By Ruben Quintero
This selection of twenty-nine unique essays, surveys satire from its emergence in Western literature to the present.
- Tracks satire from its first appearances within the prophetic books of the previous testomony in the course of the Renaissance and the English culture in satire to Michael Moore’s satirical motion picture Fahrenheit 9/11.
- Highlights the $64000 effect of the Bible within the literary and cultural improvement of Western satire.
- Focused often on significant classical and eu affects on and works of English satire, but additionally explores the complicated and fertile cultural cross-semination in the culture of literary satire.
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Extra resources for A companion to satire : ancient to modern
1992: 116) Acknowledgment Some material in this chapter substantially expands earlier discussions in my critical study, Satire and the Hebrew Prophets (Louisville: Westminster/John Knox Press, 1992). References and Further Reading Alter, Robert (1981) The Art of Biblical Narrative. New York: Basic Books. —— (1985) The Art of Biblical Poetry. New York: Basic Books. Eagleton, Terry (1983) Literary Theory: An Introduction. Oxford: Blackwell. Elliott, Robert C. (1966) The Power of Satire: Magic, Ritual, Art.
If satire of the low norm, first-phase satire, is, admittedly, not a prominent component of ancient biblical satire, the reason is clear. In matters of faith, there is but one God: ‘‘You shall have no other god to set against me. You shall not make a carved image [of the kind Hosea ridicules in 4: 12] for yourself or the likeness of anything in the heavens above, or on the earth below, or in the waters under the earth. You shall not bow down to them or worship them; for I, the Lord your God, am a jealous god’’ (Exodus 20: 3–5).
Amos’ targets there were not amused. Amos’ supporters, on the other hand, those whose faith Amos sought to reinforce, were amused. Amos was directing God’s laughter at the unbelievers of the North. Those who agreed with him shared in God’s laughter at the expense of the Northern Kingdom. These are the two audiences of all satire: the targeted and the reinforced. The same comparison, moreover, illustrates two criteria of effectiveness. If every critical statement – prophecy, satire, or editorial – speaks to a double audience, it speaks with two criteria of effectiveness as well: the rhetorical and the historical.