Search Results (17)

This article looks at the ways in which satirical postcards provided political commentary at a pivotal moment in the Franco-Russian alliance. Often overlooked as a medium of communication, turn-of-the-20th-century postcards reflected contemporary cultural values and were an important art form. Here, the focus is on postcards created by Orens and Mille, two of the best caricaturists of the day, as their work offered scathing critiques of Russia’s constant need for financial assistance from its ally and point to the ways in which the public was growing weary of these demands. Closely examining some of their postcards shows how such sentiments were expressed in visual form while also revealing the power of ephemeral materials as historical sources. Full article

The recent literature highlights the importance of implementing ad hoc media literacy initiatives to counter sexist stereotypical representations in social media, particularly within the political field. To this end, the present study focuses on false and misleading contents (information disorders) about female politicians, since they can reflect gender stereotypes, portraying women as unfit for political roles. Thus, our exploratory study aims to analyze the stereotype content of information disorders targeting Italian female politicians, following classic models of stereotype content. Furthermore, it seeks to explore the role played by the type of information disorder and the political orientation of the targeted leaders. A database of 120 information disorders have been collected, codified, and analyzed. The results highlight that information disorders predominantly target the dimension of communion. Focusing on the types of information disorders, fabricated and misleading content appears to be associated with the professional and private life domains, primarily conveying communion-based stereotypical representations of politicians. Satirical and parodic contents, on the other hand, were associated with the esthetic domain, conveying agency-based stereotypical representations, with a particular focus on politicians’ physical competence. Regarding political orientation, a “Stereotyping from my eyes” effect was observed: communion-based stereotypical content prevails in information disorders targeting conservative leaders, while progressive leaders are stereotyped concerning the agency dimension. This effect may reveal a difference between conservative and progressive audiences in their adherence to traditional gender roles. Full article

This text explores the life and legacy of Sergei Kuriokhin, a multifaceted artist who profoundly impacted Soviet and post-Soviet culture. Known for his radical experimentation in music, theater, and film, Kuriokhin defied conventional genres through his groundbreaking project, ‘Pop Mechanics’, which blended jazz, classical music, rock, circus acts, and more. His provocative performances often included surreal elements and bizarre satire, challenging cultural norms and the boundaries of Soviet censorship. Kuriokhin’s influence extended into politics, where his satirical “Lenin was a Mushroom” program questioned historical and ideological narratives, stirring public debate. His charisma, intellectual depth, and penchant for the absurd made him a central figure in Leningrad’s avant-garde scene. Kuriokhin collaborated with prominent artists and philosophers, leaving an indelible mark on Russian art and political discourse. This work, presented through the reflections of his close associates, offers insights into his lasting impact on Russian culture, blending history with personal mythologies. Full article

The Trump era marked a turning point for political satire, where The Daily Show’s coverage of the last two election cycles reveals a dynamic interplay between satire, ideology, and democratic processes. This study examines how The Daily Show has progressively altered its satirical voice and multimodal strategies to capture the changing landscape of U.S. presidential elections, spotlighting the different eras of Trevor Noah in 2020 and Jon Stewart in 2024. It decodes how news satire along with visuals reflect political and cultural moments, and the way social and political representations are depicted in this show. To achieve these aims, a Multimodal Critical Discourse Analysis (MCDA) approach is used to analyze the semiotic and multimodal features of four episodes of The Daily Show, ranging from Noah’s pandemic-era coverage of the 2020 elections to Stewart’s live studio format in 2024. This article reveals both hosts’ role in social and political representation by different means of satirical and multimodal techniques. It highlights how The Daily Show has remained a cultural touchstone, adapting its style and substance to meet the demands of its time. Full article

