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A French television program using puppets for political satire is discussed and its instructional applications are examined. (MSE)

Discusses the problem of the British student of French confronted with French humor in classic and modern French literature. (AM)

The special status of satire in France is examined historically from the French Revolution to the Fifth Republic. It is argued that satire in France functions with a normative reference to the secular, universalist Jacobin values (hostile to church, aristocracy, and monarchy) that underpinned the foundation of the French Republic. Since the French Revolution, French journalistic satire has, in different ways, perpetrated what can broadly be categorized as either lèse majesté or blasphemy. Given France's turbulent history over the past two centuries, satire has frequently been used as an instrument to reaffirm the Republic's values vis-à-vis authoritarian regimes with different characteristics. The symbolic connection between satire and the French Republic's founding mythology has conferred upon the idiom a special status that endures today. The Fifth Republic, however, has presented a unique challenge to satire because of its authoritarian institutional character with personal power in the hands of the head-of-state. Three case studies are examined: the newspapers Le Canard Enchaîné and Charlie Hebdo and the satirical television program Les Guignols de l'Info. Today satire has found expression on online social networks in the form of memes, gifs, and videos. This marks a shift from satire produced by journalistic elites to more diffused and socially distributed satirical mockery. [ABSTRACT FROM AUTHOR]

Later Stuart Britain is well known as an age of political satire. Scholars have generally approached this as an English-language phenomenon, but there was also a significant strand of satiric verse written in Latin, Britain's second literary language. This article examines the nature and significance of political satire in Latin in this period. Latin satire appeared in many forms and genres, including epigrammatic, lapidary, hexameter and rhyming verse. Like English-language satire, most Latin satire circulated in manuscript rather than print. Although it had elite authors and readers, some Latin satires reached a substantial audience, assisted by the prevalence of short poems and their circulation alongside English translations. As Latin was Europe's main international language, satires also flowed across borders, especially with France and the Dutch republic. Latin satires took diverse political perspectives, including royalist and oppositional, Tory and Whig, Jacobite and Williamite, and appeared throughout the later Stuart period. [ABSTRACT FROM AUTHOR]

The article informs about fashions dubbed "a la Franklin" and "a la Philadelphie" in Prerevolutionary France, and Benjamin Franklin and it's influential roles was that of fashion icon. Topics include homespun image was carefully calculated for maximum political gain, Franklin was baffled by the proliferation of pictures; and economic historian Daniel Roche has pointed out, the story of eighteenth-century fashion is the story of the Enlightenment.

Copyright of Doxa / Doksa is the property of I. I. Mechnikov Odessa National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Doxa / Doksa is the property of I. I. Mechnikov Odessa National University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article studies the progress of sports media coverage through a new form of headline treatment: parody. It presents the analysis of a corpus including the "best of" from the satiric program Les Guignols de l'Info. This program has been broadcast each evening on the French television channel Canal+ since 1989. The study is based on 265 sketches from 1990 to 2006 and asks the central questions of caricatures in the sports world: what they represent and what they assess. A list of appearances of the various puppets on the show is presented. The central figure of the sports world at Les Guignols de l'Info is the champion who is finally judged--through his or her different attributed caricature traits--on the core value of his or her authenticity. Although it criticizes the world of sports, Les Guignols redeems these sport champions. [ABSTRACT FROM AUTHOR]

Restoration-era discourse on the montagnes russes--early roller coasters--reveals how leisure activity could become a lightning rod for perspectives on public space, tensions among social groups, and expressions of patriotism. Eager to profit from the montagnes russes craze, boulevard theaters hosted a number of plays on the subject. Through the buffoonish character M. Calicot, one such comedy--entitled The Battle of the Mountains--caricatured young clothing-trade salesclerks who frequented roller-coaster parks. The play provoked the ire of some of these men, who "waged war" on the Variety Theater, where the play was performed. The conflict in turn sparked satires in print, visual, and other media. These cultural productions both reflected the short-lived mania for roller coasters and shaped attitudes in their own right, all while employing laughter to deal with postwar trauma. [ABSTRACT FROM AUTHOR]

The article demonstrates the French tradition of anarchic black humor that has lived on in such satirical comics magazines as "Charlie Hebdo (CH)." Topics covered include the genealogy of the troubled relationship between anarchy, oppression, and black humor in French comics, the different psychical purposes of black humor, and the treatment by CH of Islam that is consistent with its own leftist principles.

