Academic literature on the topic 'Comedy of Morals'
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Journal articles on the topic "Comedy of Morals"
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Greene, Jane M. "Manners Before Morals: Sophisticated Comedy and the Production Code, 1930–1934." Quarterly Review of Film and Video 28, no. 3 (April 15, 2011): 239–56. http://dx.doi.org/10.1080/10509200802641119.
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Guynn, Noah D. "A JUSTICE TO COME: THE ROLE OF ETHICS IN LA FARCE DE MAISTRE PIERRE PATHELIN." Theatre Survey 47, no. 1 (April 13, 2006): 13–31. http://dx.doi.org/10.1017/s0040557406000032.
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There is a long-standing tradition in theatre criticism of disparaging medieval farce as an essentially vulgar, inconsequential, and even immoral genre. As many scholars both past and present would have it, these short, comic “crowd pleasers” not only thematize moral corruption but actually injure public morals by pandering to the baser instincts of the lower classes. In her bold revisionist study of the genre, Bernadette Rey-Flaud cites Arthur Pougin's 1885 definition of farce as an “exemplary” one: “Short little plays, of a low, trivial, burlesque comedy and for the most part very licentious; plays that sought above all to incite the coarse laughter of the rabble.” According to Rey-Flaud, this definition encapsulates the four centuries of criticism that precede it and anticipates the consensus of much contemporary scholarship as well: “Farce has not been rehabilitated in our time” (8, emphasis mine).
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Rose, Gillian. "The Comedy of Hegel and the Trauerspiel of Modern Philosophy." Hegel Bulletin 15, no. 01 (1994): 14–22. http://dx.doi.org/10.1017/s0263523200002925.
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The general ground for comedy is therefore a world in which man as subject or person has made himself completely master of everything that counts to him otherwise than the essential content of what he wills and accomplishes, a world whose purposes are therefore destroyed because of their unsubstantiality. Nothing can be done, for example, to help a democratic nation where the citizens are self-seeking, quarrelsome, frivolous, bumptious, without faith or knowledge, garrulous, boastful and ineffectual: such a nation destroys itself by its own folly. Hegel is keen to distinguish the merely laughable from the comical in the sequel to this passage from page one thousand, one hundred and ninety-nine of the English translation of his Aesthetics. We may laugh at any contrast between subjective caprice and insubstantial action, while vice and evil are not in themselves comic: “There is also the laughter of derision, scorn, despair, etc. On the other hand, the comical as such implies an infinite light-heartedness and confidence felt by someone raised altogether above his own inner contradiction and not bitter or miserable in it at all; this is the bliss and ease of a man who, being sure of himself, can bear the frustrations of his aims and achievements.” (Is this condition of serenity, I wonder, attained by effort or by grace?) In comedy, “the ruling principle is the contingency and caprice of subjective life” whose nullity and self-destructive folly displays the abused actuality of substantial life. The aberration of the passions that rage in the human heart are drawn from “the aberrations of the democracy out of which the old faith and morals have vanished” (as Hegel describes Aristophanes's comedies). While in tragedy the powers which oppose each other as pathos in individuals are hostile, in comedy, “they are revealed directly as inwardly self-dissolving.” Comedy, as much as tragedy, is always divine comedy, “the Divine here in its community, as the substance and aim of human individuality, brought into existence as something concrete, summoned into action and put in movement.”
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Roso Díaz, José. "Vestimenta, moda y sociedad en la comedia española de buenas costumbres = Clothing, fashion and society in Spanish neoclassical comedy." Estudios Humanísticos. Historia, no. 15 (June 6, 2017): 157. http://dx.doi.org/10.18002/ehh.v0i15.5046.
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<p>En este trabajo analizamos el significado de la vestimenta, la forma de vestir y la moda en la comedia dieciochesca de buenas costumbres con la intención de aportar datos definitorios de la sociedad del momento. El teatro neoclásico fue buen escaparate de las mejoras sociales que pretendieron realizar los ilustrados y ello se observa en la forma de considerar la moda y los usos sociales del vestido. Se analizarán varias comedias donde se fija la importancia del recurso para los temas y la caracterización de personajes y se establece su valor como elemento para la crítica y la definición de tipos y grupos sociales.</p><p><strong>Abstract</strong></p><p>This paper analyzes the significance of the dress, the dress and fashion in the eighteenth-century comedy of morals with the intention of providing data defining<br />society at the time. The neoclassical theater was good showcase of social improvements that sought to make enlightened and this is seen in the way of looking at fashion and social customs of dress. Several comedies where the importance of the resource for themes and characterization of characters is fixed and its value is set as an element for critical and defining types and social groups will be analyzed.</p>
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Vorobyeva, Maria. "Soviet policy in the sphere of humour and comedy: the case of satirical cinemagazine Fitil." European Journal of Humour Research 9, no. 1 (April 3, 2021): 155–74. http://dx.doi.org/10.7592/ejhr2021.9.1.vorobyeva.
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Satirical cinemagazine Fitil (The Fuse), one of the final products of the Thaw, the time of liberalization in both foreign and domestic policy of the Soviet Union, appeared in 1962 and was produced under the supervision of Sergei Mikhalkov, a prominent public and literary figure in the USSR. Vivid and engaging, the cinemagazine starred many famous theatre and cinema actors and soon became an important part of mainstream satire, which was aimed at reinforcing the Soviet regime by criticizing some of its flaws. The significance attached to Fitil by Soviet authorities can be illustrated by the fact that its episodes were shown before films in cinemas, that is, it was officially promoted and was seen by the mass public across the Union. Fitil was expected not only to relieve social tension, but also marked the boundaries of the permissible in public criticism and satire. The agenda of Fitil was heterogeneous and dynamic: apart from a number of permanent themes, such as bureaucracy and red tape, bad management, poor service in retail and catering, alcohol abuse, morals, and manners, there were variations in the choice of themes and subjects of satire in different periods. The changes also affected the degree of generalization, the scale of the problems discussed and characteristics of the comic itself. This article analyzes Fitil issues of 1962-1991 and outlines the cinemagazine’s agenda and its changes in time. It is shown that Fitil was a part of mainstream satire, determined by the state policy in the sphere of humour and comedy.
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Zacharow, Sebastian. "Méprisé, mais pas méprisable – échec de la rhétorique de dissuasion dans Demain matin, Montréal m’attend de Michel Tremblay." Studia Litteraria 15, no. 4 (2020): 301–8. http://dx.doi.org/10.4467/20843933st.20.025.12546.