Satire has gained increased scholarly traction across journalism and related fields. The genre increases the entertainment value of journalism and broadens its appeal. Satirical news also serves as a catalyst to pique the curiosity of ordinarily disinterested audiences in news, particularly political news. However, there are some concerns emerging from the weaponization of satire in this contemporary period, which is characterised by the proliferation of fake news and misinformation. From the Nigerian context, there have been minimal empirical spotlights placed on satirical journalism. We employed semi-structured interviews to explore the views of Nigerian print satirical journalists and cartoonists. Our finding broadens scholarship in the evolving area of satirical journalism. It demonstrates how the mainstreaming and the weaponization of satire have changed the texture of satire in Nigerian journalism. Although ethical concerns are admitted, we argue that cartoonists and satirical journalists have a responsibility to adjust to the dynamic media ecology, where satire continuously provides insightful critique and entertaining commentaries. Full article

The US television program The Daily Show has inspired creative talents worldwide to adapt the American political satire news formats to their own political environments. One example is The Night Night Show, hosted by Brian Tseng between 2018 and 2020 and produced by the STR Network from Taiwan. Instead of approaching the show as the result of the diffusion of the US cultural and political model into the rest of the world, this article contextualizes The Night Night Show’s adaptation of an American satirical news format in the Sinophone political discourse of laughter and satire in the modern history of Taiwan. It argues that while the show’s adaptation of an American satirical news format demonstrates how satire can dismantle linguistic and national boundaries as a transnational bonding force, it also brings this American format to critical scrutiny. In particular, the principal cultural understanding of news media as sensationalistic and propagandist instead of truthful in the local context contests the notions of “truthiness” central to the American satire news formats. Full article

An oeuvre as redolent with the spirit of satire and humor as Percival Everett’s can be said to represent, at the same time, an anthology of humorous devices—a “humorology,” so to speak—and a self-reflexive meditation on the existential, philosophical and/or metaphysical implications of such an attitude to language and life. The Trees (2021) is a book about lynching, in which a series of gruesome murders all allude to the martyrdom of Emmett Till. Even though such subject matter seems antinomic to humor, the novel is rife with it. We propose an examination of the various guises of humor in this text, from wordplay and carnivalesque inversion to the more sinister humour noir, black or gallows humor, and an assessment of their dynamic modus operandi in relation to political satire, literary parody and the expression of the unconscious. The three axes of our analysis of the subversive strategies of the novel will be the poetics of naming, from parody to a form of sublime; the grotesque, macabre treatment of bodies; and the question of affect, the dual tonality of the novel vexingly conjugating the emotional distance and release of humor with a sense of outrage both toned down and exacerbated by ironic indirection. In keeping with the ethos of Menippean satire, humor is, therefore, both medium and message. Full article

The Eighth Crusade was launched by Saint Louis against Tunis in Summer 1270. For a few months, the French kingdom and its allies posed a serious threat to the Hafsid regime. Even though they ultimately failed to conquer the capital city, they heavily weakened the rule of al-Mustanṣir (r. 1249–77), emptying his coffers and damaging his prestige. In this paper, we first inventoried the points at stake. Then, we identified the rationale behind the expedition, evaluated the balance of the armed forces, and measured the losses and gains for each side. Second, the sources showed how the authors could depict the situation and assess its aftermath, depending on their political agenda. The Hafsid thurifers tended to minimize the sultan’s impotency, while others (e.g., the Mamluks) sometimes harshly criticized it. Third, the courtiers resorted to poetry and satirized “al-Franṣīṣ” for his setback of the Seventh Crusade (1248–1254) which he had led too. They mocked him in famous epigrams that we translated and analyzed. In conclusion, we examined why they concealed the blow. The Literati of the Restoration (ca 1370–1488) strove to portray al-Mustanṣir as a model king for the First Golden Age (until 1277) in a long series of sovereigns that stretched over more than two centuries. Full article

Pashkevilim, printed wall notices posted around Jewish ultra-Orthodox neighborhoods, serve as one of the religious community’s popular communication channels. The Pashkevilim mostly deal with controversial intra-community issues and feature a unique style, extremist rhetoric, and vocabulary derived from the religious literature. Humorous imitations of the genre arose over the years, which circulated in the community and outside of it, posing a challenge to the rabbinic hegemony. Although humorous Pashkevilim have likely been present for as long as Pashkevilim themselves, there is currently a lack of research investigating them. By adopting a critical discourse analysis approach, the current study aims to address this gap by identifying the predominant types of humorous Pashkevilim and analyzing the discursive practices they employ. The findings indicate three main discursive practices that characterize humorous Pashkevilim: parody, satire, and irony. While parody exaggerates the formal characteristics of the genre and mocks them, satire and irony criticize the content and topics discussed in traditional Pashkevilim, especially on the subject of Jewish law and religious stringency. These practices express an oppositional reading of the genre, which challenges its function as well as its socio-cultural, political, and religious significance. Full article

