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Albanese, Nicholas. "From the Poet to the Pedant: Models and Counter- Models of Classical Learning in the Renaissance (eng)." Futhark. Revista de Investigación y Cultura, no. 11 (2016): 3–23. http://dx.doi.org/10.12795/futhark.2016.i11.01.
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The figure of the pedante and its presence in Renaissance culture has been observed and analyzed principally by scholars and historians of 16th century theatrical production, who have delineated the contours of the largely unified character in terms of its physical and performative characteristics on the stage. After Arturo Graf’s discussion of the pedant in Renaissance comedy over 130 years ago, it is only in more recent times that theater scholars have turned their interest towards the character even though the wider cultural context and relevance of its appearance outside of the theater has not been adequately addressed. Nevertheless, the figure of the pedant can be seen as a site in which oppositional trends emerge for the development of the educational and cultural project of the age. In this paper I will discuss the figure of the pedant in relation to the fundamental idea of the humanist and its social role as had been developed by authors in the 14th and 15th centuries, beginning with the exemplar established by the recognized padre dell’ Umanesimo, Francesco Petrarca. The appearance and development of this character not only underscore a change in cultural and literary models, but they also become keys for understanding crucial socio-economic shifts of the Cinquecento
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Isić, Đurđina. "The female characters in Branislav Nušić's and Stefan Kostov's selected comedies." Bastina, no. 51 (2020): 95–109. http://dx.doi.org/10.5937/bastina30-28602.
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The paper presents the results of research that included comparative study of the place and role of female characters in selected and representative comedies by Serbian comedigrapher Branislav Nušić (eng. MP, Suspicious person, Mrs Minister, Bereaved family, Dr, Deceased; srb. Narodni poslanik, Sumnjivo lice, Ožalošćena porodica, Dr, Pokojnik, Vlast) and Bulgarian comedigrapher Stefan Kostov (eng. Gold mine, Golemanov, Grasshoppers, Nameless comedy; blg. Zlamnama mina, Golemanov, Skakalci, Komediâ bez ime) in order to find similarities and differences in the process of comedigraphic shaping of female characters in the work of these two authors. The subject of the research was viewed primarily from a literary-theoretical point of view, and the dominant methods of study were comparative and analytical-synthetic. During the research, there was a differentiation of female characters in accordance with their motivational structures, psychological assemblies and the nature of the place and the role they play in the social environment in which they are located. Therefore, we can distinguish female characters who live in the province and who are fully representative of the small-town spirit, female characters who live in the capital and are a symbol of the modern age and female characters who dwell in the capital, but in fact, deeply down still carry a small-town view of the world. The structure of this paper is in line with this distinction. Conclusions made at the end of the study show that the representation of female characters in analyzed comedies of both comedigaphers is highly similar in its nature.
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Edwards, Robert R. "Carol Falvo Heffernan, Comedy in Chaucer and Boccaccio. (Chaucer Studies, 40.) Woodbridge, Eng., and Rochester, N.Y.: Boydell and Brewer, 2009. Pp. xi, 151. $90." Speculum 85, no. 4 (October 2010): 970–71. http://dx.doi.org/10.1017/s0038713410003350.
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Youngblood, Denise J. "The Musical Comedy Films of Grigorii Aleksandrov: Laughing Matters. By Rimgaila Salys. Bristol, Eng.: Intellect Books, 2009. 352 pp. Appendix. Notes. Index. Illustrations. $35.00, paper." Slavic Review 69, no. 4 (2010): 1035–36. http://dx.doi.org/10.1017/s0037677900010421.
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Donelan, Jasper F. "EVIDENCE FOR AND AGAINST AUDIENCE-ACTOR CONTACT IN ARISTOPHANES (PAX 877–906, ACH. 257–83, THESM. 659–87 AND NUB. 275–355)." Classical Quarterly 65, no. 2 (September 15, 2015): 518–29. http://dx.doi.org/10.1017/s0009838815000324.
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Unlike tragedy, Old Comedy openly acknowledges its own festival context and the existence of a world beyond the one created for and occupied by its masked characters. Admission of the theatrical setting is a standard well-documented feature and was an effective way of drawing spectators into the drama's fiction. To the same end, speaking directly to the audience formed an integral part of Aristophanes' plays and very probably of the comic genre as a whole. We can therefore think of comedy as an ‘inclusive’ art form, one that (self-)consciously attempted to involve and engage its consumers, in particular via explicit verbal address. On the other hand, the evidence is much slimmer for actors moving outside of the performance area or otherwise physically bringing the audience members and the fictional cast into contact and, regardless of how attractive it might seem, this type of spatial negotiation is far from established. It may well be the case that in spite of comedy's relative liberty, certain barriers continued to exist, including the invisible barrier that divided the acting area from the auditorium.
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Carroll, Noël. "Timings: Notes on Stand-up Comedy." Philosophy of Humor Yearbook 1, no. 1 (September 1, 2020): 3–16. http://dx.doi.org/10.1515/phhumyb-2020-0004.
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Abstract This article attempts to provide a basic characterization of stand-up comedy-that is, a minimal portrait of what comes to mind when one learns that one is about to see a stand-up comic. To that end, the focus will be primarily on the relation of stand-up comedy in terms of themes of temporality, including the structure of stand-up comedy, its rhythm, its delivery, and its contemporaneity.
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Djordjevic, Bojan. "Comedy writer Antun Ferdinand Putica and his comedy 'Pir od djece'." Prilozi za knjizevnost, jezik, istoriju i folklor 73, no. 1-4 (2007): 21–32. http://dx.doi.org/10.2298/pkjif0704021d.
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Although, not ranked among the best writers of Dubrovnik's traditional literature, Antun Ferdinand Putica remains never the less in the history of this literature for its comedies: 4 are brought to our knowledge and 2 of them are preserved up to date. Up till now, more famous comedy Ciarlatano in moto is also published, but the subject in this study is the other up till now not published comedy Pir od djece (Children's wedding), created at the end of 18th century, most presumably in 1796.
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Novianti, Nalti. "Penggunaan Metafora sebagai Frame Pencetus Unsur Humor dalam Kamigata Rakugo “Tachigire Senkoo” dan “Sutokuin”." Humaniora 1, no. 1 (April 30, 2010): 155. http://dx.doi.org/10.21512/humaniora.v1i1.2159.
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The use of metaphor in a comedy story is a tool to create the funny effect. In many comedy stories of kamigata rakugo, a metaphor can be used as one way to bring the contradict frame that will cause the unbalance in the story (incongruity). It means that the comedy story cannot stand alone without any contradiction of situation. This contradiction of situation is brought up by the story teller to get one phrase that is able to attract the listeners’ attention, and in the end will bring a big laughs.
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Jansen, Steen. "Avec Goldoni à travers l’Europe." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 49, no. 1 (May 27, 2014): 88–119. http://dx.doi.org/10.1075/rro.49.1.05jan.