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Despised but not Despicable – Failure of the Rhetoric of Dissuasion in Demain matin, Montréal m’attend by Michel Tremblay In Demain matin, Montréal m’attend, a comedy by Michel Tremblay written in the era of a Quiet Revolution, contempt takes on an argumentative value. Lola Lee, a singer and artist in La Main –an artistic neighborhood in Montreal. Lola’s younger sister –Louise –is jealous of the popularity gained by her older sibling. Lola Lee, in the attempt to discourage Louise from the idea of following in her footsteps travels with her through the most infamous artistic venues. During this trip Louise meets artists with questionable morals. The aim of the article is firstly to show how this journey, instead of generating contempt, becomes the core of searching for your own artistic identity. Secondly, the article explains how Tremblay’s art, using metaphors in the style of Almodóvar, represent the national dramaturgy of Quebec, in which the hero, which is an allegory of the whole society, undergoes an evolution that allows him to appreciate his own identity instead of despising it.
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Vinogradov, Igor' A. "The Concept of Law in the Works of Nikolay Gogol." Проблемы исторической поэтики 18, no. 2 (May 2020): 64–86. http://dx.doi.org/10.15393/j9.art.2020.7942.
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<p>The article for the first time raises a question about one of the profiles of Gogol’s activity as a “satirist”, a denouncer of morals. In his writings the author inevitably follows the laws of the Russian Empire, more than a hundred of volumes of which were published during his lifetime. It is emphasized that Gogol's desire to devote himself to justice, dated back to his school days, he carried through all his whole life. He considered his writings, as well as the legacy of Homer, Derzhavin, Fonvizin and Griboedov, as educational, “legislative” for contemporaries. The writer created every his writing, by his own admission, as a support for the “truthful laws” of the State and Church, the unity of which was determined by the peculiarities of the legislation of the Orthodox State. The work consistently traces reminiscences of <em>The Complete Collection of Laws of the Russian Empire</em> contained in the first Gogol’s series <em>Evenings on a Farm near Dikanka</em>, the collection <em>Mirgorod</em>, St. Petersburg novels, <em>The Government Inspector</em>, <em>Dead Souls</em>, the comedy <em>The Gamblers</em>, etc. The government decrees were also mentioned in Gogol’s works, for example, Anti-Superstition laws, alcohol laws, wine tax and beverage production laws, tax arrears laws, “souls inspection” decrees and “documents audit”, prohibitive decrees on bribes, moneylending, harlotry, gambling and so forth. The connection of the “legislative” problems with the laws of Gogol’s poetics, their unity in the works of all genres and all periods of Gogol’s creative activity is emphasized.</p>
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Frolkina, Daria I. "Realization of the Comic in the Story by A. Borisova "Zapiski dlya moikh potomkov" (Notes for My Descendants)." Philology 18, no. 9 (2020): 202–11. http://dx.doi.org/10.25205/1818-7919-2019-18-9-202-211.
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In the following article, we explore the ways to create a comic effect in the in the stories of the modern Yakut children’s writer A. Borisova Zapiski dlya moikh potomkov (Notes for My Descendants). The comedic tropes are analyzed on three levels: the characters, the situations, and the language. Children's literature has always been particularly humorous and entertaining, which is vividly seen in the works of the best domestic children's writers (N. Nosov, V. Dragunsky, V. Golyavkin etc.). Because of this, in literary criticism and linguistics there is an extensive classification of various techniques for creating a comedic effect. E. Garanina, N. M. Rotanova, I. V. Tsikusheva and others are engaged in the study of these techniques using children's literature as their research material. Nevertheless, the major works are still devoted to the issues of linguistic comedic effects which determines the relevance of this study. The comic effect of the story by A. Borisova is achieved in several ways, including those of non-literary nature, for example, theatrical circus in the form of classic buffoonery. The comedy is delivered by the main character of the story – the restless girl Valentinka whose defining trait is her ability to get into various funny situations. Valentine’s character is outlined from different sides; the negative sides of the girl are, too, shown to the reader. Because of this, the author emphasizes that the protagonist is a realistic character with all the positive and negative traits typical for real people. Thus the author achieves one of the goals of children’s literature: to convey the important moral and moral values to the child reader using the example of a young protagonist. The comedic elements of fictional situations are based on unexpected or comic contrast caused by a misunderstandings. Language-based comedy is represented quite widely and is based on various types of wordplay, for example, using polysemy, phraseological units or language paradoxes, incorrect word reproduction and imitation of word formation typical for children’s speech. Summing up, we can say that the stories of the Yakut author A. Borisova Zapiski dlya moikh potomkov (Notes for My Descendants) demonstrate various ways of creating a comic effect on a variety of text levels.
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Karim, Sajjadul. "Ben Jonsons Volpone : An Unconventional and Innovative Jacobean Comedy." IIUC Studies 8 (September 10, 2014): 27–38. http://dx.doi.org/10.3329/iiucs.v8i0.20400.
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Ben Jonsons Volpone (1605) is the best known, most performed and most studied of all of his Plays. Volpone, or The Fox, does not contain the traditional moral and broad themes of Shakespeare. Volpone, disguised as a didactic comedy, is actually an intelligent and cynical satire that compels the audience to rethink their moral expectations. In Volpone, Jonson was successful in combining three genres in order to create a new form of comedy. Volpone is a powerful moral study of human greed, foxy cunning, and goatish lust. It is not the traditional form of comedy. It is a play that takes on the form of a comical satire as well as a morality play. It also adapts the features of a fable, and in that it strives to teach a moral. This play puts a different twist on what people would expect from a comedy or morality play. But, more than a satire on the traditional morality, it is a satire on the type of drama that was prevalent. This article analyses how Jonson presents his audience with an unconventional way of approaching the subjects he is satirizing by creating a new form of comedy that embodies the aspects of all three genres. DOI: http://dx.doi.org/10.3329/iiucs.v8i0.20400 IIUC Studies Vol.8 December 2011: 27-38
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Domínguez, Elisa María. "El hechizo de Sevilla de Ambrosio Arce de los Reyes = Ambrosio Arce de los Reyes' El hechizo de Sevilla." Estudios Humanísticos. Filología, no. 42 (December 18, 2020): 185–205. http://dx.doi.org/10.18002/ehf.v0i42.5598.
