up at a time when the Counter-Reformation was in full swing. It consisted in elaborating in common language the codification of the literary genre of satire as it broke away from that genre as the authors selected for, or excluded from, the anthology, practised satire or were supposed to exemplify it. To the sway of the rule the anthologist opposes the power of writing, revealing three distinct phases in the development of the genre: the inventio as ascribed to Horace, writing, to Ariosto and re-writing to Sansovino.The research in its entirety, divided as it is between theory and practice, aims to question such bi-polarity as a form of coincidentia oppositorum in the dialectics brought into play by rule and writing, in other words in their ability to reject each other or blend in with each other, within Latin and common language. From this perspective, far from being an example of the transformation of authors and texts into museum pieces, the anthology is presented as the creation of a ‘bi-frontal Hermes’, in turn challenging the reader to grasp its subtleties.

by Jessie Partridge / Typescript / M.A. Florida State College for Women 1914 / Includes bibliographical references (leaves 2-3)

In January 1989, a much-rumored work by Dmitri Shostakovich titled Anti-Formalist Rayok received its public premiere. Rayok is a single-act satirical opera/cantata for bass soloist and mixed chorus. Each character represents a prominent Soviet political figure: Joseph Stalin, Andrei Zhdanov, and Dmitri Shepilov. The text of the libretto is either taken directly from actual speeches given by these political figures or follows their idiosyncratic style of public speaking. Rayok often falls victim to criticism for its lack of musical depth, a point of view that could easily lead one to see it as one of Shostakovich's lesser works. The purpose of this document is to examine the political environment of the Soviet Union in the early twentieth century in order to provide context for Shostakovich's Anti-Formalist Rayok and to show how Shostakovich uses satire in this piece. This dissertation document looks at the broader concepts of Formalism and Socialist Realism, traces how Socialist Realism became the established Soviet cultural aesthetic, and examines specific historical events in the 1940s and 1950s that relate to Rayok. Musical examples are taken from the section of the piece centering around D.T. Troikin. These examples demonstrate how Shostakovich uses Socialist Realist clichés in order to satirize the overly bureaucratized state of Soviet musical aesthetics. This leads to the conclusion that Shostakovich created a paradoxical work of art only posing as kitsch, and that he was not only satirizing the political figures presented in disguise but also the entire Soviet Socialist Realist aesthetic.

The focus of this thesis is Pieter-Dirk Uys's use of the rhetorical trope chiasmus as a satirical tool, an aspect of his work that has, to date, received little attention. The multiple nuances of 'chiasmus' are examined, pointing to the performer/persona relationship in terms of ‘ “1" create Image; Image makes "I" , (Breytenbach, 1985) and the related 'semiotic richness of stage sign-vehicles' (Elam, 1980). The primarily semiotic analyses of chiastic configurations are supported by close textual analyses throughout. Pieter-Dirk Uys's chiastic admix of his satirical pleasure/pain principle (entertainment! censure) is analysed in one newspaper article, one prose work and two revues. Uys's satire is contextualised against the background of the development of satire. The inherently chiastic mode of satire and various techniques and writing styles are explored. Contemporary society lacks definitive moral, social and political norms, and the study attempts to show how Uys entertains by decoding 'the absurdities of contemporary reality' (Fletcher, 1987:ix) as a response to the amorphous experience of living in South African society from the early 1980s until 2001. Uys's use of female characters to articulate his dissatisfaction with South Africa's socio¬political climate during the last quarter of the twentieth century is explored in a selection of three plays, four prose works and ten revues. The focus falls on his creation of female personae, particularly the sustained portrayal of his popular persona, Evita Bezuidenhout. Uys's use of 'real' and 'false disguise' (Baker, 1994) is discussed. The transvestite persona's roles of both an 'intervener' who challenges thestatus quo and alerts the public to 'cultural, social or aesthetic dissonance' and an 'interventor' or 'enabling fantasy' (Garber, 1992:6) are considered. The focus then shifts to Uys's deployment of various non-verbal sign-vehicles in his dramatic productions. Non-verbal and verbal signs are jointly responsible for the production of meaning in the theatre. Because 'theatrical signs ... acquire qualities ... that they do not have in real life' (Bogatyrev, 1938:35-6), audiences must utilise 'theatrical competence' (Elam, 1980: 87). A study of electronic recordings of eight revues reveals that Uys's non-verbal signs are as chiastic as his verbal ones. Uys's perpetuation of the Evita 'myth' as/or 'legend' is traced from her beginnings as a newspaper 'voice', to popular theatre and television personality, to the recipient of prestigious awards. Evita's current and possible future roles are considered. Uys's fabrication of Evita's family and her 'biography' is also examined as contributory to the legend, exploring Evita's metamorphosis from a housewife to a political figurehead who conflates fictional and real life exploits with South African politicians - a strategy through which Uys appears to align himself with current feminist issues. The slippage between fact and fiction has interesting consequences for Uys's level of control over his Evita persona, who seems occasionally to control him. This thesis concludes with a review of the aims and rationale of the study, providing a broad synopsis of the main findings and looking at its limitations. Finally, it suggests possible areas for further research. / Thesis (DLitt (English))--University of Pretoria, 2001. / Modern European Languages / unrestricted