To see the other types of publications on this topic, follow the link: Comedy novel.
Journal articles on the topic 'Comedy novel'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Comedy novel.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full text
10
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.
Full text
11
Raczyńska, Alicja. "Meduza, osłona i wysłannik niebios. Tajemnice Pieśni IX „Piekła” Dantego według nadinterpretacji Giulia Leoniego w powieści „I delitti dellaMedusa”." Studia Europaea Gnesnensia, no. 12 (December 15, 2015): 129–40. http://dx.doi.org/10.14746/seg.2015.12.7.
Full textAbstract:
Giulio Leoni, a modern Italian writer, is the author of five crime novels inspired by the life and works of Dante Alighieri. He presents Dante as a detective who investigates mysterious crimes of the early 14th-century Florence, Rome and Venice. Although Leoni has gained an international fame, there are very few studies which examine the connections between the “Divine Comedy” and his books. My article aims to analyze the overinterpretation of Canto IX of the “Inferno” in the novel “I delitti della Medusa”.
12
Yunus Anis, Muhammad. "HUMOR DAN KOMEDI DALAM SEBUAH KILAS BALIK SEJARAH." Jurnal CMES 6, no. 2 (June 14, 2017): 199. http://dx.doi.org/10.20961/cmes.6.2.11714.
Full textAbstract:
This paper describes the brief history of Humour in Arabs from (1) the earlier preIslamic period, (2) the Islamic period, (3) the medieval Arabic Literature (Abbasid), and (4) Mamaluke, Fatimid, Ayyubid, and Ottoman periods. This paper will try to show that<br />Arabic literature is rife with the unique taste of Arabs in humour and comedy. Finally, the result of data analysis shows that humour in the earlier pre-Islamic period and the Islamic period is used dominantly at satirical poem which is called hija‟. But in the medieval period until Ottoman period, Arabic humour and comedy has been spreading to the modern prose, shuch as romantic novel, elegant style of fable, public theater – shadow play and some of elegiac short stories.
13
Lethbridge, Robert. "Book Review: Jennifer Yee: The Colonial Comedy: Imperialism in the French Realist Novel." Journal of European Studies 47, no. 2 (May 26, 2017): 225–26. http://dx.doi.org/10.1177/0047244117705930f.
Full text
14
Heydt-Stevenson, Jill. ""Slipping into the Ha-Ha": Bawdy Humor and Body Politics in Jane Austen's Novels." Nineteenth-Century Literature 55, no. 3 (December 1, 2000): 309–39. http://dx.doi.org/10.2307/2903126.
Full textAbstract:
The novels of Jane Austen are filled with instances of sexually risqué humor, but this aspect of her comedy has rarely been recognized or subjected to extended critical comment and analysis. This essay examines the way in which Austen integrates bawdy humor into three of her novels-Emma, Mansfield Park, and Persuasion-in order to demonstrate the surprising prevalence of this material and to show how Austen marshals bawdy humor both in the service of a critique of patriarchal culture, including the system of marriage and courtship, and as a way to affirm the vigorous reality of female sexuality. In Emma Austen uses the riddle "Kitty, a fair, but frozen maid" as the basis of a subversive portrait of the profound linkages between courtship and venereal disease; in Mansfield Park (the novel perhaps most replete with sexual material) she wittily but also poignantly dissects the fine line between the marriage market and prostitution; and in Persuasion Austen's bawdy joking becomes a way to affirm the strength and pleasure of the female sexual gaze. This essay offers a more comprehensive view of the uses to which Austen puts her bawdy humor; it not only helps to clarify her fictional art but also breaks down the image of her propriety that has so long limited our full understanding of Austen and has rendered her less-chaste comedy especially unintelligible and inaccessible.
15
Toft, Christine Strandmose. "Når militæret skriver krigshistorier." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (December 23, 2018): 61–73. http://dx.doi.org/10.7146/pas.v33i80.111723.
Full textAbstract:
Christine Strandmose Toft: “When the Military Writes War Stories. A Reading of David Abrams’ Fobbit”This article examines David Abram’s novel Fobbit (2012), a satirical comedy about Chance Gooding who works as a public affairs officer in the Army. First part of the article concerns the representation of the military’s attempt to represent war and asks why it is of paramount importance to the military to control the public’s view of the Iraq War. The second part considers the novel as meta-representation and discusses the kind of laughter it produces and its critical potential.
16
Rahmayanti, Vinna, Setio Basuki, and Hilman Hilman. "Klasifikasi sinopsis novel menggunakan metode naïve bayes classifier." Jurnal Repositor 1, no. 2 (December 31, 2019): 125. http://dx.doi.org/10.22219/repositor.v1i2.799.