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Ambrosio Arce de los Reyes fue un poeta y dramaturgo que vivió en la primera mitad del siglo XVII. El hechizo de Sevilla es una comedia de cautivos con un referente histórico –literario, que es el trasunto de una realidad de la época. La comedia presenta dos temas: el amoroso y el del cautiverio; este último está contemplado bajo dos vertientes: una, la versión fiel del término, es decir, lo que supone ser prisionero en tierra extraña y, otra más libre, el cautiverio del alma, ya que todos los personajes, en mayor o menor medida, están oprimidos por sus fracasos, ataduras sociales y morales propias de la época que les ha tocado vivir. Ambrosio Arce de los Reyes was a poet and playwright who lived in the first part of the 16th century. El hechizo de Sevilla is a comedy of captives with a literary-historical referent that is contemplated by means of two viewpoints: first, the faithful version of the term 'captive', that is what it means to be a prisoner in alien lands, and, second, more freely, the soul in captivity.
Dissertations / Theses on the topic "Comedy of Morals"
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Lhostis, Nathalie. "Dramaturgie et morale dans les comédies de Ménandre et de Plaute. La question de l'axiologie." Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0860.
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Notre étude intitulée « dramaturgie et morale », porte sur la mise en scène des valeurs morales dans les comédies de Ménandre et de Plaute. Notre approche consiste à repérer quelles sont les valeurs mobilisées, à étudier la manière dont elles sont exprimées et articulées entre elles. Il s’agit d’analyser leur traitement et la place qui leur est conférée : sont-elles soumises à réflexion, confirmées, mises à l’épreuve ? Ainsi l’enjeu n’est pas tant de chercher la « morale » des pièces ou le message moral qu’elles délivreraient, mais de décrire l’architectonique des valeurs dans les comédies. Nous nous sommes intéressée plus particulièrement à l’axiologie, c’est-à-dire à la forme que prend l’évaluation morale dans les comédies de Ménandre et de Plaute. Quels sont les critères qui déterminent cette évaluation ? Quel est l’enjeu de cette évaluation ? La valeur, telle qu’elle apparaît dans les comédies de Ménandre et de Plaute, est essentiellement de trois types : matérielle, symbolique et éthique. La question est de comprendre comment elles sont pensées et articulées les unes aux autres dans chacun des deux corpus. Cette perspective rejoint la question du rapport entre l’intérêt particulier et l’intérêt d’autrui, centrale dans les philosophies antiques qui posent la question de savoir dans quelle mesure il est nécessaire pour l’agent éthique de prendre en compte l’intérêt d’autrui pour atteindre son propre bonheur.Une première partie est consacrée aux notions de valeurs et d’échange, autour de deux types d’échange : l’échange marchand et l’échange social, le premier mettant en œuvre une morale de type utilitariste et le second faisant appel à des vertus coopératives. Une seconde partie étudie la notion d’infraction. Il s’agit d’examiner les modalités d’évaluation d’une action singulière. Dans une troisième partie, nous étudions la comédie comme expérimentation éthiqueThis study, entitled “dramaturgy and morals”, looks at the dramatization of moral values in the comedies of Menander and Plautus. I employ an approach that identifies which values are evoked and looks at how they are conveyed and structured in relation to one another. The aim is to analyse how they are treated and the place that is accorded to them. Are they subjected to reflection, affirmed, or critiqued? Thus what is at stake is less about finding the “morals” in the plays or their supposed moral message, but rather delineating the architectonics of values in these comedies. This study will focus more specifically on axiology, that is to say the form that moral evaluation takes in the comedies of Menander and Plautus. According to which criteria is this evaluation carried out? What is at stake in this evaluation?The concept of value, as it appears in the comedies of Menander and Plautus, entails essentially three domains: the material, the symbolic, and the ethical. The issue at hand is understanding how they are conceived of and related to one another in the comedies of Menander and Plautus. Such a perspective intersects with the question of the relationship between personal interest and the interests of others, a key concern in Ancient philosophy which seeks to discover to what extent an ethical agent is obliged to take into consideration others in order to achieve happiness. The first section is concerned with the concepts of moral values and trade. It looks at two types of trade: commercial trade, which outlines the primacy of utilitarian morals, and communal trade, which is based on co-operative values. The second section deals with the idea of contravention. It examines the procedures used to judge a particular action. The third section looks at comedy as ethical experimentation
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Isley, Edwin L. "Farce, critique sociale, et comedie morale chez Moliere." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/539802.
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Critical studies on the comic drama of the seventeenth-century French playwright, Jean-Baptiste Poquelin de Moliere (1622-1673), center attention on biography, production, stylistics, and thematic development. Because of the diversity of themes, and because of the considerable productivity of this dramatist, the analyses of the style and substance of these comedies have often been focused on the use of themes or techniques employed in a single comedy or associated with one single sort of comedy. This thesis, "Farce, critique sociale, et ccm6die morale chez Moliere," proposes to deepen, in two ways, our appreciation of Moliere's combined use of themes and techniques that, in turn, create three sorts of comic modes. First, through a close reading of three of Moliere's major plays (Le medecin malgre lul, Les Precieuses ridicules, and Misanthrope), this thesis attempts to describe the techniques that develop and elucidate a particular comic focus, and thereby enhances our awareness of Moliere's recognition of the necessary relationship between theme and technique in the creation of comedy. The description of this use of comic techniques and the subsequent development of themes encourage classification of these representative plays into three sorts: farce, social comedy, and moral comedy. Such a classification thus expands the narrow perspective of criticism, and encourages a study of the necessary relationship between theme and technique and, perhaps, will suggest future study of the development of Moliere's comic artistry.Department of Foreign Languages
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Leith, Hope Mary. "Moral and social constraints on femininity in the comedie larmoyante." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28102.
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This study has attempted to show that the plays of La Chaussée, which were popular in France in the middle to lat eighteenth century, were popular because they appealed to social values of the period, and particularly because they expressed a conservative view of society and of the role of women in that society.
The introduction sets forth the historical and biographical background of La Chaussée, the extent of the success achieved by his "comédies larmoyantes" in performance and in publication during the eighteenth century, and the reasons for selecting the five plays on which this study concentrates. The focus on, female characters is explained by the number of plays "about" women: Mélanide, La Gouvernante, L'Ecole des méres and by the tendency in literary criticism to consider eighteenth-century French tastes in theatre dictated by women.
Chapter I presents a content analysis of the five plays. This technique, taken from Goodlad, A Sociology of Popular Drama, provides plot summaries of these now unfamiliar plays which are used as a basis for chapter II. Furthermore it permits determination and comparison of these themes, settings, areas of conflict explored and types of resolution offered in the plays under examination. La Chaussée most frequently presents the problems of marital and familial love, and resolves conflicts with reconciliation, marriage, or another form of social integration. Goodlad brings out the relationship between popular success and a play's at least implicit didacticism and its conservatism in form and content.
