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Because satire cannot be fixed in a conventional form or genre, it resists analysis, but as David Worcester demonstrates in this lively and helpful book, satirical literature can be showed to have followed a definite evolution, with complex and sublte forms arising out of simple and primitive ones. Mr. Worcester traces the progression of satire from invective to burlesque and from there to the varied modes of irony. He discusses the various forms satire has taken in English literature, and the motives behind its impetus at different periods in its history, and touches on the possibilities of satire and the uses of irony in literature in our own time. 'The Art of Satire' provides both a historical and critical introduction to the uses of literary satire, and in analyzing the technique of irony clarifies one of the most subtle and powerful principles of literary art.
Author : William Jones,William R. Jones Publisher : Routledge Studies in Renaissance Literature and Culture Page : 168 pages File Size : 52,5 Mb Release : 2017-11-30 Category : English prose literature ISBN : 1138710229
Satire in the Elizabethan Era by William Jones,William R. Jones Pdf
This book argues that the satire of the late Elizabethan period goes far beyond generic rhetorical persuasion, but is instead intentionally engaged in a literary mission of transideological "perceptual translation." This reshaping of cultural orthodoxies is interpreted in this study as both authentic and "activistic" in the sense that satire represents a purpose-driven attempt to build a consensual community devoted to genuine socio-cultural change. The book includes explorations of specific ideologically stabilizing satires produced before the Bishops' Ban of 1599, as well as the attempt to return nihilistic English satire to a stabilizing theatrical form during the tumultuous end of the reign of Elizabeth I. Dr. Jones infuses carefully chosen, modern-day examples of satire alongside those of the Elizabethan Era, making it a thoughtful, vigorous read.
The Offensive Art is an arch and sometimes caustic look at the art of political satire as practiced in democratic, monarchical, and authoritarian societies around the world over the past century-together with the efforts by governmental, religious, and corporate authorities to suppress it by censorship, intimidation, policy, and fatwa. Examples are drawn from the full spectrum of satiric genres, including novels, plays, verse, songs, essays, cartoons, cabarets and revues, movies, television, and the Internet. The multicultural and multimedia breadth and historical depth of Freedman's comparative approach frames his novel assessment of the role of political satire in today's post-9/11 world, and in particular the cross-cultural controversies it generates, such as the global protests against the Jyllands-Posten cartoons. In a tongue-in-cheek style peppered with the world's best one-liners from the last century, The Offensive Art recounts the acrimonious and often perilous cat-and-mouse games between political satirists and their censors and inhibitors through the last century in America (especially FDR, LBJ, Nixon, Reagan, Clinton, and Bush II and in wartime), Britain (especially Churchill, Thatcher, Blair and the Royals), Germany (Hitler to the present), Russia (Stalin to the present), China (Mao to the present), India (from the Raj on), and the Middle East (from 1920s Egypt to today). Freedman focuses on the role and transformation of satire during shifts from authoritarian to democratic systems in such places as South Africa, Argentina, and Eastern Europe. He surveys the state of satire throughout the world today, identifying the most dangerous countries for practitioners of the offensive art, and presents his findings as to the political efficacy of satire in provoking change.
A History of Caricature and Grotesque in Literature and Art by Thomas Wright Pdf
A History of Caricature and Grotesque in Literature and Art This will explain why my history of the different branches of popular literature and art ends at very different periods. The grotesque and satirical sculpture, which adorned the ecclesiastical buildings, ceased with the middle ages. The story-books, as a part of this social literature, came down to the sixteenth century, and the history of the jest-books which arose out of them cannot be considered to extend further than the beginning of the seventeenth; for, to give a list of jest-books since that time would be to compile a catalogue of books made by booksellers for sale, copied from one another, and, till recently, each more contemptible than its predecessor. The school of satirical literature in France, at all events as far as it had any influence in England, lasted no longer than the earlier part of the seventeenth century. England can hardly be said to have had a school of satirical literature, with the exception of its comedy, which belongs properly to the seventeenth century; and its caricature belongs especially to the last century and to the earlier part of the present, beyond which it is not a part of my plan to carry it.
