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Present concepts of parody and ancient concepts of are discussed and defined (Chapters 1-2). The use of parody by Lucilius, Horace and Persius is discussed in Chapters 3, 4, and 5 respectively, and trends in parody, as well as the possible influence of the earlier satirists on the later satirists, are outlined. In Chapters 6-3 Juvenal’s use of parody is scrutinised at length, and possible influences upon his treatment of parody are enum­erated. In the concluding chapter (9) Juvenal’s debt to and areas of superiority over his predecessors are summed up. / Thesis / Master of Arts (MA)

O objetivo desta pesquisa é apresentar as relações discursivas nas sátiras a religiosos atribuídas ao poeta baiano Gregório de Matos Guerra (1633-1696), com base na Teoria da Argumentação, a Nova Retórica, de Perelman e Tyteca, e na Retórica da Poesia, do Grupo , de Liège, que abrem espaço para a análise desses textos sem o condicionamento à sua forma versificada. O códice Rabelo, publicado em 1968 por James Amado apresenta em torno de oitenta sátiras contra religiosos. A escolha do corpus se deu em virtude do notável desafeto do enunciador em relação a padres, madres, frades e freiras. Dentro do gênero poético (epidítico), a sátira seiscentista visa não só ao entretenimento, mas à correção dos vícios. A obra satírica atribuída ao Boca do Inferno relata as desvirtudes da sociedade do Brasil-colônia, especialmente da comunidade religiosa católica. Pretendeu-se examinar as sátiras do ponto de vista do argumento e das figuras. A figura é considerada argumentativa quando provoca uma mudança de perspectiva, quando seu emprego parece normal em relação à nova situação sugerida. Perelman e Tyteca propõem a classificação das figuras como de escolha, presença e comunhão, de acordo com sua função na produção discursiva, uma vez que um mesmo recurso nem sempre provoca o mesmo efeito argumentativo. O Grupo estuda as figuras a partir das operações fundamentais que lhe dão origem e as classifica de acordo com o desvio produzido na expressão (metaplasmos e metataxes) ou no conteúdo (metassememas e metalogismos). Nesta pesquisa foram estudados principalmente os tropos, as figuras que implicam uma nova significação das palavras, evidenciando a relação de semelhança, correspondência, conexão e contrariedade. Dentre os tropos, a metáfora tem um papel especial porque é uma das bases da poesia de engenho e agudeza, do período chamado Barroco brasileiro. As análises apresentam o caráter argumentativo das sátiras e pretendem chegar à intenção do enunciador, ou seja, agradar e agir sobre os outros (fazer crer) por meio do discurso / The objective of this research is to present the discursive relations in the religious satire attributed to the poet from Bahia Gregorio de Matos Guerra (1633-1696), based on the Theory of Argumentation, the New Rhetoric, of Perelman and Tyteca, and the Rhetoric of the Poetry of the Group from Liège, which give us the opportunity to analyze these texts independent of their arrangement in verses.The codex Rabelo, published in 1968 by James Amado, has around eighty poems against the religious. The choice of the corpus had its reason in a notable hostility of the enunciator for priests, nuns, friars and monks. Within the poetic genre (epideictic), the seventeenth-century satire is intended not only to entertain, but to correct the immorality. The satirical work attributed to the \"Mouth of Hell\" narrates the misconduct of the society of colonial Brazil, especially the Catholic religious community. It was intended to examine the satire from the standpoint of the argument and figures. The figure is considered argumentative when it causes a perspective change, when its use seems to be normal in relation to the new situation suggested.Perelman and Tyteca propose a classification of figures as being of \"choice\", \"presence\" and \"communion\", according to their function in discourse production, accepting that the same occurrence does not always cause the same argumentative effect. The Group studies the figures from the fundamental operations that give rise to them and classifies them according to the deviation produced in the expression (metaplasms and metataxes) or content (metasememes and metalogisms).This research focused on the tropes, figures that imply a new meaning to words, evidencing the relationship of similarity, correspondence, connection and opposition. Among the tropes, metaphor has a special role because it is characteristic of the poetry of acuteness and ingeniousness, typical from the so called Brazilian Baroque period. Analyses show the argumentative nature of satire and are intended to reach the intention of the enunciator, that is, to please and have an effect on others (make believe) through discourse