The article presents an overview of the satirical "Primer of French Journalism," by Heinrich von Kleist appropriates the form of the instruction manual to expose the process by which fake news is manufactured and disseminated in the media. The introduction part of the book explicates the design of a system that can be termed French journalism. Part 2, on the other hand, describes French journalism as the art of convincing the people of whatever the government considers good. Meanwhile, Part 3 of the book discusses the business of the government.

Although the Congress of Vienna was not a main topic for political caricature, it was anything but ignored. During the first five months of 1815, while monarchs and diplomats were deliberating on Europe's future, caricaturists in Great Britain, France and the German-speaking states depicted the Congress as a major or minor subject in 20 satirical prints. Together these caricatures provide a multi-perspectival view of the way contemporaries assessed the diplomatic deliberations taking place in Vienna. To obtain an insight into this important part of contemporary public opinion on the Congress, the corpus of graphic satire was submitted to close scrutiny in two ways. Firstly, a context analysis ascertained the artists who produced them; how the prints were published and brought to public attention; and for what audiences they were intended. Secondly, a content analysis explored the political messages that the caricatures on the Vienna Congress tried to convey and the persuasive techniques that were applied to visualise these points of view. Notwithstanding different national origins and opposite political views, the message is a negative one: the satires denounce the territorial greed of the Great Powers and their disregard for the demands and aspirations of the peoples they seek to incorporate. [ABSTRACT FROM AUTHOR]

Copyright of Contemporary French Civilization is the property of Liverpool University Press / Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the rhetoric of the French political dissent movement referred to as the anti-Sarko movement, which was comprised of elites who opposed the French President Nicolas Sarkozy, within French popular culture from 2007 through 2012. The anti-Sarko movement's use of humor to depict Sarkozy is discussed.

The poet François Maynard is remembered as a disciple of Malherbe, a one-time member of Théophile de Viau’s libertin entourage, and a master of the epigram. Yet he is also known for having abandoned Théophile during the latter’s trial in order to focus his efforts on his political career and on perfecting his poetry. The purpose of this article is to suggest that, contrary to the popular notion of a linear progression in Maynard’s life from a libertin to a devout statesman, Maynard was interested in pursuing political alliances before Théophile’s trial and fond of composing obscene and irreligious poetry long after Théophile’s death. Beginning with a description of the dominant discourse surrounding Maynard’s biography at the time of Théophile’s trial, this article presents neglected archival evidence attesting to Maynard’s earlier moves to ally himself with powerful families of Toulouse’s legal classes. It then explores Maynard’s apparently libertin poems, appearing in manuscripts unpublished during his lifetime, that were composed after Théophile’s trial. The article concludes by suggesting that Théophile’s trial may have led Maynard to restrict the dissemination of his libertin verse to manuscripts shared between trusted friends, but that it did not cause him to cease composing such poems entirely. [ABSTRACT FROM AUTHOR]

