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A more or less disconnected series of observations regarding the underlying principles of New Hampshire politicians and more especially the application of those principles to the biennial sessions of the state legislature. cf. Introd. ; Mode of access: Internet.

Political satire is a complex form of political discourse that is evident in democratic media systems across the globe. Its diversity has led many to argue that it is impossible to put forward a proper definition that encompasses all of its seemingly infinite permutations, and all extant attempts to define this unwieldy concept have been met with much criticism. Not one communicative act can be studied and understood properly without being well defined. Studies of political satire are on the rise and much knowledge has been generated over the last decade. However, these lines of research will fall into stagnation if the central communication construct driving these efforts is not explicated with the necessary precision. This essay offers a comprehensive definition of political satire in an effort to create a foundation from which this area of study can continue to flourish. ; Klein College of Media and Communication ; Communication and Social Influence

Intro -- The Environmental Alarmist -- The Environmental Alarmist -- PART ONE -- Chapter One -- Chapter Two -- Chapter Three -- Chapter Four -- Chapter Five -- Chapter Six -- Chapter Seven -- Chapter Eight -- PART TWO -- Chapter Nine -- Chapter Ten -- Chapter Eleven -- Chapter Twelve -- Chapter Thirteen -- Chapter Fourteen -- PART THREE -- Chapter Fifteen -- Chapter Sixteen -- Chapter Seventeen -- Chapter Eighteen -- Chapter Nineteen -- Chapter Twenty -- Epilogue -- Acknowledgements -- About the Author.

The previous excerpt is taken from a column by Syrian journalist Hakam al-Baba, published in the London-based Pan-Arab newspaper al-Quds al-ʿArabi. Al-Baba, a middle-aged Syrian journalist known for his biting sarcasm, has written some of the most perceptive critiques of Syrian and Arab media, including a famous 2005 article in the Syrian daily Tishreen, in which he relates his experience of harassment by the mukhābarāt. In the excerpted column, al-Baba uses the raging Pan-Arab controversies over reality TV for a critique of Arab political dependence on the United States.

This course demonstrates how to conduct historical research through a case study of a nineteenth-century work of British political satire, "The Egyptian Red Book." It examines how to categorize historical documents, how to identify images of unknown figures, and how to decode satire from a different historical period. It will introduce a variety of research techniques used by historians as well as a number of resources available at research libraries.

Political satire is an implied freedom enumerated in the first amendment of the Constitution. As a form of political speech, it falls under the category of the most protected form of expression. Now that I've got your attention, I can go ahead with the rest of my project. This is a journalistic study of the people who used their freedom of speech to openly criticize the government. More specifically, it's about the people who openly criticized the government and then became famous for it. Of course, there's many ways to criticize, many platforms, many audiences, many influences as well. What my project sets out to do is to sort out the various aspects of American political satire; dividing this form of humor into six subsets; famous quotes, the early 20th century, stand-up comedy, television, music and the web. I carry this out through a series of TV packages, emulating a news reporter who does a series of enterprise stories on the same subject. Creating these arbitrary subdivisions allowed me to classify and organize my project so that it could come across as a cogent argument. This made more sense to me than doing a series of stories on my favorite aspects of political satire, or even worse, a 40-page paper. Clearly defining my focus was instrumental in making this project palatable to put together, and hopefully enjoyable for the viewer. This greater focus came with a price. The constant process of narrowing down and streamlining led to much of America's satirical content being left out of the project. With this in mind, I hope the satire neophyte viewing this project does not come away with the impression that the Smothers Brothers, Jon Stewart and Steven Colbert were the only TV satirists. I do hope newcomers to satire choose to view my project as an introduction to the genre of humor, as a sort of conversation starter. Throughout my time at Newhouse I've made a concerted effort to treat each of my journalism projects as learning experiences, to the viewer and me. I want people to come away from this capstone project with a greater understanding of a subject I've come to love. A subject that has influenced every word you're about to hear, and every image you're about to see. Looking back on this project I'm pleasantly surprised with how it turned out, both on the research side and the technical side. With regards to the former, I learned a lot of things about political satire that I didn't know before; and I love political satire. As for the latter, the six mini-projects turned into a sort of editorial etude. Each of them ended up emphasizing a certain skill: sound-mixing for the musical satire project, parallel writing structure for the TV piece, and logging tape for the great quotes piece to name a few. In the end this project is a worthy exemplification of my lifelong infatuation with political satire. I'm grateful to have been able to engage in a project that I enjoyed. It was laborious, informative, stressful and fulfilling at the same time. A final benefit is this: regardless of how difficult the project became, I was always working with comedic material. In other words, no matter how angry the project may have made me, it also always found a way to make me laugh. I sincerely hope you feel the same having viewed my project.

