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.

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.

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.

Huxley’s Brave New World portrays a futuristic hyperbole of mankind’s future as a result of technological advancements. From a New Historical perspective, this essay examines how BNW satirizes contemporary society by satire where the audience is both a part of the problem and solution. Through the use of satire Huxley’s novel successfully portrays horrific examples of how human life in a not so distant future may find that the technology which revolutionized our lives actually enslaves us. Post-novel examples such as Hitler and his Nazi regime is a real life example of the type of totalitarian regime that is possible as a direct result of scientific progress in many fields. In this paper, however, posterity is excluded from the analysis. Instead this essay focuses on the contemporary society as depicted in early 20th century literature and how it reflects identifiable satirical elements in BNW. The analysis depicts how several discourses of contemporary industrialized Britain such as rationalism, socialism, industrialism, freedom, religion and political indifference are reflected in the novel. Ultimately, Huxley’s dystopian reflection of human future taunts us, the audience, by directly and indirectly illuminating the dangers of blindly accepting scientific advancements in the name of progress. The one, perhaps most relevant question the novel raises is – are we truly free when we are free to have the most wonderful time?

In Sepedi, there is a problem of using irony instead of satire in reference to literary genres. The difference between the two concepts is that irony is a figure of speech and satire is a text type. To bring clarity on this issue, an attempt was made to give a thorough explanation of these concepts. In addition to this, emphasis was on the indication of how irony is employed in writing satire , explanation of structure of genres classified as irony, the correct name for such writings and an indication of how style differentiates those genres. Satire as a literary genre, like moral and didactical narratives has the aim of exposing evil in the society. In the light of this, an attempt was made to differentiate between satire as a literary genre and as a didactical narrative. In an attempt to clarify this, use was made of narratological model which emphasises content, plot and style in genre analysis. Irony as a figure of speech is embedded in the analysis of style in a text. This implies contrast which may be vertical or horizontal, depending on the position of words, sentences or morphemes in a sentence. When used vertically, it gives a meaning different from the reality, thus saying the opposite of what one means. To give a thorough explanation of the concept of satire, it was differentiated from moral stories by using two short stories namely, ‘Nna nka se je dipute…’ from Mantšhaotlogele (1985) by S.N. Nkadimeng and ‘Nka se sa boeletša’ from Medupi ya megokgo (1985) by D.L.M Mpepele. The two short stories were preferred in this study because of remarkable resemblances in respect of their content. They both outline the conflict between the child and a parent and they are similar in setting and milieu. The differences of these concepts as outlined in the summary of this work lies in their style. In his work, Nkadimeng stated the conflict in such a way that it is resolved by introducing a new character, the father in this case, who seemed to be passive all along. He intervenes in the conflict to act as the conscience of the mother, jolting her to her senses on time. Nkadimeng’s style is cool and calm, thus creates a pleasant atmosphere. Mpepele outlined the conflict until the parent acknowledges his wrong behaviour and confesses that he will never do it again. The father thus learned a hard way. Mpepele’s style is sharp, self – biting and spells out venom which effectively intercepts the lesson the father must learn. / Thesis (DLitt)--University of Pretoria, 2012. / African Languages / unrestricted

AFRIKAANS: Magersfontein, o Magersfontein! vertoon veral twee fasette van die realisme, naamlik kritiese realisme en sosiale realisme, met satire as die medium en ironie as die “Point of view”. Die roman teken nie alleen sekere lyne van die sosiale ontwikkelingspatroon oor geslagte heen nie, maar is ook en veral 'n aanval op bourgeois-eienskappe wat in die ontwikkelingsgang as verwerende en selfs vernietigende elemente voorkom. Sodanige eienskappe is die skyf van die satire. Die roman is gebaseer op die Slag van Magersfontein 1899, en die besoek van 'n TV-span en filmspan wat die beroemde Slag wil laat herbelewe. In gekonstrueerde ironie word die Slag, as die bovlak, teen die projekgangers as prototipes van die nageslagte van die helde van weleer, as die ondervlak gestel. As agtergrond dien die dorre vlaktes van Magersfontein, simbolies van die geestelike dood, dus die malaise van ons tyd. Die steriele karakters wat daarteen beweeg, word nie op tradisionele romanmatige wyse uitgebeeld nie, maar stel as meerkantige figure, 'n tema, 'n denkrigting, 'n groep of ‘n instelling voor, waarin bepaalde bourgeois-eienskappe voorkom wat onder die soeklig van die satire kom. Sodoende belig Leroux die oorsake van die malaise as synde kleinlikheid, selfbedrog, eiewaan, wensdenkery, snobisme, huigelary en hebsug. Die verkrummeling van die aristokrasie, een van die belangrikste oorsake van die toename in bourgeois-elemente, word in Lords Sudden en Se1dom uitgebee1d. Le Grange verteenwoordig die Staat as skepping van 'n vlytige bourgeoisie wat 'n liggaam in die lewe wou roep wat met die organisasie verbonde aan ekonomiese en tegniese vooruitgang, vir hulle tot hulp kon wees. Mr. Shipmaster, wat onder andere die organisasiemens verteenwoordig, kan ironies nie organiseer nie en 1eun a1 meer op die “Staat” dat die vir hom sy 1ewe gemak1i ker kan maak. Die satiriese spot lê in die ontaarding van die staat van ‘n geordende instelling tot ‘n burokrasie en uiteindelik tot ‘n militêre Staat. In Mr. Shipmaster word onder andere getoon hoe by gebrek aan inspanning, die leiersfiguur onder die invloed van ‘n massakultuur wat uit die bourgeoisie se massaproduksie ontstaan het, tot ‘n massamens kan degenereer. Op soortgelyke wyse word die ander karakters in die roman gebruik om op die verwerende elemente te wys. 'n Storm dreig, wat van 'n komende oordee1 getuig en die verskil1ende karakters se reaksie daarop is ook verskillend, net soos by die latere oorstromings. Die bee1d word een van 'n toenemende geeste1ike nood en die wetenskap in die persoon van die Man van Waterwese kom met sy helikopter (Tegniek) om die noodgeteisterdes te red. Die gebrek aan kommunikasie word toonbeeld van verskille in waardes; sy poging is 'n mislukking - hoe kan die wetenskap die taal van die siel in nood ken en verstaan? Intussen vorm 'n meer tussen die koppies waarop die noodgeteisterdes saamdrom. Die meer kan verstaan word as simboo1 van die psigies-herstelde mens. In die stadium tree Aristophanes Pompidous, wat as skrywer in die roman gekonstitueer is, vrywillig na vore om 'n simbo1iese sterwe-tot -die-1ewe te volvoer, ooreenkomstig die Griekse mite van Dionuses. Die waterbee1d is in die Christelike godsdiens ook ten nouste verbonde aan die aflegging van sonde in die Doop as verbond, wat wedergeboorte impliseer. Die boek eindig met die positiewe gedagte dat vo1kome herstel, dus hergeboorte wat herlewing inhou, moont1ik is uit die bee1d van 'n herstelde wêreld waarvan Lord Sudden ‘n visioen het vanuit die ballon. Die eens barre vlaktes van Magersfontein vertoon ten slotte aan hom (en die leser) die beeld van ‘n vrugbare, waterryke vallei. ENGLISH: The novel, Magersfonteint, o Magersfontein! by Etienne Leroux is an example of social realism and of critical realism, with satire as medium and irony as point of view. Thus the novel highlights the direction taken in social development in modern times, and also attacks those bourgeois characteristics that act as corrosive elements in this development. These characteristics form the butt of the satire in the novel. The novel is based on the Battle of Magersfontein 1899, and the attempt of a TV- and filmgroup to re-enact this battle on the actual terrain. Depicting the heroes who took part in the batt1e the author has pitched prototypes of the descendants of these heroes. The barren flats of Magersfontein, symbol of the malaise of our times, form the background against which these sterile characters move, partrayed as they are to represent aspects of borgeois society in themes, philosophies, groups and even institutions. In this manner Leroux exposes the causes for the existing malaise as being pettiness, self-deceit, wishful thinking, snobbery, hypocrisy and greed. The book, however, ends on a positive note, with the possibility of the complete restoration of man in a fleeting glimpse of the once desolate valley now looking fertile, filled with beauty and blessed with rain. / Dissertation (MA)--University of Pretoria, 2013. / Afrikaans / unrestricted

