"Amor de don Perlimplín con Belisa en su jardín": una obra teatral satírica

El componente satírico es una constante en el teatro de Federico García Lorca, en el que coexisten, en mayor o menor medida, dependiendo de la obra en cuestión, lo cómico y lo serio, ambas vertientes intrínsecas a la sátira. Dicha combinación, así como el innegable aspecto crítico, inherente a la obra lorquiana, identifican a este autor con la figura del satírico. García Lorca lleva a cabo su crítica sirviéndose del humor, que oscila entre lo puramente jocoso y el humor negro, y se manifiesta mediante el empleo de técnicas tradicionales de la sátira, con idéntico propósito al del satírico: degradar a su objeto de ataque suscitando sonrisa o repulsa. Este artículo analiza en clave de sátira Amor de don Perlimplín con Belisa en su jardín, identificando el objeto de ataque de la sátira lorquiana en esta obra y las técnicas satíricas empleadas por su autor.

The History of Arsaces, Prince of Betlis

Recounting the eventful travels of Selim, an intrepid young Arab who runs away from his parental home to learn about the world, The History of Arsaces, Prince of Betlis (1774) by the Co. Limerick-born Charles Johnston (c.1719–c.1800) is an inventive mixture of fictional genres and styles: romance, satire, sentimental narrative and oriental fantasy. The novel appeared at a politically charged moment, on the eve of the American revolutionary war and in the aftermath of the Bengal famine of 1769–70, world events that were linked by the nefarious operations of the ubiquitous East India Company. These momentous occurrences, polarising public opinion and stimulating Irish patriot sympathies in the mid-70s, provide the undercurrent to Johnston’s thoughtful examination of war, commerce, and empire through the lens of a fictional ‘history’. Enclosing a series of tales within tales, Johnston’s oriental romance offers its readers a remarkable concoction of Gulliver-inspired fantasy, political satire and moral reflection, played out within an expansive historical and geographical setting. As the Monthly Review, or, Literary Journal commented on its first appearance in 1774, The History of Arsaces provided ‘striking intimations, of the utmost national importance, with respect to over-grown empire, and colony connexions’.

Post tenebras spero lucem : Alquimia y ritos en el Quijote y otras obras cervantinas

This study focuses on two areas: alchemy (Part I) and rituals of initiation (Part II) in the works of Miguel de Cervantes, focusing on Don Quijote de la Mancha as my main case study. The first part analyses the function of alchemy and how it can be interpreted throughout the works and various literary genres of Cervantes. It will demonstrate that the texts of Cervantes contain both explicit and implicit allusions to, as well as different aspects of alchemy, such as operative and spiritual alchemy and how these are ultimately used by Cervantes as a means of expression. The author draws from this rich source and modifies these means of expression in order to achieve various results: sometimes with wit or in relation to fraud; at other times it focuses on inner alchemy relating to chivalry in what I have called spiritual chivalry, which has the aim of self-improvement and ultimately, gnosis. Regarding the chivalric rituals of initiation, according to this investigation chivalry serves as both satire and representation of the alchemical process in the case of Don Quijote, which finds its key moments during the rituals. In this sense alchemy and chivalry are studied as two sides of the same coin, in which the search for something higher, an object (the philosopher stone, the beloved), subjects the protagonist to continuous transmutations and puts him in contact with the transitory, that is, liminal states, people and spaces. From this perspective Don Quixote de la Mancha is built upon liminal poetics. My approach, which follows the tenets of analogical hermeneutics, is included within the framework of the Western Esotericism Studies. The 16th and 17th centuries were a fertile age for alchemy throughout Europe. In Spain, alchemy and other esoteric disciplines co-existed with the Spanish Inquisition and its body for the control of ideas and texts: censorship. By being ambiguous and putting into dialogue different ideas of alchemy, Cervantes not only allowed readers to reach their own conclusions, he also protected his work from censorship.

Pyramus and Thisbe 4 You or a "Wondrous Strange" Tale of Contemporary Romanian Theatre

Like its title, Pyramus and Thisbe 4 You, Alexandru Dabija’s production at the Odeon Theatre, Bucharest, was a tongue-in-cheek invitation to the audience that at once aimed to tease past and recent Romanian endeavours and to tease out the stage potential a Shakespeare play holds today. My examination of the production re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with. Take 1, an all-female version casting the mature stars of the Odeon, I read against both Elizabethan all-male stage practice and Andrei Serban’s all-female Lear at the Bulandra (2008). Take 2, “an old device” (V.1.50): a teacher-student “devising” session at the Academy of Theatre and Cinema, I read against critics’ “more strange than true” (V.1.2) parlance on “theories of perception and reception” and against hi-tech Shakespeare dominating the Romanian stages in the first decade of the third millennium. Take 3, local political banter on ethnic discrimination, I read as “satire keen and critical” (V.1.54) on both communist censorship and the recent rise of nationalism in Romania. Take 4, a “cold” reading-cum-improvisation performed by the technical crew – this production’s mechanicals – I read as “palpable-gross play” (V.1.376) on both acting and spectating practices. What I argue in this article is that Dabija’s production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare’s cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing.