Chapter II uses narratological analysis techniques from Bremond, Logique du récit. The plays are considered as texts. The purpose here is to bring to light the structure of plot: how resolution in delayed or achieved, what roles -- victim, beneficiary, assistant, frustrator -- female character play in that structure. Heroines are found to be passive victims, beneficiaries, or even frustrators. Secondary female characters play minor assistant roles, or act as frustrators for the heroines. Resolution is achieved by male characters.
Chapter III turns to discourse, how much and what is said about the female sex and/or by female characters. It examines the quantity, content and situation of female discourse in these plays, and particularly the social and situational restraints on discourse. A female character usually only has one scene with male characters in which she speaks half or more of the total lines, unless she is alone with someone over whom she has affective influence, and not her husband. Maids are used to express generalizations about the situation of women in society, and sympathy for the heroine. The discourse of heroines centres on the standards of virtue to which society holds them: patience, endurance, chastity, obedience.
In the conclusion, critical judgments on La Chaussée from the eighteenth century to the present are reviewed and examined. Doubt is cast on the extent to which La Chaussée should be seen as promoting theatrical or social reform, and increased emphasis in placed on the nature of his didacticism, and the pervasiveness of his conservatism.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Alves, Werner Almeida. "Anarchic desires : deconstructing sexual and moral representations in Joe Orton's entertaining mr. sloane." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/12754.
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A presente dissertação tem como objetivo apresentar uma leitura da peça Entertaining Mr. Sloane do dramaturgo inglês Joe Orton, investigando de que formas os artifícios literários são construídos para interromper as representações normativas sobre sexualidade e moralidade. Na obra de Orton, os comportamentos e discursos das personagens ignoram autoridades representativas de instituições que, como a família, trabalham para ratificar a noção de modos sexuais ligados à matrix heterossexual que constrói uma subjetividade configurada na equação essencialista de sexo-gênero-desejo. A investigação encontra suporte na História da Sexualidade, de Michel Foucault, e no conceito de performatividade de Judith Butler, usando a Desconstrução como uma estratégia de leitura. A estética literária nas peças de Joe Orton é alicerçada no anarquismo e na subversão como metáforas para interromper categorias convencionais de sexualidade que procuram controlar as vidas e os comportamentos humanos. Mostrando perversidade sexual pela fusão do que poderia ser ultrajante com o cômico, Joe Orton constrói um estilo único, conhecido como Ortonesco. Apesar de suas peças pertencerem ao território da comédia, são freqüentemente classificadas de acordo com estilos cômicos, ou sub-gêneros. Embora essa classificação seja muitas vezes problemática e não haja consenso entre os críticos em relação às categorias das peças, eu trato Entertaining Mr. Sloane como comédia de costumes por levar em consideração seus elementos e a definição desse estilo de comédia. Os discursos das personagens e suas ações mostram como as representações sexuais e de moralidade criam construtos sociais que prendem sexo, gênero e desejo em uma equação que deve resultar em uma identidade estável e universal. Os elementos literários mostram como esse sistema de representação é subvertido pela desestabilização de autoridades que trabalham como centro de sentido do mundo tradicional.The present thesis aims at presenting my reading of the play Entertaining Mr. Sloane, by the English playwright Joe Orton. The analysis investigates in which ways literary artifices are constructed to disrupt normative representations of sexuality and morality, and in which ways the characters’ behaviors and discourses disregard authorities, such as that concerning the family institution, which work to maintain sexual mores embedded in Western society by a heteronormative matrix which constructs a subjectivity configured in the essentialist equation of sex-gender-desire. The investigation finds support in Michel Foucault’s The History of Sexuality, and Judith Butler’s concept of performativity, using Deconstruction as a strategy of reading. The literary aesthetics in Joe Orton’s plays is achieved by showing anarchism and subversion as a metaphor to disrupt conventional categories of sexuality which seek to control human lives and behaviors. Showing sexual perversity by fusing what could be outrageous with the comic mode, Joe Orton constructs a unique style, known as Ortonesque. Because his plays belong to comedy, they are often categorized according to the comic styles or sub-genres. However, that categorization is problematic many times, and there is no agreement from the part of many critics regarding the category of the plays. I consider Entertaining Mr. Sloane as Comedy of Manners by taking into account their elements and the literary definition of comedy style. The characters’ discourses and actions show how sexual and moral representations create social constructs that tie sex, gender and desire in an equation that must result in a stable and universal identity; and the literary elements show how that system of representation is subverted by destabilizing authorities which work as center of meaning to the Western world.
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Négrel, Éric. "Théâtre et carnaval, 1680-1720 ˸ coutume, idéologie, dramaturgie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA123.
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La rencontre du théâtre et du carnaval est aussi ancienne que le carnaval lui-même. D’une part, les cérémonies et les comportements collectifs possèdent, en propre, une dimension spectaculaire ; d’autre part, les jeux dramatiques font partie intégrante du rituel. Dans la France d’Ancien Régime, les réjouissances du carnaval sont un temps fort du calendrier, qui occupe toute la société pendant plusieurs semaines, des Rois au Carême. Les comédies créées pendant cette période, au Théâtre-Italien, à la Comédie-Française, à la Foire Saint-Germain, se rattachent explicitement à la coutume et s’insèrent dans son cycle cérémoniel. Plus largement, tirant parti de cette proximité calendaire, les dramaturges recourent au langage symbolique du carnaval, à celui du charivari, pour inventer un système de représentation du réel qui en offre un mode d’intelligibilité spécifique. Une langue pleine d’équivoques scabreuses et de saillies ordurières, des lazzis outrés et obscènes, un univers fantaisiste et bouffon, des personnages extravagants et burlesques : les modèles comiques qui se développent, de 1680 à 1720, sont à rattacher à la culture carnavalesque et à son imaginaire mythico-rituel. Les croyances et les pratiques symboliques innervent la création dramatique et participent à la construction de son sens, en lien étroit avec le contexte historique dans lequel s’inscrivent les œuvres. Il convient de restituer à ce théâtre la dimension anthropologique qui est la sienne, si l’on veut accéder à sa raison esthétique. La comédie de mœurs offre alors un nouveau visage : représentant la société contemporaine comme un monde à l’envers sur lequel règnent des souverains parodiques, elle revêt des enjeux idéologiques et possède une portée politique. Parallèlement, c’est aussi le concept critique de « carnavalesque » qui apparaît sous un jour inéditThe meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light
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Cui, Huan. "De la politique à la morale : entre les cultures : lire Politiques de l’amitié de Jacques Derrida." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100009/document.
