More featuring satire

Making Mockery explores the dynamics of comic mockery and satire in Greek and Roman poetry, and argues that poets working with such material composed in accordance with shared generic principles and literary protocols. It encourages a synoptic, synchronic view of such poetry, from archaic iambus through Roman satire, and argues that if we can appreciate the abstract poetics of mockery that governs individual poets in such genres, we can we better understand how such poetry functioned in its own historical moment. Rosen examines in particular the various strategies deployed by ancient satirical poets to enlist the sympathies of a putative audience, convince them of the justice of their indignation and the legitimacy of their personal attacks. The mocking satirist at the height of his power remains elusive and paradoxical--a figure of self-constructed abjection, yet arrogant and sarcastic at the same time; a figure whose speech can be self-righteous one moment, but scandalous the next; who will insist on the "reality" of his poetry, but make it clear that this reality is always mediated by an inescapable movement towards fictionality. While scholars have often, in principle, acknowledged the force of irony, persona-construction and other such devices by which satirists destabilize their claims, very often in practice--especially when considering individual satirists in isolation from others--they too succumb to the satirist's invitation to take what he says at face value. Despite the sophisticated critical tools they may bring to bear on satirical texts, therefore, classicists still tend to treat such poets ultimately as monochromatically indignant, vindictive individuals on a genuine self-righteous mission. This study, however, argues that that a far subtler analysis of the aggressive, poeticized subject in Classical antiquity--its target, and its audience--is called for.
Satirists are social critics, but they are also products of society. Horace, Persius, and Juvenal, the verse satirists of ancient Rome, exploit this double identity to produce their colorful commentaries on social life and behavior. In a fresh comparative study that combines literary and cultural analysis, Catherine Keane reveals how the satirists create such a vivid and incisive portrayal of the Roman social world. Throughout the tradition, the narrating satirist figure does not observe human behavior from a distance, but adopts a range of charged social roles to gain access to his subject matter. In his mission to entertain and moralize, he poses alternately as a theatrical performer and a spectator, a perpetrator and victim of violence, a jurist and criminal, a teacher and student. In these roles the satirist conducts penetrating analyses of Rome's definitive social practices "from the inside." Satire's reputation as the quintessential Roman genre is thus even more justified than previously recognized. As literary artists and social commentators, the satirists rival the grandest authors of the classical canon. They teach their ancient and modern readers two important lessons. First, satire reveals the inherent fragilities and complications, as well as acknowledging the benefits, of Roman society's most treasured institutions. The satiric perspective deepens our understanding of Roman ideologies and their fault lines. As the poets show, no system of judgment, punishment, entertainment, or social organization is without its flaws and failures. At the same time, readers are encouraged to view the satiric genre itself as a composite of these systems, loaded with cultural meaning and highly imperfect. The satirist who functions as both subject and critic trains his readers to develop a critical perspective on every kind of authority, including his own.
In his sixteen verse Satires, Juvenal explores the emotional provocations and pleasures associated with social criticism and mockery. He makes use of traditional generic elements such as the first-person speaker, moral diatribe, narrative, and literary allusion to create this new satiric preoccupation and theme. Juvenal defines the satirist figure as an emotional agent who dramatizes his own response to human vices and faults, and he in turn aims to engage other people's feelings. Over the course of his career, he adopts a series of rhetorical personae that represent a spectrum of satiric emotions, encouraging his audience to ponder satire's proper emotional mode and function. Juvenal first offers his signature indignatio with its associated pleasures and discomforts, then tries on subtler personae that suggest dry detachment, callous amusement, anxiety, and other affective states. As Keane shows, the satiric emotions are not only found in the author's rhetorical performances, but they are also a major part of the human farrago that the Satires purport to treat. Juvenal's poems explore the dynamic operation of emotions in society, drawing on diverse ancient literary, rhetorical, and philosophical sources. Each poem uniquely engages with different texts and ideas to reveal the unsettling powers of its emotional mode. Keane also analyzes the "emotional plot" of each book of Satires and the structural logic of the entire series with its wide range of subjects and settings. From his famous angry tirades to his more puzzling later meditations, Juvenal demonstrates an enduring interest in the relationship between feelings and moral judgment.
Writing during the reign of emperors Trajan and Hadrian, Juvenal drew on Roman legend and the history of preceding imperial dynasties as a means of scrutinizing cultural upheavals in the Rome of his day. Tacky foreigners, the nouveaux riches, women who don’t know their place, bloodthirsty—even crazy—emperors and their (often worse) wives confront the reader at every turn, along with bad poets, corrupt aristocrats, gladiators, whores, false philosophers, sad-sack men in the street, and slaves. Juvenal’s poetry set the tone, and often the topics, for satirists throughout the centuries of European literature.

In his sixteen verse satires, Juvenal presents speakers who decry the breakdown in traditional Roman values and the status of Roman men as they are confronted by upstart foreigners, devious and deviant women, class traitors, the power of the imperial household, and even the body itself. The satirist castigates vice and immorality even as he revels in describing them. This book locates Juvenal’s targets among the matrices of birth, wealth, class, gender, and ethnicity and walks carefully through a number of his most arresting vignettes in order to show not only what, but how, he satirizes. Moreover, the analysis shows that Juvenal’s portraits sometimes escape his grasp, and, as often as not, he ends up undermining the voice with which he speaks and the values he claims to hold dear. Individual chapters look at the satirist himself, rebellious bodies, disgraced aristocrats, uppity (even murderous) wives, and the necessary but corrupting power of money. The conclusion considers the endurance of both the targets and the rhetoric behind them in the modern world.

Making Men Ridiculous will interest scholars and advanced students of ancient satire, later European satire, imperial Roman culture and literature, and class, gender, and sexuality in the ancient world.
"Rowland examines Marvell's political poetry and Dryden's Annus Mirabilis, showing how panegyrical writing developed into mock-panegyric and satire, increasingly as much in response to versions of events as to the events themselves. The author then describes how Marvell exploits panegyrical strategies to subvert its conventional deliberative function, as his equal virtuosity at praise and blame actually undermines his ethos and separates his advice from any clear authority capable of implementing it. Moreover, in Marvell the addressee of conventional panegyric, while remaining ostensibly Charles II, is internalized in a series of grotesques resembling, in various ways, the megalomaniacal "Bayes" (Samuel Parker, Bishop of Oxford). Marvell uses variations on the abuse of the conventional panegyrical arrangement of people, poet, and prince as a metaphor for the abuse of the proper relationship between all signifieds and their signifiers." "Writing a generation later, Swift borrows many of the themes and motifs of The Rehearsal Transpros'd for his satire in A Tale of a Tub, in particular the association of the preface with panegyric, as a metaphor of the reversal that occurs between praiser and praised, vehicle and tenor, when proper relationships are abused. Rowland also explores how Swift moves from the unsatisfactory use of analogy in his panegyrical "Odes," to more satisfactory use of it in the Tale and then concentrates on the prefaces of the Tale as "Panegyrical paratext.""--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This new series presents original scholarly and essayistic work addressing the central status of literature in and for the human sciences. At stake in the monographs and essay collections are paradigms of literary forms for thinking the human sciences: the knowledge involved in a literary work; how modes of reading and writing shape and depend on an epoch or area of thinking; literature's affinities and points of resistance to what we call the humanities and the sciences. In other words, the series examines how literature works with and upon philosophy, rhetoric, technology, anthropology, sociology, statistics, economics, history, experimental science, mathematics etc. Paradigms is primarily concerned with German letters, but also includes its European and comparative literary contexts.
All volumes will be published in English and are first reviewed by the series editors followed by a peer review from two academics in the particular area of specialization. Two to four volumes are planned annually.

Editors
Rüdiger Campe (Yale University, New Haven CT)
Karen S. Feldman (University of California, Berkeley)

Editorial Board
Eva Geulen (Zentrum für Literatur- und Kulturforschung, Berlin)
Rüdiger Görner (Queen Mary, University of London)
Barbara Hahn (Vanderbilt University)
Daniel Heller-Roazen (Princeton University)
Helmut Müller-Sievers (University of Colorado at Boulder)
William Rasch (Indiana University, Bloomington)
Joseph Vogl (Humboldt University, Berlin)
Elisabeth Weber (University of California, Santa Barbara)

Submission Format
The series accepts monographs and edited volumes, if they systematically approach a specific topic and show a high level of coherence and focus.
Please submit an abstract and table of contents with narrative description of each chapter (4–5 pages total, single-spaced) as well as a CV along with the complete manuscript.
Only complete manuscripts can be evaluated. In exceptional cases, abstracts or outlines can be submitted to discuss the general fit of a book with the series’ editors. Please understand that a final commitment for publication can only be reached on the basis of a complete manuscript.
Manuscripts should have a minimum length of circa 200 pages (approximately 500,000 characters including spaces).
Please submit your abstract, table of contents, and CV as one file; the complete manuscript as a second file to Dr. Myrto Aspioti: myrto.aspioti@degruyter.com.

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