Full textAbstract:
It is undeniable that technological progress is developing very quickly in the field of computers, now with computers the work that was originally done by humans can be taken over by computers to help human work itself, like case studi of this research is a system that can classification the text like synopsis into genre group. Genre is the style of story in a novel, there are many genres in the novel that are expected to be romantic, comedy, mystery, horror and others, by knowing the genre of the novel the reader will be able to know the story style of the novel. The method used in this research is TF-IDF (Term Frequency Inverse Document Frequency) and Naïve Bayes Classifier. The TF-IDF method is used to get the weight of each word contained in the resulting document is used in the Naïve Bayes Classifier method to get the synopsis classification results into genre. Based on the evaluation using a confusion matrix using 600 training data and 200 test data obtained an accuracy of 80.5%.AbstractIt is undeniable that technological progress is developing very quickly in the field of computers, now with computers the work that was originally done by humans can be taken over by computers to help human work itself, like case studi of this research is a system that can classification the text like synopsis into genre group. Genre is the style of story in a novel, there are many genres in the novel that are expected to be romantic, comedy, mystery, horror and others, by knowing the genre of the novel the reader will be able to know the story style of the novel. The method used in this research is TF-IDF (Term Frequency Inverse Document Frequency) and Naïve Bayes Classifier. The TF-IDF method is used to get the weight of each word contained in the resulting document is used in the Naïve Bayes Classifier method to get the synopsis classification results into genre. Based on the evaluation using a confusion matrix using 600 training data and 200 test data obtained an accuracy of 80.5%.
17
Goodkin, Richard E. "Comedy Reading the Novel: Corneille's La Galerie du Palais and La Suite du Menteur." French Forum 27, no. 3 (2002): 15–29. http://dx.doi.org/10.1353/frf.2003.0018.
Full text
18
Brynhildsvoll, Knut. ""Peer Gynt" – en pikaresk tekst?" Studia Scandinavica, no. 2 (22) (December 28, 2018): 78–101. http://dx.doi.org/10.26881/ss.2018.22.05.
Full textAbstract:
The term picaresque is usually limited to narrative forms of expression, prose fiction and novels. New research has, however, shown that the designation is far more heterogeneous and includes certain kinds of poetry, comedy, and opera libretti. If the picaresque genre is defined in terms of common contents, topics and motifs, it comprises the drama and the theatre as well. It is significant that Lazarillo de Tormes (1554), the first picaresque novel in Spain, already contains dramatic scenes and passages of dialogue. This extended and hybrid genre understanding of picaresque narrative legitimizes this essay’s approach, focusing on individual, thematic and formal elements which link the plot of Peer Gynt to the main features of picaresque literature.
19
Bertrand, Ingrid. "Genesis plural." English Text Construction 8, no. 2 (November 20, 2015): 194–206. http://dx.doi.org/10.1075/etc.8.2.03ber.
Full textAbstract:
This article is devoted to Jenny Diski’s polyphonic rewriting of the biblical myth of Abraham and Sarah in Only Human: A Divine Comedy (2000). It shows how this subversive novel, through its juxtaposition of two competing narrative voices – an unidentified human narrator and God himself –, challenges the omniscience and transcendence usually attributed to God, but also the power of his creative Word, and launches a reflection on storytelling and truth, presenting thereby an “only human” Bible.
20
Morahg, Gilead. "The Perils of Hybridity: Resisting the Postcolonial Perspective in A. B. Yehoshua's The Liberating Bride." AJS Review 33, no. 2 (November 2009): 363–78. http://dx.doi.org/10.1017/s0364009409990055.
Full textAbstract:
The Liberating Bride (2001) figures as the most discursive of A. B. Yehoshua's novels. It follows the comings and goings of Yochanan Rivlin, an aging Middle East scholar, as he tries to discover the untold cause of his son's failed marriage and struggles to breathe life into his own moribund study of the causes of internal violence in contemporary Algiers. The novel abounds in the minutiae of everyday life and the often inane nature of human conversation. Its progression is intermittently impeded by eruptions of social comedy and political parody. It dwells on the myriad routines of marital, familial, and social transactions and gives ample scope to arcane academic disputations. But this seemingly sprawling narrative surface generates a carefully crafted deep structure by means of which the novel conducts a wide-ranging exploration of personal and political conundrums. As in many of his previous novels, Yehoshua's practice of constructing analogies between family situations and national issues enables him to engage psychological motivations, moral considerations, and ideological determinants that affect both the private and the public spheres of life.
21
Fountain Eames, Rachel. "Geological Katabasis : Geology and the Christian Underworld in Kingsley's The Water-Babies." Victoriographies 7, no. 3 (November 2017): 195–209. http://dx.doi.org/10.3366/vic.2017.0279.
Full textAbstract:
Charles Kingsley's lifelong interest in geology is well documented – from the gentleman geologists of his early novels and his membership of the Geological Society, to his introduction to earth science for children, Madam How and Lady Why (1870) – but the influence of geological ideas in The Water-Babies (1863) has been largely overlooked. Instead, academics have broadly categorised the novel as an ‘evolutionary parable’, emphasising Darwinian influences to the exclusion of contemporary geology. I propose that there is a distinct geological subtext underpinning The Water-Babies. Acknowledging both its scientific and religious contexts, I argue that Kingsley integrates elements of his geological studies into clear stratigraphic forms in the novel; that these ideas recur in the novel's surface geography and are informed by his reading of contemporary geologists; and that The Water-Babies is part of a longstanding generic tradition of Christian geological katabasis that can be traced back to Dante's Divine Comedy (1555).
22
Stroganov, Mikhail. "LE BOURGEOIS GENTILHOMME В РОМАНЕ Л. Н. ТОЛСТОГО «ВОЙНА И МИР»." Проблемы исторической поэтики 18, no. 4 (November 2020): 248–62. http://dx.doi.org/10.15393/j9.art.2020.8703.
