?????

????? ( ?????? : Satire ) ???? ?????, ??????? ??? ??????? ???? ??? ????? ???????? ??????????? ???? ??? ?? ????? ?-??????????? ????, ?'? ??-??????, ????????, ????-?????, ??????? ???????? ????? ??? ???? ??????? ???????, ????, ????? ?? ????? ?????? ?????????? ??????? ??? ??????? ????? ????? ?????? ?????? ???? ?????? ????????? ^[1] ???? ????? ???????? ???????????? ???? ???? ???, ????? ??????? ???????? ??????? ??????? ??????? ????????? ????? ????? ??? ?????? ??????? ?????? ????? ?????? ?????? ?????? ???????????? ??????? ??? ????

??????? ??????? ?????? ?????? ?????????? ??? ????????? ?'? ????????? ??????? ?? ???????; ?????? ????"??????, ??????? ???? ?????"? ^[2] ?????? ???'??, ?????????, ????????, ^[3] ?????, ????- ?? ??????? ????????? ??????? ??? ????? ????? ?????? ??????? ??? ????

????????? ???, ???????, ???? , ?????????, ?????, ????????? ??? ????????? ????????, ???? ???? ??? ?????? ??? ????? ??????? ??????????? ????? ???? ?????

????? ?????? ????? ???? satur ??? ??????? ???????? lanx satura ? ??? ??????[4]

????? ?????? ??? ????????? ?????? ????; ^[4] ????? ??? ??????? ????? ??? ????? "?????????" ???? ???????? ????????? ????? ????? ??????? ???? ???????, ???? ???????, ???? ?? ?????? ??? ?????? "?????????" ?????? ??????????? ????? ???? ??????? ? ???????, ???'??, ??? ?????????? ????????? ????? ??????? ????

??????? ???????? ????? ??? ???????? ???? ???? ??????? ??????? ??????? ??? ?????? ???? ??? ????, ???? ???? ???????? ??????? ????? ???? ^[5] ????? ??? ???? ??????? ??????? ?????? ??????? ??????? ???????????? ?????? ???? ????? ???? ???????? ??? ???? ??? ????? ??????? ??????? ?????? ?????? ???? ^[6]^[7] ??????? ????? ?????? ?????? ?? ????????? ??? ??????????? ??? ???????? ??????? ???? ???? ???? ?????? ^[5]^[8]^[9]^[10] ??????? ?????? ??? ??????? ??????? ???????? ???????? ??????? ?????? ??????? ??? ??????? ??? ????? ???????? ????? ??????’?????? ????????? ??? ?????? ??????? ^[11]^[12]

???????????? ?????? ???????, ????????, ???? ??? ???????? ??????? ??????? ???????? ??????? ??????????? ??? ?? ????? ???? ???????? ????????????? ???? ??? ?????? ^[13] ?????? ????????? ??? ??????? ??????????? ???????? ???? ???? ??? ?????????? ???????????? ???? ??????? (????????, ?????????, ???????, ??????? ?? ????) ????? ?????? ?????? ????? ?????????????, ? ???????????? ???? ???????? ?????? ??????, ?????? ?????? ?? ????????? ?????? ????? ???? ?????? ??? ???? ?????? ??? ???????? ????? ?????? ?????? ?????? ????? ??????????? ????? ^[14] ????? ??????? ?????? ??????? ??????? ???????? ???????? ???? ????????? ??????? ?? ??????? ?????? ???? ??????? ^[15]

????????? [ ???????? ??? ]

↑ Elliott 2004 .
↑ Frye, Northrup (1957). Anatomy of Criticism . ??????? Princeton, NJ: Princeton UP. ??????. 222 . ISBN 0-691-06004-5 . https://archive.org/details/anatomyofcritici0000frye .
↑ Claridge, Claudia (2010) Hyperbole in English: A Corpus-based Study of Exaggeration p.257
↑ Corum 2002 , ??????. 175 .
↑ ^5.0 ^5.1 Rosenberg, Harold (1960), "Community, Values, Comedy", Commentary (The American Jewish Committee ) ???? 30 : 155, "the oldest form of social study is comedy... If the comedian, from Aristophanes to Joyce, does not solve sociology's problem of "the participant observer", he does demonstrate his objectivity by capturing behavior in its most intimate aspects yet in its widest typicality. Comic irony sets whole cultures side by side in a multiple exposure (e.g., Don Quixote, Ulysses ), causing valuation to spring out of the recital of facts alone, in contrast to the hidden editorializing of tongue-in-cheek ideologists."
↑ Deloria, Vine (1969), "Indian humor" , Custer Died For Your Sins: An Indian Manifesto , p. 146, ISBN 9780806121291 , https://books.google.com/books?id=eeIazzLJChMC&pg=PA146 , "Irony and satire provide much keener insights into a group's collective psyche and values than do years of [conventional] research" as quoted in Ryan, Allan J (1999), The trickster shift: humour and irony in contemporary native art , p. 9, ISBN 9780774807043 , https://books.google.com/books?id=EwEDxskm3ycC&pg=PA9
↑ Nash, Roderick Frazier (1970), "21. The New Humor", The Call of the Wild: 1900?1916 , p. 203, "Humor is one of the best indicators of popular thought. To ask what strikes a period as funny is to probe its deepest values and tastes."
↑ Babcock, Barbara A. (1984), "Arrange Me Into Disorder: Fragments and Reflections on Ritual Clowning", in MacAloon, Rite, Drama, Festival, Spectacle . Also collected as Babcock, Barbara A Grimes (1996), Ronald, L, ed., Readings in ritual studies , p. 5, ISBN 9780023472534 , https://books.google.com/books?id=FKZMAAAAYAAJ , "Harold Rosenberg has asserted that sociology needs to bring comedy into the foreground, including "an awareness of the comedy of sociology with its disguises", and, like Burke and Duncan, he has argued that comedy provides "the radical effect of self- knowledge which the anthropological bias excludes."
↑ Coppola, Jo (1958), "An Angry Young Magazine ..." (en ?????), The Realist (1) , http://www.ep.tc/realist/01/02.html , "Good comedy is social criticism?although you might find that hard to believe if all you ever saw were some of the so-called clowns of videoland.... Comedy is dying today because criticism is on its deathbed... because telecasters, frightened by the threats and pressure of sponsors, blacklists and viewers, helped introduce conformity to this age... In such a climate, comedy cannot flourish. For comedy is, after all, a look at ourselves, not as we pretend to be when we look in the mirror of our imagination, but as we really are. Look at the comedy of any age and you will know volumes about that period and its people which neither historian nor anthropologist can tell you."
↑ Coppola, Jo (December 12, 1958). Comedy on Television . Commonweal. ??????. 288.
↑ Willi, Andreas (2003), The Languages of Aristophanes: Aspects of Linguistic Variation in Classical Attic Greek , Oxford University Press, pp. 1?2, ISBN 9780199262649 , https://books.google.com/books?id=vzMqorCIh4cC&pg=PA1
↑ Ehrenberg, Victor (1962), The people of Aristophanes: a sociology of old Attic comedy , p. 39 , https://books.google.com/books?id=oikOAAAAQAAJ&pg=PA39
↑ Bevere, Antonio and Cerri, Augusto (2006) Il Diritto di informazione e i diritti della persona pp.265?6 quotation:
nella storia della nostra cultura, la satira ha realizzato il bisogno popolare di irridere e dissacrare il gotha politico ed economico, le cui reazioni punitive non sono certo state condizionate da critiche estetiche, ma dalla tolleranza o intolleranza caratterizzanti in quel momento storico la societa e i suoi governanti. (...) la reale esistenza della satira in una societa deriva, (...) dal margine di tolleranza espresso dai poteri punitivi dello Stato.
↑ Amy Wiese Forbes (2010) The Satiric Decade: Satire and the Rise of Republicanism in France, 1830?1840 p.xv , quotation:
a critical public discourse (...) Satire rose the daunting question of what role public opinion would play in government. (...) satirists criticized government activities, exposed ambiguities, and forced administrators to clarify or establish policies. Not surprisingly, heated public controversy surrounded satiric commentary, resulting in an outright ban on political satire in 1835 (...) Government officials cracked down on their humorous public criticism that challenged state authority through both its form and content. Satire had been a political resource in France for a long time, but the anxious political context of the July Monarchy had unlocked its political power.
Satire also taught lessons in democracy. It fit into the July Monarchy's tense political context as a voice in favor of public political debate. Satiric expression took place in the public sphere and spoke from a position of public opinion-that is, from a position of the nation’s expressing a political voice and making claims on its government representatives and leadership. Beyond mere entertainment, satire's humor appealed to and exercised public opinion, drawing audiences into new practices of representative government.
↑ Knight, Charles A. (2004) Literature of Satire p.254

[FOOTNOTEElliott2004-1] Elliott 2004 .

[2] Frye, Northrup (1957). Anatomy of Criticism . ??????? Princeton, NJ: Princeton UP. ??????. 222 . ISBN 0-691-06004-5 . https://archive.org/details/anatomyofcritici0000frye .

[Claridge2010p257-3] Claridge, Claudia (2010) Hyperbole in English: A Corpus-based Study of Exaggeration p.257

[FOOTNOTECorum2002[https://books.google.com/books?id=ikGt9gkXv74C&pg=PA175_175]-4] Corum 2002 , ??????. 175 .

