In this paper, I consider the success of Jonathan Swift’s The Drapier’s Letters and Jon Stewart’s The Daily Show in changing the political climate of the world around them. By analyzing the political background of America in the 2000s and the Irish reaction to William Woods’ patent in the 1720s, I prove the influence of Stewart and Swift’s satire. I then analyze the specific tactics each employs in order to achieve an audience and influence change, concluding by comparing the similar tactics that each use, including persona, irony, and humor as a veil of serious intent.

Diploma thesis "Kancelář Blaník: Politická satira jako zrcadlo skutečné politiky" aims to discover what image of politics the satirical series "Kancelář Blaník" presents to the audience and how it achieves it. After the necessary theoretical anchoring of the researched issue follows a practical analysis of the series, which focuses on the characteristics of main and secondary characters, objects of satire and dramaturgical structure of episodes and the whole series. The final part of this thesis also describes the movie "Prezident Blaník", which follows the series and shows the differences in the processing of one theme in different formats.

Esta tese tem como objetivo contribuir para um melhor entendimento das relações entre humor e racismo no período que abrange da belle époque aos anos 1920 na cidade do Rio de Janeiro. Para tanto, mostramos que a ideologia do branqueamento influenciou de modo decisivo as representações dos negros e de seus descendentes nos textos, poesias satíricas e nas ilustrações impressas nas páginas das revistas humorísticas do período. A elite política e a intelligentsia brasileira, se debruçavam sobre a questão do problema negro, pois a nova sociedade republicana que surgia necessitava ser reconhecida como branca e fugir da cor preta branqueamento. Versavam entre os que viam a mestiçagem como a degeneração do povo brasileiro e os que entendiam que a mestiçagem seria a possibilidade de diluição da cor preta. A análise dessa sociedade, pelo riso, nos proporcionará uma leitura mais elucidativa, visto que esse possui um compromisso com o não normativo, não sério, o indizível. O humor buscou historicizar as representações dos conflitos políticos, econômicos, culturais e sociais motivados pelo contexto da belle époque carioca e as transformações por ela originadas, como as questões ligadas à nação, à identidade nacional e à política de branqueamento. A partir da investigação dos trabalhos de Antônio Torres, Emílio de Menezes e da revista humorística D. Quixote, de propriedade e direção de Manoel Bastos Tigre, foi possível apontar como os preconceitos sociais, culturais e raciais, não raro, entrelaçados inspiram a produção desses humoristas. De certa forma, esses trabalhos não somente propagaram, mas também perpetuaram os preconceitos no imaginário da sociedade brasileira. Nesse sentido, podemos dizer que o humor é, simultaneamente, parte e uma reflexão sobre a estrutura social que habita. / This thesis aims to contribute to a better understanding of the relations between humor and racism in the period that covers the belle époque to the years 1920 in the city of Rio de Janeiro. To this end, we show that the ideology of bleaching influenced decisively the representations of blacks and their descendants in the texts, satirical poetry and in the illustrations printed on the pages of the humorous journals of the period. The political elite and the brazilian intelligentsia were leaning on the issue of the \"black problem\", because the \"new republican society\" that emerged needed to be recognized as white and escape the black color bleaching. They were among those who saw the miscegenation as the degeneration of the brazilian people and those who understood that the miscegenation would be the possibility of \"dilution\" of the black color. The analysis of this society, by laughter, will provide us with a more elucidative reading, since it has a commitment to the \"non-normative\", \"not serious\", the \"unspeakable\". Humor sought to historicize the representations of political, economic, cultural and social conflicts motivated by the context of the carioca belle époque and the transformations it originated, such as the issues related to the nation, the national identity and the policy of bleaching. From the investigation of the works of Antônio Torres, Emílio de Menezes and the humorous magazine D. Quixote, owned and directed by Manoel Bastos Tigre, it was possible to point out how the prejudices social, cultural and racial, not rare, intertwined inspire the production of these humorists. In a certain way, these works have not only propagated, but also perpetuated prejudices in the imaginary of brazilian society. In this sense, we can say that humor is, simultaneously, part and a reflection on the social structure that inhabits.