Full textAbstract:
L. N. Tolstoy does not make any direct statements about the great French Revolution, although a probe into the writer’s attitude to this historical event allows us to understand his interpretation of phenomena contemporary to him. In this sense, the analysis of the early drafts of the novel War and Peace (1864) conducted in this article is of great interest. In these drafts, French politicians of the Directory period are called ‘rich upstarts’ and ‘yesterday’s bourgeois gentilhommes.’ Bonaparte himself is referred to as “a clever, cunning and evil successful bourgeois.” And in the outline of the preface to the novel Tolstoy repeats this comparison again: “funny and disgusting, like a Philistine in the nobility.” All of these formulas date back to the famous comedy by J. B. Moliere Le Bourgeois Gentilhomme (1670). Although Napoleon Bonaparte was not a bourgeois by birth, his origins in the provincial Corsica led to a mention of him as a “bourgeois nobleman,” or parvenu in the drafts of War and Peace. This expression had a negative connotation due to the hereditary pride and prejudice of the aristocrat Tolstoy against the lower classes and his reaction to the novel by N. G. Chernyshevsky’s What Is to Be Done? (1863). In the final text of War and Peace, influenced by the news of the civil execution and exile of Chernyshevsky, Tolstoy removed these direct characteristics, although the overall negative assessment of Napoleon remained. Later Tolstoy repeatedly used images of this comedy, but did not attach negative connotations to them. Establishing the connection between the image of Napoleon and the “bourgeois gentilhommes” in the drafts for Tolstoy’s novel War and Peace allows us to more accurately determine the writer’s political views in the mid-1860s.
23
González Treviño, Eridania. "Parodia e ironía como subversión de la tradición en el “Viaje a la oscura ciudad de Cacodelphia”." Acta Poética 42, no. 2 (June 22, 2021): 147–67. http://dx.doi.org/10.19130/iifl.ap.2021.2.18127.
Full textAbstract:
This research presents an analysis of the dialog between parody and irony, as a gender and a literary modality respectively, through its subversion function in the “Seventh book (Journey the dark city of Cacodelphia)” of the novel Adán Buenosayres by the argentinean writer Leopoldo Marechal. This study starts with an introductory approach to the general context of the novel, where narrative structure, the positioning of the modern man as the hero of the 20th century are discussed, along with the implicit parody in the “Journey to the dark city of Cacodelphia” and its predominant irony, both as subversive elements of transgression of the represented literary canon, in this case by the “Hell” of the Divine comedy by Dante Alighieri.
24
Waters, Leanne. "Comedy, Christianity and Melodramatic Affect: The Sorrows of Satan at the Shaftesbury Theatre." Nineteenth Century Theatre and Film 48, no. 1 (May 2021): 66–85. http://dx.doi.org/10.1177/17483727211006839.
Full textAbstract:
This article examines Paul M. Berton and Herbert Woodgate’s 1897 melodrama, The Sorrows of Satan, which opened at the Shaftesbury Theatre in London. The play was adapted from Marie Corelli’s bestselling novel of the same name (1895). In this article, I show how the stage production injected comedy into Corelli’s story, while maintaining and perhaps even amplifying its didactic Christianity. In exploring the techniques of the Berton and Woodgate play, and tracking the production’s critical reception, we can see that late-Victorian religious melodrama was both affectively and visually powerful, as well as capable of considerable nuance.
25
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.
Full textAbstract:
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.
26
Kazakova, S. "A COMMON CASE: A ‘DIALOGUE’ BETWEEN GONCHAROV AND SCRIBE." Voprosy literatury, no. 4 (October 2, 2018): 286–300. http://dx.doi.org/10.31425/0042-8795-2018-4-286-300.
Full textAbstract:
The article suggests that I. Goncharov’s A Common Story [Obyknovennaya istoriya] is founded on the principles typical of E. Scribe’s works. The hypothesis opens up a new way for interpretation of Goncharov’s novel. The comparative analysis is only logical due to the allusions found in A Common Story: both the title and the main character’s name remind the reader of the Russian adaptation of Scribe’s comedy A Common Case [Simple Histoire].Goncharov’s novel ends in an unexpected (at least, at first sight) development: in the Epilogue, the characters (the uncle and nephew Aduev) experience a complete personality change, with the sensitive youth becoming a cynic, and the calculating businessman of an uncle suddenly giving up his career for his ailing wife. On close examination, it is clear that the final transformation had been carefully prepared by the author – much like in Scribe’s comedies. An observant reader may notice that Goncharov’s characters are not who they seem: neither to people around them, nor to themselves. Their words contradicting their actions and intentions, the two heroes are finally unmasked in the Epilogue. The paper proceeds to state that Goncharov employs the comedic device of quiproquo to solve the philosophical problem of ‘know thyself’, and that his hiding of the clues to the novel’s true meaning is an example of narrative irony.
27
Dudley, Jack. "Beckett, Atwood, and Postapocalyptic Tragicomedy." Novel 54, no. 1 (May 1, 2021): 104–19. http://dx.doi.org/10.1215/00295132-8868833.