The anonymous pamphlet Conseil privé de Louis le Grand (1696) subjects French monarch Louis XIV to scathing ridicule and denunciation. Interestingly, however, the pamphleteer frames his critique of absolutist politics within an entertaining narrative that deploys tropes from contemporary literary genres such as the historical novella and the historico-satirical novel. A poetics of diversion subtends the work, readable at the level of the plot as well as in the satirical mechanism employed in the text: not only does the Conseil privé de Louis le Grand incorporate scenes focusing on courtly diversions, but it also diverts readers in a more literal way by transforming the monarch into a source of amusement. Absolutism becomes grist to the mill of pamphleteering, and the king a product of authorial fantasy. The pamphleteer figures Louis the Great’s privy council as a harem — a world of corruption, weakness, and ineptitude where the monarchy is painted in its imagined and unimaginable excesses. Studying this text through the lens of diversion offers a case study affirming the power of fiction as a weapon in the pamphleteer’s arsenal. [ABSTRACT FROM AUTHOR]

In this article I study the genesis of metaphors from an evolutionary perspective. Analyzing 414 cartoons published after the death of the cartoonists of the French satirical magazineCharlie Hebdo, I propose a metaphoric founder effect with the metaphors“PENCIL IS A WEAPON,” “PENCIL IS A CARTOONIST,”and“PENCIL IS FREEDOM,”and a subsequent metaphor drift that creates many related metaphors. Additionally, the success of these metaphors turns the pencil meme into a very efficient and fast-spreading item representing not only the work of cartoonists, but also the fundamental values of Western culture, such as freedom of expression. [ABSTRACT FROM PUBLISHER]

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Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the sexual revolution in humor in France during the 1970s. During the decade, magazines such as "Tintin" and "Pilote," which were meant for adolescent readers, were replaced by magazines targeted to a more adult public. Such magazines had pages alternating between satirical humor denouncing French politics and pages containing highly sexual content. There was full frontal nudity, highly suggestive images, and frank discussions of sexual intercourse in some magazines.

The article offers information on the need to properly address parody through its current exceptions to the Japan's copyright law. It discusses the Supreme Court of Japan decision in the case of Mad Amano, Japan's political parodist, wherein the Court denied addressing parody as a permissible expression. It suggests that Japan must accept an exception for parody based on concepts and lessons from Australia, the U.S., and France, which will provide definition to both satire and parody.

Copyright of Modern & Contemporary France is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the way in which the French leader Napoleon Bonaparte was depicted in political satirical caricatures in Russia in the beginning of the 19th century. Thus, the article concentrates on how Napoleon and his armies, as enemies of the Russian nation, were imagined in the Russian sphere in 1812. One part of the article discusses the images of the narrative of the Napoleon Holy War, another part examines the negative images of France and Western Europe, and finally, the last part looks into whether the Russian caricatures perceived the 1812 war to be a religious war.

This article discusses the French puppet news program Les Guignols de l'info, one of the oldest and most significant satirical television news shows in the world. It combines historical, semiotic, and political economy approaches in assessing the show's contribution to the scholarly debate on news parody. Les Guignols is explained in terms of the transformation of the French network television system and the creation of Canal+. It represented a new mix of genres and assisted network Canal+ to counterprogram successfully and build a brand identity. This, in turn, shaped the political economic framework, legitimatizing commercial television as being in both the national and the public interest. The article considers questions of the relationship among genre, truth, and branding from a political economic perspective. [ABSTRACT FROM AUTHOR]

The sole text in Calvin's name of which just a German translation survives is re-edited here accompanied by an English translation with commentary and notes, as well as other relevant sources including a reproduction of the original. The pamphlet locates Calvin in the Strasbourg publishers, Wendelin Rihel, where he seems to have performed duties to supplement his income and pay off his debts. He also interacted with his colleagues in their dealings with the same printer. The satirical pamphlet tells the story of an itinerant monk trying to reconvert people to Roman Catholicism, and is a sign of Calvin entering the scene of regional and European religious politics, while sharpening his pen. What was originally a French Catholic pamphlet was answered and, incorporating material from Latin correspondence, was recast in German. News thereby straddled linguistic borders. [ABSTRACT FROM AUTHOR]