Adaptive Crowd Algorithms for Open-Ended Problems

Thesis (Ph.D.)--University of Washington, 2016-06

Ageing and Imperial Mobility in the British Novel, 1845–1945

Thesis (Ph.D.)--University of Washington, 2016-08

A crítica às mulheres no fr. 7 de Semónides de Amorgos

O poema de Semónides de Amorgos sobre as mulheres (Fr. 7 West) é o mais extenso fragmento preservado da poesia iâmbica grega da época arcaica. Nele o poeta apresenta uma reflexão pessimista de cariz misógino sobre o carácter feminino, numa narrativa original que cataloga dez tipos de mulher, oito baseadas em modelos animais (a porca, a raposa, a cadela, a burra, a doninha, a égua, a macaca e a abelha) e dois em elementos da natureza (a terra e o mar). Pretende-se demonstrar, neste estudo, que essa caracterização tipológica era inovadora e respondia a uma dupla finalidade: satírica e humorística. Uma vez que o poema se destinaria a um contexto simpótico, um espaço tipicamente masculino, a mulher e a sua natureza constituiriam uma temática que levaria o homem a reflectir, de um modo simultaneamente sério e divertido, sobre a sua própria condição.

Ochrona czci człowieka a satyra i karykatura jako element wolności sztuki – rozważania na gruncie polskiego i niemieckiego prawa karnego

Cześć człowieka jako dobro szczególnie często naruszane bez wątpienia zasługuje na ochronę w świetle prawa karnego. Z drugiej strony, każdemu człowiekowi przysługuje wolność swobody wypowiedzi, w tym artystycznej, która może się przejawić w formie satyry i karykatury. Rodzi się zatem pytanie, gdzie należałoby postawić granicę, ażeby wolność ta mogła być realizowana bez uszczerbku dla czci człowieka. W niemieckim kodeksie karnym tę kwestię reguluje § 193 StGB, który stanowi o ,,zachowaniu uprawnionych interesów”. Przepis ten jest swoistym rodzajem kontratypu, który pozwala przy spełnieniu szeregu warunków, na nieponiesienie odpowiedzialności karnej przez osobę która wygłasza wypowiedzi, mogące naruszyć cześć człowieka. Do warunków tych doktryna niemiecka zalicza także działanie w ramach wolności artystycznej.

"The Emperor of the Moon" (1687) d'Aphra Behn : contribution dramatique au débat scientifique et littéraire sur la pluralité des mondes

International audience

Apuntes acerca de la ironía y otras variantes humorísticas

La ironía como figura retórica es un asunto de particular riqueza en los estudios literarios. En este artículo se analiza un conjunto de causas que podrían explicar el concepto de ironía y sus correspondencias con la sátira, la parodia y la comicidad.Irony as a rhetorical figure is of particular interest in literary studies. Here a number of causes are analyzed which could explain the concept of irony and its correspondences with satire, parody and humor.

Sustainability or climate change? An ecocritical analysis of Ian McEwan’s Solar :

This essay is an ecocritical literary analysis of the novel Solar. The aim is to investigate the effect on the reader of the main characters, place, symbols and satire with focus on climate change and sustainability. The protagonist Michael Beard, a despicable, selfish antihero, consumes everything and everybody whereas Tom Aldous, the heroic character, is devoted to a life of sustainability. Beard represents the greedy capitalistic Western consumer society and its male leaders who close their eyes to the warnings of a changing climate, and Aldous represents the sustainable and alternative lifestyle. Humor and ridicule exhibits the weaknesses and greed of mankind in a satirical way. Symbols like cancer and the Co2 emitting transport system symbolize overconsumption and a stressed globe. The effect on the reader is a reflection about the ongoing struggle between climate change and sustainability and the demand for a change towards a sustainable lifestyle.

Incidente em Antares e O cão e Os caluandas : Literatura brasileira e angolana na perspectiva da sátira menipeia

Esta pesquisa estuda Incidente em Antares, de Erico Veríssimo, e O cão e os caluandas, de Pepetela, na perspectiva da sátira menipeia. Para além da biografia dos autores, busca-se discutir as origens do gênero da menipeia, recuperando o seu mais importante representante - Luciano de Samósata. É, porém, sob a teoria de Mikhail Bakhtin que se analisam as obras dos escritores brasileiro e angolano. Quer-se verificar a presença de específicas características da sátira menipeia, as quais são o carnaval e o riso ritual, a paródia, a liberdade imaginativa, o fantástico e seus desdobramentos, as cenas excêntricas, os contrastes, a polifonia, a utilização de gêneros intercalados e a chamada publiscística atualizada. No último capítulo há uma observação sociológica das obras, o que permite pensá-las como um retrato das sociedades a que os autores se referem. ABSTRACT: This research studies Incidente em Antares, by Erico Veríssimo, and O cão e os caluandas, by Pepetela, in the perspective of the menippean sati.re. Besides de authors' biography, it tries to discuss the origin of the genre, recovering its most important representative - Luciano de Samosata. However, the search analyses the works of the Brazilian and Angolan writers upon the theory of Mikhail Bakhtin. lt intends to verify the presence of the specific characteristics of the menippean satire, which are: carnival and the ritual Iaughting, parody, imaginative freedom, the fantastic and its unfolding, eccentric scenes, contrasts, polyphony, intercalary genres and the up-to-date publiscistic. ln the last chapter there is a sociologic observation concerning the works, which allow thinking about them as a portrait of the societies that the authors want to discuss.