The unsurpassed satirist of the ancient era was a young Syrian named Lucian, who, writing in Greek in the second century a.d., combined wit, irony, fearless candor, and exuberant comic fantasy to create the triumphantly irreverent dialogues and stories contained in this book. His genial mockery, aimed at man's omnipresent feelings, has never gone out of date. The jabs he gave the hypocrites; grandstanders, fakers and boobs of the ancient world can just as appropriately be administered to their counterparts in the modern world.Lucian's most typical genre is a parody of a Platonic dialogue, in which Zeus, Hermes, Eros, and other Olympians jabber in undivine harassment as some clever mortal (who very much resembles Lucian) is about to make scandalous fools of them. He also excelled at straight narrative, his two most famous tales being the elaborate science fiction spoof; "A True Story," and an old folk tale retold outrageously, "Lucius the Ass." His works were the product of an unrelentingly rational and skeptical mind, and have had an incalculable effect on writers and painters through the ages.Until this volume, the English language reader of today to appreciate the importance and intelligence of Lucian. No volume of representative selections in translation is in print. There are satisfactory versions of the complete works, but the reader who takes this long will most likely lose a good deal of the sting of Lucian's needle. Lionel Cassen also illustrates the full range of Lucian's subject matter and various literary forms and when translating tried to focus on the Greek spirit as opposed to the literal meaning.

Provides a comprehensive overview for both beginning and advanced students of satiric forms from ancient poetry to contemporary digital media.

Here is the ideal introduction to satire for the student and, for the experienced scholar, an occasion to reconsider the uses, problems, and pleasures of satire in light of contemporary theory. Satire is a staple of the literary classroom. Dustin Griffin moves away from the prevailing moral-didactic approach established thirty some years ago to a more open view and reintegrates the Menippean tradition with the tradition of formal verse satire. Exploring texts from Aristophanes to the moderns, with special emphasis on the eighteenth century, Griffin uses a dozen figures—Horace, Juvenal, Persius, Lucian, More, Rabelais, Donne, Dryden, Pope, Swift, Blake, and Byron—as primary examples. Because satire often operates as a mode or procedure rather than as a genre, Griffin offers not a comprehensive theory but a set of critical perspectives. Some of his topics are traditional in satire criticism: the role of satire as moralist, the nature of satiric rhetoric, the impact of satire on the political order. Others are new: the problems of satire and closure, the pleasure it affords readers and writers, and the socioeconomic status of the satirist. Griffin concludes that satire is problematic, open-ended, essayistic, and ambiguous in its relationship to history, uncertain in its political effect, resistant to formal closure, more inclined to ask questions than provide answers, and ambivalent about the pleasures it offers.

A handful of fragments is all that remains of the writings of Menippus, the third-century BCE provocateur of the Greek Cynic movement. The Western literary tradition knows him through Lucian, the Greek satirist who lived and worked four hundred years later. Included in this book are Joel Relihan’s lively English translations of Lucian’s three reanimations of Menippus—fantastic narratives and comic dialogues set in heaven and hell: Menippus; or, The Consultation of the CorpsesIcaromenippus; or, A Man above the CloudsThe Colloquies of the Corpses (Dialogues of the Dead) For the first time in over fifty years, these works are assembled in a unified format to tell a particular story: Lucian’s evolving understanding of the philosophical and literary potential of the person, productions, and purposes of Menippus. Not only is it time to give Lucian’s Menippus a fresh look and a thorough reevaluation, but also to consider how Lucian’s imitations and innovations adumbrate, illuminate, and complicate the history of that enigmatic genre, Menippean satire.

What is satire? How can we define it? Is it a weapon for radical change or fundamentally conservative? Is satire funny or cruel? Does it always need a target or victim? Combining thematic, theoretical and historical approaches, John T. Gilmore introduces and investigates the tradition of satire from classical models through to the present day. In a lucid and engaging style, Gilmore explores: the moral politics of satire whether satire is universal, historically or geographically limited how satire translates across genres and media the boundaries of free speech and legitimacy. Using examples from ancient Egypt to Charlie Hebdo, from European traditions of formal verse satire to imaginary voyages and alternative universes, newspaper cartoons and YouTube clips, from the Caribbean to China, this comprehensive volume should be of interest to students and scholars of literature, media and cultural studies as well as politics and philosophy.

A collection of writings by the 2nd century satirist who ridiculed tyrants, philosophers, and even the gods, in his mock dialogues and prose narratives.

Explores the Eastern German literary trend of the 1990s employing humor and satire to come to terms with socialism's failure and a difficult unification process. This title surveys ten novels including, works by Brussig, Schulze, and Hensel. These contemporary texts help define Germany today from a specific, East German perspective.

The International Kierkegaard Commentary-For the first time in English the world community of scholars systematically assembled and presented the results of recent research in the vast literature of Søren Kierkegaard. Based on the definitive English edition of Kierkegaard's works by Princeton University Press, this series of commentaries addresses all the published texts of the influential Danish philosopher and theologian. This is volume 2 in a series of commentaries based upon the definitive translations of Kierkegaard's writings published by Princeton University Press, 1980ff.

The theme of the philosopher as therapist dominates Nietzsche's entire opus, from his earliest writings to the Zarathustra period and beyond. Nietzsche wishes to hasten the coming and future sanctification of a new type of synthetic human being, and his entire teaching is shaped by his own struggles against illness.Yet few Nietzsche scholars have paid this crucial therapeutic element of his thought sufficient attention. This collection of essays by leading scholars in the field is composed around the Nietzschean insight, which has its roots in the Hippocratic tradition of ancient medicine, that beliefs, behaviours, ideals and patterns of striving are not things for which individuals or even cultures are responsible. Rather, they are symptoms of what an individual or culture is, which symptoms require diagnostic interpretation and evaluation. The book identifies three principal approaches in Nietzsche's philosophy: diagnostic, prognostic and therapeutic. Each essay takes up this essential insight into Nietzsche's therapeutic philosophy from a different perspective and collectively they reveal an array of insightful approaches to self-induced enhancement, for both individuals and cultures.

In this timely new study, Borlik reveals the surprisingly rich potential for the emergent "green" criticism to yield fresh insights into early modern English literature. Deftly avoiding the anachronistic casting of sixteenth- and seventeenth-century authors as modern environmentalists, he argues that environmental issues, such as nature’s personhood, deforestation, energy use, air quality, climate change, and animal sentience, are formative concerns in many early modern texts. The readings infuse a new urgency in familiar works by Shakespeare, Sidney, Spenser, Marlowe, Ralegh, Jonson, Donne, and Milton. At the same time, the book forecasts how ecocriticism will bolster the reputation of less canonical authors like Drayton, Wroth, Bruno, Gascoigne, and Cavendish. Its chapters trace provocative affinities between topics such as Pythagorean ecology and the Gaia hypothesis, Ovidian tropes and green phenomenology, the disenchantment of Nature and the Little Ice Age, and early modern pastoral poetry and modern environmental ethics. It also examines the ecological onus of Renaissance poetics, while showcasing how the Elizabethans’ sense of a sophisticated interplay between nature and art can provide a precedent for ecocriticism’s current understanding of the relationship between nature and culture as "mutually constructive." Situating plays and poems alongside an eclectic array of secondary sources, including herbals, forestry laws, husbandry manuals, almanacs, and philosophical treatises on politics and ethics, Borlik demonstrates that Elizabethan and Jacobean authors were very much aware of, and concerned about, the impact of human beings on their natural surroundings.