Seba Smith invented "Major Jack Downing" in 1830 and with his later imitator, Charles Augustus Davis, found an effective way to attack a popular hero by means of political satire.

Political satire has had a prominent part to play in the social and political sphere of journalism in Iran since the appearance of an independent press in the country at the beginning of the twentieth century. This paper examines the problems of political satire in the Iranian press during the 2000s with respect to their historical context during the past century. The paper argues that, addressing the essential relationship between satire and criticism, and the primary role that criticism has in the freedom of press, what happened to political satire and satirists in Iran can be seen as an index of the freedom of the press and journalistic expression for an era.

The Decorruption is a feature-length fiction film directed by Mar(&)#237;a Garc(&)#237;a, made as partof the requirements for earning a Master of Fine Arts in Entrepreneurial Digital Cinema from the University of Central Florida. The film is a political satire, which tells the story of a country plagued by corruption, where a rebellious government employee discovers that death is the only solution to the problem, so she sets out on a killing spree against the corrupt.The film was produced on a microbudget (under $50,000) level, following the program's guidelines. It was shot in Ecuador with non-professional actors and a minimalistic production style. This thesis is a record of the film's progression from development to picture lock, in preparation for distribution. ; 2013-12-01 ; M.F.A. ; Arts and Humanities, Visual Arts and Design, Schl of ; Masters ; This record was generated from author submitted information.

This article examines the use of the Roman satiric dialogue in eighteenth-century political verse. It studies partisan satires that pit their speakers against a cautionary interlocutor (adversarius) in imitation of Horace's Satire 2.1 and Persius' Satire 1. It begins with an overview of Pope's use of the dialogue form in his Imitations of Horace, and his shift in the later 1730s to a model of antagonistic encounter between ideological opponents in the style of Persius. Its main body is an examination of later eighteenth-century satires that find alternative political uses for Persius' dialogue form to those of Pope and the Whig Patriot satirists who followed his lead. It studies Thomas Newcomb's inversion of Pope's Epilogue to the Satires for the purposes of ministerial propaganda; Charles Churchill's variations on the dialogue form under the banner of Wilkesite opposition; and Peter Pindar's comic burlesque of the traditional postures of dialogic satire in One Thousand Seven Hundred and Ninety-Six. The article reveals the Roman dialogue to have been a distinctively flexible framework for eighteenth-century satirists, capable of accommodating positions and arguments on both sides of the partisan divide.

This thesis examines Donald Trump's disruption of political satire. The history and format of the White House Correspondents' Dinner provides a framework for understanding the shifting relationship between the president's administration, the journalists who cover that administration, and political comedians. These three groups cross paths at the White House Correspondents' Association's annual dinner, which the president traditionally attends and where a headlining comedian entertains guests with a monologue. Trump's decision to skip the Correspondents' Dinner set the stage for a renegotiation of the traditional relationship between president, press, and performer. As President Trump continues to attack both journalists and late-night hosts, the two groups continue to discover common ground. The work of comedians looks increasingly like news reporting, and late-night shows have developed a format based on extensive research and journalistic storytelling. These comedians, however, insist they are only comedians, and dismiss the idea that they are responsible for any political outcomes. Controversy surrounding the 2018 Correspondents' Dinner centered on this question of the role of comedy. Tracing the history of the 2006, 2011, and 2017 Correspondents' Dinners provides a context for examining Michelle Wolfs consequential monologue at the 2018 Correspondents' Dinner, which highlighted both the potential and the limitations of political satire in Donald Trump's political world.