O objetivo desta pesquisa é apresentar as relações discursivas nas sátiras a religiosos atribuídas ao poeta baiano Gregório de Matos Guerra (1633-1696), com base na Teoria da Argumentação, a Nova Retórica, de Perelman e Tyteca, e na Retórica da Poesia, do Grupo , de Liège, que abrem espaço para a análise desses textos sem o condicionamento à sua forma versificada. O códice Rabelo, publicado em 1968 por James Amado apresenta em torno de oitenta sátiras contra religiosos. A escolha do corpus se deu em virtude do notável desafeto do enunciador em relação a padres, madres, frades e freiras. Dentro do gênero poético (epidítico), a sátira seiscentista visa não só ao entretenimento, mas à correção dos vícios. A obra satírica atribuída ao Boca do Inferno relata as desvirtudes da sociedade do Brasil-colônia, especialmente da comunidade religiosa católica. Pretendeu-se examinar as sátiras do ponto de vista do argumento e das figuras. A figura é considerada argumentativa quando provoca uma mudança de perspectiva, quando seu emprego parece normal em relação à nova situação sugerida. Perelman e Tyteca propõem a classificação das figuras como de escolha, presença e comunhão, de acordo com sua função na produção discursiva, uma vez que um mesmo recurso nem sempre provoca o mesmo efeito argumentativo. O Grupo estuda as figuras a partir das operações fundamentais que lhe dão origem e as classifica de acordo com o desvio produzido na expressão (metaplasmos e metataxes) ou no conteúdo (metassememas e metalogismos). Nesta pesquisa foram estudados principalmente os tropos, as figuras que implicam uma nova significação das palavras, evidenciando a relação de semelhança, correspondência, conexão e contrariedade. Dentre os tropos, a metáfora tem um papel especial porque é uma das bases da poesia de engenho e agudeza, do período chamado Barroco brasileiro. As análises apresentam o caráter argumentativo das sátiras e pretendem chegar à intenção do enunciador, ou seja, agradar e agir sobre os outros (fazer crer) por meio do discurso / The objective of this research is to present the discursive relations in the religious satire attributed to the poet from Bahia Gregorio de Matos Guerra (1633-1696), based on the Theory of Argumentation, the New Rhetoric, of Perelman and Tyteca, and the Rhetoric of the Poetry of the Group from Liège, which give us the opportunity to analyze these texts independent of their arrangement in verses.The codex Rabelo, published in 1968 by James Amado, has around eighty poems against the religious. The choice of the corpus had its reason in a notable hostility of the enunciator for priests, nuns, friars and monks. Within the poetic genre (epideictic), the seventeenth-century satire is intended not only to entertain, but to correct the immorality. The satirical work attributed to the \"Mouth of Hell\" narrates the misconduct of the society of colonial Brazil, especially the Catholic religious community. It was intended to examine the satire from the standpoint of the argument and figures. The figure is considered argumentative when it causes a perspective change, when its use seems to be normal in relation to the new situation suggested.Perelman and Tyteca propose a classification of figures as being of \"choice\", \"presence\" and \"communion\", according to their function in discourse production, accepting that the same occurrence does not always cause the same argumentative effect. The Group studies the figures from the fundamental operations that give rise to them and classifies them according to the deviation produced in the expression (metaplasms and metataxes) or content (metasememes and metalogisms).This research focused on the tropes, figures that imply a new meaning to words, evidencing the relationship of similarity, correspondence, connection and opposition. Among the tropes, metaphor has a special role because it is characteristic of the poetry of acuteness and ingeniousness, typical from the so called Brazilian Baroque period. Analyses show the argumentative nature of satire and are intended to reach the intention of the enunciator, that is, to please and have an effect on others (make believe) through discourse

This thesis examines the visual representations of elite women, who wielded and were seen to transgress, gendered political roles through their activity in the elite socio-political spheres of eighteenth-century and early nineteenth-century Britain. In analysing the portraits and satirical prints of this select breed of women, this study questions the common bifurcation of gender debates in existing secondary literature, which include, but are not limited to, the porosity of traditionally conceived public and private spheres, contested masculine and feminine identities, and the gendering of morals and vices. The study will explore how predominantly male artists represented these women alongside an examination of how elite women were able to manipulate and choreograph their own portrayal. As such, it will probe how these political women utilised portraiture as a crucial means of self-fashioning; and likewise how their satirical representation was routinely subjugated to the male gaze. In doing so, it will reveal the varieties, vagaries and subtleties of the political power held by women and how this could be iterated, celebrated, or criticised in the visual culture of late-eighteenth and early-nineteenth century Britain. Four case studies form this examination. The first, argues that three women from Rockingham-Whig social networks, Lady Elizabeth