Obscene beasts: the stage behind the scenes in A Midsummer Night’s Dream by Mathilde La Cassagnère

“…Thus, through the mechanicals’ theatrical misadventure, Shakespeare ironically includes in A Midsummer Night’s Dream a “how-not-to” guide for mimesis, a reversed mise en abyme of his own challenging conception of a play teeming with an unstageable and infinite variety of creatures great and small, wild and tame, familiar and fantastical, its presence all the more haunting as it is never staged strictly speaking. …”
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Implicit Forms of Ethnic Insult for Europeans (as Found in Rhyming Slang) by E. Y. Gorshunova, Y. V. Gorshunov

“…Since Rh.sl. is subject to a strong influence of the word play and its items are perceived as humorous and ironic nominations, they are not always discerned as offensive by the English speakers. …”
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The Old Woman’s Farcical Rejuvenation in The Rejuvenation of Miss Semaphore (1897) by Somi Ahn

“…Initially, the middle-class protagonist and her sister appear as old-fashioned Old Women at the beginning, but once the former unexpectedly turns into an infant, she indeed gets pushed out of a social safety net, as babyfarmers illegally adopt and abuse her. Eccles creates an ironic situation where the Old Women rejuvenate metaphorically into radical New Woman activists, who raise their own voice to fight against the given system of the world, in which unmarried women and their unwanted children are constantly marginalized. …”
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Reading from the Guts: of Text and Disgust by Solveig Dunkel

“…“So it will be with this new sadism,” Canby wrote, “the novel cruelty by which the American scene with all its infinite shadings is made into something gross, sordid, or, as here, depraved with an ironic depravity in which the trivial by a kind of perversion becomes more horrible than professional evil.” …”
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Excerpts from The Freedom Fight: A Novel of Resistance and Freedom. by Pamela J. Olubunmi Smith

“…Told mostly from the protagonist’s point of view, with the help of his two prominent compatriots, childhood friend Àyọwí and Ibiwumi, the town’s ̀ Baálẹ’s own daughter, ̀ Ọmọ Olókùn-Ẹṣin chronicles not only the experiences and struggles of these three idealists, but also the inevitable uncertainties and risks of mobilizing the oppressed rank and file in a rule-of-fear system, sanctioned by traditional authority, the many trials and tribulations suffered at the hands of the wily oppressors, and the risks and frustrations of advancing the movement. Ironically, despite the novel’s tension, the ending is paradoxical. …”
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Estates in Slavonia after World War II: Confiscation of the property of Slavonian nobility after World War II by Gardaš Miro A., Repić Marko A.

“…It is particularly notable that lawsuits for "collaboration with the occupier" were filed not only against Germans and Croats who owned large estates, factories, or workshops but also against Serbs and Jews whose factories and crafts continued to ope rate during World War II. Ironically, such proceedings were also initiated against Jews who were sent to concentration camps during the war, where they perished. …”
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High-resolution 4D electrical resistivity tomography and below-ground point sensor monitoring of High Arctic deglaciated sediments capture zero-curtain effects, freeze–thaw transit... by M. O. Cimpoiasu, O. Kuras, H. Harrison, P. B. Wilkinson, P. Meldrum, J. E. Chambers, D. Liljestrand, C. Oroza, S. K. Schmidt, P. Sommers, L. Vimercati, T. P. Irons, Z. Lyu, A. Solon, J. A. Bradley, J. A. Bradley

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Èdè Àyàn: The Language of Àyàn in Yorùbá Art and Ritual of Egúngún by Oláwọlé Fámúlẹ̀

“…This has continued to make it become virtually impossible for a deeper understanding of Yorùbá art in particular and African art as a whole. Ironically, the same scholars prefer to invest their energy, searching outside of the art’s cultural origin to fulfil their primary goal of “appreciating” the African art, rather than searching within African culture, language and values, the very driving forces that gave rise to this art, and thus a catalyst to understanding it.2 It is on that note that I believe the question that scholars of African art should begin to ask themselves is: when will African art scholarship––unlike Western art studies that often demand intellectual rigor and professional thoroughness––rise above its present art “appreciating” status vis-à-vis African art? …”
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