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Relevant bibliographies by topics / Comedy novel

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Academic literature on the topic 'Comedy novel'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Comedy novel"

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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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Safronova, Elena. "The The Issue of Genre Belonging of F.M. Dostoevsky's Work "The Village of Stepanchikovo"." Philology & Human, no. 1 (July 15, 2021): 114–33. http://dx.doi.org/10.14258/filichel(2021)1-08.

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The article discusses the issue of genre belonging of Dostoevsky's work «The Village of Stepanchikovo », provides an overview and analysis of existing points of view on the problem of genre, and suggests that this literary text represents a genre experiment of the exiled author. Genetically, the work goes back to the comedy genre. Dostoevsky certainly takes into account the individual traditions of antique, Renaissance, classic comedy, uses a matrimonial plot that is frequent for the comedy repertoire. By the type of plot, «The Village of Stepanchikovo» is close to sitcoms, comedy of intrigue and comedy of characters. At the same time, the author borrowed an unexpected denouement from the genre of tragedy, and such a plot component as twists and turns, moreover, made it a permanent element of the plot. Dostoevsky gives preference to the novel as a genre more appropriate to the peculiarities of his talent and facilitating a complete, internally contradictory depiction of the «course» of life, synthesizing its various modifications: tale of chivalry, love novel, manor, moral, family, psychological, social, philosophical novel.

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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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Magaril-Il’iaeva, Tatiana G. "Voltaire’s Comedy The Prodigal Son in Dostoevsky’s Novel The Adolescent." Dostoevsky and world culture. Philological journal, no. 3 (2021): 16–38. http://dx.doi.org/10.22455/2541-7894-2021-3-16-38.

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Through the example of Voltaire’s comedy The Prodigal Son, the article shows how Dostoevsky actualizes the worldview and life strategies behind the imagery of other authors, when using their texts in his novel The Adolescent. Nonetheless, Dostoevsky, not only reproposes several different perspectives, but also engages in a dialogue with them and transforms them according to his aim as. Dostoevsky thoroughly weaves the slightly mentioned comedy by the French philosopher into the fabric of the text, and the writer works with it in several mutually dependent directions at once. The quote (taken from the preface, not from the play) stresses the matters that are raised in the preface and the preface itself as a significant element of the composition. The French sentence borrowed by Versilov relates his image with Voltaire’s, as it was perceived by Dostoevsky. In the novel Dostoevsky reflects on the motif of the prodigal son as it is presented in the Bible and also in its transformed version by Voltaire.

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Perkins, Pam. "A Subdued Gaiety: The Comedy of Mansfield Park." Nineteenth-Century Literature 48, no. 1 (June 1, 1993): 1–25. http://dx.doi.org/10.2307/2933938.

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Jane Austen's Mansfield Park is not, as has often been claimed, a dour morality tale, endorsing prim virtue over wit and charm. Fanny and Mary can be read as representatives of two opposing comic traditions, those of sentimental comedy and "laughing" comedy. The movement of the novel contrasts the strengths and weaknesses of these two traditions, ultimately suggesting that neither is entirely satisfactory. Fanny's moral good sense is unattractive without any leaven of Mary's charm, while Mary's witty amorality is shown to be both selfish and cruel. As Austen suggests the weaknesses of both comic traditions through the weaknesses of her heroines, she avoids endorsing either tradition and explores the limitations of both. Mansfield Park is not a funny novel, but in its exploration of comic conventions it continues, on a structural level, the playfulness that marks Austen's other works.

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Carlson, Susan. "Comic Collisions: Convention, Rage, and Order." New Theatre Quarterly 3, no. 12 (November 1987): 303–16. http://dx.doi.org/10.1017/s0266464x00002451.

