This collection of essays primarily honours Bernfried Nugel the teacher and scholar, but it also pays homage to Bernfried Nugel the indefatigable worker in the cause of Aldous Huxley studies. It is due to this latter manifestation that many of the contributors to this volume know each other personally, having met at one or more of the international conferences that Professor Nugel organized and either hosted or co-hosted. At Munster, his home university, he has also been instrumental in establishing and heading a center for admirers of Huxley's work, along with a fine library of Huxley materials, including manuscripts and numerous first editions. (Series: "Human Potentialities". Studien zu Aldous Huxley & zeitgenossischer Kultur/Studies in Aldous Huxley & Contemporary Culture - Vol. 7)

Satire, according to Jonathan Swift, is a mirror where beholders generally discover everybody's face but their own. and over twenty-four centuries the mirror of satirical literature has taken on many shapes. Yet certain techniques recur continually, certain themes are timeless, and some targets are perennial. Politics (the mismanagement of men by other men) has always been a target of satire, as has the war between sexes.The universality of satire as a mode and creative impulse is demonstrated by the cross-cultural development of lampoon and travesty. Its deep roots and variety are shown by the persistence of allegory, fable, aphorism, and other literary subgenres. Hodgart analyzes satire at some of its most exuberant moments in Western literature, from Aristophanes to Brecht. His analysis is supplemented by a selection and discussion of prints and cartoons.Satire continues to help us make sense of the conventions that seem to have been almost genetically transmitted from their satiric ancestors to our digital contemporaries. This is especially evident in Hodgart's repeated references to satire's predilection for the ephemeral, for camouflaging itself among the everyday, for speaking to the moment, and thus for integrating itself as deeply as possible into society. Brian Connery's new introduction places Hodgart's analysis in its proper place in the development of twentieth-century criticism.

This 1961 book presents a full-length study of the later works of Heine, relating to Heine's life the underlying themes in his poetry.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Stephen Colbert, Samantha Bee, John Oliver, and Jimmy Kimmel—these comedians are household names whose satirical takes on politics, the news, and current events receive some of the highest ratings on television. In this book, James E. Caron examines these and other satirists through the lenses of humor studies, cultural theory, and rhetorical and social philosophy, arriving at a new definition of the comic art form. Tracing the history of modern satire from its roots in the Enlightenment values of rational debate, evidence, facts, accountability, and transparency, Caron identifies a new genre: “truthiness satire.” He shows how satirists such as Colbert, Bee, Oliver, and Kimmel—along with writers like Charles Pierce and Jack Shafer—rely on shared values and on the postmodern aesthetics of irony and affect to foster engagement within the comic public sphere that satire creates. Using case studies of bits, parodies, and routines, Caron reveals a remarkable process: when evidence-based news reporting collides with a discursive space asserting alternative facts, the satiric laughter that erupts can move the audience toward reflection and possibly even action as the body politic in the public sphere. With rigor, humor, and insight, Caron shows that truthiness satire pushes back against fake news and biased reporting and that the satirist today is at heart a citizen, albeit a seemingly silly one. This book will appeal to anyone interested in and concerned about public discourse in the current era, especially researchers in media studies, communication studies, political science, and literary and cultural studies.