[Rosenberg1960p155-5] 5.0 ^5.1 Rosenberg, Harold (1960), "Community, Values, Comedy", Commentary (The American Jewish Committee ) ???? 30 : 155, "the oldest form of social study is comedy... If the comedian, from Aristophanes to Joyce, does not solve sociology's problem of "the participant observer", he does demonstrate his objectivity by capturing behavior in its most intimate aspects yet in its widest typicality. Comic irony sets whole cultures side by side in a multiple exposure (e.g., Don Quixote, Ulysses ), causing valuation to spring out of the recital of facts alone, in contrast to the hidden editorializing of tongue-in-cheek ideologists."

[Deloria69p146-6] Deloria, Vine (1969), "Indian humor" , Custer Died For Your Sins: An Indian Manifesto , p. 146, ISBN 9780806121291 , https://books.google.com/books?id=eeIazzLJChMC&pg=PA146 , "Irony and satire provide much keener insights into a group's collective psyche and values than do years of [conventional] research" as quoted in Ryan, Allan J (1999), The trickster shift: humour and irony in contemporary native art , p. 9, ISBN 9780774807043 , https://books.google.com/books?id=EwEDxskm3ycC&pg=PA9

[Nash1970p203-7] Nash, Roderick Frazier (1970), "21. The New Humor", The Call of the Wild: 1900?1916 , p. 203, "Humor is one of the best indicators of popular thought. To ask what strikes a period as funny is to probe its deepest values and tastes."

[Babcock1984-8] Babcock, Barbara A. (1984), "Arrange Me Into Disorder: Fragments and Reflections on Ritual Clowning", in MacAloon, Rite, Drama, Festival, Spectacle . Also collected as Babcock, Barbara A Grimes (1996), Ronald, L, ed., Readings in ritual studies , p. 5, ISBN 9780023472534 , https://books.google.com/books?id=FKZMAAAAYAAJ , "Harold Rosenberg has asserted that sociology needs to bring comedy into the foreground, including "an awareness of the comedy of sociology with its disguises", and, like Burke and Duncan, he has argued that comedy provides "the radical effect of self- knowledge which the anthropological bias excludes."

[Coppola-9] Coppola, Jo (1958), "An Angry Young Magazine ..." (en ?????), The Realist (1) , http://www.ep.tc/realist/01/02.html , "Good comedy is social criticism?although you might find that hard to believe if all you ever saw were some of the so-called clowns of videoland.... Comedy is dying today because criticism is on its deathbed... because telecasters, frightened by the threats and pressure of sponsors, blacklists and viewers, helped introduce conformity to this age... In such a climate, comedy cannot flourish. For comedy is, after all, a look at ourselves, not as we pretend to be when we look in the mirror of our imagination, but as we really are. Look at the comedy of any age and you will know volumes about that period and its people which neither historian nor anthropologist can tell you."

[10] Coppola, Jo (December 12, 1958). Comedy on Television . Commonweal. ??????. 288.

[Willi2003p1-11] Willi, Andreas (2003), The Languages of Aristophanes: Aspects of Linguistic Variation in Classical Attic Greek , Oxford University Press, pp. 1?2, ISBN 9780199262649 , https://books.google.com/books?id=vzMqorCIh4cC&pg=PA1

[Ehrenberg1962p39-12] Ehrenberg, Victor (1962), The people of Aristophanes: a sociology of old Attic comedy , p. 39 , https://books.google.com/books?id=oikOAAAAQAAJ&pg=PA39

[Bevere2006p265-13] Bevere, Antonio and Cerri, Augusto (2006) Il Diritto di informazione e i diritti della persona pp.265?6 quotation:
nella storia della nostra cultura, la satira ha realizzato il bisogno popolare di irridere e dissacrare il gotha politico ed economico, le cui reazioni punitive non sono certo state condizionate da critiche estetiche, ma dalla tolleranza o intolleranza caratterizzanti in quel momento storico la societa e i suoi governanti. (...) la reale esistenza della satira in una societa deriva, (...) dal margine di tolleranza espresso dai poteri punitivi dello Stato.

[WieseForbes2010p.xv-14] Amy Wiese Forbes (2010) The Satiric Decade: Satire and the Rise of Republicanism in France, 1830?1840 p.xv , quotation:
a critical public discourse (...) Satire rose the daunting question of what role public opinion would play in government. (...) satirists criticized government activities, exposed ambiguities, and forced administrators to clarify or establish policies. Not surprisingly, heated public controversy surrounded satiric commentary, resulting in an outright ban on political satire in 1835 (...) Government officials cracked down on their humorous public criticism that challenged state authority through both its form and content. Satire had been a political resource in France for a long time, but the anxious political context of the July Monarchy had unlocked its political power.
Satire also taught lessons in democracy. It fit into the July Monarchy's tense political context as a voice in favor of public political debate. Satiric expression took place in the public sphere and spoke from a position of public opinion-that is, from a position of the nation’s expressing a political voice and making claims on its government representatives and leadership. Beyond mere entertainment, satire's humor appealed to and exercised public opinion, drawing audiences into new practices of representative government.

[Knight2004p254-15] Knight, Charles A. (2004) Literature of Satire p.254

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