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This paper looks at how a given text, Carlo Goldoni’s comedy Un curioso accidente, has been translated, received and used in different adaptations in France, Germany and Denmark. In France and Germany the comedy is met with great interest already in the 18th century, mostly through very different adaptations (in France by François Roger and in Germany by Johann Christian Bock) used with considerable success on stage, less for the actual translations. Later the comedy was forgotten in those two countries. In the rest of Europe, the comedy is not translated till the 19th century ; in Denmark it is discovered about 1850, not least because Johanne Louise Heiberg, leading actress at the Royal Theatre, is enchanted by the female lead character Giannina. At the end of the century the play is restaged, but now — in agreement with the general spirit of the time — in much more realistic productions by William Bloch.
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Styhre, Alexander. "What’s so funny about sleazy greed and managerial malfeasance?" International Journal of Organizational Analysis 27, no. 1 (March 11, 2019): 206–19. http://dx.doi.org/10.1108/ijoa-12-2017-1292.
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Purpose Organization theory and management studies rely on a representational idiom to account faithfully for empirical data, but such research ideals do not always apprehend what is essential in the case at hand. Comedy and the comical remain an underutilized resource within, e.g. the critique of power imbalances and imprudent or illicit behavior in corporations, providing an entirely different set of mechanisms that do not sketch the “broad picture” but target elementary and constitutive empirical data. The purpose of this paper is to explore the possibilities for using such resources in management studies writing. Design/methodology/approach This paper uses the literature addressing the Enron bankruptcy as an exemplary case wherein an analytical framework recognizing a comic outlook of life can be fruitfully applied. Additional cases are presented to substantiate the proposed model. Findings The paper advocates a broader repertoire of analytical practices in organization studies, including techniques and modes of representation used in comedy. Originality/value The paper proposes a minor literature within management studies, drawing on a performative idiom and the use of comedy techniques, including the debasing of social situations, to extend the repertoire of styles. In the end, such a minor literature may be able to grapple with the current situation, characterized by organizational absurdities that preclude the use of a representational idiom.
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Dover, K. J. "Some Types of Abnormal Word-Order in Attic Comedy." Classical Quarterly 35, no. 2 (December 1985): 324–43. http://dx.doi.org/10.1017/s0009838800040209.
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On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations (sometimes obscene or blasphemous) in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ (|) M M (M) Δ in comedy is sufficiently explained thereby. There are obvious affinities between some passages of comedy, relaxed conversation in Plato and Xenophon, and the forceful, man-to-man tone which Demosthenes sometimes adopts to such good effect (e.g. xxi 209). Compare, for instance, Ar. V. 133 f. ἔστιν δ' ⋯νομα ⋮ τῷ μ⋯ν γέροντι ⋮ Φιλοκλέων / να⋯ μ⋯ Δία, τῷ δ' υἱεῖ κτλ., where the oath is a response to imagined incredulity, and X. Smp. 4.27 αὐτ⋯ν δ⋯ σέ, ἔɸη, ⋯γὼ εἶδον να⋯ μ⋯ τ⋯ν Ἀπόλλω, ὅτε κτλ. (‘Oh, yes, I did!’).It is also important that the commonest oaths fit, in most of their forms, the end of an iambic trimeter: (να⋯) μ⋯ τ⋯ν Δία, ν⋯ (τ⋯ν) Δία,ν⋯ τούς θεούς, μ⋯ τοὺς θεούς. Add that in Aristophanic dialogue (by contrast with Menander) over half the iambic trimeters end with major pause, and half the remainder with minor pause, and we can see why Δ / established itself early as a distinctive comic pattern. Out of 105 examples of M M (M) Δ cited from comedy in Section II above, 59 have the oath at verse-end.In the case of πάνυ, which was almost exclusively Attic and — to judge from its great rarity in tragedy — felt by Athenian poets to be prosaic, we lack evidence on its functions in the colloquial register; it may or may not have served as affective punctuation. In prose, we have to reckon with the fact that π Mπ and Mπ π constituted a genuine stylistic choice (cf. n. 32) as far back as the evidence will take us, since the two earliest instances in prose are [X.] Ath. 2.3 πάνυ δι⋯ χρείαν and ibid. 3.5 πολλ⋯ ἔτι πάνυ. The oath, as treated by the comic poets on the basis of colloquial usage, is bound to have served as a model for πάνυ, exerting an influence which pulled πάνυ to the end of the verse, but there was also a powerful metrical constraint. As a dibrach ending in a vowel which could not be elided or enter into crasis, πάνυ was especially appropriate for verse-end. That in itself was enough both to establish Mπ π as the dominant pattern in comedy and to promote Mπ … π. Out of the total of 104 examples of Mπ (…) π in comedy, 93 have πάνυ at verse-end, which makes Mπ (…) π / one of the hallmarks of comic style. Mπ … π does not occur in prose in association with any other feature identified as colloquial, but it should be noted that Aiskhines and Demosthenes are much fonder of Mπ π than other prose authors. In some cases one can see that the order Mπ π avoids a succession of short syllables (e.g. D. xviii 130, liv 1) or hiatus (e.g. D. xxx 36) or both (e.g. D. xliii 10), but there are other cases in which it has the opposite effect (e.g. D. xxiv 140, xliii 53). The possibility of comic influence on oratorical language cannot be dismissed out of hand. It is also possible that someone will find positive determinants which will explain all the cases of Mπ π in prose.σɸόδρα, which, like πάνυ, is peculiarly Attic, is metrically more tractable than πάνυ, since it can be elided; even so, out of the 80 comic examples of Mσ (…) σ no less than 58 have σɸόδρα at verse-end, and of those 58 there are 22 at major pause, 8 at presumed major pause and 9 at minor pause. The comic treatment of σɸόδρα is thus comparable with the treatment of πάνυ, and Timokles (CGFP) 222(b).4 τηρεῖν…σɸόδρα is in fact the closest analogy we have to Ar. Pl. 234 f. ἄχθομαι…πάνυ.δέ and γάρ are a different matter, and in some significant respects different from each other. Postponement of δέ is especially prominent in Aeschylus (45 examples, including a few in which the text is suspect) and then abundant in fourth-century comedy. It is much less common in Euripides (18 examples), rare in Sophocles (6) and Aristophanes (6), and virtually limited in prose to the categories which I labelled (l)–(3). There is as yet no evidence to associate postponement of δέ with colloquial language; on the contrary, it seems to have begun as a feature of poetic language and to have been taken up and exploited by fourth-century comedy. If, in addition to being Aeschylean, it was colloquial in the fourth century, what happened to it afterwards? Except for such an isolated and inexplicable case as Diod. xx85.1 (v.l.!) — in a military narrative — it is not a feature of the Koine at literary, documentary or subliterate level.Postponement of γάρ was no doubt encouraged by postponement of δέ, but it is not itself notably poetic (20 examples in tragedy, of which only three come in my class (5)). One can see how it could possibly have developed in the spoken language of the fourth century, extending the function of γάρ as an explanatory particle (rather on the lines of γε) in a way which makes it comparable with the English ‘you see’ in (e.g.) ‘He didn't dare pick it up. He hurt his back last year, you see’. For an extension of this kind we may compare the current extension of the English genitive affix in (I heard both examples a year or two ago) ‘Then the girl whose place she was taking's mother turned up’ and ‘The man that Christopher liked's Introduction is much better’. Moreover, postponed γάρ appears in a segment of conversation constructed in indirect speech by Theophrastus in Char. 8.9 τ⋯ πρ⋯γμα βο⋯σθαι γάρ (p C N γάρ). Again we must ask: what happened to it afterwards? A couple of cases in Theophrastus' botanical works (CP iii 11.3 and HP iv 6.1) could be a reflex of the influence of comedy on literary language at Athens. The influence was plainly short-lived, since it did not affect the Koine.It is not hard to see why serious poetry in the fifth century and earlier should have experimented occasionally with the postponement of δέ and γάρ: treatment of M M q as a valid alternative to M q M is metrically very convenient. No poet, however, could afford to use common words in a bizarre, un-Greek way merely to save himself time and trouble in constructing a verse. Linguistic innovation is normally analogical, proceeding by extension from a starting-point already there, and the most obvious starting-point for postponement of δέ and γάρ is constituted by my class (3). This consideration provides comic postponement with a pedigree, but does not deny it individuality. The remarkable scale and frequency with which comedy exploited a phenomenon which tragedy used with restraint and prose hardly at all gives comic postponement the right to be regarded as a quite distinctive artificial feature of comedy.