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Suivant la tendance de la coopération internationale, la recherche comparative entre les cultures devient de plus en plus importante. Dans la mesure où la sinologie et la culture de l’Occident se croisent sur certains points de vue notamment autour de la philosophie politique de Derrida fondée sur la recherche du terme d’amitié. Face à la violence politique au nom de la justice, de la démocratie ou des droit de l’homme, Derrida énonce que c’est la politique actuelle est dominée par la maladie auto-immunitaire, par laquelle la démocratie s’enferme à l’intérieur du territoire de l’Etat, dans la mesure où l’authenticité de la démocratie, à savoir la démocratie universelle n’est pas encore présente. Considérant que les réformes dans le cadre de la politique n’aident pas à résoudre l’auto-immunité, Derrida pense qu’il nous faut retourner à l’idéologie en repensant le terme d’amitié en tant que racine des relations humaines en société, dans le but d’accéder à l’idée de l’hospitalité inconditionnelle et par conséquent à la démocratie universelle. C’est aussi pourquoi Derrida commence sa recherche de la philosophie politique à partir du terme d’amitié. En ce sens, Derrida traite de l’amitié canonique dans l’histoire occidentale, à savoir l’amitié antique, l’amitié chrétienne et l’amitié rationaliste, en aboutissant à la conclusion que l’amitié canonique de l’Occident favorise le même en supprimant la différence, dans la mesure où la consanguinité, la frontière jouent un rôle fondamental tout au long de l’histoire occidentale, ce qui détermine la démocratie conditionnelle fondée sur la souveraineté de l’Etat-nation. Cette manière de partir de l’amitié existe également dans le Confucianisme en tant qu’essentiel de la culture sinologique traditionnelle. Car l’image de frère, à savoir la consanguinité persiste tout au long de l’histoire sinologique en tant qu’axe, dans la mesure où les structures du clan et de la famille monopolisent la politique féodale de la Chine. Ce qui nous permet de constater la similarité plutôt que la divergence entre les cultures. De plus, face à l’amitié fondée sur la consanguinité et la frontière, Derrida propose une nouvelle sorte d’amitié qui offre l’hospitalité inconditionnelle dans le but de supprimer l’auto-immunité politique en aboutissant à « la démocratie à venir », bien que son infini absolu provoque un écart entre l’idéologie et la pratique. Nous constatons en effet l’amour universel de Mo Tzu dans la culture sinologique traditionnelle correspondant à l’amitié de Derrida qui se détache de la consanguinité, par laquelle, la société « Da-Tong » qui implique la démocratie universelle se présente toujours comme la société idéale dans l’histoire de la Chine. Cela risque de provoquer aussi un écart entre l’idéologie et la politique pratique, dans la mesure où les deux cultures se croisent plutôt qu’elles ne divergent. Cette étude vise, par la mise en regard entre les cultures, à clarifier la transition de la politique à la morale, dans le but de traiter de « la démocratie à venir » et la société « Da-Tong » avec une attitude objective face à la critique de l’Utopie. Au cours de cette étude nous constaterons que la conversation entre les cultures devient de plus en plus importante sous le cosmopolitisme universelFollowing the trend of international cooperation, comparative research across cultures becomes increasingly important. Consequently Sinology and Western culture could intersect at certain points of view, particularly around Derrida’s political philosophy research based on the term friendship. Faced with political violence in the name of justice, democracy or human rights, Derrida states that the current policy is dominated by the disease of “autoimmunity”, by which democracy is locked to the within the territory of the State. So the universal democracy as the authenticity of democracy is not yet present. Considering that the reforms in the policy framework does not help to solve the “autoimmunity”, Derrida believes that we should return to the ideology by reflecting the term friendship as the root of human relations in society, in order to access the idea of the unconditional hospitality and therefore the universal democracy. This is why Derrida begins his research of political philosophy from the term friendship. In this sense, Derrida discusses the canonical friendship, namely the ancient friendship, Christian friendship and rationale friendship, in the western history, in concluding that the canonical friendship of the Western history favors the sameness by eliminating the difference, as far as the consanguinity, the frontier play a foundational rule throughout the Western history, which determines the conditional democracy based on the sovereignty of the nation-state. This way of beginning from the friendship exists also in Confucianism which acts as the essential of sinology, because of the image of brother, in other words the consanguinity persists throughout the sinological history as an axis, and in terms of structures of clan and family which monopolize the feudal politics of China. This allows us to note the similarities rather than the differences between the two cultures. In addition, face to the friendship based on consanguinity and the frontier, Derrida proposes a new way of friendship which contains the unconditional hospitality, in order to suppress the disease of autoimmunity, then lead to "democracy to come", even if it might causes a gap between ideology and political practice. Indeed, the “universal love” exists also in sinological history, for example in the theory of Mo Tzu. By which the society "Da-Tong" implying a universal democracy is always presented as the ideal society in the history of China. This may also make a gap between ideology and practical politics regarding the two cultures intersect instead of diverging. Face to the critiques concerning Utopia of "democracy to come" and the society "Da-Tong", this study aims at the confrontation between cultures, the transition between politics and ethics, in order to deal with these concepts with an objective attitude. In this process of comparative research we find that the conversation between cultures becomes increasingly important in universal cosmopolitanism
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Karlsson, Rickard. "Svensk-franska förhandlingar : Bland sprätthökar och franska flugor i svenskt 1700-tal." Doctoral thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-9888.
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Den här avhandlingen tar till syfte att närmare förklara hur det i svensk 1700-talslitteratur vanligt förekommande satiriska porträtterandet av en landsman som har låtit sig påverkas av fransk kultur, i seder, språk och mode, på sådant sätt att han har blivit en ”sprätthök”, utgör en kritik av det franska kulturinflytandet. Avhandlingen visar också hur det kritiska förhållningssättet till det franska kulturinflytandet, som kanaliseras i beskrivningarna av sprätthöksfigurens förfranskade later, är inbegripet i diskurser om nationell tillhörighet, kultur, moral och språk. Det åberopade källmaterialet, till större delen från perioden 1720-1772, består av varjehanda moralsatirisk litteratur, varav sedekomedier och moraliska veckoskrifter utgör kärnan i analysen. Den analytiska delen av avhandlingen är indelad i tre större kapitel. Det första analsykapitlet tar itu med hur sprätthöksfiguren definieras i källmaterialet. Dessutom visar kapitlet hur resandet till Frankrike och i synnerhet till staden Paris, samtidigt som det ingår i tidens allmänt hållna kritik mot unga adelsmäns bildningsresande, utpekas som förklaringen till att svenskar omskapas till förfranskade sprätthökar. Det andra analyskapitlet visar hur sprätthökarna kan sägas förkroppsliga de stereotypiska föreställningarna om en moraliskt fördärvlig fransk nationalkaraktär och därigenom bidra till konstruktionen av motbilden till en svensk, dygdig och positiv nationalkaraktär. Det tredje analyskapitlet behandlar de språkideologiska motiv och den kritik mot en förfranskad umgängeskultur som kan utläsas i åsikterna om och beskrivningarna av sprätthökarnas språkbruk.The subject of this dissertation concerns 18th century literary depictions of a certain satirical character, the fop, or in Swedish the “sprätthök”. The overall aim of this study is to investigate how the portrayals of the “sprätthök” are involved in the creation of a critical discourse on French cultural influence and how this, in turn, has a bearing on 18th century conceptions of national identity, morals, culture and language. The material referred to in this dissertation consists of Swedish 18th century literature during the period 1720-1772, mainly comedies of manners and moral weeklies. The analytical part of the dissertation is divided into three major chapters, each dealing with a certain theme. The first of these chapters addresses the question of how the “sprätthök” is defined in the source material and moreover how the criticism of educational travel abroad, to France and Paris, is part of the discussion of how young male Swedes are transformed into Frenchified fops. The second of these chapters deals with the concept of national character and how Swedish fops can be said to embody the negative image of the French national character. The third major analytical chapter concentrates on the language used by fops, and the underlying criticism based on language ideology which is thereby evoked.
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Pan, Chia Tsen, and 潘佳岑. "“Laughter Is the Corrective Force Which Prevents Us from Becoming Cranks”- An Evolution of Comedy from Intellectual to Moral." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/8g6ts8.
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碩士國立臺北科技大學
應用英文系碩士班
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Why do people laugh? Because we find things funny, awkward, ludicrous or ironic. But how? In what way do we laugh at a situation, a person or any kind of action? There must be a formula to explain. We laugh because we feel happy. We cry because we are sad. Which is why we need comedy and tragedy. Under a modern society, especially after war in twenty century, people seem to prefer comedy, and it can be around when we laugh, make some troubles or are being sarcastic. Comedy helps us to have insight toward the society we live in and approach to the truth. This paper starts from a historical perspective to explore the birth of comedy from the legacy of ancient Greece with paintings on vases and relics and then develops philosophical theories of comedy in particular Aristotle and Henri Bergson. Both of them explain and comment on comedy from its format to its details. I then exam modern comedic works like Don Quixote, Modern Times, and television sitcoms: I Love Lucy, Father Knows Best, The Donna Reed Show, The Andy Griffith Show, Modern Family and Fresh off the Boat which have come to dominate the entertainment industry today. Comedy has been on a long journey from ancient Greece to the present. It evolves and reforms through times. According to Mikhail Bakhtin, a Russian philosopher and literary critic, the carnivalesque theory indicates the reformation of society in the Renaissance and it narrows down classes. With comic elements in the reformation of the society, the prevalence of comedy has a lot to do with democratization and secularization. I argue that the modern comedy is both intellectual and moral in order to keep up with our modern society.
Books on the topic "Comedy of Morals"
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Rayner, Alice. Comic persuasion: Moral structure in British comedy from Shakespeare to Stoppard. Berkeley: University of California Press, 1987.
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Andersen, Jens Kr. Handling og moral: En strukturel studie i elleve Holberg-komedier. [Copenhagen]: Akademisk forlag, 1992.
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Paracelsus. Los caracteres morales. Madrid: Centro de Estudios Constitucionales, 1985.
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Montero, Reinaldo. Los equívocos morales: Comedia del cerco de Santiago : con tres ensayos críticos ... La Habana, Cuba: Editorial Letras Cubanas, 1998.
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Pierre, Nicole. Traité de la comédie: Et autres pièces d'un procès du théâtre. Paris: H. Champion, 1998.
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The bourgeois virtues: Ethics for an age of commerce. Chicago: University of Chicago Press, 2006.
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Mancuso, Aldo, ed. Mobbing e modernità: la violenza morale sul lavoro osservata da diverse angolature per coglierne il senso, definirne i confini. Florence: Firenze University Press, 2004. http://dx.doi.org/10.36253/88-8453-243-4.
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Mobbing, perché se ne parla tanto? Le manifestazioni di violenza del lavoro non misurano soltanto manutenzione e cura del rischio lavorativo. Indicano lo stato dei rapporti tra modo di produrre, senso del lavoro, legami sociali, diritti? Il lavoro della globalizzazione, segnato da insopprimibile violenza, sembra denotare l'inconciliabilità tra le forme che assume nel mercato universale e le regole politiche della modernità: infortuni e malattie da lavoro (come le catastrofi ambientali, le guerre) opacizzano il rapporto tra economia e politica nelle democrazie e nei regimi totalitari? Basta l'omaggio di un'antropologia semplificata per lenire il dubbio che si insinua sulla qualità sociale dei luoghi del nostro mondo?
Book chapters on the topic "Comedy of Morals"
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Paré, Christelle. "Comedian Mike Ward v. The Quebec Human Rights Commission: The Moral Boundaries of Jokes About the Disabled." In The Dark Side of Stand-Up Comedy, 109–28. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37214-9_6.
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Beale, Sam. "Sentiments Unwomanly and Unnatural: Moral Ambiguity, Censorship and Public Perceptions of the Serio-Comic Performer." In The Comedy and Legacy of Music-Hall Women 1880-1920, 35–71. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47941-1_2.
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"Chapter 4. MANNERS AND MORALS IN IRISH COMEDY." In The Profane Book of Irish Comedy, 171–222. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744013-005.
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White, Paul. "‘Morals and Letters’." In Jodocus Badius Ascensius. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265543.003.0008.
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This chapter examines Badius’s conception of the pedagogical function of literature, and sets it in the context of late medieval and humanist debates about poetry, education and ethics. It considers Badius’s ideas about the links between poetry and moral instruction alongside those of contemporary writers Jacob Wimpfeling and Battista Spagnoli (Mantuan). Badius saw all of his familiar commentary texts as providing moral instruction in some sense. The chapter examines in particular Badius’s prefaces, prologues and commentaries on Roman satire (Horace, Juvenal and Persius) and Roman comedy (Terence); and his two adaptations of the Ship of Fools.
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Trapp, Michael. "Laughter and the Moral Guide." In Laughter, Humor, and Comedy in Ancient Philosophy, 145–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190460549.003.0008.