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How can the socially critical aspects of comedy be reconciled with a ‘happy ending’ which seems to affirm the existing order of things? This perennial problem has become acute in a period when both playwrights and comic performers are increasingly conscious of the dangers inherent in the stereotyping – racial, sexual, and hierarchical – on which so much comedy depends. In this article, Susan Carlson looks at some recent ‘meta-comedies’ which have used the form, as it were, to expose itself – notably, Trevor Griffiths's Comedians, Peter Barnes's Laughter, Susan Hayes's Not Waving, and Caryl Churchill's Cloud Nine – and analyzes their responses to comedy, which range from the despairing to the affirmative. She concludes that only Churchill has found a positive way of ‘connecting the painful recognitions of twentieth-century dissociations to comic hope’. Susan Carlson is Associate Professor of English at lowa State University. In addition to numerous articles on modern drama and the novel, she has published a full-length study of the plays of Henry James, and is currently working on a book about women in comedy.

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Kartiganer, Donald. "Ghost-Writing: Philip Roth's Portrait of the Artist." AJS Review 13, no. 1-2 (1988): 153–69. http://dx.doi.org/10.1017/s0364009400002336.

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In writing a trilogy of novels on the life and times of Nathan Zuckerman, American Jewish Writer, Philip Roth has waded manfully into a tradition even more thickly and brilliantly populated than the one he selected as literary background for The Breast. If the grotesque metamorphosis of David Kepesh into a six–foot, one–hundred–and–fifty–pound female breast compels us to compare Roths novel with some of the great texts of Kafka and Gogol, in Zuckerman Bound Roth invokes the more formidable context of James, Proust, Joyce, Lawrence, Mann, and Gide (to mention only a few), several of whose artist–portraits are identified in the trilogy and all implied. Roth has said in an interview that the novelty of this particular portrait is that it describes the comedy that an artistic vocation can turn out to be in the U.S.A.1 The comedy pertains not only to the career of Zuckerman himself, a series of zany encounters with writers, readers, and critics, whose responses to one Zuckerman fiction become the action of the next, but also to Roths typical strategy of challenging and recreating any prior tradition or convention, however sacrosanct. The crux of Rothian comedy is to expose, embarrass, and ridicule, to break bonds and boundaries, pieties and platitudes.

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Nedelea, Patricia. "Standup Comedy as Humorous Detachment: Enlightenment Roots from Diderot and Sade." Theatrical Colloquia 10, no. 2 (December 1, 2020): 93–104. http://dx.doi.org/10.2478/tco-2020-0023.

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AbstractThis comparative and multidisciplinary article reveals an original perspective on Standup Comedy, proposing the Enlightenment philosophy as a possible roots for Standup Comedy. Subsequently, the Standup Comedian is presented as the most Rational and Detached type of actor. The comparative approach uses writings coming from the Enlightenment, from two very different, but equally iconic philosophers: Diderot, whose discourse focuses on acting (The Actor’s Paradox) and Sade, whose text is directed at gender issues from what we call today a very “politically incorrect” angle (the novel Justine). My theoretical attempt is multidisciplinary, being situated at the intersection between performance studies, literary studies and rhetoric.

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McGurl, Mark. "Gigantic Realism: The Rise of the Novel and the Comedy of Scale." Critical Inquiry 43, no. 2 (January 2017): 403–30. http://dx.doi.org/10.1086/689661.

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McCusker, Maeve. "The Colonial Comedy: Imperialism in the French Realist Novel. By Jennifer Yee." French Studies 71, no. 4 (September 19, 2017): 593–94. http://dx.doi.org/10.1093/fs/knx201.

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Dissertations / Theses on the topic "Comedy novel"

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May, Regine. "A comic novel? : Roman and new comedy in Apuleius' Metamorphoses." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270113.

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Brown, Erica Clare. "Comedy and the middlebrow novel : Elizabeth Taylor and Elizabeth von Arnim." Thesis, Sheffield Hallam University, 2010. http://shura.shu.ac.uk/19402/.