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Charney, Maurice, and Zvi Jagendorf. "The Happy End of Comedy: Jonson, Moliere, and Shakespeare." Shakespeare Quarterly 37, no. 2 (1986): 264. http://dx.doi.org/10.2307/2869973.
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Holland, Peter, and Gerald M. Berkowitz. "Sir John Vanbrugh and the End of Restoration Comedy." Modern Language Review 80, no. 2 (April 1985): 422. http://dx.doi.org/10.2307/3728690.
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Ogoanah, Felix Nwabeze, and Fredrick Osaro Ojo. "A multimodal generic perspective on Nigerian stand-up comedy." European Journal of Humour Research 6, no. 4 (December 30, 2018): 39. http://dx.doi.org/10.7592/ejhr2018.6.4.ogoanah.
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Studies in stand-up comedy in Nigeria have recently begun to gain serious attention. Several articles that describe the psychological and socio-cultural contexts of joke texts of stand-up comedy in Nigeria have appeared within the last few years (Orhiunu 2007; Imo 2010; Adetunji 2013; Filani 2015, 2016, etc.). However, one aspect of the phenomenon that is yet to be explored is the function of a multimodal generic framework and its contributions to the humorous content of the genre. While it is important to maintain the spoken text as many writers have done, the “multiple embodied modes” (Norris 2008: 13) that amplify the spoken text must be given due consideration. This study, therefore, examines the Nigerian stand-up comedy from the perspective of a multimodal-ESP theory to genre analysis. This theory takes cognizance not only of joke-texts, but also the visual features that enhance the performance. The material for analysis is videoed data of a popular stand-up comedy show in Nigeria, “A Nite of a Thousand Laugh.” The study demonstrates that stage management, nonverbal cues (e.g. gesture, movements, and gaze), speeches, body postures, and music/sounds contribute to the communicative value and the production of the genre. Also, it shows how plausible multimodal-ESP approach to genre is in the description of stand-up comedy in the Nigerian context and how the knowledge can be integrated into the teaching and learning of technology-mediated communications (TMC), such as using English for entertainment purposes.
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Satria Raharja, Ahmad Ulliyadhi, and Alfin Rosyidha. "Maxim of Cooperative Principle Violation by Dodit Mulyanto in Stand-up Comedy Indonesia Season 4." Journal of Pragmatics Research 1, no. 1 (April 8, 2019): 62–77. http://dx.doi.org/10.18326/jopr.v1i1.62-77.
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This study focuses on cooperative principle violation done by Dodit Mulyanto in Stand Up Comedy Indonesia season 4 using Grice’s theory. Grice expressed cooperative principle to suggest that in conversational interaction people work on the assumption that a certain set of rules is in operation, unless they receive indications to the contrary. The aims of this research are to classify the maxims of cooperative principle and to explain how Dodit Mulyanto violates cooperative principle to raise humor in Stand Up Comedy Indonesia season 4. Besides, this research is also directed to discover the types of violation maxims, the most dominant violation maxim, and to explain the causes of the most dominant violation maxim in Dodit Mulyanto’s Stand Up Comedy Indonesia season 4. This research is conducted using qualitative method. The sources of data are the 17 videos of Dodit Mulyanto’s speech during his performance in Stand Up Comedy Indonesia Kompas TV season 4 by downloading from YouTube site. The data are the utterances of Dodit Mulyanto which considered contain the violation of cooperative principles. The data are collected using the check list instrument and then analyzed based on the violation on each maxim. At the end, the researcher draws the conclusion which is in accordance with the research finding. The results of the analysis shows that all types of maxim were violated; 12 utterances violation maxim of quantity (24,4%), 13 utterances violation maxim of quality (26,5%), 22 utterances violation maxim of relation (44,9%), and 2 utterances violation maxim of manner (4,1%). The most dominant type of violation maxims was the violation maxim of relation because Dodit Mulyanto delivered too much message, which is unmatched with the topic or changed conversation topic abruptly or did the wrong causality, than is required to raise humor in Stand Up Comedy Indonesia Kompas TV season 4.Keywords: Cooperative Principle, Maxim Violation, Stand Up Comedy.
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Zurcher, Andrew. "Consideration, Contract, and the End of The Comedy of Errors." Law and Humanities 1, no. 2 (January 2007): 145–65. http://dx.doi.org/10.1080/17521483.2007.11423732.
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Asperti, Andrea, and Stefano Dal Bianco. "Syllabification of the Divine Comedy." Journal on Computing and Cultural Heritage 14, no. 3 (July 2021): 1–26. http://dx.doi.org/10.1145/3459011.
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We provide a syllabification algorithm for the Divine Comedy using techniques from probabilistic and constraint programming. We particularly focus on the synalephe , addressed in terms of the "propensity" of a word to take part in a synalephe with adjacent words. We jointly provide an online vocabulary containing, for each word, information about its syllabification, the location of the tonic accent, and the aforementioned synalephe propensity, on the left and right sides. The algorithm is intrinsically nondeterministic, producing different possible syllabifications for each verse, with different likelihoods; metric constraints relative to accents on the 10th, 4th, and 6th syllables are used to further reduce the solution space. The most likely syllabification is hence returned as output. We believe that this work could be a major milestone for a lot of different investigations. From the point of view of digital humanities it opens new perspectives on computer-assisted analysis of digital sources, comprising automated detection of anomalous and problematic cases, metric clustering of verses and their categorization, or more foundational investigations addressing, e.g., the phonetic roles of consonants and vowels. From the point of view of text processing and deep learning, information about syllabification and the location of accents opens a wide range of exciting perspectives, from the possibility of automatic learning syllabification of words and verses to the improvement of generative models, aware of metric issues, and more respectful of the expected musicality.
