Pub Date : 2021-01-13DOI: 10.1108/978-1-83909-666-220211006
D. Declercq
{"title":"Conclusion","authors":"D. Declercq","doi":"10.1108/978-1-83909-666-220211006","DOIUrl":"https://doi.org/10.1108/978-1-83909-666-220211006","url":null,"abstract":"","PeriodicalId":298008,"journal":{"name":"Satire, Comedy and Mental Health: Coping with the Limits of Critique","volume":"219 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130439583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-13DOI: 10.1108/978-1-83909-666-220211007
{"title":"Index","authors":"","doi":"10.1108/978-1-83909-666-220211007","DOIUrl":"https://doi.org/10.1108/978-1-83909-666-220211007","url":null,"abstract":"","PeriodicalId":298008,"journal":{"name":"Satire, Comedy and Mental Health: Coping with the Limits of Critique","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124786972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-13DOI: 10.1108/978-1-83909-666-220211001
D. Declercq
Satire is infamously varied. The origins of the label date back to Roman times, as a classification for disgruntled verses by poets like Horace and Juvenal. Yet, although the Roman orator Quintilian tried to claim satire as “wholly ours” (satura tota nostra est), satire is clearly not limited to ancient Rome. Just think of Margaret Atwood’s The Handmaid’s Tale, Jane Austen’s Pride and Prejudice, Jimi Hendrix’s “Star-Spangled Banner” (performed at Woodstock), Full Frontal with Samantha Bee, Pussy Riot, Guerrilla Girls, Paul Beatty’s The Sellout, Jordan Peel’s Get Out, Aravind Adiga’s The White Tiger, Daliso Chaponda’s stand-up comedy…
讽刺作品的多样性是出了名的。这个标签的起源可以追溯到罗马时代,当时是对贺拉斯(Horace)和尤维纳利斯(Juvenal)等诗人不满的诗句的分类。然而,尽管罗马演说家昆提连试图宣称讽刺是“完全属于我们的”(satura tota nostra est),讽刺显然并不局限于古罗马。想想玛格丽特·阿特伍德的《女仆的故事》、简·奥斯丁的《傲慢与偏见》、吉米·亨德里克斯的《星条旗永不飘扬》(在伍德斯托克音乐节上演出)、萨曼莎·比的《全面正面》、Pussy Riot、Guerrilla Girls、保罗·比蒂的《背叛》、乔丹·皮尔的《逃出绝命镇》、阿拉文德·阿迪加的《白虎》、达利索·查邦达的单口喜剧……
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