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This thesis examines the critical reception of the novels of Elizabeth von Arnim (1866-1941) and Elizabeth Taylor (1912-1975) as part of a 'feminine middlebrow'. They are frequently read as offering merely light entertainment and an implicit endorsement of a conservative status quo, and I argue that this is because their depiction of the pain of life and their challenges to the status quo are concealed by their use of comedy and irony. My analysis of the use of comedy offers a new understanding of these novels. Utilising Freud's theory of 'joke-work' I demonstrate that the sharing of jokes requires shared attitudes and repressions as well as shared knowledge; what Freud terms 'psychical accord'. These comedic texts, therefore, speak to a very specific community of readers, in ways that appear to elude those critics who would dismiss the novels as limited or trivial. The imagined reader of these novels is an educated, middle-class woman, and through my close reading of selected novels by von Arnim and Taylor I detail the layers of intertextuality, comedy and irony that she is expected to be able to understand and reconstruct. These novels are innovative in form. They self-consciously play with the romance and romantic comedy genres, and with specific 19th century narratives, especially those of Jane Austen and the Brontes. They utilise comedy to address profoundly serious subjects, and in the case of von Arnim's Vera (1921), innovatively synthesize comedy and horror. They build complex webs of irony that can be resistant to interpretation, particularly in Taylor's Palladian (1946), which meditates on the meaning and value of fiction. My analysis of this innovation challenges the perception of these middlebrow novels as straightforwardly realist, and shows them to be not merely light entertainment, but painfully acute commentaries on the cruel realities of domestic life, especially for women.

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Bicknell, William. "Thank God for Rosie Roth: A Novel." Wright State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=wright1183946491.

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Haun, Sharla R. "BROKESVILLE GOLF CLUB." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1523208681345663.

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Bundy, Christopher. "Big in Japan the novel /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_diss/41/.

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Thesis (Ph. D.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 22, 2010) Sheri Joseph, committee chair; John Holman, Josh Russell, committee members. Includes bibliographical references (p. 38).

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Kelley, Alita. "Entropic comedy and the postmodern vision: An analysis of "Un mundo para Julius" by Alfredo Bryce Echenique, a poststructural approach, with a translation of the novel into English." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/186047.

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This first full length reading of the Peruvian Alfredo Bryce Echenique's 1970 novel Un mundo para Julius approached from a deconstructionist viewpoint shows how prior misreadings have led to its being interpreted primarily as a realist work with innovative passages. Through extended close reading, it is shown to be an early Latin American example of postmodern entropic comedy. Parody and the ludic aspects of the novelist's art in the work present a view of reality in which all metanarratives are negated. An analysis is included of deconstructionist theory/strategies showing deconstruction's contribution through non-belief in the primary text to recognition of the viability of translation studies as an academic discipline. The first translation into English of Bryce's novel accompanies the dissertation and is drawn upon extensively for interpretation of passages that have previously caused interpretative problems. The prominence of the comic in postmodern literature is discussed, along with the nature and provoking of laughter. Explanations are suggested for Bryce's highly comic novel not being read as such; rather, in prior criticism the tragic has been foregrounded at the expense of the comic elements. It is suggested that Bryce's and other Latin American novels of the 1960s and early 1970s be viewed as marking a transition from modernism to postmodernism, putting Latin American literature in line with the novelistic mainstream worldwide. The boom, far from being a new move in Latin American literature of the 1960s, is seen as belated critical recognition of a modernism which dates back at least to the 1920s, with sporadic manifestations of the postmodern spirit existing there from the same time. Since the nature of deconstruction is to affirm that no definite conclusions or final readings may be drawn, this dissertation is put forth in the spirit that it be conducive to refutation and to foster further readings of the work of Bryce and neglected modernist and postmodernist Latin American writers whose work should by now be seen as part of world literature and not as a local or exotic variant.

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Bomhoff, Gary. "Toward the Red Shore." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5914.