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Sukron, Asep. "PENINGKATAN KEMAMPUAN BERPIDATO SISWA KELAS VI SEKOLAH DASAR NEGERI ARCA KECAMATAN SUKAMAKMUR KABUPATEN BOGOR MELALUI TEKNIK STAND UP COMEDY." Jurnal Review Pendidikan Dasar : Jurnal Kajian Pendidikan dan Hasil Penelitian 5, no. 1 (January 11, 2019): 875. http://dx.doi.org/10.26740/jrpd.v5n1.p875-881.
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ABSTRACTThe purpose of this research was to improve the ability of public speaking’s student by using stand up comedy technique of grade sixth SDN Arca subdistrict Sukamakmur, Bogor. The subject consisted of 30 students, 12 males, 18 females. The problems in this research is the low ability of speaking’s student in therms linguistic factors or nonlingusitic factors. Besides that, the learning are not interesting, boring and the result of the learning have not reached minimum completenes criteria established by school. This study was classroom action research (CAR) it was conducted with two cycles, each cycle consisted of planning, conducting, observation, and reflection of Kemmis and Taggart Model. Related with the quality of student’s learning result by using stand up comedy technique, it showed that student’s abilities were improved. These abilities were regularity the delivery of ideas, sentence and word accuracy, fluency and naturalness, articulation and intonation, courage and trust, the precision of set up and punch line technique, the precision of one liner technique, and the precision of act out technique. The Results of research on learning cycle one, indicating that speech abilities of students through the techniques of stand up comedy has increased by 67% and the end of the second cycle of 90%. Based on data analysis, found an increased percentage of students in speech amounted to 23%. It can be concluded that learning through stand up comedy techniques to improve the ability of speech sixth grade students of SDN Arca Sukamakmur District of Bogor regency on the initial hypothesis can be accepted and proven. Key Words: Stand Up Comedy Technique, Speaking Ability of Student. ABSTRAKPenelitian ini bertujuan untuk meningkatkan kemampuan berpidato melalui teknik stand up comedy pada siswa kelas VI SDN Arca Kecamatan Sukamakmur Kabupaten Bogor dengan subjek 30 siswa, terdiri atas 12 siswa laki-laki dan 18 siswi perempuan. Permasalahan dalam penelitian ini adalah rendahnya kemampuan berbicara siswa dalam hal faktor-faktor kebahasaan maupun nonkebahasaan. Di samping itu, pembelajaran kurang menarik, membosankan, dan hasil pembelajaran belum mencapai Kriteria Ketuntasan Minimal (KKM) yang ditetapkan oleh Sekolah. Penelitian ini adalah Penelitian Tindakan Kelas (PTK) yang dilaksanakan dalam 2 siklus, setiap siklus terdiri atas perencanaan, pelaksanaan, observasi dan refleksi model Kemmis dan Taggart. Berkenaan dengan kualitas kemampuan berpidato anak dengan teknik stand up comedy menunjukkan bahwa kemampuan siswa dapat meningkat. Kemampuan tersebut adalah keruntutan penyampaian gagasan, ketepatan kalimat dan kata, kelancaran dan kewajaran, artikulasi dan intonasi, keberanian dan percaya, ketepatan set up dan punch line, ketepatan teknik one liner, dan ketepatan teknik act out. Hasil penelitian pada pembelajaran siklus I, menunjukkan bahwa kemampuan berpidato siswa melalui teknik stand up comedy mengalami peningkatan sebesar 67% dan akhir siklus II sebesar 90%. Berdasarkan analisis data tersebut, ditemukan persentase peningkatan siswa dalam berpidato sebesar 23%. Sehingga dapat disimpulkan bahwa pembelajaran melalui teknik stand up comedy untuk meningkatkan kemampuan berpidato siswa kelas VI SDN Arca Kecamatan Sukamakmur Kabupaten Bogor pada hipotesis awal dapat diterima dan terbukti. Kata kunci: Teknik Stand Up Comedy, Kemampuan Berpidato Siswa.
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Barrios-Lech, Peter G. "The Volo Command in Roman Comedy." Mnemosyne 69, no. 4 (June 23, 2016): 628–47. http://dx.doi.org/10.1163/1568525x-12341827.
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The contribution aims to show how commands and requests with volo (and nolo), e.g. volo te facere, “I want you to do [this]”, are constrained by social variables, specifically the relationship of hearer to speaker. There are 181 relevant tokens gathered from the corpus of extant Roman comedy. First, three kinds of volo command are distinguished and discussed: volo+bald infinitive, volo+accusativus cum infinitivo, and volo+finite clause with subjunctive. Second, the following are demonstrated: (1.) volo+AcI and volo+subjunctive typically convey peremptory commands; (2.) volo+bald infinitive “prefers” requests compared to the former two expressions; (3.) all three expressions tend to be used in contexts where the speaker enjoys greater authority than the hearer. To conclude, it is suggested that Plautus may use the form to support the authoritative stance of characters in Amphitruo, Casina and Captivi.
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Taplin, Oliver. "Fifth-century tragedy and Comedy: A synkrisis." Journal of Hellenic Studies 106 (November 1986): 163–74. http://dx.doi.org/10.2307/629650.
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At the very end of Plato'sSymposiumour narrator awakes to find Socrates still hard at it, and making Agathon and Aristophanes agree that the composition of tragedy and comedy is really one and the same thing:… προсαναγκάӡειν τὸν Σωκράτη ὁμολογεῖν αὐτοὺс τοῦ αὐτοῦ ἀνδρὸс εἷναι κωμωιδίαν καὶ τραγωιδίαν ἐπἰсταϲθαι ποιεῖν, καὶ τὸν τέχνηι τραγωιδοποιὸν ὄντα καὶ κωμωιδοποιὸν εἷναι. ταῦτα δὴ ἀναγκαӡομένουϲ αὐτοὺϲ … the two playwrights succumb to sleep, leaving Socrates triumphant. Socrates had to ‘force’ his case; and it is a fact that, though we know of well over 100 fifth-century playwrights, we do not know of a single one who produced both tragedy and comedy. In a famous fragment the comedian Antiphanes (fr.191K) complains that the tragedians have an easy time—familiar stories, thedeus ex machinaetc.—ἡμῖν δὲ ταῦτ' οὐκ ἔсτιν … It is a matter of ‘them’ and ‘us’. Furthermore, there was an entire separate genre besides tragedy and comedy. As Demetrius put it (de eloc.169), τραγωιδία χάριταϲ μὲν παραλαμβάνει ἐν πολλοῖϲ, ὁ δὲ γέλωϲ ἐχθρὸϲ τραγωιδίαϲ· οὐδὲ γὰρ ἐπινοήϲειεν ἄν τιϲ τραγωιδίαν παίӡουϲαν, ἐπεὶ ϲάτυρον γράψει ἀντὶ τραγωιδίαϲ.
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Andracki, Thaddeus. "Everyone Dies in the End: A Romantic Comedy by Brian Katcher." Bulletin of the Center for Children's Books 68, no. 1 (2014): 35. http://dx.doi.org/10.1353/bcc.2014.0662.
