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The article discusses the visual satire on the front cover of the "Survivor's issue" of the French magazine "Charlie Hebdo" following the 2015 Charlie Hebdo shooting in Paris, France. It provides a context of caricatures, irony and incongruity in management studies, scholarship and research.

Copyright of Journal of the International Arthurian Society is the property of De Gruyter 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.)

Working with Erasmus's exploration of the sardonic laugh, this article begins with the placard of the notorious Affaire des placards of 17-18 October 1534. The aim is to uncover uses of polemical humour in pamphlets produced during the early years of religious conflict in France. Starting with Antoine Marcourt, the likely author of the placard, the article investigates Marcourt's first known satirical pamphlet, the Livre des marchans. This is followed by a study of Je'rome Hangest's response to the affaire. Hangest was not only the person designated by the Sorbonne to produce a response to the placards, but also one of the first Catholics to attempt to counteract the effects of Protestant propaganda in France. Finally, this article examines Marcourt's enigmatic co-religionist, Marie Dentie`re, whose work also contains illuminating examples of the sardonic laugh. In all of this, the goal is to uncover connections between humour and violence, as well as growing suspicions about the uses and dangers of laughter. As new, more vicious forms of satire are developed, suspicions about these also intensify, and, in an increasingly polarized society, there is little room left for laughter other than the sardonic laugh. [ABSTRACT FROM AUTHOR]

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 analyzes the play "Lyon marchant. Satyre Francoise. Sur la comparaison de Paris, Rohan, Lyon, Orleans, & sur les choses memorables depuys l'an mil cinq cens vingtquatre. Soubz Allegories, & Enigmes par personnes mystiques jouée au College de la Trinité à Lyon" (1541) by French poet Bathélémy Aneau. According to the article, Aneau's aim was to create a French satire influenced by Greek-Latin and French traditions. The play's dialogical structure and the role of laughter are also mentioned.

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada 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 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.)

Between 1731 and 1764 unknown writer Nicolas Jouin eluded arrest and published fifteen satirical verses known as the sarcelades. The poems straddled the different areas of Jansenist political culture and the world of popular opinion and clandestine literature. Written in patois, the sarcelades featured the peasant Claude Fetu, who made ultramontane bishops, the Jesuits, and even the king the objects of derision and resentment. This character embodied certain Jansenist beliefs regarding the simple believer who bore witness on behalf of individuals persecuted for resisting the anti-Jansenist bull Unigenitus. The sarcelades suggest that theological debates had a place in the world of the impoverished and underrepresented, whose views were shaped both by spiritual conviction and material needs. [ABSTRACT FROM AUTHOR]

Baudelaire's Salon de 1846 appears to be devoted to the textual transposition of visual experience. Yet the text features a coherent body of tropes pertaining to the sense of taste--the physiological sense of flavor perception--and the gastronomic field more generally. These, I argue, are central to Baudelaire's attempt to engage with a non-elite and non-specialist audience. The gustatory tropes bespeak the influence of journalism on the Salon de 1846, and in particular a contemporaneous strand of "gastronomic" art criticism: the 1840s "Boulangerie du Louvre" series from the "petit journal" Le Tintamarre, known and contributed to by Baudelaire. Through a comparative textual analysis of the two critical works, I show how Baudelaire adopts and adapts these culinary tropes. While Le Tintamarre uses the sense of taste to satirize the Salon, Baudelaire employs it to conceptualize and heighten the sensorial and corporeal pleasures of art for a bourgeois readership. [ABSTRACT FROM AUTHOR]

The Belle Époque has been considered to be the peak years of French feminist and suffragist activism. Yet this period can also be seen as one of gender conflicts and contradictions that have been skilfully revealed by talented artists working in what is called the ‘golden age of caricature’. This article is conceived as an analysis and decoding of satirical representations of feminists by French political caricaturists at the height of the women's suffrage campaign. Their work circulated relatively freely in the mass illustrated press, targeting the dominant bourgeois political order and its failure to address social inequalities. Caricaturists also mocked bourgeois feminists and suffragists as class enemies whose demands for political rights would, in their opinion, provide no guarantee that their participation in politics would be any different from that of bourgeois men. Leading artists, such as Jules Grandjouan and Juan Gris, recycled the misogynous anti-feminist arguments so prevalent in the literature and social sciences of this period, and deployed a new visual language that expressed the extreme violence of this reactionary opposition to feminism. The article analyses three issues of the influential satirical magazine, L'Assiette au Beurre, devoted to feminism and feminists, women's suffrage, and their eligibilty for public office. The author argues that these caricatures were part of an aggressive countermovement against the bourgeois social order and against feminism as a legitimate political movement. [ABSTRACT FROM PUBLISHER]

Michel Houellebecq's novel Plateforme (2001) satirically proposes Third World sex tourism as a remedy for sexual dissatisfaction in the West brought on by feminism's destruction of ‘natural’ gender roles. As in Houellebecq's previous work, feminism is lampooned both as a sex-negative censorial force and as a kind of mercenary libertarianism. Plateforme more fully elaborates this position suggesting that feminism is simply an affective projection of neo-liberalism, responsible for an injurious and ‘unnatural’ sexual behaviour that has destroyed kinship relations and contributed to the socio-economic emasculation of Western men. As part of the novel's Swiftian ‘modest proposal’, the narrative sets up a Manichean opposition in which an essentialised ‘natural’ femininity, represented by Thai sex workers, is set against the ruined sexuality of Western women. This article examines the ways in which the novel's ostensibly anti-capitalist critique invokes a quasi-primitivist discourse on sexuality that returns women to a pre-Foucauldian essentialism of the ‘natural’ which offers a site of sanctuary and solace for a masculinity besieged by the neurosis of post-'68 sexualities. [ABSTRACT FROM PUBLISHER]

The weekly French satirical newspaper, Charlie hebdo, which originally ran from 1969 to 1982, pending a revival in 1992, distinguishes itself through its bête et méchant ['stupid and nasty'] humorous heritage, defined in its parent publication, Hara-Kiri, as the freedom to make jokes on potentially any subject, however taboo. Whilst this satirical ethos predominated in Charlie hebdo up to 1982, its enduring place in the publication has become more ambiguous since 1992, with the abrupt sacking of Siné in July 2008 seemingly belying its vigorous defence of provocative humour in the context of the 2006 Danish caricature affair. An important underlying continuity nonetheless remains in Charlie hebdo and transcends the bête et méchant project: that of negotiating a space for satirical expression that has continuously engaged with both elements of bande dessinée and the rich French tradition of polemical editorial cartooning and caricature. [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."

Examines the legendary existence and reputation of the Theatre du Grand-Guignol in Paris, France from 1897 to 1962. Presentation of horrific short plays/comedies in the tradition of French social satire; Demonstration of dramatic concision control; Use of innovative stage technologies and versatile performers.

In this article the author presents his views on the attack on the office of the magazine "Charlie Hebdo" in Paris, France in 2015 as well as his thoughts on the role of French satire in the country's popular culture. Topics include the author's shock at "Charlie Hebdo" shooting of cartoonists, freedom of speech, and the role of the cartoonists in presenting social commentary.