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A fictional novel utilizing third person limited narration from the perspective of the primary character, Ilya Kollide, who narrates the story as though it were happening in his head as it occurred, with frequent embellishments. He has come to live near an old mansion on the Trans-Siberian Railroad, named Neimasaurus, to find an antiquated, dusty world of faded aristocracy. Temporarily orphaned at the age sixteen by the recent death of his parents, he has traveled four thousand miles to live with his last living relative, an uncle named Demetri, whom he has never met. The year is 1990, only this is not a world where the rule of the Tsar was supplanted by the Soviet Union. Instead, it is a logical exploration of what Russia might resemble, had communism never taken root. While the fantastical may or may not occur, depending upon how the reader chooses to interpret the point of view of the narrator, the setting in and of itself is not meant to be fantastical. Ilya discovers that all the servants who work there are deaf, as is his uncle and his own now deceased parents, whom he carries around in an urn after mixing their ashes together. While working at the great estate of the Neimasaurus family, Ilya discovers a surprising numbers of stories and people who both parallel his own experiences and serve as allegorical warnings toward his future mistakes in life. He becomes obsessed with the idea that he is to blame for his parents' death and sets out on a quest to bring redemption to the wounded inhabitants of the estate, only to discover that not everyone wants to be helped. In fact, they want him dead. They see him as an allegory, just as he sees them. To the young man Shoji Yamano, Ilya represents everything he was, and can no longer be. As such a reflection, he resolves to shatter Ilya like a mirror. The novel charts Ilya's personal growth from a neurotic wreck, incapable of normal interaction with people, to a young man capable of not just self-sacrifice, but an understanding of what it actually means to literally sacrifice himself for the well-being of someone he barely knows. He learns to value time spent with others rather than dwelling within a narcissistic and lonely fantasy world.?
M.F.A.
Masters
English
Arts and Humanities
Creative Writing

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Silva, João Paulo Santos. "Graça no dessossego : nas veredas da comicidade e do riso." Pós-Graduação em Letras, 2018. http://ri.ufs.br/jspui/handle/riufs/8168.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In Grande sertão: veredas (1956) the serious tone of the narrative is mixed with the appearance of comic elements that, although sparse, are part of the structure of the narrative. This study shows how manifestations of comedy appears in this novel, such as procedures, techniques, comic structures, jokes, as well as the representation of laughter, by Guimarães Rosa, connecting these elements to the plot. To do so, it starts from a theoretical review on the comic and the laughable in Aristóteles (2008), Bergson (2007), Freud (1977), Jolles (1976), Propp (1992), Minois (2003), as well as critical discussions of Candido (1990), Galvão (1986), Nunes (2013), Utéza (1994) and Hansen (2000). In addition, the function performed by the comic processes present in this narrative allows us to understand the role of comicity in its different forms in the Rosa’s novel. Thus, it is possible to discuss relations between the serious and the comic tone, and the constant relieving of tensions. The Rosa’s linguistic re-creations, according to Freud's discussions (1977), create pleasure in times of tension, bringing relief on, which allows not only the reader to continue reading, but also that the narrative, although dense due to the tensions of jagunços’ battles, flows with moments of distension. Yet the functionality goes beyond that: the relativization of values and behaviors that rethink the usual logic of the world may be the most recurrent. In this case, according to this study, the comic derives from a reversal of cultural logic and contributes to the overcoming of metaphysical concerns through laughter.
Em Grande sertão: veredas (1956) o tom sério da narrativa se mescla com o aparecimento de elementos cômicos que, apesar de esparsos, participam da estruturação da narrativa. Este estudo analisa de que forma se dão as manifestações da comicidade, tais como procedimentos, técnicas, estruturas cômicas, chistes, bem como a representação do riso nesse romance, de Guimarães Rosa, buscando relacionar esses elementos com o enredo. Para tanto, partiremos de um instrumental teórico sobre o cômico e o risível, a saber, Aristóteles (2008), Bergson (2007), Freud (1977), Jolles (1976), Propp (1992), Minois (2003), além das discussões críticas de Candido (1990), Galvão (1986), Nunes (2013), Utéza (1994) e Hansen (2000). Ademais, a função desempenhada pelos processos cômicos presentes nessa narrativa nos permite compreender o papel da comicidade nas suas distintas formas no romance rosiano. Assim, foi possível discutir as relações entre o sério e o cômico, bem como o constante alívio de tensões. As recriações linguísticas rosianas, conforme as discussões de Freud (1977), derivam em prazer em momentos de tensão, suscitando um alívio, o que permite não só que o leitor prossiga na leitura, como também que a narrativa, porque densa devido às tensões das batalhas dos jagunços, flua com momentos de distensão. Ainda a funcionalidade vai além disso: a relativização de valores e de comportamentos que repensam a lógica usual do mundo talvez seja o mais recorrente. Nesse caso, apontam nossas análises, o cômico decorre de uma inversão da lógica cultural e concorre para a superação de preocupações metafísicas pela via do riso.
São Cristóvão, SE

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Poulet, Françoise. "L'extravagance : enjeux critiques des représentations d'une notion dans le théâtre et le roman du XVIIe siècle (1623-1666)." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5020/document.