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Olson, S. Douglas. "Names and Naming in Aristophanic Comedy." Classical Quarterly 42, no. 2 (December 1992): 304–19. http://dx.doi.org/10.1017/s0009838800015949.
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One of the ironies of literary history is that the survival of Aristophanic comedy and indeed of all Greek drama is due to the more or less faithful transmission of a written text. Reading a play and watching one, after all, are very different sorts of activities. Unlike a book, in which the reader can leaf backward for reminders of what has already happened or forward for information about what is to come, a play onstage can be experienced in one direction only, from ‘beginning’ to ‘end’. Nor can a play be put down and picked up again at one's leisure or interrupted while the audience puzzles over a difficult or intriguing passage. Live theatre is an ephemeral and essentially independent thing, which must be experienced in its own time and on its own terms or not at all, and as a result we modern readers, dependent on the written page, are at a marked disadvantage in understanding ancient drama. Taplin's study of staging in Aeschylus has shed considerable light on the dramatic technique of Athenian tragedy. Stage-practice in Aristophanic comedy, and in particular the ways in which names and naming are used there, has received much less attention.
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Konstantakos, Ioannis. "The Drinking Theatre: Staged Symposia in Greek Comedy." Mnemosyne 58, no. 2 (2005): 183–217. http://dx.doi.org/10.1163/156852505774249532.
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AbstractStaged symposia, like those found in some comedies of Plautus (As., Mos., Per., St.), were presented also in Greek comedy: this is indicated by a large number of fragments which present characters drinking and performing sympotic rituals on stage. Sympotic scenes formed a favourite comic spectacle in the 4th century and apparently occurred already in Old Comedy (e.g. Pherekrates' Korianno). Plautus' staged banquets may well have been inspired by Greek scenes of this sort. The lunch-party of the women at the beginning of Menander's Synaristosai can be seen as a variation of the traditional comic banquet-scene; so also certain scenes of Aristophanes (the slaves' drinking-scene in Eq. 85 ff.; the imaginary symposium in V. 120848). The comic symposia must have been acted either on the ekkyklema or simply 'on stage', i.e. on the regular performance area for the actors, in front of the scenic façade; by convention, events which would normally take place indoors could be set outside the house in the theatre. An appendix discusses the number of actors in 4th-century comedy: a fourth speaking performer was most probably available for the largest part of the 4th century.
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Rothaus Moser, Matthew. "Understanding Dante’s Comedy as Virtuous Friendship." Religions 10, no. 3 (March 22, 2019): 219. http://dx.doi.org/10.3390/rel10030219.
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As Dante explains in his epistle to Can Grande, the purpose of the Comedy is to move the reader from a state of misery to a state of happiness. The poet himself testifies that the poem was written as a work of moral philosophy oriented to the achievement of happiness, eudaimonia: the beatific vision of God. Moreover, Dante insists on his poem’s efficacy to affect in its readers a similar moral and religious transformation as that which the poem represents through the narrative journey of the pilgrim. To put it another way, Dante represents his poem’s relationship to its reader as a kind of virtuous friendship. This essay sets forth a model for teaching Dante’s poem as an experiment in virtuous friendship that can transform the classroom into a workshop for the philosophical and religious quest for happiness. This involves teaching the text with an eye not only to the content and style of the poem but also to the performative and participatory demands of the text. Beginning with this framework, this essay works out pedagogical strategies for teaching the Comedy as a form of virtuous friendship extended over the centuries between Dante Alighieri and the contemporary reader. Chiefly, I explore ways Dante makes his readers complicit in the pilgrim’s own moral and spiritual journey toward the virtue of hope translated into the practice of prayer through a close, pedagogical reading of Inferno 3, Purgatorio 5, and Paradiso 20. I explore ways that Dante’s use of surprise, shock, misdirection, appeal to mystery, and retreat to silence creates a morally significant aporia of knowledge that serves as a laboratory for readers’ own virtuous transformation. I end with a critical assessment of the challenges involved in understanding the Comedy as virtuous friendship.
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Badia, Giovanna. "Relevancy Trumps Format When Teaching Information Literacy." Evidence Based Library and Information Practice 9, no. 4 (December 5, 2014): 64. http://dx.doi.org/10.18438/b82024.
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A Review of:
Tewell, E. C. (2014). Tying television comedies to information literacy: A mixed-methods investigation. The Journal of Academic Librarianship, 40(2), 134-141. doi:10.1016/j.acalib.2014.02.004
Abstract
Objective – This study assessed the effects of showing television comedy clips to demonstrate information literacy concepts when teaching one-shot instruction sessions. More specifically, it examined whether the students’ retention and understanding increased when television comedy clips were used and whether students preferred instruction that included popular culture examples.
Design – A mixed-methods investigation that employed multiple-choice questionnaires and focus group interviews.
Setting – A small liberal arts college in the United States of America.
Subjects – A total of 211 freshmen students enrolled in a First-Year Studies course. The students were divided into 16 class sections. The author collected a total of 193 valid responses to the pretests and posttests in his study.
Methods – Half of the class sections (103 respondents) were taught selected information literacy concepts using television comedy clips and a group discussion led by the instructor. The other half (90 respondents) were taught using only an instructor-led discussion. The classes were randomly selected to belong to the experimental group (with TV comedy clips) or the control group (without TV comedy clips). An online pretest questionnaire, consisting of 10 multiple-choice questions, was administered at the beginning of the 90-minute library instruction session for both groups. An online posttest questionnaire, consisting of the same questions as the pretest but in a randomized order, was completed by the students at the end of the session. About a month later, one-hour focus group interviews were conducted with a small subset of the study’s subjects who volunteered to participate in the focus groups. The experimental focus group consisted of five study participants who had attended a library instruction session that involved showing the television comedy clips and the control focus group consisted of six study participants who had attended a library instruction session that did not include showing the television comedy clips.
Main Results – The experimental group scored higher than the control group on the posttest with an average “increase of 1.07 points from pre- to posttest compared to a 0.13 mean increase in the control group” (p. 139), which means that the experimental group answered one more question correctly. Four out of the five participants in the experimental focus group also discussed the television comedy clips even though they were not asked about them. Conversely, when asked about what they enjoyed in the class, the majority of participants from both focus groups discussed the content covered in the session rather than any teaching methods employed. “The quantitative results suggest that student test results either increased, as in the experimental group, or remained relatively level, as in the control group, due to the type of instruction received” (p. 137).
Conclusion – The author states that the results from the test questionnaires and answers from focus group sessions indicate that using television comedy clips may be a successful way of improving students’ retention of course content. However, the study’s results could not demonstrate that students liked classes with popular culture examples more than classes without them, since the majority of focus group participants found the course content more interesting than the manner in which the content was taught. The relevancy of the content presented in an information literacy session appears to make more of an impact on the students than the format in which it is presented.
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Asst. Prof. Ali Mohammed Segar. "Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist." journal of the college of basic education 26, no. 106 (March 1, 2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.
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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age.
In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.
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Farahat, Martha. "On the staging of madrigal comedies." Early Music History 10 (October 1991): 123–43. http://dx.doi.org/10.1017/s026112790000111x.
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The brief life of the madrigal comedy spans the forty-year period from 1590 to 1630. Coming at the end of the sixteenth century, the genre marked the decline of the polyphonic madrigal style and heralded the evolution of secular vocal music's emphasis on the dramatic. As a genre, the madrigal comedy is not well known, and its designation can lead to confusion, because the term refers to collections of compositions that need not consist of madrigals or by themselves form comedies. Nevertheless it is a term that retains some usefulness in isolating a body of works from the late sixteenth and early seventeenth centuries that share common elements. Not until the most recent edition of Grove's Dictionary was there an entry under the heading ‘Madrigal Comedy’; earlier editions had described such works as madrigal operas, clearly an even more problematic term. The brief life of the genre – from Orazio Vecchi's Selva di varia recreatione of 1590 to Banchieri's last publication, the Trattenimenti da villa of 1630 – as well as the variety of types of composition and of musical style to be found in these collections, and the fact that there are so few of them, make it particularly difficult to define more narrowly or more precisely.
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Yeomans, Christopher. "Hegel’s Pluralism as a Comedy of Action." Hegel Bulletin 40, no. 3 (January 9, 2019): 357–73. http://dx.doi.org/10.1017/hgl.2018.30.
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AbstractOur reception of Hegel’s theory of action faces a fundamental difficulty: on the one hand, that theory is quite clearly embedded in a social theory of modern life, but on the other hand most of the features of the society that gave that embedding its specific content have become almost inscrutably strange to us (e.g., the estates and the monarchy). Thus we find ourselves in the awkward position of stressing the theory’s sociality even as we scramble backwards to distance ourselves from the particular social institutions that gave conceptualized form to such sociality in Hegel’s own opinion. My attempt in this article is to make our position less awkward by giving us at least one social-ontological leg to stand on. Specifically, I want to defend a principled and conceptual pluralism as forming the heart of Hegel’s theory of action. If this view can be made out, then we will have a social-ontological structure that might be filled out in different ways in Hegel’s time and our own while simultaneously giving real teeth to the notion that Hegel’s theory of action is essentially social.
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Zheltova, Elena V. "Evidentiality and Mirativity in the Language of Roman Comedy." Acta Antiqua Academiae Scientiarum Hungaricae 59, no. 1-4 (September 25, 2020): 547–59. http://dx.doi.org/10.1556/068.2019.59.1-4.48.
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Summary:The paper deals with the ways of expressing evidential and mirative semantics in the language of Roman comedy. The author claims that the phenomena under consideration belong to the grammar rather than to the lexicon of the Latin language, and shows that various evidential and mirative values can be expressed by the use of verbal tenses, voices, moods and syntactic construction. It is stressed that evidential and mirative functions in such units result only from the interaction of different linguistic parameters within a certain context and does not reside in the units taken in isolation. The main focus of the study is on the linguistic techniques which were preferred by Plautus and Terence. The comparative analysis of the linguistic strategies found in the author's present and the previous research demonstrates that the choice of a particular strategy depends on a given genre. Thus, some strategies (e.g., impersonal passive, inferential perfect and future, imperfect of a truth just recognized, mirative use of the subjunctive and infinitive) are preferred by comic poets while other techniques (e.g., deductive use of debere, gnomic future as a reportative strategy, cum inversum as a mirative device) which may be used in historic or epic narrative, never occur in the language of Roman comedy.
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Aitaki, Georgia. "Domesticating pathogenies, evaluating change: the Eurozone crisis as a ‘hot moment’ in Greek television fiction." Media, Culture & Society 40, no. 7 (October 3, 2017): 957–72. http://dx.doi.org/10.1177/0163443717734403.
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This article investigates how the Eurozone crisis is thematically negotiated in a popular Greek television comedy. Inspired by the increasing interest in the ideological role of news media during the Eurozone crisis of the late 2000s, it turns the spotlight on the sphere of entertainment in an attempt to address the importance of fictional mediations and meaning-making processes. To that end, it proposes an understanding of television fiction as an accommodator and shaper of ‘hot moments’, instigating processes of self-assessment and evaluation of change. More specifically, the study examines the ways in which the family comedy Piso sto Spiti (MEGA Channel, 2011–2013) provides culturally based understandings of the Eurozone crisis by depicting it as associated with inherent flaws of the modern Greek and by assessing the possibility of change through a juxtaposition with national ‘others’. At the same time, it identifies ways that ideology leaks from television fiction in its interaction with other media discourses simultaneously circulating within a society.
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Lever, Susan. "From Vance Palmer's The Passage to Susan Johnson's The Landing." Queensland Review 24, no. 2 (November 17, 2017): 191–201. http://dx.doi.org/10.1017/qre.2017.30.
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AbstractThis article compares Vance Palmer's classic novel, The Passage (1930), set in Caloundra, with Susan Johnson's The Landing (2015), a comic novel of manners set at the northern end of the contemporary Sunshine Coast. It considers the novels’ different perspectives on Australian society and changing values, including attitudes to nature, arguing that Palmer's novel now seems more idealistic than realist while Johnson's cynicism about Australian life shows some disturbing elements beneath the comedy.
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Eflin, Jackson, Wendy Faunce, and Brittany Means. "Dead End Job." Digital Literature Review 1 (December 3, 2014): 111–23. http://dx.doi.org/10.33043/dlr.1.0.111-123.
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The following critical edition of Frank R. Stockton’s “The Transferred Ghost” focuses on the ways in which the rise in spiritualism parallels the emergence of the middle class and white-collar positions in the United States in the late 1800s. By analyzing Stockton’s story along with other comedic ghost stories from the period, this edition will show how humor hid deeper anxieties about the era’s economic and social developments.
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Kristinsdóttir, Guðrún. "Tartuffe í sögu og samtíð." Milli mála 10, no. 1 (2018): 63–87. http://dx.doi.org/10.33112/millimala.10.4.
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One of the most popular French comedies of all times, Molière’s Tartuffe from 1669, is still remarkably present and being performed in theatres today, 350 years after its premiere at the court of Louis XIV. The story of the hypocrite who fools rich Orgon into leaving him all his belongings is indeed compelling and has reflected social preoccupations ever since Molière’s day. This article retraces the historical background of the comedy and its reception in 17th century France, marked by longstanding tensions between religious groups within the Catholic Church, resulting in the play being banned. The article recounts Molière’s battle to have the ban lifted as well as recent research on the playwright’s revisions of his comedy to that end. In our day, the play’s denunciation of hypocrisy, plain lies and bad faith in general, seems to have direct repercussions, as discussed by theatre directors and actors of the various interpretations of Molière’s masterpiece in European theatres in recent years. Finally, the article retraces the productions of Tartuffe in Iceland, from the first performance of the third and the fourth Acts of the play in 1929 to the National Theatre’s presentation in the spring of 2019.
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San Román, Mariana Franco. "Violent times: êthos, metaphor, and violent body in Cleon’s representation in Aristophanic comedy." Circe, de clásicos y moderno 23, no. 1 (June 1, 2019): 91–121. http://dx.doi.org/10.19137/circe-2019-230106.