Full textAbstract:
Abstract Ecological catastrophe has challenged the contemporary novel to find forms that convey the scale and affective conditions of life amid looming planetary devastation. While sincere tragedy has been the dominant mode and tone of the novel's approach, recent scholarship has explored the possibilities of the comic, which presents its own limitations and ethical problems. This article argues that Margaret Atwood's Oryx and Crake moves past these limitations of genre and tone through engagements with the more complicated tragicomic sensibility of Samuel Beckett. The tragicomic first offers Atwood a mode that better conveys the complexity of mixed possible fortunes and futures amid ecological catastrophe while it also better evokes the strange, often contradictory affects of life in the Anthropocene. Yet Atwood sees greater promise in Beckett's tragicomedy beyond his mere endurance of unchangeable existential conditions. She instead repurposes the tragicomic for the ecological and political needs of the contemporary to produce “survival laughter,” an attitude that recognizes the tragic conditions of catastrophe but simultaneously uses comedy to protect the psyche from despair in the face of devastation. Unlike Beckett's laughter that merely endures entropic decline, Atwood's survival laughter opens the possibility for dynamic, creative action oriented to the hope of transformation and flourishing, even amid seemingly total loss. Through tragicomic survival laughter, Atwood moves the ecological novel beyond its dominant mode of sincere tragic disaster while also avoiding the pitfalls of pure comedy to instead imagine more integrated and realistic forms of ecological resilience that powerfully combine mitigation and adaptation.
28
CHO, Jueun. "Research On the Cultural Remediation with the Novel and the Musical Comedy of Notre-Dame de Paris." Academic Association of Global Cultural Contents 45 (November 30, 2020): 129–45. http://dx.doi.org/10.32611/jgcc.2020.11.45.129.
Full text
29
Kurgan, Marina G. "The Images of Dante’s Inferno in Fyodor Dostoevsky’s The House of the Dead." Imagologiya i komparativistika, no. 15 (2021): 31–52. http://dx.doi.org/10.17223/24099554/15/2.
Full textAbstract:
The House of the Dead was repeatedly compared with the first part of Dante’s The Divine Comedy even in F.M. Dostoevsky’s lifetime. However, his contemporaries usually focused on general analogies, while later scholars paid more attention to the narrative features or individual reminiscences. This research studies the main aspects of the artistic structure of the Dante code, constructing the space of Hell in Dostoevsky’s novel. 1. The organization of space. Alexander Petrovich Goryanchikov, the narrator in The House of the Dead, recreates a three-dimensional image that resembles a gradually narrowing funnel: from a bird’s-eye view, where the prison is seen in its entirety, the focus slowly descends, passing to smaller objects, and finally reaching the “three boards”, which limit Goryanchikov’s personal space. The same principle is employed to construct the space of Hell in Dante’s poem. In The House of the Dead, there is another significant indication of the spatial affinity of Dante’s hell and Dostoevsky’s katorga – active imagery associated with cobwebs and spiders. In the centre of the system of images associated with the designated semantic network is the parade- major, the head of the fortress and the owner of the inmate web. 2. The character system as an element constituting the space of Hell. The character system of The House of the Dead follows the compositional principle of Divine Comedy, where sinners are located in different circles in accordance with their main passion. There are three circles in the prison: the first is formal, according to the court decision; the second is informal, internal, formed by crafts and occupations; the third represents Goryanchikov’s perspective as an exponent of human and humane judgment, which distinguishes another person’s moral state. 3. Torment. The House of the Dead demonstrate a hierarchy in describing the tortures, while freedom becomes a fundamental category to embody the most important motif of physical and moral torment connecting Dostoevsky’s novel with Dante’s experience. The bodily torment ceases to be only the torment of the body to become a pain of the soul, comparable to physical torment, so the soul suffers and burns. Hell as a moral topos was the key for Dostoevsky. In The House of the Dead, he chooses the same way as Dante in The Divine Comedy: vivid corporeality conveys an esoteric metaphor of moral suffering and deep inner movements of the soul.
30
Titolo, Matthew. "SINCERITY AND REFLEXIVE SATIRE IN ANTHONY TROLLOPE’STHE STRUGGLES OF BROWN, JONES AND ROBINSON." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 23–39. http://dx.doi.org/10.1017/s1060150314000321.
Full textAbstract:
Despite the recent revivalof interest in the works of Anthony Trollope, his short novelThe Struggles of Brown, Jones and Robinsonhas largely escaped serious attention. Trollope called the book a “satire on the ways of trade,” (Autobiography106) and serialized it inCornhill Magazine, 1861–62. The novel turned out to be a critical and commercial failure, perhaps because it marked a dramatic departure from the familiar social comedy ofBarsetshirenovels. Contemporary reviewers called it “coarse,” “odiously vulgar,” and “unmitigated rubbish.” Later readers were no more generous. C. P. Snow judgedSBJR“one of the least funny books ever written” and thought Trollope had “perpetrated idiocy. . .” by writing it (95–96).
31
García Walsh, Katerina. "Mesmerism in Late Victorian Theatre." Complutense Journal of English Studies 28 (November 24, 2020): 217–27. http://dx.doi.org/10.5209/cjes.71586.