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L'objectif de nos recherches consiste à définir la notion d'extravagance en l'inscrivant dans le contexte qui en voit l'essor littéraire, de l'année 1623 (avec L'Histoire comique de Francion de Sorel) à 1666 (avec Le Misanthrope de Molière et Le Roman bourgeois de Furetière) ; il s'agit de montrer comment cette notion rend compte des enjeux socioculturels, littéraires et esthétiques du premier XVIIe siècle. Nos travaux s'inscrivent dans une perspective pluridisciplinaire : l'extravagance convoque à la fois le domaine de la médecine, l'histoire des traitements et de l'enfermement du fou, la question philosophique des rapports réversibles entre folie et sagesse, domaines que nous étudions en miroir des représentations littéraires de la déraison. Le trouble qui atteint l'extravagant perturbe son imagination en n'altérant que faiblement son entendement. Un savoir mal maîtrisé et des lectures nocives, qui sont souvent des romans, sont la cause de son délire : contrairement à l'idiot, son esprit n'est pas vide, mais interprète de manière erronée ce qu'il perçoit du monde. Ce trouble de l'esprit l'amène également à s'écarter du comportement prescrit dans l'espace social. Face au modèle de l'honnête homme, défini par les traités de civilité, l'extravagant est incapable de respecter les codes de la bienséance et de la politesse. Cette lecture nous permet de proposer une interprétation renouvelée des types comiques que l'on trouve dans les comédies et les histoires comiques des années 1620-1660, tels le capitan-matamore, le pédant, le provincial, etc
The purpose of our research is to define extravagance by looking at this notion in context when it experienced its first literary successes, that is from 1623 (with L'Histoire comique de Francion by Sorel) to 1666 (Le Misanthrope by Molière and Le Roman bourgeois by Furetière). We therefore aim at showing how it illustrated sociocultural, literary and esthetical issues in the early seventeenth century. Our research is carried along pluridisciplinary lines: extravagance deals at the same time with medicine, the history of cures and the imprisonment of the insane and the philosophical question of reversible links between madness and wisdom, and this is why I am studying these fields while analysing literary representations of madness. The extravagant's disorder disturbs his imagination without really impairing his understanding. Uncontrolled knowledge and noxious readings, which are often novels, are responsible for his madness. Unlike the fool, his mind is not empty, but it blurs the way in which he perceives the world. Such mental confusion also makes him move away from accepted social behaviours. As opposed to the model of the honest man as defined by treatises of courtesy, the extravagant man cannot abide by proprieties and polite codes. This perspective leads me to formulate a new interpretation of the comic characters we can find in comedies and comic novels from the 1620-1660 era, such as the braggart, the pedant, the countryman, and so on

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Yurkoski, Chris. "Self-evident shams, metafiction and comedy in three of Flann O'Brien's novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ33473.pdf.

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Books on the topic "Comedy novel"

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Maher, Bill. True story: A comedy novel. New York: Random House, 1994.

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Farrelly, Peter. The comedy writer: A novel. New York: Main Street Books, 1998.

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Maher, Bill. True story: A comedy novel. New York: Random House, 1994.

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Julian, Jacob. Comedy of Juno: A novel. Jakarta: Moka Media, 2014.

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A comedy of heirs: A novel. New York: St. Martin's Press, 1999.

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Grey, Harriet. The Cable Guy: A novel. New York: St. Martin's Press, 1996.

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Overmark, Ann B. The Pandora tapestry: A situation comedy novel. Dowling, Ont: B-O-K Books, 1995.

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Bloomberg, Beverly. The last Hollywood romance: A novel. Bridgehampton, N.Y: Bridge Works Pub. Co., 2000.

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Fritscher, Jack. The geography of women: A romantic comedy : a novel. San Francisco, CA: Palm Drive Pub., 1998.

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The bones: A novel. New York: Bloomsbury, 2005.