Melbourne, Georgiana, Duchess of Devonshire, and Hon. Anne Damer, used portraiture as a form of self-fashioning to both celebrate their friendship and declare their burgeoning political agency. Chapter two revisits the 1784 Westminster election, to probe the theme of rivalry in satirical prints representing female canvassers. It argues that the visual vocabulary expressed in such prints pertains to wider cultural debates concerning class and gender that crucially came to a head during this political event. The third chapter introduces the dialogues between portraiture and satirical prints through its examination of the visual media that politicised Scottish Pittite hostess, Jane, Duchess of Gordon. Whilst the duchess used painted portraiture to proclaim her adherence to culturally-inscribed gender roles, satirical prints attacked her for her perceived political access, acquired through her daughters’ marriages and through her close proximity with prominent members of the Pittite government. The thesis concludes with a study of arguably the most political woman in the period of study: Queen Charlotte, consort of George III. This chapter revisits her reputation, arguing that a close examination of visual culture reveals that the queen, long thought to be an uncontroversial figure, became deeply problematic after the king’s bout with ‘madness’. In seeking to connect the visual aspects of women’s political engagement, this thesis expands on previous work in gender, social, cultural, and art histories such as those by Elaine Chalus, Cindy McCreery, Marcia Pointon, and Kate Retford to further our understanding of women’s political activity and eighteenth-century visual culture.

Este trabalho visa à análise das poesias eróticas e satíricas de Manuel Maria Barbosa du Bocage e de sua repercussão na sociedade portuguesa do século XVIII. A ironia, por definição, propõe a inversão de enunciados, negando o contrário daquilo que se afirma ou vice-versa. Mas, tal recurso, largamente empregado pelo Poeta, extrapola a mera função de figura de pensamento, uma vez que, potencializando um poderoso arsenal crítico, propicia a construção de um discurso desestabilizador, cuja intenção é colocar em xeque a ideologia oficial. A lírica bocagiana, em sua vertente erótica e satírica, vale-se do deboche, do escracho ou da sátira desbocada para colocar às claras a distinção entre essência e aparência, em uma sociedade cuja moral se constrói a partir das crenças religiosas nem sempre professadas, quer pelo corpo social como um todo, quer pelo clero, guardião desta moral. Examinaremos, neste trabalho, os modos de representação discursiva inscritos nesta poesia. Bocage ultrapassou as fronteiras de seu tempo em poemas cuja licenciosidade, muitas vezes, não esconde uma ponta de amargura e sofrimento. Dividido entre dois mundos: o árcade, sob o signo da razão, constituído de regras rígidas; e o romântico, regido pela paixão, Elmano não esconde o desconcerto, que procura na clandestinidade a via possível para a expansão de um espírito revoltado / This work aims at the analysis of the erotic and satirical poetry of Manuel Maria Barbosa du Bocage and its impact on portuguese society of the eighteenth century. The irony, by definition, suggests a reversal of statements denying the opposite of what is stated or vice versa. But such a feature, widely used by Poet, overcomes the mere function of figure of thought, since, leveraging a powerful critical arsenal, allows the construction of a destabilizing discourse, intended to checkmate the official ideology. The bocagiana lyrical, satirical and erotic in their shed, it is debauchery, the escrache or foul-mouthed satire to put the clear distinction between essence and appearance, in a society whose moral is built from the religious beliefs do not always professed, either by the social body as a whole, either by the clergy, this moral guardian. Examine in this work, inscribed discursive modes of representation in this poetry. Bocage beyond the borders of their time in poems whose licentiousness often does not hide a hint of bitterness and suffering. Divided between two worlds: the arcade, under the sign of reason, consists of rigid rules; and the romantic, governed by passion, Elmano does not hide the bewilderment, looking in hiding the possible route to the expansion of an angry spirit

Este trabalho visa à análise das poesias eróticas e satíricas de Manuel Maria Barbosa du Bocage e de sua repercussão na sociedade portuguesa do século XVIII. A ironia, por definição, propõe a inversão de enunciados, negando o contrário daquilo que se afirma ou vice-versa. Mas, tal recurso, largamente empregado pelo Poeta, extrapola a mera função de figura de pensamento, uma vez que, potencializando um poderoso arsenal crítico, propicia a construção de um discurso desestabilizador, cuja intenção é colocar em xeque a ideologia oficial. A lírica bocagiana, em sua vertente erótica e satírica, vale-se do deboche, do escracho ou da sátira desbocada para colocar às claras a distinção entre essência e aparência, em uma sociedade cuja moral se constrói a partir das crenças religiosas nem sempre professadas, quer pelo corpo