Full textAbstract:
Originating as a medical practice and ultimately rejected as pseudoscience, mesmerism evolved into a literary symbol in the later Victorian era. This paper focuses on three plays that use mesmerism as a symbol of marital control and domination: the comedy His Little Dodge (1896), adapted from Le Systême Ribardier (1892), by George LeFeydeau and Maurice Hennequin; Trilby (1895), adapted from the novel by George Du Maurier; and, finally, Johan Strindberg’s The Father (1893). The mesmeric power one character imposes over another, overriding both consent and awareness in the trance state, serves both to reaffirm hierarchies of power and highlight anxieties about social change in the fin-de-siècle.
32
Rasmussen, Eric Dean. "Lynne Tillman's Literary Ecologies: Affect, Cognition, and Signification in American Genius, A Comedy." CounterText 5, no. 3 (December 2019): 395–443. http://dx.doi.org/10.3366/count.2019.0172.
Full textAbstract:
Attuned to the need for ecologically informed criticism addressing the ‘affective turn’ in contemporary fiction, and following upon psychoanalytic critiques of the fantasies underlying neoliberal ideology, this article engages critically with questions concerning affect and meaning through a deliberate reading of Lynne Tillman's American Genius, A Comedy (2006). Tillman's encyclopaedic novel – narrated by an erudite, obsessive woman, Helen, afflicted with an irritating skin condition – is read as a cognitive-affective fiction that provides an oblique psychoanalysis of post-9/11 America: a neoliberal culture of would-be victims where the ascendant sensibility is hyper-sensitivity. While some literary theorists have recently advocated for phenomenological approaches less focused on interpretation and critique and more receptive to corporeal experiences, Helen's digressive, repetitive, skin-fixated narration reminds readers just how irritating, and funny, tangibility and ‘presence effects’ can be – precisely because of the curious way affects inevitably generate meaningful thinking. Tillman's artful syntax registers a heightened sensitivity to how affective forces in the environment, including language, stimulate our embodied minds and shape our thinking, feeling, and interactions. Much affect-studies scholarship claims affect circumvents semantics and resists being captured in language. But Tillman's writing, this article argues, contests notions of ineffable affect. Tillman's investment in transcribing affective phenomena, it is claimed, belies neither an individualistic or a solipsistic concern with subjective response, nor a radical materialist commitment to pushing the materialities of communication to the brink of meaninglessness. Affect, American Genius ingeniously demonstrates, is integral to eco-critical thinking. This account of affective circulations in American Genius demonstrates how Tillman successfully takes up the challenge of conveying, in prose, the complex, infra-linguistic affective processes underlying embodied communication and cognition. After introducing the novel, Section Two, ‘Ambivalent Belief’ explains how its opening prepares readers to confront what Slavoj Žižek calls the contemporary crisis of belief. Section Three tests and ultimately rejects the hypothesis that American Genius expresses a meaningless posthistoricist aesthetic; rather, Tillman's ecological aesthetic entails a meticulous staging of how imbricated cognitive processes are within the biological human body and political social body. Through her recursive prose, Tillman creates a mediating space for staging affectively inflected meta-cognitions. Section Four analyses passages where these meta-cognitions involve ecological perceptions. The critical focus throughout is on form. Deliberate readings reveal how, sentence by sentence, Tillman's ‘skintax’ evokes multidimensional corporeal processes that constitute the affective dimension of thinking. ‘Sensitivity and Making Sense’, the Fifth Section, identifies the ethical core of Tillman's eco-aesthetic and unpacks passages that expand the concept of sensitivity in ways that attune readers to affective modulations of the social that are potentially transformative.
33
Bruce, Jean M. "A screwball property: Love It or List It as postfeminist realty TV." European Journal of Cultural Studies 20, no. 5 (April 28, 2017): 543–59. http://dx.doi.org/10.1177/1367549417701761.
Full textAbstract:
This article argues that the property television programme, Love It or List It (2008–), employs conventions from the classic screwball comedy to both consolidate its position within the lucrative realty TV market – especially in response to the recent (2008) recession – and negotiate modern gender dynamics within the home. Its Depression-era (1930s) financial and aesthetic resonances are not incidental. And, as with much contemporary culture, this modern iteration of the screwball comedy is not discretely contained by medium or genre of influence: Love It or List It also borrows flourishes from documentary, tabloid TV, melodrama and the gothic novel. In keeping with its reference to a kind of baseball pitching style that is difficult for hitters to anticipate, the screwball’s tendency to suddenly switch course has been identified as its central means for engaging in cultural critique. Love It or List It as an exemplar of reality TV’s recombinant style is still very much like its cinematic predecessor: it has the adeptness to say many things to many audiences. This article makes no claims for Love It or List It’s progressive politics; rather, as with some classic screwball comedies, it explores the possibility that equivocating, shifting course or otherwise abandoning narrative logic register a profound ambivalence about marriage, coupledom and the family home as sacrosanct loci of modern life.
34
Bathurst, Ralph, and Andrew Chrystall. "Attending Night School: Leadership lessons at the Jack Reacher Academy." Journal of Management & Organization 25, no. 03 (May 2019): 430–44. http://dx.doi.org/10.1017/jmo.2019.32.
