Relevant bibliographies by topics / Comedies of manners

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Comedies of manners'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Comedies of manners.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Comedies of manners"

1

Hamori, Andras. "Rising to Greet You: Some Comedies of Manners." Middle Eastern Literatures 11, no. 2 (August 2008): 205–10. http://dx.doi.org/10.1080/14752620802223806.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Wheatley, K. "Comedies of Manners: British Romantic-Era Writers on America." Eighteenth-Century Life 25, no. 2 (April 1, 2001): 63–77. http://dx.doi.org/10.1215/00982601-25-2-63.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Cantero García, Víctor. "Del dominio de los fundamentos de la comedia de buenas costumbres a la práctica exitosa: Contigo pan y cebolla (1833) de Manuel Eduardo de Gorostiza." Literatura Mexicana 32, no. 1 (January 20, 2021): 69–95. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26853.

Full text
Abstract:
Until now, eighteenth-century Spanish theater scholars and critics have considered Manuel Eduardo de Gorostiza (1789-1857) a minor playwright. In the present collaboration we intend to demonstrate that such an assertion does not conform to the truth. Through a contrastive study between El señorito mimado (1787) by Tomás de Iriarte and Contigo pan y cebolla (1833) by Gorostiza, we mean to show that the latter one became a renowned author of comedies of good manners on his own merits and not for being a mere follower of the guidelines of the neoclassical comedy established by Nicolás Fernandez de Moratín and consolidated by Tomás de Iriarte. In essence, the contents and arguments set forth in this article are clear evidence that Gorostiza conceived comedies that achieved a public and critical acclaim and made him worthy of occupying a relevant position both among the enlightened liberals of Hispanic origin as well as among the authors of comedies of good manners.
APA, Harvard, Vancouver, ISO, and other styles
4

Pham-Thanh, Gilbert. "Dandiacal Conversation in Oscar Wilde’s Comedies of Manners: Conventions, Conversions and Reconfigurations of Phallogocentrism." Cahiers victoriens et édouardiens, no. 72 Automne (December 4, 2010): 37–52. http://dx.doi.org/10.4000/cve.2716.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Poppe, Annick. "Nancy Lyn Tippetts. Sisterhood, Brotherhood, and Equality of the Sexes in the Restoration Comedies of Manners." Documenta 15, no. 4 (May 26, 2019): 285–86. http://dx.doi.org/10.21825/doc.v15i4.11172.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Im, Yeeyon. "“A SERIOUSNESS THAT FAILS”: RECONSIDERING SYMBOLISM IN OSCAR WILDE'SSALOMÉ." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 163–75. http://dx.doi.org/10.1017/s1060150316000486.

Full text
Abstract:
Writing as recently as 2011, Michael Bennett asks ifSaloméis an anomaly in the oeuvre of Oscar Wilde (viii). Read against his witty societal comedies of manners, it certainly appears to be one.Saloméhas been regarded as a fine example of symbolist drama in the history of British theatre, and few critics would dispute its “seriousness” as such. Its growing significance in recent discourses of gender and sexuality also adds seriousness to the play. Although Feminist and gender critics show little qualms about dubbing the play as symbolist, the final tableau of a young girl kissing the mouth of the severed head seems to me at odds with symbolism, whether Salomé is seen as an archetypal femme fatale, a queer man in disguise, or a New Woman as critics argue. Symbolism in Wilde'sSaloméis widely different from other specimens of the genre such as Yeats'sThe Countess Cathleen, for instance, which directly deals with a spiritual issue of the salvation of soul.Saloméalso lacks the fatalistic sense of doom that dominates Maeterlinck'sPrincess Maleine, with which it is often compared. Wilde's wayward heroine is not a victim of the invisible forces in the same way Maeterlinck's characters are. Wilde's Salomé is “monstrous,” as Herod says: she seems to commit “a crime against some unknown God” (Complete Works604). How can we reconcile her cruel passion of carnal desire with the supposed spirituality of the symbolist tradition? Also problematic in a symbolist reading of the play is the presence of the comic and the parodic, as pointed out by many critics. Is Wilde'sSaloméan authentic symbolist drama?
APA, Harvard, Vancouver, ISO, and other styles
7

Kiernan, Pauline, William Shakespeare, and Gunnar Sorelius. "Shakespeare's Early Comedies: Myth, Metamorphosis, Mannerism." Modern Language Review 91, no. 1 (January 1996): 191. http://dx.doi.org/10.2307/3734016.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Percec, Dana. "Gender and Irony in The Early Modern English Romance." Romanian Journal of English Studies 9, no. 1 (December 1, 2012): 303–20. http://dx.doi.org/10.2478/v10319-012-0028-5.