Author : Robert A. Kantra Publisher : Penn State University Press Page : 264 pages File Size : 43,5 Mb Release : 1984 Category : Art ISBN : UOM:39015032332754
Religion and satire can be incompatible, even opposed, but they can also join to produce great art. So argues this wide-ranging book, which seeks to identify the essence of religious satire, beginning with the art of such Renaissance figures as Erasmus and Dürer and concluding with such modern writers as Beckett, Eliot, and Waugh. Modern painters and sculptors, though not often concerned with religious satire, may employ its themes--as indeed may practitioners of the "new science" flourishing since Newton. The theme of religious satire, in Kantra's words, is "man's encroachment on the divine--his effort to play God, in whole or in part--whether under the banner of religion or of humanity." Heroic art has the same subject but a different attitude: it celebrates man's pretensions to divinity, whereas religious satire mocks them--sometimes harshly, sometimes gently. "If heroic art is ennobling, satiric art is humbling." Comedy sometimes may be found in satiric works, tragedy never, and tragicomedy always. The book starts with a brief examination of medieval religious satire: the rough shepherds in mystery plays, the lusty clerics in Chaucer, the roof bosses of Gluttony, Lying, and the Devil swallowing Judas Iscariot in Southwark Cathedral. The Renaissance was a golden era for the genre. Dürer engraved Saint Jerome (who wrote satirical letters), his halo off center, in what Kenneth Clark calls "a typically Erasmian room" with the lion and the little dog in the foreground, "sharing a conspicuously self-satisfied contentment." Yet Dürer, according to Erwin Panofsky, "failed when confronted with the small, quiet, supremely ironic face of Erasmus of Rotterdam." But what artist could capture the author of The Praise Folly, who saw self-styled sapient humans as "a swarm of flies and gnatss . . . laying traps for one another?" Kantra contends that the English--Elizabethans, Metaphysicals, Augustans, Victorians, and moderns --have always mixed satire with comedy and tragedy. Donne wrote in Satyre III that "our Mistresse faire religion," can look like "neare twin" to a strumpet. Satire, Milton said, "was born out of a Tragedy, so ought to resemble his parentage." Consider his Satan and his fallen legions. Chesterton and Belloc lampooned "essentially modern men" who reject magic and religion. Today religious satire is more alive than ever--among both churched writers such as Eliot, Waugh, or Dorothy Sayers, and the unchurched such as Shaw, Joyce, and Beckett --in works that pull down the vanity of modern man's once-proud claim to have conquered nature.
Parody: The Art That Plays with Art explodes the near-universal belief that parody is a copycat genre or that it consists of a collection of trivial and derivative forms. Parody is revealed as an über-technique, a principal source of innovation and invention in the arts. The technique is defined in terms of three major variations that bang, bind, and blend artistic conventions into contrasting pairings, the results of which are upheavals of existing conventions and the formation of unexpected and sometimes startling and revolutionary new configurations. Parodic art fashions a galaxy of contrasts, and from these stem an illusionistic sense of multiplicity and an array of divergent meanings and interpretive paths. This book, an extreme departure from existing analyses of parody, is nonetheless highly accessible and will be of major interest not only to scholars but to general readers and to professional writers as well. Parody: The Art That Plays with Art is particularly suited for readers interested in modernism, postmodernism, meta-art, criticism, satire, and irony.
English Graphic Satire and Its Relation to Different Styles of Painting, Sculpture, and Engraving by Robert William Buss Pdf
Excerpt from English Graphic Satire and Its Relation to Different Styles of Painting, Sculpture, and Engraving: A Contribution to the History of the English School of Art Satire in England; nor have I entered upon the antiquarian ground so ably occupied by other writers on this subject. I consider Graphic Satire, or, in the ordinary sense of the term, Caricature, as an important branch of the Fine Arts in this country, however contemptuously an art so popular may be regarded by some inconsiderate critics. Nor can the history and progress of the English school of art be complete without much more than a mere mention, or slight notice of Satiric Art. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
An Essay on the Art of Ingeniously Tormenting by Jane Collier Pdf
First published in 1753, this satire on the pleasures of causing pain, addressed to both men and women, in fact reveals the art to be the one in which women have become masters. Collier demonstrates that the ways of the cat - alternately wounding and soothing the victim - are inculcated with the codes of feminine conduct and suggests that because they are denied access to the male tools of power, women fashion instruments of retaliation from the very chains of femininity.