social como um todo, quer pelo clero, guardião desta moral. Examinaremos, neste trabalho, os modos de representação discursiva inscritos nesta poesia. Bocage ultrapassou as fronteiras de seu tempo em poemas cuja licenciosidade, muitas vezes, não esconde uma ponta de amargura e sofrimento. Dividido entre dois mundos: o árcade, sob o signo da razão, constituído de regras rígidas; e o romântico, regido pela paixão, Elmano não esconde o desconcerto, que procura na clandestinidade a via possível para a expansão de um espírito revoltado / This work aims at the analysis of the erotic and satirical poetry of Manuel Maria Barbosa du Bocage and its impact on portuguese society of the eighteenth century. The irony, by definition, suggests a reversal of statements denying the opposite of what is stated or vice versa. But such a feature, widely used by Poet, overcomes the mere function of figure of thought, since, leveraging a powerful critical arsenal, allows the construction of a destabilizing discourse, intended to checkmate the official ideology. The bocagiana lyrical, satirical and erotic in their shed, it is debauchery, the escrache or foul-mouthed satire to put the clear distinction between essence and appearance, in a society whose moral is built from the religious beliefs do not always professed, either by the social body as a whole, either by the clergy, this moral guardian. Examine in this work, inscribed discursive modes of representation in this poetry. Bocage beyond the borders of their time in poems whose licentiousness often does not hide a hint of bitterness and suffering. Divided between two worlds: the arcade, under the sign of reason, consists of rigid rules; and the romantic, governed by passion, Elmano does not hide the bewilderment, looking in hiding the possible route to the expansion of an angry spirit

Fake news has great potential to cause damage to brand reputations and finances. Given the technical challenges of detecting fake news in time, it is inevitable that social media platforms will end up hosting fake news. The competition for attention and advertising revenue is intense. Many consumers read only the headlines. Fake news stories that mention brands in headlines can help news publishers garner social media engagement but can also hurt brands, raising concerns about brand protection. In this research, I focus on the first two stages of the information processing model – attending to information and encoding information (Berk 2018; Miller 1988).In Chapter 2, I investigate whether mentions of human and product brands are associated with news consumption and news retransmission (how brand mentions attract attention; the first stage of information processing). Using data from a news platform that generated both traditional and satirical (fake) news stories, I quantify the effects of brand mentions on social media engagement for both traditional and fake news. The analysis encompasses mentions of popular product brands, such as Apple, and mentions of human brands, such as famous politicians and actors. A framework based on uses and gratifications theory (UGT) aids in variable selection and the interpretation of results. My results imply that human brand mentions generally have a positive effect on news consumption and retransmission for both news formats, and product brand mentions affect engagement of satirical news via an interaction with news categories. Results provide further insights on the roles of sentiment, narrative style, and writing quality of news stories. The high potential of human and product brands in the headlines, especially human brands in satirical news, may be indicative of their potential to be misused by unscrupulous news media publishers. This reminds social media platforms of their responsibility to protect brands and consumers from fake news. Next, in Chapter 3, I examine the effectiveness of before-warnings (BWs) and after-warnings (AWs) in alerting consumers and reducing the persuasive influence of fake news on brand attitudes (how warning timing affects encoding; the second stage of information processing). Results reveal that for both negative and positive fake news, BWs are sometimes no more effective than no-warnings. Although BWs do encourage more critical processing of misinformation, this can distract consumers from the warning message. More importantly, Chapter 3 demonstrates a robust after-warning effect (AWE). Warning consumers after they have read fake news with AWs consistently leads to a higher reduction of persuasive influence (negative or positive) than BWs. AWs are more salient and arouse greater reactance to the false information than BWs. The resulting loss in control over how the news influenced attitudes and increased anger lead to the observed after-warning effect. News valence also matters since positive news is perceived to be more credible and processed less critically than negative news. AWs relative to BWs thus arouse feelings of being tricked when fake news is positive but not when it is negative, also leading to the after-warning effect. The findings have several theoretical and managerial implications. / Business Administration/Marketing