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In the perspective of the moralist, laughter is both an important diagnostic tool (it matters with whom and at whom one laughs), and a potentially dangerous propensity requiring careful monitoring and control. Though differing in their modes of engagement with their target audiences, Dio Chrysostom and Plutarch share a concern with well- and ill-directed laughter at both the level of the individual and that of whole communities: Dio above all (though by no means only) in his Euboean and Alexandrian Orations (Orr. 7 and 32); Plutarch both in his texts on ethical self-improvement in the Moralia and, most colorfully, in his Life of Antony (which shares with Dio’s Or. 30 a particular anxiety about Alexandria as a city of morally dubious laughter). Close reading of these texts has thus much to tell us about the fine texture of moral philosophical engagement with laughter in the Roman Imperial period.
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Barber, C. L. "Misrule as Comedy; Comedy as Misrule." In Shakespeare's Festive Comedy. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149523.003.0003.
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This chapter considers the tendency for Elizabethan comedy to be a saturnalia, rather than to represent saturnalian experience. In Elizabethan England, a direct development of comedy out of festivity was prevented by the existence of an already developed dramatic literature—and by the whole moral superstructure of Elizabethan society. When the issue was put to the test, license for festive abuse was never granted by Elizabethan officials. The tendency examined in this chapter bears witness to the saturnalian impulse which did find expression in dramatic fiction. Saturnalia could come into its own in the theater by virtue of the distinction between the stage and the world which Puritans were unwilling to make in London but which fortunately prevailed across the river on the Bankside.
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Vernon, Kathleen M. "The voice of comedy: Gracita Morales." In Performance and Spanish Film. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719097720.003.0005.
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This chapter analyses the typification and standardisation of the voice in Spanish cinema, which is argued as the result of a long history of film dubbing, with its strict codification of vocal types according to gender and role. This practice has resulted in a series of unwritten rules and expectations that continue to shape and restrict the kinds of voices that Spanish audiences hear on screen. Under these norms, while non-standard voices may be permitted and are even cultivated for comic and character parts, leading roles continue to demand what the chapter calls the ‘phonogenic’ expression of unproblematically feminine and masculine identities. With her unmistakable, high-pitched voice, the chapter shows how Gracita Morales was inevitably slotted into supporting roles, her child-like affect and lack of verbal inhibition put to classic comic ends as weapons used to skewer the pretensions of a would-be upwardly mobile and modernizing middle class. Despite being categorised in this manner, Gracita Morales become an example of what Kathleen Rowe calls ‘unruly women’, female comics who by talking back and laughing loudly claim their right to a traditionally male privilege, thereby challenging the notion of comedy as a male-dominated genre.
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Nannicelli, Ted. "Stand-up Comedy." In Artistic Creation and Ethical Criticism, 187–210. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507247.003.0008.
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This chapter explores the ethics of stand-up comedy with a particular focus on the warrant of ethical criticism of this art form. The chapter argues for the need to understand stand-up comedy as a performance and offers an account of the additional ethical leeway one tends to grant to stand-up comedians. The chapter zeroes in on the relevance of the comedian’s persona and moral character as ethically relevant features of the context of creation. It discusses two notable cases including the censure of Louis C.K. in the wake of his admission of sexual misconduct and the sustained criticism of Dave Chappelle for making jokes about transgender people.
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Schubart, Rikke. "The Thrill of the Nordic Kill: The Manhunt Movie in the Nordic Thriller." In Nordic Genre Film, 76–90. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693184.003.0006.
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‘This world’s divided into two kinds of people: The hunter and the hunted,’ big-game hunter Rainsford says in The Most Dangerous Game (1932) and self-assuredly continues, ‘Luckily, I’m a hunter. Nothing can ever change that.’ Well, he will discover that in the manhunt movie even the hunter can become prey. The manhunt movie is a subgenre of the Hollywood thriller which joins two elements: big-game sport hunting and hunting humans. Sport hunting stirs up themes of nature and culture, morals and ethics, masculinity, and, finally, civilisation. Here, we will ask what happens when the subgenre is used in the Nordic thriller. The chapter has three aims. First, it establishes the central generic traits of the manhunt movie. Second, it sets up a theoretical framework of sociobiological and ecological theories with hunting as a reference point. And, third, it examines the Nordic version of the manhunt movie focusing on the themes of hunting, nature, social standing and civilisation. I look at the Danish drama The Hunt (Thomas Vinterberg, 2012), the Norwegian thriller-heist-comedy Headhunters (Morten Tyldum, 2011) and the Swedish thrillers The Hunters (Jägarna, 1996) and False Trail (Jägarna 2, 2011) by Kjell Sundvall.
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Smith, Daniel R. "Persona." In Comedy and Critique, 109–32. Policy Press, 2018. http://dx.doi.org/10.1332/policypress/9781529200157.003.0005.
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This chapter asks what room is there for stand-up comedy as social critique in a ‘post-abjection’ society. In a society where a New Left politics is normative, ‘common sense’, where does this leave radical critique for stand-up comedians? If New Left ideals are mainstream ‘political sense’, how do comedians face up to the obligations of New Left political subjectivity from the social identities their personas fix them as? The ethics of selfhood which New Left hegemony obliges is viewed through stand-up personas as offering philosophies of ‘the subject’ which foreground the moral ought of leftist politics and the structurally compromised position of their social identities.
Conference papers on the topic "Comedy of Morals"
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Grudinin, Nikita. "Reasons and conditions for the contract killing in Russia at the end of XX and at the beginning of the XXI centuries." In Development of legal systems in Russia and foreign countries: problems of theory and practice. ru: Publishing Center RIOR, 2021. http://dx.doi.org/10.29039/02061-6-116-125.
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The article is devoted to the analysis of the reasons and conditions for the commission of murders for hire. It is noted that contract killings are becoming a common occurrence in such periods of history, which are characterized by economic or political crises, an insufficiently clear and effective system of government, legal nihilism of citizens, the drain of professional personnel from law enforcement agencies, the fall of moral and ethical foundations in society. The author comes to the conclusion that with all the variety of factors causing contract killings, one of their main reasons is the desire for personal gain and the elimination of competitors.
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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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Vidal Climent, Ciro, Maite Palomares Figueres, and Ivo Vidal climent. "Between the heritage and the contemporaneity of the industrial city of Alcoy." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5812.