The Harvard Water Program is more than sixty years old. It was directed by an academic Steering Committee consisting of the professors of Government and Political Science, Planning, Economics, and Water Engineering. In 2022 we would add to the notional Steering Committee the professors of Ecology, Sociology and Water Law, calling it the augmented Harvard eutopian approach to the design and operation of Water Resource Systems. We use the Greek word ‘eu-topos’ to mean ‘a good place’, figuratively speaking, and ‘dys-topos’ its antonym, ‘not a good place’. By opposing eutopia and dystopia (latin forms) (Utopian literature begins with Thomas More’s (1478–1535) fictional socio-political satire “Utopia”, written in Latin and published in 1516: “Libellus vere aureus, nec minus salutaris quam festivus, de optimo rei publicae statu deque nova insula Utopia”. “A little, true book, not less beneficial than enjoyable, about how things should be in a state and about the new island Utopia” [Wikipedia translation]. He coined the word ‘utopia’ from the Greek ou-topos meaning ‘no place’ or ‘nowhere’. It was a pun-the almost identical Greek word eu-topos means ‘a good place’), we pass judgement on three Irish case studies, in whole and in part. The first case study deals with the dystopian measurement of the land phase of the hydrological cycle. The system components are distributed among many government departments that see little need to cooperate, leading to proposition 1: A call for a new Water Law. The second case study deals with a project to restore a 200 km² polder landscape to its condition in 1957. The project came to the University with an hypothetical cause of the increased flooding and a tentative solution: dredge the Cashen estuary of its sand, speeding the flow of sluiced water to the sea, and the status quo ante would be restored. The first scientific innovation was the proof that restoration by dredging is impossible. Pumping is the only solution, but it raises disruptive questions that are not covered by Statute. The second important innovation was the discovery in the dynamic water balance, of large leakage into the polders, either around or between sluiced culverts, when the flap valves are nominally closed, impacting both their maintenance and minimization of pumping. Discussions on our findings ended in dystopian silence. Hence proposition 2: Moving towards eutopia may only be possible with a change in the Law. The third case study concerns the protection of Cork City from flooding: riverine, tidal and groundwater. The government’s “emerging solution” consists of major physical intervention in the city centre, driven hard against local opposition, as the only possible solution. Two hydro-electric reservoirs upstream were largely ignored as part of a solution because the relevant Statute did not mandate their use for flood control. The Supreme Court has recently overturned this interpretation of the governing Statute. A new theory of flood control with a cascade of reservoirs, dams and weirs is the scientific innovation here. Once more these findings have been greeted by government with dystopian silence. Hence proposition 3: Re-open the design process to find several much better solutions, approximating a eutopian water world. Full article

This article examines the impact that the experience of the 1905 Revolution had on the political attitudes of professional artists of various creative persuasions and on the younger generation who were still attending art schools. It inevitably focuses on a few representatives and argues that Realists as well as more innovative artists like Valentin Serov and the World of Art group became critical of the regime and began to produce works satirizing the Tsar and his government. These artists did not, however, take their disenchantment further and express a particular ideology in their works or join any specific political party. The author also suggests that the Revolution affected art students like Mikhail Larionov and Natalia Goncharova, who subsequently became leaders of the avant-garde and developed the style known as Neo-Primitivism. The influence of 1905 can be seen in their pursuit of creative freedom, the subjects they chose, and the distinctly anti-establishment ethos that emerged in their Neo-Primitivist works around 1910. Full article

An oxymoron is a self-contradicting or incongruous word or group of words as in Lord Byron’s (1788–1824) line from his satirical epic poem Don Juan; “melancholy merriment”, An oxymoron is a rhetorical and epigrammatic device for effect, often revealing paradox. The effect I aim for here is the actualization of affect; affect made relevant and useful for education as a public good. Oxymoroning as an immediate edging of knowledge into experience, hence a way to access a proto subjective level of the affective power of X. The prefix proto indicating the first, original or earliest. I ask how we can become materially identifiable subjects for one another and what would it take to move from a mechanistic approach to education to a more machinic one. It is a view of change that does not steal my powers or affective force away. Furthermore, are the abstractions one attempts to move from imitation to imagination abstract enough? I aim for expansions in our educational rationales for social and natural sustainability. It implies an educational philosophy of multiplicity ready to support and join a creative pluralism of organization and pedagogies and simultaneously counteract predetermined and controlling pluralism of organization and pedagogies. The overarching contribution of this poem is political, pragmatic and ethical and concerns the constitution of subjectivity for education in inter- and intra-generational perspectives through taking part in polysemantic ambiguity, envisioning a modest view to the child as a knowledgeable and connectable collective. Ultimately, a view of the child is our primary measurement indicator for educational quality. The competence most important to develop for educators is impression tenderness in order to meet the expressions of the child. Full article

Henry James’s self-allusions in “Pandora” have been read as a rewriting of his former treatment of the “American Girl abroad” in the comic mode. The hints at “a Tauchnitz novel by an American author” (90) establish an ironical reversal of the failures of understanding which had led to tragedy in “Daisy Miller.” Yet the ironies in “Pandora” are multi-layered, often self-reflexive, and can be further interpreted in the light of James’s controversial adaptation of his famous novella for the stage. In this framework, well-known Jamesian topoi appear both as a (self-)parody and a metaliterary dialogue James engages with his readers and critics. The author’s personal implication in this “American” story is further testified by his Notebooks, in which James states his intention to write about his friends Henry and “Clover” Adams. Indeed, “Pandora”’s multi-layered intertextuality includes undeclared references to Adams’s anonymously published novel, Democracy, a semi-satirical account of U.S. political life. My article focuses on the web of intertextual relations woven in this short story with a view to reflecting on James’s ideas concerning the politics of authorship, readership, literary success, and the fate of the American Girl. Full article

This paper offers a Latourian reading of T.C. Boyle’s novel When the Killing’s Done. It shows that the novel satirizes contemporary ecological debates and stages the cultural wars of our current ecological culture. It also demonstrates, however, that the novel does not merely point out the impasse of our current ecologies: its fiction intuitively diagnoses the contemporary “crisis of purity” in modern environmental politics and points us towards the kind of entangled ecologies sketched by Latour and other recent thinkers. Like Latour’s reinvention of a more hybrid and entangled “politics of nature,” Boyle’s novel allows us to reimagine a complex and contaminated new ecology, away from the purifications of our contemporary “NaturPolitiks”. Full article

This article outlines Hizbullah’s shift to post-Islamism and its various cultural activities in Lebanese society that underpin this shift. The Party’s involvement in these activities is integrated in current research on post-Islamism and its various social, political, and cultural manifestations. In its Islamist stage, Hizbullah anathematized the Lebanese political system and state institutions. In its post-Islamist phase, Hizbullah became pragmatic by embarking on a policy of opening-up (infitah) in politics along with cultural and social practices. This article studies Hizbullah’s popular culture and lifestyles by focusing on its purposeful art or ‘resistance art’, which is a cultural resistance against oppression, domestic deprivation, disenfranchisement, and repression, as well as foreign aggression, invasion, occupation, and subjugation. Hizbullah exploits the concepts of cultural citizenship and cultural politics to encourage, in mixed gender spaces, purposeful performing arts: music, dancing, singing, revolutionary theater, and satire. Hizbullah appears to equate modernity with European art forms rather than indigenous forms. In its ideology and politics, Hizbullah fluctuated between Islamism and post-Islamism. While in its performing arts, Hizbullah conveyed a post-Islamist face legitimized by the principle of maslaha (public interest). Full article