In contemporary society, political satire shows are prominent programs that seem to resonate with the viewing public. This thesis seeks to observe the meanings that generation Y attach to the Canadian political satire show, This Hour Has 22 Minutes. Focusing on the Canadian context, this research examines how members of generation Y view political satire shows, specifically This Hour Has 22 Minutes and if this show caters to their attitudes, concerns and interests more so than traditional news media. The theoretical framework guiding this study is the uses and gratifications theory. This research implements a qualitative phenomenological research approach in the form of focus groups. This study concludes that this generation still maintains, however, that when looking to be informed, they connect more with traditional news media given that these programs provide them with all the facts and stories in a more reliable manner. This study contributes to the field of communication because it demonstrates the rationale and experiences of generation Y in relation to political news.

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

O presente estudo comparativo buscou traçar os rastros de semelhança na escrita literária do escritor brasileiro Lima Barreto (1881-1922) e do francês Anatole France (1844-1924). A despeito de eventuais diferenças, o que se observou foi um trajeto semelhante no conjunto das duas obras, ancorado numa visão de mundo compartilhada e essencialmente humanista. Neste trajeto, partiu-se da presença de um novo tipo de herói, o herói intelectual, em grande parte o elemento responsável pelo tom reflexivo e digressivo dos romances e pela redução da esfera da ação nas obras. Nos romances Recordações do Escrivão Isaías Caminha, de 1909, La Rôtisserie de la Reine Pédauque e Les Opinions de M. Jérôme Coignard, de 1893, além da configuração de uma escrita colada aos acontecimentos políticos, sociais e culturais da Belle Époque, observou-se um processo de caricaturização que acompanha a obra de ambos e surge como ponto de partida para o estudo das sátiras Os Bruzundangas, publicado postumamente em 1923, e LÎle des Pingouins, de 1908. Em meio a este traçado de caricaturização nos romances, observamos ainda a semelhança na trajetória peripatética dos personagens de Jérôme Coignard e Gonzaga de Sá, cujo itinerário se mescla às transformações pelas quais as cidades do Rio de Janeiro e Paris passam. De forma geral, encontramos nos romances de Lima Barreto e Anatole France uma ironia de aspecto moral e salvacionista que vai, no decurso de alguns romances, colocando em questão a viabilidade deste gênero tão volátil. Diante da intenção corretiva do satirista, o narrador romanesco cede espaço ao modo de imaginação satírica. E no caminho do narrador ao satirista, o herói intelectual vai também perdendo espaço em prol da função última da sátira, de correção de um mundo injusto. / This comparative study aims to delineate similarity traces between the literary writings of the Brazilian author Lima Barreto (1881-1922) and the French writer Anatole France (1844-1924). Despite eventual variations, we noted a similar path in their works, anchored in a shared worldview, substantially humanist. To trace this path, we departed from the presence of a new kind of hero, the intellectual hero, which bestows a reflexive and digressive tone to their novels, minimizing the plot. In the novels Recordações do Escrivão Isaías Caminha, from 1909, La Rôtisserie de la Reine Pédauque e Les Opinions de M. Jérôme Coignard, both from 1893, besides setting up a sort of writing attached to the political, social and cultural events of the Belle Époque, we observed a caricaturing process that follows both literary works. This process emerges as the base line to the study of their satire: Lima Barretos Os Bruzundangas, published posthumously in 1923, and Anatole Frances LÎle des Pingouins, from 1908. Along this caricatural process, we also found another similarity, concerning the trajectory of the peripatetic characters of Jérôme Coignard and Gonzaga de Sá. Their itinerary is mixed with their cities, Rio de Janeiro e Paris, both in remaking processes. Generally speaking, we discovered in Lima Barreto and Anatole Frances novels a kind of moral and rescuer irony that, during some of their novels, questions the feasability of this changeable literary genre. Against the corrective intention of the satirist, the novel storyteller gives way to the satiric mode of imagination. And in the path from the storyteller to the satirist, the intellectual hero also loses his significance to the ultimate function of satire, the correction of an unfair world.

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