Despite the large number of references to diplomatic blunders by the French during Süleyman Ağa's visit to Paris in 1669 and the charade-like character of much of Louis XIV's policies towards the Ottoman Empire during the period, few scholars have seen the humour in Le Bourgeois gentilhomme as directed towards the crown and court. In this article, I argue that Molière's comedy-ballet can be read as a pointed satire of how Hugues de Lionne, the foreign minister, and the king received the Ottoman envoy in their official audiences, and of French foreign policy with the Ottoman state itself. The mummery involved in Lionne's receiving Süleyman as the 'Grand Vizier' of France, and the king's pretence in expecting to be viewed as a crusading monarch while diligently pursuing commercial relations with the Porte, provided Molière with ample material for satirical development. The oriental trappings of the work, especially of the Turkish ceremony, might thus be considered as a means to mirror and criticize French governmental policies and behaviour rather than as a proto-colonialist attempt imaginatively to represent the Ottoman Turk. [ABSTRACT FROM AUTHOR]

The article presents a reflection on the symbolization of aristocrats in the 18th century through the image of the ass ("cul" in French) in French literature. According to the article, aristocracy was the object of a strong political rejection at the end of the 18th century and symbolized the dangerous enemy of the nation, illustrated by the buttocks, as it represented a mysterious and despicable part of the human anatomy. This symbolic value fed the discourse of exclusion, more radical than the condemnation of certain other sexual practices.

The article presents a reflection on the use of male sodomy in the French 18th-century literature, and more particularly in revolutionary pamphlets at the end of the 18th century. According to the article, male sodomy was mentioned in literature in order to serve three purposes which were discrediting former political elites to make them seem depraved, being in opposition with the pleasure found with women, which was socially useful and defined a good patriot, and to show factors promoting disorder such as prostitution, debauchery and venereal diseases.

The article presents a reflection on the graphic uses of male sodomy in French political satire in the beginning of the 19th century. An analysis of a common imaginary representation of sodomy in the caricature genre, at a time when homosexuality was not specified, is proposed. This study is based on the graphic satire that was made against French statesman Jean Jacques Régis de Cambacérès in 1814, which illustrated more or less explicitly his supposed fondness for sodomy. The political effects of such a system are examined.

The article presents a reflection on the use of farts in the French literature of the 1790s. The social and cultural aspects of farts at this period are examined. The way that farts were described in French political or social satire is explored. The book "Éloge du Pet," by Claude François Xavier Mercier de Compiègne, is analyzed. The anti-clerical atmosphere of this period is explored. The French idiomatic expressions of this time, composed of terms related to farting, along with their meaning are presented.

The article presents a reflection on the use of the representation of spankings for humorous or political purposes as shown in several prints from France, from the end of the 18th century. The mechanisms of laughter and political attacks in these prints, in which the spankings were given either to deputies, nuns or enemies, are analyzed. Comments on the importance of anti-clerical and religious caricatures in France in the 1790s are provided. Russian historian Michaël Bakhtine is mentioned in the article.

The article presents a reflection on the multiple occurrences of the popular word "cul" (ass in English) in the political pamphlets of the Revolution period in France, at the end of the 18th century. According to the article, with the prohibition of the Carnaval in 1791, an entire series of pamphlets by moderates and royalists hurried to describe a world turned upside down in which ridicule could be used as a cruel, political weapon, in the burlesque tradition. The popular language used in the French political newspaper "Père Duchesne" during this period is examined.

The article presents a reflection on the use of the symbol of the buttocks, ass and scatology in political satire in Great Birtain in the beginning and end of the 18th century. These satirical tools were put to good use in attacks of an unprecedented violence against British politician Robert Walpole in the first decades of the 18th century. A half century later, the same symbols were used against the French Revolution, while keeping a distance from the political authorities across the channel.