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Trambaioli, Marcella. "El jardinero fingido en la comedia lopeveguesca." Revista de Filología Española 92, no. 1 (June 30, 2012): 181–210. http://dx.doi.org/10.3989/rfe.2012.v92.i1.241.
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Arning, Chris. "What makes modern Britain laugh? How semiotics helped the BBC bridge the Humor Gap." International Journal of Market Research 63, no. 3 (March 15, 2021): 275–99. http://dx.doi.org/10.1177/1470785321991346.
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In 2018, BBC Marketing and Audiences approached semiotic agencies with a challenging brief. They wanted to know the following: What makes modern Britain laugh? The BBC’s younger audiences have been steadily drifting to other platforms and broadcasters to satisfy their need for “funny stuff.” Brands that successfully leverage humor really resonate with this new modern mainstream audience, for example, Netflix, BuzzFeed, YouTube, Snapchat, and so on. The BBC, as part of its remit to continue to be a modern evolving brand, wanted to address this trend by understanding what types of comedy content convey a relatable sense of humor and how to best achieve this. The BBC required insight on the following key objectives: Identify key characteristics of content that younger audiences find funny; Explain how this compares with the preferences of the BBC’s older audiences; Estimate how far the BBC brand can stretch in humor content across platform; Assess the need for innovation across BBC platforms to accommodate fresh content. The project involved a multi-methodology approach, the centerpiece of which was a content analysis of 800 data points of consumer generated content derived from WhatsApp diaries. The semiotic analysis, informed by foundational thinking on humor schools and humor psychology, used an innovative hashtagging system to create a nuanced taxonomy of the mostly memes and viral videos with the primary types (e.g., #cringe, #pastiche, #awkwardness, #black humour, #satire, #schadenfreude etc.). The BBC received a comprehensive taxonomy of more than 50 humor types, a digest of levers of engagement for operationalising the humour, and maps for strategic channel positioning. The work has helped the BBC innovate in three core areas: rethinking their use of metadata for tagging comedy content on the iPlayer platform, modifying their tone of voice across all parts of the business, and in commissioning original comedy podcasts for the BBC Sounds app.
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Dunn-Lardeau, Brenda. "La place de La comédie des quatre femmes de Marguerite de Navarre (1542) dans le discours sur le célibat volontaire comme modèle de félicité de l'Arioste à Gabrielle Suchon." Renaissance and Reformation 38, no. 4 (January 1, 2002): 113–39. http://dx.doi.org/10.33137/rr.v38i4.8841.
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In the Comedy for Four Women (1542), Marguerite de Navarre presents a dialogue among five female protagonists who express the delights and the torments that stem from the love of their suitors or husbands. This is true for all except the First Girl, who does not want to have anything to do with love or marriage. This article examines the special status of the character of the First Girl, an apparent forerunner of a new way of life for women. Specifically, it explores the potential for a sixteenth-century young woman to live a life without a suitor and, moreover, to proclaim that wilful celibacy is a source of genuine happiness rather than of the humiliating feeling of failure attached traditionally to a life outside of wedlock or religion. Moreover, in this play, Marguerite de Navarre makes a significant contribution to the idea of the dignity and happiness of wilful celibacy, while taking part in the Querelle des amies debate. Finally, this article gathers data on the historical and fictional characters that emerged before and after Marguerite’s Comedy, leading to the development of a positive view of the unmarried woman, which culminated in Gabrielle Suchon’s manifesto, Du célibat volontaire, in 1700. The data reflect a growing demographic trend, as well as a shift in the hierarchy of female values: chastity is no longer an end in itself, the supreme feminine virtue, but a means to the end of freedom and felicity.
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Tudurachi, Adrian. "The End of Comedy. For an Archaeology of Reconciliation in the 19th Century Romanian Theatre." Metacritic Journal for Comparative Studies and Theory 4, no. 2 (December 18, 2018): 143–61. http://dx.doi.org/10.24193/mjcst.2018.6.08.
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Carlson, Susan. "Issues of Identity, Nationality, and Performance: the Reception of Two Plays by Timberlake Wertenbaker." New Theatre Quarterly 9, no. 35 (August 1993): 267–89. http://dx.doi.org/10.1017/s0266464x00007995.
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This paper explores some of the many factors which affect the way in which the critical response to a production is made manifest. Using the reception of Timberlake Wertenbaker's The Love of the Nightingale and Our Country's Good as case studies, Susan Carlson contrasts the enthusiastic response to the first production of the latter play at the Royal Court, where its supposed celebration of the redemptive effects of theatricality were widely acclaimed, with the subjection of the former to the ‘atavistic guilts of male theatre reviewers’. Examining the reception of later productions – and even the West End transfer – of Our Country's Good, she proceeds to show how different theatres, companies, and senses of cultural, sexual, and national identity shaped ever-changing attitudes towards what was presumed to be the same play. Susan Carlson, whose article ‘Comic Collisions: Convention, Rage, and Order’ appeared in NTQ12 (November 1987), is Professor of English at lowa State University, and the author of Women of Grace: James's Plays and the Comedy of Manners (1985) and Women and Comedy: Rewriting the British Theatrical Tradition (1991). She is now working on issues of performance and collaboration in contemporary theatre, and writing about the work of the Omaha Magic Theatre and the playwriting of Karim Alrawi.
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Zykova, Irina. "The phraseological meaning construal in the traditional vs. cognitive culture-oriented perspectives." Lege Artis 1, no. 2 (December 1, 2016): 253–86. http://dx.doi.org/10.1515/lart-2016-0015.
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Abstract As a point of departure, the paper discusses two approaches to phraseological meaning: traditional and cognitive. Following the latter as well as certain semiotic and cultural accounts of language, semantics, and idiomaticity, I seek to elaborate a cognitive culture-oriented theory of phraseological meaning. This theory is tested against the basis of a representative corpus of selected Russian phraseologisms (more than 1000 items) that describe various aspects of verbal communication, e.g., igrat’ komediyu (lit. to play comedy), zloj yazyk (lit. an evil tongue). The results obtained are supported by the cross-cultural study of Russian and English phraseological units.
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Zupančič, Alenka. "The End of Ideology, the Ideology of the End." South Atlantic Quarterly 119, no. 4 (October 1, 2020): 833–44. http://dx.doi.org/10.1215/00382876-8663735.
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When in 1989 Francis Fukuyama launched his thesis about the “end of history,” it rhymed perfectly with another fashionable suggestion about the “end of ideology.” This paper attempts to examine what could be called the ideology of the end, of which both of these trendy phrases partake. It looks particularly into the predominant modality both of these so-called “ends” display whereby the end is paired with its apparent opposite: repetition or continuation of what it is supposed to end. Taking its cue from a couple of comedic examples in film and literature (Monty Python’s The Meaning of Life and Italo Svevo’s Zeno’s Conscience), this essay attempts to make some philosophical and political points that could help us orientate today when thinking about ideology and its alleged end.