Full text
Abstract:
Abstract The paper discusses the ironic manner in which gender relations are often tackled in the early modern English romance, from Shakespeare’s comedies to Sidney’s pastorals or Lady Mary Wroth’s poetry. Strong female characters, effeminate males and the subversive, often ambiguous, manner in which the theme of love is approached in 16th- and 17th - century English literature are some of the aspects to be discussed.
APA, Harvard, Vancouver, ISO, and other styles
9

Ilott, Sarah. "“How is these kids meant to make it out the ghetto now?” Community cohesion and communities of laughter in British multicultural comedy." Journal of Commonwealth Literature 53, no. 2 (February 2, 2017): 211–22. http://dx.doi.org/10.1177/0021989416687351.

Full text
Abstract:
This article uses readings of Mark Mylod’s Ali G Indahouse, Joe Cornish’s Attack the Block, and Chris Morris’s Four Lions to argue against a political trend for laying the blame for the purported failure of British multiculturalism at the hands of individual communities. Through my readings of these comic films, I suggest that popular constructions of “community” based on assumptions about cultural and religious homogeneity are rightly challenged, and new communities are created through shared laughter. Comedy’s structural engagement with taboo means that stereotypes which have gained currency through media and political discourse that seeks to demonize particular groups of young men (Muslims and gang members, for example) are foregrounded. By being brought to the forefront and exposed, these stereotypes can be engaged with and challenged through ridicule and demonstrations of incongruity. Furthermore, I suggest that power relations are made explicit through joking structures that work to include or exclude, meaning that the comedies can draw and redraw communities of laughter in a manner that effectively challenges notions of communities as discrete, homogeneous, and closely connected to cultural heritage. The article works against constructions of British Muslims as the problem community par excellence by using multicultural discourse to contextualize the representation of British Muslims and demonstrate how the discourse has repressed the role of political, social, and economic structures in a focus on “self-segregating” communities.
APA, Harvard, Vancouver, ISO, and other styles
10

Westwood, Robert. "Comic Relief: Subversion and Catharsis in Organizational Comedic Theatre." Organization Studies 25, no. 5 (June 2004): 775–95. http://dx.doi.org/10.1177/0170840604042414.

Full text
Abstract:
There has been a growth of interest in the role of humour in organizations from both practitioner and academic perspectives. Various claims for the functionality of humour have been made, ranging from stress reduction to helping form and cement corporate cultures. Latching on to these presumed benefits, businesses and consultants have begun to employ humour and comedy in a direct and explicit manner. However, there is a counterpoint, which suggests that humour cannot always be managed and in fact has subversive qualities. This article addresses the issue of the subversive potential of comedy in organizational contexts. It draws illustratively on the case of a successful corporate comedian to do so. The article argues, through an analysis of the case, the history and philosophy of comedy, and theories of the comedic, that while comedy has inherent subversive potential, it most often is contained. Indeed, it suggests that comedy works by intruding as a potential threat to mundane reality, but offers comic relief when it is apparent that the threat will not be actualized and the status quo ante prevails. Implications for using corporate comedy are drawn.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Comedies of manners"

1

Weber, Minon. "Wilde's Women : A feminist study of the female characters in Oscar Wilde’s comedies of manners: Lady Windermere’s Fan, A woman of No Importance and An Ideal Husband." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33191.

Full text
Abstract:
Towards the end of the 19th century, Wilde produced the three comedies that I will focus on in this essay. These plays, Lady Windermere’s Fan, A woman of No Importance and An Ideal Husband, are all comedies of manners: intelligent dramatic comedies satirising contemporary fashionable circles of society and its manners, as well as social expectations. This type of comedy is often represented by stereotypical characters, such as the fallen woman, the good woman and the young innocent maiden, all three of which I will investigate in this essay.
APA, Harvard, Vancouver, ISO, and other styles
2

"The rakes of George Etherege's and William Wycherley's comedies of manners: A social and dramaturgical analysis based on the experiences of elite Restoration Royalist men." UNION INSTITUTE AND UNIVERSITY, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3302258.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Comedies of manners"

1

Sisterhood, brotherhood, and equality of the sexes in the Restoration comedies of manners. New York: P. Lang, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Faber, Annemarie. Contemporary life and manners in Ben Jonson's comedies: Everyman in his humour, Everyman out of his humour, Volpone, Staple of news, and The devil is an ass. Salzburg: Institut für Anglistik und Amerikanistik, Universität Salzburg, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Spanish comedies and historical contexts in the 1620s. University Park, Pa: Pennsylvania State University Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

DuBruck, Edelgard E. Aspects of fifteenth-century society in the German carnival comedies: Speculum hominis. Lewiston: E. Mellen Press, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sorelius, Gunnar. Shakespeare's early comedies: Myth, metamorphosis, mannerism. Uppsala: [Uppsala University], 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sheridan, Richard Brinsley. Sheridan's plays. Oxford: Oxford University Press, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Barber, C. L. Shakespeare's Festive Comedy: A Study of Dramatic Form and Its Relation to Social Custom. Princeton, N.J: Princeton University Press, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Knutson, Harold C. The triumph of wit: Molière and Restoration comedy. Columbus: Ohio State University Press, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

The Doings of Hamish and Dougal. London: Random House Publishing Group, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Doings of Hamish and Dougal: You'll Have Had Your Tea? Penguin Random House, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Comedies of manners"

1

Gurfinkel, Helena. "“Would You Kindly Inform Me Who I Am?”: Wilde’s Comedies of Manners as Tragedies." In Oscar Wilde's Society Plays, 151–67. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137410931_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Feu, Montse. "Theater—Género Chico and Antifascism." In Fighting Fascist Spain, 133–44. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043246.003.0008.