In his Nouvelle légende dorée (1790), the revolutionary atheist journalist Sylvain Maréchal appropriated and reworked a medieval genre, the legendary, to expose the vices of the Catholic Church and to win his reader, especially his woman reader, away from religion and to revolutionary values of family and citizenship. I have translated and annotated this book-length text, but my annotated translation is not yet published as of this writing. This essay brings the work and its author to an anglophone audience, setting them in the context of a particular moment in the French Revolution and examining the rhetorical tactics and critical strategies Maréchal deployed to satirize the theory, practice, and personnel of the Catholic Church. [ABSTRACT FROM AUTHOR]

The article discusses the use of tracts, fliers, and leaflets to disseminate political speech during the social and civil unrest in France in 1968. It describes the use of political literature by student activists, the ways in which political protest literature fueled rioting in Paris, and the influence of Marxism on civil unrest, protest language, and political worldviews. Other subjects under discussion include political speech calling for revolution and social transformation, the use of satire in the political pamphlets, and the political significance and legacy of the May Revolutions in France.

The article provides information on the politicization issue and the several uses of caricatures and comic strips in France. According to the article, it mentions how these caricatures and cartoon strips have been used in several aspects particularly in politics and the lives and activities of several politicians in the country. Aside from politics, these cartoon strips can depict the economic, immigration, and educational situation of the said nation. Meanwhile, these caricatures can also describe religions as well as religious activities.

This article considers the attribution to Jerome Bolsec of a tract lampooning John Calvin, and composed in verse under the pseudonym of 'Pasquin Romain.' The sole surviving copy is in the Bibliothëque nationale de France. Entitled Le double des lettres envoyees à Passevent Parisien, par le Noble et excellent Pasquin Romain, contenant en vérité la vie de Jehan Calvin [Copy of letters sent to Passevent Parisian by the noble and excellent Pasquin Romain, containing the true life of John Calvini, the pamphlet was published in Paris in 1556 by Pierrre Gaultier. External textual evidence, contemporary witnesses and a thorough comparison of the pamphlet with Bolsec's later, famous anti-Calvin bibliography, Histoire de la vie…deJean Calvin (1577), enable the authorship of the 1556 satirical tract to he identified. Its rediscovery allows one to antedate by at least twenty years the beginnings of Bolsec's anti-Geneva polemics. At that time, he had not yet abandoned the Reformed faith, while figuring among the precursors of anti-Calvinist propaganda that was waxing in heterodox French and transalpine circles. Moreover, the pamphlet is a rare example of the religious commitment and behaviour of a nonconformist of genuine faith who can subscribe neither to the Roman Church nor to the growing orthodoxy of the Genevan Church. [ABSTRACT FROM AUTHOR]

The article focuses on the purpose of political satire during the July Monarchy in France in the 1830s. It analyzes the political context of this period and describes the importance of satire, the reaction of the government to this freedom of speech and the effect of satire on the French political culture. The article refers to the satiric newspapers "La Caricature" and "Le Charivari."

Copyright of Historia Mexicana is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on French playwright Pierre Augustin Caron de Beaumarchais and the political aspects of his play "La Folle journée, Le Mariage de Figaro." King Louis XVI of France personally banned the play for four years after deeming it a political satire that attacked France's monarchy and government. A discussion of literary censorship during the reign of Louis XVI is presented. The author summarizes the play's plot, details its democratic and revolutionary ideas, and considers its presentation of the legal system of France.

The article reports on botany and provincial enlightenment in eighteenth-century university of Montpellier in France. Montpellier had long traditions of student carnival and jokes that could be turned to satirical effect. One of the stock figures of the medical student tradition was the dim surgery student, forever misunderstanding what was going on around him. The understanding of the scope of the Enlightenment has been transformed in recent years as one has learned to pay attention to the helpmeets, assistants and other collaborators in the movement.

Focuses on the political satire on television in France. Prevention of the presence of satire on television programming; Repertoire of legitimate cultural productions; Deployment of staff from public television company.

Examines the humor and motives of the French satirical weekly publication, `Le Bavard' published during World War I. Criticism of French politicians and lampooning of government censorship; Association with leftist politics.