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Moodie, Erin K. "Old Men and Metatheatre in Terence: Terence's Dramatic Competition." Ramus 38, no. 2 (2009): 145–73. http://dx.doi.org/10.1017/s0048671x00000564.
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Within the Terentian corpus thesenes(‘old men’) Simo (of theAndria) and Chremes (of theHeauton Timorumenos) enjoy an extraordinary understanding of the conventions of Roman comedy. While slaves in Plautine comedy certainly exhibit similar knowledge of their genre's conventions, as do the young men who are allied with them (one thinks of Charinus' prologue to theMercator), Plautinesenesdo not usually share in this awareness. This paper focuses on theAndria'sSimo and theHeauton'sChremes because—despite their unusual generic knowledge, which each man reveals in several metatheatrical remarks—they nevertheless misinterpret their slaves. Indeed, we shall see that both men's knowledge of the character type of the clever slave leads to their belief that they can control the slaves and see through their attempts at deception. However, in the end both men actually deceive themselves because their knowledge leads them to see deceptions where there are none—to interpret truth as a fiction contrived by their slaves. Interestingly, Simo and Chremes have something else in common: they both appear in plays whose prologues feature references to an unnamed opponent of Terence—themaleuolus uetus poeta(‘spiteful old poet’). This individual is alleged to have charged Terence with (1) mixing the plots of multiple Greek comedies together in the composition of his own plays, and (2) accepting the help of powerful friends in the writing of his comedies.
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Kersten, Holger. "America’s faith in the laugh resistance – popular beliefs about political humor in the 2016 presidential elections." HUMOR 32, no. 2 (May 27, 2019): 299–316. http://dx.doi.org/10.1515/humor-2019-0004.
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Abstract Taking its cue from the observation that forms of aggressive humor directed against the political figure Donald Trump are not an ephemeral aspect of contemporary American politics but have been firmly embedded in American cultural discourse for more than two years, this article will explore the ways in which comedians, journalists and other contemporary observers have described and commented on the role and functions of humor and comedy with regard to the Trump phenomenon in the context of the 2016 presidential elections and its aftermath. Drawing on a selection of material from established online news resources the essay will document how popular media outlets have presented the nation’s most prominent late-night comedy as an arena in which the format’s popular hosts deploy humor in an attempt to undermine Trump’s status and ultimately to end his foray onto America’s highest political sphere. The article will then trace the popularity of the idea that political humor is subversive in the tradition of the country’s intellectual history and check it against a selection of empirical studies devoted to the topic. In this context it will become apparent that the belief in the corrective power of humor is deeply ingrained in the American popular imagination and is being perpetuated by contemporary reports and comments in important segments of the media landscape.
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KAUFMAN, WILL. "What's so Funny about Richard Nixon? Vonnegut's Jailbird and the Limits of Comedy." Journal of American Studies 41, no. 3 (October 24, 2007): 623–39. http://dx.doi.org/10.1017/s0021875807004021.
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This essay explores the questionable potency of satire in the light of Richard Nixon's political rehabilitation. Following a discussion of satirical treatments from the 1940s to the 1980s by, among others, the cartoonists Herbert Block (‘Herblock’) and Garry Trudeau, the comedians Mort Sahl and Lenny Bruce, and writers including Philip Roth and Robert Coover, I examine one work extensively – Kurt Vonnegut's Jailbird (1979) – as a disquisition on satiric impotence, setting that novel in the context of the comedic firepower that had been directed at Nixon since the dawn of his political career and which, in the end, could not prevent his rehabilitation.
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DIMITROVA, NEVENKA, LALITHA AGNIHOTRI, and GANG WEI. "VIDEO CLASSIFICATION USING OBJECT TRACKING." International Journal of Image and Graphics 01, no. 03 (July 2001): 487–505. http://dx.doi.org/10.1142/s0219467801000281.
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Content description becomes important in the ubiquity of video content on the Web and consumer devices. Video classification is needed so that more appropriate description and search methods can be applied. This paper describes two methods for video content classification: a Nearest Neighbor (NN) method relying on domain knowledge and Hidden Markov Model (HMM) based method. Our approach stems from the observation that in different TV categories, there are different objects (e.g., face and text) trajectory patterns. Face and text tracking is applied to video segments to extract face and text trajectories. We used NN and HMM to classify a given video segment into predefined classes, e.g., commercial, news, situation comedy and soap. Our preliminary experimental results show classification accuracy of 75% for NN and over 80% for HMM based method on short video segments.
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McGarry, Michael. "Elbows, bends and lyrical space." Architectural Research Quarterly 16, no. 1 (March 2012): 94–96. http://dx.doi.org/10.1017/s1359135512000334.
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Ridgeway Street sounds like something out of an Ealing comedy - all charm, Englishness and deft touch. This Belfast street is a continuing surprise - a sudden fall from Stranmillis Road in a city that one images as a flat apron laid out under Black Mountain and Divis; houses that have enough in common to establish a loose coherence, but with odd dormers and narrow stepping plots that give a whimsical twist; a line of folded roof planes dropping precariously towards the Lagan, their angles spiking the skyline. The Lyric accounts for the last set of these spiky roofs at the end of the terrace at the bottom of Ridgeway Street.
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Mamolar Sánchez, Idoia. "Los anuncios del coro en la comedia de Aristófanes." Emerita 65, no. 2 (December 30, 1997): 287–302. http://dx.doi.org/10.3989/emerita.1997.v65.i2.209.
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Madigan, Patrick. "Dante’s Divine Comedy: A Journey Without End. By IanThomson. Pp. 288, London, Head of Zeus, 2018, £18.99." Heythrop Journal 61, no. 3 (April 24, 2020): 525. http://dx.doi.org/10.1111/heyj.13515.
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Solanki, Madhusudan Singh, and Girish Banwari. "Comedy to sleazy horror: No end to cinema's stigmatizing and ridiculing attitude towards mental illness and psychiatry." Asian Journal of Psychiatry 21 (June 2016): 21–22. http://dx.doi.org/10.1016/j.ajp.2015.12.009.
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Iosifyan, Marina. "Crossmodal Associations between Cinema with Elements of Comic and Tragic and Texture Touch." Art and Perception 8, no. 2 (June 8, 2020): 175–87. http://dx.doi.org/10.1163/22134913-bja10004.
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Crossmodal associations are systematic links between a stimulus from one modality (e.g., color) and a stimulus from another modality (e.g., sound). The present study investigated crossmodal associations between cinema (a complex visual and auditory stimulus) and texture touch. Participants watched fragments of movies with comic and tragic elements. They also touched different textures (e.g., silk, fur, marble) and chose the textures that were most/least consistent with the films. We found systematic links between the films and the textures associated with them. Films with elements of tragedy were associated with granite, marble and glass, while films with elements of comedy were associated with glass pebbles, plasticine and a slime toy. Similar emotional and semantic evaluations of textures and films can partly explain these crossmodal associations. Significant correlations were found between the direct emotional evaluation of films and indirect evaluation through the cinema-haptic perception index for the following scales: dirty, disgusting, pleasant and happy.