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Book chapters on the topic "Comedy novel"

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Weld, Annette. "Manners and Comedy." In Barbara Pym and the Novel of Manners, 1–17. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21690-1_1.

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Colletta, Lisa. "Comedy Theory, the Social Novel, and Freud." In Dark Humor and Social Satire in the Modern British Novel, 17–35. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981370_2.

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Colletta, Lisa. "Criticizing the Social System: Mrs. Dalloway, Virginia Woolf’s Dark Comedy of Manners." In Dark Humor and Social Satire in the Modern British Novel, 37–57. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1057/9781403981370_3.

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Bird, John. "Killing Half a Dog, Half a Novel: The Trouble with The Tragedy of Pudd'nhead Wilson and The Comedy Those Extraordinary Twins." In A Companion to Mark Twain, 441–48. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996874.ch29.

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"Epilogue: Cervantes’ Human and Divine Comedy." In Cervantes' Epic Novel. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442687578-008.

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"20. THE HUMAN COMEDY: Victor Hugo, Stendhal, Honoré de Balzac, Gustave Flaubert, Émile Zola." In The Novel, 349–71. Harvard University Press, 2014. http://dx.doi.org/10.4159/harvard.9780674369054.c23.

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Costanzo, William V. "Comedy, History, and Culture." In When the World Laughs, 69–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0005.

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How has comedy evolved around the globe from earliest times to today? Chapter 4 offers a chronology of comedy. Distinguishing among laughter, comedy, and humor, it finds evidence of humor in ancient texts and imagery, tracing the evolution of comic genres through classical Greek drama, Sanskrit poetry, early China, medieval Europe, and feudal Japan. The chronology continues with an account of popular festivals of laughter, comedic stage performances, and precursors of the comic novel, showing how they led to modern literary and cinematic forms as well as televised sitcoms and live standup. Motion pictures borrowed silent gags and witty wordplay from vaudeville, channeled the freewheeling energy of picaresque stories into episodic road movies, adapted the amatory impulses of Shakespeare’s romantic comedies to the screen, and turned the Carnivalesque spirit into scenes of cinematic mischief and mayhem.

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"Apollonius King of Tyre: Between Novel and New Comedy." In Generic Interfaces in Latin Literature, 449–54. De Gruyter, 2013. http://dx.doi.org/10.1515/9783110303698.449.

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Norris, Keenan. "Coal, Charcoal, and Chocolate Comedy: The Satire of John Killens and Mat Johnson." In Post-Soul Satire. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781617039973.003.0013.

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This chapter compares two depictions of Harlem, John Killen’s The Cotillion and Mat Johnson’s Hunting in Harlem. The latter novel criticizes the Afrocentric Ideology embraced by the former. Although both novels employ satire as a means of social critique, their comparison demonstrates the change in attitude and ideology of the Post-Soul generation from that embodied by the Civil Rights generation.

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"Euripidean Frenzy goes to Rome: The Case of Roman Comedy and Novel." In Wisdom and Folly in Euripides, 335–46. De Gruyter, 2016. http://dx.doi.org/10.1515/9783110453140-022.

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Conference papers on the topic "Comedy novel"

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Tandello, Emmanuela. "WHAT COMES BETWEEN US: TRANSLATION'S DÉJÀ LU." In Proceedings of the Nobel Symposium 110. WORLD SCIENTIFIC, 1999. http://dx.doi.org/10.1142/9789812815170_0027.

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Nath, Surabhi S., Dyutiman Mukhopadhyay, and Krishna P. Miyapuram. "Emotive Stimuli-triggered Participant-based Clustering Using a Novel Split-and-Merge Algorithm." In CoDS-COMAD '19: 6th ACM IKDD CoDS and 24th COMAD. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3297001.3297040.

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Kaliyar, Rohit Kumar, Anurag Goswami, and Pratik Narang. "MCNNet: Generalizing Fake News Detection with a Multichannel Convolutional Neural Network using a Novel COVID-19 Dataset." In CODS COMAD 2021: 8th ACM IKDD CODS and 26th COMAD. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3430984.3431064.