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The ARA plan, acronym for Architecture and Rehabilitation of Alcoy, was the response to a collective desire of change and to the need for the renewal of an industrial city with a deeply rooted bourgeois and working-class base. The impulse and credibility that made possible the conception of the ARA plan came from a series of projects that consolidated seriously damaged zones of the historic center, and secondarily from the economic commitment of the Generalitat with urban projects of great disciplinary interest that, at that time, had the character of pioneers for their modern procedures of intervention on the inherited city.The common framework of Plan ARA hosted many urban proposals very different in their methodology. However the sense of their cohesion in the city was evident because behind them there was a thought of order necessary for the consolidation and modernization of the urban patrimony that future challenges would ask for. The most relevant architectural project was the renovation of the neighborhood of La Sang, which won the FAD Architecture Award in 1999, but for the citizens the evidence of a remarkable change came with the construction of the public parks. Since that moment the people perceived that an ambitious and clear idea of the city was giving shape to their daily domestic outer spaces.Unfortunately a mix of political and economical issues truncated or set aside important ongoing projects so the completion of the ARA plan was never reached. and the aspiration of becoming an strategic city was forgotten.References:Vidal Vidal, Vicente M. (1992) Il Piano Ara di Alcoy. Descrizione come premessa. Lotus 71. Lotus international. Rivista trimestrale di architettura. Electa.76de Solà-Morales, Manuel (1992) Il nucleo urbano antico come categoria di progetto. Il quartiere di La Sang. Lotus 71. Lotus international. Rivista trimestrale di architettura. Electa.86Cervellati, Pier Luigi and Scannavini, Roberto. Bolonia. Política y metodología de la restauración de centros históricos. Colección Materiales de la ciudad. Editorial Gustavo Gili. Barcelona 1976.Alcoi de Fil de Vint. Arquitectura y Rehabilitación de Alcoi. Generalitat Valenciana. Conselleria d’Obres Públiques, Urbanisme i Transports. Mostra Marzo- Abril 1991
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Silva, Lorena Karla. "PERFIL CLÍNICO/COMPORTAMENTAL DA ANEMIA FALCIFORME EM CRIANÇAS DE IDADE ESCOLAR." In I Congresso Brasileiro de Hematologia Clínico-laboratorial On-line. Revista Multidisciplinar em Saúde, 2021. http://dx.doi.org/10.51161/rems/622.
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Introdução: A Anemia Falciforme é uma patologia majoritária dentro do grupo das hemoglobinopatias. Apresenta-se como uma doença de caráter genético e hereditário, sendo a mais comum no Brasil. Ocorre devido a uma mutação pontual, gerando uma hemoglobina anormal (HbS). Objetivo: Descrever as características da anemia falciforme, e pontuar sua manifestação clínica em crianças de idade escolar. Materiais e Mtétodos: Foi realizada uma revisão bibliográfica, utilizando as bases de dados: BVS, Scielo e PubMed. Foram utilizados 20 artigos, preferencialmente na língua portuguesa, e o critério de inclusão foram artigos publicados nos últimos 10 anos. Resultados e Discussão: Por apresentar sintomalogia variada, a criança com anemia falciforme apresenta uma série de prejuízos e intercorrências ao longo do desenvolvimento, precisando adaptar-se aos seus efeitos para ter um bom desenvolvimento. Campelo, 2017 evidencia que o quadro clínico da AF começa a aparecer a partir dos seis meses de idade, e as manifestações clínicas dos portadores podem variar de quadros álgicos leves a um potencial risco de vida, devido a vasooclusão secundária à falcização das hemácias. Nuzzo, 2004, evidencia que o teste mais utilizado para o diagnóstico da Anemia Falciforme é a eletroforese da hemoglobina. O Ministério da Saúde explicita que em recém-nascidos com hemoglobinopatias, os testes de triagem só encontrarão traços da hemoglobina variante. O perfil hemoglobínico característico, é obtido somente após o sexto mês de vida. Ressalta-se a importância da repetição dos exames até o final do primeiro ano de vida. A porcentagem de mortalidade entre crianças menores de 5 anos com anemia falciforme é cerca de 25% a 30%, e a maioria das mortes são advindas de infecções fatais. Conclusão: A partir do estudo destaca-se a importância de um diagnóstico precoce e a adesão a diferentes intervenções terapêuticas, podendo assim reduzir o impacto negativo sobre a qualidade de vida da criança.
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Colomer Alcácer, Juan, Ana Portalés Mañanós, and David Urios Mondéjar. "Urban green structure in El Ensanche of Valencia city." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6971.
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The Valencian urban green structure, constitutes the main field of the present paper. Its form, size and distribution over the urban grid, could be easily comparable to other European cities, that grown highly on the XIX and XX Century behind a medieval wall. In a first stage, in 1884 with the “Primer Ensanche” by Calvo, Ferreres and Arnau, Valencia gets through a process of fine urban sewing, matching both urban structures, medieval one with the new square blocks, based on the Paris of the Haussmann, example that really helped to integrate such a different urban behavior. Thus, small green spaces appear rarely around those new neighborhoods and districts, usually on the lost urban spaces where the building blocks were more difficult to be built. When the second stage of the Valencian urban sprawl comes through, with the “El Segundo Ensanche de Valencia” (1924, Francisco Mora) the main structure was the square blocks with inner patios with its typical cross chamfer. As a result, Valencia sprawl achieves their principal urban troubles, such as overcrowding, sanitation and restructuring. Moreover, it made those goals using the most efficient and sustainable urban model because of its compactness. However, urban changes forgive one of the most demanded spaces by its citizens nowadays, the green structure, car and its roadway where first over the green spaces. This paper analyzes how green spaces are inside the square blocks greed in Valencia “El Ensanche”, and tries to include some alternatives to improve its lack of green infrastructure.Keywords Valencia, El Ensanche, Green structure, urban compactness
Reports on the topic "Comedy of Morals"
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Thompson, Stephen, Brigitte Rohwerder, and Clement Arockiasamy. Freedom of Religious Belief and People with Disabilities: Evidence from India. Institute of Development Studies (IDS), June 2021. http://dx.doi.org/10.19088/creid.2021.004.
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Around the world, people with disabilities can be the most marginalised in society. Having a disability and being a member of a religious minority or an excluded social group can compound the reasons why some people find themselves on the outskirts of social systems which normally provide financial and moral support and a sense of identity and belonging. A recent study from India found that identity markers such as religion, caste and gender can exacerbate the exclusion already experienced by people with disabilities. Taking deliberate steps to strengthen the social inclusion of people with disabilities who also come from minority religious groups and socioeconomically marginalised backgrounds can help them fulfil their potential to fully and effectively participle in society on an equal basis with others, and strengthen community ties, making the society in which they live more inclusive.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.
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The main recommendations of the panel report can be summarised under five key headings: Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age. Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v Landscapes and regions: Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change? Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial. Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth. Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs. Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully. Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people. The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world