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Dark humour and moral sense theory: Or, how Swift learned to stop worrying and love evil. Eighteenth Century Fiction 28 3. Hill, M. Developing a normative approach to political satire: A critical perspective.
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Get quality help now. Verified writer. Proficient in: Criticism. Deadline: 10 days left. Number of pages. Email Invalid email. Cite this page What makes satire an effective form of criticism?. Related Essays. What Makes a Teacher an Effective Teacher? Pages: 2 words Explore the ways that Shakespeare makes Act 1 Scene 5 of Romeo and Juliet dramatically effective Pages: 6 words What makes the opening of Romeo and Juliet so effective?
Pages: 4 words What makes an effective teacher? Pages: 4 words What Makes an Effective Leader? One of theses authors that deserves highlight because of his well-qualified works is Jonathan Swift. When Swift wanted to criticize any institution he used to make some severe attacks using his developed cynicism.
But it is important to know that, while he never fails to criticize institutions and mankind at large, he never defames an individual. Instead, he focuses directly on the principal religious, political and social issues of the age. Swift's work that effectively shows his satirical view and which probably is his best book is Gulliver's Travels. After all, in a working life that's consisted, in large part, of tossing lexical firecrackers in the bemused faces of more placid verbarians, I've ended up with some of my best friends being satirists.
If I wished to dodge the bullet myself, surely it could only be because of some midlife crisis of faith in life's great and compelling absurdity - and so I taxed myself: Could it be that I was falling victim to the usual delusion of the ageing joker, a pathological desire to be taken seriously? Or was I coming to doubt the value of satire itself? I've always believed - or at least believed I believed - in the moral purpose of satire. Indeed, I remember an essay title from school: "The aim of satire should always be the moral reform of society - discuss," and just how eager I was to discuss it.
My personal yardstick for whether or not something qualifies to be satire at all is thus an adaptation of a classic definition of what constitutes good journalism - such an enterprise, it was written, should "comfort the afflicted and afflict the comfortable".
Whenever I'm presented with a cartoon, a piece of writing or a comic shtick purporting to be satiric I always interrogate it along these lines: Who does it afflict, and who does it comfort? If in either case the work is mis-targeted - so afflicting the already afflicted, or comforting those already well-upholstered - it fails the test, and will need to be re-classified, usually as merely offensive, or egregiously offensive.
It can be objected that such a narrow classification of satire leaves little wiggle room for modes of discourse that, by transgressing the boundaries of what's acceptable draw our attention to the very contingent and culturally-specific character of much of what we deem to be ethical. Certainly - to paraphrase the great English satirist Laurence Sterne - they order these matters differently in France.
The conditions that produce violent revolution are also necessarily productive of a violent satire - one that may well aim at the moral reform of both the individual and society as a whole, but which, rather than firing Lilliputian barbs, lets fall the cleansing blade the Jacobins dubbed "our national razor". Since the revolution of , the French state has been seized by the paroxysm of regime change on several subsequent occasions.
Arguably, each sweeping away of constitutional authority was necessarily accompanied by a satiric outburst that aimed at a re-evaluation of all values, not just some - no institution could be regarded as beyond censure, no individual above the most extreme criticism; with the foundational myth of the First Republic inextricably bound up with violent revolution, each subsequent bouleversement required, of necessity, its own satiric bombshell.
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