Full text
Abstract:
The Confederadas’ stage productions built on a tradition of the vanguards of the 1920s and 1930s; they comprised satiric dramatizations, comedies of manners, and light musicals. The humor and lyricism of popular genres, or género chico, reinvented the conditions of exile as an aesthetic experience of self-representation and political action. Also, the Confederadas’ theater intersected with anarchist aesthetics and with a well-established popular and Hispanic theatrical scene in New York. Exile also modified género chico plays with American and immigrant characters, which allowed the audience to reflect on their antifascist fight and their emerging ethnic identity in the United States. Marked by parodic self-representation, the popular dramaturgical genres ridiculed fascist narratives through comedy and farce.
APA, Harvard, Vancouver, ISO, and other styles
3

Price, Leah. "Anthony Trollope and the Repellent Book." In How to Do Things with Books in Victorian Britain. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691114170.003.0003.

Full text
Abstract:
This chapter contends that while the verbal content of novels forces readers to empathize with other minds, the material heft of the book allows them to block each other out. Moreover, the unrepresentability of reading becomes a proxy for the incredibility of selfhood. The wedge that novels drive between the outside of books and the interiority of readers, or between material cover and verbal content, forces the genre to choose between describing the look of reading and its feel. In coding the handling of books as authentic and the reading of texts as a front, Anthony Trollope's comedies of manners upstage textually occasioned absorption by bibliographically assisted repulsion; but, more crucially, they abdicate any attempt to plumb psychological depths. Whenever the novel juxtaposes competing vocabularies in which to describe a printed object, it stages questions about the relation of the inner life to the object world.
APA, Harvard, Vancouver, ISO, and other styles
4

Marks, Martin. "Presto(n) con Spirito: Comedies with Music, Sturges-style." In Refocus: the Films of Preston Sturges. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474406550.003.0011.

Full text
Abstract:
This chapter probes music in eight comedies directed by Sturges: seven Paramount productions (1940-44) and Unfaithfully Yours (1948). The Paramount features departed from generic norms for studio romantic comedies by having more music than was customary. But how much credit does Sturges deserve for being a musical “auteur”? The question remains open, but the essay’s analyses show how well Paramount’s staff composers served his purposes. Through apt themes and clever thematic developments, jarring mixtures of “high” and “low” styles, disjunctive couplings of diegetic and non-diegetic cues, ironic allusions to pre-existent repertoires, and (in select cases) through the use of unconventional “musical montages,” each of these scores enhanced the director’s paradoxical narratives. Unfaithfully Yours brought these paradoxes to the fore in a novel manner, and addressed fundamental questions of music’s own meanings, both in film and on its own.
APA, Harvard, Vancouver, ISO, and other styles
5

Barber, C. L. "Testing Courtesy and Humanity in Twelfth Night." In Shakespeare's Festive Comedy. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149523.003.0010.

Full text
Abstract:
This chapter examines Shakespeare's Twelfth Night. Very little happens in the Twelfth Night, much of the time people are merely talking, especially in the first half, before the farcical complications are sprung. Shakespeare is so skillful by now in rendering attitudes by the gestures of easy conversation that when it suits him he can almost do without events. In the first two acts of Twelfth Night he holds our interest with a bare minimum of tension while unfolding a pattern of contrasting attitudes and tones in his several persons. Yet Shakespeare's whole handling of romantic story, farce, and practical joke makes a composition which moves in the manner of his earlier festive comedies, through release to clarification.
APA, Harvard, Vancouver, ISO, and other styles
6

Fuller-Seeley, Kathryn H. "Eddie Anderson, Rochester, and Race in 1930s Radio and Film." In Jack Benny and the Golden Age of American Radio Comedy. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520295049.003.0005.

Full text
Abstract:
African-American dancer, singer, comedian Eddie Anderson pursued an entertainment career in California, his opportunities limited by Jim Crow-era racism in Hollywood but also shaped opportunities in night clubs and cabarets that catered to both black and white patrons. Winning an audition for a one-time role on Benny’s radio show, Anderson’s inimitable gravelly voice spurred Benny to create a full time part, the character of Rochester Van Jones, Jack’s butler and valet, in late 1937. Although initially hampered by stereotyped minstrel-show dialogue and character habits, Rochester soon became renowned by both white and black listeners for his ability to criticize the “Boss” in impertinent manner. Virtually co-starred in three films with Benny that were highly successful at the box office, commenters in the black press in 1940 hoped that Rochester offered “a new day” in improved race relations.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Comedies of manners' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography