The diploma thesis deals with speech characteristics of Hašek Švejk and translations of the novel into Russian, focusing on humor and satire. The aim of the thesis is to analyze, compare and critically evaluate Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov with a Czech original novel focusing on humor and satire. In addition to the translation of Bogatyryov, the thesis will also focus on the translations of Mikhail Skachkov and the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of translators, Hašek's author style and speech characteristics of the main character of the novel. In the practical part, the thesis focuses on the analysis of translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humor, satire, Pyotr Bogatyryov, Mikhail Skachkov, translatological analysis, V. Lavrova, A. Fyodorov

The diploma thesis deals with speech characteristics of Hašek Švejk and translations of the novel into Russian, focusing on humor and satire. The aim of the thesis is to analyze, compare and critically evaluate Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov with a Czech original novel focusing on humor and satire. In addition to the translation of Bogatyryov, the thesis will also focus on the translations of Mikhail Skachkov and the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of translators, Hašek's author style and speech characteristics of the main character of the novel. In the practical part, the thesis focuses on the analysis of translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humor, satire, Pyotr Bogatyryov, Mikhail Skachkov, translatological analysis, V. Lavrova, A. Fyodorov

The diploma thesis deals with the speech characteristics of Hašek's Švejk and the translations of the novel into Russian, focusing on humour and satire. The aim of the thesis is to analyze, compare and critically evaluate the Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov witha Czech original novel focusing on humor and satire. Apart from Bogatyryov's translation, the thesis focuses on the translations of Mikhail Skachkov as well as the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of the translators, Hašek's writing style and the speech characteristics of thenovel's main character. In the practical part, the thesis focuses on theanalysis of the translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humour, satire, Pyotr Bogatyryov, Mikhail Skachkov, translation analysis, V. Lavrova, A. Fyodorov

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This thesis is a serious study of humor – a seemingly contradictory task to wich I was drawn becasue of the possibilty of understanding society and public opinion through satire. More precisely, it explores the use of political satire in the Swedish comic magazines Söndagsnisse–Strix, Lutfisken and Joker during the Second World War. The comic press was an influential public commentator in Sweden whose satirical remarks not only shaped, but also corresponded with, the general understanding of social, political and economic conditions. Since the genre reached its pinnacle at the turn of the 20th century, and later was challenged by the daily press during the 1920s, its activity from the 1930s and onwards tends to be neglected. This thesis argues, however, that even though the number of comic magazines was radically diminished during the 1920s, those that survived continued to be influential by offering a unique type of opinion-forming satire, not least during th second world war when the Swedish government tried to restrict the freedom of the press. By understanding the satire in the comic press, mainly in the form of witty drawings, as a laughing mirror that reflects essential features of the society it comments in the form of parody, it further argues that the comic press offers a valuable insight into how political decisions and developments was understood and presented at the time. The analysis is structured around two main themes. The first one explores how the Swedish coalition-government and its domestic policies during the war was presented in satirical depictions. The study shows that the Swedish prime minister Per Albin Hansson was recurrently criticized, not least for the government's tendency to accommodate German complaints and demands during the beginning of the war, and thus deviating from Sweden's   proclaimed policy of neutrality. Apart from Per Albin Hansson, two of his goverment colleagues, minister of finance Ernst Wigforss and minister of justice KG Westman, was repeatedly criticized and ridiculed for the policies they were in charge of respectively. The government also received criticism for not taking appropiate action against domestic communist and Nazi movements, which were depicted as a menace to the Swedish society. The second part of the thesis explores how the political situation in the Nordic neighboring countries, that unlike Sweden did not manage to avoid the war, was commented and portrayed in satire. The analysis shows that it was common to express sympathy and admiration for their attempts at resisting occupation while at the same time mocking the aggressors. The thesis ends with the note that satire in general, and cartoons in particular, should be considered more often in the study of history and the shaping of public opinion. Unlike an editiorial, that demands time and effort from the reader, a satirical drawing has the potential of shaping peoples understanding of events in the blink of and eye due to its condensed message in the form of a snapshot.

The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.

Under the recent shadow of the Civil War and the failures of Reconstruction, popular writers mocked the national naiveté that led to major distortions in the American cultural self-image. In this dissertation, I study the socially and politically motivated satire of the era between the end of the Civil War and the beginning of the First World War. For too long, scholarship in this area has focused almost exclusively on three major satirists and social critics from the Gilded Age: Henry James, Edith Wharton, and Mark Twain. Though I do include some of Mark Twain’s lesser-known later writing as a lens through which to re-examine what is arguably the greatest work of American satire, Adventures of Huckleberry Finn, the main objective here is to interrogate lesser-known works by other authors of the period, famous as well as relatively unknown. My dissertation aims to uncover neglected works by more famous authors like William Dean Howells and Charlotte Perkins Gilman; to refresh our thinking about writers such as Charles Chesnutt, Finley Peter Dunne, and Edward Bellamy; and to reveal the satirical depths of overlooked figures like Marietta Holley and Mary E. Bradley Lane. Given the parallels between the Confident Years and the United States in the early twenty-first century, in-depth review of the satire of the earlier period seems not only timely but vital. / 2020-11-07T00:00:00Z