Full textAbstract:
AbstractNight School is the 21st novel by Lee Child featuring the action hero Jack Reacher. As the title suggests, the novel performs a didactic function via an organizational comedy. By invoking James Joyce's Ulysses and his use of double plots, we focus our attention on Reacher as a model leader who occupies a middle space between extremes. He rejects type-set mechanistic responses to problems and navigates around the confusion raised through information overload. Reacher's leadership is enacted on the ground and in the moment, taking each new encounter as an opportunity to learn. His style, marked by a healthy distrust of authority and documents, an ability to follow the spirit of the law and staying flexible are all characteristic of a man who is continually aware of his environment, and not side-tracked by metaphysical constructs. The novel's denouement presents an assessment of both Reacher's and our learning.
35
Harper, Margaret Mills. "‘as though nothing were happening—or rather, not happening’: Excess and Vacuity in The Little Girls." Irish University Review 51, no. 1 (May 2021): 100–113. http://dx.doi.org/10.3366/iur.2021.0498.
Full textAbstract:
There's a hole in the middle of Bowen's late novel The Little Girls, literally as well as figuratively: a cavity in the ground dug by three childhood friends for the purpose of burying a secret box. Indeed, the novel is full of holes, from caves and missing treasures to absences, losses, and griefs. At the same time, the book displays a fullness or even extravagant overstuffed quality. Its style, pace, plot, and themes are supersatured, with breathless dialogue, restless activity, and suggestive detail. The Little Girls is very funny even as it never wanders far from catastrophe. The novelistic decision to throw the two modes of comedy and tragedy together is one of the many risks Bowen takes in this novel. She does so as part of a larger meditation on the structures that support art as it frames and thus falsifies, but also acknowledges human lives and history. The Little Girls is about emptiness and loss, but it also suggests that the superfluities and distractions with which people fill their lives have value. This essay pursues several strands of intertextual allusions to find something of what the novel both flamboyantly offers and steadfastly refuses.
36
Paul, Lawrence M. "Comedy in the Service of Science: Maintaining Motivation and Attention in Exploring Call Waiting." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 37, no. 5 (October 1993): 438–42. http://dx.doi.org/10.1177/154193129303700510.
Full textAbstract:
A hardware incompatibility in a telephone call waiting system with direct effects on the end users required a rapid solution. Designers proposed to address this incompatibility by increasing the tone components of each call waiting pattern. The Human Factors Group reviewed this proposed solution and were concerned that it might lead to unacceptable durations of call interruption, and to discrimination problems in some cases. Experiment 1 was conducted to explore these concerns. Although the study was conducted in a laboratory setting, a rather novel attempt was made to simulate realistic motivation and attention. An “Artificial Caller” was used in the form of professional comedy routines which appeared to work very satisfactorily. The results of Experiment 1 suggested that discrimination of the patterns was not a significant problem. Participants did find the longest of the lengthened patterns to be somewhat disruptive of the simulated telephone call. However, the disruption caused by the longest pattern may still be marginally acceptable to actual users. A second study explored a different approach to solving the hardware incompatibility. New patterns were generated which maintained the identification levels and suggested the possibility of less call disruption for the longest patterns. Further work is briefly discussed.
37
Obidič, Andrejka. "Margaret Atwood’s Postcolonial and Postmodern Feminist Novels with Psychological and Mythic Influences: The Archetypal Analysis of the Novel Surfacing." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 5–24. http://dx.doi.org/10.4312/an.50.1-2.5-24.
Full textAbstract:
The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.
38
Díaz Bild, Aída. "The Dead Republic, by Roddy Doyle: The Wisdom of Comic Heroism." ES Review. Spanish Journal of English Studies, no. 39 (December 13, 2018): 233–54. http://dx.doi.org/10.24197/ersjes.39.2018.233-254.
Full textAbstract:
Roddy Doyle is a writer who has reflected that human existence is an interplay between comedy and tragedy, and that therefore all kinds of evils—fanaticism, absolutism, dogmatism—result from cultivating only the tragic perspective. This becomes obvious in The Dead Republic (2010), a novel in which Henry Smart’s comic attitude to life allows Doyle to offer the reader a detached and non-sentimental view of contemporary Irish history. Both John Ford and the IRA want to reshape Henry’s story as a Republican hero to fit their own notion of Irishness and it is precisely in Henry’s response to this perversion of Irish history, politics and national identity that he reveals himself as the perfect comic hero and debunks all efforts to mystify the past.
39
Whitfield, Bryan J. "Teaching Dante in the History of Christian Theology." Religions 10, no. 6 (June 7, 2019): 372. http://dx.doi.org/10.3390/rel10060372.
Full textAbstract:
Outside of core curriculum programs or Great Books classes, few undergraduates who are not literature majors read and discuss Dante’s Divine Comedy. This paper describes the redesign of a course in the history of Christian theology as a model for integrating the study of Dante into additional contexts within general education. Reading Dante not only as poet but also as theologian can enhance students’ learning and their engagement with medieval theology. A focused reading of Paradiso provides a novel and exciting way for a survey course in historical theology to balance general education’s needs for both breadth and depth. At the same time, reading Dante also helps students to experience the significant intersections of culture and theology in the medieval period.
40
Smith, Paul Julian. "Screenings." Film Quarterly 72, no. 1 (2018): 64–68. http://dx.doi.org/10.1525/fq.2018.72.1.64.
