By Leonard Freedman
The Offensive artwork is an arch and occasionally caustic examine the paintings of political satire as practiced in democratic, monarchical, and authoritarian societies worldwide over the last century-together with the efforts by means of governmental, spiritual, and company gurus to suppress it through censorship, intimidation, coverage, and fatwa. Examples are drawn from the whole spectrum of satiric genres, together with novels, performs, verse, songs, essays, cartoons, cabarets and revues, videos, tv, and the web. The multicultural and multimedia breadth and old intensity of Freedman's comparative process frames his novel overview of the function of political satire in ultra-modern post-9/11 international, and particularly the cross-cultural controversies it generates, reminiscent of the worldwide protests opposed to the Jyllands-Posten cartoons.In a tongue-in-cheek variety peppered with the world's top one-liners from the final century, The Offensive paintings recounts the acrimonious and infrequently perilous cat-and-mouse video games among political satirists and their censors and inhibitors in the course of the final century in the US (especially FDR, LBJ, Nixon, Reagan, Clinton, and Bush II and in wartime), Britain (especially Churchill, Thatcher, Blair and the Royals), Germany (Hitler to the present), Russia (Stalin to the present), China (Mao to the present), India (from the Raj on), and the center East (from Nineteen Twenties Egypt to today). Freedman specializes in the function and transformation of satire in the course of shifts from authoritarian to democratic platforms in such areas as South Africa, Argentina, and japanese Europe. He surveys the country of satire in the course of the global at the present time, making a choice on the main harmful international locations for practitioners of the offensive artwork, and provides his findings as to the political efficacy of satire in upsetting swap.