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Zhou, Kun, Hao Tan, Weichuan Du, Yi Li, Huicheng Meng, Huaijin Ren, Jue Peng, et al. "Influence of longitudinal mode lock by external grating on filamentation and catastrophic optical mirror damage (COMD) of 970 nm broad area single emitters." In Fourth Seminar on Novel Optoelectronic Detection Technology and Application, edited by Weiqi Jin and Ye Li. SPIE, 2018. http://dx.doi.org/10.1117/12.2307289.

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Narodytska, Nina, Nikolaj Bjørner, Maria-Cristina Marinescu, and Mooly Sagiv. "Core-Guided Minimal Correction Set and Core Enumeration." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/188.

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A set of constraints is unsatisfiable if there is no solution that satisfies these constraints. To analyse unsatisfiable problems, the user needs to understand where inconsistencies come from and how they can be repaired. Minimal unsatisfiable cores and correction sets are important subsets of constraints that enable such analysis. In this work, we propose a new algorithm for extracting minimal unsatisfiable cores and correction sets simultaneously. Building on top of the relaxation and strengthening framework, we introduce novel techniques for extracting these sets. Our new solver significantly outperforms several state of the art algorithms on common benchmarks when it comes to extracting correction sets and compares favorably on core extraction.

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Liu, Jian, Quan Zhang, and Chaojing Tang. "CoMES: A novel method for robust nose tip detection in face range images." In 2015 IEEE Advanced Information Technology, Electronic and Automation Control Conference (IAEAC). IEEE, 2015. http://dx.doi.org/10.1109/iaeac.2015.7428566.

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Santhiappan, Sudarsun, Jeshuren Chelladurai, and Balaraman Ravindran. "A novel topic modeling based weighting framework for class imbalance learning." In CoDS-COMAD '18: The ACM India Joint International Conference on Data Science & Management of Data. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3152494.3152496.

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Ceylan, Yağmur. "Reflections of Epidemic Diseases in Dystopic Works: An Example of "An Trial of Blindness"." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.011.

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Throughout human history of mankind, many epidemics have arisen, and these diseases have been frequently the subject of novels and movies. The spread of the Covid-19 virus has caused the works on epidemic diseases to come back to the agenda and it has caused to be reconsidered for this issue in the new period works. One of these literary works, the novel “Ensaio Sobre a Cegueira” (Blindness) which is written by Saramago in 1995, is essentially a dystopian work that seeks an answer to “Well, what if all people suddenly went blind for no reason?”. While the author deals with the conflicts in the modern world, the collapse of conscience and moral values through the image of blindness, at the same time he is striving to give aesthetic pleasure to the reader. The work, which has also been adapted to cinema with the same name, maintains actuality even today. This study consists of comparison between the novel “Ensaio Sobre a Cegueira” (Blindness) and the movie Blindness (2008) which was originally adapted to the novel. Literature review, textual analysis and content analysis were used as methods. The comparison is based on the discussion of the social effects of the COVID-19 virus which emerged in 2020 and spread all over the world.

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Moshavegh, Ramin, Kristoffer Lindskov Hansen, Hasse Møller Sørensen, Martin Christian Hemmsen, Caroline Ewertsen, Michael Bachmann Nielsen, and Jørgen Arendt Jensen. "Novel automatic detection of pleura and B-lines (comet-tail artifacts) on in vivo lung ultrasound scans." In SPIE Medical Imaging, edited by Neb Duric and Brecht Heyde. SPIE, 2016. http://dx.doi.org/10.1117/12.2216499.

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Herrlander, Bo. "Novel Gas Cleaning With Integrated Energy Recovery." In 19th Annual North American Waste-to-Energy Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/nawtec19-5415.