Full textAbstract:
FQ Columnist Paul Julian Smith reports from Peru on a new wave of pop culture, from variety shows to teen telenovelas, popping up on television. He also discusses the popularity of the musical comedy feature films that function as Peru's equivalent f the summer blockbuster. He closes his report with a discussion of the films of filmmaker and professor Rossana Díaz Costa, whose art-house style is in stark contrast to the broad comedies and melodramas of Peruvian popular culture. Her debut feature Viaje a Tombuktú (2014) sets its 1980s teenage love story against a backdrop of political violence, while her latest production—an adaptation of the classic Peruvian novel, Un mundo para Julius—probes race, class, and gender inequalities in 1950s Peru.
41
Shultz, Sergei. "Machiavelli – Turgenev – Dostoevsky: transformation of the tragicomic motif («Cletia», «The First Love», «The Brothers Karamazov»)." Literaturovedcheskii Zhurnal, no. 1 (2021): 9–20. http://dx.doi.org/10.31249/litzhur/2021.51.01.
Full textAbstract:
The Renaissance comedy of N. Machiavelli «Cletia» (1525), the story by I.S. Turgenev’s «First Love» (1860), the novel by F.M. Dostoevsky’s «The Brothers Karamazov» (1879-1880) reveals related plot situations and motives. All three texts depict the situations of love rivalry for one woman between two applicants - a father and a son. These situations, having the pathos of a tragicomic paradox, are resolved, however, in several different semantic registers and in several different pretentious fillings. Machiavelli is edifying. Turgenev remains closed in the chamber, private sphere of the personality (and touches little on the general social). In «The Brothers Karamazov», within the framework of Dostoevsky’s analysis of the general contemporary crisis, the author’s skepticism does not find a way to self-overcoming.
42
Górska, Agnieszka, and Piotr Osiński. "Ubi defuit orbis… – around the motto for “Spartakus”." Studia Norwidiana 38, English Version (2020): 171–75. http://dx.doi.org/10.18290/sn.2020.38-12en.
Full textAbstract:
This article concerns the sources of the quotation ubi defuit orbis, which Cyprian Norwid used as a motto to his poem “Spartakus.” The phrase has been identified as part of an inscription carved in stone by Jean-François Regnard, a French traveller and comedy writer, and his companions during their journey through Sápmi (Lapland). Most probably, thanks to Regnard’s Voyage de Laponie, Norwid’s epigram became well-known in European culture. It was quoted by Ignacy Krasicki in the treatise O rymotwórstwie i rymotwórcach, and by Victor Hugo in the novel Notre-Dame de Paris. It seems likely that Norwid drew this phrase from the latter. The article further discusses these sources and the significance of the motto ubi defuit orbis for the interpretation of Norwid’s poem.
43
Smith, Jonathan. ""The Cock of Lordly Plume": Sexual Selection and The Egoist." Nineteenth-Century Literature 50, no. 1 (June 1, 1995): 51–77. http://dx.doi.org/10.2307/2933873.
Full textAbstract:
Despite a long-standing acknowledgment of the evolutionary chracter of George Meredith's poetry and fiction, and a more recent delineation of the specifically Darwinian elements of The Egoist (1879), the relationship between that novel and Darwin's The Descent of Man, and Selection in Relation to Sex (1871) has been overlooked. Both works focus on the evolutionary development of the human moral sense and on the process of courtship between the sexes, but Meredith's novel links these issues while Darwin's book keeps them separate. Through his characterization of Sir Willoughby Patterne, Meredith shows that "civilized" egoism is a sign of moral reversion most likely to occur during courtship, and he critiques Darwin's discussion of sexual selection in humans, exposing its inconsistencies and in particular challenging its portrayal of female choice. While modern feminist critics have rightly identified problems with the novel and the theory of comedy that governs it, Meredith's attack on Darwin's culturally powerful view of the sexes endorses a postion on "the woman question" close to John Stuart Mill's, and the novel's problems are best seen as part of this attack rather than as naive self-contradictions of Meredith's feminism.
44
Jensen, Søren. "Fra apokalyptik til science fiction. Jakob Balling in memoriam." Dansk Teologisk Tidsskrift 75, no. 3 (October 10, 2012): 170–86. http://dx.doi.org/10.7146/dtt.v75i3.105582.
Full textAbstract:
In his book Poeterne som kirkelærere (The Poets as Theologians)Jakob Balling compares Dante’s Divine Comedy with Milton’sParadise Lost. He discusses similarities and differences between the twopoems and places them in a literary tradition that combines theologyand poetry, a relationship that has had a decisive influence on the development of literature in Europe. The present article expands this perspective both backwards and forwards in time by including a discussionof the interrelationship between fi ction and religious message in Jewishapocalyptic, using the Apocalypse of Abraham and C.S. Lewis’ modernscience fiction novel Out of the Silent Planet as examples. The article’sdiscussion of the relationship between theology and fi ction raises thequestion of the apocalyptic as genre. Moreover, the demonstration ofthe fi ctional tendency in the apocalyptic is used to support and supplementthe traditional description of genre.
45
Rotunno, Laura. "THE LONG HISTORY OF “IN SHORT”: MR. MICAWBER, LETTER-WRITERS, AND LITERARY MEN." Victorian Literature and Culture 33, no. 2 (August 9, 2005): 415–33. http://dx.doi.org/10.1017/s1060150305050916.