Anyone wishing to laud Matsepe for his literary ability should first turn to Ramaila who was not only one of the first writers in Sepedi, but also taught his people to read. Some of his short stories in the volume entitled Molomatsebe (1951) bear testimony to his narrative skills, particularly 'Tšhelete ya Sepoko' and 'Moloi ga a na mmala' which are complex in structure, like a detective story. Apart from the Molomatsebe collection, he also wrote other works such as Taukobong (1953), Setlogolo sa Batau (1938) and Tša Bophelo bya Moruti Abraham Serote (1935). In 1959 a volume of praise poetry was published that he had collected in the various Sepedi-speaking regions. These verses are not only of cultural historical significance but the volume is also a valuable addition to Sepedi literature. The greatest merit of the poems is found in the fact that they are authentic recitations. To the Bapedi Ramaila is a pioneer; he was the first author in Sepedi and encouraged his people to educate themselves. Ramaila had many followers of which Matsepe was the most important. In the pre-Matsepe period authors mainly wrote about the problems Blacks encountered under Whites in the cities. For this reason the 'Makgoweng motif' is often referred to in Sepedi literature. The works are generally sermonizing in tone and a moral lesson was usually included. Readers later found them very tedious, and when Matsepe appeared on the scene, he took the material for his stories from days of long ago. He, therefore, wrote about kings and heroes, and about war and hunting. Whereas stories written before were no more that short narratives, Matsepe created voluminous novels. He also wrote poetry and published six volumes, some of them of admirable quality. He was twice awarded the S. E. Mqayi prize for literature by the Suid-Afrikaanse Akademie vir Wetenskap en Kuns (South African Academy for Science and Art). During one of these award ceremonies he said that he had become tired of the preaching by his predecessors; he intended to regale his readers with absorbing reading matter. While Ramaila taught people to read, Matsepe exposed them to great literature. Because Matsepe's stories were so interesting, they met with general approval almost immediately. This led to a change of direction in Sepedi literature that could to a great degree be attributed to Matsepe's writing. This thesis deals with the influence Matsepe had on other writers. The most important factors determining such an influence are also examined. In this research the avenues of description, comparison and interpretation are expolored. The narratological model was chosen and adapted as a descriptive framework. The emphasis is mainly on the facts used by the authors and the manner in which they were put together. In the latter case this means that not only was the organisation of the information taken into account, but consideration also given to a similarity in the usage of specific word and phrases without reverting to stylistics. In defining the meaning of influence, the concepts of similarity, imitation, translation and plagiarism were also examined and identified. In this context various angles of influence are discussed. The influence of one author on another, influence emanating from literature itself and the influence arising from circumstances were noted. In the research several writers have been named who are said to have been influenced by Matsepe. These conclusions have not been motivated, however. In this study it has therefore been found that these pronouncements were made at random and that influence cannot be considered in all of these cases. On the other hand, a number of authors of the younger generation were discovered who are familiar with Matsepe's work and who are indeed influenced by him. This study has also revealed that Sepedi literature can be divided into two periods. First there was Ramaila period during which people learned to read and write, followed by a second period when readers were no longer interested in dull moral narratives, and thus a new generation of authors emerged. This can be designated as the Matsepe period although it includes writers who have only lately come forward and have not been influenced by Matsepe. The demands of circumstances for a change of direction in Sepedi literature may be ascribed to this. The fact that the second period heralded the growth of this literature is mainly attributed to the satirical nature of many of these works. / Thesis (DLitt (African Languages))--University of Pretoria, 2005. / African Languages / unrestricted

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Although the combination of humour and holocaust may seem rather startling, further analysis of humour characteristics brings to light its significant functions, which, according to the survivors, humour in the holocaust truly fulfilled. Whether it is a matter of being able to see the object of one's attention from several perspectives, from an emotional distance or being able to release accumulated frustrations, there is clear evidence of humour's appreciable role during the holocaust and in the aftermath. Within the framework of coping with the trauma caused by the holocaust experience also emerged holocaust literature dealing with the subject from a humorous perspective, which motivated a lot of debates developed about appropriateness of humour in the holocaust representation. To other controversial works from this area also belong the short stories by Tadeusz Borowski and the novel The Nazi & the Barber by Edgar Hilsenrath. This master thesis follows humour, satire and cynicism as means of coping with traumatic holocaust experience based on the example of the above mentioned works of Tadeusz Borowski and Edgar Hilsenrath, which, according to many critics, tested the limits of holocaust representation thanks to their unusual humorous approach. Thus, the aim of the thesis is to analyze these...