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High-energy recovery combined with low emissions to air and water was targeted when Jo¨nko¨ping Energi planned their new Waste to Energy plant at Torsvik in Sweden. The plant is compliant with the new EU Industry Directive and the Waste Frame Directive R-formula, which defines energy recovery levels for recycle of energy. In total about 160 000 tons of municipal (40%) and commercial waste (60%) is annually converted into usable energy. The average heat value is 11,7 MJ/kg. The energy produced is a combination of electricity (14 MWe) and heat (42–56 MWth, depending on electricity production). The heat is recovered both in a boiler and in a condenser. The flue gas condensing system is combined with a heat pump (10 MWth) to optimize the heat recovery rate. The plant is designed to fulfill the requirements set by the Swedish authorities, which are more stringent than the EU emission requirements. Some examples of the plant emissions to air guarantees: dust 5, HCl 5, SO2 20, HF1, Hg 0,03, Cd+Tl 0,05, other HM 0,5 all in mg/Nm3 and dioxin 0,05 ng/Nm3. The flue gas cleaning upstream of the condenser consists of a combination of a semi-dry system and a wet scrubber. The gas cleaning system operating range goes from 60 000 up to 127 000 Nm3/h depending on load and fuel heat value. The semi-dry system is carrying out the major part of the gas cleaning and is sufficient to comply with the air regulations. However, in order to minimize the treatment of the condensate from the condenser the wet scrubber is installed after the semi-dry system and upstream the condenser. The blow down from the scrubber is reused within the plant. Thus the polishing scrubber secures minimal treatment of the condensate to comply with the local stringent limits, particular chlorides, before release to the recipient lake Munksjo¨n. Emissions to water were 2010 nitrogen 1,7 mg/l, Cl <3,6 mg/l, As 0,66 μg/l, Cd <0,07 μg/l, Cr <6 μg/l, Cu 0,8 μg/l, Hg <0,4 μg/l, Ni <0,66 μg/l, Pb<1,2 μg/l, Tl<1,3 μg/l, Zn<7,2 μg/l and PCDD/PCDF 0,0088 ng/l. In the wet scrubber acid stage residual HCl and excess ammonia from the SNCR system are removed. The latter compound is important to capture in order to prevent eutrophication. The combination of a semidry and a wet system enables an optimization of the flue gas cleaning with regard to the different operating situations, taking into account seasonal demand variations as well as fuel alterations. The concept has demonstrated very low emissions combined with low consumption of lime. The possibility to optimize the flue gas cleaning performance is a prerequisite for minimal condensate treatment and optimal energy recovery. The paper will describe the system and the operating experiences.

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Reports on the topic "Comedy novel"

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Zachry, Anne. Bridging the Gap Between Academia and Practice: Possibilities for Research Collaboration and Funding. University of Tennessee Health Science Center, 2019. http://dx.doi.org/10.21007/chp.ot.fp.2019.0002.

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Preparing a successful small grant proposal involves research, planning, preparation, and determination, but obtaining funding for a creative project is not unrealistic. Practitioners are in the trenches on a daily basis, and many likely have novel ideas and relevant questions, especially when it comes to interventions. These intervention questions are important, with the American Occupational Therapy Association reporting that more studies are needed to investigate and support occupation-based intervention. By developing partnerships, educators, practitioners, and students can engage in small scale projects to further the knowledge base in the field of occupational therapy.

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Perdigão, Rui A. P. Earth System Dynamic Intelligence - ESDI. Meteoceanics, April 2021. http://dx.doi.org/10.46337/esdi.210414.

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Earth System Dynamic Intelligence (ESDI) entails developing and making innovative use of emerging concepts and pathways in mathematical geophysics, Earth System Dynamics, and information technologies to sense, monitor, harness, analyze, model and fundamentally unveil dynamic understanding across the natural, social and technical geosciences, including the associated manifold multiscale multidomain processes, interactions and complexity, along with the associated predictability and uncertainty dynamics. The ESDI Flagship initiative ignites the development, discussion and cross-fertilization of novel theoretical insights, methodological developments and geophysical applications across interdisciplinary mathematical, geophysical and information technological approaches towards a cross-cutting, mathematically sound, physically consistent, socially conscious and operationally effective Earth System Dynamic Intelligence. Going beyond the well established stochastic-dynamic, information-theoretic, artificial intelligence, mechanistic and hybrid techniques, ESDI paves the way to exploratory and disruptive developments along emerging information physical intelligence pathways, and bridges fundamental and operational complex problem solving across frontier natural, social and technical geosciences. Overall, the ESDI Flagship breeds a nascent field and community where methodological ingenuity and natural process understanding come together to shed light onto fundamental theoretical aspects to build innovative methodologies, products and services to tackle real-world challenges facing our planet.

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