Full textAbstract:
“‘LETTERS!’ … ‘I BELIEVE HE DREAMS IN LETTERS!’” so exclaims Betsey Trotwood of Mr. Micawber, the epistolary aficionado of Charles Dickens'sDavid Copperfield(664; ch. 54). David's aunt Betsey is not the only one to wonder at Micawber's prolific, albeit prolix, nature. His letters have made him a favorite of nineteenth- and twentieth-century readers alike; his “in short” has become one of the most memorable Dickensian tag-lines. But however much attention Micawber's epistolary endeavors garner, this notice fails to raise him to the position of respected writer–the position reserved for the eponymous hero of the novel. In the usual line of thinking, David stands as the ideal literary man while Micawber molders in the world of fantasy and comedy in which J. B. Priestley, James Kincaid, and J. Hillis Miller so securely position him.
46
Ferreira-Meyers, Karen. "YEE (Jennifer), The Colonial Comedy: Imperialism in the French Realist Novel. Oxford : Oxford University Press, 2016, 272 p. – ISBN 9780198722632." Études littéraires africaines, no. 44 (2017): 280. http://dx.doi.org/10.7202/1051586ar.
Full text
47
Rooy, Ronald de. "Divine Comics." European Comic Art 10, no. 1 (March 1, 2017): 94–109. http://dx.doi.org/10.3167/eca.2017.100108.
Full textAbstract:
Dante’s multifaceted cultural reception includes many comics adaptations. Against the background of a strong tradition of illustrating and visualising Dante, this article proposes a comparative analysis of significant contemporary comics adaptations from Europe and the United States. Recent European Dante comics generally adopt largely reverent modes of illustration, showing less aggressive forms of adaptation than their US counterparts. The text of Dante’s poem remains of great importance, and artists often refer to certain traditional milestones in Dante’s visual reception. American Dante comics are more firmly rooted in popular culture, adopting reductive adaptation methods to a greater extent, and are frequently embedded in transmedial constellations. Where the highbrow European tradition of Dante’s visual reception does shine through, it is always with strong ironic undertones. Especially interesting in this respect are the toy theatre/puppet movie Dante’s Inferno directed by Sean Meredith, Seymour Chwast’s graphic novel The Divine Comedy and the popular video game Dante’s Inferno.
48
Revermann, Martin. "The competence of theatre audiences in fifth- and fourth-century Athens." Journal of Hellenic Studies 126 (November 2006): 99–124. http://dx.doi.org/10.1017/s0075426900007680.
Full textAbstract:
AbstractAfter dismissing various possible approaches to the question of audience competence in fifth- and fourth-century Athens, this article proposes to tackle this important and notorious problem with a novel strategy that is not ‘top-down’ but ‘bottom-up’, starting with spectators rather than plays and focusing on the bottom-line of expertise which can be taken to be shared by the majority of audience members. An umbrella-notion of ‘theatrical competence’ is established before two central characteristics of drama performed in Athens are exploited: the participation of spectators in the citizen-chorus at the Great Dionysia, and the implications for the competence issue of frequent exposure to an art form which is as formally conservative as preserved Attic drama. What emerges is a model of stratified decoding by spectators (élite and non-élite) who share a considerable level of theatrical competence. In a final step, this model is applied to a number of case studies taken from fifth-century comedy.
49
Roberts, Lisa-Jane. "Moulding Malvolio into Modern Adaptations of “Twelfth Night”." Journal of English Studies 17 (December 18, 2019): 299. http://dx.doi.org/10.18172/jes.3553.
Full textAbstract:
This paper explores how target-audience expectations and generic limitations on modern, mass-culture adaptations of Shakespeare’s comedy Twelfth Night mould the characterization of his officious steward Malvolio, and dictate the degree of centrality that his subplot holds in each different version. A trans-generic application of Shlomith Rimmon-Kenan’s work on characterization will expose how the character of Malvolio is constructed and presented, first in the original play and then in three modern adaptations of Twelfth Night into different popular genres. The works selected for contrastive analysis with the original play each represent different generic fields found on today’s mass-culture market – romance fiction, teen cinema and the web-comic. Respectively, they are: The Madness of Love, a contemporary romance novel by Katharine Davies, published in 2005; She’s the Man, a Hollywood teen film directed by Andy Fickman in 2006; and a web-comic retelling of Twelfth Night by Mya Lixian Gosling, which was published on her website Good Tickle-Brain Shakespeare in 2014.
50
ABDULSATTAR JABBAR, HABEEB. "LA CORRIENTE ROMANTICO Y LA LITERARTURA ESPANOLA." Al-Adab Journal 1, no. 127 (December 5, 2018): 57–65. http://dx.doi.org/10.31973/aj.v1i127.201.
Full textAbstract:
The romantic movement is regarded as rational and article movement which is appeared.
The beginning of ninth century in spite of the start point was in the end of eighteenth century. This movement spreads in the fields of music, literature, drawing and carving. It is a movement which includes all these fields and refused the modern classical method. It is submitted to literary and comedy modes and change the champions of the ascendance in literary works and create an element of exaggeration in irrational describing in order to escape from reality. It used the imagination and reality at the same time.
The paper is dividing to two chapters the first contain general over view of romantic doctrine in Europe and Spanish and its directions, social frames and characteristics of the types of art like novel and theater while the second chapter ideals with song poetry and we gave an example of the poet JOSE ISPERONTHEDA