Thesis (Ph.D.)--University of the Witwatersrand, Arts Faculty (Fine Arts), 1999 / My basic premise in this study is, if abjection is a psychosocial phenomenon, even a kind of waste category and mechanism, it should be discernible and analysable as an underlying structure in the form, iconography and purpose of works of art. Certain modes of art will manifest or express it more lucidly and abundantly than others. Satire and the Grotesque, which Goya adopts in his graphic Work, are especially fruitful in this regard. In both, one can find processes and states of degradation and vitiation that accord with the two facets of abjection Hal Foster (1996) so pragmatically terms the operation to abject and the condition to be abject. Satire, with its inclination to criticise political, social and ecclesiastical figures, can chiefly be interpreted in terms of the operation to abject (to lower, cast down, depose, sideline), while the Grotesque, displaying the distorted, monstrous, 'freakish', hybrid, impossible, relates more to tire condition to be abject. This conjunction between satire/the Grotesque and abjection guides my interpretation of Los Caprichos and Los Disparates. Los Caprichos, in which Goya took it upon himself to "censure" and "ridicule" "human errors and vices", are marked by a quite strict use of satire to criticise, mock and marginalise certain social groups (prostitutes, nobles and corrupt clerics, in particular). Since society, or the Symbolic that undergirds it, cannot do without the abject, either in its role as midden or as oppositional determinant or defining other, the satirical project cannot banish or destroy the abject; it can, however, bid and lobby for some degree of social reclamation and rejuvenation. The satirist depicts the grotesque, sordid, obscene, deviant, abandoned and licentious to indicate to the viewer/reader what s/h e must laugh off to live a decent, obedient, constructive and law-fearing life. Goya takes this aapproach in Los Caprichos. After all, in at least one letter to his friend Martin Zapater he hinted that he feared the "witches, goblins, phantoms, arrogant giants, knaves" and "scoundrels" of his society, and evidently felt a need to part from them. How deep this need ran one cannot say; many of his images suggest a degree of equivocation (he vacillates between being on the side of the law and on the side of Ms own more incorruptible conscience, from which he upbraids the law) and ambivalence (on the one hand, he scolds his objects of attack and appears to be repelled by them; on the other, he seems to relish depicting them in grotesque and blighted shapes, as if the satirical purpose is secondary to the opportunity his art provides to invent forms and get close to the forbidden, the anti-social, the rotten, the abject). In Los Disparates equivocation and ambivalence come more to the fore. Goya often appears most aggressively satirical in the Disparates when he questions corruption in social institutions such as tire Church and the law. Some images, notably Folhj of the Mass, juxtapose a wrathful figure with a mass of social ills, foibles and depravities, and seem characteristically satirical, but the majority of the etchings are striking in their lack of closure, as if a "state of unresolved tension", to quote Michael Steig, adequately rewarded Goya for the labour of production. Man xoandering among Phantoms, for example, is ambiguous and seems to sum up Goya's relationsMp to the abject toward the end of his life: through the surrogate of an old man, Goya appears to have struck a deal with the abject; submerged in it, corrupted by it, impure, but nevertheless sufficiently single-minded to find an identity separate from it. Complicit, but differentiated: all subjects stand in this way to the abject. In Los Desastres, especially given that I do not deal with the Caprichos Enfdticos section of the series, my interpretation is determined less by satire than by the question of how an antagonistic nation uses war as a mechanism of conclusive abjection to extend military, political and, ultimately. Symbolic influence - by means of sanctioned murder, execution, even rape - over another nation, w ith the aim of making that nation succumb to the abjection of surrender and the imposition of a foreign Symbolic. War also produces heaps of corpses and, in the occupied cities, ill and starving destitutes: those reduced to conditions of permanent or near-permanent abjection by war's ballistic exacerbation of the operation to abject. Contact with abjection through art strengthens, weakens and expands the self. It carries the threat of immersion in the repressed and the promise of risque pleasure - both from the diminution of unpleasure through the making or viewing of art, and the more positive pleasure of jouissance. Contact with abjection allows, further, for the complicated experience of being liminal, grotesque and abject oneself while caught between the poles of the Symbolic and tire abject. Whether we, as makers an d /o r viewers, criticise or joy in it, abjection holds out the alluring prospect of catharsis and temporary relief both from its own hazards and the rigours and inhibitions of social life. Goya, it would appear, found this intervenient condition compelling enough to return to it - if he ever truly left it - over a period of almost three decades through the medium of the three graphic series I explore in this dissertation.

Esta dissertação apresenta a tradução parcial, comentada, da sátira antinazista Dritte Walpurgisnacht, redigida pelo escritor austríaco Karl Kraus (1875-1936) em 1933 e publicada postumamente em 1952. Trata-se de um texto ainda inédito em português que analisa o fenômeno nacional-socialista em suas manifestações linguísticas no jornalismo e na vida pública alemã em geral. Os alvos do satirista são os enunciados que jornalistas, políticos, escritores e filósofos usaram para dar expressão a suas adesões a um regime político baseado no empobrecimento da linguagem e na violência sem limites. Na medida em que essas figuras públicas são chamadas pelos seus nomes e atacadas diretamente, essa sátira pode ser mais bem definida como uma sátira polêmica. Esta tradução parcial é precedida por um capítulo que contextualiza sucintamente essas questões; um segundo capítulo inicial trata, depois de um breve preâmbulo histórico, de duas abordagens diferentes na teoria da tradução, tentando estabelecer algumas relações entre o texto ora traduzido e essas teorias. / This work presents the partial, commented translation of the anti-Nazi satire Dritte Walpurgisnacht written in 1933 by the Austrian author Karl Kraus (1875-1936) and published posthumously in 1952. It is a text not yet translated into Portuguese that analyses the National Socialist phenomenon in its linguistic expressions in journalism and in the German public life in general. The targets of the satirist are the statements made by journalists, politicians, writers and philosophers to express their support to a political regime based on poverty of language and unlimited violence. As far as these public figures are called by name and attacked in an open manner, this satire would by better defined as a polemical satire. This partial translation is preceded by a chapter that briefly contextualizes these questions; after a short historical introduction, a second initial chapter deals with two different approaches in translation theory, trying to make some connections between the now translated text and these theories.

Thesis advisor: Alan Lawson / Technology should enhance the human experience. Instead, it often alienates people from aspects of life that are considered most important. Artists are separated from their works, friends are separated from each other, and human ingenuity is filtered though computers before it can impact the world. These five short stories focus mainly on alienations inherent to communications and media technology, but also touch on database management and copyright concerns. Some take place in the present day; others present views of the future. All five stories use fiction to explore the truth of humanity's absurd relationship to technology. / Thesis (BA) — Boston College, 2006. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: College Honors Program.

O presente trabalho apresenta uma tradução direta do russo para o português da peça O jubileu ( - Iubilei) de Vladímir Gueórguievitch Sorókin. Nessa peça, o autor parodia textos dramatúrgicos de Anton Tchékhov e se utiliza também da sátira às instituições soviéticas. Em nossa análise, captamos algumas características essenciais da dramaturgia de Sorókin, que são também comuns a grande parte da literatura russa contemporânea, ou específicas do estilo do autor. Partimos de conceitos de sátira, grotesco e especialmente de paródia, estudados por Linda Hutcheon, Mikhail Bakhtin e Giorgio Agamben, e, no Brasil, por Arlete Cavaliere, Affonso Romano de Sant\'Anna, Bóris Schnaiderman, Flávio R. Khote, entre outros. / The present study introduces the direct translation from Russian into Portuguese of the play Anniversary ( Iubilei) by Vladimir Gueorguievitch Sorokin. In this play, the author parodies dramaturgical texts by Anton Chekhov and lampoons Soviet institutions. In our analysis, we collected some essential characteristics of Sorokins play-writing, that are either common to most of contemporary Russian literature or proper to the authors style. We considered concepts of satire, grotesco and especially parody, studied by Linda Hutcheon, Mikhail Bakhtin and Giorgio Agamben, and, in Brazil, by Arlete Cavaliere, Affonso Romano de Sant\'Anna, Bóris Schnaiderman, Flávio R. Khote, among others.

Esta dissertação consiste em uma tradução das sátiras de Pérsio (34-62 d.C.), acompanhada de notas e precedida de estudo preambular, que discute a questão da obscuridade do texto e seu valor literário. Dentre os poetas satíricos latinos canônicos (Lucílio, Horácio e Juvenal), Pérsio parece ter sido relegado a uma posição de menor prestígio. Investigar os motivos determinantes do generalizado juízo negativo acerca da obra de Pérsio foi, por isso, um dos objetivos desta pesquisa. Ainda que, de início, o contato com o texto denunciasse já os elementos condicionantes da situação de inferioridade em que a crítica pôs o autor, nosso contínuo e reiterado trabalho com as sátiras foi aos poucos revelando as qualidades literárias que a propalada obscuridade encobria, de modo a propor uma reavaliação da obra de Pérsio no quadro da sátira latina. A primeira parte desta pesquisa está dividida em quatro capítulos, em que se abordam: a vida e obra de Pérsio; os argumentos de cada sátira; o juízo da crítica sobre a obscuridade; a questão do valor literário dos poemas. A segunda parte apresenta a tradução comentada das sátiras, em que se procurou praticar uma forma vernácula tanto quanto possível fiel e exata ao texto latino, conservando-se as mesmas imagens de Pérsio, mesmo quando o original pudesse vir marcado por sua tão censurada obscuridade. / This dissertation consists basically of a translation of Persius\' (34-62 A.D.) satires, accompanied by notes and preceded by a preliminary study, which aims to discuss the issue of the text obscurity and its literary value. Amongst the canonical Latin satirical poets (Lucilius, Horace and Juvenal), Persius seems to have been relegated to a less prestigious position. One of the present research goals is, therefore, to investigate the determinant reasons for the widespread negative opinions about Persius\' work. Although our first contact with Persius\' texts had already announced the conditioning elements of the author\'s situation of inferiority, our continuous and repeated work with his satires could gradually disclose literary virtues that were hidden by the poet\'s reputed obscurity, making it possible to propose a re-evaluation of Persius\' work in the context of the Latin literary genre of satire. The first part of this research is divided into four chapters, which deal with the following subjects: the life and work of Persius; the plot of each satire; the standard criticism\'s beliefs about the poet\'s obscurity; the question of the literary value of the poems. The second part presents an annotated translation, which has sought to be as exact and faithful to the Latin text as possible, by maintaining the same images as those created by Persius, even when the original text was marked by its so reproached obscurity.

O Catatau foi escrito entre 1966 e 1975, período em que o Brasil estava sob uma hedionda ditadura militar. No mesmo período, a cultura do país vivia um de seus momentos mais ricos e intensos, oferecendo aos brasileiros manifestações como a Tropicália, o Cinema Novo, o Teatro Oficina, o Cinema Marginal etc. Nosso trabalho pretende demonstrar como o Catatau se situa nesse contexto histórico e, principalmente, como produz uma crítica política ao regime de exceção. Devido a esse posicionamento crítico diante do poder autoritário, acreditamos que o Catatau pode ser considerado um romance de protesto e não apenas uma obra experimental ou de vanguarda, como usualmente o livro de Leminski é abordado. Porém, diferentemente dos outros romances de protesto escritos no período chamado pós-64, o Catatau se caracteriza por sua linguagem barroca e pela filiação à longa tradição da literatura carnavalizada. Utilizamos como suporte teórico para a análise do barroco principalmente o trabalho de Severo Sarduy. E para a análise da carnavalização adotamos especialmente os conceitos de Mikhail Bakhtin apresentados nas obras Problemas da poética de Dostoiévski e A cultura popular na Idade Média e no Renascimento: o contexto de François Rabelais e também o importante livro de Enylton de Sá Rego, O calundu e a panaceia, no qual o autor estuda as relações entre a obra machadiana e a sátira menipeia. / Catatau was written between 1966 and 1975, a period when Brazil was under a hideous military dictatorship. In the same period, the Brazilian culture lived one of its richest and most intense moments, producing manifestations as Tropicália, Cinema Novo, Teatro Oficina, Cinema Marginal etc. Our work aims to demonstrate how Catatau is situated in that historical context and especially how it produces a political critique of the authoritarian regime. Due its critical position on the authoritarian power, we believe Catatau may be considered a \"novel of protest\" and not just an experimental or avant-garde work, as usually Catatau is considered. However, unlike the other \"novels of protest\" written during the period called \"post-64\", Catatau is characterized by its baroque language and its affiliation with the long tradition of carnivalized literature. The theoretical support for the analysis of the baroque is mainly the work of Severo Sarduy. And to the analysis of carnivalization we adopted especially the concepts of Mikhail Bakhtin presented in the books Problems of Dostoevsky\'s poetics and François Rabelais and Popular culture in the Middle Ages and the Renaissance and also the important work of Enylton de Sá Rego, O calundu e a panaceia, in which the author studies the relationships between Machado de Assis\'s work and the menippean satire.

Essa dissertação tem como objetivo analisar os contos da escritora Dorothy Parker em diálogo com seus poemas, tendo em vista a modernidade com a qual construiu suas histórias e o papel do humor em sua criação. Ao analisar as obras dessa autora de grande destaque nos Estados Unidos da América do Norte, nos anos 1930, veremos como o humor se transforma numa importante ferramenta que se relaciona com a construção do feminino e com a questão social da mulher, a fim de desestabilizar e transformar o status quo. O estudo, com o apoio teórico de Vladimir Propp e de Henri Bergson, intenciona demonstrar que, embora Dorothy Parker possa ser considerada uma escritora datada, seu senso satírico continua atual e reflete claramente o contexto no qual as mulheres estavam inseridas. / The aim of this study is to analyse Dorothy Parker´s short stories in dialogue with her poems in order to show the modernity of her writings and the function played by humour. Analysing the works of the great american writer in the thirties, we see how humour is used as a tool in the construction of the feminine and the social role of women, with the purpose of destabilizing and making a change in the status quo. The theoretical framework based on Vladimir Propp and Henri Bergson helps to demonstrate that in spite of Dorothy Parker´s work being considered dated by some, the satiric sense that emerges from her writings is still present in our times and reveals the context in which those women were inserted.