By Leonard Freedman
The Offensive Art is an arch and infrequently caustic examine the paintings of political satire as practiced in democratic, monarchical, and authoritarian societies all over the world over the last century-together with the efforts by means of governmental, non secular, and company experts to suppress it by means of censorship, intimidation, coverage, and fatwa. Examples are drawn from the entire spectrum of satiric genres, together with novels, performs, verse, songs, essays, cartoons, cabarets and revues, videos, tv, and the net. The multicultural and multimedia breadth and historic intensity of Freedman's comparative strategy frames his novel overview of the position of political satire in modern day post-9/11 global, and specifically the cross-cultural controversies it generates, corresponding to the worldwide protests opposed to the Jyllands-Posten cartoons.
In a tongue-in-cheek sort peppered with the world's top one-liners from the final century, The Offensive Art recounts the acrimonious and infrequently perilous cat-and-mouse video games among political satirists and their censors and inhibitors throughout the final century in the USA (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 structures in such areas as South Africa, Argentina, and jap Europe. He surveys the kingdom of satire during the international this day, choosing the main risky nations for practitioners of the offensive paintings, and offers his findings as